Fostex 450 - Section 6 Multitrack Applications; Recording Basic Tracks; Overdubbing and Monitoring

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
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