Fostex 450 Manuel utilisateur

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1

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Owner’s

Manual

Model

RECORDING

MIXER

OO

90

09

90

90

OO

90

99

09

90

OO

OO

OO

OO

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OO

FOStGX

PAGE

TABLE

OF

CONTENTS

SECTION

1

Feature

Descriptions

2

SECTION

2

Introduction

4

SECTION

3

Interconnections

&

Installation

'

4

SECTION

4

External

Effects

&

Processing

5

SECTION

5

Using

the

Parametric

Equalizer

6

SECTION

6

Multitrack

Applications

7

SECTION

7

P.A.

Applications

10

SECTION

8

Maintenance

12

SECTION

9

Block

Diagram

13

SECTION

10

Specifications

14

SECTION

11

Bibliography

14

Safety

Instructions

WARNING:

To

avoid

possible

electric

shock

hazard,

do

not

expose

this

appliance

to

rain

or

moisture.

There

are

no

user-serviceable

parts

inside.

Refer

servicing

to

qualified

service

personnel.

HOUSEHOLD

USE

ONLY

SECTION

1

FEATURE

DESCRIPTIONS

1.

INPUT

LEVEL

TRIM

CONTROL

[TRIM]

When

the

Input

Selector

is

set

to

INPUT,

the

preamplifier

gain

can

be

continuously

controlled

from

10dB

through

50dB.

At

full-

CW

of

the

knob,

the

gain

is

50dB

which

matches

a

—60dBV

(ImV)

mic

input

level

at

the

XLR

jack

or

the

phone

jack

of

the

rear

panel.

At

full

CCW

of

the

knob,

the

gain

is

10dB

which

matches

a

—20dBV

(0.1

V)

level

from

an

electronic

musical

instrument

and

signal

processor.

When

the

Input

Selector

is

set

to

TAPE,

tape

input

signals

from

the

TAPE

IN

phono

jack

of

the

patch

panel

cannot

be

controlled

by

this

trim

control.

2.

INPUT

SELECTOR

[INPUT

LINE/MIC,

OFF,

TAPE]

A

3-position

switch

for

selecting

signals

applied

to

the

input

jacks

of

each

channel.

The

center,

OFF

position,

in

a

con¬

venient

way

to

mute

the

input

signal.

‘LINE/MIC:

In

this

position,

signals

from

mic

level

through

line

level

applied

to

the

rear

panel

INPUT

XLR

or

phone

jack

feed

the

preamplifier

and

are

applied

to

the

input

fader.

‘OFF:

Signals

to

the

input

fader

are

bypassed

in

this

position.

‘TAPE:

The

recorder/reproducer

output

bypasses

the

preamplifier

and

is

applied

to

the

input

fader

in

this

position

of

the

switch.

Not

only

can

this

input

position

be

used

to

mixdown

a

multitrack

recorder

output,

but

it

can

also

be

used

to

receive

the

output

from

an

external

signal

processor.

3.

AUX

1

INPUT

LEVEL

CONTROL

[AUX

1]

This

control

feeds

the

input

channels’

post-fader

post-equalizer

signals

to

a

summing

amplifier

that

mixes

the

AUX

1

signals

of

all

eight

input

channels

for

the

AUX

1

jack.

This

mono

mix

may

be

used

to

feed

external

signal

processing

equipment.

4.

INPUT

SELECTOR

FOR

AUX

2

OUTPUT

[AUX

2]

Input

signals

to

be

sent

to

the

AUX

2

buss

out

are

selected

by

this

3

position

switch.

*PRE:

In

this

position,

the

input

signal

is

pre-fader

and

pre¬

equalizer.

‘POST:

In

this

position,

the

input

signal

is

post

fader

and

post-

equalizer.

‘TAPE:

The

output

of

the

recorder

is

the

input

signal

at

this

position.

5.

GAIN

POT

FOR

AUX

2

BUSS

OUT

[GAIN]

Gain

pot

for

adjusting

the

level

of

the

signal

selected

by

switch

4),

above.

6.

PAN

POT

FOR

AUX

2

BUSS

OUT

[PAN]

A

2-channel

PAN

pot.

With

the

12

o’clock

knob

position

as

center,

CCW

rotation

will

increase

the

left

channel

level

of

the

2-channel

buss

out

and

decrease

the

right

channel

level

at

the

same

time

(vice-versa

for

CW

rotation).

7.

4-CHANNEL

BUSS

OUT

SELECTOR

[ASSIGN]

In

combination

with

the

PAN

pot

located

directly

under

this

selector,

it

assigns

the

input

signal

to

the

4-channel

buss

out.

‘1

-2:

In

this

selector

position,

the

PAN

pot

can

control

only

the

signals

between

CHAN

1

and

CHAN

2

of

the

,

4-channel

buss

out.

‘OFF:

In

this

position,

signals

from

the

input

section

to

the

4-channel

buss

out

are

switched

off.

For

example,

if

you

were

mixing

the

4-channel

buss

out

with

the

output

of

an

echo

or

reverberation

unit

by

using

the

4-channel

buss

input,

and

you

wanted

to

monitor

echo

or

reverberation

return

only,

turn

this

switch

OFF.

‘3-4:

In

this

selector

position,

the

PAN

pot

can

control

only

the

signals

between

CHAN

3

and

CHAN

4

of

the

4-channel

buss

out.

8.

PAN

POT

FOR

4-CHANNEL

BUSS

OUT

[PAN]

The

signals

selected

by

the

4-channel

buss

out

selector

of

7),

above,

can

be

pan

controlled

by

this

pot

for

CHAN

1

only,

CHAN

1

and

2,

or

CHAN

2

only

(CHAN

3

only,

CHAN

3

and

4,

or

CHAN

4

only).

The

12

o'clock

position

of

the

PAN

pot

is

center.

If

it

is

rotated

CCW,

the

signal

applied

to

CHAN

1

(or

CHAN

3)

increases

and

that

to

CHAN

2

(or

CHAN

4)

decreases

(vice-versa

for

CW

rotation).

9.

PARAMETRIC

EQUALIZER

[EQ]

A

2-band

parametric

equalizer

for

60Hz

~

1kHz

and

400Hz

~

6kHz,

and

a

shelving

type

equalizer

for

10kHz.

Boost

and

cut

levels

are

±15dB

(max).

10.

INPUT

SOLO

BUTTON

[SOLO]

When

the

SOLO

button

of

any

channel

is

depressed,

the

headphone

output

and

monitor

output

normally

present

changes

to

post

fader

and

equalizer

input.

The

SOLO

buttons

are

lock

type

switches.

The

SOLO

functions

are

for

MON

OUT

and

PHONE

OUT

and

do

not

affect

the

4-channel

buss

out.

11.

OVERLOAD/SOLO

INDICATOR

Indicates

the

input

solo

mode

when

the

SOLO

button

is

depressed

or

when

this

button

is

released,

overload

at

the

preamplifier

output.

12.

INPUT

FADER

The

optimum

level,

relative

to

noise

and

distortion,

is

obtained

when

the

input

fader

knob

is

set

at

OdB.

Therefore,

it

is

advisable

to

first

set

the

input

fader

at

this

point

and

then

set

the

overall

level

by

the

input

trim

control.

13.

4-CHANNEL

BUSS

OUT

SOLO

BUTTON

[SOLO]

The

4-channel

buss

out

signals

for

each

channel

can

be

monitored

individually

via

the

pre-fader.

Using

the

same

logic

as

input

solo,

monitor

signals

at

MON

OUT

and

PHONES

are

changed

to

4-channel

buss

out

signals.

14.

4-CHANNEL

BUSS

INPUT

LEVEL

CONTROL

[BUSS

INPUT]

For

individual

level

control

of

each

channel.

Effects

return

signals

applied

to

the

4-channel

BUSS

IN

jacks

on

the

patch

panel

or

signals

from

another

mixer

are

controlled

here.

15.

PAN

POT

FOR

STEREO

MASTER

OUTPUT

[BUSS

PAN]

This

pan

pot

has

the

function

of

mixing

the

4-channel

buss

out

signals

with

the

stereo

master

output.

16.

MONITOR

SELECT

BUTTONS

With

these

buttons,

either

channel

1,2,3

or

4

of

the

4-channel

buss

out,

output

of

AUX

1,

or

output

of

channel

L/R

of

AUX

2

buss

out

can

be

selected

and

applied

to

PHONES

and

MONITOR

OUT.

Seven

push

buttons

for

channels

1,2,3,4

AUX

1

and

AUX

2

2

L/R

can

be

divided

into

four

groups

—

channels

1

and

2,

3

and

4,

AUX

1

and

AUX

2

L/R.

By

pressing

the

1

and

2

buttons

together,

the

signal

from

channel

1

is

applied

to

the

left

channel

of

PHONES

and

MONITOR

OUT,

and

the

signal

from

channel

2

is

applied

to

the

right

channel.

Press

either

1

or

2,

and

the

signal

selected

can

be

applied

to

both

the

left

and

right

channels.

The

3

and

4

group

functions

in

the

same

way

as

group

1

and

2.

When

the

AUX

1

button

is

depressed,

the

AUX

1

signal

is

applied

to

both

PHONES

and

MONITOR

OUT.

The

group

function

of

the

AUX

2

button

is

the

same

as

for

BUSS

1

and

2

or

BUSS

3

and

4.

When

the

four

button

groups

(BUSS

1

and

2,

BUSS

3

and

4,

AUX

1,

and

AUX

2)

are

simultaneously

depressed,

these

signals

will

be

mixed

and

applied

to

PHONES

and

MONITOR

OUT.

17.

METER

SELECT

SWITCH

[METER]

Chooses

the

four

LED

bargraph

meter

display

for

4-channel

buss

out

signals

or

the

stereo

master

outputs.

When

set

for

stereo

master

out,

the

two

LED

bargraph

meters

at

the

right

side

will

not

function.

18.

SOLO

LEVEL

CONTROL

[SOLO]

This

is

the

knob

to

control

monitor

level

of

the

input

channel

solo

and

4-channel

buss

out

solo

signal.

As

monitor

levels

are

normally

set

first

(see

the

following

items

19)

and

20),

solo

level

is

generally

set

second.

19.

MONITOR

LEVEL

CONTROL

[MONITOR]

This

pot

controls

the

monitor

output

level.

20.

HEADPHONE

LEVEL

CONTROL

[PHONES]

21.

STEREO

MASTER

OUTPUT

LEVEL

CONTROL

[STEREO

MASTER]

The

master

level

control

of

the

4-channel

buss

output

signal

mixed

down

to

stereo.

22.

4-CHANNEL

BUSS

MASTER

FADER

23.

HEADPHONE

JACK

[PHONES]

These

two

jacks

are

wired

in

parallel.

24.

LED

BARGRAPH

METERS

These

display

levels

of

the

4-channel

buss

output

or

stereo

master

output.

25.

SOLO

INDICATOR

[SOLO]

This

LED

is

lit

when

either

the

input

channel

solo

or

4-channel

buss

out

solo

button

is

depressed.

26.

POWER

INDICATOR

[POWER]

27.

POWER

SWITCH

[POWER]

28.

PHANTOM

POWER

SWITCH

[PHANTOM]

Phantom

power

supply

voltage

is

48V

DC.

30.

TAPE

IN

JACK

[TAPE

IN]

Input

jacks

for

receiving

(normally)

the

outputs

from

a

multi¬

track

recorder.

In

addition,

these

jacks

can

be

used

to

connect

outputs

from

reverberation

units,

compressor/limiters

and

other

line

level

sources.

31.

ACCESSORY

SEND/RECEIVE

JACK

[ACC

SEND

RCV]

This

is

the

patch

point,

between

the

preamplifier

output

and

the

input

fader,

where

a

signal

processor,

such

as

an

equalizer,

is

plugged

in.

'

32.

PHONE

JACK

INPUTS

[INPUT]

These

input

jacks

are

for

unbalanced

inputs

from

mic

level

to

line

level:

from

—60dBV

(ImV)

through

—20dBV

(0.1V).

Input

impedance

is

about

50K

ohms.

33.

XLR

JACK

INPUTS

[INPUT]

These

jacks

are

for

balanced

mic

input

signals

and

will

handle

levels

of

-60dBV

(ImV)

through

—20dBV

(0.1V).

Unbalanced

signals

can

also

be

handled

by

these

XLR

jacks:

pins

#1

and

#2

will

be

GND;

PHANTOM

must

be

switched

OFF.

34.

4-CHANNEL

BUSS

IN

[4

CHAN

BUSS

IN]

Input

jacks

for

mixing

the

outputs

from

an

external

processor

into

the

4-channel

buss

line.

35.

4-CHANNEL

BUSS

OUT

[4

CHAN

BUSS

OUT]

Normally,

these

jacks

will

feed

a

multitrack

recorder.

36.

AUX

2

BUSS

IN

[AUX

2

IN]

Input

jacks

for

mixing

the

outputs

from

an

external

processor

into

the

AUX

2

buss

line.

37.

AUX

2

BUSS

OUT

[AUX

2

OUT]

The

AUX

2

buss

output

jacks

are

for

a

monitor

amplifier,

master

recorder,

etc.

38.

AUX

1

BUSS

IN

[AUX

1

IN]

Input

jacks

for

mixing

the

outputs

from

an

external

processor

into

the

AUX

1

buss

line.

39.

AUX

1

BUSS

OUT

[AUX

1

OUT]

The

AUX

1

buss

output

jacks

are

for

signal

processors,

slap

echo

recorders,

etc.

40.

MONITOR

OUTPUT

[MON

OUT]

The

4-channel

buss

out,

the

AUX

1

buss

out

or

the

AUX

2

buss

out,

as

selected

by

the

MONITOR

select

switch,

is

active

here.

These

outputs

are

generally

connected

to

the

cue

and

monitor

amplifiers.

41.

STEREO

MASTER

OUTPUT

[STEREO

MASTER]

The

4-channel

buss

out

after

mixdown

to

stereo

is

the

output

here,

and

it

is

generally

applied

to

the

2-channel

master

recorder.

42.

AC

POWER

CORD

29.

D

IRECT

OUT

JACK

[D.

OUT]

This

output

stage

is

immediately

after

the

input

fader

and

parametric

equalizer.

3

SECTION

2

INTRODUCTION

The

Fostex

Model

450

is

one

of

the

most

flexible,

versatile

mixers

ever

designed

for

its

price

category.

With

a

complement

of

features

such

as

phantom

power,

in-line

monitoring,

input

solo

and

multiple

send/receive

circuits

and

patch

points,

this

8x8x4x2

mixer

can

be

used

in

a

wide

variety

of

creative

applications.

From

multitrack

recording

to

complex

sound

reinforcement,

the

450

delivers

quality

audio,

direct

or

through

the

summing

amplifiers,

pre-

or

post-

EQ

and

fader.

Anywhere

you

need

it;

however

you

want

it

to

sound.

Fostex’s

engineers,

who

pioneered

the

development

of

personal

multitrack

and

mixing

equipment,

designed

the

450

to

meet

the

needs

of

the

serious

small

studio

or

production

facility

as

well

as

stage

and

P.A.

users.

It

combines

ease

of

operation,

reliability

and

flexibility

in

an

extremely

compact

package,

and

is

particularly

compatible

with

multitrack

equipment

such

as

the

Fostex

8-track,

1

/4"

recorder

Model

80.

Your

450

should

provide

years

of

top

audio

performance

with

a

minimum

of

service,

using

reasonable

care.

HOW

TO

USE

THIS

MANUAL

While

it

may

be

possible

to

"get

by”

without

reading

this

manual,

the

utmost

in

creative

results

can

only

be

obtained

when

one

is

thoroughly

acquainted

with

the

450

and

its

full

capabilities.

We

suggest

quickly

reading

this

manual

once

before

using

the

450,

then

re-reading

the

manual

later,

after

becoming

familiar

with

the

basic

functions

of

the

mixer.

Section

1

contains

brief

descriptions

of

each

feature

and

control.

This

is

handy

for

quick

references,

although

for

a

more

detailed

step-by-step

guide

to

connection

and

use,

consult

Section

3.

The

remainder

of

the

manual

will

illustrate

in

more

detail,

the

use

of

external

processing

equipment,

the

equalizers,

and

examples

of

mixing

for

multitrack,

production,

and

P.A.

Then,

most

important,

study

and

refer

to

the

block

diagram

in

Section

10.

You

will

find

this

to

be

an

important

aid

when

reading

the

use

and

applications

sections

of

this

manual,

as

well

as

providing

you

with

more

specific

knowledge

of

the

450

and

its

remarkable

potential.

SECTION

3

INTERCONNECTIONS

AND

INSTALLATION

Whatever

the

application,

certain

standard

procedures

should

be

followed

in

setting

up

the

mixer

for

use.

The

power

cord

of

the

mixer

should

be

connected

to

an

AC

supply

of

the

correct

voltage.

While

the

output

of

the

Model

450

incorporate

a

circuit

to

prevent

an

audible

power

on

“thump”,

it

is

always

advisable

to

turn

the

power

on

to

amplifiers

or

tape

recorders

connected

to

the

outputs

of

the

mixer

AFTER

the

mixer

has

been

switched

on.

CONNECTING

THE

INPUTS

The

input

circuits

of

the

Model

450

are

such

that

they

may

accommodate

an

extremely

wide

range

of

input

signals.

You

may

connect

virtually

any

signal,

ranging

from

microphones

to

electric

musical

instruments

level,

directly

to

the

input

jack.

Each

balanced

XLR

mic

input

has

a

phantom

power

switch

for

use

with

certain

condenser

microphones.

NOTE:

Never

connect

any

signal

output

rated

in

“Watts”

to

any

input

of

the

Model

450.

These

are

often

high

voltage

signals

ordinarily

intended

for

loudspeakers.

If

you

need

to

make

such

a

connection

use

a

“Direct

Injection”

or

“DF’box,

or

direct

box

obtainable

from

your

dealer.

Failure

to

do

this

may

result

in

damage

to

the

circuits

of

the

Model

450,

and/or

the

power

amplifier.

To

set

the

input

trim,

adjust

this

control

on

maximum

signal

peaks

until

the

LED

above

the

corresponding

faderjustceases

to

flash.

This

will

be

the

optimum

input

level.

Should

the

signal

level

rise,

the

LED

will

start

to

flash

again,

giving

you

clear

indication

that

you

should

reduce

the

setting

of

the

trim

control

again.

"Tape

in”

(18)

and

"buss

in"

(21),

accept

a

-lOdBV

(0.3V)

level.

This

is

compatible

with

all

Fostex

recording

equipment

and

most

other

musicians’

studio

equipment.

These

inputs

will

also

accept

a

nominal

level

of

OdBm,

which

are

standards

in

many

professional

studios,

though

the

overload

headroom

will

be

somewhat

lower.

Remember,

as

long

as

your

input

LED

is

not

flashing,

you

are

not

overloading

any

of

the

input

amplifiers.

If

required

you

can

include

a

simple

input

attenuator

in

line

with

your

input

signal.

If

in

doubt

consult

your

dealer.

CONNECTING

THE

OUTPUTS

All

outputs

are

at

a

nominal

—lOdBV

(0.3V)

level.

This

signal

level

is

compatible

with

all

Fostex

recording

equipment

and

most

other

musician’s

studio

equipment.

While

you

may

find

that

certain

recorders,

amplifiers

or

signal

processors

are

specified

with

a

nominal

"OdBm"

or

“OdBV”

level,

these

often

have

a

front

panel

input

control

or

pre-set

which

will

readily

accommodate

this

—

lOdBV

level.

It

is

important

to

set

the

input

level

control

on

equipment

connected

to

the

mixer

outputs,

to

an

optimum

setting

to

achieve

the

best

minimum

noise,

and

maximum

overload

performance.

Setting

correct

levels

is

a

prime

factor

in

attaining

the

maximum

dynamic

range

performance

from

any

professional

audio

system.

While

presetting

inputs

to

external

equipment

need

only

be

done

once,

individual

input

channel

levels

must

be

trimmed

when

mixing

various

sources

via

various

microphones.

4

section

4

EXTERNAL

EFFECTS

AND

PROCESSING

The

nearest

thing

in

real

life

to

what

is

commonly

termed

echo,

is

the

effect

of

the

repeats

which

you

hear

when

you

shout

in

the

midst

of

a

mountain

range.

In

the

studio

this

can

be

achieved

by

feeding

the

output

of

the

play

head

of

a

tape

recorder

or

special

tape

loop

deck

back

to

the

record

heads.

Many

electronic

devices

using

digital

electronics

are

available,

and

these

do

much

the

same

job.

This

effect

is

normally

reserved

as

a

special

effect

only,

and

should

not

be

confused

with

reverberation.

The

sound

of

reverb

is

similar

to

that

of

a

large

empty

concert

hall.

Reflections

of

the

original

sound

are

so

close

and

diffuse,

that

no

distinct

repeats

are

heard.

This

effect

is

often

simulated

by

devices

employing

a

large

metal

plate

or

torsionally

driven

coiled

springs.

The

effect

is

normally

used

to

fill

out

the

sound

of

a

vocal

or

instrument

which

has

been

closed-miked,

or

is

otherwise

void

of

natural

reverbera¬

tion.

Added

judiciously

it

will

provide

commercial

fullness

and

body

to

a

recording.

Used

excessively

it

can

create

exaggerated

illusions

of

space

and

loss

of

clarity

and

intelligibility.

The

echo

or

reverb

effect

is

proportionately

added

to

the

direct

signal

passing

through

the

mixer.

The

following

describes

how

to

connect

either

an

echo

or

reverb,

or

in

fact

any

other

effect

such

as

a

phaser,

flanger,

doubler,

etc.,

to

the

Model

450

signal

path.

Figure

4-2.

There

are

two

ways

to

patch

a

single

channel

processor,

post-fader,

post-EQ.

(A).

Aux

1

out

to

processor

to

Buss

in;

(B)

direct

out

to

processor

to

buss

in

Figure

4-1.

A

single

channel

processor

is

patched

to

an

input

channel,

pre-fader,

pre-EQ.

-iCdBv

NOTE:

This

method

of

connecting

the

effector

(Noise

gate,

limiter/compressor,

chorus

unit,

etc.)

is

very

effective

when

directly

processing

the

original

sound.

<B)

(A)

NOTE:

This

method

of

connecting

the

effector

(Digital

delay,

reverberation,

etc.)

is

very

effective

when

adding

the

processed

sound

to

the

original

sound.

5

Figure

4-3.

A

stereo

processor

is

patched

to

the

Aux

2

buss

with

your

choice

of

pre-

or

post-EQ

and

fader

SECTION

5

USING

THE

PARAMETRIC

EQUALIZER

The

Model

450

incorporates

one

fixed

and

two

band

parametric

type

equalizers

which

have

considerable

advantage

in

fine-tuning.

When

equalizing

individual

instruments

it

is

preferable

to

emphasize

a

narrow

band

around

a

preselected

frequency.

While

a

graphic

equalizer

or

switched

frequency

may

provide

a

greater

selection

of

frequencies,

the

parametric

design

permits

you

to

find

the

fundamental

tonal

qualities

of

instruments

of

those

frequency

bands

which

give

you

the

maximum

control

over

the

sound.

In

PA

applications,

you

will

find

that

you

can

tune

out

acoustic

feedback

or

ringing,

or

correct

a

gross

house

resonance.

IMPORTANT:

Before

using

any

equalizer,

always

try

to

achieve

the

sound

that

you

want

by

moving

the

position

of

the

microphone

or

changing

the

microphone

type.

Learn

to

use

good

microphone

techniques

before

applying

electronic

tone

correction.

TYPICAL

EQUALIZATION

RESPONSE

GRAPH

INSTRUMENT

CUTTING

BOOSTING

OTHER

COMMENTS

Human

Voice

Scratchy

at

2kHz

Nasal

at

1kHz

Popping

p's

below

80Hz.

Hot

at

8

or

12kHz

Clarity

above

3kHz

Body

at

200—400Hz

Tend

towards

thin

when

blending

many

voices

Piano

Tinny

at

1—2kHz

Boomy

at

320Hz

Presence

at

5kHz

Bass

at

125Hz

Not

too

much

bass

when

mixing

with

rhythm

section

Electric

Guitar

Muddy

below

80Hz

Clarity

at

3.2kHz

Bass

at

125Hz

Acoustic

Guitar

Tinny

at

2-3.2kHz

Boomy

at

200Hz

Sparkle

above

5kHz

Full

at

125Hz

Electric

Bass

Tinny

at

1kHz

Boomy

at

125Hz

Growl

at

620Hz

Bass

below

80Hz

Sound

varies

greatly

with

strings

used

String

Bass

Hollow

at

620Hz

Boomy

at

200Hz

Slap

at

3.2—5kHz

Bass

below

200Hz

Snare

Drum

Annoying

at

1

kHz

Crisp

above

2kHz

Full

at

125Hz

Deep

at

80Hz

Also

try

adjusting

tightness

of

snare

wires

Bass

Drum

Floppy

at

620Hz

Boomy

below

80Hz

Slap

at

3.2—5kHz

Bass

at

80—125Hz

Usually

record

with

front

drum

head

off

Put

blanket

inside

of

drum

resting

against

the

head.

6

section

6

MULTITRACK

APPLICATIONS

Multitrack

recording

is

generally

considered

to

be

the

process

of

recording

a

performance

in

sequence,

building

tracks

one

or

more

at

a

time,

then

reviewing,

changing,

and

adding

new

ideas,

until

each

part

is

idealized.

A

single

performer

can

thus

create

an

entity

not

possible

in

real

time,

or

individuals

in

a

group

may

perform

as

many

(or

few)

“takes”

as

necessary

without

imposing

on

the

others.

When

all

tracks

have

been

satisfactorily

recorded,

one

can

take

whatever

time

is

required

to

combine

them

into

an

artistic

composite

in

the

"mixdown”

process.

Even

at

this

point,

flexibilities

are

available

to

change

the

sound

or

character

of

the

separate

tracks

by

means

of

electronic

effects.

Further,

a

performer

not

available

at

the

initial

recording

date

may

be

included

hours,

days

or

weeks

later.

It

is

this

process

that

the

commercial

recording

companies

have

come

to

rely

on,

both

in

terms

of

economics

as

well

as

artistic

flexibility.

The

“personal

multitrack”

concept

of

Fostex

has

made

this

process

available

to

the

independent

musician.

Typically,

the

procedure

begins

with

a

basic

rythm

track

which

provides

the

“reference”

for

the

sections

to

come.

Unlike

ordinary

real-time

recording

in

mono

or

stereo,

relative

balance

of

the

instruments

or

ensemble

is

of

no

concern

during

the

recording

phase

(unless

they

are

combined

on

a

given

track).

Rather,

an

emphasis

is

made

in

getting

the

maximum

undistorted

level

on

each

track

in

the

interest

of

maximizing

signal-to-noise

ratios.

Final

balance

is

achieved

during

mix-

down

or

re-recording,

and

the

end

product

is

a

conventional

mono

or

stereo

tape.

While

specifically

designed

to

work

with

the

Fostex

Model

80

and

Model

20

recorders,

the

mixer

will

interface

satisfactorily

with

most

makes

of

recorders,

provided

that

levels

are

matched

correctly.

RECORDING

BASIC

TRACKS

The

recording

of

signal

onto

separate

tracks

is

reasonably

straight-forward.

Once

levels

have

been

set,

route

the

inputs

by

way

of

the

channel

buss

(7)

and

pan

pot

(8)

to

whichever

tracks

are

selected.

For

four

channel

recording,

output

busses

correspond

to

tracks

1,

2,

3

and

4,

for

the

eight

track

patch

shown

below,

they

are

also

applied

to

tracks

5,

6,

7

and

8

respectively.

Figure

6-1,

Record

rhythm

section

on

tracks

1

and

2.

RHYTHM

SECTION

RECORD

BUSS

1/2

INPUT

(TRACK

1

and

2}

ON

TRACK

1/2

OVERDUBBING

AND

MONITORING

During

the

recording

and

overdubbing

process,

monitoring

what

you

are

recording

as

well

as

what

is

on

tape

is

the

key

to

a

successful

session.

It

s

important

to

become

fully

acquainted

with

the

multitrack

monitoring

facilities

offered

by

the

Model

450.

Figure

6-2,

Overdub

lead

instruments

on

tracks

3

and

4.

LEAD

GUITAR

INPUT

(TRACK

3)

KEYBOARD

INPUT

(TRACK

4)

|

RECORD

BUSS

3/4

ON

TRACK

3/4

SYNC

SIGNAL

AND

CHANNEL

3

AND

4

DIRECT

Figure

6-3,

Final

overdub

of

vocals

on

tracks

5

and

6.

VOCAL

MICROPHONES

(TRACK

5

and

6)

RECORD

BUSS

1/2

1,

2,

3,

4

SYNC

SIGNAL

AND

CHANNEL

5

AND

6

DIRECT

7

The

AUX

2

Buss

is

a

natural

monitor

mix

buss

for

overdubs.

You

have

separate

control

over

pan

and

gain

for

eah

channel;

that

is,

these

controls

have

no

effect

on

the

signal(s)

being

sent

to

the

recorder

(see

Block

Diagram,

Pg.

13

).

The

450

is

particularly

well-designed

for

punch-ins.

Unlike

most

other

mixing

consoles,

the

450

has

"in-line

monitoring."

This

enables

you

to

use

only

one

input

channel

to

do

punch-ins/outs.

Most

other

8x4x2

boards

require

you

to

use

one

channel

for

monitoring

the

old

track

and

another

channel

for

monitoring

the

punch-in.

To

use

the

450

for

punching-in,

first

set

the

input,

select

switch

to

"input."

Second,

set

the

channel

assign

selector

to

any

desired

position

(except

off).

Third,

select

the

same

4

channel

buss

on

the

monitor

section.

This

will

enable

you

to

monitor

your

new

track.

To

simultaneously

monitor

the

old

track,

switch

Aux

2

to

"tape,”

and

(if

you

want

to

monitor

in

stereo)

set

the

pan

control

to

the

center.

Then

punch

up

both

L

and

R

of

AUX

2

on

the

monitor

switch

panel.

Press

"play"

on

the

recorder

and

then

adjust

the

Aux

2

gain

and

monitor

level

to

hear

the

original

track.

Then

adjust

the

channel

“trim”

&

“fader"

controls

to

get

the

proper

balance

between

the

old

and

new

tracks

through

the

monitor

mix.

Make

sure

the

gain

and

input

fader

controls

are

also

adjusted

to

give

you

the

correct

level

on

the

recorder.

Once

the

reference

levels

have

been

set,

you’ll

be

able

to

punch-in

and

out

(monitoring

must

be

for

AUX

2

only),

fixing

small

mistakes,

faster

and

more

easily

than

you

ever

have.

M1XDOWN

When

all

the

required

tracks

have

been

recorded,

they

must

be

finally

mixed

together,

adding

effects,

to

a

mono

or

stereo

master

tape.

The

Model

450

offers

facilities

to

do

this

with

no

need

to

repatch

the

system.

For

mixdown,

switch

the

appropriate

“input

selectors"

(2)

tothe

"tape”

position.

Mixdown

the

four

channel

buss

out

to

STEREO

MASTER

by

using

PAN

pot

(15).

Tape

out

signals

are

then

selected

and

grouped

as

desired

by

the

four

channel

buss

out

selector

(7).

In

this

format,

the

four

channel

buss

master

fader

(22)

wil

be

the

GROUP

MASTER

FADER.

Monitoring

of

STEREO

MASTER

is

achieved

by

routing

the

2

channel

master

recorder

tape

out

to

AUX

2

BUSS

IN

and

depressing

the

AUX

2

L

and

R

buttons

of

the

Monitor

Select

switch.

Apply

equalization

if

required

and,

if

you

want

to

use

an

echo

or

other

effects

system,

refer

to

section

4

of

this

manual.

For

information

on

where

to

find

out

more

about

the

art

of

multitrack

recording,

look

to

the

list

at

the

back

of

this

manual.

Figure

6-4,

Record

final

mix.

PLAYBACK

ALL

6

TRACKS,

SET

TWO

TRACKS

TO

RECORD,

SPARE

CHANNELS

7

AND

8

MAY

BE

USE

FOR

ECHO

RETURN

OR

USE

“BUSS

IN”

1

AND

2

♦

USE

THIS

SECTION

FOR

EFFECTOR

SEND.

Connecting

the

Model

80

to

the

450

There

are

2

ways

to

connect

the

80

and

the

450:

1)

Using

the

4

channel

buss

outputs.

Connect

these

outputs

from

the

450

to

inputs

1

-4

on

the

Model

80,

to

record

on

tracks

5-8.

You

need

not

repatch

as

input

jacks

5

through

8

are

of

the

normalled

type

phono

jacks

paralled,

respectively,

with

input

jack

1

through

4.

2)

Using

the

direct

outputs.

Connect

the

direct

outputs

from

each

input

channel

to

each

of

the

8

inputs

of

the

Model

80

recorder.

There

are

pros

and

cons

to

both

methods.

1)

makes

it

possible

to

sub-group

without

re-patching,

but

it's

impossible

to

record

on

all

8

tracks

at

once

(for

live

recording).

2)

lets

you

record

all

8

tracks

at

once

and

frees

up

the

4

channel

buss

for

use

as

an

extra

effects

send

or

monitor

mix,

but

you’ll

need

to

repatch

for

subgroups.

2)

also

bypasses

the

4

channel

buss

summing

amp,

giving

you

a

slightly

cleaner

signal

(this

is

true

of

all

mixers).

8