* Refer to the STOP button section and page 57 for more information on the CLIPBOARD PLAY operation. * Refer to page 47 for more information on the Punch Out operation using the PLAY button.
* Refer to page 70 for more information on these operations. * Refer to page 45 for more information on the Punch In/Out operation using a foot switch.
28. Record button [RECORD/ AUTO PUNCH ]
Pressing the PLAY button while holding down this button will cause the FD-8 to start recording on any READY tracks. At this time, the flashing LED of the RECORD TRACK select key for the corresponding READY track lights up steadily, and the PLAY LED and the RECORD LED light up. If you press only the RECORD button, a READY Real track enters input monitoring mode (The RECORD LED flashes.). At this time, pressing the RECORD button again will cancel the input monitoring mode, and the track will return to playback monitoring mode. Pressing the RECORD button while holding down the SHIFT key will toggle between AUTO PUNCH on and off.
* Refer to page 41 for more information on AUTO PUNCH mode. * Refer to page 25 for more information on input monitoring and playback monitoring.

27. Stop button [STOP]

Pressing this button during the playback, recording, fast forward, or rewind operation will stop the recorder transport operation. Pressing this button while the FD-8 is in SETUP mode will cause the unit to exit SETUP mode. Pressing the PLAY, REWIND, or F FWD button while holding down the STOP button will cause the following operations to start. If you wish to rehearse the Manual Punch In/Out operation using the foot switch, press the foot switch while holding down this button to enter Rehearsal mode.

29. Shift key [ SHIFT ]

Press a key, button, or turn the dial while holding down the SHIFT key to activate the following shift-invoked functions.
You can audition the data at edit points (locate points) stored in the memory keys. (For more information, refer to The removable SCSI disk is ejected. (Refer to Formatting a disk on page 29.)
CLIPBOARD PLAY operation starts. (See below.). During the operation, the STOP LED flashes and the PLAY LED lights up.

REWIND/

ABS 0 is located. (See below.)
Preview function on page 74.)

(*) After you execute Copy Clip, Copy Paste appears. After you execute Move Clip, Move Paste appears. * Refer to page 56 for more information on Copy & Paste and Move & Paste. * Refer to page 59 for more information on Erase. * Refer to page 61 for more information on Track Exchange.
To cancel the store operation after you have pressed this key, press the EXIT/NO key.
* Refer to page 70 for more information on the Locate function. * Refer to page 66 for more information on storing edit points (locate points). * Refer to page 33 for more information on the Program Select function.
37. Auto Return Start key [AUTO RTN START/ PREVIEW ]
Use this key to store the start point (AUTO RTN START point) for the Auto Return function and the Auto Repeat function. When you press this key, the FD-8 displays the currentlystored data, which you can edit. After editing the data, press the STORE key, then the AUTO RTN START/PREVIEW key to store the edited data in this key. The stored data can be used as locate data. This memory is reset to the factory default value when you turn off the power to the FD-8. If you press the AUTO RTN START/PREVIEW key while holding down the SHIFT key when the recorder is stopped, you can preview the fade-in part at the stored AUTO RTN START point.
* Refer to page 66 for more information on setting and editing the AUTO RTN START point. * Refer to page 70 for more information on the Auto Return and Auto Repeat functions.
35. Undo/Redo key [UNDO/REDO]
If you wish to restore the status prior to editing, recording, or performing a punch in/out take, press the UNDO/REDO key. Pressing the UNDO/REDO key again will restore the status obtained before you pressed the [UNDO/REDO] key the first time. When you undo the operation, [Undo!] appears. When you redo the operation, [Redo!] appears on the display for a short moment.
The Undo/Redo function is enabled only when the

FD-8 is stopped.

Refer to pages 44, 47, 58, 60 and Quick operation guide for more information on the Undo/Redo function.
* Refer to page 74 for more information on previewing data at the AUTO RTN START point.
38. Auto Return End key [AUTO RTN END/ PREVIEW ]
Use this key to store the start point (AUTO RTN END point) for the Auto Return function and the Auto Repeat function. When you press this key, the FD-8 displays currently-stored data, which you can edit. After editing the data, press the STORE key, then press the AUTO RTN END/PREVIEW key to store the edited data in this key. The stored data can be used as locate data. If you press the AUTO RTN END/PREVIEW key while holding down the SHIFT key when the recorder is stopped, you can preview the fade-out part at the stored AUTO RTN END point.
* Refer to page 66 for more information on setting and editing the locate point. * Refer to page 70 for more information on the Auto Return and Auto Repeat functions. * Refer to page 74 for more information on previewing data at the AUTO RTN END point.

14. AC IN connector
The power cable packaged with this recorder ia connected here.
Note: Always plug the power cable to the recorder before
plugging the cable into the wall outlet.
Indicating Time Base ABS 0 (top of the disk)

ABS M S F PGM

15. Power switch [POWER]
This switch turns power on and off to the FD-8.

Preset display

The display below shows all preset items for explanation purposes.
MTC MIDI BAR REMAIN ABS LOC MTC IN OL 0. 6. 12. 24. H M S DF SF % DIGITAL SLAVE
32kHz 44.1kHz 48kHz SETUP MTCOFFSET

CLK MB F

Lights up when the FD-8 receives MTC (MIDI Time Code) from an external device. Lights up when the FD-8 enters Vari Pitch data edit mode. Indicates available disk space on the disk in megabytes when the REMAIN indicator appears. Lights up to indicate a time value when ABS or MTC is used as Time Base. Lights up to indicate a bar/beat/clock value when BAR/BEAT/CLK is selected as Time Base. Indicates a Program title, edit parameters, and SETUP mode parameters.

MB H, M, S, F, SF

VARI PITCH

DRIVE IDE

SURE ?
SYNC OUT CLK MTC AUTO PLAY RTN

COMPLETED!

SCSI A.PUNCH RHSL TAKE

BAR, , CLK

The level meter shows the recorder output level and the recording level for tracks 1~8 and stereo bus L, R.
ABS MTC REMAIN SETUP COMPLETED ! SURE ? MTC OFFSET PGM TEMPO VARI PITCH 44.1kHz
Lights up when ABS is selected as Time Base. Lights up when MTC is selected as Time Base. Lights up to indicate available recording time and space on the disk. Lights up when the FD-8 enters SETUP mode.
Indicates the SYNC OUT settings in SETUP mode. Indicates the AUTO PLAY/AUTO RTN mode settings. The current drive that the FD-8 recognizes (SCSI or IDE) appears on the display. (See the following note.) Indicates the AUTO PUNCH mode settings.
Lights up when an edit operation (copy, move, paste, or erase) is completed. Lights up to confirm or cancel the operation when you are making settings or edits. Lights up when the MTC Offset menu is selected in SETUP mode. Lights up to indicate the current Program number. Lights up when the tempo setting menu is selected in SETUP mode. Lights up when Vari Pitch mode is turned on. Indicates a sampling rate of the corresponding Recording mode. It does not light up when the disk is formatted in Normal mode. Lights up to indicate that MTC is input from an external MIDI device to the FD-8. Lights up when the FD-8 enters locate point (edit point) edit mode. Lights up when the digital input track settings are made in SETUP mode and the FD-8 is receiving digital signals correctly. However, if the FD-8 is not receiving digital signals correctly, or if there is a connection problem, this indicator flashes. Flashes when Slave mode in SETUP mode is turned on. When a signal is locked, the flashing indicator lights up steadily. Lights up when the FD-8 is receiving effective MIDI messages (MMC or FEX) from an external device.

Action to take: Check the external DAT or adat connected to
the DATA IN connector and be sure there is no problem with the DAT, or adat tape. Then, try loading again.
<Unformat !> message
An unformatted or crashed SCSI disk. After a few seconds of this display, the FD-8 automatically enters the SETUP mode [Format ?] menu.

DRIVE A.PUNCH

Action to take: Press the EXECUTE/YES key while pressing the

RECORD button.

Note: Any sound data recorded up to this point on the disk

will be lost.

Before Starting
This chapter describes some basic items that you need to know before you start operating the FD-8. All users, including those who are familiar with using tape-based multitrackers and those who are new to multitrackers, should read this chapter thoroughly to understand the functions of the FD-8.
1. Time Base 2. Recording method and REMAIN indicator 3. Managing songs by Program Change function 4. Real tracks and Additional tracks 5. Input monitoring and playback monitoring 6. Signal flow (The PAN knob function and Stereo Bus) 7. Audio file and Event

Time Base

The word Time Base appears frequently in this manual. The concept of Time Base is similar to a tape counter on a conventional tape-based multitracker in that it indicates the precise position of the recorder transport section (the current position). The FD-8 offers three types of Time Base: ABS (Absolute type), MTC (MIDI time code), and BAR/BEAT/CLK (bar/ beat/clock). ABS indicates an absolute time on the disk. MTC indicates a relative time that is obtained by adding a certain value (MTC offset value) to the ABS value. BAR/BEAT/CLK indicates the position in a song created in the internal Tempo Map according to MIDI clock and Song Position Pointer. The following diagrams depict the relationship among these three types of the Time Base.
ABS 0 00M, 00S, 00F 00M, 08S, 00F REC END

DISK END 23H, 59M, 59S

-002 BAR, 1 , 00 CLK

001 BAR, 1 , 00 CLK

BAR = 001BAR, 0404 TEMPO=001BAR, 1 , 60

Playback monitoring

Playback monitoring means to monitor the playback sound of the tracks (only Real tracks). That is, you are monitoring the playback sound on the track, not the sound being recorded to the track. * The following example shows that all tracks are in Playback Monitoring mode.
Track 8 (Piano) Track 7 (Keyboard) Track 6 (Vocal) Track 5 (Vocal) Track 4 (Guitar-2) Track 3 (Guitar-1) Track 2 (Bass) Track 1 (Drum machine) Recorder section Monitoring section
In this example, all tracks 1-8 are playing the recorded sound in Playback Monitoring mode.
* To play the sound on an Additional track, you need to move the data from the Additional track to a Real track. Refer to Track Exchange function on page 61 for more information.
Signal flow (The PAN knob function and Stereo Bus)
The FD-8 is equipped with an eight-channel mixer function, which enables you to mix and record eight sound sources into stereo signal. The following diagram is designed to help you visualize the signal flow of the FD-8. It illustrates how input signals are routed through the mixer and sent to the recorder section. The thick pipes in the diagram are called the Stereo Bus, which collects input channel signals passing through the equalizers and distributes them to L or R via the PAN knobs. The signal is adjusted for final output by the master faders L/R, then output from the STEREO OUT L/R jacks. At the same time, the signal is sent to the recorder (external SCSI disk) and recorded onto the tracks selected by the RECORD RACK select keys. The PAN knobs function as a turning signal to Stereo Bus L or R. That is, turning the PAN knob toward L will send signals to Stereo Bus L, and turning the PAN knob toward R will send signals to Stereo Bus R. If you set the PAN knob in the center, signals are sent equally to Stereo Bus L and R. At the same time, Stereo Bus L signals are finally sent to Real tracks 1, 3, 5, and 7, and Stereo Bus R signals are sent to Real tracks 2, 4, 6, and 8. Recording tracks are selected via the RECORD RACK select keys. For example, if you input three sound sources (guitar, vocal, and keyboard), set the channel PAN knobs as shown below, and press the RECORD RACK select keys 1/L and 2/R to record the sources to tracks 1 and 2, the sound sources are recorded to tracks 1 and 2 as shown below. If you wish to record all eight sources input to Channels 1-8, turn all channel PAN knobs toward L, and press the RECORD TRACK select key 1/L to select track 1 as a recording track.

Formatting a Disk

The Quick Operation Guide and the Saving and Loading Song Data chapter of this book describe how to format a disk. This chapter explains how to format an unformatted disk and how to re-format a formatted disk. Formatting a disk refers to both formatting the current drive disk and formatting a backup disk. You will use the [Format ?] and the [Bk Format?] menus in Setup Mode.

Recording mode

There are three recording Modes: Normal mode, Mastering mode, and Backup mode. Normal mode and Mastering mode are used to format a disk as the current disk. Backup mode is used to format a SCSI disk (removable or fixed) for saving and loading song data.
For use Record mode Sampling Rate Quantumize Available recording time Recording mode for current drive Recording mode for backup

Normal mode

44.1kHz A.D.A.C. (*) Approx. 67 minutes/100MB (converted to one track)

Mastering mode

44.1kHz 16bit liner Approx. 17 minutes/100MB (converted to one track) Fixed hard disk, Optional 2.5 inch IDE internal hard disk * Simultaneous 8 track recording by adat digital input is possible.

Backup mode

Compatible media
MO disk, EZ disk, Zip cartridge, Fixed hard disk, Optional 2.5 inch IDE internal hard disk * Simultaneous 8 track recording by adat digital input is possible. * 4 tracks simultaneous recording by S/P DIF digital signal (two inputs) and analog signal (two inputs) is possible.
MO disk, EZ disk, Zip cartridge, Fixed hard disk,

Recording

Note: Simultaneous recording by MO disk

is a maximum two tracks.

Save/load is possible only with external SCSI drives. Save/load is not possible with DAT and adat.
* 4 tracks simultaneous recording by S/P DIF digital signal (two inputs) and analog signal (two inputs is possible.
This is a special backup disk format for saving and loading data. You cannot use a disk in this format for real-time recording/ playback.

Save/Load

Save/load is possible only with external SCSI drive, DAT or adat.
You can save and load data between the backup disk and a current drive disk formatted in any mode (Normal or Mastering mode).
(*) A.D.A.C. is the next generation digital audio coding technique maximized for multitrack recording, which has been developed by joint research of Matsushita Electric Industry Corporation and Fostex Corporation.

4. Press the EXECUTE/YES key again.
The recording mode selection display appears. The current recording mode of the disk (Normal or Master) and [SURE ?] flash.
Note: Before re-formatting a formatted disk, first make sure that the disk does not contain data you want to keep. Otherwise,
you may lose your important archives. To cancel the format operation, press the EXIT/NO key or the STOP button prior to Step 5 above to return to the previous level in the menu hierarchy and exit SETUP mode.

44.1kHz SETUP

<Notes on re-formatting a disk>
When you re-format a backup disk to be a current drive disk, inserting the disk in the current drive displays [Illegal FM] followed by the ABS 0 Time Base. Although the ABS 0 Time Base appears, the disk cannot be used in its present condition as the current drive disk to perform real-time playback/recording. The display indicates the ABS 0 Time Base of the backup disk when the FD-8 enters Setup mode. Therefore, after you insert the backup disk into the current drive, do not perform any operation other than using the [Format ?] menu in SETUP mode. Otherwise, the disk may run erratically any operations will be ignored. If this happens, turn off the power to the FD-8, then turn it on again.
Formatting a current drive disk (2.5-inch hard disk)
If you have ordered an optional 2.5-inch IDE internal hard disk, the Fostex service department will format the disk in [Master] mode and install it in the FD-8 before delivery. You do not have to format it from scratch. However, if you wish to re-format the 2.5-inch hard disk, follow the steps described above in the Re-formatting section. Before you start the format operation, make sure that the FD-8 displays the following indication:
<Note on formatting an optional 2.5-inch hard disk>

DRIVE IDE A.PUNCH

[IDE] is lights up
[IDE] appears on the display when you turn on the power to the FD-8 with an optional 2.5-inch hard disk installed and without a SCSI drive connected, or with a SCSI drive that is connected to the FD-8 but not turned on. It indicates that the FD-8 recognizes an optional internal hard disk as the current drive. So make sure that the [IDE] indicator appears when you format the 2.5-inch hard disk. The re-formatting procedure described above applies to formatting the IDE hard disk.

2. Press the RECORD TRACK select key [3/L] to set track 3 to READY.
5. Press the foot switch once at the desired Punch In point, then press the foot switch again at the desired Punch Out point.
The FD-8 operates as follows. You will hear your performance between the Punch In/Out points. Otherwise, you will hear the previously-recorded guitar.
Playback start point Track 8 Track 7 Track 6 Track 5 Track 4 Track 3 Track 2 Track 1 Punch In point (Rehearsal In) Punch Out point (Rehearsal Out) Playback end point
6. When you finish rehearsing, press the STOP button. If you are still unsatisfied, repeat steps 3-5.
Cancelling Rehearsal mode
1. While holding down the STOP button, press the foot switch.
[Rehsl Off] appears for a second, the flashing [RHSL] indicator in the A. PUNCH display area disappears, and Rehearsal mode is cancelled.

<Hint>

All tracks are in playback monitoring mode. Only track 3 in input monitoring. The sound is not recorded at this time. The RECORD LED flashes. All tracks are in playback monitoring mode.
To rehearse repeatedly, set the AUTO RTN START point slightly before the Punch In point, and the AUTO RTN END point slightly before the Punch Out point. This will help you concentrate on your performance or check the recording level easily (especially since Manual Punch In/Out involves operating the foot switch operation as well as the FD-8). (See <Hint2> in the Rehearsing Auto Punch In/Out recording for more information.)
Press the foot switch at the Punch In point.
Press the foot switch at the Punch Out point.

Manual Punch In/Out take

You can proceed to record if you are satisfied with the recording level, foot switch timing, and rehearsal.
Note: You cannot record a second take during the Manual Punch
In/Out operation without stopping the FD-8. That is, the FD-8 will continue playing after you finish recording a take, but you cannot record another take by pressing the foot switch.

Punch In point (Take In)

Punch Out point (Take Out)
1. Confirm that Rehearsal mode is cancelled, and start playing the FD-8 from a point slightly before the desired Punch In point. 2. Play the guitar, accompanying the playback of tracks 1 to 8. 3. Press the foot switch at the desired Punch In point. Press the foot switch again at the desired Punch Out point.
The FD-8 will operate as follows. The FD-8 enters recording mode at the Punch In point, and cancels recording mode at the Punch Out point.

Storing and editing the locate points to the memory keys
Select the desired Time Base using the TIME BASE SEL key if you wish to use a Time Base other than ABS. The stored or edited locate points are used only in the currently-selected Program.

Storing in real-time

You can store the locate point (in the ABS, MTC, or BAR/BEAT/CLK Time Base) in real-time while the FD-8 is playing.
1. Press the PLAY button to play back data. 2. When the point you wish to store is reached, press the HOLD/> key.
The time value or bar/beat/clock value of the point is captured. The FD-8 enters data edit mode.
If you set BAR/BEAT Resolution mode in SETUP mode to ON, the FD-8 will round off the CLK value of the captured bar/beat/clock value. That is, the locate point will be at the beginning of the beat (00). Refer to page 111 for more information.

3. Press the STORE key.

The STORE LED lights up.
4. Press the desired memory key.
The STORE LED turns off. The captured time value (or bar/beat/clock value) is stored in the memory key. After the data is stored, the FD-8 displays the previous Time Base and continues playback.
You can omit Step 2 above to speed operation.
Editing and storing locate data
If you know the position of the desired locate point, follow the steps below.
1. Press the HOLD/> key while the FD-8 is stopped.
The currently-displayed time value (or bar/beat/clock value) is captured and the FD-8 enters data edit mode.
The STORE LED turns off. The input time value (or bar/beat/clock value) is stored in the corresponding memory key.
2. Press the HOLD/> key, REWIND button, or the F FWD button to move the flashing cursor on the time value digit, and use the JOG dial to increase or decrease the value.
Press the STORE key instead of the HOLD/> key in Step 1 above and omit Step 3 to speed operation.

Editing and storing data

You can recall data stored in the memory key, edit it, and store it. again
1. While the FD-8 is stopped, press the memory key that stores the data you wish to edit.
The stored data appears on the display and the FD-8 enters data edit mode.
You can store the edited data in a memory key other than the one you pressed when you recalled the data. For example, you can recall the AUTO PUNCH IN point data, edit it, and store it to the AUTO PUNCH OUT key. Refer to page 41 for more information on Auto Punch In/Out. Refer to pages 56 and 59 for more information on Copy & Paste, Move & Paste, and Erase. Refer to page 70 for more information on Auto Return and Auto Repeat. You can also use the Preview function to edit the stored locate points (edit points). Refer to Preview Function on page 74 for more information.

When the save operation is completed, [COMPLETED!] lights up and the following indication appears.

COMPLETED !

Lights up
8. Press the EXIT/NO key to exit SETUP mode. 5. Press the EXECUTE/YES key.
The FD-8 recognizes that a disk in the backup drive is unformatted, and displays [Unformat ?], then proceeds to the [Bk Format?] menu (backup disk format) in SETUP mode, then displays the following.
The FD-8 displays ABS 0 of the Program on the current drive.
Note: The backup data will use the number of the saved
Program. (e.g., if you save P01 [#0001 data, the backup data will be named as B01[#0001.) You cannot edit the title of the backup data.
The above procedure assumes that the saved data size is smaller than the available space of the backup disk. You can use only one backup disk. To save data larger than a single backup disk, refer to the next <Memo> for information on saving data using multiple backup disks.
6. Press and hold down the RECORD button, and press the EXECUTE/YES key.
The FD-8 displays the following and starts formatting the disk. The unformatted disk area size will count down as the format operation progresses.
If Program data to be saved is larger than the space available on one backup disk, the FD-8 tells you how many backup disks you need when you select a Program in Step 6 of the previous procedure.
(e.g.) Two backup disks are required.
(e.g.) Three backup disks are required.
When you set the first disk, the save operation starts. When the disk is full, the FD-8 automatically ejects the disk and displays [Ins. Disk 2] (meaning Please set the second disk.). Set the second disk to continue the save operation.
Note: Mark the disks so that you can identify the order of the disks and you will be able to insert the disks in
the correct order to perform the load operation.

Loading data

* You can load data using the Load PGM ? menu in SETUP mode. The following procedure assumes that the backup disk has been inserted into the backup SCSI drive, and a formatted disk has been inserted into the current drive. <[Load PGM ?] menu>
* Input signal options: [AdAt], [dAT], [SCSi id-6] * Program options: P01 - P99 (an individual Program) * Track options: When using an adat or DAT: tracks 18, tracks 116, Tracks 124; When using a SCSI disk: All tracks will be automatically selected.

Saving/loading data using an 2.5-inch internal hard disk as the current drive
If you are using an optional 2.5-inch IDE internal hard disk as the current drive, you can save and load data to and from a DAT, adat, or backup SCSI drive disk.
<Note on the save/load operation using an optional 2.5-inch IDE internal hard disk>
When you are using an optional 2.5-inch IDE internal hard disk for the save and load operation, make sure that [IDE] lights up in the current drive section of the display. If a SCSI drive is connected to the FD-8 as the current drive, disconnect the SCSI drive. Alternatively, turn off the power to the SCSI drive before you turn on the power to the FD-8.
SYNC OUT CLK AUTO DRIVE IDE A.PUNCH

[IDE] lights up

Saving song data via a DAT or adat
This section explains how to save data from an optional 2.5-inch IDE internal hard disk (current drive) to a DAT or adat. You can simultaneously save two tracks of data from an individual Program to a DAT, or eight tracks to an adat. Be sure to turn off the power to the all devices before you make connections.
Note: The current drive disk should be formatted in Mastering mode to enable you to save data to a DAT or adat.

DAT or adat

FD-8 with a 2.5-inch internal hard disk

OPTICAL IN (or adat in)

DAT (or adat) connection and preparation
* Connect DATA OUT from the FD-8 to the OPTICAL IN on a DAT, or to adat in on an adat using an optical cable. If you are using S/P DIF digital signal (DAT), use an optional Fostex COP-1 (opticalcoaxial converter) to connect a DAT that is equipped with only a COAXIAL (RCA) digital input. * After all connections have been made, turn on the power to all devices, and insert a tape into a DAT (or adat). Make sure that the tapes write-protect tab is closed so that it can be recorded, and that the tape is rewound to the beginning. * Set the sampling frequency of a DAT (or adat) to the same value as the FD-8 (44.1kHz). * Set the DAT or adat so that it will accept S/P DIF digital input (or adat digital input). Some models may have to be set so that they will synchronize with the incoming digital signal. Refer to the manual that came with your DAT or adat for more information.
Note: Depending on whether you use a DAT or an adat,

Setting the Slave type (Slave Type ? menu)
The Setting the Slave type menu enables you to select the type of external sync signal used when the FD-8 is set as a slave to sync to an external device.
Initial setting: [VAri] Option: [VA ri], [SP di F], [Ad At], [Fr EE] [VA ri]: The FD-8 synchronizes only to external MTC. [SP di F]: The FD-8 locks to MTC, then synchronizes to incoming S/ PDIF digital signals. [Ad At]: The FD-8 locks to MTC, then synchronizes to incoming adat digital signals. [Fr EE]: The FD-8 locks to MTC, then synchronizes to the internal clock. * You can set the parameter for each Program individually. * The settings can be saved and loaded as part of the song data. * The settings are maintained after you turn off the power to the unit. * The Program is automatically checked before the operation. * The sampling rate is automatically checked before the operation.
Setting the Slave type (external sync signal)
1. While the FD-8 is stopped, press the SETUP key to enter SETUP mode. 2. Turn the JOG dial to select [Slave Type (?)] ([e] and [?] flash alternately), then press the EXECUTE/YES key.
The current Slave type appears on the display. Pressing the EXECUTE/YES key turns off the flashing [?] character, and the Slave type indicator flashes. With the initial setting, [VA ri] flashes as shown below.
Rotating the JOG dial clockwise and counter-clockwise will cause the [VA ri], [SP di F], [Ad At], and [Fr EE] indicators to flash in sequence.

SETUP 44.1kHz

You need to input MTC from an external device to the FD-8 with any Slave type (external sync signal).
3. Use the JOG dial to select the desired Slave type.
The FD-8 re-chase window is fixed to ten frames. That is, if an offset between the master device and slave device exceeds ten frames, the FD-8 interprets that as out of sync, and tries to chase and lock to MTC sent from the master device. (This operation is called re-chasing.) During the re-chase operation, audio output is muted. If the slave machine slips with MTC from the master device by less than ten frames, the slave machine continues running while recognizing the slippage.
<Notes> This menu is used to select a digital signal used for external synchronization when Slave mode is turned on. If you wish to specify the type of digital signals to record, you need to use the Setting digital input tracks menu. When you set the Slave type, the Vari Pitch function is automatically disabled. (The [VARI PITCH] indicator turns off.)
<Notes> If you set the Slave type to [SP di F] (S/P DIF digital signal) or [Ad At] (adat digital signal), [DIGITAL] lights up on the display when the FD-8 receives a normal digital signal from the external device. If the signal is abnormal, the [DIGITAL] indicators flash to give you an alarm. If you set the Slave type to [SP diF] (S/P DIF digital signal), approximately two seconds of the sound in the entire system will be muted when the FD-8 locks or unlocks to clock. Make sure to input a stable digital signal source.

Setting digital input tracks (Digi. In ? menu)
The Setting digital input tracks [Digi.in ?] menu allows you to assign digital signals input at the DATA IN connector of the FD-8 to the tracks. You can perform digital recording from an external digital device (CD, MD, DAT, adat, digital mixer, etc.) using this function. You can assign any two tracks, and route L/R output from an external digital device to these tracks. If you are using an external digital device with an adat output, selecting AdAt on the Setting digital input tracks menu enables you to record all eight track data digitally.
Initial setting: [L-], [r-] (No assign for L and R) Assignable tracks: L channel = [1]~ [8], [] (no assign), or [AdAt] (track 1 ~8) R channel = [1] ~ [8], or [] (no assign) * This setting is shared by all Programs in the same disk. * The settings cannot be saved and loaded as part of the song data. * The settings are maintained after you turn off the power to the unit.
Setting digital input tracks
1. While the FD-8 is stopped, press the SETUP key to enter SETUP mode. 2. Turn the JOG dial to select [Digi. in ?] ([?] flash alternately), then press the EXECUTE/YES key.
The current digital input track assignment appears on the display. Pressing the EXECUTE/YES key turns off the flashing [?] character, and the L channel setting of the digital input track flashes. With the initial setting, [L-] and [r-] appear and [L-] flashes as shown below. You can select a flashing channel to assign a track.
The selected track assignment is stored, and [?] flashes. When the FD-8 receives a correct digital signal, [DIGITAL] lights up on the display. To cancel the operation, or to restore the setting obtained prior to the EXECUTE/YES key press, press the STOP button or the EXIT/NO key. Each time you press one of these keys, the FD-8 returns to the previous hierarchy level of the menu, and finally exits SETUP mode and displays the previous Time Base.
Note: If [DIGITAL] flashes on the display, check the connection with the external device, and the settings on the FD-8 and the external device. Note: While a track is assigned for digital input, you cannot use the same track for analog recording via the corresponding input jack. When you finish digital recording, set the Setting digital input tracks menu to [L-, r-] (no assign). However, in other tracks not assigned for digital input, it is possible to record analog signals. For example, if tracks 1 and 2 (L-1, r-2) are selected for digital inputs, then digital signals in tracks 1 and 2, and analog signals in other tracks can be recorded, thus making it possible to simultaneously record digital and analog signals on all four tracks (If an MO disc is used for the current drive, only two tracks can be recorded simultaneously.).

The [ROUTING/PHASE] key displays a sequence of three function pages that let you control mixer routing, assign S/P DIF inputs to channels, and invert the phase for each channel. The ROUTING function page lets you route input channels 120 to the Stereo Buss (ST BUS), the Record Buss (REC BUS), or the ADAT output (DIRECT). Press a Page Select key to specify Channels 1-8, 9-16, or 17-20. Then press the [EQ EDIT], [SOLO], and/or [ON] key for each channel to route the signal to a potential destination. The indicator in the channel/buss matrix highlights (dark square).

[PAIR/GROUP] Key

The S/P DIF function page lets you assign the S/P DIF digital two-track input to any odd-even pair of channels (e.g., 1&2, 13&14, etc.). The PHASE function page lets you invert the phase for each of input channels 1 through 20. Press a Page Select key to specify Channels 1-8, 9-16, or 17-20. You can also use the [ROUTING/PHASE] key in conjunction with the [PAIR/GROUP] key to enter MMC mode. (For more information, see MMC (MIDI Machine Control) Send on page 192.)
ROUTING/PHASE Key Function Pages 1:ROUTING 2:S/P DIF 3: PHASE Includes parameters that enable you to. Route input channels 1-20 to ST BUSS, REC BUSS, or ADAT DIRECT. Assign S/P DIF digital input to any odd-even channel pair. Invert phase for each input channel.
The [PAIR/GROUP] key displays a sequence of three function pages that enable you to pair channels, mute groups of channels, or group faders under the control of a single fader. The CHANNEL PAIR (CH PAIR) function page enables you to pair any two odd-even channels using the [EQ EDIT] keys. The MUTE GROUP function page enables you to create three groups of channels (Mute Groups A, B, and C) that you can silence instantly. The FADER GROUP function page also enables you to create three groups of channels (Fader Groups A, B, and C). Faders in a group can be controlled by a single fader. Use the Page Select keys to specify Channels 1-8, 9-16, or 17-20; use the [EQ EDIT], [SOLO], and [ON] keys to apply these functions to specic channels. You can also press the [ROUTING/PHASE] key simultaneously with the [PAIR/GROUP] key to enter MMC mode. (For more information, see MMC (MIDI Machine Control) Send on page 192.)
PAIR/GROUP Key Function Pages 1:CH PAIR 2:MUTE GROUP 3:FADER GROUP Includes parameters that enable you to. Pair odd-even input channels. Create Mute Groups A, B, C Create Fader Groups A, B, C

[CH VIEW] Key

The Channel View [CH VIEW] key displays a sequence of three function pages that display settings for specic channels, and allow you to copy channel and EQ settings from a source channel to destination channels. The CH VIEW function page lets you view (but not modify) settings for specic channels.

The CH COPY function page lets you copy channel settings from a source channel to one or more destination channels. The EQ COPY function page lets you copy EQ settings from a source channel to one or more destination channels.
CH VIEW Key Function Pages 1:CH VIEW 2:CH COPY 3:EQ COPY Includes parameters that enable you to. View channel parameter settings. Copy channel settings to other channels. Copy EQ settings to other channels.

[CHANNEL/METER] Key

Pressing the [CHANNEL/METER] key displays two CHANNEL EDIT function pages: Channel Edit/Input and Channel Edit/Output. These are essentially the main pages of the VM200, the pages you will likely display most often. However, unlike other function pages, the name of the page does not appear on a CHANNEL EDIT function page. The name and number of the Current Scene appear in the top-left corner of the display. These function pages enable you to view and set the pan position for each channel. You can also view the input levels for input channels 1-20. Pressing the [CHANNEL/METER] key a second time displays the output levels for the ADAT, AUX, Effects, Record Buss, and Stereo Buss outputs.
CHANNEL/METER Key Function Pages 1:CH EDIT (Input) 2:CH EDIT (Output) Includes parameters that enable you to. View input levels and set pan positions. View output levels and set pan positions.

Fader Mode Section

FADER MODE AUX1 AUX2

ADD.AUX EFF1 EFF2

CHANNEL
The VM200 features 20 input channels and 18 output channels. However, with only eight faders plus the Master fader, the VM200 must use its faders for multiple tasks to accommodate all those channels. Depending on the Fader Mode, the faders (as well as the [ON], [SOLO], and [EQ EDIT] keys) control different functions. You determine which functions the faders and keys will control by selecting a Fader Mode.
[AUX1], [AUX2], [AUX3], and [AUX4] Keys
If you press one of these function keys, the faders, the Master fader,
[ON] and [SOLO] keys control the AUX send signals. (To enable AUX3 and AUX4 keys, turn on the ADD. AUX parameter on the CURRENT SCENE STATUS function page. For more information, see Enabling AUX
Sends 3 & 4 (ADD. AUX Parameter) on page 115.)

[EFF1] and [EFF2] Keys

XLR-type connector (A)

A A A 2 1

ON OFF

1/4 phone connector (B)
Connect the VM200 MONITOR OUT to an amplier and speakers, or connect a pair of stereo headphones to the PHONES jack. You can use the Monitor Gain or Phones Gain knobs to adjust the output volume level. Lower the Gain to minimum to prevent loud noise.
Connect the ST BUSS OUT to the analog inputs of a recorder. Even though the VM200 is a digital mixer designed primarily for use with digital multitrack recorders, to simplify this brief procedure, we will connect to an analog recorder.

Powering On

If you prefer, you can connect a DAT to the S/P DIF OUT or an ADAT-compatible recorder to the ADAT OUT connectors. (For more information, see Digital Connections on page 159.). If you just want to try out the EQ and some effects, you can skip this step (step 3) altogether. Lower all faders and Gain and Trim knobs on the VM200.
Press the Power button on the rear panel to turn on the power to the VM200. The VM200 banner scrolls, all keys ash, then the VM200 displays the CHANNEL EDIT/INPUT function page. The [18 ANALOG IN] Page Select key lights up red. All [ON] keys, the [CHANNEL/METER] key, and the [CHANNEL] key light up green.
Turn on the microphone (or other connected sound source), then turn on the power to the amplier. If you are using an XLR-type condenser microphone connected to the XLR input, turn on the +48 phantom power to the microphone using the phantom power switch on the rear panel.
Adjusting the Channel Input
Make sure that the [ON] keys for channel 1 and Master are lit. If not, press the [ON] keys to turn them on. Also, make sure that the 2TRK IN button is NOT depressed. 7. While talking or singing into the microphone (or playing an alternate sound source), adjust the channel 1 Trim control, and raise the channel 1 fader and the Master fader. Notice the movement in the level meter for input channel 1 on the LCD Display, and in the ST BUSS LED meter to the right of the display. Adjust the input channel level so that the meter will not reach the OL (overload) level. 8. Raise the monitoring level using the Monitor Gain control for connected monitoring speakers, or the Phones Gain control for connected headphones. Set this to the desired listening level.

Adjusting the EQ

Press the channel 1 [EQ EDIT] key. The [EQ EDIT] key lights up orange, and the [EQ ON] key in the Selected EQ section lights up green. If the [EQ ON] key is not lit, press the key to turn it on. The following EQ EDIT function page appears.

Monitoring and Soloing Input Channels
Use the Page Select keys to select the target channel layer. Press the [EQ EDIT], [SOLO], or [ON] key that represents the desired routing for the target channel. See the following table:
KEY EQ EDIT SOLO ON TARGET ROUTING ADAT DIRECT OUT REC BUS STEREO BUS
When you press an [EQ EDIT], [SOLO], or [ON] key, the key lights up and the corresponding indicator on the display turns dark (highlighted). A light empty indicator means the routing is not selected (off). If channels are congured as stereo pairs, their Routing switches are also linked. (For more information on pairing channels, see Pairing Channels on page 68.) Press the [EXIT] key or the [CHANNEL/METER] key to return to Channel Edit mode.
For information on monitoring input channels, see Monitoring Signals on page 97

Feeding Outputs

REC Buss Out
You can route input channels 120 to the Rec Buss outs. See Using the REC BUSS OUT on page 112 for more information.

ST Buss Out

You can route input channels 120 to the Stereo Buss outs. See Using the ST BUSS OUT on page 110 for more information.

AUX Sends

You can route input signals to Aux 1, 2, 3, or 4 by pressing the [AUX1], [AUX2], [AUX3], or [AUX4] key and raising the corresponding fader. (You can use Aux 3 and 4 when ADD. AUX mode is turned on.) You can also congure input channel sends as either pre-fader or post-fader. See Using the AUX Sends on page 115 for more information.

Digital Outs

You can select input channels 120 as sources for the digital outs. See Digital Connections on page 159 for more information.

Pairing Channels

You can create up to ten pairs of channels from input channels 120 to facilitate stereo signal processing. You can pair only adjacent odd/even channels, such as 1 and 2, 5 and 6, etc. (You cannot pair non-adjacent channels, such as 2 and 7, or even/odd pairs such as 4 and 5.) The following parameters are linked when input channels are paired: EQ, [ON], [SOLO], and [EQ EDIT] keys, faders, Aux sends, Effect sends, Pre/post settings, and Routing switches.
Press the [PAIR/GROUP] key to display the 1:CH PAIR function page.
The [PAIR/GROUP] key and the [EQ EDIT] keys start to ash.
If the appropriate channel layer is not yet selected, press a Page Select key to select the desired channel layer. The selected Page Select key lights up.

Press the [CH VIEW] key twice (from start of cycle) to display the 2:CH COPY function page. The [CH VIEW] key and the [EQ EDIT] keys for all channels ash. The selected Page Select key lights up; the unselected Page Select keys ash.
Press the [EQ EDIT] key for the copy source channel. You can select only one source channel to copy at a time. The selected [EQ EDIT] key lights up. The CHANNEL COPY function page marks the source channel with an S and prompts you to select a destination channel.
Press the appropriate Page Select key to specify the channel layer, then press the [EQ EDIT] key of the copy destination channel(s). You can select multiple channels as destinations.
The selected [EQ EDIT] key(s) light up. The CHANNEL COPY function page highlights (enables) the selected destination channel(s) as follows.
Press the [ENTER] key to execute the copy operation. The CHANNEL COPY function page ashes the word COMPLETE! on the display for a few seconds, and the VM200 displays the rst CH COPY function page. Press the [EXIT] key or the [CHANNEL/METER] key to return to Channel Edit mode.
Note: Even if channels are paired, you can copy to and from each of the paired channels independently.
This chapter explains how to use the VM200 four-band parametric equalizer (EQ) and how to edit, recall, and store EQ settings.
SO I EQ GA IN Q FR -20 EF EQ EQ ED IT FR SO LO 17 EX /H IT
PA N IT IN Q LO /H SO PA GE 9-1 SE 6A LE CT DA TI N EQ GA PA N IT ON
Equalizers (EQ). Adjusting the EQ. EQ Enabling Channels. Bypassing the EQ. Resetting the EQ. EQ Library. EQ Preset Library List. Recalling EQ Programs. Storing EQ Programs. Editing EQ Program Titles. Copying EQ Settings. EQ Preset Library Parameters.
ED EQ LO SO PA N IT ON ED EQ LO SO ED IT ON EQ SO LO ON LO ON

Equalizers (EQ)

The VM200 features a four-band parametric equalizer for input channels 116. The four-band equalizer subdivides the audio spectrum into LO, LO-MID, HI-MID, and HI frequency ranges. Each of the four bands includes rotary controls for Gain, Frequency, and Q. 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. The Gain control adjusts the amount of increase in a signal, generally measured in decibels (dB). The Frequency control species the number of cycles-per-second of a waveform (in our case, soundwaves). The Q control adjusts the sharpness of the EQ peak response. The LO band Q can function as a high-pass lter (HPF), and HI band Q can function as a low-pass lter (LPF). A low-pass lter (LPF) rejects signals above a certain cut-off frequency while passing lower-frequency signals through. A high-pass lter (HPF) rejects signals below a certain cut-off frequency while passing higher-frequency signals through. In a shelving-type (SHLV) EQ, the boosted or cut-off frequencies form a shelf-shape on a frequency response curve. A high-frequency shelf affects signals at and higher than the specied frequency; a low frequency shelf affects signals at and higher than the specied frequency. The EQ EDIT function page displays a graphic EQ response curve for channels 1 - 16. The EQ response curve provides visual feedback to help you shape the EQ, while the numerical read-outs ensure extremely accurate settings that you can store in the EQ Library and later recall. The EQ Library consists of 50 Preset programs and 50 User programs. You can store EQ settings into User programs, or into Scene Memory along with all other mix settings. You can also recall EQ settings from the Preset programs or User programs, or from Scene Memory along with all other mix settings. The Presets are a special collection of EQ settings that can be useful in a variety of situations. See EQ Preset Library List on page 83. You can also use the Presets as templates that you can customize to create your own EQ settings. You can name and store up to 50 of your favorite EQ settings as User programs. If channels are congured as a stereo pair, their EQs are linked. The EQ parameters and response curve for input channels 1 through

Rotate the Data Wheel or use the [</-1] and [+1/>] keys to select an EQ program you wish to rename. You cannot change the names of Preset programs 0049. Press the [ENTER] key to recall the desired EQ Program. The VM200 displays the EQ EDIT function page, which shows the recalled EQ parameter values applied to the current channel. Press the EQ Library [STORE] key to display the EQ LIBRARY STORE function page. The VM200 highlights the selected EQ program name and number.
Press the [ENTER] key. The VM200 displays the EQ LIBRARY NAME EDIT function page. The title box shows the program number, but the name is now blank.
Use any Gain, Freq, and Q rotary controls to re-assign a name to the EQ program. Refer to Storing EQ Programs on page 86 for more information on controlling the cursor and character selector. When youve nished re-naming the program, press the [ENTER] key to store the new EQ program title. The VM200 displays the EQ EDIT function page. WARNING: Do not power off the VM200 while it is writing to memory or you may damage the system.
Press the [EXIT] key at any time to exit the EQ LIBRARY STORE or EQ LIBRARY NAME EDIT function pages. The VM200 displays the CHANNEL EDIT function page.

Copying EQ Settings

You can use the EQ Copy function to copy EQ settings from one channel to another. The EQ COPY function page features a 1-by-20 matrix that enables you to select one source channel EQ, and enable or disable the other channels as copy destinations. The selected source channel EQ is marked by an S. A highlighted indicator marks the channels targeted as copy destinations. A dark indicator means the channel is not selected (disabled) as a copy destination.
Press the [CH VIEW] key twice (from start of cycle). The VM200 displays the 3:EQ COPY function page. The [CH VIEW] key and the [EQ EDIT] keys for all channels ash. The selected Page Select key lights up; unselected Page Select keys ash.
Press the [EQ EDIT] key for the EQ copy source channel. You can select only one source channel EQ to copy at a time. The selected [EQ EDIT] key lights up. The EQ COPY function page marks the source channel with an S and prompts you to select a destination channel.
Press the appropriate Page Select key to specify the channel layer, then press the [EQ EDIT] key of the copy destination channel(s). You can select multiple channels as EQ copy destinations. The selected [EQ EDIT] key(s) light up. The EQ COPY function page highlights (enables) the selected destination channel(s) as follows.

source channel

oneof four destination channels
Press the [ENTER] key to execute the copy operation. The EQ COPY function page ashes the word COMPLETE! on the display for a few seconds, and the VM200 displays the rst CH COPY function page. Press the [EXIT] key or the [CHANNEL/METER] key to return to Channel Edit mode. Note: Even if channels are paired, you can copy to and from each of the paired channels independently.

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.
1. 0: dead, 10: live 2. Brightness increases with a positive setting, and decreases with a negative setting.

MONO_DELAY (33)

Parameter DELAY TIME TEMPO
Value 0.11360.0 [ms] (0.1 step) 30250 [bps] (1 step) Delay time. 1

Description

Tempo value used to calculate DELAY TIME and NOTE.2 Note value used to calculate DELAY TIME.3
NOTE DELAY FB LO RATIO HI RATIO HPF LPF 0100 [%] (1 step) 0.11.0 (0.1 step) 0.11.0 (0.1 step) THRU, Same as EQ value [Hz] Same as EQ value [Hz], THRU

CHORUS-REVERB (46)

Parameter

Value Modulation depth.

CHO DEPTH 0100 [%] (1 step) REV TIME PRE DLY HI RATIO PRESENCE DENSITY LPF REV BAL 0.130.0 [s] (0.1 step) 0160 [ms] (1 step) 0.11.0 (0.1 step) -100+10 (1 step)1 010, AUTO 2 1.00kHz20.2kHz, THRU (step: same as EQ) 0100 [%] (1 step)
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. Brightness increases with a positive setting, and decreases with a negative setting. 2. With AUTO, the optimum value for the REV TIME setting will be used.

REVERB-CHORUS (47)

Parameter REV TIME PRE DLY HI RATIO PRESENCE DENSITY LPF
Value 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 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 depth. Level of chorus sound.
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.

Recalling a Scene Manually
Press the Scene Memory [RECALL] key. The VM200 displays the SCENE MEMORY RECALL function page.
Use the Data Wheel or the [</-1] and [+1/>] keys to select a scene. The EQ Enabled readout on the right side of the display indicates the channel layers for which EQ is enabled. The readout changes to reect the status of the scene highlighted by the cursor in the scrolling list. Also, if the ADD.AUX parameter is turned on for the selected scene program, ADD.AUX appears in this area of the display. See Enabling AUX Sends 3 & 4 (ADD. AUX Parameter) on page 115 for more information. Press the [ENTER] key to conrm the selection. The VM200 loads the scene and returns to the previous mode.
Note: You cannot recall scenes titled NO_DATA, because there is no data in the scene. Note: You can press the [EXIT] key to return to Channel Edit mode at any time, cancelling the scene memory recall process. Caution: When you recall a scene, volume levels may suddenly change because of changes in parameter values and fader settings. Before you recall the scene, lower the Master Fader or turn down the Monitor and Phones Gain controls as necessary to protect your ears and speakers. Also, if the Motor parameter is turned on, the faders may suddenly move automatically. Watch your ngers!
Recalling a Scene Automatically at Start-up
You can specify a scene to be recalled automatically when you power on the VM200. This is useful if you wish to start all sessions with a particular scene, or if you wish to continue working with the current scene in your next session.
You can select one of the following options: LAST-STORED, P0, P1, P2, 099. The default setting is LAST-STORED, which causes the most-recently stored scene to be recalled.
Press the [SYSTEM] key ve times. The VM200 displays the 5:PWR ON RCL function page.
Use the Data Wheel or the [</-1] and [+1/>] keys to select a scene. You can select one of the following: u any Preset scene (P0, P1, P2) u any User scene (0-99) u LAST-STORED (the last scene you stored) The selected item ashes in the Scene Number eld in the lower left corner.

MIDI Transmit and Receive Channels
This section explains the MIDI Transmit and Receive Channels. Press the [MIDI] key to display the 1:MIDI TX&RX function page. This page enables you to set the transmit (TX) and Receive (RX) channels for the VM200.

TX CH (Transmit Channel)

This parameter species the MIDI Transmit Channel. This is the channel the VM200 will use to transmit MIDI messages. Select a channel from 1 through 16. Set the device that will receive MIDI messages from the VM200 to the same MIDI Channel. When the VM200 receives a request for MIDI data, it transmits a response on the same MIDI channel that received the request. The default setting is 1.

RX CH (Receive Channel)

This parameter species the MIDI Receive Channel. This is the channel on which the VM200 will receive MIDI messages. Select a channel from 1 through 16, or Omni. Set the device that will transmit MIDI messages to the VM200 to the same MIDI Channel. If you select OMNI for the RX CH parameter, the target messages (Program Change or Control Change) will be received on all channels. The default setting is Omni.
The ECHO parameter enables you to echo Program Change, Control Change, or System Exclusive messages that are received by the VM200 through to the MIDI OUT port, regardless of the MIDI Channel settings. The default setting is Off.

Program Change Messages

You can send a Program Change message to the VM200 to recall a scene from the VM200s Scene Memory. (For more information, see Using Program Change Messages to Recall Scenes on page 180.) Inversely, by recalling a scene on the VM200, you can transmit Program Change messages to connected MIDI devices or instruments.

Program Change TX

The Program Change TX parameter determines whether the VM200 will transmit Program Change messages when you recall a scene from Scene Memory. Turn the Program Change TX parameter on if you want to change programs on a connected synthesizer when you change scenes on the VM200. The default setting is On.

Program Change RX

The Program Change RX parameter determines whether the VM200 will recall a scene from Scene Memory when the VM200 receives a Program Change message. Turn the Program Change RX parameter on if you want to change scenes on the VM200 from a connected sequencer. The default setting is On.

Item ALL (default) SETUP SCENE EFF LIB Contents All items listed in this table VM200 all current setup data Scene memories Effect library user programs N/A ALL, SYSTEM, MIDI, LOC MEM ALL, CURRENT, 0099 ALL, 5099 Block
Receiving Bulk Dump Requests
Item EQ LIB PGM TBL1 CTL TBL1
Contents EQ library user programs Program Change Assign Table 1 (user-denable table) Control Change Assign Table 1 (user-denable table) ALL, 5099 N/A N/A
If you send too much data at once, you may overload MIDI devices that have small data buffers. Setting a longer interval will allow slower devices to process received MIDI data. You can use an interval setting of 0 when you Bulk Dump between multiple VM200s. You can set the interval from 0500 in 10ms increments. Press the [ENTER] key to send the specied Bulk Dump data immediately, or press the [EXIT] key to return to the previous screen.
If the receive channel (RX CH parameter on the 1:MIDI TX&RX function page) and the DevID (device ID number) parameter on the VM200 match those of the sending device, the sending device will transmit the specied Bulk Dump data to the VM200.
MMC (MIDI Machine Control) Send
MMC is an abbreviation for MIDI Machine Control. You can control MMC-compatible recorders from the VM200 by sending MIDI Machine Control (MMC) commands. In MMC Send mode, the VM200s [ON] keys 1 through 8 function as the transport keys, store, recall keys for locate memories. You can use the [EQ EDIT] keys and [SOLO] keys to locate sixteen denable locate points (LOCATE 116). While you hold down the [ENTER] key, the [SOLO] keys function as the record track select keys. MMC commands are transmitted via MIDI. The following example illustrates remote control of an MMC-compatible digital MTR (such as the Fostex VR800) from the VM200 using MMC commands.

ADAT OUT ADAT IN

MIDI Machine Control Data MIDI IN
ADAT-compatible Digital multitrack recorder
Setting the Device ID Number
Press the [MIDI] key. The VM200 displays the 1:MIDI TX&RX function page. Select an ID number for the DevID parameter. Rotate the EQ/LO-MID Freq rotary control to specify the device ID number of the connected digital MTR. Select a number from 000 to 126.

Entering MMC Send Mode

Press the [ROUTING/PHASE] key and the [PAIR/GROUP] key simultaneously to enter MMC Send mode.
The two keys ash and the VM200 displays the MMC SEND function page.
Note: Press the [EXIT] key at any time to cancel MMC Send mode and return to Channel Edit mode.
Refer to the table below for an explanation of the functions and controls on the MMC SEND function page.

Note: If you want to reset only the mix settings and retain other parameter settings, recall one of the preset scene memories P0, P1, or P2 instead. See the chapter entitled Scene Memory on page 147 for more information.
Follow the steps below to initialize the VM200.
Press the [SYSTEM] key repeatedly to display the 6: INITIALIZE function page.
Rotate the EQ/LO Gain control to select the desired item. Select from the following options: ALL (all parameters) SCENE MEM. (Scene Memory) EQ LIBRARY EFF LIBRARY PGM C. TABLE (Program Change Table) CTRL C. TABLE (Control Change Table) SETUP The selected item ashes.
Press the [ENTER] key. The selected item lights up continuously, and a YES/ENTER dialog appears.
Press the [ENTER] key to initialize the specied settings, or press the [EXIT] key to return to the previous screen. If you press the [ENTER] key, a warning message appears and the VM200 starts initializing its settings.

Default Setup Parameters

System Parameters CLOCK SEL MON SEL SOLO MODE SOLO KEY CASCADE MOTOR FRAME MODE RECALL SAFE INT44 ST-B PFL LATCH OFF ON 24 CH. FADER CH. PAN CH. ON ROUTING AUX14 EFF1/2 EQ EQ ON Ch120 SOLO SAFE POWER ON RCL MIDI Parameters Tx CH Rx CH ECHO BULK Rx PG Tx PG Rx PG Table CC Tx CC Rx CC Table SySEx Tx&Rx SysEx DevID PGM C. TABLE1 CTL C. TABLE1 ITEM BLOCK INTERVAL 1 OMNI OFF ON ON ON 1 (User) OFF OFF 1 (User) OFF 0 Same as PGM C. TABLE 2(preset) Same as CTL C. TABLE2 (preset) ALL --0ms Ch120 LAST-STORED Value OFF OFF OFF OFF OFF OFF OFF OFF ALL OFF ALL OFF Value

Specications and Data

Display Warning Messages. Specifications. Maintenance. Tables & Data. Channel Fader Gain Table. Master Fader Gain. Pan Gain. Q... EQ Frequency. Program Change To Scene Memory Assignment Tables. Program Change Assign Table 1 (User). Program Change Assign Table 2 (Preset). Control Change To Control Parameters Assignment Tables Control Change Assign Table 1 (User). Control Change Assign Table 2 (Preset). Preset Scene Parameters. MIDI In/Out Data Format. MIDI Implementation Chart. Declaration of EC Directive. Fostex Distributors List In Europe.
SO I EQ GA IN Q PA N EQ EQ ED IT FR PA N SO LO EQ ED Q SO LO ON IT ON PA N 0 IT ED ON -10 EQ -20 EX /H IT 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 -20 LO

- -90.0 -84.0 -80.0 -78.0 -76.0 -74.0 -72.0 -70.0 -68.7 -67.4 -66.2 -64.3 -62.7 -61.4 -60.0 -58.5 -57.2 -56.0 -54.7 -53.5 -52.4 -51.2 -50.0 -49.2 -48.4 -47.7 -47.0 -46.3 -45.6 -44.9 -44.2 -43.5 -42.8 -42.1 -41.4 -40.7 -40.0 -39.3 -38.6 -37.9 -37.2 -36.5
Calculated Gain (dB) -35.80 -35.10 -34.40 -33.70 -33.00 -32.40 -31.80 -31.20 -30.60 -30.00 -29.50 -29.00 -28.50 -28.00 -27.50 -27.00 -26.50 -26.00 -25.50 -25.00 -24.50 -24.00 -23.50 -23.05 -22.60 -22.15 -21.70 -21.25 -20.80 -20.40 -20.00 -19.62 -19.25 -18.88 -18.51 -18.14 -17.77 -17.40 -17.03 -16.66 -16.29 -15.92 -15.55
-35.8 -35.1 -34.4 -33.7 -33.0 -32.4 -31.8 -31.2 -30.6 -30.0 -29.5 -29.0 -28.5 -28.0 -27.5 -27.0 -26.5 -26.0 -25.5 -25.0 -24.5 -24.0 -23.5 -23.1 -22.6 -22.2 -21.7 -21.3 -20.8 -20.4 -20.0 -19.6 -19.3 -18.9 -18.5 -18.1 -17.8 -17.4 -17.0 -16.7 -16.3 -15.9 -15.6
Calculated Gain (dB) -15.18 -14.81 -14.44 -14.07 -13.70 -13.33 -12.96 -12.59 -12.22 -11.85 -11.48 -11.11 -10.74 -10.37 -10.00 -9.62 -9.25 -8.88 -8.51 -8.14 -7.77 -7.40 -7.03 -3.66 -6.29 -5.92 -5.55 -5.18 -4.81 -4.44 -4.07 -3.70 -3.33 -2.96 -2.59 -2.22 -1.85 -1.48 -1.11 -0.74 -0.37 0.00
-15.2 -14.8 -14.4 -14.1 -13.7 -13.3 -13.0 -12.6 -12.2 -11.9 -11.5 -11.1 -10.7 -10.4 -10.0 -9.6 -9.3 -8.9 -8.5 -8.1 -7.8 -7.4 -7.0 -3.7 -6.3 -5.9 -5.6 -5.2 -4.8 -4.4 -4.1 -3.7 -3.3 -3.0 -2.6 -2.2 -1.9 -1.5 -1.1 -0.7 -0.4 0.0

Pan Gain

No. Gain Left (dB) 0.0 -0.1 -0.2 -0.25 -0.3 -0.35 -0.4 -0.5 -0.6 -0.8 -1.0 -1.2 -1.4 -1.6 Gain Right (dB) - -32.0 -27.0 -23.5 -21.0 -19.0 -17.4 -16.1 -15.0 -13.2 -11.6 -10.2 -9.0 -8.0

Displayed Pan

<L L9.5 L9.0 L8.5 L8.0 L7.5 L7.0 L6.5 L6.0 L5.5 L5.0 L4.5 L4.0 L3.5

No. 26 27

Gain Left (dB) -1.8 -2.0 -2.2 -2.4 -2.6 -2.8 -3.0 -3.6 -4.2 -4.8 -5.5 -6.3 -7.1 -8.0
Gain Right (dB) -7.1 -6.3 -5.5 -4.8 -4.2 -3.6 -3.0 -2.8 -2.6 -2.4 -2.2 -2.0 -1.8 -1.6

Displayed No. Pan

L3.0 L2.5 L2.0 L1.5 L1.0 L0.5 CENTER R0.5 R1.0 R1.5 R2.0 R2.5 R3.0 R3.39 40
Gain Left (dB) -9.0 -10.2 -11.6 -13.2 -15.0 -16.1 -17.4 -19.0 -21.0 -23.5 -27.0 -32.0 -
Gain Right (dB) -1.4 -1.2 -1.0 -0.8 -0.6 -0.5 -0.4 -0.35 -0.3 -0.25 -0.2 -0.1 0.0
R4.0 R4.5 R5.0 R5.5 R6.0 R6.5 R7.0 R7.5 R8.0 R8.5 R9.0 R9.5 R>
HI: 0.120 (45 steps), HI-shelving, LPF HI-MID, LO-MID: 0.120 (45 steps) LO: 0.120 (45 steps), LO-shelving, HPF

No. 14

0.10 0.11 0.13 0.14 0.16 0.18 0.20 0.22 0.25 0.28 0.32 0.35 0.40 0.45 0.50

No. 29