Yamaha MT50 取扱説明書

Multitrack Cassette Recorder

User’s Guide

Manuel de l’utilisateur

Bedienungsanleitung

Guía del Usuario

–+

–

+

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

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

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

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.

i

MT50 User’s Guide

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 AC 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 deter-

gent. 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.

All trademarks are the property of their respective holders.

ii

ProMix 01 User’s Guide

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

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

Welcome to the MT50

1

MT50 User’s Guide

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 advan-

tage 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 overdub record-

ing 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 synchroniza-

tion.

If you’re new to the world of multitrack recording, read Chapter 2 thor-

oughly. The Appendix provides technical information and a glossary.

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 overdub

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.

1

• MT50

Track 4:

Track 3:

Track 2:

Track 1:

Transport

direction

B side Track 1 L channel

B side Track 2 R channel

A side Track 2 L channel

A side Track 1 R channel

• Standard Cassette Deck

Transport

direction

Transport

direction

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.

* dbx noise reduction system was manu-

factured based on a patent license from

THAT Corporation.

dbx is a trademark of Carillon Elec-

tronics Corporation..

2

Chapter 1: Welcome to the MT50

MT50 User’s Guide

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 sep-

arate 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 pro-

cessing, you can make some great-sounding recordings.

Are Four Tracks Enough?

The MT50 is a four-track tape recorder: its recording heads create four sep-

arate 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.)

You can overdub your own recordings, listening to one part while recording

another.

You can also transfer recorded takes from up to three tracks to an unre-

corded 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!

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

Getting to Know the MT50

3

MT50 User’s Guide

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 illus-

trations 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.”

2

–+

–

+

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

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

4

Chapter 2: Getting to Know the MT50

MT50 User’s Guide

1

HIGH and LOW equalization controls:

These controls

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).

2

AUX control:

This control sets the level of the signal fed to the

AUX SEND output, which is used to feed an external effects pro-

cessor. The MT50’s aux send signal is sourced after the fader. To

feed a channel’s signal to an external 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). Turning

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 level 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 play-

back level. The recording level should be set so that the +6 LED

lights occasionally at the maximum input level. The fader sets the

recording level.

6

REC indicator:

This indicator shows the recording mode.

Off

— REC SEL switch set to OFF.

Flashing

— REC SEL switch set to one of the “on” positions (i.e.,

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:

This switch selects the signal to be recorded.

Off

— Recording is not active.

1 (2, 3, 4)

— The MIC/LINE input signal is recorded.

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.

8

CUE slider:

This control sets the CUE level. CUE allows you to

adjust the volume of the monitor independently of the fader set-

tings. 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

— electric guitar, electric bass.

LINE

— synthesizer, drum machine, CD player, high-level devices.

! For the technically minded, the

HIGH control has a center fre-

quency of 12kHz and the LOW con-

trol, 80Hz. Both controls offer up to

12dB of cut and boost.

Note: Controls 1 through 9 are the

same for all four input modules.

– +

HIGH

LOW

AUX

PAN

1

OFF

L

REC

SEL

LR

010

CUE

10

0

MIC/LINE

10

9

8

7

6

5

4

3

2

1

0

+6

+3

0

-5

-10

REC

1

GAIN

MIC

LINE

1

9

8

7

6

5

4

3

2

Getting to Know the MT50

5

MT50 User’s Guide

0

AUX RETURN control:

This control sets the level of the AUX

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

— This setting selects the L and R signals controlled by the

Pan control (the level of these signals is adjusted by the faders).

Cue

— The signal source is CUE (controlled by the CUE sliders).

Use this for overdub recording.

Mix

— The signal source is the stereo mix and CUE. Use this for

punch-in/out recording.

B

POWER indicator:

This indicator lights up when the MT50 is

powered-on and ready for use.

C

MONITOR/PHONES control:

This control is used to adjust

the PHONES and MONITOR OUT levels.

D

PITCH slider:

This control is used to adjust the tape speed plus

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

— dbx noise reduction is ON for tracks 1, 2, and 3, but not

4. Use this setting when track 4 is striped with the FSK signal for

synchronized operation.

Note:

If you recorded a tape with dbx noise reduction set to either

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.

–

+

000

AUX RETURN POWER MONITOR/PHONES

0

10

MAXMIN

ZERO STOP

OFF ON

PITCH

SYNC OFF ON

STEREO MIX CUE

MONITOR SELECT

MULTITRACK CASSETTE RECORDER

0A C

B

D

E

F

G

6

Chapter 2: Getting to Know the MT50

MT50 User’s Guide

F

ZERO STOP switch:

When set to ON, rewind stops automati-

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.

H

Tape control buttons:

From left to right, their functions are to

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).

PLAY REW FF STOP PAUSEREC

PUSH OPEN

NOISE REDUCTION SYSTEM

Connections

7

MT50 User’s Guide

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 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.

231

9

8

6

5

4

7

8 Chapter 3: Basic Recording

MT50 User’s Guide

Basic Recording

This chapter explains how to perform overdub recording. Overdub record-

ing is the basis of all multi-track recording. It enables you to record

track-by-track, while listening to previously recorded tracks. In the follow-

ing example, we will use a drum machine, bass, guitar, and vocals. You can,

of course, use any instruments you prefer.

Here’s our track list.

Loading Cassettes into the MT50

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 con-

nect 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.

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

3

! 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.

NOISE REDUCTION SYSTEM

PLAY REW FF STOP PAUSEREC

PUSH OPEN

–

+

POWER Switch

1

–

+

000

AUX RETURN POWER MONITOR/PHONES

0

10

MAXMIN

ZERO STOP

OFF ON

PITCH

SYNC OFF ON

MULTITRACK CASSETTE RECORDER

STEREO MIX CUE

MONITOR SELECT

2

3

45 6

Reset Button

Step 1 — Recording the Drums 9

MT50 User’s Guide

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.

The module fader is used to set the recording level and should be set in con-

junction with the level meter. Use the CUE slider and MONI-

TOR/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 ﬁn-

ish 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.

Note: If the drum machine volume is very low you can not achieve the opti-

mum recording 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 easiest song to record 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.

9

4

3

2

1

8

– +

REC

SEL

LR

010

CUE

10

0

MIC/LINE

10

9

8

7

6

5

4

3

2

1

0

+6

+3

0

-5

-10

REC

– +

1

GAIN

MIC

LINE

HIGH

LOW

AUX

PAN

1

OFF

L

Drum Machine

10 Chapter 3: Basic Recording

MT50 User’s Guide

Step 2 — Recording the Bass

1. Connect the bass to MIC/LINE input 2.

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.

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.

– +

OFF

R

REC

SEL

LR

010

CUE

10

0

MIC/LINE

10

9

8

7

6

5

4

3

2

1

0

+6

+3

0

-5

-10

REC

GAIN

MIC

LINE

HIGH

LOW

9

4

3

2

8

– +

2

AUX

PAN

YAMAHA

Bass Effect

Processor

FX550B

1

Step 3 — Recording the Guitar 11

MT50 User’s Guide

Step 3 — Recording the Guitar

1. Connect the guitar to MIC/LINE input 3.

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.

You should be able to hear the guitar and the level 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.

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.

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.

– +

HIGH

LOW

REC

SEL

LR

010

CUE

10

0

MIC/LINE

10

9

8

7

6

5

4

3

2

1

0

+6

+3

0

-5

-10

REC

3

GAIN

MIC

LINE

9

4

3

2

8

3

OFF

L

AUX

PAN

– +

FX770

Guitar Effect Processor

1

12 Chapter 3: Basic Recording

MT50 User’s Guide

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 gradu-

ally.

You should be able to hear the vocal and the level 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.

REC

SEL

LR

010

CUE

10

0

MIC/LINE

10

9

8

7

6

5

4

3

2

1

0

+6

+3

0

-5

-10

REC

4

GAIN

MIC

LINE

HIGH

LOW

9

4

3

2

1

8

4

OFF

R

AUX

PAN

– +

YAMAHA

Compressor

! Use a compressor to even out

the vocal level.

! Watch out for feedback. Don’t

place your microphone too close to

your speakers.

Step 5 — Mixing Down 13

MT50 User’s Guide

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.

Preparation

1. Connect the STEREO OUT on the MT50 to the input on your mas-

ter cassette recorder.

2. Set the input levels on your master recorder as appropriate.

3. You can connect the stereo 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 speak-

ers with built-in ampliﬁers. The best choice is a pair of speakers with a

ﬂat response, uncolored by boosted bass or treble settings.

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.

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.

– +

T

R

A

C

K

1

T

R

A

C

K

2

T

R

A

C

K

3

T

R

A

C

K

4

S

T

E

R

E

O

L

E

F

T

S

T

E

R

E

O

R

I

G

H

T

REC

10

9

8

7

6

5

4

3

2

1

0

TRACK

1

10

9

8

7

6

5

4

3

2

1

0

TRACK

2

10

9

8

7

6

5

4

3

2

1

0

TRACK

3

10

9

8

7

6

5

4

3

2

1

0

TRACK

4

14 Chapter 3: Basic Recording

MT50 User’s Guide

Panning

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 record-

ings 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 fre-

quencies. 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 out-

put, 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.

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.

PAN

LR

– +

HIGH

– +

LOW

REC

! To prevent accidentally erasing

your original recording, remove the

write-protect tabs from both sides

of the audio cassette you used in

your MT50.

Setting example 15

MT50 User’s Guide

Setting example

REC

Master Recorder

Effect Processor

Powered Monitor Speakers

Guitar Effect Processor

Drum Machine

STEREO

OUT

MONITOR

OUT

AUX

RETURNS

AUX

SEND

YAMAHA

Bass Effect Processor

YAMAHA YAMAHA

YAMAHA

Compressor

Footswitch

16 Chapter 4: Advanced Recording

MT50 User’s Guide

Advanced Recording

This chapter explains how to perform advanced multi-track recording tech-

niques on your MT50. The MT50 is so ﬂexible that you can perform sophis-

ticated 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 mix-

down at a recording studio.

You can also use this technique to record four instruments live 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-pro-

grammable 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 several times before the tracks will dete-

riorate 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

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 Yamaha YMC10.

4

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