Yamaha Audio MT1X User Manual

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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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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.

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.

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.

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.

“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.

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

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 .

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.

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

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).

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

POWER SWITCH

This switch turns on the MT1X. When switching the unit on or off, make sure that the Input Faders and the AUX RTN Control

are at the “0” position.

DC IN JACK

Connect the supplied AC adaptor to this terminal. To prevent damage, use only the AC adaptor supplied with this unit.

SYNC IN/SYNC OUT JACKS

These jacks are used during synchronized operation with MIDI-equipped instruments. Use the optional YMC10 MIDI Converter to connect the instruments through these jacks, and set the SYNC switch on the mixer section to “ON”. For a detailed explanation, refer to “SyncRecording” on page 33.

TAPE OUT JACKS

These jacks directly output the signal of each track. During playback, the signals of the tracks being played are output. During recording, the signals of the tracks being recorded are output. Since the output levels cannot be adjusted, set the volume by adjusting the output levels on the instruments themselves. These jacks can be conveniently used in the following ways:

Another 4-track recorder can be connected for direct

dubbing of all four channels.

An external mixer can be connected for mixdown.

ST OUT JACKS

The mixed signals of each channel (and each track) are output in stereo signal through these jacks. Since these jacks output the final mix, a stereo cassette deck can be connected. These jacks can also be used as follows.

The MT1X can be used as a sub-mixer, with the out-

put sent to a main mixer through this jack. A stereo amplifier or powered monitor speakers can

be connected through this jack.

AUX SEND JACK

This jack outputs the mixed signal from the Aux bus, and is used as an output terminal for the connection of an effects device. This can also be used as an additional monitor output.

AUX RTN JACKS

These jacks are used to input the signal from an effects device back into the MT1X. As well, the mixed output from an external mixer can be connected to these jacks.

Please note that if only a single plug is inserted into either

one of these jacks, the signal will be sent to both Left

and Right channels. This is useful if the effects device being used is mono.

C O NNEC TIO N EXAMPLES

BA SIC C O NNEC TIO N LA YO UT FO R MULTITRAC K REC O RDING

ABO UT C A SSETTE TAPES

This unit is d e sig ne d to b e use d o nly w ith C hro me -

p o sitio n ta p e , a nd w ill no t wo rk pro p e rly w ith Fe rric hro m e ta p e fo rm ula tio ns. C rO

ta p e (Bia s: HIG H; EQ :

70µs) sho uld b e use d . Also , the use o f C -120 ta p e s is

no t re c o m me nd e d b e c a use the y e xhib it p o o re r p e rfo rma nc e , a nd c a n b e the c a use o f e q uip m e nt fa ilure .

Pre ve nting a c c ide nta l e ra sure o f re c o rd ing s

To ke e p fro m ina d ve rte ntly e ra sing a p rize d re c o rd ing , a ll

c a sse tte ta p e s ha ve re c o rd p ro te c tio n ta b s a lo ng the to p e d g e o f the c a sse tte she ll. If this tab is b ro ke n o ut using a sc re wd rive r o r a ny o the r a p p ro p ria te imp le m e nt, it will no t b e p o ssible to re c o rd o n the c o rre spo nd ing sid e o f

the ta p e . This will p ro te c t yo ur re c o rd ing s fro m a c c id e nta l

e ra sure . Fo r 4-tra c k re c o rd ing , it’ s ne c e ssa ry to b re a k o ut the ta b s fo r b o th the A a nd B sid e s o f the ta p e . Whe n yo u’ d like to re c o rd o ve r a ta p e with the ta b s

b ro ke n o ut, just c o ve r the ho le s (w he re the ta b s we re ) with ta p e .

PREVENTING AC C IDENTAL TAPE ERASURE:

Ta king up ta pe slac k

If the ta p e is use d w he n it is sla c k, o r so me p o rtio n o f the ta p e is o ut o f the c asse tte she ll, the re is a risk it ma y b e c o me ta ng le d a ro und the c a p sta n o r p inc hro lle r.

In o rd e r to c o rre c t this, inse rt a p e nc il o r b a llp o int p e n

into the c e nte r o f o ne re e l, a nd ro ta te to ta ke up lo o se ta p e sla c k.

Sto ring c a sse tte ta p e s

To p re ve nt ta p e sla c k, fit a sto p p e r into the tap e o r ke e p ta p e s in the ir c a se s. Do no t sto re ta p e s in d ire c t sunlig ht, o r in p la c e s with hig h he a t o r hum id ity, a s this ma y d a ma g e the ta p e s. Also , ke e p the ta p e s a w a y fro m ma g ne tic fie ld s, suc h a s ne a r te le visio ns o r spe a ke rs, b e c a use the re c o rd ing s c a n b e e ra se d o r so nic a lly a lte re d to so me d e g re e .

Recording over a tape with the tabs broken out

• Pla ying ta pe s re c o rde d o n o the r c a sse tte re c o rde rs

Whe n p la ying No rma l-p o sitio n ta p e s, o r ta p e s e nc o d e d

with Do lb y B no ise re d uc tio n the MT1X, the fo llo wing ste p s a re a d vise d :

1) Pla ying No rm a l-p o sitio n ta pe s — m o ve the HI

e q ua lize r fa d e r in the “ + ” d ire c tio n to b o o st the hig h fre q ue nc ie s until the so und is sa tisfa c to ry.

2) Pla ying ta p e s e nc o de d with Do lby B NR— p ut the

d b x switc h in the “ O FF” p o sitio n, a nd m o ve the HI e q ua lize r fa d e r in the “

– ” d ire c tio n to re d uc e the

hig h fre q ue nc ie s until the so und is sa tisfac to ry.

ATTAC HING THE STRA P

The MT1X c a n b e e a sily c arrie d w ith the sup p lie d c a rrying stra p . He re ’ s ho w to a tta c h it.

Push o n the slit to o p e n the sto p p e r, a nd ha ng it o n

the p e g .

Slid e the stra p to the d e sire d p o sitio n a nd lo c k the

sto p p e r in p la c e .

WHEN USING THE BATTERY PAC K

With the o p tio na l PA11 Ba tte ry Pa c k, the MT1X c a n b e o p e ra te d b y b a tte rie s in p la c e s whe re the re is no AC o utle t a va ilab le . He re ’ s ho w to se t it up .

• PUTTING IN THE BATTERIES

Slid e o ff the b a tte ry c o ve r o n the b o tto m o f the b a t-

• A TTA C HING THE BA TTERY PA C K

Alig n the b a tte ry p a c k o n the le ft sid e o f the MT1X.

te ry p a c k.

Slid e it o n, a nd tig hte n the b a tte ry p a c k m o unting

sc re w with a c o in o r sc re wd rive r. The b a tte ry p a c k

is no w firmly a tta c he d .

Inse rt 10 “ C ” b a tte rie s a s sho w n.

Put 7 o n the b o tto m

Re p la c e the b a tte ry c o ve r.

The n p ut 3 o n to p

NO TES:

Whe n using the b a tte ry pa c k a s a p o w e r sup p ly, re m o v e the AC a d a p to r.

The b a tte ry p a c k c an o nly sup p ly p o we r to the MT1X whe n it is p rop e rly a tta c he d .

The MT1X wa s de sig ne d fo r ind o o r use . Avo id using it a re a s o f hig h

he a t o r humid ity, o r in d usty pla c es.

If the b a tte ry p a c k isn’ t g o ing to b e use d fo r a n e xte nd e d p e rio d o f time , re m o ve the b a tte rie s insid e . Ba tte ry life : a b o ut 2 ho urs d uring 2 c ha nne l re c o rding with a he a d -

p ho ne o utp ut o f 10m W + 10m W.

MULTITRAC K REC O RDING TEC HNIQ UES

Be fo re yo u try to a tte mp t a multitra c k re c o rd ing o n yo ur o wn, it’ s a b so lute ly e sse ntia l tha t yo u und e rsta nd the func tio n o f a ll the c o ntro ls, switc he s, a nd c o nne c to rs in e a c h se c tio n. In a d d itio n, yo u sho uld sp e nd a n a d e q ua te a m o unt o f tim e to fa m ilia rize yo urse lf with the b lo c k d ia g ra m o n p a g e 35. It m a y a p p e a r ha rd to und e rstand a t first, b ut a fte r c a re fully lo o king it o ve r, yo u’ ll find tha t it’ s no t o nly e a sy to fo !lo w, b ut q uite use ful in und e rsta nd ing the va rio us sig na l flo ws invo lve d in using the C MX1. The numb e rs o n the b lo c k d ia g ra m fo r the c o ntro ls, sw itc he s, a nd c o nne c to rs c o rre spo nd to tho se use d in the se c tio n title d “ The C o ntro ls, a nd The ir Func tio ns”.

O NE EXA MPLE O F A MULTITRAC K

RECO RDING PRO C ESS

Multitra c k re c o rd ing is usua lly use d to re c o rd a rhythm

se c tio n, with o ve rd ub b ing a nd p ing -p o ng ing o p e ra tio ns

a ssisting in m ixing the p a rts o f the va rio us music ia ns in the p ro p e r b a la nc e . Fina lly, the ta p e is mixe d d o wn to p ro d uc e a ste re o ma ste r ta p e .

The se a re the ste p s in o ur e xa m ple:

Re c o rd the d rums o n tra c k 1 Re c o rd the b a ss o n tra c k 2

Re c o rd the rhythm g uita r o n tra c k 3

Ping -p o ng ing tra c ks 1 — 3 o nto tra c k 4

(fre e ing tra c ks 1—3) Re c o rd the ke yb o a rd s o n tra c k 1 Re c o rd the le a d g uita r o n tra c k 2 Re c o rd the vo c a ls o n tra c k 3

Mixd o wn tra c ks 1 ma ste r ta p e

— 4 to p ro d uc e a ste re o

me re insta nt, it’ s no t a p ro b le m. Ho we ve r, if the y’ re p e a king o ut fo r mo re tha n a se c o nd o r two , the n d isto rtio n

ma y b e c o me a p ro b le m. It’ s a lso imp o rta nt to re m e m b e r tha t d isto rtio n a t lo w e r fre q ue nc ie s is le ss a p p a re nt tha n d isto rtio n a t hig he r fre q ue nc ie s.

db x SYSTEM

Ke e p the d b x switc h “ O N” to e xp a nd d yna mic ra ng e a nd to re d uc e inhe re nt tap e no ise .

STEREO PO SITIO NING

It’ s im p o rta nt to think a b o ut the a c o ustic “ p o sitio n” o f

a ll the instrume nts we ll b e fo re yo u sta rt yo ur m ultitra c k

re c o rd ing . Yo u sho uld ta ke into a c c o unt a c e rta in a mo unt

o f no ise c a use d b y p ing -p o ng ing a nd m ixd o w ns p la n-

ne d fo r la te r o n.

He re ’ s o ne e xa mp le o f a c o ustic p o sitio ning . Se t the b a ss

d rum a nd the sna re d rum c e nte r, with the to m to m s a nd hig h ha t se t o ff to e ithe r sid e to b ring o ut the

“ ste re o ” e ffe c t. The b a ss a nd o the r “ he a vy” instrume nts sho uld b e in the c e nte r, with the ke yb o a rd s to the le ft a nd the g uita r to the rig ht. So lo instrum e nts a nd vo ic e s sho uld spa n b o th rig ht a nd le ft. So lo instrume nts with a ste re o o utp ut c a n ha ve the ir le ft c ha nne l c o nne c te d to a d e la y m a c hine , w hile the rig ht c ha nne l is re c o rd e d d ire c tly. Yo u c a n p ro b a b ly think o f m a ny o the r d iffe re nt wa ys to “ a rra ng e ” the so und stag e .

EQ UA LIZATIO N A ND EFFEC T PRO C ESSING

Eq ua liza tio n a nd e ffe c t p ro c e ssing a re usua lly a d d e d a t the p ing -p o ng a nd m ixd o w n sta g e s. In m ultitra c k re c o rd -

ing , the se typ e s o f sig na l p ro c e ssing c an b e d e c id e d o n

la te r, a nd e m p lo ye d to a ny d e g re e ne c e ssa ry. Ho we ve r, the MT1X is limite d in the numb e r o f e ffe c ts w hic h c a n

b e use d d uring m ixd o wn, so it’ s b e st to use the m d ur-

ing the initia l re c o rd ing sta g e s.

BEFO RE REC O RDING

RECO RDING LEVEL

In ma king a g o o d re c o rd ing , the mo st imp o rta nt ste p is se tting the id e a l re c o rd ing le ve l. If the le ve l is to o lo w , the re c o rd ing w ill c o nta in a lo t o f no ise a nd hiss; if the le ve l is to o hig h, the re c o rd ing w ill so und d isto rte d a nd unc le a r. Se t the re c o rd ing le ve l a t a fa irly hig h le ve l, b ut no t so hig h a s to re sult in a ny no tic e a b le d isto rtio n. The C MX1 is e q uip p e d w ith p e a k le ve l m e te rs whic h sho w the le ve l o f e a c h tra c k, a s we ll a s the le ve l o f the ste re o o utp ut sig na l. Use the se me te rs to he lp yo u se t

the id e a l re c o rd ing le ve l, b e c a use the huma n e a r ha s

d iffic ulty in d e te c ting d isto rtio n imm e d ia te ly. If the le ve l me te rs “ p e a k o ut” (sho w the ma xim um re a d ing ) in a

Mo nitoring

In a d d itio n to c irc uits fo r sig na l re c o rd ing , this unit a lso fe a ture s a se p a ra te m o nito r c irc uit to a llo w the p e rfo rm e r to m o nito r the le ve ls a nd p o sitio ning o f the re c o rd ing in p ro g re ss thro ug h a p a ir o f he a d p ho ne s. In this c a se , se t the PHO NES SELEC T switc h to the “ MO NITO R” p o sitio n. Ad just the vo lum e le ve l a nd ste re o po sitio ning o f e a c h tra c k with its MO NITO R LEVEL a nd MO NITO R PAN c o ntro ls.

In a d d itio n, p o w e re d m o nito r spe a ke rs c a n b e d ire c tly c o nne c te d to the ST O UT ja c ks o r the AUX SEND ja c k, tho ug h this ma ke s it im p o ssib le to use the se ja c ks fo r e xte rna l re c o rd ing o r e ffe c ts. Using sp e a ke rs d uring re c o rd ing o ff line s p re se nts no p ro b le m s, b ut whe n mic ro p ho ne s a re use d , fe e d b a c k c a n re sult whe n the mic ro p ho ne p ic ks up so und fro m the sp e a ke rs. In this c a se , mo nito ring thro ug h he a d p ho ne s b e c o me s a b so lute ly ne c e ssa ry.

MULTITRACK RECORDING

PLAN YOUR RECORDING

A clear plan is essential before you begin multitrack recording. If you begin cold, without regard to all the steps involved, you may “record yourself into a corner” by running out of available empty tracks, missing the chance to add effects at the proper points, losing control over the final stereo positioning of the instruments, and creating the need for more ping-pong and mixdown recording operations than really necessary. Although you can perform ping-pong and mixdown operations without limit, a certain amount of noise and sound degradation results during these operations. It’s best to hold ping-

ponging down to 1 or 2 operations in order to achieve good sound quality. So before you start, plan your recording carefully — what order the parts will be recorded in, what instruments will go on which tracks, how and when effects will be used,

when recorded tracks will be ping-ponged, and what sort

of end result is desired. The recording process of the ex-

ample we will explain in this section is illustrated on page

16.

—

Sig na l ro ute whe n re c o rding drum s —

RECORDING THE DRUMS

The drums will be recorded on track 1. In recent years, drum machines and rhythm machines have made an appearance, with Yamaha coming out with the highperformance RX11, RX15, and RX21 Digital Rhythm Programmers. However, for this example we will be recording a conventional set of drums. Though many will be recording with electronic drums, the basic approach is the same. The MT1X has four input jacks, enabling the setting up

of the four microphones for recording, as shown in the diagram. Through the MT1X’s mixing section, the sounds

recorded by these microphones are mixed down onto

track 1.

YAMAHA’s REV7 Digital Reverberator can be used for

reverb effects. It also features echo and delay programs as well as gate reverb and even kick drum programs enabling you to freely obtain various effects to suit each individual song.

— Drum Recording Procedure —

1. Connections

Plug the AC adaptor into an AC outlet, and insert

the small round plug into the DC IN jack.

Plug the four microphones into input jacks 1-4.

Plug a pair of monitor headphones (rated 8-40

ohms) into the PHONES jack.

When using an effect, connect it between the AUX

SEND jack (input) and either of the AUX RTN jacks

(output).

2. Getting ready

Lift open the cassette door and insert a chrome

position (CrO2) tape.

Return all the switches and controls to their nor-

mal positions, referring to the control panel illustra-

tion on pages 4~9.

Turn the power switches on for the effect and

microphones, and then turn the MT1X “ON”. The

POWER indicator will light.

3. Setting up the recorder section

Press the RESET switch to return the counter to

“000".

Turn “ON” the ZERO STOP switch. Turn “ON” the dbx switch.

Set the RECORD SELECT switch 1 to the “L” posi-

tion. This is to record the Left stereo signal onto track 1. The REC indicator will begin flashing.

Bias: HIGH, Eq: 70us.

4. Setting the monitor and meter sections

Set the PHONES SELECT switch to the “STEREO” position.

Set the PHONES volume to around “7”. Make sure the METER SELECT switch is in the “4 TRK” position.

5. Adjusting the input level

Set all of the input switches to the MIC/LINE

position. Set the MASTER fader to “7”.

Set the PAN controls for all channels between the

center and the extreme “L" position, as shown.

Push the input fader for channel 1 up to “7”. When the drums start playing, slide the gain con-

trol for channel 1 towards the “MIC”, direction, stop-

ping when the “+3” indicator on the far left level

meter flashes occasionally on the sound peaks.

Pull the input fader for channel 1 back down to “0”.

-The proper input level for channel 1 is now set.—

Set the input fader for channel 2 to “7”.

While the drums are being played, slide the gain con-

trol for channel 2 towards the “MIC” direction, stopping when the “+3” indicator on the far left level meter flashes occasionally on the sound peaks.

Pull the input fader for channel 2 back down to “0’:

-The proper input level for channel 2 is now set.-

Set the input levels for channels 3 and 4 the same

way.

*Explanation diagram for steps to and to .

6. Adjusting level balance and equalization characteristics

Adjust channel faders 1 ~4 to achieve the desired

recording level balance. Adjust the equalizers for 1~4 to obtain the desired

sound character for each individual channel. (If you’re thinking of ping-ponging these tracks after-

wards, it’s a good idea to add a little boost on the

HIGH EQ because high frequencies can be slightly

diminished during the ping-pong re-recording process).

Set the effect level for each channel with the AUX

controls. Then, adjust the overall mix of effect signal to input signal with the AUX MASTER SEND control.

If necessary, go over steps

until everything is just right.

Adjust the master recording level with the MASTER fader, setting it at the point where the “+3” in-

dicator on the far left level meter flashes occa-

sionally on the sound.peaks.

several times

7. Recording

Push the PAUSE switch to start recording. Just before the musician starts playing, be sure to

“count” out loud to help you get the timing right on the other tracks during overdubbing later on.

When the music sequence is over, press the STOP

switch to stop the recording. Then, press the REW

switch, and the tape will rewind to a point just before the beginning

and stop.

— Drum Recording Completed —

Track 1 Track 2 Track 3 Track 4

“999” on the tape counter

Make sure this switch is in the “4 TRK” position.

Set this so you can monitor track 1.

8. Post recording check

Return all switches and controls to their normal positions. Set the PHONES SELECT switch to the “MONITOR”

position, turn MONITOR LEVEL control 1 to “7’: then turn the PHONES volume control to about “7”. Make sure the METER SELECT switch is set to “4 TRK".

Press the PLAY switch, and check the sound recorded on track 1 by headphones, and by looking at the level meter.

Press to check the recording on track 1,

then rewind.

*Explanation diagram of steps to

At this point, if the track is recorded properly and there doesn’t seem to be any problems, press the REW switch and reset all the knobs and controls to their normal positions. Now it’s time to record the bass.

If the recording is not to your satisfaction, you can rerecord the whole track. Or you can use the “punchin/punch-out” technique to record over a certain spot on

the tape. It’s explained on page 27.

RECORDING THE BASS GUITAR BY OVERDUBBING

Overdubbing is the playing back previously recorded tracks while recording a new instrument on a different track. With this technique, it’s possible for one musician to play many different instrumental parts on a single

recording. If you’re multitalented, multitrack overdub-

bing can clone you into your own group.

Now, we’re going to record a bass guitar on track 2 to

synch with, or match, with the drum part already record-

ed on track 1. There are two ways to record the bass:

place a microphone in front of the bass amp, or run a

direct line from the bass into the recorder.

If you’re after a really clear recording, direct line recording is the way to go. If you’re using an effect of some sort, you’ll want to run a noise gate thru the final stage of the effect. This is true with all electrified musical instruments.

Another idea is to use the Yamaha GC2020 comp/limiter.

In addition to the compresser and limiter functions, the

noise gate function can prove to be very convenient.

— Signal Path when Recording the Bass Guitar —

TRK2

— Bass guitar recording procedure —

1. Connections

Connect everything through input jack 2 as follows.

If the GC2020 is being used, connect it between

the amplifier and input jack 2.

When not using a bass amp, the use of a direct box

is recommended.

Connect the monitor headphones. Until the mix-

down process, only use headphones and avoid

using monitor speakers. (This also goes for the rest

of the steps.)

2. Setting the recorder

Make sure the tape has been rewound to the “999”

point on the counter. (This also goes for the rest of the steps.)

Keep the ZERO STOP switch “ON” until mixdown.

(This also goes for the rest of the steps.)

Keep the dbx switch “ON” until mixdown. (This also

goes for the rest of the steps) Set the RECORD SELECT position to “2”, the REC indicator will flash to show that the bass guitar con-

nected to input jack 2 will be recorded on track 2. Press the pause switch to start the recording. The

REC indicator will light up completely.

3. Setting the monitor and meter sections

Set the PHONES SELECT switch to the “MONITOR” position.

Turn MONITOR LEVEL controls 1 and 2 to about “7’: Set the PHONES volume level to about “7”.

Make sure the METER SELECT switch is in the “4 TRK” position.

Equalizer controls

Press the PAUSE button and

adjust the monitor levels

Set to the MIC/LINE position

Set by the reading on the level meter

Push up to about “7” Set after setting equalization

4. Adjusting the Input level

Set the input selector switch to the MIC/LINE

position.

Push input fader 2 up to about “7”.

Start playing the bass guitar, and slide gain control

2 towards the “MIC” direction, stopping when the

“+3” indicator on the level meter second from the

left flashes occasionally on the sound peaks.

5. Adjusting the recording level and sound characteristics

Operate the equalizer controls for channel 2 to get

the desired tone. (If you plan to ping-pong this track later, boost up the treble a little bit with the HIGH

EQ control.) Use input fader 2 to adjust the recording level ac-

cording to the reading on the meter second from

the left.

6. Adjusting the monitor sound

Press the PAUSE switch to start the tape, and set the sound balance of the bass guitar and drums. If necessary, control the combined volume level

with the PHONES volume control. Now, using

MONITOR PAN controls 1 and 2, decide the left/ right stereo positioning of the two tracks. (During this, the bass guitar will be recorded on track 2.)

*Explanation diagram for steps to

After you have adjusted the monitor levels and pans

to your satisfaction, rewind the tape and set the recorder into the REC PAUSE mode.

7. Recording

Press the PAUSE switch to start recording. While

monitoring through headphones, the bass player should play along in synch with the drum track.

When the musical segment is over, stop and rewind

the tape.

— Bass Guitar Recording completed —

Track 1

Track 2

Track 3 Track 4

8. Post recording check

Just press the play switch to check to see that the

track was recorded properly.

Set all switches and controls back to their normal

positions.

RECORDING THE RHYTHM GUITAR

Record the rhythm guitar on track 3 to synch with the drums on track 1 and the bass guitar on track 2. Recording preparations and operations are the same as when recording the bass guitar. If effects are being used, connect them just before the input jack.

PING-PONG < PING-PONG RECORDING >

After the rhythm section has been recorded on tracks

— 3, only track 4 remains as an empty, spare track. Since there are three more parts to be recorded, more tracks will be needed. The ping-pong technique (sometimes called bouncing, or track transfer, or collapsing tracks) shown here allows

you to re-record these three tracks onto one track, thus freeing up tracks for other recording operations. You can also add other new parts during the ping-pong process. As long as there are empty tracks, you can ping-pong from one or more tracks to another as many times as you like.

However, each time a track is ping-ponged onto another track, some degradation in sound quality occurs. Most noticeable is a loss of high frequency sounds, or “tre-

ble”. Therefore, it’s best to plan for only 1 or 2 ping-pong operations to preserve the sound quality of the instru-

ments you record. Now, let’s get started.

— Signal Path during Ping-pong Recording —

Track 1

Track 2

Track 3

Track 4

Track 1 Track 2 Track 3 Track 4

Recording signal to the input Signal displayed by the meter Monitor signal

— Ping-pong Recording Procedure —

Equalizer controls

Make sure it’s set to “4 TRK”

Set the “R” position

Turn to about “7”

1. Setting the recorder

Set the RECORD SELECT switch to the “R” posi-

tion to mix the sound of the drums, bass guitar, and

rhythm guitar through the stereo buss. The REC in-

dicator will flash.

Press the PAUSE switch, then the REC switch to put the recorder into the REC PAUSE mode. The

REC indicator will light.

2. Setting the monitor and meter sections

Set the PHONES SELECT switch to the “MONITOR”

position to monitor the sound recorded onto track 4. Turn the MONITOR LEVEL 4 control to about “7”. Turn the PHONES volume control to about “7”.

Make sure the METER SELECT switch is set to “4

TRK":

3. Adjusting the level balance and sound characteristics

Set input selector switches 1 — 3 to the “TAPE”

position.

Press the PAUSE switch to start the tape.

Adjust the input balance of each track with the input faders 1 through 3. Set the overall level with

the MASTER fader. Use the, level meter on the far right as the reference.

Set the equalizer controls for each, channel, 1—3,

to get the desired tone for each instrument. AFTER

PING-PONGING IT WILL BE IMPOSSIBLE TO CHANGE THE TONE OR LEVEL BALANCE FOR

EACH INSTRUMENT SEPARATELY. If necessary, repeat steps as many times as

you like until everything sounds right.

Rewind the tape, and reset to the REC PAUSE mode.

4. Recording

Push the PAUSE switch to start recording.

When ping-pong recording is finished, rewind the

tape.

— Ping-pong Recording Completed —

Track 1

Track 2

Track 3

5. Post recording check

Just press the PLAY switch to check if everything

was recorded properly.

Return all switches and controls to their normal

positions, and rewind the tape Next, we will record

the keyboards.

RECORDING THE KEYBOARDS BY OVERDUBBING

PUNCH-IN/PUNCH-OUT

Now that the recording of the drums on track 1 has been

ping-ponged onto track 4, this track is free for record-

ing the keyboards.

RECORDING THE LEAD GUITAR BY OVERDUBBING

Just like with the keyboards, the lead guitar can be recorded on track 2. Both the keyboards and the lead guitar can be positioned Left and Right with the PAN

controls during mixdown. Since delay and chorus effects will be added separately in stereo during mixdown, dis-

tortion and compression effects added in mono should

be done during this stage.

RECORDING THE VOCALS BY OVERDUBBING

Vocals will be recorded on track 3. Just like with the drums, vocal recording should be monitored through the headphones.

Now let’s explain the punch-in/punch-out technique. Mastering it will allow you to re-record even the smallest segment on a track without disturbing the rest of the

track, or the other tracks.

When all the tracks are playing back, press the REC switch to start the tape, “punch in” at the starting point of the section to be redone (set the RECORD SELECT switch of the track to be redone to the REC position for the new recording), and then “punch out” (return the RECORD SELECT switch of the track to the “OFF” position). With this technique, it’s also possible to insert a lead solo into an empty section of the vocal track.

However, this sort of operation requires a blank section

of tape on a track.

NOTE:

Let’s show you how “punch-in/punch-out” works. As an example, we’ll explain how to re-do a segment of the

vocal recorded on track 3.

The RECORD SELECT switches of the MT1X can

be operated by the optional FS-1 Foot Switch. The RECORD SELECT switch for the track to be redone must be set, and then it can be the foot can be used to “punch in” and “punch out”.

— Signal Path during Punch-in/Punch-out Operation —

Before and after the punch-in, the

sound from tracks 1-4 plus the new sounds to be recorded can be monitored. However, during the

punch-in, only the sound from

tracks 1, 2, and 4 plus the new

sound being recorded can be

monitored.

—

Punch-in/Punch-out Procedure —

1. Connections

Connect the vocal microphone through input jack 3. If the FS-1 Foot Switch is being used, connect it to the PUNCH IN/OUT jack.

2. Setting the recorder

If the FS-1 Foot Switch is connected, set RECORD SELECT switch 3 to the “3” position. The REC indicator will flash.

After pressing the PAUSE switch, press the REC

switch. (If the FS-1 is being used, the unit is put

into the REC PAUSE mode, and the REC indicator lights.)

If the FS-1 is connected, set its foot switch so that the REC indicator flashes.

3. Setting the monitor and meter sections

Set the PHONES SELECT switch to “MIX”. (If it’s not set to this position, you won’t be able to monitor the new recording sound and the playback sound of tracks 1 operation.)

Turn the MONITOR LEVEL control to about “7”. Turn the PHONES volume to about “7”.

Set the METER SELECT switch to “4 TRK”.

— 4 during punch-in/punch-out

*Explanation diagram for steps to

4. Setting input levels

Set input select switch 3 to “MIC/LlNE”. Set both input fader 3 and the MASTER fader to “7”. Slide gain control 3 in the “MIC” direction, stop-

ping when the “+3” LED indicator on the. level meter third from the left flashes occasionally on music peaks. (Setting the same as when the vocals were initially recorded is recommended.)

5. Adjusting the recording level and sound characteristics

Using the equalizer controls for channel 3, adjust

for the desired sound characteristics. It’s a good

idea to set them where they were for the initial

recording.

After setting the equalization, set the recording

level, preferably at the same level as the initial

recording.

6. Recording

Press the PAUSE switch to start the recording. “Punch-in” when you reach the passage that must

be redone by sliding the RECORD SELECT switch to the “3” position. When using the FS-1, press on

the foot switch. In both cases, the REC indicator

will light.

“Punch-out” when you have finished redoing the

passage by sliding the RECORD SELECT switch to

the “OFF” position. When using the FS-1, press on

the foot switch again. In both cases, the REC indicator will begin flashing.

Rewind the tape.

— Punch-in/Punch-out Completed —

7. Post recording check

Press the PLAY switch to make sure the passage

was redone correctly.

Return all controls and switches to their normal

positions, and rewind the tape. We’re now ready for mixdown recording.

MIXDOWN (TRACKDOWN)

It’s now time for the mixdown. Often called “trackdown” or “remix”, mixdown is when all the four recorded tracks are mixed to achieve a certain sound’ balance in level, effects, and stereo positioning, and then recorded onto one side of a cassette tape in mono or stereo. This tape is the final “master”.

— Signal Path During Mixdown —

In this next step, the instruments are “put in their place” in the stereo sound field, and a slight amount of reverb will be added to the vocal track with the REV7.

— Mixdown Procedure —

1. Connections

Connect a stereo tape deck to the ST OUT jack, and

insert a blank tape to record the final mix in stereo. Connect the REV7 Digital Reverberator through the AUX SEND jack and AUX RETURN jacks.

2. Setting the meter and monitor sections

Set the PHONES SELECT switch to “STEREO” in order to monitor the mixed down sound.

Turn the PHONES volume to about “7”. Set the METER SELECT switch to “STEREO” so

that the level of the mixed down signal will be indicated.

3. Adjust the level balance and sound characteristics

Set all the input select switches 1 — 4 to “TAPE”. Press the PLAY switch to start the tape, and adjust

the level balance of each track. Push the MASTER fader up to “7’: and then set the level balance with each channel fader. Adjust the sound characteristics for each track with the equalizer controls for channels 1 — 4.

Add the effects to the vocal track using the AUX

3, AUX MASTER SEND, and AUX RTN controls.

*Explanation diagram for steps to and

Determine the stereo positioning of the instruments

recorded on each track using the PAN controls 1 —

If necessary, repeat steps everything sounds right.

Watching level meters 1 and 2, use the MASTER

fader to set the output level of the signal sent from the ST OUT jacks. Watching the level meters of the stereo tape deck,

set its proper recording level. Rewind the tape.

4. Recording

Press the PLAY switch of the MT1X at the same time you start recording with the stereo tape deck.

After the recording is finished, play back the mixed down tape. How does it sound? You can keep repeating the mixdown process, varying the levels,

equalizations, and effect level balance until you’re

fully satisfied with the results. When you make that

“perfect” mix, congratulations. You’ve finished your

stereo master.

—

Mixdown Completed

—

through until

SYNC-RECORDING

For synchronized operation with MIDI instruments, the optional YMC10 MIDI converter enables synchrooperation of the CMX1 and MIDI instruments such as the RX11, RX15, and RX21 digital rhythm programmers

and the QX1 and QX7 digital sequence recorders. In this section, we will explain synchro-recording using synchro-operation techniques.

Merits of synchro-recording

Synchro-recording enables the use of digital sources such as rhythm programmers and sequencers during the first mixdown stages. Since these sources are recorded directly onto the master, it extracts the full sound quality, dynamic range, and superb S/N performance of these digital instruments.

Operating the tape sync

In order to work the tape sync, the MIDI synchronizing signal must be converted to an FSK (frequency shift keying) signal first. This is because MIDI transmits information at an extremely high maximum

speed of 31.25 K baud per second. Therefore, the use of analog instruments is impossi-

ble. By using the MIDI converter, the MIDI syn-

chronizing signal is converted to an FSK signal that

analog instruments can handle.

With the SYNC switch “ON”, press the PLAY switch and the FSK signal recorded on track 1 is

sent to the YMC10, which converts it to the MIDI synchronizing signal and outputs it to the RX15. In this way, track 1 of the MT1X operates the RX15. FOR THIS OPERATION, DON’T FORGET TO SET THE RX15 SYNC SWITCH TO “MIDI”. Now, tracks 2-4 can be used for overdubbing.

Connect as shown below for mixdown.

An example of synchro-recording using the RX 15 rhythm programmer

Set the RX15 to create the desired rhythm

effects.

Connect the RX15 in the following manner.

After putting the MT1X into the REC PAUSE

mode, turn the SYNC switch “ON”. In this condition, both the tape will start and the RX15 will start playing when the PAUSE switch is pressed.

Here’s how it works. The YMC 10 converts the MIDI synchronizing signal from the RX15 to FSK signal, which is recorded on track 1 of the MT1X.

In order to operate the RX15 by the FSK signal

recorded on track 1, connect everything like this:

Start the tape, mixdown the sound from tracks

2—4 and the RX15’s drum sounds input through

the AUX Left and Right jacks, and record it with

a stereo tape deck.

EDITING VIDEO SOUNDTRACKS

Most people will agree that the sound recorded by the video camera’s microphone just isn’t enough for a good music video. Using the MT1X to edit down a good soundtrack for

your video is a great idea, and will result in a video that

sounds surprisingly professional. You’ll find this capabili-

ty useful to produce a promotional video for your group.

In the following example, we’ll show you how to make a soundtrack that includes the sound recorded by the video camera’s microphone, narration, background music, and sound effects.

Editing Procedure

Playback the video several times in order to create

a good, tight scenario. If you’re going to edit the video footage, do it first. Use track 1 to record the sound recorded by the video camera’s microphone. Track 2 is for recording the narration. While watching

the video and monitoring track 1 with headphones,

record the narration with a microphone.

Overdub the background music on track 3. If this music is in stereo, use tracks 3 and 4. If it’s just mono, track 3 will suffice. Sound effects can be recorded on track 4.

Mix down the sound from tracks 1-4 and record

them on the video soundtrack using the video decks

overdubbing function.

NOTE: This example is when editing the soundtrack of

a monaural video deck with an overdubbing function.

MAINTENANCE

As a good general rule, the tape heads, pinchroller and capstan should be cleaned before each recording, thus

ensuring the best audio quality. After the deck has been used for a period of time, the heads, pinchroller, and capstan will become dirty. This

increases noise and uneven rotation, leading to a deterioration in sound quality. Therefore, periodic cleaning and demagnetization is a must to preserve optimal

audio performance. Use cotton swabs and alcohol or head cleaning fluid

(available in most all audio stores) to clean the heads, capstan, and pinchroller. Keeping the heads clean is essential for good recordings. For demagnetization, use a quality head demagnetizer, and follow the instructions carefully.

It’s important to keep all parts clean!

BLOCK DIAGRAM

NOTE:

When the REC button is engaged, the panel switches can be used to individually order

recording on only those channels with RECORD SELECT not switched “OFF”.

SPEC IFIC ATIO NS

Model Description : multitrack cassette recorder

Mechanical Descriptions

Tape Heads

Tape speed Pitch control

Wow & flutter

Fast forward/rewind time

Motor

Inputs & Outputs

INPUT 1—4

AUX RTN L/R

ST OUT L/R

AUX SEND

TAPE OUT 1—4

PHONES

: standard cassette; CrO2 tape only (EQ: 70µs)

: hard permalloy 4-channel rec/play head

ferrite 4-channel erase head : 4.75 cm/sec : +/-10% : 0.05% WRMS

: about 100 seconds (C-60 tape)

: DC servo

input impedance rated input level minimum input level maximum input level input impedance rated input level output impedance rated impedance load rated output level output impedance rated impedance load rated output level output impedance rated impedance load rated output level rated impedance load maximum output level

: 10k ohms : - 10dB to - 50dB (input fader in specified position) :

- 56dB (gain control MAX, input fader MAX) : + 10dB (gain control MIN, headroom margin) : 10k ohms : -10dB : 1k ohms : 10k ohms or over : - 10dB (at 50k ohms) : 1k ohms : 10k ohms or over : - 10dB (at 50k ohms)

: 1k ohms : 10k ohms or over : - 10dB (at 50k ohms) : 8-40 ohms

100mW + 100mW

Equalizer Characteristics

Sound Specifications

Total frequency response Total signal to noise ratio Total distortion

Channel separation Erasure ratio

General

Power supply

Power consumption

Dimensions (W x H x D) Weight

Supplied accessories

0dB=0.775Vr.m.s. Specifications subject to change without notice.

HIGH

LOW

: 40Hz—12.5kHz, +/- 3dB : 85dB (dbx ON, IHF-A) : less than 1% (EIAJ, 315Hz) : better than 55dB (1 kHz)

: better than 70dB

: supplied AC adaptor (DC 15V), PA11 battery pack (“C” x 10) : 14w : 365mm x 26mm x 225mm (14-1/3” x 2-1/2” x 8-7/8”) : 2.5 kg (5.5 Ibs) : carrying strap, PA10 AC adaptor

: +/- 10dB (10kHz shelving) : +/- 10dB (100Hz shelving)