About Multitrack Recording; Are Four Tracks Enough; A Few Suggestions - Yamaha MT50 Manuel De L'utilisateur

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Chapter 1: Welcome to the MT50
MT50 User's Guide

About Multitrack Recording

Multitrack recording simply refers to recording on more than one track (a
track is a physical strip on a recording tape). Invented by Les Paul in the
1950's, multitrack recording constituted a revolutionary breakthrough in
the recording arts. Suddenly, you could record multiple instruments on sep-
arate tracks on a tape and mix them together later, making adjustments to
each track independently.
The MT50 gives you this incredible capability in a compact, portable unit
that you can use to make multitrack recordings almost anywhere--at the
rehearsal studio with the band, or in your bedroom. If you combine the
MT50 with other music technologies such as MIDI and digital effects pro-
cessing, you can make some great-sounding recordings.

Are Four Tracks Enough?

The MT50 is a four-track tape recorder: its recording heads create four sep-
arate tracks on a tape.
You will also notice that the left side of the unit is composed of four groups
or "modules" of identical controls. These modules control four separate
mixer channels with faders, tone, pan, and auxiliary send controls.
This combination of four inputs, four mixer channels, and four tracks gives
you an enormous amount of flexibility. You can create a signal that runs
from any input to any track on the tape. (In other words, there is no need to
record input module 1 to track 1 on the tape; input 1 can be routed to tracks
2, 3, or 4.)
You can overdub your own recordings, listening to one part while recording
another.
You can also transfer recorded takes from up to three tracks to an unre-
corded track. Then you can record over the initial tracks, and perhaps repeat
the process. Using this technique--called ping-pong recording--you can
effectively expand your four track studio into a virtual ten-or-more track
studio!

A Few Suggestions

• Avoid rheostats (dimmer switches for electric lights), air conditioners,
and fluorescent or neon lights. They all add hum to your recordings.
• If you use microphones to record, it is helpful to record in a room that
sounds good: in other words, an appropriate acoustic environment.
Also, you can experiment with the placement of your microphones;
minor adjustments can deeply affect the sound quality.
• Use high quality, shielded cables.
• If you have an analog or digital reverb effect unit, you will probably
want to use it. However, use it sparingly. Too much reverb can quickly
muddy your sound. Consider saving reverb until the final mixdown, so
you apply it evenly to the entire mix