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The following is a basic exam pie of tape sync operation
in which a rhythm machine and synthesizer are con¬
trolled by a MIDI sequencer synchronized to the X-28
via tape track 4. Signals recorded to the other three
tape tracks are mixed with signals from the rhythm
machine and synthesizer, and processed with reverb
during mixdown.
1. Generally, it is a good idea to record the basic parts
of the song on yoursequencer first. Save the tracks
of the X-28 for lead parts, such as vocals and guitar
solos, that cannot be recorded on the sequencer.
Also take care to program the proper tempo and
song length for the sequencer, since this cannot be
changed once the tape sync track is recorded.
2. Connect the sync out jack from the FSK-to-MIDi
converter to INPUT channel 4, and record the tape
sync signal on track 4 (using the normal recording
procedure). Record the signal all the way to the end
of the song. Once you have recorded it, you can
remove the tape sync input from the jack.
Note: The synctone should be recorded on one of the
"outside" tape tracks (either 1 or 4) to minimize
possible crosstalk with the other tracks.
(Crosstalk is when the signal from one track
bleeds through to an adjacent track.) Track 4
has been chosen, since track 1 is normally
regarded as the first track of the recording.
Note: For detailed information concerning proper re¬
cording level for the FSK signal and the required
length of the pilot tone that precedes the start of
the song, refer to the owner's manual of your
MIDI device.
3. To control the sequencer, the newly recorded sync
tone must be sent back to the converter. Connect
the TAPE OUT 4 jack to the sync in jack on the
converter. (This tape output is direct and bypasses
the mixing network.)
4. The exact procedure tor running the X-28 and the
sequencer in synchronization differs depending on
the sequencer used. Generally, though, these are
the steps you should follow: 1) set your sequencer
to external sync (sometimes called "MIDI slave
mode") and start the sequencer; 2) press PLAY on
the X-28. Once the sync tone has been received by
the sequencer, it will begin running and the two
devices will play in perfect synchronization.
Note: You cannot start synchronized playback (with
FSK) in the middleof a sequenced song. Always
rewind to well before the beginning of the sync
tone and play back from that point.
5. Once you have recorded the basic parts of the song
to the sequencer and synchronized the sequencer
to the X-28 in the above steps, you will need to listen
to the sequencer tracks as you record additional
parts to the X-28. To do this, temporarily connect
the tour signals from the rhythm machine and
synthesizer to the INPUT B inputs 5 — 8.
6. Set the MONITOR select switch to MONMIX +
LINE, and the INPUT B switch to REMIX. Set the
INPUT B channel PAN controls to center.
7. Set up track 1 for direct recording. Connect the
sound source to input channel 1, set the REC
SELECT switch for the channel to 1, and bring up
the fader and TRIM to appropriate levels.
8
.
Set the sequencer to external sync and start it, then
press PLAY on the X-28, as you did in step #4
above to play back the two devices in synchroniza¬
tion. Press the REC button once to check the input
level of the new signal before you actually record.
Once everything is set to your satisfaction, set the
sequencer and X-26 running in synchronization
again, this time pressing the REC and PLAY buttons
simultaneously to begin recording. Listen to the
rhythm machine and synthesizer as a guide as you
record the new track.
9. Now that track 1 has been recorded, you will need
to monitor it with the sequencer tracks. First, turn
the REC SELECT switch for track 1 to off (center).
Then disconnect the input at channel 1, and replace
it with the input from the currently at channel 5. Set
the fader and TRIM control appropriately.
10. Set the INPUT SELECT switch on channel 5 toTRK
1, and bring up the fader to the optimum level.
11. Overdub additional parts to tracks 2 and 3 following
the same procedure as in steps #9 and #10. What
you are doing here is changing the inputs one by
one, moving a sequencer-controlled signal input
from INPUT B to INPUT A, freeing the INPUT B
channels one by one so that you can monitor the
tape tracks.
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