Alesis ADAT-LX20 User manual

ALESIS
ADAT LX20
Reference Manual

Contents
ADAT LX20 Reference Manual 1
CONTENTS
Introduction 5
How To Use This Manual 6
Conventions 6
1 SETTING UP AND MAKING CONNECTIONS 7
Unpacking and Inspection 7
Operating Environment 7
Thermal Considerations in Rack Mounting 7
Mounting on a Shelf or Non-Rack Enclosure 8
Avoiding Electromagnetic Interference 8
AC Power Hookup 8
Avoiding Ground Loops 9
Line Conditioners and Protectors 10
Analog Audio Connections 11
About Audio Cables 11
Rear Panel Input and Output Layout 11
Inputs 11
Typical input jack hookups 12
Outputs 13
Sync In/Out 14
Digital Audio Connections 15
About Digital Audio In/Out 15
Footswitches 16
2 LX20 ESSENTIALS 20
About The Display 20
Time Counter 20
Meters 20
Record/Input Lights 20
Blocks 21
Status Indicators 21
Interpolation Indicator 21
Buttons and Controls 21
Power Switch 21
Record Enable Buttons 21
Transport Controls 21
Eject Button 21
Input Select Buttons 22
Pitch Control Buttons 22
Location Buttons 22
Edit, Format, and Select Buttons 22
Auto Motion Buttons 22
Differences Compared to Analog Recording 23
“Threaded” vs. “Unthreaded” Tape 23
Digital Distortion and Headroom 23
Choosing the Right S-VHS Cassette Tape 24

Contents
2 ADAT LX20 Reference Manual
What is Tape Formatting? 24
3 POWER-UP AND TAPE FORMATTING 26
Power-up and Tape Insertion 26
Setting Tape Length 27
How to Format Tapes 28
About Type I and Type II Formats 28
Defeating The Write Protect Tab 28
General Formatting Procedure 29
Recording While Formatting 31
Re-Formatting a Previously Formatted Tape 31
Notes About Formatting 31
Recording a “Benchmark” Tape 31
4 RECORD AND PLAYBACK BASICS 33
Understanding the Time Counter 33
Change Display Format 33
Set the Input Mode for Analog Audio 33
Choose Analog Or Digital Input 34
Digital Input Re-Routing 34
Select Track(s) for Recording 35
Tape Motion Control: The Transport 35
Stop 35
P l a y 36
Record 36
Other Transport Buttons 36
Step-By-Step Procedures 37
Recording 37
Playback 37
Reviewing and Cueing 38
Monitoring 38
Default Mode 38
Auto Input 38
All Input 39
5 AUTOLOCATION AND LOOP FUNCTIONS 41
Autolocation 41
Return to Zero 41
Locate Points 41
Auto Play 42
Auto Return 42
Looped Playback 43
Loop Limit 44
Deferred Play and Record 44
6 PUNCHING AND AUTOMATED RECORDING 45

Contents
ADAT LX20 Reference Manual 3
Manual Punching Options 45
Transport Controls 45
Record Enable Buttons 45
Footswitch 46
Automated Recording 46
Looped Recording 47
Rehearsing 47
Adjusting Punch Crossfade Time 48
7 PITCH CONTROL 49
8 ABOUT DIGITAL AUDIO IN/OUT 51
ADAT Optical Interface Basics 51
About 16-bit and 20-bit signal transfers 51
Selecting The Digital Output Mode 52
Type II (20-bit) to Type II (20-bit) 52
Type II (20-bit) to Type I (16-bit) 52
9 USING THE LX20 LRC REMOTE 53
10 MULTIPLE LX20/ADAT OPERATION 55
Overview 55
Synchronizing Machines 55
Automatic Renumbering 56
Master/Slave Interaction 57
Achieving Lock 57
Independent Slave Mode 57
Formatting Multiple Tapes 57
Recording Digital Audio 58
Bouncing Tracks Between ADATs 58
Reassigning Channels to Different Tracks 59
Making Digital Backups 60
Making a 16-bit copy from a 20-bit master 61
Recording Digital Audio from Other Sources 61
Digital Clock Considerations 62
Combining LX20s and ADATs 62
LX20 Transport Speed 62
Sample Rate vs. Pitch Control 62
Input Monitoring 63
Polarity Differences 63
Connections 64
11 APPLICATIONS 65
Overview 65
Combined Multitrack/Mixdown Deck 65

Contents
4 ADAT LX20 Reference Manual
Live/Long-Term Recording 66
Locking to Video: Code-Only Master 66
Libraries and Archives 67
Modular Recording 67
Computer Control and MIDI 67
MIDI Systems: Virtual Tracking 67
MIDI Systems: Automated Mixdown 68
MIDI Systems: Virtual Tracks and Automated Mixdown 68
MIDI Machine Control: Virtual Remote Control 68
The ADAT Optical Interface and Hard Disk Recording 69
Digital Audio Transfer Options 69
Typical applications 70
The ADAT-PCR Computer Interface 70
A Real-World Example 71
Sync Issues 71
Hard Disk Backup 71
Pre-Mastering with the LX20 72
APPENDIX A DIGITAL RECORDING CONCEPTS 73
Analog Recording Basics 73
Digital Recording Basics 73
The Advantages of 20-Bit Recording 74
Why S-VHS? 75
APPENDIX B TROUBLESHOOTING 76
Re-Initializing: Try This First 76
Troubleshooting Index 76
Checking Software Version 77
Error Rate Display 78
About Error Rate Readings 78
ADAT Head Life 79
ADAT Head Maintenance 79
Drum Time Display 79
Tape Care and Maintenance 81
Maintenance/Service 82
Cleaning 82
Maintenance 82
Obtaining Repair Service 83
APPENDIX C ERROR CODES 84
Automatic Brake Calibration Procedure 86
Steps To Take Before Calling For Help 87
APPENDIX D SPECIFICATIONS 88
GLOSSARY 90

Introduction
ADAT LX20 Reference Manual 5
INTRODUCTION
Thank you for purchasing the Alesis ADAT-LX20 20-Bit Digital Audio Recorder.
To take full advantage of the LX20’s functions, and to enjoy long and trouble-free
use, please read this manual carefully.
Here are some of the LX20’s most significant features:
•Low tape cost. The LX20 can record over an hour of audio on a standard S-VHS
tape cassette.
•Superb fidelity. The LX20 offers 20-bit recording to tape using the ADAT Type
II format, along with a choice of a 44.1 or 48 kHz sampling rate (with 64 times
oversampling), for better-than-CD quality sound.
•Digital and analog inputs/outputs. In addition to conventional analog inputs
and outputs, a “master” digital I/O carries all eight tracks simultaneously via
optical cable, allowing for lossless signal transfers between ADAT interface-
compatible devices (tape recorders, hard disk recorders, synthesizers, signal
processors, etc.).
•Easy expandability for more tracks. Multiple LX20s can be synchronized
without any external hardware, and without giving up any tracks, to expand
your digital recording system. Two LX20s give 16 tracks, three LX20s 24 tracks,
and so on. Up to 16 LX20s or other ADAT-family digital recorders can work
together, and all are locked within 20 microseconds (1 sample) accuracy.
•Included remote control. Each LX20 comes with the LRC (Little Remote Control)
for remote control of transport, autolocation, and input select functions.
•Optional remote control. The BRC (Big Remote Control) allows for
sophisticated synchronization and overdubbing functions for multiple ADAT-
compatible machines, remote control of virtually all recorder functions, and
SMPTE read/generate.
•International no-hassles power compatibility. The LX20 accepts any AC
voltage between 90 and 250 volts, so you can use it whether you’re laying down
tracks in L.A, mixing in Munich, or synching in Seoul. (Or dealing with a
brownout in New York City, for that matter.)
•Built-in time code. Each LX20 tape is formatted with a proprietary time code
that is much more accurate than SMPTE, and time-stamps the tape with single-
sample accuracy. This allows for machine synchronization without giving up an
audio track, accurate tape counter readings without “slippage,” and intelligent
autolocation functions.
•Compatibility with multi-channel mixdown formats. The LX20 is ideal for
quadraphonic, surround, and theatrical sound applications that require more
than two channels for the final master.

Introduction
6 ADAT LX20 Reference Manual
HOW TO USE THIS MANUAL
Though we recommend you read through the entire manual once, those having
general knowledge about multitrack recorders should use the table of contents and
index to reference specific functions while using the LX20. Here’s how the manual is
organized:
Chapter 1: Setting Up and Making Connections. This covers installation issues as
well as how to connect up the LX20 to other gear in a system.
Chapter 2: LX20 Essentials. This section provides a brief tour of LX20 highlights,
dsecribes some of the buttons and controls, and discusses how to choose the right
tape.
Chapter 3: Power-Up and Tape Formatting. Time to turn on the power and format a
tape before recording.
Chapter 4: Recording and Playback Basics. Here’s the lowdown on shuttling tape,
recording, and playing back.
Chapter 5: Autolocation and Loop Functions. The LX20 can find specific points on
tape, as well as loop continuously between two points.
Chapter 6: Punching and Automated Recording. This chapter describes how to
replace sections of previously-recorded tracks.
Chapter 7: Pitch Control. If you’re ever had to retune a piano to a track, you’ll
appreciate the LX20’s ability to tune a track to piano instead.
Chapter 8: About Digital Audio In/Out. All ADAT-compatible devices include a
fiber optic interface that can carry 8 channels of audio simultaneously. This
chapter tells how to get the most out of this advanced interface.
Chapter 9: Using the LRC Remote. The LX20 comes with a remote control unit that
duplicates many front panel functions.
Chapter 10: Multiple LX20/ADAT Operation. ADAT-compatible devices can work
together synergistically to create a sophisticated recording system, as detailed in
this chapter.
Chapter 11: Applications. There’s a lot more to the LX20 than meets the eye, such
as “snapshot” automation, combined master/mixdown deck, virtual MIDI tracks for
instrument parts and signal processor control, and more.
Appendices. Features an explanation of digital audio recording concepts, trouble-
shooting, maintenance and service information, specifications, a Glossary and an
Index.
Conventions
All front panel buttons and rear panel connectors are referred to in this manual just
as their names appear on the LX20, using all capital letters (Examples: PLAY
button, AUTO INPUT button, etc.).
When something important appears in the manual, an icon (like the one on the left)
appears in the left margin. This symbol indicates that this information is vital
when operating the LX20.
✪

Chapter 1 - Setting Up and Making Connections
ADAT LX20 Reference Manual 7
CHAPTER 1
SETTING UP AND
MAKING CONNECTIONS
UNPACKING AND INSPECTION
Your ADAT-LX20 was packed carefully at the factory. The shipping carton was
designed to protect the unit during shipping. Please retain this container in the
highly unlikely event that you need to return the LX20 for servicing.
The shipping carton should contain the following:
• ADAT-LX20 with the same serial number as shown on shipping carton
• Power Cable
• Optical Cable
• LRC remote control unit
• This instruction manual
• Blank S-VHS ST-120 cassette
• Alesis warranty card
Register your purchase so that you may be informed of upgrades. If you have not
already filled out your warranty card and mailed it back to Alesis, please do so
now.
OPERATING ENVIRONMENT
THERMAL CONSIDERATIONS IN RACK MOUNTING
You can mount the LX20 in an equipment rack (taking up 3 rack spaces) or place it on
a table or shelf. When you install it, note that heat is the major enemy of electronic
equipment. Please observe the following:
• The LX20 is designed to perform properly over a range of ambient temperatures
from 10° C to +40° C (50° F to 104° F), in up to 80% non-condensing humidity.
These are not absolute limits, but Alesis cannot guarantee that the LX20 will
meet its published specs or remain reliable if operated outside of these ranges.
• Always allow adequate ventilation behind the LX20. Do not seal any enclosure
that holds the LX20. It is not necessary to leave an empty rack space above or
below the LX20 unless it runs hot enough to affect equipment above or below it.
If your environment is unusually warm and not air conditioned, space between
units will help the units run cooler and may lessen tape oxide shedding.
• Do not mount the LX20’s rack at a an angle. The LX20 should not be angled back
or mounted vertically.
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Setting Up and Making Connections - Chapter 1
8 ADAT LX20 Reference Manual
MOUNTING ON A SHELF OR NON-RACK ENCLOSURE
To mount the LX20 on a shelf or other flat surface, Alesis recommends attaching
stick-on rubber feet to avoid scratching the shelf’s surface with the deck’s bottom.
Please observe the general comments on thermal considerations given under
“Thermal Considerations in Rack Mounting” no matter where or how the deck is
mounted.
AVOIDING ELECTROMAGNETIC INTERFERENCE
Like all tape machines, the LX20 uses magnetic tape that can be sensitive to
electromagnetic interference. Generally this is not a problem, but avoid mounting
the LX20 next to devices that generate strong magnetic fields such as power
amplifiers, monitors and video display devices, speakers, etc.
AC POWER HOOKUP
With the LX20 off, plug the power cord’s female end into the LX20’s POWER
INPUT socket, and the male (plug) end into a source of AC power. It’s good practice
not to turn on the LX20 until all other cables are hooked up.
The LX20 works with any AC voltage from 90 to 250 volts, 50 to 60 Hz. This
eliminates the need for transformers or voltage switches. Your LX20 was supplied
with the correct power cord for your country or local area, however only the
following alternative power cords are approved for use with ADAT:
• For 90-120 VAC 50/60 Hz operation in the US, Canada and/or Japan, use Alesis
UL/CSA power cord #7-41-0001.
• For 240 VAC 50 Hz operation in England, use Alesis Power cord #7-41-0004.
• For 220 VAC 50 Hz operation in Europe and Scandinavia, use Alesis EU power
cord #7-41-0002.
• For 240 VAC 50 Hz operation in Australia, use Alesis AS power cord #7-41-0003.
The LX20’s IEC-spec AC cord (do not substitute any other AC cord) is designed to feed
an outlet that includes three pins, with the third, round pin connected to ground. The
ground connection is an important safety feature and should never be “lifted.”
Unfortunately, the presence of a third ground pin does not always indicate that an
outlet is properly grounded. Use an AC line tester to determine this. If the outlet is
not grounded, consult with a licensed electrician.
Alesis cannot be responsible for problems caused by using the LX20 or any associated
equipment with improper AC wiring.✪

Chapter 1 - Setting Up and Making Connections
ADAT LX20 Reference Manual 9
AVOIDING GROUND LOOPS
In today’s studio, there are many opportunities for ground loop problems to occur.
These show up as hums, buzzes, or sometimes radio reception, and can occur if a
piece of equipment “sees” two or more different paths to ground, as shown below.
Device A Device B
shielded
cable
path 1
path 2
To AC power service
One path goes from device A to ground via the ground terminal of the three-
conductor AC power cord, but A also sees a path to ground through the shielded
cable and AC ground of device B. Because ground wires have a small amount of
resistance, small amounts of current can flow through ground and generate a voltage
along the cable shield. This signal may end up getting induced into the hot
conductor.
The loop can also act like an antenna into which hum is induced, or can even pick up
radio frequencies. Furthermore, many components in a circuit connect to ground. If
that ground is “dirty” and contains noise, it might get picked up by the circuit.
Ground loops cause the most problems with high-gain circuits, since massive
amplification of even a tiny bit of noise can give an audible signal.
Most ground loop problems can be solved by plugging all equipment into the same
grounded AC source. However, it is important to make sure that the AC source is not
overloaded and is properly rated to handle the gear plugged into it.
For really tough cases, you may need to break the connection that causes the loop
condition. If your circuits are balanced, one way to do this is to simply break the
shield of the shielded audio cable at some point, usually by disconnecting it from
ground at one jack. (The other end should remain connected so that the shielding
properties are retained, even if there is no direct path for ground.)
Please note that not all hums and buzzes are caused by ground loops; your cables
must be of high quality, particularly with -10 dBV setups.

Setting Up and Making Connections - Chapter 1
10 ADAT LX20 Reference Manual
LINE CONDITIONERS AND PROTECTORS
Although the LX20 can tolerate typical voltage variations, the AC line voltage
may contain spikes or transients that can possibly stress your gear and, over time,
cause a failure. There are three main ways to protect against this, listed in
ascending order of cost and complexity:
• Line spike/surge protectors. Relatively inexpensive, these are designed to
protect against strong surges and spikes, acting somewhat like fuses in that
they need to be replaced if they’ve been hit by an extremely strong spike.
• Line filters. These generally combine spike/surge protection with filters that
remove some line noise (dimmer hash, transients from other appliances, etc.).
• Uninterruptible power supply (UPS). This is the most sophisticated option. A
UPS provides power even if the AC power line fails completely. Intended for
computer applications, a UPS allows you to complete an orderly shutdown of a
computer system in the event of a power outage, and the isolation it provides
from the power line minimizes all forms of interference — spikes, noise, etc.
If your AC power is unstable or subject to occasional browns-outs or interruptions, use
a professional power conditioner or uninterruptible power supply. Some people who
have experienced problems with ADAT operation have had those problems
disappear completely after installing proper power conditioning.

Chapter 1 - Setting Up and Making Connections
ADAT LX20 Reference Manual 11
ANALOG AUDIO CONNECTIONS
ABOUT AUDIO CABLES
The connections between the LX20 and your studio are your music’s lifeline, so use
only high quality cables. These should be low-capacitance shielded cables with a
stranded (not solid) internal conductor and a low-resistance shield. Although
quality cables cost more, they do make a difference. Here’s how to route cables to
the LX20:
• Do not bundle audio cables with AC power cords.
• Avoid running audio cables near sources of electromagnetic interference such as
transformers, monitors, computers, etc.
• Do not place cables where they can be stepped on. Stepping on a cable may not
cause immediate damage, but it can compress the insulation between the center
conductor and shield (degrading performance) or reduce the cable’s reliability.
• Avoid twisting the cable or having it make sharp, right angle turns.
• Never unplug a cable by pulling on the wire itself. Always unplug by firmly
grasping the body of the plug and pulling directly outward.
When connecting audio cables and/or turning power on and off, make sure that all
devices in your system are turned off and the volume controls are turned down.
REAR PANEL INPUT AND OUTPUT LAYOUT
The LX20’s rear panel has 8 unbalanced phono jack inputs, and 8 unbalanced phono
jack outputs.
INPUTS
The inputs feed signals into the LX20 for recording. These inputs are compatible
with low-impedance, unbalanced, -10 dBV outputs typical of mixers, synthesizers,
samplers, direct boxes, etc. Guitar and bass require preamplification before feeding
these inputs.
✪

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12 ADAT LX20 Reference Manual
Here’s how the input jacks and plugs are wired:
TipSignal SleeveGround
Tip Sleeve
TYPICAL INPUT JACK HOOKUPS
You typically patch the following into the inputs:
•Console direct tape outs. With many mixing consoles, such as the Alesis Studio
24, each mixer channel has a direct output. These can patch a channel directly
to tape, bypassing most mixer circuitry. You would normally patch the direct
out from channel 1 into LX20 input 1, channel 2 into LX20 input 2, etc. This is
preferred when the signals going to tape require none of the mixer’s routing or
processing features.
•Mixer bus outputs. One important mixer characteristic is the number of output
busses. Each output bus represents a mix of input faders, auxiliary sends, etc. Use
bus connections when the mixer performs grouping, premixing, effects, etc. Using
the bus outputs puts more circuitry between the input signals and LX20 compared
to using direct outs, although since most routing can be done at the mixer, you’ll
seldom need to do any repatching.
The LX20 can be optimized to work with 2 bus, 4 bus, or 8 bus mixers, as described
later. You would hook these up as follows.
2 bus mixer: Connect the main bus outs to inputs 1 and 2
4 bus mixer: Connect the main bus outs to inputs 1-4
8 bus mixer: Connect the main bus outs to inputs 1-8
For example, with an 8-bus mixer, you would normally patch output bus 1 to
LX20 input 1, output bus 2 to LX20 input 2, etc. until output bus 8 patches into
LX20 input 8.
•A combination of direct outputs and bus outputs. Some situations require a
combination of the two approaches. Example: Consider a live gig where you
want to record two vocal mics, four mics on drums, two direct feeds from guitar
and bass amps, and one direct feed from keyboards. The vocals, bass, guitar, and
keyboards could be taken direct and go to five LX20 tracks. The four drum mics
can be mixed to stereo within your mixer sent to the submix outs, then go to two
LX20 tracks. The remaining LX20 track could be used to record audience sounds or
capture one of the instruments in stereo, if applicable.

Chapter 1 - Setting Up and Making Connections
ADAT LX20 Reference Manual 13
OUTPUTS
The -10 dBV outputs use phono jacks, and carry signals at a nominal -10 dBV level.
These connect to your mixer’s channel tape returns or line inputs. You would
normally connect output 1 to mixer line input 1 or tape return 1, output 2 to mixer line
input 2 or tape return 2, etc.

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14 ADAT LX20 Reference Manual
SYNC IN/OUT
The two rear panel DB-9 connectors marked SYNC IN and SYNC OUT synchronize
two or more ADAT-family devices, such as the LX20, XT20, M20, original ADAT,
ADAT-XT, and/or a computer hard disk audio recording/editing system using the
ADAT-PCR sound card or similar device.
Synchronization requires a male-to-male, 9-pin D connector cable for each
additional machine in the chain. These cables are available in various lengths
from Alesis or your dealer and should be Alesis-approved; improper cables (such as
those used for computers) may not function correctly.
In such a system, you are basically treating all connected machines as though they
were a large multitrack unit. The first LX20 or ADAT in the chain is the “master,”
and all other connected units are called “slaves.” However, each slave can also be
used independently when the master machine is stopped.
For details about using multiple LX20s and/or ADATs, refer to Chapter 10.
To synchronize multiple LX20s and/or ADATs:
❿Locate the SYNC IN and SYNC OUT connectors.
❡Connect one end of a male-to-male, 9-pin connector cable to the master’s SYNC
OUT jack.
①Connect the other end of the cable to the first slave’s SYNC IN jack.
➃For additional slaves, connect one end of a male-to-male, 9-pin D connector
cable to the first slave’s SYNC OUT jack, and the other end to the second
slave’s SYNC IN jack. Its SYNC OUT jack then connects to the third slave’s
SYNC IN jack, and so on.
The following illustration shows two LX20s synchronized together.
INPUT
OUTPUT
INPUT
OUTPUT

Chapter 1 - Setting Up and Making Connections
ADAT LX20 Reference Manual 15
DIGITAL AUDIO CONNECTIONS
The digital input and output carries all eight tracks on a single fiber optical cable
(called the ADAT Optical Interface, and sometimes nicknamed the ADAT “Light
Pipe”). This powerful feature allows you to transfer digital audio between multiple
ADAT-compatible devices.
ABOUT DIGITAL AUDIO IN/OUT
The ADAT Optical Interface cables carry digital audio between ADAT compatible
products such as multiple LX20s and ADATs, the QuadraVerb 2, Q20, many Alesis
keyboards, the ADAT-PCR computer interface card, and third-party products such
as the Digidesign ADAT Bridge and Yamaha 02R digital mixer. Since the fiber
optic connector carries the digital information for all 8 tracks, it is also useful for
backing up all tracks in one pass.
Digital bussing requires a fiber optical cable (included) for each LX20 in the system
(or any other ADAT-compatible product). Additional cables are available from
Alesis or your dealer in various lengths up to 16 feet. You can make this connection
while power is on or off, and the machines do not need to be turned on in any
particular order.
Examples: Probably the most common application is “cloning” one ADAT tape to a
second machine for backup. Basically, you patch the fiber optic output from the
machine with the tape to be backed up (the master) to the fiber optic input of the
machine doing the backup (the slave). Record-enable the slave tracks and press
play on the master to copy the original tape.
Another application is transferring all 8 tracks from an ADAT to a hard disk
recording system for editing. You would patch the ADAT fiber optic output to an
ADAT-PCR interface card’s fiber optic input, press play on the ADAT, and record on
the hard disk system. To transfer the edited data back to the ADAT for storage
and/or backup, patch the ADAT-PCR interface’s fiber optic out to the ADAT’s fiber
optic in, and play back the hard disk data while the ADAT is recording.
These and other applications are described in more detail in Chapters 10 and 11.
To connect the digital optical network:
❿Locate the DIGITAL IN and DIGITAL OUT connectors.
Remove the connectors’ plugs (if present) and store for later use.
❡Connect one end of the fiber optic cable into the DIGITAL OUT jack of the first
machine in the system.
Remove the clear, plastic tube covering each end of the cable (if present). The
cable is non-polarized, so either end can insert into the optical output.
①Connect the other end of the fiber optic cable to the DIGITAL IN of the second
machine in the system.
Tip: if the machines are on, the end of the cable from the source machine will
glow red.

Setting Up and Making Connections - Chapter 1
16 ADAT LX20 Reference Manual
➃For each additional machine, connect one end of an additional fiber optic cable
to the second machine’s DIGITAL OUT jack, and the other end to the third
machine’s DIGITAL IN jack. Its DIGITAL OUT jack then connects to the fourth
machine’s DIGITAL IN jack, and so on.
➄Finally, connect one end of a fiber optic cable to the last machine’s DIGITAL
OUT jack, and the other end to the first machine’s DIGITAL IN jack.
This last step creates a loop, making the digital bus accessible to all machines
connected to it.
The following diagram shows how to hook up the Sync and Optical Interface
connectors in a setup with two LX20s.
When connecting more than two machines, always connect the optical cables in the
same order as the sync cables (1 to 2, 2 to 3, etc.), so that the digital routing will
work correctly.
INPUT
OUTPUT
INPUT
OUTPUT
FOOTSWITCHES
The LX20 provides one footswitch connector using a 1/4" stereo jack named
LRC/PUNCH.
• LRC allows patching in the LRC Remote control
• PUNCH is for punch in/out control using a footswitch.
LRC/PUNCH
Tip = LRC Remote
Ring = Punch In/Out
Sleeve = Ground
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ADAT LX20 Reference Manual 17

Setting Up and Making Connections - Chapter 1
18 ADAT LX20 Reference Manual
There are three ways to use this jack.
•Footswitch only. Plug a momentary, single-pole/single-throw footswitch
(either normally open or normally closed) halfway into the jack so that the
footswitch plug tip connects to the jack ring connection. In other word, plug in
only until the tip reaches the first detent. Plug in the footswitch prior to
power-up so that the LX20 can configure itself for the type of footswitch being
used. If you decide to plug in a footswitch after already starting a session, turn
off the LX20, plug in the footswitch, then turn theLX20 back on again.
•LRC only. Plug the LRC plug fully into the jack.
•Footswitch and LRC. Use an adapter that breaks out a stereo plug into two mono
jacks. Plug the footswitch into the mono jack that connects to the stereo jack ring
connection, and the LRC into the mono jack that connects to the stereo jack tip
connection. The following diagram shows the wiring scheme.
This cable is available from several manufacturers, such as Radio Shack (#274-302)
and Hosa (YPP-118).

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ADAT LX20 Reference Manual 19