Tascam Digital Portastudio 788 Owners Manual

							2 – Getting started–DISK menu
 TASCAM 788 Digital PortaStudio 31
DISK menu
These functions all deal with the use of disks (inter-
nal and external) with the 788. Note that a CD-R or 
CD-RW drive is not counted as a disk in this case 
(even though it is connected via SCSI in the same way), but it has its own menu, as described in a sepa-
rate section of this manual (“Mastering and backup 
(CD-R)” on page 72.
Formatting a disk
Before you start working with a new disk on the 788 
for the first time, you must prepare the disk for use. 
This is called initializing or “formatting” the disk 
(the same as on a computer), and it will provide a 
“clean slate” to start recording. You usually only 
need to do this once, when you first use a disk.
NOTE
Yo u  d o  not need to do this with the internal disk supplied 
with the 788. This disk has already been formatted.
Formatting will erase any data already on the disk. The 
operation cannot be undone. Only format a disk if you are 
really sure that you have no information on it that you want 
to keep.
The format used on the 788 is not compatible with the for-
mat used by personal computers. You cannot read a com-
puter-formatted disk on the 788, or the other way round.
To format a disk connected to the 788:
1Press the 
MENU key.
2Tu r n  t h e  
DATA dial until the DISK option is 
highlighted, and press 
ENTER.
3Tu r n  t h e  
DATA dial until the FORMAT option 
is highlighted, and press 
ENTER.
The 788 scans through all the SCSI disks con-
nected to the 788, and displays a list.
4If you have more than one disk connected to 
the 788, use the 
DATA dial to scroll through the list and press 
ENTER when the disk you want 
to format is highlighted.
5Set up the parameters for formatting the disk. 
A disk can be split into a number of different 
partitions. The maximum partition size is 
4096 MB (4 gigabytes) and the minimum size is 
512 MB. Use the dial to select between 
4096, 
2048, 1024 and 512 MB.
If the disk size is not an exact multiple of these 
values, the unused space at the end will be 
turned into the largest possible partition , 
using all the space available.
NOTE
If you choose the smallest partition size (512 MB), you will 
not be able to perform the backup operation to CD-R (see 
“Backup using CD-R” on page 79).
TIP
As a very rough guide, remember that a 16-bit stereo (i.e. 
2-track) 74-minute CD is equivalent to 650 MB. As 
explained elsewhere, it is difficult to say exactly how much 
space a song will use on disk—this depends on factors 
such as the number of virtual tracks, etc.
6Using YES with the Quick Format 
option will work in most cases. There may be a 
few occasions (a very heavily damaged disk, for 
example), when you set this option to 
NO.
7Ask yourself once again whether you really 
want to format this disk. Remember that the 
operation will lose all data on the disk.
8Press 
ENTER.
9The 788 asks you once more if you are sure. 
Pressing 
YES formats the disk, NO leaves it 
untouched. 
						

							2 – Getting started–DISK menu
32 TASCAM 788 Digital PortaStudio
NOTE
You cannot undo a disk format.
You only need to format a disk for the 788 under the follow-
ing circumstances: you are using a new removable disk 
(zip®, jaz®, etc.), or have connected a new external hard 
disk. The other time when you may want to format a disk is 
when a disk has become full and you want to re-use it. However, it is probably safer to delete songs one by one, 
rather than formatting the whole disk.
Disks in the list are identified by their SCSI ID numbers 
(from 0 through 6; ID 7 is reserved for the788’s internal 
controller). If the disks are divided into partitions, the parti-
tions are listed as 
Part1, Part2, etc.
Selecting a disk
This selects the disk on which you will create new 
songs and on which you will work. Only formatted 
disks and partitions (see “Formatting a disk” on 
page 31 above) can be selected as the active disk, and 
only one at a time can be selected as the active disk.
1Press the 
MENU key.2Turn the dial until 
DISK is highlighted and 
press 
ENTER.
3If 
SELECT is not highlighted, turn the dial 
until it is, and press 
ENTER.
4Turn the dial to select the disk or partition 
from the list, and press 
ENTER.
Ejecting a disk
This only applies to removable media (MO, zip and 
jaz drives, etc.). Of course, you cannot eject a hard 
disk. Since the SCSI standard allows the disk to iden-
tify itself as ejectable or not to the controlling device 
(in this case, the 788), you’ll never see a disk in this 
list that cannot be ejected.
1Press the 
MENU key.
2Turn the dial until 
DISK is highlighted and 
press 
ENTER.3Turn the dial until 
EJECT is highlighted, 
and press 
ENTER.
4Select the disk to be ejected (if you have more 
than one removable media drive connected you 
can only select one at a time), by pressing 
ENTER.
NOTE
While the 788 is connected to removable media drives and 
using the media, the eject button on the drive is locked. 
This software function is the way to eject such disks.
Checking disks
You use this operation to re-scan the drive list when 
you have inserted a removable disk and you need the 
788 to recognize it.
1Press the 
MENU key.
2Turn the dial until 
DISK is highlighted and 
press 
ENTER.
3Turn the dial until 
CHECK is highlighted, 
and press 
ENTER.The 788 will close the current song and scan all 
connected drives and partitions. The process 
may take a little time, after which the song is 
reloaded.
NOTE
While this operation is in progress, do not turn off the 
power to the 788, and do not turn any drives connected to 
the 788 on or off. You should not insert or remove any 
removable media during this time (including recordable CD 
discs). 
						

							2 – Getting started–The OPTION menu
 TASCAM 788 Digital PortaStudio 33
The OPTION menu
The OPTION menu allows you to set various sys-
tem-wide options affecting the operation of the 788. 
There are four sub-menus here: 
GLOBAL options, 
affecting the whole of the unit, 
MIXER parameters 
which affect the mixer, 
RECORDER parameters which affect the recording part of the 788, and the 
USER WORD settings. The USER WORD 
settings are described in “Setting and editing preset 
words” on page 27, and are not described again here.
Global options
As the name suggests, these options affect the whole 
operation of the unit.
Key sense time Some of the keys on the unit 
have two different functions, spending on whether 
they are pressed and released in a short space of time, 
or whether they are pressed and held down for a 
longer period. 
The pitch control is a good example of this. If the 
PITCH/SSA key is pressed and released briefly, the 
pitch control is turned on. If it is pressed and held for 
the time set here, a screen appears allowing you to 
make the settings for the pitch and the slow speed 
audition functions.
The setting for the key sense time is from 0.3 to 2.0 
seconds, in 0.1 second steps.
Meter peak hold time  The meters shown on 
the home display (“The “home” display” on page 26) 
and other pages can be configured to hold the peak 
value .This parameter can take the following values: 
OFF, 
where the meters do not hold the peak value at all, 
ON; the peak meters hold the value for a second or 
so and then drop back, or 
KEEP, where the peak 
value is always shown on screen until this value is 
changed.
Use the cursor keys to highlight the parameter, and 
the dial to change it
TIP\
The KEEP setting is useful if you want a permanent 
record of the highest value, but you cannot keep your eyes 
on the meters during the whole take or rehearsal.
Meter release time The meter “drop-back” time 
can be configured to be from 
0ms to 100ms in 
10ms steps using the cursor keys to highlight the 
parameter, and the dial to change it. 
Note that the meters are always peak meters, and the 
rise time is fixed.
Mixer settings
Only one setting is currently implemented, as 
described here.
Fader settings This parameter allows the setting 
of the relationship between the physical and the internal faders when scenes are recalled, etc. The 
details are given in “Internal and physical faders” on 
page 45.
Recorder settings
Two settings, related to each other, connected to the 
recorder operations of the 788, may be made from 
this submenu.
These are the pre-roll and post-roll times concerned 
with auto punch operations. Pre-roll refers to the 
time difference between the point where playback 
starts before a punch operation and the punch point. 
Po s t - ro l l refers to the time after the punch-out point 
that the recorder keeps playing after a punch-out (or rehearsal). See “Auto punch operations” on page 55 
for full details.
Both of these fields are set in the same way, by high-
lighting the field and using the dial to set the value.
The minimum time for both the pre-roll and post-roll 
is 
1.0 seconds and the maximum time is 9.9 
seconds. The values are changed in 0.1 second steps.
USER WORD
Described in the section on entering and editing titles 
(“Setting and editing preset words” on page 27). 
						

							34 TASCAM 788 Digital PortaStudio
3 – Before recording
We have already looked at how to connect instru-
ments to the 788 (“Connecting other equipment to 
your 788” on page 22). Now we look at how the sig-
nals are passed from the input connectors on the back 
of the 788 to the recording tracks.
This process is known as assigning. There are two 
ways to assign signals to channels on the 788: the Quick Setup, described immediately below, and the 
manual assignment method (“Assignment on the 
788” on page 36).
The theory of this patchbay is explained in “Assign-
ment” on page 13. Consult this for an explanation of 
the principles, if you are unsure of how this feature of 
the 788 works.
Quick Setup
The quick setup allows the selection of one of three 
predefined assignment patterns, together with default 
EQ and send settings, for use when recording or mix-
ing down, etc.
1Press the 
QUICK SETUP key beside the display 
screen.
2Use the dial to select 
RECORDING, MIX 
DOWN
 or BOUNCE 7/8 (the library 
functions are explained in “Routing and scene 
libraries” on page 91).3Press 
ENTER. The current selection is shown 
on screen using the assign map (see below, 
“Viewing assignments” on page 37).
4Return to the home screen by pressing the 
HOME/ESC key (“The “home” display” on 
page 26).
After the setup has been loaded from the Quick Setup 
menu, it is possible to ‘fine-tune” the assignment to 
the exact requirements (“Assignment on the 788” on 
page 36).
RECORDING
The RECORDING setting sets up the following 
assignment: The inputs from A through D are assigned to chan-
nels 
1 through 4, and the AUX INPUTS are assigned 
to channels 
5 and 6 and the 7-8 channel.
This is a good point to start recording the basic tracks 
in a project, allowing six simultaneous external 
sources to be recorded. 
						

							3 – Before recording–Quick Setup
 TASCAM 788 Digital PortaStudio 35
MIX DOWN
When MIX DOWN is selected, the following assign-
ment is set up:In this assignment pattern, all eight recorded tracks 
are assigned to the correspondingly-numbered chan-
nels, ready for mixdown.
TIP
If you are adding MIDI-synchronized instruments to the 
final mix, you can assign inputs 
A through D and the AUX  
INPUTS
 to the software sub-mixer (“Assigning inputs to 
the sub-mixer” on page 37). This provides you with a total 
of 14 signal sources (in addition to the internal effect 
returns).
BOUNCE 7/8
This allows you to take six recorded tracks and mix 
them into the two tracks of the 
STEREO bus, which 
are then recorded on 7 and 8:
Channels 1 through 6 are fed from tracks 1 through 6 
and passed to the 
STEREO bus.
The 
STEREO signals, in their turn, are passed to 
channels 7 and 8, which will record on tracks 7 and 
8.The individual levels, etc. of the recorded tracks are 
adjusted using the channel controls, and the overall 
level of the mixed signal is adjusted using the faders 
of the destination tracks (in this example, the 
7/8 
fader). It is also possible to add a pre-fader compres-
sor to the 
STEREO bus before the signal is passed to 
channels 7 and 8 (“Using EFFECT 2 as a stereo 
dynamics processor” on page 82). Care should be 
taken when using insert dynamics processors in this 
situation.
NOTE
Although it is possible to use both the stereo dynamics and 
channel dynamics processors at the same time, this is not 
recommended.
TIP
This shows tracks 7 and 8 used as the destination for the 
“bounce”. Of course, any other pair of tracks can be used 
(but it is not possible to bounce tracks to themselves). 
						

							3 – Before recording–Assignment on the 788
36 TASCAM 788 Digital PortaStudio
Assignment on the 788
This section explains how to use the 788’s internal 
patchbay for your own settings. 
Assigning sources to mixer channels.
To assign an input source (INPUTs A through D, the 
AUX INPUTS, the recorded TRACKs, the STEREO 
mix or the 
SUB MIX) to a mixer channel:
1Choose the 
SOURCE that you are going to feed 
into the mixer and press and hold down the 
SOURCE key of that source. The indicator 
flashes.
If the source is already assigned, the 
SELECT 
indicator(s) of the destination channel(s) also 
flash as the 
SOURCE key is held down.
2While pressing and holding the 
SOURCE key, 
press the 
SELECT key of the mixer channel 
into which you will feed the source.
3The indicators of both the 
SOURCE and the 
SELECT keys flash to show that this assign-
ment has been made. 
NOTE
You can assign a source to more than one channel. How-
ever, a channel cannot accept more than one source at a 
time. If a source has been assigned to more than one 
channel, the destination channels must be deselected indi-
vidually (push and hold the 
SOURCE key and then the 
SELECT keys of the channels).
If you assign a stereo source (either 
AUX INPUT or 
STEREO), and press the SELECT key of one channel of 
a stereo linked pair (or the 
SELECT key of channels 7/8), 
the stereo source is linked to both channels of the pair.
If you are assigning 
INPUTs to channels 7 and 8, note that 
INPUTs A and C can only be assigned to channel 7, and 
INPUTs B and D can only be assigned to channel 8. 
If you assign a stereo source (either 
AUX INPUT or 
STEREO) to an unlinked mono channel, the stereo link 
will automatically be created.
If you assign a mono source to a stereo linked pair (or 
channels 7/8), the signal is split between the two channels.
TIP
You can also perform this operation by pressing and hold-
ing the mixer channel 
SELECT key and pressing the 
SOURCE key of the source.
Removing assignments
If you need to remove the assignment of an input to a 
channel or channels:
1Press and hold down the 
SOURCE key of the 
input you want to unassign. The indicator will 
start to flash.
The indicator of any channels to which this 
input has been assigned will also start to flash.
2Press the 
SELECT key of channels which are 
currently assigned, as shown by the flashing 
indicators. The indicators stop flashing.
NOTE
If the source has been assigned to two linked channels 
(including channels 7-8), pressing the 
SELECT key of one 
of the channels will unassign the pair of channels. If the 
stereo link was automatically created when a stereo source 
was assigned, the channels will not be automatically 
unlinked.
TIP
You can also perform this operation by pressing and hold-
ing the mixer channel 
SELECT key and pressing the 
SOURCE key of the source.
1, 2
2 
						

							3 – Before recording–Assignment on the 788
 TASCAM 788 Digital PortaStudio 37
Viewing assignments
1Press the SHIFT + QUICK SETUP (ASSIGN 
MAP
) key to make the assign map appear on 
the display.
The eight tracks and the sub-mixer are shown 
along the top of the screen.The inputs (sources) are shown down the left 
side of the screen.
When a source is assigned to a channel, a rect-
angle appears where the row and channel meet 
(an arrow shows when the sub-mixer is 
assigned to the stereo bus).
2While you make and remove assignments, the 
screen changes to show this.
3After making and viewing the assignments, 
you can press the 
HOME/ESC key to return to 
the “home” display.
Channel-to-track assignments
With a system consisting of a separate mixer and 
recorder, you sometimes need to set up the way in 
which the mixer channels will feed the recorder.With the 788, this is not necessary. Mixer channel 1 
is automatically routed to track 1, channel 2 to track 
2 and so on.
Track-to-channel assignments
The TRACK key is used to assign recorded tracks to 
the mixer channels so that they can be replayed 
through the mixer, with all the facilities provided in 
each mixer channel (EQ, effect and aux sends, fader 
and panning, etc.).
There is only one 
TRACK key, which is used to 
assign the recorded tracks to the channels. When you press and hold the 
TRACK key, and press 
the 
SELECT key of a mixer channel, the track whose 
number corresponds to the selected channel is 
assigned to that channel. Track 1 is always assigned 
to channel 1, track 2 to channel 2, etc.
If you press the 
7/8 SELECT key, the appropriate two 
tracks will be assigned to the pair.
Assigning inputs to the sub-mixer
The sub-mixer (SUB MIX key) is both an assignment 
source and a destination. 
As a source, it can only be assigned to the 
STEREO 
mix.
As a destination, it can be used by the four inputs and 
the 
AUX INPUT pair.
This sub-mixer contains (software) faders for each of 
its inputs as well as (software) pan controls.To assign the inputs to the sub-mixer:
1Press and hold one of the four 
INPUT SOURCE 
keys or the 
AUX INPUTS key.
The indicator will flash.
2Press the 
SUB MIX key. The indicator will 
flash, along with the indicators of all other 
inputs that have been assigned to the sub-
mixer.
Assigning the sub-mixer to stereo
To assign the sub-mixer outputs to the STEREO bus:
1Press and hold the 
SUB MIX key. The indicator 
flashes, along with the indicators of any inputs 
currently assigned to it,
2Press the 
STEREO key to assign the sub-mixer 
outputs to the stereo output bus.For details of how to use the sub-mixer, see “Sub-
mixer” on page 48.
Remove assignments to and from the sub-mixer in 
the same way as you do for other assignments 
(“Removing assignments” on page 36)
Channels (destinations)
Inputs 
(sources) 
						

							3 – Before recording–Monitoring
38 TASCAM 788 Digital PortaStudio
Monitoring
To make sure that everything is connected properly, 
you will need to listen to the signal sources feeding 
the inputs, as well as what you have already 
recorded.
1Make sure all the equipment is connected and 
powered up.
2With the source connected to one of the four 
inputs of the 788 (
A through D), assign the 
input to a mixer channel (“Assignment on the 
788” on page 36). If you’re using an electric 
guitar as the signal source, make sure that it is plugged into input 
D and that the MIC/GUITAR 
switch is in the 
GUITAR position.
3Make sure that the input 
TRIM control is set to 
match the input source level (either 
LINE or 
MIC or in between, depending on the signal 
level).
4Set the 
STEREO fader to the “nominal” (0) 
position, and the assigned channel’s fader to 
the minimum (
–∞) position.
5Set the 
MONITOR LEVEL control to about the 2 
o’clock position.
6Make sure that the monitoring 
STEREO indi-
cator is lit (press the upper 
MONITOR selection 
key to light it if it is unlit).
7Start the input source, and slowly bring up the 
channel fader. You should hear the sound of 
the signal through the monitoring system.
The meters on the right of the home screen 
(“The “home” display” on page 26) will show 
the overall volume of the stereo signal.
If you don’t hear anything
We suggest you check the following if you don’t hear 
anything after following the steps above:
Make sure that all connections between the monitor 
amplifier and the monitor speakers are securely 
made, as well as the connections between the 788 
and the monitor amplifier
Make sure that the volume control of the monitor-
ing amplifier is turned up, and if the amplifier has 
source selector switches, make sure that these are 
correctly set.If the sound source is an electric instrument, make 
sure the volume control of the instrument is turned 
up. If the sound source is a switchable microphone, 
make sure the switch is turned on. In all cases, 
make sure there is a good connection between the 
sound source and the 788.
The 
TRIM control of the 788 input should be set to 
the appropriate level, and the input should be 
assigned to the channel whose fader is being 
moved.
How to monitor tracks
Here are the basic rules which control what you will 
hear from the 788’s tracks (in the example above, we 
were listening to the input source, not the track):
If you are recording on a track, or the track is 
armed (the track’s 
REC READY indicator is lit or 
flashing) use the 
MONITOR CUE key to listen to 
the track. You control the volume of the monitored 
sound (as well as the volume of the signal sent to 
the track) with the channel fader, and the pan posi-
tion of the recording using the channel’s software 
pan control (“Fader and pan” on page 45).If you have recorded on a track, and you want to 
play back the track while recording other 
tracks, use the 
MONITOR CUE key, and the 
TRACK CUE mixer described below (“Monitoring 
the recorded sounds (TRACK CUE)” on page 39.
If you are mixing down, and you have assigned a 
track to a channel, the track is automatically 
removed from the cue mix (the 
TRACK CUE mixer 
settings have no effect). Use the channel fader and 
software pan controls to affect the level and posi-
tion in the stereo mix (which is what you will usu-
ally monitor here).
2 3
45 7
6 
						

							3 – Before recording–Monitoring
 TASCAM 788 Digital PortaStudio 39
Monitoring the recorded sounds (TRACK CUE)
When you have done some recording, you will need 
to listen to what you have recorded previously (other-
wise you will be unable to synchronize overdubs, 
etc.). To do this, you will need to use the track cue 
facility.
This is a small software mixer which provides a ste-
reo output and is fed by the eight recording tracks. 
This output is from the 
MONITOR OUTPUT and 
PHONES connectors only—it is never sent from the 
STEREO outputs. 
This facility allows you to set up a “cue mix” for the 
performers who will be overdubbing their parts; for 
example, you could have a mix which was very 
heavy on the kick drum and the bass line in order to 
keep a rhythm part in time.
The cue mix is only output from the 
MONITOR 
OUTPUT
 and PHONES when the CUE key (above 
the dial) is on (the indicator is lit). When this indica-
tor is off, the cue mix cannot be heard.
To adjust the cue mix:
1Press the 
TRACK CUE key (above the STEREO 
fader).
2You can see and set the parameter for four 
tracks at a time. Pressing the 
SELECT key of 
one of the tracks that cannot be seen on the 
screen shows the other four tracks. You can also use the Ó and Á keys to move the cursor 
“past” the left or right of the screen.
3The top row of controls shows pan controls to 
position the track in the stereo monitor image. 
Move the cursor so that one of these is high-
lighted (in the illustration, the pan control of 
track 1 is highlighted) and use the dial to make 
the pan setting.
The setting can be made all the way from 
L63 (hard left) through C (center) to R63 
(hard right).
4Move the cursor to the bottom row of this 
screen to adjust the track cue levels from 
0 
(minimum) to 
127 (full).
NOTE
The “faders” shown on screen here have no connection 
with the hardware physical faders of the 788.
5Adjust the overall level of the track cue mix 
with the 
MONITOR LEVEL control to the right 
of the display.
Arming tracks and monitoring
When a track has been armed for recording (i.e. the 
REC READY key of the track has been pressed, and 
the red indicator is flashing), you can monitor any 
signal coming into the inputs assigned to armed 
tracks when the 
CUE monitor indicator is lit. 
The levels of the monitored signals from the tracks 
which have been recorded are adjusted with the track 
cue mixer described above. 
The channel faders are used to adjust the levels of the 
signals to tracks which are recording, and their levels 
in the 
CUE monitor mix. The track cue mixer settings 
do not affect these levels, or the levels at which 
recorded tracks are monitored.
In addition, in the home screen, the meters of the 
tracks to which the inputs have been assigned will 
show the incoming signal.These incoming signals are mixed with the playback 
signals when armed tracks are played back. 
When actually recording on an armed track, any sig-
nals previously recorded are, of course, not heard, 
and only the incoming signal is heard.
TIP
To prevent unwanted signals (microphone noise, stray gui-
tar noises, etc.) from interfering with the playback made to 
check a take, get into the habit of switching off the 
REC 
READY
 of any armed tracks, or turning on the CUE moni-
toring and turning off other (
STEREO) monitoring before 
playing back, and restoring the monitoring to its original 
state before you record again.
NOTE
When doing punch operations (see “Recorder operations” 
on page 49), the situation is slightly different, as the record-
ing from disk is muted during the punch rehearsal as well 
as during actual recording. 
						

							3 – Before recording–Monitoring
40 TASCAM 788 Digital PortaStudio
More monitoring options
The monitor SELECT key below the MONITOR 
LEVEL
 control allows you to select what signals you 
will hear through the 
MONITOR OUTPUT and 
PHONES connections.
In addition to the track cue, which can be indepen-
dently switched, the following monitor sources are 
available:
To select the monitor source, press the monitor 
SELECT key. The indicators for the monitor sources listed above light in sequence as you continue to 
press the key.
There is a fifth setting, where all indicators are off. 
This allows you to listen to the track 
CUE in the 
monitor mix completely separately from any other 
monitor signals.
TIP
When recording, you will probably want to listen to the track 
cue (previous recordings)
Typically, when mixing down, you will want to listen to the 
STEREO monitoring source, as this is the final mixed sig-
nal. Since the tracks are routed to the channels during mix-
down, the track cue has no use here, and the CUE should 
be turned off. 
In both recording and mixdown, you may find it useful 
sometimes to listen to what is being sent to the effect and 
aux busses, as well as to be able to isolate the sub-mixer.
Monitoring in mono
It may seem strange to want to do such a thing, but 
there are sometimes occasions when it is a good idea 
to listen to your work in mono. For instance, if you 
expect your work to be heard over small portable 
radios or tape players, etc., or you are mixing a piece 
for TV or video where you are not expecting every 
listener to have stereo equipment, this is a necessary 
part of the production process.
1Press and hold down the 
SHIFT key and press 
the monitor 
SELECT key.
The indicator of any selected monitor source 
(
STEREO, EFF SEND, AUX O UT, SUB MIX or 
CUE) starts to flash, showing that mono moni-
toring is now taking place.
2Press the monitor 
SELECT key again to return 
to stereo monitoring. The indicators of the 
selected monitor sources will light steadily.
NOTE
If a monitor source has not been selected at the time of the 
change between mono and stereo, when it is selected, it 
will flash (mono) or light steadily (stereo) to show the cur-
rent monitor status.
STEREOThe stereo output
EFF SENDThe overall send signal sent to the internal effect 
loop (“Using EFFECT 1 as a single stereo effect 
processor in the effect loop” on page 82)
AUX  O UTThe overall send signal sent to the AUX loop 
(may be internal or external, see “Using EFFECT 
2 as a single stereo effect processor in the AUX 
effect loop” on page 83)
SUB MIXThe sub-mixer stereo signal (see “Sub-mixer” on 
page 48)