YAMAHA

AUTHORIZED PRODUCT MANUAL
MULTI-TRACK CASSETTE RECORDER

OPERATION MANUAL

Explanation

of Graphical Symbols

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintainance (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 All 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. Carts and StandsThe appliance should be used only with a cart or stand that is recommended by the 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. Non-use 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; B. Objects have fallen onto, 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 damaged. 17. ServicingThe user should not attempt service the appliance beyond that described in the operating instructions.

manufacturer.

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 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.

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 nor 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 DlGlTAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS. LE PRESENT APPAREIL NUMERIOUE NEMET PAS DE BRUITS AADIOELECTRIOUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERlQUES DE LA CLASSE B PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNlCATlONS DU CANADA.
This applies only to products distributed by YAMAHA CANADA MUSIC LTD.
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:

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 MT120Ss 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 MT120Ss internal dbx noise reduction system is ON or OFF. For normal recording and playback using the MT120S,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 Errorfree SYNC Recording

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).
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

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 MT120S MULTIRACK CASSETTE RECORDER
3 are set to dbx ON. Do not record signals (music, etc.) other than the FSK signal on Track 4, when the dbx switch is set to the SYNC position. If other signals (music, etc.) are recorded during recording of the FSK signal, avoid using adjacent tracks, if possible.

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 unit goes into record-ready mode. If pressed during recording, (first press REC/PAUSE, then PLAY), the recording can be interrupted temporarily. To resume recording, press PLAY. It is also used to enter/exit rehearsal mode, where you can practice a recording or punch-in/out point without actually recording. To enter/exit rehearsal mode, press and hold REC/PAUSE, then press PLAY. REC/PAUSE Indicator: According to its color, and its state (lit, slow/fast/double blinking, and unlit), the indicator indicates one of five modes, while either in record mode (red color) or rehearsal mode (yellow color). The five modes are: Indicator lit: At least one track has been set to REC mode, and REC/PAUSE has been pressed (recordready mode). Or, if the PLAY indicator is also lit, recording (or rehearsal recording) is underway. Indicator slowly blinking: At least one track is set to REC mode, and REC/PAUSE has not been pressed. If PLAY is pressed, the unit will enter playback mode, not recording mode. Indicator fast blinking: Indicates punch-in standby mode. Indicator double-blinking: The footswitch is connected to the PUNCH I/O jack, all of the REC SELECT switches are set to OFF, and REC/PAUSE has been pressed. Indicator unlit: None of the tracks are set to REC mode. [Note] If rehearsal mode has been entered (REC/PAUSE indicator is yellow), the operation of all functions is exactly the same, except that no actual recording will take place. [Note] The RECORD mode cannot be activated if the recordprevention tab has been removed from the cassette. [Note] Only tracks where the REC SELECT switch is set to a recording position will be recorded when the record mode is activated. PLAY Button: Using this button, you can select the 3 functions playback start, recording start, and punch-in/out start. Playback start: Starts the playback of the track set to PLAY mode (REC SELECT switch set to OFF). 7

MONITOR: In this position oniy the output from the recorders 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. Material already recorded on any of the recorders tracks is delivered to the PHONES jack and MONITOR OUT jacks via the corresponding MONITOR controls. In this case, an input source can only be heard when it is assigned to a track via the appropriate REC SELECT switch, and the TRANSPORT controls are in the RECORD or RECORD/ PAUSE mode. MIX: Both the output from the recorders four tracks (via the MONITOR controls) and the stereo output from the mixer section are sent to the PHONES jack and MONITOR OUT jacks.
STEREO: Only the stereo output from the mixer section is sent to the PHONES jack and MONITOR OUT jacks. This setting is most useful for mixdown of a completed multitrack recording, since you want to hear the mix produced by the mixer sections input faders and any effects applied using the AUX SEND and RETURN 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 qualify.
1. Make sure that a cassette has been loaded into the cassette compartment, and that it is wound to the point at which you intend to start your recording. Its a good idea to press the counter RESET button to set the counter to 000 at this point so that you can automatically locate the beginning of the recording later using the ZERO STOP function. 2. Start by setting the channel input fader to be used set to its minimum (0) position, and the MIC/LINE gain control all the way to LINE. 3. Press transport REC/PAUSE button, this activates MT120Ss record circuit, and puts the transport in RECORD/ PAUSE mode. Tape will not be moving. Play the source at the highest (loudest) level that it will be played during recording.

4. Set the MASTER fader to about 7 or 8 on the scale and gradually raise the input fader until you begin to hear the source sound and see the LED peak meter come to life. If your source is an electric instrument (guitar or bass) or a microphone, you may also have to slide the MIC/LINE gain control towards the MIC end of its scale to get a sufficiently high meter reading. Adjust the input fader and MIC/LINE gain control so that the meter reading averages between about 0 and +3 on the scale. Ideally, the input fader should be set at about 7 or 8 on its scale to achieve the above-mentioned meter reading. This is to ensure the best possible signalto-noise ratio and allow plenty of plus and minus leeway for later adjustment. If the fader setting is way off, try adjusting the volume control on the instrument or other source until you can get the optimum reading with a fader setting between 7 and 8. After levels are set, press STOP button to disengage RECORD/PAUSE transport status.

STEP 4: RECORD

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, youre 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/PAUSE button and then the PLAY button to start recording, wait a few seconds, and start playing. 2. When youve finished recording the track, press the transport STOP button, turn the REC SELECT switch for the track just recorded to the OFF position, rewind the tape (the tape will stop automatically at a counter reading around 999 if the ZERO STOP switch is ON). 3. Play back the recording (press the PLAY button) and listen to the track to make sure that everything went as planned.
[Note] If you plan to record using microphones and you will be monitoring in the same room as where the microphones are set up, we recommend the use of headphones 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.

OVERDUBBING

Overdubbing is the process of recording a new track (or new tracks) while monitoring previously recorded tracks. If youre on/y planning to record a maximum of four tracks, you can go ahead and overdub the second, third and fourth tracks. If youre planning to use the ping-pong recording technique to record more than four parts, however, record on/y three tracks and then move on to the ping-pong step (see PING-PONG RECORDING on page 17). 1. Plug the instrument or other source to be recorded into an available channel input. 2. Make sure that the REC SELECT switches of previously-recorded tracks are set to OFF so that previously recorded tracks arent erased when the new track is recorded. 3. Set up the channel-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 normally be set to MONITOR.) 5. Set the recording level for the new track. 6. You can now rehearse the overdub without actually recording by simply playing back the already-recorded track(s) and playing the new part. When MONITOR select is in the MONITOR position, it is not possible to hear input source unless MT120Ss transport is in RECORD or RECORD/PAUSE. If you are not ready to actually record your overdub, and would like to hear the new input source along with previously recorded tracks, set the MONITOR select switch to the MIX position. [Note] Rehearsing this way is not the same as using the rehearsal function for punching in and out (see page 23). 7. Make sure the tape is rewound to the beginning of the piece and start recording. These steps are simply repeated to overdub tracks 3 and 4.

16 MT120S 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 MT120s 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/set 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.
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. 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 MT120S 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 MT120S MULTITRACK 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. MT120's 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 EMP100 Multieffect Processor connected into the MT120Ss 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 MT120S 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 MT120S 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 MT120S MASTER fader to set the optimum record level, then go ahead and record. The MT120S MASTER fader can also be used to add a slow fade at the end of the piece. 19

Set all channels to 0 (minimum).
Set all REC SELECT Switches to OFF.
Start with all PAN controls set to center.
Set to about 7 or 8 on the scale.
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 external sound system or a pair of powered monitor speakers (such as the YAMAHA MS101 Monitor Speaker) for mixdown.
Set all MONITOR controls fully counter-clockwise.
METER Switch ST. dbx Switch
If you started recording with the dbx switch set to ON, leave it there. If OFF, it should stay OFF.
USING THE GRAPHIC EQUALIZER
The MT120S has a stereo 5-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 are 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.
20 MT120S MULTITRACK CASSETTE RECORDER
USING THE TAPE OUT JACKS AND THE STEREO SUB IN JACKS
The TAPE OUT jacks can be used to feed the tape outputs to an external mixer or effects unit, or to feed an FSK sync signal to a MIDI convener. to drive a MIDI sequencer. In mixdown, individual tracks can be processed using a signal processor, which receives signals from the TAPE OUT jack, then the processed signal can be returned either to a channel INPUT jack (see diagram 1), or to the STEREO SUB IN jacks. lf you are using a MlDl FSK sync signal on channel 4, in the final mixdown the FSK can be sent from TAPE OUT 4/SYNC to a MIDI convener such as the YAMAHA YMC10. The YMC10 sends MIDI Time Code (MTC) to a MIDI sequencer, or sequencer/tone generator such as the YAMAHA QY20. From here, the preprogrammed music can be fed back into the STEREO SUB IN jacks for the final mix. This way, the output from the QY20 will be exactly in time with the rest of the tracks on the tape (see diagram 2). The advantage of using a MIDI sync/sequencer setup, is that no matter how complex the synthesizer arrangement, it effectively only uses one track on the tape (track 4), leaving the other tracks free for recording live instruments/vocals.
1. Processing Individual Tracks In Mixdown Using TAPE OUT Jacks
2. Using a Prerecorded FSK Signal on Track 4 to Drive a Sequencer Setup
USING THE AUX SEND/RETURN LOOP
The MT120Ss AUX SEND controls function like a secondary mixer that derives its input signals from the main mixers four channels and combines them into a mono signal which is 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 level of the signal received at the AUX RETURN jacks can be adjusted using the AUX RETURN control, and the resulting signal is combined with the MT120Ss main stereo output signal. Since the returned effect signal is combined with the mixers stereo output signal, the AUX SEND/RETURN loop 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 13).

[Note] Since the AUX SEND/RETURN loop returns the effect signal to the mixer section's stereo output, effects can be added to channels during pingpong recording as long as the panned channel-totrack assignment is used. The AUX SEND/ RETURN loop cannot be used to add effects when recording tracks have been assigned using the direct channel-to-track assignment method.
22 MT120S MULTITRACK CASSETTE RECORDER

PUNCH-IN/OUT RECORDING

Punch-in/out recording makes it possible to re-record a short segment of an otherwise perfect track in order to correct a mistake or brush 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. In addition to the normal functions of punching in and out, the unit also provides a rehearsal mode. This allows you to go through the whole process of punching in and out without any actual recording taking place, so you can practice the operation without endangering your precious recording.

Rehearsal Mode

1. To enter rehearsal mode, you must have at least one of the REC SELECT switches set to a position other than OFF. Once rehearsal mode has been entered, the REC SELECT switches can be returned to OFF if necessary. 2. Press the REC/PAUSE and STOP button together. The red REC/PAUSE indicator will turn yellow. 3. Performing any punch-in/out operations will not actually perform the recording, allowing you to practice the operations. 4. To return to normal recording mode, press the REC/PAUSE and STOP buttons together, and the REC/PAUSE indicator will change back to red.

Footswitch Punch-in/out

Dont forget, all of the following steps can be performed in rehearsal mode (yellow REC/PAUSE indicator). 1. Plug a YAMAHA FC4 or FC5 (optional) footswitch into the MT120S PUNCH I/O jack. 2. Set the REC SELECT switch for the track to be punched in, to the appropriate record position. The REC/PAUSE indicator will start to flash slowly. 3. Press the REC/PAUSE button to activate the rec/pause mode. The REC/PAUSE indicator will start to flash faster. 4. To start the tape playing (not recording, yet), press the footswitch (or press PLAY). 5. When you reach the punch-in point, press the footswitch again. The indicator now lights continuously, and any material now played will be recorded (unless youre in rehearsal mode). 6. When you reach the point where you want to punch-out, press the footswitch again. The indicator will go back to fastblinkihg. Steps 5 and 6 can be repeated several times, if necessary. 7. When the tape reaches the end of the section requiring punchins, press the STOP button.

Punch-in/out Using the REC SELECT Switches
1. Ensure all the REC SELECT switches are set to OFF, and the MONITOR SELECT switch is set to MONITOR so you can hear all the tracks. 2. Cue the tape to a few measures before the section to be rerecorded begins. Its a good idea to reset the counter, and turn the ZERO STOP on, so you can come back to this point. 3. Start the recorder running in the record-ready mode by pressing REC/PAUSE then PLAY. The REC/PAUSE indicator will flash, indicating that the transport is in record-ready mode. 4. At a convenient break in the track, perform the punch-in, by switching the REC SELECT switch for that track to the appropriate record position. The REC/PAUSE indicator will stop flashing, and light continuously. Any material now played will be recorded (unless youre in rehearsal mode). 5. At the end of the re-recorded segment, punch-out by moving the REC SELECT switch(s) back to OFF. The tape will continue playing, and the REC/PAUSE indicator will begin to flash.

MAINTENANCE

Maintenance on your MT120S basically involves keeping the tape heads in the best possible condition. This involves two considerations keeping them clean, and keeping them demagnetized. As the magnetic tape passes over the tape heads, a very small amount of magnetism stays on the heads (rather like passing a magnet over a needle). Over time, this builds up to a point where the heads become magnetized, and as the tape passes over the heads, the tape itself (with your precious recordings) will start to be wiped. To avoid this, we recommend that you use a commercially available head demagnetizer on the tape heads, after every 10 hours of playing/ recording time. This may seem extreme, but we assure you, the results are worth it. The recording & playback head has been precision-constructed to extremely fine tolerances in order to make high-quality 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. Fluctuating and or/distorted sound. Excessive noise. 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.

24 MT120S MULTITRACK CASSETTE RECORDER

SPEClFICATlONS

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 (4.8 cm/sec.) 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 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 10 k-ohms -10 dB to -50 dB (fader nominal) +10 dB (gain control min.) -56 dB (gain control, fader max.) 10 k-ohms -10 dB 10 k-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 10 k-ohms 8 to 40 ohms 45 mW + 45 mW/40 ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 10 k-ohms 1 k-ohm Greater than 10 k-ohms -10 dB into 10 k-ohms 1 k-ohm Greater than 70 k-ohms -70 dB into 10 k-ohms
STEREO SUB IN L, R AUX RETURN L & R

STEREO OUT L & R

PHONES (STEREO) TAPE OUT 1 4

AUX SEND

MONITOR OUT L & R
ELECTRICAL SPECIFICATIONS
Frequency Response (NR OUT) S/N ratio (3% THD Level) Distortion Channel Separation Erasure Ratio Noise Reduction Graphic Equalizer 40 Hz to 18 kHz, +3/-5 dB at 9.5 cm/sec. 40 Hz to 13 kHz, +3/-5 dB at 4.8 cm/sec. 85 dB, dbx ON, IHF-A 1.0% at 400 Hz, dbx ON, -13 dB Rec. Level Greater than 65 dB at 1 kHz, dbx ON, (B. P. F) Greater than 70 dB at 1 kHz, dbx ON dbx* 100, 400, 1k, 5k, 10kHz ( 10 dB), Q = 0.7

GENERAL

Power Requirements U.S. & Canadian Models: 120 V AC, 60 Hz UK Model: 240 V AC, 50 Hz General Model: 230 V AC, 50 Hz 16 W 410 x 80.8 x 237 mm (16-1/8x3-3/16 x 9-5/16) 2.6 kg (5 Ibs 12 oz)
Power Consumption Dimensions (WxHxD) Weight
*dbx is a trademark of dbx Incorporated. 0 dB = 0.775 Vr.m.s. All spccifications subject to change without notice.
BLOCK DIAGRAM / SCHEMA DE PRINCIPE / BLOCKDlAGRAMM

SERVICE

This product is supported by YAMAHAs worldwide network of factory trained and qualified dealer service personnel. In the event of a problem, contact your nearest YAMAHA dealer.

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

MIC/LINE Gain Controls

The gain controls adjust the sensitivity of the channel inputs to accept a wide range of signal levels from line to microphone. The gain controls are used in conjunction for the input faders to set the optimum recording level with a wide range of sources (see SETTING RECORDING LEVELS on page 15). [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 corresponding mixer channels signal, whether it comes from a source plugged into an input jack or from the MT120s 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 recorders tracks when playing back a recording. Noise and distortion are at their lowest at input fader level 7.

REC 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 or to a different track via the PAN controls (see "CHANNEL-TO-TRACK ASSIGNMENT on page. 13). 5

AUX SEND Controls

The AUX SEND controls are used primarily when adding effects such as reverberation or echo to the sound of a channel or track. The AUX SEND control on each mixer channel determines the amount of signal from that channel 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 EMP100 Multi-effect Processor (see USING THE AUX SEND/ RETURN LOOP on page 22).

MASTER Fader

The MASTER fader sets the overall output level of the MT120 mixer section, and thus the level of the output signal appearing at the STEREO OUT jacks. The MASTER fader also affects recording level when any of the mixer sections channels are assigned to the recorders tracks via the PAN controls (see SETTlNG RECORDING LEVELS on page 15).

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

TAPE SPEED Switch

The TAPE SPEED switch selects either the standard 4.8-cm/sec cassette tape speed, or the MT120s special 9.5-cm/sec high tape speed. Use the standard (4.8) speed when replaying tapes recorded on standard cassette recorders, or to obtain maximum tape economy. When you want maximum sound quality, use the high (9.5) tape speed. The improvement in sound quality provided by the high tape speed is significant, and we recommend that you use the high speed for all important recordings. [Note] Never change the TAPE SPEED setting while the tape is running.

PITCH Control

The PITCH control varies tape speed by approx. 10%, making it possible to tune material recorded on the MT120 to match the pitch of musical instruments, or to slightly lengthen or shorten the running time of a recording to meet specific timing requirements. Tape speed is normal when the PITCH control is set to its center click-stop position. Tape speed is increased by sliding the control towards the + end of the scale, and decreased by sliding the control towards the end of the scale.

EQ Switch

This switch turns the graphic equalizer on and off.

Graphic Equalizer

An equalizer is used to tailor the signal to help it stand out or integrate into a mix. MT120s graphic equalizer is a powerful signal shaping tool which allows you to augment or attenuate signal components up to approx. 10 dB in five frequency bands. The graphic equalizer can be switched ON to enhance signals as they are recorded on tape, and again in playback. [Note] When switched 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
Punch-in/out start: Starts punch-in/out when the foot switch is connected to PUNCH l/O jack, even if the record-ready mode has not been activated using REC/PAUSE button. PLAY Indicator: According to its state (lit, slow/fast blinking), this indicator indicates one of the following 3 modes: Indicator lit: PLAY button has been pressed. Indicator fast blinking: FF button or REW button has been pressed during playback (CUE/ REVIEW mode). Indicator slowly blinking: Continues blinking for approximately 4 seconds after the POWER switch has been turned on. (During this period the buttons are inoperative.) REW (REWIND): Press this button the rewind the tape. If the ZERO STOP switch is ON, the tape will stop rewinding when the counter reaches the vicinity of 999. FF (FAST FORWARD): Press this button the wind the tape ahead at high speed. When this button is pressed 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.

[Note] Since the MT120 uses the entire width of the cassette tape to record four tracks, the cassette can only be recorded on one side. Never change the TAPE SPEED setting while the tape is running.

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.

STEP 4: RECORD

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, youre 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/PAUSE button and then the PLAY button to start recording, wait a few seconds, and start playing. 2. When youve finished recording the track, press the transport STOP button, turn the REC SELECT switch for the track just recorded to the OFF position, rewind the tape (the tape will stop automatically at a counter reading around 999 if the ZERO STOP switch is ON). 3. Play back the recording (press the PLAY button) and listen to the track to make sure that everything went as planned.
[Note] If you plan to record using microphones and you will be monitoring in the same room as where the microphones are set up, we recommend the use of headphones 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.

OVERDUBBING

Overdubbing is the process of recording a new track (or new tracks) while monitoring previously recorded tracks. If youre only planning to record a maximum of four tracks, you can go ahead and overdub the second, third and fourth tracks. If youre planning to use the ping-pong recording technique to record more than four parts, however, record only three tracks and then move on to the ping-pong step (see PING-PONG RECORDING on page 17). 1. Plug the instrument or other source to be recorded into an available channel input. 2. Make sure that the REC SELECT switches of previously-recorded tracks are set to OFF so that previously recorded tracks arent erased when the new track is recorded. 3. Set up the channel-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 normally be set to MONITOR.) 5. Set the recording level for the new track. 6. You can now rehearse the overdub without actually recording by simply playing back the already-recorded track(s) and playing the new part. When MONITOR select is in the MONITOR position, it is not possible to hear input source unless MT120s transport is in RECORD or RECORD/PAUSE. If you are not ready to actually record your overdub, and would like 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 piece and start recording. These steps are simply repeated to overdub tracks 3 and 4.

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

Set all channels to 0 (minimum).
Set all REC SELECT Switches to OFF.

l l l l l

Start with all PAN controls set to center.
Set to about 7 or 8 on the scale.
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 external sound system or a pair of powered monitor speakers (such as the YAMAHA MS101 Monitor Speaker) for mixdown.
Set all MONITOR controls fully counter-clockwise.

dbx Switch

If you started recording with the dbx switch set to ON, leave it there. If OFF, it should stay OFF.
USING THE GRAPHIC EQUALIZER
The MT120 has a stereo 5-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 are 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.
20 MT120 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 processed using a signal processor, which receives signal from the TAPE OUT jack and the output of which is returned to a channels INPUT jack. See diagram.
Processing Individual Tracks In Mixdown Using TAPE OUT Jacks
USING THE AUX SEND/RETURN LOOP
The MT120s AUX SEND controls function like a secondary mixer that derives its input signals from the main mixers four channels and combines them into a mono signal which is 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 level of the signal received at the AUX RETURN jacks can be adjusted using the AUX RETURN control, and the resulting signal is combined with the MT120s main stereo output signal. Since the returned effect signal is combined with the mixers stereo output signal, the AUX SEND/RETURN loop 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 13).

[Note] Since the AUX SEND/RETURN loop returns the effect signal to the mixer sections stereo outputs, effects can be added to channels during pingpong recording as long as the panned channel-totrack assignment 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.
22 MT120 MULTITRACK CASSETTE RECORDER

PUNCH-IN/OUT RECORDING

Punch-in/out recording makes it possible to re-record a short segment of an otherwise perfect track in order to correct a mistake or brush 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
1. With all REC SELECT switches set to OFF, start the recorder running a few measures before the section to be re-recorded begins in the record-ready mode by pressing the REC/PAUSE button and then the PLAY button with all track REC SELECT switches set to OFF. The red REC/PAUSE LED will flash indicating that the transport is in the record-ready mode. The MONITOR SELECT switch should be set to MONITOR so you can hear all the tracks. 2. At a convenient break in the track switch the track to be corrected to the record mode (punch-in by switching the REC SELECT switch for that track to the appropriate record position) and start playing the new material to be recorded. The REC/PAUSE 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 switch the track back to the play mode (punch-out by switching the REC SELECT switch for that track to OFF). The red REC/ PAUSE LED will begin to flash.

Footswitch Punch-in/out

1. Plug a YAMAHA FC4 or FC5 (optional) footswitch into the MT120 PUNCH l/O jack. 2. Set the REC SELECT switch for the track to be punchedin to the appropriate record position, and press the REC/PAUSE button to activate the rec/pause mode. The red REC/PAUSE LED should flash instead of lighting continuously. If the red REC/PAUSE LED lights continuously, press the footswitch once so that it flashes. If the LED lights continuously, press the footswitch once so that it flashes. CAUTION: WHEN USING A FOOTSWITCH, MAKE SURE THE RED REC/PAUSE LED LIGHT IS FLASHING, NOT STEADY BEFORE PUTTING THE TRANSPORT IN RECORD. THIS WILL PREVENT ACCIDENTAL ERASURE OF EXISTING MATERIAL. DO NOT PRESS REC/PAUSE AND PLAY. 3. Press the PLAY button to start the transport running in the record-ready mode. 4. Press the footswitch to punch-in. The red REC/PAUSE LED will light continuously.

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