Yamaha MT8X Operation Manual
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Yamaha MT8X Operation Manual

Yamaha multitrack cassette recorder
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YAMAHA
AUTHORIZED
PRODUCT MANUAL
MULTITRACK CASSETTE RECORDER

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Summary of Contents for Yamaha MT8X

  • Page 1 YAMAHA AUTHORIZED PRODUCT MANUAL MULTITRACK CASSETTE RECORDER...
  • Page 2 YAMAHA MULTITRACK CASSETTE RECORDER OPERATION MANUAL...

  • Page 3: Safety Instructions

    Explanation of Graphical Symbols The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert you to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric CAUTION: TO REDUCE THE RISK OF shock to persons.
  • Page 4 "OFF" and "ON", please try to requirements. Modifications not expressly approved by eliminate the problem by using one of the following Yamaha may void your authority, granted by the FCC, to measures: use the product.

  • Page 5: Table Of Contents

    MT8X is the ideal choice for recording bands or layering tracks at home. And, because it’s a YAMAHA, you know that the MT8X will give you the very finest sound quality and overall performance available.

  • Page 6: Precautions

    12. CHECK THE ACCESSORIES might have a different AC mains voltage, however, Please check to see that you have all the be sure to check with your nearest YAMAHA dealer accessories, power cords and cotton swabs. before using this unit.

  • Page 7: Features

    FEATURES GENERAL The MT8X consists of an 8-channel recording mixer section and an 8-track recorder section inside a compact enclosure. Independent recording and playback are possible for each separate track, so that high-quality multi-track recording can be easily obtained. MIXER The mixer section is equipped with independent stereo buses for more flexible use of this unit.

  • Page 8: Structure Of The Mt8X

    STRUCTURE OF THE MT8X This unit can be divided into three sections: a "mixer", a "recorder" and "bus lines" which link the previous two sections. MIXER: The current of input signals at each channel The mixer has 8 input channels. It adjusts input signals at each respective channel and sends them to the bus lines.

  • Page 9: Controls And Their Functions

    CONTROLS AND THEIR FUNCTIONS The head number of each control name corresponds to the same number of the illustration at the back of the attached PLANNING SHEET. MIXER (CHANNEL INPUT SECTION) GAIN Control and CLIP Indicator ASSIGN Switches These switches are used to send the signals which This control adjusts the level of signals from the microphone or instruments connected to the are adjusted by the PAN control to the respective...

  • Page 10: Mixer (Master Section)

    MIXER (MASTER SECTION) GROUP MASTER Controls These controls are used to adjust the level of each group when the signals from each group bus are to be recorded to tape. The signals adjusted by these controls are sent to the tracks selected by the REC SELECT switches.

  • Page 11: Recorder

    RECORDER dbx Switch REHE Button and Indicator This button is for carrying out a recording rehearsal. This switch is used to turn the internal dbx noise If this button is pressed, the indicator illuminates. reduction system on and off. After the track(s) to be recorded is selected with the The dbx system will operate when the switch is REC SELECT switches, if this button is pressed and turned on.
  • Page 12 REC/PAUSE Button and Indicator COUNTER RESET Button This button is used to actually record signals onto a This button resets the tape counter to "00:00". The cassette tape. If this button is pressed after selecting memory points on the tape which were set by using a track to be recorded by using a REC SELECT the MEMO 1 and 2 buttons will remain unchanged, switch, the indicator will illuminate and this unit enters...

  • Page 13: Display

    DISPLAY dbx Indicator REC Select Indicators This indicator illuminates when the dbx system is on. The indicator corresponding to the track selected by SYNC Indicator a REC SELECT switch flashes to indicate that This indicator illuminates when the SYNC switch is recording is possible to the track.

  • Page 14: Rear Panel

    REAR PANEL MIC/LINE INPUT, LINE INPUT and INSERT I/O CAUTION (FOR CANADA MODEL) TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF Jacks PLUG TO WIDE SLOT, FULLY INSERT. Input Impedance: 10 k , 1 0 k , 1 0 k Rated Input Level: -10 dB to -50 dB, -10 dB, -10 dB MIC/LINE INPUT jacks are provided for channels AC IN Socket...

  • Page 15: Recording Methods

    RECORDING METHODS The following methods are some of the basic functions on how to perform multi-track recording. MONITOR: Monitoring the status of recording or playback INITIAL RECORDING: Recording the first sound (part) OVERDUBBING: A method for recording a new track while monitoring previously recorded tracks.

  • Page 16: Initial Recording

    INITIAL RECORDING This is the initial recording process, before any recording has been done on any track. PROCEDURE Getting ready to record 1 . Set the input selector switch to the MIC/LINE (or LINE) position for the channel to which signals from an instrument or microphone are to be input, and adjust the input level using the channel fader.

  • Page 17: Overdubbing

    OVERDUBBING Overdubbing is the process of recording a new track/s while monitoring previously recorded tracks. By this method, you can easily record a sound playing in exact timing with other sounds already-recorded. This method is convenient for composing music by playing several instruments by yourself, or when all players cannot meet together. PROCEDURE Getting ready to record 1.

  • Page 18: Ping-Pong Recording

    Recording 12. Press the REC/PAUSE button. The REC/PAUSE indicator flashes. 13. Press the PLAY button to start recording. The PLAY indicator illuminate. 14. At the same time, play the instrument while listening to sounds of the track being played back. 15.
  • Page 19 Rehearsal 8. Press the PLAY button to start the rehearsal. The PLAY and REHE indicators illuminate. 9. Adjust the channel fader, PAN control and equalizer controls for each channel. If necessary, add an effect and adjust its level for each channel. 10.
  • Page 20 Notes Be careful not to record the tape playback signals input to a channel onto a track which has the same number with the channel. This will cause an oscillation. Various other methods of monitoring recordings are available, in addition to those described above. Be careful not to monitor the playback signals on tracks and the signals made by mixing (ping-ponging) them at the same time, otherwise monitoring cannot be done properly.

  • Page 21: Punch-In/Out Recording

    PUNCH-IN/OUT RECORDING Punch-in/out recording is a technique for re-recording a short segment of a track which has already been recorded. Once the tape has been played back as far as the segment to be re-recorded, switch the track to recording mode (punch-in), record the new segment, and then once the re-recording is completed, switch the track back to play mode (punch-out).
  • Page 22 4. Punch-in/out using the automatic punch-in/out function The automatic punch-in/out function differs from the three punch-in/out methods described in the previous section in that, once the punch-in and punch-out points have been specified, punch-in and punch-out are then carried out automatically.
  • Page 23 4. Carrying out the automatic punch-in/out function 4-1 Press the REC/PAUSE button. The REHE indicator goes out and the REC/PAUSE indicator flashes rapidly. 4-2 Press the PLAY button to play back the tape, and play the part to be re-recorded at the same time. As the tape reaches the punch-in point, the mode switches to the recording mode, and as the tape reaches the punch-out point, the mode goes back to the playback mode.

  • Page 24: Sync Recording

    FSK (Frequency Shift Keying). A MIDI converter such as the YAMAHA YMC 10 can be used for this type of signal conversion. Some MIDI instruments can output the FSK signals, in which case an external MIDI converter is not necessary.
  • Page 25 2. Recording procedure Turn the power on to the MIDI instrument, MIDI converter and this unit according to the order. Settings for the mixer channel 1. Set both the equalizer HIGH, MIO and LOW controls to "0". 2. Set both the AUX 1 and 2 controls to "0". 3.
  • Page 26 Recording by synchronized performance Playback the FSK signals recorded on track 8 and synchronize them with MIDI instruments and record their sound. 1 . Connections (Fig. 1) Connection example when (Fig. 2) Connection example when using a MIDI instrument which using a MIDI instrument which cannot output FSKsignals can output FSK signals...

  • Page 27: Connection Example

    Rehearsal 10. Rewind the tape to just before the beginning of the recorded FSK signals and press the COUNTER RESET button. 11. Press the REHE button to turn this unit into the "rehearsal" mode, and press the PLAY button to start tape playback.

  • Page 28: Mixdown

    MIXDOWN Mixdown is the final stage in the recording process at which time you can blend and polish the sounds to create the final product. A "Mix" is created by finely balancing the eight tracks to achieve just the right sound. This final balance is achieved using this mixer section and is re-recorded onto a conventional stereo tape deck.

  • Page 29: Setting The Recording Levels

    Checking the finished mixdown 5. When recording is finished, rewind the master tape in the tape deck and play back it. By changing the MONITOR SELECT switch from STEREO to 2TR IN, you can monitor mixed-down signals (or audio signals just before mix-down) with headphones. * If you will use a graphic equalizer or compressor connected between this unit's STEREO OUT jacks and the tape deck, you had better monitor sound signals with the MONITOR SELECT 2TR IN switch "on"...

  • Page 30: Recording Examples

    RECORDING EXAMPLES This section gives the following two basic recording examples. Example 1 : A basic recording (overdubbing) Example 2: An advanced recording with Ping-pong recording and SYNC-recording techniques There are important steps before starting recording. Those are to construct a "recording plan" and to "set recording levels"...
  • Page 31 3. Determine the recording order. The flow of an ordinary recording is as follows. The detailed plan is made based on this flow. Drawing up a detailed plan covering all elements, for example the mixer channel assignment, sound image orientation and effects, simplifies the recording operations. 4.

  • Page 32: Recording Example 1: A Basic Recording (Overdubbing)

    RECORDING EXAMPLE 1 : A basic recording (overdubbing) As a basic recording, let's take the three rhythm instruments and the melody, which make up the underlying structure of the music, and put them together. Recording plan Instruments and their respective positions 1.
  • Page 33 Making Planning Sheets 1 . Recording the Rhythm Parts 2 Recording the Chord Backing 3 Recording the Vocal 4 Recording the Guitar Solo * Reverberation is applied to monitoring signals, however, recording will be done without reverberation. 5 Mixdown...
  • Page 34 Connections/Operations 1. Connections Make connections as figured on the right. Before connections, be sure to turn OFF the power to all equipments. 2. Turning the power ON/Setting the tape Set the all output level controls to minimum, and turn the power ON to the rhythm machine and then to this unit. At this time, leave all controls or faders set to "0"...
  • Page 35 Playing the instruments/Recording 1. By following the contents of the PLANNING SHEET, select tracks (1, 2 and 3) on which recording will be made using the REC SELECT switches. The REC select indicators 1 , 2 and 3 on the display flashes. 2.

  • Page 36: Recording Example 2: An Advanced Recording

    RECORDING EXAMPLE 2: An advanced recording Let's try an advanced multi-track recording with ping-ponging many music parts and attempting a SYNC recording of MIDI instruments. Recording plan 1. Determine the organization of instruments and the position of each instrument as figured below. 2.
  • Page 37 Recording procedure 1. Recording the Drum, Bass parts and SYNC signals (Initial recording) While recording the drum and bass parts, record the FSK signal onto track 8. 1) Play back the rhythm machine (drum part) and record the sound signals onto tracks 1 and 2. Output the sounds of the bass drum and snare drum separately, add some appropriate effects to each of them respectively, and mix them together.
  • Page 38 9. Recording the Guitar Solo part While listening to the rhythm, backing, lead vocal and backing vocals, play the guitar and record it to track 1 as the guitar solo part. 10.Mixdown Mixdown of signals recorded on all tracks. The sound orientation of the guitar solo part and the backing vocal parts should be done in this step. Making Planning Sheets 2.
  • Page 39 5 Ping-ponging the backing part 6 Recording the Lead Vocal part 7 Recording the Backing vocal part 1 8 Recording the Backing vocal part 2 9 Recording the Guitar Solo part 10 Mixdown...
  • Page 40 Connections Make connections as figured below. Be sure to turn OFF the power to all equipments before making any connection. Microphone Operations Refer to the operations of "RECORDING EXAMPLE 1: A basic recording (overdubbing)". For setting controls and switches on this unit, follow the contents of the Planning sheets. For the operating method of ping-pong recording, see pages 17.

  • Page 41: Connection Example

    CONNECTION EXAMPLE...

  • Page 42: Troubleshooting

    TROUBLESHOOTING If this unit doesn't work properly, the reason will probably be that a small mistake was made in carrying out the operations given in this manual. Before calling for repairs, check the following. Problem Probable Cause Remedy Sound cannot be recorded onto a The REC SELECT switch is set Set the REC SELECT switch correctly.

  • Page 43: Maintenance

    MAINTENANCE If the recorder is used for a long period of time, the heads, pinch roller and capstan will become dirty and the heads will become magnetized. These can cause any of the following problems to occur. • Recording, playback and erasure are not possible •...

  • Page 44: Specifications

    SPECIFICATIONS GENERAL SPECIFICATIONS 8-track/8-channel one way recording and playback cassette recorder with mixer MODEL TAPE TRANSPORT Tape Type (Bias: HIGH; EQ: 70 s) Track Configuration 8-track/8-channel one way recording and playback Heads 8-channel Permalloy rec/play head x 1 8-channel ferrite erase head x 1 Motor DC servo motor for capstan x 1 DC motor for reel x 1...

  • Page 45: Dimensions

    MIXER Frequency Response (At Rated Input and Output) MIC IN-STEREO OUT +1 dB 20 Hz-20 kHz LINE IN-STEREO OUT LINE IN-PHONES OUT Noise level (12.7 kHz: 6 dB/oct. L.P.F) Signal process noise: -115dB/Rs=150 STEREO OUT: -80 dB/CH, optimum position of the Master Fader S/N Ratio (At Rated Input and Output Levels) 68 dB/IHF-A MIC IN-STEREO OUT (GAIN TRIM MAX.) 70 dB/IHF-A LINE IN-STEREO OUT (GAIN TRIM MIN.)
  • Page 47 TRACK SHEET TITLE DATE ARTIST COMPOSER ENGINEER ARRANGER...
  • Page 48 YAMAHA YAMAHA CORPORATION RO.Box1, Hamamatsu, Japan 2500 VQ02780...
  • Page 49 Recyclable YAMAHA ® MT8X OM MT8X OM Yamaha Corporation of America 10/20/98 98056 6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600 Recycled...

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