MiXit-G
New member
Jump on this this thread Skipp if youre around, i see from a previous thread you own a couple D-1624's.
Or check your private messages.
Thanks.
Or check your private messages.
Thanks.
skippy
New member
Gotcha. What can I do for you?
MiXit-G
New member
Quote:
"I do this often. I have a road rack with both a Fostex D1624 and an Alesis Masterlink in it, and an Alesis Studio 32 mixer in the top. I can either record live-to-2 on the Masterlink, or multitrack stuff up to 16 tracks on the Fostex"
You dont mean 16 simultaneous?(only with lightpipe right?)
The unit im buying is about two years old at a guess what version software does it have?( i wanna put a bigger HD init)
With the intention to increase simultaneous channels i want to get a channel strip (Maybee dual) and run it into either the AES/EBU or s/pdif is it possible to arm analog inputs with digital ones?
Last one is what exactly can i pipe out of AES/EBU or s/pdif outputs? Wavs? audio? both? can i transfer all the wavs to pc at the same time thru them or would i be better to use a jazz drive or similar?
Thanks Skipp
"I do this often. I have a road rack with both a Fostex D1624 and an Alesis Masterlink in it, and an Alesis Studio 32 mixer in the top. I can either record live-to-2 on the Masterlink, or multitrack stuff up to 16 tracks on the Fostex"
You dont mean 16 simultaneous?(only with lightpipe right?)
The unit im buying is about two years old at a guess what version software does it have?( i wanna put a bigger HD init)
With the intention to increase simultaneous channels i want to get a channel strip (Maybee dual) and run it into either the AES/EBU or s/pdif is it possible to arm analog inputs with digital ones?
Last one is what exactly can i pipe out of AES/EBU or s/pdif outputs? Wavs? audio? both? can i transfer all the wavs to pc at the same time thru them or would i be better to use a jazz drive or similar?
Thanks Skipp
skippy
New member
I can do 16 tracks at a time with no problem. 8 tracks use the internal converters and go onto tracks (for example) 1-8, and 8 use an external 8-channel converter box which drives tracks 9-16 through the associated ADAT in. You set the unit for ADAT digital input, and leave the ADAT input for tracks 1-8 unoccupied (leave the blanking plug in it so that it doesn't see any input).
The neat and only-barely-documented thing about the Fostex multitracks is that if you the unit set up for digital in, and it can't find sync on the digital input port for a group of channels, then those channels will silently default to using the internal converters- so you can mix and match. I set the Fostex up as the clock master, and drive its word clock into the external converter box to set up sample sync. Works like a charm.
I have two converter boxes: the Fostex AC2496, which I got first and keep in my road rack all the time, and the RME ADI-8 which now lives in the studio. For really critical remote recording, I'll pull the ADI-8 and take it with me: it is a *very* good converter setup. In the studio, I'll usually use it in preference to the internal Fostex converters, for both input and output, if I need 8 tracks or less. But if I need 16 at once, I have no problem just using the internal converters for the other 8: they really are pretty damned good, and you have to really split hairs to hear any difference between the RME and the Fostex.
With respect to firmware version: it doesn't matter. Whatever it has, you can upgrade to 1.8 if you have access to a Zip drive. I'm still checking on this new 2.2 stuff, and if I can get it to work, I'll certainly post it here: but I'd counsel caution until we know for sure...
I don't have the AES option on mine, so I have't played with it. however, I assume that you can mix and match analog and digital by using the same hack method I described above. The only thing that shows up on the digital outputs is one of the digital audio protocol formats- S/PDIF, ADAT, or AES/EBU. If you want WAVs out, you can write them to a slave device on the SCSI port (ZIP, JAZ, or a limited set of other drives). You can then disconnect that unit and carry it over to your computer, plugging it into the SCSI port there: I call this "sneakernet".
I very much prefer to use an ADAT-capable soundcard (Ihave the RME Hammerfall), and that allows me to fly 16 tracks at once into Cubase with perfect sync and no drama at all. Seems to me that dragging things around via SCSI is a much bigger pain in the butt, but there are people here who will disagree with me on that (some of them pretty vigorously!).
I have no experience using AES/EBU, and my studio has been completely optimized around ADAT optical: so you're on your own with that set of questions. But in an ADAT-based world, I can tell you that it hums along very nicely indeed!
The neat and only-barely-documented thing about the Fostex multitracks is that if you the unit set up for digital in, and it can't find sync on the digital input port for a group of channels, then those channels will silently default to using the internal converters- so you can mix and match. I set the Fostex up as the clock master, and drive its word clock into the external converter box to set up sample sync. Works like a charm.
I have two converter boxes: the Fostex AC2496, which I got first and keep in my road rack all the time, and the RME ADI-8 which now lives in the studio. For really critical remote recording, I'll pull the ADI-8 and take it with me: it is a *very* good converter setup. In the studio, I'll usually use it in preference to the internal Fostex converters, for both input and output, if I need 8 tracks or less. But if I need 16 at once, I have no problem just using the internal converters for the other 8: they really are pretty damned good, and you have to really split hairs to hear any difference between the RME and the Fostex.
With respect to firmware version: it doesn't matter. Whatever it has, you can upgrade to 1.8 if you have access to a Zip drive. I'm still checking on this new 2.2 stuff, and if I can get it to work, I'll certainly post it here: but I'd counsel caution until we know for sure...
I don't have the AES option on mine, so I have't played with it. however, I assume that you can mix and match analog and digital by using the same hack method I described above. The only thing that shows up on the digital outputs is one of the digital audio protocol formats- S/PDIF, ADAT, or AES/EBU. If you want WAVs out, you can write them to a slave device on the SCSI port (ZIP, JAZ, or a limited set of other drives). You can then disconnect that unit and carry it over to your computer, plugging it into the SCSI port there: I call this "sneakernet".
I very much prefer to use an ADAT-capable soundcard (Ihave the RME Hammerfall), and that allows me to fly 16 tracks at once into Cubase with perfect sync and no drama at all. Seems to me that dragging things around via SCSI is a much bigger pain in the butt, but there are people here who will disagree with me on that (some of them pretty vigorously!).
I have no experience using AES/EBU, and my studio has been completely optimized around ADAT optical: so you're on your own with that set of questions. But in an ADAT-based world, I can tell you that it hums along very nicely indeed!
MiXit-G
New member
Thanks Skipp you really summed it up!
For the moment i'll get by with the internal A/D's i think then later i might pick up one of those 8 channel converter boxes.
I'm thinking of selling my sound card for one with adat I/O by the time i buy a jazz drive and disks probly cost only a little more.
RE transferring to pc via lightpipe to cubase is that realtime? and do you need word sync cabling or does the lightpipe do that?
Im going to set up a road rig and im debating how many rack spaces to get, i'm thinking 6 but im worried about weight.
How many in yours?
Im also deliberating if ill need a patch bay to reroute the mixer for playback,what do you think?
The reason i want to upgrade the firmware is so i can put a large hard drive in it (only a 10gig at the moment) and the earlier firmware versions dont support the larger size drives. see link
http://www.fostex.co.jp/int/hdlist/d1624_mk2.html
One more: what are those coaxial I/O's above the analog outputs? (see pic courtesy of vendor)
For the moment i'll get by with the internal A/D's i think then later i might pick up one of those 8 channel converter boxes.
I'm thinking of selling my sound card for one with adat I/O by the time i buy a jazz drive and disks probly cost only a little more.
RE transferring to pc via lightpipe to cubase is that realtime? and do you need word sync cabling or does the lightpipe do that?
Im going to set up a road rig and im debating how many rack spaces to get, i'm thinking 6 but im worried about weight.
How many in yours?
Im also deliberating if ill need a patch bay to reroute the mixer for playback,what do you think?
The reason i want to upgrade the firmware is so i can put a large hard drive in it (only a 10gig at the moment) and the earlier firmware versions dont support the larger size drives. see link
http://www.fostex.co.jp/int/hdlist/d1624_mk2.html
One more: what are those coaxial I/O's above the analog outputs? (see pic courtesy of vendor)
Attachments
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skippy
New member
The transfer is realtime. The ADAT data stream has clock data built in: word clock can be derived from the ADAT stream by the receiver. However, I personally prefer to use word clock, just to be on the safe side: the TOSlink hardware is being run well beyond its deisgn point, and I'd rather be sure that I'm getting the stuff (since I never get a second chance!). The 1624 comes with word clock I/O: those are the BNC connectors above the analog RCAs you were talking about. Use the D1624 as the master, and drive the word clock on your converter box with it.
I have 11 slots total in my road racks: D1624, AD2496, Alesis Masterlink for a live-to-2 safety, Drawmer DL241 in case I need a limiter for something, Sony MDS-E10 in case I need to be providing SFX or entry/exit music as well, and a power conditioner/light box.
The D1624 and AC2496 live in one 6-slot case, and everything else lives in an SKB "Mini Gig Rig" under the board. I don't use a patchbay in it, primarily because for my remote work it is typically "get it in the can and get out": I don't do a lot of sophisticated check mixes on site- just the rough mix for the 2-track safety. And I _never_ do overdubs on site. Having a simple mixer with the inputs switchable from mic to line handles that nicely: mics go to mic ins, playback outs go to the line ins, and direct outs go to the record ins. Set and forget. All the playing-around-with I do back at the studio: I just pull the disk carrier out of the road unit, stick it into the studio unit, and I'm ready to go. *Very* convenient!
You definitely want the 1.8 firmware, and not just for the disk size limitation fixes. There are supposedly some bugfixes in there too. Just download the firmware from the Fostex USA site, put it on a SCSI Zip disk, connect it to the D1624, set it for Unit 6, and boot up. The D1624 should recognize the firmware file and autoload it. Of course, that seldom happens in real life, so there is a manual load procedure you can follow as well: do a search for it here on the site (search terms fostex firmware scsi). Hope that helps...
I have 11 slots total in my road racks: D1624, AD2496, Alesis Masterlink for a live-to-2 safety, Drawmer DL241 in case I need a limiter for something, Sony MDS-E10 in case I need to be providing SFX or entry/exit music as well, and a power conditioner/light box.
The D1624 and AC2496 live in one 6-slot case, and everything else lives in an SKB "Mini Gig Rig" under the board. I don't use a patchbay in it, primarily because for my remote work it is typically "get it in the can and get out": I don't do a lot of sophisticated check mixes on site- just the rough mix for the 2-track safety. And I _never_ do overdubs on site. Having a simple mixer with the inputs switchable from mic to line handles that nicely: mics go to mic ins, playback outs go to the line ins, and direct outs go to the record ins. Set and forget. All the playing-around-with I do back at the studio: I just pull the disk carrier out of the road unit, stick it into the studio unit, and I'm ready to go. *Very* convenient!
You definitely want the 1.8 firmware, and not just for the disk size limitation fixes. There are supposedly some bugfixes in there too. Just download the firmware from the Fostex USA site, put it on a SCSI Zip disk, connect it to the D1624, set it for Unit 6, and boot up. The D1624 should recognize the firmware file and autoload it. Of course, that seldom happens in real life, so there is a manual load procedure you can follow as well: do a search for it here on the site (search terms fostex firmware scsi). Hope that helps...
MiXit-G
New member
Yes very helpful.
"Having a simple mixer with the inputs switchable from mic to line handles that nicely"
My soundcraft does not have this switch but if both are plugged in (Mic and Line) it defaults to the line so during recording i can just have the line inputs only half plugged in the when i do playback push them in.
This is a little item i stumbled on im sure i'll be adding for a measly $250:
http://www.behringer.com/02_products/prodindex.cfm?id=ADA8000&lang=eng
When you go and record gigs i assume that you create a program and record the whole set on e.g. P01 and then just take the drive out of your road rig and into you studio one.
Thing is i cant do this because (scsi jazz being my likely choice of media transfer) it wont all fit on a 1gig jazz drive, and if i can use multiple jazz disks will i have to paste the file together later?
This is probably where a soundcard with lightpipe comes into its own.
Sorry if im hounding you.
I think this will be a great unit
I just transferred the money today i should have it in a couple days.
Cant wait!!
"Having a simple mixer with the inputs switchable from mic to line handles that nicely"
My soundcraft does not have this switch but if both are plugged in (Mic and Line) it defaults to the line so during recording i can just have the line inputs only half plugged in the when i do playback push them in.
This is a little item i stumbled on im sure i'll be adding for a measly $250:
http://www.behringer.com/02_products/prodindex.cfm?id=ADA8000&lang=eng
When you go and record gigs i assume that you create a program and record the whole set on e.g. P01 and then just take the drive out of your road rig and into you studio one.
Thing is i cant do this because (scsi jazz being my likely choice of media transfer) it wont all fit on a 1gig jazz drive, and if i can use multiple jazz disks will i have to paste the file together later?
This is probably where a soundcard with lightpipe comes into its own.
Sorry if im hounding you.
I think this will be a great unit
I just transferred the money today i should have it in a couple days.
Cant wait!!
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MiXit-G
New member
I spose with the live gig thing i could just mix it down to a stereo track later, its not like the quality is going to be that critical anyways.
While were on the subject do you setup your own mics at gigs or do you split off the venues mics?
While were on the subject do you setup your own mics at gigs or do you split off the venues mics?
skippy
New member
I'm not sure how my jobs will relate to yours. I always set up my own mics- but I'm generally also responsible for the live sound as well, so it is a requirement anyway. The venues I work generally have no usable house system (note: the stuff I'm doing lately is _not_ rock), so I can mic up to record, and use a submix to feed the FOH and a submix for the 2-track safety. The style of music I'm working with makes this very straightforward (very little fader work required during the performance, usually: the FOH is used to fill, not to kill!).
If it were rock where the FOH is everything, there's just flat no way I could do both FOH and get usable tracks. Even some of the acoustic stuff I do do pushes the envelope pretty hard: did simultaneous record/FOH for a live show with a 150-voice women's a capella choir with a 7-piece Dixieland jazz band set up inside the arc of the risers. That was a *lot* of work, and the result was not as pleasing as if I'd been able to concentrate on only the recording aspect (FOH was good, but the recording suffered)... The good news is that that recording wasn't intended for release, so I could get away with it. The real focus was the perfromance for the audience, not the recording. Next time a deal like that comes up, I'll bring 2 mixers, and mult the direct outs to the recorder and to the line ins of a _separate_ FOH board, where somebody else can screw with the faders without mucking up my levels.
If I had to work in a venue with an already existing rig, I'd still place my own mics whereever possible- and rent the minimum number of splitters I needed for those exceptional, annoying cases. But your mileage will certainly vary!
If it were rock where the FOH is everything, there's just flat no way I could do both FOH and get usable tracks. Even some of the acoustic stuff I do do pushes the envelope pretty hard: did simultaneous record/FOH for a live show with a 150-voice women's a capella choir with a 7-piece Dixieland jazz band set up inside the arc of the risers. That was a *lot* of work, and the result was not as pleasing as if I'd been able to concentrate on only the recording aspect (FOH was good, but the recording suffered)... The good news is that that recording wasn't intended for release, so I could get away with it. The real focus was the perfromance for the audience, not the recording. Next time a deal like that comes up, I'll bring 2 mixers, and mult the direct outs to the recorder and to the line ins of a _separate_ FOH board, where somebody else can screw with the faders without mucking up my levels.
If I had to work in a venue with an already existing rig, I'd still place my own mics whereever possible- and rent the minimum number of splitters I needed for those exceptional, annoying cases. But your mileage will certainly vary!
skippy
New member
Re: the "1 big program" thing: usually I do record it in a very few programs (depending upon where there's a long enough pause to start a new program) and then edit it into multiple programs later. With the ADAT soundcard, you could fly it over as 1 program and do the edits on the DAW. Or you could use the editing functions on the D1624 to do it there: copy and paste between programs to move a single tune to a new program, followed by an erase to delete that tune and move the big-program start point to the start of the next tune, for example.
I'd prefer to do that on the computer, though, not the D1624. That way I could back off the original as-recorded tracks to tape (I use a 5-GB Exabyte, and the backup software I use can span multiple tapes if needed) _before_ starting any potentially destructive edits. You could do this from the D1624 with a DVD writer, of course: but I still like the ADAT approach, since I know that I'm going to have to get the stuff onto the DAW sooner or later anyway.
If it's a location recording thing that isn't a live performance, so you can have artificial starts and stops, then it's just like any other recording date... One size does not fit all!
I'd prefer to do that on the computer, though, not the D1624. That way I could back off the original as-recorded tracks to tape (I use a 5-GB Exabyte, and the backup software I use can span multiple tapes if needed) _before_ starting any potentially destructive edits. You could do this from the D1624 with a DVD writer, of course: but I still like the ADAT approach, since I know that I'm going to have to get the stuff onto the DAW sooner or later anyway.
If it's a location recording thing that isn't a live performance, so you can have artificial starts and stops, then it's just like any other recording date... One size does not fit all!
MiXit-G
New member
Thanks for your help Skipp, i guess i'll work most of it out as i go.
I'll be sure to post more questions about the unit in the future.
I'll be sure to post more questions about the unit in the future.
ausrock
Well-known member
MiXit,
Just hijacking the thread for a minute..............Skippy, did you pick up my reply re the Aust distributors/software in that other "D" series thread last week?
Mix,
I use the earlier D160 with a Fostex VC-8 converter without any problems. If you need any tech support, contact Syntech in Sydney on 02 94174700. (It's bad when I know that number off by heart
)
ChrisO
Just hijacking the thread for a minute..............Skippy, did you pick up my reply re the Aust distributors/software in that other "D" series thread last week?
Mix,
I use the earlier D160 with a Fostex VC-8 converter without any problems. If you need any tech support, contact Syntech in Sydney on 02 94174700. (It's bad when I know that number off by heart
)ChrisO
MiXit-G
New member
Yes ive been looking at the VC but i cant seem to get a shot of the back panel, does it have 8 analog inputs back there?
Does it convert lightpipe>analog or analog>lightpipe?
Does it convert lightpipe>analog or analog>lightpipe?
skippy
New member
It's an A/D, so it converts 8 analog inputs to 8 channels of digital lightpipe: input only. The D1624 already has 16 channels of D/A built in, so you don't actually need a separate standalone D/A to play back 16 simutaneous tracks.
But I still like having the extra 8 D/A converters in the RME ADI-8, so that in the unusual case that I have 24 tracks in use in my DAW, I can play them all out simultaneously and mix 24-to-2 in the analog domain. Or I can send auxes through those outs to analog hardware in my rack, and *then* mix in the analog domain. 16 track outs go through the D1624s internal D/As (put the machine in record-pause, and it'll monitor whatever is on the ADAT inputs through its analog outs: very nice!) and the final 8 through the ADI-8's D/A. Tidy...
But I still like having the extra 8 D/A converters in the RME ADI-8, so that in the unusual case that I have 24 tracks in use in my DAW, I can play them all out simultaneously and mix 24-to-2 in the analog domain. Or I can send auxes through those outs to analog hardware in my rack, and *then* mix in the analog domain. 16 track outs go through the D1624s internal D/As (put the machine in record-pause, and it'll monitor whatever is on the ADAT inputs through its analog outs: very nice!) and the final 8 through the ADI-8's D/A. Tidy...
MiXit-G
New member
I notice that its 20bit and hasnt got rack ears, i dont know.
At this stage i would need convincing not to go for that crappy behringer product.
It would have to sound a fair bit better.
At this stage i would need convincing not to go for that crappy behringer product.
It would have to sound a fair bit better.
MiXit-G
New member
I have been looking around for a scsi storage device like a MO or JAZZ drive, but it got me thinking can i use a scsi 3.5 hard drive???
skippy
New member
Some of 'em, yes. Look here for details on which ones: http://www.fostex.co.jp/int/hdlist/media.html .
MiXit-G
New member
No there does not seem to be support for that type of media according to the section "Operation-Confirmed SCSI Devices" only jaxx dvd or mo type devices.