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0% found this document useful (0 votes)
50 views80 pagesMT100IIE
Yamaha
Uploaded by
Lincoln BorgesCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 80
YAMAHA
MULTITRACK CASSETTE RECORDER
ENREGISTREUR DE CASSETTES MULTIPISTE
MEHRSPUR-KASSETTENDECK
DAT WoO
OPERATION MANUAL
MANUEL D'INSTRUCTIONS
BEDIENUNGSANLEITUNG CONGRATULATIONS!
Your MT10OI Multitrack Cassette Recorder is a powerful recording tool that will enable you to
work with sound in many ways. No other multitrack cassette recorder offers the straighiforward
simplicity and ease-of-use of the MTIOOI. Whether you need to record acoustic instruments or
voice using microphones, electronic instrumenis and line-level sources, or a creative blend of the
1, the MTIOOII makes the process of building tracks extraordinarily smooth and simple. You can
simply record and remix four tracks, or use the multitrack “ping-pong” recording technique to in-
dividually record up 10 ten independent parts — addiag sound layer Sy layer until you create
exactly the arrangement and texture your imagination demands with its ability o record on all four
tracks at once, or in any conbination, MTIOOII is the ideal choice for resording bands or layering
tracks at home. And, because it's a YAMAHA, you know that the MTIOOI will give you the very
finest sound quality and overail performance available.
‘In order to make use of the MTIOOM's many features and obtain maximum performance, we urge
‘you to read this operation marual thoroughly — and kesp it in a safe place for later reference.
——___ CONTENTS ——————_—_
PRECAUTIONS ..
‘THE CONTROLS AND CONNECTORS
MT1COII CONTROLS AND THEIR FUNCTIONS .
CONNECTION EXAMPLES
ABOUT CASSETTE TAPES
THE RECORDING PROCESS
RECORDING THE FIRST TRACK .........-
‘STEP 1: CHANNEL-TO-TRACK ASSIGNMENT .
STEP 4: RECORD .
OVERDUBBING . :
PING-FONG RECORDING .....
A PING-PONG RECORDING EXAMPLE .
MIXDOWN ... pee
USING THE GRAPHIC EQUALZER
USING THE TAPE OUT JACKS .
USING THE AUX SEND/RETURN LOOP .
PUNCH-IN/OUT RECORDING ..
MAINTENANCE .
SPECIFICATIONS
BLOCK DIAGRAM ....... PRECAUTIONS
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away trom locations where it is likely to be
exposed to high temperatures or humidity — such as near
radiators, stoves, etc. Aso avoid locations which are subject
to excessive dust accumulation or vibration which could
cause mechanical damage,
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care,
3. DO NOT OPEN THE CASE OR ATTEMPT
REPAIRS OR MODIFICATION YOURSELF
This product contains 90 user-serviceable parts. For other
than routine cleaning, refer maintenance to qualified
YAMAHA personnel. Opening the case and/or tampering
with the internal circuity will void the warranty.
4, MAKE SURE POWER IS OFF BEFORE MAKING
OR REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or discon-
necting cables. This is important to prevent damage to the
Unit self as well as other connected equipment.
6. HANDLE CABLES CAREFULLY
‘Always plug and unplug cables — including the AC cord —
by gripping the connector, not the cord.
. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean the
unit, Wipe clean with a sot, dry cloth
. ALWAYS USE THE CORRECT POWER SUPPLY
‘The MT100II should only be powered using the supplied
YAMAHA PA100 AC Adaptor. The use of other adaptors
‘can cause serious damage to the MT1COIL
|. KEEP THE HEADS AND TAPE PATH CLEAN
To ensure consistent high performance and sound quality
from your MT100H, it is important to clean the head and
tape path regularly (ideally before each recording session}.
To do this, use a cleaning kit specticaly designed for use
with cassette tape equipment.
|. USE ONLY HIGH-QUALITY CHROME CASSETTE
TAPE
‘The MT100IT is designed for use with CrO2 (chrome) formu
lation tape, and will not provide proper performance with
any other type of tape. Always choose cassette tapes trom
a reliable manufacturer.
Connecting the Plug and Cord
kK
IMPORTANT. The wires inthis mains lead are coloured in accordance withthe following code:
BLUE NEUTRAL
BROWN ; LIVE
Aste colours ofthe wires n the mains lead of this apparatus may not correspond with the coloured
‘markings identifying the terminals in your plug proceed as follows;
“The wire whichis coloured BLUE must be connected tothe terminal which is marked withthe letter
Nor coloured BLACK.
‘Tre wire which is coloured BROWN must be connected tothe terminal which is marked with the
eter L or coloured RED. _THE CONTROLS AND CONNECTORS /
I
— CONTROL PANEL —
—— FRONT PANEL —
“@ @ @ @ @ @ |
T =
eo ©
— REAR PANEL —
2 MTI0II MULTITRACK CASSETTE RECORDER MT100I1 CONTROLS AND THEIR FUNCTIONS
[Note] The terms “channel” and "track":
In this owner's manual, the tarm “channel” relers to the circuitry and controls
required t9 process one input source. MT100I's mixer section has. four “channels.” The term "track" refers to the
magnetic bands on tape used to stora signals recorded by MTO0I's recorder section. Since MT100II records four
separate bands of audio on tape, it's a four-track” recorder.
@INPUT SELECT Switches
‘The INPUT SELECT switches are used to select the input
source for each of the four channels,
TAPE: Seloct this position to play back already recorded
‘material, When selected, mixer channel i will receive
playback from track 1; channels 2, 3, & 4 will receive
‘racks 2, 3, & 4 respectively.
OFF: In this position, the channel receives no input signal
MICILINE: In this position, the channel can receive
‘microphone, Keyboard, or other linelevel signal
which is connected to the input jack.
[Note] All channele which are not in use should be set to
“OFF” position
Q@MIC/LINE Gain Controls
The gain controls adjust the sensitivity of the channel in-
puts to accept a wide range of signal levels — from line to
microphone. The gain controls aro used in conjunction for
the input faders to set the optimum recording lavel with a
wide range of sources (see “SETTING RECORDING LEV-
ELS" on page 13).
[Note] A gain control only affects the level of the signal
‘connected to the input jack.
input Faders
‘The input faders are used to adjust the level (volume) of
the coresponding mixer channels signal, whether it
comes from a sou'ce plugged into an input jack oF from
the MT100I"’s recorder section. (The INPUT SELECT
switches are used to choose between the two) The faders
are used to set up the optimum levels when recording, and
to balance (mix) the sound from the recorder's tracks
when playing back a recording.
Noise and distortion are at their lowest at input fader level
n.
QREC SELECT Switches
‘The REC SELECT switches are used when recording to
assign (send) the signal from each mixer channel either
directly to the corresponding track of the recorder of to @
diferent track via the PAN controls (see "CHANNEL-TO-
TRACK ASSIGNMENT” on page 11).
[Note] When any of the REC SELECT switches are set to
‘a position other than OFF, the red indicator LED
above the transoor: REC button will flash, incicating
that the MT1001I Ie set up to record. Recording will
‘commence when the transport REC and PLAY but-
tons are pressed simultaneously. If all REC SELECT
switches are set to OFF, the unit will not record even
ifthe transport REC and PLAY buttons are pressed.
PAN Controls
‘The PAN controls assign the signal from the correspond
ing mixer channel to any desired position in the “stereo
sound field”. It a PAN control is set to the maximum
“LEFT” position, the signal from that channel will appear
only atthe lett-channel MIT 100IT output (STEREO OUT L).
ifthe PAN contro is set ‘lly RIGHT, the signal will appear
only at the STEREO OUT R output jack. I a PAN control
is set to its center position, then the signal from thet chan-
rel will appear equaly at both the left- and right-channel
‘outputs, and the sound will appear to come from the cen-
tor of the storeo sound field, a point midway between the
two stereo speakers, By varying the level of the signal
sent to the left-and right-channel outputs, the PAN control
can be used to postion the sound at any point In the
storeo spectrum. The PAN controls can aso be used dur-
ing recording to assign the signal from several channels to
a single track of the recorder section, or t> assign a chan-
rel oa differently-numbered recorder track (see “CHAN-
NEL-TO-TRAGK ASSIGNMENT” on page 11). @AUX SEND Controls
‘The AUX SEND controls are used primarily when adding
effects such as reverberation or echo to the sound of a
cchannel er track. The AUX SEND control on each mixer
channel determines the amount of signal from that chan-
nel sent to the AUX SEND jack. The AUX SEND jack must
'be connected to the input of an external signal processor
‘such as the YAMAHA FX500 Simubetect Processor (see
“USING THE AUX SEND/RETURN LOOP" on page 20)
@AUX RETURN Control
‘The AUX RETURN control determines the level at which
the signa from an external signal processor is returned
and mixed in with the MT10011's main stereo output signal
The output from an external signal processor fed by the
AUX SEND jack must bo connacted to tho AUX RETURN
jack(s) (see “USING THE AUX SEND/RETURN LOO™" on
page 20).
MONITOR SELECT Switch
MONITOR: This position is selected to listen to the four
tape tracks. In this position a mix from the four
MONITOR controls is sent to the PHONES jack and
the MONITOR OUT Jack.
MIX: This position is selected to hear a combination of the
{fou tape tracks and input sources connected to the
input jacks. The mix from the MONITOR controls is
combined with the stereo output from the mixer sec-
tion and sent to the PHONES jack and MONITOR,
OUT jack.
‘STEREO: This position is selected to monitor the stereo
‘output from the mixer section. In this position, the
mix sent to the MONITOR OUT jack and PHONES
jack is the same mix that is sent to the STEREO
OUT jacks.
MONITOR Controls 1 — 4
The four MONITOR controls determine the level cf the
signal from the corresponding recorder tracks which is
sent to the PHONES jack and MONITOR OUT jacks when
the MONITOR SELECT switch is set to either "MONITOR
or "MIX." The MONITOR controls are primarily used fo set
Up the optimum lavels for monitoring recorded tracks while
recording new material (overdubbing).
@MONITOR/PHONES Control
This contol is used to set headphone and control room ls-
tening level. It adjusts the level of signal sent to the
PHONES jack and MONITOR OUT jacks with out affecting
the signal level appearing at the STEREO OUT jacks,
4 MTIOOI MULTITRACK CASSETTE RECORDER
master Fader
‘The MASTER fader sets the overall output level of tho
MT100I mixer section, and thus the level of the output
signal eppearing at the STEREO OUT jacks. The MAS-
TER fader also atfocts recording level when any of the
mixer section's channels are assigned to the recorders
tracks via the PAN controls (se “SETTING RECORDING
LEVELS" on page 13).
@LED Peak Meters
‘The four LED peak meters accurately display output levels
from the MT100II's four recorder tracks when the METER
switch is set to “4 TRACK’, or meters 1 and 2 display the
lavel of signals appearing at :he mixer section's stereo
outputs (the STEREO OUT jacks) when the METER.
switch is set to “STEREO.”
The LED peak meters are a guide for setting up the opti-
mum recording levels, (see "SETTING RECORDING LEV-
ELS” on page 13).
@®METER Switch
When the METER switch is set to "STEREO," motors 1
‘and 2 display the level of signals appearing at the mixer
sections stereo outputs (the STEREO OUT jacks). When
‘ot to “4 TRACK," the four LED peak meters display the
level of the corresponding recordar track signals.
@abx OWOFF Switch
‘The dbx switch determines whether the MT100IL's internal
dbx nose reduction system is ON or OFF. For normal
recording and playback using the MT100IT , the dox switch
should be turned ON, This provides a significantly im-
proved signal-to-noise ratio (as much as 85 dB) so your
recordings wil sound cleaner and have much less tape
hiss.
For dbx noise reduction to be effective, it must be turned
ON both during recording and playback,
‘The dbx switch may be turned OFF when playing back
tapes that were recorded on ather equipment and which
are not dbx-encoded,
®2ZERO STOP Switch
When the transport is in rewind, the ZERO STOP function
automatically stops the tape at a specified location,
To set the ZERO STOP point, play the tape to the desired
location and reset the tape counter to ZERO by pressing
the counter reset button. In rewind, with the ZERO STOP
switch ‘ON’, the transport will sop when the tape counter
Teaches 999, This is particulary handy in the multitrack
“overdub” process when itis necessary to repeatedly re-
Wind the tape and play from the same point.
.
] DBTAPE SPEED Switch
‘The TAPE SPEED switch selects either the standard 4.8-
cm/sec cassette tape speed, or the MT00ITs special 9.5-
cisee high tape speed. Use the standard (4.8) speed
when replaying tapes recorded on standard cassette re-
orders, of to obtain maximum tape economy. When you
want maximum sound qualiy, use che high (9.5) tape
s9eed, The improvement in sound quality provid by the
high tepe speed is significant, and we recommend that
you use the high speed forall important recordings,
[Note] Never change the TAPE SPEED settirg while the
tape is running.
@PITCcH Controt
‘The PITCH control varias tape speed by 410%, making it
possible to “tune” material recorded on the MT1O9IL to
match the pitch of musical instrumenis, or to slightly
lengthen or shorten the running time of a recording 10
meet spectic timing requirements. Tape speed is normal
uthen the PITCH control is set to its center click-stop posi-
tion, Tape speed is increased by siding the control to-
wards the *+" end of the scale, and decreased by sliding
the control towards ‘he "end of the scale.
EQ switch
‘his switch turns the graphic equalizer on and off.
© Graphic Equalizer
‘kn equalizer is used to tafor the signal to help it stand out
cr integrate into a mix. MT{O0ITs graphic ecualizer is 8
fowerul signal shaping tool which alows you to augment
tr ationvate signal components up :0 10 dB in fve fre
cueney bands, The graphic equalizer can be switched ON
tb enhance signals a8 they are recorded on tape, and
gain in payback.
[Note] When switchad ON, the graphic equalizer can affect
signals being routed to tape via the PAN controls
when the REC SELECT switches which are set to "L"
or "R", The graphic equalizer will not affect signals
teeing routed to tape via REC SELECT switches
which are set to “1 —
@ Transport Controls
These light touch electronic transport conto's. provide
‘smooth, sure contre! of the tape transport functions.
REC: In conjunction with the PLAY button, activates
MT100I1 record circuitry. Recording is only possible
when one or more of the REC SELECT switches are
set to a position other than OFF. If all the REC SE-
LECT ewitches ere set to OFF, the red REC indicator
LED will flash wien the REC button is pressed, and
the orange PAUSE indicator wil ight. If any REC SE-
LECT switche is set to a position other than OFF, the
red REC indicator and the orange PAUSE indicator
will ight continuously. From the REC;PAUSE mode it
Is necessary to press the PLAY buton to start the
transport running. Actual recording will begin if at
least one track REC SELECT button is sot to a pos-
tion other than OFF. If not, the transport will run in a
record/ready mode until a REC SELECT switch is sot
to a position other than OFF.
[Note] Only tracks for which the REC SELECT switch is
‘sot to a rocording postion will be recorded when the
RECORD mods is activated.
[Note] The RECORD mede cannot be activated if a cas-
sette Is loaded from which the record-prevention tab
has been removed.
PLAY: Starts the transport running in the PLAY mode. The.
‘teen PLAY indcator LED will light to Indicate PLAY
status.
EW (REWIND): Press this button the rewind the tape. If
the ZERO STOP switch is ON, the tape will stop
rewinding when the counter reaches “999.”
FF (FAST FORWARD): Press this button tre wind the tape.
ahead at high speed. When this button is prossed
while in the PLAY mode, the audio will be heard as
the tape winds ahead at high speed
STOP: Immediately stops the transport and/or defeats the
RECORD mode,
PAUSE: Temporarily stoos playback or recording. The or.
‘ange PAUSE indicator LED will light when the
PAUSE mode is active. Press the PLAY button to
disengage the PAUSE mode and continue payback
or recording
@ Tape Counter and RESET Button
Tris three-digit tape counter provides a handy index of
tape position. I's a good idea to write down the counter
readings for important points of a recording, so you can
locats them easily aterwards. The RESET button resets
the counter to "000" at the current tape position. This is a
Useful function when used in conjunction with the ZERO
STOP switch to identity spectic positions on the tape. @Cassette Compartment
Your cassette tape is loaded here. Use only high-quality
chrome (C102) formula cassette tape. Other tape formulae
tions will nt provide optimum frequency response end sig-
nal-to-noise porforniance.
A “liter-tab" is provided at the righ: side of the cassette
compartment cover. Lit the cover using this ‘ab. Hold the
cassette with the open end (the end at which you can see
tape) facing the transport controls. First, press the rear
edge of the cassette DOWN and UNDER the central retain-
ing finger at the rear of the cassette compartment. Then
gently press the front of the cassetie DOWN to seat the
passette in place. (SEE DIAGRAM)
[Note] Since the MT100I1 uses the entire width of the cas-
Sette tape to record four tracks, the cassette can only
bbe recorded an one side, Never chance the TAPE
SPEED setting while the tape is running,
@MIC/LINE input Jacks 1 — 4
These four input jacks accept signals from mictoshones, or
from line-evel sources including, slectronic keyboards,
electric guitars and basses and tape players. The four
channel inputs are standard monaural 1/4" phone jacks
When a source is plugged into one ofthese jacks, its signal
i sent to the corresponding channel of the MTI00ITs
mixer.
6 | MTI00II MULTITRACK CASSETTE RECORDER
@PHONES Jack
‘Any pair of stereo monitor headphones with an impedance
of between approximately 8 and 40 ohms can be plugged
into this jack. Headphone monitoring is the most conven-
jant way to listen to the MT100I"’s various signals. High-
qualty headphones such as the YAMAHA RH5M or
MH100 are ideat for this purpose.
@®PUICH VO Footswitch Jack
An optional YAMAHA FS-1 Footswitch can be connected to
this jack to permit foot-contrlled punch-n and punch-out
reco'ding (see "PUNCH-INOUT RECORDING” on page
21).
@AUX SEND Jack
@AUX RETURN R and L(MONO) Jacks
‘The AUX SEND and RETURN jacks make it simple to use
an external signal processor (such as the YAMAHA FXS00
Simul-efect Processor) 10 add effects to MT100II signals.
‘The AUX SEND jack should be connected to the input of
your signal processor, and the output ‘rom your signal
processor should be connected to the AUX RETURN jack.
1 your signal processor produces only monaural cutput, it
should be connected to the L (MONO) AUX RETURN jack
(Gee "USING THE AJX SEND/RETURN LOOP" on page
20)
@TAPE OUT Jacks 1 —4
‘The four TAPE OUT jacks are direct outputs from the cor-
responding tracks of the MT100Il recordet. These RCA pin
type jacks make it possible to feed the output from the four
recoider tracks to an external mixing console, The TAPE
QUT jacks can also ke used to feed each of the resorder’s
tracks to external signal processors, the output cf which
can then be returned to the MT100I"'s mixer inputs.
@STEREO OUT R and L Jacks
These are the main outputs from the MT100I1, delivering
the stereo output signal from the MT100I1 mixer section,
The RCA pin-type STEREO OUT jacks can be connected
to a stereo sound system for monitoring and listening. You
‘can record a mixdowr of your taps tracks when these jacks
are connected to the inputs of a stereo recorder.
@MONITOR OUT Rand L Jacks
These jacks output the same signal fed to the PHONES
jack (at line level). Control the level (volume) of the output
using the MONITOR/PHONES control. The MONITOR
‘OUT jacks can be connected to @ stereo sound system for
monitoring and listening. They are RCA pin type jacks. @POWER switch
Press the FOWER switch once to turn power ON, a second
time to tuin power OFF. When tho power is ON, the
POWER LED above the LED peak meters on the MT100IL
top panel will light. Mako sure that the input faders are set
to "0" and the AUX RETURN level control is set to “MIN”
before turning power on,
[Note] A muting function operates for five seconds after
power is initially turned on, after which the recorder
can be operated,
@DC IN Jack (DC12V)
The DC output cord from the YAMAHA PA100 AG Adaptor
eupelied wth the MT1001L should be plugged in here. The
[AC Adaptor should be plugged into a convenient AC wall
outlet.
Caution: Use only a YAMAHA PA100 AC Power Adaptor
to power your MT100II. Other AC adaptors can cause
faulty operation, and may even permanently damage your
MT1001L, CONNECTION EXAMPLES
— BASIC CONNECTIONS —
* Make eure the powsr to all equipment is OFF when maki Ci
os aur making connections. Renate eaten
Stereo cassette deck
be used for mixdown
External elfect unit for
reverberation and/or delay
eerie
S8Ses
| oureur
AC Adaptor
Pa100
Monitor |
srene0
or or
a
L
auxseno] ono] rf auxneruan tf Rk
Footswitch
FS-1 (option)
(Electric guitar, bass,
keyboard,microphone, ete.)
Monitor headphones
8 —MT100I MULTITRACK CASSETTE RECORDER ABOUT CASSETTE TAPES
This unit is designed to be used only with Chromaposition tape, and will not work properly with Fertichrome tepe formulations.
CrC2 tape (Bias: HIGH; EQ: 70js) should be used. Also, the use of C-120 tapes is not recommended because they exhibit poorer
performance, and ean de the cause of equipment failure.
© Preventing accidental erasure of recordings
To keep from inadvertently erasing a prized recording, all
cassette tapes have record protection tabs aleng the rear
edge of the cassette shel, If this tab is broken out using a
screvidriver or any other appropriate imalement, it will not be
possible to recard on the corresponding side of the tape. This
will protect your recordings from accidental erasure, To protect
a Atrack recording, it's necessary to break out the tabs for
both the A and B sides of the tape,
When you'd like to record over a tape with the tebs broken
out, ust cover the holes (where the tabs were) with a small
piece of adhesive tape.
+ PREVENTING ACCIDENTAL TAPE ERASURE:
Break off the tab
whh a screwdriver or
B side tab similar implonent.
+ RECORDING OVER A TAPE WITH THE TABS BROKEN
our:
Cover the hole with,
adhesive tape.
@ Taking up tape slack
Hf the tape in the cassette is slack, or some portion of the tape
is out cf the cassette chell, there is a risk it may become
tangled around the capstan or pinchroller. In order to correct,
this, insart a pencil or ballpoint pan into the center of one reel,
and rotate to take up loose tape slack,
© Storing cassette tapes
To prevent tape slack during storage, keep tapes in their
cases. Do not store tapes in direct sunlight, or in places with
high heat or humidity, as this may damage the tapes. Also,
keep the tapes away from magnetic fields, emitted trom de-
vices sich as televisions or speakers, because the recordings
‘can be erased or sonically alterd to some degree, THE RECORDING PROCESS
For details pertaining to the operation of MT10011 controls, please refer to page 3, "MT100Il CONTROLS AND THEIR FUNCTIONS".
Recording with the MT{OdIl is a very simple process. All you need Is the MT"‘OOII, a pair of moniior headphones, and an instrument,
misrophone, or other signal source.
The multitrack recording process can be basicaly broken down into the following steps:
4. Record the First Track.
a) Select channel-to-rack assignment for input source.
b) Set Record Level
¢} Record,
2. Overdub on the Remaining Tracks.
a) Soloct channelo-track assignment for each overdub,
b) Set records level for each overdub,
¢} Record the overdub.
3. Track Combining.
a) tf necessary, use “ping pong" technique fo combine tracks and clear them for additional overdubs.
4. Mixdown.
a) Set up for monitoring the mix.
b) Set up a rough mix and add elects.
¢} Finalize and rehoarso the mix
4) Connect the NT100Ml STEREO OUT jacks to a stereo casete recorcer.
©) Record (trom the MT100I to the stersc cassette recorder)
‘These steps (and what the recording terms mean) will be described in detail bolow, so its a good idea to read through the following
sections in sequence in order to get a clear picture of the overall recording arocess.
10 MTI001 MULTITRACK CASSETTE RECORDER -RECORDING THE FIRST TRACK
STEP 1: CHANNEL-TO-TRACK ASSIGNMENT
The first step in making any recording is to assign the channel to which your instrument or other source is connected to 076 of the
recorder's tracks.
Depending on what you are recording, you might want to record a single instrument of other source on a single track of the tape, or
you might want to combine several instruments or other sources and record them on a single track. The MT100II offers two
“channel-to-track assignment” methods,
Direct Channel-to-Track Assignment
Panned Channel-to-Track Assignment
With this method, an instrument or source connected to one of
the miker’s channels is fed directly to the correspondingly
numbered track of the recorder. You cen record a single track
like this, or up to all four tracks simultaneousy. Using this
method, only one input source can be recorded on a single
track,
For direct channelte-track assignment, the REC SELECT
‘suitchs are set to the “number” position (1, 2,:3 oF 4). For ex-
ample, if the channel 1 REC SELECT switch is set to “f," the
channel 1 signal will be sent directly to track 1 ol the recorder.
This applies in the came way to all other channels and tracks.
‘The panned channel-to-track assignment method nakes it
possible to assign several of the mixer’s channels to a single
recorder track, or single mixer channels car be assigned to a
track of a different numbers.
Each of the REC SELECT switches has ether an "L* or “Ri
position. These corresrond to the left (L) and right (A) chan-
nels of the mixer’s stereo output. If track t's REC SELECT
switch is set to *L" for example, track 1 will receive any signals
which are “panned” LEFT. Therefore, it is possible to send the
signal from channel 1 to track 4 by selecting “R” on track 4's
REC SELECT switch and oanning channel 1 RIGHT. In addi-
tion, any other channels which are panned RIGHT will also bo
recorded on track 4 if the faders for those channels are at
raised. The assignment illustrated below is achioved by set-
ting treck 4's REC SELECT switch to "A ard setting the PAN
controls on channels 1, 2 and 3 fully right
[Note] When a REC SELECT ewitch fe sot to “L" or "Ri" the
track will also record signal from the "LEFT or RIGHT
sido" of the AUX return. Therefore, effects can be
recorded along with input sources.
MIXER SECTION RECORDER SECTION MIXER SECTION RECORDER SECTION
[Sean] |———- | [TRACK 1 CHANT TRACK 1
TIRACK 2] [Chan 2 TRACK 2
TRACK 3 | CHAN:S TRACK 3
TARCK 4 CHAN. 4 RACK A]
DIRECT CHANNEL -TO- TRACK ASSIGNMENT
PANNED CHANNEL-TO - TRACK ASSIGNVENT
" STEP 2: MONITOR SETUP.
(Once your souree is connected to an input channel and that channel is assigned to one of the recorder’s tracks, you should set up your
‘monitor system so that you can listen tothe track as its recorded.
The MTI0011 allows you to monitor the material being recorded either via a pair of headphones connected to the PHONES jack or
viaa sound system wih speakers connected to the MONITOR QUT jacks. The level appearing at the PHONES jack and MONITOR
OUT jacks is controlled by the MONITOR/PHONES control. The MONITOR SELECT switch has three positions which allow you to
listan to tape tracks orly (MONITOR position), input sources (STEREO position), or a combination (MIX position)
MONITOR: In this position only the output from the recorder’s. «STEREO: Only the ste'eo output from the mixer section is
Mix:
four tracks is sent directly to the PHONES jack and the
MONITOR OUT jacks via the four MONITOR controls.
‘The MONITOR controls are used to create the desired
monitor *mix*, This setup is ideal for general monitoring
while recording because it allows you to listen to the
four tape tracks while leaving input faders available to
route signal sources to tape. Matotial already recorded
fon any of the recorder’s tracks is delivered to the
PHONES Jack and MONITOR OUT jacks via the corre-
sponding MONITOR controls. In this case, an input
source can only be heard when itis assigned to a track
via the appropriate REC SELECT switch, and the
TRANSPORT controls are in the RECORD or REC-
ORD/PAUSE mode.
Both the output from the recorders four tracks (via the
MONITOR controls) and the stare0 output from the
mixer section are sent to the PHONES jack and MONI
TOR OUT jacks.
12 MTI00I MUILTTTRACK CASSETTE RECORDER
sent to the PHONES jack and MONITOR OUT jacks.
Tis setting is most useful for mixdown of a completed
rruttitrack recording, since you want to hear the mix
produced by the mixer section's input faders and any
effects applied using the AUX SEND and FETURN
controls while mixing
[Note] Speakers should not be used for monitoring if you
will be recording via microphones, since the monitor
sound will leak into the microphone(s) and spoil the
recording ‘STEP 3: SETTING RECORDING LEVELS
Setting optimum recording levels is vitally important to achieve the best possible recording quality.
1. Make sure that a cassette has been loaded into the cas
sette compartment, and that it is wound te the point at
Which you intend to start your recording. I's a good idea to
press the counter RESET button to set the counter to “000”
at this point so that you can automatically locata the begin-
ning of the recording later using the ZERO STOP function
2. Start by setting the channel input fador to be used set to its
minimum (‘0") position, and the MI/LINE gain control all
the way to LINE.
3, Press transport RECORD button, this activates MT100I's
record cireult, and puts the transport in RECORD/PAUSE
mode. Tape will rot be moving. Play the source at the
highest ((oudest) level that it will be played during record-
ing.
STEP 4: RECORD
4, Sot the MASTER fader to about "7" or *8" onthe scale and
gradually raise the input fader until you begin to hear the
source sound and s2e the LED peak meter come to lite. it
your source is an electric instrument (guitar or bass) or a
microphone, you may also have to slide the MIC/LINE gain
contol towards the MAIC end ofits scale to get a sufficiently
high meter reading. Acjust the input fader and MIG/LINE
gain control so that the meter reading averages between
about "0" and "+3" on the scale. Idealy, the input fader
should be set at about *7" or 8" on its scale to actiove the
above-mentioned meter reading. Ths is ensure the best
possible signal-to-noise ratio and allow plenty of plus and
minus leeway for lter adjustment. If tre fader setting is
way off, try adjusting the volume control on the instrument
or other source until you can get the opt mum reading with
2 fader setting between °7" and “8.” After levels are set,
press STOP button to disengage RECORDIPAUSE trans-
por: status.
When you have inserted a cassette, assigned the input channel to a recorder track, checked the monitor settings and set the
optimum record level for the new track, you're ready to record.
[Note] Make sure the PITCH control is OFF (slider in the center position) while recording your first track.
1. Press the REC button and then the PLAY button to start
[Note] If you plan to record using microprones and you will
recording, wait a few seconds, and start playing,
be monitoring in the same room as where tre micro-
phones are set up, we recommend the use of head-
phones while actual recording is taking place. If
speakers are used for monitoring during recording,
their sound can “leak” back into the microphones
compromising the quality of your recording,
2. When you've finished recording the track, press the trans-
port STOP buttor, turn the REC SELECT switch for the
track just recorded to the OFF position, rewind the tape
(he tape will stop automatically at counter "999" if tho
ZERO STOP switch is ON).
8, Play back the recarding (press the PLAY button) and listen
to the track to make sure that everything went as planned.
13 OVERDUBBING
Overdubbing is the process of recording a new track (or new tracks) while monitoring previously recorded tracks. If you're only
planning to record a maximum of four tracks, you can go ahead and overdsb the second, third and fourth tracks. If you're planning
to use the “ping-pong” recording technique to record more than four parts, however, record only three tracks ard then move on to
the ping-pong step (see ‘PING-PONG RECORDING” on page 15).
1, Plug the instrument or other source to be reccrded into an
available channal input.
2, Make sure that the REC SELECT switches of previously-
recorded tracks are set to OFF so that previously recorded
tracks aren't erased when the new track is recorded.
8, Set up the channsl-to-track assignment for the new track.
4, Check your monitor settings to ensure that you can monitor
the previously recorded track(s) as well as the new track to
be recorded (the MONITOR SELECT switch should nor-
mally be set to MONITOR.)
5, Set the recording level for the new track.
6. You can now “rehearse” the overdub without actually ro-
cording by simply playing back the already-recorded
track(s) and playing the new part. When MONITOR select
is in the MONITOR position, itis not possibie to hear input
source unless MT100I"'s transport is in RECORD or REC-
ORD/PAUSE, If you are not ready to actually record your
overdub, and would lika to hear the new input source along
with previously recorded tracks, set the MONITOR select
switch to the MIX position,
7. Make sure the tape is rewound to the beginning of the
plece and start recording,
108@ steps are simply repeated to averdub tracks 3 and 4,
14 MTIO0I MULT:TRACK CASSETTE RECORDER PING-PONG RECORDING
®ing-pong recording Is @ technique you can use to squeeze more than just 4 parts onto your 4-track machine,
This is accomplished by re-recording a mix of existing tracks onto an open track. Once tracks have been combined in this way on a
ew track, the original tracks can be erased, clearing them for additional overdubs.
in ping-pong recording, you can record parts on tracks 1, 2,
and 3, for example, and then re-record these tracks onto track
4 using the mixer controls to sot up the right balance between
he 3 original tracks. You now have a “mix” of the frst 3 tracks
on track 4, and tracks 1, 2, and 3 are available for more
recording. That's already the equivalent of 6 “tracks" on your
‘track recorder. While mixing the first 3 tracks down onto
rack 4 you can also mix in a live instrument via the MT1O0IL
mixer section, That would give you 4 parts recorded on track 4
of the tape. With the 3 tracks you stil have available for re-
cording, that’s a total of 7 tracks. Now, if you record only 2 of
the remaining tracks and ping-pong these to track 3 while
mixing in another lve instrument, you'll have 4 parts on tracks
4, 3 parts on track 3, and 2 tracks available. That's a total of 9
Following this procedure itis actually possible to record up to
10 individual tracks without re-recording any single track more
than once (refer to the illustration),
[Note] Ping-ponging is a critical step because the tracks to
be ping-ponged must be mixed perfectly before you
‘can go on to recording the subsequent tracks. This is
because once they're ping-ponged and new material
has been recorded on the original tracks, thelr bal-
‘ance and individual sound cannot be changed un-
less you go back and record the original tracks all
over again
[Note] I is recommended that you record using the 9.5 cm
sec tape speed with dbx ON if you plan to combine
tracks using the ping-pong technique. Under some
conditions, use of the 4.8 cm/sec tape speed with
noise reduction OFF will cause feadback when a
previously recorded track Is re-recorded onto an ad-
Jacent track.
Note] Ping-Pong recording technique requires that mul-
tiple tracks are directed to tape via PAN controls.
Remember that a signal appearing at the stereo AUX
RETURN will also be added along with the tracks
being recorded or ping-pongad. To prevent an effect
from being recorded, sot the AUX RETURN fader to
*0" (all the way off
EXAMPLE: Recording tracks “1” through “10” using the Ping- pong process.
aera. 2ard3 Ping ong 5 engoto
Fecrd pats 1, 2 ant vhs alk hte asda Mom 8 t0 vack 2 Rear 10 te bt
ne room aor oats 5 068 ecrgoan wie ing mt
TaAGK 1 7 ] 2] w
TasoK 2 2 } ao] as
TRACK 3 2 7 Eea7—] [keer 3647 5647
TRACK « cease] Caeera] Tiassa) Cizaea Rds DEEET
15 A PING-PONG RECORDING EXAMPLE
‘The following is an example of how you would ping-pong material recorded on tracks 1, 2 and 3 onto track 4.
Here's how the contiols should be set
sINPUT SELECT switches
Make suro that the channel 1,2 and 9 INPUT SELECT
switches are set to TAPE and tho channel INPUT SE-
LECT snitch is set to OFF
+Input Faders
To bagi with, set the Input 1 through 3 faders to about 7”
on their scales, and sot the MASTER fader to °0.”
+REC SELECT Switches
The channel 1 thtough 8 REC SELECT switches must be
set to OFF, and the channel-4 REC SELECT switch should
be set "R”
*AUX SEND Controls
Set all our AUX SEND controls to MIN forthe time being.
*GRAPHIC EQUALIZER Switch
‘Switch chis OFF for the time being.
*PAN Controls
Since the channel-4 REC SELECT switch is set to °R," the
channel 1 through 3 PAN controls must be rotated full
clockwise (right) to assign the track 1, 2 and 9 signals to
‘rack 4of the tape. The channel PAN control can be set
to center.
+*AUX RETURN Control
‘Set to MIN forthe time being.
+MONITOR SELECT Switch
Set to MIX so you'll only hoat signals from the MT109I1re-
corder.
MONITOR Controls
Set the channel 1 through 8 MONITOR controls fully
counterclockwise, and the channel-4 MONITOR cortrol to
about center ora position that will provide the best monitor-
ing tevel
16 MTI00II MULTITRACK CASSETTE RECORDER
Play back the tape, Gradually increase the MASTER fader
setting until you can hear the tracks you've recorded and
the channel-4 meter reads around 0" on the meter scala.
Adjust the MONITOR 4 control for tha most comfortable
monitoring level
. Adjust the input 1, 2 and 3 faders — carefully — until you
get the desired balance betwaen the first three tracks.
You'll notice that as you adjust the balance between tracks
the channel-4 meter reading might change considerably.
You'll have to compensate for this as you set up the ping-
pong mx by adjusting the MASTER fader.
. At this time the GRAPHIC EQUALIZER may be switched
‘on and used to enhance the sound-quallly of tracks as
they are combined.
AUX SEND conttols on the channels may be used to add
an effect to the balance, The amount of effect added is
controlled by the AUX RETURN fader.
‘When everything is set up perfectly, rewind the tape to the
boginning and start recording. Sit back and wait until the
ping-pong Is complete, then stop the recorder. Now play
back the tape and listen to the ping-ponged track carefuly..
If something sounds odd, go back and repeat the pirg-
pong pracess. You can do this as many times as necss-
sary unil you get it right — then go on to the next step.
Complete your recording by overdubbing and using the
Ping-Pong technique as necessary
[Note] Only one output (lott or right) of the effect will bo
recorded. If the RECORD SELECT switch is set to
", the output of the effact processor connected to
tha LEFT AUX RETURN jack will be recorded. Ifthe
FECORD SELECT switch is set to "R”, the output of
the effect processor cornecied to the RIGHT AUX
RETURN jack will be recorded. MIXDOWN.
Mixdown is the last staga in the recording process at which time ycu can blend and polish the sounds to create the final product.
A-MIX* is created by finely balancing the four tracks to achieve just the right sound. This final belance is achieved using MT 1001's
‘mixer section and is re-recorded onto @ conventional stereo tape deck. Tracks can be faded in or out as required, and refinements
‘such as overall reverteration or equalization car, be added using extemal signal processing equioment and MT100II's 6-band on-
board GRAPHIC EQUALIZER. The mixer's PAN controls can be used to position each track at their appropriate location in the
stereo image, and you may even want ‘o mave or PAN a sound from ane channel to the other 10 create a dramatic effect.
Here's how your system should be set up:
*INPUT SELECT Switches
Make sure that all four INPUT SELECT switches are set to
TAPE,
Input Faders
Sat all channels tc “0” (minimum).
“REC SELECT Switches
Set all REC SELECT Switches to OFF.
*AUX SEND Controls
‘Set all four AUX SEND controls to MIN for the time being.
*GRAPHIC EQUALIZER Switch
‘Switch this OFF for the time being,
*PAN Controls
Start with all PAN controls set to center.
“MASTER Fader
‘Set to about '7" or “8” on the scale.
‘*AUX RETURN Control
‘Set to MIN for the time being,
*MONITOR SELECT Switch
‘You will want to monitor the same signal which appears at
the STEREO OUT jacks, so set this switch to STEREO.
We recommend using an extemal sound system or a pair
fof powered moniior speakers (such as the YAMAHA
MS101 Monitor Speaker) for mixdovin.
‘MONITOR Controls
‘Set all MONITOR controls fully counter-clocknise.
*METER Switch
STEREO.
dbx Switch
f you started recording with the dbx switch set to ON,
leave it there. If OFF, it should stay OFF.
1. Sit in a comfortable, cortral position in front of your monitor
speckers,
2. Listen to, evaluate, and adjust the sound of each track indi-
vidually. This simply means raising the fader of a single
track, adding effects of cther signal processing as required,
then repeating the process on the next track until all tracks
have been carefully checked. MT100II's §-band GRAPHIC.
EQUALIZER can be used to add or subtract high, mid, and
low ‘tequency components from the overall mix, cteating @
more exciting and coherent marriage of the tracks. If you
hhave an external signel processing device such as the
YAMAHA FX500 Simul-effect Processor connectec into the
MT 1001's AUX SEND/RETURN loop as deseribed in the
following section (USING THE AUX SEND/RETURN
LOOP), i's a simple metter to select the desired effect on
your signal processer and add the required amount of ef
{ect to each track using the AUX SEND controls. The AUX
RETURN control must also be set to an appropriate level
3, When all tracks have been individually checked, bring all
input faders up to asout °7” or "8" on the scale and play
back the tape. Adjust the faders for the best overall bal-
ane, Now adjust tha PAN controls to place each track at
the desired location in the stereo sounc field. Now listen
carefully — too mush oF too Ile reverb on any track?
Readjust the AUX SEND controls to achieve the desired
cffost. Balance not quite right? Keep readjusting until you
ate satisfied. You should also rehearse any fades or pans
you plan to do while actually recording the mix
4, When you'te sure everything is ready, prepare tc actualy
record the mix, Connect the MT100I1 STEREO OUT jacks
to the inputs of a stereo cassette recorder. Plug your moni
tor headphones into the stereo cassette deck phones jack
if you want to listen as you record the mix, or simoly leave
them connected to the MT100I PHONES jack and listen,
itr the MONITOR SELECT switch set to STEREO. Use
the stareo cassette deck record level cortrol(s) and, if nac-
‘essary, the MT100II MASTER fader to set the optimum
record lavel, then 30 ahead and reccrd. The MT100IL
MASTER fader can also be used to add a slow fade at the
tend of the piece.
7 USING THE GRAPHIC EQUALIZER
The MT10011 has a stereo 6-band graphic equalizer built in. As the block diagram below makes clear, signals assigned to the left
and right channels by the PAN control and level adjusted using the MASTER fader ara sent to the equalizer. Therefore, it can be
used during ping-pong recording, mixdown operation and when recording with the REC SELECT control set to “L" or *R." The
equalizer cannot be used when the REC SELECT control is set to “1” — “4,” however, since each channel signal is recorded directly
(on the appropriate track,
The graphic equalizer affects only the signal paths marked with bold lines in the diagram below.
‘GRAPHIC
ot Rien
7
“
18 MTI00II MULTITRACK CASSETTE RECORDER USING THE TAPE OUT JACKS
The tape out jacks can be used to feed the tape outputs to an external mixer. In mixdown, individual tracks can be procesced using
a signal processor, which receives signal from the TAPE OUT jack and the output of which is retumed to a channel's INPUT jack,
‘See diagram.
Processing Individual Tracks In Mixdown Using TAPE GUT Jacks
‘Signal from track 1 is sont to exceral signal
processcr from TAPE OUT jack t
Extomnal Processor used for EO,
compression, gating pitch chage
forthe action of an effect, such
as delays, langing etc.
MT100I1
‘Signal Prosessor
ono
MICANE MOLINE? MCLINES MaGLINE
Signa is returned from signal processor and
connected to MICILINE input 1
INPUT SELECT switch on channel
1s sotto MIGILINE,
19 USING THE AUX SEND/RETURN LOOP.
The MT100I’s AUX SEND controls function like a secondary mixer that derives its input signals from the main mixer’s four channels.
and combines them into a mono signal which ie delivered via the AUX SEND jack (refer to the diagram below). You can use the AUX
‘SEND controls to create an “effect mix", independent of the main mix, thus adding the required degree of effect to each channel
signal. The AUX SEND signal is sent to the input of an external signal processor (reverb, echo or other effect device), and the output
from the signal processor is returned to the AUX RETURN jacks. The lovel of the signal received at the AUX RETURN jacks can be
‘adjusted using the AUX RETURN control, and the resuting signal is combined with the MT100II's main stereo output signal.
Since the returned effect signal is combined with the mixer's stereo output signal, the AUX SEND/RETURN boop can be used in
mixdown to add an effect to tracks when they are being recorded. In this case tracks must be assigned to tape using the “panned
channel-to-track” assignment method (see page 11).
STEREO
ouTPUT
AUX SEND
CONTROLS
‘AUX AUX
SEND RETUIRN
EXTERNAL SIGNAL
PROCESSOR
[Note] Snco the AUX SEND/RETURN loop returns the of-
fect signal to the mixer section's stereo outputs, ef-
fects can be added to channels during ping-pong re-
coiding as long as the panned channel-to-treck as-
signment method is used, The AUX SEND/RETURN
loop cannot be used to add effects when recording
tracks which have been assigned using the direct
channel-to-track assignment method.
20. MTIO0II MULTITRACK CASSETTE RECORDER PUNCH-IN/OUT RECORDING
Punch-in/out recording makes it possibie to re-record a short segment of an otherwise pertect track in order to correct a mistake or
‘prush up" an important passage. You ‘punch-in” at the point where you begin recording the new segment, and ‘punch-out" at the
end of the new segment so that the previously-recorded material is not erased.
Punch-in/out Using the REC SELECT Switches
4. With all REC SELECT switches set to OFF, start the re-
order running — a few measures bofore the section to be
re-recorded bagins — in the record-ready moda by press
ing the REC button and then the PLAY button with all track
REC SELECT switches set to OFF. The ted REC LED will
flash indicating that the transport 's in the record-ready
mode, The MONITOR SELECT switch should be set to
MONITOR 50 you can hear all the tacks,
2, At a convenient break in the track switch the track to be
corrected to the record mode (punsh-in by switching the
REC SELECT switch for that track to the appropriate rec
‘ord position) and start playing the new material to be re-
corded. The REC LED will light continuously as soon as
the REC SELECT switch is set to a record position.
3. At the end of the re-recorded segment swtch the track
back to the play mode (punch-out by switching the REC
SELECT switch for that track to OFF). The red REC LED
will begin to flash.
Footswitch Punch-in/out
1. Plug a YAMAHA FS-1 (optional) foctswitch into the
MT 10011 PUNCH LO jack,
2, Satthe REC SELECT switch for the track to be punched-in
to the appropriate record position, and press the REC but-
fon to activate the recipause mode. The red REC LED
should flash instead af lighting continucusly. If the red REC
LEE lights continuously, press the footswitch once so that it
flashes, If the LED lights continuously, press the footswitch
ones so that it flashes.
CAUTION: WHEN USING A FOOTSWITCH, MAKE SURE
THE RED REC LED LIGHT IS FLASHING, NOT
STEADY BEFORE PUTTING THE TRANSPORT IN
RECORD. THIS WILL PREVENT ACCIDENTAL
ERASURE OF EXISTING MATERIAL. 00 NOT
PRESS REC AND PLAY.
8. Press the PLAY button to start the transport running in the
record-ready mode.
4, Press the footswitch to punch-in, The red REC LED will
light continuously.
5. Press the footswitch a second time to punch-out. The red
REC LED will begin to flash,
TRACK 1
TRACK?
TRACKS q
TRACK
‘Ak racks monlorad in PLAY: | the record mode is engaged
BACK maco the deck's inthe | fortrack 3 only whon the ack
REG mode, but ve back AEC | CHUSCKE omy When te rac
tw an ON postion.
SELECT switchos ee sot to
OFF).
‘STOP
Begin playback
>
Its a good idea t actually tart playing alte
totors the punchin pont
24 MAINTENANCE
‘The MT100Il recording & playback head has been precision-constructed to extremely fine tolerances in order te make high-quality 4-
‘rack recording possible. Optimum performance can only be achieved if the head surface is Kept immaculately clean. Cleaning
should be carried out at regular intervals — at loast after every 10 hours of use.
Dirty heads can cause any of, or a combination of, the following problems:
© Recording, playback and erasure are not possible.
© Reduced playback sound level.
© Fluctuating and cridistorted sound.
© Excessive noise.
© A drop in level atthe high frequencies,
If any of the above problems occur, clean the heads carefull before assuming the fault Is with the recorder. Use a commercially
available head-cleaning ki: (read the instructions provided with the kit), or wipe carefully with a cloth er cotton swab that has been
dampened with isopropyl alchohol. Also cloan the pinch roller at the same time as the heads.
Pinchroi
nee
Capstan
Erase head
* Clean the Shaded Areas
22. MTI0OII MULTITRACK CASSETTE RECORDER SPECIFICATIONS
‘TAPE TRANSPORT —
Ghrome (70 microsec. EQ)
Tape Type
Heads ‘4-channel Parmalloy reciplay head
4-channel ferite erase head
Tape Speed 48 cm/see., 9.5 om/sec,
Pitch Control + 10%
Wow & Flutter Less than 0.15% WAMS
Rewind Time ‘Approx. 100 sec., for C-60 tape
Motor DC servo motors (2)
CONNECTORS 5
Input 1—4 Input Impedance 10 k-ohms
Rated Input Level ~10 dB to -50 dB (fader nominal)
Max. Input Leva! +10 dB (gain contro! min.)
Min, Input Level ~56 dB (gain control, fader max.)
AUX RETURN L&R. Input Impedance 10 k-ohms
Rated Input Level =10 dB (AUX RETURN level contro! nominal)
Min, Input Level 16 dB (AUX RETURN lovel contro! max.)
STEREO OUTL&R. Output Imaedance 1 k-ohm
Load Impedance Greater then 10 k-ohms
Rated Output Level 10 dB into 50 k-ohms
PHONES: Load Impedance 810 40 ohms
Max. Output Level 45 mW + 45 mWid0 ohms
TAPE OUT 1—4 Output Impedance 1 k-ohm
Load Impedance Greater than 10 k-ohms
Rated Ouiput Level 10 dB into 50 k-ohms
AUX SEND Output Impedance 1 k-ohm
Load Impedance Greater than 10 k-ohms
Rated Ouput Level 10 dB into 50 k-ohms
MONITOR OUT Output Impedance 1 ohm
Load Impedance Greater than 10 k-ohms
Rated Ouput Level 10 dB into 50 k-ohms
ELECTRICAL SPECIFICATIONS:
Frequency Response (NR OUT)
SIN ratio (8% THD Level)
Distortion
Channel Separation
Erasure Ratio.
Noise Reduction
Graphic Equalizer
GENERAL
Power Requirements
(PA100 AC Adzptor)
Dimensions (WxHxD)
Weight
50 Hz to 18 kHz, +3.dB/—6dB at 9.6 cm/sec.
50 Hz to 12.5 kHz, +3 dB/—6 0B at 4.8 cm/sec.
85.dB, dbx ON, IHF-A
15% at 315 Hz, dbx on, ~10dB Rec, Level
Greater than 55 0B at 1kHz, dbx on
Greater than 70 0B at 1kHz, dbx on
dbx *
100, 400, 1k, 5k, 10kHz (= 10 dB), G= 0.
U.S. & Canadian Models: 120 V AC, 60 Hz
General Medel: 220/240 V AC, 50/60 Hz
400 x 78x 212 mm (15-9/4" x 3"x 8.3/8")
2.0 kg (4 Ibs 7 02)
“bx is a trademark of dix Incorporated.
9aB = 0.775 Vrms.
AIL specifications subject to change without notice. Pare es
ENREGISTREUR DE CASSETTES MULTIPISTE
MAT lOO!
MANUEL D'INSTRUCTIONS FELICITATIONS!
Votre enregistreur de cassettes multipiste MTIOOM est un outit créatif pour ('enregistrement peu
commun qui vous permettra de travailler avec le son de nombreuses manitres différentes. Aucun
autre enregisireur de cassettes multipiste offre la simplicité directe et Vaisance d'utilisation du
‘MTIOOI. Que vous ayez besoin d'enregisirer des instruments acoustiques et des voix au moyer de
microphones, ou des sources de haut nivea et instruments électroniques directement connectés, ou
encore un mélange créatif des dewx, le MTIOOM vous permet de créer votre propre son sans
probleme et avec la plus grande aisance. Vous pouvez toxt simplement enregistrer et remélanger
‘quatre pistes, ou utiliser la technique de I enregistrement multipiste en “ping-pong” pour enregisirer
individuellement jusqu'a dix panties indépendantes, ajoutant le son couche par couche jusqu’é ce que
vous ayez créé arrangement et la texture que voire imagination demande, Grace d sa possibilité
a enregistrer simultanément sur les quatre pistes, ou en toute combinaison, le MTIOOII s’avére le
choix idéal pour enregistrer des orchestres ou pour superposer des pistes chez soi. Le MTIOOM est
aussi simple a utiliser seul quavec un groupe. Et parce que c'est un YAMAHA, vous aves la
certitude que le MTIOOII vous donnera la qualité sonore et les performances générales les meilleures
qu il soit possible d obienir. Afin d wiliser au miewe les innombrables fonctions du MTIOOI et c'en
obtenir des performances maximales, nous vous suggérons de lire tres attentivement ce manuel
d'instructions et de le ranger dans un endroit sir afin de pouvoir vous y référer plus tard,
-TABLES DES MATIERES ——————-
PRECAUTIONS -
COMMANDES ET RACCORDEMENTS .
COMMANDES DU MTICOII ET LEURS FONCTICNS
EXEMPLES DE RACCORDEMENT ....
QUELQUES REMARQUES SUR LES CASSETTES,
METHODE D’ENREGISTREMENT ...... +36
ENREGISTREMENT DE LA PREMIERE PISTE
ETAPE 1: ASSIGNATION CANALPISTE
ETAPE 2: PREPARATION DU SYSTEME D'ECOUTE DE CONTROLE
ETAPE 3: REGLAGE DES NIVEAUX D’ENREGISTREMENT
ETAPE 4: ENREGISTREMENT . :
SURMIXAGE ..
ENREGISTREMENT EN PING-PONG .. ‘i
EXEMPLE D'UN ENREGISTREMENT EW PING-PONG
MIXDOWN .....
UTILISATION DE L’EGALISEUR GRAPHIQUE
UTILISATION DES PRISES DE SORTIE DE BANDE
UTILISATION DE LA BOUCLE TRANSMISSION/RETOUR .
ENREGISTREMENT PUNCH-IN/PUNCH-OUT . :
ENTRETIEN .
SPECIFICATIONS .
SCHEMA DE PRINCIPE . PRECAUTIONS
1. EVITER CHALEUR, HUMIDITE, POUSSIERE ET
VIBRATIONS EXCESSIVES
Ne pas placer l'appareil l& oi il pourrait étra soumis & des
températures ou une humidité excessives, comme par
exemple & proximité dun radiateur, dun calorfére, etc.
Eviter également les endroits particuliérement poussiéreux
ou soumis a des vibrations qui pourraient provoquer des
dommages mécaniques.
2. EVITER LES CHOCS
Des chocs physiques volents peuvent endommager lap-
parell. Par conséquent © manipuler avec soin.
3. NE PAS OUVRIR L’APPAREIL ET NE PAS
ESSAYER DE LE REPARER OU DE LE
MODIFIER SOI-MEME
Co produit ne contiont pas de pléces réparables par lutl-
sateur, Pour les opératons autres que lentretien de rou-
tine, toujours faire appol & un réparateur YAMAHA qualfié.
Le fait @ouvrir apparel etiou d'aitérer les citcuits internes
annulerait la garantie,
4, AVANT DE PROCEDER AUX BRANCHEMENTS:
OU AUX DEBRANCHEMENTS, CONFIRMER QUE
APPAREIL EST HORS TENSION
‘Avant de brancher ou de débrancher les cordons toujours
mettre Tapparall hors tension, Cette démarche est impor-
tante, car elle permet déviter tout dommage & Tappareil,
ainsi qu'aux autres composants raccor
5. MANIPULER PRECAUTIONNEUSEMENT LES.
CORDONS
Brancher et débrancher les cordons, le cordon d'alimenta-
tion secteur y compris, en saisissant le connecteur, jamais.
en tirant sur le cordon.
6. NETTOYER L'APPAREIL AVEC UN CHIFFON
DOUX ET SEC
Ne jamais utiiser de solvants, tels que la benzine ou un
dissolvant, pour nettoyer l'appareil. L’essuyar simplement
avec un chiffon doux et sec.
7. TOUJOURS UTILISER UNE SOURCE,
D'ALIMENTATION ADEQUATE
Le MTY00IT ne doit étre alimenté qu’a aide de 'adaptateur
sectour YAMAHA PA100 fouri. L'utlsation de tout autre
adaptateur pourrait gravement endommager le MT100I
8, MAINTENIR LES TETES ET LE PASSAGE DE LA
BANDE PROPRES
Alin de toujours obtenir des performances élavées et une
bonne qualité sonore du MT100IL, il est trés important de
ettoyer réguliérement les tétes et le passage de la bande
(idéalement parlant avant chaque séance d'enregistre-
ment). Pour ce faire, utiliser un kit de nettoyage spéciale-
ment congu pour &tre utllsé avec des appareils a cas-
sottes.
9, N'UTILISER QUE DES CASSETTES AU CHROME
DE QUALITE SUPERIEURE
Le MT100I1 a été concu pour étre utlisé avec des cas-
settes CrOz (chrome) et ses performances seront moindres
avec un autre type de cassette. Toujours choisir des cas-
settes d'une marque de confiance.
7 COMMANDES ET RACCORDEMENTS
— PANNEAU DE COMMANDE — @
—~ FACE ARRIERE —
t
28 ENREGISTREUR DE CASSETTES MULTIPISTE MT1001 COMMANDES DU MT100I. ET LEURS FONCTIONS
[Remarque] Terme "canal" et terme “piste”: Dans ce manuel dinstructions, le terme “canal” se rapporte a la circuiterie
ct aux commandes requises parle traitement dune source d'entrée. La section de mélange du MT100II poss;de
quatre “canaux”. Le terme "piste" se rapporte aux bandes magnétiques destinées conserver les signaux enreg
istrés pour différencier les quatre “canaux" de étage mélamgeur ot los quatro “pistes” de étage enregistreur du
MT100I1. Le tarme *piste” est Sgalement ulilisé pour désigner les quatre “pistes” effectivement enregistrées sur la
bande.
@Sélecteur d’entrée (INPUT SELECT)
Les sélectours INPUT SELECT servent a sélectionner en-
trée de chacun des quatre canaux.
TAPE: Choisir cette position pour la lecture de signaux
deja enregistrés. Quand cette position est cheisio, le
canal de mélange 1 recoit la lecture de la piste 1,
tandis que les canaux 2, 3 et 4 regoivent respective-
ment la lecture des pistes 2, 3 ot 4.
Dans cette position, le canal ne recoit aucun signal
entrée.
MIC/LINE: Dans cette position, lo canal peut reqvoir le
signal d'un microphone, d'un clavier ou tout autre
signal de haut niveau raccordé & la prise d'entrée.
[Remarque] Les canaux non utilisés doivent étre réglés
sur la position "OFF"
@commandes de gain (MIC/LINE)
Les commandes de gain pormettent de régler la sensibiité
dentrée des canaux afin quils puissent accepter des sig-
rnaux ayant des niveaux trés variés, du niveau de ligne au
niveau de microphone. Les commandes de gain sont uti-
isées conjointement auc potentiométres d'entrée afin de
réglor Ie niveau d'enregstrement optimal pour une grande
variété de sources (voir "REGLAGE DES NIVEAUX D'EN-
REGISTREMENT” & la page 30).
[Remarque] Une commande de gain n’atfecte que le ni-
veau du signal raccordé & la prise d'entrée,
@Potentiomatres d'entrée
Les potentiomatres dertrée sont utilisés pour régler lo ni-
vveau (volume) du signal du canal correspondant de étage
mélangeur, quil provienne d'une source connectée & une
prise d'entrée ou de létage enregistreur du MT10011. Les
potentiométres sont utilisés pour obtenir los niveaux optima
pendant lenregistremert et pour équilibrer (mixer) le son
en provenance des pistes do I'étage enregistreur pendant
la lecture d'un enregistrement, Le bruit et a distorsion sont
les plus faibles possibles lorsque los potentiometres sont
réglés sur le niveau °7".
@sélectours d’enregistrement (REC SELECT)
Les sélecteurs REC SELECT sont utllisés pendant lenreg:
Istrement pour affecter (transmettre) les signaux en prove-
nance de chaque canal de I'étage mélengeur, soit directe-
ment & la piste corespondante de I'étage enregistreur, soit
‘4 une piste différente via les commandes PAN (voir “AS-
SIGNATION CANALIPISTE® & la page 37).
[Remarque] Lorsqu'un des sélectours REC SELECT est,
rmis sur une position autre que ‘OFF, le témoin &
LED rouge situé au-dessus de la touche REC se met
Aclignoter pour indiquer que le MT10OII est prét pour
enregistrer. L'enregistrement commence lorsque les
touches REC et PLAY sont simultanément solic-
ihées, Si tous les sélecteurs REC SELECT sont mis
sur la position OFF, appareil rvenregistrera pas
méme si les touches REC et PLAY sont sollcitées.
‘@Commandes panoramiques (PAN)
Les commandes PAN assignent le signal en provenance