FOSTEX 160 (01) PDF MANUAL

The Model 160 uses the professional cassette format of four tracks in one direction at a tape speed of 3-3/4 ips (9.5 cm/sec). Recording time is 15 minutes with a C-60 and 22-1/2 minutes with a C-90.

Note that tapes made on conventional Hi-Fi decks will not reproduce on the Model 160, and tapes made on the Model 160 will not reproduce on conventional Hi-Fi decks. You will be making multitrack master tapes which are usually mixed to stereo on a standard deck.

Use ONLY Maxell UD-XL-II, TDK SA or equivalent. The Model 160 is biased and equalized for 70 µsec EQ, Hi-Bias Tape. Never use C-120’s, only C-60’s or C-90’s.

To protect your multitrack master tapes against accidental erasure, remove the tabs after recording. Store tapes in clean, dry areas away from magnetic fields such as microwave ovens and speakers.

Input and output impedances and levels should ideally match between the Model 160 and connected equipment. You may need adaptors or interface units in some cases.

Specifically, for low impedance, balanced microphones (recommended for many applications), use the Fostex Model 1030 microphone input transformer.

Using incorrect cables can lead to loss of high frequency response, hum, and noise.

As a general rule, keep line level cable runs to 10 feet or less and use low capacitance cable.

Use the shortest practical length for mic cables.

Be prepared to use input transformers, such as the Fostex Model 1030, when using low impedance, balanced microphones.

Yes. Avoid switching off AC power to the recorder when it is in the PLAY or RECORD mode. If the pinch roller remains pressed against the capstan for long hours, it can deform the pinch roller rubber.

Line Inputs A and B have a dual function:

1. When a mono plug is connected, they function as normal line inputs.

2. When a stereo plug is connected, they function as Accessory Send/Receive jacks for the corresponding mic inputs (MIC 1 for LINE IN A, MIC 2 for LINE IN B). Note that the ring terminal is for Send and the tip terminal is for Receive.

Also, LINE inputs always take priority over the MIC inputs. If you have a mic connected to MIC 2 and a synth connected to LINE IN B, the mic signal will appear only on input Channel D (as Channel B is occupied by the line input).

1. With the recorder in the STOP mode, press the RECORD button (22). Its LED will blink green.

2. Engage the RECORD TRACK SELECTORS (21) for the track(s) you wish to record on.

3. By alternately touching the RECORD button, the track(s) selected for record ready will change between monitoring the input signal and monitoring the tape playback (if anything is recorded). To set levels, you need to monitor the input, indicated by the flashing record light.

4. Use the INPUT FADER (1) for the corresponding channel to adjust the level so that the loudest parts register appropriately on the BARGRAPH METERS (11), typically averaging around 0 dB with peaks up to +1 to +5 dB depending on the source.

1. Set the recording levels as described previously.

2. Ensure the RECORD TRACK SELECTORS (21) for the desired track(s) are engaged (down position).

3. Press the RECORD button (22) and the PLAY button (24) simultaneously.

4. The blinking LEDs (Record Ready status) will change to solid red, indicating that recording is in progress.

There are three ways to manually punch-in:

Method 1:

1. Depress the RECORD TRACK SELECTOR button(s) (21) for the channel(s) you wish to record on.

2. Press PLAY (24).

3. When you reach the punch-in point, press RECORD (22) and PLAY (24) simultaneously. The track will enter record mode.

Method 2:

1. Release all RECORD TRACK SELECTOR buttons (21) (up position).

2. Press RECORD (22) and PLAY (24) simultaneously. The RECORD LED (27) will remain solid green (Record Ready), and the transport will enter PLAY mode.

3. At the punch-in spot, press the appropriate RECORD TRACK SELECTOR button(s) (21). The monitor function instantly changes to input, and the track enters RECORD mode (LED turns solid red).

Method 3 (using optional foot switch):

1. Depress the appropriate RECORD TRACK SELECTOR button(s) (21).

2. Place the transport in PLAY (24).

3. Use the optional Remote Foot Control (Fostex Model 8051 connected to jack 34) to Punch-In and Punch-Out.

The 3-digit TAPE INDEX COUNTER (28) indicates relative tape position.

Press the adjacent RESET button to set the display to 000.

Press the ZERO STOP button to program the deck to automatically stop at the 000 position when rewinding in the PLAY mode. Note: Zero Stop does not function during RECORD mode.

The PITCH CONTROL (29) allows you to vary the tape speed by approximately ±12%. Rotating it counter-clockwise (CCW) decreases tape speed, while rotating it clockwise (CW) increases tape speed. There is a center click-stop position for normal speed (OFF).

This can be used to correct tuning issues or for creative effects.

Press the STOP button (23) twice. The first press stops the tape transport, and the second press opens the cassette door (30). Insert or remove the cassette manually.

1. Start by “zeroing” all controls (set faders, knobs to off or neutral).

2. Connect the drum machine output to LINE IN A (20).

3. Set Input Selector A (2) to INPUT (Up).

4. Set Buss Selector A (4) to DIRECT (Down).

5. Set Meter Select Button (8) to RECORDER (Down).

6. Select AUX on the MONITOR SELECT (9) and plug in headphones (12).

7. Select Track 1 with the Record Track Selector (21, Down) and switch Dolby NR (31) On (Down).

8. Insert a cassette, press PLAY (24) for 5-6 seconds, then STOP (23) and press RESET (28).

9. Press RECORD (22) to enter input monitor mode (LED flashes green). Start the drum machine.

10. Set AUX Selector A (6) to TRK 1 (Down) and raise AUX Level Control A (7) to about 6.

11. Set Monitor Selector (9) to AUX (Down) and Phones level (9) to about 6.

12. Slowly advance Input Fader A (1) and adjust headphone level. Set a relative reference level.

13. Adjust EQ controls (3) as desired, readjusting Input Fader A (1) if necessary.

14. Cue the drum machine.

15. Press REC (22) and PLAY (24) simultaneously, then start the drum machine.

16. Adjust level with Input Fader A (1) so the loudest parts peak around +1 to +5 on Meter 1 (11), averaging zero.

17. When finished, press STOP (23).

1. Before doing anything else, disengage the RECORD TRACK Selector (21) for the track you recorded (set to Up/Safe position).

2. Press REWIND << (26) and cue the tape to the beginning using PLAY (24) and STOP (23).

3. Press both the RESET and the ZERO STOP buttons (28) to set the counter to 000 and enable auto-stop at that position.

4. Press PLAY (24). The recorded track will be displayed on the meter and heard through the monitor/headphones (ensure monitor settings allow playback, e.g., MONITOR SELECT set to AUX and corresponding AUX SELECTOR set to TRK).

Let’s overdub a bass guitar onto Track 2 while listening to Track 1 (drums):

1. Zero all controls.

2. Connect the bass guitar microphone to MIC IN 2 (19).

3. Set Channel B’s INPUT SELECTOR (2) to INPUT (Up).

4. Set Channel B’s BUSS SELECTOR (4) to TRK 2 (Down).

5. Set Channel B’s AUX SELECTOR (6) to TRK 2 (Down) and raise its AUX control (7) to 6 or 7.

6. Set MONITOR SELECT (9) to AUX (Down) and METER SELECT (8) to RECORDER (Down).

7. Press Dolby NR (31) On, and engage the Record Track Selector for Track 2 (21, Down).

8. Press RECORD (22) once (LED flashes green) to set the input level for the bass using Input Fader B (1). Adjust the PHONES level (9) to hear yourself.

9. Press PLAY (24) to rehearse with the recorded drum part (Track 1). First adjust EQ (3) for Channel B, then the Input Fader B (1) while watching Meter 2. Set this level first.

10. Now adjust AUX CONTROLS (7) for Channels A (Track 1 playback) and B (live bass input) to get the desired balance in the headphones. Use the PHONES control (9) for overall headphone loudness.

11. When ready, cue the tape (Rewind, Zero Stop, Reset), then press PLAY (24) and RECORD (22) simultaneously to start recording the overdub.

12. After recording, press STOP (23) and disengage the Record Track Selector for Track 2 (21, Up).

Important: Always disengage the Record Track Selector for tracks you wish to keep before starting a new recording or overdub on another track.

You can use the Accessory Send/Receive function available on LINE INPUTS A and B:

a. First, set the average record level for the channel (e.g., Channel B for MIC IN 2) without the external gear connected. This prevents overdriving the mic preamp.

b. Connect a stereo Y-cable (stereo 1/4″ plug to two mono 1/4″ plugs or clip leads) from LINE IN B (20) to the compressor/limiter. Connect the plug’s RING (Send) to the compressor’s input and the plug’s TIP (Receive) to the compressor’s output.

c. Adjust the input level using the Channel B Input Fader (1) and use the compressor/limiter’s own gain/threshold controls to achieve the desired effect.

Note: This requires a stereo 1/4″ plug inserted into LINE IN A or B.

There are no hard rules, only guidelines. A rhythm part (like drums) is generally recorded first as a common reference. Background vocals/fills are often next, as they might be combined (bounced) later to free up tracks. Leads and solos are typically recorded last to ensure they are first-generation recordings on the master tape for best quality.

1. Zero all controls. Connect the MON OUT jacks (15) to a stereo amplifier and speakers.

2. Connect the STEREO OUT L & R jacks (16) to the inputs of your stereo mixdown recorder.

3. Release all RECORD TRACK Selectors (21) (Up/Safe position).

4. Set all four INPUT Selectors (2) to the TRK position (Down).

5. Set all four BUSS Selectors (4) to the MIX position (Up).

6. Set the MONITOR SELECT (9) to STEREO (Down) and the METER SELECT (8) to MIXER (Up).

7. (Optional) Connect signal processors (like reverb): Connect AUX OUT (14) to the processor’s input. Connect the processor’s output(s) to BUSS IN L & R (13). Use a Y-cord if the processor has a mono output. The processor’s output volume controls adjust the effect amount returning to the stereo mix.

8. If using effects via AUX send, set the AUX SELECTORs (6) to SOURCE (Up) so the signal sent follows EQ and fader settings.

9. Press PLAY (24). Use the four INPUT FADERS (1) to set the relative balance between the tracks. Adjust PAN CONTROLS (5) for stereo placement. Use the MASTER STEREO OUTPUT FADER (10) to set the overall level going to the mixdown recorder.

10. If using effects, adjust the individual channel AUX LEVEL CONTROLS (7) to send the desired amount of signal from each track to the processor.

11. Adjust monitor levels (external amp) and the input level controls on the mixdown recorder.

12. Cue the tape and record a trial mix to check levels.

13. Make final adjustments and record your mix.

1. Connect a pair of matched microphones to MIC IN 1 and MIC IN 2 (19).

2. Set INPUT SELECTORS A and B (2) to Input (Up).

3. Set BUSS SELECTORS A and B (4) to MIX (Up).

4. Set STEREO PAN control (5) for Channel A fully left and Channel B fully right.

5. Set MONITOR SELECT (9) to Stereo (Down).

6. Set METER SELECT (8) to Recorder (Down).

7. Turn DOLBY NR SWITCH (31) On (Down).

8. Engage RECORD TRACK SELECT 1 and 2 (21, Down).

9. Set the MASTER STEREO OUTPUT FADER (10) between 7-8.

10. Have the band rehearse. Press RECORD (22) once to set levels using INPUT FADERS A and B (1) and EQ CONTROLS (3).

11. Ask the band to play the loudest part to check for distortion. You may need to “ride gain” (adjust faders continually) or reposition mics.

12. When ready, cue the tape, set ZERO STOP (28), and press RECORD (22) and PLAY (24) simultaneously.

1. Set up for True Stereo recording on tracks 1 and 2 as described previously.

2. Connect additional instruments (guitar, keyboard, synth) directly to LINE INPUTS C and D (20).

3. Set BUSS SELECTORS C and D (4) to DIRECT 3 and DIRECT 4 (Down).

4. Set MONITOR SELECT (9) to both STEREO and AUX (both Down).

5. Set AUX SELECTORS C and D (6) to SOURCE (Up).

6. Engage RECORD TRACK SELECT 3 and 4 (21, Down) in addition to 1 and 2.

7. During level setting and rehearsal, use INPUT FADERS A-D (1) and EQ (3) for levels. Use AUX LEVEL CONTROLS C and D (7) to blend the direct inputs (C&D) with the stereo mic balance (heard via STEREO monitor select) to get the desired headphone monitor mix.

8. Record all four tracks simultaneously by pressing RECORD (22) and PLAY (24).

1. Record a sequencer/drum machine clock pulse control signal (FSK recommended, use a converter like Fostex TS-15 if necessary) onto Track 4 using the SYNC IN jack (17). This input overrides other signals to track 4.

2. Connect TAPE OUT 4 (18) to the sync input of your sequencer or MIDI interface.

3. Use this sync track to trigger the sequencer, which plays MIDI instruments.

4. Connect the outputs of the MIDI instruments to a small external line mixer (e.g., Fostex 2050).

5. Connect the stereo outputs of the external mixer to the BUSS IN L & R jacks (13) on the Model 160.

6. Record other instruments (e.g., guitar, vocals) onto Tracks 1, 2, and 3 of the Model 160 as needed.

7. During mixdown, the MIDI instruments play live in sync via the external mixer and BUSS IN jacks, combining with the tracks recorded on the Model 160, and are recorded onto the final stereo mixdown deck. This keeps the MIDI instrument sounds as first-generation quality.

Example: Correcting a bad note on Track 2 (bass).

1. Leave Master Output Fader (10), Input Level Control B (1), and EQ controls B (3) as they were during the original recording to avoid level shifts.

2. Leave Record Track Select for Track 2 (21) engaged (Down).

3. Select both AUX and STEREO for the Monitor/Phones Select (9).

4. Set AUX Select B (6) to TRK 2 (Down). Adjust the headphone level (9). This lets you hear the already recorded part (tape playback) via AUX.

5. Set BUSS Select B (4) to MIX (Up) and the PAN Control B (5) to the center. This routes your new input (heard via STEREO monitor) to the center for monitoring during punch-in.

6. Set the Meter Select Button (8) to RECORDER (Down).

7. Set INPUT Select B (2) to INPUT (Up).

8. Press PLAY (24) and rehearse the punch-in. Listen to the pre-recorded part (via AUX monitor) and your live input (via STEREO monitor) simultaneously. Adjust the balance if needed using the AUX LEVEL CONTROL B (7) relative to the main PHONES level.

9. Find the start and end points for the section to be re-recorded (punch-in/out points). It’s often easier to replace a whole phrase or section.

10. Cue the tape slightly before the punch-in point.

11. Press PLAY (24).

12. At the punch-in point, press RECORD (22) (or use footswitch). You are now recording over the old part.

13. At the punch-out point, press STOP (23) (or use footswitch, or disengage Record Track Select 2).

14. Rewind and listen to the correction.

Example: Adding a new part to Track 3 during a chorus where it was previously silent (using the second punch-in method).

1. Connect your sound source(s). If one source, plug into MIC 2 or LINE IN C and set BUSS SELECT C (4) to DIRECT TRK 3 (Down). If mixing multiple sources to Track 3, connect them to LINE IN A-D / MIC IN 1-2, set BUSS SELECT for relevant channels to MIX (Up), set their PAN CONTROLS (5) to Left (for Track 3), and raise the MASTER STEREO OUTPUT FADER (10).

2. Select MONITOR SELECT AUX only (9, Down).

3. Set all channel AUX SELECTORS (6) to TRK 1-4 (Down).

4. Press PLAY (24). Adjust AUX LEVEL CONTROLS (7) for channels 1, 2, and 4 to create a monitor mix of the existing tracks.

5. Play the tape to about 10-15 seconds before the blank section begins and press STOP (23). You may want to RESET (28) the counter and turn on ZERO STOP (28).

6. Select RECORD TRACK SELECTOR 3 (21, Down).

7. Touch RECORD (22) until the INPUT/RECORD light is flashing green (Track 3 is monitoring input). Raise the appropriate INPUT FADER(s) (1) and adjust EQ (3) / effects for the new part. Check levels against existing material on Track 3 if necessary.

8. Press PLAY (24). Tracks 1, 2, & 4 will play (monitor mix). Rehearse playing the new part along with the existing tracks. Track 3 remains in input monitor mode (flashing green).

9. Locate the end point of the new part and where the original sound on track 3 resumes. Make note of counter numbers.

10. Cue the tape before the punch-in point.

11. Press RECORD (22) and PLAY (24) simultaneously. The transport enters PLAY with RECORD ready (LED solid green).

12. At the start of the blank section (punch-in point), press the RECORD TRACK SELECTOR 3 button (21). Track 3 instantly goes into record (LED solid red) and monitors input.

13. Play the new part.

14. Before the original sound on Track 3 resumes (punch-out point), press the RECORD TRACK SELECTOR 3 button (21) again. Track 3 returns to playback mode.

15. Rewind and listen.

Example 1: Bouncing Tracks 1, 2, 3 plus a new live instrument onto Track 4.

1. Set INPUT SELECTORs for channels A, B, C (2) to TRK (Down).

2. Plug the “plus one” live instrument into LINE IN D (20) or MIC IN 2 (19), and set Channel D’s INPUT SELECTOR (2) to INPUT (Up).

3. Set all DIRECT/MIX buss selectors (4) A-D to MIX (Up).

4. Raise the MASTER STEREO OUTPUT FADER (10) to the shaded grey area.

5. Since Track 4 is an ‘even’ track, it receives the Right channel of the stereo mix buss. Set the PAN knobs (5) for channels A, B, C, and D fully to the Right (CW).

6. Set METER SELECT (8) to RECORDER (Down). Assign RECORD TRACK 4 (21, Down).

7. Set MONITOR SELECTOR (9) to AUX only (Down). Set AUX SOURCE/TRACK SELECTOR for channel D (6) to TRK 4 (Down). Set AUX LEVEL CONTROLs for channels A, B, C (7) to zero. Set AUX LEVEL CONTROL for channel D (7) to 6-7. This ensures you monitor only the destination track (Track 4).

8. Depress RECORD (22) to enter input monitor mode for Track 4 (flashing LED).

9. Depress PLAY (24). Adjust Input Faders A, B, C, D (1), EQ (3), and Pan (5 – already set to R) to achieve the desired balance and level for the combined sound going onto Track 4. Rehearse until confident, as this mix is permanent once recorded.

10. When ready, cue the tape, press RECORD (22) and PLAY (24) simultaneously to record the bounce onto Track 4.

11. After recording, PLAY back Track 4 (monitoring via AUX LEVEL D) and verify the bounce is satisfactory before recording over Tracks 1-3.

12. You can now record new material over Tracks 1, 2, and 3 while listening to the combined tracks on Track 4.

Example 2: Bouncing Tracks 1, 2, 3 onto Track 4, adding reverb during the bounce.

1. Set INPUT SELECTORs A, B, C (2) to TRK (Down). (If adding a live sound, set its INPUT SELECTOR to INPUT, Up).

2. Set MONITOR SELECTOR (9) to STEREO (Down) and AUX off (Up).

3. Connect AUX OUT (14) to the reverb unit’s input. Connect the reverb unit’s output(s) to BUSS IN L & R (13). (Only BUSS IN R is needed if bouncing to Track 4).

4. Set ALL AUX SELECTORS A, B, C (and D if used) (6) to SOURCE (Up).

5. Set ALL BUSS SELECTORS A, B, C (and D if used) (4) to MIX (Up).

6. Set STEREO PAN CONTROLS (5) for channels A, B, C (and D if used) fully Right (CW).

7. Raise MASTER STEREO LEVEL CONTROL (10) to between 7-8.

8. Assign RECORD TRACK 4 (21, Down).

9. Press PLAY (24). Adjust INPUT FADERS (1) and EQ (3) for the desired dry balance of tracks 1, 2, 3 (and live input). Turn up the AUX SEND CONTROLS (7) for the channels you want to add reverb to. Adjust the reverb unit’s output level control to blend the wet signal (returning via BUSS IN R) with the dry signal.

10. Monitor the combined signal (going to track 4) via the STEREO buss through headphones/speakers connected to MON OUT.

11. When the mix is ready, cue the tape and press PLAY (24) and RECORD (22) simultaneously.

12. To playback Track 4 later: Set INPUT SELECTOR D (4) to INPUT (Up). MONITOR SELECTOR STEREO off (Up), AUX on (Down). AUX SELECTOR D (6) to TRK 4 (Down). Listen via AUX LEVEL D (7).

Note: Even if not adding a live sound on Channel D/MIC2, ensure its DIRECT/MIX buss selector (4) is set to MIX when bouncing to track 4, otherwise the R channel signal cannot be sent to track 4.

Advice: Noise increases and clarity decreases with each bounce. The practical limit is about two or three bounces.

To use an external processor like a compressor/limiter with the Mic inputs via the Line In A or B jacks:

1. Use a stereo 1/4″ phone plug.

2. Wire the RING conductor of the plug to the INPUT of your external device (this is the SEND signal from the Model 160).

3. Wire the TIP conductor of the plug to the OUTPUT of your external device (this is the RECEIVE signal returning to the Model 160).

4. Wire the SLEEVE (Shield) conductor of the plug to the ground connection of both the input and output of your external device.

Many electronics stores carry cables with a stereo phone plug on one end and RCA pin jacks or mono phone plugs on the other; ensure the connections match the Tip=Receive, Ring=Send configuration.

General Care:

• Keep the unit dry and clean, free of dust.
• Avoid shocks and extremes in temperature/humidity.

Routine Cleaning (Required):

Tape recorders require routine cleaning due to oxide shedding from the tape and magnetism build-up on metal parts in the tape path.

When: Clean about every four hours of constant use, or anytime a track sounds dull on playback, or before any important recording or mixing session.

How:

1. Turn the power OFF.

2. Heads, Guides, Capstan Shaft: Use Fostex Cleaners 9600 or isopropyl alcohol on a cotton swab. Be careful not to scratch the heads.

3. Pinch Roller: Use Fostex 9600 or an equivalent rubber cleaner. NEVER use isopropyl alcohol on rubber parts, as it can cause them to dry and crack.

4. Allow all surfaces to dry completely before inserting a cassette.

5. Use a canister of compressed air to keep the cassette compartment dust-free.

Routine demagnetizing (degaussing) is necessary to prevent noise build-up and loss of high frequencies.

When: Regularly, especially before important sessions.

How (using a head demagnetizer like Fostex HD-10):

1. Turn the Model 160 power OFF.

2. Remove any cassette tape from the area.

3. Turn the demagnetizer ON at a distance of about three feet (one meter) away from the Model 160.

4. Slowly bring the demagnetizer probe close to the first metal part in the tape path (e.g., tape guides, heads, capstan).

5. Slowly move the probe up and down near the part, then slowly move to the next part in the tape path.

6. Continue slowly moving along the entire tape path until you reach the end.

7. Slowly pull the demagnetizer straight away from the Model 160.

8. When the demagnetizer is about three feet away, turn it OFF.

Tip: Gently pull up the head cover (located above the heads) for easier access. It can be popped on and off.

1. Read Instructions: Read all safety and operating instructions before use.

2. Retain Instructions: Keep the manual for future reference.

3. Heed Warnings: Follow all warnings on the appliance and in the manual.

4. Follow Instructions: Adhere to all operating and use instructions.

5. Water and Moisture: Do not use near water (bathtub, sink, wet basement, pool, etc.). Do not expose to rain or moisture.

6. Ventilation: Ensure proper ventilation. Do not block openings by placing on soft surfaces (bed, sofa) or in enclosed spaces (bookcase, cabinet) that impede airflow.

7. Heat: Situate away from heat sources like radiators, stoves, or other heat-producing appliances (including amplifiers).

8. Power Sources: Connect only to the power supply type described in the manual or marked on the unit (Use only the specified Fostex AC adapter: AD-12 or 8070).

9. Power Cord Protection: Route cords so they are not likely to be walked on or pinched. Pay attention to plugs, receptacles, and exit points.

10. Cleaning: Clean only as recommended by the manufacturer (see maintenance section).

11. Nonuse Periods: Unplug the power cord if left unused for a long time.

12. Object and Liquid Entry: Prevent objects from falling and liquids from spilling into the enclosure through openings.

13. Damage Requiring Service: Service by qualified personnel is needed if: A. Power cord/plug is damaged; B. Objects fell/liquid spilled inside; C. Exposed to rain; D. Does not operate normally or shows marked performance change; E. Dropped or enclosure damaged.

14. Servicing: Do not attempt service beyond what’s described in the manual. Refer all other servicing to qualified personnel. There are no user-serviceable parts inside.