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A red LED will light above the active button, warning you that this track is ready to j record. I PITCH (SPEED) CONTROL This provides a user-adjustable variation of the tape speed ? from the fixed speed up to +/-12%. The fixed speed can be * quickly reached by using the center detent on this pitch control. RECORD/PLAYBACK PEAK LEVEL INDICATORS These show the level of either recording or playback for each channel. They are of the ‘peak hold’ type, meaning : that they will indicate and hold the latest peak level for a short length of time. When you are recording, keep the ; indicator in the yellow portion with perhaps occasional running in the lower red. If the indicator stays in the red portion, you may be making too ‘hot’ a recording and the -resulting sound may be degraded because the tape has been over-saturated. If the indicator is showing green ; most of the time, then you will not have enough signal ; reaching the tape, and your recording will be ‘noisy’ and i weak, as the input signal strength is not high enough. PHONES LEVEL (PULL FOR 2 TRACK) Sets the volume level in the headphones, and selects the; number of tracks heard. With the knob pushed in all four; tracks will be heard. 1 & 3 will be present at the left ?' - earpiece, and tracks 2 & 4 in the right. Pulling the knob out ; is for monitoring normal stereo program material. This will , select tracks 1 and 2 only. Rotating the knob clockwise will j : increase the gain to the headphones. This procedure only ? ; affects the headphone facility, track 3 and 4 outputs f : remain active. STEREO PHONE JACK - Plug your conventional stereo headphones into this jack.} ; As there are no individual track level controls for this jack, J ; track level adjustment and listening should be adjusted on ; i your mixer and its headphone socket. RECORDING LEVEL i Each control increases (clockwise rotation), or decreases (anti-clockwise rotation) the recording level on one track. » Dolby® is a registered trademark of Dolby Laboratories 7 Corp. Figuie 5 1 TRK A-B-G+D 2TRK E-F+G 3TRK IH + ll 4 TRK 1 TRK A-B-C+D 2 TRK 3TRK E 4 TRK F 1 TRK A-B-G+D 2 TRK E-F+G 3TRK 4 TRK 1 TRK A-B-G+D 2 TRK E-F+G 3TRK 4 TRK H 1 TRK A-B-G+D 2 TRK E-F+G 3TRK H + l 4 TRK J 1 TRK 2 TRK c 3TRK B 4 TRK A A°B°G+D 2TRK 3TRK 4TRK CORRECT TAPE FORMULATION The MCR 4/A and 4/S are designed to use Type II Chrome (Cr02) tape, and are factory biased for Maxel XL ll-S. This tape will deliver the optimum performance, but other gopd quality First three tracks of the four- Type II tapes will also yield good results. Do not use standard rac tape are recor e .( , , ferric oxide tapes as they will exhibit a diminished high frequency response. Then these three tracks are set for a balanced mix, and are rerecorded on track 1, while adding a new ‘take’ (D) on track 1 at the same time via the LINE INPUT. New ‘takes’ are recorded on tracks three and four, (E and F) BOUNCING TRACKS (refer to Fig. 5 as a visual aid) This technique enables you to make a recording using more than four ‘takes’. Normally this would not be possible with a four track recorder, but ‘bouncing’ gives you the facility to make your machine record as if it has more than four tracks. For the purpose of these directions, a piece of recorded material will be referred to as a ‘take’. Record your first ‘takes’ on tracks two, three, and four. Mix these ‘takes’ onto track one while simultaneously adding another external ‘live’ take. This will give you four ‘takes’ on track one, and frees up tracks two, three, and four for new ‘takes’. Record a ‘take’ on tracks three and four, and mix these ‘takes’ onto track two while simultaneously adding yet another external live take. Record another ‘take’ on track four, and mix this ‘take’ onto track three while simultaneously adding yet another external live take. This gives you nine takes, or the equivalent of a nine track tape recorder. Track four will now be empty, and may be used to add yet another take. These new ‘takes’ are then moved to track two, while adding a new ‘take’ (G) on track two at the same time via the LINE INPUT. A new ‘take’ (H) is recorded on track 4. This new ‘take’ is then moved to track 3, while adding a new ‘takei' (I) on track 3 at the same time via the LINE INPUT. The following example illustrates this procedure as a practical script to ‘bounce’ material from track two and three to track one. Variations of this technique will be simple once you learn the concept. Step 1: Inactivate the ‘RECORD READY’ buttons on tracks one and two. Step 2: Route the track two and three outputs to the track one input through the mixing console. Use the CHANNEL ASSIGNMENT inputs on the Peavey Audio Media Research 64 Mixer (no re-patching necessary). On the Model 42, assign channels 2 and 3 to the ‘R’ (right) with the PAN controls, then patch the ‘R* MASTER OUTPUT to the track four input on the MCR 4/A or S recorder. Step 3: Activate the RECORD R...

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