TASCAM STUDIO 8 388 (01) PDF MANUAL

1. Lift the cover for the tape compartment. Thread a new tape onto the recorder. Use only EIA center (small hub) 7 inch reels for both the supply and take-up reels. Tape must be the 1 mil variety, 1800 feet (549 meters) in length. The Load Function will not work properly with tapes of different lengths or thickness.

2. With the power off, plug your instrument or microphone into the MIC or LINE INput of channel 1 in the Studio 8’s mixer section.

3. Plug your stereo headphones into one of the two headphone jacks on the front panel of the Studio 8. Never plug mono headphones/earphones into either of these jacks. Never use “Y” cords to connect multiple headphones to either of these jacks. You will damage the circuits if you do.

4. Turn the power on. The switch is on the back panel.

5. Make sure the dbx is on. Its switches are on the top panel and its LEDs will show you its status. Make sure Track 8 dbx defeat switch, on the rear panel, is on.

6. Press the LOAD button on the top panel. The tape will run to a point past the leader. When it stops, press the RESET button.

7. Set the INPUT Selector Switch in channel 1 to the MIC position (left) if using the MIC Input. Set it to the LINE position (center) if using an instrument and the LINE Input. NOTE: Instruments with low output levels such as electric guitars and basses should use a direct box to boost their signal to a sufficient level to use the line input.

8. Play your instrument or speak into your microphone watching the OL indicator light. Adjust the volume of your instrument or, if using the MIC input, turn the TRIM up (clockwise) until the OL flashes; then, back off the TRIM, turn it counterclockwise slightly until the OL stops flashing. Note that some line level devices will have insufficient output to make the OL LED light.

9. Set your EQ controls to a 12 o’clock position. You will feel detents when the controls are in this position.

10. Adjust the Fader in channel 1 to the shaded area between 7 and 8.

11. Make sure the AUX PRE/POST selector switch is in the PRE (up) position.

12. Adjust AUX and EFF rotary controls to their off positions, fully left (counterclockwise).

13. Press the ASSIGN switch marked 1—2 to the on position (down). Rotate the PAN control in channel 1 fully left (counterclockwise). Make sure the other ASSIGN switches are off (up).

14. Press the switch marked STEREO in the recorder section of the Studio 8. It’s in the lower right hand corner of the top panel.

15. Adjust the ODD PGM MASTER Fader to the shaded area between 7 and 8. Press the number 1 switch in the REC FUNCTION section. The LED near the number 1 switch will start blinking.

16. Make sure the MON switch (PGM/CUE) is in the CUE position (up).

17. Make sure the METER switch (AUX-EFF/LR) is in the LR position (up).

18. The three position rotary switch next to the PITCH CONTrol in the recorder section should be in the FIXed (center) position.

19. You may find it easier to work in mono, if so, press the MONO switch that is located above the STEREO MASTER Fader on the top panel.

20. Adjust the STEREO MASTER Fader to the shaded area between 7 and 8.

21. Put headphones on.

22. Adjust MONITOR GAIN control 1 to the 3 o’clock position. Adjust MONITOR PAN as desired if you are monitoring in stereo (see step 19). Play your instrument or speak into the microphone and readjust the TRIM or the instrument volume until the TRK/PGM Meter number 1 registers a reading between -3 and 0. Use the Fader in channel 1 also, if necessary.

23. Adjust the MONITOR/PHONES control to a level that is comfortable.

Switch	Setting	Indicator
PGM/CUE	CUE (up) position. (PGM — down — position during Ping-pong.)	LED off in CUE. (turns on in PGM.)
REC FUNCTION	On (down) position for the track(s) to be recorded.	LED(s) stay on showing Record mode.
INSERT	Off (up) position. (On – down – position during Punch-in.)	LED off in the up position. (turns on in the down position.)

1. Make sure that REC FUNCTION switch number 1 is down with its LED blinking. All other REC FUNCTION switches should be in the up position. Their LEDs will be off.

2. While playing your instrument or speaking into the microphone, make any EQ adjustments you feel are necessary. Refer to “Work Methods” for more information on EQ.

3. When your instrument or voice sounds the way you’d like, press REC and PLAY buttons in the recorder’s transport section. The REC FUNCTION LED will stay on continuously and the red LED above the REC button will be on.

4. Play your instrument or, if using a microphone, slowly count to nineteen using only the odd numbers, pausing for a full count between each number. You will need these pauses for the upcoming overdubbing.

5. When finished, press the RTZ button in the transport section. Since RESET has been pressed in step 6 of setup, the tape will return to the zero position (00:00) and stop.

6. Press the number 1 REC FUNCTION switch, turning it off (up). Its LED will go out.

7. Press PLAY and listen to your track. Re-adjust MONITOR/PHONES level if necessary.

Use the same setup as for recording your basic track, with the following changes:

1. Connect the new source, instrument or microphone to the appropriate channel input (you can continue using channel 1 for this example).

2. Make sure ASSIGN switch 1—2 is still down (on) in channel 1. Adjust channel 1’s PAN fully right, clockwise.

3. Press down REC FUNCTION 2. Its LED will blink. Make sure all other REC FUNCTION switches are off (up) with their LEDs off.

4. Raise the EVEN PGM MASTERS Fader to the shaded area between 7 and 8.

5. Press PLAY and listen to your first track through headphones. Make any necessary adjustments to MONITOR 1 GAIN and PAN controls. Adjust the MONITOR/PHONES level for comfort.

6. Adjust MONITOR GAIN 2 so that your instrument or voice and track 1 are at the proper balance in the headphones.

7. Play your instrument or speak into the microphone. If you counted on track 1, use the even numbers to twenty on track 2, placing them in the pauses between the odd numbers used on track 1.

8. Adjust the channel Fader 1, while watching TRK/PGM Meter 2. It should read close to 0.

9. Rewind the tape by pressing the RTZ button. It should stop at 00:00.

10. Press REC and PLAY at the same time. REC FUNCTION 2 LED will stop blinking and stay on continuously.

11. Play your instrument or count the even numbers to twenty. When finished, press STOP and RTZ.

12. Press ASSIGN 1-2, turning it off (up).

13. Press REC FUNCTION 2 switch, turning it off (up). Its LED will go off.

14. You can now listen to both tracks. Press MONO, releasing the mono mode. Adjust MONITOR PAN for 1 and 2 to the desired location. Adjust MONITOR GAIN for 1 and 2 to the desired level.

Tracks 3 through 8 can be recorded using similar procedures. The PGM ASSIGN switches and REC FUNCTION switches will correspond to the desired recorder tracks. PAN controls in the mixer channels will be rotated to match the ODD (3,5, and 7) or EVEN (4, 6, and 8) tracks. Readjust MONITOR GAIN and PAN as desired.

You will need another tape recorder (a two-track recorder of comparable quality) for this process.

1. Connect the XLR or RCA STEREO OUTputs of your Studio 8 to the Line level inputs of your mastering recorder.

2. Set the INPUT Selector switches of your Studio 8 to the RMX (right) position.

3. Press the ASSIGN switches marked L-R in each of your channels.

4. Adjust the STEREO MASTER Fader to the 7 to 8 position.

5. The METER switch (AUX-EFF/LR) should be in the LR position (up), and the MONO switch in the up position.

6. Make sure all REC FUNCTION switches are off (up).

7. Press RTZ to rewind the tape on the Studio 8.

8. PLAY the tape on the Studio 8, adjusting the MONITOR/PHONES, channel Faders, and STEREO MASTER Fader for level. STEREO Meters should register between -3 and 0.

9. Adjust channel PAN controls as desired.

10. Press RTZ to rewind your tape on the Studio 8. Put a fresh tape on your mastering deck. Run off fifteen seconds of tape to get past the leader on your mastering recorder. Reset the master’s counter and press its zero return, if it has it.

11. Play the tape on your Studio 8. Adjust the levels on your mastering deck, using its meters as a reference. The meters should register -3 to 0.

12. Press RTZ to rewind the Studio 8. Put the master deck into its record mode or record/pause mode. (Record mode usually entails pressing the Record and Play buttons at the same time).

13. When the mastering deck is rolling (release pause if it’s in record/pause mode), press PLAY on the Studio 8.

14. When finished, stop both recorders. Rewind and play the tape on the master deck. Listen to the results. If you’re not satisfied, make notes of changes you’d like to make and repeat the Remix, making the desired changes.

While the Remix is progressing, you can monitor using headphones or a speaker system connected to the MONITOR OUTputs (L and R).

This example collapses material recorded on tracks 1 through 4 onto track 8:

1. Set the MON switch (PGM/CUE) to the PGM setting (down).

2. Set the METER switch to the L/R position (up).

3. Press ASSIGN switch 7-8 in channels 1, 2, 3, and 4. Rotate the PAN control in each of these channels fully right, clockwise.

4. Set the INPUT Selector switch in channels 1 through 4 to the RMX position (right).

5. Press REC FUNCTION switch number 8. Its LED should flash. All other REC FUNCTION switches should be off.

6. Adjust the EVEN PGM MASTER and STEREO MASTER Faders to the 7 to 8 position.

7. Press the RESET button and PLAY your tape, watching the TRK 8 Meter. Levels should register between -3 and 0. Adjust channel Faders 1 — 4 so that their signal levels are balanced.

8. Make any EQ adjustments you feel are necessary in the individual channels. Make sure you don’t boost the signal level too much with the EQ controls.

9. Adjust MONITOR GAIN number 8. All other MONITOR GAIN controls can be turned off (rotated fully counterclockwise).

10. Press the MONO button to the on position (down).

11. Press the RTZ button to rewind your tape to 00:00.

12. Press REC and PLAY. The tracks you have selected are now being ping-ponged to track 8.

13. When finished, STOP the recorder and turn off (up) the REC FUNCTION switch number 8.

14. Press the RTZ button to rewind to zero, 00:00.

15. Reset the MON switch (PGM/CUE) to the CUE position (up).

16. Play the tape and listen to the results of your track bounce. If you hear something that you don’t like you can repeat the process. Make sure you have the results you want before you record new material on tracks 1 through 4. Recording new material there will erase the old.

Adding New Parts While Bouncing: It is possible to add new parts while ping-ponging. Any mixer channel that is not being used in the Remix input mode can be used to add a new part.

1. Set up the controls for the channel(s) that you want to use for the new material in the same way that you did for recording basic tracks. (Following the example, you could use channels 5, 6, and 7 for new material). Route the new channels to program buss 8 by pressing ASSIGN 7-8 and rotating the PAN fully right in each channel.

2. Rehearse the new parts while listening to the previously recorded tracks. Use this rehearsal to set levels for the new material.

3. Perform the remainder of the Ping-ponging procedure (steps 12-16 above).

Punch-in erases old material and puts new material in its place permanently, so rehearsal is recommended.

1. PLAY the tape to within several seconds of the desired edit/punch-in point.

2. Press the RESET button.

3. Set the MON switch (PGM/CUE) to the CUE position (up).

4. Your new material will be coming from one of the Input channels of your mixer. Press the appropriate ASSIGN switches and adjust Faders and PAN controls for this new material.

5. During this rehearsal, all REC FUNCTION switches should be off (up).

6. PLAY your tape. The reference tracks should be heard through your headphones via the MONITOR section. Adjust the levels of the tracks using the MONITOR GAIN controls.

7. Rewind the tape by pressing the RTZ button, and PLAY it again.

8. When you reach your edit point, press the REC FUNCTION switch for the track to be edited. You will now be able to hear the new material through your headphones.

9. When the point comes to punch-out (end the edit), press the REC FUNCTION switch again. This will return the MONITOR to the tape signal.

10. Repeat the process until you are comfortable with it.

1. The INSERT switch should be in the on position (down). Its LED will be on. The MON switch (PGM/CUE) remains in the CUE position.

2. Press the appropriate REC FUNCTION switch for the track you want to record onto.

3. Make sure all other REC FUNCTION switches are off (up).

4. Press PLAY.

5. Just before you reach the edit point, press REC.

6. Perform the new material. When you reach the point that you’d like to end the edit, punch-out: press STOP, PLAY, or REW turning off the record mode.

Rehearse in the same way as you did before. When you’re ready to go:

1. Start the recorder rolling by pressing PLAY. The REC FUNCTION switch for the desired track should be on, with its LED blinking.

2. When the Punch-in point arrives, step on the RC-30P pedal. This will start the Recording process.

3. When the Punch out point arrives, step on the RC-30P pedal again. This will stop the Recording process.

Use an AC Outlet Tester. Plug it into the outlet, and its LEDs will signal whether or not the circuit is properly wired. If it isn’t, do not under any circumstances use that outlet. Faulty wiring in an AC circuit is potentially hazardous.

A Neon Lamp Tester or Volt/Ohm Meter can be used. Guitar and bass amps are particularly vulnerable, especially when the musician is also using a microphone. Check grounding by putting one probe of the tester/meter on the metal chassis of the amplifier, or the strings of the guitar/bass, and touching the other probe to the microphone. If the lamp or meter registers the possibility of a shock, reverse the ground of the amplifier by using its polarity switch or reversing its AC plug. If the amp has a three-prong plug without a polarity switch (rare), use an AC Adapter/Ground Lift to reverse the plug. Ground lifts should only be used as a last resort, as properly grounded equipment is important for safety.

Microphones and magnetic pickups (like those on electric guitars and basses) have very low signal levels and are susceptible to radio frequency noise, especially with cables over ten feet long. Direct boxes can improve the quality of the input signal by boosting it. While electric guitars are usually close-miked at the amplifier, electric basses often use direct boxes. Keep cables as short as possible. Electronic instruments like synthesizers or drum machines may be plugged directly into the line-level inputs depending on their output level.

These codes should be recorded first onto track 8 without dbx engaged. The dbx defeat switch for track 8 (on the rear panel) should be used, or turn off dbx 5-8. Encoding and decoding codes with dbx can make them unreadable and cause tracking errors. Do not route codes through the mixer system; record them directly from the PGM BUSS IN number 8 input. If code is recorded through the mixer while other material is being recorded, the code signals may “leak” onto other busses. To prevent this, reduce the code signal level or record it separately. A metronome or “click” track may be recorded using dbx with other program material. Record time code levels between -7 to -10 VU.

Keep your wiring neat.

Group cables carrying similar signals (input, output, effects, etc.) together loosely to reduce noise.

Do not bundle cables too tightly.

Do not bundle AC power cables with your audio cables.

Keep cables carrying different kinds of signals (e.g., audio vs. power) away from one another.

Neat arrangement prevents damage to cables from equipment or talent.

Damaged cables are a common source of problems.

Always have spare cables on hand.

Keep cables as short as possible for the job.

EQ controls change the timbre (tonal quality) of a signal in an individual mixer channel. The Studio 8 has a three-band sweep-type parametric EQ.

Frequency Ranges & Characteristics:

– 20 to 60 Hz: Lowest frequencies, felt more than heard. Too much boost muddies the sound.

– 60 to 500 Hz: Fundamental pitches of many instruments. Very sensitive area. Too much cut sounds thin/lifeless; too much boost sounds dull/muffled.

– 500 Hz to 2.5 kHz: Mid-range. Lots of activity here. Too much boost can make music harsh or cause “listener fatigue”.

– 2.5 kHz to 6 kHz: Contributes clarity and “presence”. Often perceived as louder. A slight boost around 5 kHz can add brightness. Be careful of listener fatigue here too.

– 6 kHz to 15 kHz: Brilliance, clarity, metallic sheen (bells, synths), acoustic guitar/piano ring. Deals with overtones/harmonics. Warning: Noise is prevalent here; too much boost will bring out noise in your material.

General EQ Advice:

– Boosting one frequency range might negatively affect another sound in the same channel.

– EQ is often overused. If the sound is acceptable coming into the mixer, don’t EQ it.

– Less is definitely more. Don’t over-adjust.

– Only make adjustments that are absolutely necessary.

– The controls interact. Before boosting bass (50 Hz-1 kHz), consider cutting some highs/mids first, or vice-versa.

– To find a specific frequency to adjust: Turn the GAIN knob (center/upper) to an exaggerated boost position. Slowly sweep the frequency knob (outer/lower) through its range. When you hear the frequency you want to adjust, reset the GAIN control for the necessary amount of boost or cut.

– Avoid making sweeping changes during recording as this can create undesirable tonal effects.

Ensure all instruments and voices blend well and are balanced for level.

Avoid having elements like bass and drums overpower the main focus (e.g., the singer).

Signal levels affect the entire recording and mastering process, including EQ. Adjust levels properly during mixing.

If input channel faders are very high and master faders are very low, you might be overloading the outputs. Pull down the input channel faders and raise the program master faders.

If the master faders are pushed very high and input faders are low, your mix won’t be distorted, but it will likely have a lot of noise. Aim for a reasonable compromise where both input and master faders are in a moderate range (e.g., the shaded area around 7-8 on the TASCAM 388) for the best results.

Cleaning should be done frequently: before each session, after each session, and whenever you have downtime during a session (like waiting for a musician). Regular cleaning prevents signal loss due to dirt/oxide buildup and reduces head/guide wear caused by abrasive tape oxide.

1. Use TEAC HC Series/TZ-261 head cleaner and cotton swabs.

2. Moisten a cotton swab with the head cleaner.

3. Clean the tape heads, capstan shaft, and all metal tape guides until the swab comes off clean.

4. Use a fresh, dry swab to wipe off any excess cleaning fluid.

Clean the pinch roller at least once each day the recorder is used. Use TEAC RC Series/TZ-261 rubber cleaner.

1. Open the tape compartment door.

2. Press PLAY and move the tension arms so the capstan spins.

3. Hold a cotton swab lightly moistened with rubber cleaner against the *spinning capstan shaft* (this prevents the swab tangling in the pinch roller mechanism itself, cleaning is done via transfer from the capstan). Clean it until no visible residue comes off onto the swab.

4. Using a clean cotton swab, wipe off all excess rubber cleaner from the pinch roller itself. Ensure no foreign matter remains on the pinch roller or capstan shaft.

5. Clean the capstan shaft separately by lightly pressing a cotton swab moistened with head cleaning fluid onto the shaft. Clean thoroughly and wipe off excess fluid.

CAUTION: Do NOT use paint thinner, benzine, alcohol, or other solvents not designed for tape equipment cleaning, as they can damage components.

Residual magnetism builds up on the heads and metal parts in the tape path over time. Even small amounts can erase high frequencies from your tapes. Regular demagnetizing is necessary.

Procedure:

1. ALWAYS turn the Studio 8 power OFF before degaussing. Degaussing with power on will severely damage the electronics and meters.

2. Remove the tape from the transport and store it at least 6 feet (2 meters) away.

3. Use a proper head degausser (e.g., TEAC E-3). Ensure the tip has a plastic cover or tape to prevent scratching the heads.

4. Turn the degausser ON at least three feet away from the Studio 8.

5. Slowly bring the degausser towards the tape path.

6. Move the degausser slowly up and down, lightly touching all metal parts in the tape path, including the heads.

7. Slowly move the degausser away again to at least three feet (one meter) distance BEFORE turning it off.

CRITICAL CAUTION: Never turn the degausser on or off while it is near the tape heads. Doing so can permanently magnetize the heads, rendering them unusable. Perform this process carefully and with full attention.

Store tapes in a dust-free environment, away from extreme heat or cold.

Keep tapes away from magnetic sources like electric motors (vacuum cleaners, appliances), power amplifiers, and instrument amplifiers, as magnetism can damage the recordings.

Make backup copies of important tapes.

Avoid “print-through” (signal transfer between layers) by not winding tapes too tightly before storage.

Never fast forward or rewind a tape for its entire length just before storing it.

Store reel-to-reel tapes “tails out” (the end of the tape is wound on the outside of the reel). For long-term storage, this ensures any print-through appears as a “post echo,” which is usually masked by the actual sound on the tape.

1. Position speakers and amplifiers correctly. Wire the system with all power off.

2. Connect microphones and electronic instruments (synthesizers, drum machines, etc.).

3. Turn on equipment in this order: electronic instruments first, then the Studio 8, then monitor and headphone amplifiers.

4. Keep Studio 8 faders down initially. Set all EQ controls to their center (flat) position.

5. Set channel INPUT selectors appropriately (LINE for synths/drum machines, MIC for microphones).

6. Press the required ASSIGN and REC FUNCTION switches for the tracks you intend to record.

7. Raise the PGM MASTERS and STEREO MASTER Faders to the shaded area (around 7-8).

8. Play instruments and slowly raise the channel faders to set levels. Watch the meters and OL (Overload) LEDs.

9. If a channel’s level is too high (OL LED flashes, meter peaks excessively) and the fader needs to be kept below the ‘5’ mark, use the TRIM control (for MIC inputs) or turn down the volume on the instrument itself. Use a less sensitive microphone if needed.

10. Pay close attention to levels for percussive sounds, cross-modulated patches, highly resonant sounds, and fast attack patches, as these can have high peak levels. Watch drum machine levels closely.

11. Adjust any AUX or EFF mixes: first adjust channel levels and master levels for the aux/effect sends, watch for overloads on effects units or cue systems, then adjust the EFFECT RTN GAIN controls on the Studio 8 for the desired return level.

1. Set the STEREO MASTER Faders to the 7 to 8 position.

2. Adjust the main Monitor Master control (MONITOR/PHONES knob) for a comfortable listening level in headphones or speakers.

3. Begin raising the individual channel MONITOR GAIN controls and adjust them for a pleasing balance between tracks/sources.

4. Set the MONITOR PAN controls as desired for stereo imaging.

5. Readjust the main Monitor Master control for a comfortable overall volume level at the monitor speakers.

Be aware that any “open” microphones in the room may cause feedback (howling). Turn off or reposition any microphones that might cause feedback.

Switch Setting			LED Condition			Track Status
REC	PLAY	REC FUNCTION	REC	PLAY	REC
Off	Off	Up	–	–	Off	Safe (No recording possible)
Off	On		–	On	Off
On	Off	Down	–	–	Blinks
On	On		Blinks	On	Blinks	Record ready
Off	Off		–	–	On
On	On		On	On	On	Recording in progress

Yes. The Tape Lifter lever retracts the lifters so the tape contacts the heads during Fast Forward (F.FWD) or Rewind (REW), allowing monitoring for cue tones or specific program material. When using the Tape Lifter this way, be cautious: a high-frequency signal will be sent through your electronics when the recorder is in F.FWD or REW mode. Adjust your monitor levels accordingly; turn them down significantly before using the Tape Lifter function to avoid potential damage to speakers or hearing.

NOTE: This voltage conversion is not possible on models sold in the U.S.A., Canada, UK, Australia or Europe. This procedure is for general export units if operated in an area with different voltage requirements than the unit was set for.

1. ALWAYS DISCONNECT THE POWER CORD BEFORE MAKING ANY CHANGES.

2. Remove the top panel of the meter section to locate the voltage selector (refer to the illustration in the PDF if needed).

3. Using a regular (slot blade) screwdriver, turn the selector so that the set mark indicates the numerals corresponding to the voltage requirements of your area.

This table shows the monitor source when the MONITOR/PHONES Selector is set to STEREO*:

ASSIGN L/R Switch	CUE/PGM Switch	REC FUNCTION Switch	INSERT Switch	Transport Mode	Monitor Source
Off (Π)	PGM (▲)	—	—	—	PGM
		—	—	PLAY	TAPE**
	CUE (Π)	On (▲)	On (▲)	REC	PGM
				Other modes than PLAY and REC	(no sound)
		Off (Π)	Off (Π)	PLAY, REC	PGM
				Other modes than PLAY and REC	TAPE
On (▲) (LED stays on in PGM position)	—	LED flashes with the transport REC off; and stays on with the REC on.	LED stays on in the down position.	—	(no sound)
	—			—	—	L/R STEREO
	—			—	—	—

* Positions other than STEREO have nothing to do with the setting of the switches shown in the chart.

** Does not include TAPE signal in RMX (Remix) mode (they pertain to “PGM”).

Signals for MALCO 354-38 pin plug (or ELCO 8016 Series):

Pin	IN(put)-OUT(put) signals	Function
A	PLAY IN	Inputs PLAY signal at L level.
B	FF IN	Inputs FF signal at L level.
C	REW IN	Inputs REW signal at L level.
D	open terminal
E	STOP IN	Inputs STOP signal at L level.
F	REC IN	Inputs REC signal at L level.
H	LIFTER CONT IN	Inputs LIFTER shift cancellation signal at L level.
J	open terminal
K	UP/DOWN OUT	Outputs tape running control signal at H or L level.
L	CP OUT	Outputs open collector signal (6 Hz pulse at 7.5 ips.)
M	PLAY TALLY OUT	Outputs open collector signal (Low level during PLAY mode.)
N	FF TALLY OUT	Outputs open collector signal (Low level during FF mode.)
P	REW TALLY OUT	Outputs open collector signal (Low level during REW mode.)
R	STOP TALLY OUT	Outputs open collector signal (Low level during STOP mode.)
S	REC TALLY OUT	Outputs open-collector signal (Low level during record mode)
T	SHUT-OFF TALLY OUT	Outputs open-collector signal (Low level during tape stop)
U	open terminal
V	LOW IN	Reduces tape speed to “Low” during fast winding.
W	REW COMMAND OUT	Outputs open-collector signal (Low level when REW is pressed)
X	FF COMMAND OUT	Outputs open-collector signal (Low level when F. FWD is pressed)
Y	PLAY COMMAND OUT	Outputs open-collector signal (Low level when PLAY is pressed)
Z	STOP COMMAND OUT	Outputs open-collector signal (Low level when STOP is pressed)
AA	REC COMMAND OUT	Outputs open-collector signal (Low level when REC is pressed)
BB	RTZ IN	Inputs RTZ signal at L level
CC	STC IN	Inputs STC signal at L level
DD
EE
FF	open terminal
HH
JJ
KK	EXT FREQ IN (HIGH)	Inputs speed control signal at input signal of 3.0 V or more and of 4.8 kHz to 19.2 kHz
LL	EXT FREQ GND
MM	INT/EXT IN	Inputs internal/external speed control select signal. Internal: LOW level (0 V), External: HIGH level (3.0 V or more)
NN	open terminal
PP	+15 V supply voltage OUT	Maximum: 50 mA
RR	0 V terminal
SS	+5 V supply voltage OUT	Maximum: 50 mA
TT	Main unit GND