MULTITRACK CASSETTE RECORDER

Owners Manual

GAIN GAIN

LINE HIGH

MIC HIGH HIGH HIGH HIGH

ST-INPUT

12 FREQ

250 MID

LOW +LOW +LOW +LOW +LOW +LOW +LOW +LOW +12

12 AUX 1

GROUP MASTER

TAPE IN

0 AUX 2

10 AUX 2

10 GROUP 1
MIX LEVEL TO MONITOR TAPE IN TO STEREO 3 GROUP

10 P A N

10 P A N 10 GROUP 2

R L E V E L

STEREO
0 MIC/ LINE TAPE PAN FLIP

10 TAPE MIC/ LINE

0 LINE TAPE PAN FLIP

10 TAPE LINE

10 TAPE LINE GROUP 3 CUE MONITOR SELECT

NOISE REDUCTION SYSTEM

IN MEMO OUT

REPEAT

+9 +6 +3 0dB REC 7 8

+9 +6 +3 0dB 10 20

L R ODD EVEN GROUP ASSIGN

10 GROUP 4

MIN MAX MONITOR LEVEL ON OFF

AUTO PUNCH

CUE MIX TO STEREO 3 4

PEAK SIGNAL

TAPE SPEED

VARI FIX GROUP

REC SELECT

AUTO PUNCH I/O RESET RTZ

MEMO 1

MEMO 2

REC/PAUSE

PHONES PUNCH I/O

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 * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
IMPORTANT: The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug. * This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.

Important

Read the Following Before Operating MT8XII

Warnings

Do not locate MT8XII in a place subject to excessive heat or in direct sunlight. This could be a re hazard. Do not place MT8XII in a place subject to excessive humidity or dust. This could be a re and electrical shock hazard. Connect the supplied AC power cord only to an AC outlet of the type stated in this Owners Manual or as marked on the main unit. Failure to do so is a re and electrical shock hazard. Do not plug several devices into the same AC outlet. This can overload the AC outlet, and can be a re and electrical shock hazard. It may also affect the performance of some devices. Do not place heavy objects on the power cord. A damaged power cord is a potential re and electrical shock hazard. If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a replacement. Using MT8XII in this condition is a re and shock hazard. Hold the AC power cord plug when disconnecting from an AC outlet. Never pull the cord. Damaging the power cord in this way is a potential re and electrical shock hazard. Do not place small metal objects on top of MT8XII. Metal objects inside MT8XII are a re and electrical shock hazard. Do not block the MT8XII ventilation holes. MT8XII has ventilation holes at the rear to prevent the internal temperature from rising. Blocked ventilation holes are a re hazard. Do not try to modify MT8XII. This could be a re and electrical shock hazard. MT8XII operating temperature is between 5C and 35C (41F and 95F).

Cautions

Turn off all audio devices and speakers when connecting to MT8XII. Refer to the owners manual for each device. Use the correct cables and connect as specied. MT8XII is a precision device. Handle it with care. If you notice any abnormalitysuch as smoke, odor, or noiseturn off MT8XII immediately. Remove the AC power cord from the AC outlet. Conrm that the abnormality is no longer present. Consult your dealer for repair. Using MT8XII in this condition is a re and shock hazard. If a foreign object or water gets inside MT8XII, turn it off immediately. Remove the AC power cord from the AC outlet. Consult your dealer for repair. Using MT8XII in this condition is a re and electrical shock hazard. If you plan not to use MT8XII for a long period of time (such as when you are on vacation), remove the AC power cord from the AC outlet. Leaving MT8XII connected is a re hazard. Do not use benzene, thinner, cleaning detergent, or a chemical cloth to clean MT8XII. Use only a soft, dry cloth to clean MT8XII.

5. Ping-Pong Recording. 29
Preparing for Ping-Pong. 30 Rehearsing the Ping-Pong. 30 Performing the Ping-Pong for Real. 30 Checking the Ping-Pong Operation. 31 Ping-Pong Notes. 31 Ping-Pong with Overdub. 32

6. Using Effects. 33

Applying Effects at Mixdown. Applying Effects when Recording. Applying Effects with Ping-Pong. Patching In Signal Processors. 34 35
7. Tape Speed & Mixing Tips. 36
Using the Tape Speed Function. 36 Mixing Tips. 37
8. Quick Locate & Repeat Playback. 38
RTZ (Return To Zero). Memo 1/Memo 2. Entering the Memo Points. Locating the Memo Points. Checking the Memo Points. Clearing the Memo Points. Repeat Playback. 39
9. The MT8XII & MIDI. 40
Using the MT8XII in a MIDI System. SYNC Signal Formats. Connecting the MT8XII to a MIDI System. Striping the Tape. Synchronized Operation. 43
10. MT8XII Applications. 44
One-Take Recording. MIDI Home Studio. Multi-Source Mixing. Using the TAPE OUT/GROUP OUTs. 46 47
Troubleshooting. 48 Appendix. 49
Maintaining the MT8XII. Specifications. Block Diagram. Dimensions. 53 54

Glossary. 55

Welcome to the MT8XII
Thank you for choosing the Yamaha MT8XII Multitrack Cassette Recorder. The MT8XII is a high-quality, easy-to-use multitrack cassette recorder that will allow you to capture your music at a very high level of quality. To take best advantage of your MT8XII, read this Owners Manual thoroughly.

MT8XII Features

The MT8XII mixer has 14 inputs and 4 groups. Including the 8 tape tracks and stereo TAPE IN, up to 20 inputs are available for mixdown. Continuously variable GAIN controls on input channels 1 through 4 allow the MT8XII to handle microphone and line-level signals with ease. Balanced XLR-type and phone jack inputs with switchable phantom power for condenser microphones on input channels 1 and 2. Insert jacks on input channels 1 and 2 for external processor patching. Musical three-band EQ (High, Mid, Low) with sweepable Mid on each input channel provides exible tone-shaping capabilities. Two auxiliary sends for external effects processor patching. FLIP button allows you to route input signals to either the channel fader or CUE controls. Flexible monitoring of Groups, CUE, Stereo bus, and TAPE IN. Direct outputs for direct connection to another mixer. TAPE IN to monitor facility for monitoring during mixdown. Long-throw accurate faders.

About dbx Noise Reduction
The MT8XII uses the dbx noise reduction system to reduce tape hiss and keep your recordings clean and crisp. For the best performance, its recommended that you use the dbx noise reduction for all your recordings. You should always use the dbx noise reduction system to play back tapes that were recorded with the dbx system on.

MT8XII Maintenance

The MT8XII requires regular maintenance to remain in top working condition. This consists of cleaning and demagnetizing the recordplay head and other metal parts that are in contact with the cassette tape. See Maintaining the MT8XII on page 49 for more information.

Touring the MT8XII

This chapter takes you on a tour of the MT8XII, identifying the various parts to help you become familiar with your new recorder.

Topside View

The individual sections of the MT8XII are explained on the following pages.

Input Channels

1 GAIN control (input channels 14)

LINE HIGH MIC

This rotary control adjusts the sensitivity of the MIC/LINE input so that both microphone and line-level signals can be handled with ease.

2 EQ controls

These rotary controls are used to boost and cut the high, middle, and low frequency bands independently. The High and Low EQs are xed frequency shelving types. The Mid EQ is a sweepable type. A at setting (i.e., no boost or cut) can be set quickly using the controls center detents.

Sweepable range

12 LOW

Response [dB]

-100 1k 10k 20k
HIGH: 12 dB at 12 kHzshelving type

Frequency [Hz]

MID: 12 dB at 250 Hz5 kHzsweepable type LOW: 12 dB at 80 Hzshelving type

3 AUX controls

These rotary controls are used to send the input channel signal to the AUX SEND outputs for processing by external effects processors.
4 CUE PAN & LEVEL controls
These two controls are used to adjust the level and pan of the CUE signal. The CUE signal source depends on the [FLIP] switch. With the [FLIP] switch set to the up position, the signal source is the tape track (i.e., the signal being recorded or played back). With the [FLIP] switch set to the down position, the signal source is the MIC/LINE inputs. This setting is typically used during mixdown, when the tape track signal is fed through the input channel. This allows you to connect extra sound sources using the CUE controls.

5 FLIP switch

This switch is used to select the signal sources for the input channel and CUE controls. With the [FLIP] switch in the up position, the MIC/LINE input signal is fed to the input channel and the tape signal is fed to the CUE controls. With the [FLIP] switch in the down position, however, this is reversed: the MIC/LINE input signal is fed to the CUE controls and the tape signal is fed to the input channel.

Stereo Inputs

6 PAN control
This rotary control has two functions: For recording its used in conjunction with the GROUP ASSIGN switches to assign the input channel signal to even and odd numbered groups. For mixdown its used to pan (i.e., position) the signal in the stereo mix.

7 GROUP ASSIGN switches

These switches are used to assign (i.e., send) the input channel signal to groups. They work in conjunction with the PAN control. For example, with GROUP ASSIGN switch [12] ON and the PAN control set midway, the channel signal is sent equally to Groups 1 and 2. With the PAN control turned fully counterclockwise (L/ODD), however, the channel signal is sent only to Group 1. Likewise, when it is set fully clockwise, the signal is sent only to Group 2. The same principle applies to GROUP ASSIGN switch [34].
8 SIGNAL & PEAK indicators
The SIGNAL indicator shows when a signal is present in the input channel. It lights up when the signal is approximately 10 dB below the nominal level. The PEAK indicator shows that a signal is about to clip. It lights up when the signal is 3 dB below the clip point. Adjust the GAIN control so that the PEAK indicator lights up momentarily at the loudest signals. For input channels 58 that do not have GAIN controls, adjust the output level of the source device.

9 Fader

This fader has two functions: For recording its used to adjust the level of the input channel signal thats recorded to a track. For mixdown its used to balance the input channel signal relative to the other input channel signals. For optimum performance, faders should be positioned about the 78 mark.

9-10 11-12 13-14

1 ST INPUT controls These rotary controls are used to adjust the level of the Stereo input signals that are sent to the Stereo bus for mixing. Theyre also used in conjunction with the GROUP ASSIGN switches to adjust the level of the Stereo input signals that are assigned to groups. 2 GROUP ASSIGN switches These switches are used to assign (i.e., send) the Stereo input signals to the groups. The left-channel signal is sent to odd Groups 1 and 3. While the right-channel signal is sent to even Groups 2 and 4. The Stereo input signals could be the stereo output signals from another mixer or external effects processor. Note that the Stereo input signals are always sent to the Stereo bus for mixing regardless of these switch settings.

5. Turn the PAN control to L/ODD. This sends the signal to just Group 1.
The following table show the relationship between the PAN control and Groups.

GROUP ASSIGN

Destination Group Group 1

R EVEN

Group 3 Group 2

Group 4

6. Press the MONITOR SELECT [CUE] switch. This sets the monitor source to CUE. 7. Set the MONITOR LEVEL control midway. 8. Set the GROUP 1 MASTER level control midway. 9. Press REC SELECT button [1]. A circle ashes around track indicator 1. 10. Raise Channel 1 fader to the 78 mark. Track 1 meter shows the signal level. 11. Set the CUE LEVEL control on Input Channel 1 midway. You should now be able to hear the sound source. If you dont hear anything, recheck the preceding steps. 12. Adjust the GROUP 1 MASTER level control so that the loudest signals light
the +9 dB indicator. When the dbx noise reduction system is not used, adjust the level control so that the loudest signals light the +3 dB indicator.
Its important to set the GROUP MASTER level control correctly. Too low a setting may result in a noisy recording. Too high a setting, on the other hand, may result in distortion.
13. Press the [REC/PAUSE] button. The REC/PAUSE indicator lights up. The circle around the number of the selected track stops ashing and lights up continuously. The MT8XII waits in Record Pause mode.
The MT8XII is now ready to record. All you have to do to start recording is press the [PLAY] button. So make sure that your music source is ready to go. If you want to cancel Record Pause mode, press the [STOP] button.
14. Press the [PLAY] button to start recording. Recording starts and the tape counter shows the recording time. 15. Press the [STOP] button to stop recording. Youve now recorded your rst track.
Listening to the First Track
1. Press the [RTZ] button to rewind to 00:00. 2. Press the [PLAY] button to start playback. You should now be able to hear what was recorded on Track 1. Adjust the CUE LEVEL control as required. If you dont hear anything, recheck the preceding steps.

Overdubbing

Overdubbing is the technique used to record new sounds to empty tracks while listening to the sounds already recorded on other tracks. The following overdubbing procedure can be used to record on tracks 2 through 8.
1. On the input channel previously used for recording, set the fader to zero and set the GROUP ASSIGN switches to OFF. 2. Press the [REC SELECT] button of the track recorded previously to unselect it. The ashing circle around the track indicator disappears. 3. Press the [RTZ] button to rewind to 00:00. 4. Connect a sound source to another MIC/LINE INPUT. 5. Set the [FLIP] switch to the up position. 6. Adjust the GAIN control so that the SIGNAL indicator lights up most of the time, and the PEAK indicator lights up momentarily on the loudest sounds. For input channels 5 through 8, which dont have GAIN controls, use the output level controls on the source device to adjust the signal level.

7. Press a [GROUP ASSIGN] switch on the channel being used. 8. Use the PAN control to assign the signal to odd or even numbered group. 9. Set the GROUP MASTER level control midway. 10. Press the [REC SELECT] button of the track that you want to record. A circle ashes around the number of the selected track and the meter shows the signal level. 11. Raise the Channel fader to the 78 mark. The track meter shows the signal level. 12. Set the CUE LEVEL control on the corresponding input channel midway. Note that this not the input channel sending the signal. Its the input channel whose number corresponds with that of the track being recorded. For example, to monitor Track 5, use the CUE LEVEL control on Input Channel 5. The CUE PAN control can be used to pan the signal.
You should now be able to hear the sound source. If you dont hear anything, recheck the preceding steps.
13. Adjust the GROUP MASTER level control so that the loudest signals light the +9 dB indicator. When the dbx noise reduction system is not used, adjust the level control so that the loudest signals light the +3 dB indicator. 14. Press the [REC/PAUSE] button. The REC/PAUSE indicator lights up. The circle around the number of the selected track stops ashing and lights up continuously. The MT8XII waits in Record Pause mode.
Note: You could press the [REHE] button instead to rehearse the overdub.
15. Press the [PLAY] button to start recording (or Rehearsal). Recording (or Rehearsal) starts and the tape counter shows the recording time. 16. Use the CUE LEVEL controls corresponding to previously recorded tracks to balance the levels between what was previously recorded on other tracks and what you are recording now. 17. Press the [STOP] button to stop recording (or Rehearsal). 18. Press the [RTZ] button to rewind to 00:00. 19. Press the [PLAY] button to play back what youve recorded. If you just rehearsed the overdub, there wont be anything to play back yet. 20. Use the CUE level controls to adjust the monitor level of each track. Repeat this procedure until youve recorded all tracks. Then youre ready for mixdown.

Mixdown

Mixdown is the nal technique in multitrack recording. Here you mix the sounds from all eight tracks, with EQ and effects, into a balanced stereo mix and record it to a stereo master recorder, such as a DAT, MiniDisc, or cassette tape machine.

PanUse the input channel PAN controls and the CUE PAN controls to pan signals. EQUse the EQ to shape the tone of the signals fed to the input channels. Apply EffectsUse the AUX SENDs to patch in external effects processors. See Using Effects on page 33 for more information. You cannot use EQ and effects with the signals that are controlled using the CUE controls. You could, however, connect an external equalizer or effects processor between the sound source and the MT8XII input. If you are using the MIC/LINE inputs to connect MIDI-controlled instruments, such as tone generators, synthesizers, and samplers, you can use the EQ and effects functions built into these devices.
10. Record the nal mix to your stereo master recorder.
An Overview of Multitrack Recording
This section describes the fundamental principles of multitrack recording.

Basic Multitracking

MonitoringThis is the process of listening to a sound as its being recorded or listening to recorded sounds as new sounds are recorded to other tracks. See About Monitoring on page 21 for more information. Recording the First TrackThe rst track to be recorded is typically the drum track. A drum track that starts before other instruments makes a good timing and count-in reference. If your song starts with several instruments on the rst bar, you may nd it helpful to record a temporary count-in on another track, which can be erased later. See Recording the First Track on page 15 for more information. OverdubbingThis is the technique of recording new sounds to empty tracks while listening to the sounds that youve already recorded on the other tracks. Essentially, songs are recorded track-by-track. This technique is used for most modern studio recording. See Overdubbing on page 16 for more information. MixdownThis is the nal technique in multitrack recording. Here you mix the sounds from all eight tracks, with EQ and effects, into a balanced stereo mix and record it to a stereo master recorder, such as a DAT, MiniDisc, or cassette tape machine. The MT8XIIs [FLIP] button allows you to mix the eight track signals with eight signals from other sound sources (e.g., from MIDI-controlled instruments). In combination with the ST INs and TAPE IN, this provides up to 20 sound sources during mixdown. See Mixdown on page 18 for more information.

6. At the point where you want to punch out, press the [PLAY] button. Recording stops. The REC/PAUSE indicator goes off. The circle around the track indicator ashes.
Through the CUE monitor (i.e., [FLIP] switch in the up position) youll hear the existing sounds playback. Instead of pressing the [PLAY] button you could have pressed the [REC SELECT] button to punch out. In this case, the MT8XII remains in Play Record Wait mode, so you can punch in again using the [REC SELECT] buttons.
7. Press the [STOP] button to stop playback. The following illustration shows how punch in/out works with the [REC SELECT] buttons.

Record Pause

Play Record Wait

Using a Footswitch

1. Connect an optional footswitch to the PUNCH I/O jack. 2. Locate to a position before the point at which you want to punch in. 3. Press the [REC SELECT] button of the track that you want to record. A circle ashes around the corresponding track indicator. 4. Press the [REC/PAUSE] button. The REC/PAUSE indicator ashes, indicating Record Pause mode is engaged. 5. Press the footswitch to start playback. Playback starts and the PLAY indicator lights up. The REC/PAUSE indicator continues to ash. 6. At the point where you want to punch in, press the footswitch again. Recording starts. The REC/PAUSE indicator lights up. The circle around the track indicator stops ashing and lights up continuously.
If youre monitoring the track via CUE (i.e., [FLIP] switch in the up position), youll hear the existing sounds playback until the footswitch is pressed. After which youll hear the new sound thats being recorded.
7. At the point where you want to punch out, press the footswitch again. Recording stops. The REC/PAUSE indicator goes off. The circle around the track indicator ashes.
Through the CUE monitor (i.e., [FLIP] switch in the up position) youll hear the existing sounds playback.
8. Press the [STOP] button to nish. The following illustration shows how punch in/out works with a footswitch.

Auto Punch In/Out

The Auto Punch In/Out function automates the punch in/out procedure, allowing you to concentrate on your playing or singing. You can rehearse the punch in/out repeatedly until you are ready to perform the punch in/out for real. An optional footswitch can be connected to the PUNCH I/O jack on the MT8XII for use with the Auto Punch In/Out function.
Setting the Punch In/Out Points
1. Locate to a position before the point at which you want to punch in. 2. Press the [AUTO PUNCH I/O] button. This sets the pre-roll point. The AUTO PUNCH I/O and REHE indicators ash. 3. Press the [PLAY] button (or footswitch) to start playback. Playback starts and the PLAY indicator lights up. The REHE and IN indicators ash and the REC/PAUSE indicator ashes quickly. 4. At the point where you want to set the punch-in point, press the [REC/PAUSE] button (or footswitch). The IN indicator stops ashing and lights up continuously, indicating that the punch-in point has been set. The REHE and OUT indicators ash. The PLAY indicator ashes quickly. The REC/PAUSE indicator goes off. 5. At the point where you want to set the punch-out point, press the [PLAY] button (or footswitch). The OUT indicator and PLAY indicator stop ashing and light up continuously, indicating that the punch-out point has been set.

Performing the Ping-Pong for Real
11. Press the [RTZ] button to rewind to the beginning of the song. 12. Press the [REC/PAUSE] button. The REC/PAUSE indicator lights up and the circle ashes around the corresponding track indicator stops ashing and lights up continuously. 13. Press the [PLAY] button to start recording. Recording starts and the PLAY indicator lights up. 14. When the song has nished, press the [STOP] button.
Checking the Ping-Pong Operation
15. Press the [RTZ] button to rewind to the beginning of the song. 16. Press the MONITOR SELECT [GROUP] switch that you pressed previously to monitor the destination track. 17. Press the MONITOR SELECT [CUE] switch. 18. On the input channel that corresponds to the destination track (e.g., input channel 5 for track 5), set the [FLIP] switch to the up position. 19. Set the CUE LEVEL control corresponding to the destination track to midway. 20. Press the [PLAY] button to start playback. You should now be able to hear the new combined track.

Ping-Pong Notes

There are several things to be aware of when using the ping-pong technique. Do not try and bounce a track to itself. That is, make sure that the destination track is not one of the source tracks. Otherwise, an unpleasant oscillation noise may be produced. Repeated ping-pong operations do affect the sound quality. Try to keep ping-pong operations to a minimum. Avoid bouncing tracks to adjacent tracks on the same half of the recordplay head. Its okay to bounce from Track 4 to Track 5 because they are on different halves of the head, as shown here. The illustration below shows three ping-pong combinations to avoid and three that are okay.
Track 8 Track 7 Track 6 Track 5 Track 4 Track 3 Track 2 Track 1 Track 8 Track 7 Track 6 Track 5 Track 4 Track 3 Track 2 Track 1 Track 8 Track 7 Track 6 Track 5 Track 4 Track 3 Track 2 Track 1

Ping-Pong with Overdub

The ping-pong technique can be combined with overdub recording. This allows you to bounce down tracks and record a new sound source simultaneously. In the following illustration, for example, Tracks 1, 2, and 3 are bounced to Track 4 along with a new signal coming from Input Channel 4.

Overdub Source

1. Connect a sound source to an unused input channel (i.e., one thats not used with an existing source track). Input channel 4 is used in the example above. 2. Set the GAIN control as appropriate. 3. On input channels 1, 2, and 3, set the [FLIP] switch to the down position. 4. On input channels 4 and 5, set the [FLIP] switch to the up position. 5. Set the fader to the 78 mark. 6. Use the ASSIGN switches and PAN control to assign the signal to the destination track. 7. Continue with Preparing for Ping-Pong on page 30. During rehearsal, balance the level of the new source with the existing tracks.

Mixing Tips

This section provides tips and techniques for achieving the perfect MT8XII mix. Inputsfor mixdown, the [FLIP] switches are set to the down position and the eight input channels feed the tape signals to the Stereo bus for mixing. Combined with the ST INPUTs, which can be used to connect external effects processors, this provides 14 input sources. If you need to connect more sound sources, the CUE monitors can be used. When the [FLIP] switches are set in the down position, the MIC/LINE input signal is fed to the CUE monitor level and pan controls. Setting the [CUE MIX TO STEREO] switch to ON feeds the CUE monitor signal into the Stereo bus. This provides a total of 20 simultaneous input sources. Balance levelsyou should already have some idea of how you want your mix to sound. This will, obviously, depend on the application and the instruments being mixed. Start with all faders positioned at the 78 mark. This is an optimum setting with regard to mixer performance and leaves you with some headroom to increase levels later. If one particular instrument is too quiet, rather than increasing its level it may better to try reducing the levels of some of the other instruments. If you keep raising faders bit-by-bit, youll soon end up with some faders set at maximum and no room for further adjustment. Vocal and instrument levels should be balanced to create an agreeable sound mix. Nothing too loud, nothing too quiet. What needs to be heard (i.e., vocals, solo instruments) can be, and backing instruments are where they belongin the background. Pan the soundspan allows you to position sounds from left to right in the stereo eld. This is often used to provide space for individual instruments. Bass instruments and lead vocals are usually panned around center. Rhythm guitar maybe panned to the left and lead guitar or piano, to the right. Balance tonal contentyou can use EQ to lter out any unwanted hiss, hum, or frequency abnormalities in a sound. Instruments with overlapping frequencies often cause peaks at certain points in the audio spectrum when mixed. Using the EQ you can cut back some of these overlapping frequencies. This will improve the separation between instruments and provide a more tonally balanced mix. The overall sound should be tonally balanced so that the low, mid, and high bands of the audio spectrum contain an equal amount of sound energy. Too much bass or treble leads to listening fatigue. With EQ, it is often better to cut than boost. Individual track monitorwhen several instruments are mixed, it can be difcult to make individual judgements about them. By temporarily setting the [FLIP] switches on other input channels to the up position, you can monitor an individual track. If you can hear noise or other unwanted sounds, use this technique to listen to each track in isolation and correct as necessary. Note that if you are using the MIC/LINE inputs to connect sound sources in addition to the tape tracks, youll hear those sources when you press the [FLIP] switches. Apply effectsvocal and percussion sounds always benet from the addition of a little reverb. Reverb adds that professional sparkle that you hear on most modern recordings. If you dont yet have an effects processor, a reverb unit is probably the most useful type of effects processor to start with.

MIDI IN MIDI OUT MIDI THRU

SMPTE IN

SMPTE OUT

SMPTE/MIDI Converter

MIDI OUT

MIDI IN MIDI OUT 1

Computer & MIDI sequencer software

MIDI OUT 2

Striping the Tape
1. Connect the MT8XII to the SMPTE timecode generator or FSK/MIDI converter as shown in the previous section. 2. If you are using FSK, press the [SYNC] button once. If you are using SMPTE timecode, press the [SYNC] button twice. The SYNC indicator lights up for FSK operation or ashes for SMPTE timecode operation.
Its important that you set the MT8XII to work with the SYNC signal format that you are using, and use the same setting for synchronized playback.
3. Press the REC SELECT button for Track 8. A ashing circle appears around track indicator 8. 4. Prepare the MIDI sequencer and SMPTE/MIDI or FSK/MIDI converter. For SMPTE timecode, typically 30 frames/second is used in the United States and 25 frames/second in Europe. 5. Set the level of the SYNC signal. You will have to start the MIDI sequencer or SMPTE timecode generator to do this. For FSK, set the SYNC LEVEL control on the rear of the MT8XII midway. 6. Press the [REC/PAUSE] button. The REC/PAUSE indicator lights up and the MT8XII waits in Record Pause mode. 7. Press the [PLAY] button to start recording. The PLAY indicator lights up and recording starts. 8. After about 5 seconds, start the MIDI sequencer. The SYNC signal is recorded onto Track 8.
Stripe the tape for the length of the song to be recorded. Its a good idea to record the SYNC signal beyond the end of the song. Then you can easily extend the song. You cant make the SYNC signal longer once its been recorded.

Synchronized Operation

1. Press the [RTZ] button to rewind the tape back to 00:00. 2. Press the [REC SELECT] button for Track 8 to unselect it. 3. Set the SMPTE/MIDI or FSK/MIDI converter for conversion in the opposite direction (i.e., SMPTE or FSK to MIDI). 4. Set the MIDI sequencer for external synchronization. Refer to your MIDI sequencers user manual for more information. 5. Press [PLAY] on the MT8XII. The MIDI sequencer should synchronize and play along with the MT8XII.
You can now record sounds to the MT8XII tracks and record MIDI performance data to the MIDI sequencer, which is synchronized to the MT8XII. The overdub, ping-pong, and mixdown techniques work the same for synchronized operation. The MT8XII outputs the SYNC signal during playback, rehearsal, and recording. So the MT8XII and MIDI sequencer work together seamlessly.

MT8XII Applications

This chapter shows how the MT8XII can be used for various applications.

MIDIAn acronym for Musical Instrument Digital Interface. An internationally agreed standard that allows electronic musical instruments and audio equipment to communicate. MixdownThe process of mixing the individual track signals into a well-balanced stereo mix. Mixdown is the nal stage of the multitrack recording process. MultitrackerAn all-in-one recording and mixing device, such as the MT8XII, usually with four or eight tracks. Nominal LevelSee Operating Level. One-Take RecordingA recording technique in which all sounds are recorded in one go (i.e., no overdubs). This is used for live recording. Operating LevelThis is the signal level at which a piece of audio equipment is designed to operate. The two most common operating levels are 10 dBV (316 mV), which is used for semiprofessional equipment, and +4 dBu (1.23 V), which is used for professional equipment. Overdub RecordingThe process of recording additional sounds while listening to previously recorded sounds. It allows songs to built up track-by-track. PanningA technique used to position sounds in a stereo mix. Phone JackA 1/4-inch socket commonly used on audio equipment. Phono JackAlso know as an RCA jack, this type of connector is often used on semiprofessional audio and video equipment. Pinch RollerThe small rubber wheel that pinches the tape between itself and the capstan to drive the tape. Ping-PongA recording technique used to transfer (i.e., mix and rerecord) one or more tracks to other tracks to free up those tracks for further recording. Pre-Roll PointThis is the point before the actual punch in point at which the Auto Punch In/Out sequence starts. When the Auto Punch In/Out sequence is complete, MT8XII rewinds automatically to the pre-roll point. Post FaderA point in the signal path after a fader. The signals for the MT8XII AUX controls are sourced post-fader. So as well as turn up the AUX control, you must also raise the fader. This has the advantage that the level of the processed signal from the external effects processor is controlled in unison with the unprocessed signal that is controlled by the fader. Post-Roll PointThis is the point ve seconds after the actual punch out point at which the Auto Punch In/Out sequence ends, and MT8XII rewinds automatically to the pre-roll point. Punch In/OutA recording technique that allows you to rerecord specic sections of an existing track. MT8XII provides both manual and automatic punch in/out operations. RTZAn abbreviation for Return To Zero. Pressing the [RTZ] button on the MT8XII rewinds automatically to the 00:00 tape position. SignalSounds travel through audio equipment as electrical signals. Signal to Noise Ratio (S/N)In an audio system, the difference between the nominal signal level and the residual noise oor, usually expressed as a ratio in decibels. Its used as a measure of an audio systems noise performance. SMPTE TimecodePronounced simpty, SMPTE timecode is the timecode format used for television tape recorders by the SMPTE (Society of Motion Pictures and Television Engineers) in the United States and the EBU (European Broadcast Union) in Europe. Unlike FSK that consists of simple clock information, SMPTE timecode contains clock and position information. So playback can be started at any position on the tape. SMPTE timecode can be recorded on Track 8 of the MT8XII. During playback, the SMPTE timecode is converted to MIDI Clock signals to control a MIDI sequencer. An optional SMPTE/MIDI converter is required for this.

MULTITRACK CASSETTE RECORDER

Mode d'emploi

GAIN GAIN

LINE HIGH

MIC HIGH HIGH HIGH HIGH

ST-INPUT

12 FREQ

250 MID

LOW +LOW +LOW +LOW +LOW +LOW +LOW +LOW +12

12 AUX 1

GROUP MASTER

TAPE IN

0 AUX 2

10 AUX 2

10 GROUP 1
MIX LEVEL TO MONITOR TAPE IN TO STEREO 3 GROUP

10 P A N

10 P A N 10 GROUP 2

R L E V E L

STEREO
0 MIC/ LINE TAPE PAN FLIP

10 TAPE MIC/ LINE

0 LINE TAPE PAN FLIP

10 TAPE LINE

10 TAPE LINE GROUP 3 CUE MONITOR SELECT

NOISE REDUCTION SYSTEM

IN MEMO OUT

REPEAT

+9 +6 +3 0dB REC 7 8

+9 +6 +3 0dB 10 20

L R ODD EVEN GROUP ASSIGN

10 GROUP 4

MIN MAX MONITOR LEVEL ON OFF

AUTO PUNCH

CUE MIX TO STEREO 3 4

PEAK SIGNAL

TAPE SPEED

VARI FIX GROUP

REC SELECT

AUTO PUNCH I/O RESET RTZ

MEMO 1

MEMO 2

REC/PAUSE

PHONES PUNCH I/O

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

IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
IMPORTANT: The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug. * This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.
Explanation of Graphical Symbols

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to 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.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

SAFETY INSTRUCTIONS

1. 2. 3. 4. 5. Read Instructions All the safety and operating instructions should be read before the appliance is operated. Retain Instructions The safety and operating instructions should be retained for future reference. Heed Warnings All warnings on the appliance and in the operating instructions should be adhered to. Follow Instructions All operating and use instructions should be followed. Water and Moisture The appliance should not be used near water for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, and the like. Carts and Stands The appliance should be used only with a cart or stand that is recommended by the 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. 8. Wall or Ceiling Mounting The appliance should be mounted to a wall or ceiling only as recommended by the manufacturer. Ventilation The 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. Heat The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers) that produce heat. 10. Power Sources The 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 Polarization The precautions that should be taken so that the grounding or polarization means of an appliance is not defeated. 12. Power-Cord Protection Power-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. Cleaning The appliance should be cleaned only as recommended by the manufacturer. 14. Nonuse Periods The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time. 15. Object and Liquid Entry Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. 16. Damage Requiring Service The 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 damaged. 17. Servicing The user should not attempt service the appliance beyond that described in the operating instructions.