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•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 230 controls
as shown on page 22
EXAMPLE 2.
NOTE: Use Tape Out 4 (32) only to drive the sequencer.
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
and/or MIDI programming as necessary.
•When you are ready to begin recording the mixdown per¬
formance, connect the master recorder inputs to the MON
OUT jacks (30) and select both STEREO and AUX 1 on the
MONITOR selector (16).
NOTE 1: 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 selected MIDI sound sources for additional signal
processing, as shown in the diagram.
< SYNCHRONIZING THREE SOUND SOURCE OUTPUTS (TAPE SOUND: STEREO) >
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