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Comments to date: 2. Page 1 of 1. Average Rating:
peterh_oz 1:02pm on Thursday, October 21st, 2010 
Does this device have any real flaws? Lets address some real shortcomings of the iPad. The iPad is exactly what I expected, easy to use, very well executed so long as you understand that it is mainly a device to consume media.
XRumer112 4:06am on Friday, May 14th, 2010 
Bought the 16G WiFi for my wife. She enjoys playing games, surfing the web, reading books, reading email and catching up on her Soaps at

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June 15, 1984

7*- 7a

(Standard Model)

16-channel recorder/reproducer with Vz" tape transport. Belt drive capstan motor; two direct drive reel motors;
(Shown in optional floor console) Same features as the standard model, but with direct
drive phase locked loop capstan motor. Key specifications for both models: -10 dBV (0.3V) inputs and outputs; 0 dB referenced to 320 nWb/m of tape flux; S/N ratio 80 dB, weighted with Dolby C NR; crosstalk 70 dB t O"z$UTOO.OO 55 dB at kHz; erasure
full I.C. logic; 15 ips with +
157o variable speed operation; video interlock ready; intergral Dolby C noise reduction; l2-point LED bar graph


Modification for 7/z ips operation: Call for quote.


Modification for 772 or 30 ips operation: Call for quote.
*All prices are suggested retail and
subject to change without notice.
Dolby is a registered trademark of Dolby Labs, Inc.
B.16DM (lndependent Monitor Model)
The b-16D with the following additions: a third head for dape reproduce; a7" rack panel with 16 independent channels of reproduce and Dolby decode; a remote control unit. This remote units lets you select any combination of 16-track reproduce which can then be monitored via the headphone jack with independent level control, or via the line out jack. There's a meter for fast alignment and a switching facility for source/tape comparisons lvithout touching the recorder.




Remote Control udt with all transport cornmand functions, 16 track select for record ready, plus a cue switch for setting the end of a section to repeat (loop).

$ 450.00

Auto Locator


has all above features and functions, plus a 9-position key pad. The recorder can be programmed to repeat (loop) between any two


8050 9012

9905 9080

Remote foot switch for punching in and out.
10t/2" Metal. reel with Fostex logo.

Rack mount adaptors.

20.00 60.00 360.00


Floor Console (requires rack mount adaptors)
Meter mounting kit contains rack adaptors; blaok paoel; interface cable.

1090 1091

" alignment tape lz" speed/ fluttet taPe

70.00 60.00


Record/Reproduce card

Extender card

Service manual



30.00 s8.00
t/2" 8-ttack playback head, mounted in floDt of the 16-track head
the recorde!'s reproduce electronics.


Other Fostex Options
INTERFACE with studio/commercial equipment is as simple as patching. Model 5030 converts -10 dB, high impedance, unbalanced line with pin jack connector to t 4 dBm, 600 Ohms, balanced line with XLR-type connector, or vice-versa. 8 channels per unit. Two unirs.


MONITOR package includes two 8-channel /stereo line mixers (gain and pan controls for each chaonel) and a pair of selfpowered personal monitors.

package. Four units.

incredibly flexible monitor


Look for these and other useful audio tools at your Fostex Professional Multitrack Dealer. Chances are he's also a Fostex ko Audio Dealer. In which case, be sure to find out about Fostex microphones, headphones and'peaker*. Be especially sure to audition the new near-field point source monitors. They incorporate Fostex RP technology, which has earned over 20 international patents to date.


15431 Blackburn Avenue, Norwalk,

cA 90650 (2131921-'1112

*All pdces ale suggested retail and ate subiecl to change wilhout notice.


FOSTEX CORPORATION OF AMERICA 1543t Blackburn Avenue, Norwalk, cA 90650

(213) 921-1112

len feldmon

Fostex B-'16 ,16-Trock


General Description:

The Fostex 8-16 is, first
and foremost, a remarkable engineering achievement.

Control Layout

you do-easily and effectively. For multitrack live recording dates in the field, or even for small-studio work, the 8-16 may well be the answer to a recording engineer's dream. With it, no more sub-mixes are needed; you can do a full 16-track live recordingwhere formerly you had to settle for 8 tracks. To be sure, cramming 16 tracks on half-inch tape means that each track is about as wide as the narrow tracks you find on a home cassette deck. You'd think, therefore, that such important parameters as frequency response, signal-to-noise ratio, headroom, and distortion would suffer. Not so. thanks to such innovations as Dolby C, asuperb, proven half-inch tape transport, an unusually precise head configuration and excellent record/playback electronics. Many of the features demanded of a professional recorder are there. including punch-in recording. The one thing lhal i.s not there is tape monitoring, since the record head is also the reproduce head. With the excellent LED meters available for each channeJ. however, you probably won't miss the third head in actual production work. With the 8-16 calibrated for fixed input and output levels (there are no front panbl level controls-only calibration controls for initial adjustment), you will, of course, need a 16-in/out console of some kind to go with the 8-16. A remote control (tr'ostex Model 8090) can be interfaced with the 8-16 via a remote control jack on the rear panel. The 16-channel LED Bar Graph meter on the front panel of the 8-16 can be lifted out and installed at a remote location such as a mixing console or video switcher. An optional meter mounting kit is available for that purpose.

Being able to lay down 16 independent tracks on halfinch tape is no small feat, and that's what the B-16 lets
simple tape threading path are fairly conventional, and there is a tape sensor which is activated to put the transport in the stop mode if tape breaks or at end-oftape. A head shield gate in front of the head assembly can be manually raised or lowered. The lower right section of the front panel contains a dual concentric pitch control knob. The outer knob is used for large amounts ofpitch change, the innerknob for trimming pitch to exact requirements. A pitch control switch nearby is used to bypass the pitch control when precise 15 ips speed is desired. A fivedigit counter display nearby shows hour, minute, and seconds of tape travel. For tape positions below the zero point, a minus sign (-) is displayed in front ofthe hour numeral. A reset button for the counter islocated adjacent to it. Transport touch-buttons include pr-Ay,
FAST FORWARD, FAST REWIND, STOP, RECORD ANd ZERO RETURN. Touehing this last-named pushbutton will cause the transport to rewind tape to precisely the zero
The reel holders of the 8-16 are equipped with permanent NAB hub adapters. The pinch roller, head assembly, and other elements in the
point on the counter, Sixteen small pushbuttons spread across much of the width of the front panel arepositioned abovethe 16 bar-graph LED meters. These pushbuttons determine whether recording can begin on a given track. If the tapd is not in motion, depressinga specific track button places that track in the nEcoRD READY mode, and the LED above that track's meter will flash on and off. If
only the main REcoRD button (near the transport
control buttons) is depressed, the dB meter indications and signals from the output jack will change from "tape out" to "input monitor" for those channels whose record track buttons are depressed, and if the rNpUT MoNITORswitrh is setto Individual, the Input Monitor LEDwill begin toflash. This mode iscancelled by again

lBdB/[ L- 3.gdE R- Z.8dB


tEdE/[ L- 3 tdE R- 2 4dB

Figure 1. Frcquency response, record/play, without Dolby nolse reduction. Cursor shows high lrequency cutoll (A) and bass cutoll (B).
depressing the record button. If the record and play buttons are depressed together, recording begins, the accepts a Fostex Model 8050 footswitch, a meter jack (for use when the meter assembly is remotely located), and the noise reduction switch. ln the INT position of this switch, the built-in Dolby C circuitry is active.
Record Track LED stops flashing and remains lit continuously, and the Record LED turns on. If the tape is rolling in the pLAy mode, depressing a record track button readies the track for recording. If the tape is rolling in the record-ready mode, the record LED near the record button will flash and subsequent depression of a record track button will immediately cause that track to enter the record mode. It is this procedure which is used for punch-in recording of any of the 16 available tracks. An input monitor delector switch, ifset to the ellposition, will cause all channels to read input monitor levels and a green LED nearby. will be lit. If the switch issetto rNDrvrDue.l, individual channels can monitor inputsignals. Acue lever located beneath the head block assembly, if pushed forward towards the head, makes the tape lifters retract, allowing tape cueingduring FAST FORWARDoT REWIND


When the switch is set to EXTERNAL, the Dolby C system is bypassed and an external noise reduction system can be parched into the system, While the control layout as described mayseem a bit complicated at first, we found that if we followed the instructions step-by-step, the full versatility of the B16 was easily accessed. After a few minutes ofworking with the machine, we were quickly and efficiently performing such standard functions as ordinary multitrack recording, overdubbing, punch-in/punchout recording onto given tracks, and, of course, playback. While we did not work with an associated console during our bench tests, it was clear that the addition of a 16-track console would in no way make use of the machine any more difficult or complex.
The rear panel contains the required input and output jacks for each channel, the remote control connector jack, a remote punch-in/punch-outjack that

Test Results:

Results of our laboratory measure-
ments are summarized in the VITAL STATISTICS


SdB R- 2 4dE lB SkHr

l0dE/! L- 2.6d8 R- Z EdE

Figure 2. Frequency response, record/play, with Dolby noise reduction. Cursor is set lo show hlgh lrequency culoll (A) and bass cutott point (B).


L ?.0:t,


L-36 8d8

18dB/B L-33 7d8

+l tdE
Figure 3, Third-order distortion, record/play, vs.
record level, wiih Dolby (A) and withoul Dolby (8). chart found at the end of this report. In order to be fair and yet thorough, we electd to use a pair of adjacent tracks for tests involving crosstalk between channels. By the same token, we felt that it would be unfair to measure such parameters as frequency response and signal-to-noise using the outermost tracks, and so for those measurements we selected a pair of tracks near
these frequency graphs represent (reading from left to
right) frequencies of 100 Hz, l kHz and 10 kHz.

the center of the half-inch wide tape. We later would have been essentially the same; quite an achievement when you are trying to accommodate 16
discovered that had we used the outer tracks, results
tracks on half-inch tape! RECORD/PLAY frequency response, without Dolby() turned on, was flat (within 3 dB) from 40 Hz to 22.0 kHz at a -20 dB record level (relative to 320 nWb/m, or 0 dB on the LED metering system). Fr.gzrre I shows the graphic results obtained at 0 dB record level (upper curve) and at 20 dB (lower curve) over the range of 20 Hz to 40 kHZ Figures 14 and, 18 are identical, except that the dotted line "cursor" has been moved to the high-frequency cut-off point in -F dgzre 1.4, while in Figure 1B iL has been positioned to the low-frequency -3 dB point (or, as close to that attenuation as possible); in this case 40 Hz. The double vertical lines in all of
Vertical scale in ihis and other figures of this type is 10 dB per division. A second set of frequency response measurements was made with the Dolby C circuitry turned on. Results are shown in Figure 2. This time, response extended to slightly above 18.5 kHz and to slightly belorv 40 Hz at the bass end. Results were still better than the minimum specified by Fostex. Again, the dotted line "cursor" in Figures 2A and gB has been positioned to show the closest frequencies to the -3 dB roll-off points at the bass and treble ends of the sweep. Figure 3 shows a plot of third-order harmonic distortion as a function of recording input levels. Results shown in Figure 3.4 are with Dolby C active; while those in Figure 38 arc for the Dolby-Off condition. The double vertical line represents 0 dB reference level, while each diyision horizontally represents an increase (or decrease) of 5 dB with respect to that level. Our test equipment generally starts plotting at around +10 or +11 dB above the reference level and. as you can see lrom the results, even at those recording levels, distortion had not

FT L-49 8d8


H! L-68


-20 -40

(A lEdB/n L-6Z.?dB


.,, IEdE/! L-84


Figure 4. Signal-to-noise analysis, without Dolby, measured withoul weighlang curve (A) and wlth CCIR/ARM weighting (B).

FT L-E?.7d8


-20 -40 -60 -80

-100 -100


,^, l0dB/ll L-92.3d8

8. 60kHz

,,, lodE/ll


Figure 5. Signal-to-noise analysis measured with Dolby C, unweighled {A). When weighting curye
reached the 3 percent maximum which we use as a reference for maximum permissible recording levels. We estimated, therefore, that headroom would be about +12 dB, with or without Dolby on, and separate measurements using an ordinary distortion analyzer confirmed that estimate. At nominal 0 dB recording percent with Dolby C and 0.25 percent without Dolby. These results are far bettr than the 1 percentclaimed by Fostex. The tape used, incidentally, was Ampex, a reel of which was supplied with our test sample.

Several analyses of signal-to-noise were made, both
(CCIR/ARM) was added, noise uyas too low lor lest inslrumenl to read,
level, third-order distortion measured only 0.24
with and without Dolby noise reduction turped on. As shown in Figure.1, S/N without Dolby and without a weighting curve measured 49.8 dB. Adding a CCIVARM weighting system, thisfigure improved to 60.2 dB. For the results shown in Fi,gure 5, Dolby C noise reduction was activated. This time. the unweighted S/N measured a very high 82.? dB. When we added CCIR/ARM weighting, the message seen above the graph of Figure 58 tglls trhe story; the noise level was simply too low for our test equipment to measure! In short, the signal-to-noise ratio obtainable with Dolby C added to these very narrow tracks isalot
better than we would have ever suspected. Effective dynamic range, usingthe built in Dolby C, is so high, in fact, that itwould not be unreasonble to use thisdeckas a mastering system for a recording that was ultimately intended for transfer to Compact Disc format! Wow-and-flutter was also analyzed using our Sound Technology 1500A Audio Analyzer, and, as displayed in Figure 6, the WRMS value of wow and flutter measured only 0.044 percent, while the peak wow component, at 10 Hz, measured 0.045 percent. Again, the sample did much better than the minimum
specification published by Fostex. Channel separation, plotted in Figure 7, was parlicularly good at the high frequency end of the spectrum, where we would have


to fall off. As shown in the diagram,
separation at 1.0 kHz measured 51.2 dB; a bit shortof the 55 dB claimed, but remember that we measured separation between adjacent tracks. That is a "worst case" condition, and separation between more widely separated tracks is much higher; as high as 60 dB, in fact. What did surprise us somewhat was the rapid decrease in separation at the extreme low-frequency end of the audio spectrum. At 100 Hz, for example,

l,l! LE

F58. l0U

.Bl[y,ln L+6.845X

tEd[/D L-St.zdB
Figure 6, Wow-and-tluller anrlysb ol Fostex B-10.


Figure 7. Channel separation v3. trequency ot Foslox

B-l6i Dolby C is

-separation between the two adjacent channels we tested had decreased to just over 30 dB. Happily, that will not effeet stereo imaging to any significant degree,
but we suspect that having to come up with two
perfectly aligned 16-track heads (one for record, the other for playback) and nearly double the amount of electronic amplification circuitry (not to mention a double Dolby C requirement) would, undoubtedly have added considerably to the cost of what is now an extremely reasonably priced machine. (Editor's note: the Fostex B-16DM does have a full 16-track playback head and 16 additional channels of Dolby C for full monitoring capability, and in-

since as everyone knows, ultra low frequency components are essentially non-directional during reproduction. Of course, this also means that if you want to put an isolation track onto tape, it would be
best to leave the adjacent track or tracks blank.
Not elso that our measurements' ere made only with Dolby C off. Thus, the measured 57.2 dB zllkHz would be improved by 19.6 dB, handily exceeding Fostcx's-S5 dB Dolby-On spec.
cluding remote control and other features. The
Comments: Our first impression
of this remarkatrle tape deck remains unaltered after bench testing. The
or "sync" recording was easily and perfectly
professional music groups are looking for. It is also what many small recording studios who have to do remotes and are limited in terms of space inside their vans or trucks have probably had right at the top of their "wish lists." Tape motion during fast winds was very smooth and quieter than on most professional decks we tested of late. If you use the zERo RETURN REwIND mode, the system quickly finds the 0:00:0 point unerringly. Sometimes that means a slight overshoot, but that's followed by a quick return to the correct point, Though the owner's mdnual doesnt mention it, we soon discovered that if you press znRo RETURN and follow that up with a press of the pLAy button, the system "remembers" your instructions and goes right into the play mode after the zero point has been reached. Punch-in recording resuhd in absolutely no audible "glitrhes" during playback, and overdubbing
8-16 is, we would think, exactly what many
price is $9.600.) Even if you have been accustomed to being able to tape monitor every track in a multitrack machine, the ability to monitor previously recorded tracks while
dubbing tracks that are currently being recorded offsets the disadvantage of full tape monitoring facilties. And, as we said at the outset, those 16 LED
a lot ofthe doubts otherwise associated with this type of non-monitoring recording. Fostex obviously has studied and fully understandsthe needs of its potential customers-the music industry and the small recording studio owners-and has come up with a product that seems m fili their rquirments

bar-graph meters remove

perfectly. 8-16 options include a full remote control with all transport functions at $450;an auto locator with all the
features ofthe remote control plus a 9-position key pad permitting the recorder to be looped between any two positions at $1,200; dual 8-channel interfaces convert the -10 dB, high impedance unbalanced lines to +4
dBm, 600 ohm balanced lines.vlith XLR-type
accomplished from any track to any other track or tracks by the versatile track touch buttons used in combination with the monitor switch and record
buttons. Of course, tap monitoring would have been nice,
connectors, the spt being $1,190. As a special feature, Fostex has available ahalf-inch 8-track playback head. that can be mounted in frontofthe 16-track head stack,
using the recorder's reproduce electronics. This
permits half-inch 8-traek formatted tapes to be played on the B-16; the price is $1,000. This mustbe requested
at the time of ordering your 8-16.




T.p. Sp.!d

n.d skr



l0% lnch Conlllmad
llsmbtr ol ?tackr l{unbat ol Chrrnrl. Fr.qusEy F.ponr lnput lavtl


13 (3 dB)


40 Hz.l8.5 kHz, 40 Hr-22 khr, no Dolby
40 Hz to 18 kHz -r0 dBv (0.3v)

dAY (0.3V)

Op.rrllng l,wd, 0 dB S/ / 1.3% THD (r/Dolby C) Unrclghtld


320 nwb/m 60 da 80 dB
Conllrmod Conllrmsd Conll]msd 827 dB {CC|B/AnM)

S99 Tert


L.!.l lor 3% THO

lvou{nd-Flgll.t (t lHz-l{o Dotby) clllrLlt (t kHr*Dotby on) Erxur. (l lHr) Porlr Faqulr.lnrntr Dlmrndont(WrHrD, ln)


d 0 da (l

(3nl HD)

+10 dB 0,06%

55 dB 70 dB 170 W

+12 dB 0.Oila% 51.2 dB

S.s Tcrt 12 dg

Conllrmed Conll]m6d Contlrmcd


87 lbr.

Prlc!: 38,800.00

i 'Flrad md vlrllbl.p.d nod.r rvlllabl!. ln vlrllble -

mod, !15%


16-Track Flexibility

possibly make.
16-Track Reality The B-16D was made possible by innovalive advances in head technology, record/ reproduce electronics, the incorporation of Dolby C Noise Reduction and the proven
More than any other factor, the multitrack
tape machine determines the actual recording flexibility of an audio production facility. There are logarithmic progressions in flexibility as you move from 4{rack to 8-track to 16-track machines. The freedom to experiment expands considerably when you have open tracks.

design principles of the half-inch tape


Signal quality and overall pertormance
The Eleclronics The precision head assembly is a breakthrough in design that has made the unique format of the B-16D possible. Special high density permalloy is used, with a core design which reduces contour effects to less than 1dB.
characteristics are far beyond the practi" cal limitations of most commercial media. So regardless of your application, look to the B-16D to increase your audio production efficiency and flexibility in the most economical way possible. The Transport

16'Track Efficiency

The acceptance of the smaller, more eflicient machine in many related fields-from aerospace and automotive to computer and video-suggests a basic trend to reduce size and increase efficiency. That's the reason the B-16D exists. lt's the newer, better way to increase your audio production efticiency. It fits nicely into the cramped coniines of a remote truck. Live multitrack recording
The rigorous demands of multitrack recording-the constant back and forth use of the


same piece of tape-can strain the tape
if proper tension control is nol


The design of the B-16D ensures constant tension in every mode. Two sensor arms constantly monitor motion and govern the two direct drive reel motors ior smooth, positive control. Full lC logic.
The latest high torque motors and solenoids all consume less current. so a more compact power unit ls used for less heat and less weight. Motion and tension sensing, servo control, tachometer and audio switching all interface to a central LSl. This dedicated chip is the intelligence behind the B-16D's tape handling prowess. ln the EDIT mode, you have servo control overthe reels, so you can rock one-handed to find a precise cue. This is especially useful if you have to get rid of a kick drum beat or a hiccup just before the vocal. Other editing conveniences include a manual cue lever to deleat the tape lifters during fast wind modes, and a simple push-push retractable hum shield gives excellent working access to the heads. The real time counter is a digital display in hours, minutes and seconds, and provides both plus and minus times (elative to zero set. Elapsed time is logged in both the play and fast wind modes, and search-to-zero can be accomplished from either direction.

/.l./t',:. vl/. ,/,/,/

i b,/ /-

| /l /

dates have suddenly become straighl


own in-house audio sweetening facility.
Extra dollars can be stretched from tight production budgets when you have your
The B-16D comes pre-wired for video inter-
lock synchronizers, and it locks up fast in the chase mode. The operational logic is so well defined, and the internal switching is so convenient, you don't need someone else to help work the recorder. The B-16D is lhe ideal recorder
for the serious musician, songwriter or
producer who prelers to work alone.
16-Track Economy Consider all the key money issues: initial investment, options and system interface, operational costs (tape), maintenance and
Adjacent channel crosstalk is only 55dB at 1kHz, which easily matches the performance of wider format machines. Heads are block mounted lor accessible azimuth
adjustment. Dolby C Noise Fleduction circuits are built. in, and encode/decode switching is auto-
resale. Your Fostex Professional L4ultitrack Dealer can show you in black and white, point by point, why the B-16D is the smartest, mosl economical '16{rack investment you can
matic. The Dolby system operates over a constantly changing band of irequencies. ln the presence of music, ihe band slides up out to lhe way of the music, so noise at
Reproducer to Use ll2incl
a section with a ZERO reset button; mark the end wilh the CUE button, even in last
wind modes. The B-16D will now cycle between these
two points until instructed
any lransport bulton will automatically

defeat the REPEAT mode.

10 stop.


frequencies above the music is reduced without affecting the music itself. Low frequencies are not processed by the Dolby
circuits. thus avoiding the problem of norse
Here is a 16-lrack recorder where everything is where you would expect for fast and smooth operation. Metering, Monitoring, record select status are obviously and easily cross-referenced, so you don't have io give your undivided attention to the recording process. Which gives you mqre time to concentrate on the material you're recording.

modulalion. An additional benefit of the

osignal to noise ratio

lndependent Tape Monitor
(Model B-16M) This particular modelwas designed specitically for the demands of live recordingtypically multitrack video shoots and remote location recording. It is contigured with the direct drive PLL


For extra flexibility, the meter panel is removable. You can place it next to the audio console, video switcher, or mount it in
our "cab over" version of the floor standing console.
capstan motor, independenl reproduce head, an 7" rack height unit with 16 independenl channels ol reproduce/decode
and a remoie control unit. This remote unit lets you select any combination of 16-track reproduce which you can
Dolby C system is a circuit that helps to
prevent high trequency tape saturation. There is a definite musical quality about
this newest Dolby system that goes beyond the specif ication-80d8, weighted-which
you really have to hear to appreciate. The B-16D is easy to use, too. A minimum of hard wired switches and a straightforward
then monitor via the headphone jack and independent level control, or via the line out jack. There's even a meter for fast
alignment. Remote Control
The Model 8090 is a compact unit that sits conveniently flat wherever you're working. Or, if you prefer, use a normal mic stand for exact placement. A single switch transfers record select control from the B.16D to the remote unit, so there's no chance tor operational confusion. All the functions of track record status and transport control can be commandbd trom the remote. Plus, there's a REPEAT or LOOP function, ldentify the beginning of What you have is a dedicated independent
monitor system. The third head leeds an
entirely separate set of reproduce electronics so you always know the actual reproduce signal.
operational logic mean that a single arlist can work alone with the B-16D. Normally you monitor playback. Touch the ALL switch and you hear input signals to allchannels. Touch RECOBD and you hear
Thus you can set up true simultaneous
source/tape or sync/tape comparisons. And in video interlock situations, you can use the monitor head to check tape at any time, even compare teproduce with input, without touching the recorder's eleclronics. This model E available only thtough FOSTEX Corpomtion ot Ameica.

input signals only to those channels in Record Ready slatus. Touch RECORD/
PLAY (normal record mode) and you hear input to those channels recording, and sync on those channels in reproduce.
Direct Drive Capstan Motot A quartz oscillator generates a reference frequency ot 38.4kH2. The capstan motor
itself generates another f requsricy-2.4kHz
at 15 ips. An error detection circuit within
the leedback loop compares tbe two frequencies and varies the current applied to the motor whenever erratic motion
happens. As this correction takes place, the two fre-
quencies are locked together such that their phase rslationship is identlcal. Even the slightest irregularity ofthe motor is thus
detected, and compensation results. This is the advanced Frequency Generated Servo.controlled Phase Locked Loop Direcl design lor rock solid speed control.
Drive Capstan motor. lt's the lextbook
And because inertia is lower, it locks up faster with synchronizers, for example, in
video post-production applications.
Plug-ln Electronics Each of the sixteen audio circuit boards carries the full record, reproduce, control logic, bias and noise reduction circuitry tor one channel. These cards plug inlo a mother board, and all major pre-sets are
available through clearly marked slots The B-16D is as easy to set.up and mainbehind the hinged meter panel.
tain as it is to own. Routine calibration
and alignment don't requirethe specialized services ot a studio maintenance tech- The service manual, spare circuit boards and extender cards are all readily available so that you can maintain your B-16D in top professional condition by yourself. Easy to own, easy to use, easy to maintain top performance. The B-16D gives you lStrack flexibility the easy way.


Tape Track ioamal Reel size Tape sped
1/2 inch lape width, 15 mil base (Ampsx 456, Scotch 226 or equivalent)


16 channel

101/2 inch, NAB hub

: 15 ips (38cm/s)

Variable: 15 ips +150?6

lnputg (xl6)
-10dBV (osv) lmpedance: 25k ohns, unbal. -1odBV (03V) Load impedanco: 10K ohms, unbal.

-**"lL\ a

9012 Metal Reel

outprrts (x15)

System opeEling odB rglerenced to320nwb/m ol lapo llux level Equatlzation IEC (inJinitjve +35lrs) Ovelall lrequency

wedge Console (with 9082)


Signal to nols

40Hz-18kH2, +3dB

80dB weighled, 60dB unweighted (w:th buitt-in Dotby c) Rglsrenced to lH.D. level (10d8 above operating level) al lkHz




70dB at lkHz 55dB at lkHz
+0-050,6 peak weighted (lEC/ANSI) measured with flutter lree tape

120V, 60H2, 170W



Wbw & flutter Power


Dimensions Welght
430(W) x a4a(H) x 235(D)mm 117"(W) x 17'1l2"(H) x 91/4'(D)l

30kg (67lbs.)

t lmt "


all the functions ol the 8090 plus a g-position memory (repeat shutlle can be accomplishod between any two positions) with
keypad. AUTO LOCATOR replaces Model 8090 Remote Control. Contains
.5030 LineAmplifier Two of these units willgive you 16 channels ol direcl interface io any standard +4dBm systm with XLR-type
.2050 Line l\rixer. Two of thes6 unils will give you a 16x4x2 ( - lodBv) lin6 l6vel mix for monilo ng or as a separate slereo feed.
.8050 Foot Switch for remote punch-in/oul.9905 Rack Mounl Adaptors. 3080 Metal console with caslors lor B-16D
-rack. 9082 tvleter mounting kit for B-16D.
mounts 9905 are necessary.
'ldanufactured in tho U.K., not a Fostex brand product.
D[l pouYniil 'Dorw.ndrr'!Doubr.

rmborr. d.



ocr.r984 aoFosTEX P nied in Japan



WIM 2180 YZ85-2005 KX-F180 Cam20 NAD SR8 RAS18CH1 240V Suite 5 Avic-X910BT XRS 9445 Evolution UC33 Datasheet RX-DT77 VGN-NS11s S Gigaset E450 DVD-S1700 Wintv-PVR-USB2 DVD4950 Chrono CJ-V61CL IC-T81A Q5020 9 Plus 21PT4416 DVD-P248A SDC-868L DVD-HR720 L32VP03U Sm LE CZ21M063 TCM-400DV FX-P401 GZ-MG50E NN-A750 WA85V3 UVW-1800P Camileo MS7308ET KX-TC1486B Nokia N72 KX-TG1311UA 251 E 150 ST 600 E KEH-P14RDS I5801 Omega Aopen AK33 WAP54GP M115-S1061 Fishfinder 100 NAP 110 Roland VA-3 CU-PC12GKD VN-4100 KDL-52Z4500 Stylus 7040 KX-TG1100SP ZWF1421 Ketron MS60 AV9000 HT-THX25R WJ-MS488 ZDE320X AZ2558 00C ER-508 Review CN-DV155FD T 7 PL150 RED FM 210R Suunto D6 C6501P C-2000U Lite Laguna 37PFL8605H KDC-BT6044 MH6387arlk SCH-W550 CLP-7201E VN-3100 AVR-1601 Samsung H200 NVX-DV739 Quick-O Drive G694SC Drawer SRW208 AVH-P6050DVD APG15 26R86BD YST-SW45 ANT-8 Acer D100 SE-U33GX Takara GP39 MFC-6800 DZO-V3T 2003 R2 Boot Camp


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