Owner’s Manual Keep This Manual For Future Reference.
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.
• Explanation of Graphical Symbols CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. 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 product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
Important Information Important Information Warnings • • • • • • • • • • • • • • Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. Failure to do so is a fire and electrical shock hazard. Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result. Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a fire and electrical shock hazard.
Operating Notes • • • • • • • 5 This unit has ventilation holes along the front, rear, top, and sides to prevent the internal temperature from rising too high. Do not block them. Blocked ventilation holes are a fire hazard. In particular, do not operate the unit while it’s on its side, is upside down, or while it’s covered with a cloth or dust sheet. If you are using the optional MB1000 Peak Meter Bridge, do not hold only the MB1000 when moving this unit.
Important Information Exclusion of Certain Responsibility Manufacturer, importer, or dealer shall not be liable for any incidental damages including personal injury or any other damages caused by improper use or operation of this unit. Trademarks ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are registered trademarks of Alesis Corporation. Apogee is a trademark of Apogee Electronics, Inc.
About this Owner’s Manual 7 About this Owner’s Manual This Owner’s Manual explains how to operate the DM1000 Digital Production Console. The table of contents can help you familiarize yourself with the manual’s organization and to locate tasks and topics The index can help you locate specific information. Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on page 27. Each chapter in this manual discusses a specific section or function of the DM1000.
Contents Contents 1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Installing an Optional Card . . .
Contents 9 Input & Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Patching Direct Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Insert Patching . . .
Contents 18 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 MIDI & the DM1000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Assigning Scenes to Program Changes for Remote Recall . . . . . . . . . . . . . . . . . .
Welcome 11 1 Welcome 1 ■ Hardware Features • • • • • • • • 17 touch-sensitive 100-mm motorized faders (for touch-sensitive selection of channels, or for punching in and out during Automix recording) Faders can set levels for Input Channels, Aux Sends, and Bus Outs. Rotary Encoders enable you to control panning for each channel, AUX send levels, and various parameters. Six selectable software layers determine the function of channel faders and Encoders.
Chapter 1—Welcome ■ Channel Configuration • • • • Simultaneous mixing of up to 48 Input Channels. Group multiple channels and pair channels for stereo. 8 Bus Outs and 8 AUX Sends. Buses 1-8 can be routed to Stereo Buses for use as Group Buses. Channel library for storing and recalling the channel settings for each Input Channel and Output Channel. 4-band EQ and dynamics processor equip all channels. Dynamics processor and EQ settings can be stored in libraries and recalled.
Control Surface & Rear Panel 13 2 Control Surface & Rear Panel 2 Control Surface SELECTED CHANNEL Section (p.
Chapter 2—Control Surface & Rear Panel AD Input Section 1 2 1 +48V OFF OFF +48V ON OFF 5 4 3 +48V ON +48V ON OFF 6 +48V ON OFF 7 +48V ON 8 +48V OFF ON OFF 9 +48V ON OFF 10 +48V ON OFF 11 +48V ON OFF 12 +48V ON OFF 13 +48V ON OFF OFF +48V ON OFF 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB -60 GAIN -60 -16 GAIN -60 -16 GAIN -60 -16 GAIN -60
Control Surface 15 Channel Strip Section 2 SEL 3 SOLO 4 ON 1 +10 0 5 5 0 10 5 15 10 20 15 30 20 40 30 50 40 60 70 50 5 1 17 33 AUX 1 B [SEL] buttons 1–16 These buttons enable you to select desired channels. The [SEL] button indicator for the currently-selected channel lights up. The channel selected by each [SEL] button depends on the currently-selected button in the LAYER section (see page 20).
Chapter 2—Control Surface & Rear Panel AUX SELECT Section 1 AUX SELECT DISPLAY 2 AUX1 AUX2 AUX3 AUX4 AUX5 AUX6 AUX7 AUX8 A [DISPLAY] button This button displays an Aux-related page (see page 97). B [AUX 1]–[AUX 8] buttons These buttons select an Aux Send. When you press a button to select an AUX Send, the corresponding button indicator lights up.
Control Surface 17 DISPLAY ACCESS Section 1 2 3 4 2 DISPLAY ACCESS DIO SETUP UTILITY MIDI REMOTE METER VIEW / PAIR/GROUP INSERT/ DELAY PAN/ SURROUND DYNAMICS INPUT PATCH EFFECT OUTPUT PATCH 7 8 L K SCENE M N O P A [AUTOMIX] button This button displays an Automix page, enabling you to make Automix settings (see page 181). B [DIO] button This button displays a DIO page, enabling you to make digital I/O settings (see page 53).
Chapter 2—Control Surface & Rear Panel N [DYNAMICS] button This button displays a Dynamics page, enabling you to control channel gates and compressors (see page 62). O [EFFECT] button This button displays an Effect page, enabling you to edit the internal effects processors and use optional plug-in cards (see page 151). P [SCENE] button This button displays a Scene page, enabling you to store and recall Scenes (see page 155).
Control Surface 19 SELECTED CHANNEL Section 1 5 2 SELECTED CHANNEL ROUTING J 6 2 HIGH Q 2 3 4 N 3 4 5 6 7 8 STEREO DIRECT Control Surface & Rear Panel 1 EQUALIZER DISPLAY DISPLAY HIGH MID FREQUENCY 7 8 LOW MID LOW GAIN 9 K L M GRAB A ROUTING [DISPLAY] button This button displays a Routing page, enabling you to route selected channels to the desired Bus, and adjust the level of the signals routed from Buses 1–8 to the Stereo Bus (see page 68 and 83).
Chapter 2—Control Surface & Rear Panel LAYER Section 2 1 3 A [1-16]/[17-32]/[33-48] buttons These buttons select an Input Channel Layer. The channel strips control Channels 1–16, 17–32, or 33–48, depending on the button selected here. (See page 31 for more information on Layers.) B [REMOTE 1]/[REMOTE 2] buttons These buttons select the Remote Layer, which can be used to control external devices, including DAWs. (See page 205 for more information on the Remote Layer.
Control Surface 21 USER DEFINED KEYS Section 1 A [DISPLAY] button This button displays a User Def page, enabling you to assign functions to buttons 1–12 (see page 257). USER DEFINED KEYS DISPLAY 2 Data Entry Section 3 DEC INC A Parameter wheel This control adjusts the parameter values shown on the display. Turning it clockwise increases the value; turning it counterclockwise decreases the value. This wheel also enables you to scroll a displayed list and select a character for entry (see page 30).
Chapter 2—Control Surface & Rear Panel MONITOR Section 1 MONITOR DISPLAY 2 SOLO CLEAR 2TR D1 2TR D2 SLOT BUS 4 STEREO 7 DIMMER TALKBACK 3 5 6 8 0 10 MONITOR LEVEL 9 J K A [DISPLAY] button This button displays a Monitor page, enabling you to adjust monitor settings (see page 115 and 131). B [SOLO] indicator This indicator flashes when a single or multiple channels are soloed. C [CLEAR] button This button “unsolos” all soloed Channels.
Rear Panel Rear Panel AD Input and Output Section (p. 23) 2 15 3 OMNI IN 14 2 13 1 12 11 10 9 12 11 10 9 INPUT 8 7 6 5 4 3 2 1 8 7 6 5 4 3 2 1 SLOT Control Surface & Rear Panel 16 4 SLOT POWER ON OFF SMPTE IN METER AC IN REMOTE MIDI OUT IN TO HOST USB CONTROL WORD CLOCK OUT Digital I/O & Control Section (p. 24) 1 2 2 AES/EBU Power Section (p. 25) 2TR IN DIGITAL 1 IN COAXIAL COAXIAL AES/EBU SLOT Section (p.
Chapter 2—Control Surface & Rear Panel SLOT Section SLOT SLOT 1 A SLOT 1 & 2 You can insert optional mini-YGDAI cards into these slots. (See page 26 for more information on installing these cards.) Digital I/O & Control Section 1 METER SMPTE IN REMOTE MIDI OUT CONTROL 2 IN TO HOST USB WORD CLOCK OUT 3 4 5 6 7 2TR IN DIGITAL 1 IN 8 2 1 2 AES/EBU COAXIAL COAXIAL AES/EBU 9 JL K A METER connector This connector enables you to connect an optional MB1000 Meter Bridge.
Rear Panel 25 H WORD CLOCK IN connector This BNC connector inputs a wordclock signal from a connected external device to the DM1000. J 2TR OUT DIGITAL COAXIAL 2 This phono connector outputs consumer format (IEC-60958) digital audio. The connector is typically used to connect the digital stereo input (consumer format) of a DAT recorder, MD recorder, or CD recorder. K 2TR IN DIGITAL AES/EBU 1 This XLR-3-32-type connector accepts AES/EBU format digital audio.
Chapter 2—Control Surface & Rear Panel Installing an Optional Card Visit the following Yamaha Pro Audio web site to ensure that the card you are installing is supported by the DM1000. Also, verify the number of cards (including other Yamaha or third-party cards) that can be installed in the unit. . Follow the steps below to install an optional mini-YGDAI card. 1 Make sure that the power to the DM1000 is turned off.
Operating Basics 27 3 Operating Basics This chapter describes basic operations on the DM1000, including how to use the display and operate the controls on the top panel. 3 About the Display 3Current Scene 4EDIT indicator 5MIDI indicator 6Surround mode indicator 7Sampling rate indicator 1Selected DISPLAY 2Selected channel 9Page title 8Timecode counter JChannel name KPage area LPage tabs MTab Scroll arrows A Selected DISPLAY This section indicates the currently-selected display page group.
Chapter 3—Operating Basics F Surround mode indicator This indicator identifies the currently-selected Surround mode (ST=stereo, 3-1, 5.1, or 6.1) (see page 121). G Sampling rate indicator This indicator identifies the DM1000’s current sampling rate: 44.1 kHz (44k), 48 kHz (48k), 88.2 kHz (88k), or 96 kHz (96k). H Timecode counter This counter displays the current position in the MIDI timecode being received via the MIDI IN port, USB port, REMOTE connector, or an installed MY8-mLAN card.
Display Interface 29 • To select the previous page in a page group: Press and hold down the button you selected in Step 1. The screen steps back through the pages one by one. Release the button when the desired page is displayed. This enables you to select a page that has a hidden tab. • To select the first page in the group: Double-click the button you selected in Step 1. Tip: The DM1000 remembers the current page and parameter when you select a new page group.
Chapter 3—Operating Basics Confirmation Messages For certain functions, the DM1000 prompts you for confirmation before executing the functions, as shown here. Move the cursor to YES and press [ENTER] to execute the function, or move the cursor to NO and press [ENTER] to cancel. If you take no action for awhile, the confirmation window closes automatically and the function is not executed.
Selecting Layers 31 Selecting Layers Input Channels and Output Channels (Bus Outs & Aux Outs) are arranged into layers, as illustrated below. There are six layers altogether.
Chapter 3—Operating Basics Selecting Channels The SELECTED CHANNEL controls enable you to edit main mix parameters for a channel selected from the Input Channels and Output Channels (Aux Outs, Bus Outs, and Stereo Out). To select a channel for editing using the SELECTED CHANNEL controls, follow the steps below: 1 Press the corresponding LAYER button to select a layer that includes the desired channel (see page 31).
Selecting Fader Modes 33 Selecting Fader Modes The function of channel faders (1–16) depends on the selected Layer and Fader mode. 1 Select a layer that includes the desired channel (see page 31). FADER The following table shows the channel fader functions for each Layer and Fader mode.
Chapter 3—Operating Basics Selecting Encoder Modes The function of Encoders (1–16) depends on the selected Layer and Encoder mode. 1 Select a layer that includes the desired channel (see page 31). 2 Press the corresponding ENCODER MODE button to ENCODER MODE select an Encoder mode. • When the [PAN] button indicator lights up: ...............................................Encoders 1–16 function as Pan controls for the selected layer. • When the [AUX] button indicator lights up: ........................
Assigning Parameters to the ENCODER MODE [ASSIGN] button 35 Assigning Parameters to the ENCODER MODE [ASSIGN] button While the ENCODER MODE [ASSIGN] button indicator is lit, you can use Encoders 1–16 to control a parameter assigned to the [ASSIGN] button. Follow the steps below to assign a parameter to the [ASSIGN] button. 2 Use the Parameter wheel or press the [INC]/[DEC] buttons to select a parameter in the right-hand box. A parameter is selected when it appears inside the dotted box.
Chapter 3—Operating Basics • Assignable Encoder Mode Parameter List # Parameters Encoder Operation Push Switch Operation — — 1 No Assign 2 Attenuator Attenuator 3 Input Patch Input Channel patch 4 Insert In Patch Insert In patch 5 Insert Out Patch Insert Out patch 6 Direct Out Direct Out patch 7 Phase: Phase: normal/reverse 8 Insert On Insert on/off 9 Aux pre/post Aux pre/post 10 Delay On Delay on/off 11 Delay Time Delay Time 12 Delay FB.Gain Delay FB.
Metering 37 Metering This section describes how to check Input and Output Channel levels using the Meter pages or an optional MB1000 Peak Meter Bridge. 1 Press the DISPLAY ACCESS [METER] button repeatedly until the Meter | Position page appears. This page enables you to set the metering position for Input and Output Channels. 3 Operating Basics 1 2 A INPUT section This section enables you to select the metering position for Input Channel signals.
Chapter 3—Operating Basics - Stereo page This page displays the Stereo Out or Control Room Monitor output level. Tip: You can also select the CH1-32 page, the CH33-48 page, or the Master page using the LAYER buttons. In this case, if an optional MB1000 Peak Meter Bridge is installed, the Peak Meter Bridge displays the same signal meters in unison with the DM1000 meters.
Metering 39 5 If you selected the Stereo page, use the METER MODE parameter to select one of the following two metering signal types: • C-R .................................Control Room Monitor output signal • STEREO.........................Stereo Out signal 3 Operating Basics This parameter setting affects the meters on the Meter | Master page, the ST meter on the Stereo page, and the stereo meter on the right side of the display.
Chapter 3—Operating Basics DM1000—Owner’s Manual
Connections and Setup 41 4 Connections and Setup This chapter explains how to connect and set up your DM1000. Connections The following section explains three typical ways to connect the DM1000 to external equipment, although there are numerous others.
Chapter 4—Connections and Setup ■ Configuring a recording system with a hard disk recorder Computer HDR (Hard Disk Recorder) MIDI IN MIDI OUT MY8-AT etc. Effects processor OUT MY8-AT etc.
Connections 43 ■ Configuring a recording system that uses a DAW (Digital Audio Workstation) Computer 4 Connections and Setup MIDI interface MIDI IN MIDI OUT Audio interface MY-16AT etc. Effects processor OUT MY-16AT etc.
Chapter 4—Connections and Setup Wordclock Connections and Settings About wordclock Digital audio equipment must be synchronized when digital audio signals are transferred from one device to another. Even if both devices use identical sampling rates, digital signals may not transfer correctly, or audible noise or unwanted clicks may occur if the digital audio processing circuits inside each digital audio device are not synchronized with each other.
Wordclock Connections and Settings 45 If the external devices do not have wordclock in and out connectors, you can use the clock information included in the digital audio signals. In this case, digital audio signals and wordclock signals are transferred via the 2TR OUT DIGITAL and 2TR IN DIGITAL jacks or via the digital I/O cards installed in the rear panel slots.
Chapter 4—Connections and Setup The source select button indicators are explained below: A usable wordclock signal is present at this input, and it is in sync with the current DM1000 internal clock. No wordclock signal is present at this input. A usable wordclock signal is present at this input, but it is out of sync with the current DM1000 internal clock. This input is the currently-selected wordclock source. This input was selected as the wordclock source, but no usable signal was received.
Input and Output Patching 47 Input and Output Patching The DM1000 is designed to enable you to patch (assign) signals to Inputs and Outputs. This section explains how to view the signals patched to Inputs and Outputs and change the assignment.
Chapter 4—Connections and Setup • 2D2L & 2D2R ............... 2TR DIGITAL IN 2 (L/R) • BUS1–8.......................... Bus 1–8 Outputs • AUX1–8 ......................... Aux Send 1–8 Outputs 2 Use the cursor buttons to move the cursor to a patch parameter (1) for which you want to change the assignment, and rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the patching. 3 Press [ENTER] to confirm the change.
Input and Output Patching 49 2 Use the cursor buttons to move the cursor to a patch parameter (1) you wish to change, and rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the patching. 3 Press [ENTER] to confirm the change. Tip: To restore the default patching, recall Output Patch memory #00 (see page 169). DM1000—Owner’s Manual 4 Connections and Setup • SURR XXX (“XXX” is a channel name). .............. Surround Monitor Outs • CR-L/CR-R...........................................
Chapter 4—Connections and Setup DM1000—Owner’s Manual
Analog I/O & Digital I/O 51 5 Analog I/O & Digital I/O This chapter describes the DM1000’s analog and digital input/output connectors as well as the basic operations involving the digital I/Os. Analog Inputs & Outputs AD Input Section • INPUT connectors 1–16 These balanced XLR-3-31-type connectors accept line-level and microphone signals. The nominal input range is –60 dB through +4 dB. 9 8 INPUT • OMNI IN connectors 1–4 These balanced XLR-3-31-type connectors accept line-level signals.
Chapter 5—Analog I/O & Digital I/O Omni Outs • OMNI OUT connectors 1–12 INPUT The DM1000 rear panel features OMNI OUT connectors 1–12 for 9 8 connecting line-level sources, such as a monitoring system, master recorder, external effects processor. The OMNI OUT connectors use balanced XLR-3-32-type jacks, with a rated output level of +4 dB. These outputs can be patched to Bus Outs and Input Channel Direct Outs. (See page 109 for more information on patching outputs to the Omni Outs.
Converting Sampling Rates of Signals Received at 2TR Digital Inputs 53 The following mini-YGDAI I/O cards are currently available. Card Format In Out MY8-AD MY8-AD241 MY4-AD Analog in Phone jack (balanced) x8 — XLR-3-31 type (balanced) x4 8 Analog out — 24-bit, 44.1/48/88.2/96 kHz 25-pin D-sub 4 20-bit, 44.1/48 kHz 8 24-bit, 44.1/48/88.2/96 kHz MY8-AE2 MY8-TD2 25-pin D-sub AES/EBU I/O 8 24-bit, 44.1/48/88.2/96 kHz Optical x2 ADAT I/O 16 16 Tascam IEEE1394 Optical x4 24-bit, 44.
Chapter 5—Analog I/O & Digital I/O 2 Use the cursor buttons to move the cursor to the 2TR IN D1 or 2TR IN D2 button, then press [ENTER]. The sampling rate converter for the selected 2TR Digital Input turns on or off. When on, the sampling rate of the received digital audio is converted to the DM1000’s current sampling rate. Tip: • The FS box displays the sampling frequency at which the DM1000 is currently operating. • The AES/EBU and COAXIAL parameter fields display the converted sampling rate.
Monitoring Digital Input Channel Status 55 Monitoring Digital Input Channel Status You can view and monitor the Channel Status (sampling rate, emphasis, etc.) of digital audio signals connected to the 2TR Digital Inputs and Slot Inputs as follows. 1 Press the DISPLAY ACCESS [UTILITY] button, then press the [F2] button. The Utility | CH Status page appears.
Chapter 5—Analog I/O & Digital I/O Parameter values Description A/D Conv with(C) A/D converter (with copyright information) Solid Memory Solid memory device Experimental Experimental device Unknown Unknown Note: “AES/EBU” appears in the Category row when you are monitoring IEC958 Part 3 (AES/EBU-Professional) format signals (that do not include Category Code Bit). F COPY Indicates the status of copy protection information included in the IEC958 Part2 (S/PDIF-Consumer) format signals.
Setting the Transfer Format for Higher Sampling Rates 57 Setting the Transfer Format for Higher Sampling Rates To operate the DM1000 at higher sampling frequencies (88.2 kHz or 96 kHz) and transfer digital audio signals to and from connected external devices, you must set the data transfer format in accordance with the sampling frequencies supported by the external devices. 1 Press the DISPLAY ACCESS [DIO] button, then press the [F1] button. The DIO | Word Clock page appears. 2 Select INT88.
Chapter 5—Analog I/O & Digital I/O • SINGLE In Single mode, digital audio data is received and transmitted at a sampling rate that is half (44.1/48 kHz) the current higher sampling rate of the DM1000. For example, this is useful when you wish to send 44.1 kHz digital signals from an external HDR to the DM1000 running at 88.2 kHz. Note: • This mode is unavailable for slots in which optional Yamaha MY8-AE96 or MY8-AE96S Digital I/O cards are installed.
Input Channels 6 Input Channels This chapter describes how to adjust the DM1000’s Input Channel parameters. About Input Channels METER (Gain Reduction) INPUT PATCH GATE ATT Keyin 12ch Group(1-12,13-24....
Chapter 6—Input Channels • PAN This section enables you to adjust the pan setting of the signals routed from the Input Channels to the Stereo Bus. You can also apply the pan setting to a pair of Bus channels. If the internal Surround Sound setting is activated, the Surround Pan settings for 3-1, 5.1, and 6.1 channels are available (see page 121). • AUX (Aux Send level) This section enables you to adjust the level of signals routed to Aux Out 1–8.
Setting the Input Channels from the Display 61 B GLOBAL The GLOBAL NOR/REV buttons allow you to set the phase for all Input Channels simultaneously. Tip: • The name of the currently-selected channel is indicated in the upper-right corner of the screen. • You can set the phase separately for each channel in a channel pair. Delaying Input Channels To set the delay for each channel, press the [ /INSERT/DELAY] button repeatedly until the page listed below that contains the desired channels appears.
Chapter 6—Input Channels C Channel section • • • • You can set individual delay parameters here. The delay parameters include the following items: msec............................... This parameter sets the delay time in milliseconds. meter/feet/sample/ beat/frame .................... The delay time can be set using units of meters, feet, samples, beats, or frames, which you select by using the DELAY SCALE buttons. MIX................................
Setting the Input Channels from the Display 63 B STEREO LINK This parameter’s ON/OFF button enables you to pair gates for stereo operation even when the Input Channels are not paired. C CURVE This area displays the current gate curve. D TYPE This area displays the current gate type (GATE or DUCKING). Note: You cannot change the gate type on this page. To change the gate type, recall a program that uses the desired gate type from the Gate library.
Chapter 6—Input Channels C CURVE This area displays the current compressor curve. D TYPE This field indicates the compressor type used by the currently-selected channel’s compressor (COMP/EXPAND/COMP (H)/COMP (S)). Note: You cannot change the compressor type on this page. To change the compressor type, recall a program that uses the desired compressor type from the compressor library. E Meters These meters indicate the levels of the post-compressor signals and the amount of gain reduction.
Setting the Input Channels from the Display 65 You can also copy the currently-selected Input Channel attenuation setting to all Input Channels (including those not currently displayed on the screen). To do this, move the cursor to the source knob that you wish to copy, then double-click the [ENTER] button. The confirmation window appears. Select YES to execute the copy operation. You can also set the amount of attenuation in bits.
Chapter 6—Input Channels The parameters on this page are described below: A EQ ON The ON/OFF button turns the currently-selected Input Channel’s EQ on or off. You can press the [ENTER] button to turn the EQ on or off as long as the cursor is located on any parameter other than TYPE. B TYPE Selects the type of EQ. TYPE I is the EQ type used on legacy Yamaha 02R series digital mixing consoles. TYPE II is a newly developed algorithm. C ATT Determines the amount of pre-EQ signal attenuation in dB.
Setting the Input Channels from the Display 67 Panning Input Channels Input Channels can be panned in the range of L63 through CENTER to R63. To pan each channel, press the [PAN/SURROUND] button repeatedly until one of the following pages that contains the desired channels appears. - Pan1-32 page This page enables you to set the pan for Input Channels 1–32. - Pan33-48 page This page enables you to set the pan for Input Channels 33–48.
Chapter 6—Input Channels Routing Input Channels You can route each Input Channel to the Stereo Bus, Bus 1–8, or its own Direct Out. With the default setting, signals are routed only to the Stereo Bus. However, you can patch signals to a single or multiple destinations, if necessary. 1 Press the SELECTED CHANNEL ROUTING [DISPLAY] button repeatedly until the page listed below that contains the desired channels appears. - CH1-16 page This page enables you to change the routing for Input Channels 1–16.
Setting the Input Channels from the Display 69 D D button When this button is turned on, the currently-selected Input Channel is routed to its Direct Out. See page 111 for more information on the Direct Out. E ALL STEREO button This button turns on the S button for all channels on the page. F ALL BUS button This button turns on the Bus buttons 1–8 for all channels on the page. G ALL CLEAR button This button clears all routing assignments on the page.
Chapter 6—Input Channels E Meters These meters indicate the signal levels of the currently-selected Input Channel and its available pair partner. F (Phase) section You can reverse the signal phase of the currently-selected Input Channel. (See page 60 for more information.) G DELAY section This section enables you to set the currently-selected channel’s Delay function. (See page 61 for more information.) H PAIR section This section indicates whether or not channels are paired.
Setting the Input Channels from the Control Surface 71 C BUS ROUTING/FOLLOW PAN section • BUS ROUTING ............This section enables you to select a destination Bus for the selected channel. When the D button is turned on, the channel signal is patched to the Direct Out selected in the parameter box below the button. • FOLLOW PAN..............This button determines whether the Input Channel’s Pan setting is applied to the paired Bus Outs (Follow Pan function).
Chapter 6—Input Channels Routing and EQ’ing Input Channels 1 Press the [SEL] button or move the fader for the channel you wish to control. 2 To route each Input Channel, use the following buttons in the SELECTED CHANNEL section: • ROUTING [1]–[8] buttons ................These buttons route the currently-selected Input Channel to a Bus. • ROUTING [STEREO] button............When this button is turned on, Input Channel signals are routed to the Stereo Bus. • ROUTING [DIRECT] button............
Pairing Input Channels 73 Pairing Input Channels On the DM1000, you can pair adjacent odd-even Input Channels or counterpart channels on Layer 1 and Layer 2 that share the same physical fader. Faders and most parameters of paired channels are linked for stereo operation.
Chapter 6—Input Channels 2 Move the cursor to the desired button in the Channel Pairing window, then press [ENTER]. The following buttons are available in this window: • CANCEL Cancels the operation. • CH x ➔ y Copies the odd channel parameter values to the even channel. • CH y ➔ x Copies the even channel parameter values to the odd channel. • RESET BOTH Resets both channel parameters to the default settings (same as when Channel memory #01 is recalled).
Pairing Input Channels 75 2 Move the cursor to the PAIR MODE parameter field (1), then select the HORIZONTAL or VERTICAL button. The function of each mode is described below: • HORIZONTAL.............This button pairs adjacent odd-even channels (default). • VERTICAL ....................This button pairs counterpart channels on Layer 1 and Layer 2 that share the same physical fader (e.g., CH1 & CH17, CH16 & CH32, etc.). This mode is useful when you wish to use one fader to control both stereo channels.
Chapter 6—Input Channels Naming Input Channels By default, Input Channels are named CH1, CH2, etc. You can change these names if necessary. For example, it may be helpful for mixdown if you name a particular Input Channel with the type of musical instrument connected to the corresponding input jack. 1 Press the DISPLAY ACCESS [INPUT PATCH] button repeatedly until the In Patch | CH Name page appears.
Using MS Stereo Microphone 77 Using MS Stereo Microphone The MS system is a type of stereo recording that uses two microphones; mono-directional M (Middle) and bi-directional S (Side) microphones. An M microphone picks up main signals, and an S microphone picks up directional signals. These two signals are decoded by calculating a sum (M plus S) and a difference (M minus S), and are recorded to L and R channels. An MS microphone is usually a stereo microphone that has both M and S functions.
Chapter 6—Input Channels DM1000—Owner’s Manual
Bus Outs 79 7 Bus Outs This chapter describes how to adjust the DM1000’s Stereo Out and Bus Out parameters. About Stereo Out The Stereo Out section receives Input Channel and Bus Out 1–8 signals, mixes them into two channels, processes them using on-board EQ, compressor, etc., then routes them to two channel output connectors. The following diagram illustrates the Stereo Out signal flow.
Chapter 7—Bus Outs Bus Out 1–8 The Bus Out 1–8 section mixes signals routed from Input Channels to the specified buses, processes them using on-board EQ, compressor, etc., then routes them to the specified output connectors or I/O cards. The following diagram illustrates the Bus Out signal flow. (Gain Reduction) (Out Meter) METER METER INSERT ATT METER INSERT ON LEVEL METER INSERT BUS 1(...
Setting the Stereo Out and Bus Out 1–8 from the Display 81 Setting the Stereo Out and Bus Out 1–8 from the Display To set the Stereo Out and Bus Out 1–8 parameters, you can either move the cursor to the desired parameter on the display and change the value, or operate the desired button or control on the top panel. This section explains how to set the parameters on the display. Tip: Refer to Chapter 9 “Input & Output Patching” on page 105 for more information on how to set inserts.
Chapter 7—Bus Outs Compressing the Stereo Out and Bus Outs To set the Stereo Out and Bus Out 1–8 compressors, press the [DYNAMICS] button, then the [F3] button to display the Dynamics | Comp Edit page, and use the [SEL] buttons or faders to select the Stereo Out or Bus Out 1–8. The parameters on this page (and the procedure for setting them) are the same as for Input Channels (see page 63).
Setting the Stereo Out and Bus Out 1–8 from the Display 83 Routing Bus Out 1–8 Signals to the Stereo Bus You can patch Bus Out 1–8 signals to Outputs and Slots 1/2, as well as to the Stereo Bus. You can adjust the level and pan settings of the signals routed to the Stereo Bus for each bus. This is convenient when you wish to use Bus Outs (1–8) as a Group Bus.
Chapter 7—Bus Outs Viewing the Stereo Out and Bus Out Settings You can view and adjust parameter settings for the currently-selected Stereo Out or Bus Out on the View | Parameter and Fader pages. ■ Viewing the Compressor and EQ Settings To display the View | Parameter page, use the corresponding [SEL] button or fader to select the desired bus, then press the DISPLAY ACCESS [VIEW] button, then the [F1] button.
Setting the Stereo Out and Bus Out 1–8 from the Display 85 C Fader This fader adjusts the Stereo Out output levels, and links with the [STEREO] fader. The fader knob is highlighted when the fader is set to 0.0 dB. • Bus Out (1–8) Fader page 345 1 2 7 Bus Outs A ON/OFF This button turns the currently-selected Bus Out (1–8) on or off, and links with the [ON] (9–16) button in the Master layer.
Chapter 7—Bus Outs Setting the Stereo Out and Bus Out 1–8 from the Control Surface You can use the faders, Encoders, [SEL] buttons, and various buttons and controls in the SELECTED CHANNEL section on the top panel to directly control certain parameters for the Stereo Out and Bus Out 1–8. Setting the Levels Move the [STEREO] fader to adjust the Stereo Out levels. Press the [ON] button in the STEREO section to turn the Stereo Out on or off.
Pairing Buses or Aux Sends 87 Pairing Buses or Aux Sends You can pair adjacent odd-even (in this order) buses or Aux Sends for stereo operation.
Chapter 7—Bus Outs Attenuating Output Signals To attenuate the DM1000’s output signals, display the EQ | Out Att page and adjust the Stereo Out and Bus Out 1–8 attenuators individually. If necessary, you can also select Output and I/O card channels and specify the amount of attenuation. This technique is convenient when you want to attenuate output signals quickly, regardless of the source signal patching. 1 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | Output Att page appears.
Naming the Stereo Out and Bus Outs 89 Naming the Stereo Out and Bus Outs You can change the default Bus names (BUS1, AUX4, STEREO, etc.). It may be convenient to name the buses “Monitor Out” or “Effect Send,” for example, so that you can easily identify the signal type. 1 Press the DISPLAY ACCESS [OUTPUT PATCH] button repeatedly until the Out Patch | CH Name page appears. 1 2 7 Bus Outs You can specify Short names in the center column (1) and Long (full) names in the right column (2).
Chapter 7—Bus Outs DM1000—Owner’s Manual
Aux Sends 91 8 Aux Sends This chapter describes how to control Aux Out 1–8. Aux Out 1–8 The Aux Out 1–8 section mixes signals routed from the Input Channels to the corresponding Aux Sends, processes them using on-board EQ, compressor, etc., then routes them to the specified internal effects processors, output connectors or I/O card connectors. The DM1000 features eight Aux Sends, which can be used to send signals to the internal and external effects processors and monitors.
Chapter 8—Aux Sends Setting Aux Out 1–8 from the Control Surface You can use the faders, Encoders, [SEL] buttons, and various buttons and controls in the SELECTED CHANNEL section on the top panel to directly control certain parameters for Aux Out 1–8. Setting Levels To set Aux Out 1–8 levels, press the [MASTER] button in the LAYER section to select the Master layer, then move faders 1–8. At this time, you can turn Aux Out 1–8 on or off using the corresponding [ON] 1–8 buttons.
Setting Aux Out 1–8 from the Display 93 Delaying Aux Outs To delay Aux Out 1–8 signals, press the [ /INS/DLY | Out Dly page appears. /INSERT/DELAY] button repeatedly until the The parameters on this page (and the procedure for setting them) are the same as for Input Channels, except that this page does not have the MIX/FB.GAIN parameters (see page 61).
Chapter 8—Aux Sends EQ settings To set the EQ for Aux Out 1–8, press the EQUALIZER [DISPLAY] button repeatedly to display the EQ | EQ Edit page, and use the [SEL] buttons or faders to select Aux Out 1–8. The parameters on this page (and the procedure for setting them) are the same as for Input Channels (see page 65). Viewing Aux Out settings You can view and adjust the parameter settings for the currently-selected Aux Out on the View | Parameter and Fader pages.
Setting Aux Out 1–8 from the Display 95 ■ Viewing Faders and On/Off Parameters To display the View | Fader page, use the corresponding [SEL] button or fader to select the desired Aux Out (1–8), then press the DISPLAY ACCESS [VIEW] button, then the [F2] button. DM1000—Owner’s Manual 8 Aux Sends • ON/OFF.........................This button turns the currently-selected Aux Out (1–8) on or off. It links with the corresponding [ON] (1–8) button in the Master layer. • Fader ..............................
Chapter 8—Aux Sends Setting Aux Send Levels You can adjust the level of signals routed from Input Channels to the corresponding Aux Out (1–8). To do this, you can either use the Encoders on the top panel or set the parameters on the screen. Using the Encoders 1 Press the AUX SELECT [AUX 1]–[AUX 8] buttons to select the sends. 2 Press the ENCODER MODE [AUX] button. When the ENCODER MODE [AUX] button is turned on, you can rotate the Encoders to set Aux Send levels.
Setting Aux Send Levels 97 Setting Send Levels from the Display You can view multiple channels’ Aux Send levels on the screen and adjust them individually. 1 Press the AUX SELECT [AUX 1]–[AUX 8] buttons to select the Aux Sends. 2 Press the AUX SELECT [DISPLAY] button repeatedly until the page listed below that contains the desired channels appears. - Send1-32 page This page displays the Aux Send levels of Input Channels 1–32. - Send33-48 page This page displays the Aux Send levels of Input Channels 33–48.
Chapter 8—Aux Sends 3 Move the cursor to the FIXED or VARIABLE button in the MODE section for the currently-selected Aux Send to select a mode. • Fixed Mode In this mode, Aux Send levels are fixed at nominal (0.0dB). Also, channel ON/OFF buttons appear instead of the Send level rotary controls and PRE/POST buttons. • Variable Mode In this mode, Aux Send levels are variable and the signal source point can be either pre-fader or post-fader.
Setting Aux Send Levels 99 4 If you switched to Fixed mode in Step 3, the ON/OFF buttons turn on or off each Input Channel on or off for the currently-selected Aux Send. Note: In Fixed mode, the Aux On/Off parameters for paired Input Channels are not linked to each other. You can turn each Input Channel on or off for the currently-selected Aux Send even in Variable mode. To do this, move the cursor to the desired Send level control, then press [ENTER].
Chapter 8—Aux Sends Viewing Aux Send Settings for Multiple Channels You can view and set parameters for all Aux Send 1–8, including setting levels and Pre/Post parameters. This is convenient when you wish to visually check all Aux Send settings or simultaneously adjust the levels of certain channels routed to Aux 1–8. 1 Press the AUX SELECT [DISPLAY] button repeatedly until the page listed below that contains the desired channels appears.
Viewing Aux Send Settings for Multiple Channels 101 3 If you selected the PRE/POST button in Step 2, move the cursor to the desired Input Channel and Aux intersection, then press the [ENTER] button to change the signal source point. Note: You can switch between Pre and Post only for Aux Sends that are set to Variable mode. The “FIX” indication appears for Aux Sends that are set to Fixed mode, and you cannot switch Pre/Post. • Aux Sends in Variable mode .............
Chapter 8—Aux Sends Panning Aux Sends You can pair adjacent odd-even (in this order) Aux Sends for stereo operation. This enables you to pan signals from Input Channels to paired Aux Sends. 1 Pair the desired two Aux Sends. (See page 87 for more information on pairing channels.) 2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select one of the paired Aux Sends. 3 Press the AUX SELECT [DISPLAY] button repeatedly until the page listed below that contains the desired channels appears.
Excluding Certain Channels from Aux Sends (Mix Minus) 103 6 To link the Input Channel Pan setting with the Aux Send Pan setting, move the cursor to the INPUT PAN LINK ON/OFF button, then press [ENTER]. The pan positions on the Pan page are copied to the Aux pan setting, and the pan controls on both pages are linked. Tip: • If paired Aux Sends are in Variable mode, the Aux Send levels, Aux On/Off, and Pre/Post parameters for paired Input Channels are linked to each other.
Chapter 8—Aux Sends Copying Channel Fader Positions to Aux Sends While Aux Sends are in Variable mode, you can copy all Input Channel fader positions on one layer to the corresponding Aux Sends. This is convenient when you wish to send to the musicians monitor signals that have the same balance setting as the Stereo Out signals. 1 Press and hold down the copy source layer (LAYER [1-16], [17-32], or [33-48]) button.
Input & Output Patching 105 9 Input & Output Patching This chapter describes how to patch (assign) signal paths within the DM1000 to its inputs, outputs, and slot channels Input Patching Signals input at INPUT connectors 1–16, 2TR IN DIGITAL connectors 1–2, and Slot I/O cards are patched to Input Channels for use.
Chapter 9—Input & Output Patching Input Patching from the Display 1 Press the DISPLAY ACCESS [INPUT PATCH] button repeatedly until the In Patch | In Patch page appears. 1 Inputs and slot channels that are currently assigned to Input Channels are shown in the parameter boxes (1) below the channel numbers.
Input Patching 107 Using the Encoders for Input Patching By default, you can also use the Encoders on the top panel to change the Input Patching. 1 Press the ENCODER MODE [ASSIGN] button. The button indicator lights up. By default, you can use the Encoders to change Input Patching while the [ASSIGN] button indicator is lit. Tip: On the Encoder page, you can specify the Encoder function that works while the [ASSIGN] button indicator is lit (see page 35).
Chapter 9—Input & Output Patching Output Patching The DM1000’s Stereo Out, Bus Out 1–8, Aux Out 1–8 signals can be patched to any outputs and slot channels.
Output Patching 109 Patching Omni Outs You can route the DM1000’s internal signals to OMNI OUT 1–8. 1 Press the DISPLAY ACCESS [OUTPUT PATCH] button repeatedly until the Out Patch | Omni Out page appears. 1 The OMNI 1–12 parameter boxes (1) indicate the currently-patched signals.
Chapter 9—Input & Output Patching Patching the 2TR Digital Outputs You can route the DM1000’s internal signals to 2TR OUT DIGITAL connectors 1–2. 1 Press the DISPLAY ACCESS [OUTPUT PATCH] button repeatedly until the Out Patch | 2TR Out page appears. Signals assigned on the Omni Out page can also be assigned to the 2TR digital outputs. 2 Move the cursor to a patch parameter you wish to change, and rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the patching.
Patching Direct Outs 111 Patching Direct Outs Input Channel 1–48 signals can be directly patched to any outputs or slot outputs, as well as Bus Out 1–8 and Stereo Out. This patching is convenient when you wish to record each Input Channel signal to an individual track on a connected recorder. 1 Press the DISPLAY ACCESS [OUTPUT PATCH] button repeatedly until the Out Patch | Direct Out page appears. 1 2 9 The parameters on this page are described below.
Chapter 9—Input & Output Patching Insert Patching The DM1000’s Input Channels and Output Channels (Stereo Out, Bus Out 1–8, Aux Out 1–8) feature independent Insert Ins and Outs. Inputs, outputs, slot channels, and internal effects processor inputs and outputs can be patched to the Output Channel Insert Ins and Outs. In this way, you can send the signals to external effects processors for processing, or insert internal effects.
Insert Patching 113 B INSERT section • ON/OFF.........................This button turns Insert on or off. • OUT ...............................This parameter enables you to select outputs, slot channels, or internal effects inputs as the Insert Out destination. • IN....................................This parameter enables you to select inputs, slot channels, or internal effects outputs as the Insert In source. C COMP section • ON/OFF.........................This button turns the compressor on or off.
Chapter 9—Input & Output Patching Viewing and Changing Insert In Patch You can view and also change the items patched to the Insert Ins of all Input Channels (or all Output Channels). This is useful when you wish to find out if multiple channels have the same patch. 1 To view the Input Channels’ Insert Ins, press the [INPUT PATCH] button repeatedly until the In Patch | Insert In page appears. This page displays Input Channels 1–48 Insert In Patches.
Control Room Monitoring 115 10 Control Room Monitoring This chapter explains how to set up control room monitoring and use the Solo and Talkback functions on the DM1000. Control Room Monitor SOLO L SOLO R The DM1000 features the Control Room stereo signal path to feed the control room’s main monitors. By default, the Control Room signal source is patched to OMNI OUT connectors 11 & 12, which can feed the Control Room signal to the control room’s monitor.
Chapter 10—Control Room Monitoring Control Room Monitor and Solo Setup For control room monitoring and solo setup, press the MONITOR [DISPLAY] button repeatedly until the Monitor | Solo/C-R page appears. 2 3 1 4 5 6 7 8 9 J This page contains the following parameters: A SOLO This parameter turns the Solo function on or off. By default, it is set to Enabled. B MODE This parameter determines how the Solo function works. There are two options. The setting affects only Input Channels.
Control Room Monitor and Solo Setup 117 E SOLO TRIM This parameter enables you to trim the level of the Solo signal in the range of –96 dB to +12 dB. F SOLO INTERRUPTION When this parameter is set to Off, soloed channel signals are not fed to the Control Room Monitor outputs.
Chapter 10—Control Room Monitoring Using the Control Room Monitor 1 Connect a monitoring system to the outputs (by default, OMNI OUT 11&12) to which the Control Room Monitor signal is patched. To monitor the signal via headphones, connect headphones to the PHONES jack. 2 Press the MONITOR [STEREO], [2TR D1], or [2TR D2] button to select the monitoring signal source. Each button selects the following monitoring signal sources: • [STEREO] button ........ Selects the Stereo Out signal.
Using the Talkback Function 119 Using the Talkback Function The DM1000 features a built-in talkback microphone on the control surface. The Talkback function distributes the Talkback mic signal to the specified outputs or slot channels. The Talkback function is useful when you wish to communicate with the musicians in the studio or record your comments to a recorder.
Chapter 10—Control Room Monitoring 2 Move the cursor to the number button of an output channel to which you wish to assign the Talkback signal in the OUTPUT ASSIGN section, then press the [ENTER] button to highlight the channel number. 3 If you wish to operate the [DIMMER] button during Talkback communication, move the cursor to the TALKBACK DIMMER LEVEL control and rotate the Parameter wheel or press the [INC]/[DEC] buttons to set the amount of attenuation. 4 Press the [TALKBACK] button.
Surround Functions 11 Surround Functions This chapter describes surround panning, which determines how Input Channel signals are panned within and across the stereo field. It also describes the DM1000’s surround monitoring capabilities, which enable you to monitor, in a surround sound environment, DM1000 surround mixes or surround sources input via the slots.
Chapter 11—Surround Functions When you select one of these Surround modes, each surround channel is routed to the Buses specified on the Setup | Surr Bus page (see page 125). The following table shows the factory-default Surround Channel to Bus Out assignment in each Surround mode. Surround Mode 3-1 5.1 6.
Using Surround Pan 123 Setting Up and Selecting Surround Pan Modes To configure the surround environment, select 3-1, 5.1, or 6.1 Surround mode on the DM1000 and connect a multi-channel monitoring system to the DM1000. 1 Press the DISPLAY ACCESS [PAN/SURROUND] button repeatedly until the Pan/Surr | Surr Mode page appears. 2 1 3 A SURROUND MODE B PAN/SURR LINK When this button is turned on, Input Channel panpots and stereo surround panning are linked.
Chapter 11—Surround Functions • 5.1 Surround • 6.1 Surround 3 Press the [ENTER] button. The confirmation window for changing the Surround mode appears. 4 Move the cursor to the YES button, then press [ENTER]. The DM1000 enters the selected Surround mode. 5 To link the Input Channel Pan setting with the stereo surround panning, move the cursor to the PAN/SURR LINK button, then press [ENTER].
Using Surround Pan 125 6 To change the Surround Channel to Bus Out assignment, move the cursor to the SURR/BUS SETUP button, then press [ENTER]. The Setup | Surr Bus page appears. 2 1 A BUS1–BUS8 These parameters select channels to be assigned to the Bus Outs in 3-1, 5.1, and 6.1 Surround modes. B INIT These buttons reset the channel assignment to the default setting. Tip: • Pressing the DISPLAY ACCESS [SETUP] button repeatedly also displays the Surr Bus page.
Chapter 11—Surround Functions Surround Panning from the Display You can set the surround pan parameters for each Input Channel from the display. 1 Make sure that the DM1000 is in one of the Surround modes, then press the [SEL] button of the channel for which you want to set surround pan. 2 Press the DISPLAY ACCESS [PAN/SURROUND] button repeatedly until the Pan/Surr | Ch Edit page appears. The Ch Edit page displays the selected Input Channel, and its surround pan setting and available pair partner.
Using Surround Pan 127 E LFE This parameter control sets the level of the LFE (Low Frequency Effects) Channel signal routed to the subwoofer, and appears only in 5.1 and 6.1 Surround modes. F DIV This parameter control determines how the Center signal is fed to the Left, Right, and Center channels. It is expressed as a percentage ranging from 0 to 100%. When you set the parameter to 100, the Center signal is fed to only the Center channel.
Chapter 11—Surround Functions • ...................... The sound image moves between front and rear. 36 • 36 36 36 36 40 48 DM1000—Owner’s Manual 56 12 8 8 44 16 20 16 ...................... The sound image moves from front left to rear right. With this pattern, you can also fine-tune the trajectory using the WIDTH, DEPTH, OFFSET ( ), and OFFSET ( ) parameters. 36 • 40 ...................... The sound image moves from front right to rear left.
Using Surround Pan • 40 48 ...................... The sound image moves between front and rear while tracing an arc. With this pattern, you can also fine-tune the radius and shape of the arc using the WIDTH, DEPTH, OFFSET ( ), and OFFSET ( ) parameters. 44 • 129 44 20 32 28 56 32 24 ...................... The sound image moves while tracing a circle or oval.
Chapter 11—Surround Functions The following table shows how the sound images on two linked channels move when different trajectory patterns and stereo link patterns are combined. A solid line indicates the movement of the selected channel, and a dotted line indicates the movement of the linked partner. Trajectory Pattern Note: If you record the movement of the linked channels in an Automix, the sound image moves on both channels when you play the Automix.
Surround Monitoring A Surround pan graphs These graphs display the trajectory patterns and the current pan positions for the Input Channels. Move the cursor to the desired channel’s graph, then rotate the Parameter wheel to adjust the pan settings along the selected trajectory pattern. Turning on the [GRAB] button enables you to use the Joystick to set the surround pan of the currently-selected Input Channel.
Chapter 11—Surround Functions The following diagram shows an example of 5.1 Surround Monitor signals patched to OMNI OUTs 1–6. Use the following two buttons in the MONITOR section on the top panel to select the Surround Monitor signal source. • [BUS] button This button selects the Bus Outs assigned to the surround channels as the source. Turn on this button to check the effects of surround pan and surround effect settings, or to monitor a surround mix currently being recorded to a digital MTR.
Surround Monitoring 133 Configuring Basic Surround Monitoring You can set basic parameters for Surround Monitor, including monitor matrix, Bass Management, and monitor alignment. To do so, press the MONITOR [DISPLAY] button repeatedly until the Monitor | Surr Setup page appears. 1 This page displays the basic parameter settings in the MONITOR FLOW section (1). • SURR. MODE This parameter indicates the current Surround mode. (You cannot change the Surround mode on this page). Surround Mode ST 3-1 5.
Chapter 11—Surround Functions The following diagram shows an example in 5.1 Surround mode and 3-1 Monitor Matrix mode. Note: You can patch the Surround Monitor Matrix channels to the output connectors. • BASS MANAGEMENT You can set the filter and attenuator settings for each Surround Monitor Channel using five preset Bass Management modes. The following presets are available: Presets No.
Surround Monitoring 135 The following diagrams show the Bass Management configuration for each Monitor Matrix setting, with Bass Management turned on or off. 6.1 ON 5.1 ON 6.1 OFF 5.
Chapter 11—Surround Functions • MONITOR ALIGNMENT You can adjust the Attenuator and Delay for each Surround Monitor Channel. This function is primarily used to correct the level difference and delay time among speakers. Move the cursor to the ATT or DLY parameter in the MONITOR FLOW section. The MONITOR ALIGNMENT diagram is displayed in the area below the section. Move the cursor to the ATT or DLY parameter box and edit the Attenuator or Delay value.
Surround Monitoring 137 Setting the Monitoring Level of the Sound System 1 Adjust the monitoring levels using the MONITOR [MONITOR LEVEL] control. All channel monitoring levels change simultaneously. 2 Press the MONITOR [DISPLAY] button repeatedly until the Monitor | Surround page appears. This page enables you to solo or mute monitoring channels, store the [MONITOR LEVEL] control setting, and select the monitoring source. 1 2 3 A MUTE/SOLO section B SETTING section • SLOT 1 & 2 ......................
Chapter 11—Surround Functions • SNAP TO SPL85........... Turning on this button resets the [MONITOR LEVEL] control setting to the value stored by the SET SPL85 button. Note: The Surround Monitor Mute and Solo functions are reset to the default condition when you change the Surround mode. 3 Move the cursor to the SET SPL button, then press [ENTER] to turn on the button. The volume setting of the [MONITOR LEVEL] control is calibrated to 85 dB SPL and stored.
Surround Monitoring • 139 (SW Phase) button ..................... This button reverses the phase of the signal output to the Subwoofer (SW). 2 Make sure that the Speaker button ( ) for the speaker to which you want to output the Oscillator signal is turned on. If the button is off, move the cursor to the button, then press [ENTER] to turn it on. 3 Move the cursor to the OSC.
Chapter 11—Surround Functions 5 If necessary, move the cursor to the LEVEL parameter box, then use the Parameter wheel to adjust the Slot Input levels simultaneously. You can adjust the signal levels in the range of –96 dB to +12 dB . 6 Press the MONITOR [DISPLAY] button repeatedly until the Monitor | Surround page appears. In the SETTING section of the Surround page (see page 137), you can select a Slot Input to be monitored.
Grouping Channels & Linking Parameters 141 12 Grouping Channels & Linking Parameters This chapter describes how to group faders or [ON] buttons for multiple channels and link the EQ or compressor parameters for simultaneous operation. Grouping & Linking On the DM1000, you can group faders or [ON] buttons for multiple Input Channels or multiple Output Channels (Bus Outs 1–8, Aux Outs 1–8) and link the EQ or compressor parameters.
Chapter 12—Grouping Channels & Linking Parameters Using Fader Groups and Mute Groups Follow the steps below to group faders or [ON] buttons for Input Channels or Output Channels (Bus Outs 1–8, Aux Outs 1–8). 1 Press the DISPLAY ACCESS [PAIR/GROUP] button repeatedly until one of the pages that contains the desired group and channels appears. - Fader1–32 page - Fader33–48 page These pages enable you to set Fader groups (A–H) for Input Channels 1–48.
Using Fader Groups and Mute Groups 143 2 Press the up ( ) or down ( ) button to select a group. Example: Fader group C is selected. 3 Press the [SEL] button for a channel you wish to add to the group. The selected channel is marked with “ ” and the channel is added to the group. Example: Input Channels 1–6, and 13–14 have been added to Fader group C. 4 In the same way, press the [SEL] button for other channels you wish to add to the group.
Chapter 12—Grouping Channels & Linking Parameters 7 To use a mute group, press one of the [ON] buttons for the grouped channels. All channels in the group switch their on/off status. Note: • While a mute group is enabled, you cannot turn a subset of the grouped channels on or off. • If you wish to turn a subset of the grouped channels on or off, first turn off the Enable button, or remove the channels you wish to turn on or off from the group.
Linking EQ and Compressor Parameters 145 - In Comp page This page enables you to set Compressor links (i–l) for Input Channels. - Out Comp page This page enables you to set Compressor links (m–p) for Bus Outs (1–8) and Aux Outs (1–8). 12 Example: EQ link C for Input Channels is selected. DM1000—Owner’s Manual Grouping Channels & Linking Parameters 2 Press the up ( ) or down ( ) cursor button to select a link to which you want to add channels.
Chapter 12—Grouping Channels & Linking Parameters 3 Press the [SEL] button for a channel you wish to add to the EQ or Compressor link. The selected channel is marked with “ ” and the channel is added to the link. Example: Input Channels 1–4, 6, 9–10 and 14 have been added to EQ link C. Tip: • If you add one channel from a pair to a link, the pair partner is automatically added to the link. • You can also select a channel on another layer by switching layers.
Internal Effects 147 13 Internal Effects This chapter describes how to use the DM1000’s internal effects processors.
Chapter 13—Internal Effects Using Effects Processors via Aux Sends You can use effects processors via Aux Sends by patching effects processor inputs to Aux Outs, and effects processor outputs to Input Channels. 1 Recall an effect program you wish to use. See page 169 for more information on recalling effect programs. 2 Press the DISPLAY ACCESS [INPUT PATCH] button repeatedly until the In Patch | Effect page appears. This page enables you to patch all inputs and outputs of Effects processors 1–4.
Using Effects Processors via Aux Sends 149 • FX1-1–FX4-2 ................Other effects processor outputs You cannot select outputs FX1–3 to FX1–8. In addition, you cannot select the output of the effects processor you are currently using. To use the internal effects processors via Aux Sends, select Aux 1–8 (in most cases). You can patch a different signal to the other input of 2-in/2-out effect programs. Tip: • You can patch a signal to multiple effect inputs.
Chapter 13—Internal Effects Inserting the Internal Effects into Channels You can insert the internal effects into certain Input Channels or Output Channels (Bus Outs 1–8, Aux Outs 1–8, Stereo Out). Note: If effects are inserted in channels, you cannot use those effects via Aux Sends or insert them into other channels. 1 Select an internal Effects processor (1–4), then recall the desired effect programs.
Editing Effects 151 Editing Effects To edit effect programs recalled to the internal Effects processors 1–4, press the DISPLAY ACCESS [EFFECT] button repeatedly until the Edit page for the effects processor you wish to edit appears. Effects processors 1–4 correspond to the following pages: • Effects Processor 1.......FX1 Edit page • Effects Processor 2.......FX2 Edit page • Effects Processor 3.......FX3 Edit page • Effects Processor 4.......
Chapter 13—Internal Effects When you turn on the SYNC parameter, the DM1000 recalculates the delay time or modulation frequency based on the TEMPO parameter value (tempo) and the NOTE parameter value (note). For example, if the TEMPO parameter is set to 120BPM and the NOTE parameter is set to one eighth note, turning on the SYNC parameter sets the delay time to 250 msec and the modulation frequency to 0.25 Hz.
About Surround Effects 153 About Surround Effects The effects types available for Effects processor 1 include surround effects that support 5.1-channel (AUTO PAN 5.1, CHORUS 5.1, etc.). Surround effects are multi-channel effects that feature up to six inputs and six outputs, and enable you to create the effect of the sound image moving or circling back and forth and left to right, and to process up to six channel input signals simultaneously.
Chapter 13—Internal Effects DM1000—Owner’s Manual
Scene Memories 155 14 Scene Memories This chapter describes Scene memories, which store DM1000 mix and effects settings. About Scene Memories Scene memories enable you to store a snapshot of DM1000 channel mix settings and internal effects processor settings as a “Scene” in a special memory area. There are 99 Scene memories, and you can recall any Scene using the display pages or the controls on the top panel.
Chapter 14—Scene Memories About Scene Numbers Scene memories are numbered with #U or from #0 through #99. You can store Scenes in Scene memories #1–99. When you recall a Scene, the Scene memory number (Ud, 00–99) appears on the Scene memory display and at the top of the display page. Scene memory #0 (#00 on the Scene memory display) is a special read-only memory that contains the default settings of all mix parameters.
Storing and Recalling Scenes 157 Storing and Recalling Scenes You can store and recall Scenes by pressing the buttons on the top panel or using the dedicated Scene memory page on the display. Note: • When you store Scenes, make sure that there are no settings in the Edit Buffer that you do not want to store. Make sure that no settings, especially faders, have been adjusted unintentionally.
Chapter 14—Scene Memories Storing and Recalling Scenes Using the Scene Memory Page On the Scene Memory page, you can store, recall, write-protect, delete, and edit the titles of Scenes. 1 Adjust the mix parameters on the DM1000 to the conditions you wish to store as a Scene. 2 Press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Scene page appears.
Auto Scene Memory Update 159 G PATCH LINK OUTPUT These parameters indicate the Output Patch library numbers selected at the time the Scenes were stored. When you recall a Scene, the linked Output patch is recalled as well. You can also move the cursor to the parameter boxes and change the library numbers.
Chapter 14—Scene Memories Fading Scenes You can specify the time it takes the Input and Output Channel faders to move to their new positions when a Scene is recalled. This is called Fade Time, and it can be set for each channel in the range of 00.0 through 30.0 seconds (in 0.1 second steps). The Fade Time setting is stored in each Scene. Fading Input Channels To set the Fade Time for Input Channels 1–48, press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | In Fade page appears.
Fading Scenes 161 Fading Output Channels To set the Fade Time for the Output Channels (Stereo Out, Bus Outs 1–8, Aux Outs 1–8), press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Out Fade page appears. The basic operation is the same as on the In Fade page. 1 2 3 A BUS1–8 These parameters enable you to set the Fade Time for each Bus Out (1–8) in the range of 00.0 through 30.0 seconds. B AUX1–8 These parameters enable you to set the Fade Time for Aux Outs 1–8.
Chapter 14—Scene Memories Recalling Scenes Safely When a Scene is recalled, all mix parameters are set accordingly. However, in some situations, you can retain the current settings of certain parameters on certain channels by using the Recall Safe function. Recall Safe settings are stored in Scene memories. To set the Recall Safe function, press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Rcl Safe page appears.
Sorting Scenes 163 Sorting Scenes You can sort Scenes in Scene memories. 1 Press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Sort page appears. 1 2 2 Move the cursor to the SOURCE list (1) in the left column, and rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the Scene memory you wish to move.
Chapter 14—Scene Memories DM1000—Owner’s Manual
Libraries 165 15 Libraries This chapter describes the DM1000’s various libraries. About the Libraries The DM1000 features nine libraries that enable you to store Channel, Input Patch, Output Patch, Effects, and other data. You can also quickly recall this data from the libraries to restore previous parameter values.
Chapter 15—Libraries An “ ” icon is displayed next to the name of read-only preset memories. You cannot store, clear, or edit the titles of these memories. Memories #0 and #U are special read-only memories. Recall memory #0 to reset the parameter settings to their initial values. Recall #U to undo memory recall and store operations. 2 Rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the desired memory. The selected memory appears inside the dotted box.
Using Libraries 167 Using Libraries Channel Library Channel library enables you to store and recall Input Channel and Output Channel parameter settings. The library contains two preset memories and 127 user (readable & writable) memories. You can recall only the settings for the currently-selected channels from the Channel library.
Chapter 15—Libraries The alarm indicators also appear when the Surround mode, Aux pair, and other non-channel parameter settings originally stored in the memory do not match those for the destination channel. However, if the channel type of the memory and that of the destination channel match, you can recall the settings even with the alarm indicators displayed. (For unmatched parameter settings, the DM1000 will use the settings in the memory that is to be recalled.
Using Libraries 169 Output Patch Library The Output Patch library enables you to store and recall all Output Patch settings. The library contains one preset memory and 32 user (readable & writable) memories. To access the Output Patch library, press the DISPLAY ACCESS [OUTPUT PATCH] button repeatedly until the Out Patch | Library page appears. For details on storing and recalling memories, see “General Library Operation” on page 165.
Chapter 15—Libraries Each Effects processor features the library pages listed below: • Internal Effects Processor 1 Library ........... FX1 Lib page • Internal Effects Processor 2 Library ........... FX2 Lib page • Internal Effects Processor 3 Library ........... FX3 Lib page • Internal Effects Processor 4 Library ........... FX4 Lib page 1 2 5 3 4 A EFFECT NAME This parameter displays the name of the Effects program currently used by the Effects processor.
Using Libraries 171 • Delays No. Preset Name Type Description 8 Mono Delay MONO DELAY Simple mono delay 9 Stereo Delay STEREO DELAY Simple stereo delay 10 Mod.delay MOD.DELAY Simple repeat delay with modulation 11 Delay LCR DELAY LCR 3-tap (left, center, right) delay 12 Echo ECHO Stereo delay with crossed left/right feedback • Modulation-based Effects No.
Chapter 15—Libraries • Others No. Preset Name Type Description 41 Multi.Filter MULTI.FILTER 3-band parallel filter (24 dB/octave) 42 Freeze FREEZE Simple sampler 43 Stereo Reverb ST REVERB Stereo reverb 44 Reverb 5.1 REVERB 5.1 6-channel reverb for 5.1 surround 451 Octa Reverb OCTA 461 Auto Pan 5.1 AUTO PAN 5.1 6-channel auto pan for 5.1 surround 471 Chorus 5.1 CHORUS 5.1 6-channel chorus for 5.1 surround 481 Flange 5.1 FLANGE 5.1 6-channel flanger for 5.
Using Libraries 173 Bus to Stereo Library You can store Bus to Stereo settings (levels and panpots of signals routed from Bus Outs 1–8 to the Stereo Bus). The library contains one preset memory and 32 user (readable & writable) memories. To access the Bus to Stereo library, press the SELECTED CHANNEL [DISPLAY] button repeatedly until the Routing | Library page appears. 1 2 A CURRENT CONFIGURATION section Bus Out (1–8) pairing information for the current configuration is displayed here.
Chapter 15—Libraries Gate Library The Gate library enables you to store and recall Input Channel gate settings. The library contains four preset memories and 124 user (readable & writable) memories. Follow the steps below to use the Gate library. 1 Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F2] button. The Dynamics | Gate Lib page appears. 1 2 3 4 A CURRENT TYPE This parameter displays the currently-selected channel gate type (Gate or Ducking).
Using Libraries 175 Compressor Library This library enables you to store and recall settings for the compressors on Input Channels, Bus Outs 1–8, Aux Outs 1–8, and Stereo Out. The library contains 36 preset memories and 92 user (readable & writable) memories. Follow the steps below to use the Compressor library. 1 Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F4] button. The Dynamics | Comp Lib page appears.
Chapter 15—Libraries No. Preset Name Type Description 8 A. Dr. SN EXPAND Expander for use with acoustic snare drum. 9 A. Dr. SN COMPAND-S Soft-kneed compander for use with acoustic snare drum. 10 A. Dr. Tom EXPAND Expander for use with acoustic tom toms, which automatically reduces the volume when the tom toms are not played, improving mic separation. 11 A. Dr. OverTop COMPAND-S Soft-kneed compander for emphasizing the attack and ambience of cymbals recorded with overhead mics.
Using Libraries 177 EQ Library This library enables you to store and recall EQ settings for Input Channels, Bus Outs 1–8, Aux Outs 1–8, and Stereo Out. The library contains 40 preset memories and 160 user (readable & writable) memories. Follow the steps below to use the EQ library. 1 Press the SELECTED CHANNEL EQUALIZER [DISPLAY] button repeatedly to display the EQ | EQ Library page. 1 2 3 4 A CURRENT TYPE This parameter displays the currently-selected channel EQ type (TYPE I or II).
Chapter 15—Libraries No. Preset Name Description 10 E. Bass 2 Unlike preset 9, this preset emphasizes the low range of an electric bass. 11 Syn. Bass 1 Use on a synth bass with emphasized low range. 12 Syn. Bass 2 Emphasizes the attack that is peculiar to synth bass. 13 Piano 1 Makes pianos sound brighter. 14 Piano 2 Used in conjunction with a compressor, this preset emphasizes the attack and low range of pianos. 15 E. G.
Using Libraries 179 Surround Monitor Library This library enables you to store and recall Surround Monitor settings. The library contains one preset memory that initializes the Surround Monitor settings, and 32 user (readable & writable) memories. To access the Surround Monitor library, press the MONITOR [DISPLAY] button repeatedly until the Monitor | Surr Lib page appears. For details on storing and recalling memories, see “General Library Operation” on page 165.
Chapter 15—Libraries DM1000—Owner’s Manual
Automix 16 Automix This chapter describes the Automix function, which automates real-time mix operation, and explains how to use it. About Automix The DM1000 features an Automix function, which allows dynamic automation of virtually all mix parameters, including Levels, Mutes, Pan, Surround Pan, Aux Sends, Aux Send Mutes, EQ, and effects. Various mixing events can be recorded in Automix.
Chapter 16—Automix Setting Up for Automix Recording This section describes the procedure you must perform before you start Automix recording. Selecting the Timecode Source Follow the steps below to select the timecode source and frame rate that the DM1000 uses for the Automix function. 1 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | Time Ref page appears. This page enables you to select the timecode source for the Automix operation, and the port that receives the timecode.
Setting Up for Automix Recording 183 4 If you select MIDI CLOCK, press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | MIDI/Host page appears (see page 236). Then, in the Rx PORT parameter box, specify the port or slot that receives MIDI Clock. Tip: • If you select the MIDI CLOCK source, Automix will respond to MIDI Start, Stop, and Continue messages. • An Automix will play back correctly even if the frame rate differs from that used when the Automix was originally recorded.
Chapter 16—Automix Recording an Automix This section describes a general procedure for Automix recording, including creating a new Automix, as well as recording the fader, [ON] button, and other controller events real-time. Creating a New Automix Follow the steps below to create a new Automix and select the parameters you want to record. 1 Connect a timecode source to the DM1000. 2 Select the timecode source on the Setup | Time Ref page (see page 182).
Recording an Automix • • • • • 185 PAN ................................Pan operation SURR .............................Surround pan operation AUX................................Aux Send level operation AUX ON ........................Aux Send on/off operation EQ...................................EQ operation Recording the First Event Follow the steps below to select channels and start Automix recording. 1 Move the cursor to the REC button at the bottom of the page, then press [ENTER].
Chapter 16—Automix 5 Adjust the faders, Encoders, [ON] buttons, and other controls of the channels selected in Step 3. Tip: To punch channels out of recording, press the corresponding [SEL] buttons to change the button indicators from red to green. 6 To record EQ events, use the SELECTED CHANNEL section to edit the EQ settings of the currently-selected channel. To select other channels, press the [AUTO] button to turn off the [AUTO] button indicator, then use the [SEL] buttons to select channels.
Recording an Automix 187 Parameter Recording The following table summarizes the parameter recording operation for each parameter available in Automix recording.
Chapter 16—Automix Punching In & Out You can modify part of a recorded Automix or add events to an Automix (Punch In & Out). You can punch in and out channels using the [SEL] buttons, or individual parameters using other controls. Punch In & Out Using the [SEL] Buttons Follow the steps below to punch channels in and out using the [SEL] buttons. 1 Select parameters you wish to record in the OVERWRITE section.
Punching In & Out 189 5 Perform the following operations to punch in and out individual events. Parameters Channel OVERWRITE Set Layer to Iinput, Fader mode to Fader Input Channel Levels (faders) Bus Out, Aux Send FADER Stereo Out Pan Input Surround Pan Input Effects parameters (certain parameters) User Defined Remote Layer 1. 2. 3. 4.
Chapter 16—Automix [SEL] Button Functions While the [AUTO] Button Indicator Is On While the [AUTO] button indicator is lit, you can use the channel [SEL] buttons to turn the Automix function on and off, arm or disarm channels, or punch channels in and out. The [SEL] button indicators operate as follows: • Off .................................. Automix recording or playback disabled. • Green ............................. Automix stopped or playing • Orange...........................
Automix Main Page 191 Automix Main Page This section explains the Automix Main page. This page enables you to set the basic Automix parameters and record and play back Automixes. To locate the Automix | Main page, press the DISPLAY ACCESS [AUTOMIX] button repeatedly until the page appears. 2 3 1 5 8 9 K L M 4 6 7 J N O P Q R A FREE The amount of free Automix memory remaining is displayed here in kilobytes, as a percentage, and by a bar graph.
Chapter 16—Automix When the TO END button is on, the way in which fader events are processed depends on the currently-selected Fader Edit mode and Edit Out mode. The following table shows how the faders operate when the Fader Edit mode is set to Absolute. TO END Return Takeover or Off At the point at which recording is stopped, the fader returns to the position specified by the existing fader data, at the speed specified by the Time parameter on the Fader1 or 2 page.
Automix Main Page The following table shows how faders move in each Edit Out mode. You can set the Return Time (time required by Input and Output Channel faders to return to the previously-recorded position) on the Fader1 or 2 page (see page 196). Off Return At the punch out point, the fader remains at the same position until the next fader event in the existing data occurs.
Chapter 16—Automix J OVERWRITE section This section enables you to select parameters to be recorded on the first pass, and rerecorded (i.e., overwritten) on subsequent passes. You can select or deselect these parameters while recording is in progress (see page 184). K AUTOMIX ENABLED/DISABLED This parameter enables or disables the Automix. When the parameter is set to DISABLE, you cannot record or play back an Automix.
Automix Memory Page 195 Automix Memory Page The Automix Memory page enables you to store and recall Automixes. The lower half of this page is identical to the Automix Main page. To locate the Automix | Memory page, press the DISPLAY ACCESS [AUTOMIX] button repeatedly until the page appears. 5 6 7 8 9 1 2 3 4 K J A TITLE EDIT This button enables you to edit the title of the Automix memory selected in the center column. B RECALL This button recalls the Automix memory selected in the center column.
Chapter 16—Automix K PROTECT ON/OFF To protect the contents of the Automix memory selected in the MEMORY TITLE column, move the cursor to this button and press [ENTER]. A padlock icon ( ) appears next to the titles of Automix memories that are write-protected. You cannot store, clear, or edit the title of write-protected Automix memories. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 165.
Fader1 &2 pages 197 C Edit Safe buttons The numbered buttons below each fader bar are Edit Safe buttons, which prohibit Automix recording on certain channels. A channel is set to safe and excluded from Automix recording when its button is highlighted. However, you can play existing events and use faders, Encoders, and [ON] buttons on safe channels. This is useful for rehearsing mix moves.
Chapter 16—Automix Editing Events Offline You can edit recorded Automix events offline on the Event Job and Event Edit pages. You can perform offline editing only while the Automix function is stopped. Event Job Page On the Event Job page, you can erase, copy, move/merge, or trim specified events on specified channels between specified in and out points. 1 Press the DISPLAY ACCESS [AUTOMIX] button repeatedly until the Automix | Event Job page appears.
Editing Events Offline 199 4 Move the cursor to the desired Job button in the Job Type section, then press [ENTER]. The following Jobs are available. Certain Jobs feature an extra parameter below the TIME SETTING section. ■ ERASE This button erases the specified range of Automix data. ■ COPY This button copies the specified range of Automix data to another position. When you select this button, the SOURCE and COPY TO sections appear below the TIME SETTING section.
Chapter 16—Automix • SOURCE section These parameters select the source Automix to be moved or merged. If you select CURRENT (the current Automix), you can use the MOVE button. If you select MEM (Automix memory), you can use the MERGE button. If you select MEM, specify the Automix memory number in the small parameter box on the right. • MOVE TO (MERGE TO) section - TIME This parameter specifies the start point to which the specified data is to be moved or merged.
Editing Events Offline 201 5 After setting all necessary parameters, move the cursor to the button on the right side of the page, then press [ENTER]. The PARAMETERS window appears, which enables you to select parameters to be edited, and to perform the selected Job. A parameter is selected when its button is highlighted. (You can specify multiple parameters.
Chapter 16—Automix 6 To execute the selected Job, move the cursor to the EXECUTE button, then press [ENTER]. A confirmation window appears. Move the cursor to the YES button, then press [ENTER] to execute the Job. Tip: • Move the cursor to the NO button, then press [ENTER] to abort the Job. • To return to the previous page without executing the Job, move the cursor to the button, then press [ENTER].
Editing Events Offline 203 G INSERT This button inserts a new event in the position selected in the event list. H LOCATE This button locates events at (or closest to) the timecode position indicated on the Capture memory display. I Capture memory display This display counter indicates the captured timecode position. J CAPTURE This button captures the current timecode position. Up to eight timecode values can be captured and stored in the eight Capture memories.
Chapter 16—Automix 5 To locate an event, play the Automix and move the cursor to the CAPTURE button, then press [ENTER]. The current position is captured and indicated in the Capture memory display. Tip: • To modify the captured position, move the cursor to the Capture memory display, then rotate the Parameter wheel or press the [INC]/[DEC] buttons. Press the [ENTER] button to reset the currently-selected digit to “00.” • Up to eight timecode values can be captured in the Capture memories.
Remote Control 205 17 Remote Control This chapter describes the Remote function, which enables you to control external equipment directly from the DM1000 top panel. About Remote Function The DM1000’s Remote function enables you to control external DAW (Digital Audio Workstation) equipment, MIDI devices, recorders, etc.
Chapter 17—Remote Control Pro Tools Remote Layer The DM1000 features Remote Layer 1 and 2 targets especially designed for controlling Pro Tools. Connections and Configuring Pro Tools Follow the steps below to connect the DM1000 to your computer via the USB port so that you can control Pro Tools from the DM1000. Note: You cannot control Pro Tools via MIDI connections. Be sure to connect your computer via the USB or an optional MY8-mLAN card installed in one of the DM1000 slots.
Pro Tools Remote Layer 207 4 Launch Pro Tools. 5 Choose OMS Studio Setup from the Setups menu, and configure OMS as necessary. Refer to the documentation that came with OMS for more information on configuring the OMS Studio Setup menu. OMS recognizes the DM1000 as a USB MIDI interface that features eight ports. 6 Choose Peripherals from the Setups menu to open the Peripherals window. 7 Double-click the MIDI Controllers tab.
Chapter 17—Remote Control Configuring the DM1000 Follow the steps below to set up the DM1000 so that you can remotely control Pro Tools from the DM1000 Remote Layer 1. 1 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | MIDI/Host page appears. 1 2 Move the cursor to the first DAW parameter box (1) in the SPECIAL FUNCTIONS section, then rotate the Parameter wheel to select USB as the port. 3 Press [ENTER] to confirm the setting.
Pro Tools Remote Layer 209 6 Select ProTools (as the target device) for the Target parameter (2) located in the upper-right corner of the page. By default, Remote Layer 1 target is set to ProTools. If another target has been selected, rotate the Parameter wheel to select ProTools. 7 Press the LAYER [REMOTE 1] button. Remote Layer 1 is now available for control, enabling you to remotely control Pro Tools.
Chapter 17—Remote Control Display While the Pro Tools layer is selected, you can use the [F2]–[F4] buttons as well as the left and right [ ]/[ ] Tab Scroll buttons to select display modes. You can select the following display modes using these buttons: ■ Insert Display mode ( [F2] button) Press the [F2] button to select Insert Display mode. In this mode, you can assign and edit plug-ins. 1 2 3 4 5 A TARGET This parameter enables you to select the remote control target device.
Pro Tools Remote Layer 211 E INSERT ASSIGN/EDIT section This section enables you to insert plug-ins into Pro Tools channels and adjust plug-in settings. Use the left and right [ ]/[ ] Tab Scroll buttons to change the parameters displayed in this section. • ASSIGN .........................Turn on this button to insert plug-ins into Pro Tools channels. (If you are using the TDM system, you can also assign outboard effects processors.) • COMPARE ....................
Chapter 17—Remote Control ■ Meter Display mode ( [F4] button) Press the [F4] button to select this display mode, in which the level meters for tracks 1–16 are displayed. • Channels 1–16.............. The channel 1–16 levels or Send levels are displayed. Control Surface Operation When the Pro Tools Remote Layer is selected, the DM1000 controls on the top panel engage the following functions: ■ Channel Strip section • Encoders Encoders adjust the panpots or Aux Send levels.
Pro Tools Remote Layer 213 • [AUX 6] button Press and hold down this button and press the desired [SEL] button to reset the corresponding channel fader level. Press and hold down this button and press the desired Encoder push-switch to reset the corresponding channel panpot to center. While you are holding down the [AUX 6] button, the SELECT ASSIGN parameter indicates “DFLT.” • [AUX 8] button Use this button along with the desired [SEL] button to assign a plug-in to the corresponding Pro Tools channel.
Chapter 17—Remote Control ■ Data Entry section • [ENTER] button This button switches the on/off status of the buttons on the display. • Left, Right, Up, Down ([ ]/[ ]/[ ]/[ ]) cursor buttons These buttons move the cursor on the display. • [INC] & [DEC] buttons The [INC] button works the same as the Enter key on your computer keyboard. The [DEC] button works the same as the Esc key on your computer keyboard.
Pro Tools Remote Layer Parameter 215 Function DAW AUTO READ DAW AUTO TOUCH DAW AUTO LATCH DAW AUTO WRITE Select Automation modes. DAW AUTO TRIM DAW AUTO OFF DAW AUTO SUSPEND Cancels Automation recording and playback for all channels. When Automation is interrupted, the LED flashes, and channel strip controls maintain the current settings. DAW AUTO STATUS Displays the channel Automation mode (Read, Tch, Ltch, Wrt, or Off).
Chapter 17—Remote Control Parameter Function DAW REC/RDY 1 DAW REC/RDY 2 DAW REC/RDY 3 DAW REC/RDY 4 DAW REC/RDY 5 DAW REC/RDY 6 DAW REC/RDY 7 DAW REC/RDY 8 DAW REC/RDY 9 Pressing the buttons (to which these functions are assigned) places the corresponding channel strips in Record Ready mode. At this time, the indicator of the button you pressed flashes. It lights up when recording starts.
Pro Tools Remote Layer 217 Muting Channels To mute Pro Tools channels, press the [ON] buttons. The [ON] button indicators of muted channels turn off. Grouped channels are muted together. Press the [ON] buttons again to unmute channels. The [ON] button indicators of unmuted channels light up. There are two mute modes in Pro Tools: Implicit mute and Explicit mute. You can check the mute mode by viewing the [ON] button indicators. • Implicit mute................
Chapter 17—Remote Control Setting Send Levels You can adjust Pro Tools Send (A–E) send levels as follows. 1 Press the AUX SELECT [AUX 1]–[AUX 5] buttons to select the desired Sends (A–E). 2 Rotate the Encoders for the desired channels. You can set Send levels by rotating the Encoders if faders, Encoders, and [ON] buttons are in Flip mode. Refer to “Flip Mode” for more information. Muting Sends A–E You can mute Sends by pressing the [ON] buttons if faders, Encoders, and [ON] buttons are in Flip mode.
Pro Tools Remote Layer 219 Assigning Plug-ins to Pro Tools Channels You can assign plug-ins to five inserts available for Pro Tools channel strips as follows. 1 Press the [F2] button to select Insert Display mode. 2 Press the AUX SELECT [AUX 8] button. The [AUX 8] button indicator flashes. You can now select a channel to which you want to insert plug-ins. 3 Press the [SEL] button of each desired channel. 4 Make sure that the INSERT button (1) is selected in the INSERT ASSIGN/EDIT section.
Chapter 17—Remote Control Editing Plug-ins You can edit plug-ins inserted in the channel strips as follows: 1 Press the [F2] button to select Insert Display mode. 2 Press the corresponding [SEL] button to select the channel that was assigned the plug-in you want to edit. 3 In the INSERT ASSIGN/EDIT section, move the cursor to the parameter control (Insert 1–4) that was assigned the parameter you want to edit.
Pro Tools Remote Layer 221 6 Move the cursor to a parameter control, then rotate the Parameter wheel or press the [ENTER] button to adjust the value. One or two parameters are assigned to a single parameter control. To turn the parameter setting on or off, press [ENTER]. To modify the parameter variable, rotate the Parameter wheel. 7 When you finish adjusting the parameters, move the cursor to the PARAM button, then press [ENTER] to switch it to INSERT.
Chapter 17—Remote Control Scrub & Shuttle By assigning the DAW SCRUB parameter to one of the User Defined buttons [1]–[12], you can scrub Pro Tools tracks back and forth by turning the Parameter wheel. By assigning the DAW SHUTTLE parameter to one of the User Defined buttons [1]–[12], you can shuttle back and forth by turning the Parameter wheel. 1 Assign the DAW SCRUB or DAW SHUTTLE parameter to one of the User Defined buttons [1]–[12].
Pro Tools Remote Layer 223 Automation You can view the Pro Tools Automation mode as follows: 1 Press the [F3] or [F4] button to display the channels for remote control. 2 Press the DISPLAY ACCESS [AUTOMIX] button. The channel’s Automation settings are displayed. While the STEREO [AUTO] button is on, the channel [SEL] button indicators also display the channel’s Automation mode.
Chapter 17—Remote Control Nuendo Remote Layer You can remotely control Nuendo using Remote Layers 1 and 2. ■ Configuring Computers 1 Connect the DM1000 to your computer using a USB cable, and install the required USB driver included on the DM1000 CD-ROM. Refer to the Studio Manager installation guide for more information on installing the driver. 2 Launch Nuendo, select the Device Setup menu, and set up Nuendo so that the DM1000 can communicate with the software.
MIDI Remote Layer MIDI Remote Layer If you select USER DEFINED as the target for Remote Layer 1 or 2, you can remotely control the parameters of external MIDI devices (such as synthesizers and tone generators) by operating the channel Encoders, [ON] buttons, and faders to output various MIDI messages. (This is called MIDI Remote function.) You can store MIDI messages assigned to the channel controls in four banks.
Chapter 17—Remote Control 2 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | MIDI/Host page appears. 1 3 Move the cursor to the REMOTE 2 parameter box (1) in the SPECIAL FUNCTIONS section, rotate the Parameter wheel to select MIDI, then press [ENTER]. If the MIDI port is already in use, a confirmation window for changing the assignment appears. Move the cursor to the YES button, then press [ENTER].
MIDI Remote Layer 227 D ID, SHORT, LONG These parameters display the channel names. The ID parameter displays the channel ID (RM01–RM16) for the currently-controlled MIDI device. E ON section This section displays the type of MIDI messages (in hexadecimal or alphabet) assigned to the [ON] buttons for the currently-selected channels (RM01–RM16). • LATCH/UNLATCH......This button toggles between Latch and Unlatch for [ON] button operation. • LEARN...........................
Chapter 17—Remote Control Assigning MIDI Messages to Channel Controls You can quickly use the MIDI Remote function if you use the factory presets in the banks. However, you can also assign the desired MIDI messages to the faders, [ON] buttons, or Encoders. This section describes how to assign MIDI messages to the channel controls, using the example of assigning Hold On/Off messages (Control Change #64; Values 127 & 0) to the Channel 1 [ON] button.
MIDI Remote Layer 229 6 Press and hold down the MIDI keyboard foot switch. The MIDI Hold On message is assigned in the DATA parameter box. MIDI messages are described below: • 00–7F .............................MIDI messages are expressed in hexadecimal. • END ...............................This message indicates the end of MIDI messages. Subsequent messages assigned in the DATA parameter boxes will be ignored. • – ......................................
Chapter 17—Remote Control 9 Move the cursor to the LATCH/UNLATCH button, then press [ENTER] to select LATCH or UNLATCH depending on how you want the [ON] buttons to function. • LATCH .......................... Pressing the [ON] buttons repeatedly transmits alternating On and Off messages. • UNLATCH.................... Pressing and holding down the [ON] buttons transmits On messages, and releasing the [ON] buttons transmits Off messages.
Machine Control Function 231 Machine Control Function The DM1000 can control the transport functions and select tracks on external recording machines that support MMC and the P2 protocol by transmitting commands via the MIDI OUT port and REMOTE connector respectively. Tip: P2 protocol is used by Tascam DA-98HR and other professional video machines. The DM1000 is capable of transmitting P2 protocol commands via the REMOTE connector. Note: Controllable parameters vary depending on the connected devices.
Chapter 17—Remote Control 3 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | MIDI/Host page appears. 1 4 Move the cursor to either the MMC button or P2 button in the MACHINE CONTROL section (1) to specify the remote control method, then press the [ENTER] button. In the MACHINE CONTROL section, you can also select the type of commands used on the Remote | Machine Control page. The MMC button selects MMC commands, and the P2 button select the P2 protocol.
Machine Control Function 233 7 To start remote control, press the DISPLAY ACCESS [REMOTE] button, then press the [F3] button to display the Remote | Machine page. 2 3 1 4 This page contains the following parameters: A LOCATE/TIME section • • • • This section enables you to set the locate points. LOCATE 1–8 .................These buttons locate the positions (specified by the TIME values) on external machines. RTZ ................................
Chapter 17—Remote Control DM1000—Owner’s Manual
MIDI 235 18 MIDI This chapter describes the DM1000’s MIDI-related functions. MIDI & the DM1000 Using Control Changes, Program Changes, and other MIDI messages enables you to recall Scenes and edit parameters on the DM1000, and store DM1000 internal data on external MIDI devices. The DM1000 supports the following MIDI messages. Each of these MIDI messages can be individually turned on or off for transmission and reception.
Chapter 18—MIDI • USB port This port is used to connect a computer and transfer MIDI messages. This is a multiport interface that transmits and receives up to eight-port data (16 channels x 8 ports). If you connect a computer to the USB port, you must install the appropriate driver software on the computer. See the Studio Manager Installation Guide for more information on installing drivers.
MIDI Port Setup 237 • Rx PORT .......................This parameter specifies a port for general MIDI data reception. In the left parameter box, select MIDI, USB, or SLOT (available only with an optional mLAN card installed). If you select USB, specify the port number in the right parameter box. • Tx PORT........................This parameter specifies a port for general MIDI data transmission. The available ports are the same as for the Rx PORT parameter.
Chapter 18—MIDI Selecting MIDI Messages for Transmission and Reception You can select MIDI messages to be transmitted or received at a port specified in the GENERAL section on the Setup | MIDI/Host page (see page 236). To do so, press the DISPLAY ACCESS [MIDI] button repeatedly until the MIDI | Setup page appears.
Assigning Scenes to Program Changes for Remote Recall 239 • Tx ON/OFF...................Transmission of Parameter Change messages is enabled or disabled. • Rx ON/OFF................... Reception of Parameter Change messages is enabled or disabled. • ECHO ON/OFF............This button determines whether Parameter Change messages received at the MIDI IN port are echoed through to the MIDI OUT port. E BULK This parameter row enables or disables reception of Bulk Dump data. • Rx ON/OFF...................
Chapter 18—MIDI 4 Move the cursor to a parameter box in the PGM CHG column, and rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the Program Change numbers to which you want to assign Scenes. 5 Press the cursor button [ ] to move the cursor to a parameter box in the SCENE NO./TITLE column, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to select Scenes.
Assigning Parameters to Control Changes for Real-time Control 241 4 Move the cursor to the MODE parameter’s TABLE button (1), then press [ENTER]. The MODE parameter determines which MIDI messages are transmitted when DM1000 parameters are adjusted. The following options are available for the MODE parameter: • TABLE............................MIDI Control Change messages are transmitted in accordance with the assignments on this page. • NRPN.............................
Chapter 18—MIDI HIGH MID LOW CHANNEL INPUT1–48 MASTER BUS1–8/AUX1–8/STEREO AUX1 SEND AUX2 SEND AUX3 SEND ON AUX4 SEND AUX5 SEND INPUT1–48 AUX6 SEND AUX7 SEND AUX8 SEND PHASE INSERT ON BUS TO ST BUS1–8 CHANNEL INPUT1–48 CHANNEL INPUT1–48 MASTER BUS1–8/AUX1–8/STEREO AUX1 SEND AUX2 SEND AUX3 SEND PRE/POST AUX4 SEND AUX5 SEND INPUT1–48 AUX6 SEND AUX7 SEND AUX8 SEND ON TIME HIGH TIME MID IN DELAY TIME LOW MIX HIGH INPUT1–48 MIX LOW FB GAIN H FB GAIN L ON OUT DELAY TIME HIGH TIME M
Assigning Parameters to Control Changes for Real-time Control HIGH MID 243 LOW ON Q LOW F LOW G LOW H G LOW L Q LO-MID F LO-MID G LO-MID H G LO-MID L Q HI-MID EQ F HI-MID INPUT1–48/BUS1–8/AUX1–8/STEREO G HI-MID H G HI-MID L Q HIGH F HIGH G HIGH H G HIGH L ATT H ATT L HPF ON LPF ON ON ATTACK THRESH H THRESH L GATE RANGE INPUT1–48 HOLD H HOLD L DECAY H DECAY L ON ATTACK THRESH H THRESH L COMP RELEASE H RELEASE L INPUT1–48/BUS1–8/AUX1–8/STEREO RATIO GAIN H GAIN L KNEE CHANNEL AUX1–2 PAN AUX3–4
Chapter 18—MIDI HIGH MID LOW LFE H LFE L DIV (F) DIV R SURROUND LR FR INPUT1–48 WIDTH DEPTH OFS LR OFS FR BYPASS MIX PARAM1 H EFFECT PARAM1 L EFFECT1–4 : PARAM32 H PARAM32 L Parameters that feature a setting range of more than 128 steps (such as Fader and Delay Time parameters) require two or more Control Change messages to specify the values.
Assigning Parameters to Control Changes for Real-time Control 245 If you wish to control Delay Time parameters on certain channels using Control Changes, you must assign the same channel Delay parameter to three Control Change numbers, and select “TIME LOW,” “TIME MID,” and “TIME HIGH” for the Control Changes in the parameter boxes in the second (middle) PARAMETER column.
Chapter 18—MIDI Controlling Parameters by Using Parameter Changes You can control DM1000 parameters in real time by using Parameter Change messages that are System Exclusive messages, instead of using MIDI Control Changes. See “MIDI Data Format” at the end of this Manual for detailed information on available Parameter Changes. 1 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | MIDI/Host page appears, then specify ports for transmission and reception of MIDI messages (see page 236).
Transmitting Parameter Settings via MIDI (Bulk Dump) 247 The MIDI | Bulk page appears. 2 3 1 4 The page includes the following parameters: A CATEGORY section This section enables you to select data for transmission and reception. B REQUEST Move the cursor to this button, then press [ENTER] to transmit messages from the DM1000 that request a second DM1000 (connected to the first DM1000) to transmit the data specified in the CATEGORY section.
Chapter 18—MIDI • SETUPMEM ................. This button selects the DM1000 setup data (i.e., system settings). • PGM TABLE ................. This button selects the MIDI | Pgm Asgn page settings. • CTL TABLE................... This button selects the MIDI | Ctl Asgn page settings. • PLUG-IN....................... This button selects the settings of any optional Y56K cards installed in Slot #1 or #2. You can select Y56K card programs in the parameter box next to the button.
Other Functions 249 19 Other Functions This chapter describes the DM1000’s miscellaneous functions. Changing the Input and Output Connector Names You can change the default name of the input and output connectors, if you desire. Changing the Input Connector Names 1 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | In Port page appears. 3 1 2 You can specify Short names in the parameter boxes (1) in the center column, and Long names in the parameter boxes (2) in the right column.
Chapter 19—Other Functions Changing the Output Connector Names To change output connector names, press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | Out Port page appears. The procedure for editing the names and using the Name Output Auto Copy check box and the INITIALIZE button is the same as on the In Port page. Setting Preferences You can change the default settings and environmental settings of the DM1000 by using the Setup | Prefer1, Prefer2, and Prefer3 pages.
Setting Preferences 251 • Auto PAN/SURROUND Display If this check box is on, the Pan/Surr pages appear automatically when you operate the Joystick in the SELECTED CHANNEL section. If you want to use the Joystick to adjust the pan setting, turn on this check box. In Stereo Surround mode, operating the Joystick enables you to adjust the Pan setting. Otherwise, it enables you to adjust the Surround Pan settings.
Chapter 19—Other Functions • Initial Data Nominal If this check box is on, Input Channel faders are set to nominal (0 dB) when you recall Scene #0. • Meter Follow Layer If this check box is on, a connected optional MB1000 Meter Bridge automatically track a layer selection made in the LAYER section on the DM1000. • Scene MEM Auto Update If this check box is on, you can use the Scene Memory Auto Update function (see page 159).
Setting Preferences 253 C Channel Copy Parameter • • • • • • • • This parameter selects the channel parameters to be copied when you assign the Channel Copy function to one of the User Defined buttons (see page 257). You can select multiple options. ALL.................................This button selects all parameters that can be copied. When you turn on this button, all other options are cancelled. FADER...........................Copies the fader values. ON..................................
Chapter 19—Other Functions • Auto EQ Edit in If this check box is on, EQ settings are automatically punched into the Automix recording when you adjust an EQ control in the SELECTED CHANNEL section. • Auto Inc TC Capture If this check box is on, the Timecode Capture memory is incremented automatically each time a timecode address is captured on the Automix | Event Edit page (see page 202).
Creating a Custom Layer by Combining Channels (User Assignable Layer) 255 Creating a Custom Layer by Combining Channels (User Assignable Layer) If you set the Remote Layer target to “USER ASSIGNABLE,” you can create a custom layer by combining any DM1000 channels (excluding the Stereo Out). This custom layer is called “User Assignable layer.” You can use either Remote 1 or Remote 2 for a User Assignable layer. 1 Press the DISPLAY ACCESS [REMOTE] button, then press the [F1] or [F2] button.
Chapter 19—Other Functions Using the Oscillator The DM1000 features an Oscillator you can use for sound checks. Follow the steps below to use the Oscillator: 1 Press the DISPLAY ACCESS [UTILITY] button, then press the [F1] button. The Utility | Oscillator page appears. 1 3 4 2 This page contains the following parameters: A OSCILLATOR ON This parameter button turns the Oscillator on or off. B WAVEFORM These parameter buttons select the Oscillator waveforms.
Using the User Defined Keys 257 5 Move the cursor to the OSCILLATOR ON/OFF button, then press the [ENTER] or [INC]/[DEC] buttons to turn on the Oscillator. The Oscillator signal is now routed to the channels selected in the ASSIGN section. 6 Move the cursor to the parameter control in the LEVEL section, then rotate the Parameter wheel to raise the Oscillator level. You can view the current Oscillator level on the LEVEL meter.
Chapter 19—Other Functions 2 Move the cursor to the desired BANK parameter button, then press [ENTER]. The corresponding bank is selected, and the functions assigned to the User Defined buttons in that bank are displayed in the 1–12 parameter boxes.
Using GPI (General Purpose Interface) 259 Using GPI (General Purpose Interface) The DM1000’s CONTROL port provides a GPI (General Purpose Interface) for controlling external equipment. You can configure the GPI so that it will output 8-channel trigger signals when you operate the faders or USER DEFINED KEYS, or so that it will receive 4-channel trigger signals to control the DM1000 parameters. You can assign functions to these trigger signals.
Chapter 19—Other Functions 2 To assign functions to the incoming trigger signals, move the cursor to one of four trigger signal parameters 1–4 in the INPUT section. 3 Rotate the Parameter wheel to select the desired function from the list below the INPUT section, then press [ENTER] to confirm the selection. 4 Select one of two buttons located to the right of trigger signal parameters 1–4 to specify how the incoming trigger signals will be detected. • ...........
Using GPI (General Purpose Interface) 261 Trigger signal polarity = Output signals from the CONTROL port Trigger signal polarity = Output signals from the CONTROL port At this time, the trigger signal is output from the CONTROL port when you operate the assigned parameters or controls. Tip: Refer to the next page for a complete list of assignable parameters and controls.
Chapter 19—Other Functions • xxx UNLATCH............. The assigned button function is enabled only while the incoming trigger signal is active. • xxx ON .......................... The corresponding channels are turned on or off each time the incoming trigger signal becomes active. • xxx ON UNLATCH...... The corresponding channels are turned on only while the incoming trigger signal is active. • UDEFxxx ...................... Same as the corresponding User Defined buttons.
Using Operation Lock 263 Using Operation Lock The DM1000 features an Operation Lock function that prevents unintentional edits and restricts access to panel operation with a password. To use the Operation Lock function, press the [UTILITY] button, then the [F4] button to display the Utility | Lock page. 1 2 3 This page contains the following parameters: A OPERATION LOCK This button enables or cancels Operation Lock. When you turn on this button, the Password window appears.
Chapter 19—Other Functions C PASSWORD This button enables you to change the current password. Move the cursor to the PASSWORD button, then press [ENTER]. The Set Password window appears, enabling you to change the password. Enter the current password in the PASSWORD field, and a new password in the NEW PASSWORD field. Enter the new password again in the REENTRY field located below the NEW PASSWORD field. Move the cursor to the OK button, then press [ENTER] to change the password.
Cascading Consoles 265 Cascading Consoles The DM1000 features a Cascade Bus that enables cascade connection. You can connect two DM1000s in cascade using the digital inputs and outputs, or the OMNI IN and OMNI OUT connectors. In this way, two consoles work just like one big console, integrating each unit’s Buses 1–8, Aux Sends 1–8, Stereo Bus, and Solo Bus. The following DM1000 functions are linked via the cascade connection.
Chapter 19—Other Functions The following paragraphs explain how to make a cascade connection using two DM1000s and the inputs and outputs of digital I/O cards installed in the slots of two DM1000s. 1 Install digital I/O cards into Slot 1 or 2 on two DM1000s. 2 Connect two DM1000s as follows: • If you want to use the REMOTE connector to transfer MIDI messages, connect the REMOTE connector of each DM1000 using a 9-pin D-sub reverse cable.
Cascading Consoles 267 4 Assign the Bus signals to the slot channels that are used for the cascade connection.
Chapter 19—Other Functions 7 On the master unit, press the DISPLAY ACCESS [DIO] button repeatedly until the DIO | Cascade page appears, then adjust the Attenuators using the parameter controls. The DIO | Cascade page enables you to adjust the level of signals input to the Cascade Bus using the dedicated attenuators. You can also turn the Cascade Buses on or off using the buttons below the parameter controls.
Cascading Consoles 269 10 Repeat Steps 8 and 9 for the master unit so that it will be able to transmit and receive MIDI messages via the REMOTE connector. 11 To match the parameters of both DM1000s, locate the Setup | MIDI/Host page on the copy source unit. 12 Move the cursor to the TRANSMIT button for the SYNC parameter, then press [ENTER]. Data, such as libraries and Scene memories, on the copy source unit is copied onto the other DM1000 via the REMOTE connector.
Chapter 19—Other Functions Using the AD824 The Yamaha AD824, an 8-channel AD converter, enables you to control its gain and phantom power from a connected DM1000. The DM1000 can control up to four AD824s simultaneously. If you connect the DM1000 to the AD824 digitally, and connect the DM1000 REMOTE connector to the AD824 COM PC/RS422 connector using a serial cable, you can use the AD824 as AD Inputs for which you can preset the gain.
Using the AD824 271 3 Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | Remote page appears. 2 1 3 This page contains the following parameters: A REMOTE FUNCTION This parameter selects a device to be connected to the DM1000 REMOTE connector. B AD824 section This section enables you to specify the slot channels that will receive eight channel signals from AD824s that have their ID numbers set to 1 through 4.
Chapter 19—Other Functions Checking the Battery and the System Version The Utility | Battery page enables you to check the condition of the internal memory-backup battery and the system version number. To locate this page, press the DISPLAY ACCESS [UTILITY] button repeatedly. 1 2 A Status If the Status is “Okay,” the battery has sufficient voltage for operation. If the Status is “Voltage low!,” ask your Yamaha dealer to replace the battery as soon as possible.
Initializing the DM1000 273 Initializing the DM1000 You can delete all currently-recorded settings and restore the factory-preset values, and reset the Operation Lock password to its initial setting. Follow the steps below. Tip: • If you want to keep the current internal data, be sure to first back up the data using the included Studio Manager software. • You can also store the data to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 246).
Chapter 19—Other Functions Calibrating the Faders The DM1000 motorized fader positions may shift over time depending on the operating conditions and environment. You can correct the shifted faders using the Calibration function. 1 Make sure that the power to the DM1000 is turned off. 2 While holding down the [ENTER] button, turn on the POWER ON/OFF switch. After a moment, the DM1000 displays a message indicating that the calibration is in progress. Calibration takes about two minutes.
USER DEFINED KEYS 275 Appendix A: Parameter Lists USER DEFINED KEYS # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Function No Assign Scene MEM. Recall +1 Scene MEM. Recall -1 Scene MEM. Recall No. XX Effect-1 Lib. Recall +1 Effect-1 Lib. Recall -1 Effect-1 Lib. Recall No.XX Effect-2 Lib. Recall +1 Effect-2 Lib. Recall -1 Effect-2 Lib. Recall No.XX Effect-3 Lib. Recall +1 Effect-3 Lib. Recall -1 Effect-3 Lib. Recall No.
Appendix A: Parameter Lists # Function 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 Overwrite AUX Overwrite AUX ON PEAK HOLD On/Off OSCILLATOR On/Off SOLO Enable Control Room Monitor MONO Pan / Surround Link Talkback Assign SLOT1-XX Talkback Assign SLOT2-XX Talkback Assign OMNI OUT XX Channel Name ID/Short Port Name ID/Short
USER DEFINED KEYS Initial Assignments 277 USER DEFINED KEYS Initial Assignments TITLE BANK A BANK B BANK C BANK D Surround Monitor Scene Recall Group Enable Automix 1 Snap to SPL85 Scene 1 Recall IN Fader Group A Automix ENABLE 2 Bass Manage ON Scene 2 Recall IN Mute Group I Overwrite FADER 3 Surr.Mon L Mute Scene 3 Recall IN Fader Group B Overwrite ON 4 Surr.Mon R Mute Scene 4 Recall IN Mute Group J Overwrite PAN 5 Surr.
Appendix A: Parameter Lists Input Patch Parameters INPUT Port ID – AD1 AD2 AD3 AD4 AD5 AD6 AD7 AD8 AD9 AD10 AD11 AD12 AD13 AD14 AD15 AD16 OMNI1 OMNI2 OMNI3 OMNI4 S1-1 S1-2 S1-3 S1-4 S1-5 S1-6 S1-7 S1-8 S1-9 S110 S111 S112 S113 S114 S115 S116 S2-1 S2-2 S2-3 S2-4 S2-5 S2-6 S2-7 S2-8 S2-9 S210 S211 S212 S213 S214 S215 S216 FX1-1 Description NONE AD IN 1 AD IN 2 AD IN 3 AD IN 4 AD IN 5 AD IN 6 AD IN 7 AD IN 8 AD IN 9 AD IN 10 AD IN 11 AD IN 12 AD IN 13 AD IN 14 AD IN 15 AD IN 16 OMNI IN 1 OMNI IN 2 OMNI
Input Patch Parameters INPUT Port ID FX1-2 FX1-3 FX1-4 FX1-5 FX1-6 FX1-7 FX1-8 FX2-1 FX2-2 FX3-1 FX3-2 FX4-1 FX4-2 2D1L 2D1R 2D2L 2D2R BUS1 BUS2 BUS3 BUS4 BUS5 BUS6 BUS7 BUS8 AUX1 AUX2 AUX3 AUX4 AUX5 AUX6 AUX7 AUX8 Description Effect1 OUT 2 Effect1 OUT 3 Effect1 OUT 4 Effect1 OUT 5 Effect1 OUT 6 Effect1 OUT 7 Effect1 OUT 8 Effect2 OUT 1 Effect2 OUT 2 Effect3 OUT 1 Effect3 OUT 2 Effect4 OUT 1 Effect4 OUT 2 2TR IN Dig.1 L 2TR IN Dig.1 R 2TR IN Dig.2 L 2TR IN Dig.
Appendix A: Parameter Lists Initial Input Patch Settings CHANNEL EFFECT IN PATCH 1 AD1 1-1 AUX1 2 AD2 1-2 NONE 3 AD3 1-3 NONE 4 AD4 1-4 NONE 5 AD5 1-5 NONE 6 AD6 1-6 NONE 7 AD7 1-7 NONE 8 AD8 1-8 NONE 9 AD9 2-1 AUX2 10 AD10 2-2 NONE 11 AD11 3-1 AUX3 12 AD12 3-2 NONE 13 AD13 4-1 AUX4 14 AD14 4-2 NONE 15 AD15 16 AD16 17 S1-1 18 S1-2 19 S1-3 20 S1-4 21 S1-5 22 S1-6 23 S1-7 24 S1-8 25 S2-1 26 S2-2 27 S2-3 28 S2-4 29 S2-
Initial Input Patch Settings 281 CHANNEL NAME CHANNEL ID SHORT LONG CH1 CH1 CH1 CH1 CH2 CH2 CH2 CH2 CH3 CH3 CH3 CH3 CH4 CH4 CH4 CH4 CH5 CH5 CH5 CH5 CH6 CH6 CH6 CH6 CH7 CH7 CH7 CH7 CH8 CH8 CH8 CH8 CH9 CH9 CH9 CH9 CH10 CH10 CH10 CH10 CH11 CH11 CH11 CH11 CH12 CH12 CH12 CH12 CH13 CH13 CH13 CH13 CH14 CH14 CH14 CH14 CH15 CH15 CH15 CH15 CH16 CH16 CH16 CH16 CH17 CH17 CH17 CH17 CH18 CH18 CH18 CH18 CH19 CH19 CH19 CH19 CH20 CH20 CH20 C
Appendix A: Parameter Lists Output Patch Parameters SLOT, OMNI INSERT IN DIRECT OUT Source Description Source Description Source Description – BUS1 BUS2 BUS3 BUS4 BUS5 BUS6 BUS7 BUS8 AUX1 AUX2 AUX3 AUX4 AUX5 AUX6 AUX7 AUX8 STEREO-L STEREO-R INSCH1 INSCH2 INSCH3 INSCH4 INSCH5 INSCH6 INSCH7 INSCH8 INSCH9 INSCH10 INSCH11 INSCH12 INSCH13 INSCH14 INSCH15 INSCH16 INSCH17 INSCH18 INSCH19 INSCH20 INSCH21 INSCH22 INSCH23 INSCH24 INSCH25 INSCH26 INSCH27 INSCH28 INSCH29 INSCH30 INSCH31 INSCH32 INSCH33 I
Output Patch Parameters SLOT, OMNI Source Description INSCH36 INSCH37 INSCH38 INSCH39 INSCH40 INSCH41 INSCH42 INSCH43 INSCH44 INSCH45 INSCH46 INSCH47 INSCH48 INSBUS1 INSBUS2 INSBUS3 INSBUS4 INSBUS5 INSBUS6 INSBUS7 INSBUS8 INSAUX1 INSAUX2 INSAUX3 INSAUX4 INSAUX5 INSAUX6 INSAUX7 INSAUX8 INSSTL INSSTR Surr L Surr R Surr Ls Surr Rs Surr C Surr SW Surr Ls2 Surr Rs2 CR-L CR-R CAS BUS1 CAS BUS2 CAS BUS3 CAS BUS4 CAS BUS5 CAS BUS6 CAS BUS7 CAS BUS8 CAS AUX1 CAS AUX2 CAS AUX3 CAS AUX4 CAS AUX5 CAS AUX6 CAS AUX7
Appendix A: Parameter Lists SLOT, OMNI INSERT IN DIRECT OUT 2TR OUT Digital Source Description Source Description Source Description Source Description CAS AUX8 CAS ST_L CAS ST_R CAS SO_L CAS SO_R SOLO L SOLO R Moni L Moni R Moni Ls Moni Rs Moni C Moni Bs Moni LFE Cascade Out Aux8 Cascade STEREO_L Cascade STEREO_R Cascade SOLO_L Cascade SOLO_R SOLO OUT L SOLO OUT R Moni Matrix L Moni Matrix R Moni Matrix Ls Moni Matrix Rs Moni Matrix C Moni Matrix Bs Moni Matrix LFE — — — — — — — — — — —
Initial Output Patch Settings DIRECT OUT 2TR OUT Digital 1 SLOT1-1 1L ST L 2 SLOT1-2 1R ST R 3 SLOT1-3 2L ST L 4 SLOT1-4 2R ST R 5 SLOT1-5 6 SLOT1-6 7 SLOT1-7 8 SLOT1-8 9 SLOT2-1 10 11 12 13 14 SLOT2-2 SLOT2-3 SLOT2-4 SLOT2-5 SLOT2-6 15 SLOT2-7 16 SLOT2-8 17 NONE 18 NONE 19 20 21 22 NONE NONE NONE NONE 23 NONE 24 NONE 25 NONE 26 NONE 27 NONE 28 NONE 29 NONE 30 NONE 31 NONE 32 NONE 33 NONE 34 NONE 35 NONE 36 NONE 37 NONE 38 NONE 39
Appendix A: Parameter Lists GPI Trigger Source List # Source # Source # Source # Source 0 NO ASSIGN 53 CH53 FADER ON 106 CH33 FADER OFF 159 UDEF13 LATCH 1 CH1 FADER ON 54 CH54 FADER ON 107 CH34 FADER OFF 160 UDEF14 LATCH 2 CH2 FADER ON 55 CH55 FADER ON 108 CH35 FADER OFF 161 UDEF15 LATCH 3 CH3 FADER ON 56 CH56 FADER ON 109 CH36 FADER OFF 162 UDEF16 LATCH 4 CH4 FADER ON 57 BUS1 FADER ON 110 CH37 FADER OFF 163 UDEF1 UNLATCH 5 CH5 FADER ON 58 BUS2 FADER ON 111 CH
User Defined Remote Layer Initial Bank Settings User Defined Remote Layer Initial Bank Settings Bank 1 (GM Vol & Pan) ID Name Short Long Controller ON RM01 GM01 GM-CH01 VOL&PAN ENCODER FADER ON RM02 GM02 GM-CH02 VOL&PAN ENCODER FADER ON RM03 GM03 GM-CH03 VOL&PAN ENCODER FADER ON RM04 GM04 GM-CH04 VOL&PAN ENCODER FADER ON RM05 GM05 GM-CH05 VOL&PAN ENCODER FADER ON RM06 GM06 GM-CH06 VOL&PAN ENCODER FADER ON RM07 GM07 GM-CH07 VOL&PAN ENCODER FADER ON RM08 GM08 GM-CH08 VOL&PAN ENCODER FADER ON RM09 GM
Appendix A: Parameter Lists Bank 2 (GM Vol & Effect 1) ID Name Short Long Controller ON RM01 GM01 GM-CH01 VOL&EFF1 ENCODER FADER ON RM02 GM02 GM-CH02 VOL&EFF1 ENCODER FADER ON RM03 GM03 GM-CH03 VOL&EFF1 ENCODER FADER ON RM04 GM04 GM-CH04 VOL&EFF1 ENCODER FADER ON RM05 GM05 GM-CH05 VOL&EFF1 ENCODER FADER ON RM06 GM06 GM-CH06 VOL&EFF1 ENCODER FADER ON RM07 GM07 GM-CH07 VOL&EFF1 ENCODER FADER ON RM08 GM08 GM-CH08 VOL&EFF1 ENCODER FADER ON RM09 GM09 GM-CH09 VOL&EFF1 ENCODER FADER ON RM10 GM10 GM-CH10
User Defined Remote Layer Initial Bank Settings Bank 3 (XG Vol & Pan) ID Name Short Long Controller 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 END – – – – – – – – – – – – – – – ENCODER F0 43 10 4C 08 00 0E ENC F7 END – – – – – – FADER F0 43 10 4C 08 00 0B FAD F7 END – – – – – – – ON RM01 XG01 XG-CH01 VOL&PAN ON RM02 XG02 XG-CH02 VOL&PAN END – – – – – – – – – – – – – – ENCODER F0 43 10 4C 08 01 0E ENC F7 END –
Appendix A: Parameter Lists Bank 4 (Nuendo VST Mixer) ID Name Short RM01 CH1 RM02 CH2 RM03 CH3 RM04 CH4 RM05 CH5 RM06 CH6 RM07 CH7 RM08 CH8 RM09 CH9 RM10 CH10 RM11 CH11 RM12 CH12 RM13 CH13 RM14 CH14 RM15 CH15 RM16 CH16 Long VST MIXER CH1 VST MIXER CH2 VST MIXER CH3 VST MIXER CH4 VST MIXER CH5 VST MIXER CH6 VST MIXER CH7 VST MIXER CH8 VST MIXER CH9 VST MIXER CH10 VST MIXER CH11 VST MIXER CH12 VST MIXER CH13 VST MIXER CH14 VST MIXER CH15 VST MIXER CH16 DM1000—Owner’s Ma
Effects Parameters 291 Effects Parameters REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE One input, two output hall, room, stage, and plate reverb simulations, all with gates. Parameter Range Description REV TIME 0.3–99.0 s Reverb time INI. DLY 0.0–500.0 ms Initial delay before reverb begins HI. RATIO 0.1–1.0 High-frequency reverb time ratio LO. RATIO 0.1–2.4 Low-frequency reverb time ratio DIFF.
Appendix A: Parameter Lists GATE REVERB, REVERSE GATE One input, two output early reflections with gate, and early reflections with reverse gate. Parameter Range Description TYPE Type-A, Type-B Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI. DLY 0.0–500.0 ms Initial delay before reverb begins DIFF.
Effects Parameters 293 MOD. DELAY One input, two output basic repeat delay with modulation. Parameter Range Description DELAY 0.0–2725.0 ms Delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth WAVE Sine, Tri Modulation waveform HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.
Appendix A: Parameter Lists ECHO Two input, two output stereo delay with crossed feedback loop. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time DELAY R 0.0–1350.0 ms Right channel delay time FB.DLY L 0.0–1350.0 ms Left channel feedback delay time FB.DLY R 0.0–1350.0 ms Right channel feedback delay time FB. G L –99 to +99% Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) FB.
Effects Parameters 295 FLANGE Two input, two output flange effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12.0 to +12.0 dB Low shelving filter gain EQ F 100 Hz–8.
Appendix A: Parameter Lists PHASER Two input, two output 16-stage phaser. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) OFFSET 0–100 Lowest phase-shifted frequency offset PHASE 0.00–354.38 degrees Left and right modulation phase balance STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages LSH F 21.2 Hz–8.
Effects Parameters 297 TREMOLO Two input, two output tremolo effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth WAVE Sine, Tri, Square Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12.0 to +12.0 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12.0 to +12.0 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.
Appendix A: Parameter Lists DUAL PITCH Two input, two output pitch shifter. Parameter Range Description PITCH 1 –24 to +24 semitones Channel #1 pitch shift FINE 1 –50 to +50 cents Channel #1 pitch shift fine LEVEL 1 –100 to +100% Channel #1 level (plus values for normal phase, minus values for reverse phase) PAN 1 L63 to R63 Channel #1 pan DELAY 1 0.0–1000.0 ms Channel #1 delay time FB.
Effects Parameters 299 RING MOD. Two input, two output ring modulator. Parameter Range Description SOURCE OSC, SELF Modulation source: oscillator or input signal OSC FREQ 0.0–5000.0 Hz Oscillator frequency FM FREQ. 0.05–40.00 Hz Oscillator frequency modulation speed FM DEPTH 0–100% Oscillator frequency modulation depth SYNC OFF, ON Tempo parameter sync on/off NOTE FM 1 Used in conjunction with TEMPO to determine FM FREQ 1. MOD. FILTER Two input, two output modulation filter.
Appendix A: Parameter Lists AMP SIMULATE One input, two output guitar amp simulator. Parameter Range Description AMP TYPE 1 Guitar amp simulation type DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume BASS 0–100 Bass tone control MIDDLE 0–100 Middle tone control TREBLE 0–100 High tone control CAB DEP 0–100% Speaker cabinet simulation depth EQ F 100–8.
Effects Parameters 301 DYNA. FLANGE Two input, two output dynamically controlled flanger. Parameter Range Description SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity SENSE 0–100 Sensitivity DIR. UP, DOWN Upward or downward frequency change DECAY 1 Decay speed OFFSET 0–100 Delay time offset FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) LSH F 21.2 Hz–8.
Appendix A: Parameter Lists REV+CHORUS One input, two output reverb and chorus effects in parallel. Parameter Range Description REV TIME 0.3–99.0 s Reverb time INI. DLY 0.0–500.0 ms Initial delay before reverb begins HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
Effects Parameters 303 REV+FLANGE One input, two output reverb and flanger effects in parallel. Parameter Range Description REV TIME 0.3–99.0 s Reverb time INI. DLY 0.0–500.0 ms Initial delay before reverb begins HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
Appendix A: Parameter Lists REV+SYMPHO. One input, two output reverb and symphonic effects in parallel. Parameter Range Description REV TIME 0.3–99.0 s Reverb time INI. DLY 0.0–500.0 ms Initial delay before reverb begins HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
Effects Parameters 305 REV->PAN One input, two output reverb and autopan effects in parallel. Parameter Range Description REV TIME 0.3–99.0 s Reverb time INI. DLY 0.0–500.0 ms Initial delay before reverb begins HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV.
Appendix A: Parameter Lists DELAY->ER. One input, two output delay and early reflections effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.
Effects Parameters 307 DELAY+REV One input, two output delay and reverb effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio HPF THRU, 21.2 Hz–8.
Appendix A: Parameter Lists DIST->DELAY One input, two output distortion and delay effects in series. Parameter Range Description DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume TONE –10 to +10 Tone control N. GATE 0–20 Noise reduction DELAY 0.0–2725.0 ms Delay time FB.
Effects Parameters 309 FREEZE One input, one output basic sampler. Parameter Range Description REC MODE MANUAL, INPUT In MANUAL mode, recording is started by pressing the REC and PLAY buttons. In INPUT mode, Record-Ready mode is engaged by pressing the REC button, and actual recording is triggered by the input signal. REC DLY –1000 to +1000 ms Recording delay. For plus values, recording starts after the trigger is received. For minus values, recording starts before the trigger is received.
Appendix A: Parameter Lists REVERB 5.1 One input, six output reverb for 5.1 surround, with surround panning. Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency DIV.
Effects Parameters 311 AUTO PAN 5.1 Six input, six output autopanner for 5.1 surround. Parameter Range Description SOURCE OFF, HOLD, INPUT1, INPUT2, INPUT3, INPUT4, INPUT5, INPUT6, MIDI Source specifies the trigger that will initiate auto pan. When you press the TRIGGER button in the screen, auto pan will begin regardless of the setting of this parameter. OFF: No trigger is specified. Auto pan will always be off. HOLD: No trigger is specified. Auto pan will always be on.
Appendix A: Parameter Lists FLANGE 5.1 Six input, six output flanger for 5.1 surround. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation depth MOD. DLY 0.0–400.0 ms Modulation delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
Effects Parameters 313 M.BAND DYNA. Two input, two output 3-band dynamics processor, with individual solo and gain reduction metering for each band. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.0 dB High band level PRESENCE –10 to +10 For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For negative values, the opposite will occur.
Appendix A: Parameter Lists COMP 5.1 Six input, six output compressor for 5.1 surround, with individual solo for each band, and gain reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C), or LFE channels. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.
Effects Parameters 315 COMPAND 5.1 Six input, six output compander for 5.1 surround, with individual solo for each band, and gain reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C), or LFE channels. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.
Appendix A: Parameter Lists Preset EQ Parameters # 01 02 03 04 05 06 07 08 09 10 Parameter Title Bass Drum 1 Bass Drum 2 Snare Drum 1 Snare Drum 2 Tom-tom 1 Cymbal High Hat Percussion E. Bass 1 E. Bass 2 DM1000—Owner’s Manual LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –3.5 dB 0.0 dB +4.0 dB F 100 Hz 265 Hz 1.06 kHz 5.30 kHz Q 1.2 10 0.9 — PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 80 Hz 400 Hz 2.50 kHz 12.
Preset EQ Parameters # 11 12 13 14 15 16 17 18 19 20 21 Parameter Title Syn. Bass 1 Syn. Bass 2 Piano 1 Piano 2 E. G. Clean E. G. Crunch 1 E. G. Crunch 2 E. G. Dist. 1 E. G. Dist. 2 A. G. Stroke 1 A. G. Stroke 2 LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB +8.5 dB 0.0 dB 0.0 dB F 85 Hz 950 Hz 4.00 kHz 12.5 kHz Q 0.1 8 4.5 — PEAKING PEAKING PEAKING H.SHELF G +2.5 dB 0.0 dB +1.5 dB 0.0 dB F 125 Hz 180 Hz 1.12 kHz 12.
# 22 23 24 25 26 27 28 29 30 31 32 Appendix A: Parameter Lists Parameter Title A. G. Arpeg. 1 A. G. Arpeg. 2 Brass Sec. Male Vocal 1 Male Vocal 2 Female Vo. 1 Female Vo. 2 Chorus & Harmo Total EQ 1 Total EQ 2 Total EQ 3 DM1000—Owner’s Manual LOW L-MID H-MID HIGH L.SHELF PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB 0.0 dB +2.0 dB F 224 Hz 1.00 kHz 4.00 kHz 6.70 kHz Q — 4.5 4.5 0.12 L.SHELF PEAKING PEAKING H.SHELF G 0.0 dB –5.5 dB 0.0 dB +4.
Preset EQ Parameters # 33 34 35 36 37 38 39 40 Parameter Title Bass Drum 3 Snare Drum 3 Tom-tom 2 Piano 3 Piano Low Piano High Fine-EQ Cass Narrator LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING PEAKING G +3.5 dB –10.0 dB +3.5 dB 0.0 dB F 118 Hz 315 Hz 4.25 kHz 20.0 kHz Q 2 10 0.4 0.4 L.SHELF PEAKING PEAKING PEAKING G 0.0 dB +2.0 dB +3.5 dB 0.0 dB F 224 Hz 560 Hz 4.25 kHz 4.00 kHz Q — 4.5 2.8 0.1 L.SHELF PEAKING PEAKING H.SHELF G –9.
Appendix A: Parameter Lists Preset Gate Parameters # 1 Title Gate 2 3 GATE A. Dr. SN Parameter –26 Range (dB) –56 2.56 Decay (ms) 331 Threshold (dB) –19 Range (dB) –22 Attack (ms) 1 Title Comp 1.20 S Decay (ms) 6.32 S Threshold (dB) –11 Range (dB) –53 1.93 Decay (ms) 400 Threshold (dB) –8 Range (dB) –23 Attack (ms) 1 Hold (ms) 0.63 Decay (ms) 238 (fs = 44.1 kHz) Type COMP 3 Expand Compander (H) EXPAND COMPAND-H Parameter –8 Ratio ( :1) 2.
Preset Compressor Parameters (fs = 44.1 kHz) # Title Type Parameter Threshold (dB) 5 6 A. Dr. BD A. Dr. BD COMP COMPAND-H A. Dr. SN COMP 3 Attack (ms) 9 Out gain (dB) A. Dr. SN EXPAND 2 Release (ms) 58 Threshold (dB) –11 Ratio ( :1) 3.5 Attack (ms) Out gain (dB) COMPAND-S Threshold (dB) –17 Ratio ( :1) 2.5 Attack (ms) Out gain (dB) A. Dr. Tom EXPAND 2 Release (ms) 12 Threshold (dB) –23 Attack (ms) Out gain (dB) A. Dr. OverTop COMPAND-S E. B. Finger COMP 0 0.
Appendix A: Parameter Lists # 13 14 15 16 Title E. B. Slap Syn. Bass Piano1 Piano2 Type COMP COMP COMP COMP Parameter Threshold (dB) –12 Ratio ( :1) 1.7 Attack (ms) 4.0 Knee hard Release (ms) 133 Threshold (dB) –10 Ratio ( :1) 3.5 Attack (ms) COMP 3.0 Knee hard Release (ms) 250 Threshold (dB) –9 Ratio ( :1) 2.5 Attack (ms) 17 Out gain (dB) 1.0 Knee hard Release (ms) 238 Threshold (dB) –18 Ratio ( :1) 3.5 Attack (ms) Out gain (dB) A.
Preset Compressor Parameters (fs = 44.1 kHz) # 21 Title Strings3 Type COMP Parameter Threshold (dB) –17 Ratio ( :1) 1.5 Attack (ms) 76 Out gain (dB) 2.5 Knee 22 BrassSection COMP Syn. Pad COMP 186 Threshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 18 Out gain (dB) 4.0 25 SamplingPerc Sampling BD COMPAND-S COMP 226 Threshold (dB) –13 Ratio ( :1) 2 Attack (ms) 58 Out gain (dB) 2.
Appendix A: Parameter Lists # 29 Title Solo Vocal2 Type COMP Parameter Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 26 Out gain (dB) 1.5 Knee Release (ms) 30 Chorus COMP Click Erase EXPAND –9 Ratio ( :1) 1.7 Attack (ms) 39 Out gain (dB) 2.5 Announcer COMPAND-H 226 Threshold (dB) –33 Ratio ( :1) 2 Attack (ms) 1 Out gain (dB) Limiter1 COMPAND-S Threshold (dB) –14 Ratio ( :1) 2.
General Spec 325 Appendix B: Specifications General Spec Number of scene memories 99 Internal Sampling Frequency Signal Delay External 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz Normal rate: 44.1 kHz–10% to 48 kHz+6% Double rate: 88.2 kHz–10% to 96 kHz+6% fs=48 kHz Less than 1.6 ms CH INPUT to OMNI OUT fs=96 kHz Less than 0.
Appendix B: Specifications Input patch — Phase Normal/reverse Gate-type3 On/off Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48)/AUX1–8 On/off Comp-type4 Key in: self /Stereo Link Pre EQ/pre fader/post fader Attenuator EQ –96.0 to +12.0 dB (0.
General Spec Comp-type4 Attenuator EQ 327 On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.1 dB step) 4-band PEQ5 On/off STEREO On/off — Fader 100 mm motorized Balance 127 positions (Left=1–63, Center, Right=1–63) Delay 0–29100 samples Displayed on LCD Metering Peak hold on/off 32-elements x2 LED meters Comp-type4 Attenuator EQ On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.
Appendix B: Specifications Power Requirements Dimensions U.S./Canada 120 V, 60 Hz 135 W Other 220–240 V, 50/60 Hz 135 W (H x D x W) 200 x 585 x 436 mm (7.8" x 23.0" x 17.1") With MB1000 and SP1000 installed: 295 x 635 x 486 mm (11.6" x 25.0" x 19.
General Spec 329 Comp Parameters Compressor Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points) Out gain 0 dB to +18 dB (0.1 dB step) Knee Hard, 1, 2, 3, 4, 5 (6 step) Attack 0 ms–120 ms (1 ms step) 5 ms–42.3 s (160 points) @ 48 kHz Release 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz Threshold Expander –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.
Appendix B: Specifications Libraries Effect library (EFFECT 1–4) Compressor library Gate library EQ library Channel library Surround Monitor library Input patch library Output patch library Bus to Stereo library Presets 52 (EFFECT 2–4: 44) User memories 76 Presets 36 User memories 92 Presets 4 User memories 124 Presets 40 User memories 160 Presets 2 User memories 127 Presets 1 User memories 32 Presets 1 User memories 32 Presets 1 User memories 32 Presets 1 User memor
Digital Input Spec 331 Digital Input Spec Input 2TR IN DIGITAL Format Data length Level Connector 1 AES/EBU 24-bit RS422 2 IEC-60958 24-bit 0.5 Vpp/75 Ω XLR-3-31 type (Balanced)1 Phono 1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD). Digital Output Spec Output Format 1 2TR OUT DIGITAL 2 AES/EBU1 Professional use IEC-609584 Consumer use Data length 24-bit2 24-bit2 Level RS422 Connector XLR-3-32 type (Balanced)3 0.5V pp/75 Ω Phono 1.
Appendix B: Specifications I/O Slot Spec (1–2) Each I/O SLOT accepts a digital interface card. SLOT #1 has a serial interface. Maker Model Function INPUT OUTPUT 1 Format Resolution Frequency The number of Available cards Note MY8-AT Digital I/O 8 8 ADAT 24 bit 44.1/48 kHz 2 Can handle 24 bit/96 kHz by double channel mode MY16-AT Digital I/O 16 16 ADAT 24 bit 44.1/48 kHz 2 Can handle 24 bit/96 kHz by double channel mode MY8-TD Digital I/O 8 8 TASCAM 24 bit 44.
REMOTE Port 333 REMOTE Port Pin Signal Pin Signal 1 GND 6 RX+/GND1 2 RX–/RX–1 7 RTS/RX+1 3 TX–/TX+1 8 CTS/TX–1 4 TX+/GND1 9 GND 5 N.C. 1. RS422 (for AD824)/SONY 9 pin protocol (P2) CONTROL Port Pin Signal Pin Signal 1 GPO0 14 GPO1 2 GPO2 15 GPO3 3 GPO4 16 GPO5 4 GPO6 17 GPO7 5 GND 18 GND 6 GND 19 GND 7 GND 20 GND 8 GND 21 +5V 9 +5V 22 GPI0 10 GPI1 23 GPI2 11 GPI3 24 N.C. 12 N.C. 25 N.C. 13 N.C.
Appendix B: Specifications 154 87 355 154 200 112 430(Not included Screw heads) 436(Included Screw heads) 32 Dimensions 156 280 101 374 565 585 Unit: mm DM1000—Owner’s Manual
Dimensions 335 295 486 Dimensions with the MB1000 and SP1000 installed: 635 Unit: mm Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. European Models Purchaser/User Information specified in EN55103-1 and EN55103-2.
Appendix C: MIDI Appendix C: MIDI Scene Memory to Program Change Table Program Change # Initial Scene # 1 Program Change # Initial Scene # Program Change# Initial Scene # 01 44 44 87 87 2 02 3 03 45 45 88 88 46 46 89 4 89 04 47 47 90 90 5 05 48 48 91 91 6 06 49 49 92 92 7 07 50 50 93 93 8 08 51 51 94 94 9 09 52 52 95 95 10 10 53 53 96 96 11 11 54 54 97 97 12 12 55 55 98 98 13 13 56 56 99 99 14 14 57 57 100 00 15
Initial Parameter to Control Change Table 337 Initial Parameter to Control Change Table CHANNEL1 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 High NO ASSIGN FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H NO ASSIGN
Appendix C: MIDI CHANNEL2 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H NO ASSIGN ON NO ASSIGN NO ASSIGN FADER L FADER L FADER L FADER L FADER
Initial Parameter to Control Change Table 339 CHANNEL3 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ FADER H FADER H FADER H FADER H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ FADER L FADER L Mid G LOW H G LOW H G LOW H G LOW H G
Appendix C: MIDI CHANNEL4 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ FADER H FADER H FADER H FADER H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ FADER L FADER L Mid G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G
Initial Parameter to Control Change Table 341 CHANNEL5 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ ON ON ON ON NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ ON ON Mid G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID
Appendix C: MIDI CHANNEL6 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ ON ON ON ON NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ ON ON Mid G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H
Initial Parameter to Control Change Table 343 CHANNEL7 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G HI-MID H G HI-MID H
Appendix C: MIDI CHANNEL8 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G HI-MID H G HI-MID H G HI-MID H G HI-MID H G
Initial Parameter to Control Change Table 345 CHANNEL9 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G HIGH H G HIGH H G H
Appendix C: MIDI CHANNEL10 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H
Initial Parameter to Control Change Table 347 CHANNEL11 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid ATT H ATT H ATT H AT
Appendix C: MIDI CHANNEL12 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT
Initial Parameter to Control Change Table 349 CHANNEL13 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO
Appendix C: MIDI CHANNEL14 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIG
Initial Parameter to Control Change Table 351 CHANNEL15 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO
Appendix C: MIDI CHANNEL16 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIG
MIDI Data Format 353 MIDI Data Format 1. DATA FORMAT 1.4.2.2 PARAMTER CHANGE 1.1 CHANNEL MESSAGE Command 8n NOTE OFF 9n NOTE ON Bn CONTROL CHANGE Cn PROGRAM CHANGE rx/tx rx rx rx/tx rx/tx function Control the internal effects Control the internal effects Control parameters Switch scene memories rx/tx rx rx function MTC Used when TIME REFERENCE is MIDI CLOCK. 1.
Appendix C: MIDI Transmission If [TABLE] is selected, operating a parameter specified in the [Control assign table] will cause these messages to be transmitted if [Control Change Tx] is ON. The parameters that can be specified are defined in the Control Change Assign Parameter List.
MIDI Data Format Transmission This message is transmitted on the [Tx CH] by key operations in the [MIDI]-[BULK DUMP] screen. A bulk dump is transmitted on the [Rx CH] in response to a bulk dump request. The data area is handled by converting seven words of 8-bit data into eight words of 7-bit data.
Appendix C: MIDI DATA NAME 01001100 00000000 0bbbbbbb BLOCK INFO. 0ttttttt 0bbbbbbb DATA 0ddddddd : 0ddddddd CHECK SUM 0eeeeeee EOX 11110111 4C 00 bb tt bb ds : de ee F7 ‘L’ 2.12.2.8 User Defined Keys bulk dump request format The second and third bytes of the DATA NAME indicate the bank number. b=0-3(bank no.1-4) total block number(minimum number is 0) current block number(0-total block number) User define layer data of block[bb] STATUS ID No. SUB STATUS FORMAT No.
MIDI Data Format 2.12.2.11 Control change table bulk dump format STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00111001 00110001 DATA NAME 01000011 00000010 00000000 BLOCK INFO.
Appendix C: MIDI 2.12.2.17 Compressor library bulk dump format The second and third bytes of the DATA NAME indicate the library number. 0:Library no.1 – 127:Library no.128, 256:CH1 – 303:CH48, 384:BUS1 – 391:BUS8, 512:AUX1 – 519:AUX8, 768:STEREO, 8192:UNDO 256 and following are data for the corresponding channel of the edit buffer. For reception by the DM1000, only the user area is valid. (36-127, 256-) STATUS ID No. SUB STATUS FORMAT No.
MIDI Data Format 2.12.2.22 Effect library bulk dump request format EOX The second and third bytes of the DATA NAME indicate the library number. (See above) 2.12.2.25 Input patch library bulk dump format STATUS ID No. SUB STATUS FORMAT No.
Appendix C: MIDI 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt 0bbbbbbb DATA 0ddddddd : 0ddddddd CHECK SUM 0eeeeeee EOX 11110111 mh ml tt bb ds : de ee F7 0-32(Output patch Library no.0-32), 2.12.2.30 Bus to Stereo library bulk dump request format 256(Current data) The second and third bytes of the DATA NAME indicate the library number. (See above) total block number(minimum number is 0) current block number(0-total block number) Output patch Library data of block[bb] STATUS ID No.
MIDI Data Format 2.12.2.33 Automix bulk dump format The second byte of the DATA NAME indicates the library number. 0:Library no.1 – 15:Library no.16, 256:current automix data STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00111001 00110001 DATA NAME 01100001 0mmmmmmm 0mmmmmmm BLOCK INFO.
Appendix C: MIDI 2.12.3.1.2 Parameter Change basic format (Universal format) STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS DATA *) EOX 11110000 01000011 0001nnnn 00111110 01111111 0ttttttt 0eeeeeee F0 43 1n 3E 7F tt ee System exclusive message 0ppppppp 0ccccccc 0ddddddd : 11110111 pp cc dd : F7 Parameter no. Manufacture’s ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) Channel no.
MIDI Data Format 2.12.3.8 Parameter change STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS DATA EOX F0 43 1n 3E 0C 04 ee System exclusive message 0ppppppp 0ccccccc 0ddddddd : 11110111 pp cc dd : F7 Parameter no. Manufacture’s ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) DM1000 Backup data Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) Channel no. data End of exclusive 2.12.3.9 Parameter request STATUS ID No.
EOX Appendix C: MIDI 0eeeeeee 0eeeeeee 0eeeeeee 0eeeeeee 11110111 ee ee ee ee F7 result HH result HL result LH DATA result LL End of exclusive 2.12.3.13 Parameter change (Function call: title) Reception When this is received, the title of the specified memory/library will be changed. If this is received from Studio Manager or Cascade Link, the operation will be executed, and then the result of execution will be transmitted as a parameter response.
MIDI Data Format Transmission In response to a request, a Parameter Change message will be transmitted on the [Rx CH]. If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No.
Appendix C: MIDI 2.12.3.24 Parameter change (Function call: pair, copy) Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, pairing will be enabled/disabled for the specified channel. STATUS ID No.
MIDI Data Format 2.12.3.30 Parameter request (Remote Meter) Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, data of the specified address is transmitted on the [Rx CH] at intervals of 50 msec as a rule (although this may not be the case if the port is being used by other communication), for a period of 10 seconds.
Appendix D: Options Appendix D: About Optional Product MB1000 Peak Meter Bridge Installing the Meter Bridge 2-1 2-1 16 4 15 3 OMNI IN 14 2 13 1 12 11 10 9 12 11 10 9 INPUT 8 7 6 5 4 3 2 1 8 7 6 5 4 3 2 1 2-2 2-2 SLOT SLOT POWER ON OFF AC IN METER SMPTE IN REMOTE MIDI OUT IN TO HOST USB CONTROL WORD CLOCK OUT 2TR IN DIGITAL 1 IN 2 AES/EBU 1 2 COAXIAL COAXIAL AES/EBU 1 Attach the brackets to the meter bridge.
MB1000 Peak Meter Bridge 369 BUS 8 OVER 0 -3 -6 -9 -12 -15 -18 -24 -30 -36 -48 8 BUS 4 S M BUS 5 BUS 6 B INPUT METERING POSITION indicators REMOTE 2 MASTER 17-32 33-48 OVER 0 -3 -6 -9 -12 -15 -18 -24 -30 -36 -48 REMOTE 1 H BUS 1 This button turns the Peak Hold function on or off. When the Peak Hold function is turned on, the button indicator lights up. This button works in unison with the PEAK HOLD button displayed on the Meter display.
Appendix D: Options Rack Mounting the MB1000 Using Rack Angle Brackets You can rack mount the MB1000 meter bridge using the rack angle brackets that came with the meter bridge. 1 Detach the MB1000 from the DM1000. Also, remove the SP1000 side panels if they are attached.
Installing the SP1000 Side Panels 371 Installing the SP1000 Side Panels The figure below illustrates how to attach the left side panel to the DM1000. Attach the right side panel to the DM1000 in the same way. Rack Mounting the DM1000 Using the RK1 Rack Mount Kit You can rack mount the DM1000 using the optional RK1 Rack Mount Kit. 1 Remove the side panels if they are attached.
Index Index Symbols ø/INS/DLY | DLY 1-16 page .............. 61 ø/INS/DLY | DLY 17-32 page ............ 61 ø/INS/DLY | DLY 33-48 page ............ 61 ø/INS/DLY | Insert page ................... 112 ø/Ins/Dly | Insert page ...................... 150 ø/INS/DLY | Out Dly page ........... 81, 93 ø/INS/DLY | Phase page ..................... 60 ø/INSERT/DELAY button ................. 17 +48V ON/OFF switches ..................... 14 Phantom power ............................ 51 Numerics 1–12 buttons .......
Index CATEGORY ........................................55 Changing names ................................249 Channel Copy Parameter preference .............................253 Channel faders .....................................15 Channel ID/Channel preference ......252 Channel library ..................................167 Channel strip section ..........................15 CHORUS ...........................................294 CHORUS 5.1 .....................................311 CLEAR button ................
Index FAST ................................................... 126 Fast Meter Fall Time preference ...... 251 FB.GAIN .............................................. 62 Features ................................................ 11 Automix ........................................ 12 Channel configuration ................. 12 Effects ............................................ 12 Hardware ...................................... 11 Inputs and Outputs ...................... 11 MIDI .........................
Index SLOT 1 ........................................236 System exclusive messages .........235 Transmission and Reception .....238 USB port ......................................236 MIDI | Bulk page ...............................247 MIDI | Ctl Asgn page ........................240 MIDI | Pgm Asgn page ......................239 MIDI | Setup page .............................238 MIDI button ........................................17 MIDI interface ...................................
Index PEAK indicators ............................ 14, 51 Peak level ............................................. 39 Phantom power ................................... 51 +48V ON/OFF switches .............. 14 Phase .................................................... 60 PHASER ............................................. 296 PHONES jack .............................. 21, 115 PHONES LEVEL control ................... 21 PLAY .................................................. 194 PLUG-IN ..............
Index Solo .....................................................116 2TR DIN FLIP ............................117 LAST SOLO ................................116 LISTEN ........................................116 MIX SOLO ..................................116 MIXDOWN ................................116 RECORDING .............................116 SOLO ...........................................116 Solo function ...............................118 SOLO INTERRUPTION ...........117 SOLO SAFE CHANNEL ............
YAMAHA [Digital Mixing Console-Internal Parameters] Model: DM1000 Function... Date: 26 Aug. 2002 MIDI Implementation Chart Version: 1.
DM1000 Block Diagram (Gain Reduction) METER METER (Out Meter) [INPUT] (1-16) ON PAD 0 20 AD GAIN –60 ~ –16 x4 AD 1-16 METER (Gain Reduction) METER [OMNI IN] (1-4) METER OMNI 1-4 [SLOT] (1-2) SLOT1 OUTPUT DELAY AUX 8 ATT 4BAND EQ (Gain Reduction) LFE (Gain Reduction) (Out Meter) METER METER METER ON PRE/POST INSERT Keyin Self or Stereo Link INSERT METER OUTPUT DELAY 66 SINE100Hz SINE1kHz SINE10kHz 1kHz/400Hz PINK NOISE BURST NOISE FX1 Return 1-2 FX2 Return 1-2 FX3Return 1-2
DM1000 Level Diagram Analog Analog Digital dBu dBFS +24 +20 +10 +4 0 –2 –10 –20 –30 0 –10 –20 –30 –40 –50 –60 –40 –50 –60 –70 –80 –90 –100 –110 –120 –130 –140 –150 –70 –80 –90 –100 –110 –120 –130 –140 –150 –160 –170 –180 –160 –170 –180 –190 –190 –200 –210 PAD GAIN INSERT Digital AD INPUT PATCH PHASE Digital GATE INSERT ATT. EQ INSERT COMP DELAY ON LEVEL INSERT PAN BUS Adder INSERT ATT.
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ This document is printed on recycled chlorine free (ECF) paper with soy ink. M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2003 Yamaha Corporation WA83970 306IPAP121.
