Fostex 812 User manual

Owner’s Manual
Model
RECORDING MIXER
F05CGX

A
A
RISK OF ELECIHIC SHOCK
OO NOT OPEN
CAUTICN: TO REDUCE THE RISK OF ELECTRIC SHOCK.
CO NOT REMOVE COVERlOR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALFIED SERVICE PERSONNEL.
A The light ring llasti with arrowhead symbol,
/f\ within an equilafero triangle, is mended to
/V alert tho iser lo lhe prese-xre of uninsulated
/ J \ "dcngerous voltage’ within the Deduct s en-
/ V \ closure that rray be ol sullicieni magnitude lo
corstitutea risk ol electric shock to person*.
A The exclamation point vviihri an equilateral
/«\ Iriaoyte Is intended lo ubrl the user u lire
/ I \ f/esenco ol imports! ni opening and mninie-
/ I \ nance (sarveing) instructions in the literature
/ * \ accompany ng the appliance
'WARNING"
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK.
LO NO l bXHUSt I HIS AmiANCt: 10 RAIN 0RMQI5-
Tunc."
SAFETY INSTRUCTIONS
1. R;ad Instructions Al the oafcl/ and operating inolrvc
twins shm ild he r«»ri bolore lhe appliance is operatnd
?. Ftetain inslruchnns -Tie salety and occiaiina instructions
should be relaned lo lulure reference.
3. Heed Warnings - All warnngs or the applianceand in the
operating mstruenons should be acnereo io.
4. Follow Instructions — All jperatny anc uie instructions
choiJd ho lollowod.
Ft. V*tio» and Moisture - The appliance should not b? used
near water - ler example, near a bathtub, washbowl, kit-
cher sirk, laundry :ub, in s wet basement, or near a swim¬
ming pool, and the like.
6. Carts arvd Sturds Tho appimrco should bo used only
with a cart or stand that is recommended by the mami:
lacturei
An appfianco anc cert combination should t>e moved
with care. Quick stops, excessive force and uneven
surlace3 nay cause tno appiarce and cart combiriaioi
t5 overturn.
7 Wull or Guiltly Mounting —Tlic upoliaivsc olxxitd be muml-
td to a wal or coilivj only ic ronnmmnnrtoil hy Hip mrnu-
(acturer
8 YGniiation - Tie appiaixe should be mtuatec so that its
locaiioncr costion does not nte-iere win is proper venti¬
lation. For example. Ihc ooplanco cncUd not bo eitualoc
on a bed. sofa ruo. ct similar surface Inal mav blxck the
venlilation openings; or, placed in a built-in nstalla»on
such as a bookcase or cabinet lhat may impede the rio// o’
air tnrough the ventilation openings.
9. Hc&l The appliance ohould bs silualod away Irom host
sources such as rarintors. heat recsle s, staves. cr olhei
appiances (including amplriiers) that txoducs heat.
10. bovver Sou-cos ■ rhcopplanccshculdbeccrnecteotOE
cower supoly only of the type assenbeO m me operating
nolfii clone or no marked on ho appianco
It. GramdinQorPolarizaticn - Theprecaulwnsthatshould
oe la ken so that live grounding or polarization means d
an appiiarce s not defeated
12. Rwer Cord Hotectiai - Riwer supply cords should be
routed so thal Ihey are nc* likely to be wdked on cr
pinohod by items pticed ipon or against them, paying
particular aitention to cords at plugs, convenience recep-
lades, ana the point whore they exit from the appliance.
13. Cleaning - The appliance should bo ebaned only as
recommended by the manufacturer.
l X Ncr use Periods - The powo ccrd cl theappiianco should
be unpuggod from tho cutlet vision loft unused lor along
period of time.
IS Ohjncl and I iquid Entry - Care should te taken so lhat
obiectsdonoi tall and licuicts are not suited into the enc¬
losure through openings.
16. Damage Requiring Service - The appliance should be
serviced Py qualllled service personnel when:
A. The power supply cord or the plixj has been damaged;
or
8. Cbiecls have fatten, cr licuid has been spiled into the
appliance; or
C. The appliance has been exposed to rain; or
D. lhe appliance does roi appear» operate normaly cr
exhbils a marked change n performance; c*
E. The appliance hse boon dropped, or the onciceuro
damaged
17 Servicing - The user should tut attemul lo service the
appliance beyond that described in the opora&ng instruc¬
tions. All ether servicing should be referred to qualified
service personnel.

INTRODUCTION
Thank \ou very much for purchasing a Fostex Model 812
Recording Mixer.
The Mode B12 is a '2-inpul 'eoording mixer with al the
necessary functions required fo a multilracK recording. Tiie
Model G12 has all of the foltowing features
1 An 8 channel output, orcvicina the pcrlcct combination
wifi an 8-track multitrack recorder.
2 Two Effect Sends (monaural) and ar Auxilary Send
(stereo), al owing a variety of sound effect processes
possible
3. The capability to send the AUX signal (while monitoring
the recorder output signal) to the Effect Send 2 output,
making it possibe to, tor example, cas a reverceraton
or this signal and thus slmuiaie the recording environ¬
ment wiliout tampering with lire output sigials to the
recorder
4. Two paranetic and cne shelwng ec utilizers, giving more
flexibility to tone control, and, with the use of a solo moni¬
tor ‘unction and .mute furction. the mixing process is
made even more easy.
5. Three stereo Effect Returns alowing connections vari¬
ous sound effect processors without sacrificing irput
channels lo eccept the output signals from the piocessors
6. A DC24V phaniom power source, enabling -lookup to e
high quality condenser microphone
7. An FL level merer.
8. Space fer connectng MID! interfacing : or future use with
MIDI control.
We hepe that you tnoroughiy -ead this Manjal and wil
utilize (he product to its fullest capabilues. With proper use
and maintenance, you wil enjey maiy years ol satisliec
periornance.
TABLE OF CONTENTS
■ M IWhh.
SECTION 1
V ■ W W I 1 I lall |
SPECIFICATIONS
PAGE
2
SECTION 8
M JUITRACK RECORDING
PAGE
12
SECTION 2 BLOCK DIAGRAMS 3
SAMPLE CONFIGURATIONS 12
SECTION 3
GUIDE TO COMPONENTS
5
BASIC TRACK RECORDING 12
SECTION 4 THE PARAMETRIC EQUALIZER
9
OVER-CUBBING
14
SECTION 5
CONNECTING FFFFCTORS 9
PING-PONG RECORDING
15
SECTION 6 CONNECTING PERPHERAL 10
M XING-DOWN
16
SECTION 7
EQUIPMENT
BASIC SIGNAL FLOW
11
SECTION 9 TROUB_E-SHOOTING 19
section i SPECIFICATIONS
INrUT (A 12)
AUX OUTPUT |L/R) <> 1)
Mlcrophonn Impedancr
WOE or less Output lead impedance lOkO cr mere
Input Imoe dance
?M) balanced X.R connector Nominal output leva -IOcBV (0.3'/)
ana 20 hQ unDnOnecrl pl-varc
HCk
Maximum output level
MONITOR OUTPUT (LR) |x1)
Output load impedance
•ilOdSV iSGY)
Ncmnal Input level
Microp*>one 603 BV [imV. lOkO Jr mere
Line: lOdDV (-5.3VI Nominal output lev© -1000V 103'/)
Minimum Input level 70JBV (OlnW) Maximum output level -iSdBV S6V)
Maximum input level
Hbdt5V(5CV} HEADPHONES OUTPUT (Stereo)
TAPE INPUT (- 12)
Output load Imparlance 8-5CU
Input impedance Mkt! Maximum output BCmVY
Nominal Input level
-IUCIUV(OSV) DIRECT OUTPUT (X 12)
Minimum Input level
2COBV (O.'V) Output load Impsdanco lOkll V nao
Maximum input level
t-l5dBV(5.6V) Nominal output leva -IOoBV (03 V)
INSERT INPUT (X12)
Maximum output level -tStlBV i.sev)
Input impedance JOktl
FREQUENCY RESPONSE
Nominal input level
- lOdBV (05V) Mcrophone input 20 - 20kH2 .1/-20B
INSERT OUTPUT (X12)
Line input 20-?0kHz -.V-1CI0
Output load impedance 'Old? or moia Monitor rxilput 30-20kH7 il/—3dR
Nominal output level
- 10QBV (Q3V) Headphones output 20 - 20kHz .1/-20B
Maximum output level ► I30BV (0.0/)
EQUIVALENT INPUT NOISE —12SQBV w&gnteo
BUSS INPUT iGROUPxB, EFFECT *2, AUX (Lfl)xl) OVERALL SIGNAL TO NOISF
Input impotbnce 20 kl)
1 mlc input 6£el8 weghlcd
Nominal InpJt level - IOUBV (03V) (2 mlc Input
wegrweo
EFFECT RETURN (UR) (<3)
T.H.D. 0.115% (UHz. nominal ln«=l)
Input impedance 7kQ
0.1% (heaGphunis 1kHz
Nominal Input level
lOJOV (O.CV|
lOnMWXW)
Maximum input level +2SdBV (173V)
FADER ATTENUATION 7Cd3 (1kHz)
GROUP OUTPUT (x 6)
CROSSTALK 6£d8 (1kHz)
Output lood Impcflcncc
OHO or mere
PARAMETRIC EQUALIZER 00- HI? ti3d0
Nomnal output level - 10.1BV (03V)
400-6kHz *I5 cB
Maximum output level »15dBV (5.6V)
10kH: *i5d8 (SHEIVIM3)
EFFECT SEND (x2)
POWER REQUIREMENTS
100V 42W
Cut put load impedance •QkQ cr more
120V 4EW
Nomnal output level WdBV (03V)
220V 4£W
Maximum output lovcl
* tSoBV (&.6V)
DIMENSIONS (HxWxD)
2‘0V 4EW
175 mm x $70rm x 530mm
WEIGHT
1*9129 lt«S)
PHANTOM POWER SLPPLV DC34V

EF<FC1
1
3

SECTION 3 GUIDE TO COMPONENTS
4
The numbers in () indicate the bcaticn of tie component.
FRONT PANEL
1. PEAK LED
This LED turns on when the input signal to INPUT jacks
(35) and (36) or to Hie TAPE IN jack (36) is overloaded
(+ 13dB). if the LCD tends to turn on frequently, adjust the
TRIM (2) or tho EQUALIZER GAIN (-1) unti an appropriate
level is reached. For details, refer to pa. ADJUSTING IN¬
PUT/OUTPUT LEVELS.
2. INPUT TRIM
This krob trims the pro amplifier gain ci the incoming sig¬
nal Irom INPUT jacks (35) and (36). The TRIM responds
to a wide range from -60dBV (microphone level) to
- ICdEV (line level) Please note that the input eve! horn
the TAPE IN jack (38) can net be adjusted.
a INPUT SELECTOR (INPUT/TAPE)
This selects the signal to be sent to toe INPUT FADER
(15). INPUT< I): The sound source coming irro INPUT
jacks (35) and (36) is selected (Used mainly when record¬
ing). TAPE( - ): The scxino source coming into TAPE IN
jack (33) 6 selected (Used mainly when mixing down).
4. EQUALIZER SECTION
This section adpsts the tone quality of the sound signal
selected hy the INPUT SELECTOR (3) Fcr further details,
refer to pg. r HE PARAMETRIC ECUALIZER.
5. EFFECT SEND 1
This knob aejusts the output level of tho pcst-FADER sig¬
nal (the signal after adjusted by INPUT FADER (15)) before
being sen: to the EFFECT SEND 1 buss. Tne signal is sen
to the EFFECT SEND 1 buss via the SEND 1 MASTER
LEVEL knob (21) and is culputted from tie EFFECT SEND
1 jack (5G) and may be sent to effectors for processing.
6. EFFECT SEND 2 SELECTOR (AUX/POST)
This selector is effective only when the AJX SELECTOR
(8) is set to TAPE (is. is depressed), it sslects the signal to
be sent to EFFECT SEND 2 (7). 3 CST(I): The post-
FADER sgnal is selected. AUX(«): The signal from the
TAPE IN jack (38) alter being adjusted by AUX GAIN (9)
is selected.
Note that when :he AUX SE_ECTOR (8) is set to POST Hus
sclecto- has no eTect anC thus the signal sent to the
EFFECT SEND 2 (7) will bo POST
7. EFFECT SEND 2
Inis knot adjusts the outout level of the signal being
sent to Ihe EFFECT SEND 2 buss. From hu e the signd
then is sent to the SEND 2 MASTER LEVEL knob [22)
and outputted from tne EFFECT SEND 2 jack (49) and
used for effect processing.
a AUX INPUT SELECTOR (POST/TAPE)
Tins selects '.fie signal to be sent to the AUX GAIN (9).
POST(l.): Tho post FADER signal is oaloctcd. TAPE(-):
Tine incoming signal to tne TAPE IN jack (38) is selected.
Usually, if one warts rt process an effect usng the posf-
FADER signal via the AUX GAIN (9). POST is selected If
one wants to monitor the output from the recorder while
mixing-down. TAPE is selected.
9. AUX GAIN A
This knob adjusts tne level of the sicmal selected by the
AUX SE.ECTOR (8) and sent to the AUX buss. The func¬
tion of tnis krob varies depending on the status of the
AUX SELECTOR (8). FOST: serves as a stereo itpu: type
EFFECT SEND. TAPE, selves as a monitor volume control
cf the recorder output coming intoTA^E IN jack (30). The
signal which is sent to tho AUX buss passos through tho
AUX MASTER LEVEL knob (23) ard is outputted from the
48. AUX OUT jack and nay ha used as an input signal
to* stereo-input effectas.
10. AUX PAN
This pan adjusts the Left-Right balance of the signal be¬
ing serf to the AUX hiss from AUX GAIN (9) When the
AUX SELECTOR (3) s in the POST position, it may be
used for setting the L-R baiarce for the EFFECT SEND
signal. When in the TAPE position, it may be used for
setting the perspective of the record© output monitor g
signal.
11. GROUP ASSIGN SWITCHES
These switches {alorg with GROUP PAN (12)) assign
ihe signal sent ! rom the INPUT FADER (15) to GROUP
busses 1 -8
- GROUP ASSIGNING depressed=ON
'[H : Button down : Eulton up )
to GROUP buss 1
U 1-2
I 13-4
□ «
O’
P*N
CCO EV?N
to GROUP buss
!>J :<-4
□ «
rtu
:<?
ODD EVEN
to GFfOUP busses -o GROUP busses
5 & 6 at Ihe same level 1 ~8 at the same level
4
PAN
n«
[Vfifl i. •»
I I »•»
OTO EVEN
I '-2
I
I 9-0
I'.a
PAN
OCC EVEN
12. G ROUP PAN
Along with he GRCUP ASSIGN SWTCHES (11). the
assigning is done as illustrated.
4

13. INPUT SOLO SWITCH
When ths switch is pressed (ON), Ihe SOLO LED (33) is
turned on snd the post-FADER signal ol that channel is
sent to the SCLO buss The MONITOR SELECTOR (25)
s overridden and the SOLO buss output signal is sent
:o both me MONITOR LEVEL kncb (26) and PHONES
VOLUME {27). in other words, the pcsi-FADER signal ol
the partcuar channel can now be monitored using
ncadphcncs or speakers T-ic montored signal main
tains lie perspective set with the PAM pot (12), making
equalczirg adjustments with FOUAII7FR (4) possible
without anv sound distortion, "his feature affects only
the signals sent to the MONITOR OUT jack (47) and
PHONES jack (34).
14. MUTE SWITCH
When ths switch is oressed, the LEC located within the
swteh vvll toggle between ON and OFF When the LED
is ON. the signal entering the INPUT FADER (15) ol that
channel wll be rruted. This Is the equivalent ol complete¬
ly lowering the INPUT FADER and is useful when one
wants to cut out a chanrel without moving the FADER
position. Whan Iho LED is OFF, the nuto function c
releasee
15. INPUT FADER
Ths adjusts ihe level of the sgnal selected by the INPUT
SELECTOR (3). As roise and distortion is minimum at the
scale range of 0 * 5idR), if is recommended to initially set
the INPUT "ADER within this range and then adjust with
TRIM (2).
16. GROUP MASTER FADERS (busses 1 -6)
These a r e the master farters for GROUP busses 1
respectively. Not ony are the cutout signal levels to the
GROUP OJT jacks (45) adjusted here, but also signal
levels to the GROU=* TO L-R SECTION (18) and (19) es
well. Normally this area is used io set the sgnal level
OJ the outpjt :o TRACKS 1 -6 ot a multitrack recader.
17. GROUP MASTER FADERS (busses 7/L, 8fR)
These two are the master teders for GROUP busses 7
and 8. The/ adjust the signal leves assigned directly to
GROUP busses T and 8 from GROUP ASSIGN (11) and
(12)) es well as signel levels assigned via the CROUP TO
L-R SECTION (16) end (19). Normally thccc arc used lo
so: Iho signal leva! of the output to TRACKS 7 and 8 of
a mutitrack renoide' Also, wnen mixing-down, they may
be used lo- signal leve adjustment tc a master recorder
(ie fer lade-intout purposes).
18. GROUP TO L-R GAIN
These knebs adjust the individual levels d GROUP
busses 1-6 when assigning them to GROUP busses
7 and & For examole. in a mixing-down situation Une
source signals may be assigned to GROUP busses
1-6. men collectively sen: to CROUP busses 7 and 8
after ueny adjusted at the GROUP TO L-R SECTION
(1C) end (19) and finally outputted to a master reccrder.
19. GROUP TO L-R PAN
Ihese knoos ad|ust me Lett-Right perspective of the
signas o be sent io GROUP busses 7 aid B A turn
towards L will send the signal towards GFOUP buss 7
while R will send the signal towards GROUP ouss 3.
After bene assigned to GROLP busses 7 and 8 from
here, the signals are then outputted from GROUP OUT
jacks 7/L and 8 R 1461 via GROUP MASTER RADERS
7/L. S (17).
20. GROUP SOLO SWITCH
When this swteh is pressed, Ihe respective GROUP
duss outoul signal is sent to the SOLD buss. Similar to
:he INPUT SOLO SWITCH, the MONITOR SELECTOR
(25) isoverrdden and the signal sent to both the MONI¬
TOR OUT jack (47) and the PHONES jack (24). erabmg
monitor! rg with head phones or speakers.
21. EFFECT SEND 1 MASTER LEVEL KNOB
71 iis knob adjusts Ihe master level of the signds sent to
the EFFECT SEND 1 busa which is then outputted from
Ihe 50. EFFECT SEND 1 jack.
22. EFFECT SEND 2 MASTER LEVEL KNOB
This knob adjusts the master level of the signers sent to
the EFFECT SEND 2 buss, which is then outputted from
the 49. EFFECT SEND 2 jack.
23. AUX SEND MASTER LEVEL KNOB
Tins knob adjusts the master level of ihe signets sent to
the AUX buss. which ic then outputted from the 48. AUX
OUT jack.
24. SOLO LEVEL KNOB
This knob adjusts IIie master tevd cf lire siyiab sent
to the SOLO buss, which ncudes sicnal3 coming from
NPU~ SOLO switches and GROUP SOLO switenes.
25. MONITOR SELECTOR
This selects the signal to be sent to MONITOR OLT jack
(47) and PHONES jack (34). L-R: The output signal from
GROUP busses 7 and 8. AUX: The output signal from
he AUX buss (ie tc be outputted from the AUX OUT
ack (48)). EFFECT SEND 1: The signal to be outputted
‘rom the EFFECT SEND I jack (50) is selected with a
central perspective EFFECT SEND 2 The signal to be
outputted Iron the EFFECT SEND 2 jack (49) is selected
with a central perspective
n general. L-R is used when mixing-ctown. AUX is used
whan monitoring Ihe output to a recorder. The selection
is made when the respective switch is depressed.
26. MONITOR LEVEL KNOB
This knob adjusts the output leve of the signal sen! to the
MONITOR OUT jack (47).
27. PHONES VOLUME
This controls the volume of the signal sent to the 34.
PHONES jack.
28. EFFECT RETURN 1 SECTION
I his section assigns the signal coming into EFFECT
RTN 1 jacks (40) to GROUP busses t -£
The assigned buss(es) is determined by the use cf the
RTN 1 ASSIGN SWITCHES (28) and Ihe RTN 1 PAN
(28). The signal leve is adjusted by RTN 1 GAIN (28)

Hcwevei nute that the function ol the RTN 1 PAN (28)
deoends cn the connections made wth the EFFECT
RTN 1 jacts (40) (refer to the following illustrations).
When connections are mace to both L anc R of the
EFFECT H N 1 :ac<S (40), the 28. KIN 1 PAN serves
as a L-H Balance adjuster Eg l: The LEFT output or
a stereo output from a reverberator is sent to GROUP
buss 1 whle the RIGHT is sent to GROUP buss 2 at
equal levels.
Button down
Button up
Fg 2 Tne I FFT output of a stereo output from a
reverberator is sent to GROUP busses 5 and 7 at
ecua le/els while the RIGHT is sent nowhere
Button down
Button up
When a connection s made with only L, RTN i PAN (28)
sewes as a par. Eg. l: rhe monaural output tram a
delay is sent to GROUP busses 3 and 4 at equal levels.
Ec. 2: Tne monairal output from a delay is sent to only
GROUP buss 8.
NOTE: When a connect on is made wth only R. it is no:
possible lo assign the signal to an edd GROJP buss(ie
only to GROUP busses 2, 4. 6 and 8). In such a case
turn RTN 1 PAN (28) to the far right (EVEN) for level-
match ng purposes.
29. EFFECT RETURN 2 SECTION
This section assigns the siqnalfs) coming into the EF¬
FECT RTN 2 jacks (41) lo GROUP busses t 8. The func¬
tions of the switches are the same as n :he EFFEC
RETURN 1 SECTION (28).
30. EFFECT RETURN 3 SECTION
This sec:ion assigns the sgnal(s) comirg into EFFEC"
RTN 3 (42) jacks to GROUP busses 1-8 The lunctons
of the switches are the same as h the EFFECT RETURN
1 SECTION (28).
31. FL BAR-GRAPH METER
This meter displays the output of GROUP CUT jacks
1-8IL Irom left to nght resoectively.
32. PHANTOM LED
This LED is lif when the PHANTOM switch (51) s ON
33. SOLO LED
This LCD is li: when an INPUT SOLO switch (13) cr
GROUP SOLO switch (20) is prcssoc
34. PHONES JACK
The same sigral to the MONITOR OUT jack (47) is oui-
purted here.
REAR PANEL
35. XLR INPUT JACK
This is an XLR-type jack. It is mtenced for a baarced in¬
put signal (3rd pin is HOT). However, it does accomodate
an unbaanced signal as well; When connecting an un-
ba arced signal source, pins t and 2 become GROUND
and tne pfiantom switch (51) MUST be turned OFF.
Alto, t it uverrdden when there is a plug cornecled to
the PHONE INPUT jack (3G). ard the input signal to the
XLR INPUT jack (if there is one) goes nowhere.
Pin
36. P HONE INPUT JACK
This is a 6<? pyione-rype input jack and is unbalancec.
It does accomocate a balanced input signal, and. in
such a case, the TIP will be HOT and the RING will be
COLD.
B

37. INSERT JACK
F'om This jack. the post-FADER signal is sent oui. possi-
b y to an effect processor, and then relumed lo Ihe same
jeck (see illustration). This jack is used mainly when
hooking up effectors which modify the sound source sig¬
nal iiseii, such as compressors limners and noise gates
Tite jack is of a stereo phone-type flP is SEND, PING
is RECEIVE). II nothing is connected to ll >is jack, the
oignal goes straght through from SEND to RECEIVE
doweeted ic IIk|
INSERT I Lring
rip
-* li> oliecior (36ND)
from elleclor (RECEIVE)
N_
GND Conncelod Jo nifJC I
38 TAPE INPUT JACK
This jack is usee mairly for the unbaanced output : rom
the mu Wrack recorder in use.
39 DIRECT OUT JACK
The pcsf-FADER signal from Ihe particular chanrel is
outputted frem he*e (unbalanced). This tack may be
used lo send the signal to effectors
40 EFFECT RETURN 1 JACK
Normally. he output from Ihe effectors (unbalanced) will
be returned here. Tie R cf this jack alsoacs as a switch.
When only L is plugged in it is the equivalent ol con*
rectng the same sgnal with both L and R (ie. the L sig¬
nal will be spiced equally between Land R). When both
L ard R are plugged in, a rormai stereo input is carried
through. When only P is pluggec in, only R will receive
the signal.
41 EFFECT RETURN 2 JACK
This lunctidns the same as the EFFECT RTN t jack (40).
42. EFFECT RETURN 3 JACK
Tms functions the same as the EFFECT RTN t jack (40).
43. GROUP BUSS INPUT JACKS
These arc the input jocks tc GROUP busses 1-8/R.
Usually, thaso are used as subsiderv inputs when there
is a shortage of EFFECT RETURNS or when one hooks
up another mixer to acheive a cascade effect
44. AUX BUSS INPUT JACKS
These are the input jacks lor the AUX buss (unbalanced).
Usually, those oro used when cno hooks up another
mixer to achieve a cascade eltect.
45. EFFECT SEND BUSS INPUT JACKS
These jacks arc input jacks for both EFFECT SEND 1
aod SEND 2 busses (unbalanced;. Usually, the EFITCT
SEND outputs of other mixers ere connoctcd hero to
achieve a cascade effect.
46. GROUP OUT JACKS
These (unbalanced) oulp.il jacks for busses 1-8 are
usually conred.ec wth Ihe inputs to multitrack recorders
47. MONITOR OUT JACKS
The signal eelcctcd by oithcr MONITOR SELECTOR (25)
or the SOLO buss signal (when n use) is sent here (un¬
balanced) a'ter its le\el oehg adjusted by Ihe MONITOR
LEVEL knob (26) II may be used :o hook up speakers
lor monitoring pu'pcses.
48. AUX OUT JACKS
These a*e the output jacks for the AUX buss (un¬
balanced) They are usually connected to he inputs of
an effector.
49. EFFECT SEND 2 JACK
This ie the outpU jeek f<x the EFFECT SEND 2 bu3s
(unoalancec). t is usually contacted with the input ol
an effector
50. EFFECT SEND 1 JACK
This is the output jack lo- th© EFFECT SEND 1 buss
(unbalanced), t is usually connected with the input ol
an effector.
51. PHANTOM POWER SWITCH
When this switch is ON, a DC24V current will be suppled
to pins 2 and 3 cf tho INPUT jacks (35) and (36) for oil
channels When connecting a condonsor microphono
turn Ihe PHANTOM switch ON. NFVFR conned a dy¬
namic merephone when the switch is ON: It MUST be
turned OFF when the microphone has no need for an
exterior power supply.
52. PEAK HOLD SWITCH
When this switch is ON the peak level indicated oy the
FL meter (31) will be held for approximately 4 seconds.
When it B OFF, Ihe oeak level will net be held
53. POWER SV/ITCH
After turning on the power to this unit, the muting time will
be about 5 secords
54. MIDI EXPANSION SLOTS
This space is alottod lor future use with MIDI control. Do
not remo/e Ihe panel, since this may result in damage
lo this unit Mountng wil be dor© at the Service Staton
level.
55. POWER CORD
I

<. Bi llkl 5190k
sSSz.
ereaas viiiicn aua
C’-oaii clc |
- 1 10 ino ongmr.
SECTION 5 CONNECTING EFFECTORS
Numerous kinds ol sound manipulations are earned out
during a multitrack recording through the use ot various
sound orccesso's. Depending on the usage of a particular
p-occcEor. conncctons to the Vlcdc 8t2 may vary. Plcaec
reler to the foflowing illustrations.
1 When processing an effect on a particular channel (eg
compressors, limiters, delays, etc)
section 4 THE PARAMETRIC EQUALIZER
NOTE: Although the parametre equalizer is highly effective
in the tore control ol the original sound, during a micro
pnone recording it is equally important that one adjusts the
posrioninrj of the microphones and/or the type of micro¬
phone in order to achieve the desired tore quality
The MODFl fll? features two single-band parametric
equalizers along with a 10 kHz fixed-trequeno/ shebirrj-fype
eauali 2 er at each input channd. The two parametric equaliz¬
ers, which covet efferent frequency tanges. ran set frequen¬
cies wthin the ranges of 60Hz~1kHz and 40DH?-6kHz,
respectively. Ihey are also capable of ooostng and cutting
within the ±ibdB range and wil ce highly effective when
addng character to the lone qudity of tne sound signal Dy
manipulating the fundamental frequeicy and/or hatmonic
cvcrtorcs of the instruments/vocals
FREQUENCY RANGES OF VARIOUS INSTRUMENTS
TYPICAL EQUALIZATION RESPONSE GRAPH
INSTRUMENT Cl TTNG BOOSTINC
fHiimanVbira 1 Scratchy at 2 kHz
Nasal at ikH;
Hoppiry P'S Dfck>v t!UHz
Hot at 8 or 12kHz
Gant/ above 3kHz
BCOy at 20C - JUU-iZ
Piano Timy at 1 - 2hlte
Roomy at 320Hz
Presence at 5kHz
Bass at 125Hz
Etectrc Guitar Muddy below 8CHz Gant/ at 32kH’
Bass at 125Hz
Acoustic Tin ly at 2 - 3.2kHz
Guitar Roomy at POOH?
Spill Klli aL'UrtJ OKHZ
Full at 125H7
Efectrc Bass rimy at 1kHz
Boomy at 125Hz
G’CANl at 62CHz
Bass below 80Hz
string Bass Holow at 62CH/
Boomy at 200Hz
Sepal 3,2 - 5kHz
Bass botow 20CHz
Snare Drjm Amoyngat 1kHz Crisp above PkHz
Full at 125Hz
beep at 30Hz
Boss Drum Floppy at 62CHz
Boomy below 8CH?
Sepal 3.2- 5kt lz
Bass at 80- 125Hr
•Cepth of the sound by controlling ‘requeue/ around ICQH/^
•Add character by cortrolmg frequency around 1kHz “
•Volutrurous sound by bcosing 2-4kHz
•Clarity by bcosing around 6kHz
•Sound orilliancy by hooding above 8kHz

2. When processing a common elect on all channels but
with amcuni/perspective adjustments made per channel
(eg reverberators, exciters, cfc)
5-gnas sc.1 1C me EFH-C StNO 1 (5) svu hw a mill.
rttricr procefs Hi' post-FADE? Sijna
&gna$ sem so me EFFECT S6ND 2(7) wfl have a Re.«ler
<w (ikxcw iho signal itfooeo *«n Hie >Ei\D 2 SELECTOfi
( 6 )
Signas wrl In llio &UX GAIN (9) will h**- p BswbefUo-
the ixgtieb wilxtuj »h Hhj AJX S£L£CIOfl O)
By us*t)|. i xi AM PAN (IQ. me pyserecw? a Uieaortfs
may bo sa as v«l,
u
dbooooooooo
opooooooooo
oooooooooo
Used »men ihc
disccr is d a
rftrco-«i|X( type
feeclw* w«l coaif
'I she ellectc* ouipiil
: coinoxeo ikjo
section 6 CONNECTING PERIPHERAL EQUIPMENT
1. IMPEDANCE
Input and output mpedarces should be consdered when
cornectirg this unit to other equipment.
Impedance is the resistance vaue against alternating cur¬
rents. such as sound signals and the unit used is the U
pi m). II the output ki peda ioo d a gven unit dees not
mach the hput impedance of arother, this nay result in
round distortion or even a oreakdown. In general, :he rule of
tnumb is that the output impedance should be low (low out)
anc the input impedance should be high (high in).
Refer to SPECIFICATIONS for the input and output im¬
pedances oi ths unit.
Mote: Always use a Direct Box when connecting outputs
indicated in watts (W), sLch as those of an amplfiet cr
when connect ng instruments which require high input
impedances Failure :o do so may result in damage to the
power amplifier circut as well as the unit itself
2. ADJUSTING INPUT/OUTPUT LEVELS
'he level aefusment ol the incormrg signal to INPUT jocko
(35) or (36) is done with rhe TR W (2) so as tc prevent the
frecuent Hashing of the PEAK LED (1).
ADJUSTMENT PROCEDURES
First, set the NPIT FADER (15) within the C±odB range
since ths range is where the least loise/distorton occu's.
Then adjust he input signal using the TRIfi/ dial (2). The
TRIM is -60dBV (microphone level) when turned to the iar
right and - ICdBV (lire level) when furnec to the Iar eft.
While adjusting the signal, it may be corvenienl to press the
INPUT SOLO switch (13) of the particular channel. enabling
monitoring of the post-FADER signal. In addition, please ncte
that the PEAK LED will also Igh; when the signal to the
EQUALIZER SECIION (4) is oveloaded. Wnen adjusting
with the TRIM, it S highly recommended that al EQUALIZER
gains be turned to the licit portion. 1 , after the trirnmng is
finshed and the desired tone quality- adjusted, the PEAK
LED still turns on, them s overloading at the EQUALIZER
stage and either the input signal itself should be adjusted or
the trimming be done ovar again
All ths nominal inpul/output impedances for this unit except
for inputs to INPUT jacks (35) and (36), ore 10dBV (D.3V).
there-ore allowing drect hookups to most recording equip¬
ment Hnwever. for connections with equlpmer* with differing
ncminal impedances or professicna equpment (+4dRm
etc.), an attenuator or ine amplifie' (FOSTEX 5030 etc) will
be necessary.
B

section 7 BASIC SIGNAL FLOW
Ir general ihe base (low oJ tLie sound signal Gunrg a rruiTt-
trdck reuerdng can be sepaialed info (lie following two
routc3:
Rout© 1: Recording the inputted sound sources) to a multi
track reccrder
Route 2: Montorng the output ?ional(s) of a multitiaclc
reco'der while recording
To illustrate these two routes. we will assume a live recording
using a Model 812 mixer and a Fcstex R8 muititrack recorder
(Refer to the following illustration).
Route 1: The input signal coming in from the various instru
merr.s/mic'ophones is sent to the INPUT TADER (15) (INPUT
SELECTOR (3)-INPUT), then assigned to GROUP busses
1 - 8 by the ASSIGN SWITCHES (11) and PAN (12). Here, the
overall level is adjusted with the GROUP MASTER FAJERS
(16) and (17) and finally outputted to ihe R8 recorder via
OROJP OUT jacks 1 -Q/R (4G).
Route 2: The output sgnals of tracks 1 -8 of the R8 reccrd
er (which is set to INPUT MONITOR for details, reier to the
instruction manual for the R8) are sent to AUX GAIN (9) (AJX
SELECTOR (8)—TAPE). Then, according to the balance set¬
ting of the AUX PAN CO), they are sent to the AUX buss (L.
R) The collected signals are level-adjusted with the AJX
MASTER LEVEL knot (23) and outputtec from the MONI¬
TOR OUT jack (47) and/or the PHONES jack (34) (MONITOR
SELECTOR (25)-AUX). By adjusting the MONITOR LEVEL
krob (2G) and/or the PHONES VOLUME (27). monlor o(
the F8 output signals is now possible via speakers and/or
headphones.
OUTPUT
INPUT 1
To monitor amp'lcr/speakers
MONfTCR MASTER
LEVEL MOD
(no«''aly e« io 0 )
Set ic - » so agnail
are no: inadvertently
coni to GROUP
bosses 7 and 8.
Adiuss lie reoortfng lev) lo Ihe R8
Von<c»G tfto ot/cul at TRACKS 1 -8
Iron) Iho R8 recorder respectively
\Wume fcvofe (GAIN) and
parrcoaivos (PAN) may be ae< lictc
ImMlil
T8/CK ASSIGNMENTS
ny loco dh^
, J
b | < i 7
II
in)*! channels .
1 17
t I ? ■
• •
B

SECTION 8 MULTITRACK RECORDING
SAMPLE CONFIGURATION
The blowing diagram illustrates one of the basis configura¬
tions wher using a Model 812 mi«er lor a multirack record¬
ing. YVe hope that ii wil ssrve as a reference wfien deciding
future configurators with your peripteral equipment.
I. BASIC TRACK RECORDING
What docs basic track recording mean?
Usualy, the initial step m a multirack recorctng is what is
known as "'hyhn recording' In this cas= ’rhythm" refers to
the in:egral instrumentation required io defne the outline of
the muse, such as drums percussion, basses eta Here, we
wil refe- to this rhythm recording as BASIC TRACK
RECORDING.
We w II assume ‘he Mowing assgrments to illustrate th©
main aspects ot a basic track recording
R8 Track Chart
1 TRK
1 .
2 3 4 1 5 ] 6 r
EB
SOURCE (Elec.
base)
KICK
(Bass
drum)
SD HHHAT L— ■ — R EG
(Snare (hi- TOM (Elec,
drjml hat) RICE CRASH guitar)

Look at Figure 1. This configuration is intend©:! so that the
sojnd sgnals of the drums and electric bass pic<ed ud by
a mutii-mcrophone are recorded tc the R8 recorcter with the
above track assignments
After trimming the input gains and adiusiing the ‘one quaity ,
(refer tc pg. ADJUSTING INPLT/OUTPUT LB/ELS and pg.
THE PARAMETRIC EQUALIZER), we will set the necessary
controls fcr this basic track recording. '
Figure
DRUMS
CRASH
INPUT
GROUP OUT
I-8/R
Adjjsts the amoLnt
01 raverperaton
P<CCC33CC
on :he monitor
sgnals fa TRACKS
1 -5 respectively
EFFECT
SEND 2
Rcvert>
Adiisls the
arriount/p^spectr/o
oi tne nvoniux
signals d
TRACKS t -5
respectively.
Adjusls the total
level of tne
processed signals
Adjusts the ontpiil
levels to TRACKS
1: BASC TRACK RECOFONG
JL
'L OUTPUT
1 1-8
RR
_r^
CYM
TO 612
TAPE IN
1-8
o
o
o
o o
□ . Cl c c
I
ol O 0 0
0
o
o o o o
°
0
o
0
o
0
0
o
0
c
o o o o
o
o
o
o
o
L-R: Morvias the
processed signais
AUX. Mentors tho
cngnal signals.
SENDING THE SIGNALS TO THEIR DESIGNATED
TRACKS
Track 1: Since tho output from the GROUP OUT ack 1 (46)
gees to track 1 of tne R8, vie want to send the post-fader
cicna of chamol 0 to CROUP buss 1 (INPUT SELECTOR
(3)->INFUT, ASSIGN SWITCH (11)-»1-2, PAN (12J-OCO).
Next we want to adjust the level of the signal to GROUP
OUT jack 1 (46). sine© this will h© the recording level d the
traek. We co this by adjusting GROUP MASTER FADER 1
(16) while monitoring the level with the FL METER for Irack
1 (31).
Note: In this c-xampia we wi use GHOUP busses 7 aid 8
lor moni'oring the reverberation effect and therefore, o avod
unJesired signals entering these busses, tun all of lie
GROUP TO L-R GAINS (18) to {far left).
Track 2: Here we want tc send the KICK signal of channel
1 to GROUP buss 2. The process is similar to that of TRACK
1: Adusling the total send level with the GROUP MASTER
FADER 116) while monitoring the FL LEVEL METER (31) for
GROUP buss 2 etc.
Tracks 3 & 4: VVe warn to record Ihe TOMS. HH. CRASH
and RIDE to TRACKS 3 & 4 wth a stereo oerspectve Firs:,
lor all Ihe channels Irom 2 through 7. we select 3-4 using
the ASSIGN SWITCHES of these channels. Then, by lurning
the PAN (12) as shown ri Figure 1 we determine the p o-
portion of the signal to be split between GROUP busses 3
aid 4. For oxamplo, tho LOW TOM (chonnol 2) will bo cont
only to GROUP buss 3 (PAN (8)-»Om). while the HH
(channel 5) will be sent to both busses with a bias towards
GROUP buss 4 (PAN (8)-*somewhat more towards EVEN.)
The final step wil be to adjust the total output le/el with the
GROUP MASTER FADERS (16) for busses 3 and 4. When
monitorng the output le/el with the FL METERS (31), set
the FADERS to 0. Then, after adjusting the reative levels
with the INPUT FADERS (15), if the METERS (31) indicate
an ever levet, instead of adjusting with GROUP MASTER '
FADERS (16). lower all INPUT FADERS (15) for channels
2-7 until the necessary level(s) is achieved
Again, a reminder that all GAINs in Ihe GROUP TO L-R i
SEC'ION (18) should be set to -<» smee GROUP bosses
7 and 3 will oe used for monitoring in this example.

■ Rack 5: Here, the SD signal of channel 8 is sent to TRACK
5 via GROUP buss 5 in :he same manner as TRACK 1.
Effect Processing
Usually, effect processing is done during a mix-down and-or
a ping-pong recording and not at this stage, however, we
wil illustrate one example where a oompressor/limiier is
processed onto the ELECTRIC BASS (EB) signal and a
re/eroeration onto the TCMS (*3).
COMPRESSOn/LIMlTCR -CD
Connect a compressor/limiter to the INSEFT jack (37) cf
charnel 9 (refer to INSERT )gck tor procecures). An tB
signal, Deing modilied by tne compressor/limiter, will now
be recorded to TRACK 1.
REVERBERATOR-TOMS (x
Several methods are possible but here we will use the
EFFECT SEND 1 (5).
Conrect the EFFECT SEND 1 jack (50) with the input cf
the reverberator and the output o' the reverberator with the
EFFECT RTN 1 jack (40)
1. Set the SEND 1 MASTER LEVEL knob (21) to 0 and adjust
the amounts of the signals to be sere tc the reverberator
by using the respective EFFECT SEND 1 of channels
2-4.
2. Send the outout of tie reverberator to GROUP busses
3 aid 4 (RTN 1 ASSIGN SWITCHES (28)-3*4. RTN 1
PAN (28)—center. RTN 1 GAIN (28)-0)
Now the reverberated signals, as wel as the original sig¬
ner; of the TOMS will be recorded to TRACKS 3 and 4.
MONITORING
Through the use of the EFFECT SEND 2 (7), Ihe Model 612
is capable of processing an ehec on the monitor signal of
an irooming output from a recorder.
This feature alows for a more flexible monitoring environment
wnere one can dmulato the desired total offect without affect¬
ing v/ith the signals being seni to the recorder.
In the example, we will use a reverberator to process the
II. OVER-DUBBING
What does 'over-dubbing ” mean?
O/er-dubbing is the process ol recording a new sound
source to a new sound track while simultaneously playing
back the rest oi the tracks wth the recording head (syn¬
chronous play-back).
Look at Tigurc 2. This configuiation is intended so that the
sound signal from Ihe ELECtRlC GUITAR (EG) wifi be "ovor
dubbec" to TRACK 6. TRACKS 1 -5 will be monitored dur¬
ing their synchronous play-tack Also, a delay effect will be
processed on the EG signal and also sent to TRACK 6
The procedures fer sending ihe EG signal to TRACK 6.
montoring the recorder outputs for TRACKS 1 -6 and
piccessng a reverberation on the monitor signal are all the
same as in the BASIC TRACK RECORDING section.
monitor signal. The monitoring netnods for the outputs to
TRACKS I -5 sv.ll be the same es BASIC SIGNAL Flow or
pago 11.
Sending the Signal to the Reverberator
Firsl select AUX with the SEND 2 SELECTOR (6) for channels
1-5. This has the purpose o' sencing the incoming TAPE
sgrals (AUX SELECTOR (8|—TAPE) to the EFFECT SEND 2
buss Alter adjusting the respective AUX Gain (9) and EF¬
FECT SEND 2 LEVEL knobs (7), tbs signals wll be sent lo
the SEND 2 busa and. alter a f nd adjustment with tho SEND
2 MASTER LEVEL knob (22). routed to tne reverberator.
Monitoring the Processed Signal
We wil equally route the reverberator output from ihe EF¬
FECT RTN 2 jack (41) tc GROUP busses 7 and 8 by using
the EFFECT RTN 2 SECTION (29) (RTN ASSIGN SWITCHES
(29)-*7-8. RTN PAN (29)-cente-. FTN GAIN (29>-0). The
lev^is ol the signals can new be adjusted with the MASTER
TADERS for 71 1 and 0/R (17) Then, by 3electng L R with
the MONITOR SELECTOR (25). it is now possible to monito-
the processed TRACKS 1 -5 with Ihe use of neadphones
or speakers connected with the MONITOR OUT jack (47i
andfor PHONES jack (34). (Selecting AUX will enable moni¬
tor of the original signal.)
Note: For this example, do net select GROUP busses olhe*
nan 7- 6 with the RTN 2 ASSIGN SWITCHES since this wil
create an infinite loop This will result in the processed signet
to be ecorded to TRACKS 1 -5 and could cause howling
(feedback).
For example, if the channel 5 signal is Peng sent to the
EFFECT SEND 2 buss and 5-6 is selected at the RTN 2
ASSIGN SWITCHES (29). the following Icop wil be created.
ch.5 EFFECT SEND 2-Reverberator-GROUP buss 5-
TRACK 5-Ch,5 AUX GAIN
In erder to prevent creating loeps as above, it is also possible
to connect the reverberator output to the AUX BUSS IN jack
(44) and monitoring it by select ng AUX of the MONITOR
SELECTOR (25). However, m this case, it will no! be possible
to adjust Ihe master level of the processed signal.
For processing the delay effect, the EG signal will oe sent to
tie processor via the DIRECT OUT jack (39) and 'he output
Iron the processor will be sent to the INPUT jack (36) cf
channel 12 and routed to GROUP txiss 6 along with the
original sound signal (ch.12 INPUT SELECTOR (3)- NPUT,
ASSIGN SWITCHES (11)-5 €, PAN (I2)-EVEN). In doing
so. the volume ba'oncoc ol tho EG signal ard is prococsod
signal can oo adjusted individually by usinc the INPUT
FADFRS (15) o'" channels 10 and 12 respectively. Individual
equalizing is also possible
Note: The EFFECT SEND 2 knobs (7j ler channels 10 and
12 should be set to - a. in order to avod the signals entering
Ihe EFFECT SEND 2 buss and distorting the reverberation
balances while monitoring

Figure 2 OVER-DUBBING
*
OUTPUT,
i-a
INPUT
GROJP OUT
i -an
Ad^iaa n» amount
ol reverberation
C jReverbgator |
lie ir©ni»r sgnete
fcr TRACES 1 - 6 .
Aqusfc ll'c
omou «/ (Xi r sp !>clive
ol ihe monrtci
&gnals d
TPfl£K3 1 -6.
Sorda O GROJP bus; 6
Ajjjsts ine outpui
lev*! lo 'RACK 0.
0
0 o o o o 1 o 1 o o O Ol o
o o
u
Ci
a
□ In ci □
n n p
3
□ o O
o
o o o o
O O O
0 0 ' o O
o
o o o
•
o o o
3
u o
o o
0 0 0
o o o o
O :,
o
! o
1 G o o o
o O o O
0 o
1 o
1 o
o o o o o o o
3
Lai
o
1 o
j Q I
o | o | o
°
o o o
•
.'I
s's
:
o j o j o
o
(. ,
-
III. PING-PONG RECORDING
What does "ping-pong recording" mean?
‘Ping-pong recording” is the process of mixnc and recorc-
ing tracks onto somo other completely new :rack(s). This
transferring of traci<s can be Cbno nary tmc3 and thj3. Ihe
gong back and forth of the recording tracks is where its
name comes from. The merits d a ping-pong recording lie
h tie fact that the "liberated" tracks car now be used to¬
other purposes, such as <*erdubbinc.
Lock at Figure 3. i his is the conligu'ation tor mixing the pre¬
recorded TRACKS 1 ~6 in the previous examples and png-
pong recording tlxeiri to TRACKS 7 and 8. Reese note that,
because :he recorded TRACKS 7 and 8 can no: be individu¬
ally processed for effects during the mxirg-down stage, the
effects are processed or thG source TRACKS 1 -6 and rout¬
ed almg with the nrigiral signal? to TRACKS 7 and 8.
Firs. Ihe original signals from TRACKS 1-6 d the R8
records are sent through the INPUT FADERS (15) to
GROUP busses 7 and 8 (INPUT SELECTOR (3)-TAPE,
ASSIGN SWITCHES (!1)-7-8) The signals wll be sent to the
GROUP OUT jacks 7/L and m (46) Via GHOUP MASIbH
FADERS 7/L, 8.R (17) and recorded to TRACKS 7 ano 8. we
will monitor the outputted signab to TRACKS 7 and 8 by
sending the R6 recorde' output to chenrels 7 and 0 to the
AUX buss (AUX SELECTOR (8)—TAPE). After odjustirg with
I
AUX GAIN (9) w$ will route ihe signals to LEFT and RIGHT
with me AUX D AN kneos oi channels / and 8, respectivey.
Finally, after an level aejustment with the AUX MASTER LEV¬
EL knob (23), the signals are now ready to be monitored 4
(MONITOR SELECTOR (25)- AUX) with either the MON ICR
LFVFI knob .26. <y th© PHONES VOLUME <nob (27).
For effect processing done on individual channels we will
use the D.OUT jack i39; to send the signal to the processors)
and he route the processor output to the INPUT jacks (35)
or (36) of channels 7-12. From here, wo will then send
the signals to GROUP busses 7 and 8 (INPUT SELECTOR
(3)—INPUT INPUT ASSIGN SWITCHES (1l)-7-8) with the
respective oerspectve to be determined with the PAN pot
( 12 ).
Fq- common effects processmg with channels 1 -G, EFFECT
SENDS 1 one 2 wit bo used. n this example, both wil be
used to send signas to a reverberator. EFFECT SEND 1/2
wil send the signal to reverberator # 1/2 2 which will then
return it to the EFFECT RETURN 1/2 SECTION (?8)<29)
From here. Ihe sgnal will be distributed to GROUP busses
7 and 8 for ojtput. *
Note: hor this example. DO NOT set the SEND 2 SELECTOR
for enamels 7 and 3 to AUX. nor the input SELECTOR :o a
TA D E since this wil create an nfimte loop and may cause
feedback.

RQirft 3 PNG-FONG RECORDING
IV. MIXING-DOWN
What does “mixing-down* mean?
'Mxirg-down" is when one goes through a final mixing
ixccess, combining the various tracks ol the multitracK
-eccrder. and records the 'esjlling sterec/m.onaural cutput lo
a separate mosier recorder, "his b when tho finishing
:occh»s are applied to the multitrad* reccrchg. from eqaaliz-
ng to ePect processing, in order to create the desired feral
sounc.
Look at Figure 4. This configuration is intended for process¬
ing various effects on ths output signals ol pre-recorded
TRACKS 1 -8. to mix then and finally record tne stereo out-
pul to a naster recorder. We wil assume tho following
TRACK assignments.
rhe original signals sent to :ne inpui hAUERS (ibi or cran-
r els 1 -8are railed to GROUP MASTER FADERS I -6 (16f
as in Tgure 4 and then sent to CROUP busses 7 and 8 via
the GROUP TO L-R SECTION (18) and (19)
In this example, GROUP MASTER FADERS 1 and 2, 3 and
4, S and 6 are grouped in stereo (ie. 1. 3. 5-»LEFT. 2. 4.
6-+RIGHT). This is set with the GROUP TO L-R PAN (IS)
(refer to Figure 4). Also. the GROUP TO L-R GAINS (18) are
set lo 0. so lhai the signals will be sent to GROUP busses
( and 8 at the same levels as indicated by the FL METER
(31) for GROUP busses 1 ~6
Using ihe DIRECT OUT jacks (39), \ve wil process a chorus
on tine PF signal, and ther expand it to a stereo signal (ie
spill the chorus output between GROUP busses 1 and 2}
Also, a single delay (short) will be processed cxi the SYN 2
ervd CRC signals, then, along with the origins signals, ex¬
panded to stereo oy giving them a L-R perspective.

Figure 4: MIXING-DOWN
Cfmis
OJTPUT
GROUP Ui,'
7/L. 8/R DCUT DO DOUT
EFFECT
SEMD 1
Rftdb tt l
-rrtCT
3TN 1
EFFECT
BEND ?
Reverb =?
aojusis me
arntxirUperspoctue
d Ihc signals be
ser« lo Ftaerb *3
Re^rt *3)
-he
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In addition c ne abeve Individual sound elfeci processes, a
common effect wil be processed as well. EFFECT SEND 1
(5) wil control the amojnt ol the effect of reverberator #1,
whlo EFFECT SEND 2 (7) will control reverborator #2. AUX
GAIN (9) wil control the amount ol signal to be sent to rever¬
berator *3 and AUX PAN (1C) will determine the perspective
to oe sent (AUX SELECTOR (8)-POST).
At p-ocesseo signals will be routed to GROUP busses / ana
0 aid dong with tlie reproduced TRACKS 1 -8 of Ihe multi-
tract- recorder and cnorua'delay effects mixed-down to a
maetor recorder via GROUP MASTER FADERS 7/L, SR |17)
and GROUP OUT jacks 7/L. 8,'R (4fi)
For monitorirg ;he output signal, we will sefeci L-R of
MONITOR SELECTOR (25).

MIXING-DOWN WITH MIDI EQUIPMENT
Here we will ilustrale a mxing-down situation where a mUti-
track recorder and a MIDI sequencer will syrchronze thsir
play-oack recording and SMPTE time record SYNC sgnal
on ilie edge buck of an rnullit/ack lecorder. change the sig¬
nal to a M Di clock by using an interface
Look at Figure 5 This configuration r lor synnhmnbing the
output cf a MIDI source with that ot an R8 mutitrack record¬
er (TRACK 8~*SYNC signal', processing various sound ef¬
fects and finaly mixing-down the signals to GROUP busses
7 and 8
Fust the post-FADER signas ot :he MIDI sources will oe
routed to GROUP MASTER FADERS 5 and 6 (16) via the
GROJP ASSIGN SECTION (11) and (12). A common effect
(eHedor #1) will then be processed on these signals using
EFFECT SFND 1 (5) The processed signals will then be
rojted to GROUP MASTER FADERS 5 ard 6 (16) with the
Figure 5 MIXING DOWN with MIDI
original signals via the RTN 1 ASSIGN SECTION (28)
Using the EFFECT SEND 2 (7), another common ef&c
(effector#2) will be processed on the npjt signals to chan¬
nels 1 -7 (SEND 2 SELECTOR (6)-AUX).
These wit be grouped to GROU 3 MASTER FADERS 3 and
^ (16) via the RTN 2 ASSIGN SECTION (29).
The output of TRACKS ‘ -7 will oe routed to AUX GAIN (9)
(AUX SELECTOR (8)-»TAPE). In order to group the mixed
signals to GROUP MASTER FACEFS i and 2 (16) the AUX
OUT jack (48) wil be “patched" fccnnected) to GROUP
BUSS IN jacks 1 and 2 (43).
To recapitulate, the mixed original MIDI signals are serl to
GROUP busses 1 and 2, processed signals (effector tt2) to
busses 3 and 4, a combination c i original signals and
processed 3gnal3 (effector #1) to busses 5 and 6
From here, the signals are sert to the GROUP TO L R SEC
TION (18) and (19) and mxed down o a master recorder
f’cm GROUP MASTER FADERS 7/_. 8/R (17).
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SECTION 9 TROUBLE SHOOTING
Wion tbo unit dooc not oporato propory, oleaee check tie
fol'owing.
Feedback occurs when a given track of a multitrack
recorder is set to input monitor.
The output cr the given track may be comected to the
GROUP buss when is used lor the output ot this track, this
wil create an infinite ocp and may te the cause ot the
feedback.
No signal is heard at the INPUT FADER (15).
Yoj may have connected a monaural phore plug Vo Ihe
INSERT jack (37). "his will send the signal to the effector,
but will not return the signs back to the mi>sr.
Feedback occurs when increasing the signal level with
EFFECT SEND 1 (5), EFFECT SEND 2 (7) andfor AJX
GAIN (9).
Ycu may have connected the SENDS o' Hie EFFECT 1.
EFFECT 2 and/cr AUX with their respective INPUTS tosses
(44) and (45). creating a loop.
Cannot process an effect on the signal to AUX GAIN
(9), even though AUX is selected with the SEND 2
SELECTOR (6).
Ycu may haveseec’ed POST at the AUX SELECTOR (8). The
SEND 2 SELECTOR is effective only when the AUX SELEC¬
TOR is set to TARE and if his is not the case he SEND 2
SELECTOR is laced to be POST.
Cannot hear the monitor signal selected with the MONI¬
TOR SELECTOR (25).
Check if the SOLO LED (33) is lit: Ycu msy have pressed
a SOLO SWITCH somewhere Adjust the MONITOR LEVEL
knob (26) andtor PHONES VOLUME (27).
No sound is heard when a SOLO switch (13) and/or (20)
is pressed.
Adjust tie SOLO LEVEL knob (24).
The PEAK LED (1) lights frequently ovon aftor adjusting
with the TRIM (2).
Yoi may have raised the gain cf the EOUALI7FR (4) when
controlling Ihe tene auaity. causing an overload al the
ECXJALIZER stage.
Sound is heard at GROUP l/IASTER FADERS 7/L, 8/P (17)
even though no assigning is done to group busses 7
and 8.
You may have raisec the GROUP TO L-R GAIN (18). When
lot in usd set these knobs to <*>.