Yamaha Audio MD4 User Manual
MULTITRACK MD RECORDER
E
Owner’s Manual
L R L R L R
STEREO SUB IN STEREO OUT MONITOR OUT TRACK DIRECT OUT
1234
MIC/LINE INPUT
1
2
GAIN
GAIN
LINE MIC
LINE MIC
HIGH
HIGH
–12 +12
–12 +12
MID
MID
–12 +12
LOW
10
9
8
7
6
5
4
3
2
1
0
–12 +12
LOW
–12 +12
–12 +12
AUX
AUX
010
010
1 2
1 2
GROUP ASSIGN
GROUP ASSIGN GROUP ASSIGN GROUP ASSIGN
3 4
3 4
PAN
PAN
L
L
ODDREVEN
ODDREVEN
PB MIC/
PB MIC/
LINE
10
9
8
7
6
5
4
3
2
1
0
34
GAIN
LINE MIC
HIGH
–12 +12
MID
–12 +12
LOW
–12 +12
AUX
010
1 2
3 4
PAN
L
ODDREVEN
PB MIC/
LINE
10
9
8
7
6
5
4
3
2
1
0
LINE
GAIN
LINE MIC
HIGH
–12 +12
MID
–12 +12
LOW
–12 +12
AUX
010
1 2
3 4
PAN
L
ODDREVEN
PB MIC/
10
9
8
7
6
5
4
3
2
1
0
1 2 3 4
L R
AUX RETURN
RETURN
1 2 1 2
GROUP ASSIGN
3 4 3 4
MONITOR
SELECT
1 3
2 4
MONITOR LEVEL
MIN MAX
LINE
MASTER
AUX
LEVEL
010
GROUP
STEREO
CUE
STEREO
10
9
8
7
6
5
4
3
2
1
0
AUX SEND
STEREO
SUB IN
GROUP ASSIGN
LEVEL
010
CUE LEVEL
1
010
2
010
3
010
4
010
TIME
DISPLAY
ADJUST
SELECT
UTILITY
DATA–+
AUTO
PUNCH I/O
REC
REHE
PHONES PUNCH I/O
MULTITRACK MD RECORDER
REPEAT MEMO A/B
CLEAR
ENTER
PLAY
123
MARK SEARCH
LAST REC SEARCH
IN OUT
SEARCH
REVIEW
PAUSE
REC SELECT
SONG
FF CUE
4
MARKPITCH
STOP
TOC WRITE
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this
manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another
product use only high quality shielded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions
could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements
listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance
with these requirements provides a reasonable level of assurance that your use of
this product in a residential environment will not result in harmful interference
with other electronic devices. This equipment generates/uses radio frequencies
and, if not installed and used according to the instructions found in the users
manual, may cause interference harmful to the operation of other electronic
devices. Compliance with FCC regulations does not guarantee that interference
will not occur in all installations. If this product is found to be the source of
interference, which can be determined by turning the unit “OFF” and “ON”,
please try to eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the
interference.
Utilize power outlets that are on different branch (circuit breaker or fuse)
circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the
antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable.
If these corrective measures do not produce satisfactory results, please contact
the local retailer authorized to distribute this type of product. If you can not
locate the appropriate retailer, please contact Yamaha Corporation of America,
Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
IMPORTANT
Please record the serial number of this unit in the space below.
Laser Diode Properties
* Material : GaAlAs
* Wavelength : 780–790 nm
* Emission Duration : Continuous
* Laser Output Power : Less than 44.6 µW
(Note)
Laser output is measured at a
distance of 20cm from the object
lens on the optical pick-up head.
This unit is classified as a
Class 1 laser product.
CLASS 1 LASER PRODUCT
CLASS 1 LASER PRODUCT
LUOKAN 1 LASERLAITE
KLASS 1 LASERAPPARAT
CAUTION : INVISIBLE LASER RADIATION WHEN OPEN AND INTRLOCKS DEFEATED.
DO NOT STARE INTO BEAM OR VIEW DIRECTLY WITH OPTICAL INSTRUMENTS.
VARNING : OSYNLIG LASERSTRÅLNING NÄR DENNA DEL ÄR ÖPPNAD OCH SPÄRRAR
ÄR URKOPPLADE. STIRRA EJ IN I STRÅLEN OCH BETRAKTA EJ STRÅLEN MED
OPISKA INSTRUMENT.
VARO! : NÄKYMÄTÖNTÄ AVATTAESSA JA SUOJALUKITUS OHITETTAESSA OLET
ALTTIINA LASERSÄTEILYLLE. ÄLÄ TUIJOTA SÄTEESEEN ÄLÄKÄ KATSO SITÄ
OPTISEN LAITTEEN LÄPI.
The CLASS 1 LASER
PRODUCT label is located on
the exterior.
Klassmärkning för Finland.
•This label is not placed on USA model
and Canadian model.
•This label is placed on the lid.
•Varningsanvisning för laserstrålning.
Placerad i apparaten.
Serial No.:
The serial number is located on the bottom of the unit.
Retain this Owner's Manual in a safe place for future reference.
IMPORTANT NOTICE FOR
THE UNITED KINGDOM
Connecting the Plug and Cord
IMPORTANT: The wires in this mains lead are coloured in accordance
with the following code:
BLUE : NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus may not
correspond with the coloured markings identifying the terminals in your
plug proceed as follows:
The wire which is coloured BLUE must be connected to the terminal
which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal
which is marked with the letter L or coloured RED.
Making sure that neither core is connected to the earth terminal of the
three pin plug.
CAUTION
USE OF CONTROLS OR ADJUSTMENTS OR
PERFORMANCE OF PROCEDURES OTHER
THAN THOSE SPECIFIED HEREIN MAY RESULT
IN HAZARDOUS RADIATION EXPOSURE.
ADVARSEL
Usynlig laserstråling ved åbning. Undgå udsaettelse
for stråling.
VAROITUS
Laitteen käyttäminen muulla kuin tässä käyttöohjeesa
mainitulla tavalla saattaa altistaa käyttäjän
turvallisuusluokan 1 ylittävälle näkymättömälle
lasersäteilylle.
VARNING
Om apparaten används på annat sätt än i denna
bruksanvisning specificerats, kan användaren utsättas
för osynlig laserstrålning, som överskrider gränsen för
laserklass 1.
• Explanation of Graphical Symbols
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
SEE BOTTOM OF ENCLOSURE FOR GRAPHIC
SYMBOLS MARKING.
SAFETY INSTRUCTIONS
1. Read Instructions — All the safety and operating instructions
should be read before the appliance is operated.
2. Retain Instructions — The safety and operating instructions
should be retained for future reference.
3. Heed Warnings — All warnings on the appliance and in the
operating instructions should be adhered to.
4. Follow Instructions — All operating and use instructions should
be followed.
5. Water and Moisture — The appliance should not be used near
water – for example, near a bathtub, washbowl, kitchen sink,
laundry tub, in a wet basement, or near a swimming pool, and the
like.
6. Carts and Stands — The appliance should
be used only with a cart or stand that is
recommended by the manufacturer.
6A An appliance and cart combination
should be moved with care. Quick
stops, excessive force, and uneven
surfaces may cause the appliance and cart combination to
overturn.
7. Wall or Ceiling Mounting — The appliance should be mounted
to a wall or ceiling only as recommended by the manufacturer.
8. Ventilation — The appliance should be situated so that its
location or position does not interfere with its proper ventilation.
For example, the appliance should not be situated on a bed, sofa,
rug, or similar surface that may block the ventilation openings;
or, placed in a built-in installation, such as a bookcase or cabinet
that may impede the flow of air through the ventilation openings.
9. Heat — The appliance should be situated away from heat sources
such as radiators, heat registers, stoves, or other appliances
(including amplifiers) that produce heat.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of
important operating and maintenance (servicing)
instructions in the literature accompanying the
product.
The lightning flash with arrowhead symbol within
an equilateral triangle is intended to alert the user
to the presence of uninsulated “dangerous voltage”
within the product’s enclosure that may be of
sufficient magnitude to constitute a risk of electric
shock to persons.
10. Power Sources — The appliance should be connected to a power
supply only of the type described in the operating instructions or
as marked on the appliance.
11. Grounding or Polarization — The precautions that should be
taken so that the grounding or polarization means of an appliance
is not defeated.
12. Power-Cord Protection — Power-supply cords should be routed
so that they are not likely to be walked on or pinched by items
placed upon or against them, paying particular attention to cords
at plugs, convenience receptacles, and the point where they exit
from the appliance.
13. Cleaning — The appliance should be cleaned only as recommended by the manufacturer.
14. Nonuse Periods — The power cord of the appliance should be
unplugged from the outlet when left unused for a long period of
time.
15. Object and Liquid Entry — Care should be taken so that objects
do not fall and liquids are not spilled into the enclosure through
openings.
16. Damage Requiring Service — The appliance should be serviced
by qualified service personnel when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has been spilled into the
appliance; or
C. The appliance has been exposed to rain; or
D. The appliance does not appear to operate normally or exhibits
a marked change in performance; or
E. The appliance has been dropped, or the enclosure damaged.
17. Servicing — The user should not attempt service the appliance
beyond that described in the operating instructions.
iii
Important
Read the Following Before Operating MD4
Warnings
• Do not locate MD4 in a place subject to excessive heat or in direct sunlight. This could be a
fire hazard.
• Do not place MD4 in a place subject to excessive humidity or dust. This could be a fire and
electrical shock hazard.
• Connect the supplied AC power cord only to an AC outlet of the type stated in this Owner’s
Manual
• Do not plug several devices into the same AC outlet. This can overload the AC outlet, and
can be a fire and electrical shock hazard. It may also affect the performance of some devices.
• Do not place heavy objects on the power cord. A damaged power cord is a potential fire and
electrical shock hazard.
• If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a
replacement. Using MD4 in this condition is a fire and shock hazard.
• Hold the AC power cord plug when disconnecting from an AC outlet. Never pull the cord.
Damaging the power cord in this way is a potential fire and electrical shock hazard.
• Do not place small metal objects on top of MD4. Metal objects inside MD4 are a fire and
electrical shock hazard.
• Do not block the MD4 ventilation holes. MD4 has ventilation holes at the rear to prevent
the internal temperature from rising. Blocked ventilation holes are a fire hazard.
• Do not try to modify MD4. This could be a fire and electrical shock hazard.
• MD4 operating temperature is between 5˚C and 35˚C (41˚F and 95˚F).
or as marked on the main unit. Failure to do so is a fire and electrical shock hazard.
Cautions
• Turn off all audio devices and speakers when connecting to MD4. Refer to the owner’s manual for each device. Use the correct cables and connect as specified.
• MD4 is a precision device. Handle it with care.
• Handle MD DATA discs with care.
• If you notice any abnormality—such as smoke, odor, or noise—turn off MD4 immediately.
Remove the AC power cord from the AC outlet. Confirm that the abnormality is no longer
present. Consult your dealer for repair. Using MD4 in this condition is a fire and shock
hazard.
• If a foreign object or water gets inside MD4, turn it off immediately. Remove the AC power
cord from the AC outlet. Consult your dealer for repair. Using MD4 in this condition is a
fire and electrical shock hazard.
• If you plan not to use MD4 for a long period of time (such as when you are on vacation),
remove the AC power cord from the AC outlet. Leaving MD4 connected is a fire hazard.
• Do not use benzene, thinner, cleaning detergent, or a chemical cloth to clean MD4.
• Use only a soft, dry cloth to clean MD4.
MD4—Owner’s Manual
iv
Interference
MD4 uses high-frequency digital circuits that may cause interference on radios and televisions
placed close to it. If interference does occur, relocate the affected equipment.
Copyright
© 1996 Yamaha Corporation. All rights reserved.
No part of the MD4 software or this Owner’s Manual may be reproduced or distributed in any
form or by any means without the prior written authorization of Yamaha Corporation.
Trademarks
MD DATA and MiniDisc are trademarks of Sony Corporation.
US and foreign patents licensed from Dolby Laboratories Licensing Corporation.
All trademarks are the property of their respective holders.
Package Contents
The MD4 package should contain the following items. Make sure that you have them all.
• MD4 Multitrack Recorder
• AC power cord
• MD DATA disc
• This Owner’s Manual
Contact your Yamaha dealer if something is missing.
Keep This Manual For Future Reference
MD4—Owner’s Manual
v
Contents
1. Welcome to MD4 . . . . . . . . . . . . . . . . . . . 1
MD4 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Buying Discs for MD4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
MD4 TOC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2. Touring MD4 . . . . . . . . . . . . . . . . . . . . . . . 3
Topside View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Master Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Disc Transport Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Topside Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Front Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Rear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
3. The First Session . . . . . . . . . . . . . . . . . . . 12
Quick-Start System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Turning On MD4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Loading a Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Recording the First Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Listening to the First Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Overdubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
An Overview of Multitrack Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Basic Multitracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Advanced Multitracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
About Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
4. Recording & Mixing Techniques . . . . . . . 19
Recording a New Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Searching for the Blank Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Setting the Recording Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Titling Discs & Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Manual Punch In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Using the REC Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Using the REC SELECT buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Using a Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Auto Punch In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Setting the In/Out Points “On-the-Fly” . . . . . . . . . . . . . . . . . . . . . . . 24
Another Way to Set the IN/OUT Points . . . . . . . . . . . . . . . . . . . . . . . 24
Rehearsing Auto Punch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Performing Auto Punch for Real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Auto Punch with a Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Setting the Pre-Roll & Post-Roll Times . . . . . . . . . . . . . . . . . . . . . . . . 28
Ping-Pong Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
MD4—Owner’s Manual
Preparing for Ping-Pong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Rehearsing the Ping-Pong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Performing the Ping-Pong for Real . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Checking the Ping-Pong Operation . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Ping-Pong with Overdub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Adjusting the Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Resetting the Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using a Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Applying Effects at Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Applying Effects when Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Applying Effects with Ping-Pong . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
5. Quick Search Functions . . . . . . . . . . . . . . 36
Searching for Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Searching by Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Searching for the Last Rec IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . 36
Searching for Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Inserting Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Marker Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Adjusting Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Erasing Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
vi
6. Repeat, Cue List & Program Play . . . . . . 40
One Song Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
All Song Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
A–B Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Cue List Playback & Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Program Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
7. Editing Songs & Tracks . . . . . . . . . . . . . . 44
Copying a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Dividing a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Combining Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Track-to-Track Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Erasing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Erasing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
8. MD4 & MIDI . . . . . . . . . . . . . . . . . . . . . . 49
Using MD4 in a Synchronized MIDI System . . . . . . . . . . . . . . . . . . . . . . . . 49
About Tempo Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Setting Up a Synchronized MIDI System . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Using MTC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Setting MD4 for MTC Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Setting the MIDI Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
MTC Cabling Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Setting the MIDI Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Adding Meter Changes to a Tempo Map . . . . . . . . . . . . . . . . . . . . . . 52
Adding Tempo Changes to a Tempo Map . . . . . . . . . . . . . . . . . . . . . 53
Inserting Steps in a Tempo Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
MD4—Owner’s Manual
vii
Deleting Steps in a Tempo Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Saving a Tempo Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Loading a Tempo Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Tempo Map Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
9. MD4 Applications . . . . . . . . . . . . . . . . . . 57
One-Take Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
MIDI Home Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Using MD4 with a Sub-Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Recording a Stereo Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
10. Beyond the Basics . . . . . . . . . . . . . . . . . 61
AUX RETURN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
11. Q&A Section . . . . . . . . . . . . . . . . . . . . . 64
Troubleshooting . . . . . . . . . . . . . . . . . . . . . 66
Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
MD4 Transport Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Display Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Signal Flow Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
MIDI Implementation Chart . . End of Manual
MD4—Owner’s Manual
1
Welcome to MD4
Thank you for choosing the Yamaha MD4 Multitrack MD Recorder. MD4 is the world’s first
multitrack recorder to use the MiniDisc format, with its superior sound quality and quick search
capabilities. To take best advantage of your MD4, read this
MD4 Features
Mixer
The mixer section is a four-input channel, four-group analog mixer.
• Input channels feature continuously variable GAIN controls, which can handle both microphone and line-level signals with ease.
• Musical three-band EQ (High, Mid, Low) on each input channel provides flexible
tone-shaping capabilities.
• Aux send with stereo return for an external effects processor.
• Flexible monitoring of Group, CUE, and Stereo buses.
• Direct outputs for direct connection to another mixer.
• Stereo sub inputs for mixer cascading.
Welcome to MD4
Owner’s Manual
1
thoroughly.
Recorder
The recorder section is a four-track recorder based on the MD DATA audio format, which has
several advantages over tape-based multitrackers. With a tape-based recorder, for example, you
have to keep at least one track free for ping-pong. With MD4, however, you can record on all
four tracks and then ping-pong (i.e., four-track playback with ping-pong). This is because
MD4 can simultaneously play and record on the same track. This feature provides greater creative freedom when planing tracks.
• Superior sound quality that is unaffected by repeated overdubs and ping-pong operations.
• Zero wow and flutter and pitch fluctuation.
• Recording time: 37 minutes for 4-track, 74 minutes for stereo, and 148 minutes for mono.
• Four-track playback with ping-pong.
• Quick search for Song Start, Song End, Last Record IN/OUT points, Direct Time Locate,
and up to eight markers for each song.
• Precise punch in/out with 11-millisecond accuracy.
• Editing includes Song Combine, Song Divide, and cue list-style playback.
• Disc and song titling for easy identification.
• Repeat modes include One Song, All Song, A–B, and Auto Punch Rehearse.
• FF CUE and Review at 2X and 4X playback speed.
±
• Variable pitch of approximately
• Clear FLD (Fluorescent Display) shows signal levels, mode, status, and Total, Remaining,
and Elapsed times.
• MTC (MIDI Timecode) or MIDI Clock (with Tempo Map) output for synchronization
within a MIDI-based system.
For some more quick answers on MD4, see the Q&A Section on page 64.
6.5%.
MD4—Owner’s Manual
2
Welcome to MD4
Buying Discs for MD4
It’s important that you buy the correct type of disc for use with your MD4. For 4-track recording
and playback, you must use MD DATA discs. Normal MiniDiscs can only be used for 2-track
recording and playback.
MD DATA discs are used as a storage media for computers. MD4 uses the MD DATA audio format. MiniDiscs are also referred to as MD discs, although they are used only for music.
Type Logo Description
MD DATA discs are for computer data storage applications. You can purchase them at computer stores.
MD DATA
MiniDisc
This is the type of disc you should buy for 4-track
recording and playback with your MD4. Note that
there are two types available: playback only and
rewritable . You should buy the rewritable type.
MiniDiscs are used only for music. Two types are
available: playback only and recordable . MD4 can
record up to two tracks on the recordable type and
play the playback only type.
MD DATA discs that have been used to store computer data must be formatted before they can
be used with MD4. See
Normal MiniDisc decks cannot play MD DATA discs.
MiniDiscs recorded on MD4 can be played on a normal MiniDisc deck.
MiniDisc recordings made on a normal MiniDisc deck can be edited on MD4. MiniDiscs that
contain songs that were digitally copied from a commercial CD, however, cannot be edited due
to the SCMS protection system.
Erasing Songs
on page 48.
MD4 TOC
TOC refers to the Table Of Contents area on a disc. The TOC contains information about what
is recorded on the disc, the disc title, song titles, and so on. The TOC EDIT indicator lights up
when the TOC needs to be updated, usually after a new recording or edit. You must update the
TOC before ejecting a disc or turning off MD4. It’s also a good idea to update the TOC at regular
intervals just in case of a power failure. Failure to update the TOC can result in data being lost.
Even if you’ve recorded something correctly, if the TOC isn’t updated and MD4 is turned off,
the power cord accidentally disconnected, or a power failure occurs, that data will be lost.
Note: If you press the EJECT button while TOC EDIT is shown on the display, the disc will
not eject. Press [TOC WRITE] to update the TOC, and then eject the disc.
MD4—Owner’s Manual
2
Touring MD4
This chapter takes you on a tour of MD4, identifying the various parts to help you become familiar with your new recorder.
Topside View
L R L R L R
STEREO SUB IN STEREO OUT MONITOR OUT TRACK DIRECT OUT
1234
MIC/LINE INPUT
GAIN
LINE MIC
HIGH
–12 +12
MID
1
GAIN
LINE MIC
HIGH
–12 +12
MID
2
34
GAIN
LINE MIC
HIGH
–12 +12
MID
GAIN
LINE MIC
HIGH
–12 +12
MID
1 2 3 4
L R
AUX RETURN
AUX SEND
MASTER
AUX
STEREO
RETURN
1 2 1 2
GROUP ASSIGN
3 4 3 4
SUB IN
GROUP ASSIGN
LEVEL
LEVEL
Touring MD4
MULTITRACK MD RECORDER
3
010
GROUP
STEREO
CUE
10
9
8
7
6
5
4
3
2
1
0
STEREO
010
CUE LEVEL
1
010
2
010
3
010
4
010
TIME
DISPLAY
AUTO
PUNCH I/O
SELECT
REC
ADJUST
UTILITY
REHE
PHONES PUNCH I/O
–12 +12
LOW
–12 +12
AUX
010
1 2
GROUP ASSIGN
3 4
PAN
L
ODDREVEN
PB MIC/
10
9
8
7
6
5
4
3
2
1
0
–12 +12
LOW
–12 +12
AUX
010
1 2
GROUP ASSIGN GROUP ASSIGN GROUP ASSIGN
3 4
PAN
L
ODDREVEN
PB MIC/
LINE
10
9
8
7
6
5
4
3
2
1
0
LINE
–12 +12
LOW
–12 +12
AUX
010
1 2
3 4
PAN
L
ODDREVEN
PB MIC/
10
9
8
7
6
5
4
3
2
1
0
LINE
–12 +12
LOW
–12 +12
AUX
010
1 2
3 4
PAN
L
ODDREVEN
PB MIC/
10
9
8
7
6
5
4
3
2
1
0
MONITOR
SELECT
1 3
2 4
MONITOR LEVEL
MIN MAX
LINE
The individual sections of MD4 are explained on the following pages.
REPEAT MEMO A/B
DATA– +
PLAY
CLEAR
ENTER
PAUSE
123
REC SELECT
MARK SEARCH
LAST REC SEARCH
IN OUT
SONG
SEARCH
REVIEW
FF CUE
STOP
TOC WRITE
4
MARKPITCH
MD4—Owner’s Manual
4
1
Touring MD4
Input Channels
1
This rotary control adjusts the sensitivity of the MIC/LINE input so that both microphone and line-level signals can be handled with ease.
2
1
GAIN
LINE MIC
HIGH
These rotary controls are used to boost and cut the high, middle, and low frequency
bands independently. A flat setting (i.e., no boost or cut) can be set quickly using the
control’s center detent.
GAIN control
EQ controls
15
10
2
3
4
5
6
7
–12 +12
MID
–12 +12
LOW
–12 +12
AUX
010
1 2
GROUP ASSIGN
3 4
PAN
L
ODD
PB MIC/
10
9
8
7
6
5
4
3
2
1
0
EVEN
LINE
HIGH ±12 dB at 12 kHz—shelving type
MID ±12 dB at 1 kHz—peaking type
LOW ±12 dB at 80 Hz—shelving type
3
AUX control
5
0
–5
Response (dB)
–10
–15
50
Frequency (Hz)
10k 20k1k10020
5k2k500200
This rotary control is used to send the input channel signal to the AUX SEND output
for processing by an external effects processor.
4
GROUP ASSIGN switches
These switches are used to assign (i.e., send) the input channel signal to the recorder’s
tracks. They work in conjunction with the PAN control. For example, with GROUP
R
ASSIGN switch [1–2] ON and the PAN control set midway, the channel signal is sent
equally to Tracks 1 and 2. With the PAN control turned fully counterclockwise (L/ODD),
however, the channel signal is sent only to Track 1. Likewise, when it is set fully clockwise,
the signal is sent only to track 2. The same principle applies to GROUP ASSIGN switch
[3–4].
5
PAN control
This rotary control has two functions: For recording it’s used in conjunction with the
GROUP ASSIGN switches to assign the input channel signal to even and odd numbered
tracks. For mixdown it’s used to pan (i.e., position) the signal in the stereo mix.
6
Input source selector switch
This switch is used to select the signal source for the input channel: MIC/LINE input or
PB (disc playback signal).
7
Fader
This fader has two functions: For recording it’s used to adjust the level of the input channel signal that’s recorded to a track. For mixdown it’s used to balance the input channel
signal relative to the other input channel signals. For optimum performance, faders
should be positioned about the 7–8 mark.
MD4—Owner’s Manual
Master Section
MASTER
AUX
RETURN
1 2 1 2
1
GROUP ASSIGN
3 4 3 4
LEVEL
2 7
010
MONITOR
SELECT
1 3
GROUP
2 4
3
STEREO
CUE
MONITOR LEVEL
4
MIN MAX
10
9
8
7
5
6
5
4
3
2
1
0
GROUP ASSIGN
CUE LEVEL
1
2
3
4
STEREO
STEREO
SUB IN
LEVEL
010
010
010
010
010
6
8
5
1
AUX RETURN GROUP ASSIGN switches
Master Section
These switches are used to assign (i.e., send) the Aux Return signals to
the recorder’s tracks. The left-channel signal is sent to odd buses 1 and
3. While the right-channel signal is sent to even buses 2 and 4. The Aux
Return signals are typically the processed signals returned from a stereo effects processor. Note that the Aux Return signals are always sent
to the Stereo bus for mixing regardless of these switch settings.
2
AUX RETURN LEVEL control
This rotary control adjusts the level of the Aux Return signals that are
sent to the Stereo bus for mixing. It’s also used in conjunction with the
AUX RETURN GROUP ASSIGN switches to adjust the level of the Aux
Return signals that are assigned to the recorder’s tracks.
3
MONITOR SELECT switches
These switches are used to select the signal source for the MONITOR
OUT and headphones.
GROUP
—These switches select the Group buses as the monitor
source. This allows you to monitor signals assigned to tracks. When
only the [1–3] or [2–4] switch is pressed, the monitor signal is mono.
Press both switches to monitor stereo signals.
STEREO
—This switch selects the Stereo bus as the monitor source.
This allows you to monitor the STEREO OUT signal and is typically
used during mixdown.
CUE
—This switch selects the CUE bus as the monitor source. This
allows you to monitor track signals, which is useful for punch in/out.
4
MONITOR LEVEL control
This rotary control adjusts the level of the monitor signal that is sent
to the MONITOR OUT and headphones.
5
STEREO fader
This fader is used to adjust the level of the stereo signal that is sent to
the STEREO OUT. For optimum performance this fader should be
positioned about the 7–8 mark.
6
STEREO SUB IN GROUP ASSIGN switches
These switches are used to assign (i.e., send) the Stereo Sub In signals
to the recorder’s tracks. The left-channel signal is sent to odd buses 1
and 3. While the right-channel signal is sent to even buses 2 and 4. The
Stereo Sub In signals are typically the stereo output signals from
another mixer. Note that the Stereo Sub In signals are always sent to
the Stereo bus for mixing regardless of these switch settings.
STEREO SUB IN LEVEL control
7
This rotary control adjusts the level of the Stereo Sub In signals that are sent to the Stereo bus
for mixing. It’s also used in conjunction with the STEREO SUB IN GROUP ASSIGN switches
to adjust the level of the Stereo Sub In signals that are assigned to the recorder’s tracks.
8
CUE LEVEL controls
These controls adjust the level of the CUE signal for each track. During recording, or when no
disc is inserted, the CUE source is the signal assigned to a track. During playback, the CUE
source is the disc playback signal.
MD4—Owner’s Manual
6
Touring MD4
Display
3
2
1
4 5 6 8 9
MASTER
MTC
MD4 Song
PITCH FIX VARI
TOC EDIT
REHE
REC
S12345678E PRE IN
MARKERS
ELAPSE
REMAIN
TOTAL
7
MIN.
1 ALL
BA
SEC. FRAMES
MEMO BPUNCHAUTOMEMO AREPEAT
OUT
POST
C
CLIP
–12
–15
–18
–27
–39
–3
–6
–9
2 3 4
1
D
Note: For explanation purposes, the illustration above shows most of the available indicators.
During normal operation, however, you will not see so many indicators on the display at the
same.
1 Status indicators
These indicators show the current operating mode.
Indicator Meaning
Normal playback
Cue or Review
+12
–10
–20
dBdB
0
+9
+6
+3
0
–3
–6
L R
Playback is paused
REHE
REHE
REC
REC
Rehearse Pause mode
Rehearsal in progress
Record Pause mode
Recording in progress
2 Disc type indicators
These indicators show the type of disc loaded: MD DATA Disc or MiniDisc.
3 MASTER and MTC indicators
These indicators light up when MIDI synchronization is used. MASTER appears when the MD4
is generating MIDI Clock, and MTC appears when it is generating MIDI Timecode.
4 Pitch indicators
These indicators show the current Pitch mode: FIX (fixed) or VARI (variable).
5 TOC EDIT indicator
The TOC EDIT indicator lights up when the TOC needs to be updated, usually after a new
recording or edit.
MD4—Owner’s Manual
Display 7
6 Time Counter mode
These indicators show the Time Counter mode.
ELAPSE—This mode shows the time position within a song.
REMAIN—This mode shows the time remaining for a song or when you are recording a new
song, it shows the available time remaining for the song.
TOTAL—This mode shows the time position within the entire disc.
7 Title and function display
Disc titles, song titles, functions, messages, and other information appear here.
8 Time counter
The time counter shows the disc time in minutes, seconds, and frames.
9 Track level meters
These track level meters show group signal levels from –39 dB to –3 dB in 9 steps. A CLIP indicator warns of possible distortion caused by signal clipping. With no disc loaded, the meters
display group signal levels.
0 Stereo level meters
These level meters show the STEREO OUT signal levels from –20 dB to +12 dB in 9 steps.
A Markers
These indicators show the status of the Start, End, and eight markers in between. When a song
is recorded, Start and End markers are recorded automatically. You can also add up to eight
markers per song while recording is in progress or during subsequent playback. When a song
is positioned on or after a marker (stopped, playing, paused, or recording) that marker flashes.
When the beginning of a song is located, the Start marker flashes. When the end is located, the
End marker flashes.
B Repeat mode indicators
These indicators show the Repeat modes.
REPEAT 1—The current song is played repeatedly (One Song Repeat).
REPEAT ALL—All songs are played repeatedly (All Song Repeat).
REPEAT MEMO A–MEMO B—Playback cycles between memo points A and B (A–B Repeat).
REPEAT Auto Punch I/O—Auto Punch In/Out is rehearsed repeatedly.
C AUTO PUNCH, PRE, IN, OUT & POST indicators
The AUTO PUNCH indicator shows that the AUTO PUNCH In/Out function is ON. The IN
and OUT indicators light up when the LAST REC IN and OUT points have been set. When a
song is positioned on or after the PRE, IN, OUT, or POST point, the corresponding indicator
flashes.
PRE—This indicator flashes when a song is at the Pre-Roll point.
IN—This indicator lights up when the LAST REC IN point has been set and it disappears when
a song is located on or after the specified IN point.
OUT—This indicator lights up when the LAST REC OUT point has been set and it disappears
when a song is located on or after the specified OUT point.
POST—This indicator flashes when the song is located at the Post-Roll point.
D Track record indicators
These indicators show which tracks are selected for recording.
MD4—Owner’s Manual
8 Touring MD4
Disc Transport Section
6 8 9 0
7
H
5
4
3
ADJUST
UTILITY
2
1
REHE
PHONES PUNCH I/O
TIME
DISPLAY
AUTO
PUNCH I/O
REC
REPEAT MEMO A/B
CLEAR
SELECT
DATA– +
ENTER
PLAY
123
REC SELECT
MARK SEARCH
LAST REC SEARCH
IN OUT
SONG
SEARCH
REVIEW
PAUSE
FF CUE
MARKPITCH
STOP
TOC WRITE
4
4
A
B
C
D
EFG
1 AUTO PUNCH I/O button
This button is used to turn on the Auto Punch In/Out function.
2 UTILITY button
This button is used to access the following functions: Rec Mode, Text, PrePost Roll,
OffLinePunch, Track Erase, Song Erase, Song Copy, Song Divide, Song Combine, Cue List, PRG
Play, and MIDI Sync.
3 ADJUST button
This button is used to adjust the position of markers and the LAST REC IN and OUT points.
4 PITCH button
This button is used to set the Pitch mode: FIX (fixed) or VARI (variable).
5 TIME DISPLAY button
This button is used to select the Time Counter mode: ELAPSE, REMAIN, or TOTAL.
6 SELECT buttons
These buttons are used to select items on the display.
7 REPEAT button
This button is used to select the One Song, All Song, A–B, and Auto Punch Rehearse Repeat
modes. It’s also be used to cancel A–B Repeat mode.
8 MEMO A/B buttons
These buttons are used to enter the A and B points for A–B Repeat.
MD4—Owner’s Manual
Disc Transport Section 9
9 CLEAR button
This button is used to cancel functions and delete characters in disc and song titles.
0 REC SELECT buttons
These buttons are used to select tracks for recording.
A MARK SEARCH buttons
These buttons are used to locate song markers.
B MARK button
This button is used to enter markers during recording or playback.
C LAST REC SEARCH IN/OUT buttons
These buttons are used to locate the LAST REC IN and OUT points.
D SONG SEARCH buttons
These buttons are used to search for songs.
E Disc Transport buttons
REHE—This button is used to enter Rehearse mode. The REHE indicators flash in Rehearse
Pause mode and stay on continuously while rehearsal is in progress.
REC—This button is used to enter Record mode. The REC indicators flash in Record Pause
mode and stay on continuously while recording is in progress.
PLAY—This button is used to start normal playback, start rehearsal, and start recording. It can
also be used to cancel rehearsal and recording. In this case, normal playback continues from the
point at which the [PLAY] button is pressed. The PLAY indicators light up while playback is in
progress and flash when playback is paused.
PAUSE—This button is used to pause playback, recording, or rehearsal.
REVIEW—This button is used to start review (i.e., review the song at a speed higher than nor-
mal playback). One press reviews at 2-times normal speed, while two presses review at 4-times
normal speed. The review speed is shown on the display: REV X2 or REV X4. You can toggle
between the X2 and X4 review speeds by pressing the [REVIEW] button. Review can be started
from stop, pause, or while playback is in progress.
FF CUE—This button is used to start FF CUE (i.e., preview the song at a speed higher than
normal playback). One press cues at 2-times normal speed, while two presses cue at 4-times normal speed. The cue speed is shown on the display: FF X2 or FF X4. You can toggle between X2
and X4 cue speeds by pressing the [FF CUE] button. FF CUE can be started from stop, pause,
or while playback is in progress.
When using the review or FF CUE function, the time counter may occasionally stop. This is not
a fault.
STOP/TOC WRITE—This button is used to stop playback, review, cue, rehearsal, and recording. It’s also used to write the TOC data to disc when MD4 is stopped.
F ENTER button
This button is used to set functions.
G DATA –/+ buttons
These buttons are used to set parameters.
H EJECT button
This button is used to eject the disc.
Note: If you press the EJECT button while TOC EDIT is shown on the display, the disc will
not eject. Press [TOC WRITE] to update the TOC, and then eject the disc.
MD4—Owner’s Manual
10 Touring MD4
Topside Connectors
1 2 3 4
L R L R L R
STEREO SUB IN STEREO OUT MONITOR OUT TRACK DIRECT OUT
1234
MIC/LINE INPUT
1 2 3 4
L R
AUX RETURN
AUX SEND
65 7
1 STEREO SUB IN
These phono jacks are used to connect another mixer to MD4 to increase the number of available
input channels. The stereo output signals from the other mixer can be mixed into the MD4 stereo mix or recorded to MD4 tracks. Connect them to the other mixer’s stereo outputs.
2 STEREO OUT
These phono jacks are used to connect a stereo master recorder for recording the final mix. The
master recorder could be a DAT recorder, MiniDisc recorder, or cassette tape deck. Connect
them to your master recorder’s stereo inputs.
3 MONITOR OUT
These phono jacks are used to send the monitor signals to a stereo monitor amplifier and speakers. This could be a dedicated monitor amplifier and speakers or your hi-fi system. Connect
them to the monitor amplifier’s stereo inputs. The MONITOR OUT signal is the same as the
headphone signal.
4 TRACK DIRECT OUTs
These phono jacks are used to send the disc playback signals to another mixer. This is useful
when you use MD4 in conjunction with a larger mixer. Connect them to the line inputs on the
other mixer. With no disc loaded, the DIRECT OUTs output the group signals.
5 MIC/LINE INPUTs
These 1/4-inch phone jacks are used to connect microphones, electronic musical instruments,
and other line-level sound sources to MD4.
6 AUX RETURN
These 1/4-inch phone jacks are used to return the processed stereo signals from an external
effects processor. The processed signals can then be mixed into the MD4 stereo mix or recorded
to tracks. Connect them to the effects processor’s stereo outputs.
7 AUX SEND
This 1/4-inch phone jack is used to send the Aux Send signal to an external effects processor.
Connect it to the effects processor’s input.
MD4—Owner’s Manual
Front Connectors 11
1 2
AC IN POWER
ON/OFF
MIDI OUT
1 2 3
CAUTION
TO PREVENT ELECTRIC SHOCK,
MATCH WIDE BLADE OF PLUG TO
WIDE SLOT, FULLY INSERT.
Front Connectors
1 PHONES
A pair of stereo headphones can be connected here for monitoring. The headphone signal is
the same as the MONITOR OUT signal.
2 PUNCH I/O
An optional footswitch, such as the Yamaha FC5, can be connected here for foot-controlled playback, rehearsal, recording, or punch in/out.
Rear
1 AC IN
Connect the supplied power cord here.
2 POWER ON/OFF switch
This switch is used to turn on and off MD4.
This connector is used to send MTC (MIDI Timecode) or MIDI Clock to a MIDI sequencer for
synchronized operation. Connect it to the MTC or MIDI IN connector on your MIDI sequencer.
3 MIDI OUT
MD4—Owner’s Manual
12 The First Session
3 The First Session
This chapter explains how to record and mix your first MD4 session. If this is your first time
with a multitrack recorder, we recommend that you start with this chapter and follow all the
procedures closely. When you’ve completed this chapter, have a look at subsequent chapters,
which explain more advanced MD4 functions and require a basic knowledge of MD4 and multitrack recording techniques.
Quick-Start System
The following illustration shows the basic equipment necessary to start recording with MD4.
Monitors
Master Recorder
Microphone
Synthesizer
L R L R L R
STEREO SUB IN STEREO OUT MONITOR OUT TRACK DIRECT OUT
1234
MIC/LINE INPUT
1
2
GAIN
GAIN
GAIN
LINE MIC
LINE MIC
HIGH
HIGH
HIGH
–12 +12
–12 +12
MID
MID
–12 +12
–12 +12
LOW
LOW
LOW
–12 +12
–12 +12
AUX
AUX
010
010
1 2
1 2
GROUP ASSIGN
GROUP ASSIGN GROUP ASSIGN GROUP ASSIGN
3 4
3 4
PAN
PAN
PAN
L
L
ODDREVEN
ODDREVEN
PB MIC/
PB MIC/
LINE
LINE
10
10
9
8
7
6
5
4
3
2
1
0
10
9
9
8
8
7
7
6
6
5
5
4
4
3
3
2
2
1
1
0
0
34
GAIN
LINE MIC
LINE MIC
HIGH
–12 +12
–12 +12
MID
MID
–12 +12
–12 +12
LOW
–12 +12
–12 +12
AUX
AUX
010
1 2
1 2
3 4
3 4
PAN
L
L
ODDREVEN
ODDREVEN
PB MIC/
PB MIC/
LINE
10
9
8
7
6
5
4
3
2
1
0
1 2 3 4
010
LINE
L R
AUX RETURN
MASTER
AUX
RETURN
1 2 1 2
GROUP ASSIGN
3 4 3 4
LEVEL
010
MONITOR
SELECT
1 3
GROUP
2 4
STEREO
CUE
MONITOR LEVEL
MIN MAX
STEREO
10
9
8
7
6
5
4
3
2
1
0
AUX SEND
STEREO
SUB IN
GROUP ASSIGN
010
CUE LEVEL
1
010
2
010
3
010
4
010
LEVEL
Monitor Amp
MULTITRACK MD RECORDER
TIME
DISPLAY
REPEAT MEMO A/B
CLEAR
SELECT
ADJUST
UTILITY
DATA– +
ENTER
AUTO
PUNCH I/O
PLAY
REC
REHE
PHONES PUNCH I/O
123
MARK SEARCH
LAST REC SEARCH
IN OUT
REVIEW
PAUSE
Connect to an
appropriate
Wall Outlet
4
REC SELECT
MARKPITCH
SONG
SEARCH
STOP
FF CUE
TOC WRITE
Guitar Processor
The microphone, synthesizer, and guitar are examples of the kind of sound sources that can be
connected to MD4. For monitoring, you can use either headphones or a monitor amp and
speakers. Alternatively, you could use your hi-fi amp and speakers. The master recorder is
required for mixdown.
MD4—Owner’s Manual
Headphones
Connecting the Power Cord 13
Connecting the Power Cord
1. Connect the supplied power cord to the AC IN socket on the rear of MD4.
2. Plug the other end of the power cord into a suitable AC wall outlet.
Turning On MD4
1. Press the POWER switch at the rear of MD4. The display lights up.
POWER
ON/OFF
To turn off MD4, press the POWER switch again.
Loading a Disc
1. Press the EJECT button to open the disc compartment.
2. Insert the disc into the compartment with the arrow pointing forward.
The disc should slide easily into the compartment and click into place. If it doesn’t, make sure
you’ve inserted it the right way around (arrow forward).
3. Close the disc compartment.
When a disc is loaded, MD4 reads the TOC to see what the disc contains. If it’s a new disc, the
message Blank Disc appears. If the disc contains some songs, the disc title appears for a few
seconds and then scrolls off the display. After that, the total number of songs on the disc is shown.
For example, Total 004
Recording the First Track
1. Connect a sound source to MIC/LINE INPUT 1.
2. If you connect a line-level source, set the GAIN control to LINE (i.e., fully
counterclockwise). If you connect a microphone, set the GAIN control midway. The GAIN control is adjusted again later on in this procedure.
3. Set the input selector switch on Input Channel 1 to MIC/LINE.
4. Press the GROUP ASSIGN [1–2] switch on Input Channel 1.
This assigns the Channel 1 signal to Tracks 1 and 2.
The following table show the relationship between Groups and Tracks.
Assigned to... Destination Track
Group 1 → Track 1
Group 2 → Track 2
Group 3 → Track 3
Group 4 → Track 4
5. Turn the PAN control to L/ODD.
This sends the signal to just Track 1.
MD4—Owner’s Manual
14 The First Session
The following table show the relationship between the PAN control and Group/Tracks.
GROUP ASSIGN PAN Destination Group/Track
1 2
3 4
1 2
3 4
L
ODDREVEN
L
ODDREVEN
Group/Track 1
Group/Track 3
Group/Track 2
Group/Track 4
6. Press the MONITOR SELECT [1–3] switch.
This sets the monitor source to Track 1.
7. Set the MONITOR LEVEL control midway.
8. Raise Channel 1 fader to the 7–8 mark.
You should now be able to hear the sound source. If you don’t hear anything, recheck the preceding steps.
9. Press REC SELECT button [1].
A circle flashes around track indicator 1.
10. Press the [REC] button.
The REC indicators flash, indicating Record Pause mode. Track 1 meter shows the signal level.
11. Adjust the GAIN control on Channel 1 so that the loudest sounds cause the
meter to reach the –3 position. If the meter goes beyond the –3 position
into CLIP, back off the GAIN control a little.
It is important that you set this level correctly to achieve the best sound. Too low a level does
not make full use of the sonic capabilities of your MD4. Too high a level may cause distortion.
Tip: If the level of the sound source varies greatly, making it difficult to find an optimum
setting for the GAIN control, you can use an external compressor to even out the signal level.
MD4 is now ready to record. All you have to do to start recording is press the [PLAY] button.
So make sure that your music source is ready to go. If you want to cancel Record Pause mode,
press the [STOP] button.
12. Press the [PLAY] button to start recording.
Recording starts and the time counter shows the recording time.
13. Press the [STOP] button to stop recording.
You’ve now recorded your first track.
Listening to the First Track
1. Press the LAST REC SEARCH [IN] button.
This returns to the point at which recording started. For the first recording, this is always
00:00.00.
MD4—Owner’s Manual
Overdubbing 15
2. Press the MONITOR SELECT [1–3] switch.
3. Press the [CUE] MONITOR SELECT switch.
4. Set CUE LEVEL 1 midway.
5. Press the [PLAY] button to start playback.
You should now be able to hear what was recorded. Adjust CUE LEVEL 1 as required. If you
don’t hear anything, recheck the preceding steps.
Overdubbing
Overdubbing is the technique used to record new sounds to empty tracks while listening to the
sounds already recorded on other tracks. The following overdubbing procedure can be used to
record on Tracks 2, 3, and 4.
1. On the input channel previously used for recording, set the fader to zero
and set the GROUP ASSIGN switches to OFF.
2. Press the [REC SELECT] button of the track previously recorded so that track
is not overwritten.
The flashing circle around the track indicator disappears.
3. Press the LAST REC SEARCH [IN] button.
This returns to the point at which recording started.
4. Connect a sound source to MIC/LINE INPUT 2, 3, or 4.
5. If you connect a line-level source, set the GAIN control to LINE (i.e., fully
counterclockwise). If you connect a microphone, set the GAIN control midway. The GAIN control is adjusted again later on in this procedure.
6. Press the [GROUP ASSIGN] switch on the Channel being used.
Select Group 2, 3, or 4. We’ve already recorded onto Track 1, so we cannot use Group 1.
7. Use the PAN control to assign the signal to odd or even numbered group.
8. Press the [GROUP] MONITOR SELECT switch for the group being used.
This sets the monitor source to the track that will be recorded.
9. Raise the Channel fader to the 7–8 mark.
You should now be able to hear the sound source.
10. Press the [REC SELECT] button of the track that you want to record.
A circle around the number of the selected track flashes.
11. Press the [REC] button.
The REC indicators flash, indicating Record Pause mode. The track meter shows the signal level.
Note: You could press the [REHE] button instead to rehearse the overdub.
12. Adjust the GAIN control on the input channel so that the loudest sounds
cause the meter to reach the –3 position. If the meter goes beyond the –3
position into CLIP, back off the GAIN control a little.
13. Press the [PLAY] button to start recording (or Rehearsal).
Recording (or Rehearsal) starts and the time counter shows the recording time.
14. Use the CUE LEVEL controls corresponding to previously recorded tracks to
balance the levels between what was previously recorded on other tracks
MD4—Owner’s Manual
16 The First Session
and what you are recording now.
15. Press the [STOP] button to stop recording (or Rehearsal).
16. Press the LAST REC SEARCH [IN] button.
This returns to the point at which recording (or Rehearsal) started.
17. Press the [PLAY] button to play back what you‘ve recorded.
If you just rehearsed the overdub, there won’t be anything to play back yet.
18. Use the CUE level controls to adjust the monitor level of each track.
Repeat this procedure until you’ve recorded all tracks. Then you’re ready for mixdown.
Mixdown
Mixdown is the final technique in multitrack recording. Here you mix the sounds from all four
tracks, with EQ and effects, into a balanced stereo mix and record it to a stereo master recorder,
such as a DAT, MiniDisc, or cassette tape machine.
1. Make sure that all [GROUP ASSIGN] switches are off, including the
MONITOR SELECT [GROUP] switches.
2. Set the input select switch on each input channel to PB.
3. Set the PAN control on each input channel to its center position.
4. Set the fader on each input channel and the STEREO fader to the 7–8 mark.
5. Press the MONITOR SELECT [STEREO] switch and set the MONITOR LEVEL
control midway.
6. Use the Song Search buttons to locate the start of the song.
If the LAST REC IN point is still 00:00, you can use the LAST REC SEARCH [IN] button. Alternatively, you can use the MARK SEARCH buttons.
7. Press the [PLAY] button to start playback.
You should now be able to hear all four tracks playback. If you don’t hear anything, recheck the
preceding steps.
8. Mix and refine your music as follows:
Balancing Levels—Use the input channel faders to balance the levels of the four tracks.
Pan—Use the PAN controls to position sounds between the left and right speakers.
EQ—Use the three-band EQ to shape the tone of each track.
Applying Effects—Use the AUX SEND and AUX RETURN functions to patch in an external
effects processor. See Applying Effects on page 34 for more information.
See Mixdown on page 63 for a more detailed look at mixdown techniques.
9. Record the Final Mix to your stereo master recorder.
That’s it! You’ve completed your first session with MD4.
MD4—Owner’s Manual
An Overview of Multitrack Recording 17
An Overview of Multitrack Recording
This section describes the fundamental principles of multitrack recording.
Basic Multitracking
Monitoring—This is the process of listening to a sound as it’s being recorded or listening to
recorded sounds as new sounds are recorded to other tracks. See About Monitoring on page 18
for more information.
Recording the First Track—The first track to be recorded is typically the drum track. A
drum track that starts before other instruments makes a good timing and count-in reference.
If your song starts with several instruments on the first bar, you may find it helpful to record a
temporary count-in on another track, which can be erased later. See Recording the First Track
on page 13 for more information.
Overdubbing—This is the technique of recording new sounds to empty tracks while listening
to the sounds that you’ve already recorded on the other tracks. Essentially, songs are recorded
track-by-track. This technique is used for most modern studio recording. See Overdubbing on
page 15 for more information.
Mixdown—This is the final technique in multitrack recording. Here you mix the sounds from
all four tracks, with EQ and effects, into a balanced stereo mix and record it to a stereo master
recorder, such as a DAT, MiniDisc, or cassette tape machine. See Mixdown on page 16 for more
information.
Advanced Multitracking
One-Take Recording—With this technique, all tracks are recorded in one take. This is useful
for live recording and recording bands that like to record with all members playing together.
Punch in/out and ping-pong techniques can be used after the one-take recording to add and
correct sections. See One-Take Recording on page 57 for more information.
Punch In/Out—This technique allows you to rerecord specific sections of a track. It’s often
used to rerecord a not so perfect guitar solo or vocal phrase. Punch in/out can be rehearsed
before actually recording to disc. Punch in/out on MD4 can be performed manually or automatically, which is useful when you are playing or singing and operating MD4 all at the same
time. See Manual Punch In/Out on page 21 for more information.
Ping-Pong—This technique allows you to mix and record several tracks onto another track.
This is often used to free up tracks for more recording. So although MD4 is a four-track recorder,
you can record more than just four tracks using the ping-pong technique. You can also combine
ping-pong with overdub recording. For example, Tracks 1 and 2 are mixed and recorded onto
Track 4 along with a new signal coming from Input Channel 3. Ping-pong can be rehearsed
before actually recording to disc. See Ping-Pong Recording on page 29 for more information.
Synchronization—This technique enables MD4 and a MIDI sequencer to work together as
a unified recording tool: MD4 for acoustic sounds and MIDI sequencer for MIDI instrument
sounds. See MD4 & MIDI on page 49 for more information.
MD4—Owner’s Manual
18 The First Session
About Monitoring
MD4 features a flexible monitoring system, allowing you to monitor signals at various points.
You can monitor sounds through a pair of stereo headphones connected to the PHONES jack,
or through a monitor amplifier and speakers connected to the MONITOR OUT jacks. The
MONITOR SELECT switches are used to select the monitor source, and the MONITOR LEVEL
control is used to adjust the level.
GROUP—These switches select the Group buses as the monitor source. This allows you to
monitor signals that are assigned from input channels, AUX RETURN, or the STEREO SUB IN
to tracks for recording. Use these switches to monitor what will be recorded. For example, if
you’re recording the sounds from three input channels to one track simultaneously, you’ll need
to listen to a mix of the three sounds in order to balance the levels correctly. You can do this
using the GROUP switches.
When only the [1–3] or [2–4] MONITOR SELECT GROUP switch is pressed, the monitor signal is set as mono. This ensures that the signal being monitored appears in both the left and
right monitor speakers. So even when you monitor a single group signal, it will be heard
through both speakers. When both the [1–3] and [2–4] MONITOR SELECT GROUP switches
are pressed, however, the monitor signal is set as stereo. So you can monitor stereo signals on
Groups 1 and 2 or Groups 3 and 4.
STEREO—This switch selects the Stereo bus as the monitor source. This allows you to monitor
the STEREO OUT signals and is typically used during mixdown. It can also be used to monitor
signals that are not going to be recorded by MD4, such as a MIDI tone generator that is controlled by a MIDI sequencer. In this case, the tone generator is only monitored while other
sounds are recorded on MD4. Then for the final mixdown, the tone generator sounds are mixed
with the sounds recorded on MD4 and mixed down to a stereo master recorder.
CUE—This switch selects the CUE bus as the monitor source. This allows you to monitor track
signals. Unlike the other monitor sources, the CUE monitor source changes when MD4 starts
recording or rehearsing. For example, during normal playback CUE allows you to monitor the
sounds recorded on disc. Obviously, if nothing is recorded, there’s nothing to monitor. When
either record or rehearse is started, however, CUE allows you to monitor the sounds that are
assigned to tracks for recording. The application of this may not appear very obvious at the
moment, but all will become clear in the punch in/out and ping-pong recording sections.
MD4—Owner’s Manual
Note: Although you can monitor GROUP, STEREO, and CUE all at the same time, there is
a possibility that you’ll monitor the same signal from two different points in the signal flow.
At first, you may find it less confusing to select just one monitor source at a time.
Recording & Mixing Techniques 19
Blank Top
Song 1 Song 2 Song 3 Blank Area
4 Recording & Mixing Techniques
This chapter explains MD4 recording and mixing techniques.
Recording a New Song
The NEW REC function is used to record new songs on a disc. Songs are recorded sequentially,
as shown below. With a blank disc, simply pressing the [REC] button engages New Record
mode. For a disc that already contains some songs, however, you must first locate the Blank Top
area of the disc, as explained below.
Searching for the Blank Top
“Blank Top” is the top part of the largest unrecorded area on a disc. To locate the Blank Top,
press the [ ] button repeatedly until BLANK TOP appears on the display. When the BLANK
TOP is located, MD4 is ready to record a new song.
Since nothing is recorded at the BLANK TOP, you cannot use the Play, Review, and FF CUE
functions. Press the [ ] SONG SEARCH button if you want to return to the previous song.
So long as a blank area exists on a disc, recording beyond the end of a song is possible. This means
that songs can be made longer. At the point where recording continues into the blank area, NEW
REC appears on the display. For punch in/out recording, you can select the REMAIN Time
Counter mode to check how much recording time, including the blank area, is available. For
rehearsal, MD4 always stops at the end of a song.
If you have erased a song that was in between other songs, there will be a new blank area on the disc.
Searching for the Blank Top will locate the Blank Top, that is the top position of the largest blank
area, which will be used to record the new song. The REMAIN time will be shown automatically.
If you record over an existing song, the total recording time will be the same as the total time of
the song being overwritten. If the next existing song is erased, however, the total time for the
new recording will be the sum of both songs. For example, Song 1 is three minutes and Song 2
is two minutes. Erasing Song 2 provides a total time of 5 minutes for the new recording.
Setting the Recording Mode
The following table shows the three MD4 Recording modes. Songs on the same disc can be
recorded in different modes, but you cannot change the mode while recording. These modes
allow you to use disc space efficiently. Audio quality is the same for all three modes.
Rec Mode Tracks Used
4TR 1, 2, 3, 4 37 O X
2TR 1, 2 74 O O
MONO 1 148 O O
Normal MiniDisc decks cannot play MD4 MD DATA discs. They can, however, play MiniDiscs
containing 2TR and MONO mode songs. When a recordable MiniDisc is loaded into MD4, the
2TR Recording mode is selected automatically. For subsequent 4-track recording onto an MD
DATA disc, set the Recording mode to 4TR. The Recording mode setting is not stored when MD4
is turned off, and it always defaults to 4TR when it’s is turned on.
Recording Time
(minutes)
MD DATA Disc MiniDisc
MD4—Owner’s Manual
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