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Next, starting again with channel 1, determine the
stereo position of each source by adjusting each
channel's PAN control.
Finally, go through each of the channels and set the
amount of reverb that is applied to each source.
Follow the same procedure as you did in steps #7
and #8 in the section Mixdown and Effects Process¬
ing — Adding Reverb, page 19. When the AUX
SEND controls for channels 5 through 8 is set to the
center, no signal is sent to AUX SEND. Adjust the
control to the left to send the signal to the effects
unit. (Turning the controls to the right will have no
effect in this situation.)
Note: It is a good idea to rehearse the mix as much as
possible, taking special care to keep the levels
in the optimum range. Keeping noise and distor¬
tion at minimum levels is a tricky business.
You'll no doubt need to make further adjust¬
ments to the levels and the other controls as all
sound sources play together.
4. Select the recording tracks with the REC SELECT
switches. Tracks 1 and 3 are dedicated to recording
the left side of the stereo signal, and tracks 2 and 4
are dedicated to the right side. Choose one track for
each stereo side (e.g., 1 and 2, or 3 and 4). To select
a track for recording, set the appropriate switch to
the L or R position. (For this example, switch REC
SELECT for track 1 to L, and track 2 to R.)
5. Now you're ready to record. Press the PLAY and
REC buttons simultaneously to begin recording.
The L and R meters in the display show the output
signal of the stereo buss and the meters for tracks
1 and 2 indicate the respective recording levels.
Overdubbing Tracks to the Live Stereo Re¬
cording
Since the recording above is made using just two of the
X"28H's tracks, the remaining tracks can be used for
overdubbing two additional sources.
This procedure is the same as that of norma! overdub¬
bing, covered in the Basic Operation section, pages
13-19. First, set the REC SELECT switches to off
(center position), then set the INPUT SELECT for the
recorded tracks (1 and 2, in the above example) to TRK
and boost the faders so that you can monitor the
playback. Finally, set up track 3 for recording, and
overdub the new part. Follow the same steps in record¬
ing another part to track 4.
Note: If you are using the synthesizer plugged into
channel 8 in the last example, you can record
that instrument to track 3 without having to
connect it to INPUT jack 3. Instead of setting
track 3's REC SELECT switch to 3, set it to L.
This directs channel 8's signal to stereo buss L,
which corresponds to track 3.
Example 2: Ping-pong Recording — Recording Seven Parts on Four
Tracks
Ping-pong recording is the process of mixing two or
more recorded tracks onto an unrecorded track so that
additional parts may be overdubbed. "Track bouncing''
is another term for this technique. With the ping-pong
technique, seven different parts can be recorded to
four tracks. You can even add "live" parts while bounc¬
ing tracks, effectively letting you record ten (or even
more) separate instrumental or vocal parts by yourself.
Ping-pong recording, however, requires very careful
planning as to the sequence of the recording, it also
requires strict attention to the sonic quality, since this
technique creates second generation copies of the
original recordings. In this process, some of the fre¬
quencies, especially at the upper end, tend to be
diminished. There is also a slight degradation of the
overall signal quality. This is a characteristic of all
analog recorders.
The procedure is outlined with the following instruc¬
tions and illustrations:
Step 1: Record the basic track (A) and two overdubs
(B) and (C) on tracks 1,2 and 3.
4
3
2
1
A
Step 2: Mix tracks 1,2 and 3 and record them onto
track 4.
4
3
2
1
- A -F B 4- C : \
25
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