ALESIS ADAT LX20 Reference Manual Contents CONTENTS Introduction How To Use This Manual Conventions 5 6 6 1 SETTING UP AND MAKING CONNECTIONS 7 7 7 7 8 8 8 9 10 11 11 11 11 12 13 14 15 15 16 Unpacking and Inspection Operating Environment Thermal Considerations in Rack Mounting Mounting on a Shelf or Non-Rack Enclosure Avoiding Electromagnetic Interference AC Power Hookup Avoiding Ground Loops Line Conditioners and Protectors Analog Audio Connections About Audio Cables Rear Panel Input and Output Layout Inputs Typical input jack hookups Outputs Sync In/Out Digital Audio Connections About Digital Audio In/Out Footswitches 2 LX20 ESSENTIALS About The Display Time Counter Meters Record/Input Lights Blocks Status Indicators Interpolation Indicator Buttons and Controls Power Switch Record Enable Buttons Transport Controls Eject Button Input Select Buttons Pitch Control Buttons Location Buttons Edit, Format, and Select Buttons Auto Motion Buttons Differences Compared to Analog Recording "Threaded" vs. "Unthreaded" Tape Digital Distortion and Headroom Choosing the Right S-VHS Cassette Tape ADAT LX20 Reference Manual 20 20 20 20 20 21 21 21 21 21 21 21 21 22 22 22 22 22 23 23 23 24 1 Contents What is Tape Formatting? 24 3 POWER-UP AND TAPE FORMATTING 26 26 27 28 28 28 29 31 31 31 31 Power-up and Tape Insertion Setting Tape Length How to Format Tapes About Type I and Type II Formats Defeating The Write Protect Tab General Formatting Procedure Recording While Formatting Re-Formatting a Previously Formatted Tape Notes About Formatting Recording a "Benchmark" Tape 4 RECORD AND PLAYBACK BASICS 33 33 33 33 34 34 35 35 35 36 36 36 37 37 37 38 38 38 38 39 Understanding the Time Counter Change Display Format Set the Input Mode for Analog Audio Choose Analog Or Digital Input Digital Input Re-Routing Select Track(s) for Recording Tape Motion Control: The Transport Stop Play Record Other Transport Buttons Step-By-Step Procedures Recording Playback Reviewing and Cueing Monitoring Default Mode Auto Input All Input 5 AUTOLOCATION AND LOOP FUNCTIONS 41 41 41 41 42 42 43 44 44 Autolocation Return to Zero Locate Points Auto Play Auto Return Looped Playback Loop Limit Deferred Play and Record 6 PUNCHING AND AUTOMATED RECORDING 45 2 ADAT LX20 Reference Manual Contents Manual Punching Options Transport Controls Record Enable Buttons Footswitch Automated Recording Looped Recording Rehearsing Adjusting Punch Crossfade Time 45 45 45 46 46 47 47 48 7 PITCH CONTROL 49 8 ABOUT DIGITAL AUDIO IN/OUT ADAT Optical Interface Basics About 16-bit and 20-bit signal transfers Selecting The Digital Output Mode Type II (20-bit) to Type II (20-bit) Type II (20-bit) to Type I (16-bit) 51 51 51 52 52 52 9 USING THE LX20 LRC REMOTE 53 10 MULTIPLE LX20/ADAT OPERATION Overview Synchronizing Machines Automatic Renumbering Master/Slave Interaction Achieving Lock Independent Slave Mode Formatting Multiple Tapes Recording Digital Audio Bouncing Tracks Between ADATs Reassigning Channels to Different Tracks Making Digital Backups Making a 16-bit copy from a 20-bit master Recording Digital Audio from Other Sources Digital Clock Considerations Combining LX20s and ADATs LX20 Transport Speed Sample Rate vs. Pitch Control Input Monitoring Polarity Differences Connections 55 55 55 56 57 57 57 57 58 58 59 60 61 61 62 62 62 62 63 63 64 11 APPLICATIONS Overview Combined Multitrack/Mixdown Deck ADAT LX20 Reference Manual 65 65 65 3 Contents Live/Long-Term Recording Locking to Video: Code-Only Master Libraries and Archives Modular Recording Computer Control and MIDI MIDI Systems: Virtual Tracking MIDI Systems: Automated Mixdown MIDI Systems: Virtual Tracks and Automated Mixdown MIDI Machine Control: Virtual Remote Control The ADAT Optical Interface and Hard Disk Recording Digital Audio Transfer Options Typical applications The ADAT-PCR Computer Interface A Real-World Example Sync Issues Hard Disk Backup Pre-Mastering with the LX20 66 66 67 67 67 67 68 68 68 69 69 70 70 71 71 71 72 APPENDIX A DIGITAL RECORDING CONCEPTS Analog Recording Basics Digital Recording Basics The Advantages of 20-Bit Recording Why S-VHS? 73 73 73 74 75 APPENDIX B TROUBLESHOOTING Re-Initializing: Try This First Troubleshooting Index Checking Software Version Error Rate Display About Error Rate Readings ADAT Head Life ADAT Head Maintenance Drum Time Display Tape Care and Maintenance Maintenance/Service Cleaning Maintenance Obtaining Repair Service 76 76 76 77 78 78 79 79 79 81 82 82 82 83 APPENDIX C ERROR CODES Automatic Brake Calibration Procedure Steps To Take Before Calling For Help 84 86 87 APPENDIX D SPECIFICATIONS 88 GLOSSARY 4 90 ADAT LX20 Reference Manual Introduction INTRODUCTION Thank you for purchasing the Alesis ADAT-LX20 20-Bit Digital Audio Recorder. To take full advantage of the LX20's functions, and to enjoy long and trouble-free use, please read this manual carefully. Here are some of the LX20's most significant features: · Low tape cost. The LX20 can record over an hour of audio on a standard S-VHS tape cassette. Superb fidelity. The LX20 offers 20-bit recording to tape using the ADAT Type II format, along with a choice of a 44.1 or 48 kHz sampling rate (with 64 times oversampling), for better-than-CD quality sound. Digital and analog inputs/outputs. In addition to conventional analog inputs and outputs, a "master" digital I/O carries all eight tracks simultaneously via optical cable, allowing for lossless signal transfers between ADAT interfacecompatible devices (tape recorders, hard disk recorders, synthesizers, signal processors, etc.). Easy expandability for more tracks. Multiple LX20s can be synchronized without any external hardware, and without giving up any tracks, to expand your digital recording system. Two LX20s give 16 tracks, three LX20s 24 tracks, and so on. Up to 16 LX20s or other ADAT-family digital recorders can work together, and all are locked within 20 microseconds (1 sample) accuracy. Included remote control. Each LX20 comes with the LRC (Little Remote Control) for remote control of transport, autolocation, and input select functions. Optional remote control. The BRC (Big Remote Control) allows for sophisticated synchronization and overdubbing functions for multiple ADATcompatible machines, remote control of virtually all recorder functions, and SMPTE read/generate. International no-hassles power compatibility. The LX20 accepts any AC voltage between 90 and 250 volts, so you can use it whether you're laying down tracks in L.A, mixing in Munich, or synching in Seoul. (Or dealing with a brownout in New York City, for that matter.) Built-in time code. Each LX20 tape is formatted with a proprietary time code that is much more accurate than SMPTE, and time-stamps the tape with singlesample accuracy. This allows for machine synchronization without giving up an audio track, accurate tape counter readings without "slippage," and intelligent autolocation functions. Compatibility with multi-channel mixdown formats. The LX20 is ideal for quadraphonic, surround, and theatrical sound applications that require more than two channels for the final master. · · · · · · · · ADAT LX20 Reference Manual 5 Introduction HOW TO USE THIS MANUAL Though we recommend you read through the entire manual once, those having general knowledge about multitrack recorders should use the table of contents and index to reference specific functions while using the LX20. Here's how the manual is organized: Chapter 1: Setting Up and Making Connections. This covers installation issues as well as how to connect up the LX20 to other gear in a system. Chapter 2: LX20 Essentials. This section provides a brief tour of LX20 highlights, dsecribes some of the buttons and controls, and discusses how to choose the right tape. Chapter 3: Power-Up and Tape Formatting. Time to turn on the power and format a tape before recording. Chapter 4: Recording and Playback Basics. Here's the lowdown on shuttling tape, recording, and playing back. Chapter 5: Autolocation and Loop Functions. The LX20 can find specific points on tape, as well as loop continuously between two points. Chapter 6: Punching and Automated Recording. This chapter describes how to replace sections of previously-recorded tracks. Chapter 7: Pitch Control. If you're ever had to retune a piano to a track, you'll appreciate the LX20's ability to tune a track to piano instead. Chapter 8: About Digital Audio In/Out. All ADAT-compatible devices include a fiber optic interface that can carry 8 channels of audio simultaneously. This chapter tells how to get the most out of this advanced interface. Chapter 9: Using the LRC Remote. The LX20 comes with a remote control unit that duplicates many front panel functions. Chapter 10: Multiple LX20/ADAT Operation. ADAT-compatible devices can work together synergistically to create a sophisticated recording system, as detailed in this chapter. Chapter 11: Applications. There's a lot more to the LX20 than meets the eye, such as "snapshot" automation, combined master/mixdown deck, virtual MIDI tracks for instrument parts and signal processor control, and more. Appendices. Features an explanation of digital audio recording concepts, troubleshooting, maintenance and service information, specifications, a Glossary and an Index. Conventions All front panel buttons and rear panel connectors are referred to in this manual just as their names appear on the LX20, using all capital letters (Examples: PLAY button, AUTO INPUT button, etc.). 6 When something important appears in the manual, an icon (like the one on the left) appears in the left margin. This symbol indicates that this information is vital when operating the LX20. ADAT LX20 Reference Manual Chapter 1 - Setting Up and Making Connections CHAPTER 1 SETTING UP AND MAKING CONNECTIONS UNPACKING AND INSPECTION Your ADAT-LX20 was packed carefully at the factory. The shipping carton was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the LX20 for servicing. The shipping carton should contain the following: · · · · · · · ADAT-LX20 with the same serial number as shown on shipping carton Power Cable Optical Cable LRC remote control unit This instruction manual Blank S-VHS ST-120 cassette Alesis warranty card Register your purchase so that you may be informed of upgrades. If you have not already filled out your warranty card and mailed it back to Alesis, please do so now. OPERATING ENVIRONMENT THERMAL CONSIDERATIONS IN RACK MOUNTING You can mount the LX20 in an equipment rack (taking up 3 rack spaces) or place it on a table or shelf. When you install it, note that heat is the major enemy of electronic equipment. Please observe the following: · The LX20 is designed to perform properly over a range of ambient temperatures from 10° C to +40° C (50° F to 104° F), in up to 80% non-condensing humidity. These are not absolute limits, but Alesis cannot guarantee that the LX20 will meet its published specs or remain reliable if operated outside of these ranges. Always allow adequate ventilation behind the LX20. Do not seal any enclosure that holds the LX20. It is not necessary to leave an empty rack space above or below the LX20 unless it runs hot enough to affect equipment above or below it. If your environment is unusually warm and not air conditioned, space between units will help the units run cooler and may lessen tape oxide shedding. Do not mount the LX20's rack at a an angle. The LX20 should not be angled back or mounted vertically. · · ADAT LX20 Reference Manual 7 Setting Up and Making Connections - Chapter 1 MOUNTING ON A SHELF OR NON-RACK ENCLOSURE To mount the LX20 on a shelf or other flat surface, Alesis recommends attaching stick-on rubber feet to avoid scratching the shelf's surface with the deck's bottom. Please observe the general comments on thermal considerations given under "Thermal Considerations in Rack Mounting" no matter where or how the deck is mounted. AVOIDING ELECTROMAGNETIC INTERFERENCE Like all tape machines, the LX20 uses magnetic tape that can be sensitive to electromagnetic interference. Generally this is not a problem, but avoid mounting the LX20 next to devices that generate strong magnetic fields such as power amplifiers, monitors and video display devices, speakers, etc. AC POWER HOOKUP With the LX20 off, plug the power cord's female end into the LX20's POWER INPUT socket, and the male (plug) end into a source of AC power. It's good practice not to turn on the LX20 until all other cables are hooked up. The LX20 works with any AC voltage from 90 to 250 volts, 50 to 60 Hz. This eliminates the need for transformers or voltage switches. Your LX20 was supplied with the correct power cord for your country or local area, however only the following alternative power cords are approved for use with ADAT: · · · · For 90-120 VAC 50/60 Hz operation in the US, Canada and/or Japan, use Alesis UL/CSA power cord #7-41-0001. For 240 VAC 50 Hz operation in England, use Alesis Power cord #7-41-0004. For 220 VAC 50 Hz operation in Europe and Scandinavia, use Alesis EU power cord #7-41-0002. For 240 VAC 50 Hz operation in Australia, use Alesis AS power cord #7-41-0003. The LX20's IEC-spec AC cord (do not substitute any other AC cord) is designed to feed an outlet that includes three pins, with the third, round pin connected to ground. The ground connection is an important safety feature and should never be "lifted." Unfortunately, the presence of a third ground pin does not always indicate that an outlet is properly grounded. Use an AC line tester to determine this. If the outlet is not grounded, consult with a licensed electrician. Alesis cannot be responsible for problems caused by using the LX20 or any associated equipment with improper AC wiring. 8 ADAT LX20 Reference Manual Chapter 1 - Setting Up and Making Connections AVOIDING GROUND LOOPS In today's studio, there are many opportunities for ground loop problems to occur. These show up as hums, buzzes, or sometimes radio reception, and can occur if a piece of equipment "sees" two or more different paths to ground, as shown below. shielded cable Device A path 1 Device B path 2 To AC power service One path goes from device A to ground via the ground terminal of the threeconductor AC power cord, but A also sees a path to ground through the shielded cable and AC ground of device B. Because ground wires have a small amount of resistance, small amounts of current can flow through ground and generate a voltage along the cable shield. This signal may end up getting induced into the hot conductor. The loop can also act like an antenna into which hum is induced, or can even pick up radio frequencies. Furthermore, many components in a circuit connect to ground. If that ground is "dirty" and contains noise, it might get picked up by the circuit. Ground loops cause the most problems with high-gain circuits, since massive amplification of even a tiny bit of noise can give an audible signal. Most ground loop problems can be solved by plugging all equipment into the same grounded AC source. However, it is important to make sure that the AC source is not overloaded and is properly rated to handle the gear plugged into it. For really tough cases, you may need to break the connection that causes the loop condition. If your circuits are balanced, one way to do this is to simply break the shield of the shielded audio cable at some point, usually by disconnecting it from ground at one jack. (The other end should remain connected so that the shielding properties are retained, even if there is no direct path for ground.) Please note that not all hums and buzzes are caused by ground loops; your cables must be of high quality, particularly with -10 dBV setups. ADAT LX20 Reference Manual 9 Setting Up and Making Connections - Chapter 1 LINE CONDITIONERS AND PROTECTORS Although the LX20 can tolerate typical voltage variations, the AC line voltage may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. There are three main ways to protect against this, listed in ascending order of cost and complexity: · Line spike/surge protectors. Relatively inexpensive, these are designed to protect against strong surges and spikes, acting somewhat like fuses in that they need to be replaced if they've been hit by an extremely strong spike. Line filters. These generally combine spike/surge protection with filters that remove some line noise (dimmer hash, transients from other appliances, etc.). Uninterruptible power supply (UPS). This is the most sophisticated option. A UPS provides power even if the AC power line fails completely. Intended for computer applications, a UPS allows you to complete an orderly shutdown of a computer system in the event of a power outage, and the isolation it provides from the power line minimizes all forms of interference -- spikes, noise, etc. · · If your AC power is unstable or subject to occasional browns-outs or interruptions, use a professional power conditioner or uninterruptible power supply. Some people who have experienced problems with ADAT operation have had those problems disappear completely after installing proper power conditioning. 10 ADAT LX20 Reference Manual Chapter 1 - Setting Up and Making Connections ANALOG AUDIO CONNECTIONS ABOUT AUDIO CABLES The connections between the LX20 and your studio are your music's lifeline, so use only high quality cables. These should be low-capacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference. Here's how to route cables to the LX20: · · · Do not bundle audio cables with AC power cords. Avoid running audio cables near sources of electromagnetic interference such as transformers, monitors, computers, etc. Do not place cables where they can be stepped on. Stepping on a cable may not cause immediate damage, but it can compress the insulation between the center conductor and shield (degrading performance) or reduce the cable's reliability. Avoid twisting the cable or having it make sharp, right angle turns. Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward. · · When connecting audio cables and/or turning power on and off, make sure that all devices in your system are turned off and the volume controls are turned down. REAR PANEL INPUT AND OUTPUT LAYOUT The LX20's rear panel has 8 unbalanced phono jack inputs, and 8 unbalanced phono jack outputs. INPUTS The inputs feed signals into the LX20 for recording. These inputs are compatible with low-impedance, unbalanced, -10 dBV outputs typical of mixers, synthesizers, samplers, direct boxes, etc. Guitar and bass require preamplification before feeding these inputs. ADAT LX20 Reference Manual 11 Setting Up and Making Connections - Chapter 1 Here's how the input jacks and plugs are wired: Signal Ground Tip Tip Sleeve Sleeve TYPICAL INPUT JACK HOOKUPS You typically patch the following into the inputs: · Console direct tape outs. With many mixing consoles, such as the Alesis Studio 24, each mixer channel has a direct output. These can patch a channel directly to tape, bypassing most mixer circuitry. You would normally patch the direct out from channel 1 into LX20 input 1, channel 2 into LX20 input 2, etc. This is preferred when the signals going to tape require none of the mixer's routing or processing features. Mixer bus outputs. One important mixer characteristic is the number of output busses. Each output bus represents a mix of input faders, auxiliary sends, etc. Use bus connections when the mixer performs grouping, premixing, effects, etc. Using the bus outputs puts more circuitry between the input signals and LX20 compared to using direct outs, although since most routing can be done at the mixer, you'll seldom need to do any repatching. The LX20 can be optimized to work with 2 bus, 4 bus, or 8 bus mixers, as described later. You would hook these up as follows. 2 bus mixer: Connect the main bus outs to inputs 1 and 2 4 bus mixer: Connect the main bus outs to inputs 1-4 8 bus mixer: Connect the main bus outs to inputs 1-8 For example, with an 8-bus mixer, you would normally patch output bus 1 to LX20 input 1, output bus 2 to LX20 input 2, etc. until output bus 8 patches into LX20 input 8. · A combination of direct outputs and bus outputs. Some situations require a combination of the two approaches. Example: Consider a live gig where you want to record two vocal mics, four mics on drums, two direct feeds from guitar and bass amps, and one direct feed from keyboards. The vocals, bass, guitar, and keyboards could be taken direct and go to five LX20 tracks. The four drum mics can be mixed to stereo within your mixer sent to the submix outs, then go to two LX20 tracks. The remaining LX20 track could be used to record audience sounds or capture one of the instruments in stereo, if applicable. · 12 ADAT LX20 Reference Manual Chapter 1 - Setting Up and Making Connections OUTPUTS The -10 dBV outputs use phono jacks, and carry signals at a nominal -10 dBV level. These connect to your mixer's channel tape returns or line inputs. You would normally connect output 1 to mixer line input 1 or tape return 1, output 2 to mixer line input 2 or tape return 2, etc. ADAT LX20 Reference Manual 13 Setting Up and Making Connections - Chapter 1 SYNC IN/OUT The two rear panel DB-9 connectors marked SYNC IN and SYNC OUT synchronize two or more ADAT-family devices, such as the LX20, XT20, M20, original ADAT, ADAT-XT, and/or a computer hard disk audio recording/editing system using the ADAT-PCR sound card or similar device. Synchronization requires a male-to-male, 9-pin D connector cable for each additional machine in the chain. These cables are available in various lengths from Alesis or your dealer and should be Alesis-approved; improper cables (such as those used for computers) may not function correctly. In such a system, you are basically treating all connected machines as though they were a large multitrack unit. The first LX20 or ADAT in the chain is the "master," and all other connected units are called "slaves." However, each slave can also be used independently when the master machine is stopped. For details about using multiple LX20s and/or ADATs, refer to Chapter 10. To synchronize multiple LX20s and/or ADATs: Locate the SYNC IN and SYNC OUT connectors. Connect one end of a male-to-male, 9-pin connector cable to the master's SYNC OUT jack. x Connect the other end of the cable to the first slave's SYNC IN jack. For additional slaves, connect one end of a male-to-male, 9-pin D connector cable to the first slave's SYNC OUT jack, and the other end to the second slave's SYNC IN jack. Its SYNC OUT jack then connects to the third slave's SYNC IN jack, and so on. The following illustration shows two LX20s synchronized together. INPUT OUTPUT INPUT OUTPUT 14 ADAT LX20 Reference Manual Chapter 1 - Setting Up and Making Connections DIGITAL AUDIO CONNECTIONS The digital input and output carries all eight tracks on a single fiber optical cable (called the ADAT Optical Interface, and sometimes nicknamed the ADAT "Light Pipe"). This powerful feature allows you to transfer digital audio between multiple ADAT-compatible devices. ABOUT DIGITAL AUDIO IN/OUT The ADAT Optical Interface cables carry digital audio between ADAT compatible products such as multiple LX20s and ADATs, the QuadraVerb 2, Q20, many Alesis keyboards, the ADAT-PCR computer interface card, and third-party products such as the Digidesign ADAT Bridge and Yamaha 02R digital mixer. Since the fiber optic connector carries the digital information for all 8 tracks, it is also useful for backing up all tracks in one pass. Digital bussing requires a fiber optical cable (included) for each LX20 in the system (or any other ADAT-compatible product). Additional cables are available from Alesis or your dealer in various lengths up to 16 feet. You can make this connection while power is on or off, and the machines do not need to be turned on in any particular order. Examples: Probably the most common application is "cloning" one ADAT tape to a second machine for backup. Basically, you patch the fiber optic output from the machine with the tape to be backed up (the master) to the fiber optic input of the machine doing the backup (the slave). Record-enable the slave tracks and press play on the master to copy the original tape. Another application is transferring all 8 tracks from an ADAT to a hard disk recording system for editing. You would patch the ADAT fiber optic output to an ADAT-PCR interface card's fiber optic input, press play on the ADAT, and record on the hard disk system. To transfer the edited data back to the ADAT for storage and/or backup, patch the ADAT-PCR interface's fiber optic out to the ADAT's fiber optic in, and play back the hard disk data while the ADAT is recording. These and other applications are described in more detail in Chapters 10 and 11. To connect the digital optical network: Locate the DIGITAL IN and DIGITAL OUT connectors. Remove the connectors' plugs (if present) and store for later use. Connect one end of the fiber optic cable into the DIGITAL OUT jack of the first machine in the system. Remove the clear, plastic tube covering each end of the cable (if present). The cable is non-polarized, so either end can insert into the optical output. Connect the other end of the fiber optic cable to the DIGITAL IN of the second machine in the system. Tip: if the machines are on, the end of the cable from the source machine will glow red. x ADAT LX20 Reference Manual 15 Setting Up and Making Connections - Chapter 1 For each additional machine, connect one end of an additional fiber optic cable to the second machine's DIGITAL OUT jack, and the other end to the third machine's DIGITAL IN jack. Its DIGITAL OUT jack then connects to the fourth machine's DIGITAL IN jack, and so on. Finally, connect one end of a fiber optic cable to the last machine's DIGITAL OUT jack, and the other end to the first machine's DIGITAL IN jack. This last step creates a loop, making the digital bus accessible to all machines connected to it. The following diagram shows how to hook up the Sync and Optical Interface connectors in a setup with two LX20s. When connecting more than two machines, always connect the optical cables in the same order as the sync cables (1 to 2, 2 to 3, etc.), so that the digital routing will work correctly. INPUT OUTPUT INPUT OUTPUT FOOTSWITCHES The LX20 provides one footswitch connector using a 1/4" stereo jack named LRC/PUNCH. · · LRC allows patching in the LRC Remote control PUNCH is for punch in/out control using a footswitch. LRC/PUNCH Tip = LRC Remote Ring = Punch In/Out Sleeve = Ground 16 ADAT LX20 Reference Manual Chapter 1 - Setting Up and Making Connections ADAT LX20 Reference Manual 17 Setting Up and Making Connections - Chapter 1 There are three ways to use this jack. · Footswitch only. Plug a momentary, single-pole/single-throw footswitch (either normally open or normally closed) halfway into the jack so that the footswitch plug tip connects to the jack ring connection. In other word, plug in only until the tip reaches the first detent. Plug in the footswitch prior to power-up so that the LX20 can configure itself for the type of footswitch being used. If you decide to plug in a footswitch after already starting a session, turn off the LX20, plug in the footswitch, then turn theLX20 back on again. LRC only. Plug the LRC plug fully into the jack. Footswitch and LRC. Use an adapter that breaks out a stereo plug into two mono jacks. Plug the footswitch into the mono jack that connects to the stereo jack ring connection, and the LRC into the mono jack that connects to the stereo jack tip connection. The following diagram shows the wiring scheme. · · This cable is available from several manufacturers, such as Radio Shack (#274-302) and Hosa (YPP-118). 18 ADAT LX20 Reference Manual Chapter 1 - Setting Up and Making Connections ADAT LX20 Reference Manual 19