Yamaha MT100 - Manual (Page 16)

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 stiil 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.
Record parts 1, 2
and 3.
Pin g-Pong 1,2 and 3
to track 4 while add­
ing part 4. Record parts 5 and 6.
^ing-Pong 5 and 6 to
rack 3 while adding
part 7. Record part 8.
Move 8 to track 2
while adding 9.
Record 10 the last
part.
TRACK 1 1 5 8 10
TRACK 2 2 6 8 -f 9 8-1-9
TRACK 3 3 5, 6 - f 7 5, 6-1-7 5, 6 - t - 7 5 , 6 H - 7
TRACK 4
I
1 , 2 , 3 - f 4
I
1 , 2 , 3 + 4 1 , 2 , 3 - I - 4 1 , 2 , 3 - r - 4 1 , 2 , 3 - h 4 1 , 2 , 3 - r - 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.
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MTIOO MULTITRACK CASSETTE RECORDER
•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.