Fostex X-28H High Speed Multitrack Cassette Recorder [Very Rare!]

Thank you for visiting my listing page!

Fostex X-28H cassette multi-track recorder (H stands for high speed). This has the ability to run at 9.5 cm/s vs the standard 4.5 cm/s... Intended for recording artists wanting a higher fidelity sound. This unit was developed to rival a tape machine running at 15 ips.

This product will show slight signs of wear, and has fully tested.
I have posted as many photos as possible, so please check them for details.

Comes with power supply (110v / US outlet plug).

Please feel free to contact me if you have any questions.

Delivery time from Japan to US : Around 7 days
We pack an item carefully with Bubble wrap & cardboard.

And don't forget to check out our other cool listings at great prices in our Reverb shop!

Fostex's X26 was one of the more versatile entry-level multitrackers on the market. Their new X28 expands on the concept, offering more inputs, better electronic tape transport controls.
It is quite remarkable just how much is crammed into its compact 331mm x 193mm dimensions: separate headphone and line-level monitor outputs: +/-10% varispeed; direct tape outputs; stereo aux return: simultaneous 4-track recording... it's all there.

The X28 has been configured to offer eight fader-controlled remix inputs, plus a stereo aux return. Seeking to maximise flexibility for use in combined MIDI/tape set-ups has created an almost bewildering array of options; by utilising the Monitor output for mastering, and subsequently mixing the tape tracks via their aux controls, it is actually possible to combine 10 external sources with the three remaining tape tracks (the fourth is dedicated to sync code). The inevitable compromise is that, as on the X26, the channel facilities are minimal. There is no channel EQ, and the only facility common to all eight inputs is the Pan control. EQ is present only on the stereo bus. Signals that need to be recorded with EQ can be routed to tape via this bus, but on remix you are limited to EQing the whole output.

A simple 2-band set-up is provided, offering a standard +/-12dB at 100Hz and 10kHz - perfectly adequate for subtle brightening, LF filtering, and above all, 'tape generation loss compensation' ie. 'put it on tape a touch bright and you won't want to do anything to it coming off', which is just as well because you won't be able to!

Eight 1/4" input jacks are featured along the front edge of the unit, with the eight channels divided into two groups of four, Input A and Input B. Only the Input A group have gain controls (-10dB to -60dB), allowing connection of (unbalanced) low level sources such as microphones and low output instruments. Type B inputs substitute a switch to select output from the four tape tracks, or the front panel inputs, fixed at -10dB line sensitivity. The front-end amplifier on type A inputs actually turns in quite a decent noise performance on mic signals, especially if you can use it with a condensor mic which can run unbalanced; a self-powered (on-board preamp battery) electret type would be ideal. Headroom is a much more significant problem. There are no insert points on the X28, so a mic level compressor before the input would make a bigger difference to the system performance than any other form of processing. With economics dictating the use of Dolby B circuitry, rather than the more powerful Type C used in other Fostex models, there is not that much dynamic range to play with, making optimal loading of the tape essential. There is no NR disable switch for track 4, but Dolby B is extremely unlikely to upset sync codes based mainly in the middle frequencies.