Fostex X-28 - Multitrack Recording Tips.31

In this example, a multi-timbral synthesizer or sampler
with eight individual outputs and a rhythm machine are
connected to the X-28. Bass, guitarand vocal parts are
recorded to the tape tracks.
1. Set up the sequencer and X-28 tor synchronized
operation. (Follow steps #1 through #4 in the pre¬
vious example.)
2. Connect all of the input signals; the eight synthe¬
sizer outputs to the input channels and the stereo
output of the rhythm machine to the AUX RTN
jacks.
3. Set the MONITOR switch to AUX + LINE and the
INPUT B switch to REMIX.
4. Record the basic parts of the song on the se¬
quencer. At leastone of the sequencer parts should
remain unrecorded (or disconnected from the input
section) so that the tape tracks can be recorded.
5. If you are using direct recording, record the tape
tracks, plugging each input in turn to channels 1,2
and 3. (Follow steps #7 and #8 in the previous
example.) Monitorthe tape tracks by using the AUX
SEND controls on the corresponding INPUT B
channels.
Note: Depending onthe requirements of the recording
(and your willingness to repeatedly change the
input connections), you need not strictly follow
the above recording order. For example, you
can program a couple of tracks for the basis ol
the song, record an instrument to the X-28,
program some more sequencer tracks, etc. —
and mix things up in this way until you have a
complete song.
6. F or mixdown, connect the master recorder to the
MON OUT jacks, instead of the LINE OUT jacks.
This is necessary because the AUX SEND signals
(of tape tracks 1 - 3) cannot be returned to the X-28
via any of the input channels or AUX RTN jacks,
since all are occupied. The AUX SEND signal is
instead directed to the monitor buss, along with the
other line signals, and output via the MON OUT
jacks. Since the AUX SEND signal is mono, the
tape tracks will all be heard in the center of the
stereo image.
MULTITRACK RECORDING TIPS
Recording engineering is a combination of artistic
sense and technological expertise. Many schools offer
programs forthosewishing to be professional recording
engineers. In this manual, it would be impossible to list
every technique to make perfect recordings, but we
can give you a few rules and suggestions that will get
you started in creating your own multitrack master¬
pieces.
Sometimes, an hour of rehearsal will do more to
improve a recording than the use of some fancy record¬
ing technique or expensive outboard equipment. Gui¬
tar superstar Steve Vai recorded his first album on a
Fostex 8-track in his garage. Many of the great albums
by the Beatles, Rolling Stones, Otis Redding, B.B. King
and other legends were recorded on equipmentwhose
specifications and ease of use were inferior in every
way to the X-28. In otherwords, do your best; the X-28
won’t let you down.
— General Suggestions —
* Record and mix at relatively low sound levels. The
longer your recording or mixdown session, the less
accurate your hearing will be. Listening to playback
at high volume for even short periods of time reduces
your ability to hear high frequencies. The less high
frequencies you hear, the more you tend to boost
them, until you have a recording that is all highs. If
you work marathon sessions, try to give your ears a
five- or ten-minute rest every two hours.
• Ask others for advice. It you know someone whose
sound you admire, ask them what they did to get that
sound. If you know someone who has been down
this road just a little longer than you have, ask them
what they’ve learned. By the same token, share your
experiences with others. No one has a monopoly on
creativity or knowledge; in fact, the more you share
with others, the more they’ll share with you.
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