Tascam Digital Portastudio 788 Owners Manual

							91 TASCAM 788 Digital PortaStudio
10 – Routing and scene libraries
The 788 allows you to store and recall commonly-
used assignment (routing) patterns as well as scenes 
which contain the settings for the mixer.
Up to 10 scene settings may be stored in a library 
area for each song, which is automatically stored 
when the song is saved.Routing patterns are stored in a common library area, 
available to all songs, and are automatically saved 
when the 788 is powered down.
There is no need to perform a special operation to 
save either type of library data.
Routing libraries
In the routing library, you store up to 128 patterns of 
input assignments to library entries.
The assignments stored in the routing patterns 
include:
the assignments of the inputs to the mixer channels 
(see “Assigning sources to mixer channels.” on 
page 36)the inputs to the sub-mixer (see “Assigning inputs 
to the sub-mixer” on page 37)
the effect assignments (see “Setting up EFFECT 1” 
on page 81 and “Setting up EFFECT 2” on 
page 82).
NOTE
The assignments of virtual tracks to tracks are not stored 
as part of a routing patterns. These assignments are 
stored as part of a song.
Saving the current routing settings to the library
You can save to the routing library while playback is 
stopped, or while playing back or recording.
To store the current routing settings to a library entry:
1Press the 
QUICK SETUP key.
2Use the dial to scroll down to the 
ROUTING 
LIB.
 entry in the list, and press ENTER:
3There are two tabs on the top of this display: 
the 
READ tab allows you to read settings 
from the library, and the 
SAVE tab allows 
you to store the current settings to the library.If the 
SAVE tab is not highlighted, press the 
Á key to highlight it.
4Use the dial to scroll to the entry where you 
want to store the current settings.
TIP
You can give a title to the highlighted entry at this point, fol-
lowing the instructions in “Entering and editing titles” on 
page 26.
5Press ENTER. The settings are saved and the 
display returns to the home screen. 
						

							10 – Routing and scene libraries–Scene libraries
92 TASCAM 788 Digital PortaStudio
Loading routing settings from the library
You can load previously stored routing settings from 
the library while playback is stopped, or while play-
ing back or recording.
NOTE
Take care when changing routing settings via MIDI control 
while playing back or recording, as major changes to the 
routing settings may “open up” some channels and close 
others, giving unexpected results, which could result in a 
spoiled recording or even damage to monitoring equipment 
and your ears. 
To load routing settings from a stored library entry:
1Press the 
QUICK SETUP key.2Use the dial to scroll down to the 
ROUTING 
LIB.
 entry in the list, and press ENTER:
3Use the dial to scroll to the entry from where 
you want to load the new routing settings.
4Press 
ENTER. The settings are loaded and the 
display returns to the assign map screen (see 
“Viewing assignments” on page 37), where you 
can view the effects of the load.
Scene libraries
The 788 also allows you to load and store up to ten 
mixer scenes in a library for each song. These scenes 
are stored automatically when the song is saved.
The 788 stores the following mixer settings as part of 
a scene:
Input assignment (including virtual track 
assignment)
EQ settings
Effector settings and assignment
Effect and aux send levels
PanDigital pad/gain 
Track cue mixer settings (level and pan)
Fader settings (including the 
STEREO fader)
Sub-mixer settings
Since routing is included as part of a mixer scene, 
you do not need to store routing assignments sepa-
rately from scenes unless you need to use the routing 
assignments in other songs.
NOTE
Monitor settings (selection and level), and TRIM control 
settings, are not stored as part of a scene.
Saving a scene to the library
You can save to the scene library while playback is 
stopped, or while playing back or recording.
To store the current scene settings to a library entry:
1Press the 
QUICK SETUP key.
2Use the dial to scroll down to the 
SCENE 
LIB.
 entry in the list, and press ENTER:3There are two tabs on the top of this display: 
the 
READ tab allows you to read scenes from 
the library, and the 
SAVE tab allows you to 
store the current scene to the library. If the 
SAVE tab is not highlighted, press the Á key 
to highlight it.
4Use the dial to scroll to the entry where you 
want to store the current settings.
TIP
You can give a title to the highlighted entry at this point, fol-
lowing the instructions in “Entering and editing titles” on 
page 26.
5Press ENTER. The scene is saved and the dis-
play returns to the home screen. 
						

							10 – Routing and scene libraries–Scene libraries
 TASCAM 788 Digital PortaStudio 93
Loading scenes from the library
You can load previously stored scenes from the 
library while playback is stopped. You cannot load 
scenes (or change scenes using MIDI Program 
Change commands) while playing back or recording. 
If you attempt this, a message appears: 
TRANSPORT MOVING.
To load scenes from a stored library entry:
1Press the 
QUICK SETUP key.
2Use the dial to scroll down to the 
SCENE 
LIB.
 entry in the list, and press ENTER:3Use the dial to scroll to the entry from where 
you want to load the scene.
4Press 
ENTER. The scene is loaded and the dis-
play returns to the assign map screen (see 
“Viewing assignments” on page 37), where you 
can view the effects of the load.
Other matters concerning scenes
Because the physical position of the faders on the 
788 may not always match the position of the faders 
as recalled by the scene, this may cause unexpected 
results if you do not consider in advance what is hap-
pening when a scene is loaded.
This section explains some of the issues involved.
In this example, a channel’s physical fader is set at a 
high level, and a scene is loaded from the library, 
where the internal fader setting is at a lower level.
NOTE
This also applies to the STEREO fader, as well as the 
individual channel faders.
As explained in “Internal and physical faders” on 
page 45, this means that when the 
FADER/PAN screen for the channel is shown, the values of both 
the internal fader and physical fader are shown:
The menu option described earlier in “Internal and 
physical faders” on page 45 allows you to specify 
what will be done when an internal fader value is 
loaded which is different from the physical fader 
value. 
The 
CATCH option is probably the best option to 
choose in many cases, allowing you to leave the 
channel level unchanged until the physical fader 
catches the internal fader (that is, it matches the level 
of the internal fader).
The 
REAL option ignores the internal fader level 
which has been loaded—the physical fader is the 
only method of setting the level.
The 
JUMP option means that if the physical fader 
is moved, though, the level will instantly jump (up or 
down) to the physical fader position. This can cause 
unexpected results, and should be used with caution.
Physical fader
Internal fader
Internal value and 
marker
Physical fader value and 
marker 
						

							94 TASCAM 788 Digital PortaStudio
11 – Synchronization
You can expand the options available to you when 
using the 788 by connecting it and synchronizing it 
to other musical equipment.
Typically, this extra equipment will be MIDI-based 
(sequencers, drum machines, synthesizers, etc.).
Of course, although it is possible to record MIDI 
instruments on the 788 tracks during the initial stages 
of the recording project, it may make more sense to 
use the eight audio tracks of the 788 for material that 
cannot be automated via MIDI (guitars and other 
acoustic instruments and of course vocals).
When it comes to mixdown time, the 788 allows you 
to extend the eight available audio tracks by playing 
additional sources through the sub-mixer and adding 
them to the mix (see “Sub-mixer” on page 48).
To make this work, though, the MIDI instruments 
and the 788 must be synchronized to each other, so 
that playback on one set of sound sources (the recorded audio tracks) keeps time with the sequenced 
MIDI tracks.
The 788 can synchronize with MIDI equipment in a 
number of different ways, as explained in this sec-
tion, allowing a high degree of flexibility in the 
setup.
As well as synchronizing to other devices, it is also 
possible for the 788 to control other devices or to be 
controlled by them (see “MMC and MIDI functions” 
on page 101).
NOTE
All synchronization is carried out through the two MIDI 
ports on the rear panel of the 788, no matter what kind of 
synchronization is used, or the role of the 788 in the syn-
chronization chain.
The 788 cannot use audible SMPTE/EBU timecode from 
the timestripe track of a tape. If the source to be synchro-
nized with the 788 only has audible timecode available, it 
must be converted to and from MIDI timecode (MTC) as 
appropriate.
Master or slave?
The terms master and slave are used to name the con-
troller and the controlled units in a chain of devices 
such as the 788 and other audio devices.
However, it is possible for a unit to be a master unit 
in one configuration at the same time as being a slave 
in another.For example, the 788 may be set up to be a timecode 
master (other units receive their timecode from the 
788 and act accordingly), and a control slave (it 
receives stop/start commands, etc.) from other units.
A 788 can also be a timecode (MTC) slave, and in 
this way, two 788s can be synchronized.
How to measure time?
There are two ways of counting time in music: one is 
the number of minutes and seconds since the begin-
ning of the piece. This is the way in which tape 
recorders, etc. count time.
The other method of counting time is the number of 
bars (measures) since the beginning of the piece. 
This is the way in which MIDI sequencers typically 
count time.There is no direct relationship between these two 
ways of counting, as the relationship depends on the 
tempo of the piece.
When synchronizing, therefore, one unit in the chain 
must be capable of making a map which relates the 
minutes and seconds of one system to the bars and 
beats of the other. If the tempo stays fairly constant 
throughout a piece, this is a matter of fairly simple 
arithmetic, but if the tempo changes through a piece, 
this is not so easy to do. 
						

							11 – Synchronization–Synchronization methods
 TASCAM 788 Digital PortaStudio 95
Synchronization methods
The 788 can use the following output synchroniza-
tion methods for synchronization with other units:
MIDI Time Code (MTC) This is an absolute 
time position, which allows times to be defined to 
frame accuracy or better (the number of frames in a 
second depends on the frame rate, as explained later 
in this section). MTC has no direct relation to bars 
and beats in a song.
MIDI clock A MIDI clock defining the tempo at 
which a MIDI song is played back can be recorded.
MIDI Song Position Pointer (SPP): MIDI 
Song Position information data is used to position the 
slave device at the correct position in a song, 
expressed in bars and beats. Song Position Pointer 
information alone has no relationship to absolute 
time (minutes and seconds).
Synchronization settings on the 788
These synchronization methods listed above are used 
in the following way by the 788 when it is acting as a 
synchronization master for other units:
MTC The 788 outputs MIDI Timecode to the slave 
unit. It is the responsibility of the slave unit 
(sequencer, etc.) to turn this timecode into musically 
meaningful, i.e. bars and beats, information. This can 
also be used to synchronize another recording device 
which is not MIDI-based, but which can accept 
MTC, for example, another 788.
syncTrk (sync track) In this way of working, 
the 788 is synchronized to a slave MIDI device 
(sequencer, etc.) which is capable of recognizing and 
acting on MIDI clock and SPP information. The tem-
pos to be used throughout the piece are first worked 
out on the slave device, and they have been finalized, 
the sequencer plays MIDI into the 788, which 
records the clock. The 788 can then play back these 
tempos, along with SPP information, and thereby act 
as a MIDI clock master for the system.
Tempo Map In this way of working, the tempos 
and time signatures throughout the song are entered 
on the 788, which then acts as the master unit, calcu-lating the clock timings and transmitting them, 
together with Song Position Pointer information, to 
the slave devices.
In addition, the 788 can synchronize as a slave to 
incoming timecode (MTC), generated by a MIDI 
sequencer, etc. Note, however, that the MTC output 
by some computer systems may be a little erratic and 
unstable, and it is recommended that you do not use 
this method of synchronization with sequencers, but 
rather with other recording devices which can output 
stable MTC (such as other 788s).
Each of these different synchronization methods has 
its advantages and disadvantages. The most impor-
tant thing to remember is that once something is 
recorded on the 788, it is impossible to change its 
tempo. By contrast, if something is recorded on a 
MIDI sequencer, it is easy to change its tempo.
For these reasons, you may find it easiest to deter-
mine the tempo on the sequencer, and record the 
MIDI sync track (click track) first. After you are 
completely happy with the tempo of this track, you 
can start to add the acoustic instruments, and lock the 
timing of the recorded sounds to that of the MIDI 
data. 
						

							11 – Synchronization–Making synchronization settings
96 TASCAM 788 Digital PortaStudio
Making synchronization settings
The 788 synchronization settings are all carried out 
using the 
SYNC/MIDI menu.
All synchronization information is carried through 
MIDI, so typically the 
MIDI OUT of the 788 must be connected to the MIDI IN of the MIDI device to 
which it is being synchronized, and the 
MIDI IN of the 
788 should be connected to the MIDI OUT of the 
other unit.
Synchronization master/slave setting on the 788
To determine whether the 788 will act as the master 
or the slave with regard to synchronization:
1Make sure playback and recording are 
stopped, and press the 
MENU key.
2Use the dial to scroll down to 
SYNC/
MIDI
, and press ENTER.
3Use the dial to highlight 
SYNC, and press 
ENTER.
4Use the § and ¶ keys to move the cursor to 
SYNC SRC.
5For internal synchronization (that is, the 788 
becomes a synchronization master), use the dial to select 
INT. For external synchroniza-
tion (synchronization slave), use the dial to 
select 
EXT.
NOTE
If external synchronization is selected, the 788’s transport 
keys (including jog and repeat) will not work until the syn-
chronization is received at the 
MIDI IN port. This is shown 
when you try to play or record, for example, by the appro-
priate key indicators flashing until the MTC is received. The 
788 display also shows 
EXT SYNC when external 
synchronization is selected as explained here.
6Press ENTER to return to the home screen, or 
use the § and ¶ keys to select another option.
Selecting the master synchronization type
If the 788 is set to be the synchronization master, you 
must then set the type of synchronization signal out-
put to the slave units:
1Make sure playback and recording are 
stopped, and press the 
MENU key.
2Use the dial to scroll down to 
SYNC/
MIDI
, and press ENTER.
3Use the dial to highlight 
SYNC, and press 
ENTER.
4Use the § and ¶ keys to move the cursor to 
SYNC GEN.
5There are four options available here 
(explained in more detail in “Synchronization 
methods” on page 95):
OFF The 788 does not output any timing or sync 
information from the MIDI OUT when playing back 
or recording.
MTC MIDI Time Code—the 788 outputs MIDI 
timecode when playing back or recording.
CLOCK The 788 outputs a MIDI clock together 
with the Song Position Pointer information from the 
edited Tempo Map (see “Tempo map” on page 98) to 
synchronize an external sequencer.
SycTRK The 788 plays back a previously-recorded 
sync track (see “Sync track” on page 97) with SPP 
information, to synchronize an external sequencer.
NOTE
When the 788 is acting as a synchronization slave, the only 
synchronization source which is valid is MIDI Timecode.
MIDI Timecode frame rate
MIDI Timecode allows the use of different frame 
rates, which allow synchronization with all types of 
timecode available from other devices.
1Make sure playback and recording are 
stopped, and press the 
MENU key.2Use the dial to scroll down to 
SYNC/
MIDI
, and press ENTER.
3Use the dial to highlight 
SYNC, and press 
ENTER. 
						

							11 – Synchronization–Sync track
 TASCAM 788 Digital PortaStudio 97
4Use the § and ¶ keys to move the cursor to 
FRAME RATE.
5Use the dial to select the frame rate for the out-
going timecode (or timecode to be received as a 
slave).6Press 
ENTER to return to the home screen, or 
use the § and ¶ keys to select another option.
When you have made the selection on the 788, the 
other device (sequencer) must also be set to the same 
frame rate as that set on the 788. If they are different, 
you will not be able to synchronize the system prop-
erly. This applies whether the 788 is acting as a time-
code slave or a timecode master in the system.
TIP
We suggest that unless you are working with video or mov-
ies, you use the 30ND setting, as this provides more 
frames per second, and hence greater precision.
MIDI Timecode offset (788 as slave only)
When the 788 is slaved to incoming MIDI timecode, 
you may need to adjust the time difference, so that 
the time used on the 788 closely corresponds to the 
“real” time.
For example, if the MIDI timecode master starts the 
timecode playback at 00:57:00:00, and the actual 
piece starts at 01:00:00:00, you might want to enter 
an offset of 3 minutes, so that when the piece starts, 
the ABS time on the 788 display shows 
01:00:00:00 (see “The time display” on 
page 26). The MTC setting on the screen display will 
always show the incoming timecode values.
1Make sure playback and recording are 
stopped, and press the 
MENU key.2Use the dial to scroll down to 
SYNC/
MIDI
, and press ENTER.
3Use the dial to highlight 
SYNC, and press 
ENTER.
4Use the § and ¶ keys to move the cursor to 
MTC OFFSET.
5Use the Ó and Á keys to move the cursor to 
the hours, minutes, seconds and frames field, 
and use the dial to adjust these values.
NOTE
The maximum value you can set here is 23:59:59:xx 
(where xx is one less than the number of frames in a sec-
ond—see “MIDI Timecode frame rate” on page 96).
Sync track
You can record a sync track from the source MIDI 
device, which allows the 788 to act as the synchroni-
zation master later on.The sync track is not an audio track, but is a record of 
the MIDI clock. When replayed, SPP information is 
included.
It allows subtleties in tempo which are not possible 
with the tempo map method of working
Recording the sync track
Before starting to record the sync track, make sure 
that:
the tempo changes of the sequence are fixed and 
will not be changed in the future
the MIDI OUT of the sequencer is connected to 
the 
MIDI IN of the 788
the sequencer is set to transmit MIDI Clock and 
information when replaying
1Make sure playback and recording are 
stopped, and press the 
MENU key.2Use the dial to scroll down to 
SYNC/
MIDI
, and press ENTER.
3Use the dial to highlight 
SYNC TRACK, 
and press 
ENTER.
2424 frames/second. Used in the film industry
2525 frames/second. Used in the EBU/SECAM 
(European, etc.) TV industry
29ND29.97 frames/second non-drop. NTSC color TV for 
broadcast
29D29.97 frames/second drop-frame. NTSC color TV
30ND30 frames/second non-drop. NTSC mono TV 
						

							11 – Synchronization–Tempo map
98 TASCAM 788 Digital PortaStudio
4Cue the sequencer to the start of the song (it is 
not possible to record from part of the way 
through).
5Press 
ENTER/YES on the 788. The sync track is 
now “armed” and the display shows 
Wait 
for Start
.
6Start playing back the sequence. If the connec-
tions have been made properly, the 788 display 
shows 
Recording...
To interrupt the recording of the sync track 
before the end, press 
NO.7At the end of the sequence, or if the sequence is 
stopped, the 788 display shows 
Complete. 
Press 
EXIT/NO to save the sync track. If you 
press 
ENTER/YES at this point, you will re-arm 
the sync track and you will have to record it 
again.
NOTE
The 788 and the sequencer should be independently con-
trolled here (that is, neither should be a control slave of the 
other). See “MMC and MIDI functions” on page 101.
The start of the sync track is always the ABS 00:00:00:00 
point, that is, the first beat of the first bar falls at the zero 
point. It is not possible to offset the sync track.
Using the sync track
To use the recorded sync track to control the external 
sequencer from the 788:
1Make sure that the synchronization source for 
the 788 is set to 
INT (internal)—see “Syn-
chronization master/slave setting on the 788” 
on page 96. The 
MIDI OUT of the 788 should be 
connected to the MIDI IN of the sequencer.
2Set the 
SYNC GEN parameter on the 788’s 
SYNC screen to SycTRK (see “Selecting 
the master synchronization type” on page 96).
3Set the sequencer to respond to an external 
clock source and make it ready to accept an 
external MIDI Start command.
4Return to the home screen on the 788, and 
press 
PLAY. The sequencer starts playing back at the time position corresponding to the ABS 
time on the 788. 
NOTE
You do not have to start playback at the beginning of the 
song. If you locate to a time position on the 788, the 
sequencer will pick up the correct time from the MIDI SPP 
data output by the 788.
Although it is possible to change to the bars and beats dis-
play on the 788, the values displayed when using the sync 
track do not correspond to the bars and beats on the 
sequencer, unless a tempo map is entered on the 788 
where the signature changes correspond to those in the 
sequence (note that even if the bar/beat position matches 
the sequencer, the tempo probably will not). You should 
therefore usually use the ABS time values when locating, 
as these are generally more meaningful location values.
Tempo map
You can enter the tempo map to allow the 788 to send 
tempo (clock) and SPP information to a MIDI 
device, when it is not possible to record a sync track.
Another advantage of using the tempo map is that it 
allows you to locate to bars and beat positions on the 788, as described in “Direct location (ii)” on page 61 
(using the sync track does not automatically map the 
bars and beats), and this is therefore a more “musi-
cal” way of controlling the synchronization of the 
788 with a sequencer.
Entering and editing the tempo map
You must enter the tempo map manually, using the 
procedure described here:
1Make sure playback and recording are 
stopped, and press the 
MENU key.
2Use the dial to scroll down to 
SYNC/
MIDI
, and press ENTER.3Use the dial to highlight 
TEMPO MAP, and 
press 
ENTER. 
						

							11 – Synchronization–Tempo map
 TASCAM 788 Digital PortaStudio 99
4There is one entry automatically included in a 
new tempo map. The four columns in the dis-
played table correspond to the following:
5Use the Ó and Á keys to move between the 
three editable fields, and use the dial to change 
the values of these fields.
BAR This value cannot be changed to a value which 
is equal to or less than that of the entry before it, and 
it cannot be changed to a value which is equal to or 
greater than that of the entry after it.
SIG You can set the time signature using the follow-
ing rules: the number of beats in a bar can be set to be 
any number from 1 through 8, and the value of the 
beat can be 1 (full note (semibreve)), 2 (half-note 
(minim)), 4 (quarter-note (crotchet)) or 8 (eighth-
note (quaver)). Values such as 7/8 are therefore possi-
ble, but 11/4 is not.
Tempo The maximum tempo value is 250.0, and 
the minimum value is 20.0. You can set the decimal part of the tempo value independently of the main 
part.
6Use the 
INSERT (MOVE) key to insert a new 
entry after the currently highlighted entry.
7Use the § and ¶ keys to move between entries 
in the tempo map table.
8Use the 
DELETE (SILENCE) key to delete the 
currently-highlighted entry.
9Press 
ENTER when you have entered the com-
plete tempo map.
NOTE
The tempo map must correspond to the musical structure 
of the song on the sequencer. If part of the song is in 3/4, 
but the tempo map is all in 4/4 time, it will be impossible to 
relate the tempo map to the song.
TIP
It is not possible to enter a tempo change part of the way 
through a bar, and therefore you cannot do gradual speed-
ing up and slowing down using a tempo map. If you need 
this kind of capability, we suggest that you do these tempo 
changes on the sequencer, and then use the sync track 
facility to record the tempo changes from the sequencer.
The tempo map is stored as part of the song on disk 
and is reloaded automatically together with the song. 
It is therefore possible for you to make a song, com-
plete with a tempo map, store it to removable media, 
and take it to another 788-equipped facility 
Using the tempo map
When the tempo map has been recorded, you can use 
it in the following way:
1Make sure that the synchronization source for 
the 788 is set to 
INT (internal)—see “Syn-
chronization master/slave setting on the 788” 
on page 96. The 
MIDI OUT of the 788 should be 
connected to the MIDI IN of the sequencer.
2Set the 
SYNC GEN parameter on the 788’s 
SYNC screen to CLOCK (see “Selecting the 
master synchronization type” on page 96).
3Set the sequencer to respond to an external 
clock source and SPP information and make it 
ready to accept an external MIDI Start com-
mand from the 788.4When you start playing the 788, from the home 
display, the MIDI device will also start playing.
5You can use the bars and beats facility on the 
home display of the 788 to locate to specific 
bars and beats in the sequencer song. 
NOTEN
The tempo of the sequencer playback will be determined 
by the tempo map on the 788, and will not be affected by 
the settings made on the sequencer.
If you make a tempo map, this can be used as the source 
for the internal metronome (if the tempo does not need to 
change inside a bar).
No.The number of the entry in the table map (this can-
not be edited)
BARThe bar at which this table map entry starts to take 
effect
SIGThe time signature of this table map entry
TEMPOThe tempo in beats per minute of this tempo map 
entry 
						

							11 – Synchronization–Using MTC to control a sequencer
100 TASCAM 788 Digital PortaStudio
Using MTC to control a sequencer
1Make sure that the synchronization source for 
the 788 is set to 
INT (internal)—see “Syn-
chronization master/slave setting on the 788” 
on page 96.
2Set the 
SYNC GEN parameter on the 788’s 
SYNC screen to MTC (see “Selecting the 
master synchronization type” on page 96).
3Set the sequencer to respond to MTC. Usually, 
sequencers will start automatically when MTC 
is received, if set up in this way.
4When you start playing the 788, the sequencer 
will start playing at the point located to by the 
788.5Use the ABS timing method to locate to time-
based points on the 788.
NOTE
The tempo of the sequencer is determined by the 
sequencer itself. If you record a track on the 788 in time 
with the sequencer, and then change the sequencer tempo 
while the sequencer is synchronized to the 788 in this way, 
the recorded audio track will be out of time with the MIDI 
tracks.
Bars and beats on the 788 have no meaning when syn-
chronizing in this way, unless a tempo map is manually 
entered on the 788.
Not every sequencer or sequencer program is capable of 
accepting MTC. If your sequencer cannot accept MTC and 
use this to synchronize, you must use one of the other 
methods of synchronizing with the 788.
Metronome
The 788 also includes a metronome, which is related 
to the internal tempo map and takes its timing from 
the map. If you use the metronome, you should take 
care that the tempo used in the tempo map matches 
the tempo map of all other instruments in the setup.
NOTE
The metronome can only be output when the SYNC 
GEN
 option is set to CLOCK or SycTRK 
(“Selecting the master synchronization type” on page 96). 
It cannot be output when it is set to the 
OFF or MTC 
values.
It can be output through the monitor speakers, or as a 
MIDI note.
1Make sure playback and recording are 
stopped, and press the 
MENU key.
2Use the dial to scroll down to 
SYNC/
MIDI
, and press ENTER.
3Use the dial to highlight 
METRONOME, and 
press 
ENTER.
4Make sure that the 
SETUP tab is high-
lighted. Use the cursor keys and the wheel to 
set the following parameters:
OUTPUT Determines the kind of metronome: 
OFF (no metronome), INT (internal, through the 
MONITOR OUTPUTs and PHONES) and MIDI (a 
MIDI note; see below)
MODE Determines when the metronome will be 
output: 
REC (recording only) or RECPLY 
(recording and playback)
INT LEVEL Sets the level of the metronome when 
INT is selected as the output type (from 0 through 
127).
5If you selected 
MIDI as the output type, use 
the Á key to select the 
MIDI tab:
CH The MIDI channel on which the metronome 
note will be transmitted (10 is the General MIDI 
channel used for drums).
ACC. NOTE The note on which the accented (first 
beat of the bar) metronome will be output. 
(ACC.) VELO The velocity of the accented metro-
nome notes (usually louder than the other beats).
NORM. NOTE The note on which non-accented 
metronome notes will be played.
(NORM.) VELO The velocity of non-accented 
metronome notes.