Yamaha MT1X, Уполномоченное руководство по продукции

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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.
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