Yamaha Audio MT50 User Manual
Multitrack Cassette Recorder
User’s Guide
Manuel de l’utilisateur
Bedienungsanleitung
Guía del Usuario
HIGH
–+
LOW
–+
AUX
010
PAN
LR
10
9
8
7
6
5
4
3
2
1
0
1
GAIN
MIC/LINE
HIGH
+6
+3
0
LOW
-5
-10
AUX
REC
REC
SEL
1
OFF
L
PAN
CUE
10
10
0
MIC
LINE
LR
STEREO OUT
+6
–+
–+
9
8
7
6
5
4
3
2
1
0
+3
-5
-10
REC
SEL
2
OFF
010
R
CUE
LR
10
0
GAIN
MIC
LINE
2
MIC/LINE
LR
MONITOR OUT
HIGH
–+
0
LOW
–+
AUX
REC
010
PAN
LR
10
9
8
7
6
5
4
3
2
1
0
3
+6
+3
0
-5
-10
REC
SEL
3
OFF
L
CUE
10
0
GAIN
MIC
LINE
MIC/LINE
REC
SYNC OUT AUX SEND L (MONO) R
HIGH
–+
LOW
–+
AUX
PAN
10
9
8
7
6
5
4
3
2
1
0
+6
+3
0
-5
-10
REC
REC
SEL
4
OFF
010
R
CUE
LR
10
0
GAIN
MIC
LINE
4
MIC/LINE
ZERO STOP
OFF ON
AUX RETURN
AUX RETURN
0 10
SYNC OFF ON
NOISE REDUCTION SYSTEM
POWER MONITOR/PHONES
MONITOR SELECT
STEREO MIX CUE
PITCH
–
000
PLAY REW FF STOP PAUSEREC
MIN MAX
+
MULTITRACK CASSETTE RECORDER
PUSH OPEN
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.
This applies only to products distributed by YAMAHA CORPORATION OF
*
AMERICA.
Dette apparat overholder det gaeldende EF-direktiv vedtrørende
radiostøj.
Cet appareil est conforme aux prescriptions de la directive
communautaire 87/308/CEE.
Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/
oder 87/308/EWG.
This product complies with the radio frequency interference
requirements of the Council Directive 82/499/EEC and/or 87/308/
EEC.
Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva
CEE/87/308) sulla soppressione dei radiodisturbi.
Este producto está de acuerdo con los requisitos sobre interferencias
de radio frequencia fijados por el Consejo Directivo 87/308/CEE.
YAMAHA CORPORATION
i
Precautions
Read through the following precautions before operating your MT50.
Safety precautions
• Make sure the AC adaptor’ s cord is not located in a position where it is
likely to be walked on or pinched by other equipment.
• Do not expose the MT50 to direct sunlight, extremes of temperature,
humidity, dust, vibration, or severe shocks.
• The ambient temperature where the MT50 is located should be between
10˚C and 35˚C (50˚F and 95˚F).
• Use only the AC adaptor supplied with the MT50. Do not use another
manufacturer’s A C adaptor.
• The AC adaptor should be connected only to an AC power outlet of the
type stated on the AC adaptor or in this User’s Guide.
• Before connecting the AC adaptor to the MT50, disconnect the adaptor
from the AC outlet. Always connect the AC adaptor to the MT50, then
plug the AC adaptor into the AC outlet.
• Grip the plug of the AC adaptor firmly when removing it from an AC
outlet. Do not pull the adaptor’s cord.
Handling precautions
• To reduce the risk of electric shock, do not open the MT50.
• To reduce the risk of fire or electric shock, do not expose the MT50 to
rain or moisture.
• In an extremely humid environment, condensation may form on the
inside and outside of the MT50. If condensation does occur, leave the
MT50 powered on, but do not use it until the condensation has cleared.
Maintenance
• Use a soft, dry cloth to clean the MT50.
• If the MT50 should require more thorough cleaning, use a soft, lightly
moistened cloth. Stubborn marks can be removed using a mild detergent. Do not use abrasive or solvent based cleaners such as alcohol and
benzine.
Service and repair
• Refer all servicing to qualified personnel.
• If any of the following incidents occur , the MT50 should be serviced by
qualified personnel:
The AC adaptor’s cord or plug is damaged.
Metal objects or liquids get inside the MT50.
The MT50 is exposed to rain.
The MT50 is dropped or the enclosure is damaged.
The MT50 does not operate normally or you notice a marked change in
performance.
© 1994 Yamaha Corporation. All rights reserved.
All trademarks are the property of their respective holders.
MT50 User’s Guide
ii
Contents
1 Welcome to the MT50 . . . . . . . . . . . . . . . . 1
About this User’s Guide . . . . . . . . . . . . . . . . . . . . . . . . . . 1
What is the MT50? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Choosing Cassette Tapes . . . . . . . . . . . . . . . . . . . . . . . . . 1
About Multitrack Recording . . . . . . . . . . . . . . . . . . . . . . 2
Are Four Tracks Enough? . . . . . . . . . . . . . . . . . . . . . . . . 2
A Few Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2 Getting to Know the MT50 . . . . . . . . . . . 3
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
3 Basic Recording . . . . . . . . . . . . . . . . . . . . 8
Loading Cassettes into the MT50 . . . . . . . . . . . . . . . . . . 8
Power ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Step 1 — Recording the Drums . . . . . . . . . . . . . . . . . . . . 9
Step 2 — Recording the Bass . . . . . . . . . . . . . . . . . . . . . 10
Step 3 — Recording the Guitar . . . . . . . . . . . . . . . . . . . 11
Step 4 — Recording the Vocals . . . . . . . . . . . . . . . . . . . 12
Step 5 — Mixing Down . . . . . . . . . . . . . . . . . . . . . . . . . 13
Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Balancing Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Applying EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Adding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Mixdown Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Setting example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
ProMix 01 User’s Guide
4 Advanced Recording . . . . . . . . . . . . . . . 16
One-Take Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Ping-Pong Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Punch-In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . 16
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
One-Take Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Ping-Pong Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . 23
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Appendix . . . . . . . . . . . . . . . . . . . . . . . . . 26
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
MT50 Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
General Specifications . . . . . . . . . . . . . . . . . . . . . . . . 29
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . 31
1
• Standard Cassette Deck
B side Track 1 L channel
B side Track 2 R channel
A side Track 2 L channel
A side Track 1 R channel
• MT50
Transport
direction
Transport
direction
Welcome to the MT50
Welcome to the MT50
Thank you for choosing the Yamaha MT50 Multitrack Cassette Recorder.
The MT50 is an easy-to-use four-track cassette tape recorder that will allow
you to capture your music at a very high level of quality. To take best advantage of the MT50‘s multitrack features, please read this manual thoroughly.
About this User’s Guide
This User’s Guide consists of four main chapters.
• Chapter 1: Welcome to the MT50
• Chapter 2: Getting to Know the MT50
• Chapter 3: Basic Recording
• Chapter 4: Advanced Recording
“Chapter 2: Getting to Know the MT50” explains the MT50’ s controls and
connections. “Chapter 3: Basic Recording” explains basic setup and the
power-on procedure and contains a step-by-step tutorial for ov erdub recording and mixdown. “Chapter 4: Advanced Recording” explains some
advanced MT50 recording techniques, such as one-take recording,
ping-pong recording, punch in/out recording, and MIDI tape synchronization.
If you’re new to the world of multitrack recording, read Chapter 2 thoroughly. The Appendix provides technical information and a glossary.
1
Track 4:
Track 3:
Track 2:
Track 1:
* dbx noise reduction system was manu-
factured based on a patent license fr om
THAT Corporation.
dbx is a trademark of Carillon Electronics Corporation..
High-position (Chrome, type II),
Less than 90 minutes
High Bias 70µs EQ
90 min. Approx. 22.5 min.
60 min. Approx. 15 min.
30 min. Approx. 7.5 min.
Transport
direction
What is the MT50?
A standard hi-fi cassette recorder uses only two tracks (i.e., left and right)
and both tracks are recorded simultaneously. The MT50, on the other hand,
can record four tracks on a standard audio cassette. Even more importantly ,
you can record and play back these four tracks individually . You can record
all four tracks simultaneously, or one at a time (a technique called o v erdub
recording). The MT50 uses only one side of a standard audio cassette; in
effect, there is no B side. If you turn the cassette over, you’ll hear the four
tracks play backwards. This is because the MT50 uses the full width of the
tape to record four tracks. The MT50 uses dbx noise reduction to reduce
tape hiss and keep your recordings clean and crisp. Once you’ve recorded
your four tracks, you can mixdown into stereo using the MT50’s flexible
mixer, with EQ, pan, and an aux send for adding effects.
Choosing Cassette Tapes
For best performance use high-quality Type II (High Bias 70 µ s EQ)
chrome cassettes of 90 minutes or less, such as TDK SA, Maxell UD-XLII,
and Sony UX-S. Do not use metal tapes or 120 minute tapes. At normal
speed a 60-minute cassette provides about 15 minutes of recording time.
That’s because the tape runs at twice the speed of a standard cassette
recorder and you use only side A.
MT50 User’s Guide
2
Chapter 1: Welcome to the MT50
About Multitrack Recording
Multitrack recording simply refers to recording on more than one track (a
track is a physical strip on a recording tape). Invented by Les Paul in the
1950’s, multitrack recording constituted a revolutionary breakthrough in
the recording arts. Suddenly, you could record multiple instruments on separate tracks on a tape and mix them together later, making adjustments to
each track independently.
The MT50 gives you this incredible capability in a compact, portable unit
that you can use to make multitrack recordings almost anywhere--at the
rehearsal studio with the band, or in your bedroom. If you combine the
MT50 with other music technologies such as MIDI and digital effects processing, you can make some great-sounding recordings.
Are Four Tracks Enough?
The MT50 is a four-track tape recorder: its recording heads create four separate tracks on a tape.
You will also notice that the left side of the unit is composed of four groups
or “modules” of identical controls. These modules control four separate
mixer channels with faders, tone, pan, and auxiliary send controls.
This combination of four inputs, four mixer channels, and four tracks gives
you an enormous amount of flexibility. You can create a signal that runs
from any input to any track on the tape. (In other words, there is no need to
record input module 1 to track 1 on the tape; input 1 can be routed to tracks
2, 3, or 4.)
Y ou can ov erdub your own recordings, listening to one part while recording
another.
You can also transfer recorded takes from up to three tracks to an unrecorded track. Then you can record over the initial tracks, and perhaps repeat
the process. Using this technique--called ping-pong recording--you can
effectively expand your four track studio into a virtual ten-or-more track
studio!
MT50 User’s Guide
A Few Suggestions
• Avoid rheostats (dimmer switches for electric lights), air conditioners,
and fluorescent or neon lights. They all add hum to your recordings.
• If you use microphones to record, it is helpful to record in a room that
sounds good: in other words, an appropriate acoustic environment.
Also, you can experiment with the placement of your microphones;
minor adjustments can deeply affect the sound quality.
• Use high quality, shielded cables.
• If you have an analog or digital reverb effect unit, you will probably
want to use it. However, use it sparingly. Too much reverb can quickly
muddy your sound. Consider saving reverb until the final mixdown, so
you apply it evenly to the entire mix
–+
–+
–+
–+
–+
–+
–+
–+
–
+
000
HIGH
LOW
AUX
PAN
1
OFF
L
REC
SEL
LR
010
CUE
10
0
MIC/LINE
1
10
9
8
7
6
5
4
3
2
1
0
+6
+3
0
-5
-10
REC
HIGH
LOW
AUX
PAN
2
OFF
R
REC
SEL
LR
010
CUE
10
0
MIC/LINE
2
10
9
8
7
6
5
4
3
2
1
0
+6
+3
0
-5
-10
REC
HIGH
LOW
AUX
PAN
3
OFF
L
REC
SEL
LR
010
CUE
10
0
MIC/LINE
3
10
9
8
7
6
5
4
3
2
1
0
+6
+3
0
-5
-10
REC
HIGH
LOW
AUX
PAN
4
OFF
R
REC
SEL
LR
010
CUE
10
0
MIC/LINE
4
10
9
8
7
6
5
4
3
2
1
0
+6
+3
0
-5
-10
REC
LR
STEREO OUT
LR
MONITOR OUT
SYNC OUT AUX SEND L (MONO) R
AUX RETURN
AUX RETURN
POWER MONITOR/PHONES
MONITOR SELECT
STEREO MIX CUE
PITCH
MIN MAX
ZERO STOP
OFF ON
SYNC OFF ON
MULTITRACK CASSETTE RECORDER
NOISE REDUCTION SYSTEM
PLAY REW FF STOP PAUSEREC
PUSH OPEN
0 10
GAIN
MIC
LINE
GAIN
MIC
LINE
GAIN
MIC
LINE
GAIN
MIC
LINE
2
Getting to Know the MT50
Getting to Know the MT50
This chapter takes you on a guided tour of the MT50 and explains what the
controls and connections do, and how to use them.
First the module controls, then the general controls, are illustrated and
explained. Finally, the MT50’s connections are covered. Refer to the illustrations below and throughout this chapter to identify the MT50’s controls
and connections. This will make it easier for you to complete the tutorial in
“Chapter 3: Basic Recording.”
3
MT50 User’s Guide
4
Chapter 2: Getting to Know the MT50
Note: Contr ols 1 thr ough 9 ar e the
same for all four input modules.
HIGH and LOW equalization controls: These controls
1
adjust the tone (EQ). When something is connected to the
MIC/LINE input, these controls affect the tone of the input signal
(i.e., the signal to be recorded). When nothing is connected to the
MIC/LINE input, these controls affect the tone of the playback
signal (i.e., the tape signal fed into the stereo mix).
1
2
3
4
HIGH
– +
LOW
– +
AUX
010
PAN
LR
10
9
8
7
6
5
4
3
2
1
0
1
+6
+3
0
-5
-10
REC
SEL
1
OFF
L
CUE
10
0
GAIN
MIC
LINE
MIC/LINE
REC
5
6
7
8
9
AUX contr ol:
2
This control sets the level of the signal fed to the
AUX SEND output, which is used to feed an e xternal effects processor. The MT50’ s aux send signal is sourced after the f ader . To
feed a channel’s signal to an e xternal effects processor via the aux
send, you must turn up its AUX control and raise its fader.
3
PAN control:
This control positions the playback of a sound in
the stereo mix (i.e., between the left and right channels). T urning
to the right pans a signal to the right channel; turning to the left
pans a signal to the left channel. For center position, an equal
amount of signal is fed to both the left and right outputs.
4
Fader:
When something is connected to the MIC/LINE input,
the fader sets the recording level (i.e., the le vel of the input signal
recorded to tape). When nothing is connected to the MIC/LINE
input, this fader sets the playback level (i.e., the level of the tape
signal fed to the stereo mix). For best performance, the fader
should be positioned between 7 and 8.
5
Level meter:
This LED meter shows the recording and playback level. The recording level should be set so that the +6 LED
lights occasionally at the maximum input level. The f ader sets the
recording level.
6
REC indicator:
Off
— REC SEL switch set to OFF.
Flashing
set to 1, 2, 3, 4, L, or R, in which case the track is ready to record).
Lit
— Recording in progress or recording paused.
7
REC SEL switch:
Off
— Recording is not active.
1 (2, 3, 4)
L (R)
— The left (right) stereo mix signal is recorded. Left signals
can be recorded to tracks 1 and 3. Right signals can be recorded to
tracks 2 and 4. Use this setting for ping-pong recording.
This indicator shows the recording mode.
— REC SEL switch set to one of the “on” positions (i.e.,
This switch selects the signal to be recorded.
— The MIC/LINE input signal is recorded.
! For the technically minded, the
HIGH control has a center frequency of 12kHz and the LOW control, 80Hz. Both contr ols offer up to
12dB of cut and boost.
MT50 User’s Guide
8
CUE slider:
This control sets the CUE level. CUE allo ws you to
adjust the volume of the monitor independently of the fader settings. This control is effective only when the MONITOR
SELECT switch is set to either MIX or CUE.
9
GAIN switch:
This switch sets the MIC/LINE input gain for
optimum performance, depending on what you connect to the
MIC/LINE input.
MIC
— microphones, low-level devices.
Middle
LINE
— synthesizer, drum machine, CD player , high-lev el devices.
— electric guitar, electric bass.
Getting to Know the MT50
AUX RETURN contr ol: This control sets the level of the AUX
0
RETURN input signal (i.e., the level of the processed signal from
an external effects processor) back into the stereo mix.
A
MONITOR SELECT switch: This switch determines the sig-
nal source for the PHONES and the MONITOR OUT.
Stereo
Pan control (the level of these signals is adjusted by the faders).
Cue
Use this for overdub recording.
Mix
punch-in/out recording.
B
POWER indicator: This indicator lights up when the MT50 is
— This setting selects the L and R signals controlled by the
— The signal source is CUE (controlled by the CUE sliders).
— The signal source is the stereo mix and CUE. Use this for
powered-on and ready for use.
C
MONITOR/PHONES control: This control is used to adjust
the PHONES and MONITOR OUT levels.
0A C
B
5
AUX RETURN POWER MONITOR/PHONES
MONITOR SELECT
STEREO MIX CUE
ZERO STOP
OFF ON
D
PITCH slider: This control is used to adjust the tape speed plus
0
SYNC OFF ON
10
PITCH
–
000
MULTITRACK CASSETTE RECORDER
MAXMIN
+
or minus 10%. The center position is normal speed (9.5 cm/sec).
In general, set this slider to the center position.
E
dbx switch: “dbx” is a sophisticated noise reduction system
that can help you make cleaner-sounding recordings. This switch
is used to turn the dbx noise reduction ON and OFF. The switch
has three positions:
OFF
— dbx noise reduction is OFF.
ON
— dbx noise reduction is ON for all four tracks.
SYNC
4. Use this setting when track 4 is striped with the FSK signal for
synchronized operation.
Note:
ON or SYNC, make sure that ON or SYNC is used for playback too.
Do not change this setting half way through a recording session.
— dbx noise reduction is ON for tracks 1, 2, and 3, but not
If you recorded a tape with dbx noise reduction set to either
D
E
F
G
MT50 User’s Guide
6
Chapter 2: Getting to Know the MT50
ZERO STOP switch: When set to ON, rewind stops automati-
F
cally at approximately 999 (the REW button remains depressed).
G
Tape counter and reset button: The tape counter indicates
the tape position, making it easy to locate specific points in your
songs. The reset button resets the tape counter to 000.
T ape control buttons: From left to right, their functions are to
H
record (REC); to play back the tape (PLAY); to rewind the tape
(REW); to stop the tape (STOP); and to pause either playback or
recording (PAUSE).
NOISE REDUCTION SYSTEM
PUSH OPEN
PLAY REW FF STOP PAUSEREC
MT50 User’s Guide
Connections
Connections
1 MIC/LINE input jacks: Microphones, instruments, and
line-level sources are connected here for recording.
2 PHONES jack: A pair of stereo headphones is connected here
to enable you to monitor the recording or playing back of tracks.
3 PUNCH I/O jack: An optional footswitch, such as the Yamaha
FC4 or FC5, is connected here for punch-in/out recording.
4 STEREO OUT jacks: During mix down, signal is output from
these outputs to the master recorder. Connect these outputs to the
inputs of the master recorder.
5 MONITOR OUT jacks: The monitor signal is output from these
L/R jacks. Connect a pair of speakers with built-in amplifiers.
6 SYNC OUT jack: This jack outputs the FSK signal to synchro-
nize the MT50 and a MIDI sequencer or drum machine. Connect
a MIDI-FSK convertor such as the Yamaha YMC10.
7
7 AUX SEND jack: The aux send signal is output at this jack.
Connect this jack to the input on an external effects processor,
such as the Yamaha FX770 or REV100.
8 AUX RETURN jacks: The effects signal is returned here. Con-
nect this to the output on an external effects processor. Use the
L(MONO) input jack for mono return signals. Use both the
L(MONO) and R jacks for stereo return signals.
9 DC 12V POWER connector: Connect the AC adaptor here.
9
8
7
6
5
4
231
MT50 User’s Guide
8 Chapter 3: Basic Recording
3
Basic Recording
This chapter explains how to perform overdub recording. Overdub recording is the basis of all multi-track recording. It enables you to record
track-by-track, while listening to previously recorded tracks. In the following example, we will use a drum machine, bass, guitar, and v ocals. You can,
of course, use any instruments you prefer.
Here’s our track list.
Track # Instrument Other Info
1 Drums RYZZ drum machine. Song #10 “I love you”
2 Bass Dave’s bass with chorus effects pedal
3 Guitar My strat through marsh-ball amp
4 Vocal Sandra with FM58 microphone
Loading Cassettes into the MT50
NOISE REDUCTION SYSTEM
PLAY REW FF STOP PAUSEREC
PUSH OPEN
! Warning: Before making any
connections, power OFF all your
equipment.
! Warning: The AC adaptor
should be connected only to an AC
outlet of the voltage type stated on
the adaptor.
POWER Switch
1
–
+
2
1. Carefully insert the cassette.
2. Connect the supplied AC adaptor to the DC 12V connector.
3. Plug the AC adaptor into a suitable AC outlet.
4. Connect a pair of stereo headphones to the PHONES jack, or connect the MONITOR OUT to speakers with built-in amps.
Power ON/OFF
1. Press the POWER switch to power ON the MT50.
The POWER indicator lights up.
Preparation
2. Set the MONITOR SELECT switch to CUE.
3. Set the MONITOR/PHONES control to about halfway. You can
always readjust later.
4. Press the reset button to reset the tape counter to 000.
5. Set the ZERO STOP switch to ON.
6. Set the dbx switch to ON.
AUX RETURN POWER MONITOR/PHONES
MONITOR SELECT
STEREO MIX CUE
0
SYNC OFF ON
10
PITCH
–
000
MULTITRACK CASSETTE RECORDER
ZERO STOP
OFF ON
MT50 User’s Guide
+
45 6
MAXMIN
Reset Button
3
HIGH
+6
9
4
– +
LOW
– +
AUX
010
PAN
LR
OFF
CUE
10
-10
REC
SEL
1
+3
0
-5
REC
L
3
10
9
8
7
6
8
5
4
3
2
1
0
1
0
GAIN
MIC
LINE
MIC/LINE
2
1
Drum Machine
! The easiest song to recor d is one
that starts with a drum intro. If your
song starts with drums, bass, and
synth all on the first bar , you’ll need
to record a count-in.
Step 1 — Recording the Drums 9
Step 1 — Recording the Drums
1. Connect the drum machine to MIC/LINE input 1.
2. Set Module 1’s GAIN switch to LINE.
3. Set Module 1’s CUE slider to about 8.
4. Set Module 1’s REC SEL switch to 1.
The REC indicator starts flashing.
5. Press the PAUSE button.
6. Press the REC button.
The REC indicator lights up.
7. Start the drum machine
8. Raise Module 1’s fader gradually.
You should be able to hear the drum machine and Module 1’s level
meter should light up.
9. Set the fader so that the +6 light comes on occasionally at the max-
imum input level.
Note: If the drum machine volume is very low you can not achieve the opti-
mum recor ding level with the maximum fader setting, set the fader to 0, and
set the GAIN switch to the middle position (for instruments). Raise the fader
again and set as appropriate.
The module fader is used to set the recording level and should be set in conjunction with the level meter. Use the CUE slider and MONITOR/PHONES control to adjust the monitoring levels. These controls
affect only the monitor signals.
10.Press the PAUSE button to start recording.
11.Start the drum machine.
12.When the drum part is finished, press STOP to stop recording.
13.Press REW to rewind the tape.
It will stop automatically at approximately 999, because we set ZERO
STOP to ON.
14.Set Module 1’s REC SEL switch to OFF.
The REC indicator goes off.
15.Press PLAY to listen to the drum track.
If you like the track, go to “Step 2 — Recording the Bass” once you finish this procedure. If you don’t like it, re-record it.
16.Disconnect the drum machine.
17.Set Module 1’s fader to 0.
18.Press REW to rewind the tape to 000.
MT50 User’s Guide
10 Chapter 3: Basic Recording
HIGH
+6
9
4
3
2
1
8
– +
LOW
– +
AUX
010
PAN
LR
10
9
8
7
6
5
4
3
2
1
0
2
Bass Effect
Processor
YAMAHA
FX550B
+3
0
-5
-10
REC
SEL
2
OFF
R
CUE
10
0
GAIN
MIC
LINE
MIC/LINE
REC
Step 2 — Recording the Bass
1. Connect the bass to MIC/LINE input 2.
Note: Connecting an instrument with a high output impedance such as an
electric guitar or bass to the MT50 may increase noise and distortion and
preclude high quality recordings.
If this happens, connect a direct box or effect unit between the instrument
and the MT50 to reduce the impedance.
2. Set Module 2’s GAIN switch to LINE.
3. Set Module 2’s CUE slider to about 8.
4. Set Module 2’s REC SEL switch to 2.
The REC indicator starts flashing.
5. Press the PAUSE button.
6. Press the REC button.
The REC indicator lights up.
7. While strumming the bass, raise Module 2’s fader gradually.
You should be able to hear the bass and the level meter should light up.
8. Set the fader so that the +6 light is on occasionally at the maximum
input level.
9. In order to set the CUE levels, press the PAUSE button to start
recording. (This is only a temporary recording.)
10.While listening to the drum track, play the bass and set Module 1
and 2’s CUE sliders so that you can hear the drums and bass clearly.
11.Press REW to rewind the tape to 000.
12.Press the REC button to start recording.
The REC indicator lights up.
13.Play your bass part while listening to the drum track.
14.When your bass part is finished, press STOP to stop recording.
15.Press REW to rewind the tape to 000.
16.Set Module 2’s REC SEL switch to OFF.
The REC indicator goes off.
17.Press PLAY to listen to the drum track and new bass track.
If you like the track, go to “Step 3 — Recording the Guitar” once you
finish this procedure. If you don’t like it, re-record it.
18.Disconnect the bass.
19.Set Module 2’s fader to 0.
20.Press REW to rewind the tape to 000.
MT50 User’s Guide
HIGH
– +
LOW
– +
AUX
010
PAN
LR
10
9
8
7
6
8
5
4
3
2
1
0
3
Guitar Effect Processor
FX770
+6
+3
0
-5
-10
REC
SEL
3
OFF
L
CUE
10
0
GAIN
MIC
LINE
MIC/LINE
REC
Step 3 — Recording the Guitar 11
Step 3 — Recording the Guitar
1. Connect the guitar to MIC/LINE input 3.
Note: Connecting an instrument with a high output impedance such as an
9
4
3
2
1
electric guitar or bass to the MT50 may increase noise and distortion and
preclude high quality recordings.
As explained in Step 1 on page 10, connect a direct box or effect unit
between the instrument and the MT50 to reduce the impedance.
2. Set Module 3’s GAIN switch to LINE.
3. Set Module 3’s CUE slider to about 8.
4. Set Module 3’s REC SEL switch to 3.
The REC indicator starts flashing.
5. Press the PAUSE button.
6. Press the REC button.
The REC indicator lights up.
7. While strumming the guitar, raise Module 3’s fader gradually.
Y ou should be able to hear the guitar and the le vel meter should light up.
8. Set the fader so that the 0 light is on most of the time and the +6 light
comes on occasionally.
9. In order to set the CUE levels, press the PAUSE button to start
recording. (This is only a temporary recording.)
10.While listening to the drum and bass tracks, play the guitar and set
Module 1, 2, and 3’s CUE sliders so that you can hear the drums,
bass, and guitar clearly.
11.Press REW to rewind the tape to 000.
12.Press the REC button to start recording.
The REC indicator lights up.
13.Play your guitar part while listening to the drum and bass tracks.
14.When your guitar part is finished, press STOP to stop recording.
15.Press REW to rewind the tape to 000.
16.Set Module 3’s REC SEL switch to OFF.
The REC indicator goes off.
17.Press PLAY to listen to the drum track, bass track, and new guitar
track.
If you like the track, go to “Step 4 — Recording the Vocals” once you
finish this procedure. If you don’t like it, re-record it.
18.Disconnect the guitar.
19.Set Module 3’s fader to 0.
20.Press REW to rewind the tape to 000.
MT50 User’s Guide
12 Chapter 3: Basic Recording
HIGH
+6
9
4
3
2
Compressor
1
8
– +
LOW
– +
AUX
010
PAN
LR
10
9
8
7
6
5
4
3
2
1
0
4
YAMAHA
+3
0
-5
-10
REC
SEL
4
OFF
R
CUE
10
0
GAIN
MIC
LINE
MIC/LINE
REC
Step 4 — Recording the Vocals
1. Connect the microphone to MIC/LINE input 4.
2. Set Module 4’s GAIN switch to MIC.
3. Set Module 4’s CUE slider to about 8.
4. Set Module 4’s REC SEL switch to 4.
The REC indicator starts flashing.
5. Press the PAUSE button.
6. Press the REC button.
The REC indicator lights up.
7. While singing into the microphone, raise Module 4’s fader gradually.
You should be able to hear the vocal and the le vel meter should light up.
8. Set the fader so that the 0 light is on most of the time and the +6 light
is on occasionally.
9. In order to set the CUE levels, press the PAUSE button to start
recording. (This is only a temporary recording.)
10.While listening to the drum, bass, and guitar tracks, sing into the
microphone and set the CUE sliders on Modules 1, 2, 3, and 4 so
that you can hear all sounds clearly.
11.Press REW to rewind the tape to 000.
12.Press the REC button to start recording.
The REC indicator lights up.
13.Sing your vocal part while listening to the other tracks.
14.When you’ve finished, press STOP to stop recording.
15.Press REW to rewind the tape to 000.
16.Set Module 4’s REC SEL switch to OFF.
The REC indicator goes off.
17.Press PLAY to listen to the drum track, bass track, guitar track,
and new vocal track.
If you like the track, go to “Step 5 — Mixing Down” once you finish
this procedure. If you don’t like it, re-record it.
At this point, we are finished recording.
18.Disconnect the microphone.
19.Set Module 4’s fader to 0.
20.Press REW to rewind the tape to 000.
! Use a compressor to even out
the vocal level.
! Watch out for feedback. Don’t
place your microphone too close to
your speakers.
MT50 User’s Guide
Step 5 — Mixing Down 13
T
T
T
R
A
C
K
1
T
R
R
R
A
A
A
C
C
C
K
K
K
2
3
4
Step 5 — Mixing Down
Mixing-down is the process of combining all four tracks into one. This mix
can then be recorded to a stereo cassette recorder or DAT machine. The
MT50 is your multitrack recorder; the second tape recorder serves as the
“master recorder.” During the mix-down, you can tailor the tone of each
– +
sound using the two-band EQ, pan sounds left and right, and balance the
fader levels.
S
S
T
T
E
E
R
R
E
E
O
O
L
R
I
E
F
G
H
T
T
Preparation
1. Connect the STEREO OUT on the MT50 to the input on your master cassette recorder.
2. Set the input levels on your master recorder as appropriate.
3. You can connect the ster eo outputs of your master recorder to a hi-fi
amplifier , and connect a pair of speakers to the amplifier , to monitor
the mix.
Alternatively , you can use a pair of stereo headphones or a pair of speakers with built-in amplifiers. The best choice is a pair of speakers with a
flat response, uncolored by boosted bass or treble settings.
REC
4. You can connect a multi-effects processor, such as the Yamaha
REV100 or FX770, between the AUX SEND and AUX RETURN
jacks .
5. Set the MONITOR SELECT switch to STEREO.
6. Make sure that nothing is connected to the MIC/LINE inputs.
7. Set the dbx and ZERO STOP switches as appropriate. If you’re
continuing from the previous recording steps, they are set OK.
Balancing Levels
Before recording the stereo mix to tape, it’s best to rehearse it a few times
first, and then record it when you’re happy with the overall sound.
10
9
8
7
6
5
4
3
2
1
0
TRACK
1
10
9
8
7
6
5
4
3
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1
0
TRACK
2
10
9
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6
5
4
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1
0
TRACK
3
10
9
8
7
6
5
4
3
2
1
0
TRACK
4
1. Set all faders to about 7.
2. Press PLAY to start playback.
3. Using the faders, adjust the levels to create a balanced mix. Nothing
too loud, nothing too quiet.
4. Use the MONITOR/PHONES level control to adjust the monitoring
volume to an optimal level.
MT50 User’s Guide
14 Chapter 3: Basic Recording
Panning
PAN
LR
HIGH
– +
LOW
– +
REC
Panning allows you to position sounds in the stereo mix (i.e., between the
left and right speakers). There are no hard and fast rules about positioning
instruments in the stereo image. Experiment! Some early Beatles recordings achieved remarkable effects by panning vocals, for example, hard
right, while bass and guitar were panned hard left.
1. Turn the PAN control to the left to position a sound to the left, and
to the right to position a sound to the right.
Applying EQ
The two-band equalizer enables you to boost or cut both high and low frequencies. Make sure you can hear desirable high frequencies, such as the
hi-hats in the drum track. Don’t let low frequencies, such as the bass track,
become too “boomy,” or overwhelm the mix.
1. Use the HIGH control to boost and cut high frequencies.
2. Use the LOW control to boost and cut low frequencies.
Adding Effects
If you have an effects processor, such as the Yamaha REV100 or FX770,
you can connect it to the MT50 and apply effects to recorded sounds.
1. Connect the AUX SEND to the effects processor’s input.
2. Connect the AUX RETURN to the effects processor’s outputs.
If you have a stereo effects processor, connect both the L(MONO) and
R AUX RETURN connectors. If your effects processor has a mono output, connect to the L(MONO) connector.
3. Turn up an AUX control to send a sound to the effects processor.
4. Turn up the AUX RETURN control to add the processed sounds to
the stereo mix.
! To prevent accidentally erasing
your original recor ding, remove the
write-protect tabs from both sides
of the audio cassette you used in
your MT50.
MT50 User’s Guide
Mixdown Recording
Once you’re happy with the mix, you’re ready to record it to the master
recorder.
1. Set your master recorder ready to record.
2. Play the MT50 and set the recording level on the master recorder.
3. Stop MT50 and rewind the tape back to approximately 999.
4. Start recording on the master recorder.
5. Press PLAY on the MT50 to start playback.
The stereo mix is recorded to the master recorder.
6. At the end of the song, stop the MT50 and master recorder.
7. Rewind the master recorder and play your masterpiece.
Setting example
Setting example 15
Powered Monitor Speakers
YAMAHA YAMAHA
Master Recorder
Drum Machine
Bass Effect Processor
YAMAHA
STEREO
OUT
REC
MONITOR
OUT
AUX
SEND
Effect Processor
YAMAHA
AUX
RETURNS
Footswitch
Guitar Effect Processor
Compressor
YAMAHA
MT50 User’s Guide
16 Chapter 4: Advanced Recording
4
Advanced Recording
This chapter explains how to perform advanced multi-track recording techniques on your MT50. The MT50 is so flexible that you can perform sophisticated recording techniques with relative ease on a single, compact
machine. Here’s a little of what you can do.
One-Take Recording
This recording technique is used to record several instruments at the same
time. It is extremely helpful for recording live performances. You can
record the instruments direct and apply reverb and other effects during mixdown at a recording studio.
Y ou can also use this technique to record four instruments liv e to two tracks,
leaving a couple tracks free. Or, you could record a complex drum part,
miking three drums in the kit separately. Later you could mix the tracks into
a very sophisticated rhythm part, and ping-pong it to the open track. Finally ,
you can also use this technique to retain the stereo placement of MIDI-programmable stereo devices.
Ping-Pong Recording
Ping-Pong Recording takes its name from the parlor game that features a
little white bouncing ball. It allows you to combine previously recorded
tracks by mixing them together and recording (or “bouncing”) them to an
unrecorded track. Whereas basic overdub recording allows you to record
four times, this technique enables you to record, in theory, an unlimited
number of tracks. This is because each time you ping-pong, you make
tracks available for additional recording. Due to the limitations of magnetic
tape, however , you can record only se veral times before the tracks will deteriorate due to generational loss. (In other words, recording again and again
will wear down the tape so much that your tracks will lose their punch).
Punch-In/Out Recording
This technique is used to re-record short sections, correct mistakes, or add
new sections to silent passages. You play your part while punching in and
out to start and stop the recorder. If you have a footswitch, you can punch
in and out using your foot. This keeps your hands free for making music.
Its a great way to create a fantastic guitar solo. You can keep re-recording
difficult passages until you get things just right!
Synchronization
MT50 User’s Guide
By recording an FSK signal onto track 4, you can synchronize the MT50
with a drum machine or MIDI sequencer. With this technique, you don’t
need to record MIDI instruments to tape. You save tracks because the an
FSK signal triggers the MIDI instruments, effectively expanding your
song’s arrangement. This technique requires a MIDI to FSK converter , such
as the Y amaha YMC10.
Drum Machine
One-Take Recording 17
One-Take Recording
The MT50 enables you to record up to four instruments at the same time.
REC
This is useful for recording a live band, as discussed previously. Simply
record the instruments directly into input modules 1 through 4 and add
effects during mixdown.
1. Connect an instrument to MIC/LINE inputs 1 through 4.
2. Set the GAIN switches for Modules 1 through 4 as appropriate.
3. Set each module’s CUE slider to about 8.
4. Set each module’s REC SEL switch to its number (1, 2, 3, or 4).
The REC indicator starts flashing for each module.
5. Press the PAUSE button.
6. Press the REC button.
The REC indicator lights up.
7. Start up the band.
8. Raise each module’s fader gradually.
You should be able to hear the band; each module’s level meter should
light up.
9. Set the fader on each module so that the 0 light is on most of the time
and the +6 light comes on occasionally.
The module fader is used to set the recording level and should be set in
conjunction with the level meter. Use the CUE slider and MONITOR/PHONES control to adjust the monitoring levels. These controls
affect only the monitor signals.
10.Press the PAUSE button when you are ready to start recording.
11.Start up the band.
12.When the tune is finished, press STOP to stop recording.
13.Press REW to rewind the tape.
14.Mix down as described on page 13.
You can add effects to each channel separately, adjust the pan controls,
and balance the faders to achieve your desired results. You can also add
reverb to the entire mix for a polished, professional-sounding recording.
MT50 User’s Guide
18 Chapter 4: Advanced Recording
Advanced One-Take Recording Techniques
What happens if you want to record musical instruments or electronic
devices that output stereo sound? With only four tracks, your options get
used up in a hurry!
There is another problem. An y spatial nuances--the subtle things you might
want to do with positioning sounds in the left-to-right stereo image--can be
lost if you have only one track reserved for your drum machine.
The special one-take recording capabilities of the MT50 explained below
allow you to accomplish some pretty slick tricks to solve these problems.
These techniques involve the MT50’s sophisticated ability to control the
placement of sound in the stereo image, and its ability to bounce multiple
left and right tracks to a stereo two-track mix.
This might sound complicated, but it’ s easy to do. It basically in v olv es just
two controls: the Record Select (REC SEL) switch and the PAN control.
For example:
• You can record four instruments at the same time, but use up only two
tracks in the process.
• Many drum machines, sequencers, and synthesizers output stereo
sound. Perhaps you spent a lot of time programming a drum machine so
that different drum sounds (bass, snare, etc.) are panned left or right in
the stereo image. This can make a recorded drum part far more dynamic.
Using this technique, you can preserve the stereo placement of a previously-programmed drum machine or synthesizer without running out of
tracks.
• Perhaps you want to create stereo guitar effects using, for example, a
stereo chorus connected to two guitar amplifiers with different tonal
characteristics or delay times. You might then record this stereo output
to two tracks so the left and right channels of your guitar solo have a different tone. If you bounce the solo to a single track, you would lose the
left-and-right placement of your guitar’s two tones, essentially undoing
your efforts. Using this technique, you can preserve the stereo nuances
of your solo.
The following diagram illustrates how signals from each PAN control are
routed to the stereo bus (the two thick horizontal pipes in the diagram) and
output via the STEREO OUT jacks. That is, each PAN control functions as
a “turn indicator” directing signals onto the stereo bus. The following pages
will explain how to record four musical instruments on two tracks, and ho w
to keep a stereo image of two instruments on a recording. As the diagram
shows, the L output is sent to tracks 1 and 3, and the R output is sent to
tracks 2 and 4.2
MT50 User’s Guide
STEREO BUSS
PAN PAN PAN
LRL
Drum
Module 1
Bass
Module 2
R . . . . . L
. . . . . . . . .
Guitar
4
R
STEREO OUT
L
R
To track 1 or 3
To track 2 or 4
&
4
3
2
1
Module 1: Drums
Module 2: Bass
Module 3: Guitar 1
Module 4: Guitar 2
Track 4:
Track 3:
Track 2: Bass/Guitar 2
Track 1: Drums/Guitar 1
! In this example, we pan hard
right and hard left. This is just to
keep things simple. Experiment
with stereo placement. T ry panning
partially right or partially left to
create an interesting stereo image.
One-Take Recording 19
Recording Four Instruments to T wo T racks in One
Take
Say you want to record drums, bass, rhythm guitar, and lead guitar at the
same time while leaving a couple tracks open for later use.
1. Connect the drum mike to the MIC/LINE input of Module 1; bass
to Module 2; rhythm guitar to Module 3; and lead guitar to Module
4.
2. Adjust the GAIN switches, monitor controls. and input faders as
discussed in “Chapter 3: Basic Recording.”
3. Set the REC SEL switch for each module, as follows:
Set the REC SEL switch for Module 1 to “L.”
Set the REC SEL switch for Module 2 to “R.”
Set the REC SEL switch for Module 3 to “OFF.”
Set the REC SEL switch for Module 4 to “OFF.”
In this set-up, Tracks 3 and 4 will not be recorded. Track 1 will record
the left stereo channel. Track 2 will record the right stereo channel.
4. Set the PAN controls for each instrument’s stereo placement:
Set the PAN control for Module 1 to “L.”
Set the PAN control for Module 2 to “R.”
Set the PAN control for Module 3 to “L.”
Set the PAN control for Module 4 to “R.”
5. Press the REC button and start up the band!
The instruments you connected to inputs 1 and 3 will be combined on
Track 1. The instruments you connected to Inputs 2 and 4 will be combined on Track 2. Tracks 3 and 4 are available for additional recording.
MT50 User’s Guide
20 Chapter 4: Advanced Recording
Module 1: Drums L
Module 2: Drums R
Module 3: Synth L
Module 4: Synth R
Track 4:
Track 3:
Track 2: Drums R/Synth R
Track 1: Drums L/Synth L
! You can record up to three dif-
ferent ster eo musical instruments by
connecting the third stereo instrument to the AUX RETURN jacks.
Preserving the Stereo Image of Two Instruments
1. Connect one stereo instrument to the MIC/LINE inputs for Modules 1 and 2 (L output to Module 1, R output to Module 2).
2. Connect another stereo instrument to the MIC/LINE inputs for
Modules 3 and 4 (L output to Module 3, R output to Module 4).
3. Adjust the GAIN switch, monitor controls, and input faders as discussed in “Chapter 3: Basic Recording.”
4. Set the REC SEL switch for each module, as follows:
Set the REC SEL switch for Module 1 to “L.”
Set the REC SEL switch for Module 2 to “R.”
Set the REC SEL switch for Module 3 to “OFF.”
Set the REC SEL switch for Module 4 to “OFF.”
5. Set the PAN controls to retain each instrument’s stereo placement
in the mix, as follows:
Set the PAN control for Module 1 to “L.”
Set the PAN control for Module 2 to “R.”
Set the PAN control for Module 3 to “L.”
Set the PAN control for Module 4 to “R.”
6. Press the REC button and start playing both stereo instruments.
The left channel of each stereo instrument will be mixed to T rack 1. The
right channel for each instrument will be mixed to T rack 2. Tracks 3 and
4 will be available for additional recording.
MT50 User’s Guide
Ping-Pong Recording
Ping-Pong Recording 21
! The procedur e to the right stops
after we ping-pong Tracks 1, 2 and
3 onto Track4. However, there is no
need to stop there, as the following
illustration suggests. By repeatedly
bouncing tracks, you can make
your MT50 sound like a ten (or
more) track recording studio!
Track 3: Synthesizer
Drum Machine
Track 2: Bass
Track 1: Drums
Track 4: Rhythm Mix
(Track 3: Synthesizer)
(Track 2: Bass)
(Track 1: Drums)
Track 4: Rhythm Mix
(Track 3: Synthesizer)
Track 2: Guitar2
Track 1: Guitar1
Track 4: Rhythm Mix
Track 3: Guitar Mix
(Track 2: Guitar2)
(Track 1: Guitar1)
Track 4: Rhythm Mix
Track 3: Guitar Mix
Track 2: Synth Lead
Track 1: Vocals
! You cannot apply effects to or
adjust the balance of the tracks
mixed in ping-pong recording.
We recommend you to make any
necessary adjustments before
ping-pong recording.
Ping-Pong Recording allows you to bounce previously-recorded tracks to
an unrecorded track. Using this technique, you can create a recording with
more than four tracks.
This section explains two applications: example 1, mixing T racks 1, 2, and
3 to Track 4; and example 2, overdubbing a new sound source during
ping-pong recording.
This will free up Tracks 1, 2, and 3 for additional instruments, solos, or
vocals.
Example 1:
1. Begin by recording a different instrument on each of Tracks 1, 2,
and 3.
For example, you could record drums, bass, and synthesizer (or substitute other instruments). See Chapter 3: Basic Recording for more information. Don’t forget to set the ZERO STOP switch.
2. Rewind the tape to the start of the song.
3. Disconnect any instruments that may be connected to the
MIC/LINE inputs for Tracks 1, 2 and 3.
4. Set the MONITOR SELECT switch to CUE.
5. Set the MONITOR/PHONES control to about half-way.
Adjust it later if the monitors are too loud or too soft.
6. Turn the PAN controls for Modules 1, 2, and 3 all the way to the
right (R).
The signal from Modules 1, 2, and 3 is routed to stereo bus output R.
7. Set the REC SEL switch for Modules 1, 2, and 3 to OFF.
We don’t want to record anything over our previously-recorded tracks.
8. Set the REC SEL switch for Module 4 to R.
The REC indicator for Module 4 is flashing.
In this way, you can record Tracks 1, 2, and 3 onto Track 4.
9. Set the faders for Modules 1, 2, and 3 to about 7.
10.Set the CUE level of Module 4 to about 7.
11.Press the REC button to start a temporary recording.
12.Adjust the recording level of Track 4, while balancing the volume
level of Tracks 1-3.
Use the module 1, 2, and 3 faders to adjust the level balance so that the
level meter +6 of Module 4 will light up momentarily.
13.Once you have determined the correct position for the input fader
for Module 1–3, repeat the process for the final ping-pong.
MT50 User’s Guide
22 Chapter 4: Advanced Recording
! Lower the faders of the tracks
you do not want to include in the
mix when ping-pong recording.
You can use this process over again to combine and mix three tracks into
one. Unfortunately, the sound quality will deteriorate rapidly after a couple
of bounces. Using this technique, the MT50 can function as though it had
far more than four tracks!
You can perform ping-pong recording of Tracks 1, 2, and 3, and simultaneously overdub an instrument connected to Module 4.
The procedure is almost the same as that described above (1-13), except for
the following steps:
Example 2:
3’. Connect an instrument to Module 4.
6’. Turn the PAN control for Module 4 all the way to the right (R).
12’. Adjust the recording level of Track 4 so that the +6 level meter f or
Module 4 lights up momentarily, while balancing the volume le vel
of Tracks 1-4 using the faders.
Note: Avoid ping-pong recording to an adjacent track (for example,
bouncing track 2 to track 1 or track 3) as much as possible. Otherwise,
cross-talk (signal leak at the recording head) may cause feedback
When you are ping-pong recording to an adjacent track, set the recording
level carefully. Do not boost the HIGH EQ too much.
We also recommend that you set the dbx ON to avoid feedback as much as
possible.
MT50 User’s Guide
Track 4:
Guitar Solo
Track 4:
Solo Punch-In
Track 4:
Solo Punch-Out
Track 4:
Repaired Guitar Solo
! Make sure you r e-play enough of
the solo to make it flow smoothly.
! Practice playing along with your
guitar solo a few times through the
end of Bar 4 to get ready for the
actual punch-in. Work on your timing, and try to make the new performance of Bar 4 blend in smoothly
with the existing take.When you are
satisfied, rewind the tape.
Yamaha supplies an optional footswitch, FC-5. Note that using a footswitch other than Yamaha’s may
cause mistiming.
Punch In/Out Recording 23
Punch In/Out Recording
This technique is used to re-record mostly to correct mistakes by re-recording a short section of tape on one track.
For example, say you just played a great guitar solo over some basic rhythm
tracks, but you flubbed a couple of notes in Bar 4. The solo was recorded to
Track 4. (Other instruments occupy Tracks 1, 2, and 3.)
You could punch-in at the start of Bar 4, play your part again (this time hitting every note perfectly!) and punch out at the end of Bar 4. When you listen to the playback of the solo, the punch-in edits are flawless! Nobody will
ever know that you didn’t play the part perfectly the first time.
You can punch in and out with or without a footswitch. This section
explains both methods, but we recommend that you use the footswitch
since you can operate it with your foot.
Punch in/out recording using a footswitch:
1. Connect a footswitch to the PUNCH I/O jack.
2. Set the REC SEL switches for Modules 1, 2, and 3 to OFF.
3. Set the REC SEL switch for Modules 4 to “4.”
The REC INDICATOR for Track 4 will start flashing.
4. Set the MONITOR SELECT switch to MIX.
5. Make sure the MONITOR/PHONES control is set as it was before.
6. Make sure the input fader for Modules 4 is set to the same level as
it was during the original take of your guitar solo.
If you record the punch-in at a different volume level, it will not blend
into the previously-recorded track and your edit will be obvious.
7. Press the PLAY button to play the song for the actual punch-in.
8. Play along with your guitar solo, or get ready to start in tempo at
the start of Bar 4.
Tapping your foot can help a lot!
9. At the start of Bar 4, press the footswitch to start recording over
T rack 4. Play Bar 4 of y our solo. At this time, the REC indicator of
Module 4 lights up.
The timing is critical. If you start too early, you will erase recorded
material before Bar 4--the stuff you want to keep!
10.At the end of Bar 4, step on the footswitch. The REC indicator of
Module 4 flashes.
Again, the timing is critical. If you step on the footswitch to stop recording too late, you will erase material after Bar 4.
Punch in/out recording without using a footswich:
The basic procedure is the same as that with a footswitch, except for the following steps:
1’. (No connection.)
9’. Set the REC SEL switch while holding down the PLAY button to
4 at the beginning of Bar 4, start recording on T rack 4 and play the
instrument.
10’. At the end of Bar 4, set the STOP to OFF.
MT50 User’s Guide
24 Chapter 4: Advanced Recording
Using a Tracking Sheet
The following illustration shows how to fill out a Tracking Sheet. You can
write down the instrument played on each track and mark the settings of the
panpots and faders for future reference. A blank Tracking Sheet appears in
the Appendix. Photocopy it for repeated use. The information can prove
valuable later when you want to recreate a particular sound.
A Track Instrument Other Info
1
Drum Machine
2
Bass
3
Rythm Guitar
4
Lead Guiiar
B Track Instrument Other Info
1
2
Guita mix
3
4
Drum/Bass
Program 012
Alembic through Ampeg
Gibson ES-225, Mesa Boogie
‘57 Strat, tweed Princeton
ES-225 and Strat
Rhythm track
High Low Aux Pan Fader Start Stop
7
000
350
7
000
350
7
064
350
8
172
280
High Low Aux Pan Fader Start Stop
350
064
350
000
To Track
B-4
B-4
B-2
B-2
To Track
MT50 User’s Guide
REC
IN
OUT
MIDI
YMC10
Converter
! You can take the sound output
from the MIDI instrument and
recor d it on any open track, syncing
the MIDI performance with your
own!
REC
Tone Generator
Drum Machine
Sampler
Effects
! T o make sure a sync r ecording is
done correctly:
Note the following items to make
sure sync recording is done correctly.
• Set the FSK signal recording
level of track 4 between 0 and
+3dB.
• When the dbx switch is set to
"SYNC", do not recor d any musical on track 4.
• Try not to record music on an
adjacent track (track 3) during
sync recording (when playing
back the FSK signal on track 4).
Synchronization 25
Synchronization
By recording a timecode onto Track 4, you can synchronize the MT50 with
a MIDI sequencer or drum machine.
(FSK stands for Frequency Shift Keying, in case you were wondering. It is a type of MIDI
performance tempo data. The track that contains the FSK signal is a little like the conductor
of an orchestra who controls the tempo for your sequencers or drum machines.).
If this applies to your sequencer or drum machine, purchase Yamaha YMC
10 MIDI FSK converter and connect it between your MIDI sequencer or
drum machine and the MT50.
1. Connect the Tape Sync Out from YMC 10 to the MIC/LINE input
of Module 4.
2. Set the sync clock on your MIDI device to “Internal.”
3. Set the input fader of Module 4 to about 8
4. Set the dbx switch to the SYNC or OFF position.
When the dbx switch is set to SYNC, Tracks 1, 2, and 3 are set to dbx
ON. Track 4 is set to OFF.
5. Set the REC SEL switch for Modules 1, 2, and 3 to “OFF.” Set the
REC SEL switch for Module 4 to “4.”
The REC indicator for Module 4 is flashing.
6. Press the REC button.
The REC indicator lights up.
7. Play your sequencer or drum machine and record FSK signal for
the duration of your song.
8. When finished, remove the cable from Module 4.
9. Rewind the tape.
10.Connect the MT50’s Sync Out jack to the YMC10 Tape Sync In
jack.
11.Set up your MIDI sequencer or drum machine for sync playback.
(Set the sync clock on MIDI device to “MIDI”). See the manual that
came with the sequencer or drum machine for more information.
12.Press the PLAY button on the MT50.
Your MIDI sequencer or drum machine will be triggered by the sync
signal output from the MT50.
13.Play along with the MIDI parts using your guitar, voice, piano, etc.,
and record them using the basic techniques discussed earlier.
MT50 User’s Guide
26 Appendix
Appendix
Troubleshooting
If you’re ha ving trouble operating MT50, or it doesn’ t seem to be w orking
as it should, look up the symptoms in the following table and see what to do.
Symptom What to Do
Make sure the AC adaptor is connected to a
suitable AC outlet.
Make sure the AC adaptor is connected to
MT50 cannot be powered ON.
Cannot record.
Recordings sound noisy or distorted.
Recordings sound dull, suffer from wow
and flutter, or are of poor quality.
Cannot play.
Recordings playback at the wrong pitch.
Cannot send signal to external effects
processor, or the effects processor does
not correctly apply an effect.
No sound from headphones.
When overdubbing, you can’t hear the instrument you’re playing.
Tape sync does not function correctly.
MT50’s DC 12V connector.
Make sure the POWER switch on MT50’s
rear panel is set to ON.
If MT50 still cannot be powered ON, please
contact your Yamaha dealer.
Make sure there’s a cassette loaded.
Make sure the tape’s not wound all the way
to the end.
Make sure that the cassette’s record protect
tabs are intact.
Check to see if the REC SELECT switch is
set correctly.
When recording, make sure you set the fader
so that the 0 light is on most of the time and
the +6 light is on occasionally. If the signal
level is too low, the recording may sound
noisy. If it is too high, distortion may occur.
Be sure to use high-quality Type II (High
Bias 70 µs EQ) chrome cassettes.
Clean the tape head and mechanism. See
“MT50 Maintenance” on page 27.
Try a new cassette.
Make sure the cassette is loaded correctly.
Make sure the tape’s not wound all the way
to the end.
Make sure you have not changed the posi-
tion of the PITCH slider since recording.
Turn up the channel’s AUX control and
raise the fader. Check the AUX RETURN
level.
Turn up the MONITOR/PHONES control.
Make sure the MONITOR SELECT switch
is set correctly.
Raise the fader for the input module. Make
sure the MONITOR SELECT switch is set
to CUE. Raise the CUE slider.
Make sure the recording level of the FSK
signal is set to about +3dB. Make sure that
you are not using an overly-worn tape.
Check your sequencer’s manual for information. If you are using a MIDI-to-FSK
converter, make sure it is connected correctly.
MT50 User’s Guide
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