YAMAHA
AUTHORIZED PRODUCT MANUAL
MULTITRACK CASSETTE RECORDER

OPERATING MANUAL

Congratulations on your choice of the New Yamaha MT1X Multitrack Cassette Recorder. The MT1X is a compact multitrack recorder with a recording mixer, and is equipped with numerous versatile functions. Using conventional cassette tapes, the MT1X makes it easy for you to produce high quality multitrack recordings. Besides use as a multitrack recorder, the MT1X can also be used as a PA mixer for small performances, as well as for editing soundtracks for videos. To take full advantage of the outstanding array of features, and for years of trouble-free operation, we urge you to thoroughly read this operating manual. After reading, keep it in a handy place for reference.

CONTENTS

BEFORE OPERATION. PLEASE NOTE THE FOLLOWING PRECAUTIONS. THE DIFFERENCE BETWEEN TRACKS AND CHANNELS. WHAT IS A MULTITRACK CASSETTE RECORDER?. THE CONTROLS AND THEIR FUNCTIONS.. MIXER SECTlON. RECORDER SECTION METER AND MONITOR SECTION. CONNECTOR SECTION. CONNECTION EXAMPLE. ABOUT CASSETTE TAPES. ATTACHING THE STRAP. WHEN USING THE BATTERY PACK. MULTITRACK RECORDING TECHNIQUES. ONE EXAMPLE OF A MULTITRACK RECORDING PROCESS. BEFORE RECORDING. MULTITRACK RECORDING. SYNC-RECORDING.. EDITING VIDEO SOUNDTRACKS. MAINTENANCE. BLOCK DIAGRAM. SPECIFICATIONS. INTRODUCTION TO THE ACCESSORIES. SERVICE. 38

BEFORE OPERATION

PLEASE NOTE THE FOLLOWING PRECAUTIONS:
ABOUT CASSETTE TAPE This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape formulations. CrO tape (Bias: HIGH; EQ: 70s) should be used. Also, the use of C-120 tapes is not recommended because they exhibit poorer performance, and can be the cause of equipment failure. ABOUT dbx In order to get proper sound reproduction, set the dbx switch ON when playing back tapes recorded with dbx on, and keep it OFF when playing back tapes recorded without dbx. *dbx and the dbx mark are trademarks of dbx incorporated. *The dbx system has been manufactured under license of dbx Incorporated. USING THE AC ADAPTOR Please use the AC adaptor supplied with this unit. Other AC adaptors may vary in plug dimensions, polarity, or output voltage, and their use with this unit could cause damage. CAUTIONS FOR THE AC ADAPTOR Do not plug or unplug the AC adaptor with wet hands - you could receive a very dangerous shock. To avoid shorts or cord breakage, do not pull the plug out of the AC outlet by pulling on the cord. Be sure to grasp the plug itself and pull it out. When leaving home for an extended period of time, or when the unit will not be used for a long time, unplug the AC adaptor. NOTE: The AC adaptor has been designed for use with 120V or 220-240V AC, and must not be used in areas with different voltage. FCC CERTIFICATION (USA) This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturers instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient the receiving antenna. Relocate the computer with respect to the receiver. Move the computer away from the receiver. Plug the computer into a different outlet so that computer and receiver are on different branch circuits. If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful: How to identify. and Resolve Radio-TV interference problems. This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4. PRECAUTION AGAINST LIGHTNING In the event of lightning or electrical storms, unplug the AC adaptor as soon as possible to avoid potential damage. DO NOT OPEN THE CABINET To avoid electrical shock or damage to the unit, do not open the cabinet and tamper with the parts or circuits inside. CONNECTING OTHER EQUIPMENT Make sure the power switch is OFF and the input fader is all the way down when connecting other equipment. M0VING THE UNIT To prevent shorts or breakage, make sure all connection cords have been removed from the unit before moving it. CLEANING THE CABINET Do not clean the unit with benzene or other powerful solvents, and avoid the use of aerosol insecticides near the unit. Clean the unit only with a soft, dry cloth.

Set the switch to this position to playback material which has already been recorded on this channel. Channels 14 correspond to tracks 14 on the tape.
GAIN CONTROLS The controls adjust the input level of the channel to match the output level of a microphone or instrument connected to input jack Control from -10dB to -50db is possible. Adjust the output level of the microphone or instrument as outlined in its instruction booklet.
SOUND CHARACTERISTICS OF THE EQUALIZER AND VARIOUS MUSICAL INSTRUMENTS
INPUT FADERS These controls adjust the volume of the signal input, and send it to the equalizer. Each control is used for setting the sound level of its channel when mixing it with the signals of other channels. Position 7 on the scale is considered ideal for the lowest noise and distortion characteristics. -----Normal frequency ----- Harmonic sound components If accurate and comprehensive sound equalization is required, connect a graphic equalizer or a parameteric equalizer between the sound source and the input jack. When recording material that you will intend to pingpong (see Ping-ponging on page 25), later, give the input somewhat of a high boost with the Hi control to help preserve the high frequency response when the track is re-recorded. PAN (PAN POT) CONTROLS After volume level and equalizing, the input signal is sent to these controls. During mixdown (see Mixdown on page 31), each control helps determine the acoustsic position of the signal in regards to the stereo field. Turning the control all the way to the left puts the signal all the way over to the left side of the stereo soundspace; turning the control to the right sends the signal towards the right. At dead center, the signal comes out equally from the left and right channels.
Be sure to set the control to O for channels not being used. EQUALIZER CONTROLS These controls are used to adjust the tonal characteristics of the input signal, or the channel output during playback of previously recorded material. The LO (low) controls adjust the frequencies centering around 100Hz, while the HI (high) controls adjust the frequencies centering around 10KHz, with a 10dB boost or cut range for both controls. Use of these equalizer controls will help you to get the type of sound you desire, and allow you to bring the sound forward, clean up unclear sounds, and push down sounds at annoying frequencies. In order to properly use these equalizers, its important to understand the frequency response characteristics of various musical instruments. This is particularly true when trying to change the sound of a certain instrument, because you should know that instruments harmonic sound components as well. For example, the normal frequency range of a bass drum is between 50Hz and 150Hz. To bring out this sound so you can feel it better, the LO (low) control (which centers on the 100Hz frequency band) can be moved up a little. But the harmonic sound components are around 10KHz, so the HI (high) control should also be moved up a little to achieve the proper sound profile of the bass drum.

ST OUT JACKS

The mixed signals of each channel (and each track) are output in stereo signal through these jacks. Since these jacks output the final mix, a stereo cassette deck can be connected. These jacks can also be used as follows. The MT1X can be used as a sub-mixer, with the output sent to a main mixer through this jack. A stereo amplifier or powered monitor speakers can be connected through this jack.

AUX SEND JACK

This jack outputs the mixed signal from the Aux bus, and is used as an output terminal for the connection of an effects device. This can also be used as an additional monitor output.

AUX RTN JACKS

These jacks are used to input the signal from an effects device back into the MT1X. As well, the mixed output from an external mixer can be connected to these jacks. Please note that if only a single plug is inserted into either one of these jacks, the signal will be sent to both Left and Right channels. This is useful if the effects device being used is mono.

CONNECTION EXAMPLES

BASIC CONNECTION LAYOUT FOR MULTITRACK RECORDING

ABOUT CASSETTE TAPES

This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape formulations. CrO tape (Bias: HIGH; EQ: 70s) should be used. Also, the use of C-120 tapes is not recommended because they exhibit poorer performance, and can be the cause of equipment failure. Preventing accidental erasure of recordings To keep from inadvertently erasing a prized recording, all cassette tapes have record protection tabs along the top 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. For 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 tape. PREVENTING ACCIDENTAL TAPE ERASURE: Taking up tape slack If the tape is used when it 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.

MULTITRACK RECORDING TECHNIQUES
Before you try to attempt a multitrack recording on your own, its absolutely essential that you understand the function of all the controls, switches, and connectors in each section. In addition, you should spend an adequate amount of time to familiarize yourself with the block diagram on page 35. It may appear hard to understand at first, but after carefully looking it over, youll find that its not only easy to fo!low, but quite useful in understanding the various signal flows involved in using the CMX1. The numbers on the block diagram for the controls, switches, and connectors correspond to those used in the section titled The Controls, and Their Functions. ONE EXAMPLE OF A MULTITRACK RECORDING PROCESS Multitrack recording is usually used to record a rhythm section, with overdubbing and ping-ponging operations assisting in mixing the parts of the various musicians in the proper balance. Finally, the tape is mixed down to produce a stereo master tape. These are the steps in our example: Record the drums on track 1 Record the bass on track 2 Record the rhythm guitar on track 3 Ping-ponging tracks onto track 4 (freeing tracks 13) Record the keyboards on track 1 Record the lead guitar on track 2 Record the vocals on track 3 Mixdown tracks to produce a stereo master tape mere instant, its not a problem. However, if theyre peaking out for more than a second or two, then distortion may become a problem. Its also important to remember that distortion at lower frequencies is less apparent than distortion at higher frequencies. dbx SYSTEM Keep the dbx switch ON to expand dynamic range and to reduce inherent tape noise. STEREO POSITIONING Its important to think about the acoustic position of all the instruments well before you start your multitrack recording. You should take into account a certain amount of noise caused by ping-ponging and mixdowns planned for later on. Heres one example of acoustic positioning. Set the bass drum and the snare drum center, with the tomtoms and high hat set off to either side to bring out the stereo effect. The bass and other heavy instruments should be in the center, with the keyboards to the left and the guitar to the right. Solo instruments and voices should span both right and left. Solo instruments with a stereo output can have their left channel connected to a delay machine, while the right channel is recorded directly. You can probably think of many other different ways to arrange the soundstage. EQUALIZATION AND EFFECT PROCESSING Equalization and effect processing are usually added at the ping-pong and mixdown stages. In multitrack recording, these types of signal processing can be decided on later, and employed to any degree necessary. However, the MT1X is limited in the number of effects which can be used during mixdown, so its best to use them during the initial recording stages. Monitoring BEFORE RECORDING RECORDING LEVEL In making a good recording, the most important step is setting the ideal recording level. If the level is too low, the recording will contain a lot of noise and hiss; if the level is too high, the recording will sound distorted and unclear. Set the recording level at a fairly high level, but not so high as to result in any noticeable distortion. The CMX1 is equipped with peak level meters which show the level of each track, as well as the level of the stereo output signal. Use these meters to help you set the ideal recording level, because the human ear has difficulty in detecting distortion immediately. If the level meters peak out (show the maximum reading) in a In addition to circuits for signal recording, this unit also features a separate monitor circuit to allow the performer to monitor the levels and positioning of the recording in progress through a pair of headphones. In this case, set the PHONES SELECT switch to the MONITOR position. Adjust the volume level and stereo positioning of each track with its MONITOR LEVEL and MONITOR PAN controls. In addition, powered monitor speakers can be directly connected to the ST OUT jacks or the AUX SEND jack, though this makes it impossible to use these jacks for external recording or effects. Using speakers during recording off lines presents no problems, but when microphones are used, feedback can result when the microphone picks up sound from the speakers. In this case, monitoring through headphones becomes absolutely necessary.

MULTITRACK RECORDING PLAN YOUR RECORDING
A clear plan is essential before you begin multitrack recording. If you begin cold, without regard to all the steps involved, you may record yourself into a corner by running out of available empty tracks, missing the chance to add effects at the proper points, losing control over the final stereo positioning of the instruments, and creating the need for more ping-pong and mixdown recording operations than really necessary. Although you can perform ping-pong and mixdown operations without limit, a certain amount of noise and sound degradation results during these operations. Its best to hold pingponging down to 1 or 2 operations in order to achieve good sound quality. So before you start, plan your recording carefully what order the parts will be recorded in, what instruments will go on which tracks, how and when effects will be used, when recorded tracks will be ping-ponged, and what sort of end result is desired. The recording process of the example we will explain in this section is illustrated on page 16.

RECORDING THE DRUMS

The drums will be recorded on track 1. In recent years, drum machines and rhythm machines have made an appearance, with Yamaha coming out with the highperformance RX11, RX15, and RX21 Digital Rhythm Programmers. However, for this example we will be recording a conventional set of drums. Though many will be recording with electronic drums, the basic approach is the same. The MT1X has four input jacks, enabling the setting up of the four microphones for recording, as shown in the diagram. Through the MT1Xs mixing section, the sounds recorded by these microphones are mixed down onto track 1. YAMAHAs REV7 Digital Reverberator can be used for reverb effects. It also features echo and delay programs as well as gate reverb and even kick drum programs enabling you to freely obtain various effects to suit each individual song.
Signal route when recording drums

Drum Recording Procedure

1. Connections
Plug the AC adaptor into an AC outlet, and insert the small round plug into the DC IN jack. Plug the four microphones into input jacks 1-4.

2. Getting ready

Lift open the cassette door and insert a chrome position (CrO2) tape. Bias: HIGH, Eq: 70us. Return all the switches and controls to their normal positions, referring to the control panel illustration on pages 4~9. Turn the power switches on for the effect and microphones, and then turn the MT1X ON. The POWER indicator will light. 3. Setting up the recorder section Press the RESET switch to return the counter to 000". Turn ON the ZERO STOP switch. Turn ON the dbx switch. Set the RECORD SELECT switch 1 to the L position. This is to record the Left stereo signal onto track 1. The REC indicator will begin flashing.

Track 1 Track 2 Track 3 Track 4 20
Make sure this switch is in the 4 TRK position.
Set this so you can monitor track 1.
Press to check the recording on track 1, then rewind. to
*Explanation diagram of steps
8. Post recording check Return all switches and controls to their normal positions. Set the PHONES SELECT switch to the MONITOR position, turn MONITOR LEVEL control 1 to 7: then turn the PHONES volume control to about 7. Make sure the METER SELECT switch is set to 4 TRK". Press the PLAY switch, and check the sound recorded on track 1 by headphones, and by looking at the level meter.
At this point, if the track is recorded properly and there doesnt seem to be any problems, press the REW switch and reset all the knobs and controls to their normal positions. Now its time to record the bass. If the recording is not to your satisfaction, you can rerecord the whole track. Or you can use the punchin/punch-out technique to record over a certain spot on the tape. Its explained on page 27.
RECORDING THE BASS GUITAR BY OVERDUBBING
Overdubbing is the playing back previously recorded tracks while recording a new instrument on a different track. With this technique, its possible for one musician to play many different instrumental parts on a single recording. If youre multitalented, multitrack overdubbing can clone you into your own group. Now, were going to record a bass guitar on track 2 to synch with, or match, with the drum part already recorded on track 1. There are two ways to record the bass: place a microphone in front of the bass amp, or run a direct line from the bass into the recorder. If youre after a really clear recording, direct line recording is the way to go. If youre using an effect of some sort, youll want to run a noise gate thru the final stage of the effect. This is true with all electrified musical instruments. Another idea is to use the Yamaha GC2020 comp/limiter. In addition to the compresser and limiter functions, the noise gate function can prove to be very convenient.
Signal Path when Recording the Bass Guitar

Bass guitar recording procedure
1. Connections Connect everything through input jack 2 as follows. If the GC2020 is being used, connect it between the amplifier and input jack 2. When not using a bass amp, the use of a direct box is recommended.
2. Setting the recorder Make sure the tape has been rewound to the 999 point on the counter. (This also goes for the rest of the steps.) Keep the ZERO STOP switch ON until mixdown. (This also goes for the rest of the steps.) Keep the dbx switch ON until mixdown. (This also goes for the rest of the steps) Set the RECORD SELECT position to 2, the REC indicator will flash to show that the bass guitar connected to input jack 2 will be recorded on track 2. Press the pause switch to start the recording. The REC indicator will light up completely. 3. Setting the monitor and meter sections Set the PHONES SELECT switch to the MONITOR position. Turn MONITOR LEVEL controls 1 and 2 to about 7: Set the PHONES volume level to about 7. Make sure the METER SELECT switch is in the 4 TRK position.
Connect the monitor headphones. Until the mixdown process, only use headphones and avoid using monitor speakers. (This also goes for the rest of the steps.) 23

Equalizer controls

Press the PAUSE button and adjust the monitor levels
Set to the MIC/LINE position Set by the reading on the level meter Push up to about 7 Set after setting equalization *Explanation diagram for steps to
4. Adjusting the Input level Set the input selector switch to the MIC/LINE position. Push input fader 2 up to about 7. Start playing the bass guitar, and slide gain control 2 towards the MIC direction, stopping when the +3 indicator on the level meter second from the left flashes occasionally on the sound peaks. 5. Adjusting the recording level and sound characteristics Operate the equalizer controls for channel 2 to get the desired tone. (If you plan to ping-pong this track later, boost up the treble a little bit with the HIGH EQ control.) Use input fader 2 to adjust the recording level according to the reading on the meter second from the left. 6. Adjusting the monitor sound Press the PAUSE switch to start the tape, and set the sound balance of the bass guitar and drums. If necessary, control the combined volume level with the PHONES volume control. Now, using MONITOR PAN controls 1 and 2, decide the left/ right stereo positioning of the two tracks. (During this, the bass guitar will be recorded on track 2.)

Set the equalizer controls for each, channel, 13, to get the desired tone for each instrument. AFTER PING-PONGING IT WILL BE IMPOSSIBLE TO CHANGE THE TONE OR LEVEL BALANCE FOR EACH INSTRUMENT SEPARATELY. If necessary, repeat steps as many times as you like until everything sounds right. Rewind the tape, and reset to the REC PAUSE mode.
2. Setting the monitor and meter sections
Set the PHONES SELECT switch to the MONITOR position to monitor the sound recorded onto track 4. Turn the MONITOR LEVEL 4 control to about 7. Turn the PHONES volume control to about 7. Make sure the METER SELECT switch is set to 4 TRK":

4. Recording

Push the PAUSE switch to start recording. When ping-pong recording is finished, rewind the tape. Ping-pong Recording Completed

Track 1 Track 2 Track 3

3. Adjusting the level balance and sound characteristics
Set input selector switches to the TAPE position. Press the PAUSE switch to start the tape. Adjust the input balance of each track with the input faders 1 through 3. Set the overall level with the MASTER fader. Use the, level meter on the far right as the reference.

5. Post recording check

Just press the PLAY switch to check if everything was recorded properly. Return all switches and controls to their normal positions, and rewind the tape Next, we will record the keyboards.
RECORDING THE KEYBOARDS BY OVERDUBBING Now that the recording of the drums on track 1 has been ping-ponged onto track 4, this track is free for recording the keyboards. RECORDING THE LEAD GUITAR BY OVERDUBBING Just like with the keyboards, the lead guitar can be recorded on track 2. Both the keyboards and the lead guitar can be positioned Left and Right with the PAN controls during mixdown. Since delay and chorus effects will be added separately in stereo during mixdown, distortion and compression effects added in mono should be done during this stage. RECORDING THE VOCALS BY OVERDUBBING Vocals will be recorded on track 3. Just like with the drums, vocal recording should be monitored through the headphones.
PUNCH-IN/PUNCH-OUT Now lets explain the punch-in/punch-out technique. Mastering it will allow you to re-record even the smallest segment on a track without disturbing the rest of the track, or the other tracks. When all the tracks are playing back, press the REC switch to start the tape, punch in at the starting point of the section to be redone (set the RECORD SELECT switch of the track to be redone to the REC position for the new recording), and then punch out (return the RECORD SELECT switch of the track to the OFF position). With this technique, its also possible to insert a lead solo into an empty section of the vocal track. However, this sort of operation requires a blank section of tape on a track. NOTE: The RECORD SELECT switches of the MT1X can be operated by the optional FS-1 Foot Switch. The RECORD SELECT switch for the track to be redone must be set, and then it can be the foot can be used to punch in and punch out. Lets show you how punch-in/punch-out works. As an example, well explain how to re-do a segment of the vocal recorded on track 3.

Signal Path during Punch-in/Punch-out Operation
Before and after the punch-in, the sound from tracks 1-4 plus the new sounds to be recorded can be monitored. However, during the punch-in, only the sound from tracks 1, 2, and 4 plus the new sound being recorded can be monitored.
Punch-in/Punch-out Procedure
1. Connections Connect the vocal microphone through input jack 3. If the FS-1 Foot Switch is being used, connect it to the PUNCH IN/OUT jack. 2. Setting the recorder If the FS-1 Foot Switch is connected, set RECORD SELECT switch 3 to the 3 position. The REC indicator will flash. After pressing the PAUSE switch, press the REC switch. (If the FS-1 is being used, the unit is put into the REC PAUSE mode, and the REC indicator lights.) If the FS-1 is connected, set its foot switch so that the REC indicator flashes.
3. Setting the monitor and meter sections Set the PHONES SELECT switch to MIX. (If its not set to this position, you wont be able to monitor the new recording sound and the playback sound of tracks during punch-in/punch-out operation.) Turn the MONITOR LEVEL control to about 7. Turn the PHONES volume to about 7. Set the METER SELECT switch to 4 TRK.
*Explanation diagram for steps
4. Setting input levels Set input select switch 3 to MIC/LlNE. Set both input fader 3 and the MASTER fader to 7. Slide gain control 3 in the MIC direction, stopping when the +3 LED indicator on the. level meter third from the left flashes occasionally on music peaks. (Setting the same as when the vocals were initially recorded is recommended.) 5. Adjusting the recording level and sound characteristics Using the equalizer controls for channel 3, adjust for the desired sound characteristics. Its a good idea to set them where they were for the initial recording. After setting the equalization, set the recording level, preferably at the same level as the initial recording. 6. Recording Press the PAUSE switch to start the recording. Punch-in when you reach the passage that must be redone by sliding the RECORD SELECT switch to the 3 position. When using the FS-1, press on the foot switch. In both cases, the REC indicator will light.
Punch-out when you have finished redoing the passage by sliding the RECORD SELECT switch to the OFF position. When using the FS-1, press on the foot switch again. In both cases, the REC indicator will begin flashing. Rewind the tape. Punch-in/Punch-out Completed 7. Post recording check Press the PLAY switch to make sure the passage was redone correctly. Return all controls and switches to their normal positions, and rewind the tape. Were now ready for mixdown recording.

MIXDOWN (TRACKDOWN) Its now time for the mixdown. Often called trackdown or remix, mixdown is when all the four recorded tracks are mixed to achieve a certain sound balance in level, effects, and stereo positioning, and then recorded onto one side of a cassette tape in mono or stereo. This tape is the final master. In this next step, the instruments are put in their place in the stereo sound field, and a slight amount of reverb will be added to the vocal track with the REV7.
Signal Path During Mixdown

Mixdown Procedure

1. Connections Connect a stereo tape deck to the ST OUT jack, and insert a blank tape to record the final mix in stereo. Connect the REV7 Digital Reverberator through the AUX SEND jack and AUX RETURN jacks. 2. Setting the meter and monitor sections Set the PHONES SELECT switch to STEREO in order to monitor the mixed down sound. Turn the PHONES volume to about 7. Set the METER SELECT switch to STEREO so that the level of the mixed down signal will be indicated. 3. Adjust the level balance and sound characteristics Set all the input select switches to TAPE. Press the PLAY switch to start the tape, and adjust the level balance of each track. Push the MASTER fader up to 7: and then set the level balance with each channel fader. Adjust the sound characteristics for each track with the equalizer controls for channels 1 4. Add the effects to the vocal track using the AUX 3, AUX MASTER SEND, and AUX RTN controls.
Determine the stereo positioning of the instruments recorded on each track using the PAN controls 1 4. through until If necessary, repeat steps everything sounds right. Watching level meters 1 and 2, use the MASTER fader to set the output level of the signal sent from the ST OUT jacks. Watching the level meters of the stereo tape deck, set its proper recording level. Rewind the tape. 4. Recording Press the PLAY switch of the MT1X at the same time you start recording with the stereo tape deck. After the recording is finished, play back the mixed down tape. How does it sound? You can keep repeating the mixdown process, varying the levels, equalizations, and effect level balance until youre fully satisfied with the results. When you make that perfect mix, congratulations. Youve finished your stereo master. Mixdown Completed 32

MAINTENANCE

As a good general rule, the tape heads, pinchroller and capstan should be cleaned before each recording, thus ensuring the best audio quality. After the deck has been used for a period of time, the heads, pinchroller, and capstan will become dirty. This increases noise and uneven rotation, leading to a deterioration in sound quality. Therefore, periodic cleaning and demagnetization is a must to preserve optimal audio performance. Use cotton swabs and alcohol or head cleaning fluid (available in most all audio stores) to clean the heads, capstan, and pinchroller. Keeping the heads clean is essential for good recordings. For demagnetization, use a quality head demagnetizer, and follow the instructions carefully.
Its important to keep all parts clean!

BLOCK DIAGRAM

NOTE: When the REC button is engaged, the panel switches can be used to individually order recording on only those channels with RECORD SELECT not switched OFF.

SPECIFICATIONS

Model Description Mechanical Descriptions Tape Heads Tape speed Pitch control Wow & flutter Fast forward/rewind time Motor Inputs & Outputs INPUT 14 : multitrack cassette recorder : standard cassette; CrO2 tape only (EQ: 70s) : hard permalloy 4-channel rec/play head ferrite 4-channel erase head : 4.75 cm/sec : +/-10% : 0.05% WRMS : about 100 seconds (C-60 tape) : DC servo input impedance rated input level minimum input level maximum input level input impedance rated input level output impedance rated impedance load rated output level output impedance rated impedance load rated output level output impedance rated impedance load rated output level rated impedance load maximum output level HIGH LOW : : : : : : : : : : : : : : : : : : : : : : : : : : : 10k ohms - 10dB to - 50dB (input fader in specified position) - 56dB (gain control MAX, input fader MAX) + 10dB (gain control MIN, headroom margin) 10k ohms -10dB 1k ohms 10k ohms or over - 10dB (at 50k ohms) 1k ohms 10k ohms or over - 10dB (at 50k ohms) 1k ohms 10k ohms or over - 10dB (at 50k ohms) 8-40 ohms 100mW + 100mW

AUX RTN L/R ST OUT L/R

AUX SEND

TAPE OUT 14

PHONES Equalizer Characteristics Sound Specifications Total frequency response Total signal to noise ratio Total distortion Channel separation Erasure ratio General Power supply Power consumption Dimensions (W x H x D) Weight Supplied accessories

: +/- 10dB (10kHz shelving) : +/- 10dB (100Hz shelving)
40Hz12.5kHz, +/- 3dB 85dB (dbx ON, IHF-A) less than 1% (EIAJ, 315Hz) better than 55dB (1 kHz) better than 70dB supplied AC adaptor (DC 15V), PA11 battery pack (C x 10) 14w 365mm x 26mm x 225mm (14-1/3 x 2-1/2 x 8-7/8) 2.5 kg (5.5 Ibs) carrying strap, PA10 AC adaptor
0dB=0.775Vr.m.s. Specifications subject to change without notice.
INTRODUCTION TO THE ACCESSORIES
SERVICE The MTlX 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.
SINCE 1887 NIPPON GAKKI CO., LTD. HAMAMATSU, JAPAN

MT1X OM

Recyclable
Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600 5/15/MT1X OM

Recycled