Why a Digital Mixer?

One of the best things about a digital audio mixer is that it is able to combine audio signals from various sources without introducing virtually any signal degradation, distortion, crosstalk, or noise. Digital recording to tape or hard disk-based systems is increasingly popular. However, many of these small studios use 4-, 8-, or 16-channel analog mixers. The VM200 Digital Recording Mixer enables you to keep your audio signals in the digital domain for both mixing and recording, resulting in new levels clarity and quality in your recordings.
Four-band Parametric EQ & EQ Library
Channels 1 through 16 feature a four-band parametric equalizer (EQ), with variable Gain, Frequency, and Q controls. The LO-MID and HI-MID bands use parametric EQ. The LO band can function as an HPF, shelving, or parametric EQ; the HI band can function as an LPF, shelving, or parametric EQ. An EQ Library can store up to 100 EQ programs for future recall.
Dual On-board Effects Processors
The VM200 features two on-board stereo effects processors, EFF1 and EFF2. These effects processors utilize Fostex Advanced Signal Processing Technology (ASP) to create high-quality ambient reverbs, as well as choruses, delays, angers, and other effects and combinations. ASP is an exclusive new digital effect processing technology designed by Fostex that excels at maximizing the efciency of digital signal processing power. It achieves an overwhelmingly high-density Early Reection sound and smooth High Dump response rate via a Harmonic Feedback Algorithm, and conducts elaborate reverb simulation using High Density Logarithmic Processing technology, which eliminates mutual interference between integrated delay modules, reducing audio impurities.

Digital I/O

The VM200 features two types of digital inputs and outputs: S/P DIF and ADAT. The S/P DIF is a two-channel digital I/O commonly found on consumer CD players, computer audio cards, etc. The ADAT IN and ADAT OUT connectors allow a direct eight-channel connection to any ADAT-compatible digital audio recorder, such as the Fostex VR800 or the Alesis ADAT series.
About the Display and Graphic User Interface
The LCD display features a resolution of 256-by-64 dots and utilizes graphic icons to represent faders, send levels, and rotary control knobs. The display also provides a graphic EQ response curve and numerical readouts of mixer parameter settings. Depending on the lighting in your studio, you may wish to supplement the LCD Display with a gooseneck-type studio lamp or other light source.

Scene Memory Section

The Scene Memory section includes [RECALL] and [STORE] keys that enable you to recall scenes from memory and store new scenes to memory. A scene is a collection or snapshot of virtually all the parameter settings of the VM200 at a given point in time.
Pressing the [RECALL] key displays the SCENE MEMORY RECALL function page. You can use the Data Wheel or [</-1] and [+1/>] keys to scroll through the list of stored and preset scenes. Press the [RECALL] key again to recall the scene from memory and remain in Scene Memory mode, or press the [ENTER] key to recall the scene and exit Scene Memory mode.
The [STORE] key enables you to store scenes in Scene Memory. Pressing the [STORE] key displays the SCENE MEMORY STORE function page. Press the [ENTER] key to display the SCENE MEMORY NAME EDIT function page, then name the new Scene Memory. Press the [ENTER] key again to store the scene in memory.

Channel Control Section

The VM200 features nine 60mm motorized faders. Faders 1 through 8 are associated with separate [ON], [SOLO], and [EQ EDIT] keys. (The Master fader features only [ON] and [SOLO] keys.) Faders 1 - 8 and [ON], [SOLO], and [EQ EDIT] keys 1-8 typically control channels 1 through 8. However, they can also control channels 9 through 16, and 17 through 20, depending on the channel layer you select using the Page Select keys. (See the Fader function table below.) The ninth fader is the Master Fader. Faders 1 - 8 and [ON], [SOLO], and [EQ EDIT] keys also assign values to various function page parameters. You can also use the faders and [ON], [SOLO], and [EQ EDIT] keys as MIDI controllers by setting parameters on the Control Table function pages, which are displayed by the Setup [MIDI] function key.
The faders control different functions depending on the Fader Mode you select. You select a Fader Mode by pressing one of the keys in the Fader Mode section of the control surface. The VM200 features seven fader modes: Channel, Aux 1, Aux2, Aux3, Aux4, Eff1, and Eff2. (For more information, see [ON], [SOLO], & [EQ EDIT] Keys on page 34.) Faders 1 - 8 typically control the channel gain; the Master Fader typically controls the Stereo Buss Master gain. However, in Fader Mode Aux1 for example, Fader 1 controls the channel-to-Aux1 Send gain. In Fader Mode Eff2, Fader 1 controls the channel-to-Eff2 Send gain, and so on.
The following table describes the function of the channel faders and Master fader in each Fader Mode:

An Important Note About Word Clock Information
Before you can transfer digital audio from one device to another, the digital audio equipment must be word clock synchronized, or timing problems may result. For example, if you are recording to another digital device, such as an ADAT, DAT, or digital multitracker, you must synchronize all digital components in your recording system to a common word clock source. If the VM200 is the only digital component in your recording system, you do not need to adjust any word clock settings. However, if you are using other digital audio components, please refer to Digital Connections, Word Clocks, and Sample Rates on page 160 for more information on synchronizing to a common word clock source.

Stopless Rotary Controls

The VM200 uses the 12 rotary controls (also known as the Gain, Freq, and Q controls) to adjust values for several different parameters, depending on the currently-selected function page. Unlike conventional analog control knobs, the rotary controls on the VM200 are stopless; you can rotate them right or left endlessly. In this way, the knobs can more easily accommodate a broad range of parameter values.
Lower and Raise Faders to Initiate Sends
If on occasion you think you have congured the VM200 to send a particular signal to a buss, but you unexpectedly cannot hear the output, try bringing the fader down and raising it back up to the desired level to initiate the send. This may seem unusual if you are used to analog mixers, but it is part of the channel layer structure of the VM200. Because the faders can control multiple functions depending on the displayed function page, you may need to lower and raise the faders to set new levels when you change Fader Modes. For example, after you set the level of channels 19 and 20 for an effect return, if you wish to set the effect send level on channel 3, you may need to lower the Channel 3 and Master faders once, then raise them to set the desired level.

Reading the Display

The LCD Display features a resolution of 256 x 64 dots. It can display numerical parameter values, and uses graphic icons to represent fader positions and rotary control settings. This section shows a few sample function pages and explains common icons and indicators.
The Channel Edit Function Page
Whenever you turn on the power to the VM200 or press the [CHANNEL/METER] key or the [EXIT] key, the VM200 displays the CHANNEL EDIT function page. There are actually two versions of the Channel Edit page. One version shows the inputs; the other version shows the outputs. (The Channel Edit/Input version is shown below.) When you see this function page, the VM200 is in Channel Edit mode. You can think of the CHANNEL EDIT function pages as a type of home page.

To mute a channel, use the Page Select keys to select the desired channel layer, then make sure the channels [ON] key is turned off. If channels are linked as a stereo pair (see Pairing Channels on page 68) you can use either channels [ON] key to turn the pair off (or on). You can also group input channels into Mute groups and control them as one, using a single [ON] key. (See Grouping Mute Channels on page 68.)

Setting Channel Levels

You control input channel levels using the faders. If it is not already selected, select the desired channel layer using a Page Select key, then press the channels [ON] key. The VM200 features seven Fader Modes. The faders control different functions and parameters depending on the current Fader Mode. You can select a Fader Mode by pressing one of the keys in the Fader Mode section, such as [AUX1], [EFF2], [CHANNEL], etc. (See Faders on page 32 for more information about Fader Modes.) If channels are linked as a stereo pair or group, you can set the channel level for the pair or group using any fader in the pair or group. For more information, see Pairing Channels on page 68.

Panning Input Channels

Use the eight panpot rotary controls to pan the signal between the left and right channels of the stereo output.
Make sure that the [CHANNEL/METER] key is lit. If not, press it to turn it on.
The VM200 displays the CHANNEL EDIT function page.

panpot icon

numeric pan value

hard left

hard right
Use the Page Select keys to select the target channel layer. Use the panpot rotary controls to make the pan settings. The display shows a dial icon for each channel that visually indicates the pan position. The display also includes numerical valuessuch as L2.0 or R3.7that provide precise pan position data. If you pan hard right or hard left (that is, fully right or left), the numerical value changes to a left or right arrow to indicate that the maximum has been reached. The pan settings range from L10.0 to R10.0 in increments of 0.5 (although youll never see R10.0 or L10.0 indications, because these settings are the maximum value and are replaced by the arrow).

Routing Input Channels

You can control input channel routing by using the on/off software switches on the ROUTING function page. The ROUTING function page includes switches that can route channels 120 to the Rec Buss and Stereo Buss, and channels 18 to the ADAT Direct outputs. (You cannot route channels 920 to the ADAT Direct outs.)

S/P DIF IN OUT IN ADAT OUT
ADAT and S/P DIF connections
You can assign a signal to AUX Sends 1 through 4. (AUX Sends 3 & 4 are available only when the ADD. AUX parameter is turned on. For more information, see Enabling AUX Sends 3 & 4 (ADD. AUX Parameter) on page 115.) The AUX Sends provide additional outputs that you can use for a variety of purposes. For example, you can route a signal out the AUX SENDS to an external DAT recorder, talkback system, or other application. You can congure channel AUX Sends as pre-fader or post-fader sends. For more information, see Using the AUX Sends on page 115.

REC BUSS OUT AUX SEND

AUX Sends 14

R 4 L 1

Using the ST BUSS OUT
The VM200 converts the ST BUSS stereo digital signal to analog using 20-bit 128-times oversampling D/A converters. The analog signal is then output from the ST BUSS OUT connectors on the rear panel. These connectors are unbalanced phone jacks with a 10 dB nominal output level. The same ST BUSS stereo digital signal is also converted to an S/P DIF signal via the S/P DIF encoder and output from the S/P DIF OUT connector on the rear panel. (For more information, see Using S/P DIF OUT on page 168.) In a typical recording setup, you could use the ST BUSS OUT for master recording.
Monitoring the ST BUSS OUT
You can monitor the ST BUSS OUT signal by connecting the MONITOR OUT jacks to an amplier and speakers. Set the Mon Sel (Monitor Select) parameter on the SETUP:SYSTEM 1:CLOCK/MON function page to ST-B (stereo buss) (see page 98). You can also monitor the ST BUSS OUT signal through a pair of stereo headphones connected to the PHONES jack. For more information, see Monitoring Signals on page 97.
Viewing the ST BUSS OUT Meters
You can view the stereo output signal levels on the nine-segment L/R Stereo/Solo LED meters. You can also view the stereo output level on meters that appear on the CHANNEL EDIT/OUTPUTS function page, which you can display by pressing the [CHANNEL/METER] key twice.
LED meters ST BUSS OUT level
See the Monitoring Signals on page 97 for more information.

Soloing the ST BUSS OUT

You can solo the signal output from the ST BUSS by pressing the
[SOLO] key on the Master channel. The Master [SOLO] key lights up. The Master [SOLO] key works only when Solo mode is set to PFL,

Presence Vocal Booth

PVo.BOOTH
Natural Vocal 21 Booth 22 Vocal Reverb 23 Solo Vocal

NVo.BOOTH

Vo.REVERB Solo.VO

24 Arena Vocal

Arena VO
Early Reection-type Reverbs
# 27 Name Normal Gate Reverb Lo-Freq Mono Kick Gate Hi-Freq Stereo Snare Gate Display Nom.GATE MnBD.GATE StSD.GATE Hall.ER Room.ER Spring.ER Random.ER Reverse.ER Description Standard gate reverb Gate reverb tuned for kick drums, with pan set to the center. Gate reverb tuned for snare drums and percussion Simulation of early reections in a large hall. Simulation of early reections in a room. Simulation of early reections of a spring reverb. Random early reections. Reversed early reections of a hall reverb.
28 Hall E/R 29 Room E/R 30 Spring E/R 31 Random E/R 32 Reverse E/R

Delays

# Name Display MonoDELAY Pan.DELAY DualDELAY 3ch.DELAY Description Mono delay with longer delay time, which can create special effects using HPF and LPF. Panning delay that pans sound left to right. Two independent delays. 3-tap delay, which can create interesting effects with your wizardry.
33 Mono Delay 34 Pan Delay 35 Dual Delay 36 3ch Delay

Modulation effects

# 39 Name Chorus 3D Chorus Flange Display CHORUS 3D.CHORUS FLANGE Description Standard chorus effect setting. More natural and spacious effects than Chorus. Standard anging effect setting. You can pan two types of effects sound to any position.

Pitch Changer

# Name Display MonoPITCH DualPITCH Description Standard pitch shifter. Stereo pitch shift with two channels pitch-shifted independently.
40 Mono PitCh 41 Dual PitCh

Multi-effects

# Name Mono Delay -Normal Hall Mono Delay -Normal Plate Panning Delay -Normal Hall Panning Delay -Normal Plate CHORUSREVERB REVERBCHORUS FLANGEREVERB REVERB -FLANGE Display MnDL-NmHL MnDL-NmPL PnDL-NmHL PnDL-NmPL Description Combination of mono delay and hall reverb. Combination of mono delay and plate reverb. Combination of pan delay and hall reverb. Combination of pan delay and plate reverb.
CHORS-REV An effect which adds reverb to chorus. REV-CHORS FLG-REV REV-FLG An effect which adds chorus to reverb. An effect which adds reverb to ange. An effect which adds ange to reverb.

Applying Effects

To apply an effect, you must do two things: u route the signal to one of two effects processors, and u return the processed signal back to the mix. The following sections explain these tasks.
Note: When EQ Enable parameter is set to EQ116, both effects processors are disabled. For more information, see EQ Enabling Channels on page 80.

Press the [ENTER] key. The VM200 displays the EFF LIBRARY NAME EDIT function page. The title box shows the program number and the current name.
Use any Gain, Freq, and Q rotary controls to re-assign a name to the Effect program. You can also press the [</-1] and [+1/>] keys to move the cursor and rotate the Data Wheel to select characters or numbers. Refer to step 4 of Storing Effects Programs on page 135 for information on assigning a name. When youve nished re-naming the program, press the [ENTER] key to store the new Effect program title. The following warning dialog appears for a brief moment.
After the warning, the VM200 displays the EFF EDIT function page. Press the [EXIT] key any time to exit the EFF LIBRARY STORE or EQ LIBRARY NAME EDIT function pages. The VM200 displays the CHANNEL EDIT function page.

Effects Parameters

The following tables list the parameters of each effect type. The numbers in parentheses indicate the preset effects that belong to the effect types.
Reverb-type Effects (0024)
Parameter REV TIME PRE DLY DENSITY E/R BAL ROOM SIZE E/R FB DIFFUSION LO RATIO HI RATIO LPF PRESENCE
Value 0.130.0 [s] (0.1 step) 0160 [ms] (1 step) 010, AUTO [%] (1 step) 0.12.0 (0.1 step) 0100 [%] (1 step) 010 (1 step) 0.12.0 (0.1 step) 0.12.0 (0.1 step) 1.00kHz20.2kHz, THRU (step: same as EQ) -100+10 (1 step)2
Description Length of the reverberation. Delay time from the early reections until the reverb. Density of the reverb. Volume balance between the early reections and the reverb. Only ER with 0%, and only reverb with 100%. The size of the room (relative to E/R). Degree of repeated early reections Left/right spread of the reverb effects. Length of the low frequency reverberation, expressed as a ratio relative to the REV.TIME. Length of the high frequency reverberation, expressed as a ratio relative to REV.TIME. Cut-off frequency of the low pass lter. Brightness in the high range of the reverb.
1. With AUTO, the optimum value for the REV TIME setting will be used. 2. Brightness increases with a positive setting, and decreases with a negative setting.
Early Reection-type Effects (2532)
Parameter ROOM SIZE INI.DLY LIVENESS E/R FB LO RATIO HI RATIO DIFFUSION
Value 0.12.0 (0.1 step) 0200 [ms] (1 step) TBD 010 (1 step)[%] (1 step) 0.11.0 (0.1 step) 0.11.0 (0.1 step) 010 (1 step)
Description The size of the room (relative to E/R). Delay time from the dry sound until the early reections of the reverb are heard. Adjusts how the reections decay. Degree of repeated early reections Low frequency amount of the feedback. Low frequency amount of the feedback. Left/right spread of the reections.
Parameter DENSITY PRESENCE LPF
Value 010 (1 step) -100+10 (1 step)2 1.00kHz20.2kHz, THRU (step: same as EQ)
Description Density of the reverb. Brightness in the high range of the reverb. Cut-off frequency of the low pass lter.

CHO DEPTH 0100 [%] (1 step) CHO BAL 0100 [%] (1 step)

FLANGE-REVERB (48)

Parameter FLA RATE DEPTH FLA FB REV TIME PRE DLY HI RATIO PRESENCE DENSITY LPF REV BAL
Value 0.012.00 [Hz] (00.1 step) 0100 [%] (1 step) 0100 [%] (1 step) 0.130.0 [s] (0.1 step) 0160 [ms] (1 step) 0.11.0 (0.1 step) -100+10 (1 step)1 010, AUTO
Description Modulation speed. (0.01 step when ENTER is pressed.) Modulation depth. Feedback amount. Length of the reverberation. Delay time from the early reections until the reverb. Length of the high frequency reverberation, expressed as a ratio relative to REV.TIME. Brightness in the high range of the reverb. Density of the reverb. Cut-off frequency of the low pass lter. Level of reverb sound.
1.00kHz20.2kHz, THRU (step: same as EQ) 0100 [%] (1 step)

REVERB-FLANGE (49)

Parameter REV TIME PRE DLY HI RATIO PRESENCE DENSITY LPF FLA RATE FLA FB FLA BAL
Description Length of the reverberation. Delay time from the early reections until the reverb. Length of the high frequency reverberation, expressed as a ratio relative to REV.TIME. Brightness in the high range of the reverb. Density of the reverb. Cut-off frequency of the low pass lter. Modulation speed. (0.01 step when ENTER is pressed.) Feedback amount. Level of ange sound.
1.00kHz20.2kHz, THRU (step: same as EQ) 0.012.00 [Hz] (0.01 step) 0100 [%] (1 step) 0100 [%] (1 step)
This chapter describes Scene Memory and explains how to store and recall scenes and how to prevent specic parameters from being updated by a scene recalled from memory.
What is Scene Memory?. Scene Edit Indicator. What Can You Store in a Scene?. Preset Scene Memory. Recalling Mix Scenes. Recalling a Scene Manually. Recalling a Scene Automatically at Start-up. Recalling Mix Scenes Using MIDI Program Change Messages. Motorized Faders. Storing Mix Scenes. Editing Scene Memory Titles. Recall Safe Function. Specifying Recall Safe Channels. Specifying Recall Safe Parameters.
ON -20 LO SO +PA N IT ON 0 ED EQ -10 LO SO 0 -20 +1 ED IT ON 0 EQ -10 SO LO 0 -20 -30 +1 ON 0 -40 -10 LO SO 0 -20 -30 +1 ON 0 -40 -10 -

156 157

What is Scene Memory?
Scene Memory refers to specic locations in the ash memory of the VM200 in which you can store mix scenes. A mix scene is a snapshot of settings for virtually all VM200 parameters (i.e., EQ, fader positions, effects, and so on) at a given point in time. Say you have nally arrived at the perfect mix setting for recording a particular instrumentalist in your studio. It sounds great, but next week you want to be able to recall the same settings. Simply store the scene into the Scene Memory, and recall it next week. This is one of the principle advantages of a digital recording mixer. The VM200 features 100 (099) scene memories. You can assign a name to each one. The VM200 also features three preset scenes: P0 [Init Mix], P1 [Recording], and P2 [Mix Down]. These are useful for common mixing situations. You can set individual channels or parameters as recall safe. This means that when you recall a new scene from memory, the settings for the specied channels or parameters remain unchanged. You can store and recall scene memories in three ways: u By pressing the [RECALL] key in the Scene Memory section and selecting a scene; u By programming the VM200 to automatically recall a scene when the VM200 is powered on; u By sending remote MIDI Program Change messages from a computer or MIDI sequencer (see Program Change To Scene Memory Assignment Tables on page 210). You can also back up scene memory data to an external MIDI device using MIDI Bulk Dump messages. See Bulk Dump on page 189 for more information. You store scenes using the SCENE MEMORY STORE function page, and recall them using the SCENE MEMORY RECALL function page. On both pages, you will utilize the Scene Memory [STORE] and [RECALL] keys.

Control Change TX

Turn on the Control Change TX parameter if you want the VM200 to transmit Control Change messages when you adjust mix parameters. The default setting is Off.

Control Change RX

Turn on the Control Change RX parameter if you want the VM200 to adjust mix parameters when a Control Change message is received. The default setting is Off.

Control Change Table

The Control Change Tables assign Control Change numbers to various controller numbers. These assignments enable you to send MIDI messages from an external MIDI device to control VM200 parameters in real time. For example, you could assign Control Change number 5 to channel fader 5. If you then send Control Change number 5 from a connected device to the VM200, the VM200 will adjust fader 5. The VM200 features two Control Change Tables (01 User Table, and 02 Preset Table). You can use the Control Change Table parameter to select Table 01 or 02. The default setting is 01. For more information, refer to the Control Change To Control Parameters Assignment Tables on page 211.
System Exclusive Messages (Fostex Exclusive)
You can control VM200 parameters in real time using System Exclusive messages. For more information, see System Exclusive Parameter Control on page 188. If you want the VM200 to receive System Exclusive messages, turn on the System Exclusive TX & RX parameter (described below). The DevID (device ID) should match the number selected on the external MIDI device.
System Exclusive TX & RX
This parameter determines whether or not the VM200 adjusts mix parameters when System Exclusive messages are received, or whether the VM200 transmits parameter settings in response to Parameter Requests. It also determines whether the VM200 transmits System Exclusive messages on the DevID channel when mix parameters are adjusted, or whether the VM200 transmits Parameter Requests on the DevID channel. You can set this parameter to On or Off. The default setting is Off.

System Exclusive DevID

This parameter determines the ID number of the device to and from which the VM200 transmits and receives System Exclusive messages. You can set this parameter to 0 126. The default setting is 0.

Bulk Dump

You can use the System Exclusive Bulk Dump to transfer VM200 data (such as Scene Memory, EQ Library, Effects Library, and Setup data) to another MIDI device. This is useful for backing-up VM200 data to a MIDI data ler or computer, or for exchanging data between VM200s.

Examples: Using Control Change Messages
The following gures illustrate typical ways in which to utilize MIDI Control Change messages with the VM200. The following example assumes you are using the Preset Control Change Table (which appears on function page 5:CTL TABLE2) and that an assignable MIDI controller on the MIDI keyboard has been assigned Control Change 83. When you adjust the controller, Control Change 83 will be transmitted to the VM200, which will then adjust the effect send 2 level for input channel 2.
In the following example, input channel 5 fader movements are recorded in real time to a MIDI sequencer using Control Change 5. During playback, the sequencer transmits Control Change 5 back to the VM200 and fader 5 moves accordingly, due to preset assignment.
You can also connect two VM200s via MIDI to enable you to control the second VM200 from the rst. For example, you could move the Master Fader on the rst VM200, causing the second VM200 to operate its Master Fader as well.
Controlling Parameters Using Fostex Exclusive Messages
You can also control VM200 parameters in real time using MIDI System Exclusive messages. When you adjust a mix parameter, the VM200 transmits a System Exclusive Parameter Change message. To transmit and receive System Exclusive messages on the VM200, set the SYSTEM EX. TX&RX parameter on the 1:MIDI TX&RX function page to On and set the DevID (Device ID) parameter to match the device ID assigned to the external MIDI device. Data formats for Fostex Exclusive messages are provided in the Appendix.
System Exclusive TX&RX

Device ID

The VM200 can transfer Setup data, Scene Memories, Effect and EQ Libraries, and Program and Control Change Assign Tables to another MIDI device using the System Exclusive Bulk Dump function. This function enables you to back up important VM200 data to a MIDI data ler or computer, or to transfer data between multiple VM200s. The VM200 can also receive Bulk Dump requests from other MIDI devices.
Transmitting MIDI Bulk Dump Messages
The VM200 transmits Bulk Dump data on the transmission channel you specify using the TX CH parameter on the 1:MIDI TX&RX function page. To execute a Bulk Dump operation, you specify the data you wish to transfer using the parameters on the 6:BULK DUMP function page, then press the [ENTER] key. The VM200 can also transmit data automatically when it receives MIDI Bulk Dump Request. The BLOCK parameter on the 6:BULK DUMP function page enables you to specify the block of data you wish to send. Follow these steps to execute a Bulk Dump.
Automatic transmission in response to Bulk Dump Request
If you set the BLK DMP REQ. parameter on the 1:MIDI TX&RX function page to RX ON, the VM200 will be able to receive a MIDI Bulk Dump request message from an external MIDI device.

Channel/Buss Command

Command ST Buss Ch On ST Buss Master Fader ST Buss Solo REC Buss Master Level REC Buss Solo AUX Buss Ch On AUX Buss Master Fader AUX Buss Solo 19,01,10 <OnOff> 19,01,11 <Vol> 19,01,19 <OnOff> 19,02,11 <Vol> 19,02,19 <OnOff> 19,05 <AuxId> 10 <OnOff> 19,05 <AuxId> 11 <Vol> 19,05 <AuxId> 19 <OnOff>
Request 29,01,10 29,01,11 29,01,19 29,02,11 29,02,19 29,05 <AuxId> 10 29,05 <AuxId> 11 29,05 <AuxId> 19
Status 39,01,10 <OnOff> 39,01,11 <Vol> 39,01,19 <OnOff> 39,02,11 <Vol> 39,02,19 <Vol> 39,05 <AuxId> 10 <OnOff> 39,05 <AuxId> 11 <Vol> 39,05 <AuxId> 19 <OnOff>
Command EFF Buss Ch On EFF Buss Master Fader EFF Buss Solo CH1-20 Ch On CH1-20 Ch Fader CH1-20 Ch Pan CH1-20 Ch Solo CH1-20 Phase CH1-20 S/P DIF IN CH1-20 Rout:ST Buss CH1-20 Rout:Rec Buss CH1-20 Rout:Adat Dir. CH1-20 Aux Send Level CH1-20 Aux Post/Pre CH1-20 Eff Send Level CH1-20 Eff Post/Pre CH1-20 Eq On CH1-20 Eq Type(Q) CH1-20 Eq Gain CH1-20 Eq Freq. CH1-20 Eq Lib Recall CH1-20 Eq Lib Store CH1-20 Ch Pair Ch1-20 Fader Group CH1-20 Mute Group CH1-20 Ch Solo Safe CH1-20 Ch Recall Safe 19,06 <EffId> 10 <OnOff> 19,06 <EffId> 11 <Vol> 19,06 <EffId> 19 <OnOff> 19,10 <Ch> 10 <OnOff> 19,10 <Ch> 11 <Vol> 19,10 <Ch> 12 <Pan> 19,10 <Ch> 19 <OnOff> 19,10 <Ch> 21 <Phase> 19,10 <Ch> 26 <OnOff> 19,10 <Ch> 30 <OnOff> 19,10 <Ch> 31 <OnOff> 19,10 <Ch> 33 <OnOff>
Request 29,06 <EffId> 10 29,06 <EffId> 11 29,06 <EffId> 19 29,10 <Ch> 10 29,10 <Ch> 11 29,10 <Ch> 12 29,10 <Ch> 19 29,10 <Ch> 21 29,10 <Ch> 26 29,10 <Ch> 30 29,10 <Ch> 31 29,10 <Ch> 33 29,10 <Ch> 41<AuxId> 29,10 <Ch> 43<AuxId> 29,10 <Ch> 49<EffId> 29,10 <Ch> 4b<EffId> 29,10 <Ch> 50 <Band> 29,10 <Ch> 51 <Band> 29,10 <Ch> 52 <Band> 29,10 <Ch> 53 <Band>
Status 39,06 <EffId> 10 <OnOff> 39,06 <EffId> 11 <Vol> 39,06 <EffId> 19 <OnOff> 39,10 <Ch> 10 <OnOff> 39,10 <Ch> 11 <Vol> 39,10 <Ch> 12 <Pan> 39,10 <Ch> 19 <OnOff> 39,10 <Ch> 21 <Phase> 39,10 <Ch> 26 <OnOff> 39,10 <Ch> 30 <OnOff> 39,10 <Ch> 31 <OnOff> 39,10 <Ch> 33 <OnOff> 39,10 <Ch> 41 <AuxId> <Vol>
19,10 <Ch> 41 <AuxId> <Vol>
19,10 <Ch> 43 <AuxId> <Post/Pre>

<OnOff> 0:off 1:on. << Rcl Safe Eq On >> command: f<DevId> 50 7f <OnOff> f7. request: f<DevId> 50 7f f7. status: f<DevId> 50 7f <OnOff> f7. <OnOff> 0:off 1:on. << Rcl Safe Eq >> command: f<DevId> 5f <OnOff> f7. request: f<DevId> 5f f7. status: f<DevId> 5f <OnOff> f7. <OnOff> 0:off 1:on. << Eq Enable Ch >> command: f<DevId> <EqEna> f7. request: f<DevId> f7. status: f<DevId> <EqEna> f7. <EqEna> 00:1to8 01:8to16 02:1to16 << Add Aux Mode >> command: f<DevId> <OnOff> f7. request: f<DevId> f7. status: f<DevId> <OnOff> f7. <OnOff> 00:off 01:on << Smoothing >> command: f<DevId> <Mode> f7. request: f<DevId> f7. status: f<DevId> <Mode> f7 <Mode> 00:Level1 01:Level2 << Mon Sel >> command: f<DevId> <MonSel> f7. request: f<DevId> f7. status: f<DevId> <MonSel> f7. <MonSel> 00:ST_BUSS 01:REC_BUSS 02:AUX1 03:AUX2 04:AUX3 05:AUX4 06:EFF1 07:EFF2 08:AUX12 09:AUX34 << Solo Mode >> command: f<DevId> <SoloMode> f7. request: f<DevId> f7. status: f<DevId> <SoloMode> f7. <SoloMode> 00:PFL 02:M-SOLO (01:AFL does not apply to VM200.) << Solo Key Mode >>
<< Rcl Safe Aux Send Level >> command: f<DevId> <SoloKeyMode> f7. command: f<DevId> 41 <AuxId> <OnOff> f7. request: f<DevId> f7. request: f<DevId> 41 <AuxId> f7. status: status: f<DevId> 41 <AuxId> <OnOff> f7. <SoloKeyMode> 00:latCh 01:unlatCh <AuxId> 01:aux1 02:aux2 03:aux3 04:aux4 7f:all_aux <OnOff> 0:off 1:on. << Rcl Safe Eff Send Level >> request: f<DevId> f7. command: f<DevId> 49 <EffId> <OnOff> f7. status: request: f<DevId> 49 <EffId> f7. <OnOff> 00:off 01:on status: f<DevId> 49 <EffId> <OnOff> f7. <EffId> 01:eff1 02:eff2 7f:all_eff f<DevId> <OnOff> f7. << Motor OnOff >> command: f<DevId> <OnOff> f7. f<DevId> <SoloKeyMode> f7.

Remote Commands

<< Key Remote >> command: f<DevId> 1f 01 <KeyId> <OnOff> f7 <KeyId> 01-08:[Channel]On, 09:[Master]On, 11-18:[Channel]Solo, 19:[Master]Solo 1a:[Rec Buss]Solo, 21-28:[Channel]EQ Edit 31:[Fader Mode]Channel, 32-35:[Fader Mode]Aux1-4, 36-37:[Fader Mode]Eff1-2 38:[Key Mode]Routing/Phase 39:[Key Mode]Pair/Group 3a:[Key Mode]Ch View 3b:[Key Mode]Channel/Meter 41:[Current Scene Status], 42:[Setup]System 43:[Setup]Midi, 51:[Page Sel]1-8 52:[Page Sel]9-16, 53:[Page Sel]17-20 61:[Selected EQ]EQ On 62:[Selected EQ] Library Recall 63:[Selected EQ]Library Store 64:[Eff Edit]Eff1, 65:[Eff Edit]Eff2 66:[Eff Edit]Library Recall 67:[Eff Edit]Library Store 68:[Scene Memory]Recall 69:[Scene Memory]Store 71:<-/-1, 72:+1->, 73:Exit, 74:Enter <OnOff> 0:off 1:on << Key Remote >> command: f<DevId> 1f 02 <EncId> <EncVal> f7 <EncId> 01-12:Encoder (top raw from left:1-4, bottom raw from left: 9-12), 11:Data <EncVal> 0-3f:-64 -1, 40-7f:+1 +64 03f:variation=0x40-Val 407f:variation=Val-0x3f

Effects Commands

<< Eff Type >> command: f<DevId> 1a <EffId> 10 <Type> f7 request: f<DevId> 2a <EffId> 10 f7 command f<DevId> 3a <EffId> 10 <Type> f7 <EffId> 1:eff1 2:eff2 0x7f:all_Ch <Type> 0 to (EFFTYP_END - 1) << Eff Parameter >> command: f<DevId> 1a <EffId> 11 <ParamNo> <valL> <valH> f7 request: f<DevId> 2a <EffId> 11 <ParamNo> f7 command: f<DevId> 3a <EffId> 11 <ParamNo> f7 <EffId> 1:eff1 2:eff2 0x7f:all_Ch <ParamNo> 1 to 12 or 0x7f:all_params. <ValL> + <ValH>: 14bit parameter value.
4. Bulk Dump (& Request)
<Reception> Bulk Dump is received when [BLK DMP EQ.] is set to ON and when [RX CH] and DEVICE No. match. The received Bulk Dump is immediately written into the specied memory. When the VM200 receives the Bulk Dump Request, it immediately transmits Bulk Dump. <Transmission> Bulk Dump is transmitted on the channel specied by [TX CH] when you operate the key in the [BULK DUMP] page. In response to Bulk Dump Request, Bulk Dump is sent on the channel specied by [RX CH].

Full Range Catalogue 2010 - 2011

6301 PM0.4n & PM0.5n

Professional Studio Monitors
Exclusively designed LF driver (PM0.4n 100mm, PM0.5n 120mm) and UFLC (Poly Urethane Film Laminated Cloth) HF driver (PM0.4n 16mm, PM0.5n 20mm) for maximum sound performance - Offers superb audio transparency and quality High efficient bi-amplifier (PM0.4n 18W, PM0.5n 35w) for each LF and HF driver Magnetically shielded Beautiful glossy front baffle with gently tapered top PM0.4n is available in a range of five attractive colours: Black, White, Red, Yellow and Violet. PM0.5n: Black or White PM0.4n 144w x 220h x 180d mm. Weight 3.75kgs PM0.5n 181w x 280h x 260d mm. Weight 6.5kgs
PM0.4n can be wall mounted using a suitable bracket

Personal Monitors

Electrics
PM-Series monitors (excluding PM0.5-Sub MKII) feature internal bi-amplification employing two state-of-the-art amplifiers precisely calibrated to match the performance of the drive units and utilize high quality discrete bipolar output devices: PM-2 MKII - 120w, LF 120w PM-1 MKII - 45w, LF 75w PM0.5n - 35w, LF 35w PM0.4n - 18w, LF 18w
An in-built 10 watt amplifier, perfectly matched to a 10cm full range driver delivers a big sound, full of clarity from this small, versatile monitor. Best used in pairs, they accept any line level input, so they are ideal for use with instruments in project studios, on stage, in remote recording vehicles, video productions & multimedia presentations. Magnetically shielded type high quality 10cm full range speaker unit with built-in 10W power amplifier 6301B: phone jack input 6301BX/BE: XLR & phone jack 6301D: AES/EBU digital & phone jack inputs 120w x 190h x 137d mm. Weight 2kgs

NX Series

Powered Nearfield Montors
Listen to a pair of powered Fostex NX Series reference monitors and youll discover a superb natural sound with little colouration, deep tight lows and crystal clear highs, precise stereo imaging and an almost complete lack of distortion - even at high sound pressure levels. Full of the latest in speaker technology such as Time-aligned baffle enclosures and designed from the ground up for critical listening in both professional and project studios, broadcast and editing suites, or any other recording facility where a precise, transparent, professional sound

Inputs and Outputs

PM0.4n offers TS and RCA inputs, PM0.5 MKII and PM-1 MKII feature an XLR/6mm jack input with gain control while the PM-2 MKII benefits from individual HF gain control, overall volume control and a 0dB / -3dB / +3dB switch for the LF unit.
10 outs - each with its own amp Ideal for studio, orchestral, education, multimedia, conference and exhibition applications Cascade inputs & outputs for daisy chaining units Individual level controls with peak reading LED Weight 4.0kg
is essential, the NX Series set new standards in sonic accuracy and packaging.
Headphone Amp Distributor

PH-100

NX-6A Powered Monitor
6.5-inch (160mm) Low Frequecny Unit UDR (Up/Down Roll) Tangential driver edge Wide-range 20mm hard dome tweeter Unique HP sound reflectors Dedicated 60W (LF) + 40W (HF) bi-amp Tweeter level control (-/+3dB) cut/boost LO EQ control: -/+3dB cut/boost around 55Hz 230 (w) x 350 (h) x 334 (d)mm, 13kg

PM-2 MKII

240 watts of bi-amped power UFLC 25mm soft dome HF unit 200mm low frequency woofer Separate HF gain control, overall volume control and a 0dB / -3dB / +3dB switch for the LF unit The amplifiers are precisely calibrated to match the performance capability of the drivers Magnetically shielded 254w x 411h x 300d (mm), 14.7kg

PM-1 MKII

120 watts of bi-amped power UFLC 25mm soft dome HF unit 160mm low frequency woofer Input gain control The amplifiers are precisely calibrated to match the performance capability of the drivers Magnetically shielded 215w x 380h x 283d (mm) 11kg

PM0.5 Sub Mk II

Designed ideally for use with the PM0.5n as well as PM0.4n, the 110 watt, 200mm driver PM0.5Sub produces precise, low frequency reproduction and an excellent deep bass output. Easy to set-up (just a single gain control and phase reverse switch), the combination of a pair of PM0.5n/ PM0.4n and PM0.5Submk2 provides superb sonic quality at an affordable price 297w x 400h x 420d (mm) 16kg

NX-5A Powered Monitor

D-class power amplifier (10W x 2) for clear sound reproduction 26-dot LED meters for level (digital) and peak (analog) metering AES/EBU digital input with XLR connector (44.1kHz to 96kHz) Independent MUTE function Auto Mute when powering on Stereo analog balanced +4dBu / unbalanced -10dBV inputs and AES/EBU digital XLR input 482 (w) x 44 (h) x 282 (d) mm, 3.5kg
5-inch (130mm) Low Frequency Unit UDR (Up/Down Roll) Tangential driver edge Wide-range 20mm hard dome tweeter Dedicated 60W (LF) + 40W (HF) bi-amp Tweeter level control (-/+3dB) cut/boost LO EQ control: +2dB / 0dB / -2dB selectable 190 (w) x 300 (h) x 320 (d)mm, 10kg

Stereo Rack Monitor

Monitors & Speakers
More information available at: fostex.com

PD204 DVD/HD Recorder

FM-4 FM-3
2 track simultaneous recording, 4 ch Analog inputs (XLR), 2 ch Analog outputs (XLR) and 2 ch AES/EBU Digital I/Os (XLR) Recording to (user replaceable) 1.8 80GB HDD and 12cm DVD-RAM with Backup to DVD-RAM, -R and -RW disc. 24bit audio at 44.1/ 48/ 88.2/ 96/ 176.4/ 192kHz and 16 bit audio at 44.1/48kHz 116.5 (h) x 325 (w) x 234 (d) mm, Weight: 3.3kg

4ch Portable Mixer

Balanced 4ch inputs (Mic/Line) and 2ch main outputs with high quality custom transformers. Organic LED display Mixers parameter setting status (mic/line, phantom on/off, etc) can be seen on the display Phones outs accept standard and mini plugs on each socket with multiple source and PFL monitoring Comprehensive outputs including Sub outs, Tape out, 2 x AUX outs with channel select Switchable level settings at +40/0/-10/-60 (FM-4) and +40/0/-20/-60 (FM-3) on Main and Sub outputs Dedicated monitor return input to check the audio from VTR or Camera feeds Main outputs (x2) and Sub outputs (x2) double as 1-4ch Direct Out (post-fader) Hi Shelving EQ and Mid Sweep EQ for ch1/3 and 2/4 Seamless PAN control and Fader Link (1-2ch & 3-4ch) 57 (h) x 274 (w) x 180 (d) mm, 1.5kg (w/out battery)

3ch Portable Mixer

Balanced 3ch input and 2ch main outputs with high quality custom transformers. Highly visible Organic LED display Mixers parameter setting status (mic/line, phantom on/off, etc) can be seen on the display Phones outs accept standard and mini plugs on each socket with multiple source and PFL monitoring Comprehensive outputs including Sub outs, Tape out, 2 x AUX outs with channel select Switchable level settings at +40/0/-10/-60 (FM-4) and +40/0/-20/-60 (FM-3) on Main and Sub outputs Monitor return input to check the audio from VTR or Camera feeds 57 (h) x 210 (w) x 156 (d) mm, Weight: 1.2kg (w/out battery)

DVD/HD Location Recorder

8 track poly file recording. 6 individual tracks + 2 stereo mix tracks or straight 8 track recording via 6 ch Analog I/O (XLR) or 8 channel AES/EBU Digital I/Os (D-sub25pin) Recording to (user replaceable) 1.8 80GB HDD and 12cm DVD-RAM - Backup to DVDRAM, -R and -RW disc. Approx. 85 min recording at 24bit/ 48kHz per 4.7GB DVD-RAM SMPTE Timecode generator with jam sync to external TC Mirror recording to HD and DVD-RAM BWF file format files Digital Mixer with Analog like operation 116.5 (h) x 325 (w) x 234 (d) mm, Weight: 3.4kg
FR-2 Field Memory Recorder
Recording on Type II CompactFlash card FAT32 file system & BWF Stereo file format MP3 recording/playback. Up to 24 bit 192kHz 2 x phantom powered XLR mic inputs with precise recording level adjustment control Optional 8347 timecode card Built-in stereo microphones File transfer to PC via USB 57(h) x 206(w) x 132(d) mm, 1.5kg (w/out battery)

Mic Preamplifier

High quality microphone preamp featuring a powerful microphone gain limiter Compact dimensions and Highly portable Mic Input with steppable gain trim (9 steps; 5dB between -3dBu and -70dBu) High quality limiter (maximum -55dB) with ultra low distortion HPF switchable between 80Hz and 160Hz Flexible output (0 to -7dB) at +4/-10/-60dBu with PEAK overload LED indication Headphone monitor output ( stereo mini jack) P48V & T12V powered Belt Clip Battery or DC Power
Recording on Type II CompactFlash card Light weight, yet tough with a highly rigid chassis FAT32 file system & BWF Stereo file format MP3 recording/playback Up to 24 bit 96kHz audio performance 2 x professional phantom powered XLR mic inputs with precise recording level adjustment control

Field Memory Recorder

ALC (Off/On/Limiter) and HPF (On/Off, 100Hz -12dB/Oct) Built-in stereo microphones for quick memo recording

FR-2LE

DV824 DVD/HD Recorder
8-track simultaneous recording at 24bit/48kHz (4-track at 24bit/96kHz) on 12cm DVD-RAM disk Analog balanced XLR I/Os for all 8 channels AES/EBU digital inputs and outputs Optional 9058 80GB internal HD for Dual Disk Recording, Auto Backup plus longer recording time Optional 8348 timecode card Optional 8370 IEEE1394/USB2.0 card 482(w) x 98.5(h) x 345(d) mm, Weight: 5.7kg
USB 2.0 for high speed file transfer to PC 2 second Pre Rec buffer 1 take = 1 file system (eliminates overwrites) 57 (h) x 206 (w) x 132 (d) mm, Weight: 800g (w/out battery)

Location Mixers

Location Recorders

Live Recording Mixer

Live Mixer
LR16 Live Recording Mixer
The Fostex LR16 is an all-in-one solution integrating a flexible digital mixer with a 16-track multitrack Hard Disc recorder. The 16-channel digital mixer features analogstyle operation, 3-band EQ and 3 AUX sends and 1 EFF send plus built-in master FX and recorder transport controls. The recorder I/O box houses 16 balanced mic / line inputs, other I/O and a better than CD-quality multitrack recorder offering up to 16 hours of uncompressed 16-track multitrack recording/playback at 44.1/48kHz plus simultaneous stereo mix recording. These two components can be rackmounted, are linked together via a standard single CAT-5 cable, (no bulky multicore here), and can be placed up to 50m apart, allowing for easy portability, easy installation and enormous flexibility in operation. The LM16 has identical mixing facilities without the multitrack recorder. Recorder I/O and Mixer components can be flexibly separated up to 50m apart Single CAT-5 cable - no heavy and expensive multicore snake required Intuitive analog-like mixer with 16 input, 4 group bus and master faders Built-in 80GB HD for approx. 16 hours of 16-track uncompressed digital recording at 16bit/44.1kHz or 9 hours at superior digital quality of 24bit/48kHz Multitrack and Stereo Mix can be recorded simultaneously creating 16 x mono WAV files plus 1 x Stereo WAV file Save recordings to USB pen drive for transfer to PC or Mac

CD-R/RW Master Recorder

CD-DA and BWF recording to UDF discs Up to 24bit/96kHz resolution, 16bit/44.1kHz 48kHz, 24bit/44.1, 48 and 88.2kHz also available

LM16 Live Mixer

D2424LV MkII
24 Track Multitrack HD Recorder
D2424LVmk2 is a perfect successor to the reputed D2424 offering new solution to transfer the recorded data to computer with no stress. D2424LVmk2 now has built-in CompactFlash card slot in the second bay to backup recordings on the HD to FAT-formatted CF cards in WAV format. Record 24 tracks simultaneously onto internal HD 24 balanced TRS jacks for all analog I/Os 6 recording formats up to 24bit/96kHz 56 track digital recording with no compression (24 tracks plus 32 additional ghost tracks /8 plus 48 additional tracks) ADAT optical I/O Twin drive bays. Secondary bay comes with CF card slot Export & import.WAV song files 482 (w) x 141 (h) x 381 (d) mm, 7.0kg
BWF flies compatible for PC workstations AES/EBU and S/P DIF digital inputs and outputs Balanced XLR and RCA Analogue inputs and outputs Fader Start playback and Power-on play Instant Play, Program Play and Cue Points PC USB keyboard for file name editing transport controls 482 (w) x 93.5 (h) x 321 (w) mm, Weight 5.7kg

A ITAL CDIGT-O5E R

C MULT

T-5 Headphones

Superb all-round capability and ideal for project studios, hobbyists and less demanding audio applications. Impedance: 44 ohm Sensitivity: 96dB/mW Max input level: 100mW Weight only 220g
The two LR components can be used free-standing or mounted in standard 19 racks with the included rack ear kits.
LR16 482w x 136h x 570d mm. Weight 13kgs LM16 482w x 136h x 570d mm. Weight 10kgs

Digital Multitracker

2 XLR Inputs with phantom power and trim control Superb in-built digital effects inc Mic and Amp simulations Full 8-track bouncing WAV Recording USB port 8-track 16-bit/44.1kHz recording without compression to CompactFlash Cards Mains Power or Battery Operation Digital FX & Analog Guitar Distortion 286 (w) x 219 (d) x 67 (h) mm, 1.6kg

MR-8 MkII

T50RP Headphones
Damped semi-open type for extended low-frequency and clear mid / high frequency reproduction. Perfect for critical listening. Sensitivity 98 dB/mW Frequency Response: 15Hz - 35kHz Max Input 3000 mW Impedance 50 ohm RP Patented RP Technology

T40RP MkII Headphones

Enclosed type for excellent sound reproduction. Also prevents feedback into the mic at recording sessions. Ideal for pro use. Sensitivity 96 dB/mW Freq Response: 15Hz - 30kHz Max Input 2000 mW Impedance 50 ohm RP Patented RP Technology

T20RP MkII Headphones

Semi-open type construction offers rich low frequency sound whilst maintaining all the nuances of vocal performance. Sensitivity 97dB/mW Frequency Response: 20Hz - 30kHz Max Input 2000 mW Impedance 50 ohm Patented RP Technology

T-7 Headphones

Ideally suited to all types of music and a good choice for project studios and less demanding applications. Impedance: 70 ohm Sensitivity: 98dB/mW Max input level: 100mW Weight only 220g
2-track Simultaneous Recording

Live Recording Mixers

Recorders & Headphones

Electret Condenser Mic

Wide Frequency Range, Low Distortion Light weight (aluminum housing) Switchable polar pattern (Cardioid/Supercardioid) 2 way powering (phantom / battery) Weight 145g 22 x 302mm Microphone adapter, foam wind screen and carry case included
The MC10M package contains both cardioid and super cardioid replaceable capsules.
1 x MC10 with 2 types of replaceable polar pattern capsule, cardioid/super cardioid, shock mount adapter, wind screen and carry case Wide frequency response range High sensitivity, Low distortion High input withstand S.P.L. Rugged brass construction Weight 130g (w/o case) 20 x 150mm (1 x MC10)
Wide frequency response range High sensitivity with Low distortion Rigid but light weight copper body +48V phantom power operation Weight 200g 21 x 340mm Microphone adapter, foam wind screen and carry case included
Electret Stereo Condenser
Wide frequency response range High sensitivity with Low distortion Rigid but light weight aluminum body 2 way operation with a 1.5V AA battery and phantom power 9V to 52V Microphone adapter, foam wind screen, carrying pouch and cable included Weight 340g 23.5 x 64mm

MC10ST

Wide frequency response range High sensitivity, Low distortion High input withstand S.P.L. Rugged brass construction 20 x 150mm (1 x MC10) Weight 130g each (w/o case)
2 x Electret Condenser Mics
2 x MC10, shock mount adapters, stereo mounting bracket, wind screens and carry case
In accordance with our policy of continuous development, we reserve the right to change specifications without notice. E&OE.

Microphones

Fostex Company, 3-2-35 Musashino, Akishima, Tokyo, Japan 196-0021 Tel: +81 (0)42-546-4974 Fax: +81 (0)42-546-9222

www.fostex.com