Owners of such desks can select which channel you wish to record on by using the track select switch on the Model 80 (remember that you will need to get a small mixer for monitoring, though). those with only four group outputs) need not exchange their mixers. It seems that, up to a point, they were right, but there was a demand for a machine where tracks 1-4 are normalised to tracks 5-8 so that owners of 4-track mixing desks (ie. Fostex worked on the assumption that the A8 would sit in home studios being used by people working alone who would not normally want to record on all 8-tracks simultaneously. This saved quite a few quid as there was less in the way of circuitry. The original A8 had only 4 inputs which could be switched between 1 and 5, 2 and 6, 3 and 7 and 4 and 8. Overall, the machine is very sturdy and would take a fair bit of usage by the looks of things without parts falling off and, assuming that this piece of equipment will sit in a home studio, I can foresee no drastic problems in its reliability department. Its tiny proportions measure 14" x 13½" x 6¾", making it small enough to fit in the pokiest of recording environments. Looking very sleek and sophisticated in jet black, the Model 80 weighs in at a mere 29lbs making it light enough to carry anywhere (although with no carrying handles). But the Model 80 is more than a repackaged A8 as I think you'll soon discover. Hot on the heels of the A8 came the B16, now responsible for recording much of the music we hear on TV, radio and even in the charts, and just when we all expected Fostex to unleash a 24-track digital Walkman they turned round and gave us the Model 80. Naturally, there were those who scoffed at its diminutive stature and it's ¼" inch tape format, but I think it would take a good pair of ears to tell the difference between a Fostex 8-track and its ½" inch (or even 1 inch) rival. It seems like only yesterday that Fostex rocked the boat by bringing out an 8-track tape machine complete with Dolby C noise reduction for just over £1000.
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