Fostex Fd-4

The FD-4 is a fairly compact unit and fairly light in weight at just 4kg. It is neatly divided into a mixer section and a recorder section. The mixer is pure analogue which makes it easy to learn and operate, but rules out any form of automation or programmability. The recorder section is fitted with the usual transport, record ready buttons and suchlike, and additionally has editing functions that take a little bit of learning but work fine once you have made the effort.There is also a jog/shuttle wheel that I shall comment on later. On the front are four inputs on quarter inch jack sockets and a headphone output. Round the back we find separate pairs of stereo and monitor output phono sockets, two auxiliary sends and two stereo auxiliary returns. I might only have expected a single auxiliary on a unit of this price so I am pleased at this. Another surprise is the provision of two balanced XLR mic inputs which feed channels 3 and 4 via insert points where a compressor, equaliser or noise gate could be connected. Very nice, but if they had 48 volt phantom power for capacitor mics they would have been perfect. Capacitor mics are now affordable and manufacturers should remember that. Also on the rear panel are two additional phono sockets for direct access to the recorder, bypassing the mixer section, and a quarter inch jack for the obligatory punch-in footswitch. As well as analogue audio connectors, the rear panel also sports a pair of MIDI sockets, IN and OUT. No THRU I’m afraid. I suppose THRU boxes are cheap enough but I can’t see that a full set of MIDI connections would have been too much of a problem to provide. A pair of digital optical connectors offer digital input to the recorder section and digital output of individual tracks or the entire mix. A backup function is also available. There are no S/PDIF phonos I’m afraid, although the Fostex COP-1 optical/coaxial convertor is a relatively inexpensive accessory. Last but not least is the computer-style SCSI socket with which the necessary external hard is connected. I do dislike SCSI cables since they are bulky, heavy and stiff, and it often seems that you have to situate equipment where the SCSI cable would like it to be rather than where you would like it! Until a suitable replacement for SCSI comes along, we will have to make do. Thursday January 1, 2004 David Mellor David Mellor David Mellor is CEO and Course Director of Audio Masterclass. David has designed courses in audio education and training since 1986 and is the publisher and principal writer of Adventures In Audio. More from Adventures In Audio... How to set the shortest attack time in your compressor How to make your masters louder, even though streaming platforms don't allow it Why the Tascam TM-82 dynamic microphone does not have an on/off switch What buffer size setting should you use in your DAW? Why you should (or should not) upgrade to an Apple Mac Studio How loud would you like me? Additive synthesis from first principles (less boring) Don't make these mistakes in pan Learn how to use chorussing (works in all DAWs) Linear phase filters and frequency response with the FabFilter Pro Q 2 Fat, thin, bright, dull, nasal, hollow, boxy - Understand what all these tonal balance terms mean Gain Staging Mistakes Part 1: Setting preamp gain Using noise as a creative effect with the Waves CLA-1176, Soundtoys Decapitator, and basic DAW EQ Making a perfect sine wave and animating it Graphic equalizer demonstration using the Waves GEQ Classic Harmonic enhancement: In the master or individual tracks? (Can you hear the difference?) What will happen if your snare drum clips? EQ demonstration HF bell boost How much bass can a Bluetooth speaker produce? One weird trick for monitoring your mix on a Bluetooth speaker Can a preamp's pad work as a pop filter Get the sound you want from the tools you have What is the phase button for on a microphone preamplifier? Choosing studio monitors - Is it your most important buying decision? The Audio Masterclass Music Production and Sound Engineering Course MENU ANY QUESTIONS? Adventures In Audio is a website by Audio Masterclass. Audio Masterclass helps students around the world learn music production and sound engineering online in their own home recording studio, with tutor support and assessments of their practical assignment projects leading to an Audio Masterclass certificate on successful completion. Audio Masterclass Home page About Audio Masterclass Course Catalog Privacy Policy Terms of Use Returns Policy Reactivate Your Enrollment Press Releases Site Map (XML) Email us at (contact info removed) Audio Masterclass provides distance learning, training and education in music production and sound engineering to students worldwide. Our methods have been refined through our experience in audio education since 1986, and our online audio training since 2001. Audio Masterclass courses include learning materials in a combi

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