Fostex X-55 Owners manual

Owner’s Manual
Model
Х-55
MULTITRACKER
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FOStex
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (CR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with the arrowhead symbol,
within an equilateral triangle, is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the products en-
closure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
“WARNING”
“TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOIS-
TURE.”
SAFETY INSTRUCTIONS
1. Read Instructions — All the safety and operating instructions
should be read before the appliance is operated.
2. Retain Instructions — The safety and operating instructions
should be retained for future reference.
3. Heed Warnings — All warnings on the appliance and in the
operating instructions should be adhered to.
4. Follow Instructions — All operating and use instructions
should be followed.
5. Water and Moisture — The appliance should not be used
near water —for example, near a bathtub, washbow!l, kitchen
sink, laundry tub, in a wet basement, or near a swimming
pool, and the like.
6. Carts and Stands — The appliance should be used only with
a cart or stand that is recommended by the manufacturer.
A appliance and cart combination should be moved with
care. Quick stops, excessive force, and uneven surfaces
may cause the appliance and cart combination to overturn,
7. Wall or Ceiling Mounting — The appliance should be mounted
to a wall or ceiling only as recommended by the manufac-
turer.
8. Ventilation — The appliance should be situated so that its
location or position does not interfere with its proper venti-
lation. Forexample, the appliance should not be situated on
a bed, sofa, rug, or similar surface that may block the
ventilation openings; or placed in a built-in installation, such
as a bookcase or, cabinet that may impede the flow of air
through the ventilation openings.
10.
11.
12.
13.
14.
15.
16.
17.
CAUTION:
TO PREVENT ELECTRIC SHOCK, MATCH
WIDE BLADE OF PLUG TO WIDE SLOT,
FULLY INSERT.
ATTENTION:
POUREVITERLES CHOCS ELECTRIQUES,
INTRODUIRE LA LAME LA PLUS LARGE
DE LA FICHE DANS LA BORNE CORRE-
SPONDANTE DE LA PRISE ET POUSSER
JUSQ' AU FOND.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and mainte-
nance (servicing) instructions in the literature
accompanying the appliance.
Heat — The appliance should be situated away from heat
sources such as radiators, heat registers, stoves, or other
appliances (including amplifiers) that produce heat.
Power Sources — The appliance should be connected to a
power supply only of the type described in the operating
instructions or as marked on the appliance.
Grounding or Polarization — The precautions that should be
taken so that the grounding or polarization means of an
appliance is not defeated.
Power Cord Protection — Power supply cords should be
routed so that they are not likely to be walked on or pinched
by items placed upon or against them, paying particular
attention to cords at plugs, convenience receptacles, and
the point where they exit from the appliance.
Cleaning — The appliance should be cleaned only as recom-
mended by the manufacturer.
Nonuse Periods — The power cord of the appliance should
be unplugged from the outlet when left unused for a long
period of time.
Object and Liquid Entry — Care should be taken so that
objects do not fall and liquids are not spilled into the
enclosure through openings.
Damage Requiring Service — The appliance should be
serviced by qualified service personnel when:
A. The power supply cord or the plug has been damaged;
or
B. Objects have fallen, or liquid has been spilled into the
appliance; or
C. The appliance has been exposed to rain; or
D. The appliance does not appear to operate normally or
exhibits a marked change in performance; or
E. The appliance has been dropped, or the enclosure
damaged.
Servicing — The user should not attempt to service the
appliance beyond that described in the operating instruc-
tions. All other servicing should be referred to qualified
service personnel. |
Thank you for purchasing the Fostex X-55.
O reference.
Introduction
The X-55 is a multitrack recorder with four inputs (two of which accept mic signals and can be specified
as balanced or unbalanced inputs), a multi-function mixer, and a high-quality high-speed (9.5 cm/s) four-
track cassette recorder. The X-55 allows you to create multi-track recordings using techniques such as
track bouncing, punching in and out by footswitch, and using the AUX send/return jacks for effect
processing. From tape sync to mixdown, the X-55 provides advanced functionality with simple operation.
To take full advantage of the X-55, please read this manual carefully before use and keep it for later
J
Table of Contents
Introduction .............=......—..ee ener 2 STEP 3: Overdubbing .....................eeeereeemens 16
Precautions (please read before use).................—.—.. 2 STEP 3-12 LL... ccccrcorresanserserarensas sec eee 16
CHAPTER 1. How to use the X-55 STEP 3-2: er mr REA EE EEA REAL A NEAR ETE EAR RARER ATE NTE RTE EA EAR 18
Here's what you can do with the X-55 .............—.... 3 STEP 4: MIXdown ........—..222e.. 020200 E HeeEreer 20
Some important terms used in this manual ............. 4 CHAPTER 4. Advanced operation
About cassette tapes for the X-55 .............. e... 5 After you have mastered basic operation .............. 22
CHAPTER 2. Control panel and front and rear panels STEP 5: Punch in/QUt..................2....2.. e 22
Control panel veces 7 STEP 6: Pingpong recording ...............—..—.—.——.. 24
Input/output JaCkS eee 9 STEP 7: Orchestration using tape sync ................ 26
Se | STEP 7-1: .e.neÑ.ceeeeeenerneee eee eee 26
CHAPTER 3. Basic operation (Start recording) =D 27
One step at a time .............—— ere cee, 11 Troubleshooting ...............-...... eme 29
Initial settings on the X-55 icine … 11 Maintenance nn ne ne ne ene ere eee. 30
STEP 1: Record one sound source on track 1 ....... 12 SPECIfICATIONS ………...….……rrrssrcsersenencencenenennessencances 31
STEP 2: Record four sound sources on two tracks 14 Block Diagram ……………cereseceereeenmenmnaensennennnn 39
Precautions (please read before use)
Power supply
* When unplugging the AC adaptor from the outlet, be
sure to grasp the adaptor. Attempting to unplug it by
pulling on the AC cable may damage the wiring.
e It is hazardous to use a power cable which has been
cut or frayed. If the power cable becomes damaged,
immediately stop using it, and have it repaired.
Do not plug in or unplug the AC adaptor when your
hands are wet. Doing so may result in dangerous
electric shock.
Do not open the unitor touch the parts inside. Doing
so may result in dangerous electric shock, and may
damage the unit.
Do not allow water or other liquids, flammable
materials, or metal objects such as pins to get inside
the unit. These things may cause electrical shock,
and may damage the unit. If the unit should become
wet, unplug the AC adaptor from the AC outlet, and
contact your authorized service station.
e When turning the power on, turn this unit on before
turning on other equipment connected to this unit.
Doing so will avoid possible damage to the other
equipment. Also, when connecting or disconnecting
cables to or from the unit's input or output jacks,
make sure that the INPUT fader and AUX volume of
that channel are turned down to a level of 0.
* When the AC adaptor is connected to an AC outlet,
itwil! continue to draw smail amounts of power even
if the switch is set turned off (STANDBY). If you will
not be using the unit for an extended length of time,
be sure to unplug the AC adaptor from the outlet.
Location
Avoid using the unit in the following types of loca-
tion.
* Locations of extreme low or high temperatures, or
extreme changes in temperature.
* Locations with excessive moisture or dust.
+ Locations where direct sunlight falls for an extended
time, or near a stove or other source of heat.
* Locations where electrical voltage is not steady.
* Unstable locations or where there is heavy vibration.
* Near strong magnetic fields (on top of a television or
speaker).
How to use the X-55
Here’s what you can do with the X-55
Radio cassette players and stereo cassette decks record and playback stereo sound on each
side; side A and side B. As shown in the diagram, a cassette tape is divided into four tracks.
Two are used for side A and two for side B.
However the X-55 uses all four tracks at once (i.e., as a single side), and is able to record each
track independently, allowing you to record instruments or vocal parts separately.
This chapter will give some actual examples of things that are possible when using the X-55,
and explain the basic concepts that you need to understand.
Standard Cassette Deck Model X-55
Record a four-person band
The X-55 has four tracks, and a different sound source can be recorded independently on
each track. (La as ao 00 0 0 crane ^\
Here's how you might record a four-person \ TTT 7
band (drums, bass, guitar and keyboard).
Record the drums on one track. Then, while
you playback the drum part you recorded,
record the bass part on the second track.
(This process is called “overdubbing”.) As
shown below, use the same procedure to
record the guitar and then the keyboard on
the remaining tracks to complete a four track
recording.
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Keyboard
You can also use the X-55 to record a four-
person performance. The four-person band
in the example above could be recorded on two tracks; drums and bass on one track, and
guitar and keyboard on another track. However, there are some restrictions on which tracks
can be recorded simultaneously. On the X-55, the following four combinations are possible.
Tracks 1&2, Tracks 1&4, Tracks 2&3, Tracks 3&4
As shown above, the X-55 is notable to record simultaneously on two odd numbered tracks,
on two even numbered tracks, or on all four tracks together. Details are explained in chapter
3.
Drum
Record a multi-track performance by yourself
If you are able to play more than one instrument, a multi-track recorder can be a very
valuable music-making tool. This is even more the case if you are able to use MID!
instruments, since you can use the tape sync function to create large orchestral arrange-
ments. This manual will explain first how to record one sound source on a single track, and
gradually move on to more complex possibilities.
Once you understand the basic principles, multi-track recording is really quite simple and
easy.
Use professional recording techniques
Another possibility is for you to record a favorite song by a professional musician, and then
record your own performance on a different track. By using the pitch control to slow down
the tape speed, you can more easily figure out and learn how to play rapidly played phrases.
3
CHAPTER How to use the X-55
If you make a few mistakes, these can be easily corrected using the punch in/out function.
Alternatively, you can create your own “music minus-one” tapes!
In this way, the X-55's multi-track recording capabilities provide a wide variety of
possibilities.
Some important terms used in this manual
This section explains some of the important terms used in this manual, which you need to
understand in order to take advantage of the X-55.
Sound source
Instruments or microphones connected to the X-55 are collectively called “sound sources”.
Signal
The X-55 is able to record not only sound from sound sources, but also synchronization
signals used by the tape sync function. Thus, sounds and signals are collectively explained
as “input signals” or “output signals”.
Overdubbing
The process of playing back a previously recorded signal on one track while recording a
different signal on another track is called “overdubbing”.
On cassette radio players or stereo cassette decks, it is not possible to listen to the sound
recorded on the left track while recording a new sound on the righttrack. However the X-55's
overdubbing capabilities allow you to successively record new sounds on empty tracks.
Monitoring
As explained above, “overdubbing” includes the act of listening to a previously recorded
sound. This “listening to a previously recorded sound” is often referred to as “monitoring”.
The word “monitor” means to check or verify, and in this manual's explanation of the
recording process, listening to a previously recorded track or checking the input signal to be
newly recorded is referred to-as “monitoring”.
The difference between Tracks and Channels
The two concepts of Tracks and Channels are often confused, but in this manual they mean
different things.
Channels refer mainly to the input/output system of the mixer section. For example, this
manual tell you that “the bass connected to channel 1” should be “output from the Left
channel”.
Tracks, on the other hand, refer mainly to the input/output system of the recorder section (the
tape). For example, this manual may tell you to “mixdown tracks 1, 2, 3 and 4”. In other
words, the X-55 contains a four-channel mixer section and a four-track recorder section.
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Channel 1-4
* About the PAN knobs and the stereo bus
The X-55 contains a four-channel mixer. This means that you can mix four sound sources
to stereo.
15 not possible to see from the outside how the signals flow. So, we have included a diagram
below that explains the signal routing of the X-55. The thick pipe in the diagram is called
the stereo bus, and the signals from each PAN knob are gathered here.
After the MASTER fader makes the final level adjustment, the signals are output from the
STEREO OUT L and R jacks.
The PAN knobs have the function of routing signals to the stereo bus. The output of the stereo
bus is also sent to the recorder section. As shown in the diagram, the output of the L side is
sent to tracks 1 or 3, and the output of the R side is sent to tracks 2 or 4.
For example, if you wish to record the signals from alt channels 1-4 on track 1, you should
set only the upper REC SEL switch [1/OFF/3] to “1”, and set the PAN knobs for afl channels
to the far “L” position.
Stereo Bus |
STEREO OUT A
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Channel 1
* About the AUX system
The AUX (auxiliary) system is an auxiliary or supplementary input system, and is used mainly
for effect processing.
The AUX signals are provided in addition to the stereo bus explained in the preceding note.
Since all channels 1-4 of the X-55 can send to the AUX system, it is easy to perform effect
processing. It is also possible to send/return foldback (FB) signals using the AUX send.
(Foldback is explained in the following STEP 3.)
STEP 3. Record four sound sources on four tracks (overdubbing)
As explained on page 16, overdubbing refers to the process of monitoring a previously-
recorded track while you record new tracks. In STEP 3, you will learn how to use the basic
procedures for overdubbing to record four sound sources on four tracks.
* About foldback (FB)
FB is used mainly to monitor the playback signal from the tape during overdubbing. The
reason for using FB for monitoring is that the signal from FB is sent neither to the stereo bus
nor to the recorder section. The FB signal is sent directly out the FB jack, and can be
monitored but not recorded. This means that you can monitor the signal from a tape track
without using up an input or allowing the monitored signal to get into the track you are newly
recording. By setting the MON SEL switch to “ST+FB” or “FB”, you can monitor the FB
signal through headphones or your monitor speaker. For details on using FB, refer to STEP
3 “Overdubbing”.
About cassette tapes for the X-55
Suitable types of cassette tape
The X-55 is designed to use high-position cassette tapes (Chrome, type Il), and will give the
best performance when used with these tapes. We recommend that you use either these
tapes or other tapes of equivalent quality. Since C-120 cassettes use thinner tape, they are
not suitable for multi-track recording, where repeated recording and playback takes place.
Avoid using anything longer than a C-90 with the X-55.
Using the erase-protect tabs
Cassette tapes have “tabs” that can be broken off to prevent valuable recordings from being
accidentally erased. Since the X-55 uses all four tracks as a single side, break off the tabs for
both side A and side B to prevent a completed recording from accidental erasure.
If you later decide to record over the tape, you can put sticky tape over the broken-off tab
holes so that the tape can be re-recorded. 5
Control panel and front and rear
panels
=~ HH Y
The words in square brackets [ ] refer to the printing on the front and rear panel.
Control panel
(1) Input faders [INPUT 1-4]
These faders adjust the level of the signals that are input from INPUT jacks 1-4, or the signal
levels from tracks 14. The INPUT SEL switches determine which signal is adjusted by each
fader.
(2) Level switches [LEVEL]
Set these switches to settings appropriate for the output level of the sound sources connected
to INPUT jacks 1 and 2 (Balanced or Unbalanced). The level can be adjusted in three
positions; HIGH, MID and LOW,
HIGH —10 dBV) High output level devices such as synthesizers or instruments that have been sent through
an effect processor.
MID (-30 dBV) Electric guitars, electric basses, drum machines, etc.
LOW (-50 dBV) Low output level devices such as microphones.
(3) Channel select switches [INPUT SEL]
These switches select the signal that is sent to the INPUT fader of each channel.
INPUT The signal connected to the INPUT jack will be controlled by the INPUT fader.
TAPE The playback signal of the tape will be controlled by the INPUT fader.
(4) Foldback knobs [FB]
These knobs control the signal that is sent to the FB jack.
INPUT The input signal received at the INPUT jack will be sent to the FB jack without being affected
by the INPUT fader (i.e., pre-fader).
TRACK The tape playback signal (from tracks 1—4) will be sent to the FB jack.
Foldback (FB) is used mainly to monitor the tape playback signal during overdubbing.
Details are explained in the “Operation” section.
(5) Panpot knobs [PAN]
The panpot knobs have the following two functions.
1. The panpot knobs are used to assign the sound sources connected to each INPUT jack
to tracks 1-4. For this purpose, the panpot knobs are turned either full right or full left.
2. When playing back tracks 1-4 during mixdown etc., the panpot knobs are used to place
each track in the desired stereo location. For this purpose, the panpot knobs are turned
to the desired location.
(6) Low equalizer knobs [LOW EQ]
These knobs control the low frequency range (100 Hz +10 dB) of the input signal of each
channel.
(7) High equalizer knobs [HIGH EQ]
These knobs control the high frequency range (10 kHz +10 dB) of the input signal of each
channel.
AUX send knobs [AUX]
The AUX send knobs determine the level of the input signal or the FB signal (selected by the
AUX SEL switch) that will be sent to an AUX SEND jack. The signal adjusted by these knobs
can be sent to external devices such as effect units. At a position of “0”, the signal will be
sent to neither output.
AUX 1 Send the signal to the AUX SEND 1 jack.
AUX 2 Send the signal to the AUX SEND 2 jack.
(9) AUX send select switches [AUX SEL]
These switches select the signal that is sent to AUX send.
CH The signal from the INPUT fader will be sent to AUX.
FB The signal from FB will be sent to AUX.
CHAPTER
Control panel and front and rear panels
(0 Pitch control knob [PITCH]
This knob allows you to adjust the tape speed over a range of +12%. When the knob is in
the center position (“0”), the tape speed will be normal.
(1) AUX return 1, 2 knobs [AUX RTN 1, 2]
These knobs control the input signal from external devices (such as effect units) connected
to the AUX RTN 1 and AUX RTN 2 jacks.
(2 Monitor level knob [MON]
This knob controls the volume of the external monitor or headphones.
(3 Monitor select switch [MON SEL]
This switch selects the signal to monitor.
STEREO The signal that is output from the STEREO OUT L and R jacks will be monitored.
ST + FB The signals from STEREO OUT L and R jacks and from the FB jack will be monitored
together.
FB The signal from the FB jack will be monitored.
Master fader [MASTER]
This fader controls the signal that is output from STEREO OUT L and R.
(5 Record track select switches [REC SEL]
These switches select the track(s) that will be recorded. The signal assigned by the PAN knob
to Lor A will be sent to the track specified by these switches. If these are set to “OFF”, the
signal will not be recorded on any track.
Meter select switch [METER]
This switch selects the signal that is displayed in the meters.
MIXER The meters will display the output level of stereo out L and R, and the output levels of AUX
SEND 1 and 2.
TAPE The meters will display the level of the signals recorded on tape (tracks 1-4).
(7 Dolby B noise reduction switch [NR]
This switch turns Dolby B noise reduction on or off.
To enjoy recording and playing back high-quality sound, set this switch to the ON position.
Power indicator [POWER]
This indicator will light when the power switch is turned on.
Recording indicator [REC]
This indicator will light when one of the tracks is ready to record (i.e., when the REC SEL
switch is in a position other than OFF) and the unit is in REC-PAUSE mode or in recording.
@ Tape counter/reset button [RESET]
This displays the tape location.
To reset the counter to [000], press the reset button.
@) Transport control buttons
* Record button [REC]
* Play button [PLAY]
* Rewind button [REW]
* Fast-forward button [FF]
+ Stop button [STOP]
* Pause button [PAUSE]
@ Meter display
This display indicates the level of the signals selected by the METER select switch.
63 Deck transport
This is where the cassette tape is inserted.
DL
Front panel input/output jacks
62 Input jacks [INPUT 1-4]
Sound sources you wish to input can be connected to these jacks.
INPUT jacks 1 and 2 are able to accept either line or mic signals, and jacks 3 and 4 are able
to accept only line signals. For low output level mics or for instruments that require a
switchable input level, use INPUT jacks 1 or 2. You can also use the XLR balanced
connectors on the rear panel for INPUT 1 and 2. However, you cannot use both Input 1 and
2 jacks and XLR connectors on the rear panel simultaneously. The unbalanced phone jacks
on the front panel always have priority.
69 Headphone jack [PHONES]
A set of headphones can be connected to this jack for monitoring.
@ Punch in/out jack [PUNCH IN/OUT]
When using the punch in/out function, connect a Fostex 8051 foot switch (sold separately)
to this jack. |
For details on the punch in/out function, refer to chapter 4, STEP 5.
Rear panel input/output jacks
E? Insert jacks [INSERT 1, 2]
These jacks can be used when you wish to do independent effect processing of the signals
that are input into channels 1 and 2.
This capability is especially convenient when you are inputting an acoustic instrument or
microphone to channel 1 or 2, and wish to process it with a compressor or effect unit.
Use a cable as shown in the following diagram.
Tip: Send
Ring: Receive mun
Sleeve: Ground Send
To Insert
jack
$=
Receive
Stereo Phone Plug
Mono Phone Plug
@ AUX return 1, 2 jacks [AUX RTN 1, 2]
The signal processed by effect units can be input to these jacks.
If you are using a device that has a mono output, connect it to the MONO jack.
@ AUX send 1, 2 jacks [AUX SEND 1, 2]
The output signal from these jacks can be sent to an effect unit, etc.
Connect these jacks to the input jacks of your effect unit or other device.
@0 Foldback jack [FB]
This jack outputs the signal controlled by the FB jack.
This jack can output the input signal unaffected by the INPUT faders, or the playback signal
from the tape. Foldback is used mainly for providing a monitor sound for the musicians.
6) Stereo out jacks [STEREO OUT L, R]
These jacks output the stereo L and R signals.
During mixdown etc., connect these jacks to the inputs of your master recorder.
62 Monitor out jacks [MON OUT L, R]
These jacks outputthe monitor signal that is selected by the MON SEL switch. Connect these
jacks to your monitor amp/speaker system, etc.
63 Tape out jack [TAPE OUT 1—4/SYNC]
These jacks output the signals from tape tracks 1-4.
Use these jacks when you wish to use an external mixer, or for effect processing. Jack 4 can
also be used as a SYNC OUT jack to transmit a synchronization signal to a MIDI sequencer,
etc. 9
CHAPTER
10
Control panel and front and rear panels
64 Power switch [ON <i> STANDBY]
This switch turns the X-55's power on or off (standby).
Note:
When the AC adaptor is connected to an outlet, it will continue drawing a smail amount of AC power
even if you turn the power switch off (STANDBY). If you will not be using the X-55 for a while, be
sure to disconnect the AC adaptor from the outlet.
65 AC adaptor connector [DC IN - - - 12 V]
Connect the included AC adaptor to this connector.
68 Input connector [INPUT 1, 2]
These are balanced XLR input connectors that can be used instead of INPUT 1 and 2 on the
front panel.
Note:
You cannot use these connectors and the unbalanced phone jacks on the front panel at the same
time. If you try to input signal to both front phone jacks and these connectors, only the phone jacks
will accept the signal. If you wish to input signal to these connectors, do not connect the front phone
jacks 1 and 2.
XLR connector pin assignment
1 (Shield)
3 (Cold)
2 (Hot)
Basic operation (Start recording)
One step at a time
Now you are ready to actually begin using the X-55.
This manual explains the operation of the X-55 in eight steps. Once you have mastered the
procedures of steps 1-4, you will be able to use nearly all of the X-55's functions. Steps 5—
7 explain somewhat more advanced techniques. When you are familiar with all the steps
1-7, you can go ahead and develop your own recording methods.
STEP 1: Record one sound source on track 1 (see P.12)
STEP 2: Record four sound sources on two tracks (see P.14)
STEP 3: Overdubbing (see P.16)
STEP 4: Mixdown (see P.20)
STEP 5: Punch in/out (see P.22)
STEP 6: Pingpong recording (see P.24)
STEP 7: Orchestration using tape sync (see P.26)
Initial settings on the X-55
After completing one step, you should set the sliders and switches back in order before
proceeding to the next step. Resetting the knobs and switches that were used in the previous
step will prevent mistakes that may result from inappropriate settings. The process of setting
the controls to the positions given in the following list is referred to in this manual as
“initializing”.
Remember to initialize the controls before beginning each step.
How to initialize the controls
* Lower the INPUT faders of all channels and the MASTER fader.
+ Set all knobs to “0” (set the PAN knobs to the center position).
* Set the INPUT SEL switches of each channel to “INPUT”.
+ Set the AUX SEL switches of each channel to “CH”.
* Set each of the REC SEL switches to “OFF”.
* Set the METER switch to “MIXER”.
* Set the Dolby NR switch to “OFF”.
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11
CHAPTER Basic operation (Start recording)
STEP 1: Record one sound source on track 1
In STEP 1, we will explain basic recording procedure on the X-55. In this section you will
learn the roles and operation of the most important knobs and switches.
* Turn on the X-55 power.
* Before you begin, initialize the controls of the X-55.
+ Insert the tape you wish to record on, and rewind it to the location at which you want to begin
recording.
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[1] Connect the sound source and monitor headphones
e Connect a set of headphones for monitoring to the PHONES jack. Alternatively, you can
connect an amp/speaker system to the MON QUT L and R jacks.
The volume of the monitor sound is controlled by the MON knob.
e Connect the sound source to the channel 1 INPUT jack (Balanced or Unbalanced).
Depending on the type of sound source, set the LEVEL switch as follows.
Level switch setting examples:
Synthesizer: HIGH (-10 dBV)
Electric guitar or bass: MID (-30 dBV)
Mic: LOW (-50 dBV)
12) INPUT SEL switch settings
e The INPUT SEL switch selects the signal that will be connected to the INPUT fader.
In this example we want to connect the signal input from the channe! 1 INPUT jack to the
fader, so set the switch to “INPUT”.
[3] MON SEL switch settings
e The MON SEL switch selects the signal that will be monitored.
In this example, set the switch to “STEREO”.
12
[4] REC SEL switch settings
e The REC SEL switch selects the tape track on which recording will be done.
In this example we will be recording only track 1, so set the upper REC SEL switch (1/0FF/
3) to “1”. Leave the lower REC SEL switch (2/0FF/4) set at “OFF”.
[5] Viewing the level meters
e Set the METER switch to “MIXER” so that you can check the level of the signal input at the
INPUT jack. To check the signal thatis sent to track 1, you can set the X-55 to record or REC-
PAUSE.
[6] Adjusting the input signal
® Raise the MASTER fader to about 7 or 8.
e While playing your instrument (or singing into the mic), gradually raise the channel 1 fader
until the level meter is moving in the area of “0”.
e If necessary, change the setting of the LEVEL switch.
e If you are monitoring through headphones, gradually rotate the MON knob to the right.
PAN knob settings
® The PAN knobs are used to assign the input signal. In this example we want to send the input
signal to track 1, so be sure to rotate the PAN knob all the way to the “L” position. (The signal
will be sent to odd numbered tracks when the PAN is in the “L” position, and to even
numbered tracks when in the “R” position.)
LOW and HIGH equalizer settings
e If you wish, you may use one or both of the equalizer knobs to adjust the tone of the input
signal.
Since in multitrack recording the sounds can be layered and re-recorded many times, the
high frequencies may eventually begin sounding dull. For this reason itis a good idea to boost
the high frequencies a bit when recording.
[9] PITCH knob settings
e When recording, set the PITCH knob at the center position (“0”).
Start recording
e Press the PAUSE button. Then press the REC button, and the X-55 will enter “REC-
PAUSE” mode. (The REC indicator will light.)
e Press the PAUSE button once again. REC-PAUSE mode will be canceled and the X-55 wil
begin recording. Alternatively, you can press the REC button without going through REC-
PAUSE.
* Begin playing your instrument (or singing into the mic).
e From time to time, check that the level meter for the L channel is not going ail the way to
the top. If it is, adjust the channel 1 INPUT fader.
e |f you are monitoring through headphones, adjust the MON knob as necessary.
e When you finish recording, press the STOP button and the tape will stop.
11) Playback (listen to the recording you just made)
e Press the REW button to rewind the tape.
e Set the channel 1 INPUT SEL switch to “TAPE”.
In this example we are playing back track 1, so we will select the tape signal for channel 1.
e Press the PLAY button to start the tape.
e Use the channel 1 INPUT fader to adjust the volume. (Leave the MASTER fader as it was.)
e Rotate the MON knob to the right, and the recorded sound will be heard from your
headphones or monitor system.
e To change the stereo location of the sound, rotate the channel 1 PAN knob.
e To adjust the tone, use the channel 1 HIGH and LOW EQ knobs.
13
CHAPTER Basic operation (Start recording)
STEP 2: Record four sound sources on two tracks
In STEP 2 we will explain how to record four sound sources on two tracks. In STEP 2 you
will learn additional procedures and connections that will supplement what you learned
in STEP 1.
* Before you begin, initialize the controls of the X-55.
* In this Step, you will learn how four sound sources. (drum machine, bass, guitar, and
synthesizer) being played simultaneously can be recorded on two tracks.
In this example, the four sound source will be connected as follows, and recorded on tracks
1 and 2 as shown below.
Drum machine & bass — Track 1
Guitar & synthesizer — Track 2
* In this Step you will also learn how to connect an external effect device for effect processing.
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[1] Connect the sound sources
® Connect each sound source to INPUT jacks 1-4.
Electric bass > INPUT 1
Electric guitar > INPUT 2
Drum machine — INPUT 3
Synthesizer > INPUT 4
e Sound sources for which you will need to make level adjustments should be connected to
INPUT jacks 1 or 2 (Balanced or Unbalanced), so that you can set the LEVEL switch to a
position appropriate for the output level of the sound source. In this example, set the LEVEL
switches of channels 1 and 2 to “MID”.
[2] INPUT SEL switch settings
14 e Set the INPUT SEL switch of all channels to “INPUT”.
13] MON SEL switch settings
e Set the MON SEL switch to “STEREO” as you did in STEP 1.
[4] REC SEL switch settings
e In this example we will be recording on tracks 1 and 2, so set the two REC SEL switches
as shown below.
REC SEL switch (upper) > “1”
REC SEL switch (lower) > “2”
[5] PAN knob settings
e Since we will be recording the signals connected to the channels 1 and 3 INPUT faders
(electric bass and drum machine) on track 1, turn the PAN knobs of channel 1 and 3 to the
full “L” position.
e Since we will be recording the signals connected to the channels 2 and 4 INPUT faders
(electric guitar and synthesizer) on track 2, turn the PAN knobs of channel 2 and 4 to the full
“R” position.
[6] Input signal adjustments
e Raise the MASTER fader to about 7 or 8.
e While playing each instrument, gradually raise the corresponding INPUT fader so that the
level meter is moving in the region of “0”.
Using AUX for effect processing
e You will need an effect processor unit (e.g., a reverb unit).
e Connect the input jack of the effect unit to the X-55's AUX SEND 1 jack, and connect the
output jack of the effect unit to the X-55's AUX RTN 1 jack.
e Set the AUX SEL switches of all channels to “CH”.
* In this example, we will use the effect unit to apply reverb to the electric guitar and
synthesizer, so rotate the AUX knobs of channels 2 and 4 gradually to the “AUX 1” position.
(The AUX 1 level meter will let you check the output level being sent to the reverb.)
® Gradually rotate the AUX RTN 1 knob to the right, and adjust the input level from the effect
unit.
Start recording
e Press the PAUSE button. Then press the REC button, and the X-55 will enter “REC-
PAUSE” mode. (The REC indicator will light.)
e Press the PAUSE button once again. REC-PAUSE mode will be canceled and the X-55 will
begin recording. Alternatively, you can press the REC button without going through REC-
PAUSE.
e From time to time, check that the level meters are not going all the way to the top. If they
are, adjust the INPUT faders.
e When you finish recording, press the STOP button and the tape will stop.
[9] Playback
e Press the REW button to rewind the tape.
e Set the channels 1 and 2 INPUT SEL switches to “TAPE”.
In this example we are playing back tracks 1 and 2, so we will select the tape signal for
channels 1 and 2.
e Press the PLAY button to start the tape.
e Use the channel 1 and 2 INPUT faders to adjust the volume. (Leave the MASTER fader at
about 7 or 8.)
e To change the stereo location of the sound, rotate the channel 1 and 2 PAN knobs. To adjust
the tone, use the HIGH EQ and LOW EQ knobs.
15
CHAPTER
Basic operation (Start recording)
STEP 3: Overdubbing
16
As explained on page 4, overdubbing is the process of recording a new sound source on a
track while you monitor the signal of a different, previously recorded track. In STEP 3, you
will learn how to use basic overdubbing procedure to record many sound sources on four
tracks.
STEP 3-1:
While monitoring the signal from track 1, record sound source B on
track 1.
* Record sound source À to track 1 as explained in STEP 1.
* In this example, we will use FB to monitor the signal recorded on track 1 while you record
an additional sound source on track 2 in the basic overdubbing procedure.
yy Before you begin, initialize the controls of the X-55.
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[1] Connect the sound source.
e Connect sound source B to INPUT jack 1 (Balanced or Unbalanced).
You may use any INPUT jack 1-4, but in this example we will use INPUT jack 1. Set the
LEVEL switch to a setting appropriate for the connected sound source. |
[2] INPUT SEL switch settings
e Set the channel 1 INPUT SEL switch to “INPUT”.
This will connect the signal from sound source B to the INPUT fader.
[3] FB knob settings
® In order to use FB to monitor the signal from track 1, gradually rotate the channel 1 FB knob
to the “TRACK” side to adjust the volume of track 1.
[4] REC SEL switch settings
e Set only the lower REC SEL switch to “2”, and the upper switch to “OFF”.
With these settings, recording will take place only on track 2.
[5] PAN knob settings
e So that sound source B will be recorded on track 2, rotate the channel 1 PAN knob to the
far “R” position.
[6] Input signal adjustments
e Raise the MASTER fader to about 7 or 8.
e Set the METER switch to “MIXER”.
e While playing sound source B, gradually raise the channel 1 INPUT fader so that the level
meter R moves in the area of “0”. |
e To monitor the sound through headphones or your monitor system, rotate the MON knob
to the right.
MON SEL switch settings
e Set the MON SEL switch to “ST+FB”.
The signal from track 1 will be heard in the center, and the signal to be newiy recorded wili
be heard from the right.
Start recording
e Press the REW button to rewind the tape.
When you reach the location where you wish to begin recording, press the RESET button
to set the counter to “000”.
e Press the PAUSE button. Then press the REC button, and the X-55 will enter “REC-
PAUSE” mode. (The REC indicator will light.)
e Press the PAUSE button once again. REC-PAUSE mode will be canceled and the X-55 will
begin recording. Alternatively, you can press the REC button without going through REC-
PAUSE.
e When recording begins, the signal from track 1 will be heard at the level determined by the
FB knob setting. Play along with the signal from track 1.
e From time to time, check that the level meter is not going all the way to the top. If itis, adjust
the channel 1 INPUT fader.
e When you finish recording, press the STOP button and the tape will stop.
[9] Playback
e Press the REW button to rewind the tape.
e Set the FB knob to “0” or set the MON SEL switch to “STEREO”.
e Set the channels 1 and 2 INPUT SEL switches to “TAPE”.
In this example we are playing back tracks 1 and 2, so we will connect the tape signal from
tracks 1 and 2 to the channel 1 and 2 INPUT faders.
e Press the PLAY button to start the tape.
e Use the channel 1 and 2 INPUT faders to adjust the volume. (Leave the MASTER fader at
about 7 or 8.)
e To change the stereo location of the sound, use the channel 1 and 2 PAN knobs.
e To adjust the tone, use the channel 1 and 2 equalizer knobs.
17
CHAPTER Basic operation (Start recording)
STEP 3-2:
While monitoring the signal from tracks 1 and 2, record sound sources
C and D on track 3.
Y In this Step, we will monitor the signal recorded on tracks 1 and 2 (sound sources À and
B) as we record two sound sources C and D on track 3.
+ Before you begin, initialize the controls of the X-55.
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[1] Sound source connections
® Connect sound sources C and D respectively to INPUT jacks 1 and 2 (Balanced or
Unbalanced).
Set the LEVEL switches as appropriate for the sound sources you connect.
[2] INPUT SEL switch settings
e Set the channel 1 and 2 INPUT SEL switches to “INPUT”,
[3] FB knob settings -
® So that you can use FB to monitor the signals from tracks 1 and 2 as you did in STEP 3-1,
gradually rotate the channel 1 and 2 FB knobs toward the “TRACK” side to adjust the
volume of tracks 1 and 2.
18
[4] REC SEL switch settings
e Set only the upper REC SEL switch to “3”, and set the lower switch to “OFF”.
With these settings, only track 3 wiil be recorded.
[5] PAN knob settings
e So that the signals connected to channels 1 and 2 will be recorded on track 3, set both
channel 1 and 2 PAN knobs all the way to the “L” position.
[6] Input signal adjustments
e Raise the MASTER fader to about 7 or 8.
e Set the METER switch to “MIXER”.
e While playing sound sources C and D, gradually raise the channel 1 and 2 INPUT faders so
that level meter L moves in the area of “0”.
e To monitor the sound through headphones or your monitor system, rotate the MON knob
to the right.
MON SEL switch settings
e Set the MON SEL switch to “ST+FB”.
With this setting, the track 1 and2 signals will be heard in the center, and the newly recorded
sound source will be heard in the left side.
Start recording
e Press the REW button to rewind the tape.
When you reach the location where you wish to begin recording, press the RESET button
to set the counter to “000”.
e Press the PAUSE button. Then press the REC button, and the X-55 will enter “REC-
PAUSE” mode. (The REC indicator will light.)
e Press the PAUSE button once again. REC-PAUSE mode will be canceled and the X-55 will
begin recording. Alternatively, you can press the REC button without going through REC-
PAUSE.
® When recording begins, the signals from tracks 1 and 2 will be heard at the levels determined
by the FB knob settings. Play along with the signals from track 1 and 2.
e From time to time, check that the level meter is not going all the way to the top. If it is, adjust
the channel 1 and 2 INPUT faders.
e When you finish recording, press the STOP button and the tape will stop.
[9] Playback
e Press the REW button to rewind the tape.
e Set the FB knob to “0” or set the MON SEL switch to “STEREO”.
e Set the channels 1-3 INPUT SEL switches to “TAPE”.
In thisexample we are playing back tracks 1—3, so we will connectthe tape signal from tracks
1-3 to the channel 1-3 INPUT faders.
e Press the PLAY button to start the tape.
e Use the channel 1-3 INPUT faders to adjust the volume. (Leave the MASTER fader at about
7 or 8.)
e To change the stereo location of the sound, use the channel 1-3 PAN knobs.
® To adjust the tone, use the channel 1-3 equalizer knobs.
In this way, you can use FB to monitor the signal from the previously recorded tracks while you
record new sound sources. Now that you understand how the recorded and monitored signals are
routed during overdubbing, and how each switch functions, you can take advantage of other types
of recording technique.
19
CHAPTER Basic operation (Start recording)
STEP 4: Mixdown
What is mixdown? A
Mixdown refers to the process of playing back the signals recorded on two or more
tracks, combining these to a stereo (or mono) signal, and recording the result on a
separate master tape. This is the final Step in creating a multitrack recording. During
mixdown you can make fine adjustments to the level balance of each track, and add
effect processing etc. to create the musical result you want.
À
# In this Step you will learn how the signals from tracks 1-4 that you overdubbed in STEP
3 can be mixed down and sent to a master recorder.
¥ Before you begin, initialize the controls of the X-55.
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[1] Connections between the X-55 and the master recorder
e Connect the X-55's STEREO OUT L and R jacks to the master recorder’s LINE IN jacks.
[2] INPUT SEL switch settings
| ® Set the INPUT SEL switches of all channels to “TAPE”.
[3] REC SEL switch settings
e Set both REC SEL switches to “OFF”.
20
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[4] MON SEL switch settings
e Set the MON SEL switch to “STEREO”.
[5] PAN knob settings
e Rotate the PAN knob of each channel to the desired stereo location.
[6] Effect processing using AUX
e As showninthe diagram, connect two effect units so that effects can be applied to the signals
from each track as follows. |
Track 1 — Effect unit 1
Track 2 — Effect unit 2
Track 3 — Effect unit 2
Track 4 — Effect unit 1
e Connect the X-55's AUX SEND 1 and 2 jacks respectively to the input jacks of the two effect
units. Connect the output jacks of the effect units to the X-55’'s AUX RTN 1 and 2 jacks.
If an effect device has a mono output, connect the output to the “L/MONQ” jack of the XR-5's
AUX RTN 1 or 2.
e So that effect unit 1 will be applied to tracks 1 and 4, gradually rotate the channel 1 and 4
AUX knobs toward “AUX 1”. (The AUX 1 level meter will indicate the output level to effect
unit 1.)
e So that effect unit 2 will be applied to tracks 2 and 3, gradually rotate the channel 2 and 3
AUX knobs toward “AUX 2”. (The AUX 2 level meter will indicate the output level to effect
unit 2.)
e Gradually rotate the AUX RTN 1 and 2 knobs toward the right to adjust the input level from
the effects device.
Master recorder settings
e Insert the tape on which the master recording will be made, and rewind it.
e So that you can check the master recorder's input level, set it to REC-PAUSE.
Rehearsal
e Press the REW button to rewind the tape.
e Press the PLAY button to start the tape.
e Use the channel 14 INPUT faders to adjust the volume of each track. (Leave the MASTER
fader at 7 or 8.)
e Use the PAN knobs of each channel to set the desired stereo location for each track.
e Use the equalizer knobs of each channel to adjust the tone.
e Use the AUX RTN 1 and 2 knobs to adjust the input leve! from the effect units.
[9] Start the mixdown
e First start recording on the master recorder.
e Press the X-55's PLAY button to start the tape.
e Use the MASTER fader to control the overall volume, and to fade-in or fade-out.
21
CHAPTER
Advanced operation
After you have mastered basic operation
You have worked through Steps 1-4 and have learned the basic techniques of operating the
X-55. In this section, you will learn more advanced multitrack recording techniques such
as punching in/out and using tape synchronization.
STEP 5: Punch in/out
22
N
What is punch in/out?
Punch in/out refers to a technique in which you re-record only a specific part of a
previously recorded track. For example, this technique can be used to re-record just a
few measures of a guitar solo. You can playback the tape, and when you reach the
section you want to re-record, press a footswitch to enter record mode without having
to stop the tape. This is called “punching in”. Then when you reach the end of the section
you wantto re-record, press a footswitch to return to play mode. This is called “punching
out”.
J
w To punch in/out you will need a separately sold Fostex 8051 footswitch.
¥ In this section we will explain how to monitor the signals from tracks 1-4 and punch in/
out on a guitar solo recorded on track 1. The procedure is the same for other situations.
Y Before you begin, initialize the controls of the X-55.
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[1] Sound source connections
* Connect the electric guitar to INPUT jack 1.
e Set the LEVEL switch to “MID”,
[2] INPUT SEL switch settings
® So that you can adjust the input signal of the electric guitar, set the channel 1 INPUT SEL
switch to “INPUT”.
[3] MON SEL switch settings
e Set the MON SEL switch to “FB”.
[4] FB knob settings
® We will send the playback signals of tracks 1-4 to FB for monitoring,
eo Gradually rotate the FB knobs of channels 1-4 in the “TRACK” direction to adjust the
playback signals from tracks 1-4 for monitoring.
[5] REC SEL switch settings
* Set the upper REC SEL switch to “1”, and the lower REC SEL switch to “OFF”.
With these settings, only track 1 will be recorded.
[6] PAN knob settings
® Rotate the channel 1 PAN knob all the way to the “L” direction.
e The channel 2-4 PAN knobs are not used.
Input signal adjustments
e Raise the MASTER fader to 7-8.
* While playing the electric guitar, adjust the channel 1 INPUT fader so that the level meter
L moves in the “0” area.
Punch in
e Playback the tape.
® Immediately before the section you wish to punch in, press the footswitch once.
When you press the footswitch, track 1 alone will enter record mode, and the sound of your
guitar playing will begin being recorded on track 1.
Until you punch in, you will be monitoring the playback signal from track 1. After you punch
in (and until you punch out) you will be monitoring the newly recorded signal.
[9] Punch out
* When the section you wish to re-record ends, immediately press the footswitch once again.
Recording will end, and you will once again be monitoring the playback signal from track
1.
* Leave the control panel settings as they are, rewind the tape, and playback.
® If the results are not what you wanted, try the punch in/out procedure again.
23
CHAPTER Advanced operation
STEP 6: Pingpong recording
@ 0 . D
What is pingpong recording?
Pingpong recording refers to a technique in which the playback from two or more
previously recorded tracks is mixed and recorded onto a different track. Pingpong
recording can be used to free up tracks so that more sound sources can be recorded on
them, allowing youto create recordings with more parts than there are actual tape tracks.
Be careful about oscillation during ping-pong recording
During ping-pong recording, raising the gain too high may generate oscillation. In this
case, stop recording immediately. Monitoring sound with oscillation through head-
phones or external monitor devices may impair your hearing ability.
After you stop recording, lower the output level (Input faders 1-4 or Master fader on the
X-55) to an appropriate gain level, or use the HIGH EQ knob to attenuate the high
frequency range, and restart recording.
[Example] A seven-part ensemble using pingpong recording
(1) Record A,BandC (2) Pingpong record (3) RecordDandE (4) Pingpong record D (5) Record F and G
on tracks 1-3 on track 4 on tracks 1 and 2 and E on track 3 on tracks 1 and 2
TRK4 prem
TRK3 |:
TRK2
TRK!
Result: a total of 7 recorded
parts AG!
Y In this section we will explain how tracks 1-3 can be combined and processed with an
effect while being re-recorded onto track 4.
% Before you begin, initialize the controls of the X-55.
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[1] Effect unit settings
e Connect the X-55 to the effect unit.
Connect the X-55’s AUX SEND 1 jack to the effect unit’s input jack, and the effect unit’s
output jacks to the X-55's AUX RTN 1 jacks.
[2] INPUT SEL switch settings
® Set the channel 1-3 INPUT SEL switches to “TAPE”, and the channel 4 switch to “INPUT”.
[3] MON SEL switch settings
e Set the MON SEL switch to “STEREO”.
[4] REC SEL switch settings
® Set only the lower REC SEL switch to “4”, and set the upper REC SEL switch to “OFF”.
With these settings, only track 4 will be recorded.
[5] PAN knob settings
e Rotate each of the channel 1-3 PAN knobs fully toward “R”.
[6] Input signal adjustments
e Raise the MASTER fader to 7-8.
® Adjust the playback signal volume of tracks 1-3 using the channel 1-3 INPUT faders.
Effect processing using AUX
e In this example we will apply an effect to the playback signal from tracks 1-3.
e Set the channel 1-3 AUX SEL switches to “CH”.
e Gradually rotate the channel 1-3 AUX knobs toward “AUX 1”.
As you do this, pay attention to the effect output level and balance of the three tracks.
e Gradually rotate the AUX RTN 1 knob to the right to adjust the input leve! from the effect
unit. |
Use the equalizer to adjust the tone
e Use the channel 1-3 equalizer knobs to adjust the tone of the playback signals from tracks
1-3.
[9] Start pingpong recording
e When you finish adjusting the volume, tone and effect for each track, press the REW button
to rewind the tape to the beginning of the song.
e Press the REC button to start pingpong recording.
e During recording, watch the level meters and make sure that they do not go all the way to
the top. If they do, adjust the levels, and re-do the pingpong recording.
Note:
Be aware that excessively high levels or excessively high equalizer settings can cause oscillation.
Playback
* Press the REW button to rewind the tape.
e Set the channel 4 INPUT SEL switch to “TAPE”.
In this example, we will use channel 4 to playback the signal that was recorded on track 4.
e Set each of the channel 1-3 INPUT SEL switches to “INPUT”.
e Press the PLAY button to start the tape.
e Use the channel 4 INPUT fader to adjust the volume. (Leave the MASTER fader at 7-8.)
e Rotate the channel 4 PAN knob to adjust the stereo location.
e Use the channel 4 equalizer knobs to adjust the tone.
25
CHAPTER Advanced operation
STEP 7: Orchestration using tape sync
7
What is tape sync?
Tape sync is a technique by which a performance recorded on tape can be synchronized
to the automatic playback of a sequencer or drum machine (or other MIDI device). This
provides the following advantages. |
e Since there is no need to record the sound of the MIDI device's playback on tape, you
can conserve tracks.
¢ Since the MIDI instrument (synthesizer, drum machine, etc.) is recorded directly to the
master tape, the sound retains its original dynamic range and high quality.
* Additional advanced editing techniques are made possible, such as overdubbing the
automatic playback, or rearranging drum machine rhythm patterns.
When you use tape sync, one of the tape tracks is used to record and playback a
synchronization signal known as a FSK signal. The track containing the FSK signal
performs a role similar to an orchestra conductor. When the FSK signal is played back
and sent to the sequencer or drum machine, the sequencer or drum machine will
playback in synchronization with the tempo map recorded in the signal, and will cause
the other connected MIDI devices to playback as well.
\_ À
Note:
Some MIDI devices are not able to input or output FSK signals. If this is the case with your MIDI
device, you will need a separate MIDI/FSK converter. For details consult the manual for your MIDI
device.
% In this example we will synchronize four MIDI sound source with the sounds recorded
on tracks 1-3, to create an ensemble with seven sound sources.
STEP 7-1:
Before you begin tape sync playback (Recording the sync signal)
Far "R” position
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a .
OUT | Machine Sequencer
[1] Connections between the X-55 and the MIDI devices
e Connect the X-55 to the MIDI devices as shown in the diagram.
[2] Record the FSK signal
e First you must create a rhythm program on your drum machine or seguencer, and specify
the tempo.
e Next, record the FSK signal from the drum machine or sequencer onto track 4.
At this time, record the sound of the drum machine onto track 1 to use as a reference track.
(Be sure to record at an appropriate tempo, since the tempo cannot be changed later.)
* Refer to the manual of your MIDI device regarding the appropriate level for the FSK signal.
The manual of your MIDI device will also give the required length of the pilot tone (the
high pitched pure tone of the FSK signal that indicates the standby condition before
recording begins).
STEP 7-2:
Tape sync playback
1]
| 1 |[ Master Recoder | 4
INPUT
MON
O
TAPE OUT 4
НН $
ИЛИ &
a th
+ — = — =
imi
* [141
FSK
Signal
INPUT
MIDI
Sequencer
10
дн
PHONES
3 J INPUT 4
D
MIDI Thru Box
1]
[1] Connections between the X-55 and the MIDI devices, master
recorder and effect unit
e Connect the X-55 to the MIDI devices, master recorder, and effect unit as shown in the
diagram.
e Connect the four MIDI sound sources to INPUT jacks 14.
e Connect the X-55's TAPE QUT jack 4 to the MIDI device INPUT jack.
MIDI
27
CHAPTER Advanced operation
[2] INPUT SEL switch settings
e Set each of the channel 14 INPUT SEL switches to “INPUT”.
With these settings, the MIDI sound sources will be connected to the channel 1-4 INPUT
faders.
[3] FB knob settings
e Gradually rotate the channel 1-3 FB knobs in the “TRACK” direction to adjust the signals
from track 1-3.
e Set the track 4 FB knob to “0” {center position).
4) REC SEL switch settings
e Set both switches to “OFF”.
'5] PAN knob settings
e Use the channel 1-4 PAN knobs to adjust the stereo position of each MIDI sound source.
[6] MIDI device input signal adjustments
® Raise the MASTER fader to 7-8.
e While manually playing the MIDI devices, gradually raise the channel 1-4 INPUT faders to
adjust the overall balance.
Effect processing using AUX
e To apply effect to four MIDI sound sources, set the all channel AUX SEL switches to “CH”.
e So that the effect unit will be applied to tracks 1, 2, and 3, set the channel 1-3 AUX SEL
switch to “FB”.
e To adjust the amount of effect, rotate the channel AUX knobs toward “AUX1”, and rotate
the AUX RTN 1 knob. (Set the channel 4 AUX knob to “center” to apply effect to each track.)
MON SEL switch settings
e Set the MON SEL switch to “ST+FB”.
[9] Rehearsal
e Playback the X-55 and start the MIDI device.
e Use the FB knobs to adjust the signal of tracks 1-3, and use the INPUT faders to adjust the
volume balance of the MIDI sound sources.
Mixdown the tape sync playback
e First start recording on the master recorder.
e Playback the X-55 and start the MIDI device.
e Use the MASTER fader to control the overall volume, and to fade-in or fade-out.
28
Troubleshooting
Problem
Points to check
Action
® Sound is unsteady or interrupted
Are the pinch roller or capstan dirty?
Clean the pinch roller and capstan.
Is the tape damaged?
Use a new, good-quality tape.
# Sound quality or volume is significantly
different than when recorded
Is the head dirty?
Clean the head.
Are you using other than a high-position tape”
Use a high-position tape (Chrome, type I)
® Sound is distorted or noisy
Arethe INPUT faders and LEVEL switches
set appropriately?
Are the level meters peaking or at an
extremely low level?
Adjust the controls to appropriate level settings.
e Playback pitch is different than when
recorded
ls the PITCH control at the same setting as
when you recorded?
Set the PITCH control to the same setting as
for recording.
® № sound in the headphones
Is the MON knob turned all the way to the
left?
Turn the MON knob gradually to the right.
e Cannot send sound to the desired track;
cannot record
Are the REC SEL switches set correctly?
Are the PAN knob settings correct?
Set the PAN knob to the left for tracks 1 and 3,
and to the right for tracks 2 and 4.
e Cannot record
Are the record-protect tabs of the cassette
broken off?
Put sticky tape over the record-protect
depressions of the cassette.
*e The sound source input from the
balanced XLR input connectors 1 and 2
cannot be recorded.
Is any other sound source connected to
INPUT jacks 1 and 2 on the front panel?
Remove the sound source connected to
INPUT jacks 1 and 2 on the front panel.
® Tape does not move
Is the cassette inserted correctly?
Inserted all the way?
Insert the cassette correctly.
# Power does not come on
Is the AC adaptor connected correctly?
Connect the AC adaptor correctly.
MEMO
29
CT
30
Maintenance
Cleaning the exterior
For normal cleaning, use a soft dry cloth.
For stubborn dirt, moisten a cloth in diluted detergent, wring it out firmly, and wipe the dirt
off. Then polish with a dry cloth.
Never use solvents such as alcohol, thinner or benzene, since these will damage the printing
and finish of the exterior.
Cleaning the head, rollers and capstans
Record/playback head
As the X-55 is used, the record/playback head will become coated with oxide residue from
the tapes. If this residue is allowed to build up, recordings will contain more noise, and
dropouts may occur during playback. To prevent this, regular cleaning is important. Use a
commercially available cleaning kit etc. to clean the head. If cleaning the head does not
restore the sound quality, it is possible that the head is worn. Contact an authorized service
station for repair.
Capstans and pinch rollers
The capstans and pinch rollers are important parts that hold the tape and move it along at
the correct speed. As with the head, these parts can also become dirty with oxide residue
and dust, which will cause increased wow or flutter, or even damage the tape by pulling it
out of the cassette.
Since cassette tape is very thin, it is especially dangerous to use a cassette deck with dirty
pinch rollers. As with the head, it is important to always keep these parts clean. Clean them
using a cotton swab or gauze soaked in cleaning solution or isopropyl alcohol. Never use
organic solvents such as lacquer thinner, since this will severely damage the pinch rollers.
Demagnetizing the head
After long periods of use, the head begins to develop a magnetic field in addition to the oxide
residue described above. This can also occur if a magnet or a magnetized object (scissors,
etc.) is allowed to come near the head or touch it. If the head or capstans become
magnetized, frequency response will be degraded and noise will increase. In extreme cases,
noise can be created on previously recorded tapes that you playback, rendering them
useless.
Once a month or so, you should use a demagnetizer (head eraser) to demagnetize the head.
Carefully read and follow the instructions included with your demagnetizer, and do not
allow it to come near recorded tapes.
Specifications
Inputs (x4)
Inputs 1, 2 (Unbalanced)
Microphone impedance
Input impedance
Normal input level
Inputs 1, 2 (Balanced)
Microphone impedance
Input impedance
(Level: -30 dBV/-10 dBYV)
Normal input level
Inputs 3, 4
Input impedance
Normal input level
AUX RTN 1, 2 (L, R)
Input impedance
Normal input level
INSERT 1, 2
SEND (tip)
Output [oad impedance
Normal output level
RETURN (ring)
Input impedance
Normal input level
STEREO OUT L, R
Output load impedance
Normal output level
AUX SEND 1, 2
Output load impedance
Normal output level
Foldback (FB)
Output load impedance
Normal output level
Monitor output (MON OUT L, R)
Output load impedance
Normal output leve!
Less than 10 k
20 k or higher
H: —10 dBV
M: -30 dBV
L: —50 СВУ
Less than 1 k
2 k or higher
(Level: —50 dBV)
20 k or higher
H: —10 dBV
M: —30 dBV
L: —50 dBV
10 k or higher
—10 dBV
5 k or higher
-20 dBV
10 k or higher
—10 dBV
20 k or higher
-10 dBV
10 k or higher
—10 dBV
10 k or higher
—10 dBV
10 k or higher
—10 dBV
10 k or higher
—10 dBV
Tape output (TAPE OUT 1-4/SYNC)
Output load impedance
Normal output level
Headphone output (PHONES)
Output load impedance
Normal output level
10 k or higher
—10 dBV
16
20 MW
Equalizer
HIGH
LOW
Recording tape
Record tracks
Noise reduction
Tape speed
Wow/flutter
Fast wind time
Pitch control
Recording time
Frequency response
Mixer
Recorder
Signal/noise ratio
Crosstalk
Erasure ratio
Heads
Rec/Play
Erase
Power Requirement
Weight
Dimensions
10 kHz £10 dB (shelving)
100 Hz +10 dB (shelving)
Less than C-90 (Type II / High
(CrO2) position)
4 tracks, one direction (si-
multaneous recording of up
to two tracks possible)
Dolby B NR (internal) (swit-
chable on/off)
9.5 cm/s
+0.17% (IEC/ANSI)
120 seconds (C-60 tape)
+12%
22.5 minutes (C-90 tape)
20 Hz-20 kHz
40 Hz-14 kHz
58 dB (Dolby B NR IN, IHF-A)
50 dB or higher (1 kHz)
70 dB or higher (1 kHz)
4-channel record/playback
4-channel
DC12V (12-16V), 12W
(Fostex AC adaptor)
2.6 kg (exclude AC adaptor)
405 (W) x 32T (D) x 105 (H)
* Specifications and appearance are subject to change without notice for product improvement.
* Dolby Noise Reduction is manufactured under license from Dolby Laboratories Licensing Corporation.
* Dolby and the double-D symbol are trademarks of Dolby Laboratories Licensing Corporation.
31
Block Diagram
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32
the specified voltage range.
Declaration of EC Directive
This equipment is compatible with the EMC Directive (89/336/EEC) -
Directive on approximation of member nation's ordinance concerning
the electromagnetic compatibility and with the Low Voltage Directive
(73/23/EEC) - Directive on approximation of member nation's
ordinance connecting electric equipment designed to be used within
The Affect of Immunity on This Equipment
are as shown below.
The affect of the European specification EN50082-1 (coexistence of
electromagnetic waves - common immunity specification) on this equipment
by generation of noise in some cases.
* In the electrical fast transient/burst requirements, radiated electromagnetic field
requirements and static electricity discharging environment, this could be affected
FOSTEX DISTRIBUTORS LIST IN EUROPE
* Including non-EU countries.
* underlined: contracted distributors (as of Jun. 1, 1995)
<AUSTRIA>
NAME: ATEC Audio-u, Videogeraete VertriebsgesmbH.
ADD: Im Winkel 5, A-2325 Velm, Austria
TEL: (+43) 2234-74004, FAX: (+43) 2234-74074
<BELGIUM>
NAME: EML N. V.
ADD: Bijvennestraat 1 À, B3500 Hasselt, Belgium
TEL: (+32) 11-232355, FAX: (+32) 11-232172
<DENMARK>
NAME: SC Sound ApS
ADD: Malervej 2, DK-2630 Taastrup, Denmark
TEL: (+45) 4399-8877, FAX: (+45) 4399-8077
<FINLAND>
NAME: Noretron Audio
ADD: Olarinluoma 7, FIN-02200 Espoo, Finland
TEL: (+358) 0-5259330, FAX: (+353) 0-52593352
<FRANCE>
NAME: Musikengro
ADD: ZAC de Folliouses, B. P. 609, 01706 Les Echets, France
TEL: (+33) 72 26 27 00, FAX: (+33) 72 26 27 01
<GERMANY>
NAME: Studiosound & Music GmbH
ADD: Scheppe Gewissegasse 8, D-35039 Marburg, Germany
TEL: (+49) 6421-12071, FAX: (+49) 6421-15522
<GREECE>
NAME: Bon Studio S. A.
ADD: 6 Zaimi Street, Exarchia, 106.83 Athens, Greece
TEL: (+30) 1-3809605-8, 3302059, FAX: (+30) 1-3845755
<ICELAND>
NAME: LD. elrf. electronic Ltd.
ADD: Armula 38 108 Reykjavik, Iceland
TEL: (+354) 588 5010, FAX: (+354) 588 5011
<ITALY>
NAME: Entel $. r. L.
ADD: V. 1 Maggio, N 18, 40050 Quarto Inferiore, (BO) Italy
TEL: (+39) 51-768576, FAX: (+39) 51-768336
<THE NETHERLANDS:
NAME: IEMKE ROOS AUDIO B. V.
ADD: Kuipergweg 20, 1101 AG Amsterdam, The Netherlands
TEL: (+31) 20-697-2121, FAX: (+31) 20-697-4201
<NORWAY>
NAME: Siv. Ing. Benum A/S
ADD: P.O. Box 145 Vinderen, 0319 Oslo 3, Norway
TEL: (+47) 22-145460, FAX: (+47) 22-148259
<PORTUGAL>
NAME: Caius - Tecnologias Audio e Musica, Lda.
ADD: Rua de Santa Catarina, 131 4000 Porto, Portugal
TEL: (+351) 2-2084456/325400, FAX: (+351) 2-314760
<SPAIN>
NAME: Multitracker, S. A.
ADD: C/Garcilaso No.9, Madrid 28010, Spain
TEL: (+34) 1-4470700, 1-4470898, FAX: (+34) 1-5930716
<SWEDEN>
NAME: TTS Tal & Ton Studioteknik AB
ADD: Gelbgjutarevagen 4, S-171 48 Solna, Sweden
TEL: (+46) 8-7340750, FAX: (+46) 8-824476
<SWITZERLAND>
NAME: Audio Bauer Pro AG
ADD: Bernerstrasse-Nord 182, CH-8064 Zurich, Switzerland
TEL: (+41) 1-4323230, FAX: (+41) 1-4326558
<UK>
NAME: SCY London
ADD: 3A 6-24 Southgate Road, London N1 3JJ, England, UK
TEL: (+44) 171-923-1892, FAX: (+44) 171-241-3644
FOSTEX
FOSTEX CORPORATION 3-2-35 Musashino, Akishima-shi, Tokyo, Japan 196 .
FOSTEX CORPORATION OF AMERICA 15431, Blackburn Ave., Norwalk, CA 90650, U.S.A. @ PRINTED IN JAPAN AUG. 1957 8288 403 000 IF