Fostex 280 - Punch-In;Out Recording Techniques; What is Punch-In;Out?; Manual Punch-In;Out Recording Methods

<THE AUTO PUNCH-IN/OUT FUNCTION >
WHAT IS PUNCH-IN/OUT?
It is the process of re-recording over a portion of a pre¬
recorded track. The typical example is to fix a bad note in an
otherwise acceptable performance. Rather than record the
entire performance all over again, it's often easier to fix the
mistakes).
Other uses of this technique are to correct minor timing
errors (someone starts too soon or too late) or to eliminate
unpleasant sounds from an open mic (a cough or a breath
intake).
You can also use this technique to take advantage of unused
portions of a track. For example, let’s say the lead guitar part
does not play continuously from the beginning to the end of
the song. You might want to add some percussion effects in
the sections where the lead guitar is silent. The punch-in/out
recording process is just the way to do this.
The process can be made much easier with the 280's auto¬
matic functions, but whether you employ this technique
manually or automatically, you must be very careful that your
timing is pin-point accurate
METHODS OF MANUAL PUNCH-IN/OUT RECORDING
NOTE: Be sure that the AUTO REC command key is disen¬
gaged (LED is off).
In the following examples, track 1 is used for the punch-in out
process.
In Method 1, the Fostex optional 8051 foot switch is used.
This is a very useful accessory if you are a working alone—
both playing as well as operating the 280. It plugs into the
dedicated input jack on the front panel (24).
NOTE: Do not use foot switch controls other than the Fostex
Model 8051.
In Method 2, you use the RECORD TRACK selector buttons
(24) to punch-in and out, and in Method 3, the transport con¬
trol buttons (26). There is no inherent difference between
NOTE 1: The biggest risk with this procedure is that if you
punch-in too early or punch-out too late you could ruin the
very thing that you're trying to fix!
NOTE 2: It's very important that you match the level and feel
of the punch-in/out recording to the pre-recorded perfor¬
mance; otherwise, it will be obvious that the final recording
was not made continuously.
NOTE 3: Try to set punch-in and punch-out points that are
not hypercritical, such as in the middle of a musical or vocal
phrase. Thus if there’s a mistake in the second chorus, for
example, re-record the entire second chorus.
There are two methods of punch-in/out recordings with the
280:
•Manually, whereby you physically manipulate the record
controls.
•Automatically, whereby you program the 280 to carry out
the process.
methods 2 & 3; it’s more a matter of “feel’’ and personal
preference.
Whichever method you decide to use, it’s always a good idea
to rehearse the procedure several times so that you’ll know
exactly when to punch-in and when to punch-out. During the
rehearsal, listen to tape monitor via headphones.
To hear the “live" performance (what will eventually be the
"take" or the actual punch-in/out recording) slide one ear can
behind or above the ear.
When you are ready to make the recording, you can postion
the headphones over both ears if you like because the moni¬
tor signal will automatically switch from tape to input (punch-
in point) to tape (punch-out point).
•[REC] + [PLAY] means to press the RECORD and PLAY
buttons simultaneously.
•[PLAY] and [STOP] means to hold down the play button,
then quickly tap the stop button. _
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