Yamaha MT100II User manual

YAMAHA
MULTITRACK CASSETTE RECORDER
ENREGISTREUR DE CASSETTES MULTIPISTE
MEHRSPUR-KASSETTENDECK
RAT 1O01
OPERATION MANUAL
MANUEL D'INSTRUCTIONS
BEDIENUNGSANLEITUNG
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MIC/LINE 2 MIC/LINE 3 MIC/LINE 4 PHONES PUNCH 1/0

CONGRATULATIONS!
Your
МТ10ОП
Multitrack
Cassette
Recorder
is
a
powerful
recording
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
MTIOOH.
Whether
you
need
to
record
acoustic
instruments
or
voice
using
microphones,
electronic
instruments
and
line-level
sources,
or a
creative
blend
of
the
two,
the
МТІ0ОП
makes
the
process
of
building
tracks
extraordinarily
smooth
and
simple.
You
can
simply
record
and
remix
four
tracks,
or
use
the
multitrack
“ping-pong”
recording
technique
to
in-
dividually
record
up
to
ten
independent
parts
—
adding
sound layer
by layer
until
you
create
exactly
the
arrangement
and
texture
your
imagination
demands
with
its
ability
to
record
on
all
four
tracks
at
once,
or
in
any
conbination,
MT100II
is
the
ideal
choice
for
recording
bands
or
layering
tracks
at
home.
And,
because
it's
a
YAMAHA,
you
know
that
the
MTIOOII
will
give
you
the
very
finest
sound
quality
and overall performance
available.
In
order
to
make
use
of
the
MTIOOII's
many
features
and
obtain
maximum
performance,
we
urge
you
to
read
this
operation
manual
thoroughly
—
and keep
it
in
a
safe
place
for
later
reference.
CONTENTS
PRECAUTIONS ......................................... 1
THE CONTROLS AND CONNECTORS ..................... 2
MT100II CONTROLS AND THEIR FUNCTIONS .................. 2
CONNECTION EXAMPLES ............................... 8
ABOUT CASSETTE ТАРЕ8............................... 9
THE RECORDING PROCESS ............................ 10
RECORDING THE FIRST TRACK ......................... 11
STEP 1: CHANNEL-TO-TRACK ASSIGNMENT ................. 11
STEP 2: MONITOR SETUP .................................. 12
STEP 3: SETTING RECORDING LEVELS ...................... 13
ЗТЕРИ RECORD nn nn 13
OVERDUBBING: с. oro cx ne ew oe ee 14
PING-PONG RECORDING ............................... 15
A PING-PONG RECORDING EXAMPLE ....................... 16
MIXDOWN weh wa wx rs sats eas bie deb ied бата 17
USING THE GRAPHIC EQUALIZER ....................... 18
USING THE TAPE OUT JACKS .......................... 19
USING THE AUX SEND/RETURN LOOP ................... 20
PUNCH-IN/OUT RECORDING ............................ 21
MAINTENANCE `. "rre 22
SPECIFICATIONS ana u 23
BLOCK DIAGRAM ..................................... 77

PRECAUTIONS
.
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
subject-
to
excessive
dust
accumulation
or
vibration
which
could
cause
mechanical
damage.
,
. AVOID PHYSICAL SHOCKS
Strong
physical
shocks
to
the
unit
can
cause
damage.
Handle
it with
care.
.
DO
NOT
OPEN
THE
CASE
OR
ATTEMPT
REPAIRS
OR
MODIFICATION
YOURSELF
This
product
contains
no
user-serviceable
parts.
For
other
than
routine
cleaning,
refer
maintenance
to
qualified
YAMAHA
personnel.
Opening
the
case.
and/or
tampering
with
the
internal
circuitry
will
void
the
warranty.
.
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.
. 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.
. ALWAYS USE THE CORRECT POWER SUPPLY |
The MT100II should only be powered using the supplied
YAMAHA PA100 AC Adaptor. The use of other adaptors
can cause serious damage to the МТ100П.
. KEEP THE HEADS AND TAPE PATH CLEAN
To ensure consistent high performance and sound quality
from your MT10OII, it is important to clean the head and
tape path regularly (ideally before each recording session).
To do this, use a cleaning kit specifically designed for use
with cassette tape equipment. |
. USE ONLY HIGH-QUALITY CHROME CASSETTE
TAPE
“Тһе МТ100П is designed for use with CrO2 (chrome) formu-
lation tape, and will not provide proper performance with
any other type of tape. Always choose cassette tapes from
a reliable manufacturer.
IMPORTANT
NOTICE
FOR
THE
UNITED
KINGDOM
Connecting
the
Plug
and
Cord
IMPORTANT.
The
wires
in
this
mains
lead
are
coloured
in
accordance
with
the
following
code:
BLUE
NEUTRAL
BROWN
:
LIVE
As
the
colours
of
the
wires
in
the
mains
lead
of
this
apparatus
may
not
correspond
with
the
coloured
markings
identifying
the
terminals
in
your
plug
proceed
as
follows:
|
The
wire
which
is
coloured
BLUE
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
N orcoloured
BLACK.
The
wire
which
is
coloured
BROWN
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
L or
coloured
RED.

THE CONTROLS AND CONNECTORS
— CONTROL PANEL —
11111 нё
2 т
оф Фф ФФФФ
—— FRONT PANEL —
MIC/LINE 1 MIG/LINE 2 MIC/LINE 3 MIC/LINE 4 PHONES PUNCH Loo
2 МТ100П MULTITRACK CASSETTE RECORDER.
20

a
ne
MT100II
CONTROLS
AND
THEIR
FUNCTIONS
[Note]
The
terms
“channel”
and
"track":
In
this
owner's
manual,
the
term
"channel"
refers
to
the
circuitry
and
controls
required
to
process
one
input
source.
MT100IT's
mixer
section
has
four
"channels."
The
term
"track"
refers
to
the
magnetic
bands
on
tape
used
to
store
signals
recorded
by
MT100II's
recorder
section.
Since
MT100I
records
four
separate
bands
of
audio
on
tape,
it
is
a
four-"track"
recorder.
|
Ф INPUT SELECT Switches `
The
INPUT
SELECT
switches
are
used
to
select
the
input
source
for
each
of
the
four
channels.
TAPE:
Select
this
position
to
play
back
already
recorded
material.
When
selected,
mixer
channel
1
will
receive
playback
from
track
1;
channels
2,
3,
&
4
will
receive
tracks
2,
3,
&
4
respectively.
OFF:
In
this
position,
the
channel
receives
no
input
signal.
MIC/LINE:
In
this
position,
the
channel
can
receive
a
microphone,
keyboard,
or
other
line-level
signal
which is connected to the input jack.
[Note]
All
channels
which
are
not
in
use
should
be
set
to
"OFF"
position.
Ө MIC/LINE Gain Controls
The
gain
controls
adjust
the
sensitivity
of
the
channel
in-
puts
to
accept
a
wide
range
of
signal
levels
—
from
line
to
.
microphone.
The
gain
controls
are
used
in
conjunction
for
the
input
faders
to
set
the
optimum
recording
level
with
a
wide
range
of
sources
(see
"SETTING
RECORDING
LEV-
ELS"
on
page
13).
|
[Note]
A
gain
control
only
affects
the
level
of
the
signal
connected
to
the
input
jack.
Ө Input Faders
The
input
faders
are
used
to
adjust
the
level
(volume)
of
ihe
corresponding
mixer
channels
signal,
whether
it
comes
from
a
source
plugged
into
an
input
jack
or
from
the
MT100II’s
recorder
section.
(The
INPUT
SELECT
switches
are
used
to
choose
between
the
two.)
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.
Noise
and
distortion
are
at
their
lowest
at
input
fader
level
у",
:
Ө 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
11).
[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
MT100I
is
set
up
to
record.
Recording
will
commence
when
the
transport
REC
and
PLAY
but-
tons
are
pressed
simultaneously.
If
all
REC
SELECT
switches
are
set
to
OFF,
the
unit
will
not
record
even
if
the
transport
REC
and
PLAY
buttons
are
pressed.
OPAN Controls
The
PAN
controls
assign
the
signal
from
the
correspond-
ing
mixer
channel
to
any
desired
position
in
the
"stereo
sound
field".
If
à
PAN
control
is
set
to
the
maximum
"LEFT"
position,
the
signal
from
that
channel
will
appear
only
at
the
left-channel
MT100II
output
(STEREO
OUT
L).
If
the
PAN
control
is
set
fully
RIGHT,
the
signal
will
appear
only
at
the
STEREO
OUT
R
output
jack.
If
a
PAN
control
is
set
to
its
center
position,
then
the
signal
from
that
chan-
nel
will
appear
equally
at
both
the
left-
and
right-channel
outputs,
and
the
sound
will
appear
to
come
from
the
cen-
ter
of
the
stereo
sound
field,
a
point
midway
between
the
two
stereo
speakers.
By
varying
the
level
of
the
signal
sent
to
the
left-and
right-channel
outputs,
the
PAN
control
can
be
used
to
position
the
sound
at
any
point
in
the
stereo
spectrum.
The
PAN
controls
can
also
be
used
dur-
ing
recording
to
assign
the
signal
from
several
channels
to
a
single
track
of
the
recorder
section,
or
to
assign
a
chan-
.
nel
to
a
differently-numbered
recorder
track
(see
"CHAN-
NEL-TO-TRACK
ASSIGNMENT"
on
page
11).
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@ AUX SEND Controls
The AUX SEND conirols are used primarily when adding
effects such as reverberation or echo to the sound of a
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 ҒХ500 Simul-effect Processor (see |
"USING THE AUX SEND/RETURN LOOP” on page 20).
@ AUX RETURN Control
The AUX RETURN control determines the level at which
the signal from an external signal processor is returned
and mixed in with the МТ100Пз main stereo output signal.
The output from an external signal processor fed by the
AUX SEND jack must be connected to the AUX RETURN
jack(s) (see “USING THE AUX SEND/RETURN LOOP” on
page 20).
G MONITOR SELECT Switch
MONITOR: This position is selected to listen to the four
tape tracks. [n this position a mix from the four
MONITOR controls is sent to the PHONES jack and
the MONITOR OUT jack.
MIX: This position is selected to hear a combination of the
four tape tracks and input sources connected to the
input jacks. The mix from the MONITOR controls is
combined with the stereo output from the mixer sec-
tion and sent to the PHONES jack and MONITOR
OUT jack.
STEREO: This position is selected to monitor the stereo.
output from the mixer section. In this position, the
mix sent to the MONITOR OUT jack and PHONES
jack is the same mix that is sent to the STEREO
OUT jacks.
© MONITOR Controls 1 — 4
The four MONITOR controls determine the level of the
signal from the corresponding recorder tracks which is
sent to the PHONES jack and MONITOR OUT jàcks when
the MONITOR SELECT switch is set to either "MONITOR"
or "MIX." The MONITOR controls are primarily used to set
up the optimum levels for monitoring recorded tracks while
recording new material (overdubbing).
Ф) MONITOR/PHONES Control
This control is used to set headphone and control room lis-
tening level. It adjusts the level.of signal sent to the
PHONES jack and MONITOR OUT jacks with out affecting '
the signal level appearing at the STEREO OUT jacks.
4 | МТ100П MULTITRACK CASSETTE RECORDER `
Ф МАЅТЕВ Fader
The MASTER fader sets the overall output level of the
MT100IL mixer section, and thus the level of the output
signal appearing at the STEREO OUT jacks. The MAS-
TER fader also affects recording level when any of the
mixer section’s channels are assigned to the recorders
tracks via the PAN controls (see “SETTING RECORDING
LEVELS” on page 13).
(LED Peak Meters
The four LED peak meters accurately display output levels
from the MT100II's four recorder tracks when the METER
switch is set to “4 TRACK", or meters 1 and 2 display the
level of signals appearing at thé mixer section's stereo
outputs (the STEREO OUT jacks) when the METER
switch is set to "STEREO."
The LED peak meters are a guide for setting up the opti-
mum recording levels. (see "SETTING RECORDING LEV-
ELS" on page 13).
Ф METER Switch
When the METER switch is set to "STEREO," meters 1
and 2 display the level of signals appearing at the mixer
section's stereo outputs (the STEREO OUT jacks). When
set to "4 TRACK," the four LED peak meters display the
level of the corresponding recorder track signals.
abx ON/OFF Switch
The dbx switch determines whether the MT 00П в internal
dbx noise reduction system is ON or OFF. For normal
recording and playback using the MT10OII , 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 тау. Бе turned OFF when playing back
tapes that were recorded on other equipment and which
are not dbx-encoded.
ZERO STOP Switch
When the transport is in rewind, the ZERO STOP function
automatically stops the tape at a specified location.
To set the ZERO STOP point, play the tape to the desired
location and reset the tape counter to ZERO by pressing
the counter reset button. In rewind, with the ZERO STOP
switch “ON”, the transport will stop when the tape counter
reaches 999. This is particularly handy in the multitrack
“overdub” process when it is necessary to repeatedly re-
wind the tape and play from the same point. |

DTAPE SPEED Switch
The
TAPE
SPEED
switch
selects
either
the
standard
4.8-
cm/sec
cassette
tape
speed,
or
the
MT100II’s.
special
9.5-
cm/sec
high
tape
speed.
Use
the
standard
(4.8)
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.
[Note] Never change the TAPE SPEED setting while the
tape is running.
(D PITCH Control
The PITCH control varies tape speed by +10%, извива it.
possible to "tune" material recorded on the МТ100П 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 “+” end of the scale, and decreased by sliding
the control towards the "—" end of the scale.
(DEQ Switch
This switch turns the graphic equalizer on and off.
Ф Graphic Equalizer
An equalizer is used to tailor the signal to help it stand out
or integrate into a mix. MT100If's graphic equalizer is a
powerful signal shaping tool which allows you to augment
or attenuate signal components up to 10 dB in five fre-
quency bands. The graphic equalizer can be switched ON
to enhance signals as they are recorded on tape, and
again in playback.
[Note] When switched ON, the graphic equalizer can affect
signals being routed to tape via the PAN controls
when the REC SELECT switches which are set to “L”
or "R". The graphic equalizer will not affect signals
being routed to tape via REC SELECT switches
which are set to "1 — 4
@ Transport Controls
These light touch electronic transport controls provide
smooth, sure control of the tape transport functions.
REC: In conjunction with the PLAY button, activates
MT100II record circuitry. Recording is only possible
when one or more of the REC SELECT switches are
set to a position other than OFF. If all the REC SE-
LECT switches are set to OFF, the red REC indicator
LED will flash when the REC button is pressed, and
the orange PAUSE indicator will light. If any ВЕС SE- |
LECT switche is set to a position other than OFF, the
red REC indicator. and the orange PAUSE indicator
will light continuously. From the REC/PAUSE mode it
is necessary to press the PLAY button to start the
transport running. Actual recording will begin if at
least one track REC SELECT button is set to a posi-
tion other than OFF. If not, the transport will run in a
record/ready mode until a REC SELECT switch is set
to a position other than OFF.
[Note] Only tracks for which the REC SELECT switch is
set to a recording position will be recorded when the
RECORD mode is activated.
[Note] The RECORD mode cannot be activated if a cas-
sette is loaded from which the record-prevention tab
has been removed.
PLAY: Starts the transport running in the PLAY mode. The
green PLAY indicator LED will light to indicate PLAY
status.
REW (REWIND): Press this button the rewind the tape. If
the ZERO STOP switch is ON, the tape will stop
rewinding when the counter reaches "999."
FF (FAST FORWARD): Press this button the wind the tape
ahead at high speed. When this button is pressed
while in the PLAY mode, the audio will be heard as
the tape winds ahead at high speed.
STOP: Immediately stops the transport and/or defeats the
RECORD mode.
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 ROUES
or recording.
@ Tape Counter and RESET Button
This three-digit tape counter provides a handy index of
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. This is a
useful function when used in conjunction with the ZERO
STOP switch to identify specific positions on the tape.

@ Cassette Compartment
Your cassette tape is loaded here. Use only high-quality
chrome (CrO2) formula cassette tape. Other tape formula-
tions will not provide optimum frequency response and sig-
nal-to-noise performance.
A "lifter-tab" is provided at the right side of the cassette
compartment cover. Lift the cover using this tab. Hold the
cassette with the open end (the end at which you can see
tape) facing the transport controls. First, press the rear
edge of the cassette DOWN and UNDER the central retain-
ing finger at the rear of the cassette compartment. Then
gently press the front-of the cassette DOWN to seat the
cassette in place. (SEE DIAGRAM)
[Note] Since the MT100II uses the entire width of the.cas-
sette tape to record four tracks, the cassette can only
be recorded on one side. Never change the TAPE
SPEED setting while the tape is running.
@ MIC/LINE Input Jacks 1 — 4
These four input jacks accept signals from microphones, or
from line-level sources including, electronic keyboards,
electric guitars and basses and tape players. The four.
channel inputs 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 MT100II's
mixer.
6 MT100Il MULTITRACK CASSETTE RECORDER
@ 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 MT100II’s various signals. High-
quality headphones such as the YAMAHA RH5M or
MH100 are ideal for this purpose.
(9 PUNCH I/O 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 "PUNCH-IN/OUT RECORDING" on page
21).
Ф AUX SEND Jack
Ф AUX RETURN R and L(MONO) Jacks
The AUX SEND and RETURN jacks make it simple to use
an external signal processor (such as the YAMAHA FX500
Simul-effect Processor) to add effects to МТ100П 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 RETURN jack.
If your signal processor produces only monaural output, it
should be connected to the L (MONO) AUX RETURN jack
(see “USING THE AUX SEND/RETURN LOOP” on page
20).
@ TAPE OUT Jacks 1 — 4
The four TAPE OUT jacks are direct outputs from the cor-
responding tracks of the MT100II recorder. These RCA pin
type jacks make it possible to feed the output from the four
recorder tracks to an external mixing console. The TAPE
OUT jacks can also be used to feed each of the recorder's
tracks to external signal processors, the output of which
can then be returned to the MT100II's mixer inputs.
@® STEREO OUT R and L Jacks
These are the main outputs from the MT10OII, delivering
the stereo output signal from the МТ100П mixer section.
The- RCA pin-type STEREO OUT jacks can be connected
to a stereo sound system for monitoring and listening. You
can record a mixdown of your tape tracks when these jacks
are connected to the inputs of a stereo recorder. `
Ф MONITOR OUT R and L Jacks
These jacks output the same signal fed to the PHONES
jack (at line level). Control the level (volume) of the output
using the MONITOR/PHONES control. The MONITOR
OUT jacks can be connected to a stereo sound system for
monitoring and listening. They are RCA pin type jacks.

«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 MT10OII
top panel will light. Make sure that the input faders are set
to "0" and the AUX RETURN level control is set to “MIN”
before turning power on. |
[Note] A muting function operates for five seconds after
power is initially turned on, after which the recorder
can be operated.
Фос IN Jack (DC12V)
The DC output cord from the YAMAHA PA100 AC Adaptor
supplied with the MT100II should be plugged in here. Тһе
AC Adaptor should be plugged into a convenient AC wall
outlet. —
Caution: Use only a YAMAHA PA100 AC Power Adaptor
to power your МТ100П. Other AC adaptors can cause
faulty operation, and may even permanently damage your
MT100II.

CONNECTION EXAMPLES
— BASIC CONNECTIONS —
* Make sure the power to all equipment is OFF when making connections.
Monitor Power Amp/Speaker
Stereo cassette deck
to be used for mixdown
mm
External effect unit for
reverberation and/or delay
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(Electric guitar, bass,
keyboard, microphone, etc.)
8 | MT100II MULTITRACK CASSETTE RECORDER

ABOUT
CASSETTE
TAPES
This
unit
is
designed
to
be
used
only
with
Chromeposition
tape,
and
will
not
work
properly
with
Ferrichrome
tape
formulations.
CrO2
tape
(Bias:
HIGH;
EQ:
70s)
should
be
used.
Also,
the
use
of
С-120
tapes
is
not
recommended
because
they
exhibit
poorer
performance,
and
can
be
the
cause
of
equipment
failure.
Ф
Preventing
accidental
erasure
of
recordings
To
keep
from
inadvertently
erasing
a
prized
recording,
all
cassette
tapes
have
record
protection
tabs
along
the
rear
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.
To
protect
a
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
a
small
piece
of
adhesive
tape.
е PREVENTING ACCIDENTAL TAPE ERASURE:
Break off the tab
with a screwdriver or
similar implenent.
A side tab
B side tab
e
RECORDING
OVER
A
TAPE
WITH
THE
TABS
BROKEN
OUT:
Cover
the
hole
with
adhesive
tape.
€ Taking up tape slack
If the tape in the cassette 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.
Cassette shell
€ Storing cassette tapes
To
prevent
tape
slack
during
storage,
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,
emitted
from
de-
vices
such
as
televisions
or
speakers,
because
the
recordings
can
be
erased
or
sonically
alterd
to
some
degree.

THE RECORDING PROCESS
For details pertaining to the operation of MT100II controls, please refer to page 3, "MT100II CONTROLS AND THEIR FUNCTIONS".
Recording with the МТТООЦ is a very simple process. All you need is Ше MT100II, 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) Select channel-to-track assignment for input source.
b) Set Record Level.
c) Record.
2. Overdub on the Remaining Tracks.
a) Select channel-to-track assignment for each overdub.
b) Set records level for each overdub.
c) Record the overdub.
3. Track Combining. |
а) If necessary, use “ping pong” technique to combine tracks and clear them for additional overdubs.
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 МТ100П STEREO OUT jacks to a stereo casette recorder.
е) Record (from the МТ1ООП to the stereo cassette recorder).
These steps (and what the recording terms mean) will be described in detail below, 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.
10 МТ100П MULTITRACK CASSETTE RECORDER `

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 recording, you might want to record a single instrument or other source on a single track of the tape, or
you might want to combine several instruments or other sources and record them on a single track. The MT100II offers two
"channel-to-track assignment" methods.
Direct Channel-to-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. Using this
method, only one input source can be recorded on a single
track.
For direct channel-to-track assignment, the REC SELECT
switchs are set to the "number" position (1, 2,:3 or 4). For ex-
ample, 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.
RECORDER SECTION
MIXER SECTION
DIRECT CHANNEL - TO - TRACK ASSIGNMENT
Panned Channel-to-Track Assignment
The panned channel-to-track assignment method makes it
possible to assign several of the mixer's channels to a single
recorder track, or single mixer channels can be assigned to a
track of a different numbers.
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 stereo output. If track 1's REC SELECT
switch is set to "L" for example, track 1 will receive any signals
which are "panned" LEFT. Therefore, it is possible to send the
signal from channel 1 to track 4 by selecting "R" on track 4's
REC SELECT switch and panning channel 1 RIGHT. In addi-
tion, any other channels which are panned RIGHT will also be
recorded on track 4 if the faders for those channels are at
raised. The assignment illustrated below is achieved by set-
ting track 4's REC SELECT switch to "R" and setting the PAN
controls on channels 1, 2 and 3 fully right.
[Note] When a REC SELECT switch is set to "L" or "R" the
track will also record signal from the "LEFT or RIGHT
side" of the AUX return. Therefore, effects can be
recorded along with input sources.
RECORDER SECTION
MIXER SECTION
PANNED CHANNEL - TO - TRACK ASSIGNMENT
11

STEP 2: MONITOR SETUP
Once your source is connected to an input channel and that channel is assigned to one of the recorder's tracks, you should set up your
monitor system so that you can listen to the track as it is recorded,
The MT100II allows you to monitor the material being recorded either via a pair of headphones connected to the PHONES jack or
via a sound system with speakers connected to the MONITOR OUT jacks. The level appearing at the PHONES jack and MONITOR
OUT jacks is controlled by the MONITOR/PHONES control. The MONITOR SELECT switch has three positions which allow you to
listen to tape tracks only (MONITOR position), input sources (STEREO position), or a combination (MIX position).
MONITOR: In this position only the output from the recorder’s
four tracks is sent directly to the PHONES jack and the :
MONITOR OUT jacks via the four MONITOR controls.
The MONITOR controls are used to create the desired
monitor “mix”. This setup is ideal for general monitoring
while recording because it allows you to listen to the
four tape tracks while leaving input faders available to
route signal sources to tape. Material already recorded
on any of the recorder’s tracks is delivered to the
PHONES jack and MONITOR OUT jacks via the corre-
sponding MONITOR controls. In this case, an input
source can only be heard when it is assigned to a track
via the appropriate REC SELECT switch, and the
TRANSPORT controls are in the RECORD or REC-
ORD/PAUSE mode.
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 and MONI-
TOR OUT jacks. :
12 MT100II MULTITRACK CASSETTE RECORDER `
STEREO: Only the stereo output from the mixer section is
sent to the PHONES jack and MONITOR OUT jacks.
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 input faders and any
effects applied using the AUX SEND and RETURN
controls while mixing.
[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.

STEP 3: SETTING RECORDING LEVELS
Setting optimum recording levels is vitally important to. achieve the best possible recording quality.
1. Make sure that a cassette has been loaded into the cas- 4. Set the MASTER fader to about “7” or “8” on the scale and
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 “O00”
at this point so that you can automatically locate the begin-
ning of the recording later using the ZERO STOP function.
. Start by setting the channel input fader to be used set to its
minimum ("0") position, and the MIC/LINE gain control all
the way to LINE.
. Press transport RECORD button, this activates MT100II's
record circuit, and puts the transport in RECORD/PAUSE
mode. Tape will not be moving. Play the source at the
highest (loudest) level that it will be played during record-
ing.
gradually raise the input fader until you begin to hear the
source sound and see the LED peak meter come to life. If
your source is ап electric instrument (guitar or bass) or a
microphone, you may also have to slide the MIC/LINE gain
control towards the MIC end of its scale to get a sufficiently
high meter reading. Adjust the input fader and MIC/LINE
gain control so that the meter reading averages between
about “0” and “+3” on the scale. Ideally, the input 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 source until you can get the optimum reading with
a fader setting between "7" and "8." After levels are set,
press. STOP button to disengage RECORD/PAUSE trans-
port status. |
STEP 4: RECORD
When you have inserted a cassette, assigned the input channel to a recorder track, checked the monitor settings and set the
optimum record level for the new track, you’re ready to record.
[Note] Make sure the PITCH control is OFF (slider in the center position) while recording your first track.
. Press the REC button and then the PLAY button to start
recording, wait a few seconds, and start playing.
. When you've finished recording the track, press the trans-
port STOP button, turn the REC SELECT switch for the
track just recorded to the OFF position, rewind the tape
(the tape will stop automatically at counter "999" if the
ZERO STOP switch is ON).
. Play back the recording (press the PLAY button) and listen
to the track to make sure that everything went as planned.
[Note] If you plan to record using microphones and you will
be monitoring in the same room as where the micro-
phones are set up, we recommend the use of head-
phones while actual recording is taking place. If
speakers are used for monitoring during recording,
their sound can "leak" back into the microphones
compromising the quality of your recording.
13

`. 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 three tracks and then move on to
the ping-pong step (see "PING-PONG RECORDING” on page 15).
1. Plug the instrument or other source to be recorded into an
available channel input. |
2. Make sure that the REC SELECT switches of previously-
recorded tracks are set to OFF so that previously recorded
tracks aren't erased when the new track is recorded.
8. 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 MONITOR SELECT switch should nor-
mally be set to MONITOR.)
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. When MONITOR select
is in the MONITOR position, it is not possible to hear input
source unless MT100II's transport is in RECORD or REC-
ORD/PAUSE. If you are not ready to actually record your
overdub, and would like to hear the new input source along
with previously recorded tracks, set the MONITOR select
switch to the MIX position.
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.
14 МТ100П MULTITRACK CASSETTE RECORDER,

PING-PONG RECORDING
Ping-pong recording is a technique you can use to squeeze more than just 4 parts onto your 4-track machine.
This
is
accomplished
by
re-recording
a
mix
of
existing
tracks
onto
an
open
track.
Once
tracks
have
been
combined
in
this
way
on
a
new track, the original tracks can be erased, clearing them for additional overdubs.
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
he 3 original tracks. You now have a “mix” of the first З tracks
an 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 МТ100П
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).
EXAMPLE: Recording tracks *1" through "10" using the Ping-
Ping-Pong 1, 2 and 3
Record parts 1, 2 to track 4 while add-
and 3. ing part 4. Record parts 5 and 6.
TRACK 2 BESTEN
TRACKS | 3 |
TRACK 4
[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
because once they’re ping-ponged and new material
has been recorded on the original tracks, their bal-
ance and individual sound cannot.be changed un-
less you go back and record the original tracks all
over again.
[Note] It is recommended that you record using the 9.5 cm/
sec tape speed with dbx ON if you plan to combine
tracks using the ping-pong technique. Under some
conditions, use of the 4.8 cm/sec tape speed with
noise reduction OFF will cause feedback when a
previously recorded track is re-recorded onto an ad-
jacent track.
[Note] Ping-Pong recording technique requires that mul-
pong process.
Ping-Pong 5 and 6 to
track 3 while adding
part 7.
1,2,3 +4
tiple tracks are directed to tape via PAN controls.
Remember that a signal appearing at the stereo AUX
RETURN will also be added along with the tracks
being recorded or ping-ponged. To prevent an effect
from being recorded, set the AUX RETURN fader to |
“0” (all the way off).
Record 10 the last
Move 8 to track 2
Record рай 8. — while adding 9. part.
|
1,2,3 +4 1,2,3+4
15

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:
eINPUT SELECT switches `
Make sure that the channel 1,2 and 3 INPUT SELECT
switches are set to TAPE and the channel- 4 INPUT SE-
LECT. switch is set to OFF.
«при? Faders
To begin with, set the input 1 through 3 faders to about “7”
on their scales, and set the MASTER 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.
«GRAPHIC EQUALIZER Switch
Switch this OFF for the time being.
ePAN Controls
Since the channel-4 REC SELECT switch is set to “R,” the
channel
1
through
3
PAN
controls
must
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 RETURN Control
Set to MIN for the time being.
«MONITOR SELECT Switch
Set to MIX so you 'll only hear signals from the МТ1ООП 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.
16 МТТООП MULTITRACK CASSETTE RECORDER `
. Play back the tape: Gradually increase the MASTER fader
setting until you can hear. the tracks you've recorded and
the channel-4 meter reads around “О” on the meter scale. `
Adjust the MONITOR 4 control for the most comfortable
monitoring level.
. Adjust the input 1, 2 and З 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 MASTER fader.
.
At
this
time
the
GRAPHIC
EQUALIZER
may
be
switched
`
"on" and used to enhance the sound-quality. of: tracks. as
they are combined.
. AUX SEND controls on the channels may be used to add
an effect to the balance. The amount of effect added is
controlled by the AUX RETURN fader.
. 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.
. Complete your recording by overdubbing and using. the
Ping-Pong technique as necessary.
[Note] Only one output (left or right) of the effect will be
recorded. If the RECORD SELECT. switch is set to
“L”, the output of the effect processor connected to
the LEFT AUX RETURN jack will be recorded. lf.the
RECORD SELECT switch is set їо “НВ”, the output of
the effect processor connected to the RIGHT AUX
RETURN jack will be recorded.

MIXDOWN
Mixdown
is
the
last
stage
in
the
recording
process
at
which
time
you
can
blend
and
polish
the
sounds
to
create
the
final
product.
A
“МІХ”
is
created
by
finely
balancing
the
four
tracks
to
achieve
just
the
right
sound.
This
final
balance
is
achieved
using
MT100II's
mixer
section
and
is
re-recorded
onto.a
conventional
stereo
tape
deck.
Tracks
can
be
faded
in
or
out
as
required,
and
refinements
such
as
overall
reverberation
or
equalization
can
be
added
using
external
signal
processing
equipment
and
MT100II's
5-band
on-
board
GRAPHIC
EQUALIZER.
The
mixer’s
PAN
controls
can
be
used
to
position
each
track
at
their
appropriate
location
in
the
stereo
image,
and
you
may
even
want
to
move
or
PAN
a
sound
from
one
channel
to
the
other
to
create
a
dramatic
effect.
Here’s how your system should be set up:
«INPUT
SELECT
Switches
1.
Sit
in
a
comfortable,
central
position
in
front
of
your
monitor
-
Make
sure that
all
four
INPUT
SELECT
switches
are set
to
speakers.
TAPE.
2. Listen to, evaluate, and adjust the sound of each track indi-
vidually. This simply means raising the fader of a single
track, adding effects or other signal processing as required,
then repeating the process on the next track until all tracks
have been carefully checked. MT100II's 5-band GRAPHIC
EQUALIZER can be used to add or subtract high, mid, and
low frequency components from the overall mix, creating a
more exciting and coherent marriage of the tracks. If you
have an external signal processing device such as the
YAMAHA FX500 Simul-effect Processor connected into the
МТ100175 AUX SEND/RETURN loop as described in the
following section ("USING THE AUX SEND/RETURN
LOOP), it’s a simple matter to select the desired effect on
your signal processor and add the required amount of ef-
fect to each track using the AUX SEND controls. The AUX
RETURN control must also be set to an appropriate level.
«Input Faders
Set all channels to “0” (minimum).
«REC SELECT Switches
Set all REC SELECT Switches to OFF.
«AUX SEND Controls
Set all four AUX SEND controls to MIN for the time being.
+ GRAPHIC EQUALIZER Switch
Switch this OFF for the time being.
ePAN Controls
Start with all PAN controls set to center.
«MASTER Fader
Set to about "7” or "8” on the scale.
eAUX RETURN Control
Set to MIN for the time being.
«MONITOR SELECT Switch
You
will
want
to
monitor
the
same
signal
which
appears
at
3.
When
all
tracks
have
been
individually
checked,
bring
all
the STEREO OUT jacks, so set this switch to STEREO.
We recommend using an external sound system or a pair
of powered monitor speakers (such as the YAMAHA
MS101 Monitor Speaker) for mixdown. |
«MONITOR Controls
Set all MONITOR controls fully counter-clockwise.
«METER Switch
STEREO.
edbx Switch
If you started recording with the dbx switch set to ON,
leave it there. If OFF, it should stay OFF.
input 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.
. When you're sure everything is ready, prepare to actually
record the mix. Connect the MT100I STEREO OUT jacks
to the inputs of a stereo cassette recorder. Plug your moni-
tor 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 МТ100П PHONES jack and listen
with the MONITOR SELECT switch set to STEREO. Use
the stereo cassette deck record level control(s) and, if nec-
essary, the МТ100П MASTER fader to set the optimum
record level, then go ahead and record. The МТ100П
MASTER fader can also be used to add a slow fade at the
end of the piece.
17

USING THE GRAPHIC EQUALIZER
The
MTT00II
has
a
stereo
5-band
graphic
equalizer
built
in.
As
the
block
diagram
below
makes
clear,
signals
assigned
to
the
left
and
right
channels
by
the
PAN
control
and
level
adjusted
using
the
MASTER
fader
are
sent
to
the
equalizer.
Therefore,
it
can
be
used
during
ping-pong
recording,
mixdown
operation
and
when
recording
with
the
REC
SELECT
control
set
to
4”
or
“В.”
The
equalizer
cannot
be
used
when
the
REC
SELECT
control
is
set
to
“1”
—
“4,”
however,
since
each
channel
signal
is
recorded
directly
on
the
appropriate
track.
The graphic equalizer affects only the signal paths marked with bold lines in the diagram below.
L
(mono) (Q
RETURN
: в ©
INPUT MASTER |
CH
MIC/LINE
FADER
L
[|
GRAPHIC
9
|
1-4“
Е
i
EQUALIZER
о
оре
TA
Gasen]
|
GRAPHIC
EQUALIZER
LEI CRO
©) ^
©) [auxseno]|
©) 13
2,4
©) “| MONITOR OUT
L
MONITOR /
PHONES
MONITOR MONITOR
1,3 SELECT
PLAY
FE
I
|)
MA
REC $
SELECT ТЕЛЕ?
MIX і я
e
“о
N
В
©)
[monitor
our
y Ж { R
{ A
MONITOR MONITOR /
PHONES
MONITOR MONITOR
2,4 SELECT
18 MT100II MULTITRACK CASSETTE RECORDER |