Operation Manual

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DIGITAL MIXING CONSOLE

Owner’s ManualOwner’s Manual

Owner’s Manual

Keep This Manual For Future Reference.

Summary of content (350 pages)

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DIGITAL MIXING CONSOLE Owner’s Manual Keep This Manual For Future Reference.
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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.
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Warnings 3 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. Be sure to connect to an appropriate outlet with a protective grounding connection. Improper grounding can result in electrical shock. Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result.
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Important Information • • • • • • • • • • • • • Hold the power cord plug when disconnecting it from an AC outlet. Never pull the cord. A damaged power cord is a potential fire and electrical shock hazard. Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard. This unit has ventilation holes along the front underside and at the rear to prevent the internal temperature from rising too high. Do not block them. Blocked ventilation holes are a fire hazard.
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Interference • • 5 When connecting D-sub cables, be sure to tighten the screws on both sides of the connector securely. To disconnect the cable, loosen the screws completely, then remove the cable by holding the connector part. Do not remove the plug by pulling the cable while the screws are still attached. Otherwise, the connector may be damaged, leading to malfunction.
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Important Information About this Owner’s Manual This Owner’s Manual covers the 02R96 Digital Mixing Console. All the information you need in order to operate the 02R96 Digital Mixing Console is contained in this manual. Use the table of contents to familiarize yourself with the manual’s organization and to locate tasks and topics, and use the index to locate specific information. Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on page 43.
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New Functions in 02R96 Version 2 7 Aux Sends • • • • You can exclude channels from Aux Sends (Mix Minus). → page 104 You can copy the channel fader positions to Aux Sends. → page 104 You can set all Send levels to nominal simultaneously. → page 99 If an Aux Send is set to pre-fader, you can set the Pre point before or after the [ON] button. → page 99 Common Channel Functions • • • • • • Input and Output Channel Meter pages indicate the gain reduction being applied by the Gate and Compressor.
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Important Information Remote Control • • The Joystick or the controls in the SELECTED CHANNEL section enable you to control Pro Tools Surround Pan settings. The USER DEFINED KEYS enable you to switch windows in the included Studio Manager application software. Other Functions • • • • • • • • • A user-assignable layer enables you to assign Channels to Remote layer targets.
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Contents Contents 1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . 19 Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 3 Operating Basics . . . . . . . . . . . . . . . . . . . . . . . . . .
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Contents 7 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Patching Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reversing the Signal Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Contents 9 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Patching Bus Outs to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Input Channels to Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Contents 11 Common Channel Functions . . . . . . . . . . . . . . . . 107 Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attenuating Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Output Channel EQs . . . . . . . . . . . . . . . . . .
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Contents 13 15 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . 162 About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Auto Scene Memory Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Storing & Recalling Scenes with the SCENE MEMORY Buttons . . . . . . . . . . . . . 164 Using the Scene Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Contents 18 Pro Tools Remote Layer . . . . . . . . . . . . . . . . . . . . 196 Configuring Windows Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Macintosh Computers (MacOS 8.6 to 9.2.2) . . . . . . . . . . . . . . . . . . Configuring Macintosh Computer (MacOS X) . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Pro Tools .
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Contents 15 Appendix A: Parameter Lists . . . . . . . . . . . . . . . . . . . . 238 USER DEFINED KEYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 USER DEFINED KEYS Initial Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Input Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Initial Input Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 1—Welcome 1 Welcome Thank you for choosing the Yamaha 02R96 Digital Mixing Console. The 02R96 Digital Mixing Console offers 24-bit/96 kHz digital audio processing without compromise, comprehensive surround mixing and monitoring, including bass management, and hands-on control of popular DAW (Digital Audio Workstation) systems. Sonic Spec • • • • • Linear 24-bit, 128-times oversampling A/D converters Linear 24-bit, 128-times oversampling D/A converters 20 Hz–40 kHz (0.5, –1.
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Welcome 17 I/O Patching • • • • Any available input port can be patched to the Input Channels, Insert Ins, or Effects inputs Direct Outs, Insert Outs, Bus Outs, Aux Sends, and the Stereo Out can be patched to any output port Input and output ports can be named for easy identification Patches can be stored in the Input and Output Patch libraries EQ • • 4-band parametric EQ on all Input and Output Channels EQ library with 40 presets, 160 user memories Groups & Pairs • • • • • • Horizontal and vertical
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Chapter 1—Welcome Surround Sound • • • • • • 3-1, 5.1 and 6.
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EFFECTS/PLUG-INS (p. 24) FADER MODE (p. 22) ENCODER MODE (p. 22) AUX SELECT (p. 21) DISPLAY ACCESS (p. 23) AD Input Section (p.
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Chapter 2—Control Surface & Rear Panel AD Input Section AD Input #1 is shown at the top; AD Inputs #17 and #18 below. + 48V 1 2 3 4 5 6 ON OFF A +48V ON/OFF switches (AD 1–16) These switches turn on and off the +48 V phantom power feed to each INPUT A (XLR-type connector). Phantom power is typically used to power condenser-type microphones or direct boxes. See “Phantom Power (AD 1–16)” on page 53 for more information.
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Control Surface 21 D SOLO buttons These buttons are used to solo Channels. The [SOLO] button indicators of channels that are soloed light up. See “Soloing Channels” on page 121 for more information. E ON buttons These buttons are used to mute Input and Output Channels. Their exact operation depends on the currently selected Layer. The [ON] button indicators of channels that are on light up.
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Chapter 2—Control Surface & Rear Panel ENCODER MODE 1 ENCODER MODE DISPLAY PAN ASSIGN 1 AUX 2 3 ASSIGN 2 4 A ENCODER MODE DISPLAY button This button is used to select the Encoder Mode Assign page. See “Selecting Encoder Modes” on page 50 for more information. B PAN button This button is used to select the Pan Encoder mode. Its indicator lights up when this mode is selected. In this mode, the Encoders function as Pan controls while an Input Channel Layer is selected.
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Control Surface 23 DISPLAY ACCESS 1 2 3 4 DISPLAY ACCESS 5 6 AUTOMIX DIO SETUP UTILITY MIDI REMOTE METER VIEW PAIR GROUP INPUT PATCH OUTPUT PATCH 7 8 9 J K L A AUTOMIX button This button is used to select the following Automix pages: Automix Main, Automix Memory, Fader Edit, Event Copy, and Event Edit. See “Automix” on page 170 for more information.
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Chapter 2—Control Surface & Rear Panel K INPUT PATCH button This button is used to select the following pages: Input Channel Patch, Input Channel Insert In Patch, Effect Input/Output Patch, Input Channel Name, and Input Patch Library. See “Input Patching” on page 66 for more information.
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Control Surface 25 G Parameter controls 1–4 These are rotary controls and push switches. The rotary controls are used to edit the parameters of the currently selected internal effects processor or Plug-In. When the Effects Edit page is selected, they control the currently selected row of parameters, rows being selected by the Parameter Up/Down buttons. See “Editing Effects” on page 156 and “Editing Plug-Ins” on page 160 for more information.
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Chapter 2—Control Surface & Rear Panel SELECTED CHANNEL Section SELECTED CHANNEL ROUTING DISPLAY ACCESS DISPLAY 1 2 3 4 5 6 7 8 STEREO DIRECT PHASE / INSERT DELAY PAN / SURROUND DISPLAY FOLLOW PAN L R L R ODD EVEN LINK GRAB EFFECT DYNAMICS DISPLAY GATE ON COMP ON GATE / COMP GATE THRESHOLD RANGE ATTACK DECAY HOLD COMP THRESHOLD RATIO ATTACK RELEASE GAIN EQUALIZER LOW LOW MID HIGH MID HIGH DISPLAY FREQUENCY Q FREQUENCY GAIN Q 125 EQ ON Q GAIN FREQUENCY GA
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Control Surface 27 DISPLAY ACCESS DISPLAY ACCESS PHASE / INSERT DELAY 1 2 A PHASE/INSERT button This button is used to select the Input Channel Phase and Insert pages. See “Reversing the Signal Phase” on page 73 and “Using Inserts” on page 115 for more information. B DELAY button This button is used to select the Delay pages. See “Delaying Channel Signals” on page 120 for more information.
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Chapter 2—Control Surface & Rear Panel PAN/SURROUND 8 PAN / SURROUND 1 DISPLAY L R L R ODD EVEN 2 3 LINK 4 GRAB EFFECT 5 67 A PAN/SURROUND DISPLAY button This button is used to select the Input Channel Pan pages, the Surround Mode page, and the Surround Edit pages. See “Panning Input Channels” on page 83 and “Using Surround Pan” on page 85. B L & R buttons These buttons can be used to select horizontally or vertically partnered Input or Output Channels.
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Control Surface 29 H Joystick This control can be used for surround panning, normal panning, or parameter control of the Reverb 5.1 effect. When the [EFFECT] button indicator is lit, the Joystick controls the Reverb 5.1 effect. See “REVERB 5.1” on page 276 for more information. When the [EFFECT] button indicator is off and the [GRAB] button indicator is on, the Joystick controls surround panning of the currently selected Input Channel.
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Chapter 2—Control Surface & Rear Panel LAYER LAYER 1 2 1 24 REMOTE 25 48 MASTER 3 A 1–24 & 25–48 buttons These buttons select the Input Channel Layers, which determine which Input Channels are controlled by the channel strips. The LAYER button indicator for the currently selected Layer lights up. See “Selecting Layers” on page 47 for more information. B REMOTE button This button selects the Remote Layer, which can be used to control external devices, including DAWs.
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Control Surface 31 SCENE MEMORY 1 SCENE MEMORY DISPLAY 00 STORE RECALL 23 4 5 6 A SCENE MEMORY DISPLAY button This button is used to select the following pages: Scene Memory, Input Channel Fade Time, Output Fade Time, Recall Safe, and Scene Memory Sort. See “Scene Memories” on page 162 for more information. B Scene memory display This displays the number of the currently selected Scene memory. See “Scene Memories” on page 162 for more information.
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Chapter 2—Control Surface & Rear Panel MACHINE CONTROL 1 2 3 MACHINE CONTROL LOCATE MEMORY DISPLAY SET 1 2 3 4 5 6 7 8 4 5 REW FF STOP PLAY REC 6 7 8 A MACHINE CONTROL DISPLAY button This button is used to select the Locate Memory and Machine Configuration pages. See “Setting the Locate Memories” on page 224 and “Configuring Machines” on page 222 respectively for more information.
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Control Surface 33 Data Entry & Transport 5 DEC 1 SHUTTLE INC 6 2 SCRUB 3 4 ENTER A SHUTTLE button This button is used to set the Parameter wheel to Shuttle mode for machine control (DAW, MMC). Its indicator lights up when Shuttle mode is on. See “Using Shuttle & Scrub” on page 223 for more information. B SCRUB button This button is used to set the Parameter wheel to Scrub mode for machine control (DAW, MMC). Its indicator lights up when Scrub mode is on.
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Chapter 2—Control Surface & Rear Panel Monitor, Phones & Talkback Section 5 0 10 TALKBACK LEVEL 4 3 PHONES 0 10 0 10 STUDIO LEVEL PHONES LEVEL 1 2 A STUDIO LEVEL control This control is used to set the level of the STUDIO MONITOR OUT. See “Studio Monitoring” on page 137 for more information. B PHONES LEVEL control This control is used to set the level of the PHONES. See “Control Room Monitoring” on page 136 for more information.
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Control Surface 35 C STEREO button This button selects the Stereo Out signal as the Studio Monitor signal source. Its indicator lights up when this source is selected. See “Studio Monitoring” on page 137 for more information. D AUX 7 button This button selects Aux Send #7 as the Studio Monitor signal source. Its indicator lights up when this source is selected. See “Studio Monitoring” on page 137 for more information. E AUX 8 button This button selects Aux Send #8 as the Studio Monitor signal source.
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Chapter 2—Control Surface & Rear Panel G STEREO ASSIGN 1 button This button is used to select the assigned Output Channel as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Setup” on page 137 for more information. H STEREO ASSIGN 2 button This button is used to select the assigned Output Channel as the Control Room Monitor signal source. Its indicator lights up when this source is selected.
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Power Section (p. 42) Analog Master I/O Section (p. 39) OMNI OUTs, Digital I/O & Control Section (p. 40) AD Input Section (p. 38) SLOT Section (p.
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Chapter 2—Control Surface & Rear Panel AD Input Section AD Input #1 is shown at the top; AD Inputs #17 and #18 below A INPUT A & B (BAL) connectors AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and balanced 1/4-inch phone jacks, both with a nominal input range of –60 dB to +10 dB. Phantom powering (+48 V) is supplied to the XLR-type connectors, with individual ON/OFF switches on each input.
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Rear Panel 39 Analog Master I/O Section 1 2 3 4 5 6 A STUDIO MONITOR OUT +4 dB (BAL) Tip (hot) These balanced 1/4-inch TRS phone jacks, nominal output 1/4" TRS phone plug Ring (cold) level +4 dB, output the analog Studio Monitor signal for monitoring in the actual studio. The source, which is Sleeve (ground) selected by using the STUDIO buttons in the MONITOR section, can be Aux Send #7, Aux Send #8, the Stereo Out, or Control Room. The output level is controlled by the STUDIO LEVEL control.
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Chapter 2—Control Surface & Rear Panel OMNI OUTs, Digital I/O & Control Section 2 3 4 56 7 8 9 J K L 1 M N O P A OMNI OUT +4dB (BAL) These balanced 1/4-inch TRS phone jacks, nominal output level +4 dB, provide eight analog outputs that can be patched to the following: Bus Outs, Aux Sends, the Stereo Out, Insert Outs, Direct Outs, or Surround Monitor Channels. See “Omni Outs” on page 54.
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Rear Panel 41 H 2TR IN DIGITAL COAXIAL 2 & 3 These phono connectors accept consumer format (IEC-60958) digital audio, and are typically used to connect the digital stereo outputs of 2-track recorders. Signals connected here can be monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL ROOM [2TR D2] or [2TR D3] button. In addition, these inputs can be patched to Input Channels or Insert Ins. Unsynchronized digital audio signals can be converted by the internal sampling rate converters.
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Chapter 2—Control Surface & Rear Panel Power Section 1 4 2 3 A POWER ON/OFF switch This switch is used to turn on the power to the 02R96. See “Turning On & Off the 02R96” on page 43 for more information. B Grounding screw For electrical safety reasons, and correct operation of the touch-sensitive faders, it’s important that the 02R96 is grounded properly.
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Operating Basics 43 3 Operating Basics Connecting the Power Cord Warning: Turn off all equipment connected to the 02R96 before making any power connections. Connect the socket-end of the supplied power cord to the AC IN on the rear panel of the 02R96. Connect the plug-end to a suitable AC wall outlet, one that conforms to the power supply requirements stated on the 02R96’s rear panel.
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Chapter 3—Operating Basics About the Display All 02R96 mix parameters can be edited on the various display pages. EDIT indicator MIDI indicator Current Scene Sampling rate/Surround mode Selected DISPLAY Page title Page # Selected channel Channel name Page area Page tab scroll arrows Page tabs Current Scene: The number and title of the currently selected Scene memory are displayed here. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page 164 for more information.
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Selecting Display Pages 45 Page area: This area of the display is where the various display pages appear. Page tabs: These tabs are used when selecting pages. Up to four tabs are visible at a time. See “Selecting Display Pages” on page 45 for more information. Page tab scroll arrows: These arrows indicate that there are more pages available. See “Selecting Display Pages” on page 45 for more information.
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Chapter 3—Operating Basics Parameter Windows When a rotary control in the SELECTED CHANNEL section is operated, if the corresponding parameter does not appear on the currently selected page, a parameter window like the one shown here is displayed while the control is adjusted. If the control is not adjusted for awhile, the window closes automatically. If the Auto Display preference for the adjusted parameter is on, the page containing that parameter appears instead of this parameter window.
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Selecting Layers 47 Selecting Layers Input and Output Channels are arranged into Layers, as illustrated below. There are four Layers altogether: two Input Channel Layers, a Master Layer (or Output Layer), and a Remote Layer.
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Chapter 3—Operating Basics Selecting Channels To select Input and Output Channels for editing with the SELECTED CHANNEL controls, you use the LAYER buttons to select a Layer, and the [SEL] buttons to select a channel on that Layer. 1 Select a Layer, as explained on page 47. 2 Use the [SEL] buttons to select an Input or Output Channel. The [SEL] button indicator for the currently selected channel lights up.
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Selecting Fader Modes 49 Auto Channel Select & Touch Sense Select While the Auto Channel Select preference is on (see page 230), channels can be selected by moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO], or [ON] button. Note that you can use the [AUTO] buttons to select channels only during Automix recording or in Automix record ready mode.
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Chapter 3—Operating Basics Selecting Encoder Modes The exact function of each Encoder depends on the selected Layer and Encoder mode. There are two preset Encoder modes, Pan and Aux, and two assignable modes, for which you can choose from over 40 parameters. 1 Select a Layer, as explained in page 47. 2 Use the ENCODER MODE buttons to select an Encoder mode. ENCODER MODE DISPLAY PAN AUX ASSIGN 1 ASSIGN 2 [PAN]: Encoders function as Pan controls.
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Assigning Parameters to the ENCODER MODE Assign Buttons 51 Assigning Parameters to the ENCODER MODE Assign Buttons Up to two parameters can be assigned to the two ENCODER MODE ASSIGN buttons. Initially, the following parameters are assigned to the ASSIGN buttons: [ASSIGN 1]: Input Patch [ASSIGN 2]: Direct Out 1 Use the ENCODER MODE [DISPLAY] button to select the Encoder Mode Assign page. The names of the parameters currently assigned to each ASSIGN button are displayed in the left-hand box.
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Chapter 3—Operating Basics Assignable Encoder Mode Parameter List # Parameter Encoder Operation 1 No Assign 2 Attenuator Attenuator — Push Switch Operation — — 3 Input Patch Input Channel patch 4 Insert In Patch Insert In patch Confirm or execute patch selection. Confirm or execute patch selection. 5 Insert Out Patch Insert Out patch Confirm or execute patch selection. Confirm or execute patch selection.
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Analog I/O & the AD Input Section 53 4 Analog I/O & the AD Input Section AD Input Section The 02R96 features 24 AD Inputs for connecting microphone and line-level sources. AD Inputs can be patched to Input Channels or Input Channel Insert Ins (see page 66). They can also be patched to Output Channel Insert Ins (see page 69). AD Input Connectors (AD 1–16) AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and balanced 1/4-inch phone jacks, both with a nominal input range of –60 dB to +10 dB.
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Chapter 4—Analog I/O & the AD Input Section AD Inserts (AD 1–16) AD Inputs 1 through 16 feature switchable analog inserts on 1/4-inch TRS phone jacks for the send and return signals. They are wired: sleeve–ground, ring–return, tip–send. The rated level for both connectors is +4 dB. OFF ON INSERT AD Input inserts can be turned on and off individually by using the INSERT ON/OFF switches, so you don’t have to disconnect your external equipment in order to remove an insert.
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Digital I/O & Cascading 55 5 Digital I/O & Cascading Wordclocks Unlike analog audio equipment, digital audio equipment must be synchronized when digital audio signals are transferred from one device to another, otherwise, signals may not be received correctly and audible noise, glitches, or clicks may occur. Synchronization is achieved using what’s called a wordclock, which is a clock signal for synchronizing all the digital audio signals in a system.
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Chapter 5—Digital I/O & Cascading Selecting the Wordclock Source The wordclock source can be selected as follows. Note: When you change the wordclock settings on any device in your digital audio system, some devices may output noise, so turn down your power amps beforehand, otherwise your speakers may be damaged. 1 Use the DISPLAY ACCESS [DIO] button to locate the Word Clock Select page. 2 Use the cursor buttons to select the sources, and press [ENTER] to set.
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2TR Digital Outs 57 Terminating External Wordclocks Wordclock signals distributed via BNC cables must be terminated correctly, otherwise, jitter and synchronization errors may result. Ideally, you should make a separate wordclock connection to each device and terminate it. The following examples show two ways in which wordclock signals can be distributed and how termination should be applied in each case. Normally the WORD CLOCK 75Ω ON/OFF switch should be set to ON.
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Chapter 5—Digital I/O & Cascading 2TR Digital Ins The 02R96 features three sets of 2-track digital inputs: 2TR IN DIGITAL AES/EBU 1 uses an XLR-3-31-type connector and accepts AES/EBU format digital audio. 2TR IN DIGITAL COAXIAL 2 and 3 use phono connectors and accept consumer format (IEC-60958) digital audio. These inputs can be monitored via the Control Room monitors by using the CONTROL ROOM [2TR D1], [2TR D2], and [2TR D3] buttons.
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Slot I/O 59 Slot I/O The 02R96 features four Slots for installing optional mini-YGDAI (Yamaha General Digital Audio Interface) I/O Cards, which offer various analog I/O options and digital I/O interfaces in all the popular digital audio interconnect formats, including AES/EBU, ADAT, and Tascam. Slot Inputs can be assigned to Input Channels or Input Channel Insert Ins (see page 66), or to Output Channel Insert Ins (see page 69).
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Chapter 5—Digital I/O & Cascading Installing I/O Cards For technical reasons, certain card combinations are not supported. Before installing any cards, check the Yamaha web site (see page 5) to see whether your card is compatible. http://www.yamahaproaudio.com/ Also check the total number of cards that can be installed in the unit. Installing cards that are not endorsed by Yamaha may cause electrical shock, fire, or damage to the unit. This section explains how to install I/O Cards.
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Slot I/O 61 Setting the Transfer Format for Higher Sampling Rates The data transfer format for the higher sampling rates can be set as follows. 1 Use the DISPLAY ACCESS [DIO] button to locate the Higher Sample Rate Data Transfer Format page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. The SLOT TYPE column displays the names of any installed I/O Cards.
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Chapter 5—Digital I/O & Cascading Dithering Digital Outputs For digital audio transfer to lower-resolution systems, the 2TR Digital Outputs and Slot Outputs can be dithered to 16-bit, 20-bit, or 24-bit. 1 Use the DISPLAY ACCESS [DIO] button to locate the Dither page. 2 Use the cursor buttons to select the Dither parameters, and use the Parameter wheel or INC/DEC buttons to set them. The SLOT column displays the names of any installed I/O Cards.
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Cascading Consoles 3 63 If you select the SLOT button for a slot that has an MY16-AE card installed, use the 01–08 and 09–16 buttons located in the lower-right corner of the screen to select a channel group you wish to display. Cascading Consoles Total four 02R96s or DM2000s can be cascaded, offering a maximum of 224 Input Channels. Several functions are linked between all cascaded consoles, including Solo, Scene Recall and Store, so that all consoles work just like one big console.
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Chapter 5—Digital I/O & Cascading Cascade Hookup Examples Cascading Two 02R96s Master: Off Bi-directional: – Master: On Bi-directional: On CASCADE OUT CASCADE IN 02R96 #1 02R96 #2 CASCADE IN CASCADE OUT Final signals can be output by the Slot Outputs or Omni Outs. Final signals can be output by the Slot Outputs or Omni Outs.
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Cascading Consoles 65 Attenuating Cascade Inputs Cascade Inputs can be attenuated, and the Cascade mode and Cascade source can be specified on the Cascade In page. 1 Use the DISPLAY ACCESS [DIO] button to locate the Cascade In page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. CASCADE MODE: When you want to output the same signals from two 02R96s, turn on the BI-DIRECTIONAL button.
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Chapter 6—Input & Output Patching 6 Input & Output Patching Input Patching Input and Output signals for the Input Channels, Input Channel Insert Ins, and internal effects processors are selected on the Input Patch pages, which are selected by using the DISPLAY ACCESS [INPUT PATCH] button. Use the cursor buttons to select the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set. Patch parameters display Short Port names.
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Input Patching 67 Patching Input Channel Insert Ins AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs can be patched to the Input Channel Insert Ins. The Input Channel Insert In Patch parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Insert In Patch page is shown below. The layout of the other page is the same.
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Chapter 6—Input & Output Patching Output Patching Signal sources for the Slot Outputs, Omni Outs, Output Channel Inserts Ins, Direct Outs, and 2TR Digital Outputs are selected on the Output Patch pages, which are selected by using the DISPLAY ACCESS [OUTPUT PATCH] button. Use the cursor buttons to select the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set.
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Output Patching 69 Patching Omni Outs Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround Monitor Channels can be patched to the Omni Outs. Omni Outs can be patched to Direct Outs on the Direct Out Destination pages (see page 70). When an Omni Out is patched to a Direct out (see page 70), and that Direct Out is assigned on an Input Channel Routing page, the Omni Out patch cannot be changed here.
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Chapter 6—Input & Output Patching Patching Direct Outs Direct Outs can be patched to the Slot Outputs, Omni Outs, or 2TR Digital Outputs. The Direct Out Destination parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Direct Out Destination page is shown below. The layout of the other page is the same. In addition to using the cursor buttons, Patch parameters can also be selected by using the LAYER and [SEL] buttons.
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Naming Input & Output Ports 71 Naming Input & Output Ports You can specify Long and Short names for the Input and Output Ports as follows. These names appear on the Input and Output Patch pages. See page 251 for a list of the initial Input Port names; page 252 for Output Port names. 1 Use the DISPLAY ACCESS [SETUP] button to locate the Input Port or Output Port Name page. 2 Use the Parameter wheel or INC/DEC buttons to select the ports.
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Chapter 6—Input & Output Patching Patching with the Encoders The following patches can be made by using the Encoders: Input Channel Inputs, Insert Outs, Insert Ins, and Direct Outs. 1 Assign one of the above parameters to an Encoder ASSIGN button, as explained on page 51. 2 Press the ASSIGN button to which you assigned the patch parameter. 3 Use the Encoders to select ports, and press the Encoder push switches to set them. The coresponding Patch page appears when an Encoder is operated.
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Input Channels 73 7 Input Channels Patching Input Channels AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs, Bus Outs, or Aux Sends can be patched to the Input Channel Inputs. See “Patching Input Channels” on page 66 for more information. Metering Input Channels Input Channel signal levels can be metered on the Meter pages. See “Metering” on page 107 for more information. Reversing the Signal Phase The signal phase of each Input Channel can be reversed as follows.
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Chapter 7—Input Channels Gating Input Channels Each Input Channel features a noise Gate for automatically shutting out unwanted noise. Gate settings can be stored in the Gate library, which contains 4 preset memories and 124 user memories. See “Gate Library” on page 148 for more information. Preset Gates & Types The following table lists the preset Gates and types. See page 283 for detailed parameter information.
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Attenuating Input Channels 75 3 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the Gate Edit page. 4 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. KEYIN SOURCE: This determines the trigger source for the currently selected Input Channel’s Gate. Trigger sources include SELF (the Gate’s own input signal), CHANNEL (another Input Channel), or AUX (an Aux Send from 1–8).
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Chapter 7—Input Channels Grouping Input Channel EQs Input Channel EQs can be grouped, allowing you to control the EQ of several Input Channels simultaneously. There are four Input Channel EQ groups: a, b, c, and d. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Equalizer Link page. 2 Use the LAYER buttons to select the Layers. The corresponding group row is selected as each Layer is selected. 3 Use the Up/Down cursor buttons to select EQ groups a–d.
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Grouping Input Channel Compressors 77 Grouping Input Channel Compressors Input Channel Compressors can be grouped, allowing you to control the compression of several Input Channels simultaneously by operating any Compressor control in the group. There are four Input Channel Compressor groups: i, j, k, and l. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Comp Link page. 2 Use the LAYER buttons to select the Layers. The corresponding group row is selected as each Layer is selected.
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Chapter 7—Input Channels Grouping Input Channel Mutes (ON/OFF) Input Channel Mutes can be grouped, allowing you to mute several Input Channels simultaneously. There are eight Input Channel Mute groups: I, J, K, L, M, N, O, and P. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Mute Group pages. The Mute group parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Mute Group page is shown below. The layout of the other page is the same.
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Input Channel Mute Master Input Channel Mute Master The 02R96 features a Mute Master function that enables you to mute all channels in the Mute group using the MASTER button, much like a Mute group on an analog mixing console. When the Mute Group Master function is enabled, the channel [ON] button status does not link to the corresponding Mute group.
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Chapter 7—Input Channels 2 Use the LAYER buttons to select the Layers. The corresponding Fader Group page and group row is selected as each Layer is selected. 3 Use the Up/Down cursor buttons to select Fader groups A–H. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove faders to and from the selected group. When an Input Channel is added to a group, its [SEL] button indicator lights up.
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Group Master for Input Channel Faders 81 You can also make these settings in the Input Fader Group Master page, as shown below. 3 Use the DISPLAY ACCESS [GROUP] button to locate the Input Fader Group Master page. 4 Use the cursor buttons to select parameters, then use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set the parameters. INPUT FADER MASTER: When this check box is checked, you can set the master levels for the Input Fader groups.
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Chapter 7—Input Channels Routing Input Channels Each Input Channel can be routed to the Bus Outs, Stereo Out, or its own Direct Out. Using the SELECTED CHANNEL ROUTING Controls 1 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to select the Input Channels. ROUTING DISPLAY 1 2 2 Use the [1–8], [STEREO], and [DIRECT] buttons to route the currently selected Input Channel. [1–8]: These buttons route the currently selected Input Channel to the Bus Outs.
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Panning Input Channels ALL BUS: This button assigns all Input Channels that are currently displayed to all Bus Outs ALL CLEAR: This button clears all routing assignments that are currently displayed. The currently selected Surround mode is displayed in the lower-left corner. When Stereo mode is selected, the Bus Out routing buttons display numbers from 1 through 8. When a Surround Pan mode is selected, they display abbreviations of the Surround Channel names, as shown in the following table.
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Chapter 7—Input Channels Pan Pages Pan settings can be viewed and set on the Pan pages. If the Auto PAN/SURROUND Display preference is on, these pages appear automatically when a control in the SELECTED CHANNEL PAN/SURROUND section is operated. 1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Input Channel Pan pages. The Pan parameters for the 56 Input Channels are arranged into three pages. The Input Channel 1–24 Pan page is shown below.
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Using Surround Pan Using Surround Pan The 02R96 supports 3-1, 5.1 and 6.1 Surround modes. Surround pan is independent of normal panning. Normal panning determines how the Input Channel signal is panned between the left and right channels of the Stereo out. Whereas surround panning determines how the Input Channel signal is panned among the Surround channels (i.e., the Bus Outs).
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Chapter 7—Input Channels 2 Use the cursor buttons to select the surround mode buttons, and press [ENTER] to activate the selected mode. The diagram on each page shows the typical sound image placement and the Surround channel to Bus Out configuration. 3-1 Surround 5.1 Surround 6.1 Surround Select the SURR/BUS SETUP button, then press the [ENTER] button to display the Surround Bus Setup page, which enables you to change the Surround Channel to Bus Out assignment.
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Assigning Surround Channels to Buses 87 Assigning Surround Channels to Buses You can modify the Surround Channel to Bus assignment. 1 Use the DISPLAY ACCESS [SETUP] button to locate the Surround Bus Setup page. 2 Use the cursor buttons to select the bus for which you want to change the surround channel assignment, then use the Parameter wheel or INC/DEC buttons to select a surround channel. INIT: These buttons reset the channel assignment to the default setting.
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Chapter 7—Input Channels Selected Channel Surround Edit Page Surround pan settings can be viewed and set on the Input Channel Surround Edit page. If the Auto PAN/SURROUND Display preference is on, and a Surround Pan mode other than Stereo is selected, this page appears automatically when a PAN/SURROUND control other than the [EFFECT] button is operated. See “Auto PAN/SURROUND Display” on page 230. 1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Surround Edit page.
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Assigning Surround Channels to Buses 89 DIV (divergence): This determines how the Center signal is fed to the Left, Right, and Center channels. When set to 0, the Center signal is fed only to the Left and Right channels (i.e., Phantom Center). When set to 50, the Center signal is fed equally to the Left, Right, and Center channels. When set to 100, it’s fed to only the Center channel (i.e., Real Center) (3-1 and 5.1 mode only).
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Chapter 7—Input Channels Sending Input Channels to Aux Sends Input Channel signals can be sent to Aux Sends 1–8. See “Setting Aux Send Levels” on page 99 and “Pre-Fader or Post-Fader Aux Sends” on page 98. Soloing Input Channels Input Channels can be soloed. See page 121 for more information. Direct Outs Each Input Channel features a Direct Out, which can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. Direct Out signals can be sourced pre-EQ, pre-fader, or post-fader.
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Using the MS Stereo Microphone 91 Using the 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 features both M and S functions.
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Chapter 8—Stereo Out 8 Stereo Out Stereo Out Connectors The Stereo Out is output by the STEREO OUT +4 dB (BAL) balanced XLR-3-32-type connectors and the STEREO OUT –10 dBV (UNBAL) unbalanced phono connectors. Patching the Stereo Out to Outputs The left and right channels of the Stereo Out can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 68 for more information.
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Stereo Out Inserts Stereo Out Inserts Internal effects processors and external signal processors can be patched into the Stereo Out by using the Inserts. See “Using Inserts” on page 115 for more information. Compressing the Stereo Out Signal dynamics can be controlled by using the Stereo Out Compressor. See “Compressing Channels” on page 116 for more information. Grouping Master Compressors The Stereo Out Compressor can be grouped with the Compressors of other Output Channels.
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Chapter 8—Stereo Out Balancing the Stereo Out The left and right channels of the Stereo Out can be balanced as follows. 1 Press the STEREO [SEL] button to select the Stereo Out. PAN / SURROUND DISPLAY L 2 R L R ODD EVEN Use the Pan control to set the balance. The pan display indicates the balance. When the balance is set to center, the center two segments light up. The Stereo Out balance can also be set on the Stereo Fader View page.
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Bus Outs 95 9 Bus Outs Patching Bus Outs to Outputs Bus Outs can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 68 for more information. Routing Input Channels to Bus Outs Input Channels can be routed to the Bus Outs. See “Routing Input Channels” on page 82 for more information. Metering Bus Outs Bus Out signal levels can be metered on the Meter pages. See “Metering” on page 107 for more information.
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Chapter 9—Bus Outs Muting Bus Outs (ON/OFF) Bus Outs can be muted by using the channel strip [ON] buttons. 1 Press the LAYER [MASTER] button to select the Master Layer. 2 Use channel strip [ON] buttons 17–24 to mute the Bus Outs. The [ON] button indicators of Bus Outs that are on light up. ON Grouping Master Mutes (ON/OFF) Bus Out Mutes can be grouped with the Mutes of other Output Channels. See “Grouping Output Channel Mutes (ON/OFF)” on page 128 for more information.
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Sending Bus Outs to the Stereo Out 97 Sending Bus Outs to the Stereo Out Bus Outs can be routed to the Stereo Out buses as follows. Bus Out to Stereo Out settings can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user memories. See “Bus to Stereo Library” on page 147 for more information. 1 Use the SELECTED CHANNEL ROUTING [DISPLAY] button to locate the Bus to Stereo page.
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Chapter 10—Aux Sends 10 Aux Sends Patching Aux Send Masters to Outputs Aux Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 68 for more information. Setting the Aux Send Mode Aux Sends have two operating modes—Variable and Fixed—which can be set individually for each of the eight Aux Sends. In Variable mode, Aux Send levels are variable and the signal source point can be either pre-fader or post-fader.
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Setting Aux Send Levels Setting Aux Send Levels Aux Send levels can be set by using the faders or Encoders. Using the Faders 10 5 1 Use the LAYER buttons to select the Layers. 2 Press the FADER MODE [AUX] button to select the Aux Fader mode. 3 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8. 0 5 10 15 20 4 Use the faders to set the Aux Send levels. Refer to the legend on the left side of the faders when setting Aux Send levels.
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Chapter 10—Aux Sends 4 To turn Aux Sends on and off, select the rotary controls, and press [ENTER]. The rotary controls of Aux Sends that are turned off, appear gray, and “OFF” appears in place of the level value. Aux Send levels can still be changed even when they’re off. 5 To set Aux Send levels, select the rotary controls, and use the Parameter wheel or INC/DEC buttons. To set Aux Send levels for all Input Channels to nominal, select the ALL NOMINAL button.
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Viewing Aux Send Settings 101 Viewing Aux Send Settings You can view and set settings of all Aux Sends on the Aux View pages. Level and Pre/Post parameters are displayed separately. Level Parameters In Level mode, the Aux View pages display Aux Send Level and On/Off parameters. Fixed mode Aux Sends can be turned on and off only. 1 Use the AUX SELECT [DISPLAY] button to select the Aux View pages. 2 Select the DISPLAY LEVEL button, and press [ENTER].
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Chapter 10—Aux Sends Pre/Post Parameters In Pre/Post mode, the Aux View pages display Aux Send Pre/Post parameters. Fixed mode Aux Sends can be turned on and off only. 1 Use the AUX SELECT [DISPLAY] button to select the Aux View pages. 2 Select the DISPLAY PRE/POST button, and press [ENTER]. The Input Channel 1–24 Aux View page is shown below in Pre/Post mode. The layout of the other two Aux View pages in Pre/Post mode is the same.
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Panning Aux Sends 103 Panning Aux Sends When Aux Sends are paired, Aux Sends can be panned between the paired Aux buses. See “Pairing Channels” on page 123 for more information. If the selected Aux Send is not paired, the message “AUXx–x are not paired” appears.
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Chapter 10—Aux Sends Excluding Certain Channels from Aux Sends (Mix Minus) You can quickly exclude certain channel signals from Aux Sends by using the controls on the top panel. This operation is called “Mix Minus.” For example, when Aux Sends are being used as monitors for the musicians or a narrator, you can turn off the audio signals of the musicians or narrator, excluding them from the monitor sound. 1 Press and hold down the AUX SELECT [AUX 1]–[AUX 8] buttons of the desired Aux Sends.
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Metering Aux Send Masters 3 105 To execute the Copy operation, move the cursor to the [YES] button, then press [ENTER]. To cancel the Copy operation, move the cursor to the [NO] button, then press [ENTER]. Tip: If the copy destination Input Channel has been paired with a vertical partner in another Layer, the fader position will be copied to the partner’s Aux Send. Metering Aux Send Masters Aux Send Master levels can be metered on the Meter pages. See “Metering” on page 107 for more information.
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Chapter 10—Aux Sends Grouping Master Mutes (ON/OFF) Aux Send Master Mutes can be grouped with the Mutes of other Output Channels. See “Grouping Output Channel Mutes (ON/OFF)” on page 128 for more information. Settings Aux Send Master Levels Aux Send Master levels can be set as follows. 1 Press the LAYER [MASTER] button to select the Master Layer. 2 Press the FADER MODE [FADER] button to select the Fader mode. 3 Use faders 9–16 to set the Aux Send Master levels.
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Common Channel Functions 107 11 Common Channel Functions Metering Input Channels, Bus Outs, Aux Sends, the Stereo Out, and the effects processors can be metered on the various Meter pages, which are located by using the DISPLAY ACCESS [METER] button. Input and Output Channel Meter pages also display fader positions numerically. The Peak Hold function, which applies to all level meters, can be turned on or off on any of the Meter pages.
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Chapter 11—Common Channel Functions Metering Input Channels There are two types of Input Channel Meter page: 24-channel and 48-channel. There are three 24-channel Meter pages. The Input Channel 1–24 Meter page is shown below. The layout of the other two pages is the same. These pages feature two level meters for each Input Channel. When Input Channels are vertically paired, both meters operate. When Input Channels are horizontally paired, only the left-hand meter operates.
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Metering 109 Metering Output Channels Bus Outs, Aux Sends, and the Stereo Out can all be metered on the Master Meter page. Metering Effects Effects inputs and outputs are metered on the Effect 1–4 page. There are eight input and output meters for effect #1, and 2 input and output meters for effects 2 through 4. Metering the Stereo out The Stereo Out can be metered on the Stereo Meter page. Peak signal levels for the left and right channels are displayed numerically.
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Chapter 11—Common Channel Functions Attenuating Signals Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature pre-EQ attenuation, which is useful for attenuating “hot” signals before EQ’ing. 1 Use the EQUALIZER [DISPLAY] button to select the Attenuator pages. The Attenuator parameters for the 56 Input Channels are arranged into three pages. The Input Channel 1–24 Attenuator/Shifter page is shown below. The layout of the other two pages is the same.
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Using EQ 111 Using EQ Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature 4-band parametric EQ. The LOW-MID and HIGH-MID bands are peaking type. The LOW and HIGH bands can be set to shelving, peaking, or HPF and LPF respectively. EQ settings can be stored in the EQ library, which contains 40 preset memories and 160 user memories. See “EQ Library” on page 150 for more information. Preset EQs The following table lists the preset EQs. See page 282 for detailed parameter information.
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Chapter 11—Common Channel Functions # Preset Name Description 33 Bass Drum 3 A variation on preset 1, with low and mid range reduced. 34 Snare Drum 3 A variation on preset 3, creating a thicker sound. 35 Tom-tom 2 A variation on preset 5, emphasizing the mid and high ranges. 36 Piano 3 A variation on preset 13. 37 Piano Low Emphasizes the low range of pianos recorded in stereo. 38 Piano High Emphasizes the high range of pianos recorded in stereo.
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Using EQ 113 EQ Edit Pages EQ parameters can also be set on the EQ Edit page. If the Auto EQUALIZER Display preference is on, this page appears automatically when a control in the SELECTED CHANNEL EQUALIZER section is operated. See “Auto EQUALIZER Display” on page 230. 1 Use the EQUALIZER [DISPLAY] button to select the EQ Edit page. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels.
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Chapter 11—Common Channel Functions Grouping Output Channel EQs The Bus Out, Aux Send, and Stereo Out EQs can be grouped, allowing you to control the EQ of several Output Channels simultaneously. There are four Output Channel EQ groups: e, f, g, and h. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Equalizer Link page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select EQ groups e–h. The selected group is highlighted by a flashing cursor box.
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Using Inserts 115 Using Inserts Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature assignable Inserts. 1 Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to select the Insert page. The Insert page for Input Channels is shown below. The Insert page for Bus Outs, Aux Sends, and the Stereo out is shown below. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels.
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Chapter 11—Common Channel Functions INSERT IN: This selects the source for the Insert In, which can be an AD Input, Slot Input, 2TR Digital or Analog Input, or the output of an internal effects processor. See page 241 for a list of Input Channel Insert In sources; page 245 for a list of Output Channel Insert In sources. The Port ID of the currently selected source is displayed below the currently selected channel’s Long name in the upper-right corner of the page.
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Compressing Channels # Preset Name Type 117 Description 13 E. B. Slap COMP Compressor for leveling the attack and volume of a slapped electric bass guitar. 14 Syn. Bass COMP Compressor for controlling or emphasizing the level of a synth bass. 15 Piano1 COMP Compressor for brightening the tonal color of a piano. 16 Piano2 COMP A variation on preset 15, using a deep threshold to change the overall attack and level. 17 E.
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Chapter 11—Common Channel Functions Using the SELECTED CHANNEL DYNAMICS Controls 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 2 Use the SELECTED CHANNEL DYNAMICS [COMP ON] button to turn the currently selected channel’s Compressor on or off.
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Grouping Output Channel Compressors 119 on page 123 for more information on horizontal and vertical pairing. When channels are paired, this parameter is turned on automatically and cannot be changed. CURVE: This displays the Compressor curve (i.e., input level vs. output level). TYPE: This is the comp type used by the currently selected channel’s Compressor. Meters: These meters indicate the levels of the currently selected Input Channel and its horizontal or vertical partner.
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Chapter 11—Common Channel Functions Delaying Channel Signals Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature independent Delay functions. Input Channel Delays feature feedback, with independent Mix and Gain parameters. 1 Use the SELECTED CHANNEL DISPLAY ACCESS [DELAY] button to select the Delay pages. The Delay parameters for the 56 Input Channels are arranged into three pages. The Input Channel 1–24 Delay page is shown below. The layout of the other two pages is the same.
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Soloing Channels MIX: This parameter, available only on the Input Channel Delay pages, sets the mix of dry and wet signals. FB.GAIN: This parameter, available only on the Input Channel Delay pages, sets the amount of feedback. Soloing Channels Input Channels, Bus Outs, and Aux Sends can be soloed as follows. 1 Use the LAYER buttons to select the Input Channel Layers if you want to solo Input Channels, or select the Master Layer if you want to solo Output Channels.
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Chapter 11—Common Channel Functions In Mixdown Solo mode, soloed Input Channel signals are fed to the Stereo bus and output via the Stereo Out and Control Room Outputs. Unsoloed Input Channels are muted and their [ON] button indicators flash (unless they are Solo Safe enabled). Only Input Channels that are routed to the Stereo Out can be soloed in this mode. Input Channels that are off are temporarily turned on when they are soloed.
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Pairing Channels 123 Pairing Channels Input Channels, Bus Outs, and Aux Sends can be paired for stereo operation. Input Channels can be paired either horizontally, that is, adjacent odd-even channels on the same Layer (e.g., 1-2, 3-4, 5-6, etc) or vertically, that is, counterpart channels on adjacent Layers (e.g., 1-25, 2-26, 49-73, 50-74, etc). Bus Outs and Aux Sends can be paired only horizontally.
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Chapter 11—Common Channel Functions Pairing Channels by Using the Pair Pages Both horizontal and vertical pairing can be set on the Pair pages. 1 Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages. The Pair parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Pair page is shown below. The layout of the other page is the same. 2 To set the pair mode, select the PAIR MODE HORIZONTAL or VERTICAL buttons, and press [ENTER].
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Pairing Channels 3 125 Use the cursor buttons or Parameter wheel to select the channel pair buttons, and press [ENTER] to make or break pairs. Input and Output Channels can also be selected by using the LAYER and [SEL] buttons. A dialog box appears with options for copying the settings of the first channel to the second channel, the second channel to the first channel, and for resetting both channels to their initial settings. Choose the option required, and then press [ENTER].
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Chapter 11—Common Channel Functions Grouping Output Channel Faders The Bus Out, Aux Send, and Stereo Out faders can be grouped, allowing you to control the level of several Output Channels simultaneously. There are four Output Channel Fader groups: Q, R, S, and T. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select Fader groups Q–T. The selected group is highlighted by a flashing cursor box.
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Group Master for the Output Channel Faders 127 Group Master for the Output Channel Faders The 02R96 also features a Fader Group Master function that enables you to control the level of all channels using the Group Master level while maintaining the balance between the channels, much like a VCA Group on an analog mixing console. While this function is enabled, channel fader operation will not affect the channel levels of the corresponding Fader group.
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Chapter 11—Common Channel Functions [SEL] buttons: These buttons move the cursor on the Output Fader Group Master page. [SOLO] buttons: These buttons turn the Solo function of each Fader group on and off, enabling you to monitor every channel in each Fader group. Channel Faders: The Channel Faders enable you to set the master level for each Fader group.
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Output Channel Mute Master 129 Output Channel Mute Master The 02R96 features a Mute Group Master function that enables you to mute all channels in the Mute group using the MASTER button, much like a Mute group on an analog mixing console. When this function is enabled, the channel [ON] buttons do not control the channels in the group collectively.
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Chapter 11—Common Channel Functions EQ: The currently selected channel’s EQ and Attenuator can be set. Also displayed is the EQ curve of the currently selected Input Channel. See “Using EQ” on page 111 for more information. Meters: These meters indicate the levels of the currently selected channel and its horizontal or vertical partner. Phase: The signal phase of the currently selected Input Channel can be reversed. See “Reversing the Signal Phase” on page 73 for more information.
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Viewing Channel Fader Settings 131 Input Channels This is the Fader View page for the Input Channels. PAN: This is the currently selected Input Channel’s Pan parameter. Select this parameter using the cursor buttons, then press the [ENTER] button to set the Pan parameter to Center. See “Panning Input Channels” on page 83 for more information. ON/OFF: This is the On/Off parameter of the currently selected Input Channel. See “Muting Input Channels (ON/OFF)” on page 77 for more information.
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Chapter 11—Common Channel Functions Bus Outs This is the Fader View page for the Bus Outs. ON/OFF: This is the On/Off parameter of the currently selected Bus Out. See “Muting Bus Outs (ON/OFF)” on page 96 for more information. Fader: This indicates the fader position of the currently selected Bus Out. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Setting Bus Out Levels” on page 96 for more information.
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Viewing Channel Fader Settings 133 GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the currently selected Aux Send is in. Stereo Out Below is the Fader View page for the Stereo Out. The settings of the left and right channels of the Stereo Out can be viewed individually. Use the STEREO [SEL] button to toggle between the left and right channels. BAL: This is the Balance parameter for the Stereo Out.
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Chapter 11—Common Channel Functions Naming Channels You can specify Long and Short names for the Input Channels, Bus Outs, Aux Sends, and the Stereo Out as follows. See page 250 for a list of initial Input Channel names; page 250 for Output Channel names. Input Channels 1 Use the DISPLAY ACCESS [INPUT PATCH] button to locate the Input Channel Name page. 2 Use the Parameter wheel, INC/DEC buttons, or the LAYER and [SEL] buttons to select the Input Channels.
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Naming Channels 135 Output Channels 1 Use the DISPLAY ACCESS [OUTPUT PATCH] button to locate the Output Channel Name page 2 Use the Parameter wheel, INC/DEC buttons, or the Master Layer and [SEL] buttons to select the Output Channels. 3 Use the cursor buttons to select the Output Channel’s Long or Short name, and then press [ENTER]. When the Title Edit window appears, edit the Output Channel name, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information.
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Chapter 12—Monitoring & Talkback 12 Monitoring & Talkback Control Room Monitoring The CONTROL ROOM MONITOR OUT uses balanced 1/4-inch phone jacks, nominal level +4 dB. Typically it’s used to feed the control room’s main monitors. The Control Room Monitor signal source is selected by using the CONCONTROL ROOM TROL ROOM buttons. [2TR D1]: Selects the 2TR IN DIGITAL AES/EBU 1. [2TR D2]: Selects the 2TR IN DIGITAL COAXIAL 2. [2TR D3]: Selects the 2TR IN DIGITAL COAXIAL 3.
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Studio Monitoring 137 Control Room Setup Control room monitoring is configured on the Control Room Setup page. 1 Use the MONITOR [DISPLAY] button to locate the Control Room Setup page. 2 Use the cursor buttons to select the ASSIGN buttons in the left-hand box, and use the Parameter wheel to select an Output Channel in the right-hand box. Bus Outs or Aux Sends can be assigned to the [ASSIGN 1] and [ASSIGN 2] buttons. 3 Press [ENTER] to assign the selected Output Channel.
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Chapter 12—Monitoring & Talkback Surround Monitoring The 02R96 features comprehensive surround monitoring functions, including a pink noise generator for speaker setup, Bass Management, and down mixing. The Surround Monitor signal source is selected by using the SURROUND buttons. The [BUS] button selects the Bus Outs as the source. The [SLOT] button selects the Inputs of the Slots specified on the Surround Monitor page as the source.
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Surround Monitoring 139 STATUS: SURROUND MODE indicates the currently selected Surround mode, which is set on the Surround Mode page (see page 85). MONITOR LEVEL indicates the volume setting of the SURROUND MONITOR LEVEL control, which can be calibrated to 85 dB SPL, the cinema standard for setting up Surround Channel Monitor speakers.
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Chapter 12—Monitoring & Talkback The following screen shows an example in 6.1 Surround mode and 3-1 Monitor Matrix mode. 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.
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Surround Monitoring 141 You can set the Bass Management parameters in the following ranges: Parameters Range HPF 1, 2, 3 THRU, 80-12, 80-12L, 80-24, 80-24L LPF1 THRU, 80-24, 80-24L, 120-42 LPF2 THRU, 80-24, 80-24L, MUTE ATT 1 & 2 0 to –12 dB (1 dB steps) AMP 0 to +12 dB (1 dB steps) The HPF 1, 2, 3, and LPF 1 & 2 values indicate a cut-off frequency and a filter response. For example, “80-12” means a cutoff frequency of 80 Hz and a filter response of –12 dB/octave. “L” means Linkwitz filter.
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Chapter 12—Monitoring & Talkback Using Talkback The Talkback function distributes the Talkback mic signal to the Studio Monitor Outs and any Slot or Omni Outputs specified on the Talkback Setup page. The TALKBACK LEVEL control sets the level of the built-in talkback microphone. 0 10 TALKBACK LEVEL TALKBACK The [TALKBACK] button has two modes of operation: If it’s pressed once (i.e., for less than 300 ms), the Talkback function is turned on and remains on when the button is released.
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Libraries 143 13 Libraries About the Libraries The 02R96 features 10 libraries for storing Automix, Effects, Channel, Input Patch, Output Patch, Bus to Stereo, Gate, Comp, EQ, and Surround Monitor data. Library data can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). General Library Operation Since most library functions are the same for each library, rather than explain them several times, they’re explained only here for conciseness.
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Chapter 13—Libraries Memory #U is a special read-only memory that allows you to undo and redo memory recall and store operations. After recalling a memory, you can revert to the previously recalled memory by recalling memory #U. After storing a memory, you can revert it to its previous contents by recalling memory #U. You can redo either of these undo operations by recalling memory #U again.
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Input Patch Library 145 Input Patch Library Input Patch settings can be stored in the Input Patch library, which contains 1 preset memory and 32 user memories. The preset memory is read-only. User memories enable you to store custom settings. See page 66 for information on Input Patch settings. 1 Use the DISPLAY ACCESS [INPUT PATCH] button to select the Input Patch Library page. When storing, the current Input Patch settings are stored to the selected memory.
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Chapter 13—Libraries Effects Library Effects settings can be stored in the Effects library, which contains 61 preset memories and 67 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 153 for information on using the Effects. 1 Use the EFFECTS/PLUG-INS [DISPLAY] button to select the Effect Library page. 2 Press the EFFECTS/PLUG-INS [INTERNAL EFFECTS] button, and use the EFFECTS/PLUG-INS [1–4] buttons to select the internal effects processors.
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Bus to Stereo Library 147 Bus to Stereo Library Bus to Stereo settings can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user memories. The preset memory is read-only. User memories enable you to store custom settings. See page 97 for information on Bus to Stereo routing. 1 Use the ROUTING [DISPLAY] button to select the Bus to Stereo Library page. When storing, the current Bus Out to Stereo Out settings are stored to the selected memory.
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Chapter 13—Libraries Gate Library Input Channel Gate settings can be stored in the Gate library, which contains 4 preset memories and 124 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 74 for information on gating Input Channels. 1 Use the DYNAMICS [DISPLAY] button to select the Gate Library page. 2 Use the LAYER buttons to select the Layers, and the [SEL] buttons to select Input Channels.
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Comp Library 149 Comp Library Comp settings can be stored in the Comp library, which contains 36 preset memories and 92 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 116 for information on the Comps. 1 Use the DYNAMICS [DISPLAY] button to select the Comp Library page. 2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels.
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Chapter 13—Libraries EQ Library Input Channel, Bus Out, Aux Send, and Stereo Out EQ settings can be stored in the EQ library, which contains 40 preset memories and 160 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 111 for information on EQ’ing. 1 Use the EQUALIZER [DISPLAY] button to select the EQ Library page. 2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels.
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Automix Library 151 Automix Library Up to 16 Automixes can be stored in the Automix library. See page 170 for information on using Automix. 1 Use the DISPLAY ACCESS [AUTOMIX] button to select the Automix Memory page. When storing, the current Automix is stored to the selected memory. TITLE: This is the title of the current Automix. CURRENT: This is the size of the current Automix. UNDO: This is the size of the Automix data in the current Undo buffer.
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Chapter 13—Libraries Surround Monitor Library Surround Monitor settings can be stored in the Surround Monitor library, which contains 1 preset memory and 32 user memories. The preset memory is read-only. User memories enable you to store custom settings. See page 138 for information on Surround Monitoring. 1 Use the MONITOR [DISPLAY] button to select the Surround Monitor Library page. When storing, the current Surround Monitor settings are stored to the selected memory.
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Internal Effects & Plug-Ins 153 14 Internal Effects & Plug-Ins About the Effects The 02R96 features four internal multi-effects processors, offering a whole host of effects types, including reverbs, delays, modulation-based effects, combination effects, and multichannel effects designed especially for use with surround sound. Effects processors 2–4 feature assignable stereo inputs and outputs.
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Chapter 14—Internal Effects & Plug-Ins Modulation-based Effects # Preset Name Type Description 13 Chorus CHORUS Chorus 14 Flange FLANGE Flanger 15 Symphonic SYMPHONIC Proprietary Yamaha effect that produces a richer and more complex modulation than normal chorus 16 Phaser PHASER 16-stage stereo phase shifter 17 Auto Pan AUTO PAN Auto-panner 18 Tremolo TREMOLO Tremolo 19 HQ.Pitch HQ.
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Preset Effects & Types 155 Others # 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 441 Reverb 5.1 Stereo reverb 5.12 6-channel reverb for 5.1 surround REVERB2 8-channel reverb for 7.1 surround REVERB 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.
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Chapter 14—Internal Effects & Plug-Ins Editing Effects The internal effects processors can be edited as follows. 1 Press the EFFECTS/PLUG INS [INTERNAL EFFECTS] button. 2 Use the EFFECTS/PLUG INS [1–4] buttons to select the internal effects processors. 3 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Library page, and recall a preset effects memory that contains the effects type that you want. See “Effects Library” on page 146 for more information.
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Adding Optional Add-On Effects Tip: • If you turn on the SYNC parameter and edit the TEMPO or NOTE parameter, the 02R96 recalculates the delay time or modulation frequency. • If you turn on the SYNC parameter and edit the delay time or modulation frequency, the NOTE parameter value changes based on the TEMPO parameter setting. • See “Effects and tempo synchronization” on page 281 for more information on the tempo sync parameters.
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Chapter 14—Internal Effects & Plug-Ins • • • As of January 2004, the following Add-On Effect packages are available: AE011 Channel Strip Package AE021 Master Strip Package AE031 Reverb Package Additional packages will be released in the future. Visit the Yamaha web site for the latest information: http://www.yamahaproaudio.com/ About Plug-Ins There are two types of Plug-Ins: Waves Plug-Ins and User Defined Plug-Ins.
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Configuring Plug-Ins 159 Configuring Plug-Ins Plug-Ins can be configured as follows. If you’ve installed a Y56K card into one of the Slots, the 02R96 configures itself automatically and no further configuration settings are required. 1 Press the EFFECTS/PLUG INS [PLUG-INS] button. 2 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Setup page. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them.
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Chapter 14—Internal Effects & Plug-Ins Editing Plug-Ins Plug-Ins can be edited as follows. The settings of Waves Plug-Ins and User Defined Plug-In banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). If you’ve installed a Y56K card into one of the Slots, display pages especially for the Waves card are displayed when the corresponding Plug-In is selected. See the Waves documentation for more information.
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Editing Plug-Ins 161 MIN/MAX: These parameters determine the minimum and maximum values of the MIDI data transmitted when each parameter control is adjusted. Use the PARAMETER ID/NAME parameter to select a Parameter ID from 1–4, and then edit as necessary. VAL: This is used to select the format for converting parameter control values to the DATA parameter’s VAL setting. It applies to the currently selected bank. The available options are listed in the following table.
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Chapter 15—Scene Memories 15 Scene Memories About Scene Memories Scene memories allow you to store a snapshot of virtually every 02R96 mix setting in a Scene. There are 99 Scene memories, and they can be titled for easy identification. Scenes can be linked to Input and Output Patch library memories, so that input and output patches are recalled along with Scenes. A fade time of up to 30 seconds can be set individually for each Input and Output Channel fader.
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Auto Scene Memory Update 163 Scene Memories #0 & #U Scene memory #0 is a special read-only memory that contains the initial settings of all mix parameters. It can be recalled, but not stored. When you want to reset all mix parameters to their initial, or default values, recall Scene memory #0. Input Channel faders are set to either –∞dB or nominal, depending on the Initial Data Nominal preference (see page 231).
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Chapter 15—Scene Memories Storing & Recalling Scenes with the SCENE MEMORY Buttons As each Scene memory is selected, its number flashes on the SCENE MEMORY display, and its number and title flash in the Scene memory section of the display. These stop flashing when the selected Scene memory is either stored or recalled. Empty Scene memories have the title “No Data!” and cannot be recalled. You cannot store to Scene memories that are write-protected.
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Using the Scene Memory Page 165 Using the Scene Memory Page On the Scene Memory page you can store, recall, write-protect, delete, and edit the titles of Scenes. 1 Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory page. 2 Use the Parameter wheel or INC/DEC buttons to select the Scene memories. A Scene memory is selected when it appears inside the dotted box. 3 Use the cursor buttons to select the following buttons.
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Chapter 15—Scene Memories Fading Scenes Fade times can be specified for individual Input Channels, Bus Outs, Aux Sends, Stereo Out, and the Group Master. The fade time determines the time it takes the Input and Output Channel faders to move to their new positions when a Scene is recalled. Fade time settings can be specified for each Scene individually. 1 Use the SCENE MEMORY [DISPLAY] button to locate a Fade Time page. The Fade Time parameters for the 56 Input Channels are divided between two pages.
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Recalling Scenes Safely 167 Global Fade Time: When this check box is checked, a Scene is recalled using the Fade Time that is applied globally to all Scenes. (The Fade Time setting stored in the recalled Scene is temporarily ignored.) Recalling Scenes Safely When a Scene is recalled, all mix parameters are set accordingly. In some situations, you may want to retain the settings of certain parameters on certain channels, and this can be achieved by using the Recall Safe function.
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Chapter 15—Scene Memories Sorting Scenes Scene can be sorted by using the Scene Memory Sort function. 1 Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory Sort page. 2 Use the cursor button to the select the SOURCE list, and use the Parameter wheel or the INC/DEC buttons to select the Scene memory you want to move.
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Copying and Pasting a Scene (Global Paste) 169 2 Use the cursor buttons, [SEL] buttons, or Parameter wheel to select the channel category, then use the [ENTER] button or the INC/DEC buttons to select the copy source channel. The number of the source channel is highlighted. GROUP MASTER/OTHERS: You can select as the copy source each Group Master, internal Effects processos, User Defined Remote layer, or user Defined plug-in, as well as each channel.
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Chapter 16—Automix 16 Automix About Automix The 02R96’s Automix function allows dynamic automation of virtually all mix parameters, including Levels, Mutes, Pan, Surround Pan, Aux Sends, Aux Send Mutes, EQ, effects, and Plug-Ins. You can specify which of these parameters will be recorded, and punch channels in and out of recording on-the-fly. User Defined Remote Layer operations, and scene and library recall operations can also be automated, combining snap shot and dynamic mix automation.
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Automix Main Page 171 Automix Main Page This section explains the Automix Main page. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TITLE: This is the title of the current Automix. TIME CODE: This counter displays the current timecode position.
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Chapter 16—Automix 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 Fader Edit pages. At the point at which recording is stopped, the fader remains at the same position until the next Fader event in the existing data occurs.
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Automix Main Page FADER EDIT: These buttons are used to set the Fader Edit mode: Absolute or Relative. The Fader Edit mode determines how fader moves are rerecorded. It has no effect during the first recording pass. In Absolute mode, fader moves are rerecorded as absolute values and existing fader data is erased. In Relative mode, fader moves are rerecorded relative to the existing fader data.
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Chapter 16—Automix UNDO: This button is used to undo various Automix operations. During each recording pass, when a new Automix is created, when an Automix is recalled, when an offline edit is performed, or when the Undo function is used, the current Automix data is copied to the Undo buffer, from which it can be retrieved by pressing UNDO while Automix is stopped. The Undo buffer is cleared when the 02R96 is turned off.
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Automix Memory Page 175 Automix Memory Page Automixes can be stored and recalled on the Automix Memory page. The lower half of this page is identical to the Automix Main page. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Memory page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. The Automix library functions are explained in “Automix Library” on page 151.
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Chapter 16—Automix 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. The counter in the upper-left corner displays the current timecode position. Edit Safe buttons: The numbered buttons below each fader bar are Channel Safe buttons, which can be used to prohibit automix recording on certain channels. A channel is set to safe when its button appears highlighted.
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Selecting the Timecode Source & Frame Rate 177 Selecting the Timecode Source & Frame Rate The timecode source and frame rate for Automix can be set as follows. 1 Use the DISPLAY ACCESS [SETUP] button to select the Time Reference page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TIME REFERENCE: The following timecode sources can be selected.
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Chapter 16—Automix Creating a Time Signature Map When using the MIDI CLOCK timecode source, you’ll also need to specify the initial time signature and any time signature changes that follow. 1 Use the DISPLAY ACCESS [SETUP] button to select the Time Signature page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel or INC/DEC buttons to specify the measure and time signature.
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Recording an Automix 179 Recording an Automix This section provides a general procedure for Automix recording. 1 Connect a timecode source. 2 Select the timecode source and frame rate. See “Selecting the Timecode Source & Frame Rate” on page 177 for more information. 3 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main page. 4 On the Automix Main page, use the ENABLED/DISABLED button to enable the Automix function.
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Chapter 16—Automix Inserting Mix Parameters into Automix You can insert the static mix parameter settings into the range specified by the IN and OUT parameters in the current Automix data. This is useful when you want to quickly insert static EQ settings into a specified range of the Automix data.
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Rerecording Events 181 4 Use the cursor buttons to select YES, then press [ENTER]. The 02R96 enters Insert mode, and the INSERT button is highlighted. The fader positions, mute function and other parameters are updated to the settings specified for the time value of the IN parameter. 5 Select the parameter you wish to insert using the AUTOMIX OVERWRITE buttons.
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Chapter 16—Automix Parameter Recording The following table summarizes parameter recording operation for each parameter. Parameter adjustments made on the respective display pages are also recorded.
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Punching In & Out Individual Parameters 183 Punching In & Out Individual Parameters During Automix rerecording, channels can be punched in and out by pressing the channel strip [AUTO] buttons. Individual parameters can be punched in and out as follows.
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Chapter 16—Automix When faders are grouped with the Fader Group Master function turned off, if the OVERWRITE FADER button is on, pressing an [AUTO] button, or touching the fader knob of any fader in the group (if TOUCH SENSE on the Fader Edit page is on) puts all the corresponding channels into Record mode and all the [AUTO] button indicators light up red. The same applies to Mute (OVERWRITE ON button) and EQ (OVERWRITE EQ button) groups.
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Editing Events Offline 185 Editing Events Offline Automix events can be edited offline on the Event Job and Event Edit pages. Offline editing can be performed only while the Automix function is stopped. Event Job Page On the Event Job page, specified events on specified channels between specified in and out points can be erased, copied, moved/merged, or trimmed. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Job page.
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Chapter 16—Automix The SOURCE section enables you to select the copy source Automix. You can select CURRENT (the current Automix) or MEM (any Automix from 1 to 16). The TIME parameter determines the point to which the specified data is copied. The number in parentheses on the right indicates the end point of the copy destination. You can set the TIME parameter on-the-fly by selecting the TIME button, then pressing [ENTER].
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Editing Events Offline 187 MOVE/MERGE: This Job features a SOURCE section and a MOVE TO (MERGE TO) section below the TIME SETTING section. The function of this button changes depending on the SOURCE section setting. If you select CURRENT (current Automix) in the SOURCE section, this button becomes the MOVE button, which enables you to move the specified range of Automix data to another position.
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Chapter 16—Automix These buttons correspond to the following parameters: Button FADER Channel Fader events (Inputs Channels, Bus Out masters, Aux Send masters, Group master levels, and the Stereo Out) ON Channel Mute events, Group master ON PAN Input Channel pan events SURR Input Channel surround pan, LFE level, DIV parameter events, and RDIV parameter events EQ Channel EQ events LIB 6 Events CH Channel library recall events GATE Gate library recall events COMP Comp library recall ev
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Event Edit Page 189 SYNC button: This button is used to synchronize the list to the current timecode position. When pressed, events closest to the current timecode position are displayed. This function can be used during Automix playback. DUPLICATE button: This button is used to duplicate events. Use the Parameter wheel to select an event, select the DUPLICATE button, and then press [ENTER]. A duplicate event is inserted below the currently selected event.
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Chapter 17—MIDI 17 MIDI MIDI & the 02R96 • • • • • • • • • • The 02R96 supports the following MIDI messages: Program Changes for recalling Scenes (see page 193) Control Changes for real-time parameter control (see page 194) System Exclusive Parameter Changes for real-time parameter control (see page 194) MIDI Note On/Off for Freeze effect etc.
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MIDI Port Setup 191 MIDI Port Setup MIDI ports are configured as follows. 1 Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TO HOST SERIAL: These buttons are used to configure the TO HOST SERIAL port for use with either a Mac or PC. Caution: When a PC is connected to the TO HOST SERIAL port, do not set this to Mac because your PC may crash.
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Chapter 17—MIDI MIDI Channel Setup MIDI Channels for reception and transmission are specified as follows. 1 Use the DISPLAY ACCESS [MIDI] button to locate the MIDI Setup page. 2 Use the cursor buttons or Parameter wheel to select the parameters, and use the INC/DEC buttons or [ENTER] button to set them.
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Assigning Scenes to Program Changes 193 ECHO ON/OFF: This button determines whether Parameter Change messages received at the MIDI IN port are echoed through to the MIDI OUT port. BULK This parameter row enables or disables reception of Bulk Dump data. Rx ON/OFF: Reception of Bulk Dump data is enabled or disabled. OTHER COMMANDS ECHO ON/OFF: This button determines whether other MIDI messages received at the MIDI IN port are echoed through to the MIDI OUT port.
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Chapter 17—MIDI Assigning Parameters to Control Changes 02R96 parameters can be assigned to MIDI Control Changes for real-time control. When a parameter is adjusted on the 02R96, the assigned Control Change message is transmitted. Likewise, when a Control Change message is received, the assigned 02R96 parameter is set. You must set the MIDI Setup parameters in order to transmit and receive Control Change messages (see page 192).
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Using Bulk Dump 195 Using Bulk Dump 02R96 data can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump. 1 Use the DISPLAY ACCESS [MIDI] button to locate the Bulk Dump page. 2 To transmit data, use the CATEGORY parameters to select the type of data you want to transmit, select the TRANSMIT button, and then press [ENTER]. The INTERVAL parameter sets the interval between data packets during transmission. The CATEGORY parameters can be set as follows: ALL: All data.
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Chapter 18—Pro Tools Remote Layer 18 Pro Tools Remote Layer The 02R96 features a Remote Layer target especially designed for controlling Pro Tools. If an optional MB02R96 Peak Meter Bridge is installed, Pro Tools channel levels are displayed on its meters. Configuring Windows Computers 1 Connect your PC. The 02R96 can be connected to your Windows PC by connecting the TO HOST SERIAL port to a suitable RS232 serial port on your PC, or by connecting the TO HOST USB port to a USB port on your PC.
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Configuring the 02R96 197 Configuring the 02R96 1 Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup page, and use the DAW parameter to specify the port to which Pro Tools is connected. See “MIDI Port Setup” on page 191 for more information. 2 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page, and set the target to Pro Tools. See “Assigning a Target to the Remote Layer” on page 219 for more information. 3 Use the LAYER [REMOTE] button to select the Remote Layer.
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Chapter 18—Pro Tools Remote Layer 4 When the Peripherals window appears, click the MIDI Controllers button. 5 Select HUI as the Type of controller for #1–#3, and select MCS PANNER for #4 to enable use of the Joystick. 6 Select the Receive From and Send To ports, and then click OK. The 02R96 can emulate up to three typical 8-channel Pro Tools MIDI controllers. A single MIDI port is required for every eight channels.
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Control Surface Operation with the Pro Tools Remote Layer 199 Control Surface Operation with the Pro Tools Remote Layer This section explains the operation of the 02R96 control surface when the Pro Tools Remote Layer is selected. 02R96 buttons and controls are referred to by the names printed on the 02R96 with the name of the corresponding Pro Tools function in parenthesis. For example, “Press the AUX SELECT [AUX 1] (SEND A) button.
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Chapter 18—Pro Tools Remote Layer INSERT ASSIGN/EDIT Display Mode Press the [F2] button to select this mode. ASSIGN: This indicator flashes when the EFFECTS/PLUG-INS [1] (ASSIGN) button is pressed. See “Assigning Inserts/Plug-ins” on page 212 for more information. COMPARE: This indicator appears highlighted when the EFFECTS/PLUG-INS [2] (COMPARE) button is pressed. See “Editing Plug-ins” on page 213 for more information.
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Control Surface Operation with the Pro Tools Remote Layer 201 Meter Display Mode Press the [F4] button to select this display mode. In this display mode, stereo meters for each channel are displayed. The name of each channel is displayed below the meters. Automation mode settings, aux send destinations, and aux send pre/post settings can also be displayed here.
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Chapter 18—Pro Tools Remote Layer Faders The faders are used to set channel levels (see page 209), or to set send levels in Flip mode (see page 211). 10 5 0 5 10 15 20 30 40 50 AUX SELECT Section AUX SELECT DISPLAY AUX 1 (SEND A) AUX 2 (SEND B) AUX 3 (SEND C) AUX 4 (SEND D) AUX 5 (SEND E) AUX SELECT [AUX 1]–[AUX 5] buttons are used to select sends A–E. The button indicator of the currently selected send lights up.
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Control Surface Operation with the Pro Tools Remote Layer 203 EFFECTS/PLUG-INS Section EFFECTS / PLUG INS ( SCROLL) DISPLAY (SHOW INSERT) PLUG INS (DEFAULT) CHANNEL INSERTS 1 2 3 4 (ASSIGN) (COMPARE) (BYPASS) (INSERT/PARAM) (SCROLL ) [DISPLAY] (SHOW INSERT) button This button is used to open and close plug-in windows. [PLUG-INS] (DEFAULT) button This button is used in conjunction with other controls to reset faders, panpots, and sends to their default values.
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Chapter 18—Pro Tools Remote Layer SELECTED CHANNEL Section ■ ROUTING ROUTING DISPLAY FOLLOW PAN 1 2 3 4 5 6 7 8 STEREO DIRECT [1] button Selects the previous track to be controlled by the Joystick. [2] button Selects the next track to be controlled by the Joystick. [3] button Functions the same as the [OPTION] key on a computer keyboard. [4] button Switches between L and R of the selected track. The [4] button indicator lights up when the R channel is selected.
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Control Surface Operation with the Pro Tools Remote Layer 205 ■ DYNAMICS DYNAMICS DISPLAY GATE ON COMP ON GATE / COMP GATE THRESHOLD RANGE ATTACK DECAY HOLD COMP THRESHOLD RATIO ATTACK RELEASE GAIN [THRESHOLD] control If the ROUTING [6] button indicator is off, the [THRESHOLD] control adjusts the front position. If the ROUTING [6] button indicator is lit, the control adjusts the front divergence.
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Chapter 18—Pro Tools Remote Layer USER DEFINED KEYS Section USER DEFINED KEYS DISPLAY (AUTO STATUS) 1 2 3 (MIX/EDIT) (SUSPEND) (WRITE) 9 10 ( BANK) (BANK ) 4 5 6 7 8 (TOUCH) (LATCH) (READ) (TRIM) (OFF) 14 15 16 11 12 13 (FADER) (MUTE) (PAN) (SEND) (SEND MUTE) (PLUG-IN) [DISPLAY] (AUTO STATUS) button This button is used to display the Automation mode settings of all channels. See “Viewing the Automation Mode” on page 216 for more information.
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Control Surface Operation with the Pro Tools Remote Layer 207 MACHINE CONTROL Section MACHINE CONTROL LOCATE MEMORY DISPLAY (MEM-LOC) SET 1 2 3 4 5 6 7 8 REW FF STOP PLAY REC [DISPLAY] (MEM-LOC) button This button is used to open and close the Memory Locations window. LOCATE MEMORY [1–8] buttons These buttons perform the same transport-related functions as the 1–8 number keys on a Macintosh keyboard.
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Chapter 18—Pro Tools Remote Layer Data Entry Section DEC (ESC) INC (CURSOR MODE) SHUTTLE SCRUB ENTER Parameter Wheel The Parameter wheel is used for shuttling and scrubbing (see page 215). It’s also used for making fine adjustments to the selected region (see page 215). [SHUTTLE] & [SCRUB] buttons These buttons are used to select the Shuttle and Scrub modes. See “Scrub & Shuttle” on page 215 for more information. These buttons are mutually exclusive with the [QUICK PUNCH] and [LOOP] buttons.
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Selecting Channels 209 Selecting Channels Channels can be selected as follows. (Make sure the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is not lit before proceeding.) 1 Use the [SEL] buttons to select channels. The [SEL] button indicators of selected channels light up. 2 To select multiple channels in each eight-channel block (e.g., 1–8, 9–16, or 17–24), while holding down one [SEL] button, use the [SEL] buttons of the other channels in the same block to add and remove channels.
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Chapter 18—Pro Tools Remote Layer Soloing Channels Channels can be soloed as follows. 1 Use the [SOLO] buttons to solo channels. The [SOLO] button indicators of soloed channels light up and the [ON] button indicators of unsoloed channels flash. 2 Press the [SOLO] buttons again to unsolo channels. Grouped channels are soloed together.
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Flip Mode 211 Flip Mode In Flip mode, the faders, Encoders, and [ON] buttons can be used to control sends, as shown in the following table. Control Normal mode Flip mode Fader Channel level Send level Encoder Channel pan/send level Send pan Encoder push-switches Encoder mode is Pan, inactive Encoder mode is Send level, Send pre/post Send pre/post [ON] button Channel mute Send mute 1 Press the FADER MODE [FADER] or [AUX] button.
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Chapter 18—Pro Tools Remote Layer Assigning Inserts/Plug-ins Inserts can be assigned to channels as follows. The Pro Tools transport must be stopped in order to make these assignments. 1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select channels for insert assignment. The name of the selected channel appears in the INSERT/PARAM section of the display.
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Editing Plug-ins 213 Editing Plug-ins Plug-ins can be edited as follows. 1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select the channel whose plug-in you want to edit. That channel’s [SEL] button indicator lights up, and the border of the corresponding channel name in the Pro Tools Mix window is highlighted red.
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Chapter 18—Pro Tools Remote Layer Bypassing Plug-ins Plug-ins can be bypassed as follows. (Make sure the EFFECTS/PLUG-INS [4] (INSERT/PARAM) button indicator is not lit before proceeding.) 1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select plug-ins. 3 While holding down the EFFECTS/PLUG-INS [3] (BYPASS) button, use Parameter control 1–4 push switches to bypass the plug-ins.
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Zooming 215 Zooming The cursor buttons can be used to zoom the Edit window as follows. 1 • • • • Use the [INC] (CURSOR MODE) button to select Zoom cursor mode. The CURSOR MODE section of the display shows “ZOOM.” In Zoom cursor mode, the cursor buttons work as follows: Left cursor button: Zoom out horizontally. Right cursor button: Zoom in horizontally. Up cursor button: Zoom in vertically. Down cursor button: Zoom out vertically.
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Chapter 18—Pro Tools Remote Layer 4 To stop scrub/shuttle, press the [SCRUB] or [SHUTTLE] button again, or press the [STOP] button. If you press the [REW], [FF], or [PLAY] button, scrub/shuttle operation is stopped before rewind, fast forward, or playback commences. While scrub/ shuttle is active, only the following Pro Tools/02R96 controls can be used: [SCRUB] and [SHUTTLE] buttons, Parameter wheel, transport buttons, faders, [ON] buttons, and [SOLO] buttons.
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Panner 217 Trim Mode Trim mode can be set as follows. 1 While holding down a channel’s [AUTO] button, press the USER DEFINED KEYS [7] (TRIM) button. If channel Display mode [F3] or Meter Display mode [F4] is currently selected, the channel’s Automation mode is displayed while its [AUTO] button is pressed.
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Chapter 18—Pro Tools Remote Layer Panner Operation via the Joystick 1 Select the track you wish to pan. 2 Press the [GRAB] button, turning on the [GRAB] button indicator. 3 While the [GRAB] button indicator is lit, operate the Joystick. If you move the Joystick for direct panning while the [GRAB] button indicator is lit, the pan position is specified as an absolute value, which may cause the pan position to jump drastically. You can also restrict the trajectory direction of the Joystick.
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Remote Control 219 19 Remote Control About the Remote Layer The 02R96’s Remote Layer allows you to control external MIDI equipment directly from the 02R96. The type of device to be controlled (i.e., the target) can be specified for each Remote Layer. There are six types of target: User Defined, Pro Tools, Nuendo, Cubase SX, General DAW, and User Assignable Layer.
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Chapter 19—Remote Control Configuring the User Defined Remote Layer The User Defined Remote Layer can be configured as follows. 1 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TARGET: This is used to select the target (only the User Defined target is explained in this section).
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About the Remote Layer 221 when an Encoder is adjusted. For the ENC setting, the Encoder’s current value from 0–127 is transmitted when it’s adjusted. The END setting specifies the end of the data. “–” means no data is transmitted. LEARN: This works the same as the [ON] button Learn function above, except the received MIDI messages are displayed in the ENCODER DATA area. Only one Learn function can be used at a time.
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Chapter 19—Remote Control About Machine Control The 02R96 can control the transport and locate functions of up to eight external recording machines that support MMC (MIDI Machine Control). Machines that support MMC can be controlled by connecting them to the 02R96’s MIDI, SERIAL, USB, or SLOT1 (with optional mLAN I/O Card installed in Slot #1). MMC support varies from machine to machine. Some machines may not operate exactly as explained in this section.
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About Machine Control 223 Transport Buttons The 02R96’s transport can be used to control external machines. The machine that is to be controlled can be selected on the Machine Configuration page (see page 222). REW FF STOP PLAY REC [REW] button This button starts rewind on the external machines. [FF] button This button starts fast forward on the external machines. [STOP] button This button stops the external machines. [PLAY] button This button starts playback on the external machines.
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Chapter 19—Remote Control Using the Locator MACHINE CONTROL LOCATE MEMORY DISPLAY (MEM-LOC) SET 1 2 3 4 5 6 7 8 LOCATE MEMORY [1–8] buttons These buttons are used to set and to locate to the eight Locate memories. Locate memories can be set on the Locate Memory page (see page 224). To set a locate memory on-the-fly, while holding down the [SET] button, press a LOCATE MEMORY [1–8] button. The 02R96 must be receiving timecode in order to do this.
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GPI (General Purpose Interface) 225 GPI (General Purpose Interface) The 02R96’s CONTROL port (25-pin D-sub connector) provides a GPI (General Purpose Interface). You can configure the GPI so that it will output 8-channel trigger signals when you operate the faders or User Defined Keys, or receive 2-channel trigger signals to control 02R96 parameters. You can assign any function to these trigger signals.
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Chapter 19—Remote Control 4 Select one of two buttons located to the right of trigger signal parameters INPUT 1 & 2 to specify how the incoming trigger signals will be detected. : When the switch is grounded (Low), the trigger signal is active and the selected parameter changes. : When the GPI Input goes High (open), the trigger signal is active and the selected parameter changes. You can execute functions assigned to the MONITOR section buttons and User Defined Keys, and turn channels on and off.
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GPI (General Purpose Interface) 6 227 Use the buttons located to the right of the OUTPUT (1–8) parameters to switch the polarity of the trigger signals that are output when you control the trigger sources. : The GPI Output goes High (open) when the trigger signal source is active. : The GPI Output goes Low (ground) when the trigger signal source is active.
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Chapter 20—Other Functions 20 Other Functions Using the User Assignable Layers If you set the Remote layer target to “USER ASSIGNABLE,” you can create a custom layer by combining any 02R96 channels (excluding the Stereo Out). 1 Use the DISPLAY ACCESS [REMOTE] button to locate Remote page. 2 Use the cursor buttons to select the TARGET parameter, use the Parameter wheel or INC/DEC buttons to select USER ASSIGNABLE LAYER, then press [ENTER]. A confirmation message appears.
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Using the User Defined Keys Using the User Defined Keys Up to 16 functions from a list of over 170 can be assigned to the USER DEFINED KEYS, and up to eight assignment setups can be stored in banks A to H. See page 238 for a list of initial bank assignments. USER DEFINED KEYS DISPLAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 Use the USER DEFINED KEYS [DISPLAY] button to locate the User Defined Key Assign page.
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Chapter 20—Other Functions You can initialize the assignments of the currently selected bank by selecting the INITIALIZE button, and pressing [ENTER]. User Defined Keys banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). Setting Preferences You can customize the operation of the 02R96 by using the preferences pages. Preferences 1 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 1 page.
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Setting Preferences 231 Recall Confirmation: When this preference is on, a confirmation message appears when you recall a Scene (page 164) or library memory (page 143). Patch Confirmation: When this preference is on, a confirmation message appears when you edit the Input and Output Patches (see page 66). Pair Confirmation: When this preference is on, a confirmation message appears when you pair channels using the [SEL] buttons.
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Chapter 20—Other Functions Preferences 2 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 2 page. 2 Use the cursor buttons to select the preferences, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. Channel ID: The corresponding Channel ID is indicated in the upper right corner of the display. Channel Short Name: The corresponding Channel Short Name is indicated in the upper right corner of the display.
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Setting Preferences 233 Preferences 3 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 3 page. 2 Use the cursor buttons or Parameter wheel to select the preferences, and use the INC/DEC buttons or [ENTER] button to set them. Mix Update Confirmation: When this preference is on, a confirmation message asking if you want to update the current Automix with the latest edits appears when Automix recording is stopped.
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Chapter 20—Other Functions Drop Out Time: This parameter sets an interval (in frames) between the interruption of incoming timecode and the stoppage of Automix recording or playback. Lock Time: This parameter sets the interval (in frames) allowed until the Automix locks to incoming timecode messages. If the sync operation is unstable, set this value higher.
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Operation Lock 235 Operation Lock The 02R96 features the Operation Lock function, which avoids unintentional edits and uses a password to restrict access to panel operation. 1 Use the DISPLAY ACCESS [UTILITY] button to locate the Operation Lock page. 2 Use the cursor buttons to select the PASSWORD button, then press [ENTER]. 3 Use the [SEL] buttons to set the password. Enter a four-letter password using the Channel 1–10 [SEL] buttons (Channel 10 [SEL] button enters “0”).
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Chapter 20—Other Functions 5 Use the buttons in the OPERATION LOCK SAFE section to select certain controls on the panel to exclude from Operation Lock.
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Checking the Battery and the System Version 237 Checking the Battery and the System Version The condition of the internal memory-backup battery can be checked as follows. 1 Use the DISPLAY ACCESS [UTILITY] button to locate the Battery Check page. If the Status is “Okay,” the battery is okay. If the Status is “Getting Low,” ask your Yamaha dealer to replace the battery as soon as possible. Do not attempt to replace the battery yourself. Failure to replace a low battery may result in data loss. Ver x.
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Appendix A: Parameter Lists Appendix A: Parameter Lists USER DEFINED KEYS # Function Display # Function Display 0 No ASSIGN No Assign 47 Input Fader Group Enable E IN Fader Group E 1 Scene MEM. Recall +1 Scene +1 Recall 48 Input Fader Group Enable F IN Fader Group F 2 Scene MEM. Recall –1 Scene –1 Recall 49 Input Fader Group Enable G IN Fader Group G 3 Scene MEM. Recall No. XX Scene XX Recall 50 Input Fader Group Enable H IN Fader Group H 4 Effect-1 Lib.
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USER DEFINED KEYS # Function Display # Function 239 Display 100 Track Arming 6 ON/OFF Track Arming 6 157 User Assignable Layer BANK +1 USER LAYER BANK+1 101 Track Arming 7 ON/OFF Track Arming 7 158 User Assignable Layer BANK –1 USER LAYER BANK–1 102 Track Arming 8 ON/OFF Track Arming 8 159 User Assignable Layer BANK X USER LAYER BANK X 103 Track Arming 9 ON/OFF Track Arming 9 160 MIDI NOTE No.XX MIDI NOTE XXX 104 Track Arming 10 ON/OFF Track Arming 10 161 MIDI Program change No.
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Appendix A: Parameter Lists USER DEFINED KEYS Initial Assignments No.
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Input Patch Parameters 241 Input Patch Parameters Input Channel Inputs Port ID Input Channel insert Ins Description Port ID Internal Effects Processor Inputs Description Port ID Description NONE NONE NONE NONE NONE NONE AD1 AD IN 1 AD1 AD IN 1 AUX1 AUX1 AD2 AD IN 2 AD2 AD IN 2 AUX2 AUX2 AD3 AD IN 3 AD3 AD IN 3 AUX3 AUX3 AD4 AD IN 4 AD4 AD IN 4 AUX4 AUX4 AD5 AD IN 5 AD5 AD IN 5 AUX5 AUX5 AD6 AD IN 6 AD6 AD IN 6 AUX6 AUX6 AD7 AD IN 7 AD7 AD IN 7 AUX7 AU
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Appendix A: Parameter Lists Input Channel Inputs Port ID Input Channel insert Ins Description Port ID Description Internal Effects Processor Inputs Port ID Description S2-12 Slot2 CH12 IN S2-12 Slot2 CH12 IN INSCH44 InsertOut-CH44 S2-13 Slot2 CH13 IN S2-13 Slot2 CH13 IN INSCH45 InsertOut-CH45 S2-14 Slot2 CH14 IN S2-14 Slot2 CH14 IN INSCH46 InsertOut-CH46 S2-15 Slot2 CH15 IN S2-15 Slot2 CH15 IN INSCH47 InsertOut-CH47 S2-16 Slot2 CH16 IN S2-16 Slot2 CH16 IN INSCH48 In
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Input Patch Parameters Input Channel Inputs Port ID Description 243 Input Channel insert Ins Port ID Description 2TD2L 2TR IN Dig.2 L 2TD2L 2TR IN Dig.2 L 2TD2R 2TR IN Dig.2 R 2TD2R 2TR IN Dig.2 R 2TD3L 2TR IN Dig.3 L 2TD3L 2TR IN Dig.3 L 2TD3R 2TR IN Dig.3 R 2TD3R 2TR IN Dig.
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Appendix A: Parameter Lists Initial Input Patch Settings Input channel Inputs # Source # Effects Processors Inputs Source # Source 1 AD01 29 S1-05 1-1 AUX1 2 AD02 30 S1-06 1-2 NONE 3 AD03 31 S1-07 1-3 NONE 4 AD04 32 S1-08 1-4 NONE 5 AD05 33 S2-01 1-5 NONE 6 AD06 34 S2-02 1-6 NONE 7 AD07 35 S2-03 1-7 NONE 8 AD08 36 S2-04 1-8 NONE 9 AD09 37 S2-05 2-1 AUX2 10 AD10 38 S2-06 2-2 NONE 11 AD11 39 S2-07 3-1 AUX3 12 AD12 40 S2-08 3-2
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Output Patch Parameters 245 Output Patch Parameters Output patch parameters are split into two tables. The first table contains parameters for the Slot Outputs, Omni Outs, and Output Channel Insert Ins. The second table, Direct Outs and, 2TR Digital Outputs.
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Appendix A: Parameter Lists Slot Outputs Source Description Omni Outs Source Description Output Channel Insert Ins Source Description INSCH28 InsertOut-CH28 INSCH28 InsertOut-CH28 S2-6 Slot2 CH6 IN INSCH29 InsertOut-CH29 INSCH29 InsertOut-CH29 S2-7 Slot2 CH7 IN INSCH30 InsertOut-CH30 INSCH30 InsertOut-CH30 S2-8 Slot2 CH8 IN INSCH31 InsertOut-CH31 INSCH31 InsertOut-CH31 S2-9 Slot2 CH9 IN INSCH32 InsertOut-CH32 INSCH32 InsertOut-CH32 S2-10 Slot2 CH10 IN INSCH33 Inser
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Output Patch Parameters Slot Outputs Source Description Omni Outs Source Description 247 Output Channel Insert Ins Source Description Surr Ls2 Surround Monitor Ls2 Surr Ls2 Surround Monitor Ls2 FX3-1 Effect3 OUT 1 Surr Rs2 Surround Monitor Rs2 Surr Rs2 Surround Monitor Rs2 FX3-2 Effect3 OUT 2 FX4-1 Effect4 OUT 1 FX4-2 Effect4 OUT 2 2TD1L 2TR IN Dig.1 L 2TD1R 2TR IN Dig.1 R 2TD2L 2TR IN Dig.2 L 2TD2R 2TR IN Dig.2 R 2TD3L 2TR IN Dig.3 L 2TD3R 2TR IN Dig.
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Appendix A: Parameter Lists Output Patch Table 2 Direct Outs Direct Outs 2TR Digital Outs Source Description NONE NONE NONE NONE S4-4 Slot4 CH4 OUT INSCH34 InsertOut-CH34 S1-1 Slot1 CH1 OUT BUS1 BUS1 S4-5 Slot4 CH5 OUT INSCH35 InsertOut-CH35 S1-2 Slot1 CH2 OUT BUS2 BUS2 S4-6 Slot4 CH6 OUT INSCH36 InsertOut-CH36 S1-3 Slot1 CH3 OUT BUS3 BUS3 S4-7 Slot4 CH7 OUT INSCH37 InsertOut-CH37 S1-4 Slot1 CH4 OUT BUS4 BUS4 S4-8 Slot4 CH8 OUT INSCH38 InsertOut-CH38 S1-5
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Initial Output Patch Settings 249 Initial Output Patch Settings Slot Outputs # Omni Outs Source # Source # Source SLOT1-01 BUS1 SLOT3-01 BUS1 1 AUX1 SLOT1-02 BUS2 SLOT3-02 BUS2 2 AUX2 SLOT1-03 BUS3 SLOT3-03 BUS3 3 AUX3 SLOT1-04 BUS4 SLOT3-04 BUS4 4 AUX4 SLOT1-05 BUS5 SLOT3-05 BUS5 5 AUX5 SLOT1-06 BUS6 SLOT3-06 BUS6 6 AUX6 SLOT1-07 BUS7 SLOT3-07 BUS7 7 AUX7 SLOT1-08 BUS8 SLOT3-08 BUS8 8 AUX8 SLOT1-09 BUS1 SLOT3-09 BUS1 SLOT1-10 BUS2 SLOT3-10 BUS2
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Appendix A: Parameter Lists Initial Input Channel Names Input Channel ID CH01 CH02 CH03 CH04 CH05 CH06 CH07 CH08 CH09 CH10 CH11 CH12 CH13 CH14 CH15 CH16 CH17 CH18 CH19 CH20 CH21 CH22 CH23 CH24 CH25 CH26 CH27 CH28 CH29 CH30 CH31 CH32 CH33 CH34 CH35 CH36 CH37 CH38 CH39 CH40 CH41 CH42 CH43 CH44 CH45 CH46 CH47 CH48 CH49 CH50 CH51 CH52 CH53 CH54 CH55 CH56 Short Name CH01 CH02 CH03 CH04 CH05 CH06 CH07 CH08 CH09 CH10 CH11 CH12 CH13 CH14 CH15 CH16 CH17 CH18 CH19 CH20 CH21 CH22 CH23 CH24 CH25 CH26 CH27 CH28 C
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Initial Input Port Names 251 Initial Input Port Names Port PORT ID Short Name Long Name Port PORT ID Short Name Long Name AD1 AD01 AD01 AD IN 1 SLOT2-13 S213 S213 Slot2 CH13 IN AD2 AD02 AD02 AD IN 2 SLOT2-14 S214 S214 Slot2 CH14 IN AD3 AD03 AD03 AD IN 3 SLOT2-15 S215 S215 Slot2 CH15 IN AD4 AD04 AD04 AD IN 4 SLOT2-16 S216 S216 Slot2 CH16 IN AD5 AD05 AD05 AD IN 5 SLOT3-01 S3-1 S3-1 Slot3 CH1 IN AD6 AD06 AD06 AD IN 6 SLOT3-02 S3-2 S3-2 Slot3 CH2 IN AD7
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Appendix A: Parameter Lists Initial Output Port Names Port Port ID Short Name Long Name Port Port ID Short Name Long Name SLOT1-01 S1-1 S1-1 Slot1 CH1 OUT SLOT4-05 S4-5 S4-5 Slot4 CH5 OUT SLOT1-02 S1-2 S1-2 Slot1 CH2 OUT SLOT4-06 S4-6 S4-6 Slot4 CH6 OUT SLOT1-03 S1-3 S1-3 Slot1 CH3 OUT SLOT4-07 S4-7 S4-7 Slot4 CH7 OUT SLOT1-04 S1-4 S1-4 Slot1 CH4 OUT SLOT4-08 S4-8 S4-8 Slot4 CH8 OUT SLOT1-05 S1-5 S1-5 Slot1 CH5 OUT SLOT4-09 S4-9 S4-9 Slot4 CH9 OUT SLOT1-
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GPI Trigger Source & Target List 253 GPI Trigger Source & Target List INPUT # Target # Target # Target # Target 0 NO ASSIGN 51 CH11 ON 102 AUX6 ON 153 CH48 ON UNLATCH 1 TALKBACK 52 CH12 ON 103 AUX7 ON 154 CH49 ON UNLATCH 2 SLATE 53 CH13 ON 104 AUX8 ON 155 CH50 ON UNLATCH 3 DIMMER 54 CH14 ON 105 STEREO ON 156 CH51 ON UNLATCH 4 MONO 55 CH15 ON 106 CH1 ON UNLATCH 157 CH52 ON UNLATCH 5 SMALL 56 CH16 ON 107 CH2 ON UNLATCH 158 CH53 ON UNLATCH 6 SR BUS 57
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Appendix A: Parameter Lists OUTPUT # 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 59 60 61 62 63 Target NO ASSIGN CH1 FADER ON CH2 FADER ON CH3 FADER ON CH4 FADER ON CH5 FADER ON CH6 FADER ON CH7 FADER ON CH8 FADER ON CH9 FADER ON CH10 FADER ON CH11 FADER ON CH12 FADER ON CH13 FADER ON CH14 FADER ON CH15 FADER ON CH16 FADER ON CH17 FADER ON CH18 FADER ON CH19 FADER ON CH20 FADER O
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User Defined Remote Layer Initial Bank Settings 255 User Defined Remote Layer Initial Bank Settings Bank 1 (GM Vol & Pan) ID Short Name Long RM01 GM01 GM-CH01 VOL&PAN RM02 GM02 GM-CH02 VOL&PAN RM03 GM03 GM-CH03 VOL&PAN RM04 GM04 GM-CH04 VOL&PAN RM05 GM05 GM-CH05 VOL&PAN RM06 GM06 GM-CH06 VOL&PAN RM07 GM07 GM-CH07 VOL&PAN RM08 GM08 GM-CH08 VOL&PAN RM09 GM09 GM-CH09 VOL&PAN RM10 GM10 GM-CH10 VOL&PAN RM11 GM11 GM-CH11 VOL&PAN RM12 GM12 GM-CH12 VOL&PAN RM13 GM13 GM-CH13 VOL&PAN RM
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Appendix A: Parameter Lists Bank 2 (GM Vol & Effect 1) ID Short Name Long RM01 GM01 GM-CH01 VOL&EFF1 RM02 GM02 GM-CH02 VOL&EFF1 RM03 GM03 GM-CH03 VOL&EFF1 RM04 GM04 GM-CH04 VOL&EFF1 RM05 GM05 GM-CH05 VOL&EFF1 RM06 GM06 GM-CH06 VOL&EFF1 RM07 GM07 GM-CH07 VOL&EFF1 RM08 GM08 GM-CH08 VOL&EFF1 RM09 GM09 GM-CH09 VOL&EFF1 RM10 GM10 GM-CH10 VOL&EFF1 RM11 GM11 GM-CH11 VOL&EFF1 RM12 GM12 GM-CH12 VOL&EFF1 RM13 GM13 GM-CH13 VOL&EFF1 RM14 GM14 GM-CH14 VOL&EFF1 RM15 GM15 GM-CH15 VOL&
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User Defined Remote Layer Initial Bank Settings 257 Bank 3 (XG Vol & Pan) ID Short Name Long RM01 XG01 XG-CH01 VOL&PAN RM02 XG02 XG-CH02 VOL&PAN RM03 XG03 XG-CH03 VOL&PAN RM04 XG04 XG-CH04 VOL&PAN RM05 XG05 XG-CH05 VOL&PAN RM06 XG06 XG-CH06 VOL&PAN RM07 XG07 XG-CH07 VOL&PAN RM08 XG08 XG-CH08 VOL&PAN RM09 XG09 XG-CH09 VOL&PAN RM10 XG10 XG-CH10 VOL&PAN RM11 XG11 XG-CH11 VOL&PAN RM12 XG12 XG-CH12 VOL&PAN RM13 XG13 XG-CH13 VOL&PAN RM14 XG14 XG-CH14 VOL&PAN RM15 XG15 XG-CH15 VOL
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Appendix A: Parameter Lists Bank 4 (Nuendo VST Mixer) ID Short Name Long RM01 CH1 VST MIXER CH1 RM02 CH2 VST MIXER CH2 RM03 CH3 VST MIXER CH3 RM04 CH4 VST MIXER CH4 RM05 CH5 VST MIXER CH5 RM06 CH6 VST MIXER CH6 RM07 CH7 VST MIXER CH7 RM08 CH8 VST MIXER CH8 RM09 CH9 VST MIXER CH9 RM10 CH10 VST MIXER CH10 RM11 CH11 VST MIXER CH11 RM12 CH12 VST MIXER CH12 RM13 CH13 VST MIXER CH13 RM14 CH14 VST MIXER CH14 RM15 CH15 VST MIXER CH15 RM16 CH16 VST MIXER CH16 RM17 CH17 VST M
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Effects Parameters 259 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.
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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.
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Effects Parameters 261 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.
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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.
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Effects Parameters 263 FLANGE Two input, two output flange effect. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed 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 to +12 dB Low shelving filter gain EQ F 100 Hz–8.
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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.
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Effects Parameters 265 TREMOLO Two input, two output tremolo effect. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed Modulation depth WAVE Sine, Tri, Square Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.
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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.
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Effects Parameters 267 MOD. FILTER Two input, two output modulation filter. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth PHASE 0.00–354.38 degrees Left-channel modulation and right-channel modulation phase difference TYPE LPF, HPF, BPF Filter type: low pass, high pass, band pass OFFSET 0–100 Filter frequency offset RESO.
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Appendix A: Parameter Lists DYNA. FILTER Two input, two output dynamically controlled filter. Parameter Range Description SOURCE INPUT, MIDI SENSE 0–100 Control source: input signal or MIDI Note On velocity Sensitivity DIR. UP, DOWN Upward or downward frequency change DECAY 1 Filter frequency change decay speed TYPE LPF, HPF, BPF Filter type OFFSET 0–100 Filter frequency offset RESO. 0–20 Filter resonance LEVEL 0–100 Output Level 1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.
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Effects Parameters 269 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.
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Appendix A: Parameter Lists 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.
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Effects Parameters 271 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.
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Appendix A: Parameter Lists 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.
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Effects Parameters 273 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.
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Appendix A: Parameter Lists DELAY->REV One input, two output delay and reverb 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) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio HPF THRU, 21.2 Hz–8.
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Effects Parameters 275 MULTI FILTER Two input, two output 3-band multi-filter (24 dB/octave). Parameter Range Description TYPE 1 HPF, LPF, BPF Filter 1 type: high pass, low pass, band pass TYPE 2 HPF, LPF, BPF Filter 2 type: high pass, low pass, band pass TYPE 3 HPF, LPF, BPF Filter 3 type: high pass, low pass, band pass FREQ. 1 28.0 Hz–16.0 kHz Filter 1 frequency FREQ. 2 28.0 Hz–16.0 kHz Filter 2 frequency FREQ. 3 28.0 Hz–16.
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Appendix A: Parameter Lists ST REVERB Two input, two output stereo reverb. Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type INI. DLY 0.0–100.0 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. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density E/R BAL.
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Effects Parameters 277 OCTA REVERB Eight input, eight output reverb. Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type INI. DLY 0.0–100.0 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. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density E/R BAL.
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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 speed 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.
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Effects Parameters 279 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.
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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.
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Effects and tempo synchronization 281 Effects and tempo synchronization Some of the 02R96’s effects allow you to synchronize the effect with the tempo. There are two such types of effect; delay-type effects and modulation-type effects. For delay-type effects, the delay time will change according to the tempo. For modulation-type effects, the frequency of the modulation signal will change according to the tempo.
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Appendix A: Parameter Lists Preset EQ Parameters # 01 02 03 04 05 06 07 08 09 10 11 12 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 Syn. Bass 1 Syn. Bass 2 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.
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Preset Gate Parameters (fs = 44.1 kHz) # 25 26 27 28 29 30 31 Parameter Title Male Vocal 1 Male Vocal 2 Female Vo. 1 Female Vo. 2 Chorus & Harmo Total EQ 1 Total EQ 3 Bass Drum 3 PEAKING PEAKING PEAKING 0.0 dB +2.0 dB +3.5 dB F 190 Hz 1.00 kHz 2.00 kHz 6.70 kHz Q 0.11 4.5 0.56 0.11 PEAKING PEAKING PEAKING H.SHELF G +2.0 dB –5.0 dB –2.5 dB +4.0 dB F 170 Hz 236 Hz 2.65 kHz 6.70 kHz Q 0.11 10 5.6 — PEAKING PEAKING PEAKING PEAKING G –1.0 dB +1.
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Appendix A: Parameter Lists Preset Compressor Parameters (fs = 44.1 kHz) # Title 1 Comp 2 Expand 3 Compander (H) 4 Compander (S) 5 A. Dr. BD 6 A. Dr. BD 7 A. Dr. SN 8 A. Dr. SN 9 A. Dr.
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Preset Compressor Parameters (fs = 44.1 kHz) # Title Type 19 Strings1 COMP 20 Strings2 COMP 21 Strings3 COMP 22 BrassSection COMP 23 Syn. Pad COMP 24 SamplingPerc COMPAND-S 25 Sampling BD COMP 26 Sampling SN COMP 27 Hip Comp COMPAND-S Parameter Value Threshold (dB) –11 Ratio ( :1) 2 Attack (ms) 33 Out gain (dB) 1.5 Knee 2 Release (ms) 749 Threshold (dB) –12 Ratio ( :1) 1.5 Attack (ms) 93 Out gain (dB) 1.5 Knee 4 Release (ms) 1.35 S Threshold (dB) –17 Ratio ( :1) 1.
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Appendix A: Parameter Lists Dynamics Parameters The dynamics effects for each channel strip include a Gate section (only for Input Channels) and a Comp section. The Gate section includes Gate and Ducking types. The Comp section includes Compressor, Expander, Compander Hard (COMP. (H)), and Compander Soft (COMP. (S)) types. GATE Section (Only for Input Channels) GATE A gate attenuates signals below a set THRESHOLD level by a specified amount (RANGE). Parameter Range Description THRESHOLD (dB) –54.
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Dynamics Parameters DUCKING Ducking is commonly used for voice-over applications in which the background music level is reduced automatically when an announcer speaks. When the KEY IN source signal level exceeds the specified THRESHOLD, the output level is attenuated by a specified amount (RANGE). Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of trigger signal (KEY IN) required to activate ducking.
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Appendix A: Parameter Lists COMP Section COMP The COMP processor attenuates signals above a specified THRESHOLD by a specified RATIO. The COMP processor can also be used as a limiter, which, with a RATIO of ∞:1, reduces the level to the threshold. This means that the limiter’s output level never actually exceeds the threshold. Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of input signal required to trigger the compressor. RATIO 1.0:1, 1.1:1, 1.
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Dynamics Parameters 289 EXPAND An expander attenuates signals below a specified THRESHOLD by a specified RATIO. Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of input signal required to trigger the expander. RATIO 1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1, 2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, 8.0:1, 10:1, 20:1, ∞:1 (16 points) This determines the amount of expansion.
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Appendix A: Parameter Lists Output Level COMPANDER HARD (H) COMPANDER SOFT (S) The hard and soft companders combine the effects of the compressor, expander and limiter. THRESHOLD 0dB Input Level WIDTH The companders function differently at the following levels: 1 0 dB and higher.....................................Functions as a limiter. 2 Exceeding the threshold .......................Functions as a compressor. 3 Below the threshold and width............Functions as an expander.
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General Spec 291 Appendix B: Specifications General Spec Number of scene memories 99 Internal Sampling Frequency External Normal rate: 44.1 kHz–10% to 48 kHz+6% Double rate: 88.2 kHz–10% to 96 kHz+6% Less than 2.0 ms CH INPUT to STEREO OUT (fs=48 kHz) Signal Delay Less than 1.1 ms CH INPUT to STEREO OUT (fs=96 kHz) 100 mm motorized with touch sense × 25 Fader +10 to –138, –∞dB input faders (10bit fader data) Fader Resolution Total Harmonic Distortion1 (CH INPUT to STEREO OUT) (Input Gain=Min.
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Appendix B: Specifications Input patch Phase Gate-type3 — Normal/reverse On/off Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48, 49–56)/AUX1–8 On/off Comp-type4 Key in: self /Stereo Link Pre EQ/pre fader/post fader Attenuator EQ Input Channel CH1–56 On/off — Fader 100 mm motorized (INPUT/AUX1–8) OMNI OUT 1–8 CONTROL ROOM MONITOR OUT STUDIO MONITOR OUT On/off Pre fader/after pan 127 positions (Left= 1–63, Center, Right= 1–63) 127 × 127 positions LFE level –∞, –96 dB to +10 dB (256 step)
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General Spec Comp-type4 Attenuator EQ STEREO Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.1 dB step) 4-band PEQ5 On/off — Fader 100 mm motorized Balance 127 positions (Left=1–63, Center, Right=1–63) Delay 0–43400 samples Comp-type4 Attenuator EQ BUS1–8 On/off On/off Metering 293 Displayed on LCD Peak hold on/off On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.
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Appendix B: Specifications Supplied Accessories AC Cable CD-ROM (Studio Manager) Options Digital interface card (MY16, MY8, MY4 series) PEAK METER BRIDGE: MB02R96 SIDE PANEL: SP02R96 1. Total harmonic distortion is measured with a 6 dB/octave filter @ 80 kHz. 2. Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation. 3. See “Gate Parameters” on page 294. 4. See “Comp Parameters” on page 295. 5.
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General Spec 295 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 Expander Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.
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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 1. Effects #53–61 are Add-On Effects.
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Analog Input Spec 297 Analog Input Spec Input PAD GAIN Actual Load For Use With Impedance Nominal Sensitivity1 –60 dB 0 3k Ω INPUT A/B 1–16 –16 dB 50–600 Ω Mics & 600 Ω Lines 26 –34 dB INPUT 17–24 — 4K Ω 600 Ω Lines +10 dB Input level Max. before clip Nominal Connector –70 dB –60 dB (0.245 mV) (0.775 mV) –46 dB (3.88 mV) A: XLR-3-31 type –26 dB (38.8 mV) –16 dB (0.123 V) –2 dB (616 mV) B: Phone jack (TRS) 0 dB (775 mV) +10 dB (2.45 V) +24 dB (12.28 V) –44 dB (4.89 mV) –34 dB (15.
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Appendix B: Specifications Digital Input Spec Input 2TR IN DIGITAL Format Data length Level Connector 1 AES/EBU 24-bit RS422 XLR-3-31 type (Balanced)1 2 IEC-60958 24-bit 0.5 Vpp/75 Ω 3 IEC-60958 24-bit 0.5 Vpp/75 Ω — — RS422 CASCADE IN RCA pin jack RCA pin jack D-SUB Half Pitch Connector 68P (Female) 1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
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I/O Slot Spec (1–4) I/O Slot Spec (1–4) Each I/O SLOT accepts a digital interface card. Only SLOT #1 has a serial interface.
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Appendix B: Specifications Connector Pin Assignments CASCADE IN Pin CASCADE OUT Signal Pin Signal Pin Signal Pin Signal 1 GND 35 GND 1 GND 35 GND 2 INPUT 1-2(+) 36 INPUT 1-2(–) 2 OUTPUT 1-2(+) 36 OUTPUT 1-2(–) 3 INPUT 3-4(+) 37 INPUT 3-4(–) 3 OUTPUT 3-4(+) 37 OUTPUT 3-4(–) 4 INPUT 5-6(+) 38 INPUT 5-6(–) 4 OUTPUT 5-6(+) 38 OUTPUT 5-6(–) 5 INPUT 7-8(+) 39 INPUT 7-8(–) 5 OUTPUT 7-8(+) 39 OUTPUT 7-8(–) 6 INPUT 9-10(+) 40 INPUT 9-10(–) 6 OUTPUT 9-10(+) 40 OUTPUT
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239 mm PAD PAN FADER ON 2 ON 1 15 20 30 15 20 30 50 10 10 40 5 5 50 0 40 5 2 26 50 SOLO SOLO 10 SEL 10 50 40 30 20 15 10 5 0 5 3 27 51 3 ON SOLO SEL AUTO 2 AUTO PLUG INS 1 0 AUX 10 50 40 30 20 15 10 5 0 5 4 28 52 4 ON SOLO SEL AUTO 3 CHANNEL INSERTS 10 50 40 30 20 15 10 5 0 5 5 29 53 5 ON SOLO SEL AUTO 4 ASSIGN 2 AUX 8 AUX 7 ASSIGN 1 AUX 4 EFFECTS / PLUG INS SEL 1 25 49 AUX FADER MODE INTERNAL EFFECTS 5 10 AUX
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Appendix C: MIDI Appendix C: MIDI Scene Memory to Program Change Table Program Change # Initial Scene # 1 2 User Scene # Program Change # Initial Scene # 01 44 02 45 3 03 4 5 Program Change# Initial Scene # 44 87 87 45 88 88 46 46 89 89 04 47 47 90 90 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
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Scene Memory to Program Change Table 303 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 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 ON FADER L FADER L FADER L FADER L FADER L FADER
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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 HIGH 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 L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER
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Scene Memory to Program Change Table 305 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 HIGH 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 L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FA
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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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H
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Scene Memory to Program Change Table 307 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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G L
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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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW 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 G LO-MID H
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Scene Memory to Program Change Table 309 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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN 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 G LO-MID H G LO-MID H G LO-MID H G LO-MID H
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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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN 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 G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID
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Scene Memory to Program Change Table 311 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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H
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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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MI
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Scene Memory to Program Change Table 313 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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HI
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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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH
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Scene Memory to Program Change Table 315 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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT
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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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H NO ASS
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Scene Memory to Program Change Table 317 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 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO
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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 HIGH MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO AS
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MIDI Data Format 319 MIDI Data Format In the following tables, “tx” means that transmission from the 02R96 is possible, and “rx” means that receiving messages at the 02R96 is possible. 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 4.2.2 PARAMTER CHANGE Command F0 43 1n 3E 0B ... F7 RARAMETER CHANGE F0 43 3n 3E 0B ...
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Appendix C: MIDI This data cannot be transmitted via Program Change to Studio Manager since there is no guarantee that the contents of the tables will match. (Parameter Change messages will always be used.
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Format Details 11. ACTIVE SENSING (FE) Reception Once this message has been received, the failure to receive any message for an interval of 400 ms or longer will cause MIDI transmission to be initialized, such as by clearing the Running Status. STATUS 11111110 FE Active sensing 12. SYSTEM RESET (FF) Reception When this message is received, MIDI communications will be cleared, e.g., by clearing the Running Status. STATUS 11111111 FF System reset 13. SYSTEM EXCLUSIVE MESSAGE (F0) 13.
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Appendix C: MIDI EOX 11110111 F7 End of exclusive 00110100 01001100 00000000 0bbbbbbb BLOCK INFO. 0ttttttt DATA NAME 13.3.3 Setup memory bulk dump format Of the setup memory of the 02R96, this bulk-dumps data other than the User defined layer, User define plug-in, User defined keys, User assignable layer, Control change table, and Program change table. STATUS ID No. SUB STATUS FORMAT No.
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Format Details 13.3.8 User defined plug-in bulk dump request format The second and third bytes of the DATA NAME indicate the bank number. STATUS ID No. SUB STATUS FORMAT No.
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Appendix C: MIDI 00110101 00110100 DATA NAME 01000011 00000010 00000000 BLOCK INFO. 0ttttttt 35 34 43 02 00 tt '5' '4' 'C' No.256 = Current DATA total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Control change table data of block[bb] CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 13.3.14 Control change table bulk dump request format STATUS ID No. SUB STATUS FORMAT No.
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Format Details 13.3.19 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 - 351:CH96, 384:BUS1 391:BUS8, 512:AUX1 - 523:AUX12, 640:MATRIX1L - 647:MATRIX4R, 768:STEREO L - 769:STEREO R, 8192:UNDO 256 and following are data for the corresponding channel of the edit buffer. For reception by the 02R96, only the user area is valid. (36-127, 256-) STATUS ID No. SUB STATUS FORMAT No.
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Appendix C: MIDI CHECK SUM EOX 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 13.3.24 Effect library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) STATUS ID No. SUB STATUS FORMAT No.
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Format Details FORMAT No. 01111110 7E COUNT HIGH 0ccccccc ch COUNT LOW 0ccccccc cl 01001100 4C 01001101 4D 00100000 20 00100000 20 00111000 38 01000011 43 00110101 35 00110100 34 DATA NAME 01001111 4F 0mmmmmmm mh 0mmmmmmm ml BLOCK INFO. 0ttttttt tt Universal bulk dump DATA data count = ch * 128 + cl 'L' 'M' '' CHECK SUM EOX 13.3.32 Bus to stereo library bulk dump request format 'C' The second and third bytes of the DATA NAME indicate the library number.
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Appendix C: MIDI DATA NAME 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001011 0mmmmmmm 4C 4D 20 20 38 43 35 34 4B mh 'L' 13.3.37 Plug-in effect card bulk dump format 'M' The second byte of the DATA NAME indicates the slot number. 0:SLOT 3 - 1:SLOT 4 The data is not received if the Developer ID and Product ID are different than the card that is installed in the slot. The data is not transmitted if a valid plug-in effect card is not installed.
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Format Details Transmission If [Parameter change TX] is ON and you operate a parameter for which Control Change transmission is not enabled, a parameter change will be transmitted with [Tx CH] as the Device Number. As a response to a Parameter Request, a parameter change will be transmitted with [Rx CH] as the Device Number. 13.4.1 Parameter change basic format (02R96-specific) STATUS ID No.
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Appendix C: MIDI 13.4.9 Parameter request (Patch data) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the value of the specified parameter will be transmitted as a Parameter change. STATUS ID No.
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Format Details function Bus to Stereo LIB STORE Surround Monitor LIB STORE AUTOMIX LIB STORE 0x29 0x2A 0x2B number 1-32 1-32 1-16 channel*1) 256, 16383 256, 16383 256, 16383 rx/tx rx/tx rx/tx rx/tx *1) 0:CH1 - 55:CH56, 128:BUS1 - 135:BUS8, 256:AUX1 263:AUX8, 512:STEREO L - 513:STEREO R Use 256 if the recall destination or store source is a single data item.
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Appendix C: MIDI 13.4.19 Parameter change (Function call: effect) 13.4.22 Parameter change (Function call: attribute) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the corresponding effect’s function activates (depending on the effect type).
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Format Details DATA EOX 0iiiiiii 0iiiiiii 0ooooooo 0ooooooo 11110111 ih inpatch il oh outpatch ol F7 End of exclusive function SCENE LIB LINK 0x20 ADDRESS DATA number 0-99 (0:response only) EOX 13.4.25 Parameter request (Function call: link) 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.
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Appendix C: MIDI 13.4.30 Parameter request (Remote time counter) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the Time Counter information is transmitted on the [Rx CH] channel every 50 msec for 10 seconds. When the second byte of Address is received on 0x7F, data transmission will be halted immediately.
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MB02R96 Peak Meter Bridge 335 Appendix D: Options MB02R96 Peak Meter Bridge Installation 1 Unscrew the four fixing screws 1 on the 02R96 rear panel to which the meter bridge will be attached. 1 1 2 Using the four supplied 8 mm screws B, attach the brackets to the meter bridge, as shown below. 3 Align the meter bridge with the 02R96, and, using two of the supplied 12 mm screws C, screw in the top two fixing screws, but don’t tighten them fully.
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Appendix D: Options Meter Bridge Controls A Channel indicators These indicators show which channels are currently being metered: Input Channels 1–24, 25–48, or 49–56 and Aux Sends 1–8 and Bus Outs 1–8. 9 5 B INPUT METERING POSITION button & indicators This button is used to set the metering position for Input Channels to pre-EQ, pre-fader, or post-fader. It works in unison with the PRE EQ, PRE FADER, and POST FADER buttons for Input Channels on the Meter pages.
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SP02R96 Wooden Side Panels 337 SP02R96 Wooden Side Panels Attach the side panels as shown below.
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Index Index Symbols +48V ON/OFF switches 20 Numerics 1–24 button 30 25–48 button 30 2TR I/O channel status 62 dithering outputs 62 patching digital outputs 70 patching direct outs 70 patching inputs 66 sampling rate conversion 58 2TR IN ANALOG 1 +4 dB (BAL) 39 2TR IN ANALOG 2 –10 dBV (UNBAL) 39 2TR IN DIGITAL AES/EBU 1 41 2TR IN DIGITAL COAXIAL 2 & 3 41 2TR OUT DIGITAL AES/EBU 1 40 2TR OUT DIGITAL COAXIAL 2 & 3 40 2TR OUT DIGITAL OUT PATCH page 70 3-1 surround mode 85 5.1 surround mode 85 6.
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Index B Balance, stereo out 94 Bars, time signature map 178 BASS MANAGEMENT 140 Battery check 237 BATTERY CHECK page 237 BI-DIRECTIONAL, cascade setting 65 Bulk dump 195 BULK DUMP page 195 BUS button 36 BUS FADER VIEW page 132 Bus outs attenuating 110 automix 170 bus to stereo library 147 channel library 144 compressors 116 delay 120 EQ 111 grouping faders 126 grouping mutes 128 inserts 115 level setting 96 metering 109 muting 96 naming 134 pairing 123 patching to 2TR digital outputs 70 patching to input c
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Index DISPLAY ACCESS section 23 DISPLAY ACCESS section, SELECTED CHANNEL section 27 Display Brightness preference 232 DISPLAY buttons AUX SELECT 21 DYNAMICS 27 EFFECTS/PLUG-INS 24 ENCODER MODE 22 EQUALIZER 29 MACHINE CONTROL 32 MONITOR 34 PAN/SURROUND 28 ROUTING 26 SCENE MEMORY 31 USER DEFINED KEYS 31 DIST->DELAY 274 DISTORTION 267 DITHER page 62 Dithering digital outputs 62 DIV (divergence) 89 Double channel 61 Double speed 61 Drop Out Time preference 234 DUAL PITCH 266 Ducking, input channels 74 Dup
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Index Gates library 148 parameter table 294 presets 74 using 74 General DAW 219 Global Fade Time 167 Global Paste 168 GLOBAL PASTE DESTINATION SCENE page 169 GLOBAL PASTE SOURCE CH SELECT page 168 GLOBAL RECALL SAFE 167 GPI 225 REC LAMP 227 GPI SETUP page 225 GR meters compressors 119 gates 75 GRAB button 28 Grounding screw 42 GROUP button 23 Group Master 79, 80, 127, 129 Grouping features 17 input channel compressors 77 input channel EQs 76 input channel faders 79 input channel mutes 78 output channel com
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Index LOW EQ 111 LOW-MID EQ 111 M M. BAND DYNA.
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Index Pair Confirmation preference 231 Pairing channels features 17 pan modes 84 using 123 PAN button 22 PAN control 28 PAN display 28 PAN/SURROUND section about 28 joystick and surround pan 87 panning input channels 83 Panner 217 Panning automix 170 aux sends 103 input channels 83 modes 84 Parameter boxes 45 Parameter change messages 194 Parameter controls 1–4 25 Parameter Up/Down buttons 24 Parameter wheel 33 Parameter windows 46 Patch Confirmation preference 231 PATCH LINK 165 Patch link 165 Patch selec
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Index REMOTE button, DISPLAY ACCESS 23 REMOTE button, LAYER 30 Remote control chapter 219 Remote layer about 219 assigning targets 219 MIDI port setup 191 Pro Tools 196 selecting 47 REMOTE page 219 REMOTE page, Pro Tools 199 REMOTE page, user defined 220, 221 Requesting bulk dump 195 Rerecording an automix 181 Return mode, automix 172 REV+CHORUS 269 REV+FLANGE 270 REV+SYMPHO. 271 REV->CHORUS 269 REV->FLANGE 270 REV->PAN 272 REV->SYMPHO. 271 REVERB 5.
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Index muting 93 naming 134 patching to 2TR digital outputs 70 patching to omni outs 69 patching to slot outputs 68 routing to 82 scene recall safe 167 viewing fader settings 130 viewing parameter settings 129 STEREO OUT +4 dB (BAL) 39 STEREO OUT –10 dBV (UNBAL) 39 Stereo out chapter 92 STEREO section 30 STOP button 32 STOP button, automix 174 STORE button 31 Store Confirmation preference 230 Storing library memories 143 scene memories 164 STUDIO LEVEL control 34 Studio manager port setup 191 STUDIO MONITOR
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Explanation of Graphical Symbols 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.
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02R96 Block Diagram x 16 METER METER COMP INPUT 1(...
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02R96 Level Diagram Analog Analog dBu +24 +20 Digital dBFS 0 INSERT –20 –30 INPUT PATCH PHASE GATE INSERT ATT. EQ INSERT COMP DELAY ON LEVEL INSERT PAN BUS Adder INSERT ATT. EQ INSERT COMP MASTER ON MASTER LEVEL INSERT BAL DELAY OUTPUT PATCH Analog Analog DA dBu 0 [+10dBu] 3 Nominal Input 5 CASCADE IN CASCADE OUT Digital Clipping Level [+18dBu] 2 4 –10 AD Digital Bit 1 +10 Max. Output [+18dBu] Nominal Output [+4dBu] [+4dBu] GAIN MIN.
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YAMAHA [Digital Mixing Console-Internal Parameters] Model: 02R96 Function... Date: 20 Mar. 2002 MIDI Implementation Chart Version: 1.
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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. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.