Tascam Digital Portastudio 2488 User Guide

							1 – Setting up and introduction
 TASCAM 2488 User’s Guide 19
Lead line
Now we can use track 2 to record the lead guitar line. 
We’ll add an effect to the lead guitar to make it sound 
a little more interesting.
If you don’t want to play through the whole song, 
you can use the procedures described in “Auto punch 
operations” on page 46.NOTE
You can also perform audio edits, cutting, copying and 
pasting between tracks, etc. to correct small mistakes. 
These operations are explained in “About track edit-
ing” on page 49.
1Assign the guitar input (H) to track 
2.
You can always see all the current 
mappings by pressing 
SHIFT fol-
lowed by the 
MAP key (use the cur-
sor keys to view the mappings for 
tracks 13 through 24).
2Play the song to a little before the 
place where you want the guitar solo 
to start. Use fader 1 to adjust the 
level of the previous track.
Use the transport keys to move back 
about five seconds before this. Press 
and hold the 
SHIFT key and press the 
IN key to set a convenient location 
point. 
\
3Press and hold the MULTI key, and 
press the channel 2 
SELECT key to 
assign the multi-effect to channel 2.
4Press the MULTI key again to bring 
up the multi-effect screen. 
Press 
ENTER to show the library 
choices, move the cursor to 
PRESET to 
select the preset multi-effect library.
5Use the wheel to select the preset 
multi effect. See “Using the multi-
effect library” on page 33 for details 
of the effects available. 
						

							1 – Setting up and introduction
20 TASCAM 2488 User’s Guide
Congratulations! 
By now you should be familiar with the basic con-
cepts of the 2488: how the inputs and channels work 
together; how the mixer controls are accessed and operated, how recording and playback take place, 
and a little about the location and effect facilities pro-
vided by the 2488.
6Press the RHSL key to enter 
rehearsal mode. When this mode is 
active, you do not actually record 
when the 
RECORD key and PLAY 
keys are pressed (the 
RECORD indi-
cator flashes).
Continue rehearsing, and use the 
IN 
key (without 
SHIFT) to locate back to 
the point you set earlier.
7When you’re happy with the solo, 
press the 
RHSL key once more to 
turn the indicator off.
8Use the RECORD and PLAY keys to 
record the solo.
9Press channel 2’s REC key to safe the 
track. 
						

							 TASCAM 2488 User’s Guide 21
2 – Mixer
Inputs and assignments
The 2488 has eight inputs, marked from A through H, 
and twenty-four mixer channels.
Inputs 
A through D are fitted with dual XLR-1/4 
balanced inputs and can be supplied with +48 V 
phantom power for condenser microphones.
WARNING
Never connect or disconnect microphones to or from 
inputs 
A through D with the phantom power turned 
on.
Never use unbalanced dynamic microphones with 
microphone inputs 
A through D with phantom power 
turned on. If you are in any doubt, consult your local 
audio expert.
Inputs E through H are suitable for line input, and are 
fitted with 1/4 balanced jacks. An unbalanced “mir-
ror” of H, with an impedance suitable for electric 
guitars and basses, is provided at the front of the unit.
It is possible to record up to eight tracks at one time, 
with the inputs being freely assignable to the tracks.Assigning inputs is carried out by pressing and hold-
ing the appropriate input key below the 
TRIM con-
trols (the key flashes), and then pressing the 
appropriate channel 
SELECT key(s) which will also 
flash. It is also possible to reverse the order (press 
and hold a channel’s 
SELECT key and press the 
appropriate input key).
An input can be assigned to more than one channel, 
but of course a channel cannot be fed by more than 
one input.
This shows an instrument (guitar or bass) plugged 
into input 
H being assigned to channel 1
Checking assignments
When either an input key (or channel SELECT key) 
is pressed and held down it flashes, together with the 
channel (or input key) to which it has been assigned.
Also, if the 
SHIFT key is pressed, followed by the 
MAP key, a screen is shown with the current assign-
ments.The eight inputs are represented by horizontal lines, 
which are joined to the channel labels at the bottom 
of the screen by vertical lines when they are assigned 
to the channels. 
Use the left and right cursor keys to change between 
viewing channels 
1 through 12, and 13 through 24.
Breaking assignments
If an input or channel SELECT key is held down, the 
assigned channel (or input) key flashes. Press the 
other key to break the assignment.NOTE
Assigning and unassigning linked channels (see “Link-
ing channels” on page 25) works in much the same way 
as for single channels. Pressing one 
SELECT key of a 
linked channel pair is typically the same as pressing 
both together. 
						

							2 – Mixer
22 TASCAM 2488 User’s Guide
Saving and loading assignments (QUCK ROUTING)
There are three “slots” that can be used to save com-
monly used routing assignments. These slots 
accessed through the 
QUICK ROUTING key:
1Press the QUICK ROUTING key to bring up the 
screen shown here.
2Use the wheel or “up” and “down” cursor 
keys to select the slot to be loaded or to which 
the current routing assignments will be saved.
3Use the “left” and “right” cursor keys to select 
LOAD or SAVE.
4Press ENTER. The routing assignments are 
either stored (the home screen shows 
Save 
routing
 briefly) or loaded (the home screen 
shows 
Load routing briefly).
NOTE
If you save a routing assignment to the BOUNCE slot, 
even if you are not in bounce mode (“Making a bounce 
mix” on page 49), the 2488 will enter bounce mode 
when this assignment is next recalled.
The channels
Each of the 24 channels provides the following facil-
ities:
 Digital pad/gain 
 3-band parametric EQ
 Effect sends Phase reversal switch
Panpot
 A physical fader (which may be overridden by an 
internal “virtual fader”)
A mute key
 Solo facilities
Input channels
Like the 24 track channels, the eight inputs are pro-
vided with phase, digital pad/gain, EQ, effect sends, 
etc.
They are not provided with physical faders, but the 
output from these “extra channels” can be adjusted 
on-screen. Although these settings can be made at 
any time, they are only effective when the inputs 
have been assigned to the sub mix. See “Sub mix” on 
page 29 for details.In this manual we talk about “pressing a channel’s 
SELECT key” to select the appropriate screen, often 
this includes the 
INPUT keys as well, even when this 
is not actually stated.
Many times, there will be no need for these facilities 
to be used on the input channel (there are times when 
this is useful, though—see the sections on “Monitor-
ing” on page 27 and “Sub mix” on page 29).
Digital pad/gain
Press the channel’s SELECT key, followed by the EQ 
key (this order can be reversed).Use the cursor keys to navigate to the PA N / G A I N 
area, and set the value to between 
–42 and +6 dB.
Usually, this value will be set to 
0.
Use this to add volume to a quiet instrument or to 
remove excess volume from a loud one.
When a channel’s 
EQ screen is shown, simply press-
ing the 
SELECT key of another channel will show 
the 
EQ screen for that channel. 
						

							2 – Mixer
 TASCAM 2488 User’s Guide 23
EQ
Set the three-band equalization for each channel 
using the same screen as the digital pad/gain (see 
above)
On the 2488 channels, you can adjust the gain (the 
amount that the signal is cut and boosted) by ±12 dB, 
and the frequency (high or low) affected by the 
equalization in three bands. The frequencies are (in 
Hz):
Low (
L) 32 — 1.6k 
Mid (M) 32 — 18k 
High (H) 1.7k — 18k
Note that the frequencies are set in discrete steps; it is 
not possible to set the center frequencies to interme-
diate values.
In addition, you can adjust the “Q” (the width of the 
effect) in the center band from 0.25 to 16.
TIP
“Q” is defined as the center frequency of the equaliza-
tion band divided by the bandwidth. A high Q value 
provides narrow filtering.
As you adjust the equalization, the graph at the bot-
tom of the screen changes to provide an idea of how 
the equalization affects the signals.
TIP
You can press and hold the SHIFT key and press the 
EQ key to “zero” (return to default setting) the 
selected channel’s EQ settings.
There is also an on/off soft switch provided at the 
upper left of the screen to allow A/B comparison of 
the equalized and unequalized signals. Press 
SHIFT + 
YES
 to turn it on, and SHIFT + NO turn it on off (you 
can also use the cursor).
Effect send
There is one stereo “loop” send (using the internal 
effects) in addition two effect sends (using the exter-
nal 
EFFECT SENDS jacks) for each channel.
NOTE
Recording effects can also be inserted at the input 
stage. See the section on effects (“Effects” on page 31) 
for full details of the effect architecture and use. Such 
effects are not affected by these channel sends.
Press the channel’s SELECT key, followed by the 
SEND key (this order can be reversed).For each effect send, there is a soft switch at the left 
side of the screen. Use the wheel to set this switch 
either 
OFF or POST (post-fader) or PRE (pre-fader).
TIP
“Pre-fader” means that the channel fader does not 
affect the level of the effect send, as opposed to “post-
fader” where the effect send level is affected by the 
channel fader setting.
Set the level of each channel send (LVL) from 0 to 127.
This screen also allows the master send level (
MSTR) 
to be set (again from 
0 to 127). 
						

							2 – Mixer
24 TASCAM 2488 User’s Guide
The fader/pan screen
Press the channel’s SELECT key, followed by the 
FA D E R / PA N key (this order can be reversed) to bring 
up this screen:Here, you can make phase and pan settings and view 
the fader settings for four channels at a time (linked 
channels still count as two channels here).
Phase
Use this to correct miswired microphones, etc. Out-
of-phase sources can result in unnatural EQ and a 
“hole in the middle” stereo effect.The phase symbol (∅)shows the current status of the 
channel: either normal (
N) or reversed (R). Use the 
cursor keys and wheel to change these settings.
Pan
The pan position (PAN) refers to the stereo position 
(left or right) of the channel in the mix.
Full left (“hard left”) is represented by 
L63, and hard 
right by 
R63. The center position, where the signal is 
sent equally to the left and right is represented by 
C.
TIP
Press and hold SHIFT and press the PA N key to reset 
the highlighted channel’s pan position to the center. In 
the case of linked channels, the pan position both of 
the highlighted channel and the channel to which it is 
linked will be centered.
Faders
The faders cannot be set in this screen (except for the 
inputs). However, it is possible to obtain a numerical 
representation of the physical position of the fader, as 
well as a view of the virtual position of the fader, if 
this is different.
The minimum fader value as shown on screen is 
0 
(full cut), and the full level is 
127. A level of 100 cor-
responds to the “unity gain” position of 0 dB.
Because the 2488 supports the storage and recall of 
scenes (see “Scene memories” on page 29), as well 
as MIDI control of the faders and other mixer con-
trols, it may sometimes happen that the physical 
fader position is not the same as the internal “virtual” 
fader level, as set by the software control.See “Fader matching” on page 84 for an explanation 
of the different ways in which the physical and vir-
tual faders can be set to interact.
In order to reconcile the physical position with the 
virtual position, a process known as nulling must be 
carried out.1Press and hold the SHIFT key and press the 
NULL key: 
						

							2 – Mixer
 TASCAM 2488 User’s Guide 25
2In this screen, the physical faders are repre-
sented with side-pointing triangles beside 
them representing the virtual fader positions.Above each on-screen fader whose position 
does not correspond to that of the internal vir-
tual fader, there is an arrow pointing either up 
or down, depending on whether the physical 
fader must be moved up or down to null it.
A fader which is nulled (faders 15+16 in the 
screen above) has no triangle above it.
Mute
The MUTE keys for each channel also serve as solo 
keys (see “Soloing and toggle” on page 29).When a channel’s MUTE key is pressed (when solo-
ing is not active), the orange indicator lights, and the 
sound from that channel is not sent to the stereo bus.
The channel’s recording source is also muted.
Linking channels
Stereo linking provides a way of controlling two 
channels (usually, but not always, a stereo pair) with 
one set of controls.
Controls shared by linked channels are:
 Fader (the left fader of the pair controls the level 
for both channels) 
EQ
 Digital pad/gain
 Effect send levels and pre/post position

SELECT keys
Record arming, muting and soloing are carried out 
separately for each linked pair.
Pan and phase are linked, but these can be changed 
independently after linking.An odd-numbered channel can be linked to the even-
numbered channel to its right. In other words, chan-
nels 1 can be linked to channel 2, but to no other 
channel (and channel 2 cannot be linked to any chan-
nel other than 1).
Linking channels is done by pressing and holding 
down the 
SELECT key of one of the pair of channels 
to be linked, and pressing the other.
Unlinking channels is done by pressing the 
SELECT 
key of one of the linked pair (both keys flash) and 
pressing the other.
NOTE
It is also possible to link two inputs together in the 
same way so that the EQ, etc. for each input is con-
trolled in common.
Stereo bus
The stereo bus may be thought of as a special perma-
nently-linked pair of channels.
The output from this bus can be monitored as the 
STEREO selection (see “Monitoring” on page 27) and is also as the source for mastering and rendering 
the final mix (see “Recorder” on page 36).
At the final mastering stage, it is possible to add 
equalization and dynamics to the stereo bus. 
						

							2 – Mixer
26 TASCAM 2488 User’s Guide
EQ
Like the ordinary channels, the stereo bus has three-
band equalization, with sweepable center frequen-
cies, and variable Q for the midrange.
To access this, 
1Press the STEREO key.
2Press the EQ key:
3Use the cursor keys and wheel to select and 
adjust the EQ parameters for the stereo bus.
Dynamics
The stereo bus has a stereo dynamics processor 
(compressor or expander) available.
1Press and hold the SHIFT key.
2Press the STEREO key.
3Use the cursor keys and wheel to select and 
adjust the parameters for the effect. Note that 
the last parameter is an on/off switch. When 
set to 
OFF, the dynamics processor is bypassed.
Dynamics library From the screen above, press-
ing 
ENTER brings up the stereo dynamics library 
screen.
Use the left and right keys to select the 
PRESET or 
USER libraries, or to SAVE the current setting.
Use the wheel to select library entries and press 
ENTER to load the entry.
If you save a setting, you can add a title to the current 
stereo dynamics settings and press 
ENTER to save it 
as a user library effect. 
						

							2 – Mixer
 TASCAM 2488 User’s Guide 27
Fader
Like the channel faders, the position of the STEREO 
fader can differ from the internal setting if it has been 
changed as the result of a MIDI command or a scene 
recall.
Press the 
STEREO key alone to bring up the stereo 
bus fader screen:In this case, the 
LVL value corresponds to the physical 
fader level, and 
INT gives the internal virtual fader 
value (as marked by the triangular symbol beside the 
on-screen fader). In both cases, 
0 is full cut, 127 is full 
up, and 
100 is the unity gain value.
Output selection
A pair of tracks can be routed for direct output 
through the analog 
STEREO OUT terminals (and the 
DIGITAL OUT).
Usually, the 
DIRECT OUTPUT parameter should be set to 
OFF (that is, the stereo bus is the signal output from 
these terminals). However, you can use the wheel to select a pair of 
tracks for output from these terminals, though.
NOTE
When this function is on, the channel and stereo faders 
have no effect.
Monitoring
Monitoring is a vital part of the whole recording and 
production process. The 2488 provides stereo moni-
toring facilities through an external amplifier/speak-
ers combination, as well as headphones.The level for these two monitoring systems is set 
using the 
MONITOR LEVEL control.
This monitoring level is affected by the level from 
the 
STEREO fader, but does not affect the level of the 
stereo bus.
Monitor selection
As well as the stereo bus, it is possible to monitor the 
sub mix (see “Sub mix” on page 29), the effect loop, 
and the two effect sends (one in each channel), which 
are all shown by indicators; as well as turning off the 
monitoring, when no indicator is lit.Monitoring the loop and effect sends is useful when 
you want to check the exact mix (as created by the 
effect sends) of the signals being sent to the effects.
Use the 
MONITOR SELECT key to cycle through the 
selections. 
						

							2 – Mixer
28 TASCAM 2488 User’s Guide
Mono monitoring
Typically monitoring is carried out in stereo, echoing 
the stereo bus. However, there may be times when 
you want to check what the mix sounds like in mono.1Press the shifted  MONITOR SOURCE key. 
While the monitoring is in mono, the appro-
priate monitor selection indicator flashes.
Use the 
MONITOR SOURCE key to turn off 
mono monitoring.
Record source monitoring
Record source monitoring is a feature of the 2488. It 
allows monitoring of the input sources rather than the 
monitoring coming from the mixer channels.
This has a number of advantages as can be seen when 
we examine a highly simplified block diagram.
The signal is passed through the input section, to the 
track. From there, it is passed through the channel.
Typically, monitoring is done from the track, and 
therefore any effects and EQ added to the channel, as 
well as any effects, EQ added to the input, will be 
monitored.
Sometimes, however, it’s a good idea to record “dry” 
(that is, with no effect). An effect setting, for exam-
ple, which sounds fine during recording, may clash 
with another effect added later on in the project.
However, singers and other performers often like to 
hear the effects in their headphones (it helps with the 
recording in many cases). The answer is to add some 
effects to the channel, allowing the artiste to hear the 
effected sound. Meanwhile, the sound is actually 
recorded dry.
This presents a minor problem, though; the effect 
may mask any imperfections in the source material recording process, and it’s a good idea to be able to 
monitor the “dry” signal sometimes. 
This is where the record source monitoring comes in. 
As you can see from the illustration below, the usual 
monitoring source is the channel.
In the record source monitor mode, the source is the 
input.
1Simply press the RECORD SOURCE 
MONITOR
 key. The indicator lights when 
record source monitoring is in operation.
Note that this only applies to monitoring the 
STEREO bus, not to the sub mix or the effect sends 
or loops.
Monitor muting
When recording with microphones, the microphones 
and speakers should not be in the same space, as this 
will cause feedback. If you are using the microphone 
in the same room as the 2488, you should then use 
headphones when monitoring.The monitor MUTE key allows you to cut the output 
to the monitor amplifier/speakers, while still moni-
toring through headphones. The 
MUTE indicator 
lights when muting is active.
InputChannelTrack
Input
dryChannel
(+ FX)Track
Input
dryChannel
(+ FX)Track
MonitoringRecord Source Monitoring
Mode Usual Monitoring Mode
Monitoring