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SECTION 6
MULTITRACK APPLICATIONS
Multitrack recording is generally considered to be the pro¬
cess of recording a performance in sequence, building tracks
one or more at a time, then reviewing, changing, and adding
new ideas, until each part is idealized. A single performer can
thus create an entity not possible in real time, or individuals in
a group may perform as many (or few) "takes" as necessary
without imposing on the others. When all tracks have been
satisfactorily recorded, one can take whatever time is re¬
quired to combine them into an artistic composite in the
"mixdown" process. Even at this point, flexibilities are availa¬
ble to change the sound or character of the separate tracks
by means of electronic effects. Further, a performer not
available at the initial recording date may be included hours,
days or weeks later. It is this process that the commercial
recording companies have come to rely on, both in terms of
economics as well as artistic flexibility. The "personal
multitrack'' concept of Fostex has made this process
available to the independent musician.
Typically, the procedure begins with a basic rythm track
which provides the "meter" for the sections to come. Unlike
ordinary real-time recording in mono or stereo, realtive
balance of the instruments or ensemble is of no concern
during the recording phase (unless they are combined on a
given track). Rather, an emphasis is made in getting the maxi¬
mum undistorted level on each track in the interest of maxi¬
mizing signal-to-noise ratios. Final balance is achieved during
mixdown or re-recording, and the end product is a conven¬
tional mono or stereo tape or cassette.
While specifically designed to work with the Fostex A-8, A-4
and A-2 recorders, the mixer will interface satisfactorily with
most makes of recorders provided that levels are matched
correctly.
RECORDING BASIC TRACKS.
The recording of signal onto separate tracks is reasonably
straight-forward. Once levels have been set, route the inputs
by way of the four channel buss switch (3) and pan pot (4) to
Figure 6-1, Record rhythm section on tracks 1 and 2.
RHYTHM SECTION
MICROPHONES (TRACK 1 And 2)
RECORD BUSS A/B
|
|
|
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ON TRACK 1/2
whichever tracks are selected. For four channel recording,
output busses A, B, C, and D correspond to tracks 1,2,3 and
4, and for the eight track patch shown below they are also
applied to tracks 5, 6, 7 and 8 respectively.
Other than specialized effects for guitars and other instru¬
ments, original recording should be as free from effects as
possible. Echo, equalization, gating etc., are normally applied
during the mix-down process.
OVERDUBBING AND MONITORING.
During the recording and overdubbing process, monitoring
what you are recording as well as what is on tape is the key
to a successful session. It is important to become fully ac¬
quainted with the multitrack monitoring facilities offered by
the Model 350.
Figure 6-2, Overdub lead instruments on tracks 3 and 4.
LEAD GUITAR
MIC (TRACK 3)
ORGAN MICROPHONES
RECORD BUSS C/D
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(TRACK 4)
ON TRACK 3/4
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SYNC SIGNAL AND TRACK 3 AND 4 DIRECT
Figure 6-3, Final overdub of vocals on tracks 5 and 6.
VOCAL MICROPHONES (TRACK 5 and 6)
RECORD BUSS A/B
ON TRACK 5/6
AUTO MONITOR FROM RECORDER OF TRACK 1 AND 2
DIRECT SIGNAL
-AUTO MONITOR FROM RECORDER OF TRACK
1, 2, 3, 4 SYNC SIGNAL AND TRACK 3 AND 4 DIRECT
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