Tascam HS-P82 V1.20 User Guide

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TASCAM HS-P82 End User Guide for Film/Video Applications v1.20

By Fred Ginsburg CAS PhD

Introduction This Guide to the TASCAM HS-P82 and companion RC-F82 is intended to provide the new user a concise

review of the operation and setup of this portable multitrack recorder, along with explanations and a

suggested workflow for professional film/video applications.

It is not meant to replace the comprehensive Owners Manuals provided with the equipment, but rather

to supplement those documents.

Part 1 deals with the basic setup of the recorder. Part 2 (pg 17) covers recording with the unit, stand

alone, without a mixing board. Part 3 (pg 28) discusses using the recorder with an external mixer, and

Part 4 (pg 31) deals with the use of the TASCAM companion fader controller.

A helpful index (pg 37) is located at the end of this document.

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Part 1: Basic Setup

This section is an introduction to the basic operation of the TASCAM HS-P82 recorder itself. These steps

will guide you through the initial setup of the machine and explain the primary touchscreens and

controls that you will need for film/video applications.

One of the nice features of the TASCAM is the redundancy of control settings. As you explore the layout

of the touchscreen software, you will find that many of the same settings are accessible from multiple

screens. In the field, this advantage can really streamline your workflow.

Powering Up The TASCAM can be powered from internal batteries, AC adapter, or external 12vDC via industry

standard XLR 4-pin connector.

The unit comes with an NP style Battery pack that takes 10 AA alkalines. Even if you are planning to use

AC or external power, it is a good idea to load up the battery pack and install it; it will serve as a power

backup should your external power be interrupted.

If you have access to them, you could also use standard NP style, rechargeable video batteries.

Factory supplied AC adapter outputs 12vDC via its donut connector.

Owners (not renters) of this TASCAM are encouraged to have a technician replace the OEM

donut connector with an XLR 4-pin, as the XLR 4-pin is a more secure connection.

External 12v DC or battery pack equipped with standard XLR 4-pin. Note that the industry standard for

the XLR 4-pin is pin 1=positive, and pin 4=negative. Pins 2 and 3 are not used.

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Format your CF card

After powering up the unit, press MENU button. Select CF/USB MANAGE screen. Full format the first

time you are using a new or used card. It can take a while, so do this BEFORE you arrive on set.

Subsequently, just use the quick format button.

Most mixers utilize the following workflow: Begin the project with a full formatted, fresh compact flash

card. At the end of the day, or when the card is almost full, remove the card and transfer the files over

to a laptop. As soon as the used card is removed, replace it immediately with a fresh one. Perform a

quick format, and then set up your project files, so that your recorder is good to go. (Keep a written

notepad with all of your project specs and naming conventions, so that all of your blank cards remain

consistent.) After transferring the files from the used card, perform a quick format and project setup on

that card, as well. In this manner, you will always have one in the machine, and another ready for a

quick change out.

New system firmware version 1.10 offered during the Fall of 2011 enables you to record to two compact

flash cards simultaneously, so that your material is still safe in the event that one CF card malfunctions

during a recording. A REC MODE tab has been added to the REC SET UP screen, which enables you to

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activate the Mirror Record function. I recommend that you use two compact flash cards of the same

manufacture and read/write specs to insure the best results. Error messages may occur otherwise; as

well as if there is not enough memory remaining on one of the cards. The Home screen shows the status

of both CF cards.

System Setup

From the MENU button, select the SYSTEM SETUP screen.

Keyboard type: US.

Solo mode: The default setting for SOLO is SINGLE. That means only one channel at a time can be solo

monitored. If you change the solo mode to MIX, then it is possible to highlight and monitor as many

channels simultaneously as you want to. MIX is better for film/video applications.

Slate type: you will find yourself alternating between Internal Mic for voice slating your takes, and the

TONE setting for recording a head tone at the beginning of your recording session. When you press the

SLATE button on the face of the recorder, it will activate the slate mic or tone generator, based on your

selection on this screen.

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However, if you use an external keyboard or the TASCAM Fader Controller, you can readily switch

between Mic or Tone by pressing the (user programmed) Function buttons (example, F1 for Mic and F2

for Tone) regardless of the screen selection for Mic or Tone. This is the popular way of doing it, and is

explained in the Remote Setup Screen section in Part 4 of this guide.

Reference Level: These settings do two functions. Not only do they set the record level of the tone

generator (which is normally set to -20dB), but it also controls the level for your analog line level input

such as when you plug in an external mixing panel. So in practice, you would select the -20dB button for

recording tone, but later you may need to select a higher setting if you need more gain from the line

level inputs.

Note that in firmware release v1.20, you can now adjust the level of LINE INPUT by using the trim knob,

similar to adjusting Mic level inputs. This allows you to maintain a -20dB level for your reference tone.

Set the internal clock and date by selecting the tab at the bottom of the screen. Just press any of the

displays to adjust the numbers shown.

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Create a PROJECT A project is essentially the name of your film or video, along with the basic recording format. It is

possible to host multiple projects on the same CF card, even if those projects use different formats.

Press PROJECT button. Select Create Project tab at bottom of screen.

If you are not already in the ROOT folder, then tap the button located just under the Project

screen label until you back your way up to the root folder of the card.

Press the tab on the left to NAME your project. DO NOT use the whole word project in your new

name; it is too long and will not always be displayed! Just abbreviate it as P_ name. (letter P,

underscore, brief name or number). Example: P_My_ Film

Press the tab on the left to NAME your folder. Note that TASCAM sometimes uses the term folder for

what we would call scene in filmmaking. On the TASCAM, you can store all of your takes for each

scene inside of that scene folder. It is one of two options for keeping track of stuff!

DO NOT use the whole word scene in your new folder name; it is too long! Just abbreviate it as S_

number. (letter S, underscore, scene number/letter). Example: S_101A

This would create the following file tree on your CF card:

P_My_ Film (name of project)

S_101A (name of scene)

S_101A-T001 (name of each take, consisting of folder name

appended to incrementing take numbers)

However, in v1.20 firmware, you now have a different option for file naming. Instead of using the

FOLDER NAME as the scene, you can use the folder name to designate any organizational folder, such

as the camera media drive, date, or whatever label you choose. Then you can create a scene/take

number for each take, consisting of a USERWORD (which would be the actual scene number) appended

to incrementing take numbers. This gives you one additional layer of file management, and makes

changing scene numbers faster and very user friendly.

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Note that editing the USERWORD (aka scene number) takes place from the NEXT TAKE NAME tab in

the HOME screen, so it is very convenient.

Now, your file tree might look something like this:

P_My_ Film (name of project)

cam_drive_9 (name of folder, in this case the camera hard drive)

S_101A-T001 (name of each take, consisting of USERWORD scene name

appended to incrementing TAKE numbers)

Next, select the correct Fs (SAMPLING RATE) for your project. Most of the time, this will be 48k.

Sometimes, the post production people will ask for 96k. Depending on your video editing software, you

may even be asked to use 47.952 or 48.048, which are labeled as 48k +/-

It is your responsibility to make sure that you record in the correct format and frame rate, so ask the

Post Production Supervisor for the correct settings to use. NEVER GUESS. NEVER ASSUME. Different

editing houses and labs may prefer different settings according to their software and in-house workflow.

If you are selecting the pull-down or pull-up rate (48k +/-), you can select the FAKE RATE button in order

to stamp a 48k label onto a file in order to fool some recorders into performing a pull-up or pull-down in

order to sync up with some sprocketed FILM projects.

Otherwise, use the Actual Rate setting.

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(You select the bit rate, 16 or 24, from the REC SETUP screen, File Format tab, as described further

below).

Select NEXT at the bottom of the screen

Select the correct FRAME RATE for your project. Most so called 24 frame video and HD video is actually

23.976. Standard video is 29.97 (drop frame or non-drop frame, make sure you know which is correct).

Sprocketed or electronic FILM may require 24F or 30ND; be sure to ASK the lab or the Post Production

Supervisor.

After entering all of your parameters, you may finalize your choices by confirming the CREATE PROJECT

button at the bottom of the screen.

Sync T/C Press the MENU button, and select Sync T/C. This is where you set your timecode details. Note that the

timecode frame rate was already set when you selected your FRAME RATE during Project creation.

Go to the TIMECODE tab.

The STATUS window displays the frame rate that you selected for this project.

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You can select to EDIT or manually enter User Bits. This is non-changing information that is part

of the timecode data, such as a date, production number, or other simple value. It is important

to always enter a value for the user bits, since timecode alone will eventually repeat itself after

24 hours. A unique value in the user bits area for each timecode cycle (24 hrs or less) will make

it easier for post-production computers to identify material that otherwise might have the same

timecode data.

In the above example, we have entered CA for camera, 09 for the media drive, and 01 12 for the

date.

You can also manually enter a start value for the timecode. This will begin when you select the

FREE RUN or REC RUN buttons on the setup tab.

Go to the SETUP tab.

Select a generator mode:

TIME OF DAY refers to whatever time the internal clock is set to. It will continue to generate,

even if the TASCAM is powered off, so long as there is a battery inside. Many soundmixers

prefer this setting, as it is easy for any crew member to know the correct timecode just by

looking at their watch!

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FREE RUN means that once you manually enter a starting timecode, the generator will

continuously run.

FREE ONCE is similar to what Denecke would call a one-time jam sync. The generator will lock onto an incoming timecode signal, sync to it once, and then continue to run on its own after the external or master timecode has been disconnected. (default factory setting)

Note that the HS-P82 will subsequently ignore external timecode, unless you switch modes to something else and back again. This is the main difference to JAM SYNC. Kind of what happens when you jam sync the timecode slate to a recorder, but in this instance the recorder jam syncs to an external master source.

JAM SYNC is similar to FREE ONCE, except that the internal timecode generator will continue to

read and synchronize to the incoming signal. If the external timecode becomes disconnected,

then the TASCAM will enter a free run mode.

Although Free Once is the factory default, JAM SYNC is the preferred mode to use by

most Sound Mixers, since it allows the TASCAM to continually update to the latest

external (jam sync) code coming in.

REGEN is what we would commonly refer to as external timecode mode. The TASCAM reads the

incoming timecode, and regenerates it as a clean signal.

REC RUN is when the timecode generator only runs during the RECORD mode. If the TASCAM is

in stop or pause, so is the generator. This will give all of your recorded files a continuous

timecode without gaps. However, cameras and timecode slates will be difficult to maintain sync

with, unless you physically cable or transmit to them at all times. Once they are disconnected

from the recorder, other devices will have no way of knowing when the TASCAM is recording or

stopped.

TC SYNC REC is a new setting that came out in v1.20 that allows the recorder to automatically

start and pause recording in response to the state of external timecode. This allows the camera

to operate in a REC RUN timecode mode and to control the start/pause of the TASCAM, so that

the final timecode on camera & audio tracks are continuous and without gap which makes

some editors very happy, and the rest of us on the set less happy. It requires a very solid

hardwired or wireless connection between camera and sound; and inevitably that connection

will, after a time, physically fail resulting in camera rolling without audio.

Power Off gen: the factory default setting is OFF. When the TC generator is set to TIME OF DAY, REGEN, or REC RUN this setting has no effect.

The power-off timecode generation requires a battery to be installed in the rear NP slot (the HS-P82 doesn't have a secondary battery just for this purpose).

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The I/O tab allows you to assign the BNC OUT 1 connector as timecode output or AES output; and BNC

OUT2 can be WORD sync output or WORD sync throughput. Usually just leave it as timecode out and

word out, unless you are doing something advanced (in which case you would know).

The CLOCK tab is for indicating whether the timecode signal is locking to the internal clock (default),

word or video sync, or AES. Usually, just leave it on INTERNAL clock, unless you are doing something

advanced.

Panel Lock Function Depress the HOME button and then the MENU button while still depressing the HOME button, and the

panel LOCK/UNLOCK screen will appear. All three of the windows should say UNLOCK. It is possible to

lock groups of the controls, should the need arise.

Enable the Record Tracks Before you can record to any tracks, you must manually arm them, that is, enable them ready for

recording. Otherwise, tracks are locked out and will NOT record.

From the MENU button, select the REC SETUP screen. From the REC TRACKS tab at the bottom of your

screen, simply press each of the tracks that you wish enabled. Dont forget to also enable the LR 2mix

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button on the end, which is the master track that you can mix all of the other tracks down to, in addition

to recording them as individual ISOs.

Note that you can also enable/disable record tracks from the HOME screen, as well. Just select

the REC TRACK tab at the bottom of the screen. This is where you would normally access the

tracks during a production session, after the initial setting up.

The FILE FORMAT tab allows you to select mono (default)or poly formats for your tracks, the bit rate

(16 or 24), mono file placement (subfolder is the default), max file size (2GB is default), and whether the

file is split (default) or stays intact when you hit the pause button.

Important NOTE: the default bit rate for the TASCAM is 24 bit, which would be correct for music.

However, for film/video, the 16 bit setting has been more prevalent but some productions are

beginning to favor 24 bit. Always ASK the Post Production Supervisor what settings they

require!

The OPTIONS tab is where you will find the capability of enabling the PRE RECORD function. The default

setting is OFF, but there are some field applications where it is extremely useful to be able to record

audio that occurred a few seconds BEFORE you pressed the RECORD button! Bear in mind that if you use

the PRE RECORD mode, it does require a few seconds of processing (downtime) before you can begin

recording a new take. That may or may not be a problem for you.

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Meter Setup From the MENU button, select Meter Setup. You normally should not need to make adjustments to this

window. The default settings are: Peak Hold 1 sec, Release Time Normal, Over Level 0.20 dB, Ref Level

Line On.

Mixer Setup From the MENU button, select Mixer Setup.

Start with the Setup tab.

You can assign a name to any track for your convenience. For example, you could rename

Track 1 as Boom

Channel Link is for linking a stereo microphone so that one set of controls spans over two input

channels. MS Mic mode is for when you are recording unprocessed mid-side tracks with an M-S

type mic.

The TRIM GROUP tab allows you to link the gain level of any input so that one track controller knob is

master over the group. For most film/video production, you would not use this feature.

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The INPUT tab lets you select analog or digital input for each channel. If you are bringing in digital

sources, the Fs CONVERT button allows you to turn on a sampling rate converter. You can also activate

PHANTOM mic powering for each input.

The SIGNAL PROCESSING tab allows you to reverse the acoustic phase of a given channel, to engage a

low cut filter, or to engage a limiter. You can dial in the variables for the low cut settings for each

channel by pressing the main LowCut Filter button on the left of the screen.

Channel Setup From the MENU button, select the Channel Setup window. The Channel Setup window is a fast and

convenient way to control the settings for each input channel, and is the best way to work with your

channel settings during a session.

The screen of the Channel setup window shows tabs for input channels 1-4. Selecting the arrow tab on

the right will bring up channels 5-8, and vice versa.

For each channel, you can turn Phantom power on/off; select analog or digital input; engage the phase

reversing tool; engage low cut & adjust the low cut parameters; and engage limiter. The button marked

REC will arm or disable the track.

Pressing on the small knob located next to the REC button will activate the (real) knob on the TASCAM

located to the right of the display, marked DATA. That virtual knob on the screen controls the output

level from the channel to the LR master mix, and is linked to the physical DATA knob on the TASCAM.

Next to the virtual output level knob is another virtual knob marked >L/>R. When this virtual knob is

depressed, it becomes linked to the DATA knob. It is the pan control for the output, and determines the

stereo mix to the master left and right tracks.

Note that for film/video production, we very seldom want to create a (seemingly) screen

balanced, stereo 2-track master for the editor to work with. Instead, there are two schools of

thought about how to utilize your 2-track master (live mix) tracks.

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One concept is to fully pan (assign) your input channels to 100% all the way left, or all the way

right, so that there is no overlap of audio onto both tracks. During the editing process, a hard

left or hard right set of dailies can be panned to screen center as the editor desires. But starting

out with two discreet tracks will give the editor more options and better control over possible

phasing or noise issues than just a single mixed track, but will require much more effort by the

editor during the initial picture cut. Remember that the eight individual ISO tracks often will not

be utilized until after the picture edit is locked, and the workflow goes to audio post production.

The other concept, which is far more popular amongst Hollywood mixers, is to create a dual-

mono set of master tracks. All of the inputs are mixed (panned) to both the L and R Master

tracks, but the output to the Right track is attenuated by 10 to 15 dB. That means, instead of

centering the pan control, set it to favor the Left track by a fixed amount, so that the resulting

mix has the Right track lower than the Left. In the event of unexpected clipping by an actor or

sound effect on the primary (Left) mix track, the editor only has to cut to the non-clipped lower

volume version that is the Right mix track. That is much easier than trying to completely rebuild

the production soundtrack from the ISO tracks.

On the lower right of the Channel Setup window is a button with the track name or label, just under the

level meter. Pressing that button allows you to instantly rename the track display to something more

meaningful, such as changing Track 2 to Boom, or Track 5 to Brad.

Editors like consistency. Try to follow the same track assignments as much as possible; avoid changing

them from scene to scene. For example, if you assign your main boom mics to ISOs 1 and 2; and your

main characters to ISO tracks 3 (Jim), 4 (Mary), and 5 (Bob) then leave a track mute or blank if that

actor is not present in the shot, rather than confusing the original track assignments. Sometimes you will

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have no choice; you need the (otherwise empty) ISO track for other purposes, and that is

understandable. But emphasize the change on your sound report log sheet.

Updating the Firmware Version One of the best features of the TASCAM HS-P82 is the ability to update your firmware to the latest

version. The engineers are continually improving on the basic design, and adding new features as well as

shortcuts to simplify the workflow.

When you download a firmware update from TASCAM to your computer, it will be in the form of a

zipped file. Extract and save the uncompressed version of the file to your hard drive. Then, copy and

paste the uncompressed file to the root file of your compact flash card.

If your computer cannot read compact flash cards directly from one of its existing card reader

slots, then buy yourself an external card reader at your local computer store. You will need it for

copying dailies on the set, anyway.

With your recorder powered OFF, insert the compact flash card into slot 1. Depress the PAUSE and

RECORD buttons simultaneously, while you power up the unit. The display screen should show the

firmware version that it found on the CF card, and ask you if you want to upload it. If you have a

collection of firmware versions on a CF card (I store a copy of all of my firmware on a small CF card that I

do not use for audio recording), then it will allow you to select which firmware to load.

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Part 2: Recording without a mixing panel

This section of the guide will explain how to record audio directly into the recorder, stand alone, without

a mixing device.

It is assumed that you have already performed the basic setup tasks to the recorder as described in

Part 1, and have created a Project /Scene folder, or a Project/Folder/Scene-Take file structure.

XLR Inputs On the right side of the TASCAM are 8 XLR inputs and two XLR line level outputs. Plug your source

devices into the inputs 1-8. Alongside each input is a physical switch to select normal mic level; strongly

attenuated mic level (-25dB); or line level. Use the attenuated mic level if your microphone is putting

out very high volume, such as from some hot condenser mics, or from very loud sources.

If your input device is at line level, but you feel that the feed is still a bit on the low side according to

your meters, you can adjust the line level overall sensitivity by going to the SYSTEM SETUP screen in the

MENU, and changing the REF LEVEL. Note that with firmware v1.20, you can simply adjust the input

level with the trim pots, so long as you have enabled Line Input Trim on the System Setup screen.

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Channel Setup

As described in Part 1, go to the Channel Setup screen in the MENU section. Select the appropriate

parameters for each input channel that you are using, such as Phantom on/off, and so on. At this stage,

you do NOT need to worry about arming the track, nor adjusting the pan and output levels. Those tasks

can be done from the HOME screen later on.

HOME screen

As you might imagine, the HOME screen is where most of your recording activity will take place. The

root HOME screen shows meters for input channels 1-8 as well as the LR master mixdown.

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The REC TRACK tab allows you to arm/disarm any track for recording. It also allows you to name and

number each successive Take. Tracks that are armed for recording will display with red track names.

You can name each take by pressing the edit button. Most sound mixers just use the prefix T for take,

just as we use the prefix S for scene and P for project. But you are able to use any naming

convention that you want.

You can also enter the starting number for the next take. Generally, this would be 1. But if you are

going back to a previous scene, you may need to enter a later number.

Each time that you hit RECORD, and then STOP on the recorder physical controls the take number will

automatically increment.

Another way to edit the NEXT TAKE NAME is from the tab of that label. When you access the take name

from its own tab, you cannot accidently arm/disarm an input channel. Otherwise, the screen is similar.

Note that you edit or rename the USERWORD, just by selecting the appropriate button. Many mixers

prefer to use the FOLDER NAME for a broader file organization such as date, cam media drive, etc. Then

by selecting USERWORD, you can enter in a scene number that will append itself to the take number.

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The PAN LEVEL tab is where you would normally access the OUTPUT LEVEL and PAN controls for each

input channel. Pressing the virtual knob will link it to the physical DATA knob on the recorder. An

advantage of using this screen instead of the Channel Setup screen for these functions is that the PAN

LEVEL screen shows meters for each channel as well as the master LR mix.

Note that you may want to pan each of the inputs to slightly off center, so that the Right mix is slightly

attenuated (around 10 to 15dB) lower than the Left mix, in order to provide the editor an alternate track

in the event of clipping.

To return to the root HOME screen at any time, you can either untap the tab or just press the HOME

button.

Solo mode If you press on the meter display of any input channel, it will turn yellow, indicating that you are now in

the SOLO monitoring mode. This allows you to listen to any individual channel, rather than to the master

LR mix. Note that when solo is lit up, a virtual solo volume control appears in the upper right of the

screen. It will vanish when you exit the solo mode.

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The default setting for SOLO, in the System Setup screen, is SINGLE. That means only one channel at a

time can be solo monitored. If you change the solo mode to MIX, then it is possible to highlight and

monitor as many channels simultaneously as you want to. MIX is more versatile for film/video

applications.

Setting your recording levels Plug your source XLRs into the recorder. The input level (gain) for each channel, mic or line level, is

adjusted by the 8 physical knobs to the left of the display.

To adjust a line level source, you must either increase the output level at the source, or adjust

the trim pot. You could also select a different REF LEVEL from the Setup screen, but that will

affect Tone level as well as Line Input.

Use the individual knobs to bring each microphone volume to an optimum level on its meter. For most

film/video applications, that would be approximately -20dB or -18dB. This level allows for plenty of

headroom in the event of a loud exclamation or sound effect. In the world of digital audio recording, you

never want to exceed zero!

In firmware v1.20, a function has been added that allows you to press the DATA knob on the front of

the recorder to show the MIC/LINE trim values briefly beneath the meters.

After you have set the input levels (referred to as trim by the audio industry), the next step is to set

the PAN and OUTPUT LEVELS.

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Select the PAN LEVEL tab at the bottom of the HOME root screen. Using the virtual knobs, assign each

input to L100 (aka 100% left) or R100 (aka 100% right), if you are recording a discreet two-track dialogue

mix for film/video.

If you are going to mix a dual-mono (offset) live mixdown, then pan each input so that it favors the Left

track slightly over the Right track by around 10 to 15dB. Most mixers use the same pan percentage

attenuation across all of the inputs, but difficult actors might inspire you to increase or decrease their

pan percentage to a greater extent to protect against shouts or dropped lines.

Select the 2Mix knob and raise the output level to where you want it in the master mix.

Because the TASCAM always remembers the last control that you have highlighted, a good technique for

setting the mix level is to return to the HOME root screen and adjust the output level while watching the

larger meter displays.

You are now ready to record.

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Recording on the HS-P82

To begin recording, depress the physical button on the right of the display marked RECORD. To end

recording, press STOP.

With firmware v1.20, you could also press F10 for RECORD; and F7 for STOP on a remote

keyboard.

To record the next take, just press RECORD again. The take number automatically increments.

To playback a take, just press PLAY. To go back to a prior take, or advance to a later take, just press the

<< BACK or FORWARD>> buttons.

If you need to search for a very distant take, either press the scene/take label box just above the meters,

or the PROJECT button. Both will take you to the Project screen, where you will see an index of scenes &

takes. Pressing the ENTER arrow button adjacent to the desired take will load that take into the

current location. Then just use the PLAY keys.

When it is time to roll sound for a new take, just press RECORD. The take number will automatically

increment to the correct number, regardless of the fact that you just played back an early take of that

same scene.

If you loaded a different scene to play back than the current one, when you press RECORD it will

increment to a new take number of the (just loaded) scene. So in that case, you would want to return to

the correct scene before going into RECORD. Go back to the index, and select any take from the scene

that you need to be in. Press enter to load it. Now you are ready to record the next take.

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Head tone and header ID Before recording any actual film takes, you should always record a header file. That file should consist of

the sound mixer reading the basic production information into the slate mic.

Go to the PROJECT button and select the MAKE FOLDER tab. Name this (scene) HEADER-TONE or

something similar.

Go to the System Setup screen and select INT MIC for slate type. Press RECORD and speak the following

information while depressing the slate button.

Note that you can press SHIFT+SLATE on the front panel of the recorder to latch the slate mic on, in

order to record longer content without having to hold the button. Push SLATE again to unlatch.

Production Title and Number

Date

Name of the sound mixer

Location

The following is being recorded with 8 tracks of iso and a 2-track Production mixdown

on the TASCAM HS-P82 digital recorder at 16bit, 48K (or whatever your format is) at

23.976 timecode (or whatever your timecode rate is).

The following reference tone will be 30 seconds recorded at negative 20dB (or whatever

your headtone reference level is).

Press STOP. Go to the System Setup screen and change the INT MIC to TONE.

Press RECORD and use the slate button to generate TONE. Capture 30 seconds of continuous tone.

The HS-P82 allows you to program "Slate (MIC)" and "Slate (TONE)" to the Function keys of the Remote Fader Controller or an external keyboard, so that gives you a way to get quick access to these rather than have to go to the system setup screen every time. If you use these function keys, it is not necessary to stop recording in order to switch from Slate Mic to Tone, which greatly simplifies the task of adding reference tone to your Header ID.

Remember to go back to the PROJECT screen and select or create an appropriate scene, and load it. You

do not want to record normal takes while in the HEADER-TONE scene.

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New Take, New Scene

As explained before, the take numbers will increment automatically every time you RECORD and STOP.

In addition, you can manually change the number for the next take by using the tab at the bottom of the

root HOME screen.

To change to a new SCENE number, it depends on which file naming convention you have chosen to

work with. If you are using FOLDER as your scene number,

go to the PROJECT screen either by pressing the scene/take box just above the meters on the HOME

screen, or by pressing the PROJECT button. Then, just press the name of your project, and the screen

will advance to display all of the scenes within it. You will see the MAKE FOLDER tab at the bottom of the

screen.

Select the MAKE FOLDER tab, and type in the new scene number, such as S_202D (or whatever).

But if you are using FOLDER as an organizational name, and USERWORD as your scene number then

the process is simpler. From the HOME screen, just select the NEXT TAKE NAME tab. Select

USERWORD, then press EDIT. Type in your new scene number. It is that simple!

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Editing the Scene & Take Number Sometimes on the set, mistakes happen. Takes can be recorded with the wrong scene & take number.

Firmware v1.20 allows you to rename a previously recorded take, so that the change also affects the

metadata as well.

Go to your list of takes, and select (highlight) the take that needs to be renamed. Press MENU, and then

press EDIT NAME. Type in the correct name (scene/take) and press Enter.

Remember that you may have to edit two entries: the stereo L/R Mixdown and the poly file ISOs. You

will see both file entries on the take selection screen.

Using an External Keyboard To use an external keyboard with the TASCAM HS-P82, a standard PS/2 computer connector is required.

If your keyboard is USB, then a suitable USB to PS/2 adapter needs to be obtained. Increasingly, fewer

USB keyboards work with these adapters, so the user should look for a dual protocol keyboard that

recognizes the purple adapter and switches the keyboard into PS/2 mode. Either the Dealer can

recommend a keyboard that they stock, or TASCAM can supply you with a list of working keyboards.

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A new feature added in firmware v1.20 is that in addition to speeding up the process of entering text

and numbers, an external keyboard can perform some basic remote functions as well. Function keys F1

thru F4 can be programmed on the Remote Setup screen, same as the Fader Controller unit. For

example, some sound mixers will utilize F1 and F2 for slate MIC and TONE. F3 and F4 could be used as

shortcuts to enter scene numbers (USERWORD) or take numbers. Some of the more frequently used

function key shortcuts are:

F7=STOP F8=PLAY F9=PAUSE F10=RECORD F11=MARK

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Part 3: Recording with an external mixing panel

This section will provide practical advice for when you employ an external mixing panel in conjunction

with the TASCAM HS-P82 recorder.

It is very rare in professional filmmaking to record & mix your mics directly into a recorder without the

enhanced control of a mixing board. It might be okay to do that if you are just capturing a simple

interview or sound effect but the recording of high quality dialogue on a theatrical project entails a

much greater threshold of control.

(Note that some reality shows are recorded only as isolated tracks, and it is left up to the editors to sort

it all out as they build the storyline.)

During the actual production, the sound mixer relies upon one or two boom mics to pick up most of the

dialogue along with a necessary degree of background ambiance and live sound effects. When the boom

is unable to access some areas in the set, the task relies upon fixed or planted mics to cover those

difficult spots. In addition, some actors may wear hardwired or wireless lavaliers.

In a live mix, all of these mics need to be continuously adjusted in order to provide a realistic perspective

& texture, along with avoiding dropouts or echo caused by the resultant phase cancellation of multiple

mics hearing the same sound and mixing them onto the same track.

Multi-track recording allows us to capture the live mix as well as the isolation tracks from all of our on-

set mics. It is a way to have our cake and eat it too. During the production, live mics are faded in and out

to create one or two tracks that will serve as the production audio soundtrack for dailies/playback, and

for the editor to use during the creation of the picture edit. At the same time, iso tracks are laid down

that capture every important mic at optimum volume, devoid of any fader movement.

After the story sequences have been assembled, cut, and tweaked into the picture lock, the footage is

turned over to the sound editors to work their magic. At this point in time, elements in the production

soundtrack may be edited, enhanced, or reconstructed from isolation backup tracks. Failing that,

portions of the dialogue may need to be completely re-recorded in a looping or ADR session.

Connecting the mixing panel When an external mixing panel (as opposed to the TASCAM Remote Fader Controller) is used with the

TASCAM, it is not practical to use the internal settings to live mix all of your inputs to the master LR

tracks. It is physically too difficult to wrangle the virtual knob that controls the output level of each

channel quickly and conveniently!

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Therefore, this workflow bypasses that feature. Instead, we rely upon the capabilities of the mixing

panel to produce the master mixdown.

Set the inputs of the TASCAM to LINE LEVEL. The MAIN out as well as the DIRECT OUT of the mixer are

almost always line level out. If for some reason your mixer is NOT line level out, then set the TASCAM

inputs accordingly to MIC or MIC ATTENUATED.

Connect one output from your mixers main output (either L or R) to Channel 1 of the TASCAM input.

Most sound mixers only take one (monaural) feed from their board; although you could opt to take a 2-

track (stereo or attenuated offset dual mono) feed and go into Channels 1 and 2, but that would mean

giving up one less ISO track.

Next, take feeds from the DIRECT OUT connections from your mixer of mics 1 thru 6, and plug them into

the TASCAM inputs 2 thru 7. The direct outs from your mixer need to be post trim/gain and pre-fader.

In other words, you should be able to set the initial microphone volume going into your board from the

small trim or gain knob of each module, while the faders of each module are completely closed. Opening

the faders should only control how much sound makes it to the main L/R output of the board, but

should NOT have any effect on the direct outs. If moving the sliders does effect the direct out levels,

then all of your iso tracks will share whatever good or bad mixing decisions are made during a take, and

might not be suitable for rebuilding the soundtrack during editing.

Determine if your mixing board is suitable for accessing the direct outs. You may need to step up to a

higher caliber board.

You also need to check whether or not your Direct Outs are pre or post EQ. If the directs are pre-EQ,

then it is okay to use your mixers settings to match up the tone of your mics. But if the EQ adjustments

show up in the Direct Outs, then be very cautious about using the EQ on the board, as that will affect

your ISOs.

On a major production, it doesnt take much to exceed 7 microphones total in a scene. Typically, there

will be one or two boom mics, perhaps one or two planted mics, and then lavaliers on all of the main

characters.