Press PLAY to begin rehearsal. 6. Balance the mix with the INPUT faders (2) and adjust EQ controls (7) for channels 1 ~4 as required. NOTE: If you wish, you can take advantage of the AUX 2 bus (8) and send an independent mono mix to an external processor and patch its output to AUX RTN (14), which places the processed signal on the stereo bus. 7. When levels are properly set and rehearsal is complete, press RECORD and PLAY simultaneously to begin recording the “take". y I < ADDITIONAL PING-PONG RECORDING EXAMPLE > SECTION 7. GENERAL PROCEDURES By now it should be apparent that there are a few general procedures to be followed during each phase of the multitrack recording process: 1. Start by “zero ing” the controls. Set all controls to their 0, off or minimum position. Adjust only those controls which will be in the signal patch of the procedure you are about to begin. 2. Set the record level first—remember that EQ (7) is after the INPUT fader (2) but before the MASTER fader {15)—then adjust the monitor level. 3. Rehearse before you record. Sometimes, in order to move things along, you'll want to make a quick reference recording just to hear where things stand. But take the time to rehearse both the performance and the operational procedure before each 'lake". 4. Just because it’s a "take” doesn't mean it's a “keeper." You can always do it again, and while recording can sometimes be tedious, you only have to get it right once. WHAT IS TAPE SYNC? It is the process of dedicating one of the tracks on the recorder to trigger multiple instruments through MIDI, which will then play in tandem with the parts recorded on tape. There are many advantages of tape sync: •MIDI-controlled instruments need not be recorded on tape. Only acoustic instruments and vocals need to be recorded, thus saving track space •Better overall sound quality is achieved when the MIDI-controlled instruments are mixed directly to the master recorder during mixdown. •Greater production flexibility is achieved through tape sync because you are free to re-program MIDI instruments (except tempo) right up until the final mix. NOTE; MIDI signals cannot be recorded directly onto tape. An FSK device Frequency Shift Keying) translates the MIDI clock data into frequencies which may then be recorded. When these control frequencies are then played back, the FSK device translates them back into MIDI data. Most modern sequencers, drum machines and MIDI control devices have these FSK circuits built-in; in some cases you may need to purchase an outboard converter I Connecting the 280 for tape sync Audio signal Here are two examples of a tape sync set-up: EXAMPLE 1: A total of eight "live” sound sources will be mixed to stereo with tracks 1 -3 at the center PAN perspective. EXAMPLE 2: Tracks 1 -3 plus three "live” sound sources will be mixed to stereo using two signal processors (mono-in/stereo-out type). EXAMPLE 1. Master recorder TAPE OUT 4 (FSK) i f MIDI/FSK converter (MIDI) i r Fully retard to -oo the output of track 4. SEQUENCER (MIDI) Adjust master level of tape playback sound Adjust send level to the master recorder -►I MIDI sound sources 1 -8 Adjust master level of MIDI sound sources < SYNCHRONIZING OF 8 SOUND SOURCE OUTPUTS (TAPE SOUND AT CENTER PERSPECTIVE)> •The tempo control information is first programmed into the sequencer {do this carefully because tempo cannot be changed later). •Patch the sequencer (directly or through an FSK converter) to track 4, and patch the part(s) which will act as an rhythm guide for overdubs to track 1 (this signal will be replaced by the final overdub, after tracks 2 and 3 are recorded). Keep the Dolby NR on. •Record the control signal in one continuous pass. NOTE: Regarding the proper record level of the FSK signal and the required length of the pilot tone, which indicates standby before start, refer to the Owner’s Manual of the MIDI device being used. •Using track 1 as a monitor reference make the overdubs on tracks 2 & 3. •Make the final overdub on track 1 using tracks 2 and 3 for monitor reference •Now patch the MIDI instruments and set the 280 controls as shown on page 22 EXAMPLE 2. NOTE: Use Tape Out 4 (32) only to drive the sequencer, i These tape outputs are direct and by-pass the mixing ' network. •Set the sequencer In the MIDI slave mode and enter auto | start. Begin rehearsing the mixdown and adjust levels i and/or MIDI programming as necessary. •When you are ready to begin recording the mixdown performance, connect the master recorder inputs to the MON OUT jacks (30) and select both STEREO and AUX 1 on the MONITOR selector (16). NOTE i: Tracks 1 ~3 are mixed by the AUX 1 bus controls and the MIDI sound sources (channels 1 ~8) are mixed by the stereo bus controls. Both buses are then mixed together and the composite stereo signal appears at the MON OUT jacks (30). NOTE 2; If desired, you can also use the AUX 2 bus to send and return sele...
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