MULTITRACK CASSETTE RECORDER
Owners Manual Mode demploi Bedienungsanleitung Manual de instrucciones

MIC/LINE INPUT

STEREO INPUT

AUX SEND

INSERT I/O

GAIN GAIN

LINE MIC LINE MIC LINE MIC LINE MIC ++++++5 10

REC 1 L 2 R 3 4

LOW TAPE SPEED CONTROL REC SELECT
1 OFF L 4.8/ 9.OFF R 3 OFF L 4 OFF R

METER SELECT

4TR STEREO

ZERO STOP

ON OFF SYNC

ON OFF

0 MIC/LINE to L TAPE

10 TAPE MIC/ LINE

0 MIC/LINE to R TAPE

NOISE REDUCTION SYSTEM

MONITOR/PHONES LEVEL
STEREO ST+CUE CUE MIN MAX

INPUT-FLIP PAN PAN

INPUT-FLIP PAN

INPUT-FLIP

STEREO

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 coaxial 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 retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

Important

Read the Following Before Operating MT400

Warnings

Do not locate MT400 in a place subject to excessive heat or in direct sunlight. This could be a re hazard. Do not place MT400 in a place subject to excessive humidity or dust. This could be a re and electrical shock hazard. Do not place heavy objects on the power cord. A damaged power cord is a potential re and electrical shock hazard. Do not place small metal objects on top of MT400. Metal objects inside MT400 are a re and electrical shock hazard. Do not try to modify MT400. This could be a re and electrical shock hazard.

Cautions

Turn off all audio devices and speakers when connecting to MT400. Refer to the owners manual for each device. Use the correct cables and connect as specied. MT400 is a precision device. Handle it with care. If you notice any abnormalitysuch as smoke, odor, or noiseturn off MT400 immediately. Remove the AC adapter from the AC outlet. Conrm that the abnormality is no longer present. Consult your dealer for repair. Using MT400 in this condition is a re and shock hazard. If a foreign object or water gets inside MT400, turn it off immediately. Remove the AC adapter from the AC outlet. Consult your dealer for repair. Using MT400 in this condition is a re and electrical shock hazard. If you plan not to use MT400 for a long period of time (such as when you are on vacation), remove the AC adapter from the AC outlet. Leaving MT400 connected is a re hazard. Do not use benzene, thinner, cleaning detergent, or a chemical cloth to clean MT400. Use only a soft, dry cloth to clean MT400.

This rotary control adjusts the tape speed in the range of 10%.

M Tape speed switch

This switch is used to select 4.8 cm/second or 9.5 cm/second for the tape speed. Set the switch to 9.5 ( ) for normal recording, and 4.8 ( ) for playback of a tape recorded with a normal cassette tape recorder.

N REC SELECT switches

These switches are used to select recording sources for tracks. 1 4.Input channel (14) signals are routed directly to the corresponding tracks for recording (direct recording). OFF.The corresponding tracks are disabled for recording. L/R.The corresponding tracks are ready for recording and receive L channel (Tracks 1 and 3) or R channel (Tracks 2 and 4) signals.

O METER SELECT switch

This switch selects the signal level to be displayed on the level meters a. 4TR.The level meters display the track input signal levels during recording and the track output signal levels during playback. STEREO.The level meters display the Stereo bus signal levels (signal output from the STEREO OUT jacks).

P dbx switch

Use this switch to turn on and off the dbx noise reduction system. ON..The dbx noise reduction system is turned on for all tracks. OFF.The dbx noise reduction system is turned off for all tracks. SYNC.The dbx noise reduction system is turned off only for Track 4. Note: The SYNC setting is used for a special application in which Track 4 is used for synchronization. See page 41 for more information.

Q ZERO STOP switch

Use this switch to turn on and off the Zero Stop function. With this switch set to on (ON), the tape rewind automatically stops when the tape counter returns to just before 000.

R Tape counter

This 3-digit tape counter indicates the tape position.

S Counter reset button

This button resets the tape counter value to 000.

T Cassette compartment

Insert a cassette tape here.

Transport Section

Preparation Before Recording

AUX 2 ZERO STOP

Selecting a recording track 1 Connect a sound source to MIC/LINE INPUT
1. It is best to record a rhythm instrument, such as a rhythm machine, drums, or a rhythm guitar, rst.
Monitoring a track recording signal 0 Set the monitor select switch to CUE. The monitor select switch enables you to select a monitoring source. The CUE setting sends the CUE bus signal (monaural) to the connected audio system or headphones for monitoring via the PHONES and MONITOR OUT jacks. A Set the CUE control on Input Channel 1
midway around noon. The CUE controls on Input Channels 14 adjust the level of the signals (recording source signals on the recording/recording-pause tracks, and tape signals on the playback tracks) that are sent from Tracks 14 to the CUE bus.
2 Set the [INPUT-FLIP] switch on Input Channel
1 to MIC/LINE ( ). This switch setting sends the MIC/LINE INPUT signal to the corresponding input channel.
3 Set Track 1 [REC SELECT] switch to 1. The [REC SELECT] switches enable you to select a recording source for each track. With Track 1 [REC SELECT] switch set to 1 , Track 1 is ready for recording, and the signal on Input Channel 1 is sent to Track 1. Also, the Track 1 REC SELECT indicator ashes. Checking the recording level
It is essential to set an appropriate recording level to achieve the best sound quality. Be sure to adjust the recording level before each recording session.
B While monitoring the signal through the
headphones or the audio system, use the MONITOR LEVEL control to adjust the monitoring sound to the desired level.
C If necessary, use the EQ controls to adjust
tonal quality. Adjusting the EQ controls will change the recording level as well. After you adjust the EQ controls, adjust the GAIN control for the recording level again, if necessary.
4 Set the [METER SELECT] switch to 4TR. The [METER SELECT] switch is used to select a signal monitored on the level meters. With the 4TR setting, you can monitor the input level of the recording source on the recording/recording-pause tracks, and the tape signal level on the playback tracks. 5 Press the [PAUSE] button. 6 Press the

REC button.

The Track 1 REC SELECT indicator stops ashing and lights up continuously, and the MT400 enters recording pause mode. Since you pressed the [PAUSE] button, recording does not start.
7 Turn the GAIN control on Input Channel 1 all

the way to LINE.

8 Raise the fader on Input Channel 1 up to

between marks 7 and 8.

9 Play the sound source, and turn the GAIN
control while checking the level meter to adjust the recording level. Set the [dbx] switch and the [ZERO STOP] switch to ON. Adjust the GAIN control so that the +3 segment of the level meter lights up momentarily on the loudest sounds if dbx has been turned off, and the +6 segment of the level meter lights up momentarily if dbx has been turned on. If the recording level is very high even when the GAIN control is turned all the way to LINE, lower the output level on the sound source.

16 The First Take

Starting recording 1 Press the counter reset button to set the tape

counter to 000.

Listening to the rst track 4 Press the [REW] button to rewind the tape. If the [ZERO STOP] switch is set to ON, the tape rewinds until the tape counter shows 000 and stops automatically. 5 Press the [PLAY] button to start playback.
If the [INPUT-FLIP] switch on Input Channel 1 is set to MIC/LINE ( ), you can monitor the Track 1 playback sound (sent via the CUE bus) through the PHONES or MONITOR OUT jack. To record again, rewind the tape to the beginning and press the REC button. If you wish to re-record part of the recording, perform punch in/out recording. See page 34 for more information.
2 Press the [PAUSE] button to cancel pause
mode. This starts recording. Play the sound source for recording.
3 Press the [STOP] button to stop recording.
The Track 1 REC SELECT indicator ashes.
6 If you are satised with your rst take on
Track 1, set the [REC SELECT] switch on Track 1 to OFF. The Track 1 REC SELECT indicator turns off.
Note: Be sure to turn the [REC SELECT] switch on Track 1 to OFF. Otherwise, recording on Track 1 will be erased when you record the next track.

MIC/LINE INPUT 1

CUE bus (monaural)

MONITOR OUT

Track 1 Track 2 Track 3 Track 4
Signal ow during track recording

Overdubbing

You may record a different sound source to another track while listening to the sound recorded on Track 1. The basic procedure for overdubbing is the same as the rst take.
Monitoring the recording source and tape playback sound simultaneously 6 While playing the recording source, turn up
the CUE control on Input Channel 2. CUE control 2 adjusts the monitoring level of the signal recorded on Track 2. Adjust to a desired level while listening to the sound through headphones or monitor speakers. When you start recording, Track 1 playback sound and Track 2 recording source will be mixed into a monaural signal and sent to the CUE bus for monitoring.
2 to MIC/LINE ( ). Leave the [INPUT-FLIP] switch on Input Channel 1 to MIC/LINE ( ).
3 Set Track 2 [REC SELECT] switch to 2. The Track 2 REC SELECT indicator ashes and Track 1 is ready for recording.
Note: Make sure that the [REC SELECT] switch on Track 1 is set to OFF.
4 Press the [PAUSE] button, then the
5 While checking the level meter, use the GAIN
control and fader on Input Channel 2 to set the optimum recording level.
Start recording 7 Press the [PAUSE] button to start recording. Press the [STOP] button to stop recording. Listening to the recording 8 Press the [REW] button to rewind the tape to
the beginning and press the [PLAY] button to start playback.
9 If you are satised with your recording, set

the [REC SELECT] switch on Track 2 to OFF. Repeat this procedure until you have recorded all tracks.
0 MIC/LINE to L TAPE 10 TAPE MIC/ LINE 0 MIC/LINE to R TAPE 10 TAPE MIC/ LINE

Track 1

Track 2

Track 3 Track 4

Signal ow during overdubbing

Mixdown

After you have recorded all tracks, you are ready to mix them into a stereo mix, which you will record to a stereo master recorder.

POWER ON/ OFF

DC 12V

SYNC OUT

MONITOR OUT R L

STEREO OUT R L

7L 8R 1 2
Connecting a master recorder 1 Connect the STEREO OUT jacks on the rear
panel of the MT400 to the input jacks of a master recorder, and connect the output jacks of the master recorder to the STEREO INPUT 5L/6R jacks on the top panel of the MT400.
are sent to the input channels, where you can adjust tonal quality with the EQ controls and stereo position with the PAN control. The playback sound sent to Input Channels 14 are routed to the STEREO bus for stereo mix and output from the SETEREO OUT jacks.
Sending the tape playback sound to the input channels 2 Set the [INPUT-FLIP] switches on Input
Channels 14 to TAPE ( ). When the [INPUT-FLIP] switches are set to TAPE ( ), the playback sound of the corresponding tracks
3 Set the monitor select switch to STEREO. The stereo bus is selected as a monitoring source, and you can listen to the STEREO OUT signals via headphones or an audio system connected to the PHONES or MONITOR OUT jacks. 4 Set the [METER SELECT] switch to STEREO. The level meters L and R on the left indicate the level of the Stereo bus signal output from the STEREO OUT jacks.
5 Raise the STEREO fader to the 78 mark. 6 Press the [REW] button to rewind the tape,
and press the [PLAY] button to start playback.
Recording to a master recorder
Record the nal mix to a stereo master recorder.
8 Start recording on the master recorder and
start playback from the top of the song on the MT400.
7 While listening to the headphones or the
monitor speakers, adjust the faders, PAN controls, and EQ controls on Input Channel 14. First use the faders to adjust level balance between tracks, so that the +3 segments of the level meters light up momentarily at the loudest peaks. Use the STEREO fader, if necessary, for ne adjustments. Then use the PAN controls to set the stereo position. Finally, use the EQ controls to adjust the tonal quality to rene your music, and re-adjust the volume level, if necessary.
9 When you nish mixdown, stop the MT400

and the master recorder.

0 Play the master recorder from the beginning
and turn the LEVEL control 56 for STEREO INPUTs to listen to the mix. To listen to the mix recorded on the master recorder, you need to connect the output jacks of the master recorder to STEREO INPUTs 5 and 6 of the MT400 to monitor via the Stereo bus. To adjust the monitoring level, use the LEVEL control 56 for STEREO INPUTs and the STEREO fader.

recording level using the GAIN controls and faders on Input Channels 14, and the STEREO fader. Also adjust the stereo position of the sound sources using the PAN controls on Input Channels 14. It is best to rst play each source while adjusting the GAIN controls, then use the input channel faders and the STEREO fader to obtain a good balance between the sounds.
9 Adjust the level and pan of each channel
signal while monitoring the sound through the headphones or the audio system. Adjust tonal quality, if necessary, with the EQ controls.
0 Press the [PAUSE] button to cancel pause
mode and start recording.
A Press the [STOP] button to stop recording.
Tracks 1 and 2 REC SELECT indicators ash.
8 Set the monitor select switch to CUE and
use the CUE controls to adjust the monitoring level on Tracks 1 and 2. You can monitor the recording sources for Tracks 1 and 2 (in this example, Input Channel 14 signals) via the CUE bus.
B Rewind the tape to the beginning and listen
to the recording. If you are satised with the recording, set the [REC SELECT] switches on Tracks 1 and 2 to OFF.

MIC/LINE INPUT 2

MIC/LINE INPUT 3

MIC/LINE INPUT 4

Track 1 Track 2

Stereo bus

L R L R L R L R
Signal ow during multi-channel mixing

Ping-Pong Recording

The ping-pong recording technique allows you to mix and record several tracks onto another empty track. This is often used to free up tracks for more recording, since those original tracks are then used for further recording. This technique is useful when you wish to record many different instruments or sound sources individually. The following illustration shows that the ping-pong technique and overdubbing allows you to record seven sound sources.

A B C A+B+C

Ping-pong recording

D E C A+B+C

D E D+E A+B+C

F G D+E A+B+C

The first recording, ( + Overdubbing)
This section explains how to mix and record existing Tracks 13 data onto Track 4 as an example.
Set the [INPUTFLIP] switches on Input
Channels 13 to TAPE ( ), and the [INPUT-FLIP] switch on Input Channel 4 to MIC/LINE ( ). Playback sound on Tracks 13 is sent via Input Channels 13 to the Stereo bus.
2 Set the [REC SELECT] switch on Track 4 to
R. The Track 4 REC SELECT indicator ashes, and the R channel of the Stereo bus signal is selected as a recording source for Track 4. Set the [REC SELECT] switches on Tracks 13 to OFF.
3 Set the monitor select switch to STEREO. The Stereo bus signal is selected as a monitoring source, which enables you to listen to the playback on Tracks 13 through the headphones or the audio system. 4 Set the [METER SELECT] switch to STEREO. 5 Set the STEREO fader to the 78 mark. 6 Turn the PAN controls on Input Channels 13

all the way to the right (R).
9 After you set the optimum recording level,
press the REC button to start ping-pong recording.
0 Press the [STOP] button to stop ping-pong
recording, and rewind the tape to the beginning.
A Set the monitor select switch to CUE and
set the CUE control on Input Channel 4 midway (around noon). At this time, turn the CUE controls on Input Channels 13 all the way to 0.
7 Press the [REW] button to rewind the tape,
B Play the tape from the beginning and listen
to the playback on Track 4 while adjusting the monitoring level with the MONITOR LEVEL control.
8 While listening to the headphones or the
monitor speakers, adjust the faders on Input Channels 13 to set the track balance. Use the EQ controls, if necessary, to adjust tonal quality. Note: Use caution when you set the ping-pong recording level. If the output level is too high, Track 4 may sometimes generate an oscillating noise.

CUE bus

Stereo bus R
Signal ow during ping-pong recording

Multi-Source Mixing

The mixer section of the MT400 enables you to control input signals and tape playback signals simultaneously. For example, you can mix external sound sources with tape tracks. This technique is useful when you wish to add pad or decorative notes to the introductory part of a completed song. This section explains how to mix the sound sources connected to MIC/LINE INPUTs 1 and 2 in addition to the tape tracks.
MIC LINE MIC LINE MIC LINE MIC ++++++5 10
1 Connect the sound sources to MIC/LINE

INPUTs 1 and 2.

2 Set the [INPUT-FLIP] switches on Input
Channel 14 to TAPE ( ). With the [INPUT-FLIP] switches set to TAPE ( ), the MIC/LINE INPUT signals are sent to the Stereo bus as follows. MIC/LINE INPUTs 1 and 3 Sent to the L channel of the Stereo bus. MIC/LINE INPUTs 2 and 4 Sent to the R channel of the Stereo bus.
Note: You can also mix the STEREO INPUT signals for mixdown. In this case, signals at STEREO INPUT 5L/7L are sent to the L channel, and signals at STEREO INPUT 6R/8R are sent to the R channel.
3 Set the monitor select switch to STEREO. 4 Set the [METER SELECT] switch to STEREO. 5 Play the sound sources connected to MIC/
LINE INPUTS 1 and 2, and adjust the input levels with the CUE controls on Input Channels 1 and 2. When the [INPUT-FLIP] switch is set to TAPE ( ), use the corresponding CUE controls to adjust the level of the signals input at MIC/LINE INPUTs.

Channels 14 to MIC/LINE ( to OFF. ).
4 Set the [REC SELECT] switches on Tracks Set the [REC SELECT] switch on Track 4 to
4. The vocal will be directly recorded on Track 4.
8 Turn up the LEVEL control for stereo inputs
5L/6R. The processed vocal signal is sent to the Stereo bus.
9 Set the monitor select switch to ST+CUE. Now you can monitor the CUE bus signals (tape Tracks 13 and the dry vocal) mixed with the Stereo bus signal (processed vocal).
33 Applying Effects at Mixdown
One of the typical uses of external effects processors connected to AUX SENDs is to apply reverb effects to track signals during mixdown. In this case, you can adjust the amount of effects for each track individually using the AUX 1 and AUX 2 controls.
LINE MIC LINE MIC LINE MIC LINE MIC +5 +5 10
1 Connect AUX SEND 1 to the input of an
effects processor, and connect the outputs of the effects processor to STEREO INPUT 5L/6R. Set the effects processor so that it will output only the processed signal.
5 Turn up the AUX 1 control of the input
channel to which you wish to apply effects. Channel signals (playback sound of Tracks 14) are sent to the effects processor connected to AUX SEND 1. Adjust the input level on the effects processor, if necessary.
Channels 14 to TAPE ( ). Tracks 14 signals are sent to Input Channels 14.
6 Turn up the LEVEL control for STEREO INPUT
5L and 6R. The processed signal is returned from the effects processor and added to the Stereo bus of the MT400. The more you turn up the LEVEL control, the more effects you can obtain.
3 Set the monitor select switch to STEREO. 4 While playing the tape, use the faders, PAN
controls and EQ controls on Input Channels 14 to adjust the volume balance, stereo image, and tonal quality of each track.

Punch In/Out Recording

This section explains MT400 punch in/out recording techniques. The punch in/out function allows you to re-record specic sections of a track. You can correct mistakes by starting to record your performance at a certain point (punch in) and stopping the recording (punch out). The MT400 allows you to perform punch in/outs using the [REC SELECT] switch or an optional footswitch, the FC5.
Re-record Mistakes Punch in Punch out

Punch in/out

Using the REC SELECT switch
Using the [REC SELECT] switch on the MT400 is the simplest way to punch in/out record. This section explains how to punch record a sound source connected to MIC/LINE INPUT 4 in Track 4.
1 Connect a sound source to MIC/LINE 4. 2 Set the [INPUT-FLIP] switches on Input
0 Locate a position before the point at which
you want to punch in, and press the REC button. Playback starts but recording does not start since all the [REC SELECT] switches are set to OFF.
3 Set the [REC SELECT] switches on Tracks 13

to OFF, and set the [REC SELECT] switch on Track 4 to 4.
A At the point where you want to punch in, set
the [REC SELECT] switch to 4 and start playing the sound source. Recording starts as soon as you set the [REC SELECT] switch to 4. You will hear the new sound play back, instead of the existing sound.
4 Set the monitor select switch to CUE.
The monitor select switch should be set to CUE so that you will hear the existing sound playback until punch in, after which you will hear the new sound that is being recorded.
B At the point where you want to punch out,
set the [REC SELECT] switch on Track 4 to OFF, and press the [STOP] button. Recording stops as soon as you set the [REC SELECT] switch on Track 4 to OFF. You will hear the existing sound playback via the CUE control on Input Channel 4. Note: Pressing the [STOP] button to stop recording instead of setting the [REC SELECT] switch to OFF may introduce noise into the recording. Be sure to use the [REC SELECT] switch to stop recording first, then press the [STOP] button.
5 Set the [METER SELECT] switch to 4TR. 6 Press the [PAUSE] button, then the
REC button. You can now check the recording level of the signal sent from MIC/LINE INPUT 4 to Track 4 on the level meter.
7 While watching the level meter, use the GAIN
control and the fader on Input Channel 4 to adjust the input level of the sound source.
8 Press the [STOP] button to cancel pause
mode. Also, set the [REC SELECT] switch on Track 4 to OFF.
9 Start playing the tape and use the CUE
controls on Input Channels 14 and the MONITOR LEVEL control to adjust the monitoring level.

Using a Footswitch

Punch in/out can be performed by connecting an optional footswitch, the FC5, to the PUNCH IN/OUT jack on the front panel of the MT400. This technique leaves your hands free, and is useful if you play an instrument and operate the MT400 at the same time for punch in/out recording. This section explains how to punch in a sound source connected to MIC/LINE 4 onto Track 4.

Footswitch

Connecting a footswitch
1 Connect a sound source to punch in to MIC/

LINE 4.

9 Locate a position before the point at which
you want to punch in, and press the [PLAY] button. Playback on Tracks 14 starts. Note: Punch in/out recording with a footswitch does not use the REC button. If you press the REC button at this point accidentally, recording will start immediately.
2 Connect a footswitch to the PUNCH IN/OUT

4 Set the [REC SELECT] switch on Tracks 4 to
4. The Track 4 REC SELECT indicator ashes.
0 At the point where you want to punch in,
press the footswitch once and start playing the sound source. Recording starts as soon as you step on the footswitch. You will hear the new sound play back instead of the existing sound.
5 Set the [METER SELECT] switch to 4TR. 6 While watching the level meter, use the GAIN
7 Set the monitor select switch to CUE. 8 Start playing the tape and use the CUE
A At the point where you want to punch out,
press the footswitch again. Recording stops as soon as you step on the footswitch, and you will hear the existing sound playback via the CUE control on Input Channel 4.
B Press the [STOP] button to stop playback.

MIDI Synchronization

The MT400 is ideal for recording vocal, guitar, and other acoustic sounds and can easily be integrated into a MIDI system that includes a MIDI sequencer or sequencer software on a computer. This section describes how to synchronize the MT400 to a MIDI sequencer.
Synchronizing the MT400 with a MIDI Sequencer
To use the MT400 in a synchronized MIDI system, you must record a SYNC signal onto Track 4 of the MT400 before recording anything else. (Always use Track 4 to record a SYNC signal.) A SYNC signal is timing information in the form of an audio signal, which is referenced by a MIDI sequencer for operation. You only need to record this SYNC signal once on Track 4 of the MT400. During playback, the SYNC signal is output from the MT400 and sent to a MIDI sequencer, which reads the SYNC signal and plays back in synchronization with the MT400. When the MT400 is stopped, the MIDI sequencer stops, too. In this way, the MT400 works as the master control device in a synchronized MIDI system. Note: You can still use the transport controls on the MIDI sequencer, but only the MIDI sequencer will respond. There are many applications in the synchronization system using the MT400 and a MIDI sequencer. A typical application is to record acoustic sounds, such as vocal and guitar, to the MT400 tracks, and record other part by playing MIDI performance data on the connected MIDI sequencer. More precisely, you may record vocal or guitar on the MT400 tracks while listening to the MIDI performance data, then mix down Tracks 13 sounds with MIDI sound sources. (You cannot use Track 4 for recording since it is dedicated to the SYNC signal.)

SYNC Signal Formats

There are two major formats of SYNC signal: SMPTE timecode and FSK. The main difference between these two formats is that FSK contains only clock information based on the song tempo whereas SMPTE timecode contains both clock and position information that represents absolute time. This means that with SMPTE timecode you can start playback on the MT400 at any point and the MIDI sequencer will play back in synchronization. With FSK, however, you must always rewind the tape and start playback on the MT400 at the beginning of the SYNC signal for the MIDI sequencer to synchronize correctly. Although, these days something called smart FSK, which contains both clock and position information, is available, allowing playback to start from any position within a song. To use SMPTE timecode, you need a device called an MTC/SMPTE converter. This device converts MTC output from a MIDI sequencer (MIDI timecode; absolute time information of the sequencer) into SMPTE timecode (audio signal). Some MIDI interfaces for computers have this feature built-in. To use FSK, you need a device called a MIDI/FSK converter. This device converts MIDI Clock output from a sequencer (clock information of the sequencer) into FSK (audio signal). Some MIDI/FSK converters support smart FSK. These devices convert MTC or MIDI Clock signals into signals that can be recorded onto a tape. During playback, the same device is used to convert the SMPTE timecode or FSK signal (audio signal) back into MTC or MIDI Clock signals.
38 Connecting the MT400 to a MIDI System

FSK/MIDI system

In this system, an FSK/MIDI converter is used to generate the FSK signal that is recorded onto Track 4 of the MT400. During playback, the FSK signal is output from SYNC OUT (dedicated Track 4 output) and converted to a MIDI Clock signal. When the rhythm machine and the synthesizer workstation with onboard sequencer receive the MIDI Clock signal, they both playback in synchronization.
Synthesizer (workstation type)

MIDI OUT

MIDI IN

FSK/MIDI Converter

FSK OUT

FSK IN

SMPTE/MTC system
In this system, a SMPTE/MIDI converter is used to generate the SMPTE timecode that is recorded onto Track 4 of the MT400. During playback, the SMPTE timecode is output from SYNC OUT (dedicated Track 4 output) and converted to a MIDI timecode. An example below uses a MIDI interface that has two MIDI IN/OUT jacks. If you have only one pair of MIDI IN/OUT jacks, change the connection as described below. Creating sequence data Connect MIDI IN of the MIDI interface to MIDI OUT of the MIDI keyboard. Connect MIDI OUT of the MIDI interface to MIDI IN of the MIDI tone generator or synthesizer. Recording a SYNC signal Connect MIDI OUT of the MIDI interface to MIDI IN of the SMPTE/MTC converter. Operating in synchronization Connect MIDI IN of the MIDI interface to MIDI OUT of the SMPTE/MTC converter. Connect MIDI OUT of the MIDI interface to MIDI IN of the MIDI tone generator or synthesizer.

Specications

Tape Transport
Tape Type Track Conguration Tape Heads Motor Tape Speed Pitch Control Wow & Flutter Rewind Time C4690 cassette tapes (Type II) 4-track/4-channel, One-way Record-Play 4-track Record-Play, Hard Permalloy x 1, 4-track Erase, Ferrite x1 DC servo motor x1 4.8 cm/s, 9.5 cm/s Approximately 10% 0.12% WRMS (9.5 cm/s) Approximately 120 seconds for a C60 tape
Frequency Response S/N Ratio (at rated input & output levels) EQ 20 Hz20 kHz, +1/4 dB, MIC INSTEREO OUT LINE INMONITOR OUT 65 dB/IHF-A, MIC INSTEREO OUT (GAIN TRIM MAX) 70 dB/IHF-A, LINE INSTEREO OUT (GAIN TRIM MIN) LOW/Shelving MID/Peaking HIGH/Shelving Basic frequency: 80 Hz, Range: 12 dB Basic frequency: 1 kHz, Range: 12 dB Basic frequency: 12 kHz, Range: 12 dB
Overall Frequency Response Overall S/N Ratio Overall Distortion Erasure Rate Noise Reduction 50 Hz14 kHz, +3/5 dB (9.5 cm/s, NR OUT) 80 dB/IHF-A (NR IN) [at 3% distortion level] 2.0% (400 Hz, 10 dB) 55 dB (1 kHz, 0 dB, BPF) dbx TYPE II

Connections

MIC/LINE INSERT I/O STEREO IN AUX SEND STEREO OUT L, R MONITOR OUT L, R SYNC OUT PHONES L, R x4 x2 x2 x2 x1 x1 x1 x1

# of I/Os

I/O Specications
MIC/LINE Input Impedance: 10 k Rated Input Level: 10 to 50 dB (CH fader at rated levels) Minimum Input Level: 56 dB (Gain trim max. CH fader max) Input Impedance: 10 k Rated Input Level: 10 dB (CH fader at rated levels) Minimum Input Level: 16 dB (CH fader max) Input Impedance: 10 k Rated Input Level: 10 dB (CH fader at rated levels) Minimum Input Level: 16 dB (Volume max) Output Impedance: 100 Rated Load Impedance: 10 k or higher Rated Output Level: 10 dB (10 k load)

INSERT IN CH 1, 2

STEREO IN

INSERT OUT CH 1, 2

STEREO OUT L, R
Output Impedance: 1 k Rated Load Impedance: 10 k or higher Rated Output Level: 10 dB (10 k load) Output Impedance: 1 k Rated Load Impedance: 10 k or higher Rated Output Level: 10 dB (10 k load) Output Impedance: 1 k Rated Load Impedance: 10 k or higher Rated Output Level: 10 dB (10 k load) Output Impedance: 1 k Rated Load Impedance: 10 k or higher Rated Output Level: 10 dB (10 k load) Rated Load Impedance: 8 to 40 Rated Output Level: 30 mW+30 mW (40 load)

PHONES (STEREO)

Control Jack
PUNCH I/O Foot switch: FC5 (optional)

General

Power Requirement Dimensions (WxHxD) Weight Accessories DC 12V (650 mA or higher) 388 x 102 x 354 mm 2.8 kg AC adapter: PA-12065

0 dB=0.775 Vrms.

Dimensions
Specications and appearance are subject to change without notice.

Unit: mm

Block Diagram
INSERT I/O MIC/ LINE 3 Band EQ TAPE LOW HIGH GAIN INPUT FLIP MID PAN AUX 1 AUX 2

TIE-ROD ENDS

ARCTIC CAT 50 Y-6 Youth 90 Y-12 Youth 250 2x2x4x4x4x4xDVX 300 2x4x4x4x4x2x4 w/AT 375 4x4 w/AT 400 2x2x4 FIS w/AT 400 2x4 FIS w/AT, 400 2x4 FIS w/MT 400 2x4 FIS w/MT 400 2x4 w/MT 400 4x4x4 w/AT, 400 4x4 w/MT 400 4x4 w/MT 400 4x4 w/MT 400 4x4 w/MT, 400 4x4 w/AT 400 DVX 400 FIS 4xFIS 4x4 w/AT 400 FIS 4x4 w/AT, 400 FIS 4x4 w/MT 400 FIS 4x4 w/AT, 400 FIS 4x4 w/MT, 400 TBX 4xFIS 4x4 w/MT 400 FIS 4x4 w/MT, 400 FIS 4x4 w/AT 400 FIS 4x4 w/MT, 400 FIS 4x4 w/AT 400 TBX 4xVP 4x4 FIS 400 w/AT 400 DVX 500 4x4 w/AT, 500 4x4x4 w/AT, 500 4x4 w/MT 500 4x4 w/AT, 500 TBX 4x4 w/AT 500 FIS 4xFIS 4x4 & w/AT, 500 TBX 4x4 w/AT, 500 TRV 4xFIS 4x4 w/AT, 500 FIS 4x4 w/MT, 500 FIS TRV 4x4, 500 FIS TBX
Year 2004 - - - 04 2006-2005 2006-- - - - 2006 - 2005 2006-2005
500 FIS 4x4 w/AT, 500 FIS 4x4 w/MT, 500 TBX & TRV 4xFIS 4x4 w/MT, 500 FIS 4x4 w/AT 500 FIS 4x4 w/MT, 500 FIS 4x4 w/AT 500 FIS TBX 4x4, 500 FIS TRV 4x4, 500 FIS 4x4 w/MT, 500 FIS 4x4 w FIS 500 w/AT 650 4x4 H4x4 w/AT V4x4 w/AT V2, 650 4x4 HEFI 4xEFI 4x4, TRV, Diesel HONDA TRX70 TRX90 TRX90 & EX TRX125 TRX125 TRX200 TRX200, TRX200D TRX200, TRX200D TRX200D TRX200SX FL250 TRX250 Fourtrax TRX250 Fourtrax TRX250 Fourtrax TRX250 Recon TRX250 Recon TRX250EX Sportrax TRX250R TRX250R TRX250R TRX250X TRX250X TRX300 EX TRX300 Fourtrax 300 TRX300 Fourtrax 300 TRX300FW Fourtrax 4x4 TRX350 TRX350 TRX350D TRX350D TRX350FE TRX350FE, TRX350FM Fourtrax Rancher TRX350FE, TRX350FM Fourtrax Rancher TRX350FM Fourtrax Rancher TRX350TE, TRX350TM Fourtrax Rancher TRX350TE, TRX350TM Fourtrax Rancher TRX400EX TRX400EX TRX400EX TRX400FA, TRX400FGA Fourtrax Rancher 4X4
- 06 2007-08 2007-- - - - - 1990 - - - - - - - - - - - - - - 1988 - - - - - - - - - - - 06
TRX400FM Fourtrax Foreman 4X4 TRX400FW Fourtrax Foreman 4X4 TRX400FW Fourtrax Foreman 4X4 TRX420 FE/FM TRX420 TE/TM TRX450ER, TRX450R TRX450ES, TRX450S TRX450FE, TRX450FM TRX450R TRX500FA TRX500FA, TRX500FGA TRX500FA, TRX500FGA TRX500FA TRX500FE TRX500FE TRX500FE, TRX500FM TRX500FGA, TRX500FA, TRX500FM TRX500FGA TRX500FM, TRX500FPE, TRX500FPM TRX500TM TRX650 Rincon TRX680 Rincon KAWASAKI KFX50 KFX80 KLF110 KLF185 Bayou KLF220 Bayou KLF250 Bayou KLF250 Bayou KSF250 Mojave KXF250 Tecate KXF250 Tecate KEF300 Lakota KLF300A Bayou KLF300B Bayou KLF300B Bayou KLF300C Bayou 4X4 KVF300A Prairie 4x4 KVF300A Prairie 4x4 KVF300B Prairie 2x4 KVF300B Prairie 2x4 KVF300B Prairie 2x4 KVF360B Prairie, KVF360A Prairie 4x4 (prior to ball joint recall) KVF360A Prairie 4x4, KVF360B Prairie KFX400 KFX400 KLF400 Bayou KLF400B Bayou KVF400A Prairie 4x4 KVF400B Prairie
- 2006 - - - - - 2005 - 2005 - 2005 - - - - - - - - 2004 - - - - - - - - - - - - 2004 - - - - 98 1998
KVF400C Prairie 4x4 KVF400C Prairie 4x4 KVF400C Prairie 4x4 KVF400D Prairie KVF400D Prairie KFX450R KVF650 Brute force KVF650 Brute force KVF650 I Brute force KVF650 Prairie (prior to ball joint recall) KFX 700 V-Force KVF700 Prairie KVF750 Brute Force POLARIS Predator 50 Scrambler 50 Predator 90 Predator 90 Scrambler 90 Sportsman 90 Sportsman 90 Sportsman 90 Trail Blazer 250 Trail Blazer 250 Trail Blazer 250 Trail Blazer 250, Trail Boss 250 Trail Blazer 250, Trail Boss 250 Trail Blazer 250, Trail Boss 250, Trail Boss 250 2x4 Trail Blazer 250, Trail Boss 250, Trail Boss 250 2x4 Trail Boss 250 Trail Boss 250 Trail Boss 250 4x4 Trail Boss 250 4x4 Trail Boss 250 4x4 Trail Boss 250 4x4 Trail Boss 250 4x4 Trail Boss 250, Trail Boss 250 2x4 Xplorer 250 4X2x4X4 Trail Boss 300 4X4 Xplorer 300 4x4 Xplorer 300 4x4 Xplorer 300 4x4 Xpress 300 Xpress 300 Magnum 325 2x4, Magnum 325 2x4 HDS Magnum 325 2x4, Magnum 325 2x4 HDS Magnum 325 4x4 Magnum 325 4x4 Magnum 325 4x4 HDS
2001 - - - 2005 - 2006 - - - - - - - 2004 - - - - - - - 1994 - 1990 - 1997 - 1989 - - 1988 - - - - - - - 2001 - 02
Magnum 325 4x4, Magnum 325 4x4 HDS Trail Boss 325 Xpedition 325 Xpedition 325 Xpedition 325 ATP 330 4X4 ATP 330 4X4, ATP 330 4X4 Quad Magnum 330 2x4 Magnum 330 2x4, Magnum 330 2x4 HDS Magnum 330 4x4 Magnum 330 4x4 HDS Trail Boss 330 Trail Boss 330 Trail Boss 330, Trail Boss 330 Quadricycle Sportsman 335 Worker 335 350L 2x4 350L 4x4 Sportsman 350 4x4 Trail Boss 350L 2x4 Trail Boss 350L 4x4 Scrambler 380 2x4 AE, AG 400L 2x4 400L 4x4 Scrambler 400 2x4 Scrambler 400 4x4 Scrambler 400 4x4 Scrambler 400 4x4 Sport 400 Sport 400 Sport 400 Sport 400 Sportsman 400 4x4 Sportsman 400 4x4 Sportsman 400 4x4 Sportsman 400 4x4 Sportsman 400 4X4 Sportsman 400 4x4 AA Sportsman 400 4X4 AQ-AV Trail Blazer 400 Xplorer 400 4x4 Xplorer 400 4x4 Xplorer 400L 4x4 Xplorer 400L 4x4 Xpress 400L 2x4 Magnum 425 2x4 Magnum 425 2x4 Magnum 425 2x4 Magnum 425 4x4 Xpedition 425