Yamaha Audio MT1X User Manual

®

YAMAHA

AUTHORIZED

PRODUCT MANUAL

YAMAHA

MULTITRACK CASSETTE RECORDER

OPERATING MANUAL

Congratulations on your choice of the New Yamaha MT1X Multitrack
Cassette Recorder. The MT1X is a compact multitrack recorder with a
recording mixer, and is equipped with numerous versatile functions. Using
conventional cassette tapes, the MT1X makes it easy for you to produce
high quality multitrack recordings. Besides use as a multitrack recorder,
the MT1X can also be used as a PA mixer for small performances, as well
as for editing soundtracks for videos.

To take full advantage of the outstanding array of features, and for years
of trouble-free operation, we urge you to thoroughly read this operating
manual. After reading, keep it in a handy place for reference.

C O NTENTS

BEFORE OPERATION

PLEASE NOTE THE FOLLOWING PRECAUTIONS
THE DIFFERENCE BETWEEN TRACKS AND CHANNELS
WHAT IS A MULTITRACK CASSETTE RECORDER?

THE CONTROLS AND THEIR FUNCTIONS

MIXER SECTlON

RECORDER SECTION
METER AND MONITOR SECTION

CONNECTOR SECTION
CONNECTION EXAMPLE
ABOUT CASSETTE TAPES
ATTACHING THE STRAP
WHEN USING THE BATTERY PACK
MULTITRACK

RECORDING TECHNIQUES

ONE EXAMPLE OF A MULTITRACK RECORDING PROCESS . . . . . . .

BEFORE RECORDING

MULTITRACK RECORDING
SYNC-RECORDING
EDITING VIDEO SOUNDTRACKS

MAINTENANCE

BLOCK DIAGRAM .............................................

SPECIFICATIONS35...................................................

INTRODUCTION TO THE ACCESSORIES
SERVICE

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1

BEFORE OPERATION

PLEA SE NO TE THE FO LLO WING PREC A UTIO NS:

• ABOUT CASSETTE TAPE

This unit is designed to be used only with Chrome­position tape, and will not work properly with Ferri­chrome tape formulations. CrO tape (Bias: HIGH; EQ:

70µs) 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.

• ABOUT dbx

In order to get proper sound reproduction, set the dbx
switch ON when playing back tapes recorded with
dbx on, and keep it OFF when playing back tapes
recorded without dbx.

*dbx and the dbx mark are trademarks of dbx in-

corporated.

*The dbx system has been manufactured under

license of dbx Incorporated.

• USING THE AC ADAPTOR

Please use the AC adaptor supplied with this unit.
Other AC adaptors may vary in plug dimensions,
polarity, or output voltage, and their use with this unit
could cause damage.

• CAUTIONS FOR THE AC ADAPTOR

Do not plug or unplug the AC adaptor with wet hands

–-

you could receive a very dangerous shock.
To avoid shorts or cord breakage, do not pull the plug
out of the AC outlet by pulling on the cord. Be sure
to grasp the plug itself and pull it out. When leaving
home for an extended period of time, or when the unit
will not be used for a long time, unplug the AC
adaptor.

NOTE: The AC adaptor has been designed for use

with 120V or 220-240V AC, and must not
be used in areas with different voltage.

• PRECAUTION AGAINST LIGHTNING

In the event of lightning or electrical storms, unplug
the AC adaptor as soon as possible to avoid poten­tial damage.

• DO NOT OPEN THE CABINET

To avoid electrical shock or damage to the unit, do
not open the cabinet and tamper with the parts or

circuits inside.

• CONNECTING OTHER EQUIPMENT

Make sure the power switch is OFF and the input
fader is all the way down when connecting other
equipment.

• M0VING THE UNIT

To prevent shorts or breakage, make sure all connec­tion cords have been removed from the unit before
moving it.

• CLEANING THE CABINET

Do not clean the unit with benzene or other power­ful solvents, and avoid the use of aerosol insecticides
near the unit. Clean the unit only with a soft, dry
cloth.

FCC CERTIFICATION (USA)

This equipment generates and uses radio frequen­cy energy 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 computer and receiver are on different branch cir­found to comply with the limits for a Class B com­puting device in accordance with the specifications
in Subpart J of Part 15 of FCC Rules, which are
designed to provide reasonable protection against
such interference in a residential installation. How­ever, there is no guarantee that interference will not
occur in a particular installation. If this equipment
does cause interference to radio 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

cuits.

If necessary, the user should consult the dealer
or an experienced radio/television technician for ad­ditional suggestions. The user may find the follow­ing booklet prepared by the Federal Communications
Commission helpful:

“How to identify. and Resolve Radio-TV inter­ference problems”.

This booklet is available from the U.S. Government
Printing Office, Washington, DC 20402, Stock No.

004-000-00345-4.

2

THE DIFFERENCE BETWEEN TRACKS AND CHANNELS

The words “track” and “channel” are often confused. In order to properly operate this unit, it is necessary to under­stand 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 (stereo left
and right) on each side of the tape.

WHAT IS A MULTITRACK CASSETTE RECORDER?

The difference between the MT1X multitrack cassette recorder and a conventional stereo cassette deck is shown

below.

CONVENTIONAL STEREO CASSETTE DECK

CHANNEL:

The route of a signal input or output. In the input side,
this unit has four 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.

The diagram shows how a conventional stereo cassette

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 MT1X 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.

MT1X MULTITRACK CASSETTE RECORDER

Multitrack recorders, however, allow you to record or

playback tracks separately as you choose. This enables

a greater degree of recording and playback freedom not
possible with conventional cassette recorders.

3

THE CONTROLS AND THEIR FUNCTIONS

This section explains the names and functions of all the knobs, sliders, and switches for the mixer, recorder, meter/

monitor, and connector sections. Familiarize yourself with them in order to take full

functions.

MIXER SECTION

advantage of the MT1X’s versatile

INPUT SELECTOR SWITCHES

These three-position switches are provided for each

channel. Position them according to the operation to be
performed.

MIC/LINE: Set this switch to the proper position when

the output of a microphone, keyboard instru-

ment, or electric guitar is connected to the

input jack on the front panel.

OFF:

Be sure to set the switch to this position
when the channel is not being used, or when

you don’t want to playback material already
recorded on the track. Although sliding the
input fader to the “O” position will stop
the signal, it’s a good idea to also set the
switch to OFF.

TAPE:

Set the switch to this position to playback
material which has already been recorded on
this channel. Channels 1—4 correspond to
tracks 1—4 on the tape.

4

GAIN CONTROLS

The controls adjust the input level of the channel to
match the output level of a microphone or instrument

connected to input jack Control from -10dB to

-50db is possible. Adjust the output level of the
microphone or instrument as outlined in its instruction

booklet.

INPUT FADERS

These controls adjust the volume of the signal input, and
send it to the equalizer. Each control is used for set­ting the sound level of its channel when mixing it with
the signals of other channels. Position “7” on the scale

is considered ideal for the lowest noise and distortion

characteristics.

SOUND CHARACTERISTICS OF THE EQUALIZER AND

VARIOUS MUSICAL INSTRUMENTS

Be sure to set the control to “O” for channels not being
used.

EQUALIZER CONTROLS

These controls are used to adjust the tonal character-

istics of the input signal, or the channel output during

playback of previously recorded material. The LO (low)

controls adjust the frequencies centering around 100Hz,
while the HI (high) controls adjust the frequencies center-

ing around 10KHz, with a 10dB boost or cut range for

both controls. Use of these equalizer controls will help

you to get the type of sound you desire, and allow you

”,

to bring the sound“forward
and “push down” sounds at annoying frequencies.

In order to properly use these equalizers, it’s important
to understand the frequency response characteristics
of various musical instruments. This is particularly true
when trying to “change” the sound of a certain in-

strument, because you should know that instrument’s

harmonic sound components as well. For example, the

normal frequency range of a bass drum is between 50Hz

and 150Hz. To bring out this sound so you can feel it

better, the LO (low) control (which centers on the 100Hz

frequency band) can be moved up a little. But the har-

monic sound components are around 10KHz, so the HI

(high) control should also be moved up a little to achieve

the proper sound profile of the bass drum.

5

“clean up” unclear sounds,

-----Normal frequency

If accurate and comprehensive sound equalization is
required, connect a graphic equalizer or a parameteric

equalizer between the sound source and the input jack.
When recording material that you will intend to “ping­pong” (see “Ping-ponging” on page 25), later, give the

input somewhat of a high boost with the Hi control to

help preserve the high frequency response when the

track is re-recorded.

PAN (PAN POT) CONTROLS

After volume level and equalizing, the input signal is sent
to these controls. During mixdown (see “Mixdown” on

page 31), each control helps determine the acoustsic

“position” of the signal in regards to the stereo field.
Turning the control all the way to the left puts the signal
all the way over to the left side of the stereo soundspace;
turning the control to the right sends the signal towards
the right. At dead center, the signal comes out equally

from the left and right channels.

These controls are also useful in ping-ponging (see “Ping-

ponging” on page 25).

----- Harmonic sound

components

AUX CONTROLS

The MT1X is equipped with an AUX SEND jack and two (left and right) AUX RETURN jacks When special
acoustic effects are desired on a certain channel, reverbs or delay effects can be connected between these jacks to

provide only the desired effect to the desired channel. Amplified monitor speakers can also be connected to the AUX

SEND jack. Each AUX control adjusts the sources connected to the AUX SEND jack in the following manner.

•CONNECTING MONITOR SPEAKERS

Performers or sound mixers can control the level balance of the four channels (instruments) with the AUX controls
level adjusted by the AUX MASTER SEND control

MASTER FADER

This controls the level of all the input faders, as well as the final level of the effected signal of the AUX RTN control

and the sound mixed through the stereo mix buss. The output level of the ST OUT jack

at mixdown) and the recording level during ping-ponging are also adjusted with this control.

, with the total output

(the recording level

Set the control input faders at “7” for best results.

6

AUX MA STER SEND C ONTRO L

This c o ntro l a d justs the le ve l o f the e ffe c t-m ixe d sig na ls
fro m e a c h c ha nne l (a d juste d b y e a c h AUX c o ntro l
a s we ll a s the AUX sig na l fo r m o nito ring use . The fina l
o utp ut is thro ug h the AUX SEND ja c k

No rm a lly le ft in the “ O FF” p o sitio n, this switc h sho uld
b e turne d “ O N” if this unit is to b e use d fo r sync hro n­ize d o p e ra tio n with MIDI p ro d uc ts like synthe size rs a nd
rhythm ma c hine s. Sync hro o p e ra tio n is e xp la ine d in the
se c tio n o n Sync ja c k o r in the Sync -Re c o rd ing se c -

A UX RETURN C O NTRO L

tio n o n p a g e 33.
This c o ntro l a d justs the inp ut le ve l o f e ffe c ts o r sub ­mixe rs c o nne c te d to the AUX RTN ja c k

. The le ve l o f
e ffe c t in re la tio n to the so und c a n b e se t with this
c o ntro l.

SYNC SWITC H

Po we r Ind ic a to r

This ind ic a to r lights w he n the p o w e r switc h
re a r p a ne l is turne d o n.

o n the

7

REC O RD SELEC T SWITC HES

The se switc he s a re use d to c ho o se the sig na l to b e
re c o rd e d . The up p e r le ft switc h is fo r tra c k 1, the up p e r
rig ht switc h is fo r tra c k 2, the lo we r le ft switc h is fo r
tra c k 3, a nd the lo w e r rig ht switc h is fo r tra c k 4.
Whe n the tra c k is no t to b e re c o rd ing , se t the c o rre s­p o nd ing switc h to the O FF p o sitio n. Switc h O N o nly
tho se switc he s c o rre spo nd ing to the tra c ks whic h a re
to re c o rd . The p a ne l ind ic a tio ns fo r “ L” a nd “ R” c o rre s-

p o nd to the ste re o le ft a nd rig ht sig na ls, whe re as “ 1”,
“ 2” ,“ 3”a nd “ 4” c o rre spo nd to the sig na l fro m the 1,
2, 3, a nd 4 inp ut c ha nne ls. Tho se sig na ls a re re c o rd e d

o n the ir re spe c tive tra c k whe n the switc he s a re in

p o sitio n.

NO TE: Tra c ks 1 a nd 3 c a nno t b e re c o rd e d o n the right

ste re o sig na l, a nd tra c ks 2 a nd 4 c anno t b e
re c o rd e d o n the le ft ste re o sig na l.

REC INDIC ATO R

Re c o rd ing sta tus is ind ic a te d in the fo llo wing thre e wa ys:

No indic a tio n:

All tra c ks 1—4 a re no t re c o rd ing .

Fla shing :

All tra c ks 1—4 a re in re c o rd ing sta nd b y m o d e . By
p ushing o nly the REC switc h

the ta p e is put into

the re c o rd ing sta nd b y mo d e .

Ind ic a tio n O N:

All tra c ks 1—4 a re re c o rd ing , o r in the REC p a use

mo d e . To re sume re c o rd ing d uring REC p a use , p re ss

the PAUSE switc h

REC SWITC H

Whe n this switc h is p re sse d , the PLAY switc h

a lso

mo ve s, a nd the unit g o e s into the re c o rd ing mo d e .

Ho w e ve r, if the REC O RD SELEC T switc he s fo r a ll tra c ks
1—4 a re sw itc he d O FF, no thing w ill b e re c o rd e d .

NO TE: Whe n the REC switc h is p re sse d d o w n, no ise

o c c urs whic h is re c o rd e d o n the ta p e . In o rd e r

to p re ve nt this, we re c o m m e nd e d the use o f the
PAUSE switc h

Pre ss the PAUSE switc h first,

the n p re ss the REC switc h. To sta rt re c o rd ing ,

p re ss the PAUSE switc h a g a in to shift o ut o f the

REC p a use mo d e a nd into the re c o rd ing m o d e .

PLAY SWITC H

Pre ss this switc h fo r p la yb a c k. Ho we ve r, if the inp ut
se le c to r switc h (1) o f a tra c k is no t in the TAPE p o sitio n,
the so und w ill no t b e he a rd o n the ste re o b uss.

REW SWlTC H (REWIND)

Use this switc h to re w ind the ta p e . Pre ssing it whe n
the MT1X is in the PLAY mo d e e na b le s yo u to he a r the
so und o f the ta p e while it re w ind s. This fe a ture is use ­ful fo r find ing the b e g inning o f a so ng o r o the r re c o rd e d

ma te ria l.

FF SWITC H (FAST FO RWARD)

Use this switc h to q uic kly a d va nc e the ta p e fo rw a rd .
Pre ssing it whe n the MT1X is in the PLAY mo d e e na b le s
yo u to he a r the so und o f the ta p e w hile it is mo ve d fo r­wa rd . This fe a ture is use ful fo r c ue ing up the sta rt o f
a sub se q ue nt so ng o r o the r re c o rd e d ma te ria l o n the
ta p e .

STO P SWITC H

Pre ss this to sto p ta p e run.

PAUSE SWITC H

Pre ss this switc h to mo me nta rily sto p p la yb a c k o r
re c o rd ing in p ro g re ss. Pre ss it a g a in to re sta rt.

db x SWITC H

O rd ina ry c a sse tte ta p e s d o n’ t ha ve suffic ie nt d yna m ic

ra ng e (the le ve l d iffe re nc e b e twe e n the so fte st so und s
a nd the lo ud e st p e a ks) to a d e q ua te ly re c o rd hig hly
d yna mic music . If the d b x switc h is p ut “O N” d uring
re c o rd ing , hig hly d yna m ic music sig na ls c a n b e a d e ­q ua te ly ha nd le d , w hile the hiss no ise inhe re nt to c a sse tte
ta p e s is ke p t d o wn b e lo w the ra ng e o f huma n he a ring .

If the d b x switc h is ke p t “ O N” d uring re c o rd ing , it must
a lso b e ke p t “ O N” d uring p la yb a c k.

PITCH CONTROL

During re c o rd ing o r p la yb a c k, this c o ntro l c a n b e use d
to va ry the ta p e running spe e d fro m +10% to -10%.
The p itc h o f vo ic e s o r music al instrum e nts a lso va rie s
in p ro p o rtio n to ta p e sp e e d .
Und e r no rm a l c o nd itio ns, the c o ntro l sho uld b e in the
c e nte r p o sitio n. Whe n o ve rd ub b ing (p la ying b a c k a
re c o rd e d p a ssa g e while re c o rd ing ne w ma te ria l o n a d if­fe re nt tra c k) the p itc h o f the p re vio usly re c o rd e d ma te ria l
c a n b e a lte re d to m a tc h the ne w ma te ria l if ne c e ssa ry.
This fe a ture c a n a lso b e use d to o b ta in c e rta in spe c ia l
e ffe c ts d uring re c o rd ing .

TAPE C O UNTER

This d isp la ys the a m o unt o f ta p e run.

RESET SWITC H

Pre ss this switc h to re se t the ta p e c o unte r to “ 000” .
Pre ssing this switc h a t the sta rt o f re c o rd ing , o r a t the

b e g inning o f a so ng , ma ke s it e a sy to c ue up the se le c ­tio n fro m the start.

ZERO STO P SWITC H

If this switc h is se t “ O N” d uring re wind ing , the ta p e
will sto p whe n the ta p e c o unte r re a c he s “ 999” . During
multitra c k re c o rd ing , this fe a ture is c o nve nie nt fo r
re p e a te d p la yb a c k o r re c o rd ing o p e ra tio ns a fte r re wind .

8

METER A ND MO NITO R SEC TIO N

METER SELEC T SWITC H

This switc h is use d to se le c t the sig na l fo r le ve l ind ic a ­tio n b y the Pe a k Le ve l Me te rs

STEREO Po sitio n:

The le ve l o f the sig na l o utput thro ug h the ST O UT
ja c ks

is ind ic a te d . The m e te r o n the fa r le ft sho ws
the le ve l o f the Le ft c ha nne l o f the ste re o sig na l, w hile
the se c o nd m e te r fro m the le ft sho w s the le ve l o f the

Right c ha nne l. Se tting to this p o sitio n d uring p ing ­p o ng ing o r mixdo wn o p e ra tio ns e na b le s e a sy re a d ing
o f the re c o rd ing le ve l.

4 TRK Positio n:

Se t the switc h in this p o sitio n to d ispla y the le ve l o f

e a c h tra c k. Sta rting fro m the fa r le ft, e a c h me te r c o r-

re spo nd s to tra c ks 1—4. During p layb a c k, the p la y­b a c k le ve l is d isp la ye d ; d uring re c o rd ing , the re c o rd ­ing le ve l is d isp la ye d . Se tting the switc h to this p o si­tio n d uring o ve rd ub b ing e na b le s e a sy re a d ing o f the
re c o rd ing le ve l.

9

PEA K LEVEL METERS

The re a re 14 LED ind ic a to rs in e a c h m e te r w hic h sho w
a ra ng e fro m - 20d B to + 5d B. During re c o rd ing , se tting
le ve ls high (b ut b e lo w the p o int w he re the re c o rd ing

b e c o m e s d isto rte d ) will e nsure the g re a te st d yna mic
ra ng e w ith the lo we st p o ssib le no ise . An id e a l p o int is
whe n the LED ind ic a to rs fo r 0d B a nd a b o ve fla sh o c c a ­sio na lly.
During ste re o sig na l le ve l ind ic a tio n, the a c tua l

sp e c ifie d o utput fro m the ST O UT ja c ks

(a t a 50K o hm lo a d ) w he n the LED

ind ic a to rs sta rt to

is

fla sh a t 0d B.

PHO NES SELEC T SWITC H

Yo u c a n p lug a se t o f he a d p ho ne s into the PHO NES ja c k

o n the fro nt p a ne l to mo nito r the so und . This switc h

is use d to se le c t the sig na l to b e mo nito re d . C o ntro l the vo lum e le ve l with the PHO NES vo lume c o ntro l

STEREO Po sitio n:

Put the switc h in this p o sitio n to mo nito r the sig na l o utp ut thro ug h the ST O UT jac ks

The Le ft a nd Rig ht c ha n­ne ls o f the ste re o sig na l will b e he a rd thro ug h the he a d p ho ne s.
Whe n se tting to this p o sitio n d uring ping -p o ng ing o r m ixdo wn o pe ra tio ns, the m ixe d sig na l o f a ll the instrum e nts

c a n b e mo nito re d .

MO NITO R Po sitio n:

This p o sitio n is fo r m o nito ring the sig na l o f e a c h tra c k. Yo u c a n fre e ly m o nito r w hile mixing the so und o f e a c h tra c k

d uring re c o rd ing o r p la yb a c k. Using the MO NITO R LEVEL C o ntro ls a nd the MO NITO R PAN C o ntro ls

, se t the

d e sire d le ve l a nd p o sitio n fo r e a c h tra c k.

Tra c k

MIX Po sitio n:

This p o sitio n a llo ws yo u to simulta ne o usly mo nito r

b o th the so und he a rd in the STEREO p o sitio n a nd the
so und he a rd in the MO NITO R po sitio n. Se tting to this
p o sitio n d uring p unc h-in/ p unc h-o ut o p e ra tio ns will
e na b le the typ e o f mo nito ring sho w n b e lo w. (Re fe r to

“ Punc h-in/ Punc h-o ut” o n p a g e 27).

10

MO NITO R LEVEL C O NTRO LS

Whe n se tting the PHO NES SELEC T Switc h

to the
MO NITO R po sitio n, the se le ve l c o ntro ls a re use d fo r e a c h
tra c k to a c hie ve a le ve l b a la nc e fo r e a sy m o nito ring . Use
the se c o ntro ls fre e ly a nd ind e p e nd e ntly to m a inta in a
d e sire d le ve l b a la nc e d uring o ve rd ub b ing o p e ra tio ns,
whe n the a d d itio n o f a ne w sig na l c ha ng e s the vo lume .

C O NNEC TO R SEC TIO N

FRO NT PANEL

MO NITO R PA N C O NTRO LS

Whe n se tting the PHO NES SELEC T Switc h

to the

MO NITO R po sitio n, use the se p a n c o ntro ls fo r e a c h tra c k

to a c hie ve the d e sire d ste re o p o sitio ning fo r e a c h tra c k.

Use the se c o ntro ls fre e ly a nd ind e p e nd e ntly to m a inta in
the d e sire d ste re o p o sitio n b a la nc e d uring o ve rd ub b ing
o p e ra tio ns, whe n the a d d itio n o f a ne w sig na l c ha ng e s
the ste re o im a g e .

PHO NES CO NTRO L

This c o ntro l a d justs the vo lume o f the he a d p ho ne s (Se e
p a g e 9).

INPUT JAC KS

The se fo ur ja c ks a re fo r the c o nne c tio n o f mic ro pho ne s
o r e le c tric a nd e le c tro nic instrum e nts. With a hig h inp ut
im p e d a nc e o f 10K o hms, a nd a sp e c ifie d inp ut le ve l ra ng e

PHO NES JA C K

Plug a se t o f he a d p ho ne s into this ja c k fo r m o nito ring .
Ple a se use he a d p ho ne s ra te d fro m 8-—0 o hms fo r b e st

re sults.
o f -10d B to -50d B, a wid e va rie ty o f instrum e nts a nd
mic ro p ho ne s c a n b e use d .
Whe n d ire c tly c o nne c ting a n e le c tric g uita r, the use o f
a n spe c ia l e le c tric g uita r p re a mp to inc re a se the inp ut

PUNC H IN/ O UT JAC K

By c o nne c ting the o ptio na l FS-1 fo o tswitc h to this ja c k,

yo u c a n c o ntro l punc h-in/ p unc h-o ut o p e ra tio ns. b y fo o t.

le ve l will a ssure re c o rd ing s o f b e tte r so und q ua lity.

REAR PANEL

11