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.

THE DIFFERENCE BETWEEN TRACKS AND CHANNELS The words track and channel are often confused. In order to properly operate this unit, it is necessary to understand the meanings of these terms. TRACK: The band on the tape itself where a certain signal is recorded. The tape inside a cassette has four different tracks, enabling the recording of four distinct signals. For conventional recordings, there are two tracks (stereo left and right) on each side of the tape. CHANNEL: The route of a signal input or output. In the input side, this unit has four INPUT channels and two AUX channels. The output side consists of one stereo channel (made up of two mono channels) and an AUX channel.
WHAT IS A MULTITRACK CASSETTE RECORDER? The difference between the MT1X multitrack cassette recorder and a conventional stereo cassette deck is shown below.
CONVENTIONAL STEREO CASSETTE DECK
The diagram shows how a conventional stereo cassette deck records and plays back music. The four tracks on a cassette tape represent the left and right (for stereo) sound for each side of the tape. The MT1X uses these four tracks for single-direction recording and playback on only one side of a cassette tape. Conventional stereo cassette recorders always record and play back in the same mode, with the tape side (direction) determining which two tracks will be used. These recorders do not allow separate selection of tracks for recording and playback. Multitrack recorders, however, allow you to record or playback tracks separately as you choose. This enables a greater degree of recording and playback freedom not possible with conventional cassette recorders.
MT1X MULTITRACK CASSETTE RECORDER
THE CONTROLS AND THEIR FUNCTIONS
This section explains the names and functions of all the knobs, sliders, and switches for the mixer, recorder, meter/ monitor, and connector sections. Familiarize yourself with them in order to take full advantage of the MT1Xs versatile functions.

MIXER SECTION

INPUT SELECTOR SWITCHES These three-position switches are provided for each channel. Position them according to the operation to be performed. MIC/LINE: Set this switch to the proper position when the output of a microphone, keyboard instrument, or electric guitar is connected to the input jack on the front panel. Be sure to set the switch to this position OFF: when the channel is not being used, or when you dont want to playback material already recorded on the track. Although sliding the input fader to the O position will stop the signal, its a good idea to also set the switch to OFF.

These controls are also useful in ping-ponging (see Pingponging on page 25).
AUX CONTROLS The MT1X is equipped with an AUX SEND jack and two (left and right) AUX RETURN jacks When special acoustic effects are desired on a certain channel, reverbs or delay effects can be connected between these jacks to provide only the desired effect to the desired channel. Amplified monitor speakers can also be connected to the AUX SEND jack. Each AUX control adjusts the sources connected to the AUX SEND jack in the following manner.
CONNECTING MONITOR SPEAKERS
Performers or sound mixers can control the level balance of the four channels (instruments) with the AUX controls level adjusted by the AUX MASTER SEND control

, with the total output

MASTER FADER This controls the level of all the input faders, as well as the final level of the effected signal of the AUX RTN control (the recording level and the sound mixed through the stereo mix buss. The output level of the ST OUT jack at mixdown) and the recording level during ping-ponging are also adjusted with this control.
Set the control input faders at 7 for best results.
AUX MASTER SEND CONTROL This control adjusts the level of the effect-mixed signals from each channel (adjusted by each AUX control as well as the AUX signal for monitoring use. The final output is through the AUX SEND jack AUX RETURN CONTROL This control adjusts the input level of effects or submixers connected to the AUX RTN jack. The level of effect in relation to the sound can be set with this control.
SYNC SWITCH Normally left in the OFF position, this switch should be turned ON if this unit is to be used for synchronized operation with MIDI products like synthesizers and rhythm machines. Synchro operation is explained in the or in the Sync-Recording secsection on Sync jack tion on page 33. Power Indicator This indicator lights when the power switch rear panel is turned on. on the
RECORD SELECT SWITCHES These switches are used to choose the signal to be recorded. The upper left switch is for track 1, the upper right switch is for track 2, the lower left switch is for track 3, and the lower right switch is for track 4. When the track is not to be recording, set the corresponding switch to the OFF position. Switch ON only those switches corresponding to the tracks which are to record. The panel indications for L and R correspond to the stereo left and right signals, whereas 1, 2,3and 4 correspond to the signal from the 1, 2, 3, and 4 input channels. Those signals are recorded on their respective track when the switches are in position. NOTE: Tracks 1 and 3 cannot be recorded on the right stereo signal, and tracks 2 and 4 cannot be recorded on the left stereo signal. REC INDICATOR Recording status is indicated in the following three ways: No indication: All tracks 14 are not recording. Flashing: All tracks 14 are in recording standby mode. By pushing only the REC switch the tape is put into the recording standby mode. Indication ON: All tracks 14 are recording, or in the REC pause mode. To resume recording during REC pause, press the PAUSE switch REC SWITCH When this switch is pressed, the PLAY switch also moves, and the unit goes into the recording mode. However, if the RECORD SELECT switches for all tracks 14 are switched OFF, nothing will be recorded. NOTE: When the REC switch is pressed down, noise occurs which is recorded on the tape. In order to prevent this, we recommended the use of the Press the PAUSE switch first, PAUSE switch then press the REC switch. To start recording, press the PAUSE switch again to shift out of the REC pause mode and into the recording mode. PLAY SWITCH Press this switch for playback. However, if the input selector switch (1) of a track is not in the TAPE position, the sound will not be heard on the stereo buss. REW SWlTCH (REWIND) Use this switch to rewind the tape. Pressing it when the MT1X is in the PLAY mode enables you to hear the sound of the tape while it rewinds. This feature is useful for finding the beginning of a song or other recorded material.

FF SWITCH (FAST FORWARD) Use this switch to quickly advance the tape forward. Pressing it when the MT1X is in the PLAY mode enables you to hear the sound of the tape while it is moved forward. This feature is useful for cueing up the start of a subsequent song or other recorded material on the tape. STOP SWITCH Press this to stop tape run. PAUSE SWITCH Press this switch to momentarily stop playback or recording in progress. Press it again to restart. dbx SWITCH Ordinary cassette tapes dont have sufficient dynamic range (the level difference between the softest sounds and the loudest peaks) to adequately record highly dynamic music. If the dbx switch is put ON during recording, highly dynamic music signals can be adequately handled, while the hiss noise inherent to cassette tapes is kept down below the range of human hearing. If the dbx switch is kept ON during recording, it must also be kept ON during playback. During recording or playback, this control can be used to vary the tape running speed from +10% to -10%. The pitch of voices or musical instruments also varies in proportion to tape speed. Under normal conditions, the control should be in the center position. When overdubbing (playing back a recorded passage while recording new material on a different track) the pitch of the previously recorded material can be altered to match the new material if necessary. This feature can also be used to obtain certain special effects during recording. TAPE COUNTER This displays the amount of tape run. RESET SWITCH Press this switch to reset the tape counter to 000. Pressing this switch at the start of recording, or at the beginning of a song, makes it easy to cue up the selection from the start. ZERO STOP SWITCH If this switch is set ON during rewinding, the tape will stop when the tape counter reaches 999. During multitrack recording, this feature is convenient for repeated playback or recording operations after rewind.

PITCH CONTROL

METER AND MONITOR SECTION
METER SELECT SWITCH This switch is used to select the signal for level indication by the Peak Level Meters STEREO Position: The level of the signal output through the ST OUT jacks is indicated. The meter on the far left shows the level of the Left channel of the stereo signal, while the second meter from the left shows the level of the Right channel. Setting to this position during pingponging or mixdown operations enables easy reading of the recording level. 4 TRK Position: Set the switch in this position to display the level of each track. Starting from the far left, each meter corresponds to tracks 14. During playback, the playback level is displayed; during recording, the recording level is displayed. Setting the switch to this position during overdubbing enables easy reading of the recording level.

PEAK LEVEL METERS There are 14 LED indicators in each meter which show a range from - 20dB to + 5dB. During recording, setting levels high (but below the point where the recording becomes distorted) will ensure the greatest dynamic range with the lowest possible noise. An ideal point is when the LED indicators for 0dB and above flash occasionally. During stereo signal level indication, the actual specified output from the ST OUT jacks is (at a 50K ohm load) when the LED indicators start to flash at 0dB.
PHONES SELECT SWITCH You can plug a set of headphones into the PHONES jack on the front panel to monitor the sound. This switch is used to select the signal to be monitored. Control the volume level with the PHONES volume control STEREO Position: Put the switch in this position to monitor the signal output through the ST OUT jacks The Left and Right channels of the stereo signal will be heard through the headphones. When setting to this position during ping-ponging or mixdown operations, the mixed signal of all the instruments can be monitored.
MONITOR Position: This position is for monitoring the signal of each track. You can freely monitor while mixing the sound of each track during recording or playback. Using the MONITOR LEVEL Controls and the MONITOR PAN Controls , set the desired level and position for each track.
MIX Position: This position allows you to simultaneously monitor both the sound heard in the STEREO position and the sound heard in the MONITOR position. Setting to this position during punch-in/punch-out operations will enable the type of monitoring shown below. (Refer to Punch-in/Punch-out on page 27).
MONITOR LEVEL CONTROLS When setting the PHONES SELECT Switch to the MONITOR position, these level controls are used for each track to achieve a level balance for easy monitoring. Use these controls freely and independently to maintain a desired level balance during overdubbing operations, when the addition of a new signal changes the volume.
MONITOR PAN CONTROLS When setting the PHONES SELECT Switch to the MONITOR position, use these pan controls for each track to achieve the desired stereo positioning for each track. Use these controls freely and independently to maintain the desired stereo position balance during overdubbing operations, when the addition of a new signal changes the stereo image. PHONES CONTROL This control adjusts the volume of the headphones (See page 9).
CONNECTOR SECTION FRONT PANEL

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.
Storing cassette tapes To prevent tape slack, fit a stopper into the tape or keep tapes in their cases. Do not store tapes in direct sunlight, or in places with high heat or humidity, as this may damage the tapes. Also, keep the tapes away from magnetic fields, such as near televisions or speakers, because the recordings can be erased or sonically altered to some degree.
Recording over a tape with the tabs broken out
Playing tapes recorded on other cassette recorders When playing Normal-position tapes, or tapes encoded with Dolby B noise reduction the MT1X, the following steps are advised: 1) Playing Normal-position tapes move the HI equalizer fader in the + direction to boost the high frequencies until the sound is satisfactory. 2) Playing tapes encoded with Dolby B NR put the dbx switch in the OFF position, and move the HI equalizer fader in the direction to reduce the high frequencies until the sound is satisfactory.

ATTACHING THE STRAP

The MT1X can be easily carried with the supplied carrying strap. Heres how to attach it. Push on the slit to open the stopper, and hang it on the peg. Slide the strap to the desired position and lock the stopper in place.
WHEN USING THE BATTERY PACK
With the optional PA11 Battery Pack, the MT1X can be operated by batteries in places where there is no AC outlet available. Heres how to set it up. PUTTING IN THE BATTERIES Slide off the battery cover on the bottom of the battery pack. ATTACHING THE BATTERY PACK Align the battery pack on the left side of the MT1X.

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.
Plug a pair of monitor headphones (rated 8-40 ohms) into the PHONES jack. When using an effect, connect it between the AUX SEND jack (input) and either of the AUX RTN jacks (output).

4. Setting the monitor and meter sections Set the PHONES SELECT switch to the STEREO position. Set the PHONES volume to around 7. Make sure the METER SELECT switch is in the 4 TRK position. 5. Adjusting the input level Set all of the input switches to the MIC/LINE position. Set the MASTER fader to 7. Set the PAN controls for all channels between the center and the extreme L" position, as shown.
Push the input fader for channel 1 up to 7. When the drums start playing, slide the gain control for channel 1 towards the MIC, direction, stopping when the +3 indicator on the far left level meter flashes occasionally on the sound peaks. Pull the input fader for channel 1 back down to 0. -The proper input level for channel 1 is now set. Set the input fader for channel 2 to 7. While the drums are being played, slide the gain control for channel 2 towards the MIC direction, stopping when the +3 indicator on the far left level meter flashes occasionally on the sound peaks. Pull the input fader for channel 2 back down to 0: -The proper input level for channel 2 is now set.Set the input levels for channels 3 and 4 the same way.
*Explanation diagram for steps 6. Adjusting level balance and equalization characteristics Adjust channel faders 1 ~4 to achieve the desired recording level balance. Adjust the equalizers for 1~4 to obtain the desired sound character for each individual channel. (If youre thinking of ping-ponging these tracks afterwards, its a good idea to add a little boost on the HIGH EQ because high frequencies can be slightly diminished during the ping-pong re-recording process). Set the effect level for each channel with the AUX controls. Then, adjust the overall mix of effect signal to input signal with the AUX MASTER SEND control. If necessary, go over steps several times to until everything is just right. Adjust the master recording level with the MASTER fader, setting it at the point where the +3 indicator on the far left level meter flashes occasionally on the sound.peaks.
7. Recording Push the PAUSE switch to start recording. Just before the musician starts playing, be sure to count out loud to help you get the timing right on the other tracks during overdubbing later on. When the music sequence is over, press the STOP switch to stop the recording. Then, press the REW switch, and the tape will rewind to a point just 999 on the tape counter before the beginning and stop. Drum Recording Completed
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.)
After you have adjusted the monitor levels and pans to your satisfaction, rewind the tape and set the recorder into the REC PAUSE mode. 7. Recording Press the PAUSE switch to start recording. While monitoring through headphones, the bass player should play along in synch with the drum track. When the musical segment is over, stop and rewind the tape. Bass Guitar Recording completed Track 1 Track 2 Track 3 Track 4
8. Post recording check Just press the play switch to check to see that the track was recorded properly. Set all switches and controls back to their normal positions.
RECORDING THE RHYTHM GUITAR Record the rhythm guitar on track 3 to synch with the drums on track 1 and the bass guitar on track 2. Recording preparations and operations are the same as when recording the bass guitar. If effects are being used, connect them just before the input jack. PING-PONG < PING-PONG RECORDING > After the rhythm section has been recorded on tracks 1 3, only track 4 remains as an empty, spare track. Since there are three more parts to be recorded, more tracks will be needed. The ping-pong technique (sometimes called bouncing, or track transfer, or collapsing tracks) shown here allows you to re-record these three tracks onto one track, thus freeing up tracks for other recording operations. You can also add other new parts during the ping-pong process. As long as there are empty tracks, you can ping-pong from one or more tracks to another as many times as you like. However, each time a track is ping-ponged onto another track, some degradation in sound quality occurs. Most noticeable is a loss of high frequency sounds, or treble. Therefore, its best to plan for only 1 or 2 ping-pong operations to preserve the sound quality of the instruments you record. Now, lets get started. Signal Path during Ping-pong Recording

*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

SYNC-RECORDING

For synchronized operation with MIDI instruments, the optional YMC10 MIDI converter enables synchrooperation of the CMX1 and MIDI instruments such as the RX11, RX15, and RX21 digital rhythm programmers and the QX1 and QX7 digital sequence recorders. In this section, we will explain synchro-recording using synchro-operation techniques. Merits of synchro-recording Synchro-recording enables the use of digital sources such as rhythm programmers and sequencers during the first mixdown stages. Since these sources are recorded directly onto the master, it extracts the full sound quality, dynamic range, and superb S/N performance of these digital instruments. Operating the tape sync With the SYNC switch ON, press the PLAY switch and the FSK signal recorded on track 1 is sent to the YMC10, which converts it to the MIDI synchronizing signal and outputs it to the RX15. In this way, track 1 of the MT1X operates the RX15. FOR THIS OPERATION, DONT FORGET TO SET THE RX15 SYNC SWITCH TO MIDI. Now, tracks 2-4 can be used for overdubbing. Connect as shown below for mixdown.
In order to work the tape sync, the MIDI synchronizing signal must be converted to an FSK (frequency shift keying) signal first. This is because MIDI transmits information at an extremely high maximum speed of 31.25 K baud per second. Therefore, the use of analog instruments is impossible. By using the MIDI converter, the MIDI synchronizing signal is converted to an FSK signal that analog instruments can handle. An example of synchro-recording using the RX 15 rhythm programmer Set the RX15 to create the desired rhythm effects. Connect the RX15 in the following manner. Start the tape, mixdown the sound from tracks 24 and the RX15s drum sounds input through the AUX Left and Right jacks, and record it with a stereo tape deck.

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

Contents
DRUM KITS & DRUMMACHINES
FX DRUM KITS ANALOG DRUMMACHINES & RH-BOXES PROGRAMMABLE ANALOG DRUMMACHINES & RH-BOXES DIGITAL DRUMMACHINES & RH-BOXES E-DRUMS & PADS

SINGLE SOUNDS

SINGLE BASS DRUMS SINGLE HI-HATS & CYMBALS SINGLE PERCUSSION SINGLE SNARE DRUMS SINGLE TOMS
ANALOG SYNTH-PERCUSSION & FX - 14 Banks - 661 Samples MIXED DANCE EFFECTS - 7 Banks - 305 Samples RECORD SCRATCHES - 1 Bank - 27 Samples

Drum Kits

80'S-POP-DANCE KITS - 13 Banks - 80 Drum Kits - 612 Samples CLUB-HOUSE-DANCE-TECHNO KITS - 50 Banks - 329 Drum Kits - 2380 Samples CLUB-HOUSE-GARAGE-RNB KITS - 8 Banks - 56 Drum Kits - 368 Samples TECHNO-TRANCE-HARDCORE KITS - 2 Banks - 12 Drum Kits - 96 Samples DRUM & BASS KITS - 5 Banks - 30 Drum Kits - 240 Samples ELECTRONIC KITS - 16 Banks - 97 Drum Kits - 757 Samples EXPERIMENTAL KITS - 8 Banks - 52 Drum Kits - 384 Samples 80'S HIP HOP-OLDSCHOOL KITS - 3 Banks - 15 Drum Kits - 115 Samples HIP HOP - RAP KITS - 17 Banks - 103 Drum Kits - 799 Samples RNB - RAP KITS - 13 Banks - 77 Drum Kits - 594 Samples RNB - POP KITS - 14 Banks - 83 Drum Kits - 638 Samples 60'S - 70'S - OLDIES KITS - 12 Banks - 69 Drum Kits - 568 Samples REAL DRUMKITS - 18 Banks - 117 Drum kits - 864 Samples POP - BALLADS KITS - 4 Banks - 21 Drum Kits - 176 Samples MIXED POP KITS - 39 Banks - 248 Drum Kits - 1850 Samples JAZZ - BIGBEAT KITS - 4 Banks - 22 Drum Kits - 173 Samples
ANALOG DRUMMACHINES & RH-BOXES
ACETONE FR 20 ACETONE FR 7L ACETONE RHYTHM-ACE FR1 ACETONE RHYTHM-ACE FR2L AJK PERCUSSION-SYNTH CASIO MT-36 CASIO MT-400V CASIO PT-30 CASIO PT-68 CASIO VL-1 CRB COMPUTER DRUMS CRB RHYTHM BOY 480 DENON CRB 90 EKO MUSICBOX 12 EKO RHYTHM BOX EKO RITMO-12 ELECTRO-HARMONIX 15 ELECTRO-HARMONIX 16 ELECTRO-HARMONIX 32 ELECTRO-HARMONIX RH12 ELGAM MATCH 15C ELGAM MATCH 7C ELKA 80 ELKA RHYTHM MACHINE ELKA WILGAMAT FARFISA PROFESSIONAL FARFISA RHYTHM 10 FRICKE MFB-301 FRICKE MFB-501 GEM DRUM15 GOYA MELODIC RHYTHMER GULBRANSEN SELECT A RHYTHM HAMMOND DRUMBOX HAMMOND VARIO-64 HOHNER AUTOMATIC HOHNER RHYTHM 80K KAWAI STEREO RHYTHM KEIO KORG DE 20 KEIO MINIPOPS 7 KEY NOTE MARK XX KORG KR-55 KORG MINI-POPS 35 KORG SR-120 LUXOR PASSAT MAESTRO 500 MAESTRO RHYTHM KING MELO-SONIC 280 MELO-SONIC 350

Casio VL 1

ElectroHarmonix DRM 16&32

Gulbransen

KORG MINI-POPS 35

Maestro Rhythm King

MELOS RB 1010 NDK FARFISA RHYTHM BOX PERTUNA RHYTHM RADIOSHACK CONCERTMADE 300 RHYTHM MASTER ROLAND CR-8 ROLAND RHYTHM 33 ROLAND RHYTHM 55 ROLAND RHYTHM 77 ROLAND SYSTEM-100 DRUMS ROLAND TR-66 RUBY ORLA SOLTON COMPUTER RHYTHM SOUNDMASTER RHYTHM 1 SRB 600 SUZUKI OMNICHORD OM27 THOMAS RITMO UNIVOX DELUXE UNIVOX MICRO-8 UNIVOX MICRO-RHYTHMER 12 UNIVOX SR-95 VERMONA ER9 VOX RHYTHM-KING WATFORD ELECTRONICS WELSON SUPERMATIC S12 WERSI ENTERTAINER WERSIMATIC WM24 WURLITZER SWINGIN RHYTHM YAMAHA ELECTONE 605 YAMAHA MR10

RhythmMaster

Vermona Wilgamat

Welson Supermatic S12

PROGRAMMABLE ANALOG DRUMMACHINES & RH-BOXES
AMDEK RMK 100 BOSS DR.RHYTHM 55 BOSS DR.RHYTHM 110 EKO COMPUTER RHYTHM KORG KPR-77 ROLAND CR-78 ROLAND CR-8000 ROLAND TR-606 ROLAND TR-808 DRUM KIT ROLAND TR-808 BD-SD-RIM-CLAPS

Boss Dr.Rhythm55

ROLAND TR-808 HIHATS-CYMBALS ROLAND TR-808 PERCUSSION-TOMS ROLAND TR-909 DRUM KIT ROLAND TR-909 BASS DRUMS ROLAND TR-909 HIHATS-CYMBALS ROLAND TR-909 SNARES-RIM-CLAP ROLAND TR-909 TOMS SOUND MASTER SR-88 VERMONA DRM PROGRAMMABLE WERSI CX 1

Roland CR78

DIGITAL DRUMMACHINES & RH-BOXES
AKAI MPC-60 AKAI XE8 AKAI XR-10 DRUM KIT AKAI XR-10 BASS DRUMS-SNARES ALESIS D4 ALESIS DM-5_1 ALESIS DM-5_2 ALESIS DM-5_3 ALESIS HR-16 DRUM KIT ALESIS HR-16 BASS DRUMS-SNARES ALESIS HR-16B DRUM KIT ALESIS HR-16B BASS DRUMS-SNARES ALESIS SR-16 BASS DRUMS ALESIS SR-16 HIHATS-CYMBALS ALESIS SR-16 SNARE DRUMS BOSS DR.RHYTHM 5 BOSS DR.RHYTHM 550 DRUM KIT BOSS DR.RHYTHM 550 BD-SNARES BOSS DR.RHYTHM 660 CASIO RZ-1 DR. BOEHM DIGITAL DRUMS DYNACORD ADD-2 EMU DRUMULATOR EMU PROCUSSION 1 EMU PROCUSSION 2 EMU PROCUSSION 3 EMU SP-12 DRUM KIT EMU SP-12 BASS DRUMS-SNARES FRICKE MFB-512 FRICKE MFB-712 GEM WX2PLUS HOHNER DRUM PERFORMER KAWAI ACR-20 KAWAI R-50E KAWAI XD-5 KORG DDD-1 KORG DDM110 SUPER-DRUMS KORG DDM220 SUPER PERCUSSION KORG MR-16 KORG PSS-50 KORG S3 DRUMS KORG S3 PERCUSSION LINN 9000 LINN DRUM 1 LINN DRUM 2 LINN LM1 OBERHEIM DMX OBERHEIM DX ROLAND ARRANGER AR80 ROLAND CR-1000 ROLAND MC-303 BD-SNARES-CLAP ROLAND MC-303 HIHATS-TOMS ROLAND MC-303 PERCUSSION 1 ROLAND MC-303 PERCUSSION 2 ROLAND R8 DRUM KIT ROLAND R8 BASS DRUMS-SNARES ROLAND TR-505 ROLAND TR-626 ROLAND TR-707 ROLAND TR-727 PERCUSSION SEQUENTIAL CIRCUITS DRUMTRACKS SEQUENTIAL CIRCUITS TOM YAMAHA EMR1 YAMAHA RX-11 YAMAHA RX-15 YAMAHA RX-21 PERCUSSION YAMAHA RX-5 DRUM KIT YAMAHA RX-5 BASS DRUMS-SNARES YAMAHA RY-30 DRUM KIT YAMAHA RY-30 BASS DRUMS-SNARES

E-DRUMS & PADS

KORG WAVEDRUM MATTEL SYNSONIC-DRUMS PEARL SC40 BASS DRUMS PEARL SC40 HH-CYMB-SNARES-PERC PEARL SC40 TOMS ROLAND SPD-8 DRUM KIT ROLAND SPD-8 BASS DRUMS-SNARES SIMMONS DIGITAL CLAPTRAP SIMMONS SDS-5 DRUM KIT SIMMONS SDS-5 BASS DRUMS-SNARES SIMMONS SDS-7 BASS DRUMS SIMMONS SDS-7 SNARE DRUMS SIMMONS SDS-7 TOMS SIMMONS SDS-8 SONY DRUMPAD TAMA TECHSTAR TAM 500 VISCO SPACE DRUMS YAMAHA CS-DRUMS

Pearl SC40

Simmons ClapTrap
SINGLE SOUNDS SINGLE BASS DRUMS
1980'S STYLE - 4 Banks - 161 Samples ANALOGUE-SYNTHS - 3 Banks - 98 Samples CLUB-HOUSE-DANCE-GARAGE - 22 Banks - 1035 Samples CLUB-TR909 STYLE - 2 Banks - 88 Samples DRUM'N'BASS - 2 Banks - 83 Samples ELECTRONIC - 7 Banks - 161 Samples EXPERIMENTAL - 3 Banks - 119 Samples LOW-TR808 STYLE - 2 Banks - 87 Samples POP-MIXED - 10 Banks - 477 Samples REAL - 11 Banks - 489 Samples RNB-HIPHOP-RAP - 14 Banks - 637 Samples TECHNO-TRANCE-OVERDRIVE - 3 Banks - 131 Samples WITH EFFECTS - 2 Banks - 61 Samples

SINGLE HI-HATS & CYMBALS
CLAPS GROUPS - 3 Banks - 136 Samples CLAPS SINGLES - 11 Banks - 508 Samples SNAPS ELECTRONIC - 1 Bank - 47 Samples SNAPS REAL - 1 Bank - 26 Samples

SINGLE PERCUSSION

AGOGO - 1 Bank - 23 Samples BELLS - GONGS - CANS - 1 Bank - 19 Samples BONGOS 1 - 2 Banks - 74 Samples CASTANETS - 1 Bank - 10 Samples CLAVES - WOODBLOCKS - 2 Banks - 79 Samples CONGAS - 4 Banks - 160 Samples COWBELLS - 2 Banks - 80 Samples CUICA - 1 Bank - 14 Samples DARBUKA - 1 Bank - 13 Samples GUIRO - VIBRASLAP - 1 Bank - 46 Samples METAL PERCUSSION - 1 Bank - 41 Samples MIXED PERCUSSION - 4 Banks - 190 Samples MOUTH PERCUSSION - 1 Bank - 8 Samples SHAKERS GROUPS - 2 Banks - 96 Samples SHAKERS MIXED - 4 Banks - 192 Samples TABLAS - 2 Banks - 96 Samples TALKING - TUNED DRUMS - 1 Bank - 31 Samples TAMBOURINE - 4 Banks - 174 Samples TAMTAM - 1 Bank - 22 Samples TIMBALES - 1 Bank - 32 Samples TRIANGLES - 1 Bank - 44 Samples UDU - 1 Bank - 20 Samples WHISTLES - 1 Bank - 12 Samples WINDCHIMES - BELLTREE - 1 Bank - 22 Samples

SINGLE SNARE DRUMS

1980'S STYLE - 8 Banks - 424 Samples ANALOG SYN-NOISE - 3 Banks - 115 Samples CLUB-HOUSE-DANCE-GARAGE - 14 Banks - 616 Samples DRUM 'N' BASS - 2 Banks - 85 Samples ELECTRONIC - 9 Banks - 432 Samples EXPERIMENTAL - 2 Banks - 96 Samples REAL - 16 Banks - 746 Samples REGGAE-CHILLOUT - 2 Banks - 96 Samples RIM-SHOTS - 5 Banks - 221 Samples RNB-HIPHOP-CLAPPY - 7 Banks - 319 Samples RNB-HIPHOP-RAP-POP - 24 Banks - 1145 Samples

SINGLE TOMS

TOMS - 10 Banks - 425 Samples