Fostex X-28 User manual

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1

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Manual

X-28

MULTITRACKER

FOStGX

The

lightning

flash

with

arrowhead

symbol,

within

an

equilateral

triangle,

is

intended

to

alert

the

user

to

the

presence

ot

uninsulated

dangerous

voltage”

withm

the

product's

en¬

closure

that

may

be

of

sufficient

magnitude

to

constitute

a

risk

of

electric

shock

to

persons

A

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

*

WARNING*

L

'

TO

REDUCE

T#

IF

RISK

OF

FIRE

OR

ELECTRIC

SHOCK,

DO

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOIS¬

TURE."

SAFETY

INSTRUCTIONS

1.

Read

Instructions

-

Alt

the

safety

and

operating

instruc¬

tions

should

be

read

before

the

appliance

is

operated.

2.

Retain

Instructions

-

The

safety

and

operating

i

instructions

should

be

retained

for

future

reference.

3.

Heed

Warnings

—Al

I

warnings

on

the

appliance

and

in

The

operating

instructions

should

be

adhered

lo.

4.

Follow

Instructions

—

All

operating

and

use

instructions

should

be

followed.

5.

Water

and

Moisture

-

The

appliance

should

not

be

used

near

waler

-

for

example,

near

a

balhtub,

washbowl,

kit¬

chen

sink,

laundry

tub,

in

a

wet

basement,

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

manm

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,

Wal

1

or

Ceiling

Mount

ng

—

The

appliance

should

be

mount¬

ed

to

a

wall

or

ceiling

only

as

recommended

by

the

manu¬

facturer.

3.

Ventilation

—

The

appliance

should

be

situated

so

lhal

its

location

or

position

does

not

interfere

with

its

proper

venti¬

lation,

For

example,

the

appliance

should

not

oe

situated

on

a

bed,

sofa,

rug,

or

similar

surface

that

may

block

the

ventilakon

openings;

or,

placed

in

a

built-in

installation,

such

as

a

bookcase

or

cabinet

that

may

impede

the

flow

of

air

through

the

ventilation

openings,

9.

Heat

—

The

appliance

should

be

situated

away

trom

heat

sources

such

as

radiators,

heat

registers,

stoves,

or

other

appliances

(including

amplifiers)

that

produce

heat.

10.

Power

Sources

-

The

appliance

should

be

connected

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

ol

an

appliance

rs

not

defeaten

12,

Power

Cord

Protecfion

—

Power

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

al

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

trims,

J5

Gbied

and

Liquid

Entry

-

Care

should

be

taken

sc

that

objects

do

not

fall

and

liquids

are

not

spilled

into

the

enc¬

lose

re

through

openings,

lb.

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.

1

1

Servicing

-

The

user

should

not

attempt

la

service

the

appliance

beyond

that

described

in

ihe

operating

instruc¬

tions,

All

other

servicing

should

be

referred

lo

qualified

service

personnel.

1

TABLE

OF

CONTENTS

Introduction

.2

Safety

Precautions.3

How

to

Use

This

Manual.3

Before

Using

Your

X-28

Multitracker

.4

What

is

Multitrack

Recording?

.4

Block

Diagram.6

Panel

Controls

and

Terminals

.

8

Basic

Operation

.13

Recording

the

First

Track

—

Rhythm

Machine..

14

Monitoring.16

Four-track

Simultaneous

Recording.16

Overdubbing

—

Recording

Bass

to

Track

2

and

Keyboard

to

Track

3.18

Overdubbing

the

Final

Track

—

Vocal

and

Guitar.18

Mono

Monitoring

in

Stereo

Recording.18

Mixdown

and

Effects

Processing

—

Adding

Reverb.19

AUX

(Auxiliary)

Send

and

Return.20

Punch-in

Recording

.21

Special

Applications.

...24

Example

1:

Simultaneous

Stereo

Recording

al

Eight

Sound

Sources.

2

4

Overdubbing

Tracks

to

the

Live

Stereo

Recording.25

Example

2:

Ping-pong

Recording

—

Recording

Seven

Parts

on

Four

Tracks.25

Adding

Live

Parts

to

Ping-pong

Recording

...26

Helpful

Hints

for

Ping-pong

Recording.27

Example

3:

Tape

Sync.28

Tape

Sync

—

Combining

Ten

MIDI

Inputs

With

Three

Tape

Tracks.30

Multitrack

Recording

Tips.31

Routine

Maintenance

.

3

3

Troubleshooting

Guide

.34

Specifications.34

INTRODUCTION

Thank

you

for

purchasing

the

Fostex

Model

X-28

Multitracker.

With

proper

use

and

maintenance

it

will

provide

years

of

excellent

performance.

Included

among

the

features

and

functions

of

the

X-28

are:

•

An

eight-input

mixer

with

four

gain-adjustable

mid

line

inputs

and

four

line

inputs,

all

of

which

can

be

used

for

simultaneous

recording.

•

Logic-controlled

transport

buttons

for

ease

of

use

and

sure

transport

control.

•

A

large,

backlit

LCD

display

that

features

a

digital

tape

counter,

meters

for

all

four

tape

tracks

and

stereo

outputs,

and

tape

transport

indicators.

•

A

rehearsal

function,

in

the

punch-in/out

mode,

that

allows

you

to

hear

and

practice

a

punch-in

recording

before

the

actual

take.

•

Switchable

Dolby

B

noise

reduction.

•

Four-track

simultaneous

recording.

The

X-28

will

perform

all

of

the

standard

multitrack

recording

techniques,

such

as

overdubbing,

punch-in

recording

and

ping-pong

recording.

In

addition,

effects

processing

is

available

with

the

AUX

send

and

stereo

AUX

return

functions.

When

used

with

an

optional

MIDI-to-FSK

converter,

the

operation

of

the

X-28

can

be

synchronized

with

MIDI

sequencers

and

rhythm

machines,

allowing

you

to

simultaneously

run

multiple

musical

instruments

and

signal

sources.

Please

read

this

manual

carefully

so

that

you

are

thoroughly

acquainted

with

the

proper

operation

and

maintenance

procedures.

2

SAFETY

PRECAUTIONS

•

Connect

the

supplied

AC

adaptor

to

a

standard

AC

outlet

and

the

AC

adaptor

connector

of

the

X-28.

In

no

case

should

you

use

an

AC

adaptor

of

another

manufacturer.

If

this

adaptor

is

to

be

used

with

a

voltage

other

than

that

specified,

consult

your

near¬

est

Fostex

dealer

or

service

center

before

using

it.

•

Never

pull

the

cord

of

the

AC

adaptor

to

unplug

it

from

the

AC

outlet;

always

grasp

the

AC

plug

itself

when

disconnecting,

The

oord

can

be

broken

if

it

is

pulled

directly.

•

Never

connect

or

disconnect

the

AC

adaptor

when

your

hands

are

wet.

Neither

should

you

use

this

product

if

the

cord's

insulation

is

damaged

or

worn.

In

either

case,

doing

so

may

result

in

electrical

shock.

•

Never

open

the

case

and

touch

anything

inside.

Doing

so

may

result

in

electrical

shock

or

damage

to

the

unit.

•

Be

careful

notto

spilt

any

water

or

liquids

ordrop

any

metal

objects

inside

the

unit.

This

could

also

result

in

electrical

shock.

If

water

or

anything

should

acci¬

dentally

get

inside,

immediately

disconnect

the

AC

adaptor

from

the

outlet

and

contact

your

nearest

Fostex

dealer

or

service

center.

•

Be

sure

to

turn

the

power

to

this

unit

on

first

before

switching

on

the

power

to

other

connected

equip¬

ment,

in

order

to

avoid

damaging

them.

Also,

when

connecting

or

disconnecting

any

input

or

output

plugs,

make

sure

that

the

input

volume

control

of

the

appropriate

channel

or

buss

is

set

to

0.

HOW

TO

USE

THIS

MANUAL

If

you

are

using

a

multitrack

recorder

for

the

first

time,

we

recommend

that

you

read

through

this

manual

in

the

following

order.

In

this

way,

you

can

get

the

most

out

of

your

X-28.

1)

Please

read

the

section

“Before

Using

Your

X-28

Multitracker”,

on

page

4.

This

introduces

you

to

the

basic

concepts

of

muititrack

recording.

2)

Go

directly

to

the

“Basic

Operation”

section,

page

13,

and

follow

the

instructions

there

carefully.

They

will

show

you,

step

by

step,

how

to

make

and

mixdown

your

first

recording.

When

you

read

through

this

section,

you

may

wish

to

refer

back

to

the

section,

‘'Panel

Controls

and

Terminals",

page

7.

This

will

help

you

to

understand

the

functions

of

the

X-28.

3)

As

you

continue

to

use

the

X-28

for

other

recordings,

read

through

the

successive

sections,

including

“Punch-in

Recording”

and

"Special

Applications”,

to

familiarize

yourself

with

the

more

sophisticated

functions

of

this

machine.

4)

Also,

read

through

the

various

boxed

subjects

scattered

throughout

the

instructions

to

help

you

master

some

of

the

important

aspects

of

muititrack

recording,

They

include

valuable

information

on

such

topics

as

buss,

monitoring

and

aux

send.

5)

Finally,

look

through

the

section

“Multitrack

Re¬

cording

Tips”,

page

31,

for

special

tips

and

hints

on

howto

make

your

recording

sound

as

professional

as

possible.

For

those

of

you

who

are

complete

novices

in

the

field

of

recording,

we

hope

this

manual

will

be

more

than

merely

a

guide

to

the

X-28.

In

many

ways,

with

the

information

provided

on

basic

recording

concepts

and

advanced

applications,

this

manual

may

be

used

as

a

textbook

for

multitrack

recording.

3

BEFORE

USING

YOUR

X-28

MULTITRACKER

Undoubtedly,

you

are

eager

to

start

recording

with

your

X-28

Multitracker.

However

unless

you’ve

had

some

experience

with

muititrack

recording,

we

recommend

you

take

some

time

to

read

this

section

and

familiarize

yourself

with

multitrack

recording

basics.

WHAT

IS

MULTITRACK

RECORDING?

Multitrack

recording

is

the

process

of

recording

indi¬

vidual

parts

of

a

performance

separately

on

indepen¬

dent

tracks

and

then

mixing

them

together

to

create

a

final

recording.

There

are

several

advantages

to

this

process.

You

can

record

each

musician

separately,

without

having

to

assemble

them

all

together

at

the

same

place

and

time;

you

are

able

to

concentrate

on

the

individual

elements

so

that

each

part

is

the

best

it

can

be;

you

can

also

try

several

different

mixes

of

the

recorded

material

until

you

are

satisfied

with

the

final

production.

Best

of

all,

if

you

wish,

you

can

do

every¬

thing

yourself.

There

is

nothing

wrong

with

recording

a

good,

tight

band

with

two

well-placed

microphones,

but

with

the

sophisticated

technology

available

today,

in¬

cluding

MIDI,

muititrack

recording

allows

you

to

make

highly

professional

recordings

on

your

own.

Tracks

and

Channels

The

X-28

Multitracker

combines

sophisticated

record¬

ing

and

mixing

functions

in

the

same

unit.

Hence,

the

need

forthe

terms

“track”

and

"channel”

when

referring

to

its

operation.

“Track”

refers

to

the

actual

recorded

portion

on

the

cassette

tape;

the

X-28

records

on

tour

tracks.

“Channel"

refers

to

a

signal

pathway

through

the

mixer;

the

X-28

has

eight

channels

to

accommo¬

date

up

to

eight

inputs.

The

difference

between

the

two

terms

is

shown

in

the

diagram

below.

Channel

Track

1

—

4

*o

1

—8

,1

Overdubbing

Overdubbing

is

the

heart

of

the

multitrack

recording

process.

It

is

the

process

of

recording

a

track

in

synchronization

to

previously

recorded

tracks.

Over¬

dubbing

was

invented

by

Les

Paul

in

collaboration

with

Ampex

audio

engineers

in

the

1950’s,

and

has

had

a

greater

effect

on

music

than

the

guitar

which

bears

his

name.

Used

with

the

four

independent

tracks

of

the

X-28,

overdubbing

allows

one

musician

to

record

a

variety

of

parts

on

the

same

tape.

In

this

way,

you

can

build

your

songs

piece

by

piece,

track

by

track

It

also

lets

you

“fix”

any

parts

that

are

not

satisfactory,

as

well

as

indepen¬

dently

apply

special

effects

with

signal

processing

equipment.

Mixdown

Mixdown

is

the

final

operation

in

multitrack

recording.

This

is

where

you

combine

all

of

the

parts

you

have

recorded

on

the

four

tracks,

adjust

their

relative

levels

and

make

other

settings

to

prepare

the

final

master

recording.

Four-track

Cassette

Format

The

X-28

uses

standard

cassette

tape

for

recording.

In

a

standard

cassette

deck,

the

tape

has

two

sides,

each

side

with

a

pair

of

stereo

tracks.

As

shown

in

the

illustration

below,

the

two

tracks

on

side

A

of

the

tape

are

recorded

in

one

direction,

and

the

tracks

on

side

B

in

the

opposite

direction.

However,

the

four-track

cassette

format

records

all

four

tracks

in

the

same

direction.

Because

of

this,

there

is

only

one

side

to

the

four-track

cassette

tape;

if

you

turn

it

over

and

play

it,

all

you’ll

hear

is

a

recording

played

in

reverse.

Because

it

is

recorded

on

just

one

side,

a

90

minute

cassette

tape

will

hold

45

minutes

of

fou

r-track

audio.

Remember

to

remove

the

tabs

tor

both

side

A

and

side

B

to

protect

against

inadvertent

recording.

Standard

Cassette

Deck

X-2B

deck

4

The

Proper

Tape

The

X-28

is

designed

to

be

used

with

High

Bias

70

psec

EQtape.

002

and

Type

II

designations

are

common,

but

always

look

for

the

70

psec

EQ

identification.

Maxell

U

D-XL11

and

TDK

S

A

are

recommended,

as

are

other

tapes

of

comparable

quality.

Metal

tape

should

not

be

used.

Never

use

120-minute

cassettes;

the

backing

is

too

thin

and

will

quickly

stretch

and

may

break.

Because

of

their

strength,

tapes

of

60

minutes

are

recommended

for

withstanding

the

physical

strains

of

recording.

The

Right

Connections

Please

exercise

caution

when

connecting

cither

equip¬

ment

to

the

X-28.

Never

connect

the

output

of

an

amplifier

to

an

X-28

input,

for

example,

because

you

could

seriously

damage

the

recorder.

Less

severe

problems

caused

by

impedance

mismatching

can

re¬

sult

in

a

loss

of

volume

and/or

frequency

response.

In

general,

microphones

are

low

level

signals

and

should

be

used

on

inputs

1

through

4.

Rhythm

machines,

synthesizers

and

other

electronic

instruments

are

“line"

level

devices

andean

be

used

on

all

of

the

X-28

inputs.

Electric

guitars

are

so

often

customized

electronically

and

used

with

such

a

wide

variety

of

effects

boxes,

that

it's

impossible

to

state

even

a

general

rule.

The

best

advice

is:

always

turn

the

controls

on

all

equipment

down

to

the

minimum,

then

gradually

increase

the

level

controls

to

determine

whether

you’ve

made

the

right

connections.

The

Specifications

section

lists

the

input

and

output

impedances

of

the

unit.

Never

plug

any¬

thing

rated

in

watts

(W)

directly

to

an

X-28

input.

Always

use

the

best

quality

cable

that

you

can

afford.

This

is

one

simple

way

to

dramatically

improve

your

sound,

both

live

and

recorded.

Inexpensive

cables

often

have

poor

shielding,

unusual

impedance

and

poor

signal-to-distortion

characteristics.

PANEL

CONTROLS

AND

TERMINALS

_

(Bold

words

in

parentheses

are

the

names

of

the

controls

as

they

appear

on

the

panel.)

PANEL

CONTROLS

O

INPUT

TRIM

1

—4

(TRIM)

The

Trim

controls

are

coarse

controls

for

determining

the

signal

levels

for

inputs

1

—

4,

The

higher

settings

(toward

-60)

are

for

low

level

sources

such

as

micro¬

phones.

The

lower

settings

(toward

-10}

are

for

line

level

sources

such

as

drum

machines,

keyboards

and

line

signals

from

other

audio

equipment.

These

con¬

trols

should

be

adjusted

to

a

suitable

level

before

adjusting

the

input

faders

of

channels

1

—

4

in

the

INPUT

A

section

@.

©

INPUT

FADERS

1

—

8

(INPUT

A,

INPUT

B)

The

input

faders

are

used

to

adjust

the

signal

levels

for

the

input

channels.

The

INPUT

A

faders

control

the

levels

of

inputchannelsl

—4.

The

INPUT

B

faders

can

be

switched

to

control

the

levels

of

either

input

chan¬

nels

5—8or

recorded

tracks

1

—4;

switching

between

the

two

functions

is

done

with

the

INPUT

SELECT

buttons

©

©

INPUT

SELECT

SWITCHES

5

—8

(INPUT

SELECT)

These

two-position

switches

determine

the

signal

source

to

be

sent

to

the

INPUT

B

faders

©

for

channels

5_8.

When

INPUT

SELECT

©

is

set

to

INPUT,

the

faders

control

channel

inputs

5

—

8;

when

set

to

TRK,

the

faders

control

the

recorded

tape

tracks

1

—

4.

(Fader

5

controls

tape

track

1,

fader

6

controls

track

2,

etc.)

©

CHANNEL

PAN

CONTROLS

1

—

8

(PAN)

The

channel

pan

controls

determine

the

left

and

right

balance

of

the

respective

input

signals

(1

—

8)

as

they

are

sent

to

the

stereo

buss.

(For

more

details,

see

"Buss,”

page

17.)

They

also

determine

the

stereo

balance

of

the

tape

tracks

when

the

INPUT

SELECT

switches

are

set

to

TRK.

@

AUX

SEND

CONTROLS

1

—8

(AUX)

The

AUX

SEND

controls

are

used

to

send

the

respec¬

tive

input

signals

(or

tape

tracks,

if

selected)

to

the

AUX

SEND

jack

©.

Generally,

these

are

for

sending

the

signals

to

signal

processors,

such

as

digital

reverb

units

or

multi-effect

devices.

The

AUX

SEND

controls

are

independent

for

each

channel,

and

are

used

to

provide

a

mono

mix

signal

which

is

sent

to

the

AUX

SEND

master

control

©.

(For

more

details,

see

the

section

AUX

(Auxiliary)

Send

and

Return,

page

20.)

The

AUX

SEND

controls

for

channels

1

—

4

differ

slightly

from

those

for

channels

5

—

8,

as

described

below.

AUX

SEND

CONTROLS

1

—

4

The

controls

for

input

channels

1—4

are

post-fader;

they

determine

the

amount

of

signal

that

is

sent

after

the

input

fader.

AUX

SEND

CONTROLS

5

—

8

The

AUX

SEND

controls

for

input

channels

5

—

8

are

pre-fader;

they

determine

the

amount

of

signal

that

is

sent

before

the

input

fader.

They

are

dual¬

function

controls

that

send

either

the

signals

of

the

input

channels

or

the

tape

tracks,

depending

on

which

direction

they

are

set.

When

set

toward

INPUT,

they

can

be

used

to

send

the

selected

input

signal

(5

—

8)

to

signal

proces¬

sors,

such

as

digital

reverb

units

or

multi-effect

devices.

When

set

toward

TRK

(TRK

1

—

TRK

4),

they

can

be

used

to

send

the

selected

tape

tracks

to

a

signal

processor,

or

can

be

used

as

level

controls

for

monitoring.

Turning

the

control

all

the

way

to

the

left

sends

the

selected

input

channel

at

full

volume,

while

turning

the

control

to

the

far

right

sends

the

selected

tape

track

at

full

volume.

The

center

position

is

“0,"

or

no

signal

sent.

(For

more

details,

see

the

section

AUX

(Auxiliary)

Send

and

Return,

page

20.)

©

AUX

SEND

MASTER

CONTROL

(SEND)

This

control

determines

the

overall

level

of

the

mixed

signal

output

of

the

individual

AUX

SEND

controls

©,

via

the

AUX

SEND

jack

©.

8

Q

AUX

RETURN

CONTROL

(RTN)

The

AUX

RETURN

control

determines

the

level

of

the

signal

that

is

received

at

the

AUX

RETURNjacks®.This

is

normally

used

to

control

the

amount

of

effect

pro¬

cessing

(sent

via

AUX

SEND

©

and

©

that

is

"re¬

turned"

to

the

X-28.

AUX

SEND

I

Effect

device

TT

REMIX

This

position

sends

the

signal

to

the

stereo

buss.

Normally,

REMIX

is

used

in

most

recording

situa¬

tions,

including

recording

ol

input

signals

connected

to

channels

5

—

8,

ping-pong

recording

and

mixdown.

MONMIX

This

position

sends

the

signal

to

the

monitor

buss

(the

monitor

out

and

headphone

jacks).

Since

this

switch

comes

before

the

MONITOR

select

switch

in

the

signal

path,

the

MONITOR

select

switch

must

be

set

to

MON

MIX

+

LI

N

E

for

the

signal

to

be

heard.

©

MONITOR

SELECT

SWITCH

(MONITOR)

This

switch

determines

which

signals

are

sent

to

the

monitor

out

and

headphone

jacks.

The

switch

has

three

positions:

MONMIX

+

LINE,

AUX

and

AUX

+

LINE.

MONMIX

+

LINE

This

position

sends

a

mix

of

two

signals

to

the

monitor

buss:

1)

the

stereo

signal

of

the

INPUT

B

channels

(when

MONMIX

is

selected

with

the

IN¬

PUT

B

select

switch

©),

and

2}

the

signal

of

the

stereo

buss.

AUX

This

position

sends

a

mono

mix

of

the

AUX

SEND

signal

to

the

monitor

buss.

L

ft

AUX

RTN

RTN

AUX

to

stereo

buss

Ft

lo

stereo

busa

L

©

EQUALIZER

CONTROLS

(EQ

HI,

EQ

L0)

These

controls

provide

two-band

equalization

(high

and

low)

for

the

stereo

mix.

The

controls

co

me

after

the

input

faders

and

before

the

stereo

master

fader.

@

STEREO

MASTER

FADER

(MASTER)

This

ganged

slide

control

determines

the

overall

output

level

of

the

stereo

buss—the

signals

sent

to

the

LINE

OUT

jacks

®.

©

INPUT

B

SELECT

SWITCH

(INPUT

B)

This

switch

determines

whether

the

stereo

signal

from

the

INPUT

B

channels

is

sent

to

the

stereo

buss

or

to

the

monitor

buss.

The

switch

has

two

positions:

REMIX

and

MONMIX.

AUX

+

LINE

This

position

sends

a

mix

of

the

mono

AUX

SEND

signal

and

the

signal

of

the

stereo

buss.

The

following

chart

lists

the

settings

for

the

INPUT

B

and

MONITOR

switches

as

used

in

the

various

record¬

ing

operations

of

the

X-28.

Operation

INPUT

B

Switch

MONITOR

Switch

Recording

Recording

to

channels

1

-

4

only

MONMIX

AUX

(fixed

center

position},

or

MONMIX

+

LINE

(stereo

monitor-

ing)

Recording

lo

channels

5-8

REMIX

AUX

(or,

in

the

case

ol

stereo

recording:

MONMIX

+

LINE)

Overdubbing

Rehearsal

MONMIX

AUX

+

LINE

Take

(recording)

MONMIX

AUX

For

monitoring

recorder

output

in

stereo

MONMIX

MONMIX

+

LINE

Ping-pong

Recording

Rehearsal

REMIX

MONMIX

+

LINE

Take

(recording)

REMIX

AUX

Mixdown

For

sending

stereo

signal

via

LINE

OUT

jacks

lo

master

recorder

REMIX

MONMIX

+

LINE

_|

For

sending

stereo

signal

via

MON

OUT

jacks

to

master

recorder,

especially

in

tape

sync

applications

REMIX

l

AUX

+

LINE

9