YAMAHA ® AUTHORIZED PRODUCT MANUAL Multitrack Cassette Recorder
YAMAHA Multitrack Cassette Recorder Operating Manual
Congratulations on your choice of the Yamaha MT2X Multitrack Cassette Recorder. The Yamaha MT2X Multitrack Cassette Recorder is a complete multitrack recording package which elegantly integrates a high-performance six-channel mixer and dual-speed 4-track cassette recorder.
BEFORE OPERATION n PLEASE NOTE THE FOLLOWING PRECAUTIONS: ABOUT CASSETTE TAPE This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape formulations. CrO2 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.
n 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.
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 advantage of the MT2X’s versatile functions. MIXER SECTION INPUT SELECTOR SWITCHES These three-position switches are provided on input channels 1 through 4. Position them according to the operation to be performed. Note that input channels 5 and 6 only accept line input.
GAIN CONTROLS These controls adjust the input level of the channel to match the output level of a microphone or instrument connected to input jack of channel 1 or 2. Control from -10dB to -50dB is possible. Adjust the output level of the microphone or instrument as outlined in its instruction booklet. Low output source, such as a microphone High output source, such as an electronic keyboard CLIP INDICATOR These LED indicators are provided on channels 1 and 2.
L I 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 acoustic “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 sound field; turning the control to the right sends the signal towards the right.
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 (the recording level at mixdown) and the recording level during ping-ponging are also adjusted with this control. Set the control input faders at “7” for best results.
RECORDER SECTION RECORD SELECT SWITCHES These switches are used to choose the signal to be recorded. When the track is not to be recording, set the corresponding switch to the OFF position. Switch ON only those switches corresponding to the tracks which are to record. The panel indications for “L" and “R” correspond to the stereo left and right signals, whereas “1”, “2”, “3”, and “4” correspond to the signal from the 1, 2, 3, and 4 input channels.
REC SWITCH When this switch is pressed, the PLAY switch also moves, and the unit goes into the recording mode. However, if the RECORD SELECT switches for all tracks 1-4 are switched OFF, nothing will be recorded. NOTE: When the REC switch is pressed down, noise occurs which is recorded on the tape. In order to prevent this, we recommended the use of the PAUSE switch . Press the PAUSE switch first, then press the REC switch.
METER AND MONITOR SECTION METER SELECT SWITCH This switch is used to select the signal to be monitored by the Peak Level Meters Stereo Position: The level of the signal output through the ST OUT jacks is indicated. The meter on the far left shows the level of the Left channel of the stereo signal, while the second meter from the left shows the level of the Right channel. Setting to this position during pingponging or mixdown operations enables easy reading of the recording level.
PHONES SELECT SWITCH You can plug a set of headphones into the PHONES jack on the front panel to monitor the sound. The PHONES SELECT Switch is used to select the signal to be monitored. Control the volume level with the PHONES volume control . STEREO Position: Put the switch in this position to monitor the signal output through the ST OUT jacks . The Left and Right channels of the stereo signal will be heard through the headphones.
MONITOR LEVEL CONTROLS When setting the PHONES SELECT Switch to the MONITOR position, these level controls are used for each track to achieve a level balance for easy monitoring. Use these controls freely and independently to maintain a desired level balance during overdubbing operations, when the addition of a new signal changes the volume. PHONES CONTROL This control adjusts the volume of the headphones (See page 10).
POWER SWITCH This switch turns on the MT2X. When switching the unit on or off, make sure that the Input Faders and the AUX RTN Control are at the “0” position. SYNC IN/SYNC OUT JACKS These jacks are used during synchronized operation with MIDI-equipped instruments. The jacks make it possible to use an optional YMC10 MIDI Converter in place of the YMC2 MIDI Converter designed specifically for the MT2X. For a detailed explanation, refer to “SyncRecording” on page 34.
CONNECTION EXAMPLES n BASIC MT2X SYSTEM WITH EFFECTS MT2X + SPX90 + monitor system + mic + guitar + DX100 + RX17 This basic recording system puts the MT2X’s six input channels to good use. A microphone for vocals and an electric guitar are plugged into channels 1 and 2, taking advantage of the low-level input and level-matching capability provided by these channels.
ABOUT CASSETTE TAPES This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape formulations. CrO2 tape (Bias: HIGH; EQ: 70µ 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.
MULTITRACK RECORDING TECHNIQUES ONE EXAMPLE OF A MULTlTRACK RECORDING PROCESS n PLAN CAREFULLY FOR MICROPHONE RECORDING Multitrack recording is usually used to record a rhythm section, with overdubbing and ping-ponging operations assisting in mixing the parts of the various musicians in the proper balance. Finally, the tape is mixed down to produce a stereo master tape.
n MULTITRACK RECORDING RECORDING THE DRUMS 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.
— Drum Recording Procedure — 1. Connections Plug the AC cord into an AC outlet. Plug the Digital Rhythm Programmer’s stereo outputs into INPUTs 1 and 2. 2. Getting ready Lift open the cassette door and insert a chrome position (CrO2) tape. Bias: HIGH, Eq: 70µs. Return all the switches and controls to their normal positions, referring to the control panel illustration on pages 4~10. Turn the power switches on for the effect and rhythm programmer, and then turn the MT2X "ON". The POWER indicator will light.
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 the channels 1 and 2 input switches to the MIC/LINE position. Set the MASTER fader to "7". Set the PAN controls for channels 1 and 2 between the center and the extreme "L" position, as shown. 19 Push the input faders for channels 1 and 2 up to "7".
6. Adjusting level balance and equalization characteristics Adjust channel faders 1 and 2 to achieve the desired recording level balance. Adjust the equalizers for 1 and 2 to obtain the desired sound character for each individual channel. (If you’re thinking of ping-ponging these tracks afterwards, 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.
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.
RECORDING THE BASS GUITAR BY OVERDUBBING Overdubbing is the process of 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 overdubbing can clone you into your own group. Now, we’re going to record a bass guitar on track 2 in synchronization with the drum part already recorded on track 1.
— Bass guitar recording procedure — 1. Connections Connect everything through input jack 2 as follows. If the GC2020B 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. 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.
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.
RECORDING THE RHYTHM GUITAR Record the rhythm guitar on track 3 in sync 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. Be sure to use a guitar preamplifier or guitar amp with a line output to provide a line-level signal to the MT2X. Track 1 Track 2 Track 3 Track 4 PING-PONG < PING-PONG RECORDING > After the rhythm section has been recorded on tracks 1 — 3, only track 4 remains as an empty, spare track.
— Ping-pong Recording Procedure — 1. Setting the recorder Set the channel-4 RECORD SELECT switch to the "R" position to mix the sound of the drums, bass guitar, and rhythm guitar through the stereo buss. The REC indicator 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.
RECORDING THE KEYBOARDS BY OVERDUBBING Now that the recording of the rhythm guitar on track 3 has been ping-ponged onto track 4, this track is free for recording 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.
— Signal Path during Punch-in/Punch-out Operation — 28
— Punch-in/Punch-out Procedure — 1. Connections Connect the vocal microphone through input jack 1. 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 1 to the "1" 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.
4. Setting input levels Set input select switch 1 to "MIC/LINE". Set both input fader 1 and the MASTER fader to "7". Slide gain control 1 in the "MIC" direction, stopping when the "+3" LED indicator on the leftmost level meter 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 1, adjust for the desired sound characteristics.
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".
— 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 SPX90 Multi-effect Processor 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.
nUSING n CHANNELS 5 AND 6 While the MT2X recorder section permits multitrack recording on four tracks, the mixer section offers a total of six input channels. The following are a few hints on using the extra two channels for more effective, more versatile recording. * Once three of the four available recorder tracks have been recorded using direct recording, overdubbing and perhaps pingponging techniques, three more instruments may be mixed and recorded on the remaining track via mixer channels 4, 5 and 6.
SYNC-RECORDING For synchronized operation with MIDI instruments, the optional plug-in YMC2 or external YMC10 MIDI converter enables synchro-operation of the MT2X and MIDI instruments such as the RX-series digital rhythm programmers and the QX-series digital sequence recorders. Some devices such as the QX5 and QX1 digital sequence recorders actually have the MIDI-FSK conversion function built-in, and may be connected directly to the MT2X SYNC IN jack.
FOR MAXIMUM PERFORMANCE OF YOUR MT2X CLEANING THE HEADS The precision of the MT2X playback/record and erase heads is very high. If the heads are dirty, the fidelity of playback, recording, and erase will be affected. To prevent loss of fidelity, clean the heads regularly with cotton swabs and alcohol or cleaning fluid. RECORDING LEVEL For superior sound recording, be sure to look at the level meters.
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".
GENERAL SPECIFICATIONS TRANSPORT Tape type Heads Tape speeds Pitch control Wow & flutter fast wind Motor Chrome (70 microsec. EQ) 4-channel Permalloy rec/play 4-channel ferrite erase 4.8 cm/sec, 9.5 cm/sec ±10% Less than 0.05% WRMS Approx 100 sec, for C-60 tape DC servo CONNECTORS Input impedance Rated input level Max. input level Min. input level Input impedance Inputs 3 ~ 6: Rated input level Min. input level Aux return L, R: Input impedance Rated input level Min.
INTRODUCTION TO THE ACCESSORIES DIGITAL MULTI-EFFECT PROCESSOR - SPX90 GRAPHIC EQUALIZER - GQ1031B 2-CHANNEL COMPRESSOR/LIMITER - GC2020B MIDI CONVERTER - YMC2 POWER AMPLIFIER - P2075 KEYBOARD SPEAKER - KS10 SPEAKER SYSTEM - S10X FOOT SWITCH - FS-1 38
SINCE 1887 YAMAHA NIPPON GAKKI CO., LTD. HAMAMATSU, JAPAN SERVICE The MT2X is supported by Yamaha's worldwide network of factory trained and qualified dealer service personnel. In the event of a problem, contact your nearest Yamaha dealer.
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