Fostex R8 - Setup and Connections; Placement and Cable Selection; Signal Levels and Sync Connection

a
section 1. SETUP
Placement
The RB can be used in either the upright ог horizontal posi-
ion. Since the control pane is detachable, you will be able
to easily operate the controls and waich the peak level meter
regardless of how you install the ВА.
Place the unt in a dry, well ventilated, stable locaton away
‘rom diec! sunlignt or опе! sources of heat. If you use the
plcna! contol pene extension cable (Model 8544) you
can operate the Пе up to 5 meters away. Oniy one extension
cable may be used.
А) CONNECTIONS
Cables
Те obtain оритит sound quailty, й 8 important to use only
high quality audio cables with tightly braided shields, mult
stand certer conductors and low internal capacitance, such
as Fostex Models 8044 1o 8049, Use cables of the shortest
piacical length and never use cables more than 3 meters
(10 leet, long, to avoid sgnal deteroration (high frequency
losses) and Pum.
Keep the input end output cables apart by a few inches and
as fer as possible ewey from AC power cords. И усы cannot
void intersections between power and signal cabies, try to
have tham cross at right angles.
The inputs ard outputs of the А8 have АСА-уре pin jacks—
use cables with the corresponding plugs:
Signal Levels and Impedance
When hocking up the RB, t is necessary to have a look а!
the output levels (measured in JBV or СВМ) and impedance
values [measured in Ohms) of the equipment you want to
connec to make sure that they match the specifications of
the НА Level or impedance mismatches can lead to sound
signal distorton and even equipment damage.
‘The eight RE INPUTS @ are unbalanced, high impedance
jacks which accep: nominal - 10 dBV (03 V) line level sig
nale from low ог high impedance sources. Many electronic.
musca instruments such as synthesizers or drum machines
сап be conreclod direclly to these inputs; however, micro-
phones, guitars and other aw level saral sources cannot be
patched
to
the
R8
unless
you
use
а
microphone
preamplifier
or прег
NOTE: Never connect outputs indicated in watts (W) such
аз those of a power гтрійегіо the R8 INPUT jacks unes
a suitable direct box is used to attenuate the signal level to
around ~ 10 ОВИ Otherwise, you may severely damage
your new tape recorder.
Mixer Connections
Though a variety o signal sources can be hooked up to пе
RB INPUTS rectly, they are generally used for connection cf
а murg consoes outputs.
‘The Jacks of Input channels 5 to 8 are connected in parallel
to the jects for channels 1 thru 4 respectively. Thus а mixer
with four buss outputs can feed all eight tracks c! your А8
without repalching.
NOTE: Signals connected io INPUT jacks 5 thru 8 ate NOT
internaly routed io channels 1 thu 4.
The OUTPUT jacks @ provide either the payback signals
from the (аре or the input monitor signals (input sanal юс.
bacis). They are usually connected to a mixers tape input
Jacks.
Depending on the console you are using, there are mary
diferent hook-up possibilities. The folowing ilusraton shows,
а typical example for connection of the FB to an eight-
channel recording mixer and a twotrack master recorder.
Sync Connection
Today, a lot c recording work is done with sequences
апејог drum machines, which generally ofer а tape sync
feature. It allows you to put a sync pulse on one tape track,
which can then be used to synchronize your MIDI controlled
‘equipment with the seven remaining tapa tracks.
1 your dum machine or sequencer is not equipped wih
tape sync, you can use an optional sync unit such as the
FOSTEX 1515
The sync pulse is usualy recorded on an edge wack —1 or
8—which Кооро possible leakage of the non-muscal sync
signal to а minimum. Connect the "apo sync output” (or
equivalent) jack o your sequencer or drum machine to ÎN-
PUT 1 or 8 of the R8 and the corresponding RB OUTPUT.
to the “tape sync input" о! the equipment you want to syn-
chronize. After the pulse is recorded, the output of its sync
track will go to the drum machine/sequencer when the tape
5 played back, thus enabling control ма the R8.