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Fostex 280 - Page 21

Fostex 280
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Step
1.
Record
the
basic
track
(A)
and
two
overdubs
(B)
and
(C)
on
tracks
1,
2
and
3.
TRK
4
TRK
3
m
TRK
2
TRK
1
Step
4.
Mix
tracks
1
and
2
and
record
them
onto
track
3.
TRK
4
fRiSMip
TRK
3
TRK
2
TRK
1
Step
2.
Mix
tracks
1,
2
and
3
and
record
them
onto
track
4.
Step
5.
Record
(F)
and
(G)
on
tracks
1
and
2.
TRK
4
TRK
3
TRK
2
TRK
1
TRK
4
TRK
3
TRK
2
TRK
1
Step
3.
Overdub
(D)
and
(E)
on
tracks
1
and
2
NOTE
1:
Be
careful
when
attempting
to
ping-pong
to
adja¬
cent
tracks
(for
example,
track
2
to
track
1
or
track
3}
be¬
cause
oscillation
or
feedback
could
occur
in
some
cases.
If
this
happens,
try
lowering
the
send
level
and/or
turning
down
the
high
frequency
tone
control.
Better
yet,
start
over
with
a
different
recording
sequence
NOTE
2:
A
characteristic
of
all
analog
cassette
tape
record¬
ers
is
that
in
the
ping-pong
recording
procedure
(actually,
any
repeat
recording)
the
highs
are
attenuated
and
the
lows
are
accentuated.
Use
the
EQ
controls
to
compensate
for
this
phenomenon.
NOTE
3:
Once
the
ping-pong
recording
is
made,
and
the
original
tracks
have
be
re-recorded
with
subsequent
over¬
dubs,
the
relative
balance
cannot
be
changed.
In
the
above
example
the
signal
on
track
4
(A+B+C)
and
track
3
(D+E)
is
each
a
single
composite
entity.
Hence
the
importance
of
rehearsal
and
planning.
NOTE
4:
Always
save
the
most
important
parts
(lead
vocals
and
instrumentals,
usually)
for
the
final
overdubs
so
that
you
have
individual
control
over
them
during
mixdown
(F
and
G
in
the
above
example).
<
ADDITIONAL
PING-PONG
RECORDING
EXAMPLE
>
While
you
are
transferring
pre-recorded
tracks
to
an
open
one
there's
nothing
to
prevent
you
from
adding
additional
"live"
parts
at
the
same
time.
Here,
we’ll
transfer
tracks
1,
2
and
3
to
track
4
while
simultaneously
recording
five
"live"
parts
for
a
total
of
8
parts
on
track
4.
1.
Connect
the
microphone
and
instruments
to
channels
5-8
as
shown
in
the
diagram.
On
channel
4,
set
the
INPUT
selector
(1)
to
INPUT
and
the
MIX/TRK
selector
(6)
to
MIX.
Adjust
TRIM
(3)
as
previously
explained
in
Example
1.
2.
For
channels
1
-3,
set
all
INPUT
selectors
(1)
to
TAPE
and
all
MIX/TRK
selectors
to
MIX.
These
settings
connect
track
outputs
1
—3
to
the
INPUT
faders
(2)
and
places
them
on
the
stereo
bus.
(TRIM
controls
(3)
are
not
in
the
circuit
with
these
settings)
3.
Select
only
AUX
1
in
the
MONITOR
selector
(16)
and
set
the
AUX
1
selector
(9)
to
TAPE.
4.
Place
track
4
in
the
input
monitor
mode
with
the
RECORD
TRACK
button
(24)
and
the
RECORD
button
(26)
as
previ¬
ously
explained.
5.
Set
the
MASTER
fader
(15)
to
the
0
reference
and
rotate
all
8
PAN
controls
(5)
to
the
extreme
R
setting
(fully
clock¬
wise).
Press
PLAY
to
begin
rehearsal.
6
.
Balance
the
mix
with
the
INPUT
faders
(2)
and
adjust
EQ
controls
(7)
for
channels
1
—4
as
required.
NOTE:
If
you
wish,
you
can
take
advantage
of
the
AUX
2
bus
(8)
and
send
an
independent
mono
mix
to
an
external
processor
and
patch
its
output
to
AUX
RTN
(14),
which
places
the
processed
signal
on
the
stereo
bus.
7.
When
levels
are
properly
set
and
rehearsal
is
complete,
press
RECORD
and
PLAY
simultaneously
to
begin
recording
the
“take”.
I

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