Fostex 812 Manuale utente

Altri manuali per 812

1

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Owner’s

Manual

Model

RECORDING

MIXER

F05CGX

A

A

RISK

OF

ELECIHIC

SHOCK

OO

NOT

OPEN

CAUTICN:

TO

REDUCE

THE

RISK

OF

ELECTRIC

SHOCK.

CO

NOT

REMOVE

COVERlOR

BACK).

NO

USER-SERVICEABLE

PARTS

INSIDE.

REFER

SERVICING

TO

QUALFIED

SERVICE

PERSONNEL.

A

The

light

ring

llasti

with

arrowhead

symbol,

/f\

within

an

equilafero

triangle,

is

mended

to

/V

alert

tho

iser

lo

lhe

prese-xre

of

uninsulated

/

J

\

"dcngerous

voltage’

within

the

Deduct

s

en-

/

V

\

closure

that

rray

be

ol

sullicieni

magnitude

lo

corstitutea

risk

ol

electric

shock

to

person*.

A

The

exclamation

point

vviihri

an

equilateral

/«\

Iriaoyte

Is

intended

lo

ubrl

the

user

u

lire

/

I

\

f/esenco

ol

imports!

ni

opening

and

mninie-

/

I

\

nance

(sarveing)

instructions

in

the

literature

/

*

\

accompany

ng

the

appliance

'WARNING"

TO

REDUCE

THE

RISK

OF

FIRE

OR

ELECTRIC

SHOCK.

LO

NO

l

bXHUSt

I

HIS

AmiANCt:

10

RAIN

0RMQI5-

Tunc."

SAFETY

INSTRUCTIONS

1.

R;ad

Instructions

Al

the

oafcl/

and

operating

inolrvc

twins

shm

ild

he

r«»ri

bolore

lhe

appliance

is

operatnd

?.

Ftetain

inslruchnns

-Tie

salety

and

occiaiina

instructions

should

be

relaned

lo

lulure

reference.

3.

Heed

Warnings

-

All

warnngs

or

the

applianceand

in

the

operating

mstruenons

should

be

acnereo

io.

4.

Follow

Instructions

—

All

jperatny

anc

uie

instructions

choiJd

ho

lollowod.

Ft.

V*tio»

and

Moisture

-

The

appliance

should

not

b?

used

near

water

-

ler

example,

near

a

bathtub,

washbowl,

kit-

cher

sirk,

laundry

:ub,

in

s

wet

basement,

or

near

a

swim¬

ming

pool,

and

the

like.

6.

Carts

arvd

Sturds

Tho

appimrco

should

bo

used

only

with

a

cart

or

stand

that

is

recommended

by

the

mami:

lacturei

An

appfianco

anc

cert

combination

should

t>e

moved

with

care.

Quick

stops,

excessive

force

and

uneven

surlace3

nay

cause

tno

appiarce

and

cart

combiriaioi

t5

overturn.

7

Wull

or

Guiltly

Mounting

—Tlic

upoliaivsc

olxxitd

be

muml-

td

to

a

wal

or

coilivj

only

ic

ronnmmnnrtoil

hy

Hip

mrnu-

(acturer

8

YGniiation

-

Tie

appiaixe

should

be

mtuatec

so

that

its

locaiioncr

costion

does

not

nte-iere

win

is

proper

venti¬

lation.

For

example.

Ihc

ooplanco

cncUd

not

bo

eitualoc

on

a

bed.

sofa

ruo.

ct

similar

surface

Inal

mav

blxck

the

venlilation

openings;

or,

placed

in

a

built-in

nstalla»on

such

as

a

bookcase

or

cabinet

lhat

may

impede

the

rio//

o’

air

tnrough

the

ventilation

openings.

9.

Hc&l

The

appliance

ohould

bs

silualod

away

Irom

host

sources

such

as

rarintors.

heat

recsle

s,

staves.

cr

olhei

appiances

(including

amplriiers)

that

txoducs

heat.

10.

bovver

Sou-cos

■

rhcopplanccshculdbeccrnecteotOE

cower

supoly

only

of

the

type

assenbeO

m

me

operating

nolfii

clone

or

no

marked

on

ho

appianco

It.

GramdinQorPolarizaticn

-

Theprecaulwnsthatshould

oe

la

ken

so

that

live

grounding

or

polarization

means

d

an

appiiarce

s

not

defeated

12.

Rwer

Cord

Hotectiai

-

Riwer

supply

cords

should

be

routed

so

thal

Ihey

are

nc*

likely

to

be

wdked

on

cr

pinohod

by

items

pticed

ipon

or

against

them,

paying

particular

aitention

to

cords

at

plugs,

convenience

recep-

lades,

ana

the

point

whore

they

exit

from

the

appliance.

13.

Cleaning

-

The

appliance

should

bo

ebaned

only

as

recommended

by

the

manufacturer.

l

X

Ncr

use

Periods

-

The

powo

ccrd

cl

theappiianco

should

be

unpuggod

from

tho

cutlet

vision

loft

unused

lor

along

period

of

time.

IS

Ohjncl

and

I

iquid

Entry

-

Care

should

te

taken

so

lhat

obiectsdonoi

tall

and

licuicts

are

not

suited

into

the

enc¬

losure

through

openings.

16.

Damage

Requiring

Service

-

The

appliance

should

be

serviced

Py

qualllled

service

personnel

when:

A.

The

power

supply

cord

or

the

plixj

has

been

damaged;

or

8.

Cbiecls

have

fatten,

cr

licuid

has

been

spiled

into

the

appliance;

or

C.

The

appliance

has

been

exposed

to

rain;

or

D.

lhe

appliance

does

roi

appear»

operate

normaly

cr

exhbils

a

marked

change

n

performance;

c*

E.

The

appliance

hse

boon

dropped,

or

the

onciceuro

damaged

17

Servicing

-

The

user

should

tut

attemul

lo

service

the

appliance

beyond

that

described

in

the

opora&ng

instruc¬

tions.

All

ether

servicing

should

be

referred

to

qualified

service

personnel.

INTRODUCTION

Thank

\ou

very

much

for

purchasing

a

Fostex

Model

812

Recording

Mixer.

The

Mode

B12

is

a

'2-inpul

'eoording

mixer

with

al

the

necessary

functions

required

fo

a

multilracK

recording.

Tiie

Model

G12

has

all

of

the

foltowing

features

1

An

8

channel

output,

orcvicina

the

pcrlcct

combination

wifi

an

8-track

multitrack

recorder.

2

Two

Effect

Sends

(monaural)

and

ar

Auxilary

Send

(stereo),

al

owing

a

variety

of

sound

effect

processes

possible

3.

The

capability

to

send

the

AUX

signal

(while

monitoring

the

recorder

output

signal)

to

the

Effect

Send

2

output,

making

it

possibe

to,

tor

example,

cas

a

reverceraton

or

this

signal

and

thus

slmuiaie

the

recording

environ¬

ment

wiliout

tampering

with

lire

output

sigials

to

the

recorder

4.

Two

paranetic

and

cne

shelwng

ec

utilizers,

giving

more

flexibility

to

tone

control,

and,

with

the

use

of

a

solo

moni¬

tor

‘unction

and

.mute

furction.

the

mixing

process

is

made

even

more

easy.

5.

Three

stereo

Effect

Returns

alowing

connections

vari¬

ous

sound

effect

processors

without

sacrificing

irput

channels

lo

eccept

the

output

signals

from

the

piocessors

6.

A

DC24V

phaniom

power

source,

enabling

-lookup

to

e

high

quality

condenser

microphone

7.

An

FL

level

merer.

8.

Space

fer

connectng

MID!

interfacing

:

or

future

use

with

MIDI

control.

We

hepe

that

you

tnoroughiy

-ead

this

Manjal

and

wil

utilize

(he

product

to

its

fullest

capabilues.

With

proper

use

and

maintenance,

you

wil

enjey

maiy

years

ol

satisliec

periornance.

TABLE

OF

CONTENTS

■

M

IWhh.

SECTION

1

V

■

W

W

I

1

I

lall

|

SPECIFICATIONS

PAGE

2

SECTION

8

M

JUITRACK

RECORDING

PAGE

12

SECTION

2

BLOCK

DIAGRAMS

3

SAMPLE

CONFIGURATIONS

12

SECTION

3

GUIDE

TO

COMPONENTS

5

BASIC

TRACK

RECORDING

12

SECTION

4

THE

PARAMETRIC

EQUALIZER

9

OVER-CUBBING

14

SECTION

5

CONNECTING

FFFFCTORS

9

PING-PONG

RECORDING

15

SECTION

6

CONNECTING

PERPHERAL

10

M

XING-DOWN

16

SECTION

7

EQUIPMENT

BASIC

SIGNAL

FLOW

11

SECTION

9

TROUB_E-SHOOTING

19

section

i

SPECIFICATIONS

INrUT

(A

12)

AUX

OUTPUT

|L/R)

<>

1)

Mlcrophonn

Impedancr

WOE

or

less

Output

lead

impedance

lOkO

cr

mere

Input

Imoe

dance

?M)

balanced

X.R

connector

Nominal

output

leva

-IOcBV

(0.3'/)

ana

20

hQ

unDnOnecrl

pl-varc

HCk

Maximum

output

level

MONITOR

OUTPUT

(LR)

|x1)

Output

load

impedance

•ilOdSV

iSGY)

Ncmnal

Input

level

Microp*>one

603

BV

[imV.

lOkO

Jr

mere

Line:

lOdDV

(-5.3VI

Nominal

output

lev©

-1000V

103'/)

Minimum

Input

level

70JBV

(OlnW)

Maximum

output

level

-iSdBV

S6V)

Maximum

input

level

Hbdt5V(5CV}

HEADPHONES

OUTPUT

(Stereo)

TAPE

INPUT

(-

12)

Output

load

Imparlance

8-5CU

Input

impedance

Mkt!

Maximum

output

BCmVY

Nominal

Input

level

-IUCIUV(OSV)

DIRECT

OUTPUT

(X

12)

Minimum

Input

level

2COBV

(O.'V)

Output

load

Impsdanco

lOkll

V

nao

Maximum

input

level

t-l5dBV(5.6V)

Nominal

output

leva

-IOoBV

(03

V)

INSERT

INPUT

(X12)

Maximum

output

level

-tStlBV

i.sev)

Input

impedance

JOktl

FREQUENCY

RESPONSE

Nominal

input

level

-

lOdBV

(05V)

Mcrophone

input

20

-

20kH2

.1/-20B

INSERT

OUTPUT

(X12)

Line

input

20-?0kHz

-.V-1CI0

Output

load

impedance

'Old?

or

moia

Monitor

rxilput

30-20kH7

il/—3dR

Nominal

output

level

-

10QBV

(Q3V)

Headphones

output

20

-

20kHz

.1/-20B

Maximum

output

level

►

I30BV

(0.0/)

EQUIVALENT

INPUT

NOISE

—12SQBV

w&gnteo

BUSS

INPUT

iGROUPxB,

EFFECT

*2,

AUX

(Lfl)xl)

OVERALL

SIGNAL

TO

NOISF

Input

impotbnce

20

kl)

1

mlc

input

6£el8

weghlcd

Nominal

InpJt

level

-

IOUBV

(03V)

(2

mlc

Input

wegrweo

EFFECT

RETURN

(UR)

(<3)

T.H.D.

0.115%

(UHz.

nominal

ln«=l)

Input

impedance

7kQ

0.1%

(heaGphunis

1kHz

Nominal

Input

level

lOJOV

(O.CV|

lOnMWXW)

Maximum

input

level

+2SdBV

(173V)

FADER

ATTENUATION

7Cd3

(1kHz)

GROUP

OUTPUT

(x

6)

CROSSTALK

6£d8

(1kHz)

Output

lood

Impcflcncc

OHO

or

mere

PARAMETRIC

EQUALIZER

00-

HI?

ti3d0

Nomnal

output

level

-

10.1BV

(03V)

400-6kHz

*I5

cB

Maximum

output

level

»15dBV

(5.6V)

10kH:

*i5d8

(SHEIVIM3)

EFFECT

SEND

(x2)

POWER

REQUIREMENTS

100V

42W

Cut

put

load

impedance

•QkQ

cr

more

120V

4EW

Nomnal

output

level

WdBV

(03V)

220V

4£W

Maximum

output

lovcl

*

tSoBV

(&.6V)

DIMENSIONS

(HxWxD)

2‘0V

4EW

175

mm

x

$70rm

x

530mm

WEIGHT

1*9129

lt«S)

PHANTOM

POWER

SLPPLV

DC34V

EF<FC1

1

3

SECTION

3

GUIDE

TO

COMPONENTS

4

The

numbers

in

()

indicate

the

bcaticn

of

tie

component.

FRONT

PANEL

1.

PEAK

LED

This

LED

turns

on

when

the

input

signal

to

INPUT

jacks

(35)

and

(36)

or

to

Hie

TAPE

IN

jack

(36)

is

overloaded

(+

13dB).

if

the

LCD

tends

to

turn

on

frequently,

adjust

the

TRIM

(2)

or

tho

EQUALIZER

GAIN

(-1)

unti

an

appropriate

level

is

reached.

For

details,

refer

to

pa.

ADJUSTING

IN¬

PUT/OUTPUT

LEVELS.

2.

INPUT

TRIM

This

krob

trims

the

pro

amplifier

gain

ci

the

incoming

sig¬

nal

Irom

INPUT

jacks

(35)

and

(36).

The

TRIM

responds

to

a

wide

range

from

-60dBV

(microphone

level)

to

-

ICdEV

(line

level)

Please

note

that

the

input

eve!

horn

the

TAPE

IN

jack

(38)

can

net

be

adjusted.

a

INPUT

SELECTOR

(INPUT/TAPE)

This

selects

the

signal

to

be

sent

to

toe

INPUT

FADER

(15).

INPUT<

I):

The

sound

source

coming

irro

INPUT

jacks

(35)

and

(36)

is

selected

(Used

mainly

when

record¬

ing).

TAPE(

-

):

The

scxino

source

coming

into

TAPE

IN

jack

(33)

6

selected

(Used

mainly

when

mixing

down).

4.

EQUALIZER

SECTION

This

section

adpsts

the

tone

quality

of

the

sound

signal

selected

hy

the

INPUT

SELECTOR

(3)

Fcr

further

details,

refer

to

pg.

r

HE

PARAMETRIC

ECUALIZER.

5.

EFFECT

SEND

1

This

knob

aejusts

the

output

level

of

tho

pcst-FADER

sig¬

nal

(the

signal

after

adjusted

by

INPUT

FADER

(15))

before

being

sen:

to

the

EFFECT

SEND

1

buss.

Tne

signal

is

sen

to

the

EFFECT

SEND

1

buss

via

the

SEND

1

MASTER

LEVEL

knob

(21)

and

is

culputted

from

tie

EFFECT

SEND

1

jack

(5G)

and

may

be

sent

to

effectors

for

processing.

6.

EFFECT

SEND

2

SELECTOR

(AUX/POST)

This

selector

is

effective

only

when

the

AJX

SELECTOR

(8)

is

set

to

TAPE

(is.

is

depressed),

it

sslects

the

signal

to

be

sent

to

EFFECT

SEND

2

(7).

3

CST(I):

The

post-

FADER

sgnal

is

selected.

AUX(«):

The

signal

from

the

TAPE

IN

jack

(38)

alter

being

adjusted

by

AUX

GAIN

(9)

is

selected.

Note

that

when

:he

AUX

SE_ECTOR

(8)

is

set

to

POST

Hus

sclecto-

has

no

eTect

anC

thus

the

signal

sent

to

the

EFFECT

SEND

2

(7)

will

bo

POST

7.

EFFECT

SEND

2

Inis

knot

adjusts

the

outout

level

of

the

signal

being

sent

to

Ihe

EFFECT

SEND

2

buss.

From

hu

e

the

signd

then

is

sent

to

the

SEND

2

MASTER

LEVEL

knob

[22)

and

outputted

from

tne

EFFECT

SEND

2

jack

(49)

and

used

for

effect

processing.

a

AUX

INPUT

SELECTOR

(POST/TAPE)

Tins

selects

'.fie

signal

to

be

sent

to

the

AUX

GAIN

(9).

POST(l.):

Tho

post

FADER

signal

is

oaloctcd.

TAPE(-):

Tine

incoming

signal

to

tne

TAPE

IN

jack

(38)

is

selected.

Usually,

if

one

warts

rt

process

an

effect

usng

the

posf-

FADER

signal

via

the

AUX

GAIN

(9).

POST

is

selected

If

one

wants

to

monitor

the

output

from

the

recorder

while

mixing-down.

TAPE

is

selected.

9.

AUX

GAIN

A

This

knob

adjusts

tne

level

of

the

sicmal

selected

by

the

AUX

SE.ECTOR

(8)

and

sent

to

the

AUX

buss.

The

func¬

tion

of

tnis

krob

varies

depending

on

the

status

of

the

AUX

SELECTOR

(8).

FOST:

serves

as

a

stereo

itpu:

type

EFFECT

SEND.

TAPE,

selves

as

a

monitor

volume

control

cf

the

recorder

output

coming

intoTA^E

IN

jack

(30).

The

signal

which

is

sent

to

tho

AUX

buss

passos

through

tho

AUX

MASTER

LEVEL

knob

(23)

ard

is

outputted

from

the

48.

AUX

OUT

jack

and

nay

ha

used

as

an

input

signal

to*

stereo-input

effectas.

10.

AUX

PAN

This

pan

adjusts

the

Left-Right

balance

of

the

signal

be¬

ing

serf

to

the

AUX

hiss

from

AUX

GAIN

(9)

When

the

AUX

SELECTOR

(3)

s

in

the

POST

position,

it

may

be

used

for

setting

the

L-R

baiarce

for

the

EFFECT

SEND

signal.

When

in

the

TAPE

position,

it

may

be

used

for

setting

the

perspective

of

the

record©

output

monitor

g

signal.

11.

GROUP

ASSIGN

SWITCHES

These

switches

{alorg

with

GROUP

PAN

(12))

assign

ihe

signal

sent

!

rom

the

INPUT

FADER

(15)

to

GROUP

busses

1

-8

-

GROUP

ASSIGNING

depressed=ON

'[H

:

Button

down

:

Eulton

up

)

to

GROUP

buss

1

U

1-2

I

13-4

□

«

O’

P*N

CCO

EV?N

to

GROUP

buss

!>J

:<-4

□

«

rtu

:<?

ODD

EVEN

to

GFfOUP

busses

-o

GROUP

busses

5

&

6

at

Ihe

same

level

1

~8

at

the

same

level

4

PAN

n«

[Vfifl

i.

•»

I

I

»•»

OTO

EVEN

I

'-2

I

I

9-0

I'.a

PAN

OCC

EVEN

12.

G

ROUP

PAN

Along

with

he

GRCUP

ASSIGN

SWTCHES

(11).

the

assigning

is

done

as

illustrated.

4

13.

INPUT

SOLO

SWITCH

When

ths

switch

is

pressed

(ON),

Ihe

SOLO

LED

(33)

is

turned

on

snd

the

post-FADER

signal

ol

that

channel

is

sent

to

the

SCLO

buss

The

MONITOR

SELECTOR

(25)

s

overridden

and

the

SOLO

buss

output

signal

is

sent

:o

both

me

MONITOR

LEVEL

kncb

(26)

and

PHONES

VOLUME

{27).

in

other

words,

the

pcsi-FADER

signal

ol

the

partcuar

channel

can

now

be

monitored

using

ncadphcncs

or

speakers

T-ic

montored

signal

main

tains

lie

perspective

set

with

the

PAM

pot

(12),

making

equalczirg

adjustments

with

FOUAII7FR

(4)

possible

without

anv

sound

distortion,

"his

feature

affects

only

the

signals

sent

to

the

MONITOR

OUT

jack

(47)

and

PHONES

jack

(34).

14.

MUTE

SWITCH

When

ths

switch

is

oressed,

the

LEC

located

within

the

swteh

vvll

toggle

between

ON

and

OFF

When

the

LED

is

ON.

the

signal

entering

the

INPUT

FADER

(15)

ol

that

channel

wll

be

rruted.

This

Is

the

equivalent

ol

complete¬

ly

lowering

the

INPUT

FADER

and

is

useful

when

one

wants

to

cut

out

a

chanrel

without

moving

the

FADER

position.

Whan

Iho

LED

is

OFF,

the

nuto

function

c

releasee

15.

INPUT

FADER

Ths

adjusts

ihe

level

of

the

sgnal

selected

by

the

INPUT

SELECTOR

(3).

As

roise

and

distortion

is

minimum

at

the

scale

range

of

0

*

5idR),

if

is

recommended

to

initially

set

the

INPUT

"ADER

within

this

range

and

then

adjust

with

TRIM

(2).

16.

GROUP

MASTER

FADERS

(busses

1

-6)

These

a

r

e

the

master

farters

for

GROUP

busses

1

respectively.

Not

ony

are

the

cutout

signal

levels

to

the

GROUP

OJT

jacks

(45)

adjusted

here,

but

also

signal

levels

to

the

GROU=*

TO

L-R

SECTION

(18)

and

(19)

es

well.

Normally

this

area

is

used

io

set

the

sgnal

level

OJ

the

outpjt

:o

TRACKS

1

-6

ot

a

multitrack

recader.

17.

GROUP

MASTER

FADERS

(busses

7/L,

8fR)

These

two

are

the

master

teders

for

GROUP

busses

7

and

8.

The/

adjust

the

signal

leves

assigned

directly

to

GROUP

busses

T

and

8

from

GROUP

ASSIGN

(11)

and

(12))

es

well

as

signel

levels

assigned

via

the

CROUP

TO

L-R

SECTION

(16)

end

(19).

Normally

thccc

arc

used

lo

so:

Iho

signal

leva!

of

the

output

to

TRACKS

7

and

8

of

a

mutitrack

renoide'

Also,

wnen

mixing-down,

they

may

be

used

lo-

signal

leve

adjustment

tc

a

master

recorder

(ie

fer

lade-intout

purposes).

18.

GROUP

TO

L-R

GAIN

These

knebs

adjust

the

individual

levels

d

GROUP

busses

1-6

when

assigning

them

to

GROUP

busses

7

and

&

For

examole.

in

a

mixing-down

situation

Une

source

signals

may

be

assigned

to

GROUP

busses

1-6.

men

collectively

sen:

to

CROUP

busses

7

and

8

after

ueny

adjusted

at

the

GROUP

TO

L-R

SECTION

(1C)

end

(19)

and

finally

outputted

to

a

master

reccrder.

19.

GROUP

TO

L-R

PAN

Ihese

knoos

ad|ust

me

Lett-Right

perspective

of

the

signas

o

be

sent

io

GROUP

busses

7

aid

B

A

turn

towards

L

will

send

the

signal

towards

GFOUP

buss

7

while

R

will

send

the

signal

towards

GROUP

ouss

3.

After

bene

assigned

to

GROLP

busses

7

and

8

from

here,

the

signals

are

then

outputted

from

GROUP

OUT

jacks

7/L

and

8

R

1461

via

GROUP

MASTER

RADERS

7/L.

S

(17).

20.

GROUP

SOLO

SWITCH

When

this

swteh

is

pressed,

Ihe

respective

GROUP

duss

outoul

signal

is

sent

to

the

SOLD

buss.

Similar

to

:he

INPUT

SOLO

SWITCH,

the

MONITOR

SELECTOR

(25)

isoverrdden

and

the

signal

sent

to

both

the

MONI¬

TOR

OUT

jack

(47)

and

the

PHONES

jack

(24).

erabmg

monitor!

rg

with

head

phones

or

speakers.

21.

EFFECT

SEND

1

MASTER

LEVEL

KNOB

71

iis

knob

adjusts

Ihe

master

level

of

the

signds

sent

to

the

EFFECT

SEND

1

busa

which

is

then

outputted

from

Ihe

50.

EFFECT

SEND

1

jack.

22.

EFFECT

SEND

2

MASTER

LEVEL

KNOB

This

knob

adjusts

the

master

level

of

the

signers

sent

to

the

EFFECT

SEND

2

buss,

which

is

then

outputted

from

the

49.

EFFECT

SEND

2

jack.

23.

AUX

SEND

MASTER

LEVEL

KNOB

Tins

knob

adjusts

the

master

level

of

ihe

signets

sent

to

the

AUX

buss.

which

ic

then

outputted

from

the

48.

AUX

OUT

jack.

24.

SOLO

LEVEL

KNOB

This

knob

adjusts

IIie

master

tevd

cf

lire

siyiab

sent

to

the

SOLO

buss,

which

ncudes

sicnal3

coming

from

NPU~

SOLO

switches

and

GROUP

SOLO

switenes.

25.

MONITOR

SELECTOR

This

selects

the

signal

to

be

sent

to

MONITOR

OLT

jack

(47)

and

PHONES

jack

(34).

L-R:

The

output

signal

from

GROUP

busses

7

and

8.

AUX:

The

output

signal

from

he

AUX

buss

(ie

tc

be

outputted

from

the

AUX

OUT

ack

(48)).

EFFECT

SEND

1:

The

signal

to

be

outputted

‘rom

the

EFFECT

SEND

I

jack

(50)

is

selected

with

a

central

perspective

EFFECT

SEND

2

The

signal

to

be

outputted

Iron

the

EFFECT

SEND

2

jack

(49)

is

selected

with

a

central

perspective

n

general.

L-R

is

used

when

mixing-ctown.

AUX

is

used

whan

monitoring

Ihe

output

to

a

recorder.

The

selection

is

made

when

the

respective

switch

is

depressed.

26.

MONITOR

LEVEL

KNOB

This

knob

adjusts

the

output

leve

of

the

signal

sen!

to

the

MONITOR

OUT

jack

(47).

27.

PHONES

VOLUME

This

controls

the

volume

of

the

signal

sent

to

the

34.

PHONES

jack.

28.

EFFECT

RETURN

1

SECTION

I

his

section

assigns

the

signal

coming

into

EFFECT

RTN

1

jacks

(40)

to

GROUP

busses

t

-£

The

assigned

buss(es)

is

determined

by

the

use

cf

the

RTN

1

ASSIGN

SWITCHES

(28)

and

Ihe

RTN

1

PAN

(28).

The

signal

leve

is

adjusted

by

RTN

1

GAIN

(28)

Hcwevei

nute

that

the

function

ol

the

RTN

1

PAN

(28)

deoends

cn

the

connections

made

wth

the

EFFECT

RTN

1

jacts

(40)

(refer

to

the

following

illustrations).

When

connections

are

mace

to

both

L

anc

R

of

the

EFFECT

H

N

1

:ac<S

(40),

the

28.

KIN

1

PAN

serves

as

a

L-H

Balance

adjuster

Eg

l:

The

LEFT

output

or

a

stereo

output

from

a

reverberator

is

sent

to

GROUP

buss

1

whle

the

RIGHT

is

sent

to

GROUP

buss

2

at

equal

levels.

Button

down

Button

up

Fg

2

Tne

I

FFT

output

of

a

stereo

output

from

a

reverberator

is

sent

to

GROUP

busses

5

and

7

at

ecua

le/els

while

the

RIGHT

is

sent

nowhere

Button

down

Button

up

When

a

connection

s

made

with

only

L,

RTN

i

PAN

(28)

sewes

as

a

par.

Eg.

l:

rhe

monaural

output

tram

a

delay

is

sent

to

GROUP

busses

3

and

4

at

equal

levels.

Ec.

2:

Tne

monairal

output

from

a

delay

is

sent

to

only

GROUP

buss

8.

NOTE:

When

a

connect

on

is

made

wth

only

R.

it

is

no:

possible

lo

assign

the

signal

to

an

edd

GROJP

buss(ie

only

to

GROUP

busses

2,

4.

6

and

8).

In

such

a

case

turn

RTN

1

PAN

(28)

to

the

far

right

(EVEN)

for

level-

match

ng

purposes.

29.

EFFECT

RETURN

2

SECTION

This

section

assigns

the

siqnalfs)

coming

into

the

EF¬

FECT

RTN

2

jacks

(41)

lo

GROUP

busses

t

8.

The

func¬

tions

of

the

switches

are

the

same

as

n

:he

EFFEC

RETURN

1

SECTION

(28).

30.

EFFECT

RETURN

3

SECTION

This

sec:ion

assigns

the

sgnal(s)

comirg

into

EFFEC"

RTN

3

(42)

jacks

to

GROUP

busses

1-8

The

lunctons

of

the

switches

are

the

same

as

h

the

EFFECT

RETURN

1

SECTION

(28).

31.

FL

BAR-GRAPH

METER

This

meter

displays

the

output

of

GROUP

CUT

jacks

1-8IL

Irom

left

to

nght

resoectively.

32.

PHANTOM

LED

This

LED

is

lif

when

the

PHANTOM

switch

(51)

s

ON

33.

SOLO

LED

This

LCD

is

li:

when

an

INPUT

SOLO

switch

(13)

cr

GROUP

SOLO

switch

(20)

is

prcssoc

34.

PHONES

JACK

The

same

sigral

to

the

MONITOR

OUT

jack

(47)

is

oui-

purted

here.

REAR

PANEL

35.

XLR

INPUT

JACK

This

is

an

XLR-type

jack.

It

is

mtenced

for

a

baarced

in¬

put

signal

(3rd

pin

is

HOT).

However,

it

does

accomodate

an

unbaanced

signal

as

well;

When

connecting

an

un-

ba

arced

signal

source,

pins

t

and

2

become

GROUND

and

tne

pfiantom

switch

(51)

MUST

be

turned

OFF.

Alto,

t

it

uverrdden

when

there

is

a

plug

cornecled

to

the

PHONE

INPUT

jack

(3G).

ard

the

input

signal

to

the

XLR

INPUT

jack

(if

there

is

one)

goes

nowhere.

Pin

36.

P

HONE

INPUT

JACK

This

is

a

6<?

pyione-rype

input

jack

and

is

unbalancec.

It

does

accomocate

a

balanced

input

signal,

and.

in

such

a

case,

the

TIP

will

be

HOT

and

the

RING

will

be

COLD.

B

37.

INSERT

JACK

F'om

This

jack.

the

post-FADER

signal

is

sent

oui.

possi-

b

y

to

an

effect

processor,

and

then

relumed

lo

Ihe

same

jeck

(see

illustration).

This

jack

is

used

mainly

when

hooking

up

effectors

which

modify

the

sound

source

sig¬

nal

iiseii,

such

as

compressors

limners

and

noise

gates

Tite

jack

is

of

a

stereo

phone-type

flP

is

SEND,

PING

is

RECEIVE).

II

nothing

is

connected

to

ll

>is

jack,

the

oignal

goes

straght

through

from

SEND

to

RECEIVE

doweeted

ic

IIk|

INSERT

I

Lring

rip

-*

li>

oliecior

(36ND)

from

elleclor

(RECEIVE)

N_

GND

Conncelod

Jo

nifJC

I

38

TAPE

INPUT

JACK

This

jack

is

usee

mairly

for

the

unbaanced

output

:

rom

the

mu

Wrack

recorder

in

use.

39

DIRECT

OUT

JACK

The

pcsf-FADER

signal

from

Ihe

particular

chanrel

is

outputted

frem

he*e

(unbalanced).

This

tack

may

be

used

lo

send

the

signal

to

effectors

40

EFFECT

RETURN

1

JACK

Normally.

he

output

from

Ihe

effectors

(unbalanced)

will

be

returned

here.

Tie

R

cf

this

jack

alsoacs

as

a

switch.

When

only

L

is

plugged

in

it

is

the

equivalent

ol

con*

rectng

the

same

sgnal

with

both

L

and

R

(ie.

the

L

sig¬

nal

will

be

spiced

equally

between

Land

R).

When

both

L

ard

R

are

plugged

in,

a

rormai

stereo

input

is

carried

through.

When

only

P

is

pluggec

in,

only

R

will

receive

the

signal.

41

EFFECT

RETURN

2

JACK

This

lunctidns

the

same

as

the

EFFECT

RTN

t

jack

(40).

42.

EFFECT

RETURN

3

JACK

Tms

functions

the

same

as

the

EFFECT

RTN

t

jack

(40).

43.

GROUP

BUSS

INPUT

JACKS

These

arc

the

input

jocks

tc

GROUP

busses

1-8/R.

Usually,

thaso

are

used

as

subsiderv

inputs

when

there

is

a

shortage

of

EFFECT

RETURNS

or

when

one

hooks

up

another

mixer

to

acheive

a

cascade

effect

44.

AUX

BUSS

INPUT

JACKS

These

are

the

input

jacks

lor

the

AUX

buss

(unbalanced).

Usually,

those

oro

used

when

cno

hooks

up

another

mixer

to

achieve

a

cascade

eltect.

45.

EFFECT

SEND

BUSS

INPUT

JACKS

These

jacks

arc

input

jacks

for

both

EFFECT

SEND

1

aod

SEND

2

busses

(unbalanced;.

Usually,

the

EFITCT

SEND

outputs

of

other

mixers

ere

connoctcd

hero

to

achieve

a

cascade

effect.

46.

GROUP

OUT

JACKS

These

(unbalanced)

oulp.il

jacks

for

busses

1-8

are

usually

conred.ec

wth

Ihe

inputs

to

multitrack

recorders

47.

MONITOR

OUT

JACKS

The

signal

eelcctcd

by

oithcr

MONITOR

SELECTOR

(25)

or

the

SOLO

buss

signal

(when

n

use)

is

sent

here

(un¬

balanced)

a'ter

its

le\el

oehg

adjusted

by

Ihe

MONITOR

LEVEL

knob

(26)

II

may

be

used

:o

hook

up

speakers

lor

monitoring

pu'pcses.

48.

AUX

OUT

JACKS

These

a*e

the

output

jacks

for

the

AUX

buss

(un¬

balanced)

They

are

usually

connected

to

he

inputs

of

an

effector.

49.

EFFECT

SEND

2

JACK

This

ie

the

outpU

jeek

f<x

the

EFFECT

SEND

2

bu3s

(unoalancec).

t

is

usually

contacted

with

the

input

ol

an

effector

50.

EFFECT

SEND

1

JACK

This

is

the

output

jack

lo-

th©

EFFECT

SEND

1

buss

(unbalanced),

t

is

usually

connected

with

the

input

ol

an

effector.

51.

PHANTOM

POWER

SWITCH

When

this

switch

is

ON,

a

DC24V

current

will

be

suppled

to

pins

2

and

3

cf

tho

INPUT

jacks

(35)

and

(36)

for

oil

channels

When

connecting

a

condonsor

microphono

turn

Ihe

PHANTOM

switch

ON.

NFVFR

conned

a

dy¬

namic

merephone

when

the

switch

is

ON:

It

MUST

be

turned

OFF

when

the

microphone

has

no

need

for

an

exterior

power

supply.

52.

PEAK

HOLD

SWITCH

When

this

switch

is

ON

the

peak

level

indicated

oy

the

FL

meter

(31)

will

be

held

for

approximately

4

seconds.

When

it

B

OFF,

Ihe

oeak

level

will

net

be

held

53.

POWER

SV/ITCH

After

turning

on

the

power

to

this

unit,

the

muting

time

will

be

about

5

secords

54.

MIDI

EXPANSION

SLOTS

This

space

is

alottod

lor

future

use

with

MIDI

control.

Do

not

remo/e

Ihe

panel,

since

this

may

result

in

damage

lo

this

unit

Mountng

wil

be

dor©

at

the

Service

Staton

level.

55.

POWER

CORD

I

<.

Bi

llkl

5190k

sSSz.

ereaas

viiiicn

aua

C’-oaii

clc

|

-

1

10

ino

ongmr.

SECTION

5

CONNECTING

EFFECTORS

Numerous

kinds

ol

sound

manipulations

are

earned

out

during

a

multitrack

recording

through

the

use

ot

various

sound

orccesso's.

Depending

on

the

usage

of

a

particular

p-occcEor.

conncctons

to

the

Vlcdc

8t2

may

vary.

Plcaec

reler

to

the

foflowing

illustrations.

1

When

processing

an

effect

on

a

particular

channel

(eg

compressors,

limiters,

delays,

etc)

section

4

THE

PARAMETRIC

EQUALIZER

NOTE:

Although

the

parametre

equalizer

is

highly

effective

in

the

tore

control

ol

the

original

sound,

during

a

micro

pnone

recording

it

is

equally

important

that

one

adjusts

the

posrioninrj

of

the

microphones

and/or

the

type

of

micro¬

phone

in

order

to

achieve

the

desired

tore

quality

The

MODFl

fll?

features

two

single-band

parametric

equalizers

along

with

a

10

kHz

fixed-trequeno/

shebirrj-fype

eauali

2

er

at

each

input

channd.

The

two

parametric

equaliz¬

ers,

which

covet

efferent

frequency

tanges.

ran

set

frequen¬

cies

wthin

the

ranges

of

60Hz~1kHz

and

40DH?-6kHz,

respectively.

Ihey

are

also

capable

of

ooostng

and

cutting

within

the

±ibdB

range

and

wil

ce

highly

effective

when

addng

character

to

the

lone

qudity

of

tne

sound

signal

Dy

manipulating

the

fundamental

frequeicy

and/or

hatmonic

cvcrtorcs

of

the

instruments/vocals

FREQUENCY

RANGES

OF

VARIOUS

INSTRUMENTS

TYPICAL

EQUALIZATION

RESPONSE

GRAPH

INSTRUMENT

Cl

TTNG

BOOSTINC

fHiimanVbira

1

Scratchy

at

2

kHz

Nasal

at

ikH;

Hoppiry

P'S

Dfck>v

t!UHz

Hot

at

8

or

12kHz

Gant/

above

3kHz

BCOy

at

20C

-

JUU-iZ

Piano

Timy

at

1

-

2hlte

Roomy

at

320Hz

Presence

at

5kHz

Bass

at

125Hz

Etectrc

Guitar

Muddy

below

8CHz

Gant/

at

32kH’

Bass

at

125Hz

Acoustic

Tin

ly

at

2

-

3.2kHz

Guitar

Roomy

at

POOH?

Spill

Klli

aL'UrtJ

OKHZ

Full

at

125H7

Efectrc

Bass

rimy

at

1kHz

Boomy

at

125Hz

G’CANl

at

62CHz

Bass

below

80Hz

string

Bass

Holow

at

62CH/

Boomy

at

200Hz

Sepal

3,2

-

5kHz

Bass

botow

20CHz

Snare

Drjm

Amoyngat

1kHz

Crisp

above

PkHz

Full

at

125Hz

beep

at

30Hz

Boss

Drum

Floppy

at

62CHz

Boomy

below

8CH?

Sepal

3.2-

5kt

lz

Bass

at

80-

125Hr

•Cepth

of

the

sound

by

controlling

‘requeue/

around

ICQH/^

•Add

character

by

cortrolmg

frequency

around

1kHz

“

•Volutrurous

sound

by

bcosing

2-4kHz

•Clarity

by

bcosing

around

6kHz

•Sound

orilliancy

by

hooding

above

8kHz