Fostex 250 - Page 18

recording will be made. The meters also will deflect on
those tracks from which program is being derived, but
since this is ahead of the INPUT FADERS, such meter
indications are not particularly useful.
4 . Set MONMIX #3 to scale 7 and HEADPHONE control to
MON MIX position. This enables you to monitor the active
record buss, and avoids confusion from other signals (no
other record buss is being used).
5 . Depress the RECORD TRACK button for the track onto
which the transfer will be made so it is ready for recording
{track #3 in the example).
6 . If you are simultaneously adding one or two live sources
during the transfer, use either of the channels whose
number does not correspond to the tracks from which
existing program is being derived. (In the example, since
the program is taken from tracks 1 and 2, use channel 3
and/or 4 for live inputs). To add a live vocal overdub via
input channel 4, for example:
a) Set the channel 4 INPUT selector switch to LINE/MIC.
b) Set the channel 4 CHAN BUSS selector switch to 3-4
position, and the PAN Pot fully CCW to assign the mic
to track 3.
c) S et the channel 4 input FADER one index higher than
nominal {# 8- # 9), and with sound present at the mic (or
while playing the instrument), adjust the channel 4
TRIM control for a normal indication on the #3 VU
meter (e.g., peaks - 3 to 0). (Later, the FADER will
be set at nominal, reducing the contribution of a given
channel to allow for the additional signal from the
transferred track).
d) S et MONMIX, at top of channel 4, to scale 7.
e) Make any desired EQ adjustments on channel 4.
NOTE: If two live sources are being added, follow steps
(a) through (e) above using the remaining “free" input,
channel 3 in this case. The only "trick" involved in using
the same channel for a live input and to assign the record
track is the headphone monitoring; set channel It3's
MONMIX to scale 7 when first adjusting the live source so
you can listen to the input to the recorder and thus
monitor the previously recorded program and the live
sources.
7. Press the PLAY button, and adjust the input FADERS on
those tracks being combined. Balance this sound with
any live inputs, too.
NOTE: The VU meter corresponding to the track on which
the recording is being made (track 3) should show normal
levels, peaking at -3 to 0 VU. If not, retain the relative
balance by adjusting the INPUT FADERS on all channels
contributing to the recording (pre-recorded and live).
Remember that the MONMIX control has no effect here,
and the HEADPHONE control affects only the listening
volume, not the recording level.
8. The system is now ready for the actual recording. Press
ZERO RETURN (or REWIND then STOP) to get back to
the beginning of the program.
9. Simultaneously press PLAY and RECORD, and the tracks
are combined onto one. (For greater convenience when
adding a new input, press PLAY and use the REMOTE
PUNCH IN foot switch to initiate recording; be sure to
begin recording before the original tracks start.)
TO PLAY BACK AND EVALUATE THE TRACK
COMBINATION
Figure 11. Steps to evaluate a combination (ping-pong).
1. Rewind the tape.
2. Release the RECORD TRACK button for safety.
3. Set the appropriate MON MIX to scale 7 position (MON-
MIX 3 in this case).
4. Set all other MONMIX to full CCW and bring down all input
FADERS to avoid confusion from the other tracks.
5. Press the PLAY button.
6. If you prefer to make changes, simply repeat steps 1
through 9 of the previous procedure. Once satisfied, you
are free to record new program on the original tracks
which are no longer needed (e g., tracks 1 and 2 in this
example).
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