Owner’s Manual Model — 812 RECORDING MIXER ee Po ie i ig | FostexOOS RISK OF ELECTRIC SHOCK (DO NOT OFEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER(OR BACK), NO USER-SERVICEASLE PARTS INSIDE. REFER SERVICING TO QUALFIED SERVICE PERSONNEL. The lghtiing fash with arrowhead symbol, within an equlaiere angle, nterded © Alan tro «ser 10 the presence of uninsuiaterd ‘dangerous voltage’ ythin the produet’s en- closure tat may be o sulicient magntude Coreliutea risk of elect shock to persons, “WARNING” TO REDUCE THE AISK OF ARE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPLIANGE TO RAIN OR MOIS: TUR, SAFETY INSTRUCTIONS 1 2 3 Fad Insiructions ~ Al the safety end operating inirve tons shou! be read aloe the apolience is operated Felain insttuctions ~The seley and operating structions should be retaned fo [uure reterence. Heed Warnings~Allvarningson theagplanoeand inthe (petting Insitutions should be achered (0. Follow Instuctions ~ All operatiig anc use instructions ‘should be followos. ‘ler and Meisture ~The appliance should no be used near welet ~ fr example, neer 2 bantu, wast i ‘chen srr laurdky 1b, n @ wet basomant, or near asw- ming poot, an the tke Carts and Starde — Tho applarce should be used only ‘with a cart or sland tha is eacomrrended by the mer: facturer ‘An appiance and cart combination should be mover ‘with care, Quek stops, excessive force, and unever surlaces ray cause the appliance and cart cambintion Wil or Caing Mourog —The apace should be monn ‘ed to wal orceng Only as raeoenmendon by the mE facturer entation ~ Tae appiance should be stuatec so tht ts {ocaion or postion does not ntertere wi Is oper ven Ibtion, For exarmpa, the appliance enovid not bo stualos ‘on # bel, Sofa rup. rsimilarsurtace that may block the ‘entiation openings; or, placed in a buitin nstalaton ch esa bookcase o' cabinet may impede he ow 0 ‘ar tough the ventlaton openings. 10 13. 14 The exchmation point within ay equiateral Irene 6 inlerded to art the user 1 the prasence of imporant oporaiing and maine. hance (G2rvcing) inetuctons i the iteraure accompanyng the appliance. Host — Tho appliance should be eitatod away rom hoa sourves such as adios, eatregsle's sows, of ane! appliances (including ampliiers) that proxice hea Powor Sources ~ Theapplianceshculd becomeciedtos ower Supply only of he ype cascribes ne OperAing featuctons oF 2a marked on ho appianco. rounding or Polarization — The precautonsthat should e laken $9 thal the grouncing or polarization means ch an appliance $ not defeated Power Cord Protecion ~ Powe supply corés stould be fouled $0 that trey are net likely tO be walked on er Pinesed ty ferns placed upon oF agains them, paying articular atetion io cords a lugs, convenience recep- Facies, and the point where they ext fom the appliance. Cleaning — The appliance should be clsaned only as recommended by tre manufacture Norse Periods ~ The pov ecrd eft appliance should be unplugaod rom the outlet whon lok unused ler along Datiod of me. Object an Liquid Entry ~ Gare should be teken so thet ‘bects donotall and liuids ae not sold info tne enc- losure through openings. Damage Raguinng Service — The apsliance srould be seniced by Quallec sevice personnel wen: |. The power supoly coud orthe plug has been damaged: B, Objects have fallen, cr Houid has been spiled into the ‘appiance; or . The appliance has been exo08ad to rain; oF . The appliance does not appear © aperate normaly or ‘exhbils @ marked change perlermance; or The applianco nce boon ciopped, or the enelocure damaged, Servicing — The user stouid et allot o service the appliance beyond that descrbod inthe operatng inst. lions, All cher serviong should be referred to qualied senice pesonne» INTRODUCTION y ‘Thank you very much for purchasing 2 Fostex Model 612 Recerding Mixer The Mode! 812 is a ‘2input recording mixer wth all the necessary lunctions required fo: a mulitack recording. The Mode! 612 hes all of the following features. 4. An 8.channel output, orovicing the perfect combination wih an rack mulitrack recordex. 2.7wo Fifect Sands (monaural) and ar Ailary Send (stereo), alowing a variety of sound effect processes possible. 3. The capabilly to send the AUX signal (utile monitoring the recorder output signal) to the Etiecl Send 2 output, making it possibe to, for example, cas. a reverberation (oF this signal and thus simulaie the recording ervircn ment without tampering wilh the output signals to the recorder TABLE OF CONTENTS PAGE SECTION 1 SPECIFICATIONS p SECTION 2 BLOCK DIAGRAMS. 3 SECTIONS GUIDE TO COMPONENTS 5 SECTION 4 THE PARAMETRIC EQUALIZER 9 SECTION 5 CONNECTING EFFECTORS = SECTION 6 CONNECTING PERIPHERAL 10 EQUIPMENT SECTION 7 BASIC SIGNAL FLOW " SECTION: SPECIFICATIONS “ileophore impedence 67OrxS3omm welch agai PuaNToM powen suppiy Bets)section 2 BLOCK DIAGRAMa] Ct ®@ c@o0 Oo o@00 > ce00 Go} c@00 Ce ec@00 Co pocosection 3s GUIDE TO COMPONENTS ‘The numbers in () indicate the location of the component. FRONT PANEL 1. PEAK LED This LED turns on when the input signal to INPUT jacks (85) ard (86) orto the TAPE IN jack (6) is overloaded (41908). the LED tends to turn on frequety, ads the ‘TRIM @) or tho EQUALIZER GAIN (4) Unti/an appropriate level is reached. For details, refer to pg. ADJUSTING IN- PUTIOUTPLT LEVELS 2. INPUT TRIM This knob trims the pre-ampltier gain of the incoming sig rl [rom INPUT jacks (85) and (86). The TRIM rosponds to 2 wicle range from —80dBV (microphone leva) to —10dBY (line leve). Please note that the input level from the TAPE IN jack (38) can net be adjusted! & INPUT SELECTOR (INPUT/TAPE) This selects the signal to be sent to the INPUT FADER (5). INPUT (HL): The sound source coming into INPUT Jacks (85) and (86) is selected (Usec mainly when record ing). TAPE ): The sounc source coming into TAPE IN jack (38) & selected (Used mainly when mixing down). 4, EQUALIZER SECTION This section adusis the tone quality othe sound signal selected by the INPUT SELECTOR @). For further details, tele! to pg. THE PARAMETRIC EQUALIZER 6 EFFECT SEND 1 This krob acjusts tho output level of the post FADER sig ‘nal the signal atter adusted by INPUT FADER (15) belore being sent to he EFFECT SEND 1 buss. The signalis sert to the EFFECT SEND 4 buss via the SEND 1 MASTER LEVEL krob (21) ands outputted rom the EFFECT SEND + jack (60) and may be sent to effectors for processing 6 EFFECT SEND 2 SELECTOR (AUX/POST) This selector is effective only when the AUX SELECTOR @)is set to TAPE (eis depressed). t selects the signal to bbe sent to EFFECT SEND 2 (7). PCST(M): The post FADER signal is selected. AUX(a): The signal from the TAPE IN jack (28) aller being adusied by AUX GAIN (9) is selected Note that when the AUX SELECTOR (6)is set to POST, this selector has no effect and thus, the signal sent to the EFFECT SEND 2 (?) will be POST. 7, EFFECT SEND 2 Tris knob adjusts the output level of the signal being sent to the EFFECT SEND 2 buss, From here the signal then is gent to the SEND 2 MASTER LEVEL knob (22) nd outputted from the EFFECT SEND 2 jack (49) and Used for effect processing 8 AUX INPUT SELECTOR (POST/TAPE) This selects the signal to be sent to the AUX GAIN @) POST(H): Tho post FADER cignal is solested. TAPE(} ‘The incoming signal to tne TAPE IN jack (38) is selected, Usually, if one wants 10 procase an affact usng the post- FADER signal via the AUX GAIN (9). POST is solecied. If ‘one wents to monitor the cutput from the recorder while mixing-dawn, TAPE is selected, 9. AUX GAIN 4 This knob adjusts te lexel of the signal selected by the AUX SELECTOR (8) and sent to the AUX buss. The func- tion of mis kro varies depensing on the slatus of the AUX SELECTOR (8), FOST. serves as a stereo input type EFFECT SEND. TAPE: senes as a monitor volume conirol ofthe recorder output coming into TAPE IN jack (8). The signal which is sont to the AUX buss passes through the AUX MASTER LEVEL knob @3] and is outputtad from the 48, AUX OUT jack and may be used as an input signal for slereorinput effectors. 40. AUX PAN ‘This pen adjusts the LefLRight belance of the signal be- ing sert to the AUK tuss from AUX GAIN (8). When the ‘AUX SELECTOR @) 's in the POST position, it may be used for setting the LR balance for the EFFECT SEND gral. When in the TAPE postion, it may be used for setting the perspective of the recorder output monitor gral ‘11, GROUP ASSIGN SWITCHES ‘These switches (elorg with GROUP PAN (12) assign the signal sent from the INPUT FADER (15) to GROUP busses 1~8 GROUP ASSIGNING depressed=ON i | (MMM: Button down || Button up) 4 to GROUP buss 4 =: Oo Oe m= to GROUP buse 4 fo GROUP busses to GROUP busses 5&6 at the same level 1~8 at the same level Oe 12. GROUP PAN Along with te GROUP ASSIGN SWITCHES (tt), the assigning is done as ill.strated. a48, INPUT SOLO SWITCH When the itch is pressed (ON), ihe SOLO LED (22) is turned on end the fost FADER signal ofthat channel is sent fo the SOLO buss. The MONITOR SELECTOR (25) 's overtidden and the SOLO buss output signal is sent to Dol the MONITOR LEVEL knob (26) and PHONES \VCLUME (27). In other words, the post-FADER signal of the fartcuar channel can now be monitored using headphones or speakers The montored signal main tains the perspecive sot with the PAN pot (13), making equaling adusiments with EQUALIZER (d) possible without any sound distortion. This 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 LED located wihin the savtch wall toggle between ON and OFF. When the LED is ON, the signal entering the INPUT FADER (15) ofthat Channel wil be muted. Ths isthe equivalent of compete ly nering the INPUT FADER and is useful when one wenls (o cut out @ channel without moving the FADER postion, Whon the LED is OF, tho muto function 6 foloased. 16. INPUT FADER ‘Ths adjusts the level ofthe signal selected by the INPUT SELECTOR @). As noise and distortion is minimum at the scale range of0 = 5id), itis eecommended to initally sat the INPUT FADER within this range and then adjust with TRIM @). 16. GROUP MASTER FADERS (busses 1~6) ‘These are the maser faders for GROUP busses 1~6 respeatively. Not only are the cutout signal levels to the GROUP OUT jacks (48) adusied here, but also signal levals to the GROUP 70 LR SECTION (18) and (19) es well, Normally this area's used to set the sgnal level (of the output io TRACKS 1~6 of a multtrack recorder 47. GROUP MASTER FADERS (busses 7/L, 8/R) ‘These two are the master faders for GROUP busses 7 and 6 They adjust he signal leves assigned directly to GROUP busses 7 andé (rom GROUP ASSIGN (11) and (12) 2s wel as signel levels assigned via the GROUP TO. LER SECTION (18) and (19). Normally these are used to 0% tho signal level of the output to TRACKS 7 and 8 of 22 mutirack recoicer Also, when mixing-cawn, they may 'be used for signal leve adustment to a master recorder (le for fade-inout purposes). 18. GROUP TO LR GAIN These knobs adjust the individual levels of GROUP busses 1-€ when assigning them to GROUP busses 7 and & For examole, in a mixing-down situation, the source signals may be assigned to GROUP busses 1-6, hen Colectvely sent to GROUP busses 7 and 8 aller beng adusied al the GROUP TO L-R SECTION (6) end (19) and finaly cutputied to a master recorder: 19. GROUP TO L-R PAN These knoos adjust he Lelt-Rignt perspective of the signas 10 be sent io GROUP busses 7 and B.A tun towards L_ wil send the signal towards GROUP buss 7 wile P wil sond the signal iowarcs GROUP buss & ‘After being assigned to GROUP busses 7 and 8 from here, the signals are then outputted irom GROUP OUT jacks 7/L end 8R (46) via GROUP MASTER FADERS TL, & (7), 20. a. 22. 23. 24. 25. 28. GROUP SOLO SWITCH When this swich is pressed, the respectve GROUP: buss output signal is sent to the SOLO buss. Similar to the INPUT SOLO SWITCH, the MONITOR SELECTOR (25) is overrcden and the signal sent lo both the MONE TOR OUT jack (47) and the PHONES ack (24), erabing monitoring wih headphones or speakers EFFECT SEND 1 MASTER LEVEL KNOB This knob adjusts the mester level of he signals sent to the EFFECT SEND 1 buss, which is then outputted from tho 50. EFFECT SEND 1 jack EFFECT SEND 2 MASTER LEVEL KNOB ‘This knob adjusts the master level of he signals sent to the EFFECT SEND 2 buss, which is then outputted from the 49. EFFECT SEND 2 jack. AUX SEND MASTER LEVEL KNOB This knob adjusts the master level of the signals sent to the AUX busa, which is then outputed frem the 48, AUX OUT jack SOLO LEVEL KNOB This knob aujusts the master level of the signals sent to the SOLO fuss, which incudes signals coming from INPUT SOLO switches and GROLP SOLO switches. MONITOR SELECTOR This selects the signal to be sen! to MONITOR OUT jack {47} and PHONES jack (24), LAR: The output signal from GROUP busses 7/and 8 AUX: The output signal from the AUX buss (ie to be outputted from the AUX OUT ‘ack (48)). EFFECT SEND 1: The sanal to be outputed ‘tom the EFFECT SEND 1 jack (60) is selected with a central perspective. EFFECT SEND 2: The signal to be ‘outputted from the EFFECT SEND 2 jack (48) is selected with a centval perspective in general, LAtis used when mixing-down, AUX is used whan monitoring the output to @ recoicier The selection is made when the respecive switch is depressed. MONITOR LEVEL KNOB This knob adjusts the output leve! ofthe signal sent tothe MONITOR OUT jack (47). 7. PHONES VOLUME This control the voUMe of the sgnal sent to he 34 PHONES jeck. EFFECT RETURN 1 SECTION This section assigns the signal coming into EFFECT RTN + jacks (40) to GROUP busses 1-6 aces le 2 o™ RIN 1 ASSIGN SWITCH® Css awn? “Ge ns cane }— ATN 1 PANS RTN 1 ASSIGN SWITCH RTN 1 GAIN FTN 1 PAN The assigned buss(es) is determined by the use of the RTN 1 ASSIGN SWITCHES (28) and the RIN 1 PAN (28). The signal love is adjusted by RTN 1 GAIN (28)However note that the functon of the RTN 1 PAN (28) deoends on the conrecions made wth the EFFECT RIN 1 jacks (40) (feet to the follewing ilustrations). ‘When connections are made io both L and Ri of the EFFECT HIN 1 cs (40), the 28 RTN 1 PAN serves asa LA balence agjuster Eg. 1: The LEFT output of a sleteo output for a reve'beralor is sert to GROUP fbuss 1 whie the RIGHT is sent io GROUP buss 2 at qual love, ome os os = Button down Ore Button up} # “©, Fo. 2 The LEFT output of @ stareo output from a reverberaicr is sent to GROUP busses § and 7 at cua levels while the RIGHT is sent nowhere acca ee ae o- (MME © Button down 1: Button up) When a connections made with only L, RTN 1 PAN (28) serves $a pan. Eg. 1: The monaural output from a delay is sent lo GROUP busses 3 and 4 at equal levels, (mmm: Button down | 5): Button up} ones Eg. 2 The moneural output from a delay is sent to only GROUP buss 8. oh oe BO ® = Button down | (1: Button up} NOTE: When a conneoton is made wih onl R, itis not possible 1 assign the signal to an add GROUP 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 maichng purposes. 29, EFFECT RETURN 2 SECTION This section assigns the signalls) coming into the EF- FECT RIN 2 jacks (41) lo GROUP busses 1:8, The lunc- tions of the switches are the same as in the EFFECT RETURN 1 SECTION 28} 30. EFFECT RETURN 3 SECTION This section assigns the signai(s) coming into EFFECT FIN 3 (42) jacks to GROUP busses 1-8 The functons of the swiches are the same as in the EFECT RETURN 1 SECTION (23). 31. FL BAR-GRAPH METER This meter cisplays the output of GROUP QUT jecks 1-1 from left to right respectively 32. PHANTOM LED This LED is It when the PHANTOM switch (6!) & ON 93. SOLO LED This LED is lt when an INPUT SOLO switch (13) er GROUP SOLO ewitch (20) ie prossoc 34. PHONES JACK The same signal (o the MONITOR OUT jack (#7) is out puited here REAR PANEL 35. XLR INPUT JACK This is an XLR type jack. Its intenced for a balanced in- ui signal (rd pin is HOT). Howeve,itdoas accomodate an unbalanced sgnal as vel: When connecting an ur: balanced signal source, pins 1 and2 become GROUND and the PHANTOM swiici (1) MUST be tuned OFF Also, tis overridden when there is plug cornected to the PHONE INPUT jack (6), ard the input signa’ to the XLR INPUT jack (i there is one) goes nowhere. Pin #2 (cou) —| 36. PHONE INPUT JACK ‘This is @ 69 phone-type input jack and is unbalanced, It does accomodate a balanced input signa, and, in such a case, the TIP will be HOT and the RING wil be COLD.37. INSERT JACK From this jack, the post-FADER signal is sent out, possi by to an affect processor, and then retumed to the same jeck (See ilustration). This jack is used mainly when hooking up effectors which modiy the sound source sig ial iso, Such as compressors, initers and nose gales ‘The jack is of a stereo pronetype (IP is SEND, FING is RECEIVE), if nothing is connected 10 this jack, the signal goes straight twrough from SEND t RECEIVE oe 2 To ettestor SEND} nom lew $5 From tector (RECEIVE) 38, TAPE INPUT JACK This jack is usec mainly for the unbalanced cutput from the muttrack recorder in use 39, DIRECT OUT JACK The post FADER signal from the particular channel is outputted from here (unbalanced). This jack may be Used 10 send the signal to effectors 40, EFFECT RETURN 1 JACK Normaly, the output ftom the effectors (unbalanced) vill be returned here. The R of this ack also acs as a switch, ihen only Lis plugged in, itis the equivalent of con- nactng the same sgnal with both L and P (ie the L.sig- ral willbe spiced equally between L and A). When bah Lard R ave plugged in, a normal stereo input is carried through. When only F is pluggec in, only R will receive the signal 41, EFFECT RETURN 2 JACK ‘This functions the same as the EFFECT RTN 1 jack (40). 42. EFFECT RETURN 3 JACK ‘This functions the same as the EFFECT RTN 1 jack (40). 43. GROUP BUSS INPUT JACKS Tese are the ingut jacks to GROUP busses 1-8. Usually, these aro used es subsiciary inpuis when there isa shortage of EFFECT RETURNS or when one hooks: lup enather mixer to acheive 2 cascade eifect 44, AUX BUSS INPUT JACKS. ‘These are the input jacks for the AUX buss (uribalanced). Usually, thoes are usod when ne heals up anothor mixer to achieve a cascade eect 45. EFFECT SEND BUSS INPUT JACKS These jacks are input jacts for boll EFFECT SEND 1 and SEND 2 busses (unbalanced), Usually, the EFFECT SEND outpute of thar mixare ere connectod here to achiave a cascede aflect 46, GROUP OUT JACKS These (unbalanced) output jacks for busses 1-8 are usually connected wih the inputs to mulitrack recorders. 47. MONITOR OUT JACKS The signal eoleoted by oithor MONITOR SELECTOR (25) or the SOLO buss signal (hen in use) is sant here (un. balanced) alter is level being adjusted hy the MONITOR LEVEL knob (26). It may be used to hook up speakers lor monitoring purposes, 48, AUX OUT JACKS These are the output jacks for the AUX buss (un balanoec). They are usualy connected to the inputs of an efector. 49, EFFECT SEND 2 JACK Thi ie tho output jeok for the EFFECT SEND 2 buce (unsalanced). It is usualy connected with the inpul of an effector 50, EFFECT SEND 1 JACK This ie the output jeck for the EFFECT SEND 1 buse (unsalances). it ip Lauelly connacted with the input of an effector 51. PHANTOM POWER SWITCH When this switch is ON, a DC24V current will be supped to pine 2 ard 8 di the INPUT jacks (25) and (86) for all channels When connecting @ condersor microphone, lurn the PHANTOM switch ON, NEVER connect a dy: namic merephone when the switch is ON: It MUST be tured OFF wher the microphone has no need for an exterior power supol, 52. PEAK HOLD SWITCH When this snitch is ON, the peak lavel indicated by the FL meter (G1) will be held for approximately 4 seconds. When it is OFF, the Deak level will not be hela. 63. POWER SWITCH After turning.an tha power to this unit, the muting time wil be about 5 seconds 54, MIDI EXPANSION SLOTS This apace ie aloted for future use with MIDI control, Oo not remove the panel, since this may reeult in damage ‘9 this unt: Mountng wil be done at the Service Staton vel 55, POWER CORDsection 4 THE PARAMETRIC EQUALIZER The MODEL 812 features two singlebend paranetic equalizers along with a “OkH?fixectirequency shelving-type equalizer al e2c) inout channel. The two parametric equal 15, wrich cover diferent frequency ranges, can set frequen Ges wthin the ranges of 60H2~ TkHz and 400H:~6kHz, rspecively. They are also capale of boosting and cutting withn the 15d range, and wil be highly effective when adding character 1 the tone quality of the sound! signal by nnanipulaing the fundamental equercy andlor hamonic overtones of the instruments/vocels: FREQUENCY RANGES OF VARIOUS INSTRUMENTS NOTE: Although the parametric equalizer is highly ellectve in the tone control of the original sound, during a micro. Phone recording it is equally important that one adjusts the posiioning of the microphones andor the type of micro- Phone in order to achieve the desired tone quality section s CONNECTING EFFECTORS Numerous kinds of sound manipulations are caitied out uring @ mulitrack recording through the use of various sound processors. Depending on the usage of @ paricular processor, connections to the Mode 812 may vary. Please refer to the following illustraions, 1, When processing an effect on a particular channel (69. compressors, limiters, days, etc.) Nose oats | a TYPICAL EQUALIZATION RESPONSE GRAPH 6 INSTRUMENT| CUTTING |__ BOOTING Human Vics |Soratcny a iH Hatt 8 or 72k Nasal atthe Cary above Shh Popping P's below ear Body at 200 ~ S002 Piane Tiny at 1— zie Presence al Shite Bonmy al320H2 Base at 12542 Biscric Guitar |My below 80H2 Canty at 3.24He Bass at 12542 Acouslic—[Timiy al2— 3.202 Sparkie above sKre Booey ai 2002 Full st 125He inn at He Growl at 6202 ‘Boomy at 12sHe __Bass below BOHz Holow a 6202 Sep at 32 Sittz ie [Boomy at 200He Bae Below 2004 SrareDeam |Amoyngat tke Crisp abave Dkiz Full t 1254 Deep at sori Bass Drum |Flospy at 520+ Sep at 22 — Site oom) below BcHz Bass al 80 — 125+ ‘*Depih of the sound by contrling frequency around 100; ‘*Add character by controling frequency around TkHiz ‘*Voluminous sound by boosing 2~ akHz *Giariy by boosting around kHz ‘*Sound riliancy by boosting ebove SkHz Act process ‘ong erat 3 ee e3 = Retro the eer eer, | canes aera 4 jes Usialy, not used —9 s ¥ 2, When processing @ common efect on al channels but with amcundperspective adjustments made per channel (eg. reverberators, exciters, ets) ‘Sts sv te ESFEC SEND 1 6) ea ae Sana en oe ‘er pocoes a separ seodod wan NeSEND 2 SELECTOR o ‘Sn sn! oto AUX GAN (wl tne a verte ‘pocere te ented wi Os ALS SELECTOR 1), By ve, be AUX PAI (ge pasereche orto sre iy 625 88 We LI sad shen the eae isa Feehack wi cca Ihe electro section 6 CONNECTING PERIPHERAL EQUIPMENT 4, IMPEDANCE Input and cutcut impedances stould be consdeed when cornesting this unit 10 other equipment. Impedance is the resistance vate against allernating cur fens, such as sound signals and the unit used is the @ (hn). Ifthe output inpecarice J 2 given unit does not match the input impedance of arothe, this may resut in sound distortion or exen a breakdown. In general, the rule of thumb is that the output impedance should be low (ow ou) and the input impedance shauld be high (high in). Reler to SPECIFICATIONS for the input and cutput im edanoes of ths unit Hote: Always use a Direct Box when connecting outputs indipated in walls (W), such as those of an amplifier cr ‘when connecing instrumenss which require high input impedances Failure to do so may result in damege to the power amplifier cicut 2 well as the unit tel 2. ADJUSTING INPUT/OUTPUT LEVELS “The level acfustment of the incoming signal to INPUT jacks (G5) oF (6) 's done with the TRIM (2) So as to prevent the ‘recuent tashing of the PEAK LED () ADJUSTMENT PROCEDURES First, set the INPUT FADER (15) within the 0-508 range. since ths range is where the least noteftstorton occurs. ‘Then adjust the input signal using the TRIM dial (2), The TRIM is ~6Q0BV (microphone level) when turned to the far right and — 10dBV fine leve) when turned to the far eft While adjusting the signal. it may be corverient to press the INPUT SO.O switch (13) of the particular channel, enabling monitoring of he post-FADER signal. in adation, please nete thal the PEAK LED will also ight when the signal to the EQUALIZER SECTION (4) 8 ovetoaded, Wren adjusting with the TRIM, it highly recommended that al EQUALIZER geine be tuned to the flat postion. 4, eter the trimming is finished and the desited tone qually adjusted, the PEAK LED sil turns on, thee is overloading at the EQUALIZER stage and either the input signa itself should be adjusted or the timming be dane over again All the nominal input/output impedances for this unit, except for inpute to INPUT jaoks (28) and (88), aro - 10dBV (23), theretore allowing direct hockupe to mest recording equip. ment However for comections with equipment with ciffering Nominal impedances or professional equipment (+ 4dBm etc), an attenuator or jine ampifie: (FOSTEX 5030 etc) vill be necessary,section 7 BASIC SIGNAL FLOW In general, the basic fow of the sound signal during a mutt track recording can be separated ino the following. two routes: Route 1: Recording the inputted cound source(s) to a mult: track recorder Route 2: Monitoring the output signals) of a multitrack recorder while recording. Toilhusrte these two routes, we will assume a live recording using a Model 812 mixer and a Fostex RB mutirack recorder (Reler t the folowing illustation), Route 1: The input signal coming in from the various instru ‘mertsfmicrophones is sent o the INPUT FADER (15) (INPUT SELECTOR @)—INPUT), then assigned to GROUP busses 1~8 by the ASSIGN SWITCHES (11) and PAN (12). Here, the output ire Geers Montoro ouput ! TRACKS 1 0 ‘ram the RB cere expectvely ‘ume vel (AlN) ara erence (AN Yay eo hee eee oN c\erall level Is adjusted with the GROUP MASTER FADERS (16) and (17) anc finaly outputted 10 the RB recorder via GROUP OUT jacks 1~OR (40) Route 2: The output sgnals of tracks 1-8 of the RB record: er (which is set fo INPUT MONITOR, for datas, reler to the instruction manual for the RB) are sent io AUX GAIN (8) (AUX ‘SELECTOR (8)--TA?E}, Then, according to the balance set. {ing of the AUX PAN (0), they are sent to the AUX buss (L R) The collected signals are level-adjusted wih the AUX MASTER LEVEL knob 23) and outputted from the MON ‘TOR OUT jack (47) andlor the PHONES jack (84) (MONITOR ‘SELECTOR (25)~-AUX). By adising the MONITOR LEVEL rob (26) andlor the PHONES VOLUME (27), monitor of the F8 ouput signals is now possible vie speckers andlor headphones. INPUT 18 “p mostor ampitenipestors MONITOR MASTER e (poral 98100) Sat — 29 sonal ‘3 ms wachoroy fant 2 GROUP TRACK ASSIGNMENTS Re gaan Input charaets) section s MULTITRACK RECORDING ‘SAMPLE CONFIGURATION The ‘ollowing diagram illustrates one of the basic configure: tions when using a Model &12 miker lor a mullitiack recorc ing, Wwe hepe that ii wil sene as @ relerence when deciding fulure conigurators with your perigheral equigment, [LO _Jown [© Joss Wontar) (=p fstesor #7 ie 7 FR sion @a ee | rece en mig ; Joown 7H. and | yepusr| ‘ourPUT OUT a [BR wll be 1-8 ~8 eee eves } ened A \reconder, [2016 fine mine} | Gonnoct the vai: [niet secs vengtho | Hee cliche) Inez PE) [fSteciee) «Flea These oa I. BASIC TRACK RECORDING What doce basic track recording mean? We will assure the folowing assignments to illustrate the Usualy, the intial sep in a mullitrack recording is what is main aspects of a basic tack recording known as “ihyghm recerding” In this case, ‘thythm' refers fo 8 Track Chart the integral instrumentation requited 10 define the cutine of a ae the music, such as drums percussion, basses elo. Here, we i ile ea wil teier to this rhythm recording as BASIC TRACK | eB | Kick | so. /HrHAT| L— ) RECORDING. Jsource| (elec. (Bass |isnare |thi- Tom bbase}| cru] drum)| hat) RIDE CRASH | guta)ij Look at Figure 1. This configuration is intencled so thal the sound signals of the drums and electic bass picced up by ‘a mut-microphone are recorded te the RB recorder with the ‘above track assignments. Figure + BASIC TRACK RECORDING DRUMS Alter tenming the input gains anc adjusting the fone quaily (eler to pg. ADJUSTING INPUTIOUTPUT LEVELS and po. THE PARAMETRIC EQUALIZER}, we will set the necessary Ccantrols for this basic track recording, 4 TON om wip Ht Low KICK CRASH RIDE Kea teccort a1] lees Gates |) | seess a “|| ' ssgnals for TRACK | ea [rent 1 ores = ea o = ATN 2 Adusis the © | LR: Monitors the: poe | | | | as aa S|] Innes eles respecivey, a t 7 ered aint Sone us SENDING THE SIGNALS TO THEIR DESIGNATED ‘TRACKS Track 4: Since the output from the GROUP OUT jack 4 (46) gees to track 1 of the RB, we want to send the post fader fignal of channel 9 to GROUP buse 1 (INPUT SELECTOR (@)INFUT, ASSGN SWITCH (11)-+1.2, PAN (12)-+000). Next, we want to adjust the level of the signal to GROUP ‘OUT jack 1 (48), since this will be the recording level of the track, We oo this by adjusting GROUP MASTER FADER 1 (16) while moritoring the level with the FL METER for rack 1B) Note: In ths example, we wil use GROUP busses 7 and 8 for monioring the reverberation effect and therelote, io evo undesired signals entering these busses, tun all of the GROUP TO LR GAINS (18) to —» fer let) ‘rack 2: Hore. we want to eend the KICK sgnal of channel 4 to GROUP buss 2. The process is similar io that of TRACK 4; Adusting the tolal send level wih the GROUP MASTER FADER {16) while monitoring the FL LEVEL METER (31) for GROUP buss 2 etc. ‘Tracks 3 & 4: We want to record the TOMS, HH, CRASH and RIDE to TRACKS 3 & 4 wth a stereo perspective. Fits, for all the channels from 2 through 7, we select 3-4 using the ASSIGN SWITCHES of these channels. Then, by turning the PAN (12) as shown i Figure 1, we determine the pro: portion of the signal to be spl between GROUP busses 9 and 4, For example, the LOW TOM (channol 2) will bo sont only to GROUP buss 3 (PAN @)0D0), while the HH, (channel 5) will be sent fo both busses wih a bias towarcs GROUP buss 4 (PAN (8)->somewnat more towards EVEN) The final step wil be to adjust the total output evel with the GROUP MASTER FADERS (16) for busses 3 and 4, When montorng the outout level win the FL METERS (31, set the FADERS to 0. Then, alter adjusting the reative levels with the INPUT FADERS (16), if he METERS (31) indicate fan over level, instead of adjusting with GROUP MASTER 4 FADERS (16), lower all INPUT FACERS (15) for chennels 2~7 unlil the necessary level(s) is achieved. Again, a reminder that all GAINs in the GROUP TO L-R SECTION (18) should be set to -2 since GROUP busses 7 and 8 will de used for monitoring in this example.Track 5: Here, he SD signal of channel 8 is sen! to TRACK 5 via GROUP buss § in the same manner a5 TRACK 4. Effect Processing Usually, effect processing is done during a mix-cown andlor a ping-pong recording and not at this stage, however, we wil ilusrale one example where a compressorlimir is processed onlo the ELECTRIC BASS (E9) signal and a everberation onto the TOMS (x3), (COMPRESSORILIMITER--E8 Connect @ compressorfimiter to the INSERT jack (87) of hams! 9 (feler to INSERT jeck for procecures). An EB signal, being modiled by te compressorfimites, will now be recorded fo TRACK 11 eee TOME (x) ‘Several mathods are possble but here we will use the EFFECT SEND 1 (6) Connect the EFFECT SEND 1 jack (69) with the input of the reverberator and the output OF the reverborator with the EFFECT RIN 1 jack (40) 4. Sel the SEND 1 MASTER LEVEL knob (21) o Cand adjust the emounis of the signals to be sert to the reverberator by using the respective EFFECT SEND 1 of channels 2-4. 2. Send the output of the reverberetor 10 GROUP busses 3 and 4 (RTN 1 ASSIGN SWITCHES (28)-r3-4, FTN 1 PAN (28)—centec RTN 1 GAIN (28)—0) Now the reverberated signals, as wel a3 the original sig nas of the TOMS will be recorded to TRACKS 3 and 4 MONITORING Through the use of the EFFECT SEND 2 (7), the Model 612 's capable Of processing an efect on the monitor signal of an incoming output trom a recorder This feature alous for a more flexible monitoring environment where one can simulate tho desired total afisc! wehout affect- ing with the signals baing sent to the recorder In ths example, we will use @ reverberator 9 process the Il, OVER-DUBBING What does ‘over-dubbing” mean? Over.dubbing is the process of recording a new sound source to @ new sound track while simultaneously playing back the fest of the tracks wth the recording head (6/7 cchronous play-back) Look at Figure 2, This configuration is intended so that the ‘sound signal rom the ELECTRIC GUITAR EG) wil bo “over dubbed” to TRACK 6 TRACKS 1~5 will be monitored dur. ing their synchronous play-back Also, a dalay effect will be piocessed on the EG signal and also sent to TRACK 6. ‘The procedures for sending the EG signal to TRACK 6, monitoring the recorder outputs for TRACKS 1~6 and plooessng a reverberation on the monitor signal are all the same as in the BASIC TRACK RECORDING section. monitor signa, The monitring metods forthe outputs Ye TRACKS 15 willbe the samo e9 BASIC SIGNAL Flow on page Sending the Signal to the Reverberator First sdect AUX with the SEND 2 SELECTOR (6) for channels 1~8, This has the purpose 0! sencing the incoming TAPE ssgrals (AUX SELECTOR (@)--TAPE) to the EFFECT SEND 2 ‘nUsS, After adjusting the respeotve AUX GAIN (@) and EF FECT SEND 2 LEVEL knobs (7), the sigrals wil be sent to the SEND 2 busa and, afer fina adjustment with the SEND 2. MASTER LEVEL knob (22), routed 19 the reverberato: ‘Monitoring the Processed Signal ‘We wil equally route the reverberator outout from the EF FECT RIN 2 jack (41j to GROUP busses 7 and 8 by usng the EFFECT ATN 2 SECTION (29) (RTIN ASSIGN SWITCHES (@9)7-8, RIN PAN (29)—centes, FTN GAIN (29)-+0). The levds of the signals can now be aclusted wih the MASTER FADERS for 7iL end 8/R (17). Then, by selecting LR with the MONITOR SELECTOR 25, iti now possible to monitor the processed TRACKS 1~5 wih the use of headphones or speakers connected wih the MONITOR QUT jack (47) andlor PHONES jack (34), (Selecting AUX wil eneble moni tor of the original signal) Note: For ths example, do net select GROUP busses oher tan 7-8 with the RTN 2 ASSIGN SWITCHES since this wil Create an infinite loop. This will resul in the processed signe to be recorded to TRACKS 1~5 and could cause howing (eedback) For example, if the chennal 5 signal is being sent to the EFFECT SEND 2 buss and 56 is selected at the RTN 2 ASSIGN SWITCHES (29), the following loop will be created. chS EFFECT SEND 2—Reverberetor-*GROUP buss 5 TRACK 5-»ch5 AUX GAIN In cider to prevent creating loops as atove, itis also possible to connect the reverberetor ouput to the AUX BUSS IN jack (44) and monitoring it by selactng AUX of the MONITOR SELECTOR (25). However n this case, twill no! be possible 1p adjust the master level of te processed signal. For processing the delay elect, the EG signal will be sent to the processor via the DIRECT OUT jack (39) and the output from the processor willbe sent to the INPUT jack (36) cf chennel 12 and routed to GROUP buss 6 along with the ‘original sound signal (ch.12 INPUT SELECTOR (3) /NPUT, ASSIGN SWITCHES (I1)-*5:6, PAN ([2)~EVEN), In doing 40, the volume balances of the EG signal ard te processed fignal can be adjusted indiidualy by using the INPUT FADERS (16) of channais 10 and 12 respectively. Incvidie equalizing is also possible. Note: The EFFECT SEND 2 knobs (7| for channels 10 and 12 should be set to — o» in order to avad the signais entering the EFFECT SEND 2 buss and distorting the reverberation balances while montoringFigure 2. OVER-OUBBING e/elelele|e: ‘jaca to aroun recitation proceed or 3] 8/9] | o| o| | 9| fre mower sande | 9] 9| 9 3] 9| o| fer TRACKS 6 9] 9/0] | 0] 0 ‘Aes te amounperepacte| ot the montor Sera Theors 1~6. guru, Sea INPUT croup our eerect SEND 2 EFFECT RIN? Sarde © GROUP tues @ Ill. PING-PONG RECORDING What does “ping-pong recording” mean? *Ping-pong recording” § the process of mixng and recore: ing facks onto some other completely new ‘rack(s). This transferring of trace can bo cons mary tes and thus, the going back and lorth of the recording tracks is where iis ame comes ftom. The merits of a ping-pong recording lie in the fact that the “‘iberated” tacks can now be used for other purposes, such as over dubbing, Look el Figure 3, This is the conliguration for mixing the pre- recorded TRACKS 1~6 in the previous examples and png: pong iecarcing them to TRACKS 7 and 6 Fleese note that, because the recorded TRACKS 7 and 8 can no’ be individ ally processed for effects during the mxing-down stage, the cffects are processed on the source TRACKS 1~6 and rout ec along with the original signals to TRACKS 7 and 8. Firs, the original signals from TRACKS 1~6 of the RB ‘eoorcer are sent trrcugh the INPUT FADERS (15) to GROUP busses 7 and 8 (INPUT SELECTOR (3)-*TAPE, IGN SWITCHES (11)~*7-8). The signals will he sent to the GROUP OUT jacis 7/L and WR (46) via GROUP MASTER FADERS 7IL, @R (17) and recorded to TRACKS 7 and & We wil moni the outputted signas 0 TRACKS 7 and & by senging the AE recorde” output fo channels ? and 8 to the AUK ues (AUX SELECTOR (8)--TAPE). After adjusting with Fats the ops feta TRAGK 8 AUX GAIN (9) we will route the signals io LEFT and RIGHT with tne AUX PAN knobs ot channels 7 and 6, respective, Final, ator an level acusment wih tre AUX MASTER LEV. EL knob (28), the signals are now ready to be monitored (MONITOR SELECTOR (28)~» AUX) wih ether he MONTCR LEVEL knob 26 0° the PHONES VOLUME Anois (27. For effect prosessirg done an indivcial channels, we vill use the DOUT jack (39) to send the signal to the processor's) and the route the processor output to the INPUT jacks (35) or (36) of channels 7~12. From here, we will then send the signals to GROUP busses 7 and 8 (INPUT SELECTOR (INPUT, INPUT ASSIGN SWITCHES (11)7-8) with the Tespective perspective fo be determined with the PAN pot (12. For common cesta precessing with channels 1~, EFFECT SENDS 1 anc 2 wil bs t2ed. inthis oxample, both wil be Used 10 send! signals > reverborator EFFECT SEND 12 wil send the signal to reverberalor 31/42. which will then return it to the EFFECT RETURN 1/2 SECTION (28X29). From here, the sqnal will be distributed to GROUP busses 7 and 8 for output. Note: For this exemple, DO NOT set the SEND 2 SELECTOR for channels 7 ard 8 to AUX, ror the INPUT SELECTOR to TAPE, since this will crea an nfinte loop and may cause: feedback,Figure 3 PING-FONG RECORDING vere IC ose Tare Inet. ra S — input its rl Vesa I cenour our ch, 1-6 Sour cL 1-08 soos toman| (ae ele eee el ee ewe Goeowoore| |e/S/s/e/e/elalatalstalal! | pump] || (sae cocemere| 2eie(etetsie/a/o/alelel| | tHE S|) = TRACKS 1-6. | 0] of 6| | 5| 6) of of 0] of o HEMEL | (Saree HEEEBERBHERS | [ET (a a © | |esrecr | o @ | |Sxoz Blas selge B/8|8\/8 Monitors the cuipue)] ||} || ea) ame TRACKS 788) 8) 8) 5/3) 3/5) irom tho ecorder. | | $9) 4) lB B E FE sk te 2 he oa seopestanias Came I< seeese Gale rears Sera mn IV. MIXING-DOWN What does “mixing-down” mean? "Mixing-down” Is when one goes through a final mixing, process, combining the various tracks of the mutitrack ‘recorder, and records the resulling stereo’monaural cutput to fa separale masier recorder. This is when the finishing touches are applied to the multitrack recording, from equalz- ing to effec! processing, in order to create the desired tora sound, Look at Figure 4. This configuration is intended for process- ing varicus elects on the oulput signals of prevecerded TRACKS 1~8 to mix ther and finally record tne stereo out- pul to @ master recorder We wil assume the following TRACK assignments, ‘The orgiral signals sentto me INPUT FADERS (15) of cran ‘els 1~B are reuted fo GROUP MASTER FADERS 1~6 (16) as in Figure 4 and then sent to GROUP busses 7 and 8 via the GROUP TO LA SECTION (18) end (19) In this example, GROUP MASTER FADERS 1 and 2, 3 and 4, 5 and 6 are grouped in stereo (ie. 1.3 5=LEFT 2, 4 6-RIGH?), This is set with the GROUP TO LA PAN C9) (iefer to Figure 4), Also, the GROUP TO L-R GAINS (18) are set 10 0, $0 thal the signals will be sent to GROUP busses, 7 and 8 at the same levels as indicated by the FL METER. (G1) for GROUP busses 1~6. Using the DIRECT OUT jacks (29), we wil process a chorus (on the PF signal, and then expend it to a stereo signal (ie ‘sll the chorus output between GROUP busses 1 end 2). Aso, @ single delay (shor) wil be processed on the SYN 2 ‘end CHO signals, thon, along with the origina signals, e% paneiéd to stereo by giving them a LR perspectiveFigure 4: MIXING-DOWN (waar =z} Bi | E a ioafosts oo coe wo cap geotC oocoo Fo Teeomaggoods coco wo ayats 3 amaurtpespecte| cl the signals be fect o Ret 3 TS Goon Pee pepe In addition 2 tie above Individual sound effect processes, a common effect wil be processed as well. EFFECT SEND 1 () wil contol the amount of the effect of reverberator #1, while SFFECT SEND 2 (7) will control rovortorator #42. ALX GAIN (@) wil control the amount of signal to be sent 0 rever- berator #3 and AUX PAN (10) will determine the perspective to 0¢ sent (AUX SELECTOR (8)POST}. Perspective Assignments: ae [ f° oun () LA 1-8 robe wee | ercupour S94 F ‘ii ° ie; ip he Masse a meer es ‘Al processed signals willbe routed to GROUP busses 7 ana Sart dong withthe reproduced TRAGKS 1~8 of the muli- track recerder and choustdeay effects mied-down to @ ‘magi recorder via GROUP MASTER FADERS 7/L, QR (17) ‘and GROUP OUT jacks 7iL, 8/R (46), For monitoring the output signal, we wil select LR of the MONITOR SELECTOR (25), so ToMiL) FUE CRASH TomeMIXING-DOWN WITH MIDI EQUIPMENT Here, we wil ilustrale 2 mxing-down situation where a mut treck recorder and a MIDI sequencer vill syrchrorize theit play-back recording and SMPTE tine record SYNC signal fn the edge track of an mulitreck recordes change the sg ra to a MIDI clack by using an interface Look at Figure 8 This configuration is for synchronizing the Coutout of @ MIDI source with that of an RB multitrack recor er (TRACK 8->SYNC signal, processing various sound ef- fects and finaly mixing-down the signals to GROUP busses Tand 8 Fist the post FADER signas of he MID) sources wil De touted to GROUP MASTER FADERS S and 6 (16) via the GROUP ASSIGN SECTION (11) and (12). A commonttect (Cfector #1) will then be processed on these signals using EFFECT SEND 1). The precessed signals will then be routed to GROUP MASTER FADERS 5 and 6 (16) with the Figure 5: MIXING DOWN with MIDI ae TREE IN: or original signals via the RTN 7 ASSIGN SECTION (28) Using the EFFECT SEND 2 (7), another common effec: (effector #2) wil be processed on the input signals to chart nels 1-7 (SEND 2 SELECTOR (6)-*AU%) ‘These will be grouped to GROUP MASTER FADERS 3 and 4 (16) via the FTN 2 ASSIGN SECTION (9, ‘The output of TRACKS 1~7 vill ba routed te AUX GAIN (9) (AUX SELECTOR (8)~>TAPE). In order to goup the mied signals to GROUP MASTER FADERS 1 and 2 (I6). the AUX OUT jack (48) wil be “patched” (connected) to GROUP BUSS IN jacks 4 and 2 (43), ‘D recapitulate, the mixed original MIDI signals are sent to GROUP busses 1 and 2, processed signals (efector #2) ta busses 3 and 4a combinalion of original signals and processed signals (elector #1) 10 busses 5 and 6. From here, the signals are sert to the GROUP TO L-R SEC- TION (18) and (19) and mixed down jo a master recorder from GROUP MASTER FADERS 7iL, 8iR (17) 40) souce grup 8 SINC sonal ocr Cris] MDT severe | 1) crcupour an Adussne amcurkct otoct #2] rscocso en| TRACKS 17 ‘ats in levaipeapacine OF TRACKS 1-7 ico #2 | eerecr ae ‘Adis he acer Ase the master Adyssine Adjutshe out Qubulnd o oupy festo te mader cuipu te! to the master TRICKS 1~7, checker #2 sgnas. evel he reco, MIEN eta Sadetictor #1 sgl,section @ TROUBLE SHOOTING When the unit doas not operate properly, please check the folowing Feedback occurs when a given track of a multitrack recorder is set to input monitor ‘The outout of the given track may be connected to the GROUP buss which is used for the output of this track. This ‘wil cfeste an infinte ‘oop and may be the cause of the feedback, [No signal is heard at the INPUT FADER (15). You may Have connected 4 monaural phon olug 1 the INSERT jack (27). This wil sond the gral to the efector fut wil nt rctur the signal back tothe mer Feedback occurs when increasing the signal level with EFFECT SEND 1 (5), EFFECT SEND 2 (7) and/or AUX GAIN (3). You may have connected the SENDS of the EFFECT 1, EFFECT 2 andlor AUX with their respective INPUTS busses (44) and (45), creating a loop. Cannot process an effect on the signal to AUX GAIN (9), even though AUX is selected with the SEND 2 ‘SELECTOR (6). ‘You may have seected POST at the AUX SELECTOR (@). The SEND 2 SELECTOR is effecive only when the AUX SELEC- ‘TOR is set to TAPE. and if his is not the case Ihe SEND 2 ‘SELECTOR is forced to be POSI Cannot hear the monitor signal selected with the MONI- TOR SELECTOR (25). Check if the SOLO LED (83) is lit, You may have pressed 2 SOLO SWITCH somewhere Adjust the MONITOR LEVEL, knob (26) andior PHONES VOLUME (27). ‘No sound is heard when a SOLO switch (13) and/or (20) is pressed. Adjust the SOLO LEVEL knob (24). Tho PEAK LED (1) ights frequently even aftor adjusting with the TRIM (2). You may have raised the gain of the EQUALIZER (4) when, controling the tone qualty. causing an overload al the EQUALIZER sage, Sound is heard at GROUP MASTER FADERS 7/L, 8/R (17) even though no assigning is done to group busses 7 and & ‘You may have raised the GROUP TO LR GAIN (16). When not in use, set these knobs to. ~ e»e222] o@o10 On Sno00° noon 2 nano one 09 00000 O90q0 0p 00000 09090 ° of cog Crore o| 909 o| 00g oon © oo00900 Sooo O00 o@oo On: 700000 09090 onon0 Snoop O00 © onn0000 0@010 On 0700000 Op0g0 SonnnOo0 0900000 eneg° on0n0 09 00000 Ogogo 09 09000 09090 ep0n0 ° ona e00 noo O00 Ono On0 Soounen0 Sooone oO Sooon9 00 TRACK CHART non0 ©opo0 000 DATE: PRODUGER, ENGINEER STUDIO: NR: TLE ARTIST: ARRANGER = RECORDER: TAKE:FOSteX ‘ FOSTEX CORPOPATION $-2-35, Wusanirg Akstims-chi, Tekye, Jepan FOSTEX CORPORATION OF ANEAICA 1543, Biockbun Ave,,Nowa, CA $2650, US.A [PRISED IN JAPAN Sop. 100 8824100 T0