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MULTITRACK CASSETTE RECORDER
Owner's Manual
GAIN
LINE
HIGH
–12
MID
–12
LOW
–12
AUX
1
0
AUX
2
0
MIX
0
MIC/LINE
to L
TAPE
INPUT-FLIP
PAN
L
10
9
8
7
6
5
4
3
2
1
0
4
3
1
2
3
GAIN
GAIN
GAIN
MIC
LINE
MIC
LINE
MIC
LINE
HIGH
HIGH
HIGH
+12
–12
+12
–12
+12
–12
MID
MID
MID
+12
–12
+12
–12
+12
–12
LOW
LOW
LOW
+12
–12
+12
–12
+12
–12
AUX
AUX
AUX
1
1
1
10
0
10
0
10
0
AUX
AUX
AUX
2
2
2
10
0
10
0
10
0
CUE
MIX
CUE
MIX
CUE
MIX
10
0
10
0
10
0
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
to R
to L
to R
MIC/
MIC/
MIC/
TAPE
TAPE
TAPE
LINE
LINE
LINE
INPUT-FLIP
INPUT-FLIP
INPUT-FLIP
PAN
PAN
PAN
R
L
R
L
R
L
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
0
0
0
STEREO INPUT
5
6
7
8
L
R
L
R
4
5
–6
7
–8
L
R
L
R
LEVEL
LEVEL
+6
+3
0
10
0
10
MIC
0
–5
+12
–10
MULTITRACK CASSETTE RECORDER
+12
TAPE SPEED CONTROL
PITCH
+12
4.8/
9.5
–
+
10
ZERO STOP
10
ON
ON
CUE
OFF
OFF
SYNC
NOISE REDUCTION SYSTEM
10
TAPE
MIC/
MONITOR/PHONES
LINE
LEVEL
STEREO
ST+CUE
CUE
MIN
MAX
R
STEREO
10
9
8
7
6
5
4
3
2
1
0
1
2
+6
POWER
+3
0
–5
–10
REC
1
2
3
4
L
R
REC SELECT
METER SELECT
1
2
3
4
4TR
STEREO
OFF
OFF
OFF
OFF
L
R
L
R
REC
PLAY
REW
FF
STOP
PAUSE
E
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Table of Contents
Related Manuals for Yamaha MT 400
Summary of Contents for Yamaha MT 400
- Page 1 MULTITRACK CASSETTE RECORDER Owner’s Manual GAIN GAIN LINE LINE HIGH HIGH –12 –12 –12 –12 –12 –12 MIC/LINE TAPE MIC/LINE to L to R MIC/ TAPE TAPE LINE INPUT-FLIP INPUT-FLIP STEREO INPUT –6 –8 GAIN GAIN LEVEL LEVEL LINE LINE HIGH HIGH –12...
- Page 2 © 1998 Yamaha Corporation. All rights reserved. No part of the MT400 software or this Owner’s Manual may be reproduced or distributed in any form or by any means without the prior written authorization of Yamaha Corporation. Trademarks The dbx noise reduction system is manufactured based on a patent license from THAT Corporation.
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Page 3: Table Of Contents
Contents Welcome to the MT400... 3 MT400 Features... 3 Mixer...3 Recorder ...3 Buying Cassette Tapes for the MT400 ... 4 MT400 Recording Format ... 4 About dbx Noise Reduction ... 5 Glossary... 5 Touring the MT400... 6 Input Channels...6 Stereo Inputs ...8 Monitor/Master Section ...8 Recorder Section ...9 Transport Section...10... -
Page 4: Welcome To The Mt400
Welcome to the MT400 MT400 Features The MT400 consists of three major sections: a Mixer section that enables you to mix sounds (with eight inputs and one stereo output): a Recorder section that records and plays sound (with four tracks and four channels): and utility sections including meters, power switch, etc. Mixer •... -
Page 5: Buying Cassette Tapes For The Mt400
Buying Cassette Tapes for the MT400 It is important that you buy the correct type of cassette tape for use with your MT400. You should buy high-quality Type II (High Bias, 70 s EQ) chrome cassettes of 90 minutes or less, such as TDK SA or MAXELL CDXL II. -
Page 6: About Dbx Noise Reduction
About dbx Noise Reduction The MT400 uses the dbx noise reduction system to reduce tape hiss and keep your recordings clean and crisp. For the best performance, it is recommended that you use the dbx noise reduction for all your recordings. You should always use the dbx noise reduction system to correctly play back tapes that were recorded with the dbx system on. -
Page 7: Touring The Mt400
Touring the MT400 This section takes you on a tour of the MT400, identifying the various parts to familiarize you with your new recorder. Input Channels GAIN control This rotary control adjusts the sensitivity of the MIC/LINE INPUT jack as a synthesizer) signals can be handled with ease. EQ control These rotary controls are used to adjust a tonal quality of the high, middle, and low frequency bands independently. -
Page 8: Pan Control
INPUT-FLIP switch This switch is used to select the destination of the signal input from the MIC/LINE INPUT jacks and the tape signal. With the switch in the MIC/LINE position ( input signal is fed to the ST bus via the input channel and the tape signal is fed to the CUE bus. -
Page 9: Stereo Inputs
Stereo Inputs LEVEL controls These rotary controls are used to adjust the level of the stereo input signals that are input at the STEREO INPUT jacks 5 and 6 or 7 and 8. These signals are usually sent to the Stereo bus for mixing with Input Channel 1–4 signals and tape signals. -
Page 10: Recorder Section
Recorder Section TAPE SPEED CONTROL PITCH 4.8/ – ZERO STOP SYNC PITCH control This rotary control adjusts the tape speed in the range of 10%. Tape speed switch This switch is used to select 4.8 cm/second or 9.5 cm/second for the tape speed. Set the switch to 9.5 ( ) for normal recording, and 4.8 ( cassette tape recorder. -
Page 11: Transport Section
ZERO STOP switch Use this switch to turn on and off the Zero Stop function. With this switch set to on (ON), the tape rewind automatically stops when the tape counter returns to just before “000”. Tape counter This 3-digit tape counter indicates the tape position. Counter reset button This button resets the tape counter value to “000”. -
Page 12: Meter Section
Meter Section –5 –10 Level meters These meters show the signal levels from –10 dB to +6 dB. When the METER SELECT switch is set to “ ”, they show the track signal levels during recording and playback. When the METER SELECT switch is set to “STEREO”, they show the STEREO OUT signal levels. -
Page 13: Front Panel
A pair of stereo headphones can be connected here for monitoring. The headphone signal is the same as the MONITOR OUT signal. PUNCH I/O An optional footswitch, such as the Yamaha FC5, can be connected here for foot-controlled punch in/out. Rear Panel POWER... -
Page 14: The First Session
This chapter explains how to record four tracks individually and mix your first MT400 session onto a master recorder. Preparation Quick-Start System Keyboard Guitar Rhythm machine Powered speakers / Hi-fi stereo system YAMAHA STEREO MONITOR SYNC Microphone Master recorder Guitar effects processor YAMAHA STEREO INPUT –6... -
Page 15: Turning On The Mt400
Turning On the MT400 1. Make sure that the plug of the supplied AC adapter is securely connected to the DC12V jack on the rear of the MT400. 2. Plug the other end of the AC adapter into a suitable AC outlet. 3. - Page 16 Selecting a recording track Connect a sound source to MIC/LINE INPUT It is best to record a rhythm instrument, such as a rhythm machine, drums, or a rhythm guitar, first. Set the [INPUT-FLIP] switch on Input Channel 1 to “MIC/LINE ( )”.
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Page 17: The First Take
The First Take GAIN GAIN LINE LINE HIGH HIGH –12 –12 –12 –12 –12 –12 MIC/LINE TAPE MIC/LINE TAPE to L to R MIC/ MIC/ TAPE TAPE LINE LINE INPUT-FLIP INPUT-FLIP Starting recording Press the counter reset button to set the tape counter to “000”. - Page 18 Note: Be sure to turn the [REC SELECT] switch on Track 1 to “OFF”. Otherwise, recording on Track 1 will be erased when you record the next track. MIC/LINE INPUT 1 GAIN LINE HIGH –12 –12 –12 MIC/LINE TAPE to L MIC/ TAPE LINE...
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Page 19: Overdubbing
Overdubbing You may record a different sound source to another track while listening to the sound recorded on Track 1. The basic procedure for overdubbing is the same as the first take. GAIN GAIN LINE LINE HIGH HIGH –12 –12 –12 –12 –12... -
Page 20: Start Recording
Start recording Press the [PAUSE] button to start recording. Press the [STOP] button to stop recording. GAIN LINE HIGH –12 –12 –12 MIC/LINE to L TAPE INPUT-FLIP Listening to the recording Press the [REW] button to rewind the tape to the beginning and press the [PLAY] button to start playback. -
Page 21: Mixdown
Mixdown After you have recorded all tracks, you are ready to mix them into a stereo mix, which you will record to a stereo master recorder. GAIN GAIN LINE LINE HIGH HIGH –12 –12 –12 –12 –12 –12 MIC/LINE TAPE MIC/LINE to L to R... - Page 22 Raise the STEREO fader to the 7–8 mark. Press the [REW] button to rewind the tape, and press the [PLAY] button to start playback. While listening to the headphones or the monitor speakers, adjust the faders, PAN controls, and EQ controls on Input Channel 1–4.
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Page 23: Advanced Recording Techniques
Advanced Recording Techniques This chapter introduces you to various advanced recording techniques using the MT400. Simultaneous Multi-Channel Recording In addition to recording four tracks individually as explained earlier, you may sometimes wish to record multiple sound sources to a track or two. (For example, you may wish to record drum, bass, and rhythm guitar sounds to two tracks in stereo.) To do this, you can mix input channel signals into a stereo mix via the Stereo bus, and record the mix to two tracks. - Page 24 Press the [PAUSE] button, then the button. Tracks 1 and 2 REC SELECT indicators light up contin- uously and the MT400 enters recording pause mode. Set the fader on each input channel and the STEREO fader to the 7–8 mark. While checking the level meters, adjust the recording level using the GAIN controls and faders on Input Channels 1–4, and the...
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Page 25: Ping-Pong Recording
Ping-Pong Recording The ping-pong recording technique allows you to mix and record several tracks onto another empty track. This is often used to free up tracks for more recording, since those original tracks are then used for further recording. This technique is useful when you wish to record many different instruments or sound sources individually. - Page 26 Set the monitor select switch to “STEREO”. The Stereo bus signal is selected as a monitoring source, which enables you to listen to the playback on Tracks 1–3 through the headphones or the audio system. Set the [METER SELECT] switch to “STEREO”. Set the STEREO fader to the 7–8 mark.
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Page 27: Multi-Source Mixing
Multi-Source Mixing The mixer section of the MT400 enables you to control input signals and tape playback signals simultaneously. For example, you can mix external sound sources with tape tracks. This technique is useful when you wish to add pad or decorative notes to the introductory part of a completed song. - Page 28 Press the [REW] button to rewind the tape, and press the [PLAY] button to start playback. While listening to the headphones or the monitor speakers, adjust the faders, PAN controls, and EQ controls on Input Channel 1–4. Also, use the CUE controls on Input Channels 1 and 2 to adjust the level of signals from MIC/LINE INPUTs 1 and 2.
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Page 29: Using Effects
–12 You will need a special insert cable as shown above to connect external effects processors to the INSERT I/O jacks. Optional insert cables YIC025/050/070 are available from Yamaha. Refer to the following diagram of the effects processor connection. —Owner’s Manual... -
Page 30: Using Aux Sends
Effects processor Input Insert cable GAIN GAIN LINE LINE HIGH HIGH –12 –12 –12 –12 –12 –12 Effects processor connection with an insert cable Once connected, operation is the same as normal recording and mixdown. Effects are applied to the MIC/LINE INPUT 1 or 2 signal with the [INPUT-FLIP] switch set to “MIC/LINE )”. -
Page 31: Applying Effects To Multiple Channels When Recording
As you turn up the AUX 1/2 controls on the input channels with this configuration, channel signals are mixed into monaural and output from AUX SENDs 1 and 2 to the connected external effects processors. Processed signals output from the effects processors are returned to the Stereo bus via STEREO INPUTs 5L/6R or 7L/8R. - Page 32 Connect AUX SENDs 1 and 2 to the inputs of external effects processors. Connect the outputs of the effects processors to STEREO INPUTs 5L/6R or 7L/8R. Set the effects processors so that they will output only processed signals. Connect sound sources to MIC/LINE INPUTs 1–4.
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Page 33: Applying Effects To Only A Monitor Signal
Applying Effects to Only a Monitor Signal Using a direct recording and the monitor select switch enables you to apply effects to only a monitoring signal while recording the unprocessed sound on a track. For example, you can record a dry vocal on a track, while monitoring the vocalist with reverb effects applied. This section explains how to record a vocal to Track 4 while monitoring Tracks 1–3 as an example. -
Page 34: Applying Effects At Mixdown
Applying Effects at Mixdown One of the typical uses of external effects processors connected to AUX SENDs is to apply reverb effects to track signals during mixdown. In this case, you can adjust the amount of effects for each track individually using the AUX 1 and AUX 2 controls. GAIN GAIN LINE... -
Page 35: Punch In/Out Recording
Punch In/Out Recording This section explains MT400 punch in/out recording techniques. The punch in/out function allows you to re-record specific sections of a track. You can correct mistakes by starting to record your performance at a certain point (punch in) and stopping the recording (punch out). -
Page 36: Using A Footswitch
Connect a sound source to MIC/LINE 4. Set the [INPUT-FLIP] switches on Input Channels 1–4 to “MIC/LINE ( Set the [REC SELECT] switches on Tracks 1–3 to “OFF”, and set the [REC SELECT] switch on Track 4 to “ ”. Set the monitor select switch to “CUE”. - Page 37 GAIN GAIN GAIN LINE LINE LINE HIGH HIGH HIGH –12 –12 –12 –12 –12 –12 MIC/LINE TAPE MIC/LINE TAPE MIC/LINE to L to R to L MIC/ MIC/ TAPE TAPE TAPE LINE LINE INPUT-FLIP INPUT-FLIP Connect a sound source to punch in to MIC/ LINE 4.
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Page 38: Midi Synchronization
MIDI Synchronization The MT400 is ideal for recording vocal, guitar, and other acoustic sounds and can easily be integrated into a MIDI system that includes a MIDI sequencer or sequencer software on a computer. This section describes how to synchronize the MT400 to a MIDI sequencer. Synchronizing the MT400 with a MIDI Sequencer To use the MT400 in a synchronized MIDI system, you must record a “SYNC”... -
Page 39: Connecting The Mt400 To A Midi System
Connecting the MT400 to a MIDI System FSK/MIDI system In this system, an FSK/MIDI converter is used to generate the FSK signal that is recorded onto Track 4 of the MT400. During playback, the FSK signal is output from SYNC OUT (dedicated Track 4 output) and converted to a MIDI Clock signal. - Page 40 SMPTE/MTC system In this system, a SMPTE/MIDI converter is used to generate the SMPTE timecode that is recorded onto Track 4 of the MT400. During playback, the SMPTE timecode is output from SYNC OUT (dedicated Track 4 output) and converted to a MIDI timecode. An example below uses a MIDI interface that has two MIDI IN/OUT jacks.
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Page 41: Recording A Sync Signal On The Tape
Recording a SYNC Signal on the Tape GAIN GAIN LINE LINE HIGH HIGH –12 –12 –12 –12 –12 –12 MIC/LINE TAPE MIC/LINE to L to R MIC/ TAPE TAPE LINE INPUT-FLIP Connect the MT400 to the FSK/MIDI converter or the SMPTE/MTC converter as shown in the diagrams on pages 38 and 39. -
Page 42: Synchronized Recording
Stop the MIDI sequencer, or the SMPTE/MTC converter. Set the [dbx] switch to “SYNC”. The dbx reduction system is cancelled only on the sync track (Track 4). Press the [PAUSE] button to start recording. The Track 4 REC SELECT indicator lights up continuously. - Page 43 Connect the MT400 to the FSK/MIDI converter or the SMPTE/MTC converter as shown in the diagrams on pages 38 and 39. Connect the sound source you wish to record on Track 1 to MIC/LINE INPUT 1, and connect the MIDI sound source to STEREO INPUTs 5L and 6R.
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Page 44: Synchronized Mixdown
Synchronized Mixdown After synchronized recording with the MT400 and the MIDI sequencer, you can mix the tape tracks with the MIDI performance data and record them onto the master recorder. This section explains how to mix tape Tracks 1–3 with the MIDI sound sources connected at MIC/ LINE INPUTs 1–4. -
Page 45: Appendix
Appendix Troubleshooting If you are having difficulty operating the MT400 or it does not seem to work as expected, look up the symptoms in the following table and note the offered advice. Symptom MT400 cannot be turned on. Cannot listen to a connected music source. -
Page 46: Maintaining The Mt400
Maintaining the MT400 The MT400 requires regular maintenance to remain in top working condition for a long period of time. Cleaning the Record-Play Head, Erase Head, Capstan, and Pinch Roller As the tape passes over the record-play head, a tiny amount of magnetized particles and dust is left on the head. -
Page 47: Specifications
Specifications Tape Transport Tape Type Track Configuration Tape Heads Motor Tape Speed Pitch Control Wow & Flutter Rewind Time Mixer Frequency Response S/N Ratio (at rated input & output levels) Recorder Overall Frequency Response Overall S/N Ratio Overall Distortion Erasure Rate Noise Reduction Connections # of I/Os... -
Page 48: Dimensions
STEREO OUT L, R AUX SEND MONITOR OUT SYNC OUT PHONES (STEREO) Control Jack PUNCH I/O General Power Requirement Dimensions (WxHxD) Weight Option for UK model 0 dB=0.775 Vrms. Dimensions Specifications and appearance are subject to change without notice. Output Impedance: 1 k Rated Load Impedance: 10 k or higher Rated Output Level: –10 dB (10 k load) Output Impedance: 1 k... -
Page 49: Block Diagram
Block Diagram INSERT I/O MIC/ LINE 3 Band EQ TAPE GAIN INPUT FLIP Ch2 : Same as Ch1 MIC/LINE INPUT Ch3 : Same as Ch1 except without INSERT I/O Ch4 : Same as Ch1 except without INSERT I/O 5L, 7L STEREO INPUT 6R, 8R... - Page 50 YAMAHA CORPORATION MT400-710 R2 1 IP 52 Pro Audio Division, #18/3 P.O. Box 3, Hamamatsu, 430-8651, Japan Printed in China...