Kolpak Recording Equipment Da 98 Users Manual 98v5

DA-98_manual DA-98_manual

DA-98 to the manual deb6c2ef-9cf6-4e98-a358-f9cd2d64ea42

2015-02-09

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DA-98

D00337200A

Digital Multitrack Recorder

OWNER’S MANUAL

Ü
ÿ
Ÿ

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT
REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert
the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure
that may be of sufficient magnitude to constitute a risk of electric shock to persons..
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature
accompanying the appliance.

This appliance has a serial number
located on the rear panel. Please record
the model number and serial number
and retain them for your records.
Model number
Serial number

WARNING: TO PREVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE TO RAIN OR MOISTURE.

Important Safety Precautions
IMPORTANT (for U.K. Customers)

For U.S.A
TO THE USER

DO NOT cut off the mains plug from this equipment.
If the plug fitted is not suitable for the power points in your home or
the cable is too short to reach a power point, then obtain an
appropriate safety approved extension lead or consult your dealer.
If nonetheless the mains plug is cut off, remove the
fuse and dispose of the plug immediately, to avoid
a possible shock hazard by inadvertent connection to the mains
supply.
If this product is not provided with a mains plug, or one has to be
fitted, then follow the instructions given below:
IMPORTANT: The wires in this mains lead are coloured in
accordance with the following code:
GREEN-AND-YELLOW
BLUE
BROWN

: EARTH
: NEUTRAL
: LIVE

WARNING: This apparatus must be earthed.
As the colours of the wires in the mains lead of this apparatus may
not correspond with the coloured markings identifying the terminals
in your plug proceed as follows:

This equipment has been tested and found to
comply with the limits for a Class A digital device,
pursuant to Part 15 of the FCC Rules. These
limits are designed to provide reasonable
protection against harmful interference when the
equipment is operated in a commercial
environment. This equipment generates, uses,
and can radiate radio frequency energy and, if
not installed and used in accordance with the
instruction manual, may cause harmful
interference to radio communications.
Operation of this equipment in a residental area
is likely to cause harmful interference in which
case the user will be required to correct the
interference at his own expense.
CAUTION
Changes or modifications to this equipment not
expressly approved by TEAC CORPORATION
for compliance could void the user’s authority to
operate this equipment.

The wire which is coloured GREEN-and-YELLOW must be
connected to the terminal in the plug which is marked by the letter
E or by the safety earth symbol ç or coloured GREEN or GREENand-YELLOW.
For the consumers in Europe

The wire which is coloured BLUE must be connected to the terminal
which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the
terminal which is marked with the letter L or coloured RED.
When replacing the fuse only a correctly rated approved type should
be used and be sure to re-fit the fuse cover.
IF IN DOUBT — CONSULT A COMPETENT ELECTRICIAN.

WARNING
This is a Class A product. In a domestic environment, this
product may cause radio interference in which case the user
may be required to take adequate measures.
Pour les utilisateurs en Europe
AVERTISSEMENT
Il s’agit d’un produit de Classe A. Dans un environnement
domestique, cet appareil peut provoquer des interférences
radio, dans ce cas l’utilisateur peut être amené à prendre
des mesures appropriées.
Für Kunden in Europa
Warnung
Dies is eine Einrichtung, welche die Funk-Entstörung nach
Klasse A besitzt. Diese Einrichtung kann im Wohnbereich
Funkstörungen versursachen ; in diesem Fall kann vom
Betrieber verlang werden, angemessene Maßnahmen
durchzuführen und dafür aufzukommen.

TASCAM DA-98

IMPORTANT SAFETY INSTRUCTIONS
CAUTION:
… Read all of these Instructions.
… Save these Instructions for later use.
… Follow all Warnings and Instructions marked on the audio
equipment.
1) Read Instructions — All the safety and operating instructions should
be read before the product is operated.
2) Retain Instructions — The safety and operating instructions should
be retained for future reference.
3) Heed Warnings — All warnings on the product and in the operating
instructions should be adhered to.
4) Follow Instructions — All operating and use instructions should be
followed.
5) Cleaning — Unplug this product from the wall outlet before cleaning.
Do not use liquid cleaners or aerosol cleaners. Use a damp cloth for cleaning.
6) Attachments — Do not use attachments not recommended by the
product manufacturer as they may cause hazards.
7) Water and Moisture — Do not use this product near water — for
example, near a bath tub, wash bowl, kitchen sink, or laundry tub; in a wet
basement; or near a swimming pool; and the like.
8) Accessories — Do not place this product on an unstable cart, stand,
tripod, bracket, or table. The product may fall, causing serious injury to a
child or adult, and serious damage to the product. Use only with a cart,
stand, tripod, bracket, or table recommended by the manufacturer, or sold
with the product. Any mounting of the product should follow the manufacturer’s instructions, and should use a mounting accessory recommended by
the manufacturer.
9) A product and cart combination should be moved with care. Quick
stops, excessive force, and uneven surfaces may cause the product and cart
combination to overturn.

10) Ventilation — Slots and openings in the cabinet are provided for ventilation and to ensure reliable operation of the product and to protect it
from overheating, and these openings must not be blocked or covered. The
openings should never be blocked by placing the product on a bed, sofa,
rug, or other similar surface. This product should not be placed in a built-in
installation such as a bookcase or rack unless proper ventilation is provided
or the manufacturer’s instructions have been adhered to.
11) Power Sources — This product should be operated only from the
type of power source indicated on the marking label. If you are not sure of
the type of power supply to your home, consult your product dealer or local
power company. For products intended to operate from battery power, or
other sources, refer to the operating instructions.
12) Grounding or Polarization — This product may be equipped with
a polarized alternating-current line plug (a plug having one blade wider
than the other). This plug will fit into the power outlet only one way. This
is a safety feature. If you are unable to insert the plug fully into the outlet,
try reversing the plug. If the plug should still fail to fit, contact your electrician to replace your obsolete outlet. Do not defeat the safety purpose of the
polarized plug.
13) Power-Cord Protection — Power-supply cords should be routed so
that they are not likely to be walked on or pinched by items placed upon or
against them, paying particular attention to cords at plugs, convenience
receptacles, and the point where they exit from the product.
14) Outdoor Antenna Grounding — If an outside antenna or cable
system is connected to the product, be sure the antenna or cable system is
grounded so as to provide some protection against voltage surges and builtup static charges. Article 810 of the National Electrical Code, ANSI/NFPA
70, provides information with regard to proper grounding of the mast and
supporting structure, grounding of the lead-in wire to an antenna discharge
unit, size of grounding conductors, location of antenna-discharge unit, connection to grounding electrodes, and requirements for the grounding electrode.

"Note to CATV system installer:
This reminder is provided to call the CATV system installer’s attention to
Section 820-40 of the NEC which provides guidelines for proper grounding
and, in particular, specifies that the cable ground shall be connected to the
grounding system of the building, as close to the point of cable entry as
practical.
Example of Antenna Grounding as per
National Electrical Code, ANSI/NFPA 70

ANTENNA
LEAD IN
WIRE
GROUND
CLAMP

ANTENNA
DISCHARGE UNIT
(NEC SECTION 810-20)
ELECTRIC
SERVICE
EQUIPMENT

GROUNDING CONDUCTORS

(NEC SECTION 810-21)
GROUND CLAMPS
POWER SERVICE GROUNDING
ELECTRODE SYSTEM
(NEC ART 250. PART H)
NEC - NATIONAL ELECTRICAL CODE

15) Lightning — For added protection for this product during a lightning
storm, or when it is left unattended and unused for long periods of time,
unplug it from the wall outlet and disconnect the antenna or cable system.
This will prevent damage to the product due to lightning and power-line
surges.
16) Power Lines — An outside antenna system should not be located in
the vicinity of overhead power lines or other electric light or power circuits,
or where it can fall into such power lines or circuits. When installing an
outside antenna system, extreme care should be taken to keep from touching such power lines or circuits as contact with them might be fatal.
17) Overloading — Do not overload wall outlets, extension cords, or
integral convenience receptacles as this can result in risk of fire or electric
shock.
18) Object and Liquid Entry — Never push objects of any kind into
this product through openings as they may touch dangerous voltage points
or short-out parts that could result in a fire or electric shock. Never spill
liquid of any kind on the product.
19) Servicing — Do not attempt to service this product yourself as opening or removing covers may expose you to dangerous voltage or other
hazards. Refer all servicing to qualified service personnel.
20) Damage Requiring Service — Unplug this product from the wall
outlet and refer servicing to qualified service personnel under the following
conditions:
a) when the power-supply cord or plug is damaged.
b) if liquid has been spilled, or objects have fallen into the product.
c) if the product has been exposed to rain or water.
d) if the product does not operate normally by following the operating
instructions. Adjust only those controls that are covered by the operating
instructions as an improper adjustment of other controls may result in
damage and will often require extensive work by a qualified technician to
restore the product to its normal operation.
e) if the product has been dropped or damaged in any way.
f ) when the product exhibits a distinct change in performance – this
indicates a need for service.
21) Replacement Parts — When replacement parts are required, be
sure the service technician has used replacement parts specified by the
manufacturer or have the same characteristics as the original part.
Unauthorized substitutions may result in fire, electric shock, or other
hazards.
22) Safety Check — Upon completion of any service or repairs to this
product, ask the service technician to perform safety checks to determine
that the product is in proper operating condition.
23) Wall or Ceiling Mounting — The product should be mounted to a
wall or ceiling only as recommended by the manufacturer.
24) Heat — The product should be situated away from heat sources such
as radiators, heat registers, stoves, or other products (including amplifiers)
that produce heat.

TASCAM DA-98 3

Table of Contents

1 –Introduction to the DA-98
1.1 Unpacking ..................................................1-1
1.2 Features .....................................................1-1
1.3 Using this manual .....................................1-2
1.4 Precautions and recommendations ........1-2
1.4.1 Clock source in a digital studio ..................... 1-2
1.4.2 Confidence replay ....................................... 1-2
1.4.3 Environmental conditions ............................ 1-3
1.4.4 Installing the DA-98 ..................................... 1-3
1.4.5 Electrical considerations.............................. 1-3
1.4.6 Condensation ............................................ 1-3
1.5 Recommended tapes ................................1-4
1.5.1 Tape brands............................................... 1-4
1.5.2 Available recording and playback time ........... 1-5

2 –Front Panel controls
[1] Power switch .................................................2-1
[2] Tape counter and status indicators ....................2-1
[3] Tape loading slot ............................................2-1
[4] EJECT key .....................................................2-1
[5] Display screen ...............................................2-1
[6] FORMAT/Fs indicators and switch .....................2-1
[7] REF LEVEL (reference level indicators) ..............2-1
[8] Peak meters...................................................2-1
[9] RHSL (F 1) key and indicator ............................2-2
[10] AUTO PUNCH (F 2) key and indicator ...............2-2
[11] CLEAR (F 3) key............................................2-2
[12] AUTO PLAY (F 4) key and indicator ..................2-2
[13] MEMO 1 (F 5) ................................................2-2
[14] MEMO 2 (+/–) ................................................2-2
[15] DIGITAL IN switch and indicator ......................2-2
[16] CHASE switch and indicator ...........................2-2
[17] CONFIDENCE MODE switch and indicator .........2-2
[18] ALL INPUT (F 6) key and indicator....................2-2
[19] AUTO MON (F 7) key and indicator ...................2-2
[20] SHTL MON (F 8) key and indicator....................2-3
[21] REPEAT (F 9) key and indicator .......................2-3
[22] LOC 1 (F 10) key ...........................................2-3
[23] LOC 2 (PRESET) key......................................2-3
[24] SHIFT key and indicator .................................2-3
[25] CURSOR keys ..............................................2-3
[26] SHUTTLE switch, indicator and control .............2-3
[27] ENTER and ESCAPE keys ..............................2-3
[28] REC FUNCTION switches and indicators ...........2-3
[29] INPUT MONITOR switches and indicators .........2-3
[30] CLOCK switch and indicators .........................2-3
[31] TC REC switch and indicator...........................2-4
[32] REW key......................................................2-4
[33] F FWD key ...................................................2-4
[34] STOP key ....................................................2-4
[35] PLAY key .....................................................2-4
[36] RECORD key ................................................2-4

3 –Rear Panel connectors
[37] TIME CODE (IN and OUT)................................3-1
[38] VIDEO (IN/THRU)...........................................3-1
[39] WORD SYNC (IN/OUT/THRU) ...........................3-1
[40] RS-422 ........................................................3-1
[41] MIDI IN/OUT/THRU ........................................3-1
[42] CONTROL I/O ...............................................3-1
[43] REMOTE IN/SYNC IN .....................................3-1
[44] SYNC OUT ...................................................3-1
[45] TDIF-1 (DIGITAL I/O) ......................................3-1

[46] METER UNIT (MU-8824) ................................. 3-1
[47] ANALOG INPUT ........................................... 3-1
[48] ANALOG OUTPUT ........................................ 3-1
[49] ~ IN ............................................................ 3-1

4 –Connections
4.1 Audio connections.................................... 4-1
4.1.1 Analog audio connections ........................... 4-1
4.1.2 Digital audio connections ............................ 4-1
4.2 Synchronization connections.................. 4-1
4.2.1 Analog timecode connections ...................... 4-1
4.2.2 Video connections...................................... 4-2
4.2.3 Word clock connections .............................. 4-2
4.3 Control connections ................................. 4-2
4.3.1 RS-422 connector ....................................... 4-2
4.3.2 MIDI connectors (IN , OUT and THRU) ............ 4-2
4.3.3 Parallel control .......................................... 4-3
4.4 Connection to other TASCAM units........ 4-3
4.4.1 Multiple DTRS units .................................... 4-3
4.4.2 “Indirect” word sync ................................... 4-3
4.4.3 Meter unit (MU-8824) ................................... 4-3

5 –Menu operations
5.1 The menus ................................................. 5-1
5.1.1 Navigation around the menu system.............. 5-1
5.1.2 Using the ENTER key .................................. 5-1
5.1.3 The ESCAPE key ........................................ 5-1
5.1.4 Editing values ............................................ 5-1
5.1.5 Resetting a menu value ............................... 5-2
5.1.6 Changing menu values fast .......................... 5-2
5.1.7 Blanking the screen display ......................... 5-2
5.2 Function key modes ................................. 5-2
5.2.1 The SHIFT key and function keys .................. 5-3
5.2.2 Using the function keys as number keys ........ 5-3
5.3 Assigning menus to function keys ......... 5-4
5.3.1 To assign a menu screen to a key ................. 5-4
5.3.2 Recalling an assigned menu function ............ 5-4

6 –Basic operations
6.1 Formatting a tape...................................... 6-1
6.1.1 Aborting the format process ........................ 6-1
6.1.2 Recording while formatting .......................... 6-2
6.2 Recording the first tracks ........................ 6-2
6.3 Preparing to record................................... 6-2
6.3.1 Write-protecting cassettes ........................... 6-2
6.3.2 Recording the basic tracks (i) ....................... 6-2
6.3.3 Recording the basic tracks (ii) ...................... 6-3
6.3.4 Replaying the first tracks ............................. 6-3
6.4 Overdubbing.............................................. 6-3
6.5 Track bouncing ......................................... 6-3
6.6 Punch-in and punch-out........................... 6-3
6.6.1 Automatic punch point setting...................... 6-4
6.6.2 Setting punch points “on the fly” .................. 6-4
6.6.3 Setting punch points using the menus ........... 6-5
6.6.4 Editing the pre-roll and post-roll times ........... 6-5
6.6.5 Rehearsing the punch-in ............................. 6-6
6.6.6 Interrupting a rehearsal or punch recording .... 6-6
6.6.7 Recording the punch-in ............................... 6-6
6.6.8 Replaying the punched material .................... 6-7
6.6.9 Exiting punch-in mode ................................ 6-7
06/97 – 1.00 – TOC-1

Table of Contents

7 –Monitoring modes
7.1 Monitoring controls .................................. 7-1
7.1.1 ALL INPUT [18] and INPUT MONITOR [29] ...... 7-1
7.1.2 AUTO MON ............................................... 7-1
7.1.3 Shuttle monitoring ..................................... 7-2
7.2 Confidence mode...................................... 7-2
7.2.1 Arming tracks in pairs................................. 7-3
7.2.2 Using confidence mode .............................. 7-3

8 –Advanced operations
8.1 Autolocation.............................................. 8-1
8.1.1 Setting MEMO 1 and MEMO 2 “on the fly” ...... 8-1
8.1.2 Checking, editing and manually entering MEMO 1
and MEMO 2 .................................................. 8-1
8.1.3 Setting the location pre-roll time ................... 8-1
8.1.4 Moving to MEMO 1 and MEMO 2 ................... 8-2

8.2 Function key location memories............. 8-2
8.2.1 Storing a function key location memory ......... 8-2
8.2.2 Editing function key memories ..................... 8-2
8.2.3 Locating to a function key memory ............... 8-3
8.2.4 Location and playback ................................ 8-3
8.2.5 Repeat function ......................................... 8-3
8.2.6 To start repeat play .................................... 8-3
8.3 Track delay ................................................ 8-4
8.3.1 To set the track delay:................................. 8-4
8.4 Crossfade times........................................ 8-4
8.5 Vari speed (pitch control) ........................ 8-5
8.5.1 To set a non-standard speed ........................ 8-5
8.5.2 Resetting the speed to standard ................... 8-5
8.6 Shuttle operations .................................... 8-5
8.6.1 Shuttle monitoring ..................................... 8-6
8.6.2 Shuttle muting ........................................... 8-6
8.7 Reference levels ....................................... 8-6
8.8 Meter modes.............................................. 8-7
8.8.1 Peak hold time ........................................... 8-7
8.8.2 Meter ballistics .......................................... 8-7
8.9 Sine oscillator ........................................... 8-7
8.9.1 Recording the oscillator .............................. 8-7
8.10 Digital recording ..................................... 8-8
8.10.1 Changing between digital and analog inputs . 8-8
8.10.2 Selecting word length ............................... 8-8
8.11 Routing digital inputs............................. 8-8
8.11.1 Track Copy (channel-to-track routing) .......... 8-9
8.12 REC MUTE (recording silence).............. 8-9
8.13 Dither ....................................................... 8-9
8.13.1 Selecting dither settings ............................ 8-10
8.14 Setting the power-on message.............. 8-10

9 –Synchronization with other DTRS units
9.1 Synchronization connections.................. 9-1
9.2 Machine ID and master/slave settings.... 9-1
9.2.1 Differences between DTRS models ............... 9-1
9.2.2 Setting machine ID ..................................... 9-2
9.2.3 Master/slave settings (CHASE mode)............. 9-2
9.3 Machine offset........................................... 9-2
9.3.1 Setting machine offset ................................ 9-2
9.3.2 Cancelling machine offset ........................... 9-3
9.3.3 Setting machine offset “on the fly” ................ 9-3
9.3.4 An example of setting offsets ....................... 9-3
9.4 Digital dubbing.......................................... 9-4

TOC-2 – 1.00 – 06/97

9.4.1 Synchronized formatting .............................
9.4.2 Recording while formatting ..........................

9-5
9-5
9.5 Error messages......................................... 9-5

10 –Operations related to timecode
10.1 ABS and SMPTE/EBU timecode .......... 10-1
10.1.1 ABS time ............................................... 10-1
10.1.2 Tape timecode ....................................... 10-1
10.1.3 Selecting TC or ABS timing ...................... 10-1
10.1.4 Location point settings ............................ 10-2
10.2 Tape timecode mode ............................ 10-2
10.2.1 TcTrack setting ...................................... 10-2
10.2.2 ABS setting ........................................... 10-2
10.2.3 ABS-Ofs setting ..................................... 10-2
10.2.4 ABS-13 and ABS-23 settings .................... 10-3
10.2.5 Checking tape TC ................................... 10-3
10.3 Selecting the frame rate ....................... 10-4
10.3.1 Pull up and pull down (Fs shift) ................. 10-4
10.4 Timecode input and output.................. 10-4
10.4.1 Timecode input ...................................... 10-4
10.4.2 Timecode output .................................... 10-5
10.4.3 Timecode output format........................... 10-5
10.4.4 Timecode output timing ........................... 10-5
10.4.5 Using MIDI Time Code (MTC) .................... 10-6
10.5 Recording timecode ............................. 10-6
10.5.1 Selecting the timecode source .................. 10-6
10.5.2 Recording timecode using the generator .... 10-6
10.5.3 Synthesizing timecode from ABS timing ..... 10-8
10.5.4 Assembling timecode .............................. 10-8
10.5.5 External timecode sources ....................... 10-8
10.5.6 Recording timecode from external sources . 10-9
10.5.7 Checking external timecode ..................... 10-10
10.6 Video resolution.................................... 10-10
10.7 Chasing to timecode............................. 10-10
10.7.1 Machine ID and timecode ......................... 10-10
10.7.2 Setting timecode offset ............................ 10-11
10.7.3 Setting timecode offset from the menu ....... 10-11
10.7.4 Cancelling timecode offset ....................... 10-11
10.7.5 Setting timecode offset on-the-fly .............. 10-11
10.7.6 Park position ......................................... 10-12
10.7.7 Automatic park position setting ................ 10-12
10.7.8 Absolute and relative difference ................ 10-12
10.7.9 Rechasing timecode................................ 10-13
10.7.10 Bypassing timecode errors ..................... 10-13
10.7.11 Individual recording while chasing
timecode .....................................................

10-14

11 –External control
11.0.1 Selecting the control source (protocol) ....... 11-1
11.1 Use with 9-pin external control............ 11-1
11.1.1 Video clocking ....................................... 11-1
11.1.2 Emulation.............................................. 11-1
11.1.3 Record delay ......................................... 11-1
11.1.4 Cue-up tally ........................................... 11-2
11.1.5 Fast wind speed ..................................... 11-2
11.1.6 Track mapping ....................................... 11-3
11.1.7 Timecode track mapping.......................... 11-3
11.1.8 Remote track arming ............................... 11-4
11.2 Bus protocol.......................................... 11-4
11.2.1 Assigning a MIDI and Bus ID to the DA-98 ... 11-4
11.3 MIDI Machine Control ........................... 11-4
11.3.1 MMC commands and the DA-98 ................ 11-4

Table of Contents

12 –Menu and parameter reference
12.1 Menu groups..........................................12-1
12.1.1 Menu group 0 ......................................... 12-1
12.1.2 Menu group 1 ......................................... 12-2
12.1.3 Menu group 2 ......................................... 12-2
12.1.4 Menu group 3 ......................................... 12-3
12.1.5 Menu group 4 ......................................... 12-3
12.1.6 Menu group 5 ......................................... 12-4
12.1.7 Menu group 6 ......................................... 12-5
12.1.8 Menu group 7 ......................................... 12-5
12.1.9 Menu group 8 ......................................... 12-6
12.1.10 Menu group 9........................................ 12-6
12.1.11 Menu group E ....................................... 12-7
12.1.12 Menu group F ....................................... 12-7
12.2 Menu item index ....................................12-8

13 –Example setups
13.1 An all-DA-98 setup ................................13-1
13.2 Post-production work. ..........................13-2
13.3 Project studio (‘B’ room) ......................13-4

14 –Maintenance and memory setups
14.1 Head and transport cleaning................14-1
14.1.1 To clean the heads and transport ............... 14-1
14.1.2 Checking error rates ................................ 14-2
14.1.3 Checking head time ................................. 14-2
14.1.4 Checking head search time ....................... 14-2
14.2 Memory backup .....................................14-3
14.3 User setups............................................14-3
14.3.1 Saving user setups .................................. 14-3
14.3.2 Loading user setups ................................ 14-3
14.3.3 Resetting the memory .............................. 14-4
14.4 Checking version numbers ..................14-4
14.4.1 Software upgrades .................................. 14-4

15 –Options, specifications and reference
15.1 Options for the DA-98 ...........................15-1
15.1.1 RM-98 Rack Mount Adaptor ...................... 15-1
15.1.2 Remote control (RC-848) .......................... 15-1
15.1.3 Meter unit (MU-8824) ................................ 15-1
15.1.4 Digital audio convertors ........................... 15-2
15.1.5 Cables ................................................... 15-2
15.1.6 CONTROL I/O connector pinout ................. 15-2
15.2 Specifications ........................................15-3
15.2.1 Physical specifications ............................ 15-3
15.2.2 Power specifications ............................... 15-3
15.2.3 Digital recording characteristics ................ 15-3
15.2.4 Tape recorder section .............................. 15-3
15.2.5 Tape transport ........................................ 15-4
15.2.6 Inputs and outputs .................................. 15-4
15.2.7 Audio specifications ................................ 15-4
15.2.8 9-pin (RS-422), MIDI, synchronizer
specifications ...............................................

15-4
15.3 MMC Bit Map Array ...............................15-6
15.4 MIDI Implementation Chart ...................15-8
06/97 – 1.00 – TOC-3

Table of Contents

TOC-4 – 1.00 – 06/97

Section 1 – Introduction to the DA-98

1 – Introduction to the DA-98

•
•

The TASCAM DA-98 is a digital audio multitrack
recorder designed for use in a variety of applications, including video post-production and audio
multitrack work.
It records 8 tracks of full-quality digital audio on
standard Hi8 video cassettes using a speciallydesigned transport and head mechanism. Using
this medium, up to 108 minutes of continuous
recording is possible on a single NTSC “120”
tape.

•

•
•

•

Recording is carried out at a full 16 bits of resolution, and digital data may be input at 16, 20 or 24
bits of resolution. Analog signals are converted to
digital data using 64 times oversampling deltasigma techniques.

•

The DA-98 builds on the foundations laid by the
TASCAM DA-88 and DA-38 digital multitrack
recorders, and retains compatibility with them.
Tapes recorded on one of the DA series can be
replayed and overdubbed on any other machine in
the series, or any DTRS1 machine.

•

•
•

1.1 Unpacking
The box contains the following.

•

•
•

•

DA-98 Digital Multitrack Recorder (x 1)
Accessories:
–Rackmount screw kit (x 1)
–AC power cord, 2 m (6 ft) long (x 1)
–This manual (x 1)

•

Other key features of the DA-98 include:

•
1

•

Warranty card (x 1)

1.2 Features
•

•
•

TASCAM-exclusive high-performance/high
wear resistive rotary 4-head mechanism with
TASCAM original track layout (DTRS standard)
Use of standard, low-cost media with long
recording and playback times
DTRS is a trademark of TEAC Corporation

•
•
•
•

•

16-bit linear quantization at either 44.1 kHz or
48 kHz provides CD-quality sound or better
Fast, frame-accurate tape location and positioning; end-to-end winding for a “120” tape is
around 80 seconds
Direct digital synchronization of up to 16
DTRS recorders (128 tracks) without the use of
any external synchronizer or controller
Direct digital dubbing between DTRS units
Track Copy function acts as an internal digital
patchbay, allowing input-to-track assignment
without the use of external equipment
Balanced +4dBu analog inputs and outputs carried on a convenient compact D-sub connector
Selectable nominal analog I/O levels to conform to SMPTE, EBU, etc. standards
15-segment peak meters with user-selectable
fall ballistics and variable hold time (including
continuous peak hold)
Integral digital sine oscillator, providing signals
at 440Hz for tuning and 1kHz for lineup purposes
Digital input and output on a single convenient
compact D-sub connector (TDIF-1 format)
Settings carried out through a menu hierarchy
using a 20-character x 4-line LCD display with
cursor keys and an ENTER/ESCAPE system
The 10 most commonly-used functions can be
assigned to “soft keys” for easy recall
Full SMPTE/EBU timecode synchronization ,
including on-board timecode generator
MIDI Time Code and MIDI Machine Control
Confidence replay mode, allowing off-tape
monitoring while recording is in progress
Input monitor mode allows channel-by-channel
source monitoring, regardless of tape transport
status
Three user setup memory banks for storing
setup profiles
Simplified source/tape monitoring functions
with automatic switching
Auto punch-in and punch-out with rehearsal
mode
2-point full function autolocator with A–B
repeat function , and 10 “soft key” location
memories
Variable speed recording and playback (up to
6.0% in 0.1% steps)
06/97 – 1.00 – 1-1

Section 1 – Introduction to the DA-98

•

Shuttle mode enables “rock and roll” audio
positioning of key locations

1.3 Using this manual
We suggest that you take the trouble to read this
manual through at least once before starting to use
the DA-98. In this way, you will find out where to
turn when you need answers.
We suggest that you make a special note of the
section 1.4, “Precautions and recommendations”
as these contain some information which is unique
to the DA-98.
We also suggest that you also read 5, “Menu operations”, as this will help you when you come to
perform basic operations.
When referring to a control or a connector on the
DA-98, the name of the control or connector will
be written in bold type, and will often be followed
by a num ber in brackets, as in the example below:
Holding down the PLAY [35] and pressing the
RECORD [36] key will start the recording process.

The numbers refer to the front and rear panel illustrations and description in 2, “Front Panel controls” and 3, “Rear Panel connectors”.
When referring to a word or phrase which appears
on the LCD display screen, the word or phrase
will be written as follows:
Move the cursor to Mem
o1

NOTE
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
critically well-received. TASCAM can make no guarantee that the DA-98 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.

1-2 – 1.00 – 06/97

As with any precision piece of electronic equipment, common-sense precautions apply with the
DA-98.
However, there are a few extra precautions which
apply to the DA-98, and we suggest that you make
a note of these, to prolong the useful life of the
DA-98.

1.4.1 Clock source in a digital studio
The DA-98 can be used in a variety of situations,
and with a variety of equipment, either digital or
analog.
If you are working with more than one digital
audio unit in your setup, you should note that all
units must be driven by the same central clock
source (“word clock” or “word sync”).
If different word clock sources are used throughout the setup, it is actually possible to damage
speakers, etc. because of mismatches.
The DA-98 can be designated as the word clock
master for your studio, or can be slaved to external
word clocks, using a convenient front-panel
switch and standard BNC connectors.
Even though AES/EBU stereo digital audio signals are self-clocking, any AES/EBU format signals converted and fed to or from the DA-98 must
be synchronized at word level with the DA-98.

1.4.2 Confidence replay

Sometimes the tape counter is used to display a
message. This will be shown as follows:
The tape counter will show

1.4 Precautions and
recommendations

Because the DA-98 can accept digital data and
converts analog data with longer word lengths
than it uses to record on tape (16-bit resolution),
monitoring the input source during recording will
not necessarily provide a completely accurate representation of what is recorded on tape.
The DA-98 provides a dither setting (see 8.13.1,
“Selecting dither settings”) which provides
improved total harmonic distortion figures. Since
the dither is applied prior to recording, again,
monitoring the input source will not allow you to
hear the effect of the dithering process.
Accordingly, the DA-98 provides a confidence
mode, allowing you to monitor off-tape as record-

Section 1 – Introduction to the DA-98

ing progresses. Since this monitoring is not synchronized exactly with the source inputs, gapless
punch-in and punch-out is not possible in confidence mode. For full details of confidence monitoring, together with other monitoring modes
available on the DA-98, see 7, “Monitoring
modes”.

Optional rack mount adaptor handles (RM-98) are
available. For details, see 15.1.1, “RM-98 Rack
Mount Adaptor”.
The DA-98 should be mounted with the front
panel vertical.

1.4.3 Environmental conditions
The DA-98 can be operated in most environments,
but we suggest that you keep the environmental
conditions within the following limits:
Ambient temperature between 5° and 35° C (41°
and 95° F).
Relative humidity should be between 30% and
80% non-condensing
There should be no strong magnetic fields (speakers, etc.) near the DA-98.
Avoid spraying polish, insecticides, etc. near the
DA-98.

1.4.5 Electrical considerations
Make sure that your local power supply matches
the voltage requirements marked on the rear panel
of the DA-98.

WARNING
If you need to clean the DA-98, use a soft cloth, moistened if necessary with a little detergent and water. Do
not use abrasive cleaners or solvents such as alcohol or
thinner.

Avoid subjecting the DA-98 to jolts, sudden
shocks, etc.
WARNING
If you have to return the unit for service or repair, use
the original packing materials if possible. If the unit is to
be transported to a recording location, etc., use a suitable transport case with sufficient shock protection.

TASCAM does not accept responsibility for damage resulting from neglect or accident.

If you are in any doubt concerning the local power
supply, consult an electrician.
Avoid extreme voltage fluctuations. If necessary,
use an input voltage regulator to smooth the power
supplied to the DA-98.
Do not open the unit to clean inside, or to perform
any internal adjustments. You should not attempt
any cleaning or other maintenance procedures
which are not described in this manual.
You may need to clean the heads occasionally.
The procedure for doing this, and for checking
tape error rates, etc., is given in 14, “Maintenance
and memory setups”.

1.4.6 Condensation
1.4.4 Installing the DA-98
The DA-98 may be installed in a standard 19”
rack, occupying 4U of space. Since the DA-98 is
quite heavy (around 11kg – 24lb), your rack
should be strong and stable to take the weight of
the DA-98.

If you use the DA-98 in a warm place after moving it from a cold place (for instance, recording on
location), or if there has been a sudden change in
temperature, condensation may occur within the
tape mechanism, with a risk of possible damage to
the unit.
06/97 – 1.00 – 1-3

Section 1 – Introduction to the DA-98

If condensation does occur, you will not be able to
operate the DA-98 controls, and you will see the
following message on the display:

WARNING !
Condensation on drum
If you see the above message, press the ESCAPE
key to remove the message, leave the DA-98
switched on for one or two hours, then switch it
off and on again before starting recording.
If you are going to use the DA-98 in a location
where you think condensation is likely to occur,
move the DA-98 into the warmer location about
one or two hours before recording is due to start,
and leave it switched on. Turn the DA-98 off and
then on again before starting recording.

1.5 Recommended tapes
The DA-98 is designed for use with Hi8 video
cassettes. You cannot use any other kind of tape
with the DA-98.

CAM. It is possible that the characteristics and
sensitivities of tapes may be changed by the manufacturers without notice. The brands and model
numbers of tapes listed below may not always
meet the specifications required by DTRS systems
for optimum performance. TASCAM assumes no
responsibility for problems resulting from
changes made by a manufacturer to the materials
or specifications of its tape products.
The electrical characteristics of DTRS recorders
are adjusted and set using Sony Hi8 tape parameters (MP and ME) prior to shipment.

1.5.1 Tape brands
The following brands and models of tape can be
used with the DA-98. As mentioned above, this
list does not constitute any endorsement by TASCAM of these products, nor is it a guarantee that
tapes bearing this brand and model name will continue to give optimum performance.
Maker

SONY

DARS-MP

E6-HME

P6-HMP

E5-HME

P6-HMPX

E6-HMEAD

P5-HMP

E5-HMEAD

P5-HMPX

E6-HMEX

There are two basic types of Hi8 tape: MP and
ME. Each has its own particular characteristics
and merits:
•

•

MP tapes are manufactured using a daubed
magnetic particle deposit process and exhibit a
level of performance which is more than
acceptable. They have a durability which
allows them to be used as work tapes in studio
and post-production environments.
ME tapes have their magnetic layer produced
through a metal evaporation process. Generally
speaking, though these tapes have a high performance level, they are not as robust as MP
tapes (see above) and should be used for live
recording and archival purposes, rather than as
work tapes.

TASCAM does not endorse any specific tape or
tape manufacturer. TASCAM has licensed the use
of the DTRS logo (
) to tape manufacturers,
provided their tape meets the specifications
required by DTRS tape recorders. However, the
use of the DTRS logo on the tape packaging does
not imply any endorsement of the tape by TAS1-4 – 1.00 – 06/97

E5-HMEX
AMPEX

DA8 MP

BASF

DA MP

TDK

Hi8 MP

Hi8 ME Position

Hi8 MP Position

Hi8 ME Pro

FUJI

HI P6- DS N
HI P5- DS N
M221MP P6M221 MP P5-

MAXELL

P6- XR-M

E6- XD-MN

P5- XR

E5- XD

The electronics of DTRS recorders are designed
to operate within specific parameters. The use of a
tape with sensitivity higher or lower than that of

Section 1 – Introduction to the DA-98

tapes for which the DTRS recorder was originally
designed may cause an error in functionality or
prevent the user from getting optimum performance from the tape. Always use the shortest possible tape for a given project. Do not attempt to
use 150-minute or longer tapes in DTRS
machines, as the machine will detect the thickness
of tape and automatically eject any tape thinner
than recommended.
Never attempt to use a tape with the DA-98 that
has previously been used in video equipment.
WARNING
You cannot cut and splice DTRS 8mm tapes for editing
purposes. Using a spliced tape in the DA-98 will invariably result in serious damage to the heads, requiring
replacement. All editing must be done digitally.

1.5.2 Available recording and playback
time
Depending on whether the tape has been purchased for use with an NTSC (P6/E6) or a PAL/
SECAM (P5/E5) television system, the same
length of tape (as far as video length is concerned)
will provide different times for audio work, as
shown below, due to different frame rates between
television systems. The indication P6/E6 or P5/E5
will be printed on the tape package:
Time on tape
label

P6/E6 (NTSC
tape)

P5/E5 (PAL/
SECAM tape)

113

120

108

–

06/97 – 1.00 – 1-5

Section 1 – Introduction to the DA-98

1-6 – 1.00 – 06/97

Section 2 – Front Panel controls

2 – Front Panel controls
[1]

[3]

Only use Hi8 ME or MP tapes as specified on
page 1-4. The DA-98 will automatically eject all
other tapes.

Power switch
Turns the power to the DA98 on and off. When the
DA-98 is turned off, settings will be retained in
memory (see 14.2, “Memory backup”).

[2]

WARNING
Do not use a tape which has been used for recording video. Always use either new tapes or tapes
which have been used in a DTRS recorder.

Tape counter and status indicators
The tape counter gives the time in hours, minutes,
seconds and frames.
The status indicators show the current status of
various DA-98 functions. The legends of these
indicators are abbreviated for reasons of space.
Here is a list of their full meanings, together with
the pages on which the functions are more fully
described:
Legend

Meaning

Page

PB CONDITION
ABS

Playback condition
Absolute tape time is being
used as the time reference
Recording is inhibited (the
cassette’s write-protect tab
is set)
Timecode time is being
used as the time reference
Machine offset is in operation
Shows that the DA-98 is in
TRACK copy mode
Shows pull up or down for
drop-frame synchronization
Lights when the DA-98 is
reading timecode from the
tape
Lights when the internal
timecode generator is generating
Lights when one or more of
the tracks is delayed
Lights when the DA-98’s
vari speed function is
enabled
Shows that the shuttle mute
function is in operation
Lights when the DA-98 is
receiving external timecode

14-1
10-1

REC INHI

TC
OFFSET
TRACK COPY
PULL UP/DN
TAPE TC

TC GEN

DELAY
VARI SPEED

SHTL MUTE
EXT TC

Tape loading slot

[4]

Ejects any loaded cassette. A cassette can only be
ejected when the transport is stopped.

[5]

[6]

The FORMAT/Fs switch controls the formatting of
tapes and allows selection of the sampling frequency used for recording (see 6.1, “Formatting a
tape” for full details).

9-2
8-9

[7]

REF LEVEL (reference level
indicators)
These LEDs are used to indicate three standard
reference levels: –16dBFS, –18dBFS and
–20dBFS. For full details of this, see 8.7, “Reference levels”.

10-2

10-6

8-5

FORMAT/Fs indicators and switch
The FORMAT indicator shows that a tape is being
formatted. The 44.1KHz and 48KHz indicators
show the sampling frequency currently in use.

10-1

8-4

Display screen
This 20-character by 4-line LCD screen shows the
menus and the parameters that can be set in the
menus.

6-2

10-4

EJECT key

[8]

Peak meters
These 15-segment peak meters show the input
level or the recorded signal level, depending on
the monitoring mode currently in operation (see 7,
“Monitoring modes”).

8-6
10-2

NOTE
When using digital recording equipment, there is
no headroom above the 0dB mark and no tape saturation is possible. Any signal which causes the
“OVER” segment to light will cause audible distortion. For this reason you should take care not to
let recording levels exceed this level.
06/97 – 1.00 – 2-1

Section 2 – Front Panel controls

The ballistics and peak hold times are selectable
(see 8.8, “Meter modes”).

[9]

RHSL (F 1) key and indicator
This key and indicator allow selection of the
rehearsal mode in auto punch-in and out (see 6.6,
“Punch-in and punch-out”).
When the SHIFT key [24] is pressed, this key
becomes a function key.

[10]

AUTO PUNCH (F 2) key and
indicator

This key and indicator allow automatic punch-in
and punch out following rehearsal (see 6.6,
“Punch-in and punch-out”).
When the SHIFT key [24] is pressed, this key
becomes a function key.

[11]

CLEAR (F 3) key

This key defeats the rehearsal and auto modes during auto punch-in and out (see 6.6, “Punch-in and
punch-out”). It is also used to cancel a format
operation (see 6.1, “Formatting a tape”).
When the SHIFT key [24] is pressed, this key
becomes a function key.

[12]

AUTO PLAY (F 4) key and indicator

When this key is pressed (the indicator will light),
the DA-98 will automatically start playing as soon
as a preset location point has been reached (see
8.2.4, “Location and playback”).
When the SHIFT key [24] is pressed, this key
becomes a function key.

[13]

MEMO 1 (F 5)

When pressed, this key stores the current tape
position into a memory location point which can
be accessed using the LOC 1 key [22]. The location can be “nudged” using the menu functions
(see 8.1.2, “Checking, editing and manually entering MEMO 1 and MEMO 2”).
When the SHIFT key [24] is pressed, this key
becomes a function key.

[14]

MEMO 2 (+/–)

When pressed, this key stores the current tape
position into a memory location point which can
be accessed using the LOC 2 key [23]. When the
2-2 – 1.00 – 06/97

function keys are used as number keys, this key is
used as a “sign-change” key.

[15]

DIGITAL IN switch and indicator

This switch controls the input to the DA-98. When
on (indicator lights), the input is through the DIGITAL I/O (TDIF-1) connector on the rear panel, otherwise it is through the ANALOG INPUT connector.

[16]

CHASE switch and indicator

The CHASE switch controls whether the DA-98’s
transport is to “chase” a master machine (indicator
is lit when chasing or flashing when preparing to
chase) or to operate independently. The chase
mode may be either timecode or ABS based (see
10.1, “ABS and SMPTE/EBU timecode”).

[17]

CONFIDENCE MODE switch and
indicator

The DA-98 features a confidence replay mode
which allows off-tape monitoring. This switch and
its associated indicator allow selection and viewing of the status of this monitoring mode.
For a full explanation of confidence monitoring,
see 7.2, “Confidence mode”.

[18]

ALL INPUT (F 6) key and indicator

When this key is pressed, the indicator will light,
and, regardless of the transport mode, all outputs
will be switched to the signals derived from the
inputs. This is primarily for alignment purposes,
and is equivalent to pressing all the INPUT MONITOR switches ([29]) together.
For a full treatment of monitoring modes on the
DA-98, see 7, “Monitoring modes”
When the SHIFT key [24] is pressed, this key
becomes a function key.

[19]

AUTO MON (F 7) key and indicator

When this key is pressed (the indicator will light),
the monitoring system of the DA-98 automatically
changes between input and off-tape monitoring,
depending on the transport mode.
For a full treatment of monitoring modes on the
DA-98, see 7, “Monitoring modes”
When the SHIFT key [24] is pressed, this key
becomes a function key.

Section 2 – Front Panel controls

[20]

SHTL MON (F 8) key and indicator

When this key is pressed, shuttle monitoring is
enabled (see 7.1.3, “Shuttle monitoring”).
When the SHIFT key [24] is pressed, this key
becomes a function key.

[21]

REPEAT (F 9) key and indicator

When this key is pressed, playback is repeated
between the two memory locations set by [13] and
[14] (see 8.2.5, “Repeat function” for details).
When the SHIFT key [24] is pressed, this key
becomes a function key.

[22]

LOC 1 (F 10) key

This key locates the tape to the position set by
MEMO 1 [13].
When the SHIFT key [24] is pressed, this key
becomes a function key.

[23]

LOC 2 (PRESET) key

This key locates the tape to the position set by
MEMO 2 [14].
When the SHIFT key [24] is pressed, this key
allows the assignment of the function keys ([9]
through [13], and [18] through [22]) (see 5.3,
“Assigning menus to function keys”).

[24]

SHIFT key and indicator

When this latching key is pressed (the indicator
will flash), keys [9] through [13] and [18] through
[22] become function keys, and key [23] takes on
a new function as a PRESET key (see 5.3,
“Assigning menus to function keys”).

[25]

CURSOR keys

These keys are used to navigate the cursor through
the menus controlling the DA-98 functions.
When a menu has been selected, the UP and
DOWN keys (
and
) are used to set
the values or select the choices within the menu).
See page 5-1 for details of how to use these keys
in menu operations.

[26]

SHUTTLE switch, indicator and
control

When the SHUTTLE key is pressed, the indicator
will light. The SHUTTLE control will then be
active. Turning the control to the right privides

forward cueing and turning it to the left provides
reverse cueing, similar to “rock and roll” on openreel tape decks.
For details, see 8.6, “Shuttle operations”.

[27]

ENTER and ESCAPE keys

These keys are used in conjunction with the cursor
keys [25] to go “up and down” the menu
hierarchy.
See page 5-1 for details of how to use these keys
in menu operations.

[28]

REC FUNCTION switches and
indicators

These eight switches and indicators allow the setting and viewing of the record status on a trackby-track basis.
When one of these switches is pressed, the appropriate indicator will flash, the track is “armed”,
and going into record mode will start recording on
that track. When recording is being carried out on
a track, the track’s indicator will light steadily.

[29]

INPUT MONITOR switches and
indicators

These switches allow the monitoring of inputs to
tracks on a track-by-track basis, irrespective of the
current transport status. The appropriate indicator(s) will light when monitoring track input(s)
using these switches.
Note that the function of these switches is connected with the ALL INPUT key [18] (page 7-1).

[30]

CLOCK switch and indicators

This switch and these indicators allow you to set
and view the system clock. There are three
options:
Setting

Meaning

INT

The DA-98 will provide its own clock reference
The clock will be synchronized to the signal
received at the WORD SYNC IN connector
The clock will be synchronized to the signal
received at the VIDEO IN connector

WORD
VIDEO

For full details of external synchronization, see
10, “Operations related to timecode”.
06/97 – 1.00 – 2-3

Section 2 – Front Panel controls

[31]

TC REC switch and indicator

This switch is used when you wish to record timecode (either internally generated or from an external source) on a dedicated subcode track of the
DA-98. No audio track is needed to record timecode. For full details of timecode operation, see
10, “Operations related to timecode”.
NOTE
It is not necessary to use timecode if two DTRS
units (e.g. DA-88, DA-38 or DA-98 machines) are
to be operated together. The SYNC connections
will ensure synchronization between machines
(see 9.2, “Machine ID and master/slave settings”)..

[32]

REW key

Rewinds the tape at high speed.
If this key is pressed during recording, recording
will stop and the tape will rewind.

[33]

F FWD key

Winds the tape forward at high speed.
If this key is pressed during recording, recording
will stop and the tape will wind forward.
NOTE
When either REW or F FWD is pressed for the
first time after powering up, or loading a tape, the
unit first configures itself for the reel hub diameter
of the tape in use, during which the tape advances
at low speeds. This takes several seconds. Thereafter, the transport momentarily goes into stop mode
before the tape starts fast-winding.

[34]

STOP key

Cancels any current tape transport mode, and
stops the tape.

[35]

PLAY key

Starts playing the tape. If this key pressed while
recording is in progress, the DA-98 drops out of
record mode.

[36]

RECORD key

If the PLAY key ([35]) is pressed while the
RECORD key is held down, recording will start on
all “armed” tracks (see 6.3, “Preparing to
record”).
2-4 – 1.00 – 06/97

If the DA-98 is in play mode, and the REC key is
pressed, recording will start immediately on any
“armed” tracks.
The RECORD key also is used to set punch-in
points during auto punch-in/out operations (see
6.6, “Punch-in and punch-out”).

Section 3 – Rear Panel connectors

3 – Rear Panel connectors
This section provides a brief description of the
functions of the connectors on the rear panel. For
full details of cables to be used, pinouts, etc., see
4, “Connections”.

[37]

TIME CODE (IN and OUT)

This pair of XLR connectors (female for IN and
male for OUT) provides the timecode connections
for the synchronization functions of the DA-98.
See 10, “Operations related to timecode” for full
details.

[38]

VIDEO (IN/THRU)

The VIDEO BNC connectors are used to carry
video frame sync signals when the DA-98 is used
with video equipment. The self-terminating THRU
connector echoes messages received at the IN.
See 10.6, “Video resolution” and 11.1.1, “Video
clocking” for details of video sync operation.

[39]

WORD SYNC (IN/OUT/THRU)

These BNC connectors are used to carry the word
clock between the DA-98 and other types of digital audio equipment. The THRU connector is selfterminating. See 8.10, “Digital recording” for full
details.

[40]

RS-422

This connector is used for controlling the DA-98
using controllers or editors which conform to the
Sony P2 protocol (RS-422). See 11.1, “Use with
9-pin external control” for full details of how to
use this connector.

[41]

MIDI IN/OUT/THRU

These connectors carry MIDI Time Code (MTC)
and MMC (MIDI Machine Control) commands.
See 11.3, “MIDI Machine Control” for details of
how these facilities are used when synchronizing
to other units.

[42]

CONTROL I/O

[43]

REMOTE IN/SYNC IN

This connector is used to connect another “master” DTRS unit (e.g. DA-98, DA-88 or DA-38).
See 9, “Synchronization with other DTRS units”
for further details.
An RC-848 remote control unit may also be connected here, but not all functions of the DA-98 are
available from the remote contol unit.

[44]

SYNC OUT

This is used to connect another DTRS unit in the
“daisy-chain” or, if this DA-98 is the last unit in
the chain, to attach a termination plug.

[45]

TDIF-1 (DIGITAL I/O)

This connector carries the digital signals to and
from the DA-98 in TEAC Digital Interface Format
(TDIF-1).

[46]

METER UNIT (MU-8824)

This connector carries power and signals to drive
8 channels of the optional MU-8824 24-channel
Meter Unit.
Make the connection using a TASCAM PW-88M
cable.

[47]

ANALOG INPUT

This connector carries 8 balanced inputs at a nominal +4dBu level. This allows convenient and reliable single-cable connection to the GROUP
outputs of a suitably-equipped console such as the
TASCAM M-1600 series.

[48]

ANALOG OUTPUT

This connector carries 8 balanced outputs at a
nominal +4dBu level. This allows convenient and
reliable single-cable connection to the tape return
inputs of a suitably-equipped console such as the
TASCAM M-1600 series.

[49]

~ IN

Use the provided AC power cord to connect the
DA-98 to the AC power supply through this
connector.

This connector is used for control of the DA-98 by
external equipment. Consult your TASCAM
dealer for full details of compatibility and the use
of this connnector.
The pinout for this connector is given in 15.1.6,
“CONTROL I/O connector pinout”.
06/97 – 1.00 – 3-1

Section 3 – Rear Panel connectors

3-2 – 1.00 – 06/97

Section 4 – Connections

4 – Connections

The pinouts for both the ANALOG OUTPUT and
INPUT connectors are as follows:

This section explains how to connect other equipment to the DA-98 in a variety of situations. It is
not intended as a complete reference to the use of
the DA-98. See the appropriate sections for full
details of how these connectors are used.
where G=ground, H=”hot” (+) and C=”cold” (–).
WARNINGS
•

•

When making connections between the DA-98 and
other equipment, whether audio or control, both the DA98 and the other equipment must be turned off, otherwise damage may be caused to the DA-98 and/or the
other equipment.
Only use TASCAM-supplied and TASCAM-approved
cables when making connections to the DA-98. Though
the cables and connectors may resemble computer
cables, they serve different purposes, and meet a different set of specifications. The use of cables other than
TASCAM cables will at best cause the equipment to
work erratically, and at worst cause damage to the
equipment.
If the use of cables other than TASCAM cables causes
or results in damage, the warranty is voided.

4.1 Audio connections
Other audio equipment can be connected to the
DA-98 either using analog or digital interfaces.

4.1.1 Analog audio connections
All analog audio connections to the DA-98 are
made through 25-pin D-sub connectors (input signals through [47] and output signals through [48]).
This allows convenient and tidy cabling between
the DA-98 and other units such as the TASCAM
M-1600 series of mixing consoles.
It is not recommended that you make up your own
cables–consult your TASCAM dealer for availability of suitable ready-made cables (and see
15.1.5, “Cables”). However,we recognize that
every situation has its own unique features, and
there are occasions when a special cable must be
made.

All audio inputs are balanced and are rated at a
nominal +4dBu level.
The impedance of the inputs is 20kΩ and that of
the outputs is 10Ω.

4.1.2 Digital audio connections
Digital audio input and output signals are carried
on the same 25-pin D-sub connector [45]. The signals are in TDIF-1 format.
To carry signals between a DA-98 and another
DTRS unit, use a PW-88D cable (1 meter long) or
a PW-88DL cable (5 meters long). You may also
use these cables to connect the DA-98 to other
TDIF-1-equipped devices.
If you need to connect the DA-98 to a digital
audio source using a different format, we recommend the use of the following units:
•

•

TASCAM IF-88AE Interface Unit – converts
between the TDIF-1 and AES/EBU formats (8
channels). It also provides S-PDIF format conversion facilities.
TASCAM IF-88SD Interface Unit – converts
between the TDIF-1 and SDIF-2 digital audio
formats.

4.2 Synchronization
connections
The DA-98 is equipped with sophisticated facilities for control and synchronization with other
units. For full details of how to operate the DA-98
with other units, see 10, “Operations related to
timecode”.

4.2.1 Analog timecode connections
Before starting to make the cable, we suggest you
contact your TASCAM dealer for full details of
cable specifications, etc.

The DA-98 can be synchronized to externallygenerated timecode and is also equipped with an
internal timecode generator. For full details of
06/97 – 1.00 – 4-1

Section 4 – Connections

how to use the DA-98 with timecode, see 10,
“Operations related to timecode”.
The two XLR timecode connectors [37] carry balanced signals with the following polarity:
Pin # Connection
1
2
3

Ground
Hot
Cold

However, unbalanced signals may be used, with
only pins 1 and 2 connected.
IN (balanced)

OUT (balanced)

Level

0.5 Vp-p to
10.0Vp-p

2Vp-p

Impedance

> 10kΩ

< 100 Ω

The TIMECODE OUT connector either transmits
internally-generated timecode or re-shaped or regenerated timecode echoed from the TIMECODE
IN connector.

4.2.2 Video connections
This pair of BNC connectors [38] is used to provide video frame reference clocking when the
DA-98 is used with video equipment.
The front panel CLOCK switch [30] is used to
change between clock sources, and should be set
to VIDEO when synchronizing to video sync.
Connect the VIDEO IN connector of the DA-98 to
the VIDEO OUT of a video unit. This signal
should be a 1 Vp-p composite signal.
If other equipment (such as other DTRS units)
also need the video frame reference clock, the signal received at the VIDEO IN is echoed at the
VIDEO THRU connector.
If the DA-98 is the last unit in the chain of video
equipment, there is no need to terminate it, as this
circuit is self-terminating.
For details of how the DA-98 can be synchronized
to video frame information, see 11.1.1, “Video
clocking”.
4-2 – 1.00 – 06/97

4.2.3 Word clock connections
This set of BNC connectors [39] is used to synchronize the DA-98 to other digital audio devices.
The front panel CLOCK switch (page 2-3) is used
to change between clock sources, and should be
set to WORD when synchronizing to an external
word clock.
The IN jack should be connected to the WORD
SYNC OUT of the digital audio device from
which the DA-98 is to receive the synchronization
clock.
Note the difference between the OUT and the
THRU connectors. OUT is used to carry word clock
signals generated by the DA-98, and THRU is used
to echo the signals received at IN.
If the DA-98 is the last unit in the chain of video
equipment, there is no need to terminate it, as this
circuit is self-terminating.
Also note that if the DA-98 is connected to other
DTRS units, the WORD SYNC jacks do not need to
be connected between the DTRS units.

4.3 Control connections
4.3.1 RS-422 connector
This connector is used to connect the DA-98 to
other controllers or editors which will control the
DA-98 using the Sony P2 protocol, or a bus protocol, such as that used by the TASCAM ES-61.
If you are in doubt about the compatibility of such
a device, please consult TASCAM or your TASCAM dealer, who will be able to advise you.
The DA-98 can emulate (through software control
accessed through menu 6) a number of devices for
compatibility with almost any controller. See
11.1.2, “Emulation” for details.
Full details of control using this connector are
given in 11.1, “Use with 9-pin external control”.

4.3.2 MIDI connectors (IN , OUT and
THRU)
These standard 5-pin DIN MIDI connectors [41]
are used to carry MIDI Time Code (MTC) and
MIDI Machine Control (MMC) information

Section 4 – Connections

between the DA-98 and other suitably-equipped
units (for instance, sequencers capable of being
synchronized to MTC, and capable of transmitting
MMC commands).
The MIDI functions are accessed through menu
group 7. See 10.4.5, “Using MIDI Time Code
(MTC)” and 11.3.1, “MMC commands and the
DA-98” for full details.
Note the difference between MIDI OUT and MIDI
THRU. The OUT connector outputs signals which
originate from the DA-98. The THRU connector
echoes messages received at the IN.

4.3.3 Parallel control
Parallel control by and of the DA-98 is performed
through the CONTROL I/O port [42]. See 15.1.6,
“CONTROL I/O connector pinout” for details of
how to connect other equipment to this port.

4.4 Connection to other
TASCAM units

See 9.2.2, “Setting machine ID” for details of setting the Machine ID using menu group 3.
WARNINGS
The last unit in the chain must be terminated (a TASCAM termination plug must be plugged into the SYNC
OUT of the last machine in the chain.
Once again, only use TASCAM cables for connection of
equipment to and from the DA-98.

4.4.2 “Indirect” word sync
As mentioned earlier, there is usually no need to
use a word clock when connecting DTRS units
together. There is, however, an occasion when it is
necessary to carry external word sync between
DTRS units.
This is when a slave DTRS unit is recording digitally from another digital audio device:
Digital SDIF-2
device
Word clock signal
Machine ID 1
(master, but
CLOCK set to
WORD)

Machine ID 2
(slave 1)

`o`t`r`g

By a “TASCAM unit”, we mean another DA-98, a
DA-88 or a DA-38 unit, or an optional remote
control unit, which may also be connected in a
“chain” with multiple DTRS units.

4.4.1 Multiple DTRS units
Use a TASCAM PW-88S cable when connecting
other units to the REMOTE/SYNC IN connector
[43] or to the SYNC OUT connector ([44]).
This synchronization cable will carry the internal
synchronization code and the transport signals,
etc. There is no need to make any other connections, apart from the audio connections (either
digital or analog).
If more than one DTRS unit is to be used, the first
unit in the chain must have its Machine ID set to
“1”, (“0” in the case of DA-88s) and subsequent
units must have their IDs set in order with no gaps
in the numbering sequence. Note that the diagram
below does not show any audio connections.
Machine ID 1
(master)
`o`t`r`g

Machine ID 2
(slave 1)
`o`t`r`g

PW-88S

SDIF-2
digital audio

`o`t`r`g

IF-88SD
PW-88S

Termination
plug

TDIF-1 digital
audio

Though the slave will receive its word clock from
the master unit, the master itself must receive its
word clock from the other digital audio device.
In this case, the master unit will have its clock
source set to WORD, and the slave will receive its
clock from the master unit through the SYNC IN
[43].

4.4.3 Meter unit (MU-8824)
The optional MU-8824 external meter bridge unit
can be connected using a PW-88M cable from the
METER UNIT connector [46]. You do not need to
make any settings on the DA-98 when connecting
the meter unit.

Machine ID 3
(slave 2)
`o`t`r`g

PW-88S

Termination
plug

06/97 – 1.00 – 4-3

Section 4 – Connections

4-4 – 1.00 – 06/97

Section 5 – Menu operations

5 – Menu operations

These are the choices within menu 0:

Delay
Memo 1
Trk Copy Memo 2
Vari Spd Loc Pre
1
0000 Sample

Read this section to understand the basic principles of menu operation. This will help you find
your way round the DA-98’s functions easily and
quickly.

5.1 The menus
The DA-98 has 12 menu groups, labelled from 0
through 9, and E and F. These are referred to in
this manual as “menu group 0”, menu group E”,
etc.
The menu which is used to select these 12 menus
is called the “top” menu, and looks like this

Select Menu Group
0 1 2 3 4 5 6 7
8 9 - - - - E F
Dly/Tr.Cp/Vari/Loct
The bottom row of the display is used as a quick
reference to remind you of the currently-set value
or the contents of the menu group.

5.1.1 Navigation around the menu
system
The cursor keys [25] are used to navigate round
the screen. In this manual, we use the following
terms for these keys:
CURSOR

key

Term used in text
UP key
DOWN key
LEFT key
RIGHT key

Notice that in the top menu, as you move the cursor between menus, the bottom line will change,
reflecting the contents of the menu.

5.1.2 Using the ENTER key
From the top menu, when the cursor is beside the
desired menu group, press ENTER [25] to enter
that menu group. The screen will change, and the
choices within that group will be shown.

Use the cursor keys to navigate between menu
items within the group. The bottom line of the display will change to show the currently-set values
for the parameter beside the cursor.
When the cursor is beside the desired parameter,
press the ENTER key. You can now change the values of that parameter.

5.1.3 The ESCAPE key
The ESCAPE key is used to move up through the
menu hierarchy (from menu screens to sub-menus
to the top menu). It is therefore used if you enter
the wrong menu by mistake.
For a full description of the menu tree, see 12,
“Menu and parameter reference”.
•

There is also an alphabetical index of menu
functions and items on page 12-8.

5.1.4 Editing values
When a parameter has been selected for editing,
the function of the cursor keys is changed.
If there is only one parameter, the LEFT and
RIGHT keys are not used, and the UP and DOWN
keys are used to change the value of the parameter.
If the parameter is a number, the UP key increases
the value and the DOWN key decreases the value.
If there is more than one parameter or there are
“sub-values” to the parameter, such as in the following example (menu group 8), the functions are
a little changed:

Gen Start Fs shift
Gen Mod
TcRec Src
01:33:12:17

30NDF

Here, the internal timecode generator start time
can be set. Obviously, we could edit the “frames”
06/97 – 1.00 – 5-1

Section 5 – Menu operations

field and keep pressing the UP key, but one hour
would be 30 x 60 x 60 = 10,800 key presses!
To avoid this,, the LEFT and RIGHT keys move the
cursor between the “fields”; in this case, hours,
minutes, seconds and frames.
Regardless of whether one value or several subvalues have been edited, the changes to the values
are made immediately. The cursor keys can then
be used for navigation again.
In most time-based menus, when the “frames”
field is being edited, the value can be changed
to the number of frames in 1 second
from
(the exact number varies between settings) and
.
back to

00
00

However, if the cursor is moved to an invisible
“field” to the right of the frames field, incrementing the value of the frames field above the number
of frames in a second will increment the seconds
field.
As an example:
1) The menu screen shows: “00:01:43:29”
when the frame rate is 30fps.
2) Press UP.
3) The menu screen shows: “00:01:43:00”.
However:
1) The menu screen shows “00:01:43:29_ ”.
2) Press UP.
3) The menu screen shows: “00:01:44:00_ ”.

5.1.5 Resetting a menu value
Sometimes it is necessary to reset a menu value to
a default value.
To do this quickly, hold down the UP key and
press the DOWN key (or hold down the DOWN key
and press the UP key). If the menu value is a time
value in hh:mm:ss:ff format, all the fields will be
reset to zero. If there is more than one independent
field in a menu screen, use the cursor to point to
the value that you want to reset to zero.
5-2 – 1.00 – 06/97

5.1.6 Changing menu values fast
Sometimes it is useful to be able to change a value
fast (for instance, time values such as minutes and
seconds). To do this, hold down the UP or DOWN
key and press the ENTER key. The values will
change faster as long as the ENTER key is held
down.

5.1.7 Blanking the screen display
There are times when you may want to blank the
backlit screen display (for instance, the light may
be a visual distraction, or you may want to discourage tampering fingers).
1) Press the ENTER key, and while holding it
down, press ESCAPE.
You can also hold down the ESCAPE key and
press ENTER.

2) The screen will blank, and the back light will
go out.
3) To restore the screen display, press any of the
following: ENTER, ESCAPE, or any of the
CURSOR keys.
The screen will be relit, and show the top menu.
NOTE
This can be used as an alternative way of returning to
the top menu when you are inside the menu hierarchy

5.2 Function key modes
These keys are often used to jump to frequentlyused menus (see 5.3, “Assigning menus to function keys”), but their function can be changed, as
described here:
1) Press and hold down the SHIFT key [24], and
while holding it down, press the MEMO 2 key
[14] to enter the Function Key Mode
menu.
As an alternative to the method above, you can go
to menu group 7, move the cursor to FunctMode and press ENTER.

Section 5 – Menu operations
2) This menu gives you three choices, Menu ,
Locate Position and 10 Key :

Function Key Mode
Select
Menu
Menu uses the function keys as a quick way of
jumping around the menu system (see 5.3,
“Assigning menus to function keys”).
Locate Position assigns the ten function keys to location memories (see 8.2.1, “Storing
a function key location memory”)
10 Key allows you to use the function keys as a
numeric keypad for direct entry of numerical data
(see 5.2.2, “Using the function keys as number
keys”).

3) Select the option with the UP and DOWN keys.
NOTE
When you change the function of the “soft” keys
between menu and location functions, the values
assigned to the other function are not lost, and will be
restored when you next change the function of the soft
keys.

5.2.1 The SHIFT key and function keys
Usually, the 10 function keys and the LOC 2/PRESET and MEMO 2/ +/– keys perform the duties as
marked on the top of their labels (e.g. key [19]
usually works as the AUTO MON key).

5.2.2 Using the function keys as number
keys
When the Function Key Mode parameter
has been set to 10 Key (see above), you can use
the function keys as number keys for direct entry
of numerical data.
The function key number is used to enter the digit
(F 1 enters a 1, F 2 enters a 2, etc.) except for F 10,
which enters a 0.
When you have entered the value using the function keys as number keys, you should press the
PRESET key ([23] to confirm the value you have
just entered.
The following is a step-by-step guide to entering a
value (1 minute and 5 seconds) into the Locate
Pre-roll parameter (see 8.1.3, “Setting the location
pre-roll time”).
1) Set the function key mode to 10
described above (page 5-2).

Key, as

2) Go to menu group 0, move the cursor to Loc
Pre, and press ENTER:

Locate Pre-roll
00min00sec
3) Press the SHIFT key [24]. The indicator will
start to flash.
4) Press the F 1 key [9]:

To use the keys as function keys (whether location
keys, preset menu keys or as number keys), press
the SHIFT key.
The SHIFT indicator will start to flash.

Locate Pre-roll
00min01sec

While it is flashing, these keys are used as
described on the bottom row of their labels (e.g.
key [19] now becomes function key 7 (F 7)).

The bottom line of the display will start to blink,
showing that you are entering numerical data.

Press the SHIFT key again to stop the indicator
flashing and return the keys to their original
functions.

Notice that the number is entered from the right of
the fields, even though the cursor position is not at
the right of the field.
06/97 – 1.00 – 5-3

Section 5 – Menu operations
5) Press the F 10 key [22] (to enter a 0):

Locate Pre-roll
00min10sec
6) Press the F 5 key [13]:

Locate Pre-roll
01min05sec
7) The numbers for this value have now been
entered, but the value itself has not. Press the
LOC 2 (PRESET) key [23] to enter the value.
The bottom line of the display will stop blinking.

8) You can use the UP and DOWN keys to adjust
the value you have just entered.
9) Press SHIFT again to restore the function keys
to their “non-function” values.
NOTE
Some parameters (e.g. offsets) can take either positive
or negative values. To change the sign of the value, use
the MEMO 2 (+/–) key [14] to toggle between positive and negative values.

You can use the function keys as number keys in
almost any menu where direct numerical input is
possible.
You cannot use these keys as number keys when
there are only two choices (even if they are
numerical). An example of such a menu is the
Rechase Mode menu (page 10-13), where the
two options for the Window value are 1 second
and 2 seconds. This parameter should be set using
the UP and DOWN keys, not the number keys.

5.3 Assigning menus to
function keys
It is quite likely that you will find yourself using a
few of the same menu functions many times (for
instance, manual adjustment of punch points) and
5-4 – 1.00 – 06/97

many of the menu functions only rarely (for
instance, whether the DA-98 is a master or a slave
unit).
Some of the keys below the tape counter ([9]
through [13], and [18] through [22]) can be used
as “soft keys”, providing instant access to the
menu screens you use most often.

5.3.1 To assign a menu screen to a key
1) Set the function key mode to Menu as
described in 5.2, “Function key modes”
2) Use the cursor and ENTER keys to get to the
menu function you want to assign to a key.
3) Press the SHIFT key [24] (the indicator will
flash).
4) Press the PRESET key [23]. The following will
appear on the display.

Function Preset
"Push Function Key"

5) Press the key (F 1 through F 10) to which you
want to assign the menu screen.
This will assign the menu screen to the key and the
SHIFT indicator will go out.

5.3.2 Recalling an assigned menu
function
1) Press the SHIFT [24] key (the indicator will
flash).
2) Press the F key (1 through 10) which has been
assigned to the menu function you want to
recall.
The menu screen will be recalled, and the SHIFT
indicator will go out.

Section 6 – Basic operations

6 – Basic operations
This section explains some of the basic operations
using the DA-98. Section 8, “Advanced operations” describes more advanced operations.
Most operations on a DA-98 are similar to those
on a traditional analog multitrack recorder, but we
suggest that you read this section and the next to
learn about the features of the DA-98.

6.1 Formatting a tape
Before you use a tape in the DA-98, you must first
format it. This marks internal synchronization patterns for the servo to follow on subsequent passes
through the tape as well as the subcode data
(ABS). No audio data is normally recorded during
a formatting operation (but see below).
While formatting is proceeding, you cannot perform any other transport operation except stopping the tape.
You cannot change the sampling rate while formatting is in progress.
1) Switch on the DA-98 and load a tape into the
tape loading slot [3]. As the tape is loaded and
threaded, the tape counters will show
.
For details of tapes that you can use in the DA-98,
see 1.5, “Recommended tapes”.

2) Press REW [32] to take the tape to the
beginning. When the beginning of the tape is
reached, the tape counter will show
(“beginning of tape”).
3) Press the FORMAT/Fs switch [6]. The FORMAT
indicator will start blinking. Press the FORMAT/
Fs switch again within 5 seconds. The FORMAT
indicator will then light steadily.
If you do not press the FORMAT/Fs switch twice
within 5 seconds, the indicator will go out. This is

a feature designed to stop you formatting a tape
accidentally.
NOTE
If you do press the FORMAT/Fs switch twice so that
the indicator lights steadily and you then change your
mind about formatting the tape, you can use the
CLEAR key [11] to cancel the operation.

4) Now use the FORMAT/Fs switch to select the
sampling frequency (either 44.1kHz or 48kHz).
The sampling frequency that you select depends
on the eventual use for the recording. For audio
work, selecting 44.1kHz will allow you to produce
CD master tapes with no frequency conversion.
NOTE
If a digital signal is received at the DIGITAL I/O jack
[45] as selected and shown by the DIGITAL IN switch
and indicator [15], the DA-98’s recording and playback
sampling frequency is automatically determined by the
sampling frequency of the input signal and you cannot
change it.

5) To start formatting the tape, hold down the
RECORD key [36] and press the PLAY key [35].
NOTE
The tape counter may show a negative ABS time for a
short while at the start of the formatting process. While
it is displaying a negative value, no audio recording can
take place.

6) The tape will format to the end, and then
rewind automatically, stopping at the
position.
You are now able to use the tape for recording.

It is possible to format tapes on a number of
DTRS units simultaneously. For details, see 9.4.1,
“Synchronized formatting”.

6.1.1 Aborting the format process
To abort the process before formatting actually
takes place (i.e. you have pressed the FORMAT/Fs
switch twice in error), press the CLEAR key [11].
The FORMAT indicator will go out.
As explained earlier, the only transport operation
you can perform once formatting has started is to
stop the tape.
06/97 – 1.00 – 6-1

Section 6 – Basic operations

However, we do not recommend interrupting the
formatting process, but suggest that you let the
tape run to the end.

3) If you are recording from a digital source, press
the DIGITAL IN switch [15]. The indicator will
light.

If you interrupt the formatting (or the formatting
is interrupted by a power cut or events beyond
your control), rewind the tape and start the format
from the beginning of the tape again.

4) Select the input which will be routed to each
track on which you will be recording.

6.1.2 Recording while formatting
If you have armed any tracks (you have pressed its
REC FUNCTION switch [28] and the indicator is
flashing), any audio signal routed to that track will
be recorded while formatting is in progress.
NOTES
•

If you have recorded and formatted part of a tape, and
you wish to continue formatting and recording on the
rest of the tape (“assembly”), you should rewind to a
pre-formatted, blank section of the tape and resume formatting and recording from there.

•

Recording and formatting will continue at the sampling
frequency used on the first part of the tape.

•

Avoid re-starting recording and formatting from an
unformatted section of the tape.

6.2 Recording the first tracks
There are a number of different ways of recording
the first tracks. However, all follow the same basic
principles.
NOTES
•

•

When using a newly-formatted tape, we suggest that
you record a blank “leader” about 30 seconds long,
starting from the beginning of the tape, to avoid dropout.
Leave a similar recorded blank “trailer” at the end of the
recording. You can use the Rec Mute function as a convenient way of recording silence (see 8.12, “REC
MUTE (recording silence)”).
If the tape counter shows a negative value, you cannot
record on the tape at that position.

6.3 Preparing to record
1) If you have not already loaded a formatted
blank tape, do so now.
2) Make sure that varispeed is turned off (check
the VARI SPEED indicator [2] and see 8.5.2,
“Resetting the speed to standard” if necessary).
6-2 – 1.00 – 06/97

This may involve the use of an external patch bay
(analog), but the DA-98 also incorporates a “virtual patch bay” which can be used for signal routing; both digital and analog. This is accessed
through the Track Copy function (see 8.11.1,
“Track Copy (channel-to-track routing)”).
With a digital recorder such as the DA-98, track
crosstalk is almost negligible (better than 90dB at
1kHz). For this reason, you do not have to worry
so much about the constraints of choosing physical
track locations as you do with analog recordings.
If you need to copy a track to another track later in
the recording process, remember that track copying in the digital domain will add no noise or distortion. A digital copy is a “clone” of the original,
and no loss of quality is incurred.

6.3.1 Write-protecting cassettes
If you attempt to record on a cassette where the
write-protect tab has been closed, an error message will appear on the screen as you press the
RECORD key. Recording is, of course, not possible on a write-protected cassette.
Hi8 cassette write tabs work in the opposite manner to DAT cassettes, and “closed” means “writeprotect”.
If the tape is write-protected, the REC INHI indicator to the left of the tape counter will be lit. Eject
the tape, open the write-protect tab, replace the
cassette, and try again.
NOTE
Sony Hi8 cassettes (and those from some other manufacturers) have the words “SAVE” (write-protected) and
“REC” (write-enabled) molded into the cassette shell by
the protection tab.

6.3.2 Recording the basic tracks (i)
1) Arm the tracks on which you wish to record.
Press the REC FUNCTION key of these tracks; the
indicator will start flashing.

Section 6 – Basic operations

2) Adjust the input signal levels so that the track
meters read high, but the OVER segment does
not light.
NOTE
Use the reference level you have chosen (see 8.7, “Reference levels”) to be your “nominal” level.

3) Hold down the RECORD key, and press the
PLAY key. The tape will start moving and
recording will start.

1) Turn off the RECORD FUNCTION switch of the
track you have just recorded.
We suggest turning off the RECORD FUNCTION.
This will prevent you from accidentally hitting the
RECORD key and going into record mode, overwriting what you have already recorded.

2) Make sure that the INPUT MONITOR of the track
you have just recorded is turned off (see 7.1.1,
“ALL INPUT [18] and INPUT MONITOR
[29]”).

The REC FUNCTION indicators of all tracks will
light steadily.

3) Rewind the tape to the point that you started
recording and press PLAY.

When you start recording, the point at which
recording starts is automatically stored into memory for punch-in purposes.

6.4 Overdubbing

4) To stop recording and stop the tape, press the
STOP key. You can also press the PLAY key,
which will continue the tape movement, but
stop recording.

6.3.3 Recording the basic tracks (ii)
This is an alternative method of recording basic
tracks on a blank, formatted tape.
1) Arm the tracks and adjust the levels as
described in [1] and [2] above (6.3.2,
“Recording the basic tracks (i)”).
The REC FUNCTION indicators of all armed
tracks will flash.

2) Press the PLAY key. The tape will start moving.
3) When you reach the point at which you want to
start recording, press the RECORD key.
The REC FUNCTION indicators of all armed
tracks will light steadily.
The point at which recording starts is automatically stored into memory for punch-in purposes.

4) Stop recording as described above.

6.3.4 Replaying the first tracks
When you have positioned the tape at the beginning of the recording you have just made (or at the
pre-roll point), you can start playing back the tape.

Overdubbing subsequent tracks is carried out in a
very similar way to recording the first tracks.
If you are unsure about the difference between
monitoring modes as implemented on the DA-98,
now is a good time to read the section 7, “Monitoring modes”.
Obviously you will want to record while you listen to the off-tape signals from previouslyrecorded tracks and the input source on tracks
where recording is taking place.
Note, however, that the use of confidence mode
when overdubbing (see 7.2, “Confidence mode”)
is not recommended, as the off-tape replay signals
will be delayed, making it impossible to provide
accurate cues.

6.5 Track bouncing
Though the DA-98 provides a method of copying
tracks digitally (see 8.11.1, “Track Copy (channelto-track routing)”), there is no way of combining
tracks within the DA-98.
If you need to combine tracks, this must be done
through an external console, routing all tracks to
be combined through an output group, and routing
that group to the appropriate track input.

6.6 Punch-in and punch-out
There are a number of ways in which the DA-98
can be used to perform reliable punch-in and
punch-outs automatically. Punch points can be set
06/97 – 1.00 – 6-3

Section 6 – Basic operations

and edited to frame accuracy, either from a cue list
or “on-the-fly” in real time.

punch-in time, and the time when recording stops
is stored as a punch-out time.

The DA-98 provides a rehearsal mode which simulates the punching process, allowing the artists to
perfect the timing of the new material.

This is not usually the way in which you will want
to set the punch points, however. There are several
alternative ways in which you can set these points,
as described below:

The mechanics of punching on a digital recorder
appear to the operator to be the same as on an analog recorder.
Crossfading, however, is an important and useful
function on digital recorders, to ensure continuity
between original and punched material. In the
case of the DA-98, this crossfade time is adjustable from 10 milliseconds to 200 milliseconds
(see 8.4, “Crossfade times”).
The AUTO MON mode is essential here: in both
rehearsal and punch modes, the material prior to
the punch point is monitored off tape. The monitoring of armed tracks changes to source while
rehearsals and punching are carried out and then
changes to off-tape again after the punch-out
point.
Pre-roll
point

Punch-in
point

Punch-out
point

Pre-roll time

Post-roll
point

Post-roll time
Rehearsal learn

TAPE

SOURCE

TAPE

Rehearsal
TAPE

SOURCE

TAPE

6.6.2 Setting punch points “on the fly”
This method demands sharp reflexes (but you can
edit the punch points later as we show below).
1) Press the AUTO MON key [19] (the indicator will
light).
2) Arm the track(s) on which you will be
recording (use REC FUNCTION).
3) Press the RHSL (rehearsal) key [9].
The indicator will flash, showing that the DA-98 is
in “rehearsal learn” mode.

4) Rewind the tape to before where the punch is to
occur.
5) Start playing the tape (press PLAY).
You will monitor the off-tape signals.

6) At the point where the punch is to occur, press
RECORD.
The RECORD key will flash, and the REC FUNCTION indicator of any armed tracks will light
steadily.

AUTO PUNCH
TAPE

SOURCE

TAPE

Replay check
TAPE

TAPE

NOTE
Though you can perform punch recording in either the
confidence mode (see 7.2, “Confidence mode”) or the
ALL INPUT mode (see 7.1.1, “ALL INPUT [18] and
INPUT MONITOR [29]”) , the monitoring in these
modes does not make it easy to perform accurate punch
operations. We suggest that you turn these modes off if
you want to perform punch-ins.

6.6.1 Automatic punch point setting
Whenever recording takes place, the time when
recording begins is automatically stored as a
6-4 – 1.00 – 06/97

The INPUT MONITOR indicator of any armed
tracks will light and monitoring will change to
input source recording for these tracks.
At any time when the rehearsal key is lit or flashing, this means that recording will not actually be
carried out, even if the RECORD key and/or the
REC FUNCTION indicators are lit.

7) At the point where you want to punch out,
press PLAY.
The REC FUNCTION indicator of any armed
tracks will start flashing again. The RECORD key
will go out.
The INPUT MONITOR indicator of any armed
tracks will go out, and monitoring of these tracks
will return to off-tape status.

Section 6 – Basic operations

8) After the post-roll period, the tape will return
to the pre-roll point (the punch-in point minus
the pre-roll offset).
The RHSL indicator will now light steadily, showing that the DA-98 is in rehearsal mode.

6.6.4 Editing the pre-roll and post-roll
times
As shipped from the factory, the DA-98 will position the tape 5 seconds before the punch-in point,
whether this has been set by you, or set automatically (as described above).

NOTE
If you want to alter the pre-roll and post-roll times, see
6.6.4, “Editing the pre-roll and post-roll times”. The
punch-in and punch-out points will remain the same
while you change the pre- and post-roll times.

6.6.3 Setting punch points using the
menus
1) Press the RHSL (rehearsal) key [9] twice (or
until the indicator lights steadily).
2) Press the AUTO MON key [19] (the indicator will
light).
3) Go to menu group 1 and select the In
Point option using the cursor keys and
ENTER:

Punch-in Point
00:09:21:12

ABS

4) Use the LEFT and RIGHT keys to select the
“field” (hours, minutes, seconds or frames) that
you want to edit, and use the UP and DOWN
keys to change the values.
You can also use the function keys to enter the
value directly, as described in 5.2.2, “Using the
function keys as number keys”.

5) Press ESCAPE to return to menu group 1.
6) Select Out

Point and repeat the process.

NOTE
You can also use this process to edit punch points which
have been set “on the fly”).

7) Locate the tape to the punch-in point (minus
the pre-roll time) by pressing LOC 1 [22].

The post-roll is factory set to 3 seconds. You can
alter both these times using the following method:
1) Enter menu group 1 and move the cursor to the
Pre/Post menu option:

In Point X-Fade
Out Point Dither
Pre/Post
Rec Mute
00:00:06:00
ABS
2) Press ENTER to set the pre-roll and post-roll
times:

Pre-roll Post-roll
Pre
00m05s

Post
00m10s

3) Use the LEFT and RIGHT keys to position the
cursor by the “field” (minutes or seconds) that
you want to change and use the UP and DOWN
keys to alter the value.
You can also use the function keys to enter the
value directly, as described in 5.2.2, “Using the
function keys as number keys”.
Since there is little point in setting pre- and postroll times to frame accuracy, you can only set these
values to second accuracy.
The minimum values you can set are 5 seconds
and the maximum value is 59 minutes 59 seconds.
Any punch operation from now will take your setting for pre-roll and use it when locating the tape
to the punch-in point.
For example, if your pre-roll time has been set to
10 seconds (00:00:10:00), and the punch-in point
is at 00:06:03:12, the tape will locate to
00:05:53:12 when starting rehearsal or punch-in.
06/97 – 1.00 – 6-5

Section 6 – Basic operations

4) Post-roll is set in the same way. Use the LEFT
and RIGHT keys until the cursor is by the Post
field, and repeat the steps above.

1) While the tape is running, press the LOC 1 key
[22].
There is no need to press STOP first.

The minimum value for post-roll is 3 seconds.

The tape will return to the punch-in point, minus
the value specified in the punch-in offset (6.6.4,
“Editing the pre-roll and post-roll times”).

6.6.5 Rehearsing the punch-in
After you have set the punch points, and you have
located the tape to the pre-roll point, as described
above, you can rehearse the punch process.
1) Press the RHSL key [9] so that the indicator
lights steadily.

NOTE
The pre-roll location time (see 8.1.3, “Setting the location pre-roll time”) is not used here.

2) Pressing PLAY will then re-start the rehearsal
or punch-in process.

This indicates that you are now in rehearsal mode.
NOTES

2) Press PLAY. The tape will start playing from the
pre-roll point.
3) At the punch-in point, monitoring will change
to source.
The RECORD key will flash, and the REC FUNCTION indicator of any armed tracks will light
steadily. However, recording will not be carried
out.

4) At the punch-out point, monitoring will change
back to off-tape monitoring.
The tape will continue playing to the post-roll
point and then rewind to the pre-roll point.

•

Pressing the LOC 2 key will locate the tape to the
punch-out position minus the punch-in pre-roll time.

•

These functions are only operative when the RHSL or
AUTO PUNCH indicators are lit or flashing. When
they are off, the LOC 1 and LOC 2 keys will act normally.

•

If the SHIFT key has been pressed, and the SHIFT
indicator is flashing, the LOC 1 and LOC 2 keys will
act as function keys (see 5.2.1, “The SHIFT key and
function keys”).

6.6.7 Recording the punch-in
1) Make sure the tape is at the pre-roll point, and
press the AUTO PUNCH key [10] once.
The indicator will flash, showing that the DA-98 is
in auto-punch mode.

NOTE

2) Press PLAY. The tape will start playing.
If the AUTO PLAY mode is active (press the AUTO
PLAY key [12] so that the indicator lights), playback
will start again as soon as the pre-roll point is reached.

5) Repeat the rehearsal process until you are
satisfied with the performance.

6.6.6 Interrupting a rehearsal or punch
recording
Very often while rehearsing a punch-in, you will
not want to run the tape all the way to the punchout point (an entry cue is missed, or a mistake is
made early on in the take). In these cases, the following procedure applies to both rehearsal and
punch recording:
6-6 – 1.00 – 06/97

At the punch-in point, the RECORD indicator will
light steadily, as will the REC FUNCTION indicators of any armed tracks. Monitoring will change
from off-tape to source and the INPUT MONITOR
of any armed tracks will light.
Recording will now actually take place. Any
recorded material which was previously on the
armed tracks between the punch points will be
replaced by the new recording.

Section 6 – Basic operations

3) At the punch-out point, the monitoring will go
back to off-tape (the INPUT MONITOR indicators
of armed tracks will go out), and when the
post-roll point is reached, the tape will rewind
to the pre-roll point.
NOTE
If the AUTO PLAY mode is active (press the AUTO
PLAY key [12] so that the indicator lights), playback
will start again as soon as the pre-roll point is reached.

4) The AUTO PUNCH indicator will light steadily,
showing that the DA-98 is now in replay mode.

6.6.8 Replaying the punched material
1) To replay the punch-in, press the PLAY key.
Playback will start (the REC FUNCTION indicators of the armed tracks will continue to flash).

2) At the post-roll point, the tape will
automatically rewind to the pre-roll point.
3) If you want to record the punch-in again, press
the AUTO PUNCH key [10] so that the indicator
flashes, and repeat the process described
above.
4) If you are satisfied with the punch-in, follow the
steps below, otherwise, press LOC 1 to return to
the punch-in point, press the AUTO PUNCH key
so that the indicator flashes, and repeat the
take.

6.6.9 Exiting punch-in mode
1) Disarm any armed tracks (press the REC
FUNCTION switches so that the indicators go
out).
2) Press the CLEAR key [11].
This will exit the AUTO PUNCH (or rehearsal)
mode.
The LOC 1 and LOC 2 keys will return to their
usual functions, but the punch points are still
retained in memory.

3) Press the AUTO MON key so that the indicator
goes out.
Normal monitoring modes will now be in operation (see 7, “Monitoring modes”)
06/97 – 1.00 – 6-7

Section 6 – Basic operations

6-8 – 1.00 – 06/97

Section 7 – Monitoring modes

7 – Monitoring modes

NOTE
We strongly advise you to read this section – the effective use of multitrack monitoring is one of the keys to an
efficient recording session.

Like all multitrack recorders, the DA-98 has a
number of different monitoring modes, depending
on the current monitor status, transport status and
whether the track is armed or not.
In addition to the “standard” modes common to
most multitrack recorders, the DA-98 includes
two new monitoring features: the CONFIDENCE
MODE [17], and the individual track INPUT MONITOR switches [29]. These are described in this
section.

The INPUT MONITOR switches allow you to perform the same function on a track-by-track basis,
allowing you to adjust the level balance between
off-tape monitoring and the input source, and are
available from a number of modes as described in
the table below.

7.1.2 AUTO MON
When replaying a track, you will usually want to
monitor the program material recorded on the
tape. However, there are times when you want to
monitor the source input rather than the off-tape
signal, even in play mode.
The following table shows what will be monitored
from a track. This depends on the AUTO MON and
the REC FUNCTION switch settings, and on the
transport mode currently engaged.

7.1 Monitoring controls
The controls which affect monitoring are:
•
•
•
•
•
•

ALL INPUT [18]
INPUT MONITOR [29]
REC FUNCTION [28]

Tape

Source

CONFIDENCE MODE [17]

OFF

Selectablea

Selectable

OFF

Selectable

Sourceb

Selectable

OFF

Selectable

AUTO MON [19]
SHTL MON [20]

7.1.1 ALL INPUT [18] and INPUT
MONITOR [29]
When these are active, the signal from the DA98’s outputs will always be the input source signal
received at the input for the appropriate track or
tracks.
When the ALL INPUT key is pressed, its indicator
and the INPUT MONITOR indicators of all tracks
will light. Monitoring for all tracks will be source
monitoring, rather than off-tape.
When the ALL INPUT key is pressed again to turn
off this mode, the status of the INPUT MONITOR
indicators will revert to the status before the ALL
INPUT key was turned on.
The INPUT MONITOR switches are disabled until
the ALL INPUT key is turned off (the ALL INPUT
indicator goes out).

a. “Selectable” as used here means that individual tracks’
INPUT MONITOR switches can be used to switch between
source and tape monitoring. Off-tape monitoring is obviously
only possible when the tape is moving (in recording or playback modes).
b. Confidence mode (see 7.2, “Confidence mode”) is possible
in this mode (AUTO MON off and REC FUNCTION on)
and when confidence mode is active, the monitoring is selectable between source and tape.

The AUTO MON function therefore allows you to
switch automatically between monitoring modes
as the tape transport function changes.
NOTE
The ALL INPUT key overrides the monitoring mode
from the table above (when this mode is active, monitoring for all tracks will always be source monitoring,
regardless of the status of AUTO MON).

06/97 – 1.00 – 7-1

Section 7 – Monitoring modes

7.1.3 Shuttle monitoring
In addition to these modes, there is one further
control, SHTL MON [20], that affects monitoring,
but only in one special case – shuttle mode. Usually, when shuttling the tape, you will want to
monitor off-tape. However, if a track is armed,
you may want to listen to the source input signal,
rather than the off-tape recording.
NOTE
ALL INPUT overrides any shuttle monitoring selections described below. Any shuttle monitoring while
ALL INPUT is on will always be source monitoring.

The SHTL MON key has no effect when AUTO
MON is off. While shuttling, you can use tracks’
INPUT MONITOR switches (regardless of arming
status) to change between source and off-tape
monitoring.
When the AUTO MON and SHTL MON are both on
(the indicators will light), the output from all
armed tracks will be the source input. This cannot
be changed.
NOTE
You can always (regardless of any other status except

ALL INPUT) use the INPUT MONITOR switch of
unarmed tracks to switch between source and tape
monitoring.

If AUTO MON is on, but SHTL MON is off, all
armed tracks will monitor off-tape in shuttle
mode. This cannot be changed.
NOTES
You can also disable off-tape shuttle monitoring with
the Shuttle Mute function (see 8.6.2, “Shuttle muting”) .
Shuttle monitoring is attenuated by 12 dB compared
with other monitoring modes. This helps to avoid damage to tweeters, etc. when shuttling fast.

7.2 Confidence mode
When actually recording in a studio, it is usual to
monitor the input signals, rather than the tape.
This allows accurate synchronization between studio events and the actions of the control room
staff. If a “glitch” is later discovered in the recording, or it is discovered that a signal has been
7-2 – 1.00 – 06/97

wrongly routed, resulting in an unwanted recording being produced, it is a relatively simple matter
to re-record the take.
In a live recording situation, this luxury is not possible. One can hardly ask an orchestra giving a
concert to repeat a movement of a symphony for
re-recording purposes!
For this reason, the DA-98 includes a confidence
mode which permits off-tape monitoring on a
track-by-track basis while recording is in
progress.
Confidence mode provides monitoringoff-tape
while recording for all tracks, except those tracks
whose INPUT MONITOR switch is active. The
monitoring of these tracks will be the input
source, not tape.
The actual mechanics of how this is accomplished
internally are quite complex, but the result is that
off-tape signals are delayed by about 240 milliseconds relative to the input signal. This means that it
is not recommended that you perform punch-ins,
etc. in the confidence mode.
In the confidence mode, overdubbing will be out
of sync with previously recorded tracks, as well as
with the input source.
We suggest you use confidence mode only when
laying down long takes of basic tracks which will
not need punching for correction (e.g. laying
down tracks from a video worktape, or classical
live recordings). You may also choose to use confidence mode when you are dubbing from another
audio multitrack tape to the DA-98, to ensure the
quality of the transfer.
Another use for the confidence mode is when you
are recording using dither (see 8.13, “Dither”).
You may want to check the effects of dither on the
re-quantized recording as the tracks are being laid
down.

Section 7 – Monitoring modes

7.2.1 Arming tracks in pairs
In confidence mode, tracks are armed and
unarmed in pairs (1+2, 3+4, 5+6, 7+8).
NOTE

flashing. This is to stop you from entering the confidence mode by accident.

5) To leave confidence mode, press the
CONFIDENCE MODE key once.

Turning on confidence mode unarms any tracks which
have been armed prior to turning on confidence mode.

1) Pressing the REC FUNCTION of either track 1 or
track 2, for instance, will arm both tracks 1 and
2.
2) Pressing either track 1 or track 2’s REC
FUNCTION key will unarm both tracks
(regardless of which track’s REC FUNCTION key
was used to arm the tracks).
3) If confidence mode is turned off, track arming
and unarming can now be carried out on a
track-by-track basis.
Even if tracks were armed in pairs while confidence mode was enabled, when confidence mode
is disabled, they can now be unarmed individually.

7.2.2 Using confidence mode
1) Adjust the recording levels on all armed tracks.
2) Turn off AUTO MON mode and make sure that
the ALL INPUT switch is off.
NOTE
Using confidence mode, it is possible to monitor some
tracks off-tape during recording while monitoring the
input source of others. However, as explained above, the
way in which the confidence mode is implemented
means that the off-tape signals are delayed by 240 milliseconds relative to the input source signals. Hence, the
off-tape and source signals will be out of sync, and we
suggest that if “mixed-mode” monitoring is to be carried
out, the same operator should not attempt to listen to
both off-tape and source monitor signals.

3) Press the CONFIDENCE MODE key [17] once.
The indicator will flash.
4) Press the CONFIDENCE MODE key again within
five seconds of pressing it for the first time. The
indicator will light steadily.
If you do not press the CONFIDENCE MODE key
twice within five seconds, the indicator will stop
06/97 – 1.00 – 7-3

Section 7 – Monitoring modes

7-4 – 1.00 – 06/97

Section 8 – Advanced operations

8 – Advanced operations

8.1 Autolocation
The DA-98 contains two location memories,
accessible through the LOC 1 and LOC 2 keys([22]
and [23]). These also allow a “A↔B repeat”
facility, which allows you to rehearse part of a
mixdown, for instance. These two location memory points are referred to as “MEMO 1” and
“MEMO 2”.
In addition to these two location memories, the
DA-98 can also store 10 more location memories,
which are accessed through the function keys ([9]
through [13] and [18] through [22]).
As with the punch recording points (see 6.6,
“Punch-in and punch-out”), it is possible to set
and edit these points in a number of ways.

8.1.1 Setting MEMO 1 and MEMO 2 “on
the fly”
This can be done regardless of the current status of
the tape transport (playing, recording, winding,
stopped, or shuttle).
1) Press the MEMO 1 or MEMO 2 key; [13] or [14].
The current tape position will be stored to the
appropriate location memory (MEMO 1 or
MEMO 2).
The display screen will indicate that the location
memory point has been stored.

Position saved in
location memory

1) Go to menu group 0:

Delay
Memo 1
Trk Copy Memo 2
Pitch
Loc Pre
10:04:12:12
ABS
If you are only checking the location points, you
can see the value of the location point on the bottom line of the display screen. As you move the
cursor between Memo 1 and Memo 2 , the
value shown will change appropriately. Press
ESCAPE when you have finished checking.

2) Move the cursor to Memo 1 or Memo 2 and
press ENTER to select the location point to edit.

Memo 1
00:04:12:12

ABS

3) Use the LEFT and RIGHT keys to select the field
you wish to edit (hours, minutes, seconds or
frames) and the UP and DOWN keys to change
the value.
You can reset the value of a location point field to
“00” by holding down the UP key and pressing
the DOWN key (or the other way round).
There is also an “invisible” field to the right of the
location value, which you can use to fine-tune the
location point time, as described in 5.1.4, “Editing
values”.
You can also use the function keys to enter the
value directly, as described in 5.2.2, “Using the
function keys as number keys”.

8.1.3 Setting the location pre-roll time

10:03:12:24

ABS

8.1.2 Checking, editing and manually
entering MEMO 1 and MEMO 2
The checking, editing, and manual entry of
MEMO 1 and MEMO 2 location points are all
essentially the same operation. Location points
can be edited and entered to frame accuracy.

When you locate to a location memory (whether it
is one of the MEMO 1/2 points or the 10 “function
key” memories), the tape will stop at the memorized location point, minus a pre-defined pre-roll
time.
As shipped, the DA-98’s default location pre-roll
time is 0 seconds. You can edit this to a value
between 0 seconds (the tape will locate to the
06/97 – 1.00 – 8-1

Section 8 – Advanced operations

exact location point) and 59 minutes, 59 seconds,
in 1 second increments.

8.2 Function key location
memories
As explained earlier, the ten “soft” function keys
can be assigned to locate to memorized positions.

NOTE
This pre-roll time is independent of the punch pre-roll
time (see 6.6.4, “Editing the pre-roll and post-roll
times”).

1) Go to menu group 0, move the cursor to Loc
Pre, and press ENTER.

Locate Pre-roll
00min06sec
2) Use the LEFT and RIGHT keys to select the field
you wish to edit (minutes or seconds) and the
UP and DOWN keys to change the value.
You can also use the function keys to enter the
value directly, as described in 5.2.2, “Using the
function keys as number keys”.
When you go to a location point, the tape will now
locate to the location point, minus the value you
have just entered. For instance, if the location point
is at “00:12:04:03” and you have set a location
pre-roll time of 5 seconds, the tape will locate to
“00:11:59:03”.

8.1.4 Moving to MEMO 1 and MEMO 2
When you have set the location memories as
described above, you simply need to press the
LOC 1 or LOC 2 keys ([22] or [23]) to move the
tape to these location points.
The display will show the location memory value
and the pre-roll time.

Locate
Point

Preroll
Time

10:02:23:08 00m03s
The tape will locate to the location memory minus
the location pre-roll time, as described above.

8.2.1 Storing a function key location
memory
In addition to the MEMO 1 and MEMO 2 memories, you can also assign 10 additional memories
to the function keys.
The function keys must be in “location memory”
mode (see 5.2, “Function key modes”).
The tape transport can be in any function (play,
record, stop, shuttle) when you store a memory
and assign it to a function key.
1) Press the SHIFT key.
The SHIFT indicator will start to flash.

2) Press the LOC 2/PRESET key [14]

Function Preset
PUSH FUNCTION KEY
Locate Position
3) Press the function key to which you want to
assign a memory.
The display screen will show the time of the location memory after you have stored it to a function
key.
You can continue to press function keys to add
location memory points. If you are recording a
song, for example, you could run the tape from the
beginning of the song and use the function key
memories to mark the beginning of verses, chorusses, instrumental breaks, etc. In post-production
work, you could use this feature to mark important
points in the video soundtrack.

4) To use the function keys for their preset
functions as written on the front panel, press
SHIFT again so that the SHIFT indicator goes
out.

8.2.2 Editing function key memories
Function key memories can be edited in the same
way as the MEMO 1 and MEMO 2 memories.
8-2 – 1.00 – 06/97

Section 8 – Advanced operations
1) Go to menu group 7, move the cursor to Loc
(Func) , and press ENTER:

Locate Position
(Function Key)
F. 1

ABS
10:04:23:15

2) Move the cursor to the function key number,
and use the UP and DOWN keys to select the
number of the function key memory that you
want to change.
3) Use the LEFT and RIGHT keys to select the field
(hours, minutes, seconds or frames) and use the
UP and DOWN keys to change the value of the
field.
There is an “invisible” field to the right of the
number. Moving the cursor to this field and pressing the UP and DOWN keys will “fine-tune” the
whole time value.

8.2.3 Locating to a function key memory
Once a location has been assigned to a function
key, this is the procedure for location to the memory position:

If you have pressed the AUTO PLAY key [12]
before pressing the SHIFT key in step 1, (the AUTO
PLAY indicator is on), replay will start automatically when the location point is reached.

8.2.5 Repeat function
You can repeat playback continuously between
the two location memory points (Memo 1 and
Memo 2 ).
NOTE
When we talk about the “first” and the “second” locations here, we are referring to the earlier and later location times. Memo 1 could be at a later time than
Memo 2 , and hence we would refer to it in this section as the “second location point”.

The tape will wind to a little before the first point
(if it is not there already) and start playing. The
off-tape monitoring will start at the first memory
location and continue until the second location is
reached. The tape will then stop playing, and
rewind to a little before the first point and start
playing again.

8.2.6 To start repeat play
1) When the two location points have been set,
press the REPEAT key [21] .

1) Press the SHIFT key.
The SHIFT indicator will start to blink.

2) Press the function key corresponding to the
memory to which you want to locate.
The display will show the location point and the
pre-roll time, and the tape will start to locate to the
appropriate location memory.

3) To use the function keys for their preset
functions as written on the front panel, press
SHIFT again so that the SHIFT indicator goes
out.

8.2.4 Location and playback

2) The tape will locate to the first location point
and start playing until the second location
point, rewind to the first location point, and
play again. This process will be repeated.
While the tape position is between the two location
points, the REPEAT indicator will be lit steadily. It
will flash while the tape position is outside the two
location points.

3) Stop the repeat function by pressing the
REPEAT key.
The REPEAT indicator will go out.
If the tape is playing, it will continue playing (past
the second location point).

If you press the PLAY key while the tape is locating (the PLAY key will flash), the tape will start
playing when it reaches the location point.
If you press PLAY twice while the tape is locating,
the PLAY key will light steadily, the tape will stop
and playback will start immediately.
06/97 – 1.00 – 8-3

Section 8 – Advanced operations

If the tape is rewinding to the first location point
when the REPEAT key is pressed, it will stop.
NOTES
•

The two location points must be at least 5 seconds apart
for the repeat facility to be operational.

•

If you have only set one location point, the repeat will
be between “00:00:00:00” and the location point.

•

Pressing any transport control while repeat play is in
progress will stop the replay, but will not cancel the
repeat mode. To restart the repeat playback, locate to
either location point, and while the tape is winding,
press PLAY. Alternatively, press PLAY while the
tape is before the second location point.

8.3 Track delay
The DA-98 allows you to delay tracks relative to
the other tracks, either when recording or playing
back. You can use this function for post-production “slip”, compensate for delays caused by
external processing equipment, allow for propagation delay in multi-microphone sessions or add
special effects.
The track delay can be set from –200 samples to
+7200 samples. A negative number means that the
track on which the “delay” setting is made is
advanced in time relative to the other tracks. However, this does not mean that the DA-98 includes a
time machine! Since the monitoring head is a “virtual” head, made of a composite of delayed offtape and input source signals, the “position” of the
recording head can be adjusted in both directions.
The track delay, expressed in seconds, is between
–4 to +150 milliseconds. At a typical sound propagation rate, the maximum value corresponds to
about 50 meters (about 160 feet) of distance.

8.3.1 To set the track delay:
1) Select menu group 0, and move the cursor to
Delay. Press the ENTER key:

Track Delay Time
Track
1

8-4 – 1.00 – 06/97

0000 Sample

2) To select the track whose delay time you want
to change, move the cursor to the number at
the bottom left of the screen and use the UP and
DOWN keys to select the track.
If the function keys are in number entry mode (see
5.2.2, “Using the function keys as number keys”),
you can use keys F 1 through F 8 to select tracks 1
through 8 directly.
You can select tracks 1 through 8 or all (all
can be selected using function keys 9 or 10).

3) By moving the cursor to the bottom right
parameter (shown here as “Sample ”), and
using the UP and DOWN keys, you can display
and set the track delay in either samples or
milliseconds (msec ).
4) Move the cursor to the central number. The UP
and DOWN keys will change the delay value for
the selected track(s).
Remember that you can reset the value to zero by
pressing and holding the UP key and then pressing
the DOWN key. If “all ” has been selected for the
track, then all track delays will be reset to zero.
You can also use the function keys to enter the
value directly, as described in 5.2.2, “Using the
function keys as number keys”.
NOTE
When any track is set to be delayed, the DELAY indicator by the tape counter [2] will light.

8.4 Crossfade times
As we mentioned earlier (see 6.6, “Punch-in and
punch-out”), digital punch recording requires that
the original and new signal be crossfaded over a
short period of time.
The factory default crossfade time for the DA-98
is 10 ms, and this can be adjusted in 10 millisecond steps to a maximum of 200 ms.
For the most part, 10ms is an adequate value and
will produce seamless punches, but there may be
times (matching reverb settings, etc.) when a
longer crossfade is required.

Section 8 – Advanced operations
1) Select menu group 1, move the cursor to XFade and press ENTER.

Crossfade Time
10ms
2) Use the UP and DOWN keys to adjust the
crossfade time.
You can also use the function keys to enter the
value directly, as described in 5.2.2, “Using the
function keys as number keys”

8.5 Vari speed (pitch control)
The speed of recording and playback (and hence
the pitch) of the DA-98 can be adjusted to 6%
above or below normal speed in 0.1% steps.

steps.
NOTES
•

•

The VARI SPEED indicator by the tape counter [2]
will light whenever the setting is Vari , even if the
speed is set to 0.0% .
If pull up or pull down (Fs shift) is enabled (see 10.3.1,
“Pull up and pull down (Fs shift)”, vari speed cannot be
enabled.

Playback and recording will now take place at the
new speed.

8.5.2 Resetting the speed to standard
1) Select menu 0, move the cursor to Vari
and press ENTER:

Spd ,

Vari Speed

NOTE
You cannot operate the pitch control when the DA-98 is
slaved to another unit, or synchronized to an external
word clock (see 4.2.3, “Word clock connections”) or to
a video clock (see 4.2.2, “Video connections”).

8.5.1 To set a non-standard speed
1) Select menu group 0, move the cursor to Vari
Spd, and press ENTER:

Vari Speed
Fix + 0.0%
2) Use the LEFT and RIGHT keys to move the
cursor by the left parameter (Vari or Fix ).
3) Use the UP and DOWN keys to select Vari
rather than Fix .
The VARI SPEED indicator by the tape counter [2]
will light.

4) Move the cursor to the value setting and use the
UP and DOWN keys to alter the speed in 0.1%

Vari + 1.4%
2) Move the cursor to the Vari field.
3) Use the UP and DOWN keys to change
to Fix .

Vari

The VARI SPEED indicator by the tape counter [2]
will go out.
NOTE
Remember that the VARI SPEED indicator reflects the
status of the Vari /Fix parameter, not the value of
the variable speed. If the speed is set to a value other
than 0.0% , and the status is Fix , the speed will
remain at the standard value until Fix is changed to

Vari .

8.6 Shuttle operations
The shuttle switch, indicator and knob [26] are
used to simulate the “rock and roll” location
method on open-reel tape decks, allowing you to
locate a point on tape through audible cues.
As the knob is moved from the center detented
position, the shuttle speed becomes higher.
The variation in speed is not continuous; but as
you turn the knob from the center position, the
shuttle speed changes, following these values (rel06/97 – 1.00 – 8-5

Section 8 – Advanced operations

ative to normal speed): 0.25, 0.5, 1.0, 2.0, 4.0, 8.0.
The 1.0 speed is only available when shuttling in
the forward direction.
Shuttle operations are only possible when the
SHUTTLE indicator is lit (press the SHUTTLE
switch).

1) Enter menu group 2, move the cursor to Shtl
Mute and press ENTER:

Shuttle Mute
off

NOTE
If the SHUTTLE knob remains untouched at the
center position for 10 seconds, the shuttle mode is disabled, and the indicator goes off.

8.6.1 Shuttle monitoring
This is also covered in 7.1.3, “Shuttle monitoring”.
The default behavior of the DA-98 is that when
shuttling the tape, you can choose whether to
monitor off-tape or source when shuttling, using
the tracks’ INPUT MONITOR switches.

2) Use the UP and DOWN keys to set the shuttle
mute on or off.

8.7 Reference levels
The value of reference level (for analog inputs and
outputs) on the DA-98 can be selected from
among three standard values: TASCAM, SMPTE
and European reference levels, depending on the
application. The meanings of these three levels
are:

Standard
NOTE
When monitoring in shuttle mode, the monitor signal is
attenuated by 12 dB (to avoid possible damage to ears
and speakers ).

When AUTO MON [19] is on, the monitoring of
any armed tracks will be off-tape, unless the SHTL
MON [20] is on, in which case, the monitoring of
armed tracks will be source input. The monitoring
of all other (unarmed) tracks can still be switched
on a track-by-track basis using the tracks’ INPUT
MONITOR switches.
The SHTL MON key is only enabled when AUTO
MON is on. When AUTO MON is off, it has no
effect.

8.6.2 Shuttle muting
As explained above, shuttling the tape will usually
allow off-tape monitoring. However, there may be
times when you will want to mute all off-tape signals when shuttling.

8-6 – 1.00 – 06/97

Reference
level
(0dBFs)

Nominal
level

Maximum
level

TASCAM

–16dB

+4dBu

+20dBu

European

–18dB

+4dBu

+22dBu

SMPTE

–20dB

+4dBu

+24dBu

To set the reference level, perform the following
steps:
1) Enter menu group 2, move the cursor to Ref
Level , and press ENTER:

Analog In/Out
Reference Level
-16 dB
2) Use the UP and DOWN keys to select between
the following: -16dBFS, -18dBFS and
-20dBFS.

Section 8 – Advanced operations

The REF LEVEL indicators [7] will light in the
following way to show the level selected:
Level

-16dB FS
-18dB FS
-20dB FS

Indicators
16 indicator is lit
Neither indicator is lit
20 indicator is lit

NOTE
Any tapes produced with the TASCAM DA-88 or DA38 will conform to the TASCAM standard.

8.8 Meter modes
The DA-98 peak bargraph meters can be customized to suit your working preferences. Both the
peak hold time and the “ballistics” of the meters
can be adjusted.

8.8.1 Peak hold time
1) Enter menu group 2, move the cursor to
Meter Mode and press ENTER:

Level Meter Mode
Peak Hold
0 sec

Release
Fast

2) Use the LEFT and RIGHT keys to select the
Peak Hold parameter and the UP and DOWN
keys to set the value for the peak signal level
hold time.
This value can be set to values between 0 seconds
(peak levels are not held at all) and 9 seconds.
There is another value, Continue , which will
permanently display the maximum peak signal
level. This can be useful if you are doing a “dry
run” rehearsal, but you cannot keep your eyes on
the meters all the time that the rehearsal is going
on.
You can also use the function keys in the number
key mode (see 5.2.2, “Using the function keys as
number keys”) to enter the peak time directly.
NOTE
To turn off the peak hold display if Continue has
been set, change the peak hold value to 0 seconds and
the meter segments will “drop back”.

8.8.2 Meter ballistics

Use the same menu (Level Meter Mode ) as
described above to change the “fall-back” ballistics of the peak meters. You cannot change the rise
time of the meters, which are fixed with peak
meter characteristics.

1) Move the cursor to the Release parameter
and use the UP and DOWN keys to select
between Slow, Medium and Fast .

8.9 Sine oscillator
The DA-98 incorporates a digital oscillator for
lineup and signal tracing purposes. This oscillator
is a sine-wave oscillator at either the standard tuning frequency of 440Hz or the standard tape lineup frequency of 1kHz.
The oscillator signal level is at the nominal signal
level of +4dBu (but note that since the oscillator is
a constant sine wave, it cannot truly be compared
with “real-world” transient signals).
To operate the oscillator:
1) Enter menu 2, move the cursor to Sine Osc.
and press ENTER:

Sine Oscillator
off
2) Use the UP and DOWN keys to turn the
oscillator between off, 440 Hz and 1

kHz.

When the oscillator is turned on, it overrides all
other track inputs.
WARNING
When using the oscillator, you should turn down the
monitor levels in the control room and studio to avoid
damage to your ears (and the speakers).

8.9.1 Recording the oscillator
As mentioned above, the oscillator overrides all
other track inputs, regardless of whether digital or
analog input has been selected.
Recording the oscillator test tone is therefore similar to any other recording operation.
06/97 – 1.00 – 8-7

Section 8 – Advanced operations

8.10 Digital recording
The DA-98 is able to accept (and output) digital
signals at the DIGITAL I/O connector [45] in TDIF1 format. The IF-88AE and IF-88SD interface
units provide conversion to and from AES/EBU
(and SP-DIF) and SDIF-2 formats.
The DA-98 should be connected to other TDIF-1
equipment using a PW-88D or PW-88DL connector cable.
WARNING
Only use a TASCAM digital cable when making digital
audio connections to the DA-98. Other types of cable
may cause damage to the system, and the warranty will
be voided if such damage is caused by use of the wrong
cables.

The DA-98 should be set to be either a word clock
master or a word clock slave when connected to
other digital equipment. There can only be one
word clock master in a setup.
Since the TDIF-1 format carries a word clock as
part of the interface, there is no need to make a
word clock connection when recording through
the DIGITAL I/O connector.

8.10.1 Changing between digital and
analog inputs
To change between digital and analog inputs, simply press the DIGITAL IN switch [15]. The DIGITAL
IN indicator will light.

1) Select menu 2, move the cursor to Word
and press ENTER:

Len ,

TDIF Word Length
16 bit
2) Use the UP and DOWN keys to change the value
between 16, 20 and 24 bits.
We suggest that you experiment with the dither
settings (see 8.13, “Dither”) if you find you are
recording quantization noise at low levels when
the input word length is set to 20 or 24 bits.
Though you will lose a little in the signal-to-noise
ratio, total harmonic distortion figures will be
improved.
NOTE
If you are dubbing tracks from a DA-88, this value must
always be set to 16 bits.

8.11 Routing digital inputs
When recording analog signals, it’s usual to route
them through a console’s sub-grouping system or
if the number of groups is not sufficient, through
an external patchbay.
Neither of these is an easy option with digital signals, and so the DA-98 provides a kind of internal
patchbay in the form of the Track Copy function
(see 8.11.1, “Track Copy (channel-to-track routing)”).

NOTE
If you attempt to record digitally from a digital source
which has a different frequency from that previously
recorded as the DA-98’s tape format, the Fs indicator
corresponding to the tapes sampling frequency will start
to flash. This indicates a frequency mismatch.
Recording with different sampling frequencies is not
recommended – problems will certainly occur on replay
of such a recording.

8.10.2 Selecting word length
When data is accepted through the DIGITAL I/O
connector, the word length of the incoming data
must be set. This can be selected from between
16-bit, 20-bit or 24-bit. To set the word length:
8-8 – 1.00 – 06/97

The default setting for this feature is “straight
through”, as shown below.

11 22 33 44 55 66 77 88

Inputs

11 22 33 44 55 66 77 88

Tape
tracks

Track Copy
Input 12345678 (Dig)
Tape
Track 12345678
on

Section 8 – Advanced operations

However, each track can be patched internally to
take its input from any one of the eight inputs or
from any one of the other tape tracks. Note that in
the example below, it is possible for a track to act
as an input source to another track at the same
time that it is recording from an external input.
This allows great flexibility in dubbing situations.

11 22 33 44 55 66 77 88

Inputs

3) Use the LEFT and RIGHT keys to move the
cursor to the track you want to route.
You can also use the function keys as number keys
for direct selection of the track (see 5.2.2, “Using
the function keys as number keys”).

4) Use the UP and DOWN keys to change the track
input between inputs 1 through 8 and tracks 1
through 8.
NOTE

11 22 33 44 55 66 77 88

Tape
tracks

If you change from analog to digital input (see 8.10.1,
“Changing between digital and analog inputs”) or vice
versa, the display will change between (Ana) and

(Dig) as appropriate.

5) To re-route a track to its input, press and hold
down the UP key and then press the DOWN key.
Track Copy
Input 1234
(Dig)
Tape
1234
Track 12345678
on

Naturally since the DA-98 tracks are digital, there
is no loss of quality incurred when tracks are
transferred.
NOTE
It is not possible to combine tracks (as in conventional
“ping-pong”) using the Track Copy function. Combining of tracks must be carried out through an external
mixing console. You can bounce a track to itself, but it is
not a particularly meaningful process!

8.11.1 Track Copy (channel-to-track
routing)
1) Select menu group 0, move the cursor to Trk
Copy and press ENTER:

Track Copy
Input 12345678 (Ana)
Tape
Track 12345678 off
2) Use the LEFT and RIGHT keys to move the
cursor to the off on the bottom line of the
display and change it to on.
The TRACK COPY indicator will light.

8.12 REC MUTE (recording
silence)
There may be times when you wish to prevent any
signal from reaching an armed track (in other
words, when you record, you are recording silence
onto the track.
1) Enter menu group 1, move the cursor to Rec
mute and press ENTER:

Rec Mute
On
» »
Off » » » » » »
trk 1 2 3 4 5 6 7 8
In the screen above, tracks 7 and 8 are muted (no
input signal is routed to them).

2) Use the LEFT and RIGHT cursor keys to
navigate between tracks. Use the UP and DOWN
keys to switch the track muting of individual
tracks on or off.
Pressing and holding the UP key and then pressing
the DOWN key will reset the REC MUTE settings
of all tracks.

8.13 Dither
Dither is the technique of adding a known noise to
low-level signals, especially when converting
from a high number of bits (for instance 24 or 20
06/97 – 1.00 – 8-9

Section 8 – Advanced operations

input bits, as in the case of the DA-98) to a lower
number (for instance 16, the DA-98’s tape word
length) to improve quantization.
Paradoxically, this technique of adding noise
removes quantization noise and distortion at low
signal levels and improves the overall distortion
figures.1
Though quantization noise is reduced, there is a
loss of a few dB in the signal-to-noise ratio. For
this reason, the DA-98 does not implement dither
as a standard, but allows you to choose between
no dither, rectangular or triangular (the shapes
refer to the distribution of values in the digital
noise). Rectangular gives about 3dB better signalto-noise ratio than triangular, but there is noise
modulation, which may be audible when recording and playing back low-level program sources.

•

You can set a power-on message of up to 20 characters (letters, numbers and some punctuation)
which will be displayed when the DA-98 is turned
on.
The default message is TASCAM .To set a message
other than this:
1) Select menu group 2, move the cursor to
PwrOn Msg and press ENTER:

Power-on Message
ROCKJOE STUDIOS
S
CLEAR INIT
2) To clear the current message, use the LEFT and
RIGHT keys to move the cursor to CLEAR and
press the ENTER key.

NOTES
•

8.14 Setting the power-on
message

We suggest using the confidence mode of off-tape monitoring when recording using dither in order to be able to
check the effect instantly (see 7.2, “Confidence mode”).
Dither can be turned on and off while recording is taking place. However, there will probably be an audible
change in the sound quality. We suggest making a test
recording before a session using confidence mode. In
this way you will be able to make an instant assessment
of the effects of the different dither settings on your program material.

8.13.1 Selecting dither settings
1) Select menu group 1, move the cursor to
Dither and press ENTER.

Dither
Rectangular
2) Use the UP and DOWN keys to select the dither
function you want, and press ENTER to confirm
the setting.
1
A full discussion of dither and other digital audio techniques is outside the scope of this manual. However, a
good starting point for learning about this, and other
aspects of digital audio, is John Watkinson’s The Art of
Digital Audio, pub Focal Press.

8-10 – 1.00 – 06/97

3) Use the LEFT and RIGHT keys to move the
cursor to the left field, and press the UP and
DOWN keys to select a character.

Characters available are: A through Z, -, .,
[space] and 1 through 9 (you can use the letter
“O” for the “0” (zero) character).

4) Press ENTER to confirm the character and add
it to the end of the power-on message.
5) Press ESCAPE when all characters have been
entered.
NOTE
To reset the message to TASCAM , move the cursor
to INIT and press the ENTER key. The current
message will be erased and replaced.

Section 9 – Synchronization with other DTRS units

9 – Synchronization with other
DTRS units

from INT [30] or to connect the WORD SYNC
connectors [39].
WARNING

This section describes the techniques and methods
to be followed when the DA-98 is linked to other
DTRS units (e.g. TASCAM DA-38, DA-88 and of
course other DA-98 units).
Up to 16 DTRS units can be linked, for a total of
128 digital tracks.
If you are connecting DTRS units of different
types to the DA-98, use the DA-98 as the master
unit and the other units as slave units.

9.1 Synchronization
connections
As described in 4.4.1, “Multiple DTRS units”, the
cable to be used when connecting the DA-98 to
other DTRS units for synchronization purposes
should be a PW-88S cable. This is 1 meter (3 ft.)
long. If you require a longer cable, please consult
your TASCAM dealer.
WARNINGS
•
•

•

Be sure to use only the optional PW-88S sync cables.
The use of any other cables could damage the DA-98.
Be sure to connect the termination plug that comes with
the PW-88S cable to the last slave’s SYNC OUT connector [44], or else incorrect functions may occur.
Turn on all the DTRS units in your system, regardless of
whether you actually use all of them. A unit or units
turned off will make synchronization impossible.
To synchronize multiple DTRS units, use a pre-formatted tape in the master unit, and also in the slave units.
Since the DTRS system uses ABS time to achieve synchronization, tapes without ABS time recorded on them
make synchronization impossible.
To synchronize multiple DTRS units, all the tapes in
each unit must be formatted at the same sampling rate,
or synchronization is impossible.

The synchronization connections form a “daisychain”, with the master unit at the head of the
chain, and the last slave at the tail.
Connections are made from the SYNC OUT [44] of
one unit to the REMOTE IN/SYNC IN [43] of the
next.
You do not need to change the CLOCK setting

Always make and break all synchronization connections
with the power to all units in the chain turned OFF.

9.2 Machine ID and master/
slave settings
Each DTRS unit in the chain must be assigned a
machine ID. The unit at the head of the chain (the
master) should have ID number 1.
Though not strictly necessary, we suggest, that
IDs are assigned in a consecutive sequential order
from the head of the chain.

9.2.1 Differences between DTRS models
The DA-98 and DA-38 both use machine IDs that
are set by software (the machine must be turned
on for the ID to be set). The values for the IDs of
these models start at “1” and go up to “16”.
The switch on the back of the DA-88 is only operative when the unit is turned off. It is marked from
“0” through “F”.
When including DA-88s and DA-98s in the same
chain, add 1 to the number shown on the DA-88’s
rear panel machine ID switch to make the DA88’s machine ID match the series of the DA-98
(and DA-38) IDs. Any DA-88 whose Machine ID
is not 1 (the switch has been set to a value other
than 0) will show its Slave ID briefly at power-on.
Therefore, for a chain of three units; a DA-98 as
master, with a DA-88 and DA-38 as slaves, the
machines’ IDs should be set as follows:

How the ID is
set

Unit

DA-98

Menu system (see
below)

DA-88

Rotary switch on
rear panel

OFF

06/97 – 1.00 – 9-1

Section 9 – Synchronization with other DTRS units

1) On each slave unit, go to menu group 3, move
the cursor to TimeMode and press ENTER:
How the ID is
set

Unit

DA-38

Tape counter
menu system

Time Mode
ON

It therefore makes sense to set the machine IDs of
all DA-88s in the chain first, immediately after
connections have been made with the power off,
and then turn on power to all units before setting
the machine IDs of all DA-98s and DA-38s in the
chain.

ABS
If the bottom line does not show ABS (if it shows
TC), press the UP or DOWN key so that ABS is
displayed.

2) On each slave unit, press the CHASE switch
[16].
The CHASE indicator will start flashing.

NOTE
When you set the machine IDs, you can set the ID of
any machine first, but we recommend doing this in a
standard sequence, working from the head of the chain
to the end.

9.2.2 Setting machine ID
1) Select menu group 3, move the cursor to Mcn
ID, and press ENTER:

Machine ID
Machine 1
2) Use the UP and DOWN keys to select a value
from 1 to 16.
NOTE
If you try to set the ID to a value other than 1 when the
synchronization cable is not connected, the display will
show an error message. Press ESCAPE to remove the
message and continue.

9.2.3 Master/slave settings (CHASE
mode)
Each unit with an ID greater than 1 is regarded as
a slave unit.

3) Press any of the transport controls on the
master unit (machine ID 1). The slave unit(s)
will synchronize and follow the transport
commands of the master.
When a slave unit is locked to the master unit, its
CHASE indicator will light steadily.

4) To turn off chase mode on a slave unit, press
the CHASE switch or the STOP key [34] so that
the CHASE indicator goes off.

9.3 Machine offset
It is sometimes necessary to offset a unit in the
chain relative to the master unit. This offset can be
set to frame accuracy to a maximum value of
±02:00:00:00.
NOTE
This offset is unrelated to timecode offset and refers
only to the machine offset when synchronized to other
DTRS units.

9.3.1 Setting machine offset
1) Select menu group 3, move the cursor to Mcn
Offset , and press ENTER:

Machine Offset
+00:12:38:00
9-2 – 1.00 – 06/97

ABS

Section 9 – Synchronization with other DTRS units

2) Use the LEFT and RIGHT keys to select the field
to be edited (hours, minutes, seconds or
frames) and the UP and DOWN keys to change
the value of that field.
You can use the function keys as number keys (see
5.2.2, “Using the function keys as number keys”)
to enter the value directly.
You can also change the sign of the offset value
between + and - by moving the cursor to the sign.

4) Locate the two tapes (master and slave) so that
they have the right offset.
You can play the tapes and pause them or carry out
the next operation while one or both tapes is being
played back.

5) Press either the UP or DOWN key at the correct
offset time to capture and store the offset.
The current difference between the master and
slave tapes will be be displayed on the bottom line
of the display screen and stored as an offset.

3) Use the ENTER key to confirm the setting.
NOTES
NOTE
There is an “invisible” field immediately to the right of
the frames field. If you place the cursor there and increment or decrement the value, you can change the time as
a whole (as the frame field passes its maximum value,
the seconds field will increment).

The value entered in this way can be edited later using
the technique described above.
You cannot determine the offset from an unformatted
tape, or if either tape is currently displaying a negative
ABS value.

9.3.4 An example of setting offsets
9.3.2 Cancelling machine offset
To cancel machine offset, simply set the offset
value to 00:00:00:00.
1) Press and hold down the UP key and press the
DOWN key to reset the value in the Machine
Offset menu (see above).
Machine offset will now be cancelled.

9.3.3 Setting machine offset “on the fly”
As well as entering an absolute number, it is also
possible to enter a number “on the fly” as the
tapes are playing.
1) On the slave machine, select menu group 3,
move the cursor to Mcn Offset , and press
ENTER.
2) Make sure chase mode (see 9.2.3, “Master/slave
settings (CHASE mode)”) is off on the slave
unit.
3) Use the LEFT and RIGHT keys to move the
cursor to a second “invisible” field to the right
of the frames field

Machine Offset
AUTO OFFSET

A practical example of setting offsets is given
here.
The master DA-98 contains the tape with the dialog and reference tracks from the video worktape.
Another DA-98 (the slave) has a tape with some
tracks containing video backing music.It is necessary to produce an offset between the two so that
when the master is played, the music tracks will
start at the correct time relative to the dialog and
reference tracks.

Copy of video worktape audio tracks

00:57:00:00

01:00:00:00

01:02:21:18

Start of tape

Start of video

Music entry

Backing music
Connection from
SYNC OUT to
SYNC IN
00:57:00:00

01:00:00:00

Start of tape

Start of music (tape
is cued here)

Press the UP or DOWN key
at this point. Offset will be
set to 00:02:21:18

06/97 – 1.00 – 9-3

Section 9 – Synchronization with other DTRS units

1) Locate the slave tape with the backing music to
the start of the music.
The shuttle mode is useful here (see 8.6, “Shuttle
operations”).

2) Rewind the master to a little before you want
the music to enter.
3) Make sure the slave is ready to accept an “onthe-fly” offset entry as described above.

5) When the music entry point is reached, press
the UP or DOWN key to capture the offset point.
6) Stop the master, and set the slave into CHASE
mode (see 9.2.3, “Master/slave settings
(CHASE mode)”).
7) Rewind the master to a little before the music
entry and start playing.
The slave machine should now follow the transport
movements of the master, with the appropriate offset, so that the music enters at the right point.

9.4 Digital dubbing
SOURCE
MASTER

TARGET
SLAVE

`o`t`r`g

Remember to terminate the slave unit.

Use only the approved cables (PW-88D or PW88DL) to connect the DTRS units. Use of any
other cables can cause damage to the units and will
invalidate the warranties.

3) Turn on both units. Make sure the machines’
IDs are correctly set (see 9.2.2, “Setting
machine ID”).
4) Insert the master tape into the source master
and a blank tape, formatted with the same
sampling frequency as the master tape, into the
target slave.
5) Select DIGITAL INPUT on the target slave (see
8.10.1, “Changing between digital and analog
inputs”).
6) Put the target slave machine into CHASE mode
(see 9.2.3, “Master/slave settings (CHASE
mode)”).

PW-88D or PW-88DL
(digital I/O cable)

PW-88S
(sync cable)

1) With the power to all units turned OFF, make
the synchronization connections as described in
9.1, “Synchronization connections”.

2) Connect the DIGITAL I/O [45] of the master unit
(source) to the DIGITAL I/O of the slave (target).

4) Start playing the master DA-98.

`o`t`r`g

You may want to exploit these features of the
DTRS system to make archive copies, and “safety
copies” of important material (see 1.5, “Recommended tapes” for our suggestions on tape use).

7) Locate the master tape to a point before the
material you want to duplicate.
The target slave will also locate since it is in
CHASE mode.

Terminator
plug

When you copy tapes between DTRS units in the
digital domain, there is no loss of quality. A
“worktape” or copy is therefore indistinguishable
from the original. Additionally, the DA-98 uses
low-cost media (Hi8 video cassettes).

8) Arm all tracks (REC FUNCTION) on the target
slave machine.
9) Make sure that all REC FUNCTION switches on
the source master are turned OFF.
NOTE

NOTE
When you copy tracks from DA-88 units, the word
length should be set to 16 bits (see 8.10.2, “Selecting
word length”)

9-4 – 1.00 – 06/97

If any REC FUNCTION switches on the source master
are turned on, you will erase your master tape! You may
want to use the tape’s write-protect tab (see 6.3.1,
“Write-protecting cassettes”).

Section 9 – Synchronization with other DTRS units

10) On the master machine, hold down RECORD
and press PLAY.
No recording will take place on the source master,
but the tracks will be recorded digitally on a oneto-one basis to the target slave.

6) Press and hold PLAY and press RECORD on the
master. All slave units’ CHASE indicators will
light steadily, and the tapes will start to be
formatted in synchronization.

9.4.2 Recording while formatting
There is no need to carry out any special pre-dubbing procedure such as timing the digital output –
the digital and analog outputs are separate.

As with a single-machine format (see 6.1.2,
“Recording while formatting”), it is possible to
record while formatting.

You can use the Track Copy functions on the target
slave machine (see 8.11, “Routing digital inputs”)
to transfer tracks from the source master tape to
different tracks on the target slave. Note that you
cannot combine tracks by this method.

You may want to use this feature when making a
live multi-machine recording, and there has not
been time to format all the tapes in advance of the
performance.

9.4.1 Synchronized formatting
When several units are connected together, you
can format several tapes simultaneously, using one
machine as the master. This can be a very convenient way of saving time and effort.
1) Make sure that all machines are connected
together using the SYNC connections, as
described above, and that the last unit in the
chain is terminated.
2) Load a blank unformatted tape into each
DTRS unit.
Make sure all tapes are the same length.

3) Press the CHASE switch [16] on all of the slave
DTRS units. The indicator will flash.
4) Press FORMAT/Fs [6] twice within five seconds,
on each of the DTRS units (master and all
slaves) so that all FORMAT indicators are lit.
The first time you press the FORMAT/Fs switch,
the indicator will flash. Press it again within five
seconds to select format mode. If you wait more
than 5 seconds, the indicator will stop flashing.
If you press the CLEAR key [11] while the
FORMAT indicator is lit steadily, you will cancel
the format operation.

Remember that you should let the tapes run to the
end–you should not halt the formatting/recording
process part of the way through the tape.

9.5 Error messages
These error messages refer to DTRS
synchronization:

WARNING!
TDIF(dubbing)cable
not connected
Appears if the digital cable is not connected.. Reconnect the correct cable to the DIGITAL I/O
connector.

WARNING!
No clock from MASTER
Check connections
and settings
Appears when the sync cable is not connected, the
master has been turned off, or the master’s sampling frequency is different from that of the slave
unit’s. Recheck these parameters.
If either of these messages appears, correct the
fault, and press the ESCAPE key to return to normal operation.

5) Select the same sampling rate (48kHz or
44.1kHz) on each DTRS unit.
Any slave DTRS unit which has a different sampling frequency selected from that selected on the
master will display an error message.
06/97 – 1.00 – 9-5

Section 9 – Synchronization with other DTRS units

9-6 – 1.00 – 06/97

Section 10 – Operations related to timecode

10 – Operations related to
timecode
The DA-98 contains synchronization facilities,
including a timecode generator, which allow it to
act either as a timecode master or a timecode
slave.
If timecode is recorded, a special discrete subcode
track is used, which leaves all eight tracks free for
recording and playback of audio material.
However, the DA-98 is able to synchronize with
external timecode devices, even if the DA-98 tape
has not been striped, by converting its internal
servo subcode (ABS) to timecode “on-the-fly”.
A full range of options is provided for full compatibility with the widest possible range of other
equipment.

10.1 ABS and SMPTE/EBU
timecode
In some menus, by the time value, you may see
either ABS or TC. Here, we explain these two different timing reference methods and the differences between them.

10.1.1 ABS time

“ABS ” stands for “Absolute”, and is the absolute
time of the tape as recorded on the subcode of the
tape. This timing starts at the beginning of the tape
with a value of 00:00:00:00. This is the timing reference used when the DA-98 is not using SMPTE/
EBU timecode.
Timecode (whether SMPTE or EBU) contains a
fixed number of frames per second. However, the
ABS method of timing works in a slightly different way.
In three seconds of time, there are 100 frames.
These frames are allocated as follows:
Second

Number of Maximum frame
frames
value displayed

00 – 01
01 – 02
02 – 03

33
33
34

32
32
33

This pattern is repeated every three seconds, as
you will notice when you set frame values using
the menu system in ABS mode. When multiple
DTRS units are connected together in DTRS sync
mode, the master unit always outputs ABS timings to the slave unit(s).

10.1.2 Tape timecode
“TC” stands for timecode, and is shown whenever
a SMPTE/EBU timecode value is used rather than
the ABS value. The timecode may be internal or
external and can be SMPTE/EBU, received and
transmitted via the TIME CODE IN/OUT jacks [37],
or SMPTE/EBU timecode synthesized from the
ABS subcode (see 10.2, “Tape timecode mode”).
Whether the SMPTE/EBU timecode is generated
or synthesized, we will refer to it as “timecode” in
this manual, to distinguish it from ABS timing
values.
SMPTE/EBU timecode can be re-produced independently of ABS timings and can be of any frame
format supported by common timecode standards.
When multiple DTRS units are connected, and the
master unit’s CHASE mode is set on, the master
will chase to any incoming timecode, regardless
of whether timecode or ABS timings have been
selected as the time mode (see 10.1.3, “Selecting
TC or ABS timing” below).
Timing information received and transmitted from
and to external controllers (e.g. RS-422, MIDI or
Bus) will always be referenced to timecode
values.
When the DA-98 is referenced to its absolute
timecode, the ABS indicator to the left of the tape
counter [2] will light, and when referenced to
timecode (internal or external), the TC indicator
will light.

10.1.3 Selecting TC or ABS timing
NOTE
This procedure is fundamental to synchronization operations. If you select absolute timing mode when you
want to synchronize with timecode, you will be unable
to synchronize the DA-98.

06/97 – 1.00 – 10-1

Section 10 – Operations related to timecode

To change between the two different time reference modes, perform the following procedure:
1) Select menu group 3 and press ENTER:

Mcn ID
Ctrl Prt
McnOffset Trk Arm
TimeMode
ABS
2) Select Time

Mode and press ENTER.

3) You can use the UP and DOWN keys to select
either ABS (absolute) or TC (timecode).
The appropriate indicator by the tape counter
(either ABS or TC) will light.

10.1.4 Location point settings
NOTE
If you change an offset value (timecode or ABS), any
punch points, location memories, etc. will be invalidated. For example, if you change the offset to
00:30:00:00 (30 minutes) from 00:00:00:00 (no offset),
a punch point which was previously at 00:33:00:00 (33
minutes into the tape) will still have the same value
(00:33:00:00), but will now be only 3 minutes into the
tape.

10.2 Tape timecode mode
The following procedure allows you to select the
source for tape timecode (including ABS timings
used to synthesize SMPTE timecode. This synthesized timecode is treated exactly as if a tape had
been striped with timecode).
1) Go to menu group 5, move the cursor to
Tape TC , and press ENTER:

Tape TC Mode
Mode
ABS
2) Use the UP and DOWN keys to choose between
the various options: TcTrack , ABS , ABSOfs, ABS-13 and ABS-23 .
These options are all described individually below.

10-2 – 1.00 – 06/97

10.2.1 TcTrack setting
This is the one setting in this menu which does not
use the ABS conversion facility. You should only
use this setting if you have already striped the dedicated timecode track with timecode (either from
an external source or from the DA-98’s own internal generator).
If you have selected TcTrack in the menu
above, any timecode recorded on the tape will be
used as the tape timecode source.

10.2.2 ABS setting

If you have selected ABS in the menu above, the
ABS subcode time from the tape will be used as
the timecode, with the start of the tape having a
timecode value of 00:00:00:00, as with the ABS
code itself.
The timecode frame rate used will be the frame
rate as selected in 10.3, “Selecting the frame
rate”).
NOTE
If you are using ABS timings as timecode, the hours,
minutes and seconds of the ABS time will correspond to
the converted timecode, unless the frame rate is set to
29.97 non-drop or 30 drop. In these cases, the difference
between ABS values and timecode values will be about
2 seconds per hour.

10.2.3 ABS-Ofs setting
As with the previous setting, this converts the
ABS subcode timing to timecode, but allows you
to add an offset to the absolute value so that the
timecode does not start at the zero point.
When you select this option, the display will
change to allow you to enter an offset time:

Tape TC Mode
Offset 30ND
00:00:00:00

Mode
ABS-Ofs

Section 10 – Operations related to timecode

1) Use the LEFT and RIGHT keys to choose the field
to change (hours, minutes, seconds or frames)
and then use the UP and DOWN keys to change
the value of that field.
You can also enter a time offset directly using the
function keys (see 5.2.2, “Using the function keys
as number keys”).

The time you enter will then be the time at which
the timecode starts from the beginning of the tape.
For instance, if you enter an offset of 00:59:00:00,
and the tape is positioned exactly 1 minute after
the start, the timecode will be 01:00:00:00.

10.2.4 ABS-13 and ABS-23 settings
These settings are useful if you are recording
many pieces on one tape. They automate the process of providing a timecode “pre-roll” and starting each piece at an easily-memorable timecode
position.

the timecode will restart at 01:57:00:00. If ABS23 has been selected, this will occur approximately 23 minutes after the start of the tape (the
piece is 20 minutes long). This allows another
track to begin at 02:00:00:00.
This process continues until the end of the tape is
reached. Wherever the tape is located, this calculation will be performed, allowing you to locate
each track easily with reference to the timecode
values.
The diagram below shows the relationship
between the “synthesized” timecode and the absolute time on tape, assumiong that the “hours”
value has been set to 00.
Timecode values

The ABS-13 setting should be used to record
pieces of 10 minutes or less in length, and the
ABS-23 for pieces of 20 minutes or less.
With both of these settings, the start of the tape is
automatically set with an offset of hh:57:00:00,
where hh is the number of hours.

Tape TC Mode
Offset 30ND
00:57:00:00

Mode
ABS-13

1) Use the LEFT and RIGHT keys to select the
“hours” field.
2) Use the UP and DOWN keys to set the “hours”
value.
Here we assume (for simplicity) that the “hours”
value has been set to 00. If you set this to a different value, add the appropriate offset as you read
this explanation.
Timecode is synthesized, starting at 00:57:00:00,
allowing three minutes of timecode “pre-roll”
before the nominal start of the piece at
01:00:00:00.
With ABS-13 selected, once the tape is positioned approximately 13 minutes from the start,

etc…
0

13 16

26 29

Absolute time in minutes from start of tape (ABS-13 setting)

10.2.5 Checking tape TC
The TAPE TC indicator by the tape counter will
light when timecode recorded on tape or synthesized from ABS is being read. The indicator will
not light in areas of the tape where no timecode
has been recorded if TCTrack has been
selected, and will not light at the beginning or end
of tape if any of the ABS modes has been selecterd. Timecode is not read in STOP mode and the
indicator will not light in STOP mode.
As well as the tape counter, the display screen can
also be used to show tape timecode values and the
frame rate currently recorded on tape, as described
below.
1) Go to menu group E, and move the cursor to
Tape TC :

Ext TC
Abs Diff
Tape TC
Rel Diff
Gen TC
01:02:48:17
30ND
06/97 – 1.00 – 10-3

Section 10 – Operations related to timecode

2) Start playing the tape.
3) The selected timecode value will be displayed
on the bottom line, together with the frame rate
of the timecode.
The frame rate displayed depends on the timecode
frame rate as recorded on the tape (if TC
Track has been selected) or on the selected
frame rate (if another option has been chosen).

To avoid this, pull up and pull down functions are
provided to adjust sampling frequencies to dropframe rates, etc.
1) Go to menu group 8, move the cursor to Fs
Shift , and press ENTER:

Fs Shift Mode

10.3 Selecting the frame rate
The DA-98 can use the following standards for
timecode (including timecode synthesized by the
ABS to TC facility): 30 non-drop, 30 drop, 29.97
non-drop, 29.97 drop, 25, and 24 frames per second (fps).
When using the DA-98 to chase to a timecode
master, the system frame rate on the DA-98 must
match the frame rate of the timecode master, otherwise chase operations are not possible.
The frame rate is automatically set when a tape
which has been striped with timecode is inserted,
or if power is switched on with a striped tape
already inserted in the unit. The frame rate
recorded on the tape will be used as the system
frame rate.
To change the frame rate in other cases, follow the
procedure below:
1) Go to menu group 5, move the cursor to TC
Frame , and press ENTER:

TC Frame Mode
29.97 NDF
2) Use the UP and DOWN keys to select the frame
rate for your project.

10.3.1 Pull up and pull down (Fs shift)
When working in film post-production with
NTSC telecine equipment, the frame rate of film
(24 fps) and the NTSC color frame rate (29.97) do
not form a simple mathematical ratio, and the
sampling frequencies of either 44.1kHz and
48kHz are therefore affected on transfer back to
film.
10-4 – 1.00 – 06/97

off
2) Use the UP and DOWN keys to select between
Pull Down 30NDF , Pull UP 29.97
NDF, Pull UP 29.97 DF , Pull Down
30DF and off.
The PULL UP/DN indicator by the tape counter [2]
will light if the setting is anything other than off .
NOTES
•

This setting is not memorized in the backup memory–
you must reset it every time the DA-98 is turned off and
on again.

•

The clock source must be set to INT when using the Fs
shift function to pull up, and to VIDEO when using this
function to pull down.

•

If vari speed is enabled (see 8.5, “Vari speed (pitch control)”, it is not possible to use the Fs shift function.

•

When the Fs shift mode is operational, you cannot
change the timecode frame rate (see 10.3, “Selecting the
frame rate”).

10.4 Timecode input and
output
Only timecode (not ABS timing) can be transmitted and received via the TIME CODE IN and OUT
jacks. ABS timings are used for multiple DTRS
unit synchronization.

10.4.1 Timecode input
There are two primary reasons for the DA-98 to
receive timecode: when the DA-98 is chasing to
timecode, and must receive the master timecode,
and when the DA-98 is to record timecode from
another unit (but see 10.5.5, “External timecode
sources” below).
To view incoming timecode, follow the procedure
below:

Section 10 – Operations related to timecode

1) Go to menu group E, and move the cursor to
Ext TC :

Ext TC
Abs Diff
Tape TC
Rel Diff
Gen TC
01:02:48:17
30ND
2) Incoming timecode will be displayed on the
bottom line, together with the frame rate of the
timecode.
The EXT TC indicator will light when timecode is
received.

10.4.2 Timecode output
The timecode received at the TIME CODE IN jack,
or the timecode recorded on tape, can be output
from the TIME CODE OUT jack.
When the DA-98 is the timecode master, the timecode it outputs should be off tape.
However, when the DA-98 is in the middle of a
timecode chain, you will probably want to retransmit the incoming timecode (the OUT functions as
a THRU).
1) Go to menu group 5, move the cursor to
OutTc Src (output timecode source), and
press ENTER:

Output TC Source
External (regen)
2) Using the UP and DOWN keys, select one of the
three options: Tape ; timecode will be replayed
off-tape, External (regen) ; the external
timecode will be re-generated by the DA-98’s
generator, resulting in a clean signal, or
External (reshape) ; the timecode

signal will be simply filtered before being retransmitted.
NOTE
When the DA-98 is in CHASE mode, and the timecode
output has been set to TC Track (see 10.2.1,
“TcTrack setting”), the timecode output from the
DA-98 will be the received timecode, with the offset
value added or subtracted from it. This means that any
other DTRS units slaved to the timecode output do not
need to have separate offset settings, but can use the
master DA-98’s offset.

10.4.3 Timecode output format

This Fast LTC function controls the way in
which timecode is output when fast winding the
tape, or if shuttling is carried out at greater than
normal playback speed.

The 5 Frame setting means that timecode information is not output continuously. Here, the DA98 reads the timecode from the tape as it is spooling, outputs 5 consecutive frames at normal speed
starting with the value which has been read from
tape, then reads the tape again, outputs another 5
consecutive frames based on the new tape position, and so on.
The Leap setting means that timecode is output
continuously during fast operations, and will not
be contiguous (it will leap between frames).
The off setting means that timecode is not output during fast operations.
1) Go to menu group 5, move the cursor to
Fast LTC and press ENTER:

Fast LTC Mode
5 Frame
2) Use the UP or DOWN keys to select the option as
described above.

10.4.4 Timecode output timing
Because of the nature of the digital-to-analog conversion, the timecode which is output from the
DA-98 must be synchronized to match the audio
timing from either the digital or the analog audio
06/97 – 1.00 – 10-5

Section 10 – Operations related to timecode

outputs, whichever set of outputs is in use at the
time.
1) Go to menu group 5, move the cursor to
OutTc Tmg (output timecode timing) and
press ENTER:

1) Go to menu group 8, move the cursor to
TcRec Src (source for timecode recording),
and press ENTER:

TC Record Source

Output TC Timing
Analog
2) Use the UP and DOWN keys to select between
Analog and Digital .

10.4.5 Using MIDI Time Code (MTC)
The DA-98 can output MIDI Time Code in almost
exactly the same way as it outputs audio timecode,
with the following exceptions.
MIDI Time Code can be output either when the
DA-98 is playing, or in fast forward or rewind, or
when stopped. You can turn off the output during
the “fast” modes and while stopped, to avoid overloading a MIDI data stream.
1) Go to menu group 7, move the cursor to MTC
Out and press ENTER:

MTC Output
Output
on

Fast
off

Stop
off

2) Use the LEFT and RIGHT cursor keys to select
the field for which you want to turn MTC on
and off, and the UP and DOWN keys to turn
MTC on or off.
Note that if the Output field is turned off ,
turning the other fields on will have no effect.

10.5 Recording timecode
10.5.1 Selecting the timecode source
The DA-98 allows you to select one of three
sources for recording timecode: the DA-98’s internal generator, an external source or timecode
based on tape.
To select the source for recording timecode:
10-6 – 1.00 – 06/97

Generator TC
2) Use the UP and DOWN keys to select a source
for the timecode recording from the following
options: Generator TC , Tape and
External TC .

If you select Tape , the source of the tape timecode will also be shown, as determined in the tape
timecode selection menu (see 10.2, “Tape timecode mode”).
NOTE
Generally speaking, timecode should be recorded from
an external source only when audio tracks and timecode
must be transferred together from external units. In all
other cases, we suggest that you use the internal generator or the tape as sources for recording timecode.

If you are recording timecode only, we suggest
that you do not use external sources for recording
timecode.
Set Tape as the source as described immediately
above, and use ABS or ABS-Ofs (see 10.2.2,
“ABS setting” and 10.2.3, “ABS-Ofs setting”) as
tape timecode sources. This will ensure an accurate relationship between the timecode and the
ABS timing reference (the fact that the generator
must be started manually means that there will not
be a tight relation between timecode and the ABS
timing).
This will also allow you to synchronize multiple
DTRS units accurately to external timecode, even
though the slave units are not timecode-based.

10.5.2 Recording timecode using the
generator
1) Insert a formatted tape into the DA-98.
It is possible to format and stripe a new tape simultaneously, by setting up the formatting procedure
as described in 6.1, “Formatting a tape” and then
following the instructions below.

Section 10 – Operations related to timecode

2) Select timecode as the timing reference (see
10.1.3, “Selecting TC or ABS timing”).
3) Select a frame rate (see 10.3, “Selecting the
frame rate”).
4) From menu group 8, move the cursor to
TcRec Src (source for timecode recording)
and press ENTER:

Generate Mode
00:55:00:00
30ND
Run/Stop Mode
Stop
Reset
10) Press the TC REC switch [31].

TC Record Source

The indicator will start flashing.

11) Now press the UP or DOWN key to start the
timecode generator.

Generator TC
5) Use the UP and DOWN keys to select the source
of the timecode as Generator TC .

The options here are External TC (received
at TIME CODE IN), Generator TC (the
internal generator) or the third option, which
reflects the settings made in the Tape TC
Mode menu (see 10.2, “Tape timecode mode”).

6) Go to menu group 8, move the cursor to Gen
Start (generator start time) and press
ENTER:

Generator Start Time
00:00:00:00

9) Go to menu group 8, move the cursor to Gen
Mode (generator mode) and press ENTER:

30ND

7) Use the LEFT and RIGHT keys to select the field
(hours, minutes, seconds or frames) to be
edited, and the UP and DOWN keys to change
the value.
You can also use the function keys as number keys
to input the value directly, as described in 5.2.2,
“Using the function keys as number keys”.

8) When you have finished setting the start time,
press ENTER.

The TC GEN indicator by the tape counter will
light.

12) Press and hold the PLAY and press the RECORD
key and the tape will start recording.
The TC REC indicator will light steadily.
The display will change from Stop to Run .
Pressing the UP or DOWN key while the cursor is
under this field will stop the generator.
You can also start recording and then start the
timecode generator. In this case, an warning message will appear on the display screen as you start
recording, to tell you that there is no timecode
source.
If the Mode field is set to Continue rather
than Reset , stopping the generator and then restarting it will pick up the timecode values from
where it left off.
Conversely, setting this field to Reset will
restart from the start time set above every time the
generator is stopped and re-started.

It is also possible to “drop into” timecode recording by starting the transport in record mode and
then pressing the TC REC switch. However, we do
not recommend this method of working, as it is
impossible to check the timecode source prior to
recording.
If the method described above (arming the timecode track, and then starting recording) is used,
the tape counter is used to show the output from
the timecode source (the generator) when the
timecode track is armed, flashing when the tape is
stopped, and steady when the tape is running.
06/97 – 1.00 – 10-7

Section 10 – Operations related to timecode

If there is no timecode source, the tape counter
will show all hyphens while the timecode track is
armed.

The assembly function reads a few seconds of
timecode from tape and then uses this to jamsync
the internal generator, which then stripes the rest
of the tape.

After starting the generator, you may want to
make other settings, and will therefore have to
change the display screen.

1) Select TC Track from the Tape TC
menu (see 10.2.1, “TcTrack setting”).

The tape counter shows the timecode from the
generator, but you can use the following procedure to check the frame rate, especially in situations where you are using the output from the DA98’s generator to stripe another tape, etc.

2) Go to menu group 8, move the cursor to
TcRec Src (timecode record source) and
press ENTER:

1) Go to menu group E, and move the cursor to
Gen TC :

Ext TC
Abs Diff
Tape TC
Rel Diff
Gen TC
01:05:12:23
30ND
2) The bottom line of the display screen will show
the timecode values currently being output by
the generator.

10.5.3 Synthesizing timecode from ABS
timing
When you are synthesizing timecode from ABS,
using any of the following options: ABS , ABSOfs, ABS-13 or ABS-23 , as described in
10.2, “Tape timecode mode”, the tape counter display behaves differently from the way as
described above.
The tape counter will not flash when the timecode
track is armed and the tape is stopped, and it will
not display all hyphens, since the timecode source
is always available.
In this case, you can start recording the timecode
at any time (before or after) the tape has started
moving.

Mode

TC Record Source
Tape Assemble
3) Make sure the tape is rewound to a point which
already contains timecode which can be used as
the source for the rest of the tape.
4) Arm the timecode track (press TC REC so that
the indicator is flashing).
The tape counter will show the last timecode read
from tape as a flashing display.

5) Start playing the tape.
As timecode is read from the tape, the tape counter
will show the values read from tape. If the tape
does not contain timecode, the tape counter will
show all hyphens.

6) Start recording when the tape counter is
showing timecode (press the RECORD key).
The TC REC indicator will light steadily
Timecode will now be laid down in a continuous
stream, starting at the current timecode value. The
tape counter will display continuous timecode
values.
It is also possible to press the TC REC key after
starting audio recording.

10.5.5 External timecode sources
10.5.4 Assembling timecode
You may want to use the assembly function when
the first part of a tape contains timecode, and you
want to stripe the rest of the tape with timecode
that follows on seamlessly from the originally
recorded timecode.
10-8 – 1.00 – 06/97

The following notes should help you when you
must record timecode on the DA-98 from an
external source (analog or digital). As mentioned
earlier, though, you should only need to record
timecode from an external source when the audio
and timecode tracks have to be transferred

Section 10 – Operations related to timecode

together, keeping a strict relationship between the
audio and timecode tracks.
In all other cases, we suggest using either the DA98’s internal generator or timecode from tape. If
you use these as sources, there will be no jitter
problems, and any problems of synchronization
with the digital audio clock are eliminated.
NOTE
When recording timecode from an external digital
source, make sure the digital clock of the DA-98 and
that of the external source are synchronized, as
explained in 4.2.3, “Word clock connections” and 4.2.2,
“Video connections”. A warning message will appear if
the timecode source and the DA-98 are not synchronized, but timecode can still be recorded. However, the
resulting timecode recording will probably cause synchronization problems in the future.

When recording timecode from a timecode
generator, make sure that there is a common
video reference for both the DA-98 and the generator (set the CLOCK of the DA-98 to VIDEO).
When recording timecode from another DTRS
unit, synchronize the two units using ABS chase
(setting the timecode/audio source unit to be a
slave unit as described in 9.2.3, “Master/slave settings (CHASE mode)”). After the two units have
been synchronized in this way, timecode and
audio can be transferred together.
When recording timecode from a digital source
(audio or video), make sure that the DA-98 and
the other unit are locked to a common word (audio
recorder) or video (video recorder) clock reference. After the two machines have been synchronized in this way, timecode and audio can be
transferred together.

•
•
•
•

timecode already recorded on an audio track of
the DA-98
timecode recorded on other DTRS units, using
ABS chase with the DA-98
timecode recorded on any other recorders synchronized with the DA-98
a timecode generator, video-synchronized with
the DA-98.
NOTE
Do not use any timecode recorded on the DA-98’s dedicated subcode track as the timecode master when transferring timecode from an analog recorder.

If your analog recorder cannot chase to external
timecode, you must first record the timecode from
the analog recorder on an audio track of the DA98 and then transfer the timecode to the dedicated
timecode track.
Timecode recorded on the audio track in this way
is synchronized to the audio clock, and can subsequently be transferred (through patching) to the
timecode track.

10.5.6 Recording timecode from external
sources
1) Set the Time Mode to TC (see 10.1.3,
“Selecting TC or ABS timing”).
2) Set the timecode record source to External
TC (see 10.5.1, “Selecting the timecode
source”).
3) Press the TC REC switch to arm the timecode
track.
4) Start the external source to check the status of
the external timecode.

When recording timecode from an analog
recorder, feed the analog recorder or its external
synchronizer and the DA-98 with a common video
source, and use the video resolve function of the
analog recorder or synchronizer, if this is
provided.

If no external timecode has been received since the
DA-98 has been switched on, the tape counter will
show all hyphens.

If the analog recorder has no video resolve function, it may have a timecode chase function, which
can be driven by any timecode source from the
following list:

If the external timecode is currently being received
at normal (play) speed, the tape counter will show
the value of the timecode currently being received.
If the external timecode is being received from a

If external timecode has been received since the
DA-98 has been switched on, but is not currently
being received, the tape counter will flash.

06/97 – 1.00 – 10-9

Section 10 – Operations related to timecode

source in fast wind mode, the tape counter will
flash.
If the timecode source is not clock-synchronized
with the DA-98, a warning will be shown on the
display screen. In this case, although you can
record timecode, it is not recommended, as this
will probably cause problems later on.

5) Stop the external timecode source, and rewind
or reset it to a point prior to where you want
recording to begin.
The tape counter will now start to flash.

6) Restart the source.
The tape counter will display received timecode.

7) Press and hold down PLAY and press RECORD.
Timecode will now be recorded from the
external source onto the timecode track.
If the tape counter was flashing when the TC REC
indicator was flashing (the timecode track was
armed), the tape counter will now show all
hyphens, and nothing will be recorded.

10.5.7 Checking external timecode
There is another way you can check external timecode, as described below. This method is useful
for checking the frame rate of incoming timecode,
if you are not sure what frame rate has been
recorded or is being generated by the timecode
source.
1) Go to menu group E, and move the cursor to
Ext TC :

Ext TC
Abs Diff
Tape TC
Rel Diff
Gen TC
01:02:48:17
30ND
2) Incoming timecode will be displayed on the
bottom line, together with the frame rate of the
timecode.

10.6 Video resolution
As explained above, if the DA-98 is to be synchronized with a VTR, all units must share a common
video reference for the digital audio clocks, generated either by the VTR or from a sync generator.
10-10 – 1.00 – 06/97

As well as the sample clock, the timecode can be
referenced to a video clock (i.e. the start of each
timecode frame is synchronized with each frame
boundary received at the VIDEO IN terminal) or
can be independent of the received frame clock.
Additionally, in a similar way to timecode rechase
mode (page 10-13), the DA-98 can be set to
rechase the video frame sync (muting playback
output as it rechases), or to run freely once sync is
achieved, ignoring any breaks in the received
video signal.
1) Go to menu group 5, move the cursor to Vid
Rslv (Video Resolve) and press ENTER:

Video Resolve
on/off
off

Mode
free

2) Use the LEFT and RIGHT keys to select the
frame synchronization mode (on/off ) and
the UP and DOWN keys to toggle it on and off.
3) Use the LEFT and RIGHT keys to select the video
rechase mode (either free or re-sync ).

10.7 Chasing to timecode
The following sections describe the operation of
the DA-98 when chasing to external timecode.
The operation of the CHASE switch is similar to
the way the CHASE switch is used when synchronizing DTRS units (see 9.2.3, “Master/slave settings (CHASE mode)”), but in this case, the
machine ID is not used.

10.7.1 Machine ID and timecode
Since a DA-98 with machine ID set to 1 is always
a master unit as regards DTRS sync operation,
there is no need to make any setting on such a
machine if it is to be a timecode slave. As long as
timecode is received at the TIME CODE IN connector [37] (the EXT TC indicator is lit), a unit whose
machine ID is set to 1 will automatically enter
timecode chase mode when the CHASE key is
pressed.
However, when a DA-98 unit has its machine ID
set to a value other than 1, there is a conflict when

Section 10 – Operations related to timecode

the CHASE key is pressed. You must determine
whether the chase mode refers to timecode or to
the DTRS sync, and this is done using the Time
Mode menu (see 10.1.3, “Selecting TC or ABS
timing”). If ABS is selected, when CHASE is
pressed, the machine will enter DTRS sync mode,
but if TC is selected, the machine will attempt to
lock to external timecode.
When the DA-98 is in “chase-ready” mode (the
CHASE indicator is flashing) and timecode is
received at the TIME CODE IN connector, the DA-

98 will start to chase the timecode. When it is
locked to the incoming timecode, the CHASE indicator will light steadily.
NOTES
•

•

The timecode frame rate used on the DA-98 must match
the frame rate of incoming timecode (see 10.3, “Selecting the frame rate”). If they do not match, a warning
message will be shown, and the DA-98 will not chase to
timecode. You can check the frame rate of incoming
timecode (see 10.5.7, “Checking external timecode”)
and of the timecode recorded on the DA-98’s tape (see
10.2.5, “Checking tape TC”
The timecode used internally by the DA-98 does not
have to be an actual timecode striped tape. Instead,
timecode can by “synthesized” from the ABS subcode
timings, as described in 10.2, “Tape timecode mode”.

The exact ways in which it chases the timecode
and handles transport functions, etc.are determined by a number of settings, as described
below:

10.7.2 Setting timecode offset
You may enter a timecode offset for the audio
from the DA-98 to match the audio (or video
sequence) from the timecode master.
As with the machine offset (see 9.3.1, “Setting
machine offset”), you can either set this manually,
entering the numbers, or set it “on-the-fly” by ear.
In either case, once the offset has been entered, it
can then be edited.
The offset can be set to subframe accuracy (100
subframes = 1 frame).

10.7.3 Setting timecode offset from the
menu
1) Go to menu group 4, move the cursor to TC
Offset and press ENTER:

Timecode Offset
+00:00:00:00.00 25F
2) Use the LEFT and RIGHT keys to select the field
(hours, minutes, seconds, frames or subframes)
and use the UP and DOWN keys to set the value.
You can use the function keys in the number key
mode (see 5.2.2, “Using the function keys as number keys”) to enter the offset (and the leading sign)
directly.
If this value is set to anything other than
00:00:00:00.00, the OFFSET indicator by the tape
counter will light.
If you move the cursor to the right digit of the subframe field, this will act as a “roll-over” field (i.e.
if you are incrementing the value and it passes 99,
the frame field will increment.

10.7.4 Cancelling timecode offset
When the timecode offset value is set to all zeros,
timecode offset is cancelled and the OFFSET indicator goes out.
1) From the Timecode Offset menu
described above, press the UP and DOWN keys
simultaneously to reset the value.

10.7.5 Setting timecode offset on-the-fly
There is a second “invisible field” to the right of
the subframe field (similar to that for machine offset settings – (page 9-3)). Moving the cursor to
this field changes the display:

Timecode Offset
AUTO OFFSET
This screen allows you to set the offset by pressing the UP or the DOWN key. When you do this,
the difference between incoming timecode and the
06/97 – 1.00 – 10-11

Section 10 – Operations related to timecode

internal timecode will be captured and stored as
the timecode offset (either a positive or negative
value).
Note that if the words AUTO OFFSET are not
displayed on the screen, you cannot capture the
offset value.
Once the offset value has been captured successfully, the display will change to show the captured
offset value on the bottom line.
After the timecode offset has been entered in this
way, you can “fine-tune” the value to subframe
accuracy using the method described above.

10.7.6 Park position
When the DA-98 is slaved to an external timecode
source, it will take some time between the master
unit starting to play and starting to transmit timecode for the DA-98 to read.
These functions allow you to measure and test the
optimum pre-roll position for the DA-98 (when it
is a timecode slave) to park itself relative to the
master timecode device so that it will lock up and
start playing quickly.
1) Go to menu group 4, move the cursor to
Park Posi (park position) and press ENTER:

Park Position
TEST
off

02s08f 25F

2) The time value shows the current park setting,
and this can be changed using the UP and
DOWN keys, or the function keys.

10.7.7 Automatic park position setting
When the DA-98 is acting as a timecode slave, it
can automatically determine the optimum park
pre-roll position to sync with the master.

10-12 – 1.00 – 06/97

1) Go to menu group 4, move the cursor to
Park Posi (park position) and press ENTER:

Park Position
TEST
off

02s08f 25F

2) Play and stop the master tape.
3) Turn the DA-98’s CHASE on, if it is off.
4) Use the UP or DOWN keys to turn the TEST
parameter on.
The DA-98 will then rewind so that the relative
difference is zero. When the DA-98 has stopped,
go on to the next step below.

5) Play the timecode master.
When the value shown on screen has stopped
changing and is stabilized, go on to the next step
below.

6) Turn TEST off (UP or DOWN key). The
optimum park pre-roll time for the timecode
master is now stored.

10.7.8 Absolute and relative difference
The offset as set above (10.7.2, “Setting timecode
offset”) can be called the “absolute difference”
between the two times. However, if the slave
machine “wanders” (actually, this is unlikely), the
offset (theoretical difference) will not be equal to
the absolute difference. The “relative difference”
is expressed as below:
Relative difference = Absolute difference – Offset
Thus, if the offset is set on a slave machine to
+00:10:00:00 (10 minutes) and while chasing, the
two machines’ counters read as follows:
Master
Slave

10:15:12:12
10:05:12:08

Section 10 – Operations related to timecode

the slave is now 10 minutes and 4 frames behind
the master.
Slave (offset set to
+00:10:00:00)

Tape counter
shows:
10:05:12:08
but should be
10:05:12:12

Master

Tape counter
shows:
10:15:12:12
Absolute difference =
+00:10:00:04

Relative difference =
+00:00:00:04

Since the slave is meant to be exactly 10 minutes
behind the master, the difference, +4 frames, is the
“relative difference” between the master and the
slave.
To view the absolute and relative differences
between master and slave machines:
1) Go to group menu E:

Ext TC
Abs Diff
Tape TC
Rel Diff
Gen TC
00:00:00:04
25F
2) Move the cursor to either Abs Diff
(absolute difference) or Rel Diff (relative
difference). The appropriate value will be
shown on the bottom line of the display screen.

10.7.9 Rechasing timecode
When timecode is received, the DA-98 can either
constantly monitor the internal off-tape timecode
(or the ABS equivalent as set in 10.2, “Tape timecode mode”) and the external timecode, issuing
“speed-up” and “slow-down” messages to the
transport to keep itself in sync (rechasing), or it
can synchronize once and run freely, ignoring the
incoming timecode.
While the DA-98 is re-syncing (speeding up and
slowing down), playback output will be muted,
unless the clock is set to INT). Usually you should
find that the DA-98 does not need to rechase,
however, and you can leave it in free-running
mode. If the timecode master tape includes a

break in the timecode, though, you may want the
DA-98 to rechase the master.
As well as selecting rechase, you can also select
the length of the “rechase window”. This means
that if the difference between internal and incoming timecode is greater than the value of this window (1 or 2 seconds in the case of the DA-98), the
synchronizer will start to rechase.
1) Go to menu group 4, move the cursor to
Rechs Mod (rechase mode) and press
ENTER:

Rechase Mode
Mode
rechase

Window
1 sec

2) Use the LEFT and RIGHT keys to select the
Mode field, and the UP and DOWN keys to
choose between rechase and free .
3) If you select rechase , use the RIGHT key to
move to the Window field, and select a window
of either 1 or 2 seconds.

10.7.10Bypassing timecode errors
As timecode is received from a remote master
unit, it may be subject to errors (dropouts on the
timecode master tape, etc.). These errors can
cause synchronization failure (the DA-98 will no
longer be locked to the timecode of the master
unit).
You can set the DA-98 to bypass and ignore
incoming timecode errors of up to 30 frames in
length, or up to 10 frames in length.
1) Go to menu group 4, move the cursor to
ErrBypass (Error Bypass), and press
ENTER:

Error Bypass
10 Frame
2) Use the UP and DOWN keys to select between
10 and 30 Frame.
06/97 – 1.00 – 10-13

Section 10 – Operations related to timecode

10.7.11Individual recording while chasing
timecode
If slave DTRS units are chasing a master DTRS
unit, the default action is for the slaves’ record status to follow that of the master. If the slaves are
connected with TC as well as SYNC, and have TC
rather than ABS selected as the timing reference,
this default behavior can be overridden using the
function described here.
1) Go to menu group 4, move the cursor to
TcChs Rec (timecode chase record), and
press ENTER:

TC Chase Indiv. Rec
enable
2) Use the UP and DOWN keys to select between
enable (individual recording is possible
while chasing to timecode) and disable (all
chasing units will follow the record status of the
first unit).

10-14 – 1.00 – 06/97

Section 11 – External control

11 – External control
The DA-98 can be controlled by other units, either
through the REMOTE IN/SYNC IN TASCAM connector [43] as described in 9, “Synchronization
with other DTRS units”, the 9-pin RS-422 serial
control connector [40], or through the MIDI IN connector [41] using MIDI Machine Control.

11.0.1 Selecting the control source
(protocol)
1) Go to menu group 3, move the cursor to
Ctrl Prt (control protocol) and press
ENTER:

The DA-98 should also be set with video resolve
set to on, either free-running or rechase (see 10.6,
“Video resolution”).
The CLOCK switch of the DA-98 [30] should be
pressed until the VIDEO indicator lights.

11.1.2 Emulation
The DA-98 is able to emulate a number of different units, so that when a Device-ID request is sent,
the appropriate reply can be sent back in response.
1) Go to menu group 6, move the cursor to Eml
Dev (Emulation Device) and press ENTER:

Emulation Device

Control Protocol
9Pin

PCM-7050
2) Use the UP and DOWN keys to select a device
from the following list:
•

2) Use the UP and DOWN keys to select between
9Pin , MIDI , Bus and off.
These are all self-explanatory, except for the Bus
setting, which refers to the sync/control bus carried
through the RS-422 connector [40]. An example
of a device which can use this protocol is the TASCAM ES-61 editing controller.

•
•
•
•
•
•
•

NOTE
The selection of an external control protocol does not
disable the local controls. When an external controller is
selected, the last control pressed, whether local or
remote, operates the DA-98.

11.1 Use with 9-pin external
control
The RS-422 control allows the DA-98 to be controlled by a number of different editor/controllers,
in the same way as a VTR or DAT.

11.1.1 Video clocking
If the DA-98 is to be controlled by a video editor,
it is essential that the DA-98 and the controller
receive identical video signals from the same
source (a video generator, for example).

PCM-7050
BVH-3000
BVU-950
BVW-75
PCM-800
BVH-2000
DVR-10
TASCAM

3) Set your editor to control the device which is
closest to the emulation you have just selected.
If the editor determines its controlling method
from the reply to Device ID request, you should
try using IDs starting from the top of the list.
If the editor recognizes “TASCAM” (and therefore bypasses video emulation) use the TASCAM
emulation setting.

11.1.3 Record delay
Most recorders (both VTRs and audio recorders)
drop into record a short time after they receive the
command to start recording, and editor/controllers
are programmed to take this into account.
However, the DA-98 starts recording immediately
it receives the command. You can compensate for
this using the Record Delay settings.
06/97 – 1.00 – 11-1

Section 11 – External control
1) Go to menu group 6, move the cursor to Rec
Dly (Record Delay) and press ENTER:

Record Delay
1 Frame
2) Use the UP and DOWN keys to select the record
delay in frames.

locates to the desired position, and then goes into
pause mode.
What is then returned to the controller depends on
the following setting:
1) Go to menu group 6, move the cursor to
Cueup Tly (cue-up tally), and press ENTER:

Cueup Tally

This is the time that the DA-98 should delay
between receiving a record command and actually
starting to record.

Stop

This value can be between 0 and 9, or defaults
to Auto . The value of the Auto setting depends
on the emulation selected, as shown below:

2) Use the UP and DOWN keys to select between
Stop and Still .

Emulation

PCM-7050
BVH-3000
BVU-950
BVW-75
PCM-800
BVH-2000
DVR-10
TASCAM

Frames
3
4
6
3
0
4
5
0

Some controllers will only take their next action
when they know that the controlled slaves are
stopped. Select the Stop value for use with these
controllers.
Other controllers (e.g. the LYNX II and MicroLynx synchronizers) make a distinction between
pause and stop. When using such synchronizers,
select the Still value.

11.1.5 Fast wind speed
The delay is calculated in the following way: the
first frame boundary of the video signal received
at the VIDEO IN after the record command is
received is counted as”1”. This number is incremented as subsequent frames are received, and
when it equals the record delay value as set above,
recording starts.
If the value is set to 0, recording starts instantly
on receipt of the command, and if to 1, when the
first frame edge is received.
If no correct video sync signals are being received,
or if video sync mode is not enabled for some reason, internal data frame timing (every 30ms) is
used instead.
This delay is also used for controlling the timing of
the monitor switching.

There are two basic methods for locating used by
controllers. The first method is to send a locate
command. The second is to send fast wind and
shuttle commands.
If the usual high speed winding of the DA-98 is
used with the second method, the tape will almost
invariable overshooot each time and never come to
rest. For that reason, you can select between the
fast wind modes (at 100 times play speed) and fast
shuttle (8 times play speed) depending on the
method used by your controller.
1) Go to menu group 6, move the cursor to
Fast Spd (fast wind speed) and press
ENTER:

Fast Wind Speed

11.1.4 Cue-up tally
When a locate command is received while the
DA-98 is in 9-pin protocol mode, the transport
11-2 – 1.00 – 06/97

x 100

Section 11 – External control

2) Use the UP and DOWN keys to select between
100 and 8.
To determine whether your controller is sending
(a) locate commmands or (b) fast wind commands, enter a locate operation from the remote
controller.
If a true location command is being sent, the
screen display will show the location point for a
few seconds and only the fast forward and rewind
keys will light. If the second type of command is
received, the display will not change, and the fast
forward and rewind indicators will light steadily,
and the SHUTTLE indicator will flash.

addressing DA-98 track3, and when referring to
digital track 4, it is addressing DA-98 track 8.

2) Use the UP and DOWN keys to select the track
mapping for use with your setup. The pre-set
options available are shown below:
DA-98
track ⇒
Analog

When a controller arms and records on tracks, you
need to specify which tracks on the controller correspond to particular tracks on the DA-98. The
video controller protocol allows for control of up
to eight digital and four analog audio tracks. The
setting described here allows you to map controller tracks to DA-98 tracks.
This mapping does not imply any correspondence
between the user interface of the controller and the
DA-98 tracks–it refers to the relationship between
the command signals transmitted by the controller
and the DA-98 tracks. The relationship between
the user interface of the controller and the command signals must be determined using the controller itself.
1) Go to menu group 6, move the cursor to Trk
Map(track mapping) and press ENTER:

Track Mapping
Ana 1 2 3 4
Dig
1 2 3 4
Trk 1 2 3 4 5 6 7 8
The lines above show the analog and digital tracks
to which the DA-98 tracks on the bottom line are
currently assigned.
The terms “analog” and ‘digital” used here have
nothing to do with whether tracks actually are analog or digital. They correspond to the “Analog”
and “Digital” tracks which the controller uses.

1 2 3 4

Digital
Analog
Digital

11.1.6 Track mapping

Analog

1 2 3 4 5 6 7 8
1 2 3 4 1 2 3 4

Digital
Analog

1 1 2 2 3 3 4 4

Digital
Analog
Digital

1 2 3 4 1 2 3 4

Analog
Digital

1 1 2 2 3 3 4 4

There are no user-settable track mappings, but the
pre-set mappings are designed to cover every circumstance.

11.1.7 Timecode track mapping
This is a special instance of track mapping, where
the track corresponding to analog track 3 in the
controller’s command signals is mapped either to
the digital audio track selected above (11.1.6,
“Track mapping”), or to the DA-98’s dedicated
timecode track.
1) Go to menu group 6, move the cursor to TC
Rec EN and press ENTER:

TC Record Enable
disable

In the assignment above, therefore, when the controller refers to analog track 3, it is actually
06/97 – 1.00 – 11-3

Section 11 – External control

2) Use the UP and DOWN keys to select between
enable and disable .

If you choose disable , the track referred to by
the controller’s command signals as “analog 3”
will be the audio track designated as “analog 3” in
the Track Mapping menu above. If you
choose enable, the DA-98’s timecode track will be
mapped to the track referred to by the controller’s
command signals as “analog 3”.

11.1.8 Remote track arming
You may sometimes want to disable the arming of
tracks from the remote system (either TASCAM
bus, MIDI or 9-pin).
Since many video editors, etc. only provide for the
control of four tracks, this means that you cannot
control the eight tracks of the DA-98 from the editor, and so remote track arming should be disabled, allowing you to control the tracks locally.
1) Go to menu group 3, move the cursor to Trk
Arm, and press ENTER:

Remote Track Arming
enable
2) Use the UP and DOWN keys to select between
enable and disable .

11.2 Bus protocol
If Bus protocol is selected (see 11.0.1, “Selecting
the control source (protocol)”), the DA-98 can be
controlled by controllers such as the TASCAM
ES-61.
Each DA-98 must be assigned a unique number
between 1 and 127, as described below.

11.2.1 Assigning a MIDI and Bus ID to the
DA-98
A MIDI ID is used in a MIDI Machine Control
setup to identify each unit in the MIDI chain. The
same number is also used as a Bus identifier.
One (and only one) of up to 127 units can be designated as the MIDI Timecode Master for the
whole chain.
11-4 – 1.00 – 06/97

This MIDI ID is not the same as a MIDI Channel
number (even though some units’ manuals may
refer to it as a “channel number”), and is not connected with the Machine ID (see 9.2, “Machine ID
and master/slave settings”). To set the MIDI ID:
1) Go to menu group 7, move the cursor to
MIDI ID , and press ENTER:

MIDI/Bus ID
001
2) Use the UP and DOWN keys to select a value
between 001 and 127 , making sure that this
ID is unique in your setup.
You can also use the function keys as number keys
(see 5.2.2, “Using the function keys as number
keys”) to enter the MIDI ID directly.
You can also select the value Receive All ,
which allows the DA-98 to accept all MMC commands transmitted over the MIDI network (this
setting has no effect if Bus is selected).

11.3 MIDI Machine Control
As well as control from the 9-pin RS-422 port, the
DA-98 can also accept commands received at the
MIDI IN port (page 3-1) using the MIDI Machine
Control protocol.
Set the MIDI ID using the method described
immediately above.
The MMC commands used by the DA-98 are
listed in see 15, “Options, specifications and reference”.
The control source must be set to MIDI (see
11.0.1, “Selecting the control source (protocol)”)
for this to be effective.
The implementation of the MIDI Machine Control
protocol and the commands which are available
are described in 15.3, “MMC Bit Map Array”.

11.3.1 MMC commands and the DA-98
An example of a MIDI sequencer being used to
control a DA-98 (using the auto-punch of the
sequencer to punch in and out on the DA-98

Section 11 – External control

tracks) is given below. Note that the sequencing
software must be able to transmit MMC commands and also to sync to MTC for this to be
effective:
MIDI IN (2)
(keyboard events) MIDI IN (1)
(MTC)

MIDI OUT (1)
(MMC commands)

MIDI OUT (2)
(musical data)

MIDI OUT
(MTC)

MIDI IN

MIDI OUT
(keyboard events)

The sequencer is set up to transmit MMC commands, and is set so that it synchronizes to
SMPTE/MTC.
When a “transport” command is given from the
sequencer, the appropriate MMC command is
transmitted to the DA-98. When the DA-98 has
located and starts playback (or recording), the
MTC is transmitted back to the sequencer, which
locks in and starts at the correct point.
In this way, though the DA-98 is the timecode
master, the sequencer is the transport master.
The arrangement shown here uses 2 inputs to the
sequencer. The same effect could be achieved with
the intelligent use of filtering mechanisms.

06/97 – 1.00 – 11-5

Section 11 – External control

11-6 – 1.00 – 06/97

Section 12 – Menu and parameter reference

12 – Menu and parameter reference
12.1 Menu groups
This section provides a quick guide to the menus and their functions, providing a list of menus in each menu
group, the parameters available in each menu, and the values that each parameter can take (default values are
underlined). There is also, wherever appropriate, a reference to the section of the manual which describes the
function.
Please note the 12.2, “Menu item index” which provides an alphabetically-sorted list of menu functions.

12.1.1 Menu group 0
Delay
Trk Copy
Vari Spd

Menu item

Track Delay Time

Parameter(s)
Track
Delay time
Unit

Track Copy

Track source

Enabled

Vari Speed
Memo 1
Memo 2
Locate Pre-roll

Enabled
Amount
Time value

Minutes and
seconds

Memo 1
Memo 2
Loc Pre

Values

1 through 8, All
-200 through 7200 (samples) -4
through 150 (msec) – default 0
sample , msec
Input (digital or analog) 1 through 8 or track 1
through 8. Default is straight-through input to
tracks assignment

Reference
8.3, “Track delay”

8.11.1, “Track Copy
(channel-to-track
routing)”

Turns track copy operations on or off

Fix, Vari
-6.0% through +6.0% (default is
0.0% )
Defaults to 00:00:00:00
00min00sec through
59min59sec

8.5, “Vari speed
(pitch control)”

8.1, “Autolocation”

8.1.3, “Setting the
location pre-roll
time”

06/97 – 1.00 – 12-1

Section 12 – Menu and parameter reference

12.1.2 Menu group 1
In
Point X-Fade
Out Point Dither
Pre/Post
Rec Mute

Menu item

Parameter(s)

Values

Time value

Defaults to 00:00:00:00

Pre-roll time
Post-roll time

00m05s through 59m59s
00m03s through 59m59s

Crossfade Time

Milliseconds

10 ms through 200 ms in 10 ms steps

Dither

Type of dither

Rec Mute

Track muting

Punch-in Point
Punch-out point
Pre-roll Postroll

off, Rectangular , Triangular
On or off for each track

Reference
6.6, “Punch-in and
punch-out”
6.6.4, “Editing the
pre-roll and postroll times”
8.4, “Crossfade
times”
8.13, “Dither”
8.12, “REC MUTE
(recording silence)”

12.1.3 Menu group 2
Shtl Mute MeterMode
Word Len
Sine Osc.
Ref Level PwrOn Msg

Menu item

Parameter(s)

Values

Shuttle Mute

Enabled

off or on

TDIF Word Length
Analog In/Out
Reference Level
Level Meter Mode
Sine Oscillator
Power-on
Message

Length in bits of
incoming data
Reference level
in dB
Hold time
Release rate
Enabled
Up to 20 alphanumeric characters

16 bit , 20 bit , 24 bit
-16dB , -18dB , -20dB
0 to 9 seconds or Continue (default
1)
Slow, Fast, Medium
off, 440 Hz, 1 k Hz
If INIT is selected, defaults to TASCAM .
CLEAR clears all entered characters.
A through Z, 1 through 9, - , . and
space may be entered

12-2 – 1.00 – 06/97

Reference
8.6.2, “Shuttle muting”
8.10.2, “Selecting
word length”
8.7, “Reference levels”
8.8, “Meter modes”

8.9, “Sine oscillator”
8.14, “Setting the
power-on message”

Section 12 – Menu and parameter reference

12.1.4 Menu group 3
Mcn ID
Ctrl Prt
McnOffset Trk Arm
TimeMode

Menu item

Machine ID
Machine Offset

Parameter(s)
Machine ID for
synchronization
Time value to
frame accuracy

Values

1 through 16
Defaults to +00:00:00:0 0

Time Mode

Time reference

± 02:00:00:00
ABS, TC

Control
Protocol

Type

9Pin , MIDI , Bus, off

Remote Track
Arming

Enabled

enable , disable

Reference
9.2.2, “Setting
machine ID”
9.3.1, “Setting
machine offset”
10.1.3, “Selecting
TC or ABS timing”
11.0.1, “Selecting
the control source
(protocol)”
11.1.8, “Remote
track arming”

12.1.5 Menu group 4
TcChs Rec TC Offset
RechsMode Park Posi
ErrBypass

Menu item

Parameter(s)

Values

TC Chase Indiv.
Rec

Enabled

enable , disable

Rechase mode
Error Bypass
Timecode Offset
Park Position

Mode
Window
Time in frames
Time to subframe accuracy
Test
Manual entry

rechase , free
1 sec , 2 sec
10 Frame , 30 Frame
Defaults to +00:00:00:00.0 0

±12:00:00:00.00
off, on
00s00f through 2 seconds minus 1 frame

Reference
10.7.11, “Individual
recording while
chasing timecode”
10.7.9, “Rechasing
timecode”
10.7.10, “Bypassing
timecode errors”
10.7.2, “Setting
timecode offset”
10.7.6, “Park position”

06/97 – 1.00 – 12-3

Section 12 – Menu and parameter reference

12.1.6 Menu group 5
TC Frame
Fast LTC
Ou tTc Tmg Vid Rslv
Ou tTc Src Tape TC

Menu item

Parameter(s)

TC Frame Mode

Frame Rate

Output TC Timing
Output TC Source
Fast LTC Mode
Video Resolve
Tape TC Mode

Output reference
Source of timecode output

Linear timecode in fast
wind
Enabled
Mode
Mode

Values

30 DF, 30 NDF, 29.97 DF,
29.97 NDF, 25 F, 24 F
Analog , Digital
TAPE (ABS or TC Track),
External (regen) ,
External (reshape)
05 Frame , Leap , off
on, off
free , re-sync
TcTrack , ABS, ABS-Ofs a, ABS13, ABS-23

Reference
10.3, “Selecting the
frame rate”
10.4.4, “Timecode
output timing”
10.4.2, “Timecode
output”

10.4.3, “Timecode
output format”
10.6, “Video resolution”
10.2, “Tape timecode mode”

a. If the ABS-Ofs (Absolute timing with offset) option is selected, the bottom line of the display changes to allow
direct entry of the desired offset value.

12-4 – 1.00 – 06/97

Section 12 – Menu and parameter reference

12.1.7 Menu group 6
Eml Dev
Rec Dly
Trk Map

Menu item

Parameter(s)

Emulation
Device

Device name

Record Delay

Time in frames

TC Rec EN
Fast Spd
Cueup Tly

Values

PCM-7050 , BVH-3000 , BVU950, BVW-75 , PCM-800 , BVH2000 , DVR-10 , TASCAM
0 through 9 frames or Auto (the number
of frames depends on the selected emulation)

Track Mapping

Track maps

TC Record Enable

Enabled

Fast Wind Speed
Cueup Tally

Various mappings of DA-98 tracks to analog/
digital. Default is DA-98 tracks 1 through 4
correspond to analog tracks 1 through 4 and
DA-98 tracks 5 through 8 correspond to digital
tracks 1 through 4.

disable , enable

Referenced to
play speed
Message to
remote

x 100 , x 8
Stop , Still

Reference
11.1.2, “Emulation”

11.1.3, “Record
delay”
11.1.6, “Track mapping”

11.1.7, “Timecode
track mapping”
11.1.5, “Fast wind
speed”
11.1.4, “Cue-up
tally”

12.1.8 Menu group 7
MTC Out
MIDI ID
FunctMode Loc(Func)

Menu item

MTC Output
Function Key
Mode Select
MIDI/Bus ID
Locate Position
(Function Key)

Parameter(s)
Output
Fast wind mode
Stop
Mode for function keys
MIDI ID for
MMC
Enabled

Values

on, off
on, off
on, off
Menu , Locate Position ,
10 Key
001 through 127, Receive All
off (if function key mode is
“Locate Position ”, location

Reference
10.4.5, “Using
MIDI Time Code
(MTC)”
5.2, “Function key
modes”
11.2.1, “Assigning a
MIDI and Bus ID to
the DA-98”
8.2.2, “Editing function key memories”

point is displayed. If the function key mode is
not “Locate Position ”, off is
displayed)
Function key
Time value

F. 1 through F.10
Defaults to 00:00:00:00
06/97 – 1.00 – 12-5

Section 12 – Menu and parameter reference

12.1.9 Menu group 8
Gen Start Fs Shift
Gen Mode
TcRec Src

Menu item

Parameter(s)

Values

Generate Start
Time

Time value

Defaults to 00:00:00:00

Run/Stop
Mode

Stop , Run
Reset , Continue

Generate Mode
Fs Shift Mode
TC Record Source

Pull up/down
parameters

Timecode
source

Reference

off, Pull Down 30NDF ,
Pull Up 29.97NDF ,
Pull Up 29.97 DF, Pull
Down 30DF
External TC , Generator
TC, Tape a

10.5.2, “Recording
timecode using the
generator”
10.5.2, “Recording
timecode using the
generator”
10.3.1, “Pull up and
pull down (Fs shift)”

10.5.1, “Selecting
the timecode source”

a. If Tape is selected, there will be another parameter automatically appended. This parameter will be Assemble, ABS, ABS/Offset , ABS/Auto13 or ABS/Auto23 depending on the setting made in the
Tape TC Mode menu (page 12-4).

12.1.10Menu group 9
Cleaning
BER Disp

Menu item

Cleaning

Parameter(s)

Mode

Block Error Rate
Setup

12-6 – 1.00 – 06/97

on/off
Counter

Setup

Values

off, on
Automatically incremented

Tape area

Tape Edge ,Tape Center

Setup memories
Load/Save

1, 2 , 3 and F (factory)
Load , Save

Reference
14.1.1, “To clean
the heads and transport”
14.1.2, “Checking
error rates”
14.3.1, “Saving user
setups”

Section 12 – Menu and parameter reference

12.1.11Menu group E
Ext TC
Tape TC
Gen TC

Menu item

Ext TC
Tape TC
Gen TC
Abs Diff
Rel Diff

Parameter(s)

Abs Diff
Rel Diff

Values

There are no user-settable values in this menu. Moving the cursor
to the menu item will display the relevant value on the bottom line
of the display.

Reference
10, “Operations
related to timecode”

10.7.8, “Absolute
and relative difference”

12.1.12Menu group F
Sys Ver
Front Ver
Servo Ver Sync Ver
Dr Total
Dr Search

Menu item

Sys Ver
Front Ver
Servo Ver
Sync Ver
Dr Total
Dr Search

Parameter(s)

Values

There are no user-settable values in this menu. Moving the cursor
to the menu item will display the relevant value on the bottom line
of the display.

Reference
14.4, “Checking version numbers”

14.1.3, “Checking
head time”

06/97 – 1.00 – 12-7

Section 12 – Menu and parameter reference

12.2 Menu item index
Use this alphabetical list when you want to find out quickly to which menu group a menu item belongs.
Menu Item

Abs Diff
Analog In/Out Reference Level
Block Error Rate
Cleaning Mode
Control Protocol
Crossfade Time
Cueup Tally
Dither
Dr Search
Dr Total
Emulation Device
Error Bypass
Ext TC
Fast LTC Mode
Fast Wind Speed
Front Ver
Fs Shift Mode
Function Key Mode Select
Gen TC
Generate Mode
Generate Start Time
Level Meter Mode
Locate Position (Function Key)
Locate Pre-roll
Machine ID
Machine Offset
Memo 1 & Memo 2
MIDI /Bus ID
MTC Output
Output TC Source
Output TC Timing
12-8 – 1.00 – 06/97

Menu
group

Menu Item

Park Position
Power-on Message
Pre-roll Post-roll
Punch-in Point
Punch-out point
Rechase mode

Record Delay

E
2
9
9
3

1
F
F
6
4
E
5
6
F
8
7
E
8
8
2
7
0
3
3
0
7
7
5
5

Record Mute
Rel Diff
Remote Track Arming
Servo Ver
Setup
Shuttl e Mu te
Sine Oscillator
Sync Ver
Sys Ver
Tape TC
Tape TC Mode
Tc Chas e Indiv. Rec
TC Frame Mode
TC Record Enable
TC Record Source
TDIF Word Lengt h
Time Mode
Timecode Offset
Track Copy
Track Delay Time
Track Mapping
Vari Speed
Video Resolve

Menu
group
4
2
1
1
1
4
6
1
E
3
F
9
2
2
F
F
E
5
4
5
6
8
2
3
4
0
0
6
0
5

Section 13 – Example setups

13 – Example setups
This section gives a few examples of how the DA-98 might be used in real-world situations together with
other equipment.

13.1 An all-DA-98 setup
In this example, a small audio studio offers its clients 24 digital tracks by using three DA-98s synchronized
together.
LARGE MONITOR

LARGE MONITOR
NEAR FIELD MONITOR

DA-98

SYNC

POWER AMP

SYNC

METER UNIT
METER

REMOTE

REMOTE CONTROLLER
EFFECTORS
DAT
FROM STUDIO
TO STUDIO
MD
MIXING CONSOLE
CASSETTE

Many of the clients bring in worktapes or basic tracks recorded on their home DA-38s or from smaller project
studios using a DTRS machine. The DA-98s in the studio can, naturally, use these tapes.
If a client brings in a different model of (timecode-based) machine and tape from a project studio, the DA98’s timecode facilities are used. Usually, though, timecode synchronization is not used, and the DA-98s are
synchronized using DTRS synchronization.
The mixing console is a TASCAM M-5000 console. Since the integral patchbay of this console is already fitted with D-sub connectors, the cabling requirements are reduced – all track inputs and tape returns are carried
on six cables, rather than 48.
05/30/97 – 1.00 – 13-1

Section 13 – Example setups

The tape returns and inputs are fed directly using cables such as the PW-10D and PW-4D into the patchbay’s
25-pin D-sub connectors.
The studio is a small one, so there is no separate machine room, but the compact size of the DA-98 allows 24
fully-digital tracks to be kept in only 12U of rack space. A remote control and metering unit allows the whole
studio to be controlled from one central location.
Mastering mixdown is carried out to DAT (TASCAM DA-30 MK II), with “take-home” copies made on
MiniDisc (TASCAM MD-801) and analog cassette (TASCAM 302).

13.2 Post-production work.
TV MONITOR
SYNC GENERATOR

VTR

REF IN

VIDEO OUT

TC OUT

LARGE MONITOR

LARGE MONITOR
NEAR FIELD MONITOR

VIDEO IN

TC IN

DA-98

SYNC
VIDEO IN

TC IN

POWER AMP

SYNC
VIDEO IN

POWER AMP

TC IN

METER UNIT
METER

REMOTE
REMOTE

REMOTE CONTROLLER/EDITOR
EFFECTORS
VIDEO IN

ANNOUNCER'S BOOTH

TC IN

DAT

MD
MIXING CONSOLE
(AUTOMATION)
CD

In the post-production world, the DA-98 excels, thanks to its flexible and sophisticated synchronization capabilities, which give it more control than ever before. The three DA-98 units are linked together in a timecode
“daisy” chain, allowing them to function as one 24-track recorder, whether or not timecode is being received
from the master source. The first (master) DA-98 has its timecode output set to TC Track, which means that
13-2 – 1.00 – 05/30/97

Section 13 – Example setups

when timecode is received, it is re-transmitted, together with the offset set on the master unit(see 10.7.5, “Setting timecode offset on-the-fly”) . The slave DA-98s output reshaped timecode. When timecode is not being
received, and the 3 DA-98s are to act as a single independent multitrack recorder, the CHASE key of the master DA-98 is the only key that needs to be pressed to change modes.
Each track can be individually delayed, with the delay units being selectable between milliseconds and samples, allowing even more precise synchronization.
Telecine facilities can also benefit from the extensive range of pull-up and pull-down sampling frequencies,
allowing easy synchronization, even with the non-integer ratios imposed when converting standard 24fps film
material to NTSC drop-frame color.
The DA-98 has the advantage of media compatibility with the DTRS tapes received from smaller suites and
project studios, allowing a complete multitrack soundtrack to be built up from different sources.
In addition, the integration of the DA-98 into the post-production environment is completed by its extensive
emulation facilities, allowing it to interface with a wide range of editor/controllers, reducing the need for
additional investment. As new equipment is introduced, the “future-proof” nature of the DA-98 makes it
ready for future developments

05/30/97 – 1.00 – 13-3

Section 13 – Example setups

13.3 Project studio (‘B’ room)
The DA-98 provides an excellent recording solution for the smaller project studio.
SEQUENCER
KEYBOARD

MIDI INTERFACE
MIDI IN

MIDI OUT

MIDI IN

MIDI OUT

SOUND
MODULE

MMC

MTC

MIDI IN

MIDI IN
MIDI OUT

MIDI IN

DA-98
MIDI IN

SYNC

DA-38
SYNC

DA-38
MONITOR SPEAKERS

MIXER

EFFECTORS

AMP

Since the machine itself is relatively small and portable, it can be transported to larger assembly studios
which are not equipped with DTRS recorders. When the assembly studios use DTRS units, of course, the
small size and compact nature of the Hi8 cassette medium makes it easy to transport working (and even master) tapes between locations.
Should the DA-98 be moved between locations, the different user setup memory banks allow instant switching of the DA-98 from the “master recorder” role in the project studio, to the “secondary recorder” role in the
larger studio.
Digital dubbing involves no loss of quality, so project studio tapes may be duplicated as often as required,
and the quality of the tapes produced “at home” is equal to those produced in the larger studio.
The DA-98 can be considered, in many ways, as a modular multitrack system, and hence the number of
tracks available to the project studio can be incremented at relatively little cost and with no learning curve for
the expansion. For project studios which are already using DTRS machines and require a little more functionality than is available from, say, the DA-38, the DA-98 represents an attractive upgrade path, adding addi13-4 – 1.00 – 05/30/97

Section 13 – Example setups

tional tracks and integrated synchronization to the existing DA-38 system, while providing total media
compatibility with existing recordings, as well as a familiar user interface.
The MIDI capabilities of the DA-98 are also of great value to the smaller studio, allowing the integration of
the DA-98 with existing MIDI systems, synchronized using MIDI Time Code and, through MMC integration,
effectively turning the digital audio tracks of the DA-98 into extra tracks of the sequencer.
Since recording can be carried out at the same time as formatting, it is possible to record whenever inspiration strikes, rather than being held back by the limitations of technology.

05/30/97 – 1.00 – 13-5

Section 13 – Example setups

13-6 – 1.00 – 05/30/97

Section 14 – Maintenance and memory setups

14 – Maintenance and memory
setups
14.1 Head and transport
cleaning
The DA-98 incorporates an internal cleaning
mechanism that not only cleans the rotary head,
but also the tape as it enters the tape path. The provision of this cleaning mechanism significantly
reduces the need for manual cleaning. If, despite
the internal cleaning mechanism, the PB CONDITION indicator (page 2-1) lights, the heads are
dirty and manual cleaning procedures should be
followed.
Use a TEAC HC-8 cleaning tape (recommended)
or a dry cleaning tape specially designed for Hi8
8mm video equipment.

will shorten the time between cleaning operations.
NOTE
Most name brand tapes are of very high quality. However, it is sometimes possible to receive “bad” stock
which exhibits execssive shedding characteristics. If you
receive such tape stock, stop using it immediately, and
follow the cleaning procedure as described below.

14.1.1 To clean the heads and transport
1) Use the cursor keys [25] so that the cursor is by
menu group 9, and then press ENTER [27].

Select Menu Group
0 1 2 3 4 5 6 7
8 9 . . . . E F
Clen/BER/Setup
If you do not see the screen above, press the
ESCAPE key [27] until it appears.

WARNINGS
NEVER use a wet-type cleaning tape, as this will result
in winding problems.
The use of the dry tape will reduce the head life of the
DA-98 by about five hours. Use of manual cleaning is
therefore discouraged.

We recommend the following schedule (based on
our experience with the DTRS system) for cleaning and maintenance schedules. See 14.1.3,
“Checking head time” below for details of how to
check head usage time.
Every 350 to
400 hours

Every 1000
hours (every
third cleaning)

Perform manual cleaning of heads and
guides as described below. Check the
tape path alignment after cleaning.
This requires proper test and measurement equipment, and should be performed only by qualified service
personnel.
A complete alignment check should be
performed.

The above cleaning cycle timings are based on the
assumption that the DA-98 is being operated in a
clean environment. A dusty or smoky atmosphere

2) Within menu group 9, move the cursor so that
it is by Cleaning ,

Cleaning
BER DISP

Setup

Count:0000

off

3) Press ENTER:

Cleaning Mode
Count:0001

off

4) Press the UP or DOWN key to set the cleaning
mode to on.
If a tape has already been loaded, it will automatically be ejected.

5) Insert the cleaning tape.
6) The cleaning tape will “play” for about 5
seconds and then be ejected automatically. The
cleaning counter (number of times the heads
have been cleaned) will be incremented by one.
06/97 – 1.00 – 14-1

Section 14 – Maintenance and memory setups

•

Do not attempt to rewind or fast forward the
cleaning tape, either in the DA-98 or in a video
unit. Simply insert it into the DA-98 when you
use it the next time.

•

Excessive cleaning can cause excessive wear
on the heads. Do not clean the heads too frequently, and never perform the head cleaning
procedure more than 5 times running.

•

In addition to cleaning the heads, we recommend that you have the DA-98 checked by an
authorized TASCAM service technician every
500 hours or so of use.

14.1.2 Checking error rates
If you hear noise and distortion on playback, even
after cleaning the heads, or if you are presented
with a tape of dubious quality, you may want to
check the error rate of the tape.
You can check the error rates at two tape positions, edge and center, for each of the two heads.
1) Use the cursor keys [25] so that the cursor is by
menu group 9:

Select Menu
0 1 2 3 4
8 9 - - Version/Drum

Group
5 6 7
- E F
time

2) Press ENTER:

Block Error Rate
AHead
BHead
Tape Edge
3) Use the UP and DOWN keys to select between
Edge and Center.
Block errors are shown by a solid block. It is inevitable that there will be a few errors, but if the display consists mainly of solid blocks while the tape
is playing, something is wrong (and you will
almost certainly be able to hear it!).
Use this display to show where the tape is in error,
and which head is causing errors. In this way, you
can pinpoint the cause of trouble.

14-2 – 1.00 – 06/97

If playing another tape seems to remove the errors,
the problem is with the tape, otherwise you may
want to clean the heads (see 14.1, “Head and transport cleaning”). Remember not to clean the heads
more than 5 times in a row.
NOTE
If, after trying different tapes and cleaning the heads,
you still see many errors, you should contact a TASCAM service technician to check your DA-98.

14.1.3 Checking head time
This function allows you to check the number of
hours that the head has been used in play or record
mode.
1) Use the cursor keys [25] so that the cursor is by
menu group F, and then press ENTER [27].

Select Menu
0 1 2 3 4
8 9 - - Version/Drum

Group
5 6 7
- E F
time

2) Within menu group F, move the cursor so that
it is by the Dr total field. The number of
whole hours that the head has been in use will
be shown on the bottom line of the display.

Sys ver
Front ver
Servo ver Sync ver
Dr total Dr search
0014
14.1.4 Checking head search time
This allows you to check the number of hours that
the head has spent in fast forward and rewind
modes:
1) Use the cursor keys [25] so that the cursor is by
menu group F:

Select Menu
0 1 2 3 4
8 9 - - Version/Drum
2) Press ENTER.

Group
5 6 7
- E F
time

Section 14 – Maintenance and memory setups

3) Within menu group F, move the cursor so that
it is by the Dr search field. The number of
whole hours that the head has been in use for
fast forward and fast rewind will be shown on
the bottom line of the display.

Sys ver
Front ver
Servo ver Sync ver
Dr total Dr search
0002

14.2 Memory backup
The DA-98 includes non-volatile memory
(NVRAM) which preserves almost all user settings after the power is turned off.

3) Move the cursor to 1, 2 or 3, and press the UP
or DOWN key:

Setup
Ready ?
Save 1 2 3
4) The word Ready? will flash on the screen. To
save the current setup to the selected setup
memory, press the UP or DOWN key.
The word Done will appear on the screen for
about 2 seconds and the user settings will be
stored to the selected setup memory bank.

14.3.2 Loading user setups

14.3 User setups
You can save commonly-used setups in one of
three user setup memory banks: 1, 2 or 3. This
enables you to pre-configure the DA-98 for different jobs (video or film post-production, or different recording setups, for example). There is also a
preset memory bank which contains the factory
settings (see below).
When the DA-98 is shipped, the contents of all
setup memories are the same; they contain the factory settings.

14.3.1 Saving user setups
1) Go to menu group 9, move the cursor to
Setup and press ENTER:

Setup
Load

1 2 3 F

2) To load the setup memory into the current
memory, use the UP and DOWN keys so that the
bottom line reads Load :

Setup
Load

1 2 3 F

3) Move the cursor to 1, 2 or 3, and press the UP
or DOWN key:

1 2 3 F

2) To store the current setup, use the UP and
DOWN keys so that the bottom line reads
Save :

Setup
Ready ?
Load
1 2 3 F
The word Done will appear on the screen for
about 2 seconds..

Setup
Save

1) Go to menu group 9, move the cursor to
Setup and press ENTER:

1 2 3

The contents of the currently-selected setup will
be loaded into memory.
06/97 – 1.00 – 14-3

Section 14 – Maintenance and memory setups

14.3.3 Resetting the memory
You may sometimes want to reset all of the memory to factory settings. The values of all the factory settings are listed in 12, “Menu and parameter
reference”.
1) Go to menu group 9, move the cursor to
Setup and press ENTER:

Setup
Load

Sys ver
Front ver
Servo ver Sync ver
Dr total Dr search
Ver 1.00
14.4.1 Software upgrades

1 2 3 F

2) Press UP or DOWN to select Load from
between Load and Save .
3) Use the RIGHT key to move the cursor to F
(factory). Press the UP key, and you will see the
word Ready? flashing on the screen.
4) Press the UP key again to change the Ready ?
to Done. This confirms that the memory has
been reset to factory settings.

14.4 Checking version
numbers
In case of problems, you may need to quote the
version number of the DA-98’s internal software
components to a TASCAM representative.
1) Use the cursor keys [25] so that the cursor is by
menu group F, and then press ENTER [27].

Select Menu
0 1 2 3 4
8 9 - - Version/Drum

Group
5 6 7
- E F
time

2) Within menu group F, move the cursor so that
it is by the Sys ver (system version),
Front ver (front panel software version),
Servo ver (servo control software version)
or Sync ver (version of the

14-4 – 1.00 – 06/97

synchronization software) field. The version
number of the appropriate software will be
shown on the bottom line of the display.

TASCAM pursues a policy of continuous
improvement to products, and there may be future
enhancements to the DA-98 software. Your TASCAM dealer will be able to advise you of developments in this area.

Section 15 – Options, specifications and reference

15 – Options, specifications
and reference

Accuride strips are fitted as shown below:

15.1 Options for the DA-98
You can purchase a number of options through
your TASCAM dealer.

15.1.1 RM-98 Rack Mount Adaptor
The RM-98 Rack Mount Adaptor consists of a
pair of rack handles which can be fitted to the DA98 to help with removing it from the rack for
transportation, etc.
To fit these handles, you must first remove the
rack mounting ears fitted to the DA-98 as shipped,
and attach the handles as shown in the illustration
below.

Make sure that all screws and bolts are securely
tightened before replacing the DA-98 in the rack.

15.1.2 Remote control (RC-848)
The RC-848 Multi-unit Remote Controller can be
used with the DA-98 as well as the DA-88 and
DA-38 DTRS recorders. However, note that not
all functions of the DA-98 can be used with the
RC-848.
The RC-848 can be rack-mounted using the RM8824, or placed on a roll-around stand (CS-848).
If a longer cable is required, the 10 meter (30 ft.)
PW-848L can be used.
The RC-848 can also be connected to units with
an ACCESSORY-2 connector. For these purposes,
the PW88-AC2 cable is required.

The DA-98 is also fitted with screw holes in the
case which allow you to fit Accuride1 200 series
guide rails (18” or 20”) which also help with
removing and replacing the DA-98 from and to
rack installations.

•

If an RC-848 controller is used, it should be
connected to the DA-98’s REMOTE IN/SYNC IN
connector [43].

•

Up to 6 DTRS units can be controlled using
one RC-848 controller.

•

The first DA-98 or DA-38 unit in the chain
should be given Machine ID 1 (ID 0 for DA-88
units), even if an RC-848 is used.

•

The last DTRS unit in the chain (even if it is the
only one) must be terminated at the SYNC OUT
connector [44] using a TASCAM terminator.

15.1.3 Meter unit (MU-8824)
1

Accuride is a registered trademark of Accuride
International Inc.

The optional MU-8824 external meter bridge unit
can be connected using a PW-88M cable from the
METER UNIT connector [46].
06/97 – 1.00 – 15-1

Section 15 – Options, specifications and reference

The meter can be rack mounted using the RM8824 rack mount angle accessory or mounted on
the RC-848 using the MK-8824 mounting kit.
No settings are necessary on the DA-98 to use this
meter unit.

15.1.4 Digital audio convertors
TASCAM supply two types of convertor which
allow conversion between TDIF-1 and other digital audio formats.

Cable

Purpose

PW-1ES

1m (3 ft.) standard 9-pin RS-422 cable

PW-5ES

5m (15 ft) standard 9-pin RS-422 cable

PW-88M

External meter connecting cable

15.1.6 CONTROL I/O connector pinout
Pin
No.

Signal

Pin
No.

Signal

PLAY

SUB GND

FFWD

SERIAL OUT

REW

–

AUX 1

SERIAL IN

STOP

–

REC

2 FS

AUX 2

FLAG 1

CHASE

FLAG 2

–

Purpose

SUB GND

2F SYNC

PLAY TALLLY

F SYNC

PW-SD1

IF-88→SDIF-2

11
12

FFWD TALLY

–

PW-SD2

SDIF-2→IF-88

REW TALLY

SRCK

The IF-88AE converts between eight audio channels of TDIF-1 and AES/EBU (SPDIF), and the
IF-88SD converts between eight audio channels of
SDIF-2 and TDIF-1.
The cables used to connect the IF88-SD to the
SDIF-2 device are:
Cable

15.1.5 Cables
As mentioned, TASCAM cannot accept any
responsibility for damage caused by the use of the
wrong cables.
Always consult your TASCAM dealer to see if
there is a ready-made cable to meet your needs.
The TASCAM cables to be used with the DA-98
(at the time of writing this manual) are given in
the table below:
Cable

Purpose

PW-88D

1 m (3 ft.) DA-98
bing cable

↔ DTRS digital dub-

PW-88DL

5 m (15 ft.) DA-98 ↔ DTRS digital dubbing cable

PW-88S

1 m (3 ft.) DA-98 ↔ DTRS sync cable

PW-2D

2m (6 ft.) analog balanced audio I/O cable
(e.g. DA-98 ↔ M1600)

PW-4D

4m (12 ft.) analog balanced audio I/O cable
(e.g. DA-98 ↔ M1600)

PW-10D

10m (30 ft.) analog balanced audio I/O
cable (e.g. DA-98 ↔ M1600)

15-2 – 1.00 – 06/97

STOP TALLY

–

REC TALLY

LOAD

LOCK TALLY

–

AUX 1 TALLY

SUB GND

AUX 2 TALLY

SUB 5 V (max 50mA)

ACTIVE SENSE

Section 15 – Options, specifications and reference

15.2 Specifications

Maximum recording time
Other features

15.2.1 Physical specifications

108 min (using P6 120 tape)
Up to 16 DTRS units can be
synchronized, giving up to
128 recording tracks

357mm
330mm

Size (exc feet) w x h x d
Weight

176mm
11mm

101.6mm

482mm
465mm
430mm

482 x 176 x 357 (mm)
19 x 6.9 x 14.1 (in)
11 kg (24 lb)

15.2.2 Power specifications
Power requirements

Power consumption

USA/Canada 120 VAC, 60 Hz
U.K./Europe 230 VAC, 50 Hz
Australia 240 VAC, 50 Hz
62W

15.2.3 Digital recording characteristics
Number of recording tracks 8
Sub-code
ABS track, SMPTE/EBU
timecode facility
Sampling frequency
44.1 kHz, 48 kHz
Recording resolution
16 bits linear
Error correction
Double-encoded ReedSolomon code

15.2.4 Tape recorder section
Format
Recording method
Tracking method
Erasure method
Head construction
Tape type

DTRS format
Rotary-head, helical-scan
method
ATF
Overwrite
2 x record, 2 x playback
Hi8 MP tape / Hi8 ME

06/97 – 1.00 – 15-3

Section 15 – Options, specifications and reference

15.2.5 Tape transport
Vari speed
Fast forward/rewind time
Time to play from stop
Search speed
Shuttle speed

Positioning accuracy
Positioning lock time

±6% (0.1% steps)
80 seconds (using P6 120
tape)
Less than 2 seconds
Maximum of 100 x play
speed
Forward and reverse at 8.0,
4.0, 2.0, 1.0, 0.5 and 0.25
play speed (1.0 speed available only in forward shuttle
mode)
To 1 sample
Within 8 seconds (when
locating 2 DA-98s synced
together)

Video INPUT/THRU

MIDI
RS-422

NTSC or PAL
Negative Sync Composite
Video, Sync Composite
Video or Frame Pulse (auto
detect)
1 V p-p, ±0.2 V (Negative
Sync Composite Video or
Sync Composite Video)
TTL Level (Frame Pulse)
THRU automatically terminated (75Ω)
IN, OUT, THRU
D-sub 9-pin
Conforms to RS-422 specifications

15.2.7 Audio specifications
15.2.6 Inputs and outputs
Analog inputs

Analog outputs

Digital I/O
Remote in/sync in

Sync out

Word clock in/thru

Word clock out
Level meter output
Timecode input

Timecode output

15-4 – 1.00 – 06/97

D-sub 25-pin balanced
+4 dBu nominal (fullscale
–16, –18 or –20 dB,
selectable)
Impedance: 20kΩ
D-sub 25-pin balanced
+4 dBu nominal (fullscale =
–16, –18 or –20 dB,
selectable)
Maximum output levels
+20 dBu (ref. level –16 dB)
+22 dBu (ref. level –18 dB)
+24 dBu (ref. level –20 dB)
Impedance: 10kΩ
D-sub 25-pin
TDIF-1 format
D-sub 15-pin
Conforms to REMOTE IN/
SYNC IN protocol
D-sub 15-pin
Conforms to REMOTE IN/
SYNC IN protocol
BNC connector, 75Ω at TTL
level ON/OFF (THRU autoterminated)
BNC connector, 75Ω at TTL
level
D-sub 15-pin
XLR-3 balanced
Input impedance: > 10 kΩ
Input level: 0.5 Vp-p to
10.0V p-p
XLR-3 balanced
Output impedance (< 100 Ω)
Output level: 2.0 V p-p

Maximum output level

Frequency response
Signal-to-noise ratio
(Fs=48kHz, Ref level=
–16 dB)
Dynamic range
(Fs=48kHz, Ref level=
–16 dB)
Total harmonic distortion
and noise

Crosstalk
Emphasis
Cross-fade time
Track delay

Offset

20 dBu, 22 dBu, 24 dBu,

±1dB

3 levels are selectable
Impedance load of 10 kΩ
20 Hz to 20 kHz ±0.5 dB
Source monitor > 100 dB
(22 k LPF and A-weight)
Recording / playback > 97 dB
(22 k LPF and A-weight)
Source monitor > 100 dB
(22 k LPF and A-weight)
Recording / playback > 97 dB
(22 k LPF and A-weight)
Source monitor < 0.006%
Recording / playback
< 0.006% (REC/PLAY
1 kHz SIN full-scale –0.5dB,
22 k LPF and A-weight)
> 90 dB at 1kHz
50/15µs (playback)
10ms to 200ms (10ms increments)
–200 to +7,200 samples (–4
to +150 ms) in single-unit
increments. Can be set in
samples or ms.
±2 hours (to frame accuracy)

15.2.8 9-pin (RS-422), MIDI, synchronizer
specifications
MMC functions

Track delay, track copy controlled by System Exclusive
messages
Supported timecode formats SMPTE 30, 29.97 drop, 29.97
non-drop, EBU 25 and Film
24 fps

Section 15 – Options, specifications and reference

Timecode offset

Video sync

Up to 24 hours (jamsync
capability)
ABS to SMPTE conversion
facility (with offset)
Video frame resolvable even
when VIDEO not selected as
clock source

06/97 – 1.00 – 15-5

Section 15 – Options, specifications and reference

15.3 MMC Bit Map Array
Commands unavailable on the DA-98 are struck through, as for example (RECORD PAUSE).
Byte

Bit 7
-

(06)

(05)

(04)

(03)

(02)

(01)

(00)

RECORD
STROBE

REWIND

FAST

DEFERRED
PLAY

PLAY

STOP

reserved

(0D)

(0C)

(0B)

(0A)

(09)

(08)

(07)

MMC

COMMAND

CHASE

EJECT

PAUSE

RECORD

RESET

ERROR
RESET

PAUSE

RECORD
EXIT

(14)

(13)

(12)

(11)

(10)

(0F)

(0E)

(1B)

(1A)

(19)

(18)

(17)

(16)

(15)

(1F)

(1E)

(1D)

(1C)

c2
c3
c4
c5
c6
c7
c8
c9

c10

c11

c12

FORWARD

0
0
-

(26)

(25)

(24)

(23)

(22)

(21)

(20)

(2D)

(2C)

(2B)

(2A)

(29)

(28)

(27)

(34)

(33)

(32)

(31)

(30)

(2F)

(2E)

(3B)

(3A)

(39)

(38)

(37)

(36)

(35)

(3F)

(3E)

(3D)

(3C)

0
0
0
0
-

(46)

(45)

(44)

(43)

(42)

(41)

(40)

VARIABLE
PLAY

LOCATE

UPDATE

READ

MASKED

WRITE

(4D)

(4C)

(4B)

(4A)

(49)

(48)

(47)

ADD

MOVE

MTC

GENERATOR

ASSIGN

STEP

SHUTTLE

COMMAND

SYS. MAS

(54)

(53)

(52)

(51)

(50)

(4F)

(4E)

DEFERRED

COMMAND

GROUP

EVENT

PROCEDURE

DROP FR.

SUBTRACT

VARI. PLAY

SEGMENT

(5B)

(5A)

(59)

(58)

(57)

c13

Bit 6 (40H) Bit 5 (20H) Bit 4 (10H) Bit 3 (08H) Bit 2 (04H) Bit 1 (02H) Bit 0 (01H)

WRITE

ADJUST
(56)

(55)
REC STROBE
VARIABLE

c14
c15
c16
c17
c18
c19

(5F)

(5E)

(5D)

(5C)

(66)

(65)

(64)

(63)

(62)

(61)

(60)

(6D)

(6C)

(6B)

(6A)

(69)

(68)

(67)

(74)

(73)

(72)

(71)

(70)

(6F)

(6E)

(7B)

(7A)

(79)

(78)

(77)

(76)

(75)

(7E)

(7D)

0
0
0
0
-

(7F)

RESUME

15-6 – 1.00 – 06/97

(7C)
WAIT

Section 15 – Options, specifications and reference

Byte

Bit 7

Bit 6 (40H) Bit 5 (20H) Bit 4 (10H) Bit 3 (08H) Bit 2 (04H) Bit 1 (02H) Bit 0 (01H)

(06)
GENERATOR
TIME CODE

(05)
LOCK
DEVIATION

(04)
ACTUAL
OFFSET

(03)
REQUESTED
OFFSET

(02)
SELECTED
MASTER
CODE

(01)
SELECTED
TIME CODE

(00)
reserved

(0D)
GP5

(0C)
GP4

(0B)
GP3

(0A)
GP2

(09)
GP1

(08)
GP0/LOCATE
POINT

(07)
MTC
INPUT

(14)

(13)

(12)

(11)

(10)

(0F)
GP7

(0E)
GP6

(1B)

(1A)

(19)

(18)

(17)

(16)

(15)

(1F)

(1E)

(1D)

(1C)

(26)
Short
GENERATOR
TIME CODE

(25)
Short
LOCK
DEVIATION

(24)
Short
ACTUAL
OFFSET

(23)
Short
REQUIRED
OFFSET

(22)
Short
SELECTED
MASTER
CODE

(21)
Short
SELECTED
TIME CODE

(20)
reserved

(2D)
Short GP5

(2C)
Short GP4

(2B)
Short GP3

(2A)
Short GP2

(29)
Short GP1

(28)
Short GP0
LOCATE
POINT

(27)
Short
MTC
INPUT

(34)

(33)

(32)

(31)

(30)

(2F)
Short GP7

(2E)
Short GP6

(3B)

(3A)

(39)

(38)

(37)

(36)

(35)

(3F)

(3E)

(3D)

(3C)

(46)
SELECTED
TIME CODE
SOURCE

(45)
TIME
STANDARD

(44)
COMMAND
ERROR
LEVEL

(43)
COMMAND
ERROR

(42)
RESPONSE
ERROR

(41)
UPDATE
RATE

(40)
SIGNATURE

(4D)
RECORD
STATUS

(4C)
RECORD
MODE

(4B)
FAST
MODE

(4A)
STOP
MODE

(49)
VELOCITY
TALLY

(48)
MOTION
CONTROL
TALLY

(49)
SELECTED
TIME CODE
USER BITS

(54)
STEP
LENGTH

(51)
RECORD
MONITOR

(50)
GLOBAL
MONITOR

(4F)
TRACK
RECORD
READY

(4E)
TRACK
RECORD
STATUS

(5B)
GENERATOR
COMMAND
TALLY

(5A)
CHASE
MODE

(59)
RESOLVED
PLAY
MODE

(58)
CONTROL
DISABLE

(57)
LIFTER
DEFEAT

(56)
FIXED
SPEED

(55)
PLAY
SPEED
REFERENCE

(5F)
MTC
SETUP

(5E)
MTC
COMMAND
TALLY

(5D)
GENERATOR
USER BITS

(5C)
GENERATOR
SETUP

(66)

(65)
FAILURE

(64)
RESPONSE
SEGMENT

(63)
VITC INSERT
ENABLE

(62)
TRACK
MUTE

(61)
EVENT
RESPONSE

(60)
PROCEDURE
RESPONSE

r16

(6D)

(6C)

(6B)

(6A)

(69)

(68)

(67)

r17

(74)

(73)

(72)

(71)

(70)

(6F)

(6E)

r18

(7B)

(7A)

(79)

(78)

(77)

(76)

(75)

r19

(7F)
RESUME

(7E)

(7D)

(7C)
WAIT

r10

r11

r12

r13

r14

r15

15-7 – 1.00 – 06/97

(53)
(52)
TRACK INPUT TRACK SYNC
MONITOR
MONITOR

Section 15 – Options, specifications and reference

15.4 MIDI Implementation Chart
T A SC AM Mu l ti t ra c k Di g it a l R ec o rd e r
da t e: 1 99 7 .0 5 .2 0
M o de l D A- 9 8
MI D I I mp l em en ta t io n C ha r t
V e rs i on : 1 .0 0
+- - -- -- - -- - -- - -- - -- -- - -- - -- - -- - -- - -- -- -- - -- -- - -- - -- - -- - -- -- - -- - -- - -- - -+
:
: Tr a ns mi t te d
:
Re c og ni z ed
:
Re m ar k s
:
:
Fu n ct i on
:
:
:
:
:- - -- -- - -- - -- - -- - -- -+ - -- - -- - -- - -- - -- -+ -- - -- -- - -- - -- - -+ - -- -- - -- - -- - -- - -:
:B a si c
D ef au l t : x
: x
:
:
:C h an ne l
C ha n ge d
: 1- 1 6
:
1- 1 6
:
:
:- - -- -- - -- - -- - -- - -- -+ - -- - -- - -- - -- - -- -+ -- - -- -- - -- - -- - -+ - -- -- - -- - -- - -- - -:
:
D ef a ul t : x
: x
:
:
:M o de
Me ss a ge s : x
: x
:
:
:
A lt e re d : * * ** * ** * ** ** * * : x
:
:
:- - -- -- - -- - -- - -- - -- -+ - -- - -- - -- - -- - -- -+ -- - -- -- - -- - -- - -+ - -- -- - -- - -- - -- - -:
:N o te
: x
: x
:
:
:N u mb er : T r ue vo i ce : * * ** * ** * ** * ** * : x
:
:
:- - -- -- - -- - -- - -- - -- -+ - -- - -- - -- - -- - -- -+ -- - -- -- - -- - -- - -+ - -- -- - -- - -- - -- - -:
:V e lo ci t y No t e ON : x
: x
:
:
:
N ot e O FF : x
: x
:
:
:- - -- -- - -- - -- - -- - -- -+ - -- - -- - -- - -- - -- -+ -- - -- -- - -- - -- - -+ - -- -- - -- - -- - -- - -:
:A f te r
Ke y ’s
: x
: x
:
:
:T o uc h
C h ’s
: x
: x
:
:
:- - -- -- - -- - -- - -- - -- -+ - -- - -- - -- - -- - -- -+ -- - -- -- - -- - -- - -+ - -- -- - -- - -- - -- - -:
:P i tc h B e nd e r
: x
: x
:
:
:- - -- -- - -- - -- - -- - -- -+ - -- - -- - -- - -- - -- -+ -- - -- -- - -- - -- - -+ - -- -- - -- - -- - -- - -:
:
1- 8 8 : x
: x
:
:
:
:
:
:
:
:
:
:
:
:
: C o nt r ol
:
:
:
:
:
:
:
:
:
: Ch a ng e
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:

15-8 – 1.00 – 06/97

:
:

:
:
:
:
:
:
:
:

:
:

: Tr u e #

: 0 /1 2 7
:

:- - -- - -- -- - -- - -- - -- - +- - -- -- - -- - -- - -- - +-- - -- - -- -- - -- - -+ - -- - -- - -- -- - -- - -:
:P r og
:

: x
:

:C h an g e : T r ue #
:

: x

: 1- 1 28
:

:- - -- - -- -- - -- - -- - -- - +- - -- -- - -- - -- - -- - +-- - -- - -- -- - -- - -+ - -- - -- - -- -- - -- - -:
:S y st e m E xc lu s iv e : o
:* 1
:
:
:

: o

:
:

:- - -- - -- -- - -- - -- - -- - +- - -- -- - -- - -- - -- - +-- - -- - -- -- - -- - -+ - -- - -- - -- -- - -- - -:
:S y st e m : S o ng P o s : x
:
:
:
:

: S on g Se l

:C o mm o n : T u ne
:

: x

: x
:

: x

: x
:

: x

:- - -- - -- -- - -- - -- - -- - +- - -- -- - -- - -- - -- - +-- - -- - -- -- - -- - -+ - -- - -- - -- -- - -- - -:
:S y st e m
:

:C l oc k

: x
:

: x

:R e al T i me : C om m an d s: x
:
:

: x

:- - -- - -- -- - -- - -- - -- - +- - -- -- - -- - -- - -- - +-- - -- - -- -- - -- - -+ - -- - -- - -- -- - -- - -:
:A u x :L o ca l O N /O F F : x
:
:
:
:

: x

: Al l N ot e s OF F : x
:

: x

:M e s- : Ac t iv e Se n se : x
:
:
:s a ge s :R es e t
:

: x

: x
:

: o

:- - -- - -- -- - -- - -- - -- - +- - -- -- - -- - -- - -- - +-- - -- - -- -- - -- - -+ - -- - -- - -- -- - -- - -:
:N o te s :
(T , R )

: * 1 MM C R P V e r 1. 0 0
:

: ( T) : T r an s mi tt e d :
I d en t it y R e qu e st
(R ) , I de nt i ty Re p ly (T )
:
: ( R) : Re c og n iz e d
Ex c lu s iv e ( R)

T AS C AM Sy s te m
:

: M TC Qu ar t er Fr a me Me s sa ge
(T )
:
+- - -- - -- -- - -- - -- - -- - -- - -- -- - -- - -- - -- - --- - -- - -- -- - -- - -- - -- - -- - -- -- - -- - -+
M od e 1 : OM N I O N,
OM N I O N,
M ON O

P O LY

M od e 2 :
o : Yes

M od e 3 : OM N I O FF , P O LY
M od e 4 :
OM N I O FF , M ON O
x : No

Index

Control protocol 11-1
Crossfade times 8-4
Cue-up tally 11-2
Cursor keys 5-1

A
ABS frame rate 10-1
ABS time 10-1
auto timecode settings 10-3
ABS-13 setting 10-3
Absolute difference 10-12
Absolute time
see “ABS time”
AES/EBU conversion 15-2
ALL INPUT 7-1
Ambient temperature 1-3
Analog audio connections 4-1
Analog outputs
synchronizing with timecode 10-6
Analog timecode connections 4-1
Analog track mapping 11-3
Arming tracks 7-3
Assembling timecode 10-8
Assigning menus to “soft keys” 5-4
Audio connections 4-1
AUTO MON function 7-1
Auto play 8-3
Autolocation
see "Location points"
Automatic park position setting 10-12
Automatic punch point setting 6-4

D
DA-38 9-1
DA-88 9-1
Default settings 14-4
Delaying tracks 8-4
Dew warning 1-3
Digital dubbing 9-4
Digital input selection 8-8
Digital outputs
synchronizing with timecode 10-6
Digital recording characteristics 15-3
Digital track mapping 11-3
Dither 7-2, 8-8, 8-9
DTRS 1-4
DTRS synchronization 9-1
Dubbing 9-4

E
Editing function key memories 8-2
Editing location points 8-1
Editing time values 5-2
Editing values 5-1
Electrical considerations 1-3
Emulation 4-2, 11-1
Environmental conditions 1-3
Error rate checking 14-2
ESCAPE 5-1
ESCAPE key 5-1
Exiting punch-in mode 6-7
External Control
fast wind speed 11-2
External control
bus protocol 11-4
cue-up tally 11-2
emulation 11-1
record delay 11-1
RS-422 11-1
selecting source 11-1
timecode track mapping 11-3
track mapping 11-3
External timecode sources 10-8

B
Backup of parameters 14-3
BER
see “Block Error Rate”
Blanking the screen display 5-2
Block Error Rate 14-2
Bus ID 11-4
Bus protocol 11-4
Bypassing timecode errors 10-13

C
Cables 15-2
Cancelling machine offset 9-3
Cassette types 1-4
Channel-to-track routing 8-8
Chase mode 9-2
Chase to timecode 10-10
Checking error rates 14-2
Checking head search time 14-2
Checking head time 14-2
Checking location points 8-1
Condensation 1-3
Confidence mode 7-2
Control connections 4-2

F
Factory settings
restoring 14-4
Fast Wind Speed 11-2
06/97 – 1.00 – Index-9

Index

Menu operations 5-1
Meter ballistics 8-7
Meter unit 4-3, 15-1
Meters 8-7
MIDI functions 4-3
MIDI ID 11-4
MIDI Implementation Chart 15-8
MIDI Machine Control 4-2, 11-4, 15-6
MIDI Time Code 4-2, 10-6
MMC
see "MIDI Machine Control"
Monitoring 7-1
Monitoring controls 7-1
MP tapes 1-4
MU-8824 4-3, 15-1

Formatting 6-1
Frame rate 10-4
ABS timing 10-1
Fs shift 10-4
Function keys
location memories 8-2
menu setting 5-4
modes 5-2
numerical keypad 5-3
"Ten key" 5-3

G
Generating timecode 10-6

H
Head cleaning 14-1
Head search time, checking 14-2
Head time, checking 14-2

N
9-pin external control
see “RS-422 external control”
Number keys 5-3

O
ID

Offset
DTRS synchronization 9-2
Offset (timecode) 10-11
Off-tape monitoring 7-1, 7-2
Oscillator 8-7
Overdubbing 6-3

see "Machine ID"
INPUT MONITOR 7-1
Input selection 8-8
Inputs and output specifications 15-4
Interrupting a rehearsal or punch recording 6-6

P
Location points
auto play 8-3
auto-repeat 8-3
editing 8-1, 8-2
function key memories 8-2
locating 8-2
setting pre-roll time 8-1
LTC 10-5

M
Machine ID 9-1, 10-10
setting 9-2
Machine offset 9-2
Manually entering location points 8-1
Mapping the timecode track 11-4
Mapping tracks for external control 11-3
Master/slave settings 9-1, 9-2
ME tapes 1-4
Memory backup 14-3
Menu groups 5-1

Index-10 – 1.00 – 06/97

P2 protocol 4-2
Parallel control 4-3
Park position 10-12
Peak hold time 8-7
Physical specifications 15-3
Pitch control 8-5
Post-roll time 6-5
see also “Pre-roll time” 6-5
Power-on message 8-10
Pre-roll time
editing 6-5
location 8-1
punching 6-5
Propagation delay 8-4
Pull up and pull down 10-4
Punch-in mode
exiting 6-7
Punch-ins
crossfade times 8-4
interrupting 6-6
introduction 6-3

Index

recording 6-6
rehearsing 6-6
replaying 6-7
setting punch points 6-4, 6-5
PW-88S (cable) 9-1

Synchronization
PW-88S cable 9-1
with other DA units 9-1
Synchronization connections 4-1, 9-1

T
R
Rack mount adaptor (RM-98) 15-1
Rack mounting 1-3
REC MUTE function 8-9
Rechasing timecode 10-13
Record delay 11-1
Recording punch-ins 6-6
Recording time 1-5
Recording timecode from external sources 10-9
Rectangular dither 8-10
Reference levels 8-6
Rehearsing punch-ins 6-6
Relative difference 10-12
Relative humidity 1-3
Repeat function 8-3
Repeat playback 8-3
Replaying punched material 6-7
Replaying tracks 6-3
Resetting a menu value 5-2
Resetting the memory 14-3
Restoring factory settings 14-4
Routing 8-9
RS-422 external control 11-1

S
Saving user settings 14-3
SDIF-2 conversion 15-2
Selecting the timecode source 10-6
Selecting timecode or absolute timing 10-1
Setting location points 8-1
Setting machine ID 9-2
Setting machine offset 9-2
Setting machine offset “on the fly” 9-3
Setting punch points “on the fly” 6-4
Setting punch points using the menus 6-5
Setting the location pre-roll time 8-1
Shuttle 8-5
Shuttle monitoring 7-2, 8-6
Shuttle muting 8-6
Sine oscillator 8-7
Soft keys 5-4
see “Function keys” 5-4
Software upgrades 14-4
Software version numbers 14-4
Sony P2 protocol 4-2
Source monitoring 7-1

Tape errors 14-2
Tape head cleaning 14-1
Tape length 1-5
Tape transport specifications 15-4
Tape types 1-4
TC time 10-1
Telecine 10-4
Test tone 8-7
Timecode
ABS times 10-1
ABS to timecode with offset 10-2
absolute and relative difference 10-12
assemble 10-8
automatic settings 10-3
bypassing errors 10-13
chasing 10-10
checking external timecode 10-9
external sources 10-8
fast LTC 10-5
frame rate 10-4
from analog source 10-9
from digital source 10-9
from tape 10-6
generator 10-6
input 10-4
machine ID 10-10
offset 10-11
output 10-5
output during fast operations 10-5
output timing 10-5
park position 10-12
rechasing 10-13
recording from external sources 10-9
regenerating 10-5
selecting the source 10-6
synthesizing from ABS 10-8
synthesizing from ABS timings 10-2
TC time 10-1
video resolution 10-10
Timecode Record Enable
see “Timecode track mapping”
Timecode time
see “TC time”
Timecode track mapping 11-3
Top menu 5-1
Track Copy 6-2, 8-8
Track delay 8-4
Track mapping 11-3
06/97 – 1.00 – Index-11

Index

U
User setups 14-3

V
Vari-speed 8-5
Video clock 10-10
Video clock connections 4-2
Video frame clock 11-1
Video resolution 10-10
Viewing incoming timecode 10-4

W
Word clock connections 4-2
Word length 8-8
Write-protecting cassettes 6-2

Index-12 – 1.00 – 06/97

»
DA-98

TEAC CORPORATION
Phone: (0422) 52-5082

3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan

TEAC AMERICA, INC.
Phone: (323) 726-0303

7733 Telegraph Road, Montebello, California 90640

TEAC CANADA LTD.
Phone: 905-890-8008 Facsimile: 905-890-9888

5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada

TEAC MEXICO, S.A. De C.V
Phone: 5-658-1943

Privada De Corina, No.18, Colonia Del Carmen Coyoacon, Mexico DF 04100

TEAC UK LIMITED
Phone: 01923-819699

5 Marlin House, Marlins Meadow, The Croxley Centre, Watford, Herts. WD1 8YA, U.K.

TEAC DEUTSCHLAND GmbH
Phone: 0611-71580

Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany

TEAC FRANCE S. A.
Phone: 01.42.37.01.02

17 Rue Alexis-de-Tocqueville, CE 005 92182 Antony Cedex, France

TEAC BELGIUM NV/SA
Phone: 0162-510860

Oeverkruid 15, NL-4941 VV Raamsdonksveer, Netherlands

TEAC NEDERLAND BV
Phone: 0162-510210

Oeverkruid 15, NL-4941 VV Raamsdonksveer, Netherlands

TEAC AUSTRALIA PTY.,LTD. A.C.N. 005 408 462
Phone: (03) 9644-2442

106 Bay Street, Port Melbourne, Victoria 3207, Australia

TEAC ITALIANA S.p.A.
Phone: 02-66010500

Via C. Cantù 11, 20092 Cinisello Balsamo, Milano, Italy
PRINTED IN JAPAN 0100U0.3 MA-1320

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Create Date                     : 1997:06:10 09:57:08
Producer                        : Acrobat Distiller 3.0 for Windows
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Title                           : da-98v5.book
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Modify Date                     : 2000:01:28 10:48:07+09:00
Page Count                      : 106

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DA-98_manual DA-98_manual

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