YAMAHA

AUTHORIZED PRODUCT MANUAL
MULTITRACK CASSETTE RECORDER

OPERATION MANUAL

l Explanation of Graphical Symbols The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenace (servicing) instructions in the literature accompanying the product. The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user of the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
SAFETY INSTRUCTIONS (PREPARED IN ACCORDANCE WITH UL STANDARD 1270)
1. 2. 3. 4. 5. Read InstructionsAll the safety and operating instructions should be read before the appliance is operated. Retain InstructionsThe safety. and operating instructions should be retained for future reference. Heed WarningsAll warnings on the appliance and in the operating instructions should be adhered to. Follow InstructionsAll operating and use instructions should be followed. Water and MoistureThe appliance should not be used near waterfor example, near a bathtub, or near a swimming pool, and the like. Carts and StandsThe appliance should be used only with a cart or stand that is recommended by the manufacturer. 10. Power SourcesThe appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance. 11. Grounding or PolarizationThe precautions that should be taken so that the grounding or polarization means of an appliance is not defeated. 12. Power-Cord ProtectionPower-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance. 13. CleaningThe appliance should be cleaned only as recommended by the manufacturer. 14. Nonuse PeriodsThe power cord of the appliance should be unplugged from the outlet when left unused for a long period of time. 15. Object and Liquid EntryCare should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. 16. Damage Requiring ServiceThe appliance should be serviced by qualified service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the appliance; or C. The appliance has been exposed to rain, or D. The appliance does not appear to operate normally or exhibits a marked change in performance; or E. The appliance has been dropped, or the enclosure dam-
6A. An appliance and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the appliance and cart combination to overturn. 7. Wall or Ceiling MountingThe appliance should be mounted to a wall or ceiling only as recommended by the manufacturer. VentilationThe appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appliance should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings. HeatThe appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers) that produce heat.
17. ServicingThe user should not attempt service the appliance beyond that described in the operating instructions.

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. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices, Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave. Buena Park, CA 90620

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE CLASS B LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS. LE PRESENT APPAREIL NUMERIQUE NEMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA CLASSE B PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.
* This applies only to products distributed by YAMAHA CANADA MUSIC LTD.
Dette apparat overholder det gaeldende EF-direktiv vedrrende radiostj. Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE. Diese Gerte 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 conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi. Este producto est de acuerdo con los requisitos sobre interferencias de radio frequencia fijados por el Consejo Directive 87/308/CEE. YAMAHA CORPORATION
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE BROWN : NEUTRAL : LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the lettcr N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug. * This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.
WARNING: CHEMICAL CONTENT NOTICE!
The solder used in the manufacture of this product contains LEAD. In addition, the electrical/electronic and/or plastic (where applicable) components may also contain traces of chemicals found by the California Health and Welfare Agency (and possibly other entities) to cause cancer and/or birth defects or other reproductive harm. DO NOT REMOVE ANY ENCLOSURE COMPONENTS! There are no user serviceable parts inside, All service should be performed by a service representative authorized by Yamaha to perform such service. IMPORTANT MESSAGE: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products meet these goals. However, in keeping with both the spirit and the letter of various statutes we have included the messages shown above and others in various locations in this manual.

THE CONTROLS AND CONNECTORS

CONTROL PANEL

FRONT PANEL

REAR PANEL

MT120 MULTlTRACK CASSETTE RECORDER
MT120 CONTROLS AND THEIR FUNCTIONS
[Note] The terms channel and track: In this owners manual, the term channel refers to the circuitry and controls required to process one input source. MT120s mixer section has four channels. The term track refers to the magnetic bands on tape used to store signals recorded by MT120s recorder section. Since MT120 records four separate bands of audio on tape, it is 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: Select this position to play back already recorded material. When selected, mixer channel 1 will receive playback from track 1; channels 2, 3, & 4 will receive tracks 2, 3, & 4 respectively. OFF: In this position, the channel receives no input signal. MIC/LINE: In this position, the channel can receive a microphone, keyboard, or other line-level signal which is connected to the input jack. [Note] All channels which are not in use should be set to OFF position.
[Note] When any of the REC SELECT switches are set to a position other than OFF, the red indicator LED of the transport REC/PAUSE button will flash, indicating that the MT120 is set up to record. Recording will commence when the PLAY button is pressed after pressing the REC/PAUSE button. If all REC SELECT switches are set to OFF, the unit will not record even if the REC/PAUSE and PLAY buttons are pressed.

PAN Controls

The PAN controls assign the signal from the corresponding mixer channel to any desired position in the stereo sound field. If a PAN control is set to the maximum LEFT position, the signal from, that channel will appear only at the left-channel MT120 output (STEREO OUT L). If the PAN control is set fully RIGHT, the signal will appear only at the STEREO OUT R output jack. If a PAN control is set to its center position, then the signal from that channel will appear equally at both the left- and right-channel outputs, and the sound will appear to come from the center of the stereo 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 position the sound at any point in the stereo spectrum. The PAN controls can also be used during recording to assign the signal from several channels to a single track of the recorder section, or to assign a channel to a differently-numbered recorder track (see CHANNELTO-TRACK ASSIGNMENT on page 13).

MIC/LINE Gain Controls

LED Peak Meters

The four LED peak meters accurately display output levels from the MT120s four recorder tracks when the METER switch is set to 4TR, or meters 1 and 2 display the level of signals appearing at the mixer sections stereo outputs (the STEREO OUT jacks) when the METER switch is set to ST. The LED peak meters are a guide for setting up the optimum recording levels. (see SETTING RECORDING LEVELS on page 15).

AUX RETURN Control

The AUX RETURN control determines the level at which the signal from an external signal processor is returned and mixed in with the MT120s main stereo output signal. The output from an external signal processor fed by the AUX SEND jack must be connected to the AUX RETURN jack(s) (see USING THE AUX SEND/ RETURN LOOP on page 22).

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 four 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 section 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.

METER Switch

When the METER switch is set to ST, meters 1 and 2 display the level of signals appearing at the mixer sections stereo outputs (the STEREO OUT jacks). When set to 4TR, the four LED peak meters display the level of the corresponding recorder track signals.

dbx ON/OFF Switch

The dbx switch determines whether the MT120s internal dbx noise reduction system is ON or OFF. For normal recording and playback using the MT120, the dbx switch should be turned ON. This provides a significantly improved signal-to-noise ratio (as much as 85 dB) so your recordings will sound cleaner and have much less tape hiss. If dbx noise reduction is to be activated during synchrorecording, set the switch to SYNC. 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 other equipment and which are not dbx-encoded. For Error-free SYNC Recording l When recording the FSK signal, set the Track 4 recording level between 0 and +3dB. For recording and playback of the FSK signal on Track 4, set the dbx switch to the SYNC position. * When the dbx switch is set to SYNC, Tracks 1 to 3 are set to dbx ON. l Do not record signals (music, etc.) other than the FSK signal on Track 4, when the dbx switch is set to the SYNC position. l If other signals (music, etc.) are recorded during recording of the FSK signal, avoid using adjacent tracks, if possible.

MONITOR Controls 1 4

The four MONITOR controls determine the level of 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 to set up the optimum levels for monitoring recorded tracks while recording new material (overdubbing).

MONITOR/PHONES Control

This control is used to set headphone and control room listening 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. 6 MT120 MULTITRACK CASSETTE RECORDER

ZERO 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 stop when the tape counter reaches the vicinity of 999 (may deviate due to tape slack). This is particularly handy in the multitrack overdub process when it is necessary to repeatedly rewind the tape and play from the same point.
affect signals being routed to tape via REC SELECT switches which are set to 1 4.

Transport Controls

These light touch electronic transport controls provide smooth, sure control of the tape transport functions. REC/PAUSE Button: When this button is pressed during tape stop, the REC mode track will be set to the record-ready mode. When this button is pressed during tape recording (first press REC/PAUSE button and then PLAY button), the recording can be interrupted temporarily. For resuming recording, press the PLAY button. REC/PAUSE Indicator: According to its corresponding state (lit, slow/fast/specific blinking, and unlit), the indicator indicates one of the following 5 modes: Indicator lit: More than one track is set to REC mode and the REC/PAUSE button has been pressed (record-ready mode). Recording of the track set to REC mode is underway (during recording PLAY indicator will light-up as well). Indicator slowly blinking: More than one track is set to REC mode and the REC/PAUSE button has not been pressed. When pressing PLAY button, the unit will enter not the recording mode but the playback mode. Indicator fast blinking: Indicates punch-in standby mode. Indicator specificly blinking (warning indication): The indicator blinks twice in specific intervals. The foot switch is connected to the PUNCH l/O jack and all of the REC SELECT switches are set to OFF. Indicator unlit: None of the tracks is set to REC mode (PLAY mode). [Note] Only tracks for which the REC SELECT switch is set to a recording position will be recorded when the RECORD mode is activated. [Note] The RECORD mode cannot be activated if a cassette is loaded from which the record-prevention tab has been removed. PLAY Button: Using this button, you can select the 3 functions playback start, recording start, and punchin/out start. Playback start: Starts the playback of the track set to PLAY mode (REC SELECT switch set to OFF). Recording start: Starts the recording of the track set to REC mode (REC SELECT switch not in position OFF) when the record-ready mode has been selected using REC/PAUSE button. 7

MIC/LINE Input Jacks 7 4

These four input jacks accept signals from microphones, or from line-level sources including, electronic 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 of these jacks, its signal is sent to the corresponding channel of the MT120s mixer.

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 convenient way to listen to the MT120s various signals. High-quality headphones such as the YAMAHA RH5M or MH100 are ideal for this purpose.
Tape Counter and RESET Button
This three-digit tape counter provides a handy index of tape position. Its a good idea to write down the counter readings for important points of a recording, so you can locate them easily afterwards. 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 identify specific positions on the tape.
PUNCH l/O Footswitch Jack
An optional YAMAHA FC4 or FC5 Footswitch can be connected to this jack to permit foot-controlled punch-in and punch-out recording (see PUNCH-IN/OUT RECORDING on page 23).

Cassette Compartment

Your cassette tape is loaded here. Use only high-quality chrome (CrO2) formula cassette tape. Other tape formulations will not provide optimum frequency response and signal-to-noise performance. A lifter-tab is provided at the right side of the cassette compartment cover. Lift the cover using this tab. 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 retaining finger at the rear of the cassette compartment. Then gently press the front of the cassette DOWN to seat the cassette in place. (SEE DIAGRAM)
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 EMP100 Multi-effect Processor) to add effects to MT120 signals. The AUX SEND jack should be connected to the input of your signal processor, and the output from your signal processor should be connected to the AUX RETURN jack. If your signal processor produces only monaural output, it should be connected to the L (MONO) AUX RETURN jack (see USING THE AUX SEND/RETURN LOOP on page 22).
MT120 MULTITRACK CASSETTE RECORDER

TAPE OUT Jacks 1 4

The four TAPE OUT jacks are direct outputs from the corresponding tracks of the MT120 recorder. These RCA pin type jacks make it possible to feed the output from the four recorder tracks to an external mixing console. The TAPE OUT jacks can also be used to feed each of the recorders tracks to external signal processors, the output of which can then be returned to the MT120s mixer inputs.

MONITOR OUT R and 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 a stereo sound system for monitoring and listening. They are RCA pin type jacks.

POWER Switch

Press the POWER switch once to turn power ON, a second time to turn power OFF. When the power is ON, the POWER LED above the LED peak meters on the MT120 top panel will light. Make sure that the input faders are set to 0 and the AUX RETURN level control is set to MIN before turning power on. [Note] When the power of the unit is turned on, a initializing function will be activated so that for a period of approximately 4 seconds it can not be operated. During the initialisation process the PLAY indicator will blink slowly.

STEREO OUT R and L Jacks

These are the main outputs from the MT120, delivering the stereo output signal from the MT120 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 mixdown of your tape tracks when these jacks are connected to the inputs of a stereo recorder.

REMOTE CONTROL connector

When the optional Remote Controller RCM1 is connected, tape transport operations (REC/PAUSE, PLAY, REW, FF, STOP) can be performed from a distance.

CONNECTION EXAMPLES

BASIC CONNECTIONS
* Make sure the power to all equipment is OFF when making connections.
10 MT120 MULTITRACK CASSETTE RECORDER

ABOUT CASSETTE TAPES

This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape formulations. CrO2 tape (Bias: HIGH; EQ: 70s) should be used. Also, the use tapes longer than 90 minutes (C-120, etc.) is not recommended because they exhibit poorer performance, and can be the cause of equipment failure. l Preventing accidental erasure of recordings To keep from inadvertently erasing a prized recording, all cassette tapes have record protection tabs along the rear edge of the cassette shell. If this tab is broken out using a screwdriver or any other appropriate implement, it will not be possible to record on the corresponding side of the tape. This will protect your recordings from accidental erasure. To protect a 4-track recording, its necessary to break out the tabs for both the A and B sides of the tape. When youd like to record over a tape with the tabs broken out, just cover the holes (where the tabs were) with a small piece of adhesive tape. l Taking up tape slack If the tape in the cassette is slack, or some portion of the tape is out of the cassette shell, there is a risk it may become tangled around the capstan or pinchroller. In order to correct this, insert a pencil or ballpoint pen into the center of one reel, and rotate to take up loose tape slack.

PREVENTING ACCIDENTAL TAPE ERASURE:
RECORDING OVER A TAPE WITH THE TABS BROKEN
l 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 from devices such as televisions or speakers, because the recordings can be erased or sonically altered to some degree.

THE RECORDING PROCESS

For details pertaining to the operation of MT120 controls, please refer to page 5, MT120 CONTROLS AND THEIR FUNCTIONS. Recording with the MT120 is a very simple process. All you need is the MT120, a pair of monitor headphones, and an instrument, microphone, or other signal source. The multitrack recording process can be basically broken down into the following steps:
1. Record the First Track.
a) Select channel-to-track assignment for input source. b) Set Record Level. c) Record.
2. Overdub on the Remaining Tracks.
a) Select channel-to-track assignment for each overdub. b) Set records level for each overdub. c) Record the overdub.

3. Track Combining.

a) If necessary, use ping pong technique to 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 effects. c) Finalize and rehearse the mix. d) Connect the MT120 STEREO OUT jacks to a stereo cassette recorder. e) Record (from the MT120 to the stereo cassette recorder). These steps (and what the recording terms mean) will be described in detail below, so its a good idea to read through the following sections in sequence in order to get a clear picture of the overall recording process.
12 MT120 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 one of the recorders tracks. Depending on what you are recording, you might want to record a single instrument or 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 MT120 offers two channel-to-track assignment methods.
Direct Channel-to-Track Assignment
With this method, an instrument or source connected to one of the mixers channels is fed directly to the correspondingly numbered track of the recorder. You can record a single track like this, or up to all four tracks simultaneously. Using this method, only one input source can be recorded on a single track. For direct channel-to-track assignment, the REC SELECT switches are set to the number position (1, 2, 3 or 4). For example, if the channel 1 REC SELECT switch is set to 1, the channel 1 signal will be sent directly to track 1 of the recorder. This applies in the same way to all other channels and tracks.

16 MT120 MULTITRACK CASSETTE RECORDER

PING-PONG RECORDING

Ping-pong recording is a 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 new 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 set up the right balance between the 3 original tracks. You now have a mix of the first 3 tracks on track 4, and tracks 1, 2, and 3 are available for more recording. Thats already the equivalent of 6 tracks on your 4-track recorder. While mixing the first 3 tracks down onto track 4 you can also mix in a live instrument via the MT120 mixer section. That would give you 4 parts recorded on track 4 of the tape. With the 3 tracks you still have available for recording, thats 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 live instrument, youll have 4 parts on tracks 4, 3 parts on track 3, and 2 tracks available. Thats a total of 9. Following this procedure it is 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 theyre ping-ponged and new material has been recorded on the original tracks, their balance and individual sound cannot be changed unless you go back and record the original tracks all over again. [Note] It 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 feedback when a previously recorded track is rerecorded onto an adjacent track. [Note] Ping-Pong recording technique requires that multiple 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-ponged. To prevent an effect from being recorded, set the AUX RETURN fader to 0 (all the way off).
EXAMPLE: Recording tracks 1 through 10 using the Ping-pong process.

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. Heres how the controls should be set:

INPUT SELECT switches

Make sure that the channel 1, 2 and 3 INPUT SELECT switches are set to TAPE and the channel-4 INPUT SELECT switch is set to OFF.
To begin with, set the input 1 through 3 faders to about 7 on their scales, and set the MASTER fader to 0.
1. Play back the tape. Gradually increase the MASTER fader setting until you can hear the tracks youve recorded and the channel-4 meter reads around 0 on the meter scale. Adjust the MONITOR 4 control for the most comfortable monitoring level. 2. Adjust the input 1, 2 and 3 faders carefully until you get the desired balance between the first three tracks. Youll notice that as you adjust the balance between tracks the channel-4 meter reading might change considerably. Youll have to compensate for this as you set up the ping-pong mix by adjusting the MASTER fader. 3. At this time the GRAPHIC EQUALIZER may be switched on and used to enhance the sound-quality of tracks as they are combined. 4. AUX SEND controls 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. 5. When everything is set up perfectly, rewind the tape to the beginning 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 carefully. If something sounds odd, go back and repeat the ping-pong process. You can do this as many times as necessary until you get it right then go on to the next step. 6. Complete your recording by overdubbing and using the Ping-Pong technique as necessary. [Note] Only one output (left or right) of the effect will be recorded. If the RECORD SELECT switch is set to L, the output of the effect processor connected to the LEFT AUX RETURN jack will be recorded. If the RECORD SELECT switch is set to R, the output of the effect processor connected to the RIGHT AUX RETURN jack will be recorded.
The channel 1 through 3 REC SELECT switches must be set to OFF, and the channel-4 REC SELECT switch should be set to R.
Set all four AUX SEND controls to MIN for the time being.

GRAPHIC EQUALIZER Switch

Switch this OFF for the time being.
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 3 signals to track 4 of the tape. The channel-4 PAN control can be set to center.
Set to MIN for the time being.
Set to MIX so youll only hear signals from the MT120 recorder.

MONITOR Controls

Set the channel 1 through 3 MONITOR controls fully counter-clockwise, and the channel-4 MONITOR control to about center or a position that will provide the best monitoring level.
18 MT120 MULTlTRACK CASSETTE RECORDER

MIXDOWN

Mixdown is the last stage in the recording process at which time you 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 balance is achieved using MT120s mixer section and is re-recorded onto a conventional stereo tape deck. Tracks can be faded in or out as required, and refinements such as overall reverberation or equalization can be added using external signal processing equipment and MT120s 5-band on-board GRAPHIC EQUALIZER. The mixers PAN controls can be used to position each track at their appropriate location in the stereo image, and you may even want to move or PAN a sound from one channel to the other to create a dramatic effect. Heres how your system should be set up:
Make sure that all four INPUT SELECT switches are set to TAPE.
1. Sit in a comfortable, central position in front of your monitor speakers. 2. Listen to, evaluate, and adjust the sound of each track individually. This simply means raising the fader of a single track, adding effects or other signal processing as required, then repeating the process on the next track until all tracks have been carefully checked. MT120s 5-band GRAPHIC EQUALIZER can be used to add or subtract high, mid, and low frequency components from the overall mix, creating a more exciting and coherent marriage of the tracks. If you have an external signal processing device such as the YAMAHA EMP 100 Multieffect Processor connected into the MT120s AUX SEND/ RETURN loop as described in the following section (USING THE AUX SEND/RETURN LOOP), its a simple matter to select the desired effect on your signal processor and add the required amount of effect 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 about 7 or 8 on the scale and play back the tape. Adjust the faders for the best overall balance. Now adjust the PAN controls to place each track at the desired location in the stereo sound field. Now listen carefully too much or too little reverb on any track? Readjust the AUX SEND controls to achieve the desired effect. Balance not quite right? Keep readjusting until you are satisfied. You should also rehearse any fades or pans you plan to do while actually recording the mix. 4. When youre sure everything is ready, prepare to actually record the mix. Connect the MT120 STEREO OUT jacks to the inputs of a stereo cassette recorder. Plug your monitor headphones into the stereo cassette deck phones jack if you want to listen as you record the mix, or simply leave them connected to the MT120 PHONES jack and listen with the MONITOR SELECT switch set to STEREO. Use the stereo cassette deck record level control(s) and, if necessary, the MT120 MASTER fader to set the optimum record level, then go ahead and record. The MT120 MASTER fader can also be used to add a slow fade at the end of the piece. 19

5. Press the footswitch a second time to punch-out. The
red REC/PAUSE LED will begin to flash.
TRACK 1 TRACK 2 TRACK 3 TRACK 4 STOP All tracks monitored in PLAYBACK mode (the deck is in the REC mode, but the track REC SELECT switches are set to OFF). The record mode is engaged for track 3 only when the track 3 REC SELECT switch is set to an ON position.

Begin playback

It's a good idea to actually start playing a little before the punch-in point.

MAINTENANCE

The MT120 recording & playback head has been precision-constructed to extremely fine tolerances in order to make highquality 4-track 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 least 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. l Fluctuating and or/distorted sound. l Excessive noise. l A drop in level at the high frequencies.
If any of the above problems occur, clean the heads careful before assuming the fault is with the recorder. Use a commercially available head-cleaning kit (read the instructions provided with the kit), or wipe carefully with a cloth or cotton swab that has been dampened with isopropyl alcohol. Also clean the pinch roller at the same time as the heads.

* Clean the Shaded Areas

24 MT120 MULTITRACK CASSETTE RECORDER

SPEClFlCATlONS

TAPE TRANSPORT
Tape Type Heads Tape Speed Pitch Control Wow & Flutter Rewind Time Motor Chrome (70 microsec. EQ) 4-channel Permalloy rec/play head 4-channel ferrite erase head 4.8 cm/sec., 9.5 cm/sec. Approx. 10% Less than 0.12% WRMS Approx. 110 sec., for C-60 tape DC servo motor

CONNECTORS

Input Input Impedance Rated Input Level Max. Input Level Min. Input Level Input Impedance Rated Input Level Min. Input Level Output Impedance Load Impedance Rated Output Level Load Impedance Max. Output Level Output Impedance Load Impedance Rated Output Level Output Impedance Load Impedance Rated Output Level Output Impedance Load Impedance Rated Output Level 10k-ohms -10 dB to -50 dB (fader nominal) + 10 dB (gain control min.) -56 dB (gain control, fader max.) 10k-ohms -10 dB (AUX RETURN level control nominal) -16 dB (AUX RETURN level control max.) 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms 8 to 40 ohms 45 mW + 45 mW/40 ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 50 k-ohms

Printed in Japan

9/15 26680

Recyclable
Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600