Advent 100A Owner's Manual page 14

NOR ALMODE
ound-on- ound Recording
ound-on-sound recording with the Model lOOA can
be accomplished with any stereo tape recorder which
1) has a eparate playback head for monitoring and
2) allow each tereo channel's record function to be
activated eparately.
By ound-on- ound recording, we mean that process
whereby previously recorded monophonic material on
one channel can be tran ferred to th other, while a new
monophonic ignal from a microphon is added to the
previou ly recorded material. Thus the use of an MPR-1
microphone preamp is requir d.
ote:
If your recorder ha built in
sound-on- ound
switching,
do not use that switching. If you
did, it would
mean that the Dolby proce sing would not be properly
applied to the signal during the various tep of the
ound-on-sound process. Leave the ound-on-sound
witch of your recorder in the "normal" or "off' po ition.
The following instructions assume that 1) the MPR-1
i connected to the LI E 2 input of the Model lOOA,
and 2) that the material previously recorded is on the
A or left (upper) track of the tape and is Dolby-proce sed.
1. Headphone are nece ary for sound-on-sound
recording, particularly if you your elf will be using the
microphone.
2. Connect the A channel jack on the lOOA marked
TO MO ITOR OR T APE INPUT to the B channel jack
marked LINE 1.
3. Plug the microphone into the B (right) channel of
the MPR-1 (be sure the MPR-1' B channel output is
connected to the B channel LINE 2 input of the Model
lOOA).
4. Switch the NOi E REDUCTIO in.
5. et the ource-tape switches on the recorder to
"tape" . On the Model lOOA, set the Channel A SOURCE-
TAPE switch to TAPE and the Channel B SOURCE-
TAPE switch to OURCE.
6. et the Channel A OUTPUT LEVEL control to
provide sufficient level over the headphone . Do not
change this setting once you begin to record, as it will
affect the record level on Channel B.
11
7. tart the recorder, activating the record function
on Channel B only. A the tape moves, you will hear the
original material recorded on Channel A over one ear-
phone, and the
mix
of the original and new material from
the microphone over the other earphone. The level of
the mixed signal will be dependent upon the Channel .
B LINE 1 and LIN 2 I PUT LEVEL control and the
RECORD LEVEL control.
A you add the new material, adjust the Channel B
LINE 1 and LINE 2 INPUT LEVEL control to a point
which sound right while concentrating your attention
on the mixed signal.
This is difficult, becau e you will hear over the other
channel the original material recorded on Channel .
It's further complicated if you yourself are using the mic
to add the new material while trying to listen to th
phone . Therefore we ugge t that you make a trial
recording, and listen to the playback of the mixed signal
on Channel B
alone to ee if you've established the
right
balance between the original and new material.
ote: While recording, b sure to leave the Channel
B OURCE-TAPE witch in the OURCE po ition, or
you will hear over one earphone the mixed ignal out of
ynchronization with the original A track.
. This sound-on- ound proce s may be rep ated,
taking what's now on the B channel and tran ferring it to
Channel A along with omething new again . n th
advantages of the Dolby y tern is that it allow for thi
process to be rep ated everal times, permittin "ov r-
dubbing" without a great deal of hiss buildup.
If you are confu ed a to how to transfer from
B to ,
here's a brief rundown of how you would now rever e
the A to B process:
a) Connect the B channel jack mark d
MO ITOR OR TAPE INPUT t the A channe l ja
marked LINE 1.
b) Plug the mic into the MPR-1' (left) channel.
c) Set the B channel OUR E-TAPE switch to
TAPE and the A channel to OUR E.
d) When recording, activate only the A channel of
the recorder.
•
•