Yamaha MT100 User manual
YAMAHA
MULTITRACK
CASSEHE
RECORDER
ENREGISTREUR
DE
CASSETTES
MULTIPISTE
MEHRSPUR-KASSETTENDECK
ivnnoo
OPERATION
MANUAL
MANUEL
D'INSTRUCTIONS
BEDIENUNGSANLEITUNG
CONGRATULATIONS!
Your
MTIOO
Multitrack
Cassette
Recorder
is
a
fine
creative
tool
that
will
enable
you
to
work
with
sound
in
many
ways.
No
other
multitrack
cassette
recorder
offers
the
straightforward
simplicity
and
ease-of-use
of
the
MTIOO.
Whether
you
need
to
record
acoustic
instruments
or
voice
using
micro¬
phones,
electronic
instruments
and
sources
via
direct
line,
or
a
creative
blend
of
the
two,
the
MTIOO
makes
the
process
of
building
up
your
own
sound
extraordinarily
smooth
and
simple.
You
can
simply
record
and
remix
four
tracks,
or
use
the
multitrack
"ping-pong"
recording
technique
to
individually
record
up
to
ten
independent
parts
—
adding
sound
layer
by
layer
until
you
create
exactly
the
arrangement
and
texture
your
imagination
demands.
The
MTIOO
is
just
as
easy
to
use
alone
or
with
a
band.
And,
because
it’s
a
YAMAHA,
you
know
that
the
MTIOO
will
give
you
the
very
finest
sound
quality
and
overall
performance
available.
In
order
to
make
use
of
the
MTIOO’s
many
features
and
obtain
maximum
performance,
we
urge
you
to
read
this
operation
manual
thoroughly
—
and
keep
it
in
a
^afe
place
for
later
reference.
CONTENTS
PRECAUTIONS.1
THE
CONTROLS
AND
CONNECTORS
.2
CONNECTION
EXAMPLES
.
.
7
ABOUT
CASSETTE
TAPES
.8
THE
RECORDING
PROCESS
.9
RECORDING
THE
FIRST
TRACK.10
STEP
1:
CHANNEL-TO-TRACK
ASSIGNMENT.10
STEP
2:
MONITOR
SETUP
...
1
1
STEP
3:
SETTING
RECORDING
LEVELS
.12
STEP
4:
RECORD
.12
OVERDUBBING
.13
PING-PONG
RECORDING.14
A
PING-PONG
RECORDING
EXAMPLE
.14
MIXDOWN
.15
USING
THE
AUX
SEND/RTN
LOOP.16
PUNCH-IN/OUT
RECORDING
.17
MAINTENANCE
.18
BLOCK
DIAGRAM
..
1
9
SPECIFICATIONS.20
PRECAUTIONS
1.
AVOID
EXCESSIVE
HEAT,
HUMIDITY,
DUST
AND
VIBRATION
Keep
the
unit
away
from
locations
where
it
is
likely
to
be
exposed
to
high
temperatures
or
humidity
—
such
as
near
radiators,
stoves,
etc.
Also
avoid
locations
which
are
sub¬
ject
to
excessive
dust
accumulation
or
vibration
which
could
cause
mechanical
damage.
2.
AVOID
PHYSICAL
SHOCKS
Strong
physical
shocks
to
the
unit
can
cause
damage.
Handle
it
with
care.
3.
DO
NOT
OPEN
THE
CASE
OR
ATTEMPT
RE¬
PAIRS
OR
MODIFICATIONS
YOURSELF
This
product
contains
no
user-serviceable
parts.
Refer
all
maintenance
to
qualified
YAMAHA
service
personnel.
Opening
the
case
and/or
tampering
with
the
internal
cir¬
cuitry
will
void
the
warranty.
4.
MAKE
SURE
POWER
IS
OFF
BEFORE
MAKING
OR
REMOVING
CONNECTIONS
Always
turn
the
power
OFF
prior
to
connecting
or
discon¬
necting
cables.
This
is
important
to
prevent
damage
to
the
unit
itself
as
well
as
other
connected
equipment.
5.
HANDLE
CABLES
CAREFULLY
Always
plug
and
unplug
cables
—
including
the
AC
cord
—
by
gripping
the
connector,
not
the
cord.
6.
CLEAN
WITH
A
SOFT
DRY
CLOTH
Never
use
solvents
such
as
benzine
or
thinner
to
clean
the
unit.
Wipe
clean
with
a
soft,
dry
cloth.
7.
ALWAYS
USE
THE
CORRECT
POWER
SUPPLY
The
MT100
should
only
be
powered
using
the
supplied
YAMAHA
PA-100
AC
Adapter.
The
use
of
other
adapters
can
cause
serious
damage
to
the
MT100.
8.
KEEP
THE
HEADS
AND
TAPE
PATH
CLEAN
To
ensure
consistent
high
performance
and
sound
quality
from
your
MT100,
it
is
important
to
clean
the
head
and
tape
path
regularly
(ideally
before
each
recording
ses¬
sion).
To
do
this,
use
a
cleaning
kit
specifically
designed
for
use
with
cassette
tape
equipment.
4
9.
USE
ONLY
HIGH-QUALITY
CHROME
CASSETTE
TAPE
The
MT100
is
designed
for
use
with
Cr02
(chrome)
for¬
mulation
tape,
and
will
not
provide
proper
performance
with
any
other
type
of
tape.
Always
choose
cassette
tapes
from
a
reliable
manufacturer.
1
THE
CONTROLS
AND
CONNECTORS
-
CONTROL
PANEL
CHANNELS
AND
TRACKS
The
terms
“channel”
and
“track”
are
used
in
this
operation
manual
to
differentiate
between
the
MT100
mixer
section’s
four
“channels”
and
the
recorder
section’s
four
“tracks.”
“Track”
is
also
used
when
referring
to
the
four
“tracks"
actually
recorded
on
the
tape.
O
Input
Jacks
1
—
4
These
four
input
jacks
accept
signals
from
any
line-level
source
such
as
an
electronic
musical
instrument
or
a
tape
player.
Inputs
1
and
2
also
accept
signals
from
electric
musical
in¬
struments
such
as
electric
guitars
and
basses,
or
micro¬
phones.
Inputs
1
through
4
are
standard
monaural
1/4”
phone
jacks.
When
a
source
is
plugged
into
one
of
these
jacks,
its
signal
is
sent
to
the
corresponding
channel
of
the
MTIOO’s
mixer.
Note:
When
no
source
is
plugged
into
an
input
jack,
the
output
from
the
corresponding
track
of
the
MTIOO’s
recorder
is
automatically
routed
to
that
channel
of
the
mixer.
Q
MIC/LINE
Gain
Controls
(Channels
1
and
2
only)
The
gain
controls
adjust
the
sensitivity
of
the
channel-1
and
channel-2
inputs
to
accept
a
wide
range
of
signal
levels
—
from
line
to
microphone.
The
gain
controls
are
used
in
conjunction
with
the
channel-1
and
channel-2
fad-
ers
to
set
the
optimum
recording
level
with
a
wide
range
of
sources
(see
“SETTING
RECORDING
LEVELS”
on
page
12
).
0
Channel
Faders
The
channel
faders
are
used
to
adjust
the
level
(volume)
of
the
corresponding
mixer
channel’s
signal,
whether
it
comes
from
a
source
plugged
into
an
input
jack
or
from
the
MTIOO’s
recorder
section.
The
faders
are
used
to
set
up
the
optimum
levels
when
recording,
and
to
balance
(mix)
the
sound
from
the
recorder’s
tracks
when
playing
back
a
recording.
o
REC
SELECT
Switches
The
REC
SELECT
switches
are
used
when
recording
to
assign
(send)
the
signal
from
each
mixer
channel
either
directly
to
the
corresponding
track
of
the
recorder
or
to
a
different
track
via
the
PAN
controls
(see
“CHANNEL-TO-
TRACK
ASSIGNMENT”
on
page
10).
Note:
When
any
of
the
REC
SELECT
switches
are
set
to
a
position
other
than
OFF,
the
red
indicator
LED
above
the
transport
REC
button
will
flash,
indicating
that
the
MT100
is
set
up
to
record.
0
AUX
SEND
Controls
The
AUX
SEND
controls
are
used
primarily
when
adding
effects
such
as
reverberation
or
echo
to
the
sound
of
each
channel
or
track.
The
AUX
SEND
control
on
each
mixer
channel
determines
the
amount
of
signal
from
that
chan¬
nel
sent
to
the
AUX
SEND
jack.
The
AUX
SEND
jack
must
be
connected
to
the
input
of
an
external
signal
processor
such
as
the
YAMAHA
R100
Reverb
Processor
(see
“US¬
ING
TH£
AUX
§END/RTN
LOOP”
on
page
16).
0
PAN
Controls
The
PAN
controls
assign
the
signal
from
the
correspond¬
ing
mixer
channel
to
any
desired
position
in
the
“stereo
sound
field.”
If
a
PAN
control
is
set
to
the
maximum
“LEFT”
position,
the
signal
from
that
channel
will
appear
only
at
the
left-channel
MT100
output
(ST
OUT
L).
If
the
PAN
control
is
set
fully
RIGHT,
the
signal
will
appear
only
at
the
ST
OUT
R
output
jack.
If
a
PAN
control
is
set
to
its
center
position,
then
the
signal
from
that
channel
will
ap¬
pear
equally
at
both
the
left-
and
right-channel
outputs,
and
the
sound
will
appear
at
the
center
of
the
stereo
sound
field
(at
a
point
midway
between
the
two
stereo
speakers).
Other
PAN
control
settings
place
the
sound
at
positions
roughly
corresponding
to
the
PAN
control
setting
by
varying
the
level
of
the
signal
sent
to
the
left-
and
right-
channel
outputs.
The
PAN
controls
can
also
be
used
during
recording
to
assign
the
signal
from
several
channels
to
a
single
track
of
the
recorder
section,
or
to
assign
a
channel
to
a
differ¬
ently-numbered
recorder
track
(see
“CHANNEL-TO-
TRACK
ASSIGNMENT’
on
page
10).
PAN
3
o
MASTER
Fader
The
MASTER
fader
sets
the
overall
output
level
of
the
MT100
mixer
section,
and
thus
the
level
of
the
output
signal
appearing
at
the
ST
OUT
jacks.
The
MASTER
fader
also
affects
recording
level
when
any
of
the
mixer
section’s
channels
are
assigned
to
the
recorder’s
tracks
via
the
PAN
controls
(see
"SETTING
RECORDING
LEV¬
ELS”
on
page
12).
o
PHONES
SELECT
Switch
The
MT100
permits
convenient
headphone
monitoring
via
a
pair
of
headphones
plugged
into
the
PHONES
jack.
The
PHONES
SELECT
switch
determines
which
signals
are
sent
to
the
PHONES
jack
for
monitoring.
MONITOR:
In
this
position
only
the
output
from
the
recorder’s
four
tracks
is
sent
directly
to
the
PHONES
jack
via
the
four
MONITOR
controls.
MIX:
Both
the
output
from
the
recorder’s
four
tracks
(via
the
MONITOR
controls)
and
the
stereo
output
from
the
mixer
section
are
sent
to
the
PHONES
jack.
STEREO:
Only
the
stereo
output
from
the
mixer
section
is
sent
to
the
PHONES
jack.
@
PHONES
Control
The
PHONES
control
independently
adjusts
the
level
of
the
headphone
signal,
making
it
simple
to
set
the
most
comfortable
monitoring
level.
(E)
PHONES
Jack
Any
pair
of
stereo
monitor
headphones
with
an
impedance
of
between
approximately
8
and
40
ohms
can
be
plugged
into
this
jack.
Headphone
monitoring
is
the
most
conven¬
ient
way
to
listen
to
the
MTIOO’s
various
signals,
and
we
recommend
that
you
obtain
a
pair
of
high-quality
monitor¬
ing
headphones
for
this
purpose.
The
YAMAHA
MH100
are
ideal.
0
AUX
RTN
Control
The
AUX
RTN
control
determines
the
level
at
which
the
signal
from
an
external
signal
processor
fed
by
the
AUX
SEND
jack
is
returned
and
mixed
in
with
the
MTIOO’s
main
stereo
output
signal.
The
output
from
an
external
signal
processor
fed
by
the
AUX
SEND
jack
must
be
con¬
nected
to
the
AUX
RTN
jack
(see
“USING
THE
AUX
SEND/RTN
LOOP”
on
page
16).
0
MONITOR
Controls
The
four
MONITOR
controls
determine
the
level
of
the
signal
from
the
corresponding
recorder
tracks
which
is
sent
to
the
PHONES
jack
when
the
PHONES
SELECT
switch
is
set
to
either
“MONITOR”
or
“MIX.”
The
MONI¬
TOR
controls
are
primarily
used
to
set
up
the
optimum
levels
for
monitoring
recorded
tracks
while
recording
new
material
(overdubbing).
0
METER
Switch
The
METER
switch
determines
whether
the
four
LED
peak
meters
display
levels
from
the
corresponding
recorder
tracks
when
set
to
"4
TRACK,”
or
meters
1
and
2
display
the
level
of
signals
appearing
at
the
mixer
section’s
stereo
outputs
(the
ST
OUT
jacks)
when
the
METER
switch
is
set
to
“STEREO.”
‘
0
LED
Peak
Meters
The
four
LED
peak
meters
accurately
display
output
levels
from
the
MTIOO’s
four
recorder
tracks
when
the
METER
switch
is
set
to
“4
TRACK,”
of
the
first
two
meters
(num¬
bered
1
and
2)
display
levels
appearing
at
the
mixer
section’s
stereo
outputs
(the
ST
OUT
jacks)
when
the
METER
switch
is
set
to
“STEREO."
The
LED
peak
meters
are
important
for
setting
up
the
optimum
recording
levels
when
recording
new
material
(see
“SETTING
RECORDING
LEVELS”
on
page
12).
0
dbx
ON/OFF
Switch
The
dbx
switch
determines
whether
the
MTIOO’s
internal
dbx
noise
reduction
system
is
ON
or
OFF.
For
normal
recording
and
playback
using
the
MTIOO,
the
dbx
switch
should
be
turned
ON.
This
provides
a
significantly
im¬
proved
signal-to-noise
ratio
(as
much
as
85
dB)
so
your
recordings
will
sound
cleaner
and
have
much
less
tape
hiss.
For
dbx
noise
reduction
to
be
effective,
it
must
be
turned
ON
both
during
recording
and
playback.
The
dbx
switch
may
be
turned
OFF
when
playing
back
tapes
that
were
recorded
on
other
equipment
and
which
are
not
dbx-encoded.
0
PITCH
Control
The
PITCH
control
varies
tape
speed
by
±10%,
making
it
possible
to
"tune”
material
recorded
on
the
MTIOO
to
match
the
pitch
of
musical
instruments,
or
to
slightly
lengthen
or
shorten
the
running
time
of
a
recording
to
meet
specific
timing
requirements.
Tape
speed
is
normal
when
the
PITCH
control
is
set
to
its
center
click-stop
posi¬
tion.
Tape
speed
is
increased
by
sliding
the
control
to¬
wards
the
“-h”
end
of
the
scale,
and
decreased
by
sliding
the
control
towards
the
end
of
the
scale.
4
MTIOO
MULTITRACK
CASSETTE
RECORDER
®
TAPE
SPEED
Switch
The
TAPE
SPEED
switch
selects
either
the
standard
4.75-
cm/sec
cassette
tape
speed,
or
the
MTIOO’s
special
9.5-
cm/sec
high
tape
speed.
Use
the
standard
(4.75)
speed
when
replaying
tapes
recorded
on
standard
cassette
re¬
corders,
or
to
obtain
maximum
tape
economy.
When
you
want
maximum
sound
quality,
use
the
high
(9.5)
tape
speed.
The
improvement
in
sound
quality
provided
by
the
high
tape
speed
is
significant,
and
we
recommend
that
you
use
the
high
speed
for
all
important
recordings.
©ZEflO
STOP
Switch
The
ZERO
STOP
switch
provides
a
fast,
easy
way
to
lo¬
cate
a
specific
location
on
the
tape.
This
is
particularly
handy
in
multitrack
recording,
since
it
is
necessary
to
re¬
peatedly
rewind
the
tape
to
the
same
point
to
record
over¬
dubs
(i.e.
record
a
new
track
while
monitoring
previously
recorded
tracks).
To
use
the
ZERO
STOP
function,
set
the
tape
counter
(below)
to
"000”
at
the
point
you
wish
to
locate
by
pressing
the
RESET
button.
Then,
with
the
ZERO
STOP
switch
set
to
ON,
the
tape
will
automatically
stop
from
the
rewind
or
fast
forward
modes
when
the
counter
"000”
position
is
reached.
®
Tape
Counter
and
RESET
Button
This
three-digit
tape
counter
provides
a
handy
index
to
tape
position.
It’s
a
good
idea
to
write
down
the
counter
readings
for
important
points
of
a
recording,
so
you
can
locate
them
easily
afterwards.
The
RESET
button
resets
the
counter
to
"000”
at
the
current
tape
position.
#
Transport
Controis
These
light-touch
electronic
transport
controls
provide
smooth,
sure
control
of
all
tape
transport
functions.
PLAY:
Starts
the
transport
running
in
the
PLAY
mode.
The
green
PLAY
indicator
LED
lights
during
playback.
RECORD:
Press
the
REG
button
to
enter
the
“REG/
PAUSE”
mode,
if
all
the
REG
SELEGT
switches
are
turned
OFF,
the
red
REG
indicator
LED
will
flash
and
the
orange
PAUSE
indicator
LED
will
light.
If
any
of
the
REG
SELEGT
switches
are
set
to
a
position
other
than
OFF,
both
the
red
REG
and
orange
PAUSE
LEDs
will
light
continuously.
In
this
mode
the
trans¬
port
is
not
yet
running
and
recording
has
not
begun.
From
the
REG/PAUSE
mode,
press
the
PLAY
button
to
actually
start
the
transport
running
in
the
REGORD
mode
(if
any
of
the
REG
SELEGT
switches
are
set
to
a
position
other
than
OFF),
or
the
REGORD-READY
mode
(if
all
the
REG
SELEGT
switches
are
set
to
OFF).
The
red
REG
and
green
PLAY
indicator
LEDs
both
light
during
recording.
The
red
REG
will
con¬
tinue
to
flash
and
recording
will
not
occur
if
none
of
the
REG
SELEGT
switches
are
set
to
a
recording
po¬
sition.
Note:
Only
tracks
for
which
the
REG
SELEGT
switch
is
set
to
a
recording
position
will
be
recorded
when
the
REGORD
mode
is
activated.
Note:The
REGORD
mode
cannot
be
activated
if
a
cas¬
sette
is
loaded
from
which
the
record-prevention
tab
has
been
removed.
PAUSE:
Temporarily
stops
playback
or
recording.
The
or¬
ange
PAUSE
indicator
LED
will
light
when
the
PAUSE
mode
is
active.
Press
the
PLAY
button
to
disengage
the
PAUSE
mode
and
continue
playback
or
recording.
REWIND
(REW)
&
FAST
FORWARD
(FF):
These
buttons
cause
fast*winding
of
the
tape
in
the
specified
direc¬
tion.
STOP:
Immediately
stops
the
transport
from
any
of
its
op¬
erational
modes.
®
Cassette
Compartment
Your
cassette
tape
is
loaded
here.
Use
only
high-quality
chrome
(CrOs)
formula
cassette
tape.
Other
types
of
tape
will
not
provide
correct
frequency
characteristics
and
mini¬
mum
noise
with
the
MT100.
First
flip
up
the
cassette
compartment
lid
(a
lifter
tab
is
provided
at
the
right
side
of
the
cover),
then
insert
the
tape
with
the
open
end
of
the
cassette
(the
end
at
which
you
can
see
the
tape)
facing
the
transport
controls.
Press
the
back
(closed)
edge
of
the
cassette
down
under
the
central
retaining
finger
at
the
rear
of
the
cassette
compartment,
then
press
the
front
(open)
end
down
into
the
mechanism
—
GENTLY!
Glose
the
compartment
lid
when
ready.
Note:
Since
the
MT100
uses
the
entire
width
of
the
cas¬
sette
tape
to
record
four
tracks,
the
cassette
can
only
be
recorded
on
one
side.
If
you
attempt
to
flip
the
cassette
and
record
on
the
second
side,
you
will
erase
any
previously
recorded
material.
@
PUNCH
i/0
Footswitch
Jack
An
optional
YAMAHA
FS-1
Footswitch
can
be
connected
to
this
jack
to
permit
foot-controlled
punch-in
and
punch-out
recording
(see
"PUNGH-IN/OUT
REGORDING”
on
page
17).
®TAPE
OUT
Jacks
The
four
TAPE
OUT
jacks
are
direct
outputs
from
the
cor¬
responding
tracks
of
the
MT100
recorder.
These
jacks
make
it
possible
to
feed
the
output
from
the
four
recorder
tracks
to
an
externai
mixing
consoie.
The
TAPE
OUT
jacks
can
also
be
used
to
feed
each
of
the
recorder’s
tracks
to
external
signai
processors,
the
output
of
which
can
then
be
returned
to
the
MTfOO’s
mixer
inputs.
The
TAPE
OUT
jacks
are
RCA
pin
types
with
a
nominai
output
level
of
-10
dB
into
a
load
of
greater
than
50
k-
ohms.
®
ST
OUT
R
and
L
Jacks
These
are
the
main
outputs
from
the
MT100,
delivering
the
stereo
output
signal
from
the
MT100
mixer
section.
The
ST
OUT
jacks
can
be
connected
to
a
stereo
sound
system
for
monitoring
and
listening,
or
to
a
second
cassette
recorder
when
recording
a
stereo
“mix”
of
a
multitrack
MT100
mas¬
ter
tape.
The
ST
OUT
R
and
L
jacks
are
RCA
pin
jacks
with
a
nominal
output
level
of
-10
dB
when
feeding
a
load
of
greater
than
50
k-ohms.
^
AUX
SEND
&
RTN
Jacks
The
AUX
SEND
and
RTN
jacks
make
it
simple
to
use
an
external
signal
processor
(such
as
the
YAMAHA
R100
Reverb
Processor)
to
add
effects
to
MT100
signals.
The
AUX
SEND
jack
should
be
connected
to
the
input
of
your
signal
processor,
and
the
output
from
your
signal
processor
should
be
connected
to
the
AUX
RTN
jack
(see
“USING
THE
AUX
SEND/RTN
LOOP”
on
page
16).
^
DC
IN
Jack
The
DC
output
cord
from
the
YAMAHA
PA-100
AC
Adaptor
supplied
with
the
MT100
should
be
plugged
in
here.
The
AC
Adaptor
should
be
plugged
into
a
convenient
AC
wall
outlet.
Caution:
Use
only
a
YAMAHA
PA-100
AC
Power
Adaptor
to
power
your
MT100.
Other
AC
adaptors
can
cause
faulty
operation,
and
may
even
permanently
damage
yourMTIOO.
®
POWER
Switch
Press
the
POWER
switch
once
to
turn
power
ON,
a
second
time
to
turn
power
OFF.
When
the
power
is
ON,
the
POWER
LED
above
the
LED
peak
meters
on
the
MT100
top
panel
will
light.
Note:
If
you
are
familiar
with
block
diagrams
of
electronic
equipment,
refer
to
the
“BLOCK
DIAGRAM”
on
page
19
for
a
full
overview
of
the
MT100
system.
6
MTIOO
MULTITRACK
CASSETTE
RECORDER
CONNECTION
EXAMPLES
-
BASIC
CONNECTIONS-
Make
sure
the
power
to
all
equipment
is
OFF
when
making
connections.
ABOUT
CASSETTE
TAPES
This
unit
is
designed
to
be
used
only
with
Chrome-
position
tape,
and
will
not
work
properly
with
Ferri-
chrome
tape
formulations.
CrOa
tape
(Bias:
HIGH;
EQ:
70/iS)
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:
Cover
the
hole
with
•
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.
8
MTIOO
MULTITRACK
CASSETTE
RECORDER
THE
RECORDING
PROCESS
Recording
with
the
MT100
is
a
very
simple
process.
All
you
need
is
the
MT100,
a
pair
of
monitor
headphones,
and
an
instrument,
microphone,
or
other
signal
source.
The
multitrack
recording
process
can
be
basically
broken
down
into
the
following
steps:
1.
Record
the
First
Track.
a)
Channei-to-track
Assignment.
b)
Set
Record
Level.
c)
Record.
2.
Overdub
the
Remaining
Tracks.
a)
Channel-to-track
assignment
for
each
overdub.
b)
Set
record
level
for
each
overdub.
c)
Record
the
overdub.
3.
Ping-pong
and
Overdub
More
Tracks
(if
necessary).
4.
Mixdown.
a)
Set
up
for
monitoring
the
mix.
’
‘
b)
Set
up
a
rough
mix
and
add
effects.
c)
Finalize
and
rehearse
the
mix.
d)
Connect
the
MT100
ST
OUT
jacks
to
a
stereo
casette
recorder.
e)
Record
(from
the
MT100
to
the
stereo
cassette
recorder).
These
steps
(and
what
the
recording
terms
mean)
wiil
be
described
in
detail
beiow,
so
its
a
good
idea
to
read
through
the
following
sections
in
sequence
in
order
to
get
a
clear
picture
of
the
overall
recording
process.
9
RECORDING
THE
FIRST
TRACK
STEP
1:
CHANNEL-TO-TRACK
ASSIGNMENT
The
first
step
in
making
any
recording
is
to
assign
the
channel
to
which
your
instrument
or
other
source
is
connected
to
one
of
the
recorder’s
tracks.
Depending
on
what
you
are
reoording,
you
might
want
to
record
a
single
instrument
or
other
source
to
a
single
track
on
the
recorder,
or
you
might
want
to
combine
several
instruments
or
other
sources
and
record
them
on
a
single
track.
The
MT100
offers
two
“channel-to-track
assignment”,
methods
that
can
be
used
individually
or
combined
to
give
you
the
track
assignments
that
you
need.
Direct
ChannehtO’Track
Assignment
With
this
method,
an
instrument
or
source
connected
to
one
of
the
mixer’s
channels
is
fed
directly
to
the
correspondingly
numbered
track
of
the
recorder.
You
can
record
a
single
track
like
this,
or
up
to
all
four
tracks
simultaneously.
For
direct
channel-to-track
assignment,
the
REC
SELECT
switch
of
the
channel(s)
to
be
recorded
must
be
set
to
the
“number”
position
(1,
2,
3
or
4).
For
example,
if
the
channel
1
REC
SELECT
switch
is
set
to
“1,”
the
channel
1
signal
will
be
sent
directly
to
track
1
of
the
recorder.
This
applies
in
the
same
way
to
all
other
channels
and
tracks.
Panned
Channel-to-Track
Assignment
The
panned
channel-to-track
assignment
method
makes
it
possible
to
assign
several
of
the
mixer’s
ohannels
to
a
single
recorder
track,
or
single
mixer
channels
can
be
assigned
to
different
tfack
numbers.
i
Each
of
the
REC
SELECT
switches
has
either
an
“L”
or
“R”
position.
These
correspond
to
the
left
(L)
and
right
(R)
chan¬
nels
of
the
mixer’s
output.
If
a
REC
SELECT
switch
is
set
to
"L,”
for
example,
any
of
the
mixer’s
channels
can
be
assigned
to
the
correspondingly
numbered
track
by
setting
its
PAN
control
fully
LEFT.
You
could
assign
channel
1
to
track
4,
for
example,
by
setting
the
channel-4
REC
SELECT
switch
to
“R”
and
the
channel-1
PAN
control
fully
RIGHT.
The
assignment
shown
in
the
diagram
below
is
achieved
by
setting
the
channel-4
REC
SELECT
switch
to
"R,”
and
setting
the
PAN
controls
of
channel
1,
2
and
3
fully
RIGHT.
The
channel-4
PAN
control
is
set
fully
LEFT
to
prevent
its
signal
from
reaching
track
4
of
the
recorder.
MIXER
SECTION
RECORDER
SECTION
CHAN.
1
CHAN.
2
CHAN.
3
CHAN.
4
TRACK
1
TRACK
2
TRACK
3
TRACK
4
MIXER
SECTION
RECORDER
SECTION
CHAN.
1
CHAN.
2
CHAN.
3
CHAN.
4
TRACK
1
TRACK
2
TRACK
3
TRACK
4
10
MTIOO
MULTITRACK
CASSETTE
RECORDER
STEP
2:
MONITOR
SETUP
Once
your
source
is
connected
to
an
input
channel
and
that
channel
is
monitor
system
so
that
you
can
monitor
the
track
as
it
is
recorded.
Headphone
Monitoring
Monitoring
via
a
pair
of
headphones
connected
to
the
PHONES
jack
offers
the
greatest
flexibility
and
is
recom¬
mended
for
general
recording.
The
PHONES
SELECT
switch
allows
you
to
select
the
desired
signal
for
monitoring
as
fol¬
lows:
MONITOR:
In
this
position
only
the
output
from
the
recorder’s
four
tracks
is
sent
directly
to
the
PHONES
jack
via
the
four
MONITOR
controls.
The
MONITOR
controls
are
used
to
set
up
the
desired
monitor
"mix.”
This
setup
is
ideal
for
general
monitoring
while
recording
because
it
allows
you
to
set
up
a
monitor
mix
independently
from
the
channel
faders.
Material
already
recorded
on
any
of
the
recorder’s
tracks
is
delivered
to
the
PHONE
jack
via
the
corresponding
MONITOR
controls
as
long
as
the
REC
SELECT,
switches
for
the
playback
channels
are
set
to
OFF.
The
sound
of
instruments
or
other
sources
assigned
to
any
of
the
recorder’s
tracks
is
also
delivered
to
the
PHONES
jack
via
the
corresponding
MONITOR
controls.
MIX:
Both
the
output
from
the
recorder’s
four
tracks
(via
the
MONITOR
controls)
and
the
stereo
output
from
the
mixer
section
are
sent
to
the
PHONES
jack.
STEREO:
Only
the
stereo
output
from
the
mixer
section
is
sent
to
the
PHONES
jack.
This
setting
is
most
useful
for
mixdown
of
a
completed
multitrack
recording,
since
you
want
to
hear
the
mix
produced
by
the
mixer
section’s
channel
faders
and
any
effects
applied
using
the
AUX
SEND
and
RTN
controls
while
mixing.
Make
sure
that
no
sources
are
plugged
into
any
of
the
mixer’s
inputs
while
mixing,
so
that
the
outputs
from
the
recorder
sec¬
tion
are
routed
to
the
mixer
section’s
inputs.
assigned
to
one
of
the
recorder's
tracks,
you
should
set
up
your
Monitoring
via
a
Sound
System
with
Speakers
It
is
also
possible
to
use
a
stereo
sound
system
with
speakers
or
a
pair
of
powered
monitor
speakers
(such
as
the
YAMAHA
MSI
01
Monitor
Speaker
System)
connected
to
the
MT100
ST
OUT
L
aftdjR
jacks
for
monitoring.
When
monitoring
via
a
sound
system
in
this
way,
only
the
stereo
output
from
the
MT100
mixer
section
can
be
monitored.
This
is
the
same
situ¬
ation
as
monitoring
via
headphones
with
the
PHONES
SE¬
LECT
switch
set
to
STEREO.
The
use
of
a
sound
system
for
monitoring
is
therefore
not
recommended
for
generai
record¬
ing,
but
is
highly
recommended
for
mixdown
since
it
allows
you
to
monitor
your
mix
under
conditions
that
are
cioser
to
the
way
your
final
tape
will
hopefully
be
heard
—
via
a
stereo
sound
system
and
speakers.
Note:
Speakers
should
not
be
used
for
monitoring
if
you
will
be
recording
via
microphones,
since
the
monitor
sound
will
leak
into
the
microphone(s)
and
spoil
the
recording.
11
STEP
3:
SETTING
RECORDING
LEVELS
Setting
optimum
recording
levels
is
vitally
important
to
achieve
the
best
possible
recording
quality.
1.
Start
with
the
channel
fader
on
the
channel
to
be
used
set
to
its
minimum
(“0”)
position,
and
the
MIC/LINE
trim
control
(if
you
are
recording
via
channel
1
or
2)
set
all
the
way
to
LINE.
2.
Once
everything
is
properly
set
up
play
the
source
at
the
highest
(loudest)
level
that
it
will
be
played
while
actually
recording.
3.
Set
the
MASTER
fader
to
about
“7”
or
“8”
on
the
scale,
and
gradually
raise
the
channel
fader
until
you
begin
to
hear
the
source
sound
and
see
the
LED
peak
meter
come
to
life.
If
your
source
is
an
electric
instrument
(guitar
or
bass)
or
a
microphone
and
you
are
recording
via
channel
1
or
2,
you
may
also
have
to
slide
the
MIC/LINE
trimmer
towards
the
MIC
end
of
its
scale
to
get
a
sufficiently
high
meter
reading.
Adjust
the
channel
fader
(and
MIC/LINE
trim
control
if
ap¬
plicable)
so
that
the
meter
reading
averages
between
about
"0”
and
“+3”
on
the
scale.
Ideally,
the
channel
fader
should
be
set
at
about
“7”
or
"8”
on
its
scale
to
achieve
the
above-mentioned
meter
reading.
This
is
to
ensure
the
best
possible
signal-to-noise
ratio
and
allow
plenty
of
plus
and
minus
leeway
for
later
adjustment.
If
the
fader
setting
is
way
off,
try
adjusting
the
volume
control
on
the
instrument
or
other*SQurce
until
you
can
get
the
optimum
reading
with
a
fader
setting
between
“7”
and
“8.”
STEP
4:
RECORD
After
assigning
the
input
channel
to
a
recorder
track,
checking
the
monitor
settings
and
setting
the
optimum
record
level
for
the
new
track,
you’re
ready
to
record.
1.
Make
sure
that
a
cassette
has
been
loaded
into
the
cas¬
sette
compartment,
and
that
it
is
wound
to
the
point
at
which
you
intend
to
start
your
recording.
It’s
a
good
idea
to
press
the
counter
RESET
button
to
set
the
counter
to
“000”
at
this
point
so
that
you
can
automatically
locate
the
begin¬
ning
of
the
recording
later
using
the
ZERO
STOP
function.
2.
Press
the
REC
button
and
then
the
PLAY
button
to
start
recording,
wait
a
few
seconds,
and
start
playing.
3.
When
you’ve
finished
recording
the
track,
press
the
STOP
transport
button,
turn
the
REC
SELECT
switch
for
the
track
just
recorded
OFF,
rewind
the
tape
(the
tape
will
stop
auto¬
matically
at
counter
“000”
if
the
ZERO
STOP
switch
is
ON).
4.
P
lay
back
the
recording
(press
the
PLAY
transport
control)
and
listen
to
the
track
to
make
sure
that
everything
went
as
planned.
Note:
When
recording
the
first
track
it
is
vital
to
record
some
form
of
“count-in”
prior
to
actually
playing
your
instrument!
If
you
haven’t
included
a
one-
or
two-
measure
count-in
in
your
first
track,
you’ll
have
a
heck
of
a
time
trying
to
coordinate
the
beginning
of
your
second
track
with
the
first.
12
MTIOO
MULTITRACK
CASSETTE
RECORDER
OVERDUBBING
Overdubbing
is
the
process
of
recording
a
new
track
(or
new
tracks)
while
monitoring
previously
recorded,
tracks.
If
you’re
only
planning
to
record
a
maximum
of
four
tracks,
you
can
go
ahead
and
overdub
the
second,
third
and
fourth
tracks.
If
you’re
planning
to
use
the
“ping-pong”
recording
technique
to
record
more
than
four
parts,
however,
record
only
up
to
the
third
track
and
then
move
on
to
the
ping-pong
step
(see
“PING-PONG
RECORDING"
on
page
14).
1.
Plug
the
instrument
or
other
source
to
be
recorded
into
an
available
channel
input.
2.
Make
sure
that
the
REG
SELECTOR
switches
of
previ¬
ously-recorded
tracks
are
set
to
OFF
so
that
they
aren’t
erased
when
the
new
track
is
recorded.
3.
Set
up
the
channel-to-track
assignment
for
the
new
track.
4.
Check
your
monitor
settings
to
ensure
that
you
can
monitor
’
»
the
previously
recorded
track(s)
as
well
as
the
new
track
to
be
recorded
(the
PHONES
SELECT
switch
should
nor¬
mally
be
set
to
MONITOR
if
you
are
monitoring
via
head¬
phones).
5.
Set
the
recording
level
for
the
new
track.
6.
You
can
now
“rehearse”
the
overdub
without
actually
re¬
cording
by
simply
playing
back
the
already-recorded
track(s)
and
playing
the
new
part.
7.
Make
sure
the
tape
is
rewound
to
the
beginning
of
the
piece
and
start
recording.
These
steps
are
simply
repeated
to
overdub
tracks
3
and
4.
13
PING-PONG
RECORDING
Ping-pong
recording
is
a
technique
you
can
use
to
squeeze
more
than
just
4
parts
onto
your
4-track
machine.
In
ping-pong
recording,
you
can
record
parts
on
tracks
1,
2,
and
3,
for
example,
and
then
re-record
these
tracks
onto
track
4,
using
the
mixer
controls
to
set
up
the
right
balance
between
the
3
original
tracks.
You
now
have
a
“mix”
of
the
first
3
tracks
on
track
4,
and
tracks
1,
2,
and
3
are
available
for
more
recording.
That’s
already
the
equivalent
of
6
'tracks”
on
your
4-track
recorder.
While
mixing
the
first
3
tracks
down
onto
track
4
you
can
also
mix
in
a
live
instrument
via
the
MT100
mixer
section.
That
would
give
you
4
parts
recorded
on
track
4
of
the
tape.
With
the
3
tracks
you
still
have
available
for
re¬
cording,
that’s
a
total
of
7
tracks.
Now,
if
you
record
only
2
of
the
remaining
tracks
and
ping-pong
these
to
track
3
while
mixing
in
another
live
instrument,
you’ll
have
4
parts
on
tracks
4,
3
parts
on
track
3,
and
2
tracks
available.
That’s
a
total
of
9.
Following
this
procedure
it
is
actually
possible
to
record
up
to
10
individual
tracks
without
re-recording
any
single
track
more
than
once
(refer
to
the
illustration).
Note:
Ping-ponging
is
a
critical
step
because
the
tracks
to
be
ping-ponged
must
be
mixed
perfectly
before
you
can
go
on
to
recording
the
subsequent
tracks.
This
is
be¬
cause
once
they’re
ping-ponged
and
new
material
has
been
recorded
on
the
original
tracks,
their
balance
and
individual
sound
cannot
be
changed
unless
you
go
back
and
record
the
original
tracks
all
over
again.
EXAMPLE:
Recording
tracks
"1”
through
“10”
using
the
Ping-
pong
process.
Ping-Pong
1.2
and
3
Ping-Pong
5
and
6
to
Record
parts
1,
2
to
track
4
while
add-
track
3
while
adding
Move
8
to
track
2
Record
10
the
last
and
3.
ing
part
4.
Record
parts
5
and
6.
part
7._
Record
part
8.
while
adding
9.
part.
_
TRACK
1
TRACK
2
TRACK
3
1
5
8
10
2
6
8
+
9
8
+
9
3
5,
6
+
7
5,
6
+
7
5,6
+
7
5,
6
+
7
TRACK
4
1
1.2,
3
+
4
I
1,2,
3
+
4
1,2,
3
+
4
1,
2,
3
+
4
1,2,
3
+
4
1,2,3
+
4
A
PING-PONG
RECORDING
EXAMPLE
The
following
is
an
example
of
how
you
would
ping-pong
material
recorded
on
tracks
1,
2
and
3
onto
track
4.
Here’s
how
the
controls
should
be
set:
•Input
Jacks
Make
sure
that
nothing
is
plugged
into
any
of
the
mixer’s
input
jacks.
•Channel
Faders
To
begin
with,
set
the
channel
1
through
3
faders
to
about
"7”
on
their
scales,
and
set
the
channel-4
fader
to
“0.”
•REC
SELECT
Switches
The
channel
1
through
3
REC
select
switches
must
be
set
to
OFF,
and
the
channel-4
REC
SELECT
switch
should
be
set
to
“R.”
•AUX
SEND
Controls
Set
all
four
AUX
SEND
controls
to
MIN
for
the
time
being.
•PAN
Controls
Since
the
channel-4
REC
SELECT
switch
is
set
to
“R,”
the
channel
1
through
3
PAN
controls
bust
be
rotated
full
clockwise
(right)
to
assign
the
track
1,
2
and
3
signals
to
track
4
of
the
tape.
The
channel-4
PAN
control
can
be
set
to
center.
•AUX
RTN
Control
Set
to
MIN
for
the
time
being.
•PHONES
SELECT
Switch
Set
to
MIX
so
you’ll
only
hear
signals
from
the
MT100
re¬
corder.
•MONITOR
Controls
Set
the
channel
1
through
3
MONITOR
controls
fully
counter-clockwise,
and
the
channel-4
MONITOR
control
to
about
center
or
a
position
that
will
provide
the
best
monitor¬
ing
level.
1.
Play
back
the
tape
(don’t
press
the
REC
button
yet).
Gradually
Increase
the
channel-4
fader
setting
until
you
can
hear
the
tracks
you’ve
recorded
and
the
channel-4
meter
reads
around
“0”
on
the
scale.
Adjust
the
MONITOR
4
control
for
the
most
comfortable
monitoring
level.
2.
Adjust
the
channel
1,
2
and
3
faders
—
carefully
—
until
you
get
the
desired
balance
between
the
first
three
tracks.
You’ll
notice
that
as
you
adjust
the
balance
between
tracks
the
channel-4
meter
reading
might
change
considerably.
You’ll
have
to
compensate
for
this
as
you
set
up
the
ping-
pong
mix
by
adjusting
the
channel
4
fader.
3.
When
everything
is
set
up
perfectly,
rewind
the
tape
to
the
beginning
and
start
recording.
Sit
back
and
wait
until
the
ping-pong
is
complete,
then
stop
the
recorder.
Now
play
back
the
tape
and
listen
to
the
ping-ponged
track
carefully.
If
something
sounds
odd,
go
back
and
repeat
the
ping-
pong
process.
You
can
do
this
as
many
times
as
neces¬
sary
until
you
get
it
right
—
then
go
on
to
the
next
step.
4.
Overdub
and,
if
necessary,
ping-pong
the
remaining
tracks.
14
MTl
00
MULTITRACK
CASSETTE
RECORDER
MIXDOWN
Mixdown
is
the
final
stage
in
the
recording
process
at
which
you
transform
your
multitrack
master
tape
into
a
mono
or
stereo
master
tape
that
is
the
final
creative
product.
The
process
invoives
re-recording
the
multitrack
tape,
via
the
MTIOO’s
mixer,
onto
a
conventional
stereo
tape
deck
while
you
finely
balance
the
tracks
to
achieve
just
the
right
sound.
Tracks
can
be
faded
in
or
out
as
required,
and
refinements
such
as
overaii
reverberation
or
equaiization
can
be
added
using
external
signal
processing
equipment.
The
mixer’s
PAN
controis
can
be
used
to
position
each
track
at
the
appropriate
location
in
the
stereo
image,
and
you
can
even
want
pan
a
sound
from
one
channei
to
the
other
for
dramatic
effect.
Here’s
how
your
system
should
be
set
up:
•Input
Jacks
Make
sure
that
nothing
is
plugged
into
any
of
the
mixer’s
input
jacks.
•
Channel
Faders
Set
all
channel
to
"0.”
•RFC
SELECT
Switches
All
REC
SELECT
Switches
to
OFF.
•AUX
SEND
Controls
Set
all
four
AUX
SEND
controls
to
MIN
for
the
time
being.
•PAN
Controls
Start
with
all
PAN
controls
set
to
center.
MASTER
Fader
Set
to
about
“7”
or
“8”
on
the
scale.
•AUX
RTN
Control
Set
to
MIN
for
the
time
being.
•PHONES
SELECT
Switch
Set
to
STEREO
if
you’ll
be
mixing
using
headphones.
We
recommend
using
an
external
sound
system
or
a
pair
of
powered
monitor
speakers
(such
as
the
YAMAHA
MS101
Monitor
Speaker
System)
for
mixdown,
in
which
case
the
PHONES
SELECT
switch
setting
doesn’t
matter.
•MONITOR
Controls
Set
all
MONITOR
controls
fully
counter-clockwise.
•
METER
Switch
4
TRACK.
•dbx
Switch
If
you
started
recording
with
the
dbx
switch
ON,
leave
it
ON.
If
OFF,
it
should
stay
OFF.
1.
Sit
in
a
comfortable,
central
position
in
front
of
your
monitor
speakers.
2.
Listen
to,
evaluate,
and
adjust
the
sound
of
each
track
indi¬
vidually.
This
simply
means
raising
the
fader
of
a
singie
track,
adding
effects
or
other
signal
processing
as
required,
then
repeating‘the
process
on
the
next
track
until
all
tracks
have
been
carefully
checked.
If
you
have
an
external
signal
processing
device
such
as
the
YAMAHA
R100
Reverb
Processor
connected
into
the
MTIOO’s
AUX
SEND/RTN
loop
as
described
in
the
following
section
(“USING
THE
AUX
SEND/RTN
LOOP),
it’s
a
simple
matter
to
select
the
desired
effect
on
your
signal
processor
and
add
the
re¬
quired
amount
of
effect
to
each
track
using
the
AUX
SEND
controls.
The
AUX
RTN
control
must
also
be
set
to
an
ap¬
propriate
level.
3.
When
all
tracks
have
been
individually
checked,
bring
all
channel
faders
up
to
about
"7”
or
“8”
on
the
scale
and
play
back
the
tape.
Adjust
the
faders
for
the
best
overall
bal¬
ance.
Now
adjust
the
PAN
controls
to
place
each
track
at
the
desired
location
in
the
stereo
sound
field.
Now
listen
carefully
—
too
much
or
too
little
reverb
on
any
track?
Readjust
the
AUX
SEND
controls
to
achieve
the
desired
■
effect.
Balance
not
quite
right?
Keep
readjusting
until
you
are
satisfied.
You
should
also
rehearse
any
fades
or
pans
you
plan
to
do
while
actually
recording
the
mix.
4.
When
you’re
sure
everything
is
ready,
prepare
to
actually
record
the
mix.
To
do
this
you’ll
have
to
connect
the
MT100
ST
OUT
jacks
to
the
inputs
of
a
stereo
cassette
recorder.
Plug
your
monitor
headphones
into
the
stereo
cassette
deck
phones
jack
if
you
want
to
listen
as
you
record
the
mix,
or
simply
leave
them
connected
to
the
MT100
PHONES
jack
and
listen
with
the
PHONES
SELECT
switch
set
to
STEREO.
Use
the
stereo
cassette
deck
record
level
control(s)
and,
if
necessary,
the
MT100
MASTER
fader
to
set
the
optimum
record
level,
then
go
ahead
and
record.
The
MT100
MASTER
fader
can
also
be
used
to
add
a
slow
fade
at
the
end
of
the
piece.
15
USING
THE
AUX
SEND/RTN
LOOP
The
MTIOO’s
AUX
SEND
controls
function
like
a
secondary
mixer
that
derives
its
input
signals
from
the
main
mixer’s
four
channels
and
combines
them
into
a
mono
signal
which
is
delivered
via
the
AUX
SEND
jack
(refer
to
the
diagram
below).
You
can
use
the
AUX
send
controls
to
create
an
“effect
mix”
which
is
entirely
independent
of
the
main
mix,
thus
applying
the
required
degree
of
effect
to
each
channel
signal.
The
AUX
SEND
signal
is
sent
to
the
input
of
an
external
signal
processor
(reverb,
echo
or
other
effect
device),
and
the
output
from
the
signal
processor
is
returned
to
the
AUX
IN
Jack.
The
level
of
the
signal
received
at
the
AUX
IN
jack
can
be
adjusted
using
the
AUX
RTN
control,
and
the
resulting
signal
is
combined
with
the
MTIOO's
main
stereo
output
signal.
Since
the
returned
effect
signal
is
combined
with
the
mixer’s
stereo
output
signal,
the
AUX
SEND/RTN
loop
is
most
idealiy
suited
to
adding
effects
to
individual
tracks
during
the
final
mixdown
process.
Note:
Since
the
AUX
SEND/RTN
loop
returns
the
effect
signal
to
the
mixer
section’s
stereo
outputs,
effects
can
be
added
to
channeis
during
ping-pong
recording
as
long
as
the
panned
channel-to-track
assignment
method
is
used.
The
AUX
SEND/RTN
ioop
cannot
be
used
to
add
effects
when
recording
tracks
which
have
been
as¬
signed
using
the
direct
channel-to-track
assignment
method.
16
MTIOO
MULTITRACK
CASSETTE
RECORDER
PUNCH-IN/OUT
RECORDING
Punch-in/out
recording
makes
it
possible
to
re-record
a
short
segment
of
an
otherwise
perfect
track
in
order
to
correct
a
mistake
or
"brush
up"
an
important
passage.
You
"punch-in"
at
the
point
where
you
begin
recording
the
new
segment,
and
"punch-out"
at
the
end
of
the
new
segment
so
that
the
previously-recorded
material
is
not
erased.
Punch-in/out
Using
the
REC
SELECT
Switches
1.
Start
the
deck
running
—
a
few
measures
before
the
sec¬
tion
to
be
re-recorded
begins
—
in
the
record-ready
mode
by
pressing
the
REC
button
and
then
the
PLAY
button
with
all
track
REC
SELECT
switches
set
to
OFF.
The
red
REC
LED
will
flash
indicating
that
the
transport
is
in
the
record-
ready
mode,
The
PHONES
SELECT
switch
should
be
set
to
MONITOR
so
you
can
hear
all
the
tracks.
2.
At
a
convenient
break
in
the
track
switch
the
track
to
be
corrected
to
the
record
mode
(punch-in
by
switching
the
REC
SELECT
switch
for
that
track
to
the
appropriate
rec¬
ord
position)
and
start
playing
the
new
material
to
be
re¬
corded.
The
REC
LED
will
light
continuously
as
soon
as
the
REC
SELECT
switch
is
set
to
a
record
position.
3.
At
the
end
of
the
re-recorded
segment
switch
the
track
back
to
the
play
mode
(punch-out
by
switching
the
REC
SELECT
switch
for
that
track
to
OFF).
The
red
REC
LED
will
begin
to
flash.
Footswitch
Punch-in/out
1.
Plug
a
YAMAHA
FS-1
(optional)
footswitch
into
the
MT100
PUNCH
I/O
jack.
2.
Set
the
,REC
SELECT
switch
for
the
track
to
be
punched-in
to
the
appropriate
record
position,
and
press
the
REC
but¬
ton
to
activate
the
rec/pause
mode.
The
red
REC
LED
should
flash
instead
of
lighting
continuously.
If
the
red
REC
LED
lights
continuously,
press
the
footswitch
once
so
that
it
flashes!
;
3.
Press
the
PLAY
button
to
start
the
transport
running
in
the
record-ready
mode.
4.
Press
the
footswitch
to
punch-in.
The
red
REC
LED
will
light
continuously.
5.
Press
the
footswitch
a
second
time
to
punch-out.
The
red
REC
LED
will
begin
to
flash.
TRACK
1
TRACK
2
TRACKS
TRACK
4
3
!
:
STOP
All
tracks
monitored
In
PLAY¬
BACK
mode
(the
deck
is
in
the
REC
mode,
but
the
track
REC
SELECT
switches
are
set
to
OFF).
The
record
mode
is
engaged
for
track
3
only
when
the
track
3
REC
SELECT
switch
is
set
to
an
ON
position.
Begin
playback
|
|
It's
a
good
idea
to
actually
start
playing
a
little
before
the
punch-in
point.
>
17
MAINTENANCE
As
a
good
general
rule,
the
tape
heads,
pinchroller
and
cap¬
stan
should
be
cleaned
before
each
recording,
thus
ensuring
the
best
audio
quality.
After
the
deck
has
been
used
for
a
period
of
time,
the
heads,
pinchroller,
and
capstan
will
become
dirty.
This
increases
noise
and
uneven
rotation,
leading
to
a
deterioration
in
sound
quality.
Therefore,
periodic
cleaning
and
demagnetization
is
necessary
for
preserve
optimal
audio
performance.
Use
cotton
swabs
and
aicohoi
or
head
cleaning
fluid
(available
in
most
all
audio
stores)
to
clean
the
heads,
capstan,
and
pinchroller.
Keeping
the
heads
clean
is
essential
for
good
re¬
cordings.
For
demagnetization,
use
a
high
quality
head
demagnetizer,
and
follow
the
instructions
carefully.
H
It's
important
to
keep
all
parts
clean!
18
MTIOO
MULTITRACK
CASSETTE
RECORDER
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4
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