Owner’s Manual Keep This Manual For Future Reference.
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
• Explanation of Graphical Symbols CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
iv Important Information Important Information Warnings • • • • • • • • • • • • • • Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. Failure to do so is a fire and electrical shock hazard. Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result. Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a fire and electrical shock hazard.
Operating Notes • • • • v This unit has ventilation holes along the top, front, rear, and sides to prevent the internal temperature from rising too high. Do not block them. Blocked ventilation holes are a fire hazard. In particular, do not operate the unit while it’s on its side, is upside down, or while it’s covered with a cloth or dust sheet. This unit is equipped with a dedicated ground connection to prevent electrical shock.
vi Important Information Trademarks ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are registered trademarks of Alesis Corporation. Apogee is a trademark of Apogee Electronics, Inc. Apple, Mac, and Power Macintosh are registered trademarks and Mac OS is a trademark of Apple Corporation, Inc. HUI is a trademark of Mackie Designs, Inc. Intel and Pentium are registered trademarks of Intel Corporation. Nuendo is a registered trademark of Steinberg Media Technologies AG.
About this Owner’s Manual vii About this Owner’s Manual This Owner’s Manual explains how to operate the 01V96 Digital Mixing Console. The Table of Contents can help you to familiarize yourself with the manual’s organization and to locate tasks and topics. The index can help you locate specific information. Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on page 27. Each chapter in this manual discusses a specific section or function of the 01V96.
Contents Contents 1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Installing an Optional Card . . .
Contents 9 Setting Aux Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Viewing Aux Send Settings for Multiple Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Panning Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Copying Channel Fader Positions to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 10 Input & Output Patching . . .
Contents 18 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 MIDI & the 01V96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Assigning Scenes to Program Changes for Remote Recall . . . . . . . . . . . . . . . . . .
Welcome 11 1 Welcome 1 ■ Hardware Features • • • • • • • • 100-mm motorized faders x 17 Faders can set levels for Input Channels, Aux send levels, and Bus Outs. Four selectable software layers determine the function of channel faders. 320 x 240 dot LCD display Buttons and controls in the SELECTED CHANNEL section enable direct editing of channel EQ parameters. 8 USER-DEFINED KEYS enable you to assign functions to control 01V96 internal parameters.
Chapter 1—Welcome ■ Channel Configuration • • • • • • 32 Input Channels and four ST IN channels can be mixed at a time. Group multiple channels and pair channels for stereo. Eight Bus Outs and eight Aux Sends. Bus Outs 1-8 can be routed to Stereo Buses for use as Group Buses.
Control Surface & Rear Panel 13 2 Control Surface & Rear Panel 2 Control Surface DISPLAY ACCESS Section (p.
Chapter 2—Control Surface & Rear Panel AD Input Section CH1-4 1 2 3 4 5 9 10 11 12 13 15 14 16 1 A A A A A A A A A B B B B B B B B B 2 INPUT (BAL) INSERT 3 4 5 6 7 8 OUT IN (UNBAL) INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB CH15/16 2TR IN PAD -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 GAIN GAIN GAI
Control Surface 15 D PAD switches These switches turn on or off the 20 dB pad (attenuator) for each AD Input. E GAIN controls These controls adjust input sensitivity for each AD Input. Input sensitivity is –16 dB to –60 dB when the Pad is off, and +4 dB to –40 dB when the Pad is on. G SIGNAL indicators These indicators light up when the input signal level exceeds –34 dB. H AD15/16 selector This button selects AD Input Channel 15 and 16 signals.
Chapter 2—Control Surface & Rear Panel Channel Strip Section A [SEL] buttons These buttons enable you to select desired channels. The [SEL] button indicator for the currently-selected channel lights up. The channel selected by each [SEL] button depends on the layer selected in the LAYER section (see page 19). These buttons also allow you to create or cancel channel pairs, and add channels to (or remove them from) Fader, Mute, EQ, and Compressor groups.
Control Surface 17 ST IN Section 1 ST IN 2 2 SEL SOLO SOLO 3 4 ON ST IN 1 ON ST IN 2 5 A [ST IN] button This button selects an ST IN channel pair (ST IN Channels 1 & 2 or 3 & 4) which you can control using the buttons and controls in the ST IN section. The indicators to the right of the button indicate the available ST IN channels. B [SEL] buttons These buttons select the ST IN channel you want to control. C [SOLO] buttons These buttons solo the selected ST IN channels.
Chapter 2—Control Surface & Rear Panel DISPLAY ACCESS Section 1 2 3 4 DISPLAY ACCESS 6 5 SCENE DIO/SETUP PAN/ / INSERT/ ROUTING DELAY DYNAMICS EQ MIDI UTILITY PAIR/ GROUP PATCH EFFECT VIEW 7 8 9 J K L A [SCENE] button This button displays a Scene page, enabling you to store and recall Scenes (see page 161). B [DIO/SETUP] button This button displays a DIO/Setup page, enabling you to set up the 01V96, including digital input and output setup and remote control setup (see pgaes 72, 188).
Control Surface 19 LAYER Section LAYER 1-16 17-32 2 MASTER REMOTE 2 3 A [1–16]/[17–32] buttons These buttons select an Input Channel layer as the layer controlled in the Channel Strip section. When the [1–16] button is turned on, you can control Channels 1–16. When the [17–32] button is turned on, you can control Channels 17–32. (See page 31 for more information on the Input Channel layers.) B [MASTER] button This button selects the Master Layer as the layer controlled in the Channel Strip section.
Chapter 2—Control Surface & Rear Panel E Left Tab Scroll [ ] button F Right Tab Scroll [ ] button If there are more pages available than the four whose tabs are currently displayed, use these buttons to display the additional tabs. These buttons are available only when the left or right Tab Scroll arrow appears.
Control Surface 21 SCENE MEMORY Section SCENE MEMORY STORE 2 RECALL 3 2 A [STORE] button This button enables you to store the current mix settings. (See page 161 for more information on Scene Memories.) B Scene Up [ ] / Down [ ] buttons These buttons select a Scene to store or recall. Pressing the Scene Up [ ] button increments the selection; pressing the Scene Down [ ] button decrements the selection. Holding down either key increments or decrements the selection continuously.
Chapter 2—Control Surface & Rear Panel Data Entry Section 3 DEC INC 1 4 2 ENTER A Parameter wheel This control adjusts the parameter values shown on the display. Turning it clockwise increases the value; turning it counterclockwise decreases the value. This wheel also enables you to scroll a displayed list and select a character for entry (see page 30). B [ENTER] button This button activates a selected (highlighted) button on the display, and confirms the edited parameter values.
Rear Panel 23 Rear Panel PHANTOM +48V (p. 23) Digital I/O Section (p. 24) AD Output Section (p. 23) MIDI/Control Section (p. 25) 2 Control Surface & Rear Panel Power Section (p. 25) SLOT Section (p. 25) PHANTOM +48V 3 2 1 A CH1–4 ON/OFF switch B CH5–8 ON/OFF switch C CH9–12 ON/OFF switch Each of these switches turns on or off the +48V phantom power feed to four corresponding inputs. When the switches are on, +48V phantom power is supplied to the INPUT A connectors.
Chapter 2—Control Surface & Rear Panel B OMNI OUT connectors 1–4 These balanced TRS phone-type connectors output any Bus signals or channel Direct Out signals. The nominal signal level is +4 dB. Tip (hot) 1/4" TRS phone plug Ring (cold) Sleeve (ground) C STEREO OUT connectors L/R These balanced XLR-3-32-type connectors output the Stereo Out signals. The nominal signal level is +4 dB.
Rear Panel 25 MIDI/Control Section 2 2 A MIDI IN/THRU/OUT ports These standard MIDI IN, OUT and THRU ports enable you to connect the 01V96 to other MIDI equipment. B TO HOST USB port This USB port enables you to connect a computer equipped with a USB port. SLOT Section 1 A SLOT You can insert optional mini-YGDAI cards into this slot. (See page 26 for information on installing these cards.) Power Section 1 2 A POWER ON/OFF switch This switch turns the power to the 01V96 on or off.
Chapter 2—Control Surface & Rear Panel Installing an Optional Card Visit the following Yamaha Pro Audio web site to ensure that the card you are installing is supported by the 01V96. . Follow the steps below to install an optional mini-YGDAI card. 1 Make sure that the power to the 01V96 is turned off. 2 Undo the two fixing screws and remove the slot cover, as shown below. Keep the cover and fixing screws in a safe place for future use.
Operating Basics 27 3 Operating Basics This chapter describes basic operations on the 01V96, including how to use the display and operate the controls on the top panel. 3 About the Display 3Current Scene 1 Selected DISPLAY 4EDIT indicator 5MIDI indicator 6Surround mode indicator 7Sampling rate indicator 8 ST IN channel levels 2 Selected JChannel name channel 9Page title KPage area LPage tabs MTab Scroll arrows A Selected DISPLAY This section indicates the currently-selected display page group.
Chapter 3—Operating Basics G Sampling rate indicator This indicator identifies the 01V96’s current sampling rate: 44.1 kHz (44k), 48 kHz (48k), 88.2 kHz (88k), or 96 kHz (96k). H ST IN channel levels These level controls indicate the level of ST IN channels 1–4. I Page title This section indicates the title of the current page. J Channel name On certain pages, this area displays the Long name of the currently-selected channel. K Page area This page area displays various page contents.
Display Interface 29 4 Press the cursor buttons to move the cursor (a bold frame) to a button, parameter box, rotary control, or fader so that you can change the value. Tip: The 01V96 remembers the current page and parameter when you select a new page group. If you return to the previous page group, the 01V96 displays the correct page, with the same parameter selected. You can also select a page by using the controls or buttons on the top panel (see page 226).
Chapter 3—Operating Basics Confirmation Messages For certain functions, the 01V96 prompts you for confirmation before executing the functions, as shown here. Move the cursor to YES and press [ENTER] to execute the function, or move the cursor to NO and press [ENTER] to cancel. If you take no action for awhile, the confirmation window closes automatically and the function is not executed. Title Edit Window The Title Edit window enables you to enter titles for Scene and library memories.
Selecting Layers 31 Selecting Layers Input Channels and Output Channels (Bus Outs & Aux Outs) are arranged into layers, as illustrated below. There are four layers altogether. 3 Operating Basics Input Channel Layer 1–16 Input Channel Layer 17–32 Master Layer Remote Layer The currently-selected layer determines the function of the channel strip, [SEL] buttons, [SOLO] buttons, [ON] buttons, and faders. Use the LAYER buttons to select a layer you wish to edit using the channel strip controls.
Chapter 3—Operating Basics Selecting Channels To select a channel on the 01V96, press the corresponding [SEL] button. To adjust the Pan and EQ settings, use the rotary controls in the SELECTED CHANNEL section. To select a channel on pages that cover multiple channels, press the corresponding [SEL] button. 1 Press the corresponding LAYER button to select a layer that includes the desired channel (see page 31). To select ST IN channels, press the ST IN [ST IN] button.
Selecting Fader Modes Selecting Fader Modes The function of channel faders (1–16) depends on the selected Layer and Fader mode. 1 Select a layer that includes the desired channel (see page 31). FADER MODE AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 HOME (METER) The following table shows the channel fader functions for each Layer and Fader mode.
Chapter 3—Operating Basics Metering This section describes how to check Input and Output Channel levels using the Meter pages. 1 Press the FADER MODE [HOME] button repeatedly until the Meter | Position page appears. This page enables you to set the metering position for Input and Output Channels. 1 2 A INPUT section This section enables you to select the metering position for Input Channel and ST IN Channel signals.
Metering 35 - ST IN page This page displays the left and right ST IN Channel 1–4 levels separately. 3 Operating Basics - Master page This section displays the Output Channel (Aux Out 1–8, Bus Out 1–8, Stereo Out) levels altogether. - Effect page This page displays the internal effects processor 1–4 input and output levels altogether.
Chapter 3—Operating Basics - Stereo page This page displays the Stereo Out output level. If you selected the CH1-32 page or the Master page, use the MASTER MODE parameter to select one of the following three metering signal types: • GATE GR....................... The amount of gain reduction for the gate (only for CH1-32) • COMP GR..................... The amount of gain reduction for the compressor • LEVEL ...........................
Connections and Setup 37 4 Connections and Setup This chapter explains how to connect and set up your 01V96. Connections The following section explains three typical ways to connect the 01V96 to external equipment, although there are numerous others.
Chapter 4—Connections and Setup ■ Configuring a recording system with a hard disk recorder Computer HDR (Hard Disk Recorder) MIDI IN MIDI OUT SLOT CH1-4 88 1 2 3 4 5 6 7 8 9 10 11 TO HOST USB port Effects processor ADAT IN MY8-AT etc.
Connections 39 ■ Configuring a recording system that uses a DAW (Digital Audio Workstation) Computer 4 Connections and Setup MIDI interface MIDI IN MIDI OUT Audio interface SLOT CH1-4 88 1 2 3 4 5 6 7 8 9 10 11 TO HOST USB port Effects processor ADAT IN MY-16AT etc.
Chapter 4—Connections and Setup Wordclock Connections and Settings About Wordclock Digital audio equipment must be synchronized when digital audio signals are transferred from one device to another. Even if both devices use identical sampling rates, digital signals may not transfer correctly, or audible noise or unwanted clicks may occur if the digital audio processing circuits inside each digital audio device are not synchronized with each other.
Wordclock Connections and Settings 41 If the external devices do not have wordclock in and out connectors, you can use the clock information included in the digital audio signals. In this case, digital audio signals and wordclock signals are transferred via the 2TR OUT DIGITAL and 2TR IN DIGITAL jacks or via the digital I/O card installed in the rear panel slot.
Chapter 4—Connections and Setup The source select button indicators are explained below: A usable wordclock signal is present at this input, and it is in sync with the current 01V96 internal clock. No wordclock signal is present at this input. A usable wordclock signal is present at this input, but it is out of sync with the current 01V96 internal clock. This input is the currently-selected wordclock source. This input was selected as the wordclock source, but no usable signal was received.
Input and Output Patching 43 Input and Output Patching The 01V96 is designed to enable you to patch (assign) signals to Inputs and Outputs. This section explains how to view the signals patched to Inputs and Outputs and change the assignment.
Chapter 4—Connections and Setup 3 Press [ENTER] to confirm the change. Tip: To restore the default patching, recall Input Patch memory #00 (see page 174). Patching Omni Outs By default, the output connectors are patched as follows: • OMNI OUT connectors 1–4 ..............Aux Out 1–4 • ADAT OUT channels 1–8 ...................Bus Out 1–8 • Slot channels 1–8.................................Bus Out 1–8 • Slot channels 9–16...............................Bus Out 1–8 • 2TR DIGITAL connectors ...............
Input and Output Patching 45 2 Use the cursor buttons to move the cursor to a patch parameter (1) you wish to change, and rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the patching. 3 Press [ENTER] to confirm the change. Tip: To restore the default patching, recall Output Patch memory #00 (see page 175).
Chapter 4—Connections and Setup 01V96—Owner’s Manual
Tutorial 47 5 Tutorial This chapter describes how to use the 01V96 for multitrack recording and mixdown, using an example in which the 01V96 is connected to a digital multitrack recorder. A rhythm machine, guitar, bass, and keyboard are recorded.
Chapter 5—Tutorial Tip: • See page 40 for more information on wordclock. • See page 75 for more information on 01V96s running at higher sampling frequencies (88.2 kHz or 96 kHz). Note: • You can select the 01V96 internal clock as the wordclock source. In this case, you must set the hard disk recorder so that it will synchronize to an external clock.
Initial Track Recording 49 4 Press the [PATCH] button repeatedly until the Patch | Out Patch page appears. On this page, make sure that the Output Patch settings remain set to default values, as shown below. 5 Tutorial By default (as shown in this example), the signals output from Bus Outs 1–8 are routed to the ADAT OUT connector (Tracks 1–8 of the hard disk recorder in this example), and to the slot output channels (Tracks 9–16 of the hard disk recorder in this example).
Chapter 5—Tutorial The CH1-32 page enables you to view Input Channel 1–32 levels and compressor and gate gain reduction amounts. 2 1 4 Make sure that the LEVEL button (1) is turned on in the METER MODE section. The METER MODE section enables you to select the type of signals displayed on the meters. If any button other than the LEVEL button is turned on, move the cursor to the LEVEL button, then press [ENTER].
Initial Track Recording 51 Parameters are copied. SEL SEL SEL SEL SEL SEL 2 To cancel a pair, press and hold the [SEL] button for one of the paired channels, and press the [SEL] button for the other channel. Note: If you want to operate the faders of paired channels, make sure you operate only one fader for the pair. If you try to operate the faders for both channels in the pair, an excessive load will be applied to the fader motor, causing malfunction.
Chapter 5—Tutorial • Using Direct Outs Each Input Channel signal is directly routed to and output from the specified output connectors and channels. Use this method to patch each Input Channel directly to each MTR track. The following example illustrates the signals directly output from ADAT OUT channels 1–5.
Initial Track Recording 53 2 Move the cursor to the S button for the Input Channel to which the musical instrument or microphone is connected, then press [ENTER] to turn it off. By default, each Input Channel is routed to the Stereo Bus, which enables you to monitor the signals from the MONITOR OUT connectors and the PHONES jack. However, during multitrack recording you may usually want to monitor the signals returned from the connected digital MTR, rather than monitoring the Input Channel signals.
Chapter 5—Tutorial In this example, Input Channel 9–12 signals are routed to ADAT OUT channels 5–8. 8 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the Pan/Route | Rout1-16 page appears. 9 Move the cursor to the D button for the Input Channels you want to route to Direct Outs, then press [ENTER]. The Input Channels for which the D buttons are turned on are directly patched to the output connectors or channels specified in Step 7.
Initial Track Recording 55 5 Tip: Controlling Input Channel 17–32 Pan settings, faders, and the [ON] buttons will affect the monitoring signal, but will not affect the signal recorded to the digital MTR. 5 Press the DISPLAY ACCESS [HOME] button, then press the [F1] button to display the Meter | CH1-32 page. 6 Make sure that [ON] button indicators 1–8 are steadily lit, then raise the [STEREO] fader to 0 dB.
Chapter 5—Tutorial EQ’ing the Input Signals The 01V96’s Input Channels feature 4-band full parametric EQ. This section describes how to apply EQ to the signals before they are recorded to the tracks. 1 Press the LAYER [1–16] button. Input Channel Layer 1–16 is now available for control from the channel strip section. 2 Press the [SEL] button for the Input Channel to which you want to apply EQ. 3 Press the [EQ] button, then the [F1] button to display the EQ | EQ Edit page.
Initial Track Recording • Q This parameter control specifies the Q (slope) for cut/boost of the center frequency set via the F parameter control. The setting range is between 10 and 0.10. The smaller the value, the steeper the slope becomes. This parameter control also selects the type of EQ for the LOW and HIGH band. • F (Frequency) This parameter control specifies the center frequency for cut/boost, with a setting range of 21.2 Hz to 20.0 kHz.
Chapter 5—Tutorial 3 Press the [DYNAMICS] button, then press the [F4] button. The Dynamics | Comp Lib page appears. This page enables you to store compressor settings (programs) to the Compressor library, and recall compressor programs from the library. This example uses one of the compressor programs 1–36 from the Compressor library. 4 Rotate the Parameter wheel to scroll the library title list, and select a program that you want to recall. The selected program appears inside the dotted box.
Initial Track Recording 59 5 7 Press the [ENTER] button to turn on the ON/OFF button located in the lower-left corner of the page. The ON/OFF button turns the currently-selected Input Channel’s compressor on or off. 8 While a musician plays the musical instrument, adjust the compressor parameters. To do so, move the cursor to the desired parameter in the PARAMETER section on the page, then rotate the Parameter wheel or press the [INC]/[DEC] buttons.
Chapter 5—Tutorial Tip: If the digital MTR supports MMC (MIDI Machine Control) commands, you can use the 01V96’s Machine Control function to select tracks or locate a position on the recorder from the 01V96 (see page 208). Overdubbing to Other Tracks This section describes how to overdub the musical instruments or microphone connected to the INPUT connectors 1 and 2 to the digital MTR’s Tracks 9 and 10, while listening to the performance recorded on Tracks 1–8.
Overdubbing to Other Tracks 61 Routing Signals Follow the steps below to route the Input Channel 1 and 2 signals to Slot Channels 1 and 2 directly so that the signals will be recorded to Tracks 9 and 10 on the digital MTR. 1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Direct Out page appears. 2 Move the cursor to the parameter box for the Input Channels you want to route to Direct Outs, then specify the output connectors or channels.
Chapter 5—Tutorial 5 Press the [F1] button to display the Pan/Route | Pan page, then use the PAN parameter controls on the page to pan channel signals. 6 Press the DISPLAY ACCESS [HOME] button, then press the [F1] button to display the Meter | CH1-32 page. 7 Make sure that [ON] button indicators 9 and 10 are steadily lit. 8 While the musicians play the musical instruments, raise faders 9 and 10 to set the appropriate monitoring level.
Mixing Recorded Tracks into Stereo (Mixdown) 63 Mixing Recorded Tracks into Stereo (Mixdown) “Mixdown” is the process of mixing recorded tracks into stereo and recording the stereo signal to an external master recorder. This section describes how to mix signals recorded on Tracks 1–16 into a stereo signal, then apply the 01V96’s internal effects to the signal, then record it to an external master recorder.
Chapter 5—Tutorial 3 Move the cursor to the 2L parameter box in the STEREO INPUT section, rotate the Parameter wheel or press the [INC]/[DEC] buttons to select “2TD L,” then press [ENTER]. 4 In the same way, move the cursor to the 2R parameter box in the STEREO INPUT section, then select “2TD R.” The signals input at the 2TR IN DIGITAL connector are now routed to ST IN Channel 2 L and R. 5 Use the ST IN [ST IN] button to select ST IN Channels 1 and 2.
Mixing Recorded Tracks into Stereo (Mixdown) 65 5 5 Use the PAN parameter controls for Input Channels 17–32 on the page to adjust the panpot for each track. Tip: Alternatively, you can adjust the pan settings by selecting the Input Channels via the corresponding [SEL] button, then rotating the SELECTED CHANNEL [PAN] control. 6 Raise the [STEREO] fader to 0 dB. 7 While playing back the recording on the digital MTR from the beginning, operate faders 1–16 to adjust the mix balance among the tracks.
Chapter 5—Tutorial Using the Internal Effects The 01V96 features four internal multi-effects processors that can be used via Aux Sends and Returns or by inserting them into specific channels. This section describes how to use internal Effects processor 1 via Aux Send 1, and apply reverb to the track signals. 1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Effect page appears. This page enables you to patch the inputs and outputs of Effects processors 1–4.
Mixing Recorded Tracks into Stereo (Mixdown) 67 4 Rotate the Parameter wheel and select “2. Reverb Room” For purposes of this tutorial, select this room reverb program. Tip: To edit the effect parameters, press the [EFFECT] button repeatedly until the Effect | FX1 Edit page appears (see page 157). 6 Press the LAYER [17–32] button. Input Channel Layer 17–32 is selected for control from the channel strip section. 7 Press the FADER MODE [AUX1] button. The button indicator lights up.
Chapter 5—Tutorial Recording to the Master Recorder Follow the steps below to record the mixed stereo signal from the 01V96 to the connected master recorder. 1 Start recording on the master recorder, then start playing back on the digital MTR. During recording, observe the stereo meter on the right of the display and confirm that the stereo output level is not clipping. 2 When the playback is finished, stop the master recorder, then stop the digital MTR.
Analog I/O & Digital I/O 69 6 Analog I/O & Digital I/O This chapter describes the 01V96’s analog and digital input/output connectors as well as the basic operations involving the digital I/Os. Analog Inputs & Outputs Input Section The 01V96’s top panel features input connectors, which enable you to connect microphone and line-level sources. • INPUT connectors B 1–12 A A These balanced TRS-type connectors accept line-level and microB B phone signals. The nominal input range is –60 dB through +4 dB.
Chapter 6—Analog I/O & Digital I/O • GAIN controls -60 -16 GAIN PEAK SIGNAL Inputs 1 through 16 feature rotary gain controls that adjust input sensitivity. Input sensitivity for INPUT connectors 1–12 ranges from –16 dB to –60 dB when the Pad is off, and from +4 dB to –40 dB when the Pad is on. Input sensitivity for INPUT connectors 13–16 ranges from +4 dB to –26 dB. • PEAK & SIGNAL Indicators GAIN The SIGNAL indicator lights up when the input signal level at PEAK INPUTs 1–16 exceeds –34 dB.
Digital Inputs & Outputs 71 Digital Inputs & Outputs The 01V96 rear panel features digital input and output connectors that enable you to connect external digital devices. Any signal path can be patched to these digital inputs and outputs. You can also add analog and digital I/Os by installing an optional I/O card in the slot. Digital I/O Connectors • 2TR IN DIGITAL connector 2TR IN DIGITAL is an RCA phono connector and accepts consumer format (IEC-60958) digital audio.
Chapter 6—Analog I/O & Digital I/O Card Format In MY4-DA MY8-DA96 Analog out — Out 4 20-bit, 44.1/48 kHz 8 24-bit, 44.1/48/88.2/96 kHz MY8-AE2 MY8-AE96 MY16-AT Connectors XLR-3-32 type (balanced) x4 24-bit, 44.1/48 kHz 25-pin D-sub AES/EBU I/O 8 MY8-AE96S3 MY8-AT2 Resolution/Sampling Rate 8 24-bit, 44.1/48/88.2/96 kHz Optical x2 ADAT I/O 16 MY8-TD2 Tascam MY8-mLAN2 IEEE1394 16 Optical x4 24-bit, 44.1/48 kHz 8 8 25-pin D-sub BNC wordclock output 6-pin 1394 connector x2 1.
Monitoring Digital Input Channel Status 73 2 Use the cursor buttons to move the cursor to any two-channel button in the SRC sections, then press [ENTER]. The sampling rate converter for the selected 2-channel input turns on or off. When on, the sampling rate of the received digital audio is converted to the 01V96’s current sampling rate. Monitoring Digital Input Channel Status You can view and monitor the Channel Status (sampling rate, emphasis, etc.
Chapter 6—Analog I/O & Digital I/O Parameter value Description D.
Setting the Transfer Format for Higher Sampling Rates 75 Setting the Transfer Format for Higher Sampling Rates To operate the 01V96 at higher sampling frequencies (88.2 kHz or 96 kHz) and transfer digital audio signals to and from connected external devices, you must set the data transfer format in accordance with the sampling frequencies supported by the external devices. 1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the DIO/Setup | Word Clock page appears. 2 Select INT88.
Chapter 6—Analog I/O & Digital I/O • SINGLE In Single mode, digital audio data is received and transmitted at a sampling rate that is half (44.1/48 kHz) the current higher sampling rate of the 01V96. For example, this is useful when you wish to send 44.1 kHz digital signals from an external HDR to the 01V96 running at 88.2 kHz. Note: • This mode is unavailable for the slot in which the optional Yamaha MY9-AE96 or MY8-AE96S Digital I/O card is installed.
Input Channels 7 Input Channels This chapter describes how to adjust the 01V96’s Input Channel parameters. About Input Channels The input Channel section enables you to adjust the level and tone of the signals input to the 01V96 (and the signals output from the internal Effects processors 1–4), and route the signals to Buses 1–8, the Stereo Bus, and Aux Sends 1–8.
Chapter 7—Input Channels • ON (On/Off) This section enables you to turn the channel on or off. The channel is muted with the Off setting. • LEVEL This section enables you to adjust the input level of the Input Channel signal. • PAN This section enables you to adjust the pan setting of the signals routed from the Input Channels to the Stereo Bus. You can also apply the pan setting to a pair of Bus channels.
Setting the Input Channels from the Display 79 Refer to the description of Input Channels for more information on these parameters (page 77). Tip: You can store these channel parameter settings in the Channel library. You can also store the Gate, Compressor, and EQ parameter settings to the corresponding libraries.
Chapter 7—Input Channels Delaying Input Channels To set the delay for each channel, press the [ /INSERT/DELAY] button repeatedly until the page listed below that contains the desired channels appears. - DLY 1-16 page This page enables you to set the Delay function for Input Channels 1–16. - DLY 17-32 page This page enables you to set the Delay function for Input Channels 17–32. The parameters on these two pages (and the procedure for setting them) are the same.
Setting the Input Channels from the Display 81 Tip: • This function is unavailable for the ST IN Channels. • The delay time range depends on the sampling rate at which the 01V96 is operating. (For example, at 44.1 kHz, the range is 0 through 984.1 msec.) • If you select the DELAY SCALE meter or feet button, the distance value can be converted to the delay time based on sonic speeds (about 340 m/sec at 15 degrees Celsius).
Chapter 7—Input Channels E Meters These meters indicate the levels of the post-gate signals and the amount of gain reduction. F ON/OFF The ON/OFF button turns the currently-selected Input Channel’s gate on or off. G PARAMETER These controls enable you to set the gate parameters. (See page 278 for more information on the parameters.) Tip: • This function is unavailable for the ST IN Channels.
Setting the Input Channels from the Display 83 E Meters These meters indicate the levels of the post-compressor signals and the amount of gain reduction. F ON/OFF The ON/OFF button turns the currently-selected Input Channel’s compressor on or off. G PARAMETER section These controls enable you to set the compressor parameters. (See page 278 for more information on the parameters of each compressor type.) Tip: • This function is unavailable for the ST IN Channels.
Chapter 7—Input Channels EQ’ing Input Channels The 01V96’s Input Channels feature 4-band (LOW, LOW-MID, HIGH-MID, HIGH) parametric EQ. The LOW-MID and HIGH-MID bands are a peaking type of EQ. The LOW and HIGH bands can be set to shelving, peaking, or HPF and LPF respectively. 1 Press the [SEL] button of the channel for which you want to adjust EQ. 2 Press the DISPLAY ACCEESS [EQ] button, then press the [F1] button to display the EQ | EQ Edit page.
Setting the Input Channels from the Display 85 Tip: • The LOW-band EQ functions as a high-pass filter when the Q parameter in the LOW section is set to HPF. It functions as a shelving-type EQ when the Q parameter is set to L.SHELF. • The HIGH-band EQ functions as a low-pass filter when the Q parameter in the HIGH section is set to LPF. It functions as a shelving-type EQ when the Q parameter is set to H.SHELF. 3 Move the cursor to the desired parameter, then rotate the Parameter wheel to change the value.
Chapter 7—Input Channels Tip: • You can adjust the pan setting for the ST IN Channels L & R separately. • You can also adjust the pan setting for the Input Channels using the PAN control in the SELECTED CHANNEL section. • Surround Pan is available when the 01V96 is in Surround mode. Refer to Chapter 12 for more information on Surround Pan. Routing Input Channels You can route each Input Channel to the Stereo Bus, Bus 1–8, or its own Direct Out.
Setting the Input Channels from the Display 87 CS When this button is turned on, the currently-selected Input Channel is routed to the Stereo Bus. DD When this button is turned on, the currently-selected Input Channel is routed to its Direct Out. See page 125 for more information on the Direct Out. E ALL STEREO This button turns on the S button for all channels on the page. F ALL BUS This button turns on the Bus buttons 1–8 for all channels on the page.
Chapter 7—Input Channels B COMP section (*) This section enables you to turn the compressor-type dynamics processor on or off and set the parameters. (See page 82 for more information.) C INSERT section (*) This section enables you to turn the Insert on or off and patch the Insert In and Out. (See page 127 for more information.) D EQ section This section enables you to set various EQ parameters. (See page 84 for more information.
Setting the Input Channels from the Display 89 • ON/OFF button ...........This button turns on or off the currently-selected Input Channel. • Fader ..............................This parameter sets the fader position of the currently-selected Input Channel. The fader knob is highlighted when the fader is set to 0.0 dB. Press the [ENTER] button to reset the Fader to 0.0 dB. B SURROUND PAN section • SURROUND PAN........
Chapter 7—Input Channels Setting the Input Channels from the Control Surface You can use the faders, [SEL] buttons, and various buttons and controls in the SELECTED CHANNEL section on the top panel to directly control most parameters for Input Channels. Setting Input Channel Levels and Panning the Channels ■ Input Channels 1–32 1 Press the LAYER [1–16] or [17–32] button to select a layer. 2 Press the [SEL] button of the channel for which you want to adjust the input level and/or pan settings.
Setting the Input Channels from the Control Surface 91 EQ’ing Input Channels 1 Press the [SEL] button or move the fader for the channel you wish to control. 2 To control EQ for the currently-selected channel, press one of the following buttons to select the band you wish to adjust: • [HIGH] button.............HIGH band • [H-MID] button...........HIGH-MID band • [L-MID] button............LOW-MID band • [LOW] button ..............
Chapter 7—Input Channels Pairing Input Channels On the 01V96, you can pair adjacent odd-even Input Channels or counterpart channels on Layer 1 and Layer 2 that share the same physical fader. Faders and most parameters of paired channels are linked for stereo operation.
Pairing Input Channels 93 2 Move the cursor to the desired button in the Channel Pairing window, then press [ENTER]. The following buttons are available in this window: • CANCEL Cancels the operation. • CH x ➔ y Copies the odd channel parameter values to the even channel. • CH y ➔ x Copies the even channel parameter values to the odd channel. • RESET BOTH Resets both channel parameters to the default settings (same as when Channel memory #01 is recalled).
Chapter 7—Input Channels When you switch the Pair Mode, the combinations of channel numbers displayed on the page also change. Note: • When Pair mode is switched, only the channel numbers change. The mix parameters of the paired partners do not change. • For example, if you change Pair mode from Horizontal to Vertical, the Input Channel “2” indication changes to Input Channel “17.” However, its parameters do not change.
Naming Input Channels 95 2 Move the cursor to a name you wish to change, then press [ENTER]. The Title Edit window appears, enabling you to enter a name. 3 Edit the name, move the cursor to the OK button, then press [ENTER]. The new name is now effective. Tip: The edited name is stored in the Input Patch library.
Chapter 7—Input Channels 01V96—Owner’s Manual
Bus Outs 97 8 Bus Outs This chapter describes how to adjust the 01V96’s Stereo Out and Bus Out 1–8 parameters. About Stereo Out The Stereo Out section receives Input Channel and Bus Out 1–8 signals, mixes them into two channels, processes them using on-board EQ, compressor, etc., then routes them to the STEREO OUT and 2TR OUT connectors. The following diagram illustrates the Stereo Out signal flow.
Chapter 8—Bus Outs • METER This section enables you to switch the metering position of signal levels that are displayed on the Meter page or by the stereo meter to the right of the screen. (See page 34 for more information on selecting the metering position.) Note: You can also patch the Stereo Out signals to other output connectors or the I/O card by using the Patch | Out Patch pages.
Setting the Stereo Out and Bus Out 1–8 from the Display 99 Setting the Stereo Out and Bus Out 1–8 from the Display To set the Stereo Out and Bus Out 1–8 parameters, you can either move the cursor to the desired parameter on the display and change the value, or operate the desired button or control on the top panel. This section explains how to set the parameters on the display. Tip: Refer to Chapter 10 “Input & Output Patching” on page 121 for more information on how to set inserts.
Chapter 8—Bus Outs Compressing the Stereo Out and Bus Outs To set the Stereo Out and Bus Out 1–8 compressors, press the [DYNAMICS] button, then the [F3] button to display the Dynamics | Comp Edit page, and use the [SEL] buttons to select the Stereo Out or Bus Out 1–8. The parameters on this page (and the procedure for setting them) are the same as for Input Channels (see page 82).
Setting the Stereo Out and Bus Out 1–8 from the Display 101 Routing Bus Out 1–8 Signals to the Stereo Bus. You can patch Bus Out 1–8 signals to Outputs and Slots 1/2, as well as to the Stereo Bus. You can adjust the level and pan settings of the signals routed to the Stereo Bus for each bus. This is convenient when you wish to use Bus Outs (1–8) as a Group Bus.
Chapter 8—Bus Outs Viewing the Stereo Out and Bus Out Settings You can view and adjust parameter settings for the currently-selected Stereo Out or Bus Out on the View | Parameter and Fader pages. ■ Viewing the Compressor and EQ Settings To display the View | Parameter page, use the corresponding [SEL] button to select the desired bus, then press the DISPLAY ACCESS [VIEW] button, then press the [F1] button.
Setting the Stereo Out and Bus Out 1–8 from the Display 103 C Fader This fader adjusts the Stereo Out output levels, and links with the [STEREO] fader. The fader knob is highlighted when the fader is set to 0.0 dB. • Bus Out (1–8) Fader page 345 1 2 8 This button turns the currently-selected Bus Out (1–8) on or off, and links with the [ON] (9–16) button in the Master layer. B Fader This fader sets the currently-selected Bus Out (1–8) level, and links with the fader (9–16) in the Master layer.
Chapter 8—Bus Outs Setting the Stereo Out and Bus Out 1–8 from the Control Surface You can use the faders, [SEL] buttons, and various buttons and controls in the SELECTED CHANNEL section on the top panel to directly control certain parameters for the Stereo Out and Bus Out 1–8. Setting the Levels Move the [STEREO] fader to adjust the Stereo Out levels. Press the [ON] button in the STEREO section to turn the Stereo Out on or off.
Pairing Buses or Aux Sends 105 Pairing Buses or Aux Sends You can pair adjacent odd-even (in this order) buses or Aux Sends for stereo operation.
Chapter 8—Bus Outs Attenuating Output Signals To attenuate the 01V96’s output signals, display the EQ | Out Att page and adjust the Stereo Out and Bus Out 1–8 attenuators individually. If necessary, you can also select Output and I/O card channels and specify the amount of attenuation. This technique is convenient when you want to attenuate output signals quickly, regardless of the source signal patching.
Naming the Stereo Out and Bus Outs 107 Naming the Stereo Out and Bus Outs You can change the default Bus names (BUS1, AUX4, STEREO, etc.). It may be convenient to name the buses “Monitor Out” or “Effect Send,” for example, so that you can easily identify the signal type. 1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Out Name page appears. 1 2 3 8 2 Move the cursor to a name you wish to change, then press [ENTER].
Chapter 8—Bus Outs 01V96—Owner’s Manual
Aux Outs 109 9 Aux Outs This chapter describes how to control Aux Out 1–8. Aux Out 1–8 The Aux Out 1–8 section mixes signals routed from the Input Channels to the corresponding Aux Sends, processes them using on-board EQ, compressor, etc., then routes them to the specified internal effects processors, output connectors or I/O card connectors. The 01V96 features eight Aux Sends, which can be used to send signals to the internal and external effects processors and monitors.
Chapter 9—Aux Outs Setting Aux Out 1–8 from the Display To set Aux Out 1–8 parameters, you can either move the cursor to the desired parameter on the screen and change the value, or operate the desired button or control on the top panel. This section explains how to set the parameters on the screen. Tip: Refer to Chapter 10 “Input & Output Patching” on page 121 for more information on how to set inserts.
Setting Aux Out 1–8 from the Display 111 Comp settings To set the Aux Out 1–8 compressors, press the DISPLAY ACCESS [DYNAMICS] button, then press the [F3] button to display the Dynamics | Comp Edit page, then select the desired Aux Out 1–8 by using the corresponding [SEL] buttons. The parameters on this page (and the procedure for setting them) are the same as for Input Channels (see page 82).
Chapter 9—Aux Outs Viewing Aux Out Settings You can view and adjust the parameter settings for the currently-selected Aux Out on the View | Parameter and Fader pages. ■ Viewing the Compressor and EQ Settings To display the View | Parameter page, use the corresponding [SEL] button to select the desired Aux Out (1–8), then press the DISPLAY ACCESS [VIEW] button, then press the [F1] button.
Setting Aux Out 1–8 from the Control Surface 113 Setting Aux Out 1–8 from the Control Surface You can use the faders, [SEL] buttons, and various buttons and controls in the SELECTED CHANNEL section on the top panel to directly control certain parameters for Aux Out 1–8. Setting Levels To set Aux Out 1–8 levels, press the [MASTER] button in the LAYER section to select the Master layer, then move faders 1–8. At this time, you can turn Aux Out 1–8 on or off using the corresponding [ON] 1–8 buttons.
Chapter 9—Aux Outs • MODE Aux Sends have two operating modes that determine how signals are sent: Fixed (Aux Send levels are fixed); and Variable (Aux Send levels are variable). • GLOBAL The GLOBAL PRE and POST buttons enable you to set all Input Channels for the selected Aux to pre-fader or post-fader simultaneously. Note: In Fixed mode, Aux Send ON/OFF buttons appear instead of the Aux Send rotary controls, PRE/POST buttons, and GLOBAL PRE/POST buttons.
Setting Aux Send Levels 115 • Variable Mode In this mode, Aux Send levels are variable and the signal source point can be either pre-fader or post-fader. Channel Send level rotary controls and PRE/POST buttons appear on the screen. Tip: You can select Variable or Fixed mode individually for each of the eight Aux. 4 If you switched to Fixed mode in Step 3, the ON/OFF buttons turn each Input Channel on or off for the currently-selected Aux Send.
Chapter 9—Aux Outs 5 If you switched to Variable mode in Step 3, the PRE/POST buttons and Send level rotary controls enable you to adjust the signal source points and Send levels. You can turn each Input Channel on or off for the currently-selected Aux Send even in Variable mode. To do this, move the cursor to the desired Send level control, then press [ENTER]. (The rotary controls for Off channels are grayed out.
Viewing Aux Send Settings for Multiple Channels 117 Viewing Aux Send Settings for Multiple Channels You can view and set parameters for all Aux Send 1–8, including setting levels and Pre/Post parameters. This is convenient when you wish to visually check all Aux Send settings or simultaneously adjust the levels of certain channels routed to Aux 1–8. 1 Press one of the FADER MODE [AUX 1]–[AUX 8] buttons repeatedly until the page listed below that contains the desired channels appears.
Chapter 9—Aux Outs 3 If you selected the PRE/POST button in Step 2, move the cursor to the desired Input Channel and Aux intersection, then press the [ENTER] button to change the signal source point. Note: You can switch between Pre and Post only for Aux Sends that are set to Variable mode. The “FIX” indication appears for Aux Sends that are set to Fixed mode, and you cannot switch Pre/Post.
Panning Aux Sends 119 Panning Aux Sends You can pair adjacent odd-even (in this order) Aux Sends for stereo operation. This enables you to pan signals from Input Channels to paired Aux Sends. 1 Pair the desired two Aux Sends. (See page 105 for more information on pairing channels.) 2 Use the FADER MODE [AUX 1]–[AUX 8] buttons to select one of the paired Aux Sends. 3 Repeatedly press the button you pressed in Step 2 to display the Aux | Pan page.
Chapter 9—Aux Outs Copying Channel Fader Positions to Aux Sends While Aux Sends are in Variable mode, you can copy all Input Channel fader positions on one layer to the corresponding Aux Sends. This is convenient when you wish to send to the musicians monitor signals that have the same balance setting as the Stereo Out signals. 1 Press and hold down the copy source layer (LAYER [1–16] or [17–32]) button.
Input & Output Patching 121 10 Input & Output Patching This chapter describes how to patch (assign) signal paths within the 01V96 to its inputs, outputs, and slot channels Input Patching Signals input at INPUT connectors 1–16, ADAT IN connector, 2TR IN DIGITAL connectors, and Slot I/O card are patched to Input Channels for use.
Chapter 10—Input & Output Patching Input Patching Follow the steps below to change the Input Patch. 1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | In Patch page appears. 1 Inputs, ADAT IN channels, and slot channels that are currently assigned to Input Channels are shown in the parameter boxes (1) below the channel numbers.
Output Patching 123 Output Patching The 01V96’s Stereo Out, Bus Out 1–8, Aux Out 1–8 signals can be patched to any outputs, ADAT OUT output channels, and slot output channels.
Chapter 10—Input & Output Patching Changing the Signal Path to the ADAT OUT Connector, Slot, or OMNI OUT connectors Follow the steps below to change the signal path patched to the ADAT OUT connector, the optional mini-YGDAI card installed in the slot, or the OMNI OUT connectors. 1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Out Patch page appears. Each parameter box displays the currently-patched signal path.
Patching Direct Outs 125 Patching the 2TR Digital Outputs Follow the steps below to change the signal path patched to the 2TR OUT DIGITAL 1 & 2 connectors. 1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | 2TR Out page appears. Signals assigned on the Out Patch page can also be assigned on this page. 2 Move the cursor to a patch parameter you wish to change, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the patching. 3 Press [ENTER] to confirm the change.
Chapter 10—Input & Output Patching • PRE EQ.......................... Immediately before Input Channel EQ • PRE FADER .................. Immediately before Input Channel fader • POST FADER ............... Immediately after Input Channel fader 2 Move the cursor to a patch parameter (1–32) you want to change, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the destination. If necessary, specify the signal source position using the DIRECT OUT parameter.
Insert Patching 127 Insert Patching The 01V96’s Input Channels and Output Channels (Stereo Out, Bus Out 1–8, Aux Out 1–8) feature independent Insert Ins and Outs. Inputs, outputs, ADAT connector channels, slot channels, and internal effects processor inputs and outputs can be patched to the Output Channel Insert Ins and Outs. In this way, you can send the signals to external effects processors for processing, or insert internal effects.
Chapter 10—Input & Output Patching B INSERT section • ON/OFF ........................ This button turns the Insert on or off. • OUT ............................... This parameter enables you to select outputs, ADAT OUT channels, slot output channels, or internal effects inputs as the Insert Out destination. • IN ................................... This parameter enables you to select inputs, ADAT IN channels, slot input channels, or internal effects outputs as the Insert In source.
Insert Patching 129 Viewing and Changing Insert In Patch You can view and also change the items patched to the Insert Ins of all Input Channels (or all Output Channels). This is useful when you wish to find out if multiple channels have the same patch. 1 To view the Input Channels’ Insert Ins, press the [PATCH] button repeatedly until the Patch | Input Ins page appears. This page displays Input Channels 1–32 Insert In Patches.
Chapter 10—Input & Output Patching 01V96—Owner’s Manual
Monitoring 131 11 Monitoring This chapter explains how to set up monitoring and use the Solo function on the 01V96. Monitor SOLO L SOLO R SOLO TRIM SOLO L SOLO R [2TR IN] L RCA R SOLO LOGIC OUTPUT SOLO BUS1-8 AUX1-8 8 8 MONITOR /2TR IN MONITOR TRIM MONO STEREO L STEREO R The 01V96 features the stereo signal path to feed the monitors. The monitoring signal source is patched to MONITOR OUT connectors L & R and the PHONES connector. The following diagram illustrates the monitoring signal flow.
Chapter 11—Monitoring Monitor and Solo Setup For monitoring and solo setup, press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the DIO/Setup | Monitor page appears. 2 3 1 4 5 6 7 8 This page contains the following parameters: A SOLO This parameter turns the Solo function on or off. By default, it is set to Enabled. B MODE This parameter determines how the Solo function works. There are two options. The setting affects only Input Channels. • RECORDING...............
Using the Monitor 133 E SOLO TRIM This parameter enables you to trim the level of the Solo signal in the range of –96 dB to +12 dB. F SOLO SAFE CHANNEL For Mixdown Solo mode, Input Channels can be configured individually so that they are not muted when other Input Channels are soloed (Solo Safe function). Signals from Input Channels with the SOLO SAFE CHANNEL button turned on are always fed to the Stereo bus, regardless of the channels’ Solo function status.
Chapter 11—Monitoring Using the Solo Function You can solo and monitor Input Channels, Aux Out 1–8, and Bus Out 1–8 using the [SOLO] buttons on the top panel. 1 Press the [DIO/SETUP] button repeatedly until the DIO/Setup | Monitor page appears. 2 Set the SOLO parameter to On. Set other parameters on the page, if necessary. 3 To solo and monitor Input Channels, press the corresponding LAYER button to select a Layer that contains the desired channels, then press the channel [SOLO] buttons.
Surround Pan 12 Surround Pan This chapter describes surround panning, which determines how Input Channel signals are panned within and across the stereo field. Using Surround Pan About Surround Pan The Surround Pan function places a sound image within a two-dimensional field using a multi-channel playback system, and pans the image to the front, rear, left, and right in relation to the listening position. To pan the stereo image, you can use the Parameter wheel, or [INC]/[DEC] buttons.
Chapter 12—Surround Pan When you select one of these Surround modes, each surround channel signal is output as the Bus Out signal specified on the DIO/Setup | Surr Bus page (see page 138). The following table shows the factory-default Surround Channel to Bus Out assignment in each Surround mode. Surround Mode 3-1 5.1 6.
Setting Up and Selecting Surround Pan Modes 137 2 Move the cursor to the Surround mode button you want to use. When you move the cursor to one of these buttons, speaker icons appear, indicating a typical listening position and the Surround Channel to Bus Out configuration. • 3-1 Surround • 5.1 Surround • 6.1 Surround 12 4 Move the cursor to the YES button, then press [ENTER]. The 01V96 enters the selected Surround mode.
Chapter 12—Surround Pan 6 To change the Surround Channel to Bus Out assignment, move the cursor to the SURR/BUS SETUP button, then press [ENTER]. The DIO/Setup | Surr Bus page appears. 1 3 2 A BUS1–BUS8 These parameters select channels to be assigned to the Bus Outs in 3-1, 5.1, and 6.1 Surround modes. B INIT These buttons reset the channel assignment to the default setting.
Setting Up and Selecting Surround Pan Modes 139 ■ Surround Pan Recording To record surround pan movement to a digital MTR, route the Bus Outs to the ADAT OUT channels or slot output channels that are connected to the digital MTR. The following diagram illustrates an example of recording 5.1 Surround mode signals to a digital MTR.
Chapter 12—Surround Pan ■ Surround Pan Monitoring To monitor surround pan movement, patch the Bus Outs to the analog outputs, to which a monitoring system is connected. The following diagram illustrates an example in which Bus Out 1 & 2 (left and right front channel) signals are output from the STEREO OUT L & R connectors and Bus Out 3-6 signals are output from the OMNI OUT 1-4 connectors in 5.1 Surround mode.
Surround Panning 141 Surround Panning You can set the surround pan parameters for each Input Channel. 1 Make sure that the 01V96 is in any Surround mode except Stereo, then press the [SEL] button of the channel for which you want to set surround pan. 2 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the Pan/Route | Ch Edit page appears. The Ch Edit page displays the selected Input Channel, and its surround pan setting and available pair partner.
Chapter 12—Surround Pan E LFE This parameter control sets the level of the LFE (Low Frequency Effects) Channel signal routed to the subwoofer, and appears only in 5.1 and 6.1 Surround modes. F F/R In 6.1 Surround mode, F and R parameter controls appear. The F parameter control determines how the Front Center signal is fed to the Left and Right channels, and the R parameter control determines how the rear surround signal is fed to the Left and Right surround channels.
Surround Panning • ...................... The sound image moves between front and rear. 36 • 36 36 40 40 56 ...................... The sound image moves from front left to rear right. With this pattern, you can also fine-tune the trajectory by using the WIDTH, DEPTH, OFFSET ( ), and OFFSET ( ) parameters. 36 • 143 12 8 8 44 16 20 16 ...................... The sound image moves from front right to rear left.
Chapter 12—Surround Pan • 40 48 44 • 44 48 ...................... The sound image moves between front and rear while tracing an arc. With this pattern, you can also fine-tune the radius and shape of the arc using the WIDTH, DEPTH, OFFSET ( ), and OFFSET ( ) parameters. 44 20 32 28 56 32 24 ...................... The sound image moves while tracing a circle or oval.
Surround Panning 145 The following table shows how the sound images on two linked channels move when different trajectory patterns and stereo link patterns are combined. A solid line indicates the movement of the selected channel, and a dotted line indicates the movement of the linked partner. Trajectory Pattern 12 1 2 3 A Surround pan graphs These graphs display the trajectory patterns and the current pan positions for the Input Channels.
Chapter 12—Surround Pan B parameter box This parameter box enables you to move the surround pan setting of the selected channel left and right. C parameter box This parameter box enables you to move the surround pan setting of the selected channel front and rear. 8 To move the sound image of each channel on these pages, move the cursor to the desired channel, then rotate the Parameter wheel. The pan setting of the channel changes along the trajectory pattern.
Grouping Channels & Linking Parameters 147 13 Grouping Channels & Linking Parameters This chapter describes how to group faders or [ON] buttons for multiple channels and link the EQ or compressor parameters for simultaneous operation. Grouping & Linking On the 01V96, you can group faders or [ON] buttons for multiple Input Channels (Input Channels 1–32, ST IN Channels 1–4) or multiple Output Channels (Bus Outs 1–8, Aux Outs 1–8, Stereo Out) and link the EQ or compressor parameters.
Chapter 13—Grouping Channels & Linking Parameters Using Fader Groups and Mute Groups Follow the steps below to group faders or [ON] buttons for Input Channels or Output Channels. 1 Press the DISPLAY ACCESS [PAIR/GROUP] button repeatedly until one of the pages that contains the desired group and channels appears. - In Fader page This page enables you to set Fader groups (A–H) for Input Channels 1–32 and ST IN Channels 1–4.
Using Fader Groups and Mute Groups 149 2 Press the up ( ) or down ( ) button to select a group. 3 Press the [SEL] button for a channel you wish to add to the group. The selected channel is marked with “ ” and the channel is added to the group. Example: Input Channels 1–4, 7, 8, and 15, 16 have been added to Fader group C. Tip: • If you add one channel from a pair to a group, the pair partner is automatically added to the group. • You can also select a channel on another layer by switching layers.
Chapter 13—Grouping Channels & Linking Parameters Linking EQ and Compressor Parameters Follow the steps below to link EQ or compressor parameters for Input Channels or Output Channels. This function enables you to set EQ or compressor parameters for multiple channels to the same values simultaneously. 1 Press the DISPLAY ACCESS [PAIR/GROUP] button repeatedly until one of the following pages appears.
Linking EQ and Compressor Parameters 151 - In Comp page This page enables you to set Compressor links (i–l) for Input Channels 1–32. - Out Comp page This page enables you to set Compressor links (m–p) for Bus Outs (1–8), Aux Outs (1–8) and Stereo Out. 13 01V96—Owner’s Manual Grouping Channels & Linking Parameters 2 Press the up ( ) or down ( ) cursor button to select a link to which you want to add channels.
Chapter 13—Grouping Channels & Linking Parameters 3 Press the [SEL] button for a channel you wish to add to the EQ or Compressor link. The selected channel is marked with “ ” and the channel is added to the link. Example: Input Channels 1–4, 7, 8, 12 and 14 have been added to EQ link b. Tip: • If you add one channel from a pair to a link, the pair partner is automatically added to the link. • You can also select a channel on another layer by switching layers.
Internal Effects 153 14 Internal Effects This chapter describes how to use the 01V96’s internal effects processors. About the Internal Effects The 01V96 features four internal multi-effects processors. These effects processors offer numerous types of effects, including reverbs, delays, modulation-based effects, and combination effects designed especially for use with surround sound. Note: When the 01V96 operates at a high sampling frequency (88.
Chapter 14—Internal Effects Using Effects Processors via Aux Sends You can use effects processors via Aux Sends by patching effects processor inputs to Aux Outs, and effects processor outputs to ST IN Channels. 1 Recall an effect program you wish to use. Refer to page 175 for more information on recalling effect programs. 2 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Effect page appears. This page enables you to patch all inputs and outputs of Effects processors 1–4.
Using Effects Processors via Aux Sends 155 Tip: • You can patch a signal to multiple effect inputs. • Move the cursor to an IN parameter box and press the [ENTER] button. The Patch Select window appears. This window enables you to select the input source quickly. 4 To patch a signal output from the effects processor, move the cursor to the desired OUT parameter box, select the signal destination from the following options, then press [ENTER]. • – .....................................
Chapter 14—Internal Effects Inserting the Internal Effects into Channels You can insert the internal effects into certain Input Channels or Output Channels (Bus 1–8, Aux Bus 1–8, or the Stereo Bus). Note: • You cannot use Insert In and Out for ST IN Channels. • If effects are inserted in channels, you cannot use those effects via Aux Sends or insert them into other channels. 1 Select an internal Effects processor (1–4), then recall the desired effect programs.
Editing Effects 157 Tip: • After inserting effects to channels, adjust the MIX BALANCE parameter for the effects, according to the purpose and effects type. • Move the cursor to an empty IN or OUT parameter box and press the [ENTER] button. The Patch Select window appears, which enables you to quickly select available signal paths.
Chapter 14—Internal Effects F TEMPO This section enables you to set the tempo and interval of the selected effects, and displays certain parameters only when certain effect types are selected. Use the parameter control on the left side of this section to adjust the value between 25BPM and 300BPM. When the MIDI CLK button is on, the 01V96 updates the TEMPO data (BPM) based on the MIDI Clock information received at the MIDI IN port.
About Plug-Ins 159 About Plug-Ins If you installed a mini-YGDAI card that supports the Effects function into Slot, you can use plug-in effects in addition to the internal effects processors. You can patch Bus signals or channel insert outs to the plug-in input. The plug-in output can be patched to Input Channels or channel insert ins. To use the plug-in effects, press the [EFFECT] button repeatedly until the Effect | P-In Edit page appears.
Chapter 14—Internal Effects 01V96—Owner’s Manual
Scene Memories 161 15 Scene Memories This chapter describes Scene memories, which store 01V96 mix and effects settings. About Scene Memories Scene memories enable you to store a snapshot of 01V96 channel mix settings and internal effects processor settings as a “Scene” in a special memory area. There are 99 Scene memories, and you can recall any Scene using the display pages or the controls on the top panel.
Chapter 15—Scene Memories About Scene Numbers Scene memories are numbered with #U or from #00 through #99. You can store Scenes in Scene memories #01–99. When you recall a Scene, the Scene memory number appears at the top of the display page. Scene memory #00 is a special read-only memory that contains the default settings of all mix parameters. To reset all mix parameters on the 01V96 to their initial or default values, recall Scene memory #0.
Storing and Recalling Scenes 163 Storing and Recalling Scenes You can store and recall Scenes by pressing the buttons on the top panel or using the dedicated Scene memory page on the display. Note: • When you store Scenes, make sure that there are no settings in the Edit Buffer that you do not want to store. Make sure that no settings, especially faders, have been adjusted unintentionally.
Chapter 15—Scene Memories Storing and Recalling Scenes Using the Scene Memory Page On the Scene Memory page, you can store, recall, write-protect, delete, and edit the titles of Scenes. 1 Adjust the mix parameters on the 01V96 to the conditions you wish to store as a Scene. 2 Press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Scene page appears.
Auto Scene Memory Update 165 G PATCH LINK INPUT H PATCH LINK OUTPUT These parameters indicate the Input and Output Patch library numbers selected at the time the Scenes were stored. When you recall a Scene, the linked Input or Output patch is recalled as well. You can also move the cursor to the parameter boxes and change the library numbers.
Chapter 15—Scene Memories Fading Scenes You can specify the time it takes the Input and Output Channel faders (or level controls) to move to their new positions when a Scene is recalled. This is called Fade Time, and it can be set for each channel in the range of 00.0 through 30.0 seconds (in 0.1 second steps). The Fade Time setting is stored in each Scene.
Fading Scenes 167 Fading Output Channels To set the Fade Time for the Output Channels (Stereo Out, Bus Outs 1–8, Aux Outs 1–8), press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Out Fade page appears. The basic operation is the same as on the In Fade page. 1 2 3 A BUS1–8 These parameters enable you to set the Fade Time for each Bus Out (1–8) in the range of 00.0 through 30.0 seconds. B AUX1–8 These parameters enable you to set the Fade Time for Aux Outs 1–8.
Chapter 15—Scene Memories Recalling Scenes Safely When a Scene is recalled, all mix parameters are set accordingly. However, in some situations, you can retain the current settings of certain parameters on certain channels by using the Recall Safe function. Recall Safe settings are stored in Scene memories. To set the Recall Safe function, press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Rcl Safe page appears.
Sorting Scenes 169 Sorting Scenes You can sort Scenes in Scene memories. 1 Press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Sort page appears. 1 2 2 Move the cursor to the SOURCE list (1) in the left column, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the Scene memory you wish to move.
Chapter 15—Scene Memories 01V96—Owner’s Manual
Libraries 171 16 Libraries This chapter describes the 01V96’s various libraries. About the Libraries The 01V96 features seven libraries that enable you to store Channel, Input Patch, Output Patch, Effects, and other data. You can also quickly recall this data from the libraries to restore previous parameter values.
Chapter 16—Libraries 2 Rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the desired memory. The selected memory appears inside the dotted box. 3 Move the cursor to one of the following function buttons, then press [ENTER]. A TITLE EDIT This button displays the Title Edit window, which enables you to edit the title of the selected memory. Move the cursor to the OK button, then press [ENTER] to confirm the edited title. Refer to page 30 for more information on entering characters.
Using Libraries 173 Using Libraries Channel Library Channel library enables you to store and recall Input Channel and Output Channel parameter settings. The library contains two preset memories and 127 user (readable & writable) memories. You can recall only the settings for the currently-selected channels from the Channel library.
Chapter 16—Libraries The alarm indicators also appear when the Surround mode, Aux pair, and other non-channel parameter settings originally stored in the memory do not match those for the destination channel. However, if the channel type of the memory and that of the destination channel match, you can recall the settings even with the alarm indicators displayed. (For unmatched parameter settings, the 01V96 will use the settings in the memory that is to be recalled.
Using Libraries 175 Output Patch Library The Output Patch library enables you to store and recall all Output Patch settings. The library contains one preset memory and 32 user (readable & writable) memories. To access the Output Patch library, press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Out LIB page appears. For details on storing and recalling memories, see “General Library Operation” on page 171.
Chapter 16—Libraries 1 2 5 3 4 A EFFECT NAME This parameter displays the name of the Effects program currently selected by the Effects processor. B TYPE This parameter displays the effects type currently used by the Effects processor. The number of input and output channels for the currently-used effects appears below the TYPE parameter. C Move the cursor to this button, then press [ENTER] to display the Effect | FX1 Edit, FX2 Edit, FX3 Edit, or FX4 Edit page to adjust the Effects parameters.
Using Libraries 177 The following tables list the preset effects programs in the Effects library: • Reverbs No. Preset Name Type Description 1 Reverb Hall REVERB HALL Concert hall reverberation simulation with gate 2 Reverb Room REVERB ROOM Room reverberation simulation with gate 3 Reverb Stage REVERB STAGE Reverb designed for vocals, with gate 4 Reverb Plate REVERB PLATE Plate reverb simulation with gate 5 Early Ref. EARLY REF.
Chapter 16—Libraries • Combination Effects No. Preset Name Type Description 29 Rev+Chorus REV+CHORUS Reverb and chorus in parallel 30 Rev->Chorus REV->CHORUS Reverb and chorus in series 31 Rev+Flange REV+FLANGE Reverb and flanger in parallel 32 Rev->Flange REV->FLANGE Reverb and flanger in series 33 Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel 34 Rev->Sympho. REV->SYMPHO.
Using Libraries 179 Gate Library The Gate library enables you to store and recall Input Channel gate settings. The library contains four preset memories and 124 user (readable & writable) memories. Follow the steps below to use the Gate library. 1 Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F2] button. The Dynamics | Gate Lib page appears. 1 2 3 4 A CURRENT TYPE This parameter displays the currently-selected channel gate type (Gate or Ducking).
Chapter 16—Libraries Compressor Library This library enables you to store and recall settings for the compressors on Input Channels, Bus Outs 1–8, Aux Outs 1–8, and Stereo Out. The library contains 36 preset memories and 92 user (readable & writable) memories. Follow the steps below to use the Compressor library. 1 Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F4] button. The Dynamics | Comp Lib page appears.
Using Libraries 181 The following table lists the preset memories in the Compressor library: No. Preset Name Type Description Comp COMP Compressor for reducing the overall volume level. Use it on the stereo output during mixdown, or with paired Input or Output Channels. 2 Expand EXPAND Expander template. 3 Compander (H) COMPAND-H Hard-kneed compressor template. 4 Compander (S) COMPAND-S Soft-kneed compressor template. 5 A. Dr. BD COMP Compressor for use with acoustic bass drum.
Chapter 16—Libraries No. Preset Name Type Description 31 Click Erase EXPAND Expander for removing a click track that may bleed through from a musician’s headphones. 32 Announcer COMPAND-H Hard-kneed compander for reducing the level of the music when an announcer speaks. 33 Limiter1 COMPAND-S A soft-kneed compander with a slow release. 34 Limiter2 COMP A “peak-stop” compressor. 35 Total Comp1 COMP Compressor for reducing the overall volume level.
Using Libraries 183 The following table lists the preset memories in the EQ library: No. Preset Name Description 1 Bass Drum 1 Emphasizes the low range of a bass drum and the attack created by the beater. 2 Bass Drum 2 Creates a peak around 80 Hz, producing a tight, stiff sound. 3 Snare Drum 1 Emphasizes “snappy” and rimshot sounds. 4 Snare Drum 2 Emphasizes various ranges for that classic rock snare drum sound.
Chapter 16—Libraries 01V96—Owner’s Manual
Remote Control 185 17 Remote Control This chapter describes the Remote function, which enables you to control external equipment directly from the 01V96 top panel. About Remote Function The 01V96’s Remote function enables you to control external DAW (Digital Audio Workstation) equipment, MIDI devices, recorders, etc.
Chapter 17—Remote Control Pro Tools Remote Layer The 01V96 features Remote Layer target especially designed for controlling Pro Tools. Connections and Configuring Pro Tools Follow the steps below to connect the 01V96 to your computer via the USB port so that you can control Pro Tools from the 01V96. Note: You cannot control Pro Tools via MIDI connections. Be sure to connect your computer via the USB or an optional MY8-mLAN card installed in the 01V96 slot.
Pro Tools Remote Layer 187 5 Choose OMS Studio Setup from the Setups menu, and configure OMS as necessary. Refer to the documentation that came with OMS for more information on configuring the OMS Studio Setup menu. OMS recognizes the 01V96 as a USB MIDI interface that features eight ports. 6 Choose Peripherals from the Setups menu to open the Peripherals window. 7 Double-click the MIDI Controllers tab. 8 Refer to the screen below to set the Type, Receive From, Send To, and #Ch’s parameters.
Chapter 17—Remote Control Configuring the 01V96 Follow the steps below to set up the 01V96 so that you can remotely control Pro Tools from the 01V96 Remote Layer. 1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the DIO/Setup | MIDI/Host page appears. 2 Move the cursor to the first DAW parameter box in the SPECIAL FUNCTIONS section, then rotate the Parameter wheel to select USB as the port. 3 Press [ENTER] to confirm the setting.
Pro Tools Remote Layer 189 7 Press the LAYER [REMOTE] button. The Remote Layer is now available for control, enabling you to remotely control Pro Tools. Note: When the Pro Tools Remote layer is selected, the 01V96’s top panel faders and other channel buttons are available for remote control. To control the 01V96, you need to select an Input Channel Layer or the Master Layer.
Chapter 17—Remote Control • If no check boxes are selected:...........Pro Tools timecode format is set to “Minutes:Seconds” or “Samples.” C SELECT ASSIGN This parameter indicates the current parameter, which can be adjusted via the parameter controls on the page. For example, Pan, PanR, SndA, SndB, SndC, SndD, or SndE (see page 192). D P.WHEEL MODE This parameter indicates the function currently assigned to the Parameter wheel (see page 193).
Pro Tools Remote Layer 191 ■ Channel Display mode ( [F3] button) Press the [F3] button to select this display mode, in which the parameter controls for tracks 1–16 are displayed. • Parameter controls 1–16 ................... Channel parameter controls, such as channel 1–16 panpots, Send A–E send levels, etc. are displayed. ■ Meter Display mode ( [F4] button) Press the [F4] button to select this display mode, in which the level meters for tracks 1–16 are displayed. • Channels 1–16..............
Chapter 17—Remote Control Control Surface Operation When the Pro Tools Remote layer is selected, the 01V96 controls on the top panel engage the following functions: ■ Channel Strip section • [SEL] buttons These buttons select Pro Tools channels, inserts, and Automation mode. • [SOLO] buttons These buttons solo Pro Tools channels. The button indicators for the soloed channels light up. • [ON] buttons These buttons mute Pro Tools channels.
Pro Tools Remote Layer 193 ■ DISPLAY ACCESS section • [PAIR/GROUP] button Press this button while a Channel Display mode or Meter Display mode page is selected to display a Group ID to which each channel belongs. • [EFFECT] button Press this button to display or hide the Insert window in Pro Tools. ■ Display section • [F1] button Press this button to reset the Clipping and Peak Hold indicators on Meter Display mode pages.
Chapter 17—Remote Control Parameter Function DAW PRE Plays back from the pre-roll point up to the beginning of the selected area. DAW IN Plays back from the beginning of the selected area for a duration specified as the pre-roll. DAW OUT Plays back to the end of the selected area for a duration specified as the post-roll. DAW POST Plays back from the end of the selected area for a duration specified as the post-roll. DAW RTZ Moves the playback cursor to the beginning of the session.
Pro Tools Remote Layer Parameter DAW SHIFT/ADD DAW OPTION/ALL DAW CTRL/CLUCH DAW ALT/FINE DAW BANK + DAW BANK – DAW Channel + DAW Channel – 195 Function Functions in the same way as Macintosh keyboard keys (Shift, Option, Control, and Alt). Pressing one of the buttons (to which these functions are assigned) along with another button enables you to execute various commands. Executes the Bank Swap operation. Pressing the button (to which this function is assigned) switches the entire 16-channel bank.
Chapter 17—Remote Control Muting Channels To mute Pro Tools channels, press the [ON] buttons. The [ON] button indicators of muted channels turn off. Grouped channels are muted together. Press the [ON] buttons again to unmute channels. The [ON] button indicators of unmuted channels light up. There are two mute modes in Pro Tools: Implicit mute and Explicit mute. You can check the mute mode by viewing the [ON] button indicators. • Implicit mute ...............
Pro Tools Remote Layer 197 2 Press the FADER MODE [AUX 1]–[AUX 5] buttons to select the desired Sends (A–E). 3 To toggle between pre and post, move the cursor to the parameter control on the display, then press [ENTER]. Pressing [ENTER] repeatedly toggles between pre and post. Setting Send Levels You can adjust Pro Tools Send (A–E) send levels as follows. 1 Press the [F3] button to select Channel Display mode. 2 Press the AUX SELECT [AUX 1]–[AUX 5] buttons to select the desired Sends (A–E).
Chapter 17—Remote Control Assigning Plug-ins to Pro Tools Channels You can assign plug-ins to five inserts available for Pro Tools channel strips as follows. 1 Press the [F2] button to select Insert Display mode. 2 Press the FADER MODE [AUX 8] button. The [AUX 8] button indicator flashes. You can now select a channel to which you want to insert plug-ins. 3 Press the [SEL] button of each desired channel. 4 Make sure that the INSERT/PARAM button (1) is selected in the INSERT ASSIGN/EDIT section.
Pro Tools Remote Layer 199 8 In the same way, assign plug-ins to other channels. 9 When you finish assigning plug-ins, press the [AUX 8] button. The button indicator turns off. Editing Plug-ins You can edit plug-ins inserted in the channel strips as follows: 1 Press the [F2] button to select Insert Display mode. 2 Press the corresponding [SEL] button to select the channel that was assigned the plug-in you want to edit.
Chapter 17—Remote Control 6 Move the cursor to a parameter control, then rotate the Parameter wheel or press the [ENTER] button to adjust the value. One or two parameters are assigned to a single parameter control. To turn the parameter setting on or off, press [ENTER]. To modify the parameter variable, rotate the Parameter wheel. 7 When you finish adjusting the parameters, move the cursor to the INSERT/PARAM button, then press [ENTER] to switch it to INSERT.
Pro Tools Remote Layer 201 5 Rotate the Parameter wheel. Rotate the Parameter wheel clockwise to scrub or shuttle forwards. Turn it counterclockwise to scrub or shuttle backwards. The minimum scrub playback step varies depending on the zoom setting in the Pro Tools Edit window. 6 To cancel the Scrub or Shuttle function, press the User Defined button or DAW SHUTTLE to which you assigned the DAW SCRUB parameter in Step 1.
Chapter 17—Remote Control Nuendo Remote Layer You can remotely control Nuendo using the Remote Layer. ■ Configuring Computers 1 Connect the 01V96 to your computer using a USB cable, and install the required USB driver included on the 01V96 CD-ROM. Refer to the Studio Manager installation guide for more information on installing the driver. 2 Launch Nuendo, select the Device Setup menu, and set up Nuendo so that the 01V96 can communicate with the software.
MIDI Remote Layer 203 MIDI Remote Layer If you select USER DEFINED as the target for the Remote Layer, you can remotely control the parameters of external MIDI devices (such as synthesizers and tone generators) by operating the channel [ON] buttons, and faders to output various MIDI messages. (This is called MIDI Remote function.) You can store MIDI messages assigned to the channel controls in four banks.
Chapter 17—Remote Control 2 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the DIO/Setup | MIDI/Host page appears. 1 3 Move the cursor to the REMOTE parameter box (1) in the SPECIAL FUNCTIONS section, rotate the Parameter wheel to select MIDI, then press [ENTER]. If the MIDI port is already in use, a window confirming the assignment change appears. Move the cursor to the YES button, then press [ENTER].
MIDI Remote Layer 205 D ID, SHORT, LONG These parameters display the channel names. The ID parameter displays the channel ID (RM01–RM16) for the currently-controlled MIDI device. E ON section This section displays the type of MIDI messages (in hexadecimal or alphabet) assigned to the [ON] buttons for the currently-selected channels (RM01–RM16). • LATCH/UNLATCH......This button toggles between Latch and Unlatch for [ON] button operation. • LEARN...........................
Chapter 17—Remote Control 2 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the DIO/Setup | Remote page appears, then set the TARGET parameter to USER DEFINED. You can now use the MIDI Remote function. Refer to the previous section for more information on using the MIDI Remote function. 3 Move the cursor to the desired bank button (BANK parameter buttons 1–4), then press [ENTER]. 4 Press the [SEL] buttons for the desired channels.
MIDI Remote Layer 207 changing values in the range of 00 to 7F (0–127 in decimal) are output. Tip: If “SW” is not assigned in the DATA parameter boxes of the ON section, the current MIDI messages are output. Note: Be sure to set one of the DATA parameter boxes of the FADER section to “FAD.” If no “FAD” is assigned, fader operation is ignored. 9 Move the cursor to the LATCH/UNLATCH button, then press [ENTER] to select LATCH or UNLATCH depending on how you want the [ON] buttons to function. • LATCH.........
Chapter 17—Remote Control 10 To change the channel name, move the cursor to the ID LONG parameter box, then press [ENTER] to display the Title Edit window. Refer to page 30 for more information on editing names. Tip: • Move the cursor to the INITIALIZE button, then press [ENTER]. A window is displayed that enables you to reset the parameter settings in the currently-selected bank. • You can also assign MIDI messages to the parameter boxes manually without using the LEARN button.
Machine Control Function 209 3 Move the cursor to the PORT parameter box in the MACHINE CONTROL section (1), then rotate the Parameter wheel to select the MMC destination. The following ports and slot are available as the MMC destination. • MIDI ..............................MIDI port • USB ................................USB port • SLOT ..............................
Chapter 17—Remote Control C TRANSPORT section • • • • • This section enables you to control the transport functions on external machines. REW............................... This button starts rewind on external machines. FF ................................... This button starts fast forward on external machines. STOP.............................. This button stops external machines. PLAY .............................. This button starts playback on external machines. REC..............................
MIDI 211 18 MIDI This chapter describes the 01V96’s MIDI-related functions. MIDI & the 01V96 Using Control Changes, Program Changes, and other MIDI messages enables you to recall Scenes and edit parameters on the 01V96, and store 01V96 internal data on external MIDI devices. The 01V96 supports the following MIDI messages. Each of these MIDI messages can be individually turned on or off for transmission and reception.
Chapter 18—MIDI • SLOT If an optional “MY8-mLAN” I/O card is installed in the slot, MIDI data transfer to and from an external MIDI device is available via the MY8-mLAN card. Up to eight-port MIDI data (16 channels x 8 ports) can be transmitted and received. MIDI Port Setup Selecting a Port for MIDI Message Transfer To configure MIDI ports for MIDI message transfer, press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the DIO/Setup | MIDI/Host page appears.
MIDI Port Setup 213 • DEVICE ID ...................Specify the 01V96’s MMC Device ID. MMC Device IDs identify connected devices, enabling recognition during MMC transmission and reception. D SPECIAL FUNCTIONS section • • • • This section enables you to specify ports for various special functions. Studio Manager............In the left parameter box, select MIDI or USB as the port used by the included Studio Manager software.
Chapter 18—MIDI Selecting MIDI Messages for Transmission and Reception You can select MIDI messages to be transmitted or received at a specified port. To do so, press the DISPLAY ACCESS [MIDI] button, then press the [F1] button to display the MIDI | Setup page. 1 2 3 4 5 6 7 Select MIDI channels for transmission and reception in the CHANNEL row, and turn the transmission and reception of each MIDI message on or off using the buttons in the parameter rows from PROGRAM CHANGE to OTHER COMMANDS.
Assigning Scenes to Program Changes for Remote Recall 215 • Tx ON/OFF...................Transmission of Parameter Change messages is enabled or disabled. • Rx ON/OFF................... Reception of Parameter Change messages is enabled or disabled. • ECHO ON/OFF............This button determines whether Parameter Change messages received at the MIDI IN port are echoed through to the MIDI OUT port. E BULK This parameter row enables or disables reception of Bulk Dump data. • Rx ON/OFF...................
Chapter 18—MIDI 4 Move the cursor to a parameter box in the PGM CHG column, and rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the Program Change numbers to which you want to assign Scenes. 5 Press the cursor button [ ] to move the cursor to a parameter box in the SCENE NO./TITLE column, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to select Scenes.
Assigning Parameters to Control Changes for Real-time Control 217 Tip: See page 293 for information on the default Parameter to Control Change assignments. 4 Move the cursor to the MODE parameter’s TABLE button (1), then press [ENTER]. The MODE parameter determines which MIDI messages are transmitted when 01V96 parameters are adjusted. The following options are available for the MODE parameter: • TABLE............................
Chapter 18—MIDI HIGH MID LOW CHANNEL INPUT1–32/ST IN1–4 MASTER BUS1–8/AUX1–8/STEREO AUX1 SEND AUX2 SEND AUX3 SEND ON AUX4 SEND AUX5 SEND INPUT1–32/ST IN1–4 AUX6 SEND AUX7 SEND AUX8 SEND PHASE INSERT ON BUS TO ST BUS1–8 CHANNEL INPUT1–32/ST IN1L–4R CHANNEL INPUT1–32 MASTER BUS1–8/AUX1–8/STEREO AUX1 SEND AUX2 SEND AUX3 SEND PRE/POST AUX4 SEND AUX5 SEND INPUT1–32/ST IN1–4 AUX6 SEND AUX7 SEND AUX8 SEND ON TIME HIGH TIME MID IN DELAY TIME LOW MIX HIGH INPUT1–32 MIX LOW FB GAIN H FB
Assigning Parameters to Control Changes for Real-time Control HIGH MID 219 LOW ON Q LOW F LOW G LOW H G LOW L Q LO-MID F LO-MID G LO-MID H G LO-MID L Q HI-MID EQ F HI-MID INPUT1–32/ST IN 1–4/BUS1–8/AUX1–8/STEREO G HI-MID H G HI-MID L Q HIGH F HIGH G HIGH H G HIGH L ATT H ATT L HPF ON LPF ON ON ATTACK THRESH H THRESH L GATE RANGE INPUT1–32 HOLD H HOLD L DECAY H DECAY L ON ATTACK THRESH H THRESH L COMP RELEASE H RELEASE L INPUT1–32/BUS1–8/AUX1–8/STEREO RATIO GAIN H GAIN L KNEE CHANNEL AUX1–2 PAN
Chapter 18—MIDI HIGH MID LOW LFE H LFE L DIV (F) DIV R SURROUND LR FR INPUT1–32/ST IN1L–4R WIDTH DEPTH OFS LR OFS FR BYPASS MIX PARAM1 H EFFECT PARAM1 L EFFECT1–4 : PARAM32 H PARAM32 L Parameters that feature a setting range of more than 128 steps (such as Fader and Delay Time parameters) require two or more Control Change messages to specify the values.
Controlling Parameters by Using Parameter Changes 221 Controlling Parameters by Using Parameter Changes You can control 01V96 parameters in real time by using Parameter Change messages that are System Exclusive messages, instead of using MIDI Control Changes. See “MIDI Data Format” at the end of this Manual for detailed information on available Parameter Changes.
Chapter 18—MIDI Transmitting Parameter Settings via MIDI (Bulk Dump) You can back up data stored in the 01V96, such as libraries and Scenes, to an external MIDI device by using MIDI Bulk Dump. In this way, you can later restore previous 01V96 settings by transmitting this MIDI data back to the 01V96. Note: Some of the data transmitted from the 01V96 to the sequence software may occasionally drop out during Bulk Dump transmission.
Transmitting Parameter Settings via MIDI (Bulk Dump) 223 The following options are available: • ALL.................................This button selects all data available for bulk dump. When this button is turned on, all other buttons in this section are turned off. • SCENEMEM .................This button selects Scene memories. You can select Scenes you wish to transmit in the parameter box next to the button. • LIBRARY.......................This button selects libraries.
Chapter 18—MIDI 01V96—Owner’s Manual
Other Functions 225 19 Other Functions This chapter describes the 01V96’s miscellaneous functions. Changing the Input and Output Channel Names You can change the default name of the input channels (Input Channels 1–32, ST IN Channels 1–4) and output channels (Aux Outs 1–8, Bus Outs 1–8, Stereo Out), if you desire. Changing the Input Channel Names 1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch| In Name page appears.
Chapter 19—Other Functions When the Name Input Auto Copy check box (3) is on, the first four characters of a newly-entered Long name are automatically copied to the Short name. On the other hand, a newly-entered Short name is automatically added to the beginning of the Long name. You can reset all port names to their default names by moving the cursor to the INITIALIZE button, then pressing [ENTER].
Setting Preferences 227 This page contains the following parameters. (These parameters are explained in the order from the top of the left column to the bottom of the right column.) • Auto PAN Display If this check box is on, the Pan/Route pages appear automatically when you operate the [PAN] control in the SELECTED CHANNEL section. In Stereo Surround mode, operating the [PAN] control enables you to adjust the left and right Pan setting. Otherwise, it enables you to adjust the Surround Pan settings.
Chapter 19—Other Functions • Initial Data Nominal If this check box is on, Input Channel faders and ST IN Channel level controls are set to nominal (0 dB) when you recall Scene #0. (If this check box is off, they are set to –∞.) • Scene MEM Auto Update If this check box is on, you can use the Scene Memory Auto Update function (see page 165).
Creating a Custom Layer by Combining Channels (User Assignable Layer) 229 • EQ...................................Copies the EQ parameter values. C Display Brightness This parameter sets the brightness of the LED indicators in the range of 1 through 4. Creating a Custom Layer by Combining Channels (User Assignable Layer) If you set the Remote Layer target to “USER ASSIGNABLE,” you can create a custom layer by combining any 01V96 channels (excluding the Stereo Out).
Chapter 19—Other Functions Using the Oscillator The 01V96 features an Oscillator you can use for sound checks. Follow the steps below to use the Oscillator: 1 Press the DISPLAY ACCESS [UTILITY] button repeatedly until the Utility | Oscillator page appears. 1 3 4 2 This page contains the following parameters: A OSCILLATOR ON This parameter button turns the Oscillator on or off. B WAVEFORM These parameter buttons select the Oscillator waveforms.
Using the User Defined Keys 231 6 Move the cursor to the parameter control in the LEVEL section, then rotate the Parameter wheel to raise the Oscillator level. You can view the current Oscillator level on the LEVEL meter. Using the User Defined Keys USER DEFINED KEYS 1 2 3 4 5 6 7 8 You can assign any of more than 160 functions to the USER DEFINED KEYS [1]–[8] buttons.
Chapter 19—Other Functions 3 Move the cursor to one of the 1–8 parameter boxes, then press [ENTER]. The 01V96 displays the User Define Select window, which enables you to assign functions to the selected buttons. 4 Move the cursor to the left column, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to select a function you wish to assign. A function is selected when it appears inside the dotted box. See page 241 for a complete list of assignable functions.
Using Operation Lock 233 Using Operation Lock The 01V96 features an Operation Lock function that prevents unintentional edits and restricts access to panel operation with a password. To use the Operation Lock function, press the [UTILITY] button repeatedly to display the Utility | Lock page. 1 2 3 This page contains the following parameters: A OPERATION LOCK This button enables or cancels Operation Lock. When you turn on this button, the Password window appears.
Chapter 19—Other Functions C PASSWORD This button enables you to change the current password. Move the cursor to the PASSWORD button, then press [ENTER]. The Set Password window appears, enabling you to change the password. Enter the current password in the PASSWORD field, and a new password in the NEW PASSWORD field. The factory default password is “1234.” Enter the new password again in the REENTRY field located below the NEW PASSWORD field.
Cascading Consoles The following paragraphs explain how to make a cascade connection using two 01V96s and the inputs and outputs of the digital I/O card installed in the slot of each 01V96. 1 Install digital I/O cards into the slot on each of two 01V96s. 2 Connect two 01V96s as follows: • Connect the digital I/O card output on the transmitting 01V96 (slave) to the digital I/O card input on the receiving 01V96 (master).
Chapter 19—Other Functions The following display page is an example of integrating Bus 1–8, Aux Send 1–4, Stereo Bus, and Solo Bus signals via the ADAT IN and OUT connectors and two 8-channel digital I/O cards (such as MY8-AT). Tip: Patching may vary depending on the type and number of buses used for the cascade connection. Note: Since the number of channels available on the digital I/O card is limited, only Aux Sends 1–4 are cascaded in this example.
Cascading Consoles 237 8 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly to display the DIO/Setup | MIDI/Host page, then set the Cascade Link parameter to “MIDI.” 9 Repeat Step 8 for the master unit. After Steps 8 and 9, the slave unit will be able to transmit and receive MIDI messages. 10 To match the parameters of both 01V96s, locate the DIO/Setup | MIDI/Host page on the copy source unit. Move the cursor to the TRANSMIT button for the SYNC parameter, then press [ENTER].
Chapter 19—Other Functions Checking the Battery and the System Version The Utility | Battery page enables you to check the condition of the internal memory-backup battery and the system version number. To locate this page, press the DISPLAY ACCESS [UTILITY] button repeatedly. 1 2 A Status If the Status is “Okay,” the battery has sufficient voltage for operation. If the Status is “Voltage Low!,” ask your Yamaha dealer or authorized Yamaha service center to replace the battery as soon as possible.
Initializing the 01V96 239 Initializing the 01V96 You can delete all currently-recorded settings and restore the factory-preset values, and reset the Operation Lock password to its initial setting. Follow the steps below. Note: • If you initialize the 01V96 to the factory-preset values, all Scene, library and other data you stored previously will be erased. Proceed with caution. • If you want to keep the current internal data, be sure to first back up the data using the included Studio Manager software.
Chapter 19—Other Functions Calibrating the Faders The 01V96 motorized fader positions may shift over time depending on the operating conditions and environment. You can correct the shifted faders using the Calibration function. 1 Make sure that the power to the 01V96 is turned off. 2 While holding down the [ENTER] button, turn on the POWER ON/OFF switch. After a moment, the 01V96 displays a message indicating that the calibration is in progress. Calibration takes about two minutes.
USER DEFINED KEYS 241 Appendix A: Parameter Lists USER DEFINED KEYS # Function # Display Function Display 47 Input MUTE Group Enable J IN Mute Group J 48 Input MUTE Group Enable K IN Mute Group K 0 No Assign No Assign 49 Input MUTE Group Enable L IN Mute Group L 1 Scene MEM. Recall +1 Scene +1 Recall 50 Input MUTE Group Enable M IN Mute Group M 2 Scene MEM. Recall –1 Scene –1 Recall 51 Input MUTE Group Enable N IN Mute Group N 3 Scene MEM. Recall No.
Appendix A: Parameter Lists # Function Display # Function Display 97 Track Arming 9 Track Arming 9 98 Track Arming 10 Track Arming 10 99 Track Arming 11 Track Arming 11 100 Track Arming 12 Track Arming 12 150 DAW WINDOW INSERT DAW WIN INSERT 101 Track Arming 13 Track Arming 13 151 DAW WINDOW MIX/EDIT DAW WIN MIX/EDIT 102 Track Arming 14 Track Arming 14 152 DAW WINDOW MEM-LOC 103 Track Arming 15 Track Arming 15 DAW WIN MEM-LOC 104 Track Arming 16 Track Arming 16 153 DAW W
USER DEFINED KEYS Initial Assignments USER DEFINED KEYS Initial Assignments BANK A BANK B BANK C BANK D BANK E BANK F BANK G BANK H TITLE Scene Recall Group Enable DAW 1 DAW 2 Machine Control Program Change Special Function No Assign 1 Scene 1 Recall IN Fader Group A UDEF BANK D UDEF BANK C Machine SHUTTLE MIDI PGM 1 Display Back No Assign 2 Scene 2 Recall IN Mute Group I DAW WIN MIX/EDIT DAW OPTION/ALL Machine SCRUB MIDI PGM 2 Display Forward No Assign 3 Scene 3 Recal
Appendix A: Parameter Lists INPUT Port ID Description INSERT IN Port ID Description EFFECT IN Port ID Description CASCADE Port ID Description SL-07 Slot CH7 IN SL-07 Slot CH7 IN INS CH23 InsertOut-CH23 AD7 AD IN 7 SL-08 Slot CH8 IN SL-08 Slot CH8 IN INS CH24 InsertOut-CH24 AD8 AD IN 8 SL-09 Slot CH9 IN SL-09 Slot CH9 IN INS CH25 InsertOut-CH25 AD9 AD IN 9 SL-10 Slot CH10 IN SL-10 Slot CH10 IN INS CH26 InsertOut-CH26 AD10 AD IN 10 SL-11 Slot CH11 IN SL-11 Slot CH1
Initial Input Patch Settings 245 Initial Input Patch Settings CHANNEL EFFECT IN PATCH 1 AD1 1-1 AUX1 2 AD2 1-2 NONE 3 AD3 2-1 AUX2 4 AD4 2-2 NONE 5 AD5 3-1 AUX3 6 AD6 3-2 NONE 7 AD7 4-1 AUX4 8 AD8 4-2 NONE 9 AD9 10 AD10 11 AD11 12 AD12 13 AD13 14 AD14 15 AD15 16 AD16 17 ADAT1 18 ADAT2 19 ADAT3 20 ADAT4 21 ADAT5 22 ADAT6 23 ADAT7 24 ADAT8 25 S-1 26 S-2 27 S-3 28 S-4 29 S-5 30 S-6 31 S-7 32 S-8 CASCADE IN PATCH BUS1 NONE BUS
Appendix A: Parameter Lists CHANNEL NAME CHANNEL ID SHORT LONG CH1 CH1 CH1 CH1 CH2 CH2 CH2 CH2 CH3 CH3 CH3 CH3 CH4 CH4 CH4 CH4 CH5 CH5 CH5 CH5 CH6 CH6 CH6 CH6 CH7 CH7 CH7 CH7 CH8 CH8 CH8 CH8 CH9 CH9 CH9 CH9 CH10 CH10 CH10 CH10 CH11 CH11 CH11 CH11 CH12 CH12 CH12 CH12 CH13 CH13 CH13 CH13 CH14 CH14 CH14 CH14 CH15 CH15 CH15 CH15 CH16 CH16 CH16 CH16 CH17 CH17 CH17 CH17 CH18 CH18 CH18 CH18 CH19 CH19 CH19 CH19 CH20 CH20 CH20 CH
Output Patch Parameters 247 Output Patch Parameters SLOT, ADAT, OMNI Source Description INSERT IN Source Description DIRECT OUT Source 2TR OUT Digital Description Source Description – NONE – NONE – NONE – NONE BUS1 BUS1 AD1 AD IN 1 ADAT1 ADAT1 OUT BUS1 BUS1 BUS2 BUS2 AD2 AD IN 2 ADAT2 ADAT2 OUT BUS2 BUS2 BUS3 BUS3 AD3 AD IN 3 ADAT3 ADAT3 OUT BUS3 BUS3 BUS4 BUS4 AD4 AD IN 4 ADAT4 ADAT4 OUT BUS4 BUS4 BUS5 BUS5 AD5 AD IN 5 ADAT5 ADAT5 OUT BUS5 BUS5 BUS
Appendix A: Parameter Lists SLOT, ADAT, OMNI Source Description INS BUS1 INS BUS2 INSERT IN DIRECT OUT Source Description Source Description InsertOut-BUS1 — — — InsertOut-BUS2 — — — INS BUS3 InsertOut-BUS3 — — INS BUS4 InsertOut-BUS4 — INS BUS5 InsertOut-BUS5 INS BUS6 InsertOut-BUS6 INS BUS7 2TR OUT Digital Source Description — INS BUS1 InsertOut-BUS1 — INS BUS2 InsertOut-BUS2 — — INS BUS3 InsertOut-BUS3 — — — INS BUS4 InsertOut-BUS4 — — — — INS BUS5
Initial Output Patch Settings Initial Output Patch Settings SLOT 17 NONE BUS1 18 NONE BUS2 19 NONE BUS3 20 NONE BUS4 21 NONE SLOT1-5 BUS5 22 NONE SLOT1-6 BUS6 23 NONE BUS7 24 NONE BUS8 25 NONE BUS1 26 NONE BUS2 27 NONE BUS3 28 NONE BUS4 29 NONE SLOT1-13 BUS5 30 NONE SLOT1-14 BUS6 31 NONE SLOT1-15 BUS7 32 NONE SLOT1-16 BUS8 SLOT1-1 SLOT1-2 SLOT1-3 SLOT1-4 SLOT1-7 SLOT1-8 SLOT1-9 SLOT1-10 SLOT1-11 SLOT1-12 ADAT OUT 2TR OUT Digital 1L ST L 1R S
Appendix A: Parameter Lists User Defined Remote Layer Initial Bank Settings Bank 1 (GM Vol & Pan) ID Name Short 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 RM14 GM14 GM-CH14 VOL&PAN RM15 GM15 GM-CH15 VOL&
User Defined Remote Layer Initial Bank Settings Bank 2 (GM Vol & Effect 1) ID Name Short 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&EFF1 RM16
Appendix A: Parameter Lists Bank 3 (XG Vol & Pan) ID Name Short RM01 XG01 RM02 XG02 RM03 XG03 RM04 XG04 RM05 XG05 RM06 XG06 RM07 XG07 RM08 XG08 RM09 XG09 RM10 XG10 RM11 XG11 RM12 XG12 RM13 XG13 RM14 XG14 RM15 XG15 RM16 XG16 Long XG-CH01 VOL&PAN XG-CH02 VOL&PAN XG-CH03 VOL&PAN XG-CH04 VOL&PAN XG-CH05 VOL&PAN XG-CH06 VOL&PAN XG-CH07 VOL&PAN XG-CH08 VOL&PAN XG-CH09 VOL&PAN XG-CH10 VOL&PAN XG-CH11 VOL&PAN XG-CH12 VOL&PAN XG-CH13 VOL&PAN XG-CH14 VOL&PAN XG-CH15 VOL&PAN XG-CH16 VOL&PAN 01V96—Owner’s Man
User Defined Remote Layer Initial Bank Settings Bank 4 (Nuendo VST Mixer) ID Name Short RM01 CH1 RM02 CH2 RM03 CH3 RM04 CH4 RM05 CH5 RM06 CH6 RM07 CH7 RM08 CH8 RM09 CH9 RM10 CH10 RM11 CH11 RM12 CH12 RM13 CH13 RM14 CH14 RM15 CH15 RM16 CH16 Long VST MIXER CH1 VST MIXER CH2 VST MIXER CH3 VST MIXER CH4 VST MIXER CH5 VST MIXER CH6 VST MIXER CH7 VST MIXER CH8 VST MIXER CH9 VST MIXER CH10 VST MIXER CH11 VST MIXER CH12 VST MIXER CH13 VST MIXER CH14 VST MIXER CH15 VST MIXER CH16 Controller Data Format 1
Appendix A: Parameter Lists 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.
Effects Parameters 255 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.
Appendix A: Parameter Lists 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.
Effects Parameters 257 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.
Appendix A: Parameter Lists FLANGE Two input, two output flange effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12.0 to +12.0 dB Low shelving filter gain EQ F 100 Hz–8.
Effects Parameters 259 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.
Appendix A: Parameter Lists TREMOLO Two input, two output tremolo effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth WAVE Sine, Tri, Square Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12.0 to +12.0 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12.0 to +12.0 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.
Effects Parameters 261 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.
Appendix A: Parameter Lists RING MOD. Two input, two output ring modulator. Parameter Range Description SOURCE OSC, SELF Modulation source: oscillator or input signal OSC FREQ 0.0–5000.0 Hz Oscillator frequency FM FREQ. 0.05–40.00 Hz Oscillator frequency modulation speed FM DEPTH 0–100% Oscillator frequency modulation depth SYNC OFF, ON Tempo parameter sync on/off NOTE FM 1 Used in conjunction with TEMPO to determine FM FREQ 1. MOD. FILTER Two input, two output modulation filter.
Effects Parameters 263 AMP SIMULATE One input, two output guitar amp simulator. Parameter Range Description AMP TYPE 1 Guitar amp simulation type DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume BASS 0–100 Bass tone control MIDDLE 0–100 Middle tone control TREBLE 0–100 High tone control CAB DEP 0–100% Speaker cabinet simulation depth EQ F 100–8.
Appendix A: Parameter Lists DYNA. FLANGE Two input, two output dynamically controlled flanger. Parameter Range Description SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity SENSE 0–100 Sensitivity DIR. UP, DOWN Upward or downward frequency change DECAY 1 Decay speed OFFSET 0–100 Delay time offset FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) LSH F 21.2 Hz–8.
Effects Parameters 265 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.
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.
Effects Parameters 267 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.
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.
Effects Parameters 269 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.
Appendix A: Parameter Lists DELAY+REV One input, two output delay and reverb effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio HPF THRU, 21.2 Hz–8.
Effects Parameters 271 DIST->DELAY One input, two output distortion and delay effects in series. Parameter Range Description DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume TONE –10 to +10 Tone control N. GATE 0–20 Noise reduction DELAY 0.0–2725.0 ms Delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.
Appendix A: Parameter Lists FREEZE One input, one output basic sampler. Parameter Range Description REC MODE MANUAL, INPUT In MANUAL mode, recording is started by pressing the REC and PLAY buttons. In INPUT mode, Record-Ready mode is engaged by pressing the REC button, and actual recording is triggered by the input signal. REC DLY –1000 to +1000 ms Recording delay. For plus values, recording starts after the trigger is received.
Effects Parameters 273 M.BAND DYNA. Two input, two output 3-band dynamics processor, with individual solo and gain reduction metering for each band. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.0 dB High band level PRESENCE –10 to +10 For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For negative values, the opposite will occur.
Appendix A: Parameter Lists Preset EQ Parameters # 01 02 03 04 05 06 07 08 09 10 Parameter Title Bass Drum 1 Bass Drum 2 Snare Drum 1 Snare Drum 2 Tom-tom 1 Cymbal High Hat Percussion E. Bass 1 E. Bass 2 01V96—Owner’s Manual LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –3.5 dB 0.0 dB +4.0 dB F 100 Hz 265 Hz 1.06 kHz 5.30 kHz Q 1.2 10 0.9 — PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 80 Hz 400 Hz 2.50 kHz 12.
Preset EQ Parameters # 11 12 13 14 15 16 17 18 19 20 21 Parameter Title Syn. Bass 1 Syn. Bass 2 Piano 1 Piano 2 E. G. Clean E. G. Crunch 1 E. G. Crunch 2 E. G. Dist. 1 E. G. Dist. 2 A. G. Stroke 1 A. G. Stroke 2 LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB +8.5 dB 0.0 dB 0.0 dB F 85 Hz 950 Hz 4.00 kHz 12.5 kHz Q 0.1 8 4.5 — PEAKING PEAKING PEAKING H.SHELF G +2.5 dB 0.0 dB +1.5 dB 0.0 dB F 125 Hz 180 Hz 1.12 kHz 12.
# 22 23 24 25 26 27 28 29 30 31 32 Appendix A: Parameter Lists Parameter Title A. G. Arpeg. 1 A. G. Arpeg. 2 Brass Sec. Male Vocal 1 Male Vocal 2 Female Vo. 1 Female Vo. 2 Chorus & Harmo Total EQ 1 Total EQ 2 Total EQ 3 01V96—Owner’s Manual LOW L-MID H-MID HIGH L.SHELF PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB 0.0 dB +2.0 dB F 224 Hz 1.00 kHz 4.00 kHz 6.70 kHz Q — 4.5 4.5 0.12 L.SHELF PEAKING PEAKING H.SHELF G 0.0 dB –5.5 dB 0.0 dB +4.
Preset EQ Parameters # 33 34 35 36 37 38 39 40 Parameter Title Bass Drum 3 Snare Drum 3 Tom-tom 2 Piano 3 Piano Low Piano High Fine-EQ Cass Narrator LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING PEAKING G +3.5 dB –10.0 dB +3.5 dB 0.0 dB F 118 Hz 315 Hz 4.25 kHz 20.0 kHz Q 2 10 0.4 0.4 L.SHELF PEAKING PEAKING PEAKING G 0.0 dB +2.0 dB +3.5 dB 0.0 dB F 224 Hz 560 Hz 4.25 kHz 4.00 kHz Q — 4.5 2.8 0.1 L.SHELF PEAKING PEAKING H.SHELF G –9.
Appendix A: Parameter Lists Preset Gate Parameters # 1 Title Gate 2 3 GATE A. Dr. SN Parameter –26 Range (dB) –56 2.56 Decay (ms) 331 Threshold (dB) –19 Range (dB) –22 Attack (ms) 1 Title Comp 1.20 S Decay (ms) 6.32 S Threshold (dB) –11 Range (dB) –53 1.93 Decay (ms) 400 Threshold (dB) –8 Range (dB) –23 Attack (ms) 1 Hold (ms) 0.63 Decay (ms) 238 (fs = 44.1 kHz) Type COMP 3 Expand Compander (H) EXPAND COMPAND-H Parameter –8 Ratio ( :1) 2.
Preset Compressor Parameters (fs = 44.1 kHz) # Title Type Parameter Threshold (dB) 5 6 A. Dr. BD A. Dr. BD COMP COMPAND-H A. Dr. SN COMP 3 Attack (ms) 9 Out gain (dB) A. Dr. SN EXPAND 2 Release (ms) 58 Threshold (dB) –11 Ratio ( :1) 3.5 Attack (ms) Out gain (dB) COMPAND-S Threshold (dB) –17 Ratio ( :1) 2.5 Attack (ms) Out gain (dB) A. Dr. Tom EXPAND 2 Release (ms) 12 Threshold (dB) –23 Attack (ms) Out gain (dB) A. Dr. OverTop COMPAND-S E. B. Finger COMP 0 0.
Appendix A: Parameter Lists # 13 14 15 16 Title E. B. Slap Syn. Bass Piano1 Piano2 Type COMP COMP COMP COMP Parameter Threshold (dB) –12 Ratio ( :1) 1.7 Attack (ms) 4.0 Knee hard Release (ms) 133 Threshold (dB) –10 Ratio ( :1) 3.5 Attack (ms) COMP 3.0 Knee hard Release (ms) 250 Threshold (dB) –9 Ratio ( :1) 2.5 Attack (ms) 17 Out gain (dB) 1.0 Knee hard Release (ms) 238 Threshold (dB) –18 Ratio ( :1) 3.5 Attack (ms) Out gain (dB) A.
Preset Compressor Parameters (fs = 44.1 kHz) # 21 Title Strings3 Type COMP Parameter Threshold (dB) –17 Ratio ( :1) 1.5 Attack (ms) 76 Out gain (dB) 2.5 Knee 22 BrassSection COMP Syn. Pad COMP 186 Threshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 18 Out gain (dB) 4.0 25 SamplingPerc Sampling BD COMPAND-S COMP 226 Threshold (dB) –13 Ratio ( :1) 2 Attack (ms) 58 Out gain (dB) 2.
Appendix A: Parameter Lists # 29 Title Solo Vocal2 Type COMP Parameter Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 26 Out gain (dB) 1.5 Knee Release (ms) 30 Chorus COMP Click Erase EXPAND –9 Ratio ( :1) 1.7 Attack (ms) 39 Out gain (dB) 2.5 Announcer COMPAND-H 226 Threshold (dB) –33 Ratio ( :1) 2 Attack (ms) 1 Out gain (dB) Limiter1 COMPAND-S Threshold (dB) –14 Ratio ( :1) 2.
General Spec 283 Appendix B: Specifications General Spec Number of scene memories 99 Internal Sampling Frequency Signal Delay External Double rate: 88.2 kHz–10% to 96 kHz+6% Less than 1.6 ms CH INPUT to STEREO OUT fs=96 kHz Less than 0.8 ms CH INPUT to STEREO OUT 100 mm motorized × 17 +10 to –138, –∞ dB input faders Fader Resolution Frequency Response (CH INPUT to STEREO OUT) Normal rate: 44.
Appendix B: Specifications Digital Input (2TR IN DIGITAL, ADAT input) Option Input (SLOT) Available cards Optional digital interface cards (MY16, MY8, MY4 series) Input patch — Phase Normal/reverse Gate-type3 On/off Key in: 12 ch Group (1–12, 13–24, 25–32)/AUX1–8 On/off Comp-type4 Key in: self /Stereo Link Pre EQ/pre fader/post fader Attenuator EQ –96.0 to +12.0 dB (0.
General Spec MONITOR OUT 285 DA converter 24-bit linear, 128-times oversampling (@fs=44.1, 48 kHz), 64-times oversampling (@fs=88.2, 96 kHz) Output patch STEREO, BUS1–8, AUX1–8, DIRECT OUT 1–32, INSERT OUT (CH1–32, BUS1–8, AUX1–8, STEREO), CASCADE OUT (BUS1–8, AUX 1–8, STEREO, SOLO) DA converter 24-bit linear, 128-times oversampling (@fs=44.1, 48 kHz), 64-times oversampling (@fs=88.
Appendix B: Specifications Comp-type4 Attenuator EQ On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.1 dB step) 4-band PEQ5 On/off AUX1–8 On/off — Fader 100 mm motorized Delay 0–29100 samples Metering INTERNAL EFFECTS (EFFECT 1–4) Power Requirements Dimensions Displayed on LCD Peak hold on/off Number of effects 4@44.1kHz, 48kHz Bypass On/off In/out 2-in, 2-out Effect-in from AUX1–8/INSERT OUT Effect-out to Input patch U.S.
General Spec 287 Gate Parameters Threshold –54 dB–0 dB (0.1 dB step) Range –70 dB–0 dB (1 dB step) Attack 0 ms–120 ms (1 ms step) 0.02 ms–1.96 s (216 points) @ 48 kHz Gate Hold 0.02 ms–2.13 s (216 points) @ 44.1 kHz 0.01 ms–981 ms (216 points) @ 96 kHz 0.01 ms–1.06 s (216 points) @ 88.2 kHz 5 ms–42.3 s (160 points) @ 48 kHz Decay 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz Threshold –54 dB–0 dB (0.
Appendix B: Specifications Compander H 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 (15 points) Out gain –18 dB to 0 dB (0.1 dB step) Width 1 dB–90 dB (1 dB 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 Compander S Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.1, 1.
Analog Input Spec 289 Analog Input Spec Input PAD GAIN Actual Load Impedance For Use With Nominal Sensitivity1 –60 dB 0 INPUT A/B 1–12 3k Ω –16 dB 50–600 Ω Mics & 600 Ω Lines 20 –26 dB INPUT 13–16 — 10k Ω 600 Ω Lines +4 dB Input level Connector Nominal Max. before clip –70 dB (0.245 mV) –60 dB (0.775 mV) –40 dB (7.75 mV) –26 dB (38.8 mV) –16 dB (123 mV) +4 dB (1.23 V) (Balanced)2 B: Phone jack –6 dB (338 mV) +4 dB (1.23 V) +24 dB (12.28 V) (TRS) (Balanced)3 –36 dB (12.
Appendix B: Specifications Digital Input Spec Input 2TR IN DIGITAL Format Data length IEC-60958 24-bit ADAT1 24-bit ADAT IN Level Connector 0.5 Vpp/75 Ω RCA pin jack — OPTICAL 1. ALESIS proprietary multichannel optical digital interface format Digital Output Spec Output 2TR OUT DIGITAL Format Data length IEC-609581 Consumer use 24-bit3 ADAT2 24-bit3 ADAT OUT Level Connector 0.5V pp/75 Ω RCA pin jack — OPTICAL 1.
CONTROL I/O Spec 291 CONTROL I/O Spec I/O Port TO HOST USB MIDI WORD CLOCK Format Level Connector in Console USB 0 V–3.3 V IN1 B type USB connector MIDI — DIN Connector 5P OUT MIDI — DIN Connector 5P THRU MIDI — DIN Connector 5P IN — TTL/75 Ω BNC Connector OUT — TTL/75 Ω BNC Connector 1. MIDI IN can use as TIME CODE IN MTC.
Appendix C: MIDI Appendix C: MIDI Scene Memory to Program Change Table Program Change # Initial Scene # 1 Program Change # Initial Scene # Program Change# Initial Scene # 01 44 44 87 87 2 02 3 03 45 45 88 88 46 46 89 4 89 04 47 47 90 90 5 05 48 48 91 91 6 06 49 49 92 92 7 07 50 50 93 93 8 08 51 51 94 94 9 09 52 52 95 95 10 10 53 53 96 96 11 11 54 54 97 97 12 12 55 55 98 98 13 13 56 56 99 99 14 14 57 57 100 00 15
Initial Parameter to Control Change Table 293 Initial Parameter to Control Change Table CHANNEL1 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 High NO ASSIGN FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO
Appendix C: MIDI CHANNEL2 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H NO ASSIGN ON NO ASSIGN NO ASSIGN FADER L FADER L FADER L FADER L FADER
Initial Parameter to Control Change Table 295 CHANNEL3 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G LOW H G LOW H G LOW
Appendix C: MIDI CHANNEL4 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ 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 EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO
Initial Parameter to Control Change Table 297 CHANNEL5 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G LO-MID H G LO-MID H
Appendix C: MIDI CHANNEL6 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ 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 EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO
Initial Parameter to Control Change Table 299 CHANNEL7 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G HI-MID H G HI-MID H
Appendix C: MIDI CHANNEL8 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ 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 EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO
Initial Parameter to Control Change Table 301 CHANNEL9 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid G HIGH H G HIGH H G H
Appendix C: MIDI CHANNEL10 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ 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 EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO
Initial Parameter to Control Change Table 303 CHANNEL11 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN Mid ATT H ATT H ATT H AT
Appendix C: MIDI CHANNEL12 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ 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 EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIG
Initial Parameter to Control Change Table 305 CHANNEL13 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO
Appendix C: MIDI CHANNEL14 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND 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
Initial Parameter to Control Change Table 307 CHANNEL15 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO
Appendix C: MIDI CHANNEL16 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 High NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND 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
MIDI Data Format MIDI Data Format 1. DATA FORMAT The following data types of parameter change are used by the 01V96. Type (HEX) 1.1 CHANNEL MESSAGE Command 8n NOTE OFF 9n NOTE ON Bn CONTROL CHANGE Cn PROGRAM CHANGE rx/tx rx rx rx/tx rx/tx function Control the internal effects Control the internal effects Control parameters Switch scene memories 1.2 SYSTEM COMMON MESSAGE Command F1 MIDI TIME CODE QUARTER FRAME rx/tx rx function MTC 1.
Appendix C: MIDI If [TABLE] is selected STATUS DATA 2.8.
MIDI Data Format BLOCK INFO. 0ttttttt 0bbbbbbb DATA 0ddddddd : 0ddddddd CHECK SUM 0eeeeeee EOX 11110111 tt bb ds : de ee F7 total block number(minimum number is 0) 2.8.2.4 Setup memory bulk dump request format current block number(0-total block number) STATUS ID No. SUB STATUS FORMAT No. Scene data of block[bb] ee=(Invert(‘L’+…+de)+1)&0x7F End of exclusive 2.8.2.
Appendix C: MIDI 2.8.2.7 User Defined Keys bulk dump format The second and third bytes of the DATA NAME indicate the bank number. Be aware that the state of the transmission destination will (in some cases) change if the same bank is being used. STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00111001 00110011 DATA NAME 01010110 00000000 0bbbbbbb BLOCK INFO.
MIDI Data Format 2.8.2.13 Program change table bulk dump format STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00111001 00110011 DATA NAME 01010000 00000010 00000000 BLOCK INFO.
Appendix C: MIDI 2.8.2.18 Compressor library bulk dump request format 2.8.2.21 Effect library bulk dump format The second and third bytes of the DATA NAME indicate the bank number. (See above) The second and third bytes of the DATA NAME indicate the bank number. 0:Library no.1 – 127:Library no.128, 256:EFFECT1 – 259:EFFECT4, 8192:UNDO 256-263 are the data for the corresponding area of the edit buffer. For reception by the 01V96, only the user area is valid. (52-127, 256-259, 8192) STATUS ID No.
MIDI Data Format 00111001 00110011 DATA NAME 01001000 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt 0bbbbbbb DATA 0ddddddd : 0ddddddd CHECK SUM 0eeeeeee EOX 11110111 39 33 48 mh ml tt bb ds : de ee F7 ‘9’ 2.8.2.26 Input patch library bulk dump request format ‘3’ The second and third bytes of the DATA NAME indicate the bank number. (See above) ‘H’ 0-128(Channel Library no.0-128), 256-(Current data) total block number(minimum number is 0) current block number(0-total block number) STATUS ID No.
Appendix C: MIDI 2.8.2.29 Plug-in effect card bulk dump format The second byte of the DATA NAME indicates the slot number. 0:SLOT 1 – 1:SLOT 2 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. STATUS ID No. SUB STATUS FORMAT No.
MIDI Data Format 2.8.3.1.5 Parameter Address Consult your dealer for parameter address details. 2.8.3.2 Parameter change STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX (Edit buffer) System exclusive message 11110000 01000011 0001nnnn 00111110 01111111 00000001 0eeeeeee F0 43 1n 3E 7F 01 ee 0ccccccc 0ddddddd : 11110111 cc Channel no. dd data : F7 End of exclusive Manufacture’s ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Edit Buffer Element no.
Appendix C: MIDI 2.8.3.11 Parameter request (Cascade data) Reception This message is echoed if [Parameter change ECHO] is ON. Data received from a port that is assigned to [Cascade Link] and whose Device Number included in the SUB STATUS matches the [Rx CH] will be received for processing. When this is received, the value of the specified parameter will be transmitted as a Parameter response. STATUS ID No.
MIDI Data Format 2.8.3.15 Parameter request (Function call: title) Reception When this is received, a parameter change will be transmitted with the device number set to [Rx CH]. Refer to the above table for the Functions and Numbers. STATUS ID No.
Appendix C: MIDI 2.8.3.20 Parameter request (Function call: attribute) 2.8.3.23 Parameter request Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, a Parameter Change message will be transmitted on the [Rx CH]. Refer to the above table for the Functions and Numbers.
MIDI Data Format 321 2.8.3.26 Parameter change (Function call Event: Effect ) 2.8.3.29 Parameter change Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, the corresponding effect’s function activates (depending on the effect type).
Appendix C: MIDI 2.8.3.31 Parameter request (Remote Meter) Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, data of the specified address is transmitted on the [Rx CH] at intervals of 50 msec as a rule (although this may not be the case if the port is being used by other communication), for a period of 10 seconds.
Appendix D: Options Rack Mounting the 01V96 Using RK1 Rack Mount Kit 1 You can rack mount the 01V96 using an optional RK1 Rack Mount Kit. Hold one of the brackets against one side of the 01V96 so that the bracket ear projects to the side, and align three holes on the bracket with the holes on the side of the 01V96, as shown in the illustration below. 2 Affix the bracket using three screws included in the RK1 package. 3 Attach the other bracket to the other side of the 01V96 in the same way.
Index Index Symbols ø/INS/DLY | DLY 1-16 page .............. 80 ø/INS/DLY | DLY 17-32 page ............ 80 ø/INS/DLY | Insert page ...........127, 156 ø/INS/DLY | Out Dly page ......... 99, 110 ø/INS/DLY | Phase page ..................... 79 ø/INSERT/DELAY button ................. 18 +48V ON/OFF switches ..................... 23 Numerics 1–16/17–32 buttons ............................ 19 1–8 buttons .......................................... 21 2TR IN connectors ........................
Index DIO/Setup | Prefer1 page ..................226 DIO/Setup | Prefer2 page ..................226 DIO/Setup | Remote page ............................... 188, 204, 229 DIO/Setup | Surr Bus page ...............138 DIO/Setup | Word Clock page .....41, 72 DIO/SETUP button ............................18 Direct outs .........................................125 Display ..................................................19 DISPLAY ACCESS section .................18 Display Brightness preference ..........
Index L L/R Nominal Pan preference ........... 227 LAST SOLO ....................................... 132 LATCH .............................................. 207 LAYER section ..................................... 19 Layers ................................................... 31 Initial bank settings .................... 250 LEARN button .................................. 206 Level controls ...................................... 17 Levels ..........................................104, 113 LFE .........
Index GANG ............................................85 INDIVIDUAL ...............................85 INV GANG ...................................85 PAN buttons .................................86 Parameter boxes ..................................29 Parameter changes ............................221 Parameter lists ...................................241 Parameter wheel ..................................22 Patch | 2TR Out page ........................125 Patch | Cascade In page .....................
Index Solo safe function ....................... 133 SOLO TRIM ............................... 133 SOLO buttons ............................... 16, 17 SOLO indicator ................................... 22 SOLO section ...................................... 22 Specifications ..................................... 283 SRC sections ........................................ 72 ST IN button ....................................... 17 ST IN section ....................................... 17 Star distribution .
Index 329 01V96—Owner’s Manual
YAMAHA [Digital Mixing Console-Internal Parameters] Model: 01V96 Function... Date: 26 Aug. 2002 MIDI Implementation Chart Version: 1.
01V96 Block Diagram [INPUT] (1-12) INPUT (1...
01V96 Level Diagram Analog Analog Digital PAD dBu dBFS Bit +24 +20 0 0 1 2 3 4 5 6 +10 +4 0 –2 –10 –20 –30 –10 –40 –20 –30 –50 –60 –40 –70 –50 –60 –80 –90 –70 –80 –100 –110 –90 –120 –100 –110 –130 –140 –120 –130 –140 –150 –160 –170 –150 –180 –160 –170 –190 –200 –180 –210 –190 GAIN INSERT Digital AD INPUT PATCH PHASE Digital GATE INSERT ATT. EQ INSERT COMP DELAY ON LEVEL INSERT PAN BUS Adder INSERT ATT.
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
Yamaha Manual Library http://www2.yamaha.co.jp/manual/english/ This document is printed on recycled chlorine free (ECF) paper with soy ink. U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2003 Yamaha Corporation WA84540 310IPAP2.
