Yamaha Md8

7/29/2019 Yamaha Md8

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Laser Diode Properties

* Material : GaAlAs

* Wavelength : 780790 nm

* Emission Duration : Continuous

* Laser Output Power : Less than 44.6 W

Laser output is measured at a

distance of 20cm from the object

lens on the optical pick-up head.

(Note)

This unit is classified as a

Class 1 laser product.

The CLASS 1 LASER

PRODUCT label is located on

the exterior.

CLASS 1 LASER PRODUCT

Klassmrkning fr Finland.CLASS 1 LASER PRODUCT

LUOKAN 1 LASERLAITE

KLASS 1 LASERAPPARAT

ADVARSEL

Usynlig laserstrling ved bning. Undg udsaettelse

for strling.

VAROITUSLaitteen kyttminen muulla kuin tss kyttohjeesa

mainitulla tavalla saattaa altistaa kyttjn

turvallisuusluokan 1 ylittvlle nkymttmlle

lasersteilylle.

VARNING

Om apparaten anvnds p annat stt n i denna

bruksanvisning specificerats, kan anvndaren utsttas

fr osynlig laserstrlning, som verskrider grnsen fr

laserklass 1.

CAUTION

USE OF CONTROLS OR ADJUSTMENTS OR

PERFORMANCE OF PROCEDURES OTHER

THAN THOSE SPECIFIED HEREIN MAY RESULT

IN HAZARDOUS RADIATION EXPOSURE.

This label is not placed on USA

model and Canadian model.

This label is placed on the lid.

Varningsanvisning fr

laserstrlning. Placerad i

apparaten.

CAUTION : INVISIBLE LASER RADIATION WHEN OPEN AND INTRLOCKS DEFEATED.DO NOT STARE INTO BEAM OR VIEW DIRECTLY WITH OPTICAL INSTRUMENTS.

VARNING : OSYNLIG LASERSTRLNING NR DENNA DEL R PPNAD OCH SPRRARR URKOPPLADE. STIRRA EJ IN I STRLEN OCH BETRAKTA EJ STRLEN MEDOPISKA INSTRUMENT.

VARO! : NKYMTNT AVATTAESSA JA SUOJALUKITUS OHITETTAESSA OLETALTTIINA LASERSTEILYLLE. L TUIJOTA STEESEEN LK KATSO SITOPTISEN LAITTEEN LPI.

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this

manual, meets FCC requirements. Modifications not expressly approved by

Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another

product use only high quality shielded cables. Cable/s supplied with this product

MUST be used. Follow all installation instructions. Failure to follow instructions

could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements

listed in FCC Regulations, Part 15 for Class B digital devices. Compliance

with these requirements provides a reasonable level of assurance that your use of

this product in a residential environment will not result in harmful interference

with other electronic devices. This equipment generates/uses radio frequencies

and, if not installed and used according to the instructions found in the users

manual, may cause interference harmful to the operation of other electronic

devices. Compliance with FCC regulations does not guarantee that interference

will not occur in all installations. If this product is found to be the source of

interference, which can be determined by turning the unit OFF and ON,

please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the

interference.

Utilize power outlets that are on different branch (circuit breaker or fuse)

circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If theantenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable.

If these corrective measures do not produce satisfactory results, please contact

the local retailer authorized to distribute this type of product. If you can not

locate the appropriate retailer, please contact Yamaha Corporation of America,

Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

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 or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal

which is marked with the letter L or coloured RED.

Making sure that neither core is connected to the earth terminal of the

three pin plug.

IMPORTANT

Please record the serial number of this unit in the space below.

Serial No.:

The serial number is located on the bottom of the unit.

Retain this Owner's Manual in a safe place for future reference.


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Explanation of Graphical Symbols

The exclamation point within an equilat-

eral triangle is intended to alert the user to

the presence of important operating and

maintenance (servicing) instructions in the

literature accompanying the product.

The lightning flash with arrowhead symbol

within an equilateral triangle is intended to

alert the user to the presence of uninsulated

dangerous voltage within the products

enclosure that may be of sufficient magni-

tude to constitute a risk of electric shock to

persons.

10. Power Sources The appliance should be connected to a

power supply only of the type described in the operating

instructions or as marked on the appliance.

11. Grounding or Polarization The precautions that should be

taken so that the grounding or polarization means of an

appliance is not defeated.

12. Power-Cord Protection Power-supply cords should be

routed so that they are not likely to be walked on or pinched by

items placed upon or against them, paying particular attentionto cords at plugs, convenience receptacles, and the point where

they exit from the appliance.

13. Cleaning The appliance should be cleaned only as recom-

mended by the manufacturer.

14. Nonuse Periods The power cord of the appliance should be

unplugged from the outlet when left unused for a long period

of time.

15. Object and Liquid Entry Care should be taken so that

objects do not fall and liquids are not spilled into the enclosure

through openings.

16. Damage Requiring Service The appliance should be ser-

viced by qualified service personnel when:

A. The power-supply cord or the plug has been damaged; or

B. Objects have fallen, or liquid has been spilled into the

appliance; or

C. The appliance has been exposed to rain; or

D. The appliance does not appear to operate normally or

exhibits a marked change in performance; or

E. The appliance has been dropped, or the enclosure dam-

aged.

17. Servicing The user should not attempt service the appliance

beyond that described in the operating instructions.

SAFETY INSTRUCTIONS

CAUTION: TO REDUCE THE RISK OFELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLEPARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.SEE BOTTOM OF ENCLOSURE FOR GRAPHIC

SYMBOLS MARKING.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

1. Read Instructions All the safety and operating instructions

should be read before the appliance is operated.

2. Retain Instructions The safety and operating instructions

should be retained for future reference.

3. Heed Warnings All warnings on the appliance and in the

operating instructions should be adhered to.

4. Follow Instructions All operating and use instructions

should be followed.

5. Water and Moisture The appliance should not be used near

water for example, near a bathtub, washbowl, kitchen sink,

laundry tub, in a wet basement, or near a swimming pool, and

the like.

6. Carts and Stands The appliance

should be used only with a cart or stand

that is recommended by the manufac-

turer.

6A An appliance and cart combination

should be moved with care. Quick

stops, excessive force, and uneven

surfaces may cause the appliance and cart combination to

overturn.

7. Wall or Ceiling Mounting The appliance should be mounted

to a wall or ceiling only as recommended by the manufacturer.

8. Ventilation The appliance should be situated so that its

location or position does not interfere with its proper ventila-

tion. For example, the appliance should not be situated on a

bed, sofa, rug, or similar surface that may block the ventilation

openings; or, placed in a built-in installation, such as a

bookcase or cabinet that may impede the flow of air through

the ventilation openings.

9. Heat The appliance should be situated away from heat

sources such as radiators, heat registers, stoves, or other

appliances (including amplifiers) that produce heat.


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M D 8 O w n e r s M a n u a l

I m p o r t a n t

Re a d t h e Fo llo w in g Be fo r e O p e r a t in g t h e M D 8

W a r n i n g s

Do n ot locate the MD8 in a place subject to excessive heat or direct sun light. This could

be a fire hazard.

Do n ot place MD8 in a place subject to excessive hum idity or du st. This could be a fire

or electrical sho ck hazard.

Connect the supplied AC power cord only to an AC outlet of the type stated in this

Ow ners M anual

or as m arked on the M D8. Failure to do so is a fire and electrical shock

hazard.

Do n ot plug several devices into th e same AC outlet. This may overload the AC outlet,

and can be a fire and electrical sho ck hazard. It may also affect the p erform ance of som e

devices.

Do n ot place heavy objects on th e power cord. A damaged power cord is a potential fire

and electrical sho ck hazard.

If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a

replacem ent. Using the M D8 in t his cond ition is a fire and shock hazard.

Hold the AC power cord plug when d isconnecting from an AC outlet. Never pull the

cord. Dam aging the power cord in this way is a pot ential fire and electrical sho ck hazard.

Do n ot place small metal objects on top of the M D8. Metal objects inside the MD8 are a

fire and electrical shock h azard.

Do not block the MD8 ventilation holes above and behind the disc comp artment. These

vent s are to prevent the int ern al temper atur e from rising. Blocked vent s are a fire hazard. Do not try to modify the MD8. This could be a fire and electrical shock hazard.

The MD8 operating temp erature is between 5C and 35C (41F and 95F).

C a u t i o n s

Turn off all audio devices and speakers when conn ecting to the MD8. Refer to the

own ers man ual for each d evice. Use the cor rect cables and con nect as specified.

The MD8 is a precision device. Handle it with care.

Handle MD DATA discs with care.

If you notice any abnorm alitysuch as smoke, odor, or noisetur n off the MD8

imm ediately, rem ove the AC power cord from the AC ou tlet, confir m that th e abnor m al-ity is no longer present, and th en consu lt you r dealer for repair. Using the MD 8 in this

condition is a fire and shock hazard.

If a foreign ob ject or water gets inside the MD8, turn it off imm ediately, remo ve the AC

power cord from the AC out let, and then consult your d ealer for repair. Using the MD8

in th is con dition is a fire and electrical shock h azard.

If you plan not to u se the MD8 for a long period of time (such as when you are on vaca-

tion ), remove the AC power cord from the AC outlet. Leaving th e MD8 con nected is a

fire hazard.

Do n ot use benzene, thinner, cleaning detergent, or a chemical cloth to clean the MD8.

Use a soft, dr y cloth .


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iii


Ven t i l a t i o n

Allow a distance of 10 cm between t he un it and the wall so that h eat generated from the u nit

will be released effectively. Also, allow enou gh space between the u nit and oth er d evices. If

you m oun t the u nit in an audio rack, keep a space of 10 cm to the side panel. Remo ve the

rear panel of the rack or open a vent hole. If heat release is inadequate, the unit will retain

heat inside the u nit, which m ay cause a fire.

I n t e r f e r e n c e

The MD8 uses high-frequency digital circuits that m ay cause interference on rad ios and tele-

visions placed close to it. If interference does occur, relocate the affected equ ipm ent .

C o p y r i g h t

1997 Yam aha Co rp orat ion. All rights reserved.

No par t of the MD 8 software or this Ow ners Manu al

m ay be reprodu ced or d istributed in

any form or by any means withou t the prior wr itten autho rization o f Yamah a Corpo ration.

T r a d e m a r k s

MD DATA and M iniDisc are tradem arks of Sony Corpor ation.

US and foreign p atents licensed from Dolby Laborator ies Licensing Corpo ration.

All other t radem arks are the prop erty of their respective holders.

P a ck a g e C o n t e n t s

The M D8 p ackage shou ld contain t he following items. Make sure that you have them all.

MD8 Mult it rack MD Recorder

AC p ower co rd

This Owner s Manual

Con tact your Yam aha dealer if som ethin g is missing.

K e e p T h is M a n u a l Fo r Fu t u r e Re f e r e n ce


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C o n t e n t s

1 . W e lco m e t o t h e M D 8 . . . . . . . . . . . . . . . . 1

MD 8 Featu res . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Recor der . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Buying Discs for the M D8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

MD 8 TO C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2 . Tou r in g t h e M D 8 . . . . . . . . . . . . . . . . . . . . 4

Topsid e View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Inpu t Ch annels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Master Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Disp lay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Disc Tran spor t Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Rear Pan el . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Fron t Co nnect ors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3 . Th e First Session . . . . . . . . . . . . . . . . . . . 1 6

Qu ick-Start System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Conn ecting t he Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Tu rn ing on th e MD 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Load ing a Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Record ing th e First Tr ack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Makin g the Co nn ections (GRP & DIR) . . . . . . . . . . . . . . . . . . . . . . . . 18

GRP M eth od . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

DIR M ethod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Mo nito ring & Record ing (GRP & DIR) . . . . . . . . . . . . . . . . . . . . . . . 19Listen ing to the Fir st Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Overdu bb ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Mixd own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

An O verview of Mu ltitr ack Record ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Basic Mu ltitr acking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Advanced M ult itrack ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Abou t M on itor ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Mu lti-Sou rce M ixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

4 . Re c o r d i n g & M ix in g T e c h n iq u e s . . . . . . . 2 6

Record ing a N ew Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Searchin g for Blanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Setting the Record ing M od e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Record ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Tit ling Discs & Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Manu al Punch In /O ut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Usin g the REC Butt on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Usin g the REC SELECT bu tto ns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Usin g a Foot switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Auto Pu nch In /O ut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Settin g the In/ Ou t Poin ts On -th e-Fly . . . . . . . . . . . . . . . . . . . . . . . 32

Single Take Auto Pu nch In /O ut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Mu lti Take Aut o Pu nch In/ Ou t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Setting th e Pre- Roll & Post-Ro ll Times . . . . . . . . . . . . . . . . . . . . . . . . 40


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Pin g-Po ng Recor din g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Prep arin g for Pin g-Po ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Rehear sing Pin g-Po ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Perfor m ing Pin g-Po ng for Real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Checking th e Ping-Pon g Operat ion . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Pin g-Po ng with Overdu b . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Adjustin g the Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Toggling Between FIX & VARI Pitch . . . . . . . . . . . . . . . . . . . . . . . . . 46

Usin g a Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

App lying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Applying Effects at Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Applying Effects when Record ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Applying Effects with Pin g-Po ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Patchin g in Signal Pro cessors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

5 . Q uick Search Fun ct ion s . . . . . . . . . . . . . . 5 1

Searchin g for Son gs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Rewind & Fast Forwar d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Shut tle Playback Fun ction (Cue/ Review) . . . . . . . . . . . . . . . . . . . . . 51

Locating Specific Poin ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Searchin g for the Last Rec IN & OUT Po int s . . . . . . . . . . . . . . . . . . . . . . . . 52

Searchin g for M arker s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Insertin g Mar kers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Marker Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Adjustin g Mar kers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Erasing M arker s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

6 . R e pe a t , C ue List & Pr o g r a m P la y . . . . . . 5 7

On e Song Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

All Son g Repea t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

AB Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Cu e List Playback & Cop y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Program Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

7 . Ed it in g Son g s & Tra cks . . . . . . . . . . . . . . 6 1

Viewing Disc Cont ent s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Erasin g Discs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Copying & Convertin g Son gs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Renu m ber ing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Movin g Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Divid ing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Com bin ing Son gs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Erasin g Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Erasin g Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Erasin g Par ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Copying Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Copying Part s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

8 . O th er Fun ct ion s . . . . . . . . . . . . . . . . . . . 7 2

Fram e Disp lay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Display Dim m er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Peak H old . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72


8/115

v i


9 . T h e M D 8 & M I D I . . . . . . . . . . . . . . . . . . . 7 3

Using th e MD 8 in a Synchro nized M IDI System . . . . . . . . . . . . . . . . . . . . . . 73

Abou t Tem po Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Setting U p a Synchron ized MIDI System . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Usin g MTC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Settin g the M D8 for M TC O peration . . . . . . . . . . . . . . . . . . . . . . . . . 75Setting the M IDI Sequ encer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

MT C Cabling No te . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Usin g MID I Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Setting the M IDI Sequ encer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Pro gram m ing th e Tem po Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Selecting MID I Clock for synch ro nizat ion . . . . . . . . . . . . . . . . . . . . . 79

Cont ro lling the MD 8 with MM C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Setting the M MC Device ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Enab ling M MC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Tem po Map Ch art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

1 0 . M D 8 Ap p l ica t ion s . . . . . . . . . . . . . . . . . 8 3

On e-Take Record ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

MIDI H om e Stud io . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Usin g the M D8 with Anoth er M ixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Track tr ansfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

1 1 . Beyo n d th e Basics . . . . . . . . . . . . . . . . . 8 6

Effects Retu rn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Pitch Application s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Mo nitor ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87Mixd own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

1 2 . Q & A Sect ion . . . . . . . . . . . . . . . . . . . . . 8 9

Tr o ub lesh o o t in g . . . . . . . . . . . . . . . . . . . . . 9 1

Ap p en d ix . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 3

MD 8 Transport Mo des . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Disp lay Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Specificat ion s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Record er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Gen eral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Dim ension s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

G lo ssar y . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 9

In d ex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0 2

M ID I Im p le m e n t at io n C h ar t . . En d o f M a n u al
http://-/?-http://-/?-http://-/?-http://-/?-


9/115

W e l co m e t o t h e M D 8

1


1 W e lco m e t o t h e M D 8

Than k you for choo sing th e Yamah a MD 8 Multitrack MD Recorder. The MD 8 uses the

MiniDisc form at for 8-track mu ltitrack recording, with superior soun d qu ality and qu ick

search capabilities.

To take best advantage of your MD8, read this Ow ners Man ual

thoroughly.

M D 8 Fe at u r es

M ix er

The m ixer section features eight m ono inpu t chann els, two stereo inp uts, and four groups.

Input channels 1 through 8 feature phone jack MIC/LINE inpu ts and continuously vari-

able GAIN con trols, which can h and le bot h m icroph on e and line-level signals with ease.

Input channels 1 and 2 also have XLR-type inpu ts, switchable +48 V phantom powering

(for u se with condenser m icroph ones), and inserts for patching external p rocessors.

Musical three-band EQ (High, Mid, Low) with sweepable mid on input channels 1

throu gh 8 offers flexible tone-sh aping cap abilities.

Two AUX Sends for use with external effects processors.

Dedicated Cue level and pan controls on inpu t channels 1 through 8 m ean that cue sig-

nals can be m onitored in stereo or u sed as additional inputs.

Channel FLIP switches flip th e channel and cue signal source between MIC/LINE input

(recording) and disc track (m ixdown) .

The CUE MIX TO STEREO switch provides eight extra sources in addition to the eight

tracks for a total of 20 inputs du ring m ixdown.

2TR IN connection for confidence monitoring and playback with a m aster recorder.

Flexible monitoring of group, CUE, stereo bus, or 2TR IN.

Track direct outputs for connection to another mixer.

R eco r d er

The recorder section features an 8-track recorder based on the M D DATA audio form at,

which has several advantages over tape-based mu ltitrackers. With a t ape-b ased recorder, for

example, you have to keep at least on e track free for p ing-pon g. With the M D8, however,

you can record on all eight t racks and th en pin g-pon g (i.e., eight- track p layback with

ping-po ng). This is because the M D8 can simu ltaneously play and record on the same track,

providing greater creative freedom when p laning tracks. Althou gh th e MD 8 uses a 4-groupm ixer, up to eight t racks can be recorded simu ltaneously by assigning the inpu t chan nel sig-

nals directly to th e tracks.

Four recording mod es: MON O, 2TR, 4TR, and 8TR.

Recording tim es of 18 min utes for 8TR, 37 minutes for 4TR, 74 m inutes for 2TR, and

148 minu tes for MON O.

Mono or 2-track recording and p layback with regular audio MiniDiscs.

Ping-pong even when all eight tracks have been recorded.

Superior sound quality and negligible sound degradation after repeated overdubs and

ping-pong operations.

Zero wow and flutter and pitch fluctuation.


10/115

2

W e lc o m e t o t h e M D 8


The convenient M D DATA disc medium requires no formatting before use, and when a

pro ject is com plete, simply pop in a new disc and start trackin g straight away.

Quick location of song start, song end, last recording in/ou t points, and up to 10 user

mark p oints per song.

Precise pun ch in/out with 11-millisecond accuracy.

Auto pu nch in/out with m ultiple-take record and select capability (choose the best from

up to 99 takes).

Song editing functions include: Copy, Move, Divide, Com bine, Renu mb er, and Erase.

Track editin g function s include: Copy, Erase, Part C opy, and Part Erase.

Songs recorded on the Yamaha MD4 Recorder can be converted to M D8-comp atible

8-track songs by using the Copy function, with the option to reorder, erase, or duplicate

tracks.

Disc and song titling for easy identification.

Repeat mod es include On e Song, All Song, A-B, and Auto Pun ch Rehearse.

Cue and review at 0.5x 2x, 4x, 8x, 16x, or 32x playback speed (0.5x cue on ly).

Variable pitch of approximately

12%.

Clear FLD ( Fluorescent Display) shows signal levels, m ode, status, and Total, Rem ain-

ing, or Elapsed tim es, or m easures and b eats when the M IDI temp o m ap is used.

MTC (MIDI Timecode) or MIDI Clock (with Tempo Map) output for synchronization

within a MIDI-based system.

MMC (MIDI Machine Control) for remote MD8 control.

Jog and shuttle dial for ease of operation.

For some qu ick answers about the M D8, see the Q& A Section on page 89.


11/115

B u y i n g D i sc s f o r t h e M D 8

3


Bu y in g D iscs f o r t h e M D 8

Its impor tant that you b uy the correct type of disc for u se with your MD8. For 8-track

recordin g and playback, you m ust u se MD DATA discs. Regular M iniDiscs can on ly be used

for 2-track recording an d p layback (2TR m ode).

MD DATA discs are used as a storage media for com pu ters. The MD 8 uses the M D DATAaudio form at to store data on them . Regular Min iDiscs are also referred to as MD discs,

although th ey are used on ly for mu sic.

New MD DATA discs do not require formatting before use with the MD8. Discs that have

been used to store com pu ter data, however, must first be form atted. See Erasing Discs

on

page 62.

Regular Min iDisc decks cann ot play MD DATA discs.

Regular MiniDiscs recorded on the M D8 can be played on a regular MiniDisc deck.

MiniDisc recordings m ade on a regular M iniDisc deck can be edited on the M D8. MiniDiscs

containing songs that were digitally copied from a commercial CD, however, cannot beedited du e to the SCMS (Serial Copy Managemen t System ) p rotection system .

M D 8 T O C

TOC refers to the Table Of Contents area on a disc. The TOC contains inform ation abou t

what is recorded on the disc, the disc title, song titles, and so on. The TOC EDIT indicator

lights up when the TO C n eeds to be u pdated, usually after a n ew recording o r edit. You m ust

upd ate the TOC before ejecting a d isc or t urn ing off the MD 8. Its also a good idea to up date

the TOC at regular intervals just in case of a power failure. Failure to update the TOC can

result in d ata being lost. For example, if you r ecord som ething but do n ot u pdate the TO C,

your data will be lost if the MD8 is inadverten tly turn ed off, the power cord accidentally dis-

connected, or a power failure occurs.

Typ e Lo g o D e scr ip t io n

M D D ATA

M D D A TA d i sc s a r e f o r c o m p u t e r d a t a st o r a g ea p p l ic a t io n s. Yo u c a n p u r c h a se t h e m a t c o m -p u t e r st o re s. T h i s i s t h e t y p e o f d i sc y o u s h o u l db u y f o r 8 - t r a c k r e co r d i n g a n d p l ay b a c k w i t h y o u rM D 8 . N o t e t h a t t h e r e a r e t w o t y p e s a v ai la b l e:p l a y b a c k o n l y

an d r e w r i t a b l e

. B u y t h e r e w r it a b l et y p e .

M i n iD i sc

M i n i D i sc s a re u s e d o n l y f o r m u s ic . Tw o t y p e s a reava i lab le : p l a y b a c k o n l y

an d reco rdab le

. Th e M D 8c an r e c o rd u p t o t w o t r a ck s o n t h e reco rdab le

t y p e a n d p l ay t h e p l a y b a c k o n l y

t y p e .

N ote: If you press the EJECT bu tton wh ile TOC EDIT is shown on the d isplay, the disc

will not eject. Press [TOC WRITE] (STOP) to up date the TO C, and then eject the d isc.


12/115


13/115

In p u t C h a n n e ls

5


I n p u t C h a n n e ls

A

G A I N c o n t r o l

This rotary control adjusts the sensitivity of the M IC/LINE inp ut so t hat bo th

m icrophon e and line-level signals can be hand led with ease.

B

FLIP sw itch

This switch is used to select the signal sources for t he inp ut chann el and CU E con-

trols. With t he [FLIP] switch in the u p p osition, th e MIC/LINE inpu t signal is

fed to the inp ut chan nel and t he track signal is fed to th e CUE controls. With th e

[FLIP] switch in th e down position, however, this is reversed: the MIC/ LINE

inpu t signal is fed to th e CUE controls and th e track signal is fed to the inp ut

channel.

C

C U E PA N & L EV E L co n t r o l s

These two controls are used to ad just the level and p an o f the CU E signal. The

CUE signal source depends on the [FLIP] switch. With the [FLIP] switch set to

the up position, the signal source is the track (i.e., the signal being recorded orplayed back). With the [FLIP] switch set to the down position, the CUE signal

source is the MIC/LINE inputs. This setting is typically used during mixdown,

when t he tr ack signal is fed th rough the inp ut chann el. This allows you to conn ect

extra soun d sources du ring mixdown and set their level and pan p osition u sing

the CU E cont rols.

D

EQ co n t r o l s

These rotary controls are used to boost an d cut the high, midd le, and low fre-

quency band s ind epend ently. The H igh and Low EQs are fixed frequency shelving

types. The Mid EQ is a sweepable peaking type. A flat setting (i.e., no boo st or

cut) can be set quickly using the controls center detents.

E

A U X c o n t r o l s

These rotary controls are used to send the inp ut chann el signal to the AUX SEND

ou tpu ts for pro cessing by external effects processors.

LINE

GAIN

HIGH

MID

LOW

AUX

PAN

MIC

L R

1

10

9

8

7

6

5

4

3

2

1

0

15 +15

15 +15

15 +15

250 5k

FLIP

PB MIC/LINE

CUE

0 10

F

G

1

0 10

2

0 10

1 2

3 4

GROUP ASSIGN

LODD

REVEN

PAN

LEVEL

1

7

8

2

3

5

6

4

Sweepable range

Response[dB]

Frequency [Hz]

+5

+10

+15

15

10

5

0

10k1k100 20k20

HIGH 15 dB at 12 kHzshelving type

MID 15 dB at 250 H z5 kHzsweepable peaking type

LOW 15 dB at 80 Hzshelving type


14/115

6

T o u ri n g t h e M D 8


F

G R O U P A SSI G N sw i t ch e s

These switches are used to assign ( i.e., send) the inpu t chan nel signal to grou ps. They work

in conjun ction with the PAN con trol. For examp le, with GROUP ASSIGN switch [12] O N

and the PAN con tro l set midway, the chann el signal is sent equally to Gro up s 1 and 2. With

the PAN control tur ned fu lly coun terclockwise (L/OD D), however, the chann el signal is sent

on ly to Grou p 1. Likewise, when it is set fully clockwise, the signal is sent o nly to Grou p 2.The same prin ciple applies to GROUP ASSIGN switch [34]. Note th at inp ut chann el signals

are always sent to the Stereo bu s regardless of the GROUP ASSIGN switch settings.

G

PA N c o n t r o l

This rotary contr ol has two function s: For recording its used in con junction with th e

GROUP ASSIGN switches to assign the inp ut chann el signal to even an d od d n um bered

groups. For mixdown its used to pan (i.e., position) the signal in the stereo mix.

H

F ad er

This fader has two functions: For record ing its used to adjust th e level of the inp ut chann el

signal thats recorded to a track. For mixdown its used to balance the input channel signal

relative to th e other in pu t chann el signals. For optim um perform ance, faders should be p osi-

tioned about the 78 mark.


15/115

M a st e r Sec t i o n

7


M a st e r Se ct i o n

A 9 1 0 / 1 1 1 2 in p u t le v e l c o n t r o lsThese rotar y con tro ls are used to adjust the level of the 910 and

1112 inp ut signals that are sent to th e Stereo bu s for m ixing.Theyre also used in conjunction with the GROUP ASSIGN

switches to ad just the level of the 910 and 1112 inp ut signals

that are assigned to grou ps.

B 9 1 0 / 1 1 1 2 G R O U P A S SI G N sw it ch e sThese switches are used to assign (i.e., send) the 910 an d 1112

input signals to the grou ps. The left-channel signal is sent to odd

Grou ps 1 and 3, while the right -chan nel signal is sent to even

Group s 2 and 4. The 910 and 1112 input signals could be the

stereo ou tpu t signals from anoth er m ixer or external effects pro-

cessor. Note that the 910 an d 1112 inp ut signals are always sent

to th e Stereo bu s for m ixing regardless of these switch settings.

C G R O U P M A S T ER l eve l co n t r o l sThese rotar y con tro ls adjust th e levels of the group signals that

are fed to the tracks.

D STEREO fad erThis fader is used to adju st the level of the stereo signal that is

sent to the STEREO O UT jacks. For op timu m perform ance this

fader shou ld be positioned abou t the 78 mark.

E C U E M A S T ER leve l co n t r o lThis cont rol is used to ad just the overall level of the CUE signal.

F C U E M I X T O ST E REO sw i tchThis switch is used to feed the CU E bus signals throu gh to the

Stereo bus (i.e., the CU E bus signals are mixed with t he

MIC/LINE signals). Its used for m ulti-sou rce mixing at m ix-

down.

G M O N I T O R S ELEC T sw it c h e sThese switches are used to select the signal sour ce for the MON -

ITOR OUT and headphones.

2 T R I N Th is switch selects the 2TR IN as the m onitor source.This allows you to m onitor t he out put of a stereo m aster

recorder during mixdown.

G R O U PTh ese switches select the Grou p b uses as the m oni-tor sou rce. This allows you to m on itor signals assigned to tr acks.

When only the [13] o r [ 24] switch is pressed, the m onitor sig-

nal is mono. Press both switches to monitor stereo signals.

STEREO This switch selects the Stereo bus as the monitorsource. Th is allows you to m on itor th e STEREO OUT signal and

is typically used du ring m ixdown.

C U ETh is switch selects the CUE bu s as the m on itor source.This allows you to m on itor t rack signals, which is useful for

punch in/out.

HM O N I T O R LEV EL c o n t r o lThis rotary contro l adjusts the level of the m onitor signal that is

sent to the MO NITOR OUT and PHO NES connectors.

1

1

2

3

4

2 1 2

3 4 3 4

GROUP ASSIGN GROUP ASSIGN

1 3

2 4

GROUP

2TR IN

MONITORSELECT

CUE MIXTO STEREO

CUEMASTER

GROUPMASTER

STEREO

CUE

0 10 0 10

0 10

0 10

0 10

0 10

0 10

MONITORLEVEL

MIN MAX

9-10

STEREO

11-12

10

9

8

7

6

5

4

3

2

1

0

10

9

8

7

6

5

4

3

2

1

0

1

5

8

6

7

4

2

3


16/115

8 T o u ri n g t h e M D 8


Disp lay

A Status ind icatorsThese indicators show the current operating mo de.

B P itch i n d i ca to r sThese indicators show the current Pitch mode: FIX (fixed) or VARI (variable).

C M T C , M I D I C LK , a n d M M C in d ica t o rs

These ind icators light when th e MIDI synchronization op tions are used. MTC appears whenthe MD8 is generating MIDI Timecode, MIDI Clock appears when its generating MIDI

Clock, and MM C app ears when the M D8 is set to receive MIDI Machine Cont rol com-

m ands. Norm ally, playback continu es through all the songs on a disc. When one o f these

ind icators is lit, however, playback stops when th e end o f a song is reached. Use the [SON G

SEARCH] buttons to select other songs.

D T O C E D I T i n d i ca t o rThe TOC EDIT indicator lights when th e TOC n eeds to be upd ated, usually after a n ew

recording or edit.

E T im e C o u n t e r m o d eThese ind icators show the Time Coun ter m ode. When a MIDI temp o m ap is used, the dis-

play shows measure and beat information .

ELAPSET his mode shows the time position within a song.

I n d ica t o r M e an in g

N o r m a l p l ay b a c k

Cue o r Rev iew

Playb ack i s pau sed

Rehearse Pause m od e

Rehearsa l i n p rog ress

Re c o rd Pa u se m o d e

Re c o r d i n g i n p r o g r e ss

S 1 2 3 4 5 6 7 8 9 10 E IN OUT

TOCEDIT

REC

MTCMIDI CLK

MMC

PITCHFIX VARI

REHE

REPEAT

A1ALLB

MARKERS AUTO PUNCH

1 2 3 4 5 6 7 8

CLIP

3

6

12

18

24

36

+12

+6

+3

0

6

10

20

ELAPSE

TOTAL

REMAIN

MEASURE MIN. BEAT SEC. FRAMES

DIRGRPTRK

dB L R

STEREO

M D 8 S o n g

65 7 8 9

K NMLJ

4

3

1

2

REHE

REHE

REC

REC


17/115

Di s p l a y 9


REM A I N Th is m ode shows the time remaining for a song or when you are recording anew song, it shows the available time remaining for the song (on disc).

T O T A LTh is m ode shows the time position within th e entire disc.

F T i t le an d fu n c t io n d i sp l ayDisc titles, song titles, functions, messages, and other information appear here.

G T im e co u n t e rThe tim e counter shows the disc time in m inutes, second s, and frames (1/86 second or 1/30

second). When the MID I temp o m ap is used, the display shows measure and beat informa-

tion.

H T r ack leve l m ete r sThese tr ack level meters sho w grou p signal levels in seven steps from 36 dB to CLIP. With

no disc loaded, the m eters display grou p signal levels.

I St e r e o le v e l m e t e r sThese level meters show the STEREO O UT signal levels from 20 dB to + 12 dB in seven

steps.

J R e p e a t m o d e i n d i ca t o r sThese indicators show the Repeat m odes.

REPEAT 1 Th e current song is played repeatedly (One Song Repeat).

REPEAT A LLAll songs are p layed repeatedly (All Son g Repeat).

REPEAT A BP layback cycles between point s A and B (AB Repeat).

R EP EA T A u t o P u n c h I / O Auto Pu nch In/O ut is rehearsed repeatedly.

K M a rk er sThese ind icators show the status of t he Start, End , and 10 m arkers in between. When a song

is recorded , Star t and End m arkers are recorded au tom atically. You can also add up to 10

m arkers per song while recording is in p rogress or d ur ing subsequen t playback. When a songis positioned o n o r after a marker (stopp ed, playing, paused, or recording) th at m arker

flashes. When th e beginn ing of a song is located, the Start m arker flashes. When t he end is

located, the End m arker flashes.

L A U T O P U N C H i n d ica t o rThe AUTO PU NCH indicator shows that the AUTO PUN CH In /Ou t function is on.

M I N & O U T in d i ca t o r sThe IN an d O UT ind icators light up when th e LAST REC IN and O UT p oints have been

set. When a song is positioned on or after the IN or O UT po int, the correspon ding indicator

flashes.

IN Th is ind icator lights up when t he LAST REC IN p oint has been set. When the AutoPun ch function is on, it goes off when a son g is located on or after the specified IN p oint.

O U TTh is ind icator lights up when the LAST REC OUT point has been set. When the AutoPun ch function is on, it goes off when a song is located on or after the specified OU T po int.

N T r ack r eco r d i n d i ca to r sThese indicator s show which tracks are selected for record ing. The DIR indicator s light up

when the input chann el signal is selected for d irect recording, and th e GRP indicators light

up when the group signal is selected for recording.


18/115

1 0 T o u ri n g t h e M D 8


D isc Tran sp o rt Sect ion

A D i sc T r an sp o r t b u t to n sREHETh is button is used to enter Rehearse m ode. The REHE indicators flash in RehearsePause mode and stay on continuously while rehearsal is in progress.

REC T his button is used to enter Record m ode. The REC indicators flash in Record Pausem ode an d stay on continuo usly while recording is in progress.

PLAYT his button is used to start n orm al playback, start rehearsal, and start recording. Itcan also be used to cancel rehearsal and record ing. In this case, no rm al playback cont inu es

from the poin t at which the [PLAY] bu tton is pressed. The PLAY ind icators light u p while

playback is in pro gress and flash when playback is paused.

PAUSETh is button is used to p ause playback, recording, or rehearsal.

ST O P / T O C W RI T EThis button is used to stop playback, rehearsal, and recording. Itsalso used to write the TOC data to d isc when the M D8 is stopp ed.

B A U T O PU N C H I / O b u t to nThis button is used to turn on th e Auto Pun ch In/Out function.

C SO N G SEA RC H b u t t o n sThese button s are used to search for songs.

D LA ST R EC S EA R C H I N / O U T & SET b u t t o n sThe SET bu tton is used in combination with the LAST REC SEARCH IN/ OUT butto ns to

set th e LAST REC IN/Pu nch In an d O UT/Pu nch O ut points. The LAST REC SEARCH

IN/O UT bu tton s are used to locate the LAST REC IN and O UT p oints.

GROUP 1

CH 1 CH 2 CH 3 CH 4 CH 5 CH 6 CH 7 CH 8

2 3 4 5 6 7 8

REC SELECT

DISPLAY

REPEAT MARK SEARCH MARK

AUTOPUNCH I/O SONG SEARCH PAUSE

REHE REC PLAY STOP

A B LAST REC SEARCH SET EXIT

ADJUSTPITCH EDIT UTILITY

ENTER

PHONES PUNCH I/O

DATA

+ CURSOR

1 2 3 4 1 2 3 4

TOC WRITE

8

9

6

5

2

3

O

M

K

L

N

1

4

7

J

IN OUT


19/115

D i sc T ra n s p o r t Se c t i o n 1 1


E A B Re p e a t b u t t o n sThese button s are used to en ter the A and B points for A-B Repeat.

F REPEAT but to nThis bu tton is used to select the 1 Song, All Son g, A-B, and Auto Pun ch Rehearse Repeat

m odes. Its also u sed to cancel A-B Repeat m ode.

G M A RK SEA RC H & M A RK b u t t o n sThe MARK SEARCH buttons are used to locate song markers. The MARK button is used

to enter m arkers during recording or p layback.

H D I SP LA Y b u t to nThis bu tton is used to select the Tim e Counter m ode: ELAPSE, REMAIN, or TOTAL. Wh en

the MID I tempo m ap is used, the display shows m easure and beat information .

I G R O U P b u t t o nUsed in combin ation with the REC SELECT butto ns, this button is used to set tr acks to

record group signals.

JREC SELECT b ut to nsThese but ton s are used to select tracks for recordin g. Pressing a REC SELECT bu tton on itsown sets the correspon ding track to record inp ut chan nel signals (DIR). Holding down the

GROUP bu tton and pressing a REC SELECT butto n sets the correspond ing track to record

group signals (GRP).

K EJECT bu tt on

This butto n is used to eject the d isc.

L Fu n c t io n b u t t o n s

P I T C H Th is button is used to access the Pitch function. Dependin g on h ow you set th isfunct ion, the FIX (fixed) o r VARI (variable) indicator lights (see page 87).

AD JU STTh is button is used to adjust th e position of m arkers and the LAST REC IN andOUT points.

E D I TThis bu tton is used to access the Part Copy, Part Erase, Track Cop y, Track Erase, Son gCopy, Son g Erase, Song Temp o, Son g Divide, Son g Com bn , Son g Move, Son g Renu m , Son g

Name, Disc Erase, and Disc Name functions.

U T I L I T YThis bu tton is used to access the following fun ctions: Rec Mod e, PrePost Roll,Cue List, Prog Play, MIDI Sync, MMC Receive, MM C Dev ID, Fram e Disp, Disp Dimm er,

Peak Hold, and Disc Info.

M EN T ER b u t t o nThis button is used to set fun ctions.

N EX I T b u t t o nThis button is used to cancel functions and m odes.

O C U R SO R sh u t t l e / D A TA d i a lThe cent ral dial (called DATA) is used to set and select param eters (+ / DATA). When the

MD8 is stopp ed or paused, the DATA dial can b e used to m ove through a song in fram e steps.

The ou ter shuttle (CURSOR) is used to select item s on t he display. When th e MD8 is stopp ed

or p aused, the shuttle can be used to m ove through a song at high speed. During playback,

it can b e used for cu e and review at 0.5x, 2x, 4x, 8x, 16x, or 32x playback speed (0.5x cue

only).

When using cue or review, the time counter may stop occasionally.

N ote: If you press the EJECT bu tton wh ile TOC EDIT is shown on the d isplay, the disc

will not eject. Press [TOC WRITE] to upd ate the TOC , and t hen eject the d isc.


20/115



Re a r P a n e l

A A C I NConn ect the sup plied power cord h ere.

B P O W ER O N / O F F sw it chThis switch is used to t urn on and o ff the MD 8.

C M I D I I N , O U T & T H RUThe MD 8 receives MMC (M IDI Machine Contro l) com m ands via the MIDI IN p ort, and

outpu ts MIDI Clock or MTC (MIDI Timecode) from the MIDI O UT por t. The MIDI THRU

por t outp uts MIDI data received at the MIDI IN port .

AC IN THRU OUT

MIDI

IN

POWER

ON OFF

1 2 3

CAUTIONTO PREVENT ELECTRIC SHOCK,

MATCH WIDE BLADE OF PLUG TO

WIDE SLOT, FULLY INSERT.


21/115

Rear Pan el 1 3


D A U X SEN DThese 1/4-inch p hon e jacks are used to send

the Aux Send signals to extern al effects pro-

cessors. Conn ect them to th e effects proces-

sors input s.

E LI N E I N P U T 9 1 0 / 1 1 1 2

These 1/4-inch p hon e jacks are used to con-nect un balanced electron ic mu sical instru -

m ents and o ther line-level soun d sources that

have stereo ou tpu ts. They can also be used to

return the processed stereo signals from

external effects p rocessors. Th e p rocessed

signals can then be m ixed into t he MD 8 ste-

reo m ix or recorded to tracks.

F M I C / L I N E IN P U Ts 3 8These 1/4-inch p hon e jacks are used to con-

nect un balanced m icroph ones, electronic

mu sical instru m ents, and ot her line-levelsound sources.

23

123

1

LINE INPUTAUX SEND

MONI TOR OUT STEREO OUT

MIC/LINE INPUT

TRACK DIRECT OUT

MIC/LINEIN (BAL)

2

R L R L2TR IN

R L 8 7 6 5 4 3 2 1

1 12 11 10 9 8 7 6 5 4 3 2

2 1

1

1: GMD 2: HOT 3: COLDON OFFPHANTOM

DC48VMAX. 7mA

INSERT I/O INSERT I/O

9

4 5 6 7 8

J K L M

1 / 4 " p h o n e p l u g

T ip ( send )

S leeve (g round)

1 / 4 " p h o n e p l u g

T ip ( send )

S leeve (g round)

1 / 4 " p h o n e p l u g

T ip ( send )

S leeve (g round)


22/115



G I N SER T I / OThese TRS pho ne jacks are used to connect signal pro cessors for u se with inpu t chann el 1

and input channel 2 exclusively. Typically, comp ressors, limiters, and no ise gates are con -

nected to this type of connection.

H M I C/ LI N E IN P U Ts 1 & 2

These inputs are u sed to connect balanced conden ser m icroph ones and balanced line-levelsignal sources to th e MD 8 (u nbalanced sources can also b e connected). Each in pu t features

a XLR-type conn ector and TRS phone jack connector. Phantom power is available on th e

XLR-type con nector for use with cond enser m icrophon es. If youre n ot u sing cond enser

m icrophon es with these inputs, keep the PH ANTOM POW ER ON/O FF switch set to OFF.

I M O N IT O R O U TThese phon o jacks are used to send th e mo nitor signals to a ste-

reo m onitor amp lifier and speakers. This could be a dedicated

m onitor am plifier and speakers or your hi-fi system . Connect

them to the m onitor am plifiers stereo inp uts. The MONITO R

OU T signal is the same as the h eadphon e signal.

J ST E REO O U TThese phon o jacks are used to connect a stereo m aster recorder

for recordin g the final m ix. The m aster recorder cou ld be a DAT

deck, MiniDisc deck, or cassette tape deck. Con nect th em to your

master recorders stereo inputs.

K 2T R I NThese phon o jacks are used to conn ect the outp uts of a stereo

m aster recorder to the M D8. The m aster recorder could b e a DAT

deck, MiniDisc deck, or cassette tape deck. Con nect th em to your

m aster recorders stereo outpu ts. To m onitor t he out put of the

stereo m aster recorder d urin g mixdown, pr ess the 2TR IN

MONITOR SELECT switch.

L T R A C K D I R EC T O U T sThese phon o jacks are used to send t he tr ack signals to anot her

m ixer. This is useful when you use the M D8 in conjunction with

a larger m ixer. Connect them to the line input s on th e otherm ixer. With n o disc loaded, the DIRECT OUTs 14 output the

signals of Grou ps 14.

1 / 4 " p h o n e p l u g

1 / 4 " p h o n e p l u g

1 / 4 " T RS p h o n e p l u gTo pro cessor ' s inp ut

From pro cessor ' s out put

C o n n e c t t o I N S ER T I / O j a ck

Tip ( send )

T ip ( send )

R in g ( r e t u r n )

S leeve (g round)

S leeve (g round)

T i p ( r e t u r n )

S leeve (g round)

M a l e X LR p l u g1 ( g r o u n d )

3 ( co l d )

2 ( h o t )

1 / 4 " T RS p h o n e p l u g

T i p ( h o t )

Ri n g ( co l d )

S leeve (g round)

P h o n o p l u g Ti p

Sleeve


Sleeve


Sleeve


Sleeve


23/115

Fr o n t C o n n e ct o r s 1 5


M PH A N T O M P O W ER O N / O F F sw it chThis switch is used to tu rn on and off the phan tom power for the XLR-type MIC/LINE (BAL)

inpu ts on chan nels 1 and 2. Phanto m power is used to power conden ser m icroph ones. It

should be tur ned off when devices other th an cond enser micropho nes are conn ected to th ese

inputs.

Fr o n t C o n n e c t o r s

A P H O N E SA pair of stereo headph ones can be con-

nected here for m onitor ing. The head-

pho ne signal is the same as the MON ITOR

OU T signal.

B PU N C H I/ OAn opt ional footswitch, such as the Yamaha FC5, can be connected here for foot-cont rolled

playback, rehearsal, recording, or pu nch in/ou t.

1 2

1 / 4 " T RS p h o n e p l u g

T ip ( le f t )

Ri n g ( r i g h t )

S leeve (g round)


24/115

1 6 The First Session


3 T h e First Se ssionThis chapter explains how to record and m ix your first MD 8 session . If this is your first time

with a m ultitrack recorder, we recomm end that you start with th is chapter an d follow all the

pro cedures closely. Wh en youve com pleted th is chap ter, have a look at subsequent chapters,which explain m ore advanced MD8 fun ctions and r equire a basic knowledge of MD8 an d

mu ltitrack recording techniques.

Q uick-Sta r t Syste mThe following illustration shows a basic MD8 recording system.

The m icrophon e, synthesizer, and guitar are just examp les of the kind of soun d sou rces that

can be connected to the MD 8. For mo nitoring, you can u se either headphon es or a m onitor

amp and speakers. Alternatively, you could use your hi-fi amp and speakers. The master

recorder is only required for m ixdown .

23

123

1

AC IN THRU OUT

MID

IN

POWER

ON OFF

LINEINPUTAUXSEND

MO NI TOR O U T STER EO O U T

MIC/LINEINPUT

TRACKDIRECT OUT

MIC/LINEIN(BAL)

2

R L R L2TRIN

R L 8 7 6 5 4 3 2 1

1 12 11 10 9 8 7 6 5 4 3 2

2 1

1

1: GMD 2: HOT 3: COLDON OFFPHANTOM

DC48VMAX.7mA

I NS ER T I /O I NS ER T I /O

M o n i t o rs

Syn thes ize r

M a st e r Re c o r d e r

C o n n e ct t o a na p p r o p r i a t eW a ll O u t l et

H e a d p h o n e s

M o n it o r A m p

M ic ro p h o n e

Gu i ta r ProcessorYAMAHA


25/115

C o n n e ct i n g t h e P o w e r C o r d 1 7


C o n n e ct in g t h e P o w e r C o rd1 . C o n n e ct t h e su p p lie d p o w e r co r d t o t h e AC IN so ck et o n t h e r e ar o f M D 8 .

2 . P lu g t h e o t h e r e n d o f t h e p o w e r co r d in t o a su it a b l e A C w a l l o u t le t .

T u rn in g o n t h e M D 81 . P re ss t h e P O W ER sw it ch a t t h e r e a r o f t h e M D 8 . T h e d isp l ay lig h t s u p .

To turn off the MD8, press the POWER switch again.

Lo a d in g a D isc

1 . P re ss t h e EJEC T b u t t o n t o o p e n t h e d i sc co m p a r t m e n t .2 . I n se r t t h e d isc in t o t h e co m p a r t m e n t w it h t h e a r ro w p o in t in g f o r w a r d .

The disc should slide easily into the compartment and click into place. If it doesnt, make

sure youve inserted it the right way aroun d (ar row forward) an d into the retaining bracket

(you m ay have to take a close look at th e disc comp artm ent th e first time you insert a d isc).

3 . C lo se t h e d isc co m p a r t m e n t .Wh en a disc is loaded , the MD8 reads the TO C to see what th e disc con tains. If its a new

disc, the m essage Blank Disc appears. If the disc contain s som e songs, the d isc title

appears for a few secon ds and then scrolls off the display. After th at, the total num ber of son gs

on the disc is shown. For example, Total 004 .

Reco rd in g t h e Fi rst TrackThe convention al method of mu ltitrack recording is to assign inpu t chann els to group buses

that feed signals to th e recording device. On the MD8 th is is called grou p record ing (GRP) .

In ad dition t o grou p r ecording, the M D8 features direct recording (D IR), which allows you

to record inp ut channels 1 to 8 directly to tracks 1 to 8, effectively bypassing the grou p buses.

Each m ethod h as its pros and con s.

G RP Use this method to record an inpu t chann el to a track other its correspon ding track.For exam ple, to record a balanced con denser m icrophon e signal on inpu t chann el 1 to, say,

track 7. The GRP metho d can also be used to m ix signals from several inp ut chan nels and

record them to o ne or two tracks. For examp le, to record dru m m icrophon e signals on inpu t

channels 1 to 4 to, say, tracks 1 and 2.D IRUse this m ethod to record an inp ut chann el to its correspon ding track withou t havingto set the GROU P ASSIGN b utton s and PAN contro l. Since the MD 8 has on ly four group

buses, you cannot record mo re than fou r signals ind ependently using the GRP method .

Using the DIR method, however, you can record 5, 6, 7, or 8 independent signals simulta-

neou sly, in o ther words, 8-track simu ltaneous recording.

Both m ethods are explained in t his section.

POWER

ON OFF


26/115



M a k in g t h e C o n n e c t io n s ( G RP & D I R)

1 . C o n ne ct a so u n d so u rce t o M I C/ LIN E IN PU T 1 .If you are using a condenser microph one, set PHANTOM switch to ON to tu rn o n ph antom

powering.

2 . Se t t h e [ FLI P] sw it ch o n I n p u t C h a n n e l 1 t o M I C/ LI N E.

3 . I f y o u co n n e c t a lin e - le v e l so u r ce , se t t h e G A I N c o n t r o l t o LI N E ( i .e . , f u llyc o u n t e r clo c kw i se ) . I f y o u c o n n e c t a m ic ro p h o n e , se t t h e G A I N c o n t r o lm i d w a y. T h e G A I N c o n t r o l is a d j u st e d a g a i n l a t e r o n in t h i s p r o c e d u r e .

4 . Pr o ce e d t o G R P M et h o d o r D I R M et h o d .

G RP M e t h o d

1 . P re ss I n p u t C h a n n e l 1 s G R O U P A SSI G N [ 1 2 ] sw it c h .This assigns the Ch ann el 1 signal to Tracks 1 and 2.

The following table shows the relationship between Groups and Tracks.

2 . Tu rn t h e PA N co n tro l t o L/ O D D .This sends th e signal to just Track 1.

The following table shows the relationship between the PAN contro l and groups.

3 . W h i le p r e ssi n g t h e R EC S EL EC T [ G R O U P ] b u t t o n , p r e ss t h e R EC S ELEC T

[ 1 ] b u t t o n .The TRK 1 GRP indicator flashes, indicating that tr ack 1 is set to record from group Bus 1.

4 . Se t t h e G R O U P M A ST ER 1 l e ve l co n t r o l t o t h e 7 8 m a r k ( h i g h lig h t e d p o si-t i o n ) .

5 . Pr o ce e d t o M o n i t o r in g & R eco r d i n g ( G R P & D I R) .

A ssig n e d t o ... D e st in a t io n Tra ck

G r o u p 1 Track 1 o r 5




G RO U P ASSIG N PAN D e st in a t io n G r o u p / Tra ck

G r o u p 1

G r o u p 3

G r o u p 2

G r o u p 4

1 2

LODD

REVEN

3 4

1 2

LODD

REVEN

3 4


27/115

Re c o rd i n g t h e F ir st T ra c k 1 9


D I R M e t h od

1 . P re ss t h e R EC SELEC T [ 1 ] b u t t o n .The TRK 1 DIR in dicator flashes, ind icating that track 1 is set to r ecord directly from inpu t

chann el 1.

2 . Pr o ce e d t o M o n i t o r in g & R eco r d i n g ( G R P & D I R) .

M o n it o r in g & Re co r d in g ( G RP & D I R)

1 . P re ss t h e M O N I T O R SELEC T [C U E] sw it ch .

2 . Se t t h e M O N IT O R LEV EL co n t ro l m id w a y.

3 . Se t t h e C U E M A ST ER co n t r o l m id w a y.

4 . Se t C h a n n e l 1 s C U E LEV EL co n t r o l t o t h e t o t h e 7 8 m a r k.

5 . Ra ise C h a n n e l 1 s f ad e r t o t h e 7 8 m a r k .

6 . Pr e ss t h e [REC ] b u t t o n .You shou ld now be able to hear th e sou nd source and see the signal level on track 1 m eter.

If you dont hear anything, recheck the preceding steps.

The REC indicators flash, indicating Record Pause mode.

7 . A d ju st C h a n n e l 1 s G A I N co n t r o l so t h a t t h e lo u d e st so u n d s ca u se t h em e t e r t o r e a c h t h e 3 p o si t io n . I f t h e m e t e r g o e s b e y o n d t h e 3 p o si t io ni n to C L IP, b ack o f f th e G A I N co n t r o l a li t t l e .It is im portan t th at you set th is level cor rectly to achieve the best soun d. Too low a level does

no t m ake full use of the son ic capabilities of you r MD8. Too h igh a level may cause distor tion .

The M D8 is now ready to record . All you have to do to star t record ing is press the [PLAY]

button. So make sure that your music source is ready to go. If you want to cancel Record

Pause m ode, press the [STOP] butto n.

8 . P re ss t h e [ PLAY ] b u t t o n t o st a r t re co r d in g .Recording starts and th e time coun ter shows the recording tim e.

9 . Pr e ss t h e [ ST O P ] b u t to n t o st o p r e co r d in g .Youve now recorded your first t rack.

Liste n in g to th e F irst Track

1 . P re ss t h e L AST REC SEA RC H [ I N ] b u t t o n .This return s to th e point at which recording started. For the first recording, this is always

00:00.00.

2 . P re ss t h e [ P LAY ] b u t t o n t o st a r t p la y b a ck .You shou ld now be able to h ear what was recorded. Adjust C UE LEVEL 1 as requ ired. If you

dont hear anything, recheck the preceding steps.

Tip: If the level of the soun d sour ce varies greatly, making it difficult to find an o ptim um

setting for th e GAIN control, you can u se an external com pressor to even ou t th e signallevel. A com pressor can be patched directly into chan nel 1 or 2 using INSERT I/O.


28/115



O v e r d u b b i n gOverdubbin g is the techniqu e used to record n ew soun ds to em pty tracks while listening to

the soun ds already recorded o n o ther tr acks. The following overdubbing pr ocedure can be

used to record to Tracks 28, and you can use the GRP or D IR metho d, the latter m ethod is

used in this procedure.1 . O n t h e i n p u t c h a n n e l p r e v io u sly u se d f o r r e co r d in g , se t t h e f a d e r t o z e r o ,

an d se t t h e G R O U P A SS IG N sw i tch e s to O FF.

2 . P r e ss t h e R EC SEL EC T [ 1 ] b u t t o n so a s n o t t o o v e r w r it e t h a t t r a ck .The flashing dot disappears.

3 . P re ss t h e L A ST REC SEA RC H [ I N ] b u t t o n .This return s to the point at which recording started.

4 . C o n n e ct a so u n d so u rce t o M I C/ LI N E I N P U T 2 8 .

5 . I f y o u co n n e c t a lin e - le v e l so u r ce , se t t h e G A I N c o n t r o l t o LI N E ( i .e . , f u lly

c o u n t e r clo c kw i se ) . I f y o u c o n n e c t a m ic ro p h o n e , se t t h e G A I N c o n t r o lm i d w a y. T h e G A I N c o n t r o l is a d j u st e d a g a i n l a t e r o n in t h i s p r o c e d u r e .

6 . Se t t h e [FLI P] sw it ch t o M I C/ LI N E.

7 . Se t t h e c h a n n e ls C U E LEV EL co n t r o l t o t h e t o t h e 7 8 m a r k.

8 . Ra ise t h e C h a n n e ls f ad e r t o t h e 7 8 m a r k .

9 . P re ss t h e [ R EC SELEC T ] b u t t o n o f t h e t r a ck t h a t y o u w a n t t o r e c o rd .The DIR ind icator for th at chann el flashes.

1 0 . P r e ss t h e [ R EC ] b u t t o n .The REC indicators flash, indicating Record Pause mo de. The track meter shows the signal

level, and you shou ld be able to hear t he signal source.

1 1 . A d j u st t h e G A I N c o n t r o l o n t h e i n p u t c h a n n e l so t h a t t h e lo u d e s t so u n d sc a u se t h e m e t e r t o r e a c h t h e 3 p o si t io n . I f t h e m e t e r g o e s b e y o n d t h e

3 p o sit io n in t o C LI P, b a ck o f f t h e G A IN co n t ro l a li t t le .

1 2 . P r e ss t h e [ P LAY ] b u t t o n t o s t a r t r e co r d i n g ( o r R e h e a r sa l) .Recording (or Rehearsal) starts and the tim e counter shows the recording time.

1 3 . U s e t h e in p u t c h a n n e l C U E LEV EL co n t r o ls t o b a l a n c e le v e ls w i t h t h e

t r acks a l r ead y r eco r d e d .1 4 . P r e ss t h e [ ST O P ] b u t t o n t o s t o p r e c o r d in g ( o r R e h e a r sa l ) .

1 5 . P r e ss t h e LA ST R EC S EA R CH [ I N ] b u t t o n .This return s to the p oint at which recording (o r Rehearsal) started.

1 6 . P r e ss t h e [ P LAY ] b u t t o n t o p l a y b a c k w h a t y o u v e r e co r d e d .If you just rehearsed the overdu b, there wont be anyth ing to p lay back yet.

Repeat this procedure un til youve recorded all tracks. Then youre ready for mixdown .

N ote: You could press the [REHE] bu tton instead to rehearse the overdub.


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M i x d o w n 2 1


M ixd o w nMixdown is the final technique in m ultitrack recording. Here you m ix the sounds from all

eight tr acks, with EQ and effects to create a balanced stereo signal that is record ed to a stereo

m aster recorder, such as a DAT, Min iDisc, or cassette tap e deck.

1 . M a k e su r e t h a t a ll [G R O U P A SSI G N ] sw it ch e s a r e o f f, in c lu d i n g t h eM O N I T O R S ELEC T [ G R O U P ] sw it c h e s.

2 . Tu r n o ff t h e M O N I TO R SELEC T [ CU E] sw it ch .

3 . Se t t h e [ FLI P] sw it ch o n e a c h in p u t c h a n n e l t o P B.

4 . Se t t h e PA N co n t r o l o n e a ch i n p u t ch a n n e l t o it s ce n t e r p o sit io n .

5 . Se t t h e f a d e r o n e a ch in p u t c h a n n e l a n d t h e S TEREO f a d e r t o t h e 7 8m a r k .

6 . P re ss t h e M O N I T O R SELEC T [ ST EREO ] sw it ch a n d se t t h e M O N I T O R

L EV E L co n t r o l m i d w ay.7 . U se t h e So n g S e a rch b u t t o n s t o l o ca t e t h e st a r t o f t h e so n g .

If the LAST REC IN p oint is still 00:00, you can use the LAST REC SEARCH [IN ] bu tton .

Altern atively, you can u se the M ARK SEARCH bu tton s.

8 . P re ss t h e [ P LAY ] b u t t o n t o st a r t p la y b a ck .You shou ld now be able to hear all your tr acks. If you d ont hear an ythin g, recheck the pre-

ceding steps.

9 . M ix a n d re fi n e y o ur m u sic a s f o llo w s:Balanc ing Leve lsUse the input channel faders to balance the levels of the eight tracks.

Pa n Use the PAN controls to p osition sound s between th e left and right speakers.

EQ Use the three-band EQ to shape the ton e of each track.

A p p l yi n g Ef f e ct sUse the AUX 1/2 and LINE INPU Ts 910 and 1112 to p atch in anexternal effects p rocessor. SeeApplying Effects on p age 48 for m ore information .

SeeM ixdow n on page 88 for a mor e detailed look at mixdown techniques.

1 0 . R e co r d t h e F in a l M i x to yo u r ste r eo m aster r eco r d e r.Thats it! Youve com pleted you r fi rst session with the MD 8.


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A n O v e r v ie w o f M u lt it r a ck Re co r d in gThis section describes the fun dam ental principles of mu ltitrack recording.

Basic M ul t i t rack ingM o n i t o rin g T his is the process of listening to a sou nd as its being recorded o r listenin gto recorded sound s as new sound s are recorded to oth er tracks. SeeAbou t M onitoring on

page 23 for m ore information .

R e co r d i n g t h e fi r st t r a ckTh e first track to b e recorded is typically the dr um track. Adru m track that starts before other instru m ents makes a good timing and coun t-in reference.

If your song starts with several instru m ents on the first bar, you m ay find it h elpful to record

a tempo rary coun t-in on anoth er track, which can be erased later. SeeRecordin g the First

Trackon p age 17 for m ore information .

O v e r d u b b i n gTh is is the technique of r ecording n ew soun ds to em pty tracks while lis-tenin g to the sou nd s that youve already record ed on the ot her t racks. Essent ially, son gs are

recorded track-by-track. This techn ique is used for m ost m odern studio recording.See Over-

dubbing on p age 20 for m ore inform ation.

M ix d ow n T his is the fin al stage in m ultitrack recording. Here you m ix the sound s fromall eight tr acks, with EQ an d effects, into a balanced stereo m ix and record it to a stereo m aster

recorder, such as a DAT, MiniDisc, or cassette tape m achine. SeeM ixdow n on page 21 for

more information.

A d v a n c e d M u lt i t r a ck in gO n e - T a ke r e c o r d i n g With this technique, all tracks are recorded in one take. This isuseful for live recordin g and band s that like to record with all m embers playing together. Use

DIR recording m ethod to r ecord u p to 8 tracks simu ltaneously. Pun ch in/ou t and p ing-pon g

techniques can be used after th e one-take recording to add and correct sections. See

On e-Take Recording on page 83 for more inform ation.

P u n ch I n / O u t This techn ique allows you to rerecord specific section s of a tr ack. Its oftenused to rerecord a n ot-so-perfect guitar solo or vocal phrase. Pun ch in/o ut can be rehearsed

before actually recording to d isc. Pun ch in/ou t on the MD 8 can be perform ed m anu ally or

automatically, which is useful when you are playing or singing and operating the MD8 all

at the same time. You can u se either the DIR or GRP m ethod for pun ch in/ou t recording.

SeeM an ual Pu nch In /Outon p age 29 for m ore information .

P i n g - P o n g T his techn ique allows you to m ix and record several tracks onto anoth ertrack. This is often used to free up tracks for mo re recording. So althou gh th e MD 8 is an

eight-t rack recorder, you can record m ore than just eight par ts using the ping-pon g tech-

niqu e. You can also com bine pin g-pon g with overdub recording. For examp le, Tracks 1 and

2 are mixed and recorded o nto Track 4 along with a n ew signal com ing from Inpu tChannel 3. Ping-Pong can be rehearsed before actually recording to disc. Use the GRP

recording meth od for ping-pong. See Ping-Pong Recordin g on page 41 for m ore inform ation.

S y n c h r o n i z a t i o nT his technique enables the MD8 and a MIDI sequencer to worktogether as a unified recording tool: the M D8 for acoustic soun ds and the M IDI sequencer

for MIDI instrum ent sounds. See The MD8 & MIDIon p age 73 for m ore inform ation.


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A b o u t M o n i t o rin g 2 3


A b o u t M o n it o r in gThe M D8 features a flexible mon itoring system , allowing you to m onitor signals at various

points. You can m onitor sound s through a p air of stereo headph ones connected to the

PHO NES jack, or th rough a m onitor am plifier and speakers connected to the MO NITOR

OUT jacks. The MONITOR SELECT switches are used to select the monitor source, andthe M ON ITOR LEVEL cont rol is used to ad just the level.

2T R IN This switch selects the 2TR IN conn ection as the m on itor sou rce. This allows youto m onitor signals from a stereo master recorder connected to th e STEREO OU T and 2TR

IN. Selecting [2TR IN] d urin g mixdown allows you to m onitor the ou tpu t of a m aster

recorder so you can m ake sure that the m aster recorder is receiving the signals cor rectly.

G R O U PThese switches select the Grou p bu ses as the mon itor sou rce. This allows you tom onitor signals that are assigned from inpu ts 1 to 12. Use these switches to m onitor what

will be recorded. For example, if youre recording the sounds from three input channels to

one t rack simu ltaneously, youll need to listen to a m ix of the t hree soun ds in o rder to balance

the levels corr ectly. You can do th is using th e GROU P switches.

When only the [13] or [24] MO NITOR SELECT GROUP switch is pressed, the mo nitorsignal is set as mo no. This ensures that th e signal being mon itored appears in both the left

and right m on itor speakers. So even wh en you m onitor a single group signal, it will be heard

throu gh both speakers. When both t he [13] and [ 24] MON ITOR SELECT GROU P

switches are pressed, however, the m on itor signal is set as stereo. So you can m on itor stereo

signals on Gro ups 1 and 2 or Grou ps 3 and 4.

STEREO This switch selects the Stereo bu s as the m on itor source. This allows you to m on -itor th e STEREO OUT signals and is typically used dur ing mixdo wn. It can also be used to

m onitor signals that are no t going to be recorded by the M D8, such as a MIDI ton e generator

that is controlled by a MIDI sequencer. In this case, the tone generator is only monitored

while other soun ds are recorded on the MD 8. Then for th e final mixdown, the tone generator

sound s are m ixed with the soun ds recorded on the MD 8 and m ixed down to a stereo m aster

recorder.

C U ETh is switch selects the CUE bu s as the m onitor source. This allows you to m onitortrack signals. Unlike the other m onitor sources, the CUE m onitor source changes when th e

MD 8 starts recording or rehearsing. For example, du ring norm al playback CUE allows you

to m onitor the soun ds recorded on disc. Obviously, if nothing is recorded, theres noth ing

to m onitor. When either record or reh earse is started, however, CUE allows you to m onitor

the soun ds that are assigned to tracks for recording. The application of this m ay not app ear

very obvious at the mom ent, but all will becom e clear in the pun ch in/ou t and p ing-pon g

recording sections.

N ote: Althou gh you can m onitor GROUP, STEREO, and CUE all at th e same time, there

is a possibility that youll m on itor th e same signal from two different po ints in th e signal

flow. At first, you m ay find it less confusing to select just one mo nito r source at a time.


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M u lt i- So u r ce M ix in gIn add ition to t he eight d isc tracks, you can also conn ect external soun d sour ces to the

MIC/LINE input s and m ix up to eight m ore sound sources with the d isc tracks. These extra

soun d sources are m ixed u sing the CUE LEVEL and PAN con tro ls. The [CUE MIX TO STE-

REO] switch makes this possible. Wh en th is switch is in th e ON p osition, the CU E bus signalsare sent to the Stereo bus for mixing with the MIC/LINE signals.

In com bination with the eight disc tracks and LINE INPUTs 912, this means th at up to 20

inputs are available for m ixdown. Typically, these extra soun d sources could be M IDI ton e

generato rs, synth esizers, samplers, etc., that are bein g controlled by a MIDI sequencer.

The following procedure is sim ilar to the p revious m ixdown pr ocedure except that it

explains how to use the CUE controls to mix the disc signals and MIC/LINE signals.

1 . M a k e su r e t h a t a ll [G R O U P A SSI G N ] sw it ch e s a r e o f f, in c lu d i n g t h eM O N I T O R S ELEC T [ C U E] sw it c h .

2 . U se t h e [ FLI P] sw it ch o n e a ch i n p u t ch a n n e l t o fe e d t h e d i sc a n d M I C / L I N Esi g n a l s to t h e i n p u t ch an n e l o r C U E co n t r o l s.With th e [FLIP] switch in the u p p osition, the M IC/LINE inp ut signal is fed to th e input

chann el and th e disc signal is fed to the CU E controls. With t he [FLIP] switch in the d own

position, however, this is reversed: the MIC/ LINE inpu t signal is fed to th e CUE cont rols

and the disc signal is fed to th e inpu t chan nel. As the CU E contro ls con sist of just level and

pan, signals that requ ire EQ and effects shou ld be fed to th e inpu t chan nel.

3 . Se t t h e PA N a n d C U E PA N co n t r o ls o n e a ch in p u t c h a n n e l t o t h e i r ce n t e rposi t ions.

LINE MIC

PB MIC/LINE

GAIN

HIGH

MID

LOW

AUX

PAN

L R

1

10

9

8

7

6

5

4

3

2

1

0

15 +15

15 +15

15 +15

250 5k

FLIP

CUE

0 10

F

G

1

0 10

2

0 10

1 2

3 4

GROUP ASSIGN

LODD

REVEN

PAN

LEVE

L

Track 1 (d i sc )

U p ( M IC / L IN E)

I n p u t 1 ( j a c k/ XL R)

LINE MIC

PB MIC/LINE

GAIN

HIGH

MID

LOW

AUX

PAN

L R

1

10

9

8

7

6

5

4

3

2

1

0

15 +15

15 +15

15 +15

250 5k

FLIP

CUE

0 10

F

G

1

0 10

2

0 10

1 2

3 4

GROUP ASSIGN

LODD

REVEN

PAN

LEVE

L

I n p u t 1 ( j a c k / XL R)

D o w n ( PB )

Track 1 (d i sc )


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M u l t i -So u r c e M i x in g 2 5


4 . Se t t h e i n p u t ch a n n e l a n d ST EREO f a d e r s t o t h e 7 8 m a r k, an d se t t h eCU E LEVEL cont ro ls m idw ay.

5 . Se t t h e [ CU E M I X TO ST EREO ] sw it ch t o O N .

6 . P re ss t h e M O N I T O R SELEC T [ ST EREO ] sw it ch a n d se t t h e M O N I T O R

L EV E L co n t r o l to an ap p r o p r i a te l eve l.

7 . Se t t h e ST EREO f a d e r t o t h e 7 8 m a r k.

8 . Pr ess t h e SO N G SEA RC H [ ] b ut t on t o re tu rn t o t h e 00 :0 0 p o sit io n .

9 . P re ss t h e [ P LAY ] b u t t o n t o st a r t p la y b a ck .You can n ow m ix the disc and M

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