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I RECORDING OF THE BASIC TRACK
What is
the
basic track?
In multitrack recording, the first step is usually the Rhythm
track and consists of an combined unit of important parts
which determine the outline of the music. This "Rhythm
track" is also called the "Basic track".
NOTES BEFORE OPERATING
In the operating example of-Fig. 1, the STEREO buss is
also used for sending signals to the recorder. If recording
work is to be started by this method, you should always
first set all CUE/L-R selector (5) to CUE to prevent a feed¬
back loop. For the same reason, set all GROUP/SUB
selectors (2) to GROUP.
Please refer to Fig. 4. This is an example of separately
recording seven tracks in one pass. It is the method of
picking up sounds such as dram, electric base, electric
guitars by a multiple number of microphones and
recording these in one pass on tracks 1 ~ 7 of E-16.
After completing level matching and timbre of each sound
source (Refer to page 7, "2. Level Matching With External
Equipment" and "THE PARAMETRIC EQUALIZER,"
page 8.) note the settings for sending these signals to
the E-16.
E-16 TRACK CHART
TRK
1
2
3
4
5
|
6
7
SOURCE
EB
(Elec.
base)
KICK
(Bass
drum)
SD
(Snare
drum)
HI-HAT
(hi-
hat)
L<—.— R
TOM
RIDE
CRASH
EG
(Elec.
guitar)
Procedure 1
Following is the procedure for assigning each sound
source to each track.
TRK 1: As the signal from GROUP OUT jack 1 (40) is
routed to TRK 1, EB plugged into the channel 17
INPUT fader (17) (GROUP/SUB selector (2) -
GROUP) is routed to GROUP buss 1 (ASSIGN
1-2 switch (10) - ON, PAN (13) - ODD). Then,
for setting level of the GROUP buss 1 signal
going to the GROUP OUT jack 1 (40), the
GROUP master fader 1 (18) is adjusted (can be
checked by 1 of meter (32) 1). Be sure, however,
that GROUP TO STEREO GAIN 1 (20) is set to
full - oo to prevent this signal from being applied
to the STEREO buss and recorded on tracks 5
and 6.
TRK 2: In the same way as for TRK 1, the channel 1 KICK
is sent to the GROUP buss 2 at the setting in
the schematic. Setting of the send level by the
GROUP master fader 2 (40) (checking by the
meter 2 (32)) and fully retarding the GROUP TO
STEREO GAIN 2 (20) is the same as above.
TRK 3: TRK 4: Same procedure as for TRK 1 and 2.
TRK 5: TRK 6: As GROUP buss 1 ~ 4 are all in use,
the STEREO buss is used for sends to TRK 5
and TRK 6. As shown in the schematic, STEREO
OUT jack 1 (43) is patched to INPUT 5 (■<-L) and
6 (-R) of the E-16.
TOM (x2), RIDE, CRASH are mixed in stereo
perspective and recorded on TRK 5 and 6. Each
sound source is sent to the STEREO buss by
setting the channel 4-7 assign L-R switch (12)
to ON and PAN (13) to the setting shown in the
schematic, and send level to the recorder
adjusted by the STEREO master fader (22). The
level can normally be confirmed by L and R of
the meter (32) but please note that it will indicate
the PFL buss mixed signal level when the
PFL/SOLO LED (48) is lit.
TRK 7: EG send to TRK 7 is done by patching the D.OUT
jack (38) to the E-16 INPUT 7. Assign switches
(10), (11), (12) are switched OFF to prevent the
EG sound to be recorded on other tracks. Also,
the send level is adjusted by the channel 18
INPUT fader (17) (Dotted lines in the schematic).
Procedure 2
In general, there are two methods of monitoring.
Method 1: Listen to the sound to be sent to the recorder
(input).
Method 2: Listen to the sound returned from the recorder
(tape).
In the example of Fig. 1, monitoring is by Method 2 but
Method 1 will be explained first (It is recommended to
normally monitor by Method 2).
[Method 1]
The solo monitor function of this unit is a straight stereo
format (Fixed to center perspective for PFL function and
AUX & GROUP solo function): the signals can be
control (There could be differences in sound volume
balance of each sound source and the balance of that
actually sent to the recorder, depending on the GROUP
and STEREO master fader (18) and (22) settings.), if the
INPUT SOLO buttons (16) of channels 1 - 7, 17, 18
are pressed with the PFL/SOLO level knob (30)
advanced.
On the other hand, if the GROUP buss 1 - 4 only is
used for sends to the recorder, it can be monitored at
the same sound volume balance (only at center
perspective) as that being sent, by pressing the GROUP
SOLO buttons 1 - 4 (19).
[Method 2]
To monitor the recorder output, normally, the SUB MIX
sections (3) and (4) are used as shown in Fig. 1. If this
method is used, the sound can be monitored at any sound
volume and perspective without regards to the recording
level of each track, thus it's advantage over the previous
Method 1.
In the E-16 (E-8, Model 80), signals applied to the inputs
are also heard at the outputs of the track in the recording
mode (= INPUT MONITOR). In addition, regardless of
whether it is to be recorded or not, the specified track
can be set to input monitor and tracks other than this to
tape monitor (= tape sound sync playback) by the INDIV.,
input monitor function. In either case, the example in Fig.
1 shows mixing of the E-16 TRK 1 — 7 output signals
in the SUB MIX sections (3) and (4).
The E-16 TRK 1-16 outputs (OUTPUT 1-16)
connected to the TAPE IN jacks (36) are already routed
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