Fostex 280 - Rear Panel Connectivity

(3) Green ON: No tracks have been selected by
RECORD TRACK (24); the record¬
er is in the Record Ready Mode.
Engaging a Record Track Selector
button in this condition automatical¬
ly places that track in the record
mode and the LED changes to
Red ON.
NOTE: This procedure is an alternate method of
punching-in and -out.
(4) LED OFF: No recording, regardless of
RECORD TRACK (24) status. All
tracks in tape monitor and normal
playback mode.
NOTE: In this condition, each time the record
button is pressed, the 280 alternates between
status (2) and status (4).
FRONT PANEL SECTION
27. INPUT JACKS (INPUT (27))
Channels 1 ~4: Standard 1/4" phone jacks for micro¬
phones (-60dBV) or line level signals (~10dBV);
adjustable via TRIM (3).
Channels 5~8: Standard 1/4" phone jacks for line level
signals (—lOdBV) only.
28. HEADPHONE JACKS (PHONES (28))
Two standard 1/4” phone jacks for two sets of stereo
headphones.
29. PUNCH-IN/OUT JACK (PUNCH (29))
Optional Fostex Model 8051 Foot Switch is connected
here for remote foot control of punch-in/out recordings.
The 8051 can also be used to set the punch-in/out points.
(See "Auto Punch-in/out Function, page 10).
REAR PANEL SECTION
30. MONITOR OUT JACKS (MON OUT (30))
The signal(s) selected by MONITOR SELECT (16) is
present at these standard 1/4” phone jacks. Normally, the
amplifier which drives the monitor speakers is connected
here.
31. STEREO OUT JACKS (STEREO OUT (31))
The output of the stereo bus is present at these standard
1/4” phone jacks. Normally, these are the line level out¬
puts to the mixdown recorder.
32. TAPE OUT JACKS (TAPE OUT (32))
These standard RCA pin jacks carry the tape playback
signals of tracks 1 ~4 directly (without going through the
mixing bus). They may be used as additional sends to
an external mixer for monitor cueing for the musicians or
for effects processing.
Track 4 may also be used to trigger sequencers for MIDI
interface. (See “Tape Sync,” page 21).
33. AUX SEND JACKS (AUX SEND 1, 2 (33))
Standard 1/4” phone jacks for the two independent
mono mixes which are normally used as effects sends to
signal processors such as reverbs, equalizers, etc.
NOTE: Since the AUX 1 bus can access the tape play¬
back signals via the POST/TAPE button (9), it may be
used as an additional monitor cue for musicians
34. AUX RETURN JACKS (AUX RTN L & R (34))
Standard 1/4” phone jacks for effects returns or inputs
to the stereo bus are of the contact switch type and func¬
tion as follows:
•When only one input is used, the input signal will be
sent to both L and R of the stereo bus.
•When both inputs are used, the L return is routed to
stereo bus L and the R return is routed to stereo bus R,
NOTE: Gain and Pan are adjusted by AUX RTN (14) on
the 280 as well as by the output controls of the devices
connected here
35. P OWER SWITCH (POWER (35))
When your 280 is interconnected, make sure the faders
and output level controls are in their nominal or minimum
positions before turning it on.
36.SERIAL PORT (SERIAL (36))
Connect the Fostex optional MTC-1 here for MIDI
interface.
37. AC CORD (AC (37))
Plug into your local power company here.
pINPUT MONITOR/TAPE MONITOR—
In the multitrack recording process, the ability to select differ¬
ent combinations of input signals yet to be recorded (input
monitor) with tape signals which have already been recorded
(tape monitor) is often crucial to success
During the initial recording (basic tracks) the musicians, of
course, need to hear themselves play. That monitor/cue feed
is straightforward enough. But when the overdubbing
process begins, the situation becomes more complicated.
The performing musicians may have monitor/cue require¬
ments which differ from those of the producer and/or record¬
ing engineer
You'll find that the 280 has the built-in flexibility to adapt.