Yamaha MT3X User Manual [en, de, fr]
YAMAHA
MULTITRACK CASSETTE RECORDER
ENREGISTREUR DE CASSETTE MULTIPISTE
MEHRSPUR-KASSETTENDECK
OPERATION MANUAL
MANUEL D'INSTRUCTIONS
BEDIENUNGSANLEITUNG
CONGRATULATIONS!
Your MT3X Multitrack Cassette Recorder is a fine creative tool that will enable you to work with sound in many ways.
Whether you need to record acoustic instruments or voice using microphones, electronic instruments and sources via
direct line, or a creative blend of the two, the MT3X makes'the process of building up your own sound extraordinarily
smooth and simple. You can simply record and remix four tracks, or use the multitrack “ping-pong" recording tech
nique to individually record up to ten independent parts — adding sound layer by layer until you create exactly the ar
rangement and texture your imagination demands. There’s even a sophisticated auto punch-inlout feature that lets you
re-record a section of a previously recorded track with automated convenience. The MT3X is just as easy to use alone
or with a band. And, because it’s a YAMAHA, you know that the MT3X will give you the very finest sound quality and
overall performance available.
In order to make use of the MT3X’s many features and obtain maximum performance, we urge you to read this opera
tion manual thoroughly — and keep it in a safe place for later reference.
CONTENTS
PRECAUTIONS ................................................................................................................ 2
BEFORE OPERATION......................................................................................................3
THE CONTROLS AND CONNECTORS
CONNECTION EXAMPLES ......................................................................................... 13
THE RECORDING PROCESS.........................................................................................14
RECORDING THE FIRST TRACK .................................................................................15
STEP 1 : CHANNEL-TO-TRACK ASSIGNMENT..............................................15
STEP 2: MONITOR SETUP ...............................................................................16
STEP 3: SETTING RECORDING LEVELS....................................................... 17
STEP 4: RECORD
OVERDUBBING ............................................................................................................. 18
PING-PONG RECORDING ............................................................................................ 19
A PING-PONG RECORDING EXAMPLE ........................................................ 20
MIXDOWN..................................................................................................................... 21
USING THE AUX SEND/RTN LOOPS ....................................................................... 22
PUNCH-IN/OUT RECORDING...................................................................................... 23
Manual Punch-in/out Using the REC SELECT Switches
Footswitch Punch-in/out..................................................................................23
Automatic Punch-in/out
MIDI SYNC OPERATION.............................................................................................. 25
MAINTENANCE .......................................................................................................... 26
SPECIFICATIONS ................................................................................................... 27
BLOCK DIAGRAM........................................................................................................ 28
..............................................................................................
...
.......................................................................5
............................
..........
........................................................................
17
23
24
PRECAUTIONS
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST
AND VIBRATION
Keep the unit away from locations where it is likely to
be exposed to high temperatures or humidity —
such as near radiatcrs, stcves, etc. AIsc avoid loca
tions which are subject tc excessive dust accumulaticn cr vibraticn which cculd cause mechanical dam
age.
2. AVOID PHYSICAL SHOCKS
Strcng physical shccks tc the unit can cause dam
age. Handle it with care.
3. DO NOT OPEN THE CASE OR ATTEMPT
REPAIRS OR MODIFICATIONS YOURSELF
This prcduct ccntains nc user-serviceable parts.
Refer all maintenance tc qualified YAMAHA service
perscnnel. Opening the case and/cr tampering with
the internal circuitry will vcid the warranty.
4. MAKE SURE POWER IS OFF BEFORE
MAKING OR REMOVING CONNECTIONS
Always turn the pcwer OFF pricr tc ccnnecting cr
disccnnecting cables. This is impcrtant tc prevent
damage tc the unit itself as well as ether ccnnected
equipment.
5. HANDLE CABLES CAREFULLY
Always plug and unplug cables — including the AC
cerd — by gripping the ccnnectcr, net the cerd.
6. CLEAN WITH A SOFT DRY CLOTH
Never use scivents such as benzine cr thinner tc
clean the unit. Wipe ciean with a seft, dry cicth.
7. ALWAYS USE THE CORRECT POWER
SUPPLY
The MT3X is scid with the apprepriate pcwer specificatiens ferthe Iccal area (pcwer supply voltage and
power consumption are iisted on the bottom panel).
If you move to a different area that might have a
different AC mains voltage, however, be sure to
check with your nearest YAMAHA dealer before us
ing your MT3X.
8. KEEP THE HEADS AND TAPE PATH CLEAN
To ensure consistent high performance and sound
quality from your MT3X, it is important to clean the
head and tape path regularly (ideally before each
recording session). To do this, use a cleaning kit
specifically designed for use with cassette tape
equipment.
9. USE ONLY HIGH-QUALITY CHROME
CASSETTE TAPE
The MT3X is designed for use with CrOz (chrome)
formulation tape, and will not provide proper per
formance with any other type of tape. Always choose
cassette tapes from a reliable manufacturer.
FCC CERTIFICATION (USA)
This equipment generates and uses radio frequency en
ergy and if not installed and used properly, that is, in strict
accordance with the manufacturer's instructions, may
cause interference to radio and television reception, it has
been type tested and found to comply with the limits for a
Class B computing device in accordance with the specifica
tions in Subpart J of Part 15 of FCC Rules, which are de
signed to provide reasonable protection against such inter
ference in a residential installation. However, there is no
guarantee that interference will not occur in a particular in
stallation. If this equipment does cause interference to
rado or television reception, which can be determined by
turning the equipment off and on, the user is encouraged
to try to correct the interference by one or more of the
following measures:
Reorient the receiving antenna.
Relocate the computer with respect to the receiver.
Move the computer away from the receiver.
Plug the computer into a different outlet so that com
puter and receiver are on different branch circuits.
If necessary, the user should consult the dealer or an
experienced radio/television technician for additional sug
gestions. The user may find the following booklet prepared
by the Federal Communications Commission helpful;
"How to identify and Resolve Radio-TV interfernce
problem". This booklet is available from the U.S. Govern
ment Printing Office, Washington, DC 20402, Stock No.
004-000-00345-4.
This information on safety is provided to comply with U.S.A.i laws, but should be observed by users in all countries.
BEFORE OPERATION
■ THE DIFFERE^CE BETWEEN TRACKS AND CHANNELS
The words “track” and “channel” are often confused. In order to properly operate this unit, it is necessary to under
stand the meanings of these terms.
TRACK:
The “band” on the tape itself where a certain signal is
recorded. The tape inside a cassette has four different
tracks, enabling the recording of four distinct signals.
For conventional recordings, there are two tracks (ste
CHANNEL:
The route of a signal input or output. In the input side,
this unit has six INPUT channels and two AUX chan
nels. The output side consists of one stereo channel
(made up of two mono channels) and an AUX channel.
reo left and right) on each of the tape.
■ WHAT IS A MULTITRACK CASSETTE RECORDER ?
The difference between the MT3X multitrack cassette recorder and a conventionai stereo cassette deck is shown
below.
CONVENTIONAL STEREO CASSETTE DECK
MT3X MULTITRACK CASSETTE RECORDER
For right channel track
For left channel track
For left channel track on the B side
For right channel track on the B side
For right channel track on the A side
For left channel track on the A side
For channel 4
For channel 3
For channel 2
For channel 1
Track for channel 4 (track 4)
Track for channel 3 (track 3)
Track for channel 2 (track 2)
Track for channel 1 (track 1)
The diagram shows how a conventional stereo cas
sette deck records and plays back music. The four
tracks on a cassette tape represent the left and right
(for stereo) sound for each side of the tape. The MT3X
uses these four tracks for single-direction recording
and playback on only one side of a cassette tape.
Conventional stereo cassette recorders always record
and play back in the same mode, with the tape side
(direction) determining which two tracks will be used.
These recorders do not allow separate selection of
tracks for recording and playback.
Multitrack recorders, however, allow you to record or
playback tracks separately as you choose. This en
ables a degree of recording and playback freedom not
possible with conventional cassette recorders.
----------
-3
■ ABOUT CASSETTE TAPES
This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape
formulations. CrOatape (Bias: HIGH; EQ: 70|j,s) should be used. Also, the use of C-120 tapes is not recommended
because they exhibit poorer performance, and can be the cause of equipment failure.
• Preventing accidental erasure of recordings
To keep from inadvertently erasing a prPzed recording,
all cassette tapes have record protection tabs along the
top edge of the cassette shell. If this tab is broken out
using a screwdriver or any other appropriate imple
ment, it will not be possible to record on the corre
sponding side of the tape. This will protect your record
ings from accidental erasure. For 4-track recording, it’s
necessary to break out the tabs for both the A and B
sides of the tape.
When you'd like to record over a tape with the tabs
broken out, just cover the holes (where the tabs were)
with tape.
• PREVENTING ACCIDENTAL TAPE ERASURE:
• Taking up tape slack
If the tape is used when it is slack, or some portion of
the tape is out of the cassette shell, there is a risk it
may become tangled around the capstan or pinchroller.
In order to correct this, insert a pencil or ballpoint pen
into the center of one reel, and rotate to take up loose
tape slack.
Cassette shell
• Storing cassette tapes
To prevent tape slack, fit a stopper into the tape or
keep tapes in their cases. Do not store tapes in direct
sunlight, or in places with high heat or humidity, as this
may damage the tapes. Also, keep the tapes away
from magnetic fields, such as near televisions or
speakers, because the recordings can be erased or
sonically alterd to some degree.
. RECORDING OVER A TAPE WITH THE TABS BROKEN
OUT:
Cover the hole with
4-
THE CONTROLS AND CONNECTORS
— CONTROL PANEL —
I
llBIlBBBIillllli B
ft_|C -p.2 L-,C
^4WnUllil«//j'^4W\l«lll nil
\mxm89iu
/TO HiOl llQJ COUNTi 1
<p ®
nH-r-n-n-TT-^T-n-n
YAMAHA i
FRONT PANEL
CHANNELS AND TRACKS
The terms “channel” and “track” are used in this operation manual to differentiate be
tween the MT3X mixer section’s six “channeis” and the recorder section’s four “tracks.”
“Track” is also used when referring to the four Tracks” actually recorded on the tape.
MIXER INPUT CHANNELS
O Input Jacks 1—6
These six input jacks (MIC/LINE 1, MIC/LINE 2 and
LINE 3 through LINE 6) accept signals from any
line-level source such as an electronic musical in
strument or a tape player. MIC/LINE jacks 1 and 2
also accept signals from electric musical instru
ments such as electric guitars and basses, or mi
crophones. Inputs 1 through 6 are standard
monaural 1/4" phone jacks. When a source is
plugged into one of these jacks, its signal is sent to
the corresponding channel of the MT3X’s mixer.
0 MIC/LINE Trim Controls (Channels 1 and 2
only)
The trim controls adjust the sensitivity of the chan
nel-1 and channel-2 inputs to accept a wide range
of signal levels — from line to microphone. The trim
controls are used in conjunction with the channel-1
and channel-2 faders to set the optimum recording
level with a wide range of sources (see “SETTING
RECORDING LEVELS” on page 17).
0 TAPE-OFF-MIC/LINE (TAPE-OFF-LINE) Se
lector (Channels 1 through 4 only)
These selectors determine whether the input to the
corresponding mixer channel is the output from the
correspondingly numbered track of the MT3X re
corder section, or the channel MIC/LINE or LINE
input. The OFF position turns the input to that
channel OFF. Channels 5 and 6 accept line-level
input only.
O EQ LO & HI Controls
These controls permit individually modifying the re
sponse of each channel. The HI and LO EQ con
trols function as follows:
0
AUX 1 and AUX 2 Controls
The AUX controls are used primarily when adding
effects such as reverberation or delays to the
sound of each channel or track. The AUX 1 and
AUX 2 controls on each mixer channel determine
the amount of signal from that channel sent to the
AUX SND 1 or AUX SND 2 jack, respectively. The
AUX SND jacks can be connected to the input of
an external signal processor such as the YAMAHA
SPX900 Professional Multi-Effect Processor (see
“USING THE AUX SEND/RTN LOOPS” on page
22).
FREQUENCY (Hz)
-6-
@ PAN Controls
The PAN controls assign the signal from the corre
sponding mixer channel to any desired position in
the “stereo sound field.” If a PAN control is set to
the maximum “LEFT” position, the signal from that
channel will appear only at the left-channel MT3X
output (ST OUT L). If the PAN control is set fully
RIGHT, the signal will appear only at the ST OUT
R output jack. If a PAN control is set to its center
position, then the signal from that channel will ap
pear equally at both the left- and right-channel out
puts, and the sound will appear at the center of the
stereo sound field (at a point midway between the
two stereo speakers). Other PAN control settings
place the sound at positions roughly corresponding
to the PAN control setting by varying the level of
the signal sent to the left- and right-channel out
puts.
The PAN controls can also be used during record
ing to assign the signal from several channels to a
single track of the recorder section, or to assign a
channel to a differently-numbered recorder track
(see “CHANNEL-TO-TRACK ASSIGNMENT” on
page 15).
REC SELECT Switches
The REC SELECT switches are used when record
ing to assign (send) the signal from each mixer
channel either directly to the corresponding track of
the recorder or to a different track via the PAN
controls (see “CHANNEL-TO-TRACK ASSIGN
MENT” on page 15).
- NOTE:
When any of the REC SELECT switches are set to a
position other than OFF, the red “• REC” indicator
below the corresponding channel’s bar-graph level
meter (see “CENTRAL DISPLAY PANEL” on page
11) will flash, indicating that the MT3X is set up to
record.
----------------------- -----------------------------
© SYNC Switch
When the SYNC switch is turned ON (the SYNC in
dicator will light), the input and output to and from
track 4 of the MT3X recorder are diverted to the
rear-panel SYNC IN and OUT jacks. The SYNC IN
and OUT jacks can be connected to the corre
sponding input and output of an external MIDI con
verter unit such as the YAMAHA YMC-10, allowing
MIDI sequence recorders, rhythm programmers,
computers or similar equipment to be synchronized
to playback of the MT3X.
Channel Faders
The channel faders are used to adjust the level
(volume) of the corresponding mixer channel’s sig
nal, whether it comes from a source plugged into
an input jack or from the MT3X’s recorder section.
The faders are used to set up the optimum levels
when recording, and to balance (mix) the sound
from the recorder’s tracks when playing back a
recording.
- 7 -
MIXER MASTER SECTION
THE CONTROLS AND CONNECTORS
® AUX SEND 1 and AUX SEND 2 Controls
These adjust the overall output level of the AUX 1
and AUX 2 “mixes” set up using the corresponding
channel AUX controls. AUX SEND 1 sets the over
all level of the AUX 1 mix signal appearing at the
AUX SND 1 jack, and AUX SND 2 sets the over^l
levei of the AUX 2 mix signal appearing at the AUX
SND 2 jack. These controis should be used to opti
mally match the AUX SND output level of the mixer
to the input sensitivity of the external signal proc
essing device used.
<D AUX RTN 1 and AUX RTN 2 Controls
The AUX RTN 1 and AUX RTN 2 controls deter
mine the level at which the signal from an external
signal processor fed by the corresponding AUX
SND jack is returned and mixed in with the MT3X’s
main stereo output signal. The output from an ex
ternal signal processor fed by the AUX SND 1 or
AUX SND 2 jack must be connected to the AUX
RTN 1 (L/R) or AUX RTN 2 (L/R) jacks (see “US
ING THE AUX SEND/RTN LOOPS” on page 22).
® MONITOR Controls
The four MONITOR controls determine the level of
the signal from the corresponding recorder tracks
which is sent to the PHONES jack when the
PHONES SELECT switch is set to either “MONI
TOR” or “MIX.” The MONITOR controls are primar
ily used to set up the optimum ievels for monitoring
recorded tracks while recording new material (over
dubbing).
output from the mixer section are sent to the
PHONES jack.
STEREO: Only the stereo output from the mixer
section is sent to the PHONES jack.
® PHONES Control
The PHONES control adjusts both the level of the
headphone signal appearing at the PHONES jack
and the level of the signal appearing at the rearpanel MONITOR OUT jacks, making it simple to
set the most comfortable monitoring level.
d> PHONES Jack
Any pair of stereo monitor headphones with an
impedance of between approximately 8 and 40
ohms can be plugged into this jack. Headphone
monitoring is the most convenient way to listen to
the MT3X’s various signals, and we recommend
that you obtain a pair of high-quality monitoring
headphones for this purpose. The YAMAHA RH-
series Monitor Headphones are ideal.
® MASTER Fader
The MASTER fader sets the overall output level of
the MT3X mixer section, and thus the level of the
output signal appearing at the ST OUT jacks. The
MASTER fader also affects recording level when
any of the mixer section’s channels are assigned to
the recorder’s tracks via the PAN controls (see
“SETTING RECORDING LEVELS” on page 17).
® PHONES SELECT Switch
The MT3X permits convenient headphone monitor
ing via a pair of headphones plugged into the
PHONES jack. The PHONES SELECT switch de
termines which signais are sent to the PHONES
jack for monitoring.
MONITOR: In this position only the output from the
recorder’s four tracks is sent directly to the
PHONES jack via the four MONiTOR con
trols.
MIX: Both the output from the recorder’s four tracks
(via the MONITOR controls) and the stereo
8
MULTITRACK RECORDER SECTION
® dbx ON/OFF Switch
The dbx switch determines whether the MT3X’s
internal dbx noise reduction system is ON or OFF.
For normal recording and playback using the
MT3X, the dbx switch should be turned ON. This
provides a significantly improved signal-to-noise
ratio (as much as 85 dB) so your recordings will
sound cleaner and have much less tape hiss. For
dbx noise reduction to be effective, it must be
turned ON both during recording and playback. The
dbx switch may be turned OFF when playing back
tapes that were recorded on other equipment and
which are not dbx-encoded.
® TAPE SPEED Switch
The TAPE SPEED switch selects either the stan
dard 4.75-cm/sec cassette tape speed, or the
MT3X’s special 9.5-cm/sec high tape speed. Use
the standard (4.75) speed when replaying tapes
recorded on standard cassette recorders, or to ob
tain maximum tape economy. When you want
maximum sound quality, use the high (9.5) tape
speed. The improvement in sound quality provided
by the high tape speed is significant, and we rec
ommend that you use the high speed for all impor
tant recordings.
® PITCH Control
The PITCH control varies tape speed by ±10%,
making it possible to “tune” material recorded on
the MT3X to match the pitch of musical instru
ments, or to slightly lengthen or shorten the running
time of a recording to meet specific timing require
ments. Tape speed is normal when the PITCH
control is set to its center click-stop position. Tape
speed is increased by sliding the control towards
the “+” end of the scale, and decreased by sliding
the control towards the end of the scale.
@ ZERO STOP Button
The ZERO STOP button provides a fast, easy way
to locate a specific location on the tape. This is
particularly handy in multitrack recording, since it is
necessary to repeatedly rewind the tape to the
same point to record overdubs (i.e. record a new
track while monitoring previously recorded tracks).
To use the ZERO STOP function, set the tape
counter (below) to “0000” at the point you wish to
locate by pressing the COUNTER RESET button.
Then, with the ZERO STOP function ON (the
ZERO STOP “ON” indicator in the central display
panel will light), the tape will automatically stop
from the rewind or fast forward modes when the
counter “0000” position is reached.
® AUTO PUNCH I/O Button
This button activates the MT3X’s automatic punch-
in/out function, making a simple operation to re
record any section of a previously recorded track.
When the AUTO PUNCH I/O button is pressed —
after the punch-in and punch-out points have been
specified using the AUTO PUNCH MEMO button
(below) — the AUTO PUNCH I/O “I/O” indicator in
the central display panel will light, indicating that
the AUTO PUNCH I/O function is ready. If the
transport is now set running in the record mode in
the normal way, the record mode will automatically
be entered only during the specified section of the
selected track(s). See “Automatic Punch-in/out” on
page 24 for full details.
® AUTO PUNCH MEMO Button
This button is used to specify the start and end
(punch-in and punch-out) points for the MT3X’s
AUTO PUNCH I/O function. While running the tape
in the playback mode, press the AUTO PUNCH
MEMO button once to specify the punch-in point
(the AUTO PUNCH I/O “MEMO” indicator will
flash), and then again to specify the punch-out
point (the AUTO PUNCH I/O “MEMO” indicator will
light continuously). See “Automatic Punch-in/out”
on page 24 for full details.
® COUNTER RESET Button
The COUNTER RESET button resets the elec
tronic tape counter to “0000” at the current tape
position.
-9-
THE CONTROLS AND CONNECTORS
Transport Controls
These light-touch electronic transport controls pro
vide smooth, sure control of all tape transport func
tions.
PLAY: Starts the transport running in the PLAY
mode. The green “PLAY” indicator in the cen
tral display panel lights during playback.
RECORD: Press the REC button to enter the
“REC/PAUSE” mode. If all the REC SELECT
switches are turned OFF, the red REC indica
tor will flash and the green PAUSE indicator
will light. If any of the REC SELECT switches
are set to a position other than OFF, both the
red REC and green PAUSE indicators will
light continuously. In this mode the transport
is not yet running and recording has not be
gun.
From the REC/PAUSE mode, press the PLAY
button to actually start the transport running in
the RECORD mode (if any of the REC SE
LECT switches are set to a position other
than OFF), or the RECORD-READY mode (if
all the REC SELECT switches are set to
OFF). The red REC and green PLAY indica
tors both light during recording. The red REC
indicator will continue to flash and recording
will not occur if none of the REC SELECT
switches are set to a recording position.
REWIND (REW) & FAST FORWARD (FF): These
buttons cause fast winding of the tape in the
specified direction.
STOP: Immediately stops the transport from any of
its operational modes.
' Cassette Compartment
Your cassette tape is loaded here. Use only highquality chrome (CrOa) formula cassette tape. Other
types of tape will not provide correct frequency
characteristics and minimum noise with the MT3X.
First flip up the cassette compartment lid (a lifter
tab is provided at the right side of the cover), then
insert the tape with the open end of the cassette
(the end at which you can see the tape) facing the
transport controls. Press the back (closed) edge of
the cassette down under the central retaining finger
at the rear of the cassette compartment, then press
the front (open) end down into the mechanism —
GENTLY! Close the compartment lid when ready.
NOTE:
Since the MT3X uses the entire width of the cassette
tape to record four tracks, the cassette can only be
recorded on one side. If you attempt to flip the cas
sette and record on the second side, you will erase
any previously recorded material.
---------
------------------
------------
-----
-----
r NOTE:
Only tracks for which the REC SELECT switch is set
to a recording position will be recorded when the
RECORD mode is activated.
r NOTE:
The RECORD mode cannot be activated if a cas
sette is loaded from which the record-prevention tab
has been removed.
------------------------------------------------------
PAUSE: Temporarily stops playback or recording.
The green PAUSE indicator will light when the
PAUSE mode is active. Press the PLAY but
ton to disengage the PAUSE mode and con
tinue playback or recording.
PUNCH I/O Footswitch Jack
An optional YAMAHA FS-1 Footswitch can be con
nected to this jack to permit foot-controlled punchin and punch-out recording (see “PUNCH-IN/OUT
RECORDING” on page 23).
- 10
CENTRAL DISPLAY PANEL
® Recorder Track Level Meters
These four vertical bar-graph type peak meters
accurately display output levels from the MT3X’s
four recorder tracks. The track level meters are
important for setting up the optimum recording lev
els when recording new material (see “SETTING
RECORDING LEVELS” on page 17).
® LEFT and RIGHT Master Stereo Level Me
ters
The horizontal LEFT and RIGHT level meters show
levels on the MT3X stereo master buss — so you
have an accurate visual indication of overall pro
gram signal level.
® Electronic Tape Counter
The MT3X’s electronic four-digit tape counter pro
vides a handy index to tape position. It’s a good
idea to write down the counter readings for impor
tant points of a recording, so you can locate them
easily aftenwards.
Mode Indicators
The “• REC” indicators below each vertical track
level meter show which tracks are ready to record,
the “REC,” “PLAY,” and “PAUSE” indicators show
the current transport mode, the ZERO STOP “ON”
indicator iets you know when the ZERO STOP
function is ON, and the AUTO PUNCH I/O “I/O”
and “MEMO” indicators tell you the current status
of the AUTO PUNCH I/O function.
n
REAR PANEL
THE CONTROLS AND CONNECTORS
TAPE OUT Jacks
The four TAPE OUT jacks are direct outputs from
the corresponding tracks of the MT3X recorder.
These jacks make it possible to feed the output
from the four recorder tracks to an external mixing
console. The TAPE OUT jacks can also be used to
feed each of the recorder’s tracks to external signal
processors, the output of which can then be re
turned to the MT3X’s mixer inputs.
The TAPE OUT jacks are RCA pin types with a
nominal output level of -10 dB into a load of
greater than 50 k-ohms.
ST OUT R and L Jacks
These are the main outputs from the MT3X, deliv
ering the stereo output signal from the MT3X mixer
section. The ST OUT jacks can be connected to a
stereo sound system for monitoring and listening,
or to a second cassette recorder when recording a
stereo “mix” of a multitrack MT3X master tape. The
ST OUT R and L jacks are RCA pin types with a
nominal output level of -10 dB when feeding a load
of greater than 50 k-ohms.
SYNC IN and OUT Jacks
These jacks can be connected to the correspond
ing input and output of an external MIDI converter
unit such as the YAMAHA YMC-10, allowing re
cording of an FSK synchronization signal on track 4
of the MT3X recorder section (the MT3X SYNC
switch must be ON). The recorded sync signal can
be used to synchronize MIDI sequence recorders,
rhythm programmers, computers or similar equip
ment to playback of the MT3X.
AUX SND & RTN Jacks
The AUX SND (1 and 2) and RTN (1 and 2) jacks
make it simple to use external signal processors
(such as the YAMAHA SPX900 Professional Multi-
Effect Processor) to add effects to MT3X signals.
The AUX SND 1 or 2 jack should be connected to
the input of your signal processor, and the output
from your signal processor should be connected to
the corresponding AUX RTN jacks. Stereo AUX
RTN jacks are provided for both AUX RTN 1 and 2,
providing compatibility with the wide range of highperformance mono-in/stereo-out signal processors
currently available. Dual AUX SEND/RTN loops
afford extra signal processing versatility, (see “US
ING THE AUX SEND/RTN LOOPS” on page 22).
12 -
MONITOR OUT L and R Jacks
These jacks deliver a line-level version of the same
signal that appears at the PHONES jack, and thus
the signal can be selected using the PHONES SE
LECT switch. The MONITOR OUT level is con
trolled by the PHONES control. The MONITOR
OUT jacks can be' used to feed a power amp/
speaker system for open-air (i.e. non-headphone)
monitoring.
CONNECTION EXAMPLES
— BASIC CONNECTIONS —
POWER Switch
Press the POWER switch once to turn power ON, a
second time to turn power OFF.
r NOTE: ------------------------------------------------------
If you are familiar with block diagrams of electronic
equipment, refer to the "BLOCK DIAGRAM” on page
28 for a full overview of the MT3X system.
Stereo cassette deck
13 -
THE RECORDING PROCESS
Recording with the MT3X is a very simpie process. A minimum of equipment wiii allow you to create fairly sophisti
cated recordings: the MT3X, a pair of monitor headphones, and an instrument, microphone, or other signal source.
The multitrack recording process can be basically broken down into the following steps:
1. Record the First Track.
a) Channel-to-track Assignment.
b) Set Record Level.
c) Record.
2. Overdub the Remaining Tracks.
a) Channel-tp-track assignment for each overdub.
b) Set record level for each overdub.
c) Record the overdub.
3. Ping-pong and Overdub More Tracks (if necessary).
4. Mixdown.
a) Set up for monitoring the mix.
b) Set up a rough mix and add effects.
c) Finalize and rehearse the mix.
d) Connect the MT3X ST OUT jacks to a stereo cassette recorder.
e) Record (from the MT3X to the stereo cassette recorder).
These steps (and what the recording terms mean) will be described in detail below, so its a good idea to read through
the following sections in sequence in order to get a clear picture of the overall recording process.
-14-
RECORDING THE FIRST TRACK
STEP 1: CHANNEL-TO-TRACK ASSIGNMENT
The first Step in making any recording is to assign the channel to which your instrument or other source is connected
to one of the recorder’s tracks.
Depending on what you are recording, you might want to record a single instrument or other source to a single track
on the recorder, or you might want to combine several instruments or other sources and record them on a single
track. The MT3X offers two “channel-to-track assignment” methods that can be used individually or combined to give
you the track assignments that you need.
• Direct Channel-to-Track Assignment
With this method, an instrument or source connected to
one of the mixer’s first four channels is fed directly to
the correspondingly numbered track of the recorder.
You can record a single track like this, or up to all four
tracks simultaneously.
For direct channel-to-track assignment, the REC SE
LECT switch of the channel(s) to be recorded must be
set to the “number" position (1, 2, 3 or 4). For exampie,
if the channel 1 REC SELECT switch is set to “1,” the
channel 1 signal will be sent directly to track 1 of the
recorder. This applies in the same way to all other
channels and tracks.
• Panned Channei-to-Track Assignment
The panned channel-to-track assignment method
makes it possible to assign several of the mixer’s chan
nels to a single recorder track, or single mixer channels
can be assigned to different track numbers.
Each of the REC SELECT switches has either an “L” or
“R” position. These correspond to the left (L) and right
(R) channels of the mixer’s output. If a REC SELECT
switch is set to “L,” for example, any of the mixer’s six
channels can be assigned to the correspondingly num
bered track by setting its PAN control fully LEFT. You
could assign channei 1 to track 4, for example, by set
ting the channel-4 REC SELECT switch to “R” and the
channel-1 PAN control fully RIGHT.
The assignment shown in the diagram below is
achieved by setting the channel-4 REC SELECT switch
to “R,” and setting the PAN controls of channel 1, 2, 3
and 6 fully RIGHT. The channel-4 and channel-5 PAN
controls are set fully LEFT to prevent their signal from
reaching track 4 of the recorder.
MIXER SECTION RECORDER SECTION
CHAN. 1
CHAN. 2
CHAN. 3
CHAN. 4
CHAN. 5
CHAN. 6
TRACK 1
TRACK 2
TRACK 3
TRACK 4
-15-
MIXER SECTION
CHAN.1
CHAN.2
CHAN.3
CHAN.4
CHAN .5
CHAN.6
RECORDER SECTION
TRACK 1
TRACK 2
TRACK 3
TRACK 4
STEP 2: MONITOR SETUP
Once your source is connected to an input channel and that channel is assigned to one of the recorder’s tracks, you
should set up your monitor system so that you can monitor the track as it is recorded.
• PHONES or MONITOR OUT Monitoring
Monitoring via a pair of headphones connected to the
PHONES jack or a sound system connected to the
MONiTOR OUT jacks offers the greatest fiexibiiity and
is recommended for general recording. The PHONES
SELECT switch aiiows you to seiect the desired signal
for monitoring as follows:
MONITOR: In this position only the output from the
recorder’s four tracks is sent directly to the
PHONES and MONITOR OUT jacks via the four
MONITOR controls. The MONITOR controls are
used to set up the desired monitor “mix.” This
setup is ideal for general monitoring while record
ing because it allows you to set up a monitor mix
independently from the channel faders. Material
already recorded on any of the recorder’s tracks
is delivered to the PHONES and MONITOR OUT
jacks via the corresponding MONITOR controls
as long as the REC SELECT switches for the
playback channels are set to OFF.
MIX: Both the output from the recorder’s four tracks
(via the MONITOR controls) and the stereo output
from the mixer section are sent to the PHONES
and MONITOR OUT jacks.
• Monitoring via a Sound System Connected
to the ST OUT Jacks
It is also possible to use a stereo sound system with
speakers or a pair of powered monitor speakers (such
as the YAMAHA MS101 Powered Monitor Speaker)
connected to the MT3X ST OUT L and R jacks for
monitoring. When monitoring via a sound system in this
way, only the stereo output from the MT3X mixer sec
tion can be monitored. This is the same situation as
monitoring via headphones with the PHONES SELECT
switch set to STEREO. The use of a sound system for
monitoring is therefore not recommended for general
recording, but is highly recommended for mixdown
since it allows you to monitor your mix under conditions
that are closer to the way your final tape will hopefully
be heard — via a stereo sound system and speakers.
r NOTE:
Speakers should not be used for monitoring if you
will be recording via microphones, since the monitor
sound will leak into the microphone(s) and spoil the
recording.
STEREO: Only the stereo output from the mixer sec
tion is sent to the PHONES and MONITOR OUT
jacks. This setting is most useful for mixdown of a
completed multitrack recording, since you want to
hear the mix produced by the mixer section’s
channel faders and any effects applied using the
AUX SEND and RTN controls while mixing.
16-
STEP 3: SETTING RECORDING LEVELS
Setting optimum recording levels Is vitally Important to achieve the best possibie recording quality.
1. Start with the channel fader on the channel to be
used set to Its minimum (“0”) position, and the MIC/
LINE trim control (if you are recording via channel 1
or 2) set all the way to LINE.
trimmer towards the MIC end of its scale to get a
sufficiently high meter reading. Adjust the channel
fader (and MIC/LINE trim control if applicable) so
that the meter reading averages between about “0”
and “+3” on the scale. The channel 1 or 2 CLIP
2. Once everything is properly set up play the source
at the highest (loudest) level that it will be played
while actually recording.
indicator should either not light at all, or light only
occasionally on high-level peaks. Ideally, the chan
nel fader should be set at about “7” or “8” on Its
scale to achieve the above-mentioned meter read
3. Set the MASTER fader to about “7” or “8” on the
- scale, and gradually raise the channel fader until
you begin to hear the source sound and see the
LEFT and/or RIGHT level meters come to life. If
your source is an electric instrument (guitar or bass)
or a microphone and you are recording via channel
ing. This is to ensure the best possible signal-tonoise ratio and allow plenty of plus and minus lee
way for later adjustment. If the fader setting is way
off, try adjusting the volume control on the instru
ment or other source until you can get the optimum
reading with a fader setting between “7” and “8.”
1 or 2, you may also have to slide the MIC/LINE
STEP 4: RECORD
After assigning the input channel to a recorder track, checking the monitor settings and setting the optimum record
level for the new track, you're ready to record.
1. Make sure that a cassette has been loaded Into the
cassette compartment, and that it is wound to the
point at which you intend to start your recording. It’s
a good idea to press the counter RESET button to
set the counter to “0000” at this point so that you
can automatically locate the beginning of the re
cording later using the ZERO STOP function.
2. Press the REC button and then the PLAY button to
start recording, wait a few seconds, and start play
ing.
3. When you’ve finished recording the track, press the
STOP transport button, turn the REC SELECT
switch for the track just recorded OFF, rewind the
tape (the tape will stop automatically at counter
“0000” if the ZERO STOP function is ON).
- 17
4. Play back the recording (press the PLAY transport
control) and listen to the track to make sure that
everything went as planned.
- NOTE: -----------------------------------------------------
When recording the first track it is vital to record
some form of “count-in” prior to actually playing your
instrument! If you haven’t included a one- or twomeasure count-in in your first track, you’ll have a
heck of a time trying to coordinate the beginning of
your second track with the first.
OVERDUBBING
Overdubbing is the process of recording a new track (or new tracks) while monitoring previously recorded tracks. If
you’re only planning to record a maximum of four tracks, you can go ahead and overdub the second, third and fourth
tracks. If you’re planning to use the “ping-pong” recording technique to record more than four parts, however, record
only up to the third track and then move on to the ping-pong step (see “PING-PONG RECORDING” on page 19).
1. Plug the instrument or other source to be recorded
into an available channel input.
2. Make sure that the REC SELECTOR switches of
previously-recorded tracks are set to OFF so that
they aren’t erased when the new track is recorded.
3. Set up the channel-to-track assignment for the new
track.
4. Check your monitor settings to ensure that you can
monitor the previously recorded track(s) as well as
the new track to be recorded (the PHONES SE
LECT switch should be set to MIX).
5. Set the recording level for the new track.
6. You can now “rehearse” the overdub without actu
ally recording by simply playing back the alreadyrecorded track(s) and playing the new part.
7. Make sure the tape is rewound to the beginning of
the piece and start recording.
These steps are simply repeated to overdub tracks 3
and 4.
-18-
PING-PONG RECORDING
Ping-pong recording is a technique you can use to squeeze more than just 4 parts onto your 4-track machine.
In ping-pong recording, you can record parts on tracks
1, 2, and 3, for example, and then re-record these
tracks onto track 4, using the mixer controls to set up
the right balance between the 3 original tracks. You
now have a “mix” of the first 3 tracks on track 4, and
tracks 1, 2, and 3 are available for more recording.
That’s already the equivalent of 6 “tracks” on your 4track recorder. While mixing the first 3 tracks down
onto track 4 you can also mix in a live instrument via
- NOTE:
Ping-ponging is a critical step because the tracks to
be ping-ponged must be mixed perfectly before you
can go on to recording the subsequent tracks. This
is because once they’re ping-ponged and new mate
rial has been recorded on the original tracks, their
balance and individual sound cannot be changed
unless you go back and record the original tracks all
over again.
the MT3X mixer section. That would give you 4 parts
recorded on track 4 of the tape. With the 3 tracks you
still have available for recording, that’s a total of 7
tracks. Now, if you record only 2 of the remaining
tracks and ping-pong these to track 3 while mixing in
another live instrument, you’ll have 4 parts on tracks 4,
3 parts on track 3, and 2 tracks available. That’s a total
of 9. Following this procedure it is actually possible to
record up to 10 individual tracks without re-recording
any single track more than once (refer to the illustra
- NOTE:
It is recommended that you record using the 9.5 cm/
sec tape speed with dbx ON if you plan to combine
tracks using the ping-pong technique. Under some
conditions, use of the 4.75 cm/sec tape speed with
noise reduction OFF will cause feedback when a
previously recorded track is re-recorded onto an ad
jacent track.
tion).
EXAMPLE: Recording tracks “1” through “10" using the Ping- pong process.
Record parts 1, 2
and 3.
Ping-Pong 1.2 and 3
to track 4 while adding part 4.__________
Record parts S and 6.
Ping-Pong 5 and 6 to
track 3 while adding
part 7.
TRACK 1
TRACK 2
TRACK 3
TRACK 4
1,2, 3-I-4
1,2, 3 -I- 4
5, 6-1-7 5, 6 -1- 7
1,2, 3-f4
---------------------------------------------
---------------
Record part 8.
------------------------------------
Move 8 to track 2
while adding 9.
Record 10 the last
part.
8 1
8-1-9
1,2, 3-f4
5, 6 -1- 7
1, 2, 3 -f 4
5, 6 -1- 7
1,2,-3-1-4
-------
-
10
8 -f -9
- 19
A PING-PONG RECORDING EXAMPLE
The following is an example of how you would ping-pong material recorded on tracks 1, 2 and 3 onto track 4.
Here’s how the controls should be set:
. TAPE-OFF-LINE Selectors
Make sure that the channel 1,2 and 3 TAPE-OFF-LINE
selectors are set to TAPE and the channel 4 selector is
set to OFF.
• Channel Faders
To begin with, set the channel 1 through 3 faders to
about “7” on their scales, and set the remaining chan
nel faders to “0.”
• EQ Controls
Set all to their center positions.
. MASTER Fader
Set to about “7” on the scale.
. REC SELECT Switches
The channel 1 through 3 REC select switches must be
set to OFF, and the channel-4 REC SELECT switch
should be set to “R.”
. AUX SEND Controls
Set both AUX SEND controls to MIN for the time being.
1. Play back the tape and adjust the channel 1, 2 and
3 faders — carefully — until you get the desired
balance between the first three tracks. You’ll notice
that as you adjust the balance between tracks the
RIGHT channel meter reading might change con
siderably (remember, all three channels are as
signed to the RIGHT stereo buss). Set up the mix
so that the RIGHT level meter shows a maximum
reading of about “0.” You can easily compensate for
overall level changes as you set up the ping-pong
mix by adjusting the MASTER fader.
2. When everything is set up perfectly, rewind the tape
to the beginning and start recording. Sit back and
wait until the ping-pong is complete, then stop the
recorder. Now play back the tape and listen to the
ping-ponged track carefully (track 4 in this example
— set the channel 1 — 3 TAPE-OFF/LINE selectors
to OFF and the channel 4 selector to TAPE). If
something sounds odd, go back and repeat the
ping-pong process. You can do this as many times
as necessary until you get it right — then go on to
the next step.
• PAN Controls
Since the channel-4 REC SELECT switch is set to “R,”
the channel 1 through 3 PAN controls must be rotated
full clockwise (right) to assign the track 1, 2 gnd 3
signals to track 4 of the tape.
• AUX RTN Controls
Set to MIN for the time being.
• PHONES SELECT Switch
Set to STEREO.
• MONITOR Controls
Don’t matter.
-20-
3. Overdub and, if necessary, ping-pong the remaining
tracks.
MIXDOWN
Mixdown is the final stage in the recording process at which you transform your multitrack master tape into a mono or
stereo master tape that is the final creative product. The process involves re-recording the multitrack tape, via the
MT3X’s mixer, onto a conventional stereo tape deck while you finely balance the tracks to achieve just the right
sound. Tracks can be faded in or out as required, and refinements such as overall reverberation or equalization can
be added using external signal processing equipment. The mixer’s PAN controls can be used to position each track at
the appropriate location in the stereo image, and you can even pan a sound from one channel to the other for
dramatic effect.
Here’s how your system should be set up:
. TAPE-OFF-LINE Selectors
Make sure that all four TAPE-OFF-LINE selectors are
set to TAPE.
• Channel Faders
Set all channels to “0.”
. REC SELECT Switches
All REC SELECT Switches to OFF.
• EQ Controls
Set all to their center positions for the time being.
. AUX and AUX SEND Controls
Set all AUX and AUX SEND controls to MIN for the
time being.
• PAN Controls
Start with ali PAN controls set to center.
• MASTER Fader
Set to about “7” or “8” on the scale.
• AUX RTN Controls
Set to MIN for the time being.
. PHONES SELECT Switch
Set to STEREO if you’ll be mixing using headphones or
via a sound system connected to the MONITOR OUT
jacks. We recommend using an external sound system
or a pair of powered monitor speakers (such as the
YAMAHA MS101 Monitor Speaker) connected to the
ST out jacks for mixdown, in which case the
PHONES SELECT switch setting doesn’t matter.
• MONITOR Controls
Set all MONITOR controls to “0.”
• dbx Switch
If you started recording with the dbx switch ON, leave it
ON. If OFF, it should stay OFF.
1. Sit in a comfortable, central position in front of your
monitor speakers.
2. Listen to, evaluate, and adjust the sound of each
track individually. This simply means raising the
fader of a single track, adding effects or other signai
processing as required, then repeating the process
on the next track until all tracks have been carefully
checked. If you have an external signal processing
device such as the YAMAHA SPX900 Professional
Multi-Effect Processor connected into one of the
MTSX’s AUX SEND/RTN loops as described in the
following section (“USiNG THE AUX SEND/RTN
LOOPS), it’s a simple matter to select the desired
effect on your signal processor and add the re
quired amount of effect to each track using the AUX
controls. The AUX RTN control(s) must also be set
to an appropriate level.
3. When all tracks have been individually checked,
bring the first four channel faders up to about “7” or
“8” on the scale and play back the tape. Adjust the
faders for the best overall balance. Now adjust the
PAN controls to place each track at the desired lo
cation in the stereo sound field. Now listen carefully
— too much or too little reverb on any track? Read
just the AUX controls to achieve the desired effect.
Balance not quite right? Keep readjusting until you
are satisfied. How about EQ? You might need to
tweak the EQ controls a bit to make the tracks
blend smoothly. You should also rehearse any
fades or pans you plan to do while actually record
ing the mix.
4. When you’re sure everything is ready, prepare to
actually record the mix. To do this you’ll have to
connect the MT3X ST OUT jacks to the inputs of a
stereo cassette recorder. Plug your monitor head
phones into the stereo cassette deck phones jack if
you want to listen as you record the mix, or simply
leave them connected to the MT3X PHONES jack
and listen with the PHONES SELECT switch set to
STEREO. Of course, the MONITOR OUT jacks
could be connected to a stereo sound system for
open-air monitoring. Use the stereo cassette deck
record level control(s) and, if necessary, the MT3X
MASTER fader to set the optimum record level,
then go ahead and record. The MT3X MASTER
fader can also be used to add a slow fade at the
end of the piece.
-21 -
USING THE AUX SEND/RTN LOOPS
The MT3X’s AUX 1 and AUX 2 controls function like two secondary mixers that derive their input signals from the
main mixer’s six channels and combine them into mono signals which are delivered via the AUX SND 1 and AUX
SND 2 jacks (refer to the diagram below). You can use the AUX send controls to create two “effect mixes" which are
entirely independent of the main mix, thus applying the required degree of effect to each channel signal. One or both
of the AUX SND signals is sent to the input of an external signal processor (reverb, echo or other effect device), and
the output from the signal processor is returned to the corresponding AUX IN Jacks. The level of the signal received at
the AUX IN jacks can be adjusted using the AUX RTN control, and the resulting signal is combined with the MTSX’s
main stereo output signal.
Since the returned effect signal is combined with the mixer's stereo output signal, the AUX SND/RTN loops are most
ideally suited to adding effects to individual tracks during the final mixdown process.
MT3X
r NOTE:
Since the AUX SEND/RTN loops return the effect
signals to the mixer section’s stereo outputs, effects
can be added to channels during ping-pong record
ing as long as the panned channel-to-track assign
ment method is used. The AUX SEND/RTN loops
cannot be used to add effects when recording tracks
which have been assigned using the direct channelto-track assignment method.
------------------------------------------------------
-22 -
PUNCH-IN/OUT RECORDING
Punch-in/out recording makes it possibie to re-record a short segment of an otherwise perfect track in order to correct
a mistake or “brush up” an important passage. You “punch-in" at the point where you begin recording the new
segment, and “punch-out” at the end of the new segment so that the previousiy-recorded materiai is not erased. The
MT3X AUTO PUNCH t/0 function makes this operation easier than ever.
• Manual Punch-in/out Using the REC SE
LECT Switches
1. Start the deck running — a few measures before
the section to be re-recorded begins — in the rec
ord-ready mode by pressing the REC button and
then the PLAY button with ali track REC SELECT
switches set to OFF. The red REC indicator wili
flash indicating that the transport is in the record-
ready mode. The PHONES SELECT switch should
be set to MIX so you can hear all the tracks and the
source you are about to record.
2. At a convenient break in the track switch the track
to be corrected to the record mode (punch-in by
switching the REC SELECT switch for that track to
the appropriate record position) and start playing
the new material to be recorded. The REC indicator
will light continuously as soon as the REC SELECT
switch is set to a record, position.
3. At the end of the re-recorded segment switch the
track back to the play mode (punch-out by switching
the REC SELECT switch for that track to OFF). The
red REC indicator will begin to flash.
• Footswitch Punch-in/out
1. Plug a YAMAHA FS-1 (optional) footswitch into the
MT3X PUNCH I/O jack.
2. Set the REC SELECT switch for the track to be
punched-in to the appropriate record position, and
press the REC button to activate the rec/pause
mode. The red REC indicator should flash instead
of lighting continuously. If the red REC indicator
lights continuously, press the footswitch once so
that it flashes.
3. Press the PLAY button to start the transport running
in the record-ready mode.
4. Press the footswitch to punch-in. The red REC indi
cator will light continuously.
5. Press the footswitch a second time to punch-out.
The red REC indicator will begin to flash.
TRACK 1
TRACK 2
TRACK 3
TRACK 4
All tracks monitored in PLAY
BACK mode (the deck is in the
REC mode, but the track REC
SELECT switches are set to
OFF).
Begin playback
it's a good idea to actually start playing a little
before the punch-in point.
STOP
The record mode is engaged for
track 3 only when the track 3
REC SELECT switch is set to
an ON position.
23
Automatic Punch-in/out
This sophisticated MT3X function makes it possible to
pre-define the punch-in and punch-out points, so you
don’t have to touch the controls during the actual
punch-in/out operation.
1. Set the REC SELECT switch for the track to be
punched-in to the appropriate record position.
2. Use the AUTO PUNCH MEMO button to specify the
start and end (punch-in and punch-out) points for
the MTSX’s AUTO PUNCH I/O function. While run
ning the tape in the playback mode, press the
AUTO PUNCH MEMO button once to specify the
punch-in point (the AUTO PUNCH I/O “MEMO” indi
cator will flash), and then again to specify the
punch-out point (the AUTO PUNCH I/O “MEMO"
indicator will light continuously).
3. Rewind the tape to a point before the punch-in point
(refer to the electronic tape counter).
4. Press the AUTO PUNCH I/O button to activate the
automatic punch-in/out function. The AUTO PUNCH
I/O “I/O” indicator in the central display panel will
light, indicating that the AUTO PUNCH I/O function
is ready.
5. Press the REC and PLAY buttons to start the trans
port running in the AUTO PUNCH I/O mode. Prior
to the pre-defined punch-in point, the red REC indi
cator will flash. As soon as the punch-in point is
reached, the record mode will be activated and the
REC indicator will light continuously. When the
punch-out point is reached, the record mode will be
automatically disengaged.
r NOTE: -------------------------------------------
-----------
The AUTO PUNCH I/O mode can not be activated
when the tape is wound to a point beyond the pro
grammed punch-in point.
- NOTE: -----------------------------------------------------
The AUTO PUNCH I/O mode can be turned off by
pressing the AUTO PUNCH I/O button a second
time, and the MEMO display can be cleared by first
pressing the MEMO button, causing the “MEMO” in
dicator to flash, and pressing the “MEMO” button
again. The “MEMO” indicator will go out.
-24-
MIDI SYNC OPERATION
Using an external MIDI converter such a the YAMAHA YMC-10, it is possible to synchronize MIDI equipment such as
sequence recorders, digital rhythm programmers, MIDI computers and similar equipment to playback of material
recorded on the MT3X.
A simple MIDI sync system example is given below. In
this example, the YMC-10 MIDI Converter converts the
MIDI clock signal output from the RX8 Digital Rhythm
Programmer to an FSK (Frequency Shift-keyed) audio
signal that can be recorded on tape. And, in reverse,
the YMC-10 re-converts the FSK sync signal from the
tape back to a MIDI clock signal that can control the
RX8. Before any material is recorded on the tape, the
MT3X SYNC switch is turned ON, the rhythm pattern
programmed into the RX8 is played back, and the re
sultant sync signal from the YMC-10 is recorded onto
track 4 using normal recording procedure. Now, if the
RX8 is set to “EXTERNAL SYNC” (allowing it to be
controlled by external MIDI signals) and the tape is
played back, the RX8 will start, run, and stop in re
sponse to the sync track. Once this has been done, it is
possible to overdub and even ping-pong the remaining
three tracks on the tape, using the RX8 rhythm as a
reference. Since the sync track is controlling only the
speed and start/stop timing of the RX8, the rhythm pat
tern can be edited and re-programmed as required
without losing synchronization.
The same basic principles apply to synchronization of a
MIDI sequence recorder, MIDI computer or other
equipment. If a large number of external sources are
synchronized to tape, a small supplementary mixer
may be required to combine the source signals into a
stereo signal which can be returned to input channels 5
and 6 of the MT3X mixer.
MT3X
(TO SOUND SYSTEM)
FSK sync signal
25
MAINTENANCE
The MT3X recording & playback head has been precision-constructed to extremely fine tolerances in order to make
high-quality 4-track recording possible. Optimum performance can only be achieved if the head surface is kept
immaculately clean. Cleaning should be carried out at regular intervals — at least after every 10 hours of use.
Dirty heads can cause any of, or a combination of, the following problems:
• Recording, playback and erasure are not possible.
• Reduced playback sound level.
• Fluctuating and or/distorted sound.
• Excessive noise.
• A drop in level at the high frequencies.
If any of the above problems occur, clean the heads carefull before assuming the fault is with the deck. Use a
commercially available head-cleaning kit (read the instructions provided with the kit), or wipe carefully with a cloth or
cotton swab that has been dampened with cleaning alchohol. Also clean the pinch roller at the same time as the
heads.
Capstan
Erase head
Record/playback head
Clean the Shaded Areas
Pinchroller
-26-
SPECIFICATIONS
TAPE TRANSPORT
Tape Type
Heads
Tape Speed
Pitch Control
Wow & Flutter
Rewind Time
Motor
CONNECTORS
Input 1 & 2
Input 3-6
Aux Return 1 & 2 (L,R)
Stereo Out L & R
Phones Out
Monitor Out L & R
Tape Out 1 to 4
Aux Send 1 & 2
Chrome (70 microsec. EQ)
4-channel Permalloy rec/play head ,4-channel ferrite erase head
4.75 cm/sec., 9.5 cm/sec.
+ 10%
Less than 0.15% WRMS
Approx. 100 sec., for C-60 tape
DC servo motors (2)
Input Impedance 10 k-ohms
Rated Input Level
Max. Input Level
Min. Input Level
Input Impedance
Rated Input Level
Min. Input Level
Input Impedance
Rated Input Level
Min. Input Level
Output Impedance
Load Impedance
Rated Output Level
-10 dB to -50 dB (fader nominal)
+10 dB (gain control min.)
-56 dB (gain control, fader max.)
10 k-ohms
-10 dB (fader nominal)
-16 dB (fader max.)
10 k-ohms
-10 dB (fader nominal)
-16 dB (fader max.)
1 k-ohm
Greater than 10 k-ohms
-10 dB into 50 k-ohms
Load Impedance 8 to 40 ohms
Max. Output Level
Output Impedance
Load Impedance
Rated Output Level
Output Impedance
Load Impedance
Rated Output Level
Output Impedance
Load Impedance
Rated Output Level
100 mW + 100 mW/40 ohms
1 k-ohm
Greater than 10 k-ohms
-10 dB into 50 k-ohms
1 k-ohm
Greater than 10 k-ohms
-10 dB into 50 k-ohms
1 k-ohm
Greater than 10 k-ohms
-10 dB Into 50 k-ohms
ELECTRICAL SPECIFICATIONS
----------------------------------------
Frequency Response (NR OUT) 40 Rz to 18 kHz, ± 3 dB at 9.5 cm/sec.
40 Hz to 12.5 kHz, ± 3 dB at 4.75 cm/sec.
S/N ratio
Distortion
Channel Separation
Erasure Ratio
Noise Reduction
Equaiizer (shelving)
GENERAL
----------------
Power Requirements
Power Consumption
Dimensions (WxHxD)
Weight
’ dbx is a trademark of dbx Incorporated. OdB = 0.775 Vr.m.s.
85 dB, dbx ON, IHF-A
1.5%, 315 Hz (EIAJ)
Greater than 55 dB at 1 kHz
Greater than 70 dB at 1 kHz
dbx *
Max. ± 12 dB (HIGH: 10 kHz, LOW: 100 Hz)
U.S. <S Canadian Models: 120 V AC, 60 Hz
General Model: 220/240 VAC, 50/60 Hz
U.S. & Canadian Models: 24 W
General Model: 19 W
443 X 107 x 325 mm (17-7/16” x 4-3/16" x 12-13/16")
U.S. & Canadian Models: 3.7 kg (8 lbs. 2 oz)
General Model: 3.9 kg (8 lbs. 10 oz)
All specifications subject to change without notice.
-27 -
-------------
Loading...