Let’s assume we have finished recording on tracks 1 ~3 in Step 1. Now, if another sound (vocal) is recorded on track 4 by the method in the Basic Operation, you will not be able to record any other sound source. Therefore, if you should utilize the remix feature of the X-30 to mix tracks 1 - 3, you will be able to make a new recording (Step 2). This technique is called “Ping-pong recording.” It is literally bouncing sound between tracks of this recorder. Next, tracks 1 and 2 are combined and recorded onto track 3 (Step 3); record new sounds on tracks 1 and 2, and you will have recorded 7 sources. Additionally, the X-30 can mix a maximum of two inputs in parallel with the ping-pong recording. We shall call this “Plus one (or two)” recording (Steps 4-6). In other words, as you make a ping-pong recording, you can record an extra two sources using the overdubbing < STEP 2 > method to able to ping-pong the recording. NOTE: While ping-pong recording is very useful, each time you bounce tracks you lose one generation of fidelity. Even with noise reduction, hiss becomes a major problem after two ‘‘bounces” or generations. For best results, don't ping-pong tracks more than twice. Check points in ping-pong recording will be listed in the following for your reference. • Be extremely careful in setting the sound balance between individual tracks as they cannot be changed after they are combined. • Due to the peculiar nature of tape recorders, the tone controls should be adjusted to compensate for signal deterioration (Normally, a slight boost of the high region and a slight cut of the lower region.). TRKl RHYTHM -► TRKl RHYTHM -► TRKl CHORUS#l TRK2 E. BASS TRK2 E. BASS TRK2 CHORUS#? TRK3 E. GUITAR PINGPONG TRK3 E. GUITAR TRK3 TRK4 TRK4 RHY+B+G+SYNx? TRK4 RHY+BASS+GUIT N PINGPONG Procedures in ping-pong recording We shall now proceed to the actual procedures in ping-pong recording. The explanations will be in the example below. Example Two synthesizers will be "Plus two" recorded onto tracks 1 -3 recorded in the Basic Operation Section and ping-pong recorded onto track 4 (Refer to the track schematic, page 24.). Process Set up by referring to the schematic, Page 25 1 .After checking that all sound volume controls are set to 0 and that the REC TRK selector is OFF, set the NORM/RMX selector to RMX. 2.Set the MONITOR selector to LINE 3. Plug the synthesizers for "Plus two" to INPUT jacks A and B. 4.Set the INPUT selector to LINE. 5. Select the R side REC TRK selector to 4. 6. Slide the INPUT PAN A and B. and also the MONMIX PAN 1-3, to full R. This completes setting of the selectors and pan pots, and we shall now do balancing and level setting. 7. Set the MASTER fader to 7 or 8 8.Slowly raise INPUT faders A and B and set the level by watching the meter {The R meter only should be indicating.). 9. Press the PLAY button. 10. Raise MONMIX GAIN 1 ~ 3 and balance the levels of each track. 11. If necessary, adjust the tone by the R channel EQ (note that tone of the "plus two" synthesizers will also change). 12. Practice performing several times and when the proper levels are determined, go to the "take" by pressing the RECORD button. Although the sound TRKl RHYTHM -► TRK! RHYTHM -► TRKl CHORUSSI TRK2 E. BASS ^PINGPONG TRK2 E. BASS TRK? CHORUSS2 TRK3 E. GUITAR TRK3 E. GUITAR TRK3 TRK4 ____+bYNXi! TRK4 RHY+8+G+SYNx? TRK* RHY+B+G-SYNx? PINGPONG '+CHORUSS3. can be monitored by the headphones or by LINE OUT (with an amplifier plugged into the LINE OUT jack), the R channel only will be heard. 13. To monitor the recorder, raise MONMIX GAIN 4 only, set the image position by PAN and use the headphones (set MONITOR selector to TAPE and adjust the PHONES level pot) or the LINE (Leave the NORM/RMX selector at RMX.). Refer to the above procedures at ping-pong recording under other methods but be sure to check the following in addition to the above. A) Set to the remix mode, (by setting NORM/RMX Selector to RMX). B) Balance the track, in which the sound for ping-pong is recorded, by MONMIX. C) Set PAN and MONMIX PAN to L when recording on odd numbered tracks (1,3) and R for even numbered and tracks (2. 4). TRK1 RHYTHM -► TRKI RHYTHM TRK2 E. BASS TRK? E. BASS TRK3 E. GUITAR PINGPONG ^+SYNx2 TRK3 E. GUITAR TRK4 TRK4 FKt'+B+’G+SYNx? 24 00 « SECTION 6 10 12,13 2 [^qAq^qsbtsb^ 1 712 9 ll'l'l II II II II II SYN#1 SYN#P HEADPHONE Cj 12,13 Ping-pong * f recording RECORDING PROCEDURES (SPECIAL TECHNIQUES) You will have understood the basic methods in multitrack recording by explanations in the previous section. In this section, further techniques will be explained. 1. Simultaneous recording of multiple sources using a submixer. The Model X-30 features a two input mixer, but occasionally you will want to record three or more sound sources in one pass. In this case, it will be very convenient if a stereo output submixer...
)
