Fostex X-30 User's Manual
Contents
1. 2 Tape sync The simplest approach is a recorded clock pulse which not the same as a MIDI clock Some drum machines and synths generate a digital type square wave pulse This type of data is difficult for any recorder to record accurately The leading edge of the wave gets Slightly HEADPHONE submixer rounded so that when the signal goes back into the drum machine etc it doesn t recognize the now sloped pulse so it looses beat To eliminate this problem many machines use what is called FSK Frequency Shift Key ing FSK converts the digital clock inside the drum machine etc into one of two sinewave frequencies 1kHzor 2kHz which is significantly easier for the record er to handle This is not a quirk of the X 30 it is true for all tape recorders If you have a drum machine etc that puts out a digital clock pulse you ll probably need a unit like the Fostex TS 15 which directly converts a digital pulse to FSK and on playback back again There are sequencers and rhythm machines which do not have tape sync out It is then neccessary to use a tape sync FSK unit such as the Fostex Model TS 15 When this tape sync technique is used the four tracks of the X 30 can be utilized more effectively as it will then be possible to create depth by adding several layers of a tone from a single synthesizer or swap one rhythm machine with another one E ENT CLOCK DIN CLOCK 0080000 DRUM MAC2. Additionally the X 30 can mix a maximum of two inputs in parallel with the ping pong recording We shall call this Plus one or two recording Steps 4 6 In other Words as you make a ping pong recording you can record an extra two sources using the overdubbing STEP 1 STEP 2 TRK RHYTHM TRK E BASS TRK E BASS TRK3 E GUITAR PINGPONG TRK3 E GUITAR TRK4 RHY Bt Gt SYNxe method to able to ping pong the recording NOTE While ping pong recording is very useful each time you bounce tracks you lose one genera tion of fidelity Even with noise reduction hiss becomes a major problem after two bounces or generations For best results don t ping pong tracks more than twice Check points in ping pong recording will be listed in the following for your reference Be extremely careful in setting the sound balance be tween individual tracks as they cannot be changed after they are combined 271 Due to the peculiar nature of tape recorders the tone controls should be adjusted to compensate for sig nal deterioration Normally a slight boost of the high region and a slight cut of the lower region STEP 3 gt CHORUS TRK CHORUS TRK3 RHY BASS GUIT PINGPONG Procedures in ping pong recording We shall now proceed to the actual procedures in ping pong recording The explanations will b
3. preesed but REC TRK is not selected or it is in REC PAUSE Indicates there is a track in record mode Indicates punch in mode but not re cording input monitor mode RECORD REC TRK LED Five lighting patterns of LED Indicates conditions of the recorder by the LED s in red green amber dim red and off For details refer to Rehearsal and take at punch in out page 17 and the schematic on method of punch in out on page 20 1 PLAY button Pressing this button puts the X 30 into normal playback operation and may be engaged from either fast wind mode or from the stop mode While in the PLAY mode depressing either REWIND 12 or FWD 3 will let you hear what is on the tape but at higher speed than nor mal You ll soon get used to this high speed cueing tech nique and should find it helpful in locating selections on a tape 2 REWIND button 3 F FWD button These buttons are for high speed tape motion and the arrows indicate the direction of travel You cannot enter the record mode from the high speed mode In the high speed mode the tape will automatically stop at the end of the winding 44 Stop button RSL TAKE 1 Functions as the STOP button during transporting of tape 2 Functions as the RSL TAKE button when recorder is stopped RSL TAKE means rehearsal take As shown in the drawing while this button is held down with the recorder stopped the punch in out mode will alter nate
4. If it is lit extinguish it by referring to page 6 Electric guitar 1 Plug the drum machine line output into an INPUT jack Step 3 A mistake in the electric guitar part is replaced In this case it is plugged into channel by punching in out 2 Set the channel A INPUT selector to LINE 3 Set the REC TRK selector 9 L side to 1 and slide Playback PAN A to full left Punch in out The drum machine output can now be sent to track 1 Next set the recording level 4 Set the MASTER fader at about 7 or 8 start the drum machine and slowly raise INPUT fader A from its zero position The L left side meter will gradually indicate a higher reading Set a maximum reading of about 3 If the level is low even though INPUT fader A is raised near maximum return it to zero set the INPUT selec tor to MIC and repeat the above procedure 5 Monitor listen to this sound After setting the PHONES level control pot to zero plug in a headset into the PHONES jack 6 Set the MONITOR selector to LINE or MIX and you will begin to hear the sound as you raise the PHONES level control pot If necessary alter the tone by the Chan L EQ then readjust the level by the INPUT fader A Sound is heard only from the left earphone e 2 Playback Electric guitar Master deck 14 7 Now before recording stop the drum machine and press the RESET button to return the tape counter to 000 Next the NORM RMX s
5. REC TRK LED will be dimly lit in red While in this condi tion the electric bass can be monitored by raising MONMIX GAIN 2 and its placement adjusted by MONMIX PAN 2 In the same way as in Procedure 1 the sound volume and placement can be balanced as desired since these adjustments will not affect the recording level 11 Release the pause mode by pressing the PAUSE but ton and start the take REC LED Will change to bright red If you hear a mistake simply rewind to the beginning and begin again Procedure 2 2 Overdubbing the electric guitar on track 3 1 Mic the electric guitar here Place the microphone in front of the guitar amplifier speaker and plug into INPUT jack 2 Set the channel A INPUT selector to MIC 3 Set the NORM RMX selector and the MONITOR selector to the Rehearsal at overdubbing positions Refer to the chart in page 8 4 Set PAN A at center MASTER fader at 7 or 8 set the level by the INPUT fader A and adjust EQ while monitoring with the headphones 5 Press the PLAY button and start the rehearsal Ad just tracks 1 and 2 sound volume by MONMIX GAIN 1 and 2 and their placements by MONMIX PAN 1 and 2 the same as in Procedure 2 1 Set the electronic guitar sound volume and image position by the MASTER fader and PAN A 6 After rehearsal you re ready for the take In order to send the electric guitar signal to track 3 set the REC TRK selector L side to 3 an
6. TABLE OF CONTENTS Section 1 Section 2 Section 3 Section 4 Section 5 Section 6 Section 7 Section 8 Section 9 Instructions 2 The Controls and Their Functions 3 Signal Flow Diagram 0 9 Recording Procedure Fundamental steps 12 Ping pong Recording 22 Recording Procedures Special techniques 25 Trouble Shooting 34 Specifications 36 Block Diagram 37 SECTION 1 INTRODUCTION The X 30 personal multitracker is like a personal com puter in two respects First it may be used for business or pleasure or both second and most important what you get out of it depends on what you put into it 4 track cassette recorder mixers have been available for some time now Popular records commercial jingles and even soundtracks have been produced with these devices You won t have to become an engineer in order to make good tapes with the X 30 You will have to learn a few fundamentals about recording if you don t know which controls to use and in what sequence The importance of good microphones can t be stressed hard enough The garbage in garbage out computer axiom applies here as well If you are familiar with recording practices in general and multitrack techniques in particular pages 12 through 33 and the block diagram on page 37 should tell you most of what you ll need to know about the X 30 If you re just getting started you couldn t have picked a better multitracker than t
7. Process Set the various controls by referring to the diagram pag 31 Refer to the Basic Operation Section for overdubbing on tracks 2 and 3 page 14 In the following example the procedure of recording the lead guitar only onto track 1 in sync with the rhythm machine will be explained 1 Connect the rhythm machine to INPUT jack A and the lead guitar to B and set the INPUT selector A to LINE B to MIC or LINE according to the output lev el of guitar Either jack can be used 2 Asthe lead guitar plugged into B will be recorded on track 1 PAN B is slid to full L and the rhythm machine at A is slid to full R E Set the NORM RMX selector to NORM Set the MONITOR selector to MIX Set the REC Selector L to 1 l Set the levels with the INPUT fader and MASTER fader by referring to the meter The monitor balance is adjusted by MONMIX GAIN and PAN the rhythm machine is fixed to R by PAN 8 In the same way as in Procedure 2 after rewinding the tape to the pilot tone recording press the PLAY button for the rehearsal mode or the RECORD but ton for the take and put the rhythm machine in standby o E SYNC IN y JDUT DRAM 8 PLAY AWAITED MACHINE n Tape sync 8 Procedure 3 As the rhythm machine will start playing when the FSK signal arrives at the starting point of the performance record the lead guitar in sync with it If you shoul
8. cassette is the PAUSE button pressed oo 4 Control panel Cannot monitor is the MONITOR selector Set MONITOR selector 9 set to LINE to MIX or TAPE Ghee pat TRACK CHART X 30 TRACK CHART TITLE COMPOSED BY DOLBY OFF B C MUN l GAIN NOTE 35 36 HEADPHONE OUT RECORDING TAPE NOISE REDUCTION TAPE SPEED PITCH CONTROL SECTION 8 X 30 SPECIFICATIONS INPUT X2 50dBV 3mVy 10dB 0 3V switchable 20kQ unbalanced BUSS IN X2 10dBV 0 3V 20k SYNC IN 10dBV 0 3V 20kQ LINE OUT X2 10dBV 0 3V 10kQ or higher unbalanced 10dBV 0 3V 10kQ or higher unbalanced 100mW max 8 400 15dB at 150Hz 10kHz Shelving type Compact cassette C 60 C 90 TYPE for use at high bias position A2 TDK SA MAXELL XL d RECORD TRACK 4 track one direction RECORDIPLAYBACK CHANNEL 4 channels Records up to 2 channels at time Dolby B C OFF B C switchable 4 8 cm s 1 x 15 TAPE OUT X4 EQUALIZER 0 1 peak weighted E IEC ANSI RECORDING TIME 30min for C 60 FREQUENCY RESPONSE Mixer section 20Hz 20kHz 2dB Recorder section 40Hz 12 5kHz 3dB SIGNAL TO NOISE RATIO OVERALL TOdB or more weighted CHANNEL SEPARATION 50dB or more at 1kHz DIMENSION 327 W x64 H x 227 D mm WEIGHT 2 3kg POWER REQUIREMENT DC 12V 11 15V 4 8W FOSTEX AD 12
9. set the panning and balance of each 1 3 track by MONMIX GAIN and PAN sure to fully retard track 4 MONMIX GAIN 7 If neccessary set the tone of each channel A and B by EQ 8 Practice several times When you are satisfied with the balance begin the mixdown to the master recorder Refer to the Basic Operation Section for details on the mixdown procedure page 20 SYNC IN 1 5 PLAY 000000 AWAITED DRUM MACHINE HEADPHONE 6 Tape sync Procedure 4 32 3 Mixdown including signal processing One of the joys in mixdown is creating your own sound using signal processors to the best of your skill Various processors can be used in the X 30 by connecting them to the TAPE OUT jack and the BUSS IN jack Example Reverb will be applied to the vocal on track 4 and delay to the track 3 guitar at mixdown in the Basic Operation Section page 20 Process Set the various controls by referring to the schematic 1 TAPE OUT jack 4 is connected to the reverb unit IN PUT and the reverb output to the BUSS IN jack 2 TAPE OUT jack 3 is connected to the delay unit IN PUT and the delay OUTPUT to the INPUT jack A or B PAN A or B is set to a suitable position Then by returning the effect output only of both processors it will result in adding the effect to the output from the LINE OUT Jack Refer to the item on mixdown in the Basic Operation Section for detailed met
10. AC adaptor 120VAC 60Hz 220 240VAC 50Hz WOW AND FLUTTER specitications subject to cahnge without notice Dolby noise reduction manufactured under license from Dolby Laboratories Licensing Corporation Dolby and the double D symbol ate trademarks of Dolby Laboratories Licensing Cor portion SECTION 9 BLOCK DIAGRAM LEVEL METER LINE OUT R MON SEL LINE 16 3 n 5 9 NS ll SYNC IN 10 REC TRK SELECTOR 37 FOSTEX FOSTEX CORPORATION 560 3 Miyazawa cho Akishima Tokyo Japan FOSTEX CORPORATION OF AMERICA 15431 Blackburn Ave Norwalk CA 90650 U S A PRINTED JAPAN April 1987 8288 1710 00
11. E 5 M NOM bh se mm SAFETY INSTRUCTIONS WARNING READ BEFORE OPERATING 1 Read Instructions All the safety and operating in structions should be read before the appliance is operated 2 Retain Instructions The safety and operating in structions should be retained for future reference 3 Heed Warnings All warnings on the appliance and in the operating instructions should be adhered to 4 Follow Instructions All operating and use instruc tions should be followed 5 Water and Moisture The appliance should not be used near water for example near a bathtub wash bowl kitchen sink laundry tub in a wet basement of near a swimming pool etc 6 Ventilation The appliance should be situated so that its location or position does not interfere with its proper ventilation 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 built in installation such as a bookcase or cabinet that may impede the flow of air through the ventila tion openings 7 Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliances including amplifiers that produce heat 8 Power Sources The appliance should be connect ed to a power supply only of the type described in the operating instructions as marked on the ap pliance 9 Power Cord Protection Power
12. HINE SEQUENCER NORMAL SOUND TRACK FSK SIGNAL TAPE SYNC UNIT System layout A representative layout diagram of a tape sync record ing system is presented below l TAPE OUT 4 SYNC IN UNIT MIDI or DIN DRUM MACHINE Procedure 1 Recording the sync signal When a recording is to be made by tape sync a tape sync signal such as the FSK signal must be recorded first SEQUENCER MIDI MIDI KEYBOARD Example The FSK signal from a rhythm machine having the tape sync facility is connected to the SYNC IN jack of the X 30 and recorded on track 4 and the basic rhythm which will be the musicians guide is recorded on track 1 at the same time 27 28 GUIDE RHYTHM TRK3 TRK4 FSK LINE OUT 000000 Set the various controls by referring to the right schemat ic on this page 1 Plug the rhythm machine tape sync output to the SYNC IN jack of the X 30 and the audio output to the INPUT jack A Set the NORM RMX selector to NORM Set the PAN A to full L Set the INPUT fader A and MASTER fader to a suita ble level and adjust the guide rhythm recording lev POM el As the SYNC IN level is fixed normally it need not be adjusted 5 Select 1 and 4 of the REC selector 6 Monitor the recording with the headphone by setting the MONITOR selector to TAPE
13. and adjusting the GAIN and PAN of MONMIX The track 4 FSK signal cannot be monitored at LINE OUT during the record eee enn ae ee ae el 0000 5 SYNC QUT ohh 3 1 ols 7 PLAY ooo DRUM MACHINE LINE OUT 6 Procedure 1 mode 7 Start recording by pressing the RECORD button low the tape to run record for about 5 to 10 seconds then start the rhythm machine this is to record the continuous pilot signal Procedure 2 FSK signal playback and sync mode test In the following the FSK signal recorded in Procedure 1 is reproduced to check whether the sync signal is cor rect or not As the sync signal could be disturbed de pending on the condition of the tape and level of the sync signal always check it Example The FSK signal recorded in Procedure 1 is be fed to the rhythm machine let it sync with the X 30 compare it with track 1 to check whether it is in sync or not Process Set the various controls by referring to the schematic on this page 1 Connect the track 4 TAPE OUT to the SYNC IN jack of the rhythm machine 2 Set the NORM RMX selector to NORM and the MO NITOR selector to MIX 3 Set the INPUT selector A to LINE PAN A to the center position and raise the INPUT fader and MASTER fader to a suitable level by referring to the meter 4 Set the rhythm machine in the external sync m
14. between rehearsal mode REC LED green is lit and take mode REC LED extinguished each time the foot switch plugged into the PUNCH IN OUT jack 17 is pressed s mer 24 RSL TAKE REHEARSAL MODE iu O STOP RECORDER IN STOP MODE orten ee ALTERNATES EACH TIME FOOT SWITCH IS PRESSED HOLD DOWN THE BUTTON 1 3 omc ni wi OFF 49 RECORD button There are three ways to enter the record mode after the REC TRK selectors 9 have been set 1 Press RECORD 2 Press PLAY 17 then press RECORD 3 Press PAUSE 16 then press RECORD rehearse and set the levels properly then press PAUSE a second time to begin recording This procedure is recom mended as typical 0 PAUSE button When the X 30 is in either PLAY mode or RECORD mode 9 pressing the PAUSE button stops tape travel Pressing the PAUSE button a second time resumes tape travel 47 PUNCH IN OUT jack This jack accepts the Fostex Model 8051 optional remote foot control for punching in and punching out 8 PITCH control Normal tape speed of 4 8 5 1 7 8 ips can be changed within a continuously variable range of 15 by sliding this knob There are several uses for this con trol It can help you tune various musical instruments to each other as well as adjust other tapes to the tun ing of your musical instruments It can help you get vo cals to ring in perfect harmony Plus you can use the PITCH control as a cr
15. carry the input Signal 07 MASTER fader This is a ganged pot which controls the overall level of the L R output channels as well as the level of the sig nals sent to the recorder 08 NORMAL RMX Remix selector In the Up NORM position input signals are sent simul taneously to the recorder and to the L R output chan nels in the Down RMX position signals from the four tape tracks are sent to the 4 x 2 MONMIX section 21 62 and then mixed with the L R output channels 9 PHONE level control MONITOR selector TAPE MIX LINE This selects the signal sent to the headphones TAPE Tape sound mixed by MONMIX 2 02 only will be heard The setting for take at over dubbing MIX mixed signals or TAPE and EINE is heard The setting for rehearsal at overdubbing LINE Output signal to the stereo buss is heard The setting for mixdown and ping pong recording Positions of NORM RMX selector 9 and MONITOR se lector in accordance to operating modes are listed below 4 MONMIX SECTION 6 62 GAIN and PAN pots 4 Each group of two faders is numbered 1 through 4 to correspond with the tracks on the tape Gi are the GAIN controls and 62 are the PAN controls The 4 tracks are thus mixed to stereo LINE OUT DC power supply input jack for the Fostex Model AD 12 AC adaptor 4 POWER switch 45 POWER indicator This POWER indicator is lit when the POWER switch 9 is turned on while DC
16. current is being supplied from AD 12 AC power adaptor SECTION 3 SIGNAL FLOW DIAGRAM You should have a clear understanding of the signal flow in relation to various operations of the X 30 controls by referring to the following diagrams Example 1 Signal flow of a synthesizer connected to INPUT jack A for recording on track 1 P TAPE BUSS IN REC TRK LINE OLIT SELECTORS SELECTORS JACK Example 2 Signal flow when overdubbing an electric quitar on track 2 while listening to track 1 synth M PHONES l LEVEL LINE OUT Es SELECTORS m RNC E INPUT INPUT SELECTORS JACK E GUITAR Example 3 Signal flow at mixdown MONMIX GAIN SECTION 4 Recording procedure Fundamental steps stereo buss The basic techniques in multitrack recording are ex The two thick lines in the diagrams of the previous Ex plained by the step by step procedure diagrams below amples 1 3 BUSS IN to LINE OUT the stereo buss It is something like trunk line which carries various Step 1 A rhythm track is made by recording a drum individual signals machine track 1 BUSS IN ED LINE OUT Electric bass Step 2 2 amp 3 Further overdubbing Procedure 1 Producing the basic rhythm track Recording the drum machine on track 1 Before proceeding to the steps below be sure the REC TRK LED is extinguished
17. d make a mistake and must record all over again you should start again from the beginning as it is difficult to sync the rhythm machine from an intermedi ate point in the tune when recording by this procedure Procedure 4 Mixdown with sync playback The finishing touch in sync recording is mixdown As it is possible to mix the sync performance of the rhythm machine and sequencer by the tape sync signal in addi tion to the tape sound in this process it will lead to producing a high quality truly sophisticated recording Example Mixdown with the rhythm machine in sync with the tape completed in Procedures 1 3 Process Set the various controls by referring to the schematic 1 Feed the rhythm machine stereo out L R respec tively to the X 30 INPUT jacks and B connect TAPE OUT 4 to the rhythm machine SYNC IN and the LINE OUT to the input of the deck used for the mixdown 2 Set the NORM RMX selector to RMX and the INPUT selector to LINE 3 Slide PAN and B respectively to full L and R 31 STEREO MASTER DECK 8 RECORD 4 Raise the MASTER fader to 7 8 with this arrange ment the rhythm machine sound to the INPUT fader ET and 1 3 of MONMIX are all routed to the MASTER fader 5 Pushthe PLAY buttun of the X 30 and set the DRUM MACHINE in stand by before recorded play starts 6 When the sync performance starts adjust the volume of drum machine by INPUT fader
18. d slide PAN A to full L Set R side REC TRK selector to OFF 7 Set the NORM RMX selector and MONITOR selec tor to the positions indicated in the chart Take at overdubbing Refer to page 8 8 Return the MASTER fader to 7 or 8 9 Put the recorder in the REC PAUSE mode REC TRK LED will be dimly lit in red by first pressing the PAUSE button then the RECORD button and adjust the electric guitar sound volume and pan position this will not affect the recording level by MONMIX GAIN and PAN 3 10 Press PAUSE again start the take RED TRK LED will change to bright Rewind the tape upon finishing the recording Procedure 2 3 Overdubbing a vocal on track 4 The final overdub is done on track 4 The methods in re hearsal and the take are the same with Procedure 2 1 above except that the REC TRK selector R side is set to 4 G AMPLIFIER 1 65 24 MICROPHONE Procedure 2 2 Refer to the operating schematic below to correctly pro ceed with the operation You will find that the sequence in which you overdub the various parts is very important Each tune may require its own particular sequence for best results Don t be afraid to experiment you can always do it over Procedure 3 Punching In Out Correcting a mistake in a performance Rehearsal and take at puch in out Punching in out is the process of rerecording over section which contains a mistake For example sho
19. e by pressing the RECORD button Although the sound STEP gt TAKI CHORUS TAK GHORUS e TAK PINGPONG TAK4 RHY 4B 3 SYNXP FOGHORUSS3 23 ed can be monitored by the headphones or by LINE OUT with an amplifier plugged into the LINE OUT jack the channel only will be heard 13 To monitor the recorder raise MONMIX GAIN 4 only set the image position by PAN and use the head phones set MONITOR selector to TAPE and adjust the PHONES level pot or the LINE Leave the NORM RMX selector at RMX Refer to the above procedures at ping pong recording under other methods but be sure to check the following in addition to the above A Set to the remix mode by setting NORM RMX Selec tor to RMX B Balance the track in which the sound for ping pong is recorded by MONMIX C Set PAN and MONMIX PAN to L when recording on odd numbered tracks 1 3 and for even numbered and tracks 2 4 TRKI RHYTHM THK E BASS TAK E GUITAR THEA PINGPONG x2 TAKA FHY BEGTSYNX i noaaendogcoo wmwaumaeagsecodo Ping pong recording Bun SYN 1 SYN 2 HEADPHONE SECTION 6 RECORDING PROCEDURES SPECIAL TECHNIQUES You will have understood the basic methods in multitrack recording by explanations in the previous section In this section further techniques will be explained 1 Simultaneous recording o
20. e in the example below Example Two synthesizers will be Plus two recorded onto tracks 8 recorded in the Basic Operation Section and ping pong recorded onto track 4 Refer to the track schematic page 24 Process Set up by referring to the schematic Page 25 1 After checking that all sound volume controls set to and that the REC selector is OFF set the NORM RMX selector to RMX 2 Set the MONITOR selector to LINE 3 Flug the synthesizers for Plus two to INPUT jacks A and B lt STEP 42 STEP 52 TRAKI RHYTHM TAK E BASS TAKI E GUITAR E BASS PINGPONG TRK3 E GUITAR t RHYTHM RHYTTBTGTSYNX 4 Set the INPUT selector to LINE 2 oelect the A side REC selector to 4 6 Slide the INPUT PAN A and B and also the MONMIX PAM 1 3 to full R This completes setting of the selectors and pan pots and we shall now do balancing and level setting 7 Set the MASTER fader to 7 or 8 Slowly raise INPUT faders and B and set the level by watching the meter The R meter only should be indicating 9 Press the PLAY button 10 Raise MONMIX GAIN 1 3 and balance the levels of each track 11 11 necessary adjust the tone by the A channel note that tone of the plus two synthesizers will also change 12 performing several times and when the proper levels are determined go to the tak
21. e we will start with rehearsal select the rehear punch in out mode Refer to RSL TAKE in the chart on page 6 The rehearsal mode is in effect when the REC TRK LED is lit in green Fostex 8051 optional foot control is required here 2 Plug the microphone placed in front of the guitar am plifier to INPUT jack 3 Set the channel A INPUT selector to MIC 4 Set the NORM RMX selector and the MONITOR selector to the positions for Take at overdubbing Refer to page 8 5 Select the REC TRK selector L side 3 PAN A to full L and the electric guitar sound will be routed to track 3 The R side of the REC TRK selector of course must be set to OFF center Set MASTER fader to 7 or 8 slowly raise INPUT fader and check the level with the meter necessary monitor the sound with the headphone by changing the MONITOR selector to LINE alter the sound with EQ then set the level again with the INPUT fader A MONITOR selector must be returned to TAPE 7 Adjust all MONMIX GAIN and pan controls 1 4 to comfortable level Advance the tape to a point Slightly before the mistake play the tape by press ing the PLAY button and monitor tracks 1 4 8 Just prior to reaching the mistake step once on the foot switch plugged into the PUNCH IN OUT jack The REC TRK LED will change from green to amber to indicate the rehearsal mode In this state the track 3 playback sound is cut off and in place
22. eative device for generating new distinctive sounds NOTE Always return the PITCH control to its center click position after using it TAPE COUNTER amp RESET button This three digit counter is useful as an approximate refer ence for the beginning of the recording 000 Press the RESET button at the right side of the counter to set the 000 reference ZERO STOP button When this button is pressed in advance the recorder will enter the STOP mode from the REWIND mode upon reaching the 000 position It will not enter the STOP mode during the play record and F FWD modes 02 TAPE TRANSPORT 03 Dolby NR switch The 4 channels are simultaneously selected for Dolby C or B settings and NR off by this switch 3 OUTPUT SECTION 0 PHONES stereo jack Use a stereo headphone set with an impedance of 8 ohms through 40 ohms Like microphones headphones are specified with an impedance that tells you which con nections make for best sonic results 05 LINE OUT jacks L The signal present at these jacks is the stereo mix de termined either by the settings of the MONMIX controls GD 52 or by the settings of the main level control 7 and equalizers 8 0 TAPE OUT jacks 4 These jacks are numbered 1 through 4 and correspond to the tracks on the recorder In the PLAY mode these jacks carry the playback sig nal from the tape In the record mode also record pause mode or rehearsal mode these jacks
23. elector and MONITOR selector are set by referring to the chart on page 8 The setting in this case is Normal recording 8 The MONMIX GAIN 1 is set to 6 or 7 the MONMIX PAN 1 set to center and put the recorder in the RECORD mode by pressing RECORD button REC TRK LED will be lit in bright red Then when the drum machine is started the sound will be heard in its designated center position As the placement can be freely shifted by MONMIX PAN 4 and the sound volume by MONMIX GAIN 1 try for several different settings The recording level will not be affected 9 Rewind tape upon finishing the performance If the ZERO STOP button had been pressed in advance the tape will automatically stop at the 000 position Procedure 2 1 the electric bass onto track What is overdubbing The process of recording a new sound onto a separate track track 2 in this case while monitoring the previous ly recorded track track 1 in this case and in sync with it is called Overdubbing This is an in dispensable technique in multitrack recording First rehearse perform in sync with the monitored sound but do not record After practicing to your satisfaction you re ready for recording the take DRUM MACHINE HEADPHONE Procedure 1 1 For the rehearsal procedure set the NORM RMX selector and MONITOR selector to the Rehearsal at overdubbing positions shown the page 8 chart 2 Pl
24. ethod can be used de pending on the situation Procedure 4 Mixdown What is mixdown The process of playing and combining of sounds record ed on a multiple number of tracks into 2 track stereo and copying it to the conventional stereo master tape is called mixdown Mixdown is the final polishing up procedure of a multitrack recording 1 Connect the LINE OUT jack to the stereo master deck LINE IN jack 2 Set the NORM RMX selector and MONITOR selec tor to the positions for Mixdown Refer to chart in page 8 8 Set both INPUT faders to zero to prevent pickup of Punch in out method 0 3 unwanted noise Also set both L and REC selectors to OFF 4 Set the MASTER fader to 7 or 8 and press the PLAY button 5 As you raise the 1 4 MONMIX GAIN the sound from these channels will be heard in the headphones addition the placement of each track can be adjust ed by the MONMIX PAN knobs In other words the sound volume and placement of each track is deter mined by this control section The sound monitored by the headphones is that appearing at the LINE OUT jack and is the signal being sent to the master deck 6 You can also separately adjust the L and channels by the EQ Output l vels of each channel will be indi cated by the level meter Play the tape several times and adjust the sound volume placement tone and output level of each channel 7 Set the master deck in t
25. f multiple sources using a submixer The Model X 30 features a two input mixer but occa sionally you will want to record three or more sound sources in one pass In this case it will be very convenient if a stereo output submixer is used Example A stereo recording is to be made on tracks 1 and 2 us ing an 8 IN 2 OUT keyboard mixer 1 8 MIX L chan TRKe MIX chan THK3 KEYBOARD MIXER N 25 26 Process Set the various controls Dy referring to the schematic page 26 21 8 a de 9009 Connect the keyboard mixer L and R outputs respec tively to INPUT jacks A and B Connecting to BUSS IN is better if EQ of this Unit is not to be used Set the NORM RMX selector to NORM both chan nels of the LINE MIC selector to LINE Set the PAN controls for the L and R channels respectively to full L and Set the INPUT faders for both reset channels to the same scale setting Raise the MASTER fader to a suitable level while referring to the meter Select 1 and 2 of the REC TRK selector As tape monitoring will be by MONMIX set the MON PAN 1 to L and 2 to R and adjust both 1 and 2 of the MONMIX GAIN to the same level MONMIX can be monitored by the headphone if the MONITOR selector is set to TAPE Set the NORM RMX selector to RMX if you wish to monitor the LINE OUT signal Start recording by pressing the RECORD button
26. he REC or PAUSE mode to allow checking the recording level and adjust this lev el so that the meter readings of the X 30 and the master deck are about the same 8 Begin the mixdown by first setting the master deck in the recording mode and then press the PLAY button Note Mixing is often a dynamic process That is var ious parts can be emphasized briefly solos for example You will probably record several mix es until you have one you like so don t be afraid to experiment STEREO MASTER DECK et MULTITRACKER Do SEEK NE H WHIG VENE peeesenecoco 5 HEADPHONE Procedure 4 22 TRKI RHYTHM SECTIONS PING PONG RECORDING Ping pong recording is an indispensable technique when more than four sources are to be recorded Please refer to the schematic on this page Let s assume we have finished recording on tracks 1 3 in Step 1 Now if another sound vocal is recorded on track 4 by the method in the Basic Operation you will not be able to record any other sound source Therefore if you should utilize the remix feature of the X 30 to mix tracks 1 3 you will be able to make a new recording Step 2 This technique is called Ping pong recording It is liter ally bouncing sound between tracks of this recorder Next tracks 1 and 2 are combined and recorded onto track 3 Step 3 record new sounds on tracks 1 and 2 and you will have recorded 7 sources
27. he X 30 Please read all the operating instructions carefully They will give you a solid base from which to grow and experiment Your X 30 will perform all the normal functions of a stan dard Hi Fi cassette deck in addition to multitrack tech niques so presumably not everything is new or unfamiliar The information in the manual is presented in the se quence normally followed in making a multitrack master The initial recording reference track overdubbing and mixdown Following these topics we cover ping pong recording punching in out and other related procedures Most operating procedures are organized step by step Accompanying diagrams are labelled to show the con trols associated with the numbered steps It is likely that none of your actual recording situations will be duplicated exactly in the examples which follow But they are not arbitrary examples Collectively they are intended to show the versatility of the X 30 while emphasizing it ease of use Finally a note about cassette tape Your X 30 is set up factory biased and equalized for high bias 70 EQ C 60s or C 90s only TDK SA Maxell XL II equivalent The four tracks all move in the same direction of course So your recording time is about 30 minutes on a C 60 and 45 minutes on a C 90 SECTION 2 THE CONTROLS AND THEIR FUNCTIONS Condition of the recorder and its meaning indicates record standby state at which REC button
28. hods on mixdown page 20 STEREO MASTER DECK 2 DELAY um QUT OUT Mixdown including WEADPRONE signal processing 33 34 SECTION 7 TROUBLE SHOOTING 1 Soung aly the 4 ae T Dues oan caper E both capstan and Maca Tune and roller clean pinch roller BI Replace with new good quality tape Is the head clean Sound is greatiy CELL Use the chrome tape different from than the chrome type CriOe Type the original Are switches for Dolby Set the Dolby NR selector recording type B or C and ON OFF to that usad for correctly set Get pou TS properly 7 optimum level 2 At recording 3 Sound cannot bak ar Note that L is for tracks 1 be sent to the PAN in their correct and 3 and R is for tracks relation 2and4 sup Are you sure NORM RMX Set to NORM other than sound is heard selector 0 is not set for ping pong recordi ing and at RMX at mixdown desired track is the PITCH control 9 If different adjust with the setting the same as at PITCH control 1 Block the tab hole with scotch tape the cassette record protect tab broken off freie No power to the Mane CIS end comi unit correctly plugged into the cable into the X 30 the X 30 Unit power receptacie is the cassette correctly Reload cassette so that loaded the clip on front side securely holds the
29. ode refer to its manual for the method rewind tape to D AN MACHINE LINE OUT PLAY AWAITED 000000 SYNC IN HEADPHONE Tape sync Procedure 2 29 30 the pilot tone recording and after setting it in the PLAY mode put the rhythm machine in the stand by mode by pressing PLAY etc 5 As the rhythm machine will start performing in sync from the start of the FSK signal if everything is cor rect check whether the performance of INPUT A is in sync with track 1 raise GAIN of MONMIX 1 If sync should slip during some point of the performance repeat Procedure 1 again by changing the FSK signal recording level change the drum machine sync output level if possible or if it is fixed use the regular INPUT not SYNC IN of this Unit or changing the tape to a fresh one Procedure 3 Overdubbing by reference to the guide rhythm After confirming in Procedure 2 that sync is normal we Shall overdub by following the track 1 guide rhythm Example Overdubbing of the base on track 2 and the rhythm gui tar on track 3 will be made by following the guide rhythm on track 1 Then the lead guitar will be overdubbed refer GUIDE LEAD GUITAR TRK BASS TRKe BASS GUITAR GUITAR TRK4 FSK TRK4 FSK SYNC DRUM MACHINE to track diagram while synchronizing the rhythm machine and erasing the track 1 guide rhythm at the same time m
30. of it the elec tric guitar sound picked up by the microphone plugged into the INPUT jack A will be heard You can thus practice punch in timing 9 After the mistake section has passed step on the foot switch again The REC TRK LED will return to green indicating punch out in the rehearsal mode You will again hear tape playback on track 3 in the head phones 10 Repeat steps 7 9 and check to be sure the punch in out points are not overlapping with the phrases at both ends or whether there is any difference in sound volume and tone between the replaced section and sections before or after it If all is satisfactory you can now proceed to the take Procedure 3 MICROPHONE HEADPHONE 19 20 11 Set the punch in out mode to take by the STOP but ton and foot switch Refer to the RSL TAKE chart in page 6 for this procedure It is in the take mode when the REC TRK LED is not lit 12 In this condition the take will be completed by fol lowing the same steps 7 9 carried out for sal If you are unsuccessful in replacing the section repeat the same procedures for punch in out If you feel you have succeeded replay the section and mo nitor it to make sure Refer to the following chart on the various changes of the REC TRK LED during the take mode In addition to punch in out by the foot switch you can also use the method the recorder function and REC selector shown below Either m
31. 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 con venience receptacles and the point where they exit from the appliance 10 Cleaning The appliance should be cleaned only as recommended by the manufacturer 11 Nonuse Periods The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time 12 Object and Liquid Entry Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings 13 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 14 Servicing The user should not attempt to service the appliance beyond that described in the operat ing instructions All other servicing should be referred to qualified service personnel WARNING To avoid possible electric shock hazard do not expose this appliance to rain or moisture There are no user serviceable parts inside Refer servicing to qualified service personnel
32. ug the electric bass into INPUT iack B 3 Set the channel B right side INPUT selector to MIC arid the PAN B control to center 4 Set the MASTER fader to 7 or 8 and slowly raise the INPUT fader B from its zero position While check ing the meter level monitor the sound by the head phones and set to a maximum 3 ae Adjust to your preference If the level seems to overshoot too much even though the INPUT fader B is pulled down set the INPUT selector to LINE and repeat the above step 5 Press the PLAY button to start the rehearsal When MONMIX GAIN 1 is raised the drum machine record edon track 1 will be heard Its placement can be ad justed by the MONMIX PAN 1 Set these controls according to your preference The electric bass sound volume is adjusted by the MASTER fader and its image position by PAN B 6 After several rehearsals proceed to the take Set the REC TRK selector to 2 on the R side to send the electric bass signal to track 2 and slide PAN B to full 7 Set the L side REC TRK selector to OFF center to prevent the accidental erasure of track 1 8 Set the NORM RMX selector and MONITOR selec tor to positions for Take at overdubbing listed in BASS HEADPHONE Procedure 2 1 1 16 the page 8 chart 9 Return the MASTER fader setting to 7 or 8 or the same level set in above Step 4 10 Put the recorder in the REC PAUSE mode by press ing the PAUSE button then the RECORD button
33. uld there be a mistake during the recording of a guitar or synthesizer part near the end of the tune continue the performance in spite of the mistake You will fix it later by punching in out to create a faultless performance In practice the tape is monitored as it is played back and just before the mistake is reached the recorder is put in the record mode at a silent point such as at the end of a phrase and a new part is recorded punch in When the section containing the mistake has been recorded over return to the playback mode or stop punch out and you will have a perfect recording The Model X 30 has two modes in Punch in out One is the take mode and the other the rehearsal mode Take mode The actual take mode at punch in out Actual recording mode is entered and the performance is replaced v pon VOCAL HEAD PHONE Procedure 2 3 Rehearsal mode The mode for practicing the tim ing required at punch in out or practicing the performance for in serting prior to the actual take the monitor sound will punch in out but it will not be recorded NOTE Timing is crucial during punch in out so re hearse until you are sure of the timing If you punch in too early or punch out too late you may have to record the track all over In the following the method of replacing a section of the electric guitar sound on track 3 by punch in out will be explained Sinc
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