User manual YAMAHA R8

[. . . ] To take full advantage of the outstanding array of features, and for years of trouble-free operation, we urge you to thoroughly read this operating manual. After reading, keep it in a handy place for reference. CONTENTS BEFORE OPERATION . 1 2 2 3 3 4 4 7 9 11 13 14 15 15 16 16 16 17 33 34 34 35 36 37 38 BEFORE OPERATION PLEASE NOTE THE FOLLOWING PRECAUTIONS: · ABOUT CASSETTE TAPE This unit is designed to be used only with Chromeposition tape, and will not work properly with Ferrichrome tape formulations. Also, the use of C-120 tapes is not recommended because they exhibit poorer performance, and can be the cause of equipment failure. [. . . ] It's also important to remember that distortion at lower frequencies is less apparent than distortion at higher frequencies. dbx SYSTEM 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 planned for later on. Set the bass drum and the snare drum center, with the tomtoms 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 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 recording, these types of signal processing can be decided on later, and employed to any degree necessary. However, the R8 is limited in the number of effects which can be used during mixdown, so it's best to use them during the initial recording stages. It also features echo and delay programs as well as gate reverb and even kick drum programs enabling you to freely obtain various effects to suit each individual song. -- Signal route when recording drums -- 17 -- Drum Recording Procedure -- 1. Connections Plug the AC adaptor into an AC outlet, and insert the small round plug into the DC IN jack. Getting ready Lift open the cassette door and insert a chrome position (CrO2) tape. Return all the switches and controls to their normal positions, referring to the control panel illustration on pages 4~9. Turn the power switches on for the effect and microphones, and then turn the R8 "ON". Setting up the recorder section Press the RESET switch to return the counter to "000". The REC indicator will begin flashing. Plug a pair of monitor headphones (rated 8-40 ohms) into the PHONES jack. When using an effect, connect it between the AUX SEND jack (input) and either of the AUX RTN jacks (output). 18 4. Setting the monitor and meter sections Set the PHONES SELECT switch to the "STEREO" position. Make sure the METER SELECT switch is in the "4 TRK" position. Adjusting the input level Set all of the input switches to the MIC/LINE position. [. . . ] Merits of synchro-recording Synchro-recording enables the use of digital sources such as rhythm programmers and sequencers during the first mixdown stages. Since these sources are recorded directly onto the master, it extracts the full sound quality, dynamic range, and superb S/N performance of these digital instruments. Operating the tape sync With the SYNC switch "ON", press the PLAY switch and the FSK signal recorded on track 1 is sent to the YMC10, which converts it to the MIDI synchronizing signal and outputs it to the RX15. FOR THIS OPERATION, DON'T FORGET TO SET THE RX15 SYNC SWITCH TO "MIDI". [. . . ]