Fostex 280 User manual

Owner’s Manual
FOStGX

CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
A The lightning flash with arrowhead symbol.
/f\ within an equilateral triangle, is intended to
alert the user to the presence of uninsulated
/ M \ "dangerous voltage" within the product's en-
/ V \ closure that may be of sufficient magnitude to
constitute a risk of electric shock to persons
"WARNING"
" TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOIS¬
TURE. 1 1
SAFETY INSTRUCTIONS
1. Read Instructions — All the safety and operating instruc¬
tions should be read before the appliance is operated.
2. Retain Instructions - The safety and operating instructions
should be retained for future reference.
3. Heed Warnings — All warnings on the appliance and i n the
operating instructions should be adhered to.
4. Follow Instructions - All operating and use instructions
should be followed.
5. Water and Moisture — The appliance should not be used
near water - for example, near a bathtub, washbowl, kit¬
chen sink, laundry tub, in a wet basernent, or near a swim¬
ming pool, and the like.
6. Carts and Stands — The appliance should be used only
with a cart or stand that is recommended by the manu¬
facturer.
An appliance and cart combination should be moved
with care. Quick stops, excessive force, and uneven
surfaces may cause the appliance and cart combination
to overturn.
7. Wall or Ceiling Mounting —The appliance should be mount¬
ed to a wall or ceiling only as recommended by the manu¬
facturer.
8. Ventilation — The appliance should be situated so that its
location or position does not interfere with its proper venti¬
lation. For example, the appliance should not be situated
on a bed, sofa, rug, or similar surface that may block the
ventilation openings; or, placed in a buill-in installation,
such as a bookcase or cabinet that may impede the flow of
air through the ventilation openings.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and mainte¬
nance (servicing) instructions in the literature
accompanying the appliance.
9. H e at - The appliance should be situated away from heal
sources such as radiators, heat registers, stoves, or other
appliances (including amplifiers) that produce heat.
10. Power Sources — The appliance should be con nected to a
power supply only of the type described in the operating
instructions or as marked on the appliance.
11. Grounding or Polarization - The precautions that should
be taken so that the grounding or polarization means of
an appliance is not defeated.
12. Power Cord Protection - Pdwer supply cords should be
routed so that they are not likely to be walked on or
pinched by items placed upon or against them, paying
particular attention to cords at plugs, convenience recep¬
tacles, and the point where they exit from the appliance.
13. Cleaning - The appliance should be cleaned only as
recommended by the manufacturer.
14. Nonuse Periods - The power cord of the appliance should
be unplugged from the outlet when left unused for a long
period of time.
15 Object and Liquid Entry — Care should be taken so that
objects do not fall and liquids are not spilled into the enc¬
losure through openings.
16 Damage Requiring Service — The appliance should be
serviced by qualified service personnel when:
A. The power supply cord or the plug has been damaged;
Or
B. Objects have fallen, or liquid has been spilled into the
appliance; or
C. The appliance has been exposed to rain; or
D. The appliance does not appear to operate normally or
exhibits a marked’ change in performance; or
E. The appliance has been dropped, or the enclosure
damaged.
17 Servicing — The user should not attempt to service the
appliance beyond that described in the operating instruc¬
tions All other servicing should be referred to qualified
service personnel.
1989 Sep

TABLE OF CONTENTS
mGE
SECTION 1 Introduction 2
SECTION 2 Before Operating The Model 280 3
SECTION 3 The Controls And Connections: 5
Where They Are And How They Work
SECTION 4 Automatic Operational Features 8
SECTION 5 Basic Operating Procedures 13
PAGE
SECTION 6
Advanced Operating Procedures
17
SECTION 7
General Procedures
21
SECTION 8
Routine Maintenance
24
SECTION 9
Specification
25
SECTION 10 Trouble-Shooting Guide
25
SECTION 11
Block Diagram
26
SECTION 1 . INTRODUCTION
Thank you for purchasing the Fostex Model 280 Multitracker.
With proper use and maintenance it should give you years
of satisfactory performance.
Model 280 consists of an 8-input mixer (4 mic/line and 4 line)
combined with a high quality, high speed 4-track cassette
recorder with built-in Dolby C noise reduction.
You can perform all of the standard multitrack recording tech¬
niques, such as overdubbing, punch-in/out recordings and
ping-pong recordings. In addition, multiple effects process¬
ing is available with two AUX sends and stereo receive cir¬
cuits. Sophisticated transport operation in the form of a
2-point memory system with automatic locate and automatic
punch-in/out is at your fingertips.
Finally, the optional MTC-1 lets you control the Model 280
with MIDI sequencers, thus allowing you to run multiple musi¬
cal instruments and signal sources simultaneously.
Please take the time to read this manual so that you are
thoroughly acquainted with the proper operational and main¬
tenance procedures.
SAFETY PRECAUTIONS
•The AC adaptor supplied is interconnected between the
house AC outlet and the AC Adaptor Jack of this unit. This
adaptor can be used on both 50 and 60 Hertz without
any change Absolutely do not use an AC adaptor of an¬
other manufacturer. If this adaptor is to be used in an area
of different voltage, consult your nearest Fostex dealer or
the main office Service Department.
•When disconnecting the AC adaptor from the AC outlet,
always grasp the AC plug itself to pull out. It can break
the internal wire if the cord is pulled directly.
•Do not plug in or out the AC adaptor with wet hands You
could receive an electric shock.
•It is dangerous to continue using a cord with worn insula¬
tion. Stop using it if the cord is damaged.
•Do not open the case and touch anything inside There is
danger of receiving an electric shock if you do. It could
also harm the unit.
•Be careful not to allow any water, liquids or metal objects
such as a hair pin to get inside It could result in electric
shock.
If water, etc. should accidentally get inside immediately
pull out the AC adaptor from the outlet and contact your
nearest Fostex dealer or service station.
•Be sure to switch on this unit first before switching on
power to the other equipment to avoid damaging them.
Also, when the input and output plugs are to be plugged
in or out of this recorder, be sure the input volume control
of that channel or buss, is set to "0".

SECTION 2. BEFORE OPERATING THE MODEL 280
There are a few important considerations which you should
be aware of before you attempt to operate the Model 280:
1. R ecording Format.
Standard cassette recorders record up to two tracks at a
time; two in one direction (Side A) and two in the opposite
direction (Side B). As shown in the diagram below, the multi¬
track format allows recording of up to four tracks in the same
direction. After completing a multitrack tape on your 280,
remove both cassette tabs to prevent accidental erasure or
re-recordings.
2. Tape Speed.
Standard cassette recorders record and play back at 1-7/8
ips (inches per second). The model 280 records and plays
back at 3-3/4 ips—twice the speed for better fidelity. Thus a
C-90 will yield 22.5 minutes of recording time; a C-60, 15
minutes, and a C-30, 7.5 minutes.
3. Type of Tape.
Use High Bias (CrOi Type II) tapes ONLY. We recommend
Maxell UD-XL2 or TDK SA or the equivalent—always look for
the 70 psec EQ designation.
NEVER USE: (1) C-120 type tapes of any kind because the
tape is too thin to withstand the rigors of multitrack recording;
(2) metal tape
4. Impedance.
All electronic devices have a characteristic called impedance
which refers to resistance in the circuit(s). The unit of meas¬
urement is stated in Ohms (G). In general, input impedance
should be about ten times higher than output impedance.
When connecting other equipment to the 280, check to see
that there is an impedance match (specifically with micro¬
phones); if a mis-match occurs, anything from sound deterio¬
ration to serious damage could result.
NOTE: You’ll find that most “outboard" gear available today
and most musical instruments can be connected to your 280
readily and without worry.
The main exception is electric guitars, just because there is
such a wide variety of design, plus the tendency to cus¬
tomize stock designs for a "hotter sound.” Thus in some
cases, a-"direct box" will be necessary. Never plug anything
rated in watts (W) directly to a 280 input.
5. The difference between track and channel.
“Track" refers to a physical space on the cassette tape (1 ~4);
“channel” refers to a signal pathway through the mixer (1 —8),
as shown in the diagram below.
The difference between track and channel.
Tracks 1 ~4
Channels 1 ~8
I

section a THE CONTROLS AND CONNECTIONS:
WHERE THEY ARE AND HOW THEY WORK.
(The names and numbers in parentheses are as they will be
referenced throughout this manual.)
1. INPUT SELECTOR (INPUT SELECTOR (1))
This button selects the signal source to be "fed" to chan¬
nels 1 ~4.
INPUT: Whatever signal source is connected to the
respective INPUT jack (27)—microphone, musi¬
cal instrument, etc.—will be active
TAPE: Track outputs from the recorder are wired to suc¬
cessive channel inputs. Thus Track 1 to Channel
1, Track 2 to Channel 2, etc.
2. INPUT FADER (INPUT FADER (2»
This slide control adjusts the overall gain of the selected
signal source (1).
3. INPUT TRIM (TRIM (3))
This smaller slide control allows you to “fine tune" the
gain for the selected signal source on inputs 1 -4. The
higher settings (-60) are for low level sources such as
microphones; the lower settings (-10) are for line level
sources such as a drum machine electronic keyboard,
etc.
NOTE: When the INPUT selector (1) is set to TAPE, this
control is not in the circuit.
4. MUTE CONTROL (MUTE (4))
When this button is pressed, the active signal source for
that channel is muted (no sound). This control is helpful
for concentrating on one or more signal sources without
disrupting fader (2) and trim (3) settings for the chan¬
nels) you wish not to hear Press again to release the
mute function.
5. CHANNEL PAN CONTROL (PAN (5))
This rotary control positions the left/center/right image of
that signal source as applied to the stereo bus (see “The
Stereo Bus” on page 17
NOTE: If the MIX/TRK selector (6) on channels 1 ~4 has
been set to TRK, this control is not in the circuit. On
channels 5-8, it is always active.
6. MIX/TRACK SELECTOR (MIX/TRK SELECTOR (6))
This button determines the routing path of the signal
source.
MIX: signal sources of channels 1-4 are sent to the
stereo bus in accordance with the setting(s) of the
PAN control(s) (5).
TRK: signal sources of channels 1-4 are sent to
directly to the corresponding tracks 1 -4 of the
recorder
NOTE: If the INPUT selector (1) is set to TAPE, only the
MIX position of this control is operative—thus avoiding
the potential for a feedback loop.
7. EQUALIZER (EQ (7))
Three bands of equalization (tone control) are provided
for channels 1 -4.
The HI EQ control is fixed at 10kHz.
The MID EQ control (SHIFT) is sweepable from 200Hz
—5kHz.
The LO EQ control is fixed at 100Hz.
All three gain controls are continuously variable ±15dB;
full counterclockwise is maximum cut; full clockwise is
maximum boost. The center position is flat.
8. AUX 2 SEND CONTROL (AUX 2 (8))
This rotary control adjusts the amount of post-fader gain
for the corresponding active input signal to be sent to a
signal processor. This is an independent mono bus for
all input channels (1 -8) with a master send level control
(13).
9. AUX 1 SELECTOR (AUX 1 SELECTOR (9))
This button selects the status of the AUX 1 send signal.
POST: The post-fader signal of the corresponding ac¬
tive input.
TAPE: The playback signals of tracks 1 -4 are wired to
channels 1 -4.
10. AUX 1 SEND CONTROL (AUX 1 (10))
This rotary control adjusts the amount of gain for the
selected signal to be sent to a signal processor This is
an independent mono bus for inputs 1 -4 with a master
send level control (12).
11. AUX 2 SEND CONTROL (AUX 2 (11))
Same function as (8) above, for channels 5-8.
12. AUX 1 SEND MASTER (AUX 1 MASTER (12))
Adjusts overall gain for the AUX 1 bus—channels 1 -4
—a mono mix which is present at the AUX SEND 1
output jack (33).
13. AUX 2 SEND MASTER (AUX 2 MASTER (13))
Adjusts overall gain for the AUX 2 bus—channels 1 -8
—a mono mix which is present at the AUX SEND 2
output jack (33).
14. AUX RETURN CONTROLS (AUX RTN (14))
These controls adjust the status of the return signal(s)
from the signal processing unit(s) to the stereo bus.
GAIN: Adjusts the overall gain of the return signals).
PAN: This control has a dual function, depending on
how the effects return signal® are patched to the
input jacks (34).
•When a mono return signal is patched to either L or R,
this control functions as a normal pan pot, allowing you
to position the return signal from left to center to right
onto the stereo bus.
•When either a stereo signal or two mono signals are
patched to both L and R, this control adjusts the relative
balance between them onto the stereo bus. Additional
adjustments on the signal processor's output controls
may be necessary to achieve the desired effect.
I

15. STEREO MASTER FADER (MASTER FADER (15))
This ganged slide control adjusts the overall output level
of the stereo bus—the signals present at the STEREO
OUT jacks (31).
16. MONITOR SELECTOR (MONITOR SELECT (16))
These selector buttons determine the status of the sig¬
nals present at the MON OUT jacks (30) and the
PHONES jacks (28), which are wired in parallel but
have independent level controls.
STEREO: The stereo mix present at the STEREO OUT
jacks (31) is heard.
AUX 1: The mono mix present at the Aux 1 Send jack
(33) is heard.
AUX 2: The mono mix present at the Aux 2 Send jack
(33) is heard.
NOTE: Typically, you’ll want to monitor only one bus at
a time—STEREO for mixdown, AUX 1 for recording and
AUX 2 for overall effects send. But special circumstances
may call for the ability to hear two or even ail three sig¬
nals simultaneously—which you can do with the 280.
17. MONITOR LEVEL CONTROL (MONITOR (17))
Adjusts the overall output level of the selected signal(s)
on the monitor bus, present at the MON OUT jacks (30).
NOTE: Do not confuse the monitor level with the record
level. You can set the monitor level almost wherever you
wish, depending on the size of your room, the efficiency
of your loudspeakers and your hearing perception. The
record level (signals being sent to the recorder) should
be set as close as possible to average zero meter
readings—too low and you’ll have a lot of hiss, too high
and you’ll have a lot of distortion.
18. HEADPHONES LEVEL CONTROL (PHONES (18))
Adjusts the overall output level of the selected signal®
on the monitor bus, present at both PHONES jacks (28).
19. LED BARGRAPH METER (METER (19))
14-point Led bargraph meters indicate levels from -20
to +6. Meters 1 ~4 correspond to tracks 1 -4; L and R
correspond to the stereo bus
20. CASSETTE TRANSPORT (TRANSPORT (20))
The compact cassette is loaded here
21. PITCH CONTROL (PITCH (21))
Tape speed can be adjusted from +12% to -12%; O
is 3-3/4 ips.
22. NOISE REDUCTION SWITCH (DOLBY C NR (22))
For best sonic results keep this switch ON during normal
operation. The OFF position is for calibration and align¬
ment. You do not need to turn off the Dolby NR when
recording SMFTE time code or sync-to-tape signals from
sequencers/drum machines
23. MEMORY/COUNTER DISPLAY (DISPLAY (23))
This numerical display has five functions depending on
the status of the LEDs to the upper left of the four digits:
M 1 ONLY ON: indicates position of'Memory Point
1 .
M 2 ONLY ON: indicates position of Memory Point
2 .
P. IN ONLY ON: indicates auto punch-in point.
P. OUT ONLY ON: indicates auto punch-out point.
ALL FOUR OFF: functions as tape counter.
24. RECORD TRACK SELECTOR (RECORD TRACK
(24) )
These buttons select the track® to be recorded. When
a button is pressed the LED inside blinks to indicate
record ready. In this condition, you can alternate be¬
tween Input Monitor and Tape Monitor each time the
RECORD button (26) is pressed when the transport is
in the STOP mode. (See “Input Monitor" on page 7.)
Press the RECORD button (26) and the PLAY button (26)
simultaneously to enter the record mode, and the blink¬
ing LED changes to ON.
NOTE: When recording with the stereo bus, L corre¬
sponds to tracks 1 and 3; R corresponds to tracks 2
and 4.
25. MEMORY/AUTO FUNCTION KEYS (MEMORY/AUTO
(25) )
Your 280 is capable of sophisticated transport program¬
ming. You can automatically locate the 0 point, shuttle
between Memory Points 1 and 2, as well as auto¬
matically punch-in and -out. (See “The Locate Function”
on page 8 and “Auto Punch-in/out“ on page 10 for
operational details.)
26. TRANSPORT CONTROL BUTTONS (TAPE COM¬
MANDS (26))
In addition to the obvious control commands of Stop,
Play, Record, Fast Forward and Fast Rewind, these
control buttons have the following functions:
•CUEING MODE
When you want to find a specific section on a recorded
tape, but don’t know exactly where it is, use the cueing
mode—slower than fast forward or fast rewind, so you
can hear cues that will help you search more efficiently
Press either of the fast wind buttons and the play button
simultaneously and hold both dcwn. Release the play
button first, then the fast wind button, and the transport
will enter the cueing mode in the direction chosen.
While the transport is in motion, each time you press
the play button and the fast wind button simultaneously
you will alternate between cueing speed and fast wind
speed (both of which are fixed).
-MANUAL PUNCH-IN/OUT
When the 280 is in the play mode press the play button
and the record button simultaneously to punch-in (at
that instant the 280 enters the record mode).
When the 280 is in the record mode, hold down the
play button, then quickly tap the stop button to punch-
out (at that instant the 280 returns to the play mode).
•REC LED
A four function LED has been installed within the
Record button to indicate the status of the recorder:
(1) Red Light ON: Tracks selected by RECORD
TRACK (24) are in the record
mode.
(2) Green Blinking: Tracks selected by RECORD
TRACK (24) are in the Input
Monitor mode; non-selected
tracks are in the Tape Monitor
Mode

(3) Green ON: No tracks have been selected by
RECORD TRACK (24); the record¬
er is in the Record Ready Mode.
Engaging a Record Track Selector
button in this condition automatical¬
ly places that track in the record
mode and the LED changes to
Red ON.
NOTE: This procedure is an alternate method of
punching-in and -out.
(4) LED OFF: No recording, regardless of
RECORD TRACK (24) status. All
tracks in tape monitor and normal
playback mode.
NOTE: In this condition, each time the record
button is pressed, the 280 alternates between
status (2) and status (4).
FRONT PANEL SECTION
27. INPUT JACKS (INPUT (27))
Channels 1 ~4: Standard 1/4" phone jacks for micro¬
phones (-60dBV) or line level signals (~10dBV);
adjustable via TRIM (3).
Channels 5~8: Standard 1/4" phone jacks for line level
signals (—lOdBV) only.
28. HEADPHONE JACKS (PHONES (28))
Two standard 1/4” phone jacks for two sets of stereo
headphones.
29. PUNCH-IN/OUT JACK (PUNCH (29))
Optional Fostex Model 8051 Foot Switch is connected
here for remote foot control of punch-in/out recordings.
The 8051 can also be used to set the punch-in/out points.
(See "Auto Punch-in/out Function, page 10).
REAR PANEL SECTION
30. MONITOR OUT JACKS (MON OUT (30))
The signal(s) selected by MONITOR SELECT (16) is
present at these standard 1/4” phone jacks. Normally, the
amplifier which drives the monitor speakers is connected
here.
31. STEREO OUT JACKS (STEREO OUT (31))
The output of the stereo bus is present at these standard
1/4” phone jacks. Normally, these are the line level out¬
puts to the mixdown recorder.
32. TAPE OUT JACKS (TAPE OUT (32))
These standard RCA pin jacks carry the tape playback
signals of tracks 1 ~4 directly (without going through the
mixing bus). They may be used as additional sends to
an external mixer for monitor cueing for the musicians or
for effects processing.
Track 4 may also be used to trigger sequencers for MIDI
interface. (See “Tape Sync,” page 21).
33. AUX SEND JACKS (AUX SEND 1, 2 (33))
Standard 1/4” phone jacks for the two independent
mono mixes which are normally used as effects sends to
signal processors such as reverbs, equalizers, etc.
NOTE: Since the AUX 1 bus can access the tape play¬
back signals via the POST/TAPE button (9), it may be
used as an additional monitor cue for musicians
34. AUX RETURN JACKS (AUX RTN L & R (34))
Standard 1/4” phone jacks for effects returns or inputs
to the stereo bus are of the contact switch type and func¬
tion as follows:
•When only one input is used, the input signal will be
sent to both L and R of the stereo bus.
•When both inputs are used, the L return is routed to
stereo bus L and the R return is routed to stereo bus R,
NOTE: Gain and Pan are adjusted by AUX RTN (14) on
the 280 as well as by the output controls of the devices
connected here
35. P OWER SWITCH (POWER (35))
When your 280 is interconnected, make sure the faders
and output level controls are in their nominal or minimum
positions before turning it on.
36.SERIAL PORT (SERIAL (36))
Connect the Fostex optional MTC-1 here for MIDI
interface.
37. AC CORD (AC (37))
Plug into your local power company here.
pINPUT MONITOR/TAPE MONITOR—
In the multitrack recording process, the ability to select differ¬
ent combinations of input signals yet to be recorded (input
monitor) with tape signals which have already been recorded
(tape monitor) is often crucial to success
During the initial recording (basic tracks) the musicians, of
course, need to hear themselves play. That monitor/cue feed
is straightforward enough. But when the overdubbing
process begins, the situation becomes more complicated.
The performing musicians may have monitor/cue require¬
ments which differ from those of the producer and/or record¬
ing engineer
You'll find that the 280 has the built-in flexibility to adapt.

SECTION 4. AUTOMATIC OPERATIONAL FEATURES
There are a number of convenient automatic operations that
your 280 can perform. In this section we will discuss hew you
can take full advantage of the command keys in the Memory
Auto Function Section (25).
<THE LOCATE FUNCTION >
1. HOW TO ENTER DATA IN THE MEMORY.
Let’s first review the meaning of the status LEDs to the left
of the four digits in the numerical counter
E5ET MEMORY I MEMORY2 LUKFLWY
Press this key
*uTQ REC Punch
fi I n □
1 1 IN CHIT
BBBB
When all LEDs are OFF, O
the tape counter is dis¬
played.
¥J3 fi Ih fi cV
r^> JB8BB
O
BBBB
O
BBBB
O
BBBB
3
Press the DISPLAY key to
scroll the above modes
When The M 1 LED is ON,
the MEMORY 1 cue point
is displayed.
When the M 2 LED is ON,
the MEMORY 2 cue point
is displayed.
When the R IN LED is ON,
the Punch-In point is dis¬
played.
When the R OUT LED is
ON. the Punch-Out point is
displayed.
Command keys MEMORY 1. MEMORY 2 and RESET.
Whatever mode the recorder is in—play, fast wind,
stop—the instant that a command key is pressed, the
corresponding number displayed in the tape counter
(all LEDs OFF) is automatically entered as a cue point,
or reset (to 0000).
HtrSE T MiMOKl' 1 MEMORY ? DlSPlL^T
BMMI 1
AUlQ* ++Q++
auto heC Punch
EZlg H
MEMORY 1: The counter figure at that moment is entered as the locate
Memory 1 cue point.
MEMORY 2: The counter figure at that moment is entered as the locate
Memory 2 cue point.
RESET: The counter figure changes to 0000.

<THE AUTO PUNCH-IN/OUT FUNCTION >
WHAT IS PUNCH-IN/OUT?
It is the process of re-recording over a portion of a pre¬
recorded track. The typical example is to fix a bad note in an
otherwise acceptable performance. Rather than record the
entire performance all over again, it's often easier to fix the
mistakes).
Other uses of this technique are to correct minor timing
errors (someone starts too soon or too late) or to eliminate
unpleasant sounds from an open mic (a cough or a breath
intake).
You can also use this technique to take advantage of unused
portions of a track. For example, let’s say the lead guitar part
does not play continuously from the beginning to the end of
the song. You might want to add some percussion effects in
the sections where the lead guitar is silent. The punch-in/out
recording process is just the way to do this.
The process can be made much easier with the 280's auto¬
matic functions, but whether you employ this technique
manually or automatically, you must be very careful that your
timing is pin-point accurate
METHODS OF MANUAL PUNCH-IN/OUT RECORDING
NOTE: Be sure that the AUTO REC command key is disen¬
gaged (LED is off).
In the following examples, track 1 is used for the punch-in out
process.
In Method 1, the Fostex optional 8051 foot switch is used.
This is a very useful accessory if you are a working alone—
both playing as well as operating the 280. It plugs into the
dedicated input jack on the front panel (24).
NOTE: Do not use foot switch controls other than the Fostex
Model 8051.
In Method 2, you use the RECORD TRACK selector buttons
(24) to punch-in and out, and in Method 3, the transport con¬
trol buttons (26). There is no inherent difference between
NOTE 1: The biggest risk with this procedure is that if you
punch-in too early or punch-out too late you could ruin the
very thing that you're trying to fix!
NOTE 2: It's very important that you match the level and feel
of the punch-in/out recording to the pre-recorded perfor¬
mance; otherwise, it will be obvious that the final recording
was not made continuously.
NOTE 3: Try to set punch-in and punch-out points that are
not hypercritical, such as in the middle of a musical or vocal
phrase. Thus if there’s a mistake in the second chorus, for
example, re-record the entire second chorus.
There are two methods of punch-in/out recordings with the
280:
•Manually, whereby you physically manipulate the record
controls.
•Automatically, whereby you program the 280 to carry out
the process.
methods 2 & 3; it’s more a matter of “feel’’ and personal
preference.
Whichever method you decide to use, it’s always a good idea
to rehearse the procedure several times so that you’ll know
exactly when to punch-in and when to punch-out. During the
rehearsal, listen to tape monitor via headphones.
To hear the “live" performance (what will eventually be the
"take" or the actual punch-in/out recording) slide one ear can
behind or above the ear.
When you are ready to make the recording, you can postion
the headphones over both ears if you like because the moni¬
tor signal will automatically switch from tape to input (punch-
in point) to tape (punch-out point).
•[REC] + [PLAY] means to press the RECORD and PLAY
buttons simultaneously.
•[PLAY] and [STOP] means to hold down the play button,
then quickly tap the stop button. _
in

AUTOMATIC PUNCH-IN/OUT RECORDING.
First switch off the RECORD TRACK selectors (24)—LEDs
extinguish, and proceed to enter the cue points for punch-in
and punch-out.
Operating
procedure
|n
Out
Operation
AUTO REC
["i | Press AUTO REC
’-— ► Blinks
LED OFF LED OFF
LED OFF
_
Enters the
punch in/out
mode
Enter the recorder in PLAY
g
g
Press [REC]
(1st press)
(or step on
8051 foot
switch)
Gre
blin
divi
mo
1
sen
k (In¬
dual
de)
_
LED
r
ON
r
IN point is
put in memory
REC
•
Press [REC] (2nd press)
(or step on 8051 foot
switch)
LED OFF
(All track in play
mode)
LED
ON
OUT point is
put in memory
‘3rd time and
after is
ignored
________
- —
To clear the registered IN/OUT points, press the AUTO REC key
(25) again to extinguish the LED inside the key (PUNCH IN/OUT
LED (25) will also be extinguished.
When the punch-in and punch-out cue points have been
entered, confirm their accuracy by ear—this is your ultimate
reference. Now you’re ready to rehearse.
During rehearsal, in the section prior to the punch-in point,
you'll be listening to tape monitor. At the punch-in point, the
monitor signal automatically switches to input (new ‘‘live’’
performance), and at the punch-out point, it reverts to tape
monitor again.
You can rehearse without worry of altering anything already
recorded because the rehearsal signal is in the monitor only;
it will not be recorded.
II
4 OUT ' |
1 .
-2
* Not recorded *
\ _ *
Will be recorded
V__ J V __ J
Previous take New performance Previous take
is heard is heard is heard
During this rehearsal, the process will be a whole lot easier
if you take advantage of the 280’s auto repeal function. Enter
an M 1 cue point comfortably before the punch-in point and
an M 2 cue point after the punch-out point, engage the
1 < <2 and the AUTO> command keys, and the transport
will automatically shuttle between M 1 and M 2 as you
practice
Confirm that the AUTO REC LED is blinking and that both
R IN and R OUT LEDs are ON. Select the track for rehearsal
by pressing the appropriate RECORD TRACK selector
Press the RECORD button once or twice until the LED is
OFF, then enter PLAY at the M 1 point, and the 280 will
operate automatically as follows:

When you’re ready to make the actual punch-in/out record¬
ing (“take”), stop the tape at the M 1 point, press the
RECORD and PLAY buttons simultaneously, and the 280 will
automatically punch-in and punch-out:
Tape travel
HEC
| _ | Internal
1—1 LED
Operation
Enter recorder
in PLAY mode
Extinguished
All track in the TAPE
MONITOR mode
Pass the IN
point
Green blink
(Individual
state)
Selected track
only changes to
input monitor
Pass the OUT
point
___ J-
Extinguished
All tracks returns
to input monitor
Rewind
After recording the "take” switch off the RECORD TRACK
selector and check the sound. If you’re not satisfied, repeat
the "take" procedure. When you are satisfied with the results,
press the AUTO REC command key and note that the inter¬
nal LED i§ extinguished. The auto punch-in/out mode will
then be cancelled and the R IN and R OUT points will
cleared.
Tape travel
AUTO REC
im
LED
REC
• LED
ezi
LED
Operation
Stops in front of IN point
Blink LED
OFF
Bli nk
REC PLAY
1
r
1
r
Take is started
• + ►
Lt
0
zU
Nl
Passes the
IN point
1
Red LED
ON
LED ON
Punch IN
Passes the
OUT point
Blink
LED OFF
(All track
PLAY mode)
Blink Punch OUT
WOTiE 1: After repeated rehearsal, the R IN and R OUT cue
points ..might drift a bit from their original sonic references.
For this reason, always make a final check of the cue points
and re-set them as necessary before you make the actual
recording ('lake”}.
NOTE 2: If the mistake which you’re going to fix happens
near the end of the performance, there may be no need to
punch-out (you simply punch-in and continue until the end
of the performance). In which case, you need not enter a
punch-out cue point.
wore 3: When the 280 is in the normal record mode (press
RECORD and PLAY simultaneously), the AUTO REC com¬
mand will not be functional; consequently, pressing this key
after punch-in will not induce punch-out.
Wore 4: Any RECORD TRACK (24) not selected during
the “take” will enter the record ready mode (green LED) the
instant it reaches the punch-in point.
WOTE 5: If the Model 8051 foot switch is engaged during the
“take," it will have the same effect as a manual punch-out
command.

SECTION 5. BASIC OPERATING PROCEDURES
In this section, the most basic multitrack recording procedure
will be explained. A single musician will perform four different
parts, record each of those parts on four different tracks, and
then mix them down to stereo in the finished product.
Step 1: A drum machine is recorded on track 1. {Usually,
you record the rhythm part(s) first so that subse¬
quent parts will be performed in the correct tempo.)
DRUM MACHINE
Step 2: An electric bass is overdubbed on track 2 . (If there
are two musicians working together, the drum
machine (track 1) and bass (track 2} would proba¬
bly be recorded simultaneously.)
—
E-BASS
(i I IN RECORDING MODE FINISHEO RECORDING }
Of necessity, our examples throughout the rest of this manual
will be of a general nature. You will find that each recording
situation, each song or project, requires its own specific
procedure.
In outline form, here is an overview of our basic example:
Step 3: The lead guitar and lead vocal are then over¬
dubbed on tracks 3 & 4, respectively. (Usually the
lead parts are the last to be recorded so that these
performances benefit from a nearly complete
“soundtrack.")
EGUITAR
Step 4: These four parts are now blended (mixed) into the
final product which is recorded on a standard cas¬
sette deck (master recorder). We will use a reverb
unit to add depth to the final recording. (You can,
of course add reverb and other effects during the
original recording and/or overdubs.)
Now we present a detailed explanation of the above
operations:
<STEP 1: RECORDING THE DRUM TRACK>
1. First turn all controls on the 280 to their 0 or minimum set¬
tings, then plug the output of the drum machine to the IN¬
PUT 1 jack (27) and set the INPUT selector (1) to INPUT.
2. Set the MIX/TRK selector (6) to TRK, thereby sending the
drum machine directly to track 1.
3. Select track 1 of the RECORD TRACK (24)—the LED
inside will blink—then press the RECORD button (26)
once—the LED inside will blink green. Track 1 is now in
the input monitor mode
4. Set INPUT fader 1 (2) to the 0 position. Start the drum
machine and adjust the TRIM fader (3) so that the meter
indication of track 1 (19) averages 0.
NOTE: You are just setting levels at this stage, don’t worry
about content. If your level readings are constantly in the
-10 to -20 range, bring them up with increased fader
settings or you will have hiss problems If your level read¬
ings are constantly “peaking" in the +3 to +6 range,
bring them down with decreased fader settings or you will
have distortion problems. When recording instruments
with very sharp initial attacks such as bass/snare drums
and thumb “popping” basses, you find that you need to
set the levels in the -5 to -10dB range for less tape
saturation. A compressor such as the MN-50 will help
solve this problem.
I

Speaker
6
1
Speaker
0 D W + +
□□□ □ □□
Drum machine
4 5
Headphone
8
(i: Lock button down)
(t: Release button up)
<STEP 1: RECORDING THE DRUM TRACK >
5. Your ears are always Ihe final reference, and a good am¬
plifier/speaker connection to the MON OUT jacks (30) will
provide the best listening source.
With line level sources such as drum machines and elec¬
tronic instruments, listen through speakers for best results.
With vocals and acoustic instruments, headphones (28)
are necessary to avoid feedback from the "live” micro¬
phones.
6 . Set the AUX 1 selector (9) of channel 1 to TAPE, and in¬
crease the AUX 1 gain control to a nominal level (between
-K) and 0).
7. Select AUX 1 only in the MONITOR selector (16) and set
the AUX 1 SEND master level control (12) to a nominal 0
level. Finally, adjust the MONITOR level (17)—or PHONES
(18)—to a comfortable listening level. Now adjust the EQ
controls (7) as required, and note that you may have to
make additional adjustments on all of the level controls in
the recording and monitor circuits.
NOTE: The channel INPUT (2) and TRIM (3) faders con¬
trol the level of the signal being sent to the recorder (track
1). Use the meter reading (19) as your main reference The
AUX 1 send (10) and master (12) level controls, plus the
MONITOR master (17) or PHONES master (18) control the
overall level at which you choose to listen. Use your ears
as your main reference. The record signal and the monitor
signal are independent circuits which carry the same
sonic information.
8 . N o w you’re ready to record. Press the PLAY button and
the RECORD button simultaneously The RECORD
TRACK LED (24) and the REC LED (26) will light red
(ON). Any track placed in the recording mode will monitor
the input signal.
NOTE: Since this first recording (basic track) will be used
as a reference for all additional recordings, it's a good
idea to begin with a rhythmic count-off with the snare
drum before the actual downbeat or upbeat of the perfor¬
mance begins. (This makes overdubbing a lot easier)

<STEP 2: OVERDUBBING THE ELECTRIC BASS ON TRACK 2>
WHAT IS OVERDUBBING?
It is the process of listening to one part (track) while recording
another in synchronization. "Track layering" is another term
for this procedure. It is the essence of multitrack recording.
Invented by Les Paul in collaboration with Ampex audio en¬
gineers some thirty years ago, the overdub has had a greater
impact on popular music than the electric guitar which bears
his name
Here, we’ll overdub the electric bass on track 2.
1. P lug the instrument into INPUT 2 (27), and as in Step 1.
select INPUT (1), TRK (6), RECORD TRACK 2 (24) and
press the RECORD button once.
NOTE: Be sure that RECORD TRACK 1 (24) is off.
2. As in Step 1, adjust TRIM (3), AUX 1 TAPE (9), AUX 1
Master (10), EQ (7) as necessary, and adjust INPUT level
(2) with the meter (19).
NOTE: Since there isn’t any high frequency information
present in most bass parts, turn the 10k EQ control to
minimum.
3. Rehearse the bass part against the drum part by pressing
the PLAY button, and adjust the monitor mix level with the
AUX 1 controls (channel 1 for the drum; channel 2 for the
bass).
4. When you’re satisfied with the rehearsal and ready for a
"take,” press PLAY and RECORD simultaneously.
5. Rewind, turn RECORD TRACK selector 2 OFF (24) and
check the playback through monitor speakers.
Electric bass
<STEP 2: OVERDUBBING THE ELECTRIC BASS ON TRACK 2>
<STEP 3: OVERDUBBING THE ELECTRIC GUITAR (TRACK 3) AND
VOCAL (TRACK 4)>
Follow the same procedure explained above. (When you
record the vocal you will have to use headphones for the
rehearsal and "taka")

Adjust monitor level of
each track 1 ~4 outputs.
guitar
<STEP 3: OVERDUBBING THE ELECTRIC GUITAR (TRACK 3) AND
VOCAL (TRACK 4) >
<STEP 4: ADD REVERB AS YOU MIXDOWN.>
WHAT IS MIXDOWN?
It is the process of playing several tracks of pre-recorded
program material (four in our case) and blending them into
a composite signal {stereo in our case). Mixdown is the final
balancing of the individual tracks in terms of level (gain),
placement (pan), and depth (reverb).
Mixdown is the final coming-together of all the parts and
pieces. It is the process whereby the finished product is
produced and copied (master recorder). Many people con¬
sider mixing an art in itself.
1. Patch the STEREO OUT jacks (31) to the line inputs of the
master recorder {standard cassette deck)—make sure
that the L and R designations on both machines match.
Now patch AUX 1 and AUX 2 send jacks (33) to the input
of the reverb, and patch the output of the reverb to the
AUX RTN jacks (34).
NOTE: If the reverb is monaural, use AUX 1 Send and
AUX RTN L.
2. Switch OFF all four RECORD TRACK selectors (24). Set
the INPUT selectors of channels 1 ~4 (1) to TAPE.
3. Set all four MIX/TRK selectors (6) to MIX, thus sending
track outputs 1 ~4 to the stereo bus via PAN (5).
4. Select only the STEREO signal in the MONITOR SELECT
(16).
5. Press PLAY and adjust the overall stereo output level with
the MASTER fader (15). Individual tracks are adjusted for
level {INPUT faders (2)), PAN (5) and tone (EQ controls
(7)).
NOTE: Tape output does not go through the TRIM (3)
controls.
6 . Now we’ll add reverb. Set all AUX 1 selectors (9) to POST
This sends the signal present after the fader setting to the
AUX 1 send control. (AUX 2 is always the post-fader
signal.)
7. Set the AUX 1 master (12) and the AUX 2 master (13) to
0 and set the AUX RTN controls, GAIN and PAN (14), to
their center positions. These are reference settings. The
AUX 1 and AUX 2 signals are sent to the reverb,
processed, and then returned to the 280's stereo bus
where they are mixed with the original “dry” sound.
NOTE: The reverb unit itself will probably have input and
output level controls which should be adjusted in conjunc¬
tion with the 280’s send and return controls.
8 . The AUX 1 (10) and AUX 2 (8) gain controls of channels
1 ~4 determine how much signal from each individual
channel will be sent to the reverb. As in all matters of mix¬
ing, taste and judgment will determine how much of any
given effect is appropriate.
NOTE: If a stereo reverb is used, balance is obtained by
adjusting AUX 1 and AUX 2 separately; if a monaural
reverb is used, adjust AUX 1 only.

9. You will no doubt make several passes or trial mixes be¬
fore you are ready to record the results. When you are
ready, use the meter indications (19) of the 280 and the
MASTER fader (15) to set up the proper record level of the
master recorder (A 0 meter reading on the 280 should
yield a corresponding 0 reading on the master recorder)
Enter the master recorder in the record mode, press PLAY
on the 280, and record your mixdown.
NOTE: Fade-ins and fade-outs are accomplished with the
280's MASTER fader (15).
Master recorder
<STEP 4: ADD REVERB AS YOU MIXDOWN. >
section a ADVANCED OPERATING PROCEDURES
In the previous section, we deliberately keep the example as
simple as possible (one instrument per track, channel 1 to
track 1, etc.). Obviously, your 280 is capable of much more
recording/mixing flexibility and sophistication.
WHAT IS THE STEREO BUS?
The stereo bus is an independent mixing network within the
280 which is accessed through the PAN controls (5). Overall
gain of the mixed signals is determined by the MASTER
fader (15), which stereo signal is then present at the STEREO
OUT jacks (31).
In addition, the output of the stereo bus is also sent to the
recorder, as shown in the drawing. The L output is sent to
tracks 1 & 3 and the R output is sent to track 2 & 4.
Thus input signals to all eight channels of the 280 could be
recorded either in mono (all PAN controls (5) full left to track
1, full right to track 3) or in stereo.
In this section, three examples will be examined.
1 /

< EXAMPLE 1: STEREO RECORDING OF 8 SOUND SOURCES. >
Adjust amount
of effects unit
for each sound
source.
Adjust left and
right image
perspective
of each sound
source.
Mies
Synth.
< EXAMPLE 1: STEREO RECORDING OF S SOUND SOURCES. >
1. Connect the microphones and instruments as shown in
the drawing and set all four INPUT selectors (1) to INPUT.
Set the four MIX/TRK selectors (6) to MIX. (These settings
are not necessary for channels 5-8 because input sig¬
nals here are automatically routed to the stereo bus.)
2. Select only STEREO in the MONITOR selector (16). When
more than two headphone sets are required, connect the
MON OUT jacks (30) to an external amplifier and use its
headphone outputs).
3. Set the MASTER fader (15) and the channel 1 INPUT
fader (2) to the nominal 0 reference begin the signal
source for channel 1, adjust the left-to-right perspective
with PAN (5) and adjust the EQ (7). Then adjust TRIM (3)
for the proper meter reading (19).
4. Press MUTE (4) for channel 1, begin the sound source for
channel 2, and adjust gain, pan and tone for channel 2.
This method of muting while setting individual channel lev¬
els is very useful. Continue this procedure for all channels
(5—8 have no TRIM (3) controls because they are set for
line level (-10dBV) signal sources)
5. AUX 2 (8), (11) is used for a mono effects send. Connect
the AUX 2 send jack (33) to the input of an external
processor and connect the output to the AUX RTN jack
(34), The total amount of processed signal applied to the
stereo bus is adjusted by AUX RTN GAIN (14),
6 . Cancel MUTE (4) for all channels, and begin rehearsing.
You'll no doubt need to make further adjustments of gain,
tone and pan as all sound sources play together.
NOTE: Try to maintain a relative balance among the
INPUT faders (2) and the MASTER fader (15). The 0 set¬
ting is the nominal reference. If most of the input faders
are set low while the master is set high (or vice versa),
there is an imbalance between gain stages and problems
of noise or distortion will result.
7. This composite mix (original plus processed sound) will
be recorded in stereo on tracks 1 & 2. Engage the cor¬
responding RECORD TRACK selectors (24), press the
RECORD and PLAY buttons simultaneously and begin
recording. Meters L & R (19) will carry the output signal
of the stereo bus and meters 1 & 2 (19) will indicate the
recording level to tracks 1 & 2.
I

< EXAMPLE 2: OVERDUBBING ON TRACK 3>
In this example, well leave the synthesizer connected to
channel 8 (Example 1) and overdub it on track 3 while
monitoring the stereo mix on tracks 1 & 2.
1. Engage MUTE (4) for channels 1 ~7 so that you can con¬
centrate on channel 8. Rotate the channel 8 PAN (5) con¬
trol fully counter-clockwise to L. Now set the channel 8
INPUT fader (2) and the MASTER fader to the 0 reference
level and the synth signal will be sent to stereo bus L (L
corresponds to track 3).
2. Select AUX 1 only in the monitor selector (16), and set the
AUX 1 selectors (9) of channels 1 ~3 to TAPE. The AUX
1 bus now functions as an independent monitor mixer
and you can set your desired mix of tape signals (stereo
mix of Example 1 on tracks 1 & 2, new synthesizer part
on track 3) without affecting the recording to be over¬
dubbed.
3. S elect RECORD TRACK (24) for track 3 only (all others
off) and press the RECORD button once to engage input
monitor for rehearsal (REC LED (26) blinks green), then
press PLAY to rehearse When you’re ready to record a
"take” press RECORD and PLAY simultaneously.
NOTE: When recording with the stereo bus, always set
the MIX/TRK selector (6) to MIX on the channels) which
correspond to the track(s) to be recorded. If the selector
is set to TRK, the input signal for that channel (muted in
this example) is sent instead of the stereo bus output.
Synth.
< EXAMPLE 2: OVERDUBBING ON TRACK 3>
< EXAMPLE 3: PING-PONG RECORDING OF 7 PARTS ONTO 4 TRACKS >
WHAT IS PING-PONG RECORDING?
It is the process of mixing two or more pre-recorded tracks
onto an unrecorded track so that additional parts may be
overdubbed. ‘Track bouncing" is another term for this
procedure.
It is an effective way to increase the number of overdubs and
to "fill out" the overall sound of the performance It does,
however require careful planning and selection of the parts
to be ping-pong recorded because as “copies" (second
generation) of the original recordings (first generation), they
will be slightly diminished in quality.
Here are the steps in making a 7-part assembly
I