Yamaha QX-7 Manualul proprietarului

Marca: Yamaha

Model: QX-7

Categorie: Controlere DJ

Tip: Manualul proprietarului

Acest manual este potrivit și pentru

MT1X

YAMAHA

AUTHORIZED

PRODUCT MANUAL

YAMAHA

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

.. . . . . . . . . . . 2

THE DIFFERENCE BETWEEN TRACKS AND CHANNELS

........ 3

WHAT IS A MULTITRACK CASSETTE RECORDER?

. . . . . . . 3

THE CONTROLS AND THEIR FUNCTIONS

. . . . . . . . . . . . . . . . . . . . 4

MIXER SECTlON

. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

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

.............................. 17

SYNC-RECORDING

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

EDITING VIDEO SOUNDTRACKS

. . . . . . . . . . . . . . . . . . . . . . . . 34

MAINTENANCE

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

BLOCK DIAGRAM .............................................

SPECIFICATIONS

...................................................

INTRODUCTION TO THE ACCESSORIES

........................

SERVICE

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

BEFORE OPERATION

PLEASE NOTE THE FOLLOWING PRECAUTIONS:

• ABOUT CASSETTE TAPE

This unit is designed to be used only with Chrome-

position tape, and will not work properly with Ferri-

chrome tape formulations. CrO tape (Bias: HIGH; EQ:

70µs) should be used. Also, the use of C-120 tapes

is not recommended because they exhibit poorer per-

formance, 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 in-

corporated.

*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.

• PRECAUTION AGAINST LIGHTNING

In the event of lightning or electrical storms, unplug

the AC adaptor as soon as possible to avoid poten-

tial 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 connec-

tion cords have been removed from the unit before

moving it.

• CLEANING THE CABINET

Do not clean the unit with benzene or other power-

ful solvents, and avoid the use of aerosol insecticides

near the unit. Clean the unit only with a soft, dry

• 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.

cloth.

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 frequen-

Reorient the receiving antenna.

cy energy and if not installed and used properly, that

Relocate the computer with respect to the receiver.

is, in strict accordance with the manufacturer’s in-

Move the computer away from the receiver.

structions, may cause interference to radio and

Plug the computer into a different outlet so that

television reception. It has been type tested and computer and receiver are on different branch cir-

found to comply with the limits for a Class B com-

cuits.

puting device in accordance with the specifications

If necessary, the user should consult the dealer

in Subpart J of Part 15 of FCC Rules, which are

or an experienced radio/television technician for ad-

designed to provide reasonable protection against

ditional suggestions. The user may find the follow-

such interference in a residential installation. How-

ing booklet prepared by the Federal Communications

ever, there is no guarantee that interference will not

Commission helpful:

occur in a particular installation. If this equipment

“How to identify. and Resolve Radio-TV inter-

does cause interference to radio or television recep-

ference problems”.

tion, which can be determined by turning the equip-

This booklet is available from the U.S. Government

ment off and on, the user is encouraged to try to

Printing Office, Washington, DC 20402, Stock No.

correct the interference by one or more of the follow-

004-000-00345-4.

ing measures:

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 under-

stand 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 chan-

nels. 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.

MT1X MULTITRACK CASSETTE RECORDER

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.

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 MT1X’s 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.

TAPE:

MIC/LINE: Set this switch to the proper position when

OFF:

the output of a microphone, keyboard instru-

ment, or electric guitar is connected to the

input jack on the front panel.

Be sure to set the switch to this position

when the channel is not being used, or when

you don’t want to playback material already

recorded on the track. Although sliding the

input fader to the “O” position will stop

the signal, it’s a good idea to also set the

switch to OFF.

Set the switch to this position to playback

material which has already been recorded on

this channel. Channels 1—4 correspond to

tracks 1—4 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.

INPUT FADERS

These controls adjust the volume of the signal input, and

send it to the equalizer. Each control is used for set-

ting 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.

Be sure to set the control to “O” for channels not being

used.

EQUALIZER CONTROLS

These controls are used to adjust the tonal character-

istics 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 center-

ing 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, it’s important

to understand the frequency response characteristics

of various musical instruments. This is particularly true

when trying to “change” the sound of a certain in-

strument, because you should know that instrument’s

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 har-

monic 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.

SOUND CHARACTERISTICS OF THE EQUALIZER AND

VARIOUS MUSICAL INSTRUMENTS

-----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 “ping-

pong” (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.

These controls are also useful in ping-ponging (see “Ping-

ponging” 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

, with the total output

level adjusted by the AUX MASTER SEND control

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

and the sound mixed through the stereo mix buss. The output level of the ST OUT jack

(the recording level

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

SYNC SWITCH

Normally left in the “OFF” position, this switch should

be turned “ON” if this unit is to be used for synchron-

ized operation with MIDI products like synthesizers and

rhythm machines. Synchro operation is explained in the

section on Sync jack or in the Sync-Recording sec-

tion on page 33.

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 sub-

mixers connected to the AUX RTN jack

. The level of

effect in relation to the sound can be set with this

Power Indicator

This indicator lights when the power switch

on the

rear panel is turned on.

control.

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 corres-

ponding 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” corres-

pond to the stereo left and right signals, whereas “1”,

“2”,“3”and “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 1—4 are not recording.

Flashing:

All tracks 1—4 are in recording standby mode. By

pushing only the REC switch

the tape is put into

the recording standby mode.

Indication ON:

PITCH CONTROL

All tracks 1—4 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

1—4 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

PAUSE switch

Press the PAUSE switch first,

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 use-

ful 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 for-

ward. 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 don’t 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 ade-

quately 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 dif-

ferent 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 selec-

tion 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.

METER AND MONITOR SECTION

METER SELECT SWITCH

PEAK LEVEL METERS

This switch is used to select the signal for level indica-

tion 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 ping-

ponging 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 cor-

back level is displayed; during recording, the record-

ing level is displayed. Setting the switch to this posi-

tion during overdubbing enables easy reading of the

recording level.

responds to tracks 1—4. During playback, the play-

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 occa-

sionally.

During stereo signal level indication, the actual

specified output from the ST OUT jacks

(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 chan-

nels 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.

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

INPUT JACKS

PHONES JACK

These four jacks are for the connection of microphones

or electric and electronic instruments. With a high input

impedance of 10K ohms, and a specified input level range

of -10dB to -50dB, a wide variety of instruments and

microphones can be used.

When directly connecting an electric guitar, the use of

an special electric guitar preamp to increase the input

level will assure recordings of better sound quality.

Plug a set of headphones into this jack for monitoring.

Please use headphones rated from 8-—0 ohms for best

results.

PUNCH IN/OUT JACK

By connecting the optional FS-1 footswitch to this jack,

you can control punch-in/punch-out operations. by foot.

REAR PANEL

POWER SWITCH

This switch turns on the MT1X. When switching the unit

on or off, make sure that the Input Faders and the

AUX RTN Control

are at the “0” position.

DC IN JACK

Connect the supplied AC adaptor to this terminal. To pre-

vent damage, use only the AC adaptor supplied with this

unit.

SYNC IN/SYNC OUT JACKS

These jacks are used during synchronized operation with

MIDI-equipped instruments. Use the optional YMC10

MIDI Converter to connect the instruments through

these jacks, and set the SYNC switch on the mixer sec-

tion to “ON”. For a detailed explanation, refer to “Sync-

Recording” on page 33.

TAPE OUT JACKS

These jacks directly output the signal of each track. Dur-

ing playback, the signals of the tracks being played are

output. During recording, the signals of the tracks be-

ing recorded are output. Since the output levels cannot

be adjusted, set the volume by adjusting the output levels

on the instruments themselves. These jacks can be con-

veniently used in the following ways:

Another 4-track recorder can be connected for direct

dubbing of all four channels.

An external mixer can be connected for mixdown.

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 out-

put 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

chrome tape formulations. CrO

This unit is designed to be used only with Chrome-

position tape, and will not work properly with Ferri-

tape (Bias: HIGH; EQ:

70µs) should be used. Also, the use of C-120 tapes is

not recommended because they exhibit poorer perfor-

mance, 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, it’s necessary to break out

the tabs for both the A and B sides of the tape.

When you’d 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:

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.

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.

ATTACHING THE STRAP

The MT1X can be easily carried with the supplied carrying strap. Here’s 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. Here’s how to set it up.

• PUTTING IN THE BATTERIES

Slide off the battery cover on the bottom of the bat-

tery pack.

Insert 10 “C” batteries as shown.

Put 7 on the bottom

Then put 3 on top

Replace the battery cover.

• ATTACHING THE BATTERY PACK

Align the battery pack on the left side of the MT1X.

Slide it on, and tighten the battery pack mounting

screw with a coin or screwdriver. The battery pack

is now firmly attached.

NOTES:

When using the battery pack as a power supply, remove the AC

adaptor.

The battery pack can only supply power to the MT1X when it is

properly attached.

The MT1X was designed for indoor use. Avoid using it areas of high

heat or humidity, or in dusty places.

If the battery pack isn’t going to be used for an extended period

of time, remove the batteries inside.

Battery life: about 2 hours during 2 channel recording with a head-

phone output of 10mW + 10mW.

MULTITRACK RECORDING TECHNIQUES

Before you try to attempt a multitrack recording on your

own, it’s 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, you’ll find that

it’s not only easy to fo!low, but quite useful in under-

standing the various signal flows involved in using the

CMX1. The numbers on the block diagram for the con-

trols, switches, and connectors correspond to those

used in the section titled “The Controls, and Their

Functions”.

dbx SYSTEM

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 1 — 3 onto track 4

(freeing tracks 1—3)

Record the keyboards on track 1

Record the lead guitar on track 2

Record the vocals on track 3

Mixdown tracks 1

— 4 to produce a stereo

master tape

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

mere instant, it’s not a problem. However, if they’re peak-

ing out for more than a second or two, then distortion

may become a problem. It’s also important to remember

that distortion at lower frequencies is less apparent than

distortion at higher frequencies.

Keep the dbx switch “ON” to expand dynamic range and

to reduce inherent tape noise.

STEREO POSITIONING

It’s 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 plan-

ned for later on.

Here’s one example of acoustic positioning. Set the bass

drum and the snare drum center, with the tom-

toms 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 record-

ing, 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 it’s best to use them dur-

ing the initial recording stages.

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” posi-

tion. 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 absolute-

ly 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 con-

trol 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. It’s best to hold ping-

ponging 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 ex-

ample we will explain in this section is illustrated on page

16.

—

Signal route when recording drums —

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 high-

performance RX11, RX15, and RX21 Digital Rhythm Pro-

grammers. However, for this example we will be record-

ing 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 MT1X’s mixing section, the sounds

recorded by these microphones are mixed down onto

track 1.

YAMAHA’s 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.

— 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.

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).

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 nor-

mal positions, referring to the control panel illustra-

tion 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” posi-

tion. This is to record the Left stereo signal onto

track 1. The REC indicator will begin flashing.

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Yamaha QX-7 Manualul proprietarului

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Categorie: Controlere DJ

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