Fostex 280 Bedienungsanleitung

Andere Handbücher für 280

1

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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.