–10 48V + OM ANT L) NBA L 15 ON OFF (U dBV 13 R PH OU 16 IN NES T PHO 2TR 14 OR NIT MOR IN 2T 6 15/1R IN 2T 10 0 10 B 26d 26d 26d B –20 N 0 I 1 + GA B –60 –34 B 26d 26d –60 –34 –60 –34 –60 –34 GA –60 –34 12 –16 GAIN +10 –16 GAIN +10 AL IGIT IN MIX L O R STE HIG EQ PAN 7 –12 –15 –18 –24 –30 –36 –42 –48 ID HI-M MID F R P CLI –3 –6 –9 H D 8 IN L NSO GC 9 –16 GAIN +10 EO E –16 GAIN +10 –60 –34 6 15/1 4 11 Owner’s10Manual B PHO OR NIT MO UT O –2
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.
i Important Information Read the Following Before Operating the 01V Warnings • Do not locate the 01V in a place subject to excessive heat or in direct sunlight. This could be a fire hazard. • Do not place the 01V in a place subject to excessive humidity or dust. This could be a fire and electrical shock hazard. • Connect the 01V power cord only to an AC outlet of the type stated in this Owner’s Manual or as marked on the 01V. Failure to do so is a fire and electrical shock hazard.
ii Interference 01V uses high-frequency digital circuits that may cause interference on radios and televisions placed close to it. If interference does occur, relocate the affected equipment. Copyright © 1998 Yamaha Corporation. All rights reserved. No part of the 01V software or this Owner’s Manual may be reproduced or distributed in any form or by any means without the prior written authorization of Yamaha Corporation.
iii Contents Contents 1 Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . 1 Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01V Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01V Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv Contents Input Channels & the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Input Channels & the Option I/O Outs . . . . . . . . . . . . . . . . . . . . . . . . . Swapping Inputs 1–8 & 17–24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Mutes . . . . . . .
v Contents Metering the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Signals to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Stereo Output Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Stereo Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Balancing the Stereo Output . .
vi Contents 12 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 About the Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pre-fader/Post-fader Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vii Contents Editing Scene Memory Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Renumbering Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting a Fade Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recalling Scene Data Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 190 191 192 15 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . .
viii Contents Security Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Rack-mounting Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 261 General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Input Channels 1–16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Welcome to the 01V 1 Welcome to the 01V 1 In this chapter... Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01V Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01V Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Chapter 1—Welcome to the 01V Welcome to the 01V Thank you for choosing the Yamaha 01V Digital Mixing Console. Based on the highly successful Yamaha digital mixer series, the Yamaha 01V has been designed with MIDI musicians and small sound reinforcement applications in mind, although its versatility, compactness, and ease-of-use will appeal to both professional and semiprofessional users.
01V Features 3 01V Features 01V Sonic Specs • Linear 20-bit 128-times oversampling A/D converters • Linear 20-bit 8-times oversampling D/A converters (STEREO OUT) • 105 dB typical dynamic range (CH INPUT to STEREO OUT) • 20 Hz–20 kHz (+1, –3 dB) frequency response • 32-bit internal digital audio processing • 44-bit digital EQ processing 01V Features • 24 inputs (including 8 digital inputs) • 14 outputs (STEREO OUT, OMNI OUTs, 8 assignable digital outputs) • Continuously variable gain controls • Balanced
4 Chapter 1—Welcome to the 01V Key Feature Discussion Configuration The 01V provides a total of 24 inputs: 12 mono input channels (1 through 12), 2 stereo input channels (13/14 and 15/16), and 8 digital inputs (17 through 24) by means of an Option I/O card. The stereo output signal is available from the analog STEREO OUT, coaxial DIGITAL STEREO OUT, and can be assigned to the analog OMNI OUTs and Option I/O digital outputs.
Key Feature Discussion 5 01V Sonic Performance The 01V’s linear 20-bit 128-times oversampling A/D converters provide a typical dynamic range of 105 dB. The STEREO OUT features 20-bit 8-times oversampling D/A converters, while the MONITOR OUT and OMNI OUTs feature 18-bit 8-times oversampling D/A converters.
6 Chapter 1—Welcome to the 01V Onboard Effects Processors The 01V has two stereo multi-effects processors onboard: Effect 1 and Effect 2. These processors provide a wide range of quality effects, including reverb, delay, chorus, flange, amp simulator, and more. There are 34 different effects types available. The effects processors are fed by the Effect 1 and Effect 2 buses, and the processed signals are returned through the effects return channels. Effects can be applied to input channels 1 through 24.
Key Feature Discussion 7 Scene Memories On many mixers, the only way to store mix settings is with marker pen and masking tape. With the 01V, however, virtually every mix setting can be stored in a mix scene using the 01V’s 99 scene memories. Mix scenes can be recalled instantly with just one button press, or remotely using MIDI Program Change commands.
8 Chapter 1—Welcome to the 01V 01V—Owner’s Manual
Getting Started 9 Getting Started 2 In this chapter... 01V System Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Important Wordclock Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Turning On the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Turning Off the 01V . .
10 Chapter 2—Getting Started 01V System Example This example shows the kind of system possible with the 01V.
11 Important Wordclock Information Important Wordclock Information Unlike analog audio equipment, digital audio equipment must be wordclock synchronized when digital audio is transferred from one device to another. See “About Wordclocks” on page 206 for more information. If the 01V is the only digital audio device in your system, no special wordclock settings are required, and the 01V synchronizes to its own internal wordclock.
12 Chapter 2—Getting Started 01V—Owner’s Manual
Touring the 01V 13 Touring the 01V 3 In this chapter... Top Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14 Chapter 3—Touring the 01V Top Panel Controls PHANTOM +48V PHANTOM +48V OFF ON OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L R IN OUT 2TR PHONES PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 1 2 3
15 Top Panel Controls Analog Control Section 1 2 3 PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 1 2 3 4 5 6 7 8 9 10 11 12 4 15/16 2TR IN +10 GAIN –20 13/14 +10 GAIN –20 15/16 MONITOR 2TR IN
16 Chapter 3—Touring the 01V Display, Selected Channel Controls & Meters DIGITAL MIXING CONSOLE EQ HIGH PAN PAN FUNCTION 1 MEMORY HI-MID F F LO-MID G G 1 RETURN 2 LOW L STEREO R CLIP –3 –6 –9 –12 –15 –18 –24 –30 –36 –42 –48 4 SELECTED CHANNEL 2 3 A Display This 320 x 80 dot LCD display provides clear indication of mix settings and operating status.
Top Panel Controls 17 Function Buttons UTILITY MIDI SETUP VIEW DYNAMICS EQ/ATT Ø/DELAY PAN/ ROUTING MEMORY Function buttons are used to access the following function pages. Related pages are grouped together and can be selected by repeatedly pressing a button. The name of the selected function and its page number appear in the top-left corner of the display.
18 Chapter 3—Touring the 01V SEL, SOLO, ON buttons & Faders 1 1 2 3 4 5 6 7 8 17 SEL 18 SEL 19 SEL 20 SEL 21 SEL 22 SEL 23 SEL 24 SEL 9 10 11 12 13/14 15/16 SEL SEL SEL SEL SEL SEL SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO ON ON ON ON ON ON ON ON ON ON ON ON ON ON STEREO MASTER SEL 5 1 RETURN 2 SEL SEL SOLO SOLO ON ON SOLO 6 2 3 ON 6 6 6 6 6 6 6 6 6 6 6 6 6 6 0 0 0 0 0 0 0 0 0 0 0 0 0
Top Panel Controls 19 put. Normally, [ON] buttons 1 through 8 select channels 1 through 8. When the [OPTION I/O] button is pressed, however, they select input channels 17 through 24, which are only available when an Option I/O card is installed. See “ON Buttons” on page 34 for more information. The [ON] buttons 1 through 16 and master can be assigned to various internal parameters on REMOTE page 1, or used as MIDI controllers on REMOTE page 3.
20 Chapter 3—Touring the 01V Inputs & Outputs Input and output connectors are located on the top and rear panels. Top Panel PHANTOM +48V PHANTOM +48V OFF ON OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L R IN OUT 2TR PHONES 1 2 34 5 A INPUT (BAL) 1–12 Input channels 1 through 12 feature balanced XLR-3-31-type and balanced phone jack connectors, both with a nominal input range of –60 dB to +10 dB.
21 Inputs & Outputs C 2TR IN These are phono jacks with a –10 dBV nominal input level. Signals input here can be monitored via the monitor out and phones when the MONITOR–2TR IN switch is set to 2TR IN. The stereo outputs of a master recorder can be connected here for confidence monitoring and master playback. By setting the 15/16–2TR IN switch to 2TR IN, 2TR IN signals can be fed to input channels 15 and 16 for mixing with other signals.
22 Chapter 3—Touring the 01V Rear Panel 1 2 3 4 CH 7-12 PHANTOM +48V 7 8 ON OFF MONITOR OUT STEREO OUT R +4dB (BAL) L OMNI OUT +4dB (BAL) L 6 CH 1-6 ON OFF R 52 +4dB (BAL) 4 3 2 DIGITAL STEREO COAXIAL 1 OUT POWER ON/ MIDI THRU TO HOST OUT IN IN OPTION I/O OFF 9 J A MONITOR OUT These are balanced 1/4-inch phone jacks with a +4 dB nominal output level. Balanced or unbalanced phone plugs can be connected.
Inputs & Outputs 23 D STEREO OUT These are balanced XLR-3-32-type connectors with a +4 dB nominal output level. They are wired pin 1–ground, pin 2–hot (+), and pin 3–cold (–). They output the main stereo mix. Female XLR plug 2 (hot) 3 (cold) 1 (ground) If you need to connect the balanced ST OUT to an unbalanced phone jack input, use a cable with the following wiring scheme (i.e., XLR pins 3 and 1 linked).
01V—Owner’s Manual 16 INPUT (BAL) 15 DIGITAL STEREO IN 14 INPUT (BAL) 13 1-12 INPUT (BAL) HA GAIN HA HA GAIN HA AD AD AD from 2TR IN AD AD +48V 15/16 2TR IN PHANTOM GAIN HA 1-6, 7-12 De-emphasis 26dB Pad to ATT Meter FLIP ATT ATT 4-Band PEQ 4-Band PEQ 4-Band PEQ 4-Band PEQ 4-Band PEQ Dynamics Dynamics Meter Dynamics Meter ON ON CH Fader CH Fader EFF2 EFF1 AUX4 AUX3 AUX2 AUX1 PAN* OUTPUT SELECT ON/OFF to to MONI to MONI OUTPUT SELECT AUX/EFF PRE
Option I/O IN De-emphasis or DC Cut Unchanged This section is available only when an optional Option I/O card is installed. 17-24 INPUT 1-8 (BAL) Waveform OSC Meter 100Hz 1kHz 10kHz PINK BURST from EFF2 from EFF1 Meter Internal Effect 2 Internal Effect 1 Meter SWAP Meter LEVEL ATT 4-Band PEQ 4-Band PEQ 2-Band PEQ Meter Unchanged EFF RTN Rotary EFF1 AUX/EFF PRE/POST EFF2 AUX4 AUX3 AUX2 AUX1 PAN* AUX/EFF PRE/POST EFF2 EFF1 AUX2 AUX1 PAN *PAN: INDIVIDUAL/GANG/INV.
26 Chapter 3—Touring the 01V 01V—Owner’s Manual
Getting Around the User Interface 27 Getting Around the User Interface 4 In this chapter... About the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Display Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . .
28 Chapter 4—Getting Around the User Interface About the User Interface Thanks to a user-friendly interface, 01V operation is both logical and intuitive. The 320 x 80 dot LCD display provides clear indication of mix settings and operating status, while dedicated SELECTED CHANNEL controls allow for quick EQ and pan adjustments. Operation of the multifunction faders depends on the selected Fader mode.
Display 29 Memory—This area of the display shows the number and title of the selected scene memory, whether that scene memory is read only or write protected (indicated by the closed padlock icon), and whether or not the contents of the Edit Buffer have been edited. See “Scene Memory Display Area” on page 185 for more information. Also in the Memory area are the MIDI and HOST indicators, which appear when MIDI data is received at the MIDI IN or TO HOST port, respectively.
30 Chapter 4—Getting Around the User Interface Display Elements This section explains the various control elements that appear on display pages. Switches Switches appear as boxes with a shadowed outline (i.e., a thicker outline on the right side and bottom). Simple on/off-type switches are highlighted when they are turned on. In this example, the [ST] switch is on. The labels inside some switches change when they turned on and off, as these phase switches show.
31 Cursor Buttons Cursor Buttons The cursor buttons are used to move the cursor around the display pages, selecting parameters and options. The cursor appears as a flashing box, making it easy to see which parameter or option is currently selected. Holding down a cursor button moves the cursor continuously in the respective direction.
32 Chapter 4—Getting Around the User Interface Fader Modes The 01V [SEL], [SOLO], and [ON] buttons, channel faders, and STEREO (MASTER) fader are multifunction controls, and their exact operation depends on the selected Fader mode. Operation of these controls is shown in the following tables. SEL Buttons The [SEL] buttons are used to select channels for EQ, Pan, Dynamics, and Routing operations.
Fader Modes 33 channels 13 and 14 (likewise 15 and 16) are linked, the only time you’ll need to select these channels individually is to set the Phase or Pan. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.) To select the EQ function for input channel 20, press the [OPTION I/O] button, and then press [SEL] button 20 (CH20 appears on the display). Use the F and G controls to adjust the EQ.
34 Chapter 4—Getting Around the User Interface ON Buttons The [ON] buttons are used to turn channels on or off. They work with the following channels: • CH1 through CH24—Input channels 1 through 24 • ST—Stereo output • RTN1, RTN2—Effects returns 1 and 2 • AUX1 through AUX4—Aux sends 1 through 4 • EFF1, EFF2—Effects sends 1 and 2 The bus outs can be turned on or off on PAN/ROUT page 4.
Fader Modes 35 To turn on or off the AUX 1 send master, press the [AUX 1] button, and then use the MASTER [ON] button. To turn on or off the EFFECT 1 send master, press the [EFFECT 1] button, and then use the MASTER [ON] button. Faders (plus Return Rotary Controls) The faders are used to adjust channel levels.
36 Chapter 4—Getting Around the User Interface To adjust the aux 1 send level of input channel 13/14, press the [AUX 1] button, and then operate fader 13/14. To adjust the aux 1 send level of input channel 20, use the [OPTION I/O] button to locate OPTION page 2, press [SEL] button 20, use the cursor buttons to select the AUX 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons.
Title Edit Dialog Box 37 Title Edit Dialog Box The Title Edit dialog box is used to title mix scenes, EQ programs, dynamics programs, and effects programs. Program titles can be up to 12 characters, scene memory titles up to 8 characters. 1. Use the cursor buttons to position the cursor in the title window. 2. Use the PARAMETER wheel to select characters. 3. Use the cursor buttons to select the following switches, and press the [ENTER] button to execute their functions.
38 Chapter 4—Getting Around the User Interface 01V—Owner’s Manual
Input Channels 39 Input Channels 5 In this chapter... Input Channel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phantom Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pad Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Input Channel Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40 Chapter 5—Input Channels Input Channel Overview This section provides an overview of 01V input channels. Input Channels 1–12 3 1 2 XLR INPUT (balanced) Phone jack INPUT (balanced) Input channels 1 through 12 feature balanced XLR-3-31-type and balanced phone jack connectors, both with a nominal input range of –60 dB to +10 dB. Phantom powering (+48 V) is supplied to the XLR connectors, with master on/off switches for connectors 1 through 6 and 7 through 12.
Phantom Powering 41 Phantom Powering Input channels 1 through 12 feature +48 V phantom powering for use with condenser-type microphones. Phantom powering is supplied to the balanced XLR-3-31-type connector, and can be switched for inputs 1 through 6 and inputs 7 through 12. Phantom powering should be turned on only when CH 7-12 a condenser-type microphone is connected. CH 1-6 ON OFF ON OFF Warning: Make sure that phantom powering is turned off when connecting an unbalanced source to an XLR input.
42 Chapter 5—Input Channels Changing the Input Phase The Phase switches, available on input channels 1 through 16, reverse the phase of input signals by 180 degrees. This can be used to compensate for incorrectly wired balanced cables and microphones. Also, when a snare drum is miked top and bottom, the channel connected to the bottom microphone can be phase reversed to prevent signal cancellation. 1. Use the [∅/DELAY] button to locate DELAY page 1, as shown below. 2.
Attenuating Input Channel Signals 43 Attenuating Input Channel Signals Input channels 1 through 24 are fitted with digital attenuators, which can be used to attenuate input signals from 0 dB to –96 dB in 1 dB steps. For Input Channels 1–16 1. Use the [EQ/ATT] button to locate EQ page 1, as shown below. 2. Use [SEL] buttons 1 through 16 to select channels. 3. Use the cursor buttons to select the ATT control, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to adjust it.
44 Chapter 5—Input Channels Applying EQ to Input Channels Input channels 1 through 16 feature four-band parametric EQ, while input channels 17 through 24 feature two-band parametric EQ. See “EQ” on page 61 for more information. EQ can be turned on or off and the EQ curve viewed on the EQ page and VIEW page. See “Viewing Input Channel Settings” on page 57 for more information. Input Channels Dynamics Processors Input channels 1 through 16 feature a dynamics processor.
Delaying Channel Signals 45 Delaying Channel Signals The Channel Delays, available on input channels 1 through 16, can be used to compensate for microphone placement, or simply as delay effects. The delay parameters for input channels 1 through 8 are on DELAY page 2, while those for input channels 9 though 16 are on DELAY page 3. Both pages are shown below. 1. Use the [∅/DELAY] button to locate DELAY page 2 or 3, as shown below. 2. Use the [SEL] buttons to select channels. 3.
46 Chapter 5—Input Channels Muting Input Channels ON Input channels can be turned on and off (i.e., muted) using the [ON] buttons. When a channel is on, its [ON] button lights up. To turn on or off an input channel from 1 through 16, select a fader mode other than Option I/O or Remote, and then press an [ON] button from 1 through 16. To turn on or off an input channel from 17 through 24, press the [OPTION I/O] button, and then press an [ON] button from 17 through 24.
Panning Input Channels 47 Panning Input Channels The Panpots, available on input channels 1 through 24 (and the effects returns), are used to pan signals between the left and right channels of the stereo out, and the odd and even bus outs. Panpots can be adjusted using the SELECTED CHANNEL PAN control, the quickest method, or the panpot pages in conjunction with the cursor buttons, [–/DEC] and [+/INC] buttons, and PARAMETER wheel. EQ HIGH For quick panning, select a channel and use the PAN control.
48 Chapter 5—Input Channels be located using the [OPTION I/O] button. Panpots can also be adjusted on this page by using the cursor buttons to select the PAN control and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set it. Including center, there are 33 pan positions. Hard left Hard right Center L16←···←L3←L2←L1←CENTER→R1→R2→R3→···→R16 Input channels 1 through 12 and 17 through 24 feature a single panpot, as shown here.
Routing Input Channels 49 Routing Input Channels The Routing switches, available on input channels 1 through 24 (and the effects returns), are used to route signals to the four bus outs, stereo out, and direct outs. For Input Channels 1–16 & the Effects Returns 1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 2, as shown below. 2. Use the [SEL] buttons to select channels. 3. Use the cursor buttons to select the Routing switches and the [ENTER] button to set them. For Input Channels 17–24 1.
50 Chapter 5—Input Channels shows how it works. Routing Pan Signal Destination Signals are fed equally to bus outs 1 and 2 and the left and right channels of the stereo out. Signals are fed to bus out 1 and the left channel of the stereo out. Signals are fed to bus out 2 and the right channel of the stereo out. The Routing switches on input channels 13 and 14 (likewise 15 and 16) are permanently linked.
Swapping Inputs 1–8 & 17–24 51 Swapping Inputs 1–8 & 17–24 The inputs to channels 1 through 8 can be swapped with those of input channels 17 through 24 either individually or altogether. This allows signals from the Option I/O digital inputs to make use of the 4-band EQ, dynamics processors, and other functions of full-feature input channels 1 through 8. 1. Use the [OPTION I/O] button to locate OPTION page 5, as shown below. 2.
52 Chapter 5—Input Channels Pairing Input Channels Input channels 1 through 12 can be paired together for stereo signal processing. Adjacent odd and even input channels can be paired together (i.e., 1/2, 3/4, 5/6, not 2/3 or 4/5). The following parameters are linked when channels are paired: attenuators, EQ, dynamics, delays, [ON], and [SEL] buttons, faders, aux sends, effects sends, and pre/post settings. Routing switches, [SOLO] buttons, phase, panpots, aux panpots, and fade time on/off are not linked.
Pairing Input Channels 53 Releasing Input Channel Pairs 1. Press the [SEL] button of both input channels simultaneously. OR On SETUP page 4, use the cursor buttons to select the paired channel switch, and then press the [ENTER] button. The following dialog box appears. 2. Select OK, and then press the [ENTER] button. The stereo pair is broken, and both input channels operate independently.
01V—Owner’s Manual Unchanged CH INPUT 2, 4...12 (even channels) Unchanged CH INPUT 1, 3...11 (odd channels) Meter ATT Meter 4-Band PEQ 4-Band PEQ Dynamics Dynamics Delay Delay ON CH Fader CH Fader AUX/EFF PRE/POST EFF2 AUX1 AUX2 EFF1 *PAN: INDIVIDUAL/GANG/INV.
Grouping Faders 55 Grouping Faders Input channel faders 1 through 16 can be grouped together in fader groups for multi-channel control using a single fader. Three groups are available: A, B, and C. Making Fader Groups 1. Use the [SETUP] button to locate SETUP page 3, as shown below. 2. Use the up and down cursor buttons to select the fader groups, and the [SEL] buttons to add and remove faders to and from that group. Channels cannot be in more than one group at a time.
56 Chapter 5—Input Channels Grouping Mutes Input channel [ON] buttons 1 through 16 can be grouped together in mute groups for multi-channel control using a single button. Three groups are available: D, E, and F. Mute groups may contain on channels and off channels, making it easy to toggle between channels. When switched, on channels go off and off channels come on. Making a Mute Group 1. Use the [SETUP] button to locate SETUP page 3, as shown below. 2.
Viewing Input Channel Settings 57 Viewing Input Channel Settings Settings for input channels 1 through 16 can be viewed, and certain parameters adjusted on VIEW pages 1 and 2. Settings for input channels 17 through 24 can be viewed and adjusted on OPTION page 2. Input Channels 1–16 1. Use the [VIEW] button to locate VIEW page 1 or 2 VIEW pages for input channels 1 through 12 appear as below. VIEW pages for input channels 13/14 and 15/16 appear as below. 2.
58 Chapter 5—Input Channels Input Channels 17–24 1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below. 2. Use [SEL] buttons 17 through 24 to select channels. 3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them. Most of the parameters for input channels 17 through 24 can be set only on OPTION page 2.
Copying & Swapping Channel Settings 59 Copying & Swapping Channel Settings The Channel Copy function is used to copy input channel settings from one channel to another. The Channel swap function is used to swap input channel settings between channels. Copy and Swap can be used with input channels 1 through 16. 1. Use the [VIEW] button to locate the VIEW page shown below. 2. Use the cursor buttons and PARAMETER wheel to select the SOURCE and DESTINATION channels. 3.
60 Chapter 5—Input Channels Input Channel Block Diagram to 1-6, 7-12 +48V BUS AUX EFF ST 1 2 3 4 1 2 3 4 1 2 L R Meter PHANTOM Meter INPUT (BAL) CH Fader Pad 1-12 HA 4-Band PEQ AD Dynamics ON ATT 26dB PAN Delay AUX1 GAIN AUX2 AUX3 AUX4 EFF1 EFF2 AUX/EFF PRE/POST to Meter OUTPUT SELECT Meter CH Fader HA 13 INPUT (BAL) AD 4-Band PEQ GAIN HA 14 Dynamics Delay ON ATT AD 4-Band PEQ Dynamics PAN* Delay AUX1 AUX2 AUX3 AUX4 EFF1 FLIP EFF2 AUX/EFF PRE/POST to DIGITAL STEREO IN
61 EQ EQ 6 In this chapter... About the 01V EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62 Chapter 6—EQ About the 01V EQ Input channels 1 through 16, the effects returns, aux sends, and stereo out all feature four-band parametric EQ, with variable gain, frequency, Q, and ON/OFF parameters. Input channels 17 through 24 feature a simplified two-band parametric EQ. See the “Block Diagram” on page 24 for the exact location of each EQ section. The high and low bands of each EQ can be used as shelving, peaking, or HPF (High-Pass Filter) and LPF (Low-Pass Filter), respectively.
Adjusting the EQ 63 Adjusting the EQ EQ can be adjusted using the SELECTED CHANNEL controls, the quickest method, or the EQ pages in conjunction with the cursor buttons, [–/DEC] and [+/INC] buttons, and PARAMETER wheel. EQ HIGH PAN HI-MID F For quick EQ'ing select a channel and use the EQ controls. LO-MID G LOW SELECTED CHANNEL For Input Channels 1–16 1. Use [SEL] buttons 1 through 16 to select channels. 2.
64 Chapter 6—EQ The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them. For Effects Returns 1 & 2 1. Use the effects returns [SEL] buttons to select effects returns 1 and 2. 2. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.
Adjusting the EQ 65 For the Stereo Output 1. Press the [HOME] button. 2. Press the MASTER [SEL] button. ST is the selected channel. 3. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively. If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the EQ page shown below appears, and the Home fader mode is selected. This page can also be located using the [EQ/ATT] button.
66 Chapter 6—EQ EQ Specs The following table contains the EQ specs. Lo-Mid1 Low High –18.0 dB to +18.0 dB (0.5 dB steps)2 Gain (G) Frequency (F) 21 Hz–20.1 kHz (1/12 octave steps, 120 steps) HPF, 10.0–0.10 (41 steps), L.SHELF Q Hi-Mid1 10.0–0.10 (41 steps) LPF, 10.0–0.10 (41 steps), H.SHELF 1. Four-band EQs only (low and high bands only on input channels 17 through 24). 2. When the low and high EQ bands are configured as HPF and LPF, their gain controls function as filter on and off switches.
EQ Library 67 EQ Library EQ settings can be stored as programs in the EQ library, which contains 40 preset programs (1–40) and 40 user programs (41–80). User programs allow you to store frequently used EQ settings, and they can be titled for easy identification. The EQ library can also be used to transfer settings from one EQ to another. For example, the stereo out EQ settings could be stored as a library program and then recalled to an aux send EQ.
68 Chapter 6—EQ Storing EQ Programs EQ programs are stored on the EQ Library page. You can store EQ settings to user programs 41 to 80. Preset programs 1 through 40 are read only. 1. Use the [EQ/ATT] button to locate the EQ Library page shown below. 2. Use the [SEL] buttons to select the channel whose EQ settings you want to store as a program. You can select input channels 1 through 16, the effects returns, aux sends, or stereo out. You cannot select input channels 17 through 24. 3.
Recalling EQ Programs 69 Recalling EQ Programs EQ programs are recalled on the EQ Library page. You can recall any one of the 40 preset and 40 user programs. 1. Use the [EQ/ATT] button to locate the EQ Library page shown below. 2. Use the [SEL] buttons to select the channel to which you want to recall the EQ program. You can select input channels 1 through 16, the effects returns, aux sends, or stereo out. You cannot select input channels 17 through 24. 3.
70 Chapter 6—EQ Editing EQ Program Titles The titles of stored EQ programs can be edited using the Title Edit function. 1. Use the [EQ/ATT] button to locate the EQ Library page shown below. 2. Use the PARAMETER wheel to select programs. 3. Use the cursor buttons to select TITLE EDIT, and then press the [ENTER] button. The Title Edit dialog box appears. 4. Edit the program title. See “Title Edit Dialog Box” on page 37 for more information. 5.
Preset EQ Program Parameters 71 Preset EQ Program 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 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 99 Hz 265 Hz 1.05 kHz 5.33 kHz Q 1.2 10 0.9 — PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 79 Hz 397 Hz 2.52 kHz 12.6 kHz Q 1.4 4.
72 Chapter 6—EQ # 11 12 13 14 15 16 17 18 19 20 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 01V—Owner’s Manual 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 83 Hz 944 Hz 4.00 kHz 12.6 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 177 Hz 1.12 kHz 12.6 kHz Q 1.6 8 2.2 — L.
Preset EQ Program Parameters # 21 22 23 24 25 26 27 28 29 30 Parameter Title A.G.Stroke 2 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 LOW L-MID H-MID HIGH L.SHELF PEAKING PEAKING H.SHELF G –3.5 dB –2.0 dB 0.0 dB +2.0 dB F 297 Hz 749 Hz 2.00 kHz 3.56 kHz Q — 9 4.5 — L.SHELF PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB 0.0 dB +2.0 dB F 223 Hz 1.00 kHz 4.00 kHz 6.72 kHz Q — 4.5 4.
74 Chapter 6—EQ # 31 32 33 34 35 36 37 38 39 40 Parameter Title Total EQ 2 Total EQ 3 Bass Drum 3 Snare Drum 3 Tom-tom 2 Piano 3 Piano Low Piano High Fine-EQ Cass Narrator 01V—Owner’s Manual LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +4.0 dB +1.5 dB +2.0 dB +6.0 dB F 94 Hz 749 Hz 1.78 kHz 17.9 kHz Q 7 2.8 5.6 — L.SHELF PEAKING PEAKING H.SHELF G +1.5 dB +0.5 dB +2.0 dB +4.0 dB F 66 Hz 841 Hz 1.88 kHz 15.1 kHz Q — 0.28 0.
Solo, Monitors & Meters 75 Solo, Monitors & Meters 7 In this chapter... About Monitor & Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitor Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Two-track Input (2TR IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
76 Chapter 7—Solo, Monitors & Meters About Monitor & Solo Flexible monitoring and solo functions mean the 01V can be used in a wide range of applications. All inputs and outputs can be monitored pre or post fader via the monitor out or phones. Recording Solo and Mixdown Solo modes allow quick monitoring of inputs channels and effects returns. Monitor and solo parameters appear on SETUP page 2 shown below.
77 Monitor Outputs Monitor Outputs Monitor and solo signals are output via the monitor out and phones connections. Make sure the MONITOR–2TR IN switch is set to MONITOR for monitoring. See “Two-track Input (2TR IN)” on page 77 for more information. Monitor signals are converted to analog using 18-bit 8-times oversampling D/A converters, and then output via balanced 1/4-inch phone jacks with a +4 dB nominal output level.
78 Chapter 7—Solo, Monitors & Meters Monitor Setup The signal source for the monitor out and phones is selected using the MONITOR SETUP parameters on SETUP page 2. Selectable sources are: the stereo output, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Since the Solo function has priority, these sources can be monitored only when the Solo function is off (i.e., no channels are soloed). Signals can be sourced pre-fader (PFL) or post-fader (AFL).
Monitor Block Diagram 79 Monitor Block Diagram BUS AUX EFF ST 1 2 3 4 1 2 3 4 1 2 L R Meter L 2TR OUT R Meter 4-Band PEQ Dynamics Delay L DA BALANCE ON 4-Band PEQ Dynamics STEREO OUT Delay R DA DIGITAL STEREO OUT ST Dither to MONI L R STEREO OUT LISTEN Meter OUTPUT SELECT Meter BUS master fader BUS 1-4 to OUTPUT SELECT to OUTPUT SELECT ON 1-4 LISTEN 1-4 PAN Meter 4-Band PEQ Meter Meter AUX master fader AUX 1-4 Dynamics ON LISTEN from DIGITAL STEREO IN LISTEN 1-4 S
80 Chapter 7—Solo, Monitors & Meters Solo Setup The Solo function, available on input channels 1 through 24 and the effects returns, is used to monitor channels individually. Two solo modes are available: Recording Solo and Mixdown Solo. These and configured using the SOLO SETUP parameters on SETUP page 2. Solo has priority over the sources selected using the MONITOR SETUP parameters. Channel signals can be soloed pre-fader (PFL) or post-fader (AFL).
Using Solo 81 Using Solo Input channels 1 through 24 and the effects returns can be soloed as follows. 1. Connect a monitoring system (amp, speakers) to the MONITOR OUT. 2. Make sure that the MONITOR–2TR IN switch is set to MONITOR. 3. Set the MONITOR OUT LEVEL control midway. If you are using headphones, set the PHONES LEVEL control midway. 4. Use the [SETUP] button to locate SETUP page 2, explained previously, and configure as necessary. For Input Channels 1–16 5.
01V—Owner’s Manual 1-12 17-24 13/14 15/16 EFF1, 2 MIX SOLO EFF1, 2 15/16 13/14 17-24 1-12 Unchanged Unchanged Unchanged RECORDING SOLO Unchanged Unchanged Unchanged PAN PAN Input channels 1 through 24 and effects returns that are turned off are temporarily turned on when soloed (Solo Safe channels are unaffected). ON ON ON Input channels 1 through 24 and the effects returns can be soloed. The stereo output, aux sends, bus outs, and stereo cascade input can be monitored when Solo is off.
Metering Signal Levels 83 Metering Signal Levels Signal level meters for input channels 1 through 16, the effects returns, aux sends, bus outs, omni outs, and stereo output are provided on the HOME pages. The signal source points for input and output meters can be set on HOME page 5. Stereo output levels can be metered using the main stereo meters or the meters on HOME page 4. A Peak Hold function can be set globally for all meters.
84 Chapter 7—Solo, Monitors & Meters Omni Outs HOME page 3 displays signal level meters for the four omni outs. The source assigned to an omni out is displayed below its meters. These assignments are made on PAN/ROUT page 4. See “Assigning Omni Outs” on page 116 for more information. Stereo Output HOME page 4 displays signal level meters for the stereo output. Compared to the main stereo meters, these have a large scale from –72 dB to CLIP. Meters for the stereo output also appear on the VIEW pages.
Setting the Metering Point 85 Setting the Metering Point The metering points for input channels 1 through 16 and the effects returns can be set to either PRE EQ or PRE FADER. For the stereo output, aux send, and bus out meters it can be set to either POST EQ or POST ON. These settings do not affect the main stereo meters, which always meter POST ON signals. 1. Use the [HOME] button to locate HOME page 5, as shown below. 2.
86 Chapter 7—Solo, Monitors & Meters Effects Send Meters Signal level meters for effects sends 1 and 2 are displayed on the VIEW pages. 1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send, and then press the MASTER [SEL] button. EFF1 or EFF2 appears on the display, indicating that an effects send is selected. 2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below. Signal level meters for effects send 1 are displayed on VIEW pages 1 and 2, as shown below.
Stereo Output 87 Stereo Output 8 In this chapter... About the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Analog Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2TR Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Coaxial Digital Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Option I/O & the Stereo Output .
88 Chapter 8—Stereo Output About the Stereo Output The stereo output features four-band parametric EQ, a dynamics processor, balance control, and variable output delay of up to 300 milliseconds. The stereo signal is output via analog XLR-type connectors, analog 2TR OUT connectors, Coaxial digital outputs, and can be assigned to the Option I/O digital outputs or omni outs.
Metering the Stereo Output 89 Metering the Stereo Output Stereo output signal levels can be metered using the L STEREO R meters or HOME page 4 meters. See “Metering Signal Levels” on page 83 for more information. Routing Signals to the Stereo Output Input channels 1 through 24 and the effects return can be routed to the stereo output. See “Routing Input Channels” on page 49 for more information.
90 Chapter 8—Stereo Output Setting the Stereo Output Level The stereo output level is controlled using the STEREO fader. Since this fader is also used to control the aux and effects send master levels, you may need to press the [HOME] button before adjusting the stereo output level. See “Faders (plus Return Rotary Controls)” on page 35 for more information. 0 –5 –10 –15 –20 –30 –40 –50 –70 –∞ STEREO MASTER Muting the Stereo Output ON The stereo output can be muted using the STEREO [ON] button.
Stereo Output Delay 91 Stereo Output Delay The left and right channels of the stereo output can be delayed individually by up to 300 milliseconds. This can be used to compensate for delays in multi-speaker sound reinforcement systems. 1. Use the [∅/DELAY] button to locate DELAY page 4, as shown below. 2. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.
92 Chapter 8—Stereo Output Stereo Output Block Diagram BUS AUX EFF ST 1 2 3 4 1 2 3 4 1 2 L R Meter L 2TR OUT R Meter 4-Band PEQ Dynamics Delay DA L BALANCE ON 4-Band PEQ Dynamics STEREO OUT Delay R DA DIGITAL STEREO OUT ST Dither to LISTEN 01V—Owner’s Manual STEREO OUT OUTPUT SELECT MONI L R
Aux Sends 93 Aux Sends 9 In this chapter... About the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Option I/O & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Omni Outs & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Monitoring Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
94 Chapter 9—Aux Sends About the Aux Sends The 01V’s four aux sends, which can be used individually or in stereo pairs, feature four-band parametric EQ and dynamics processors. Signals from input channels 1 through 16 and the effects returns can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2. Channel aux sends can be configured individually as pre-fader or post-fader sends. The 01V does not have dedicated aux send connections.
Sending Channel Signals to Aux Sends 95 Sending Channel Signals to Aux Sends Signals from input channels 1 through 16 and the effects returns can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2. For Input Channels 1–16 1. Use the [AUX] buttons to select an aux send. The faders now function as channel aux send controls for the selected aux send, and an AUX page similar to the one shown below appears. 2.
96 Chapter 9—Aux Sends For Effects Returns 1 & 2 1. Use the [AUX] buttons to select an aux send. The effects returns rotary controls now function as effects returns aux send controls for the selected aux send, and an AUX page similar to the one shown below appears. 2. Turn up the rotary control of the effects return you want to send to the aux send. If the aux send is configured post-fader (“Pre-fader/Post-fader Aux Sends” on page 97), you’ll have to raise the effects returns regular control as well.
Pre-fader/Post-fader Aux Sends 97 Pre-fader/Post-fader Aux Sends The aux sends on input channels 1 through 24 and the effects returns can be configured individually as pre-fader or post-fader sends. Pre-fader means that signals are sourced before, and are not affected by the regular channel fader. Post-fader means that signals are sourced after, and are affected by the regular channel fader.
98 Chapter 9—Aux Sends Viewing Aux Send Settings Settings for the aux sends can be viewed, and certain parameters adjusted on VIEW pages 1 and 2. 1. Use the [AUX] buttons to select an aux send, and then press the MASTER [SEL] button. AUX appears on the display, indicating that an aux send is selected. 2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below. 3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.
Setting Aux Send Master Levels 99 Setting Aux Send Master Levels Aux send master levels are controlled using the MASTER fader. The function of this fader depends on the selected Fader mode. See “Faders (plus Return Rotary Controls)” on page 35 for more information. 0 –5 –10 –15 –20 –30 –40 –50 –70 –∞ STEREO MASTER 1. Use the [AUX] buttons to select an aux send. An AUX page similar to the one shown below appears. The MASTER fader now functions as aux send master level control for the selected aux send.
100 Chapter 9—Aux Sends Muting Aux Sends ON Aux send masters can be muted using the MASTER [ON] button, which lights up when an aux send is on. The function of this button depends on the selected Fader mode. See “ON Buttons” on page 34 for more information. 1. Use the [AUX] buttons to select an aux send. An AUX page similar to the one shown below appears. The MASTER [ON] button now functions as aux send master on/off switch for the selected aux send. 2.
Pairing Aux Sends 101 Pairing Aux Sends Aux sends 1 and 2 and aux sends 3 and 4 can be paired together for stereo signal processing. When paired, the EQ, dynamics, master faders, ON buttons, and monitors of each aux send are set the same and linked for simultaneous control. In addition to the linking of aux send master parameters, pairing also affects input channels 1 through 24 and the effects returns. For these channels, aux send controls and pre/post switches are linked, and aux send panpots appear.
102 Chapter 9—Aux Sends Panning Channel Aux Sends 1. Use the [AUX 1] or [AUX 2] button to locate the AUX 1–2 Pan page, or the [AUX 3] or [AUX 4] button to locate the AUX 3–4 Pan page. When aux sends are not paired, the AUX PAN pages are empty, as shown below. When aux sends are paired (“Making Aux Send Pairs” on page 101), the AUX PAN pages contain panpots for input channels 1 through 16 and the effects returns, as shown below. 2.
Pairing Aux Sends 103 Setting the controls to positions in between these two extremes allows you to set the width of the stereo signal. To maintain a central balance, however, you must set both controls to corresponding values. For example, L8 and R8, or L10 and R10.
104 Chapter 9—Aux Sends Aux Send Block Diagram BUS AUX EFF ST 1 2 3 4 1 2 3 4 1 2 L R MONI L R Meter 4-Band PEQ Meter Meter AUX 1 master fader AUX 1 Dynamics LISTEN Meter 4-Band PEQ Meter OUTPUT SELECT to OUTPUT SELECT to OUTPUT SELECT to OUTPUT SELECT AUX 1 Meter AUX 2 master fader AUX 2 Dynamics ON LISTEN Meter 4-Band PEQ Meter AUX 2 Meter AUX 3 master fader AUX 3 Dynamics ON LISTEN Meter 4-Band PEQ to ON Meter AUX 3 Meter AUX 4 master fader AUX 4 Dynamics ON LISTEN
Unchanged DELAY Unchanged CH INPUT 14, 16 EFF1, 2 DELAY Unchanged CH INPUT 13, 15 4-Band PEQ 4-Band PEQ DELAY Unchanged CH INPUT 1-12 Aux send panpots are available on input channels 1 through 16 when aux sends are paired. In this diagram, aux sends 1 and 2 are paired. ON ON Unchanged EFF RTN Rotary Unchanged CH Fader CH Fader AUX3 AUX1/2 AUX3 AUX1/2 AUX1/2 PAN PAN* AUX1/2 PAN PAN* AUX1/2 PAN *PAN: INDIVIDUAL/GANG/INV.
106 Chapter 9—Aux Sends 01V—Owner’s Manual
Bus Outs 107 Bus Outs 10 In this chapter... About the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Option I/O & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Omni Outs & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Bus Outs . . . . . . . .
108 Chapter 10—Bus Outs About the Bus Outs The 01V’s four bus outs can be used individually or in stereo pairs. Signals from input channels 1 through 24 and the effects returns can be routed to bus outs 1 through 4. See “Routing Input Channels” on page 49 for more information. The 01V does not have dedicated bus out connections. Instead bus outs must be assigned to the Option I/O digital outputs or omni outs. Option I/O & the Bus Outs Bus out signals can be assigned to the Option I/O digital outputs.
Setting Bus Out Master Levels 109 Setting Bus Out Master Levels Bus out master levels are controlled using the virtual faders on PAN/ROUT page 3. 1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 3, a shown below. 2. Use the cursor buttons to select the bus out master faders, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them. When bus outs are paired (“Pairing Bus Outs” on page 111), their master faders are linked.
110 Chapter 10—Bus Outs Routing Bus Signals to the Stereo Bus The bus outs can be routed to the Stereo bus and used as sub-groups during mixdown. Initially odd bus outs are panned to the left and even bus outs to right. 1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 3, a shown below. 2. Use the cursor buttons to select the TO ST switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to turn them on. 3.
Pairing Bus Outs 111 Pairing Bus Outs Bus outs 1 and 2 and bus outs 3 and 4 can be paired together for stereo signal processing. When paired, the master faders and ON buttons are linked for simultaneous control. Making Bus Out Pairs 1. Use the [SETUP] button to locate SETUP page 4, as shown below. 2. Use the cursor buttons to select bus pair 1/2 or 3/4, and then press the [ENTER] button. The following dialog box appears. BUS 1 –> 2—Copy the settings of bus out 1 to bus out 2.
112 Chapter 10—Bus Outs Bus Out Block Diagram BUS AUX EFF ST 1 2 3 4 1 2 3 4 1 2 L R MONI L R Meter Meter BUS 1 master fader BUS 1 to OUTPUT SELECT to OUTPUT SELECT to OUTPUT SELECT to OUTPUT SELECT ON LISTEN BUS 1 TO ST PAN Meter Meter BUS 2 master fader BUS 2 ON LISTEN BUS 2 TO ST PAN Meter Meter BUS 3 master fader BUS 3 ON LISTEN BUS 3 TO ST PAN Meter Meter BUS 4 master fader BUS 4 ON LISTEN PAN BUS 4 TO ST to MONITOR 01V—Owner’s Manual
Stereo Pair Bus Out Block Diagram 113 Stereo Pair Bus Out Block Diagram In this diagram, bus outs 1 and 2 are paired.
114 Chapter 10—Bus Outs 01V—Owner’s Manual
Omni Outs 115 Omni Outs 11 In this chapter... About the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assigning Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Omni Out Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116 Chapter 11—Omni Outs About the Omni Outs The 01V’s four omni outs can be used as aux send outputs, bus out outputs, additional stereo outputs, or post-fader direct outputs for input channels 1 through 16. Each omni out features a variable output delay of up to 300 milliseconds. Omni Outs Omni out signals are converted to analog using 18-bit D/A converters, and then output via balanced 1/4-inch phone jacks with a +4 dB nominal output level.
Omni Out Delay 117 Omni Out Delay The omni outs can be delayed individually by up to 300 milliseconds. This can be used to compensate for delays in multi-speaker sound reinforcement systems. 1. Use the [∅/DELAY] button to locate DELAY page 4, as shown below. 2. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them. Parameter Range ON/OFF ON/OFF These switches are used to turn on and off the delays.
118 Chapter 11—Omni Outs Omni Out Block Diagram STEREO L STEREO R BUS 1 BUS 4 AUX 1 from AUX 4 CH 1 CH 2 CH 15 CH 16 01V—Owner’s Manual OMNI OUT Select Delay DA 1-4 OMNI OUT
Effects 119 Effects 12 In this chapter... About the Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pre-fader/Post-fader Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Effects Send Settings .
120 Chapter 12—Effects About the Onboard Effects The 01V’s two onboard stereo multi-effects processors, Effect 1 and Effect 2, provide a wide range of high-quality effects, including reverb, delay, chorus, flange, amp simulator, and freeze. There are 42 different types of effect available. Effects processors 1 and 2 are fed by Effect buses 1 and 2, respectively, and processed signals are returned via effect returns 1 and 2. Effects can be applied to input channels 1 through 24 and the effects returns.
Preset Effects Programs 121 Preset Effects Programs The following table lists the preset effects programs. See “Effects Parameters” on page 138 for detailed parameter information. Effects programs that use the HQ. PITCH or FREEZE type effects can be used only with Effect 2. Reverb-type Effects # Title Type Description 01 Reverb Hall REVERB HALL Reverb simulating a large space such as a concert hall.
122 Chapter 12—Effects # Title Type Description 22 Ring Mod. RING MOD. An effect that modifies the pitch by applying amplitude modulation to the frequency of the input. On the 01V, even the modulation frequency can be controlled by modulation. 23 Mod.Filter MOD.FILTER An effect which uses an LFO to modulate the frequency of the filter.
Using the Effects 123 Using the Effects There are two stages to applying effects: 1) Sending the input channel signal to an effects processor. 2) Returning the processed signal back into the mix. The following three sections explain how to send signals from input channels 1 through 16, 17 through 24, and the effects returns to effects processors. The final section explains how to return the processed signal back into the mix. For Input Channels 1–16 1.
124 Chapter 12—Effects 4. Use the cursor buttons to select an EFFECT fader, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set the effects send level. For Effects Returns 1 & 2 To prevent signal loops, effects return 1 can be fed only to Effect 2, and effects return 2 can be fed only to Effect 1. 1. Press the [HOME] button, and then turn up the RETURN level control of the effects return to which you want to apply an effect.
Pre-fader/Post-fader Effects Sends 125 Pre-fader/Post-fader Effects Sends Effects sends on input channels 1 through 24 and effects returns 1 and 2 can be configured as either pre-fader or post-fader sends. Pre-fader means that signals are sourced before, and are not affected by the regular channel fader. Post-fader means that signals are sourced after, and are affected by the regular channel fader.
126 Chapter 12—Effects For Input Channels 17–24 1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below. 2. Use [SEL] buttons 17 through 24 to select channels. 3. Use the cursor buttons to select the EFFECT PRE/POST switches, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.
Viewing Effects Send Settings 127 Viewing Effects Send Settings Settings for the effects sends can be viewed, and certain parameters adjusted on VIEW pages 1 and 2. 1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send, and then press the MASTER [SEL] button. EFF1 or EFF2 appears on the display, indicating that an effects send is selected. 2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below. 3.
128 Chapter 12—Effects Setting Effects Send Master Levels Effects send master levels are controlled using the MASTER fader. The function of this fader depends on the selected Fader mode. See “Faders (plus Return Rotary Controls)” on page 35 for more information. 0 –5 –10 –15 –20 –30 –40 –50 –70 –∞ STEREO MASTER 1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send. An EFFECT page similar to the one shown below appears.
Muting Effects Sends 129 Muting Effects Sends ON Effects send masters can be muted using the MASTER [ON] button, which lights up when an effects send is on. The function of this button depends on the selected Fader mode. See “ON Buttons” on page 34 for more information. 1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send. An EFFECT page similar to the one shown below appears. The MASTER [ON] button now functions as effects send master on/off switch for the selected effects send. 2.
130 Chapter 12—Effects Viewing Effects Returns Settings Settings for the effects returns can be viewed, and certain parameters adjusted on VIEW pages 1 and 2. 1. Use the effects returns [SEL] button to select an effects returns. RTN1 or RTN2 appears on the display, indicating that an effects return is selected. 2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below. 3.
Setting Effects Returns Levels 131 Setting Effects Returns Levels Effects return levels are controlled using the effects return rotary controls. 1 RETURN 2 To adjust the level of an effects return, press the [HOME] button, and then use the rotary controls. Rotary control operation depends on the selected Fader mode. See “Faders (plus Return Rotary Controls)” on page 35 for more information. The selected fader mode is shown on the display. See “Display” on page 28 for more information.
132 Chapter 12—Effects Effects Library Effects settings are stored as programs in the effects library, which contains 42 preset programs (1–42) and 57 user programs (43–99). User programs are used to store custom effects settings, which can be titled for easy identification. The effects library can also be used to transfer settings from one effects processor to another. For example, the Effect 1 settings could be stored as a library program and then recalled to Effect 2.
Storing Effects Programs 133 Storing Effects Programs Custom effects settings can be stored in user programs 43 through 99. 1. Use the [EFFECT 1] or [EFFECT 2] button to locate the library page, as shown below. To store the effects settings of Effect 1, use the [EFFECT 1] button to locate the library page. To store the effects settings of Effect 2, use the [EFFECT 2] button. 2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 43 through 99.
134 Chapter 12—Effects Recalling Effects Programs Effects programs 1 through 99 can be recalled. Programs that use the HQ. PITCH or FREEZE effects can be recalled only to Effect 2. 1. Use the [EFFECT 1] or [EFFECT 2] button to locate the Library page, as shown below. To recall an effects program to Effect 1, use the [EFFECT 1] button to locate the library page. To recall an effects program to Effect 2, use the [EFFECT 2] button. 2.
Editing Effects Program Titles 135 Editing Effects Program Titles User program titles can be edited using the Title Edit function. 1. Use the [EFFECT 1] or [EFFECT 2] button to locate the library page, as shown below. 2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 43 through 99. 3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button. The Title Edit dialog box appears. 4. Edit the program title.
136 Chapter 12—Effects Editing Effects Effects programs can be edited, and then stored as user programs. 1. Press the [EFFECT 1] or [EFFECT 2] button to locate EFFECT1 page 1 or EFFECT2 page 1, depending on which effect you want to edit. EFFECT1 page 1 is shown below. 2. Use the cursor buttons to select the effects parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.
Setting Delay, Freq, Note & Tempo Parameters 137 Setting Delay, Freq, Note & Tempo Parameters Delay parameters can be set manually by entering the delay time in milliseconds, or automatically by entering the NOTE and TEMPO parameters. For example, with the TEMPO set to 120 beats per minute and NOTE set to eighth note, the delay is automatically set to 250 milliseconds, as shown below. With the TEMPO still at 120 beats per minute, changing the DELAY to 500.
138 Chapter 12—Effects Effects Parameters REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE Hall, room, stage, and plate simulations, all with gates. Parameter Range Description REV TIME 0.3–99.9 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. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density E/R DLY 0.0–100.
Effects Parameters 139 GATE REVERB, REVERSE GATE 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. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density HI.RATIO 0.1–1.
140 Chapter 12—Effects STEREO DELAY Basic stereo delay. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY FB.G L –99 to +99% Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1350.0 ms Right channel delay time NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY FB.
Effects Parameters 141 DELAY LCR Three-tap delay (left, center, right). Parameter Range Description DELAY L 0.0–2730.0 ms Left channel delay time NOTE L *1 Used in conjunction with TEMPO to determine DELAY L LEVEL L –100 to +100% Left channel delay level DELAY C 0.0–2730.0 ms Center channel delay time NOTE C *1 Used in conjunction with TEMPO to determine DELAY C LEVEL C –100 to +100% Center channel delay level DELAY R 0.0–2730.
142 Chapter 12—Effects ECHO Stereo delay with crossed feedback loop. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time NOTE L *1 Used in conjunction with TEMPO to determine DELAY L FB.G L –99 to +99% Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1350.0 ms Right channel delay time NOTE R *1 Used in conjunction with TEMPO to determine DELAY R FB.
Effects Parameters 143 FLANGE Flange effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed NOTE *1 Used in conjunction with TEMPO to determine FREQ. 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 TEMPO*2 25–300 bps Used in conjunction with NOTE to determine FREQ. 1. 2.
144 Chapter 12—Effects AUTOPAN Auto-panner. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed NOTE *1 Used in conjunction with TEMPO to determine FREQ. DEPTH 0–100% Modulation depth DIR. *2 Panning direction WAVE Sine, Tri, Square Modulation waveform TEMPO*3 25–300 bps Used in conjunction with NOTE to determine FREQ. 1. 2. L<->R, L—>R, L<—R, Turn L, Turn R 3. For more information about the FREQ.
Effects Parameters 145 DUAL PITCH Twin-voice pitch shifter.
146 Chapter 12—Effects RING MOD. Ring modulator. Parameter SOURCE Range OSC, SELF Description Modulation source: oscillator or input signal OSC FREQ 0.0–3000.0 Hz Oscillator frequency FM FREQ 0.05–40.00 Hz Oscillator frequency modulation speed NOTE FM *1 Used in conjunction with TEMPO to determine FM FREQ FM DEPTH 0–100% Oscillator frequency modulation depth 25–300 bps Used in conjunction with NOTE FM to determine FM FREQ TEMPO*2 1. 2. For more information about the FM FREQ.
Effects Parameters 147 AMP SIMULATE 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) N.GATE 0–20 Noise reduction DRIVE 0–100 Distortion drive MASTER 0–100 Master volume CAB DEP 0–100% Speaker cabinet simulation depth BASS 0–100 Bass tone control MIDDLE 0–100 Middle tone control TREBLE 0–100 High tone control EQ F 99–8.
148 Chapter 12—Effects DYNA.PHASER Dynamically controlled phaser. Parameter Range Description SOURCE INPUT, MIDI Control source: input signal or MIDI note on velocity SENSE 0–100 Sensitivity 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 DIR.
Effects Parameters 149 REV->CHORUS Reverb and chorus effects in series. Parameter Range Description REV TIME 0.3–99.9 s INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DENSITY 0–100% Reverb density FREQ. 0.05–40.00 Hz Modulation speed NOTE *1 Used in conjunction with TEMPO to determine FREQ. DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform REV BAL.
150 Chapter 12—Effects REV->FLANGE Reverb and flanger effects in series. Parameter Range Description REV TIME 0.3–99.9 s INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DENSITY 0–100% Reverb density FREQ. 0.05–40.00 Hz Modulation speed NOTE *1 Used in conjunction with TEMPO to determine FREQ. DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time FB.
Effects Parameters 151 REV->SYMPHO. Reverb and symphonic effects in series. Parameter Range Description REV TIME 0.3–99.9 s INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DENSITY 0–100% Reverb density FREQ. 0.05–40.00 Hz Modulation speed NOTE *1 Used in conjunction with TEMPO to determine FREQ. DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform REV BAL.
152 Chapter 12—Effects DELAY+ER. Delay and early reflections effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1000.0 ms Right channel delay time NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R HI.RATIO 0.1–1.
Effects Parameters 153 DELAY->ER. Delay and early reflections effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1000.0 ms Right channel delay time NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R HI.RATIO 0.1–1.
154 Chapter 12—Effects DELAY+REV Delay and reverb effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1000.0 ms Right channel delay time NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R DLY HI 0.1–1.
Effects Parameters 155 DELAY->REV Delay and reverb effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1000.0 ms Right channel delay time NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R DLY HI 0.1–1.
156 Chapter 12—Effects DIST->DELAY 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 0–100% Distortion and delay balance (0% = distortion, 100% = delayed distortion) DLY BAL DELAY 0.0–2725.
Effects Parameters 157 FREEZE (Effect 2 only) Basic Sampler with 2.9 second memory. Parameter Range REC MODE MANUAL, INPUT Description In MANUAL mode, recording is started by pressing the [ENTER] button. In INPUT mode, recording is triggered by an input signal. START *1 Playback start point in milliseconds [SAMPLE] 0–131070 Playback start point in samples PLY MODE MOMENT, CONTI., INPUT In MOMENT mode, the sample plays for the moment that the [ENTER] button is pressed. In CONT.
158 Chapter 12—Effects 4. Select the recording. (PLAY) switch, and press the [ENTER] button to start The bar below the REC and PLAY switches fills up as recording progresses. With the REC MODE is set to INPUT, recording starts automatically when an input signal exceeds the TRG LVL. 5. To play back the sample, select the [ENTER] button. (PLAY) switch, and then press the With the PLY MODE is set to INPUT, playback starts automatically when an input signal exceeds the TRG LVL.
Effects Block Diagram 159 Effects Block Diagram BUS AUX EFF ST 1 2 3 4 1 2 3 4 1 2 L R Effect send 1 master fader ON Effect send 2 master fader ON Meter Meter EFF RTN 1 Rotary 4-Band PEQ Internal Effect 1 ON PAN* 4-Band PEQ AUX1 AUX2 AUX3 AUX4 EFF2 AUX/EFF PRE/POST Meter Meter EFF RTN 2 Rotary 4-Band PEQ Internal Effect 2 ON PAN* 4-Band PEQ AUX1 AUX2 AUX3 AUX4 EFF1 AUX/EFF PRE/POST *PAN: INDIVIDUAL/GANG/INV.
160 Chapter 12—Effects 01V—Owner’s Manual
Dynamics Processors 161 Dynamics Processors 13 In this chapter... About the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preset Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Processor Types . . . . . . . .
162 Chapter 13—Dynamics Processors About the Dynamics Processors Input channels 1 through 16, the aux sends, and the stereo output all feature powerful dynamics processors, offering compressor, limiter, gate, ducker, and compander functions. See the “Block Diagram” on page 24 for the exact location of each dynamics processor. Input channel processors can be self triggering (i.e., the signal being processed is used as the trigger signal), or triggered by a signal from another input channel.
Preset Dynamics Programs 163 Preset Dynamics Programs The following table lists the preset dynamics programs. See “Preset Dynamics Program Settings” on page 177 for detailed parameter information. No. Title Type No. Title Type 01 Comp COMP 21 E.Guitar COMP 02 Gate GATE 22 A.Guitar COMP 03 Expand EXPAND 23 Strings1 COMP 04 Ducking DUCKING 24 Strings2 COMP 05 Compander(H) COMPAND-H 25 Strings3 COMP 06 Compander(S) COMPAND-S 26 BrassSection COMP 07 A.Dr.
164 Chapter 13—Dynamics Processors Using the Dynamics Processors Input channels 1 through 16, the aux sends, and the stereo output all feature dynamics processors. To recall a program from the dynamics library, see “Recalling Dynamics Programs” on page 175. To edit a dynamics processor, see“Editing the Dynamics Processors” on page 166. For Input Channels 1–16 1. Use [SEL] buttons 1 through 16 to select channels. 2. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below. 3.
Using the Dynamics Processors 165 4. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them. When aux sends are paired (“Making Aux Send Pairs” on page 101), their dynamics processors are linked. For the Stereo Output 1. Press the [HOME] button, and then the MASTER [SEL] button. ST appears on the display, indicating that the stereo output is selected. 2. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below. 3.
166 Chapter 13—Dynamics Processors Editing the Dynamics Processors Dynamics processors are edited on the DYNAMICS page 1, as shown below. 1. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below. 2. Use [SEL] buttons 1 through 16 and MASTER to select channels. 3. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.
167 Processor Types Processor Types Dynamics processors are generally used to correct or control signal levels, although they can also be used creatively to shape a sound’s volume envelope. The following sections explain the COMP, GATE, DUCKING, EXPAND, COMPANDER-(H), and COMPANDER-(S) dynamics processors, their parameters, and general applications.
168 Chapter 13—Dynamics Processors THRESHOLD—This determines the level of input signal required to trigger the compressor. Signals at a level below the threshold pass through the compressor unaffected. Signals at and above the threshold level are compressed by the amount specified using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter.
Processor Types 169 THRESHOLD—This determines the level at which the gate closes, cutting off the signal. Signals above the threshold level pass through unaffected. Signals at or below the threshold, however, cause the gate to close. The trigger signal is sourced using the KEY IN parameter. RANGE—This determines the level to which the gate closes. Think of it as a brick holding a garden gate open so that a certain amount of signal always flows through.
170 Chapter 13—Dynamics Processors is reduced to a level set by the Range parameter. The trigger signal is sourced using the KEY IN parameter. RANGE—This determines the level to which the signal is ducked. For a setting of –80 dB, the signal is virtually cutoff. For a setting of –30 dB, however, the signal is ducked by 30 dB. For a setting of 0 dB, the ducker has no effect. HOLD— This determines how long ducking remains active once the trigger signal has fallen below the threshold level.
171 Processor Types OUT GAIN—This sets the expander’s output signal level, and can be used to compensate for the overall level change caused by the expansion process. KNEE—This determines how expansion is applied at the threshold point. When set to hard, expansion at the specified ratio is applied as soon as the input signal level falls below the specified threshold.
172 Chapter 13—Dynamics Processors Parameter Range THRESHOLD –54 dB to 0 dB (55 steps) OUT GAIN –18 dB to 0 dB (0.5 dB steps) WIDTH 1 dB–90 dB (1 dB steps) ATTACK 0–120 ms (1 ms steps) RELEASE 5 ms–42.3 s (fs = 48 kHz) 6 ms–46 s (fs = 44.1 kHz) RATIO 1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1, 10:1, 20:1 (15 steps) THRESHOLD—This determines the input signal level at which compression and expansion are applied.
Dynamics Library 173 Dynamics Library Dynamics settings are stored as programs in the dynamics library, which contains 40 preset programs (1–40) and 40 user programs (41–80). User programs are used to store custom dynamics settings, which can be titled for easy identification. The dynamics library can also be used to transfer settings from one dynamics processor to another.
174 Chapter 13—Dynamics Processors Storing Dynamics Programs Custom dynamics settings can be stored in user programs 41 through 80. 1. Select the channel whose dynamics processor settings you want to store as a program. Use [SEL] buttons 1 through 16 to select the input channels 1 through 16. To select an aux send, use the [AUX] buttons to select an aux send, and then press the MASTER [SEL] button. To select the stereo output, press the [HOME] button, and then the MASTER [SEL] button. 2.
Recalling Dynamics Programs 175 Recalling Dynamics Programs Dynamics programs 1 through 80 can be recalled. 1. Select the channel to which you want to recall the dynamics program. Use [SEL] buttons 1 through 16 to select the input channels 1 through 16. To select an aux send, use the [AUX] buttons to select an aux send, and then press the MASTER [SEL] button. To select the stereo output, press the [HOME] button, and then the MASTER [SEL] button. 2.
176 Chapter 13—Dynamics Processors Editing Dynamics Program Titles User program titles can be edited using the Title Edit function. 1. Use the [DYNAMICS] button to locate the Library page, as shown below. 2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 41 through 80. 3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button. The Title Edit dialog box appears. 4. Edit the program title.
Preset Dynamics Program Settings 177 Preset Dynamics Program Settings # 01 Title Comp Type COMP Parameter Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 60 Out gain (dB) 0.0 Knee Release (ms) 02 03 Gate Expand GATE EXPAND 05 Ducking Compander(H) DUCKING COMPAND-H –26 Range (dB) –56 Attack (ms) 2.56 Decay (ms) 331 Threshold (dB) –23 Ratio ( :1) 1.7 Attack (ms) 1 Out gain (dB) 07 08 A.Dr.BD A.Dr.BD COMPAND-S COMP GATE 3.
178 Chapter 13—Dynamics Processors # 09 Title A.Dr.BD Type COMPAND-H Parameter Threshold (dB) –11 Ratio ( :1) 3.5 Attack (ms) 1 Out gain (dB) Width (dB) 10 A.Dr.SN COMP A.Dr.SN EXPAND 192 –17 Ratio ( :1) 2.5 Attack (ms) 8 Out gain (dB) 13 A.Dr.SN GATE COMPAND-S 12 –23 Ratio ( :1) 2 Attack (ms) 0 14 A.Dr.Tom EXPAND –23 Attack (ms) 1 Hold (ms) 0.63 Decay (ms) 238 Threshold (dB) –8 Ratio ( :1) 1.7 Attack (ms) 11 Out gain (dB) 0.
Preset Dynamics Program Settings # 17 18 19 20 Title E.B.Slap Syn.Bass Piano1 Piano2 Type COMP COMP COMP COMP Parameter Threshold (dB) –12 Ratio ( :1) 1.7 Attack (ms) 6 Out gain (dB) hard Release (ms) 133 Threshold (dB) –10 Ratio ( :1) 3.5 Attack (ms) 9 Out gain (dB) COMP 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) 7 Out gain (dB) A.
180 Chapter 13—Dynamics Processors # 25 Title Strings3 Type COMP Parameter Threshold (dB) –17 Ratio ( :1) 1.5 Attack (ms) 76 Out gain (dB) 2.5 Knee 26 BrassSection COMP Syn.Pad COMP 186 Threshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 18 Out gain (dB) 4.0 29 SamplingPerc Sampling BD COMPAND-S 226 Threshold (dB) –13 Ratio ( :1) 2 Attack (ms) 58 Out gain (dB) 2.0 COMP 238 Threshold (dB) –18 Ratio ( :1) 1.
Preset Dynamics Program Settings # 33 Title Solo Vocal2 Type COMP Parameter Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 26 Out gain (dB) 1.5 Knee Release (ms) 34 Chorus COMP Click Erase EXPAND Ratio ( :1) 1.7 Attack (ms) 39 Out gain (dB) 2.5 36 Announcer COMPAND-H 226 Threshold (dB) –33 Ratio ( :1) 2 Attack (ms) 1 Limiter1 COMPAND-S 284 –14 Ratio ( :1) 2.
182 Chapter 13—Dynamics Processors 01V—Owner’s Manual
Scene Memories 183 Scene Memories 14 In this chapter... About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What’s Stored in Scene Memories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Edit Buffer & Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scene Memory 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scene Memory Display Area . . .
184 Chapter 14—Scene Memories About Scene Memories Scene memories are memory locations that are used to store mix scenes. A mix scene consists of all 01V mix settings (i.e., EQ, fader positions, effects, dynamics, and so on). There are 100 scene memories, and 1 through 99 can be titled for easy identification. The Recall Undo function can be used to undo accidental scene memory recalls, or for quick A/B mix comparisons. Crossfades from 0 to 25 seconds can be set up using the Fade Time function.
About the Edit Buffer & Indicator 185 About the Edit Buffer & Indicator The Edit Buffer is the scene memory area inside the 01V that contains the current mix settings. When a mix scene is stored, the mix settings in the Edit Buffer are written to the selected scene memory. When a mix scene is recalled, the contents of the selected scene memory are placed in the Edit Buffer, making them the current mix settings.
186 Chapter 14—Scene Memories Storing Mix Scenes Mix scenes can be stored in scene memories 1 through 99. Caution: When storing mix scenes, make sure that there are no mix settings in the Edit Buffer that you do not want to store. Perhaps some settings have been adjusted accidentally, or by someone else. If you are not sure of the Edit Buffer’s exact contents, recall the last mix scene, make the adjustments that you really want, and then store the mix scene.
Recalling Mix Scenes 187 Recalling Mix Scenes Mix scenes can be recalled from scene memories 0 through 99 manually, or remotely using MIDI Program Change messages. Note: When recalling mix scenes, be aware that volume levels may change suddenly as channels are turned on and fader levels adjusted. Nobody likes sudden loud noises, or speaker damage. 1. Use the [MEMORY] button to locate MEMORY page 1, as shown below. 2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select scene memories.
188 Chapter 14—Scene Memories Recalling Mix Scenes Using MIDI Program Change Messages MIDI Program Change messages can be used to recall mix scenes for snapshot-style mix automation. Program Change messages can be transmitted from a controlling computer, MIDI sequencer, or MIDI keyboard. Most MIDI keyboards, for example, transmit a Program Change message when a voice is selected.
Undoing Mix Scene Recalls 189 Undoing Mix Scene Recalls Mix scene recalls can be undone using the Recall Undo function. 1. Use the [MEMORY] button to locate MEMORY page 1, as shown below. 2. Use the cursor buttons to select the RECALL UNDO switch. The RECALL UNDO switch appears gray until a mix scene is recalled after the 01V is initialized. 3. Press the [ENTER] button. The 01V returns to the mix settings that were active before the mix scene was recalled.
190 Chapter 14—Scene Memories Editing Scene Memory Titles Scene memory titles can be edited using the Title Edit function. 1. Use the [MEMORY] button to locate MEMORY page 1, as shown below. 2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a scene memory. 3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button. The Title Edit dialog box appears. 4. Edit the scene memory title. See “Title Edit Dialog Box” on page 37 for more information. 5.
Setting a Fade Time 191 Setting a Fade Time Using the Fade Time function, crossfades, fade outs, and fade ins from 0 to 25 seconds can be performed automatically by recalling mix scenes. Fade Time settings must be stored with a mix scene before they have any effect. Faders for input channels 1 through 16, the effects returns, aux send masters, bus out masters, and the stereo output can be enabled for fading individually. 1. Use the [MEMORY] button to locate MEMORY page 2, as shown below. 2.
192 Chapter 14—Scene Memories Recalling Scene Data Safely When a mix scene is recalled, all mix settings are updated so that they match those of the recalled mix scene. In some cases, it may be necessary to retain mix settings of certain channels. This can be achieved using the Recall Safe function. Safe channels remain the same when mix scenes are recalled. 1. Use the [MEMORY] button to locate MEMORY page 4, as shown below. 2.
Other Functions 193 Other Functions 15 In this chapter... Assigning Faders & On Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting 01V Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Initializing the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
194 Chapter 15—Other Functions Assigning Faders & On Buttons The faders and [ON] buttons of input channels 1 though 16 and the stereo output (master) can be assigned functions other than their regular functions. Input channel faders 1 through 4, for example, can be used to control bus out master levels, which do not have their own dedicated faders. These assignments are active only when REMOTE page 1 is displayed. Select another page and the [ON] buttons and faders perform their regular functions.
Assigning Faders & On Buttons 195 Fader Assignments Faders 1 through 16 and master can be assigned to the following parameters.
196 Chapter 15—Other Functions On Button Assignments On buttons 1 through 16 and master can be assigned to the following parameters.
Assigning Faders & On Buttons 197 Initial Assignments for Bank 1 These are the initial fader and [ON] button assignments for Bank 1.
198 Chapter 15—Other Functions Initial Assignments for Bank 2 These are the initial fader and [ON] button assignments for Bank 2.
Assigning Faders & On Buttons 199 Initial Assignments for Bank 3 These are the initial fader and [ON] button assignments for Bank 3.
200 Chapter 15—Other Functions Initial Assignments for Bank 4 These are the initial fader and [ON] button assignments for Bank 4.
Assigning Faders & On Buttons 201 User Assignment table Use this table for your own assignments.
202 Chapter 15—Other Functions Using the Oscillator The 01V features a useful audio oscillator with 100 Hz, 1 kHz, and 10 kHz sine wave tones and pink noise and burst pink noise. It can be assigned to individual aux sends, bus outs, effects sends, or the stereo output, and is useful for calibration or diagnostic purposes. Assigning burst noise to an effects send is a convenient way to audition reverb settings. 1. Use the [UTILITY] button to locate UTILITY page 1, as shown below. 2.
Setting 01V Preferences 203 Setting 01V Preferences The Preferences are used to customize the operation of the 01V. 1. Use the [UTILITY] button to locate UTILITY page 2 or 3, as shown below. 2. Use the cursor buttons to select the parameters, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.
204 Chapter 15—Other Functions LIBRARY LIST ORDER—When this option is set to UP, EQ, effects, dynamics, and scene memory lists appear with the lowest program/scene at the bottom and the highest at the top. When set to DOWN, they appear with the lowest at the top, highest at the bottom.
Using the Digital Inputs & Outputs 205 Using the Digital Inputs & Outputs 16 In this chapter... About Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Wordclock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Digital Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Output Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
206 Chapter 16—Using the Digital Inputs & Outputs About Wordclocks Unlike analog audio equipment, digital audio equipment must be synchronized when digital audio is transferred from one device to another. Otherwise, the digital audio might not be read correctly and audible noise, glitches, or clicks may occur. Synchronization is achieved using what’s called a wordclock, which is a clock signal for synchronizing all the digital audio words in an audio system.
About Wordclocks 207 Digitally Recording to DAT 01V (wordclock master) PHANTOM +48V PHANTOM +48V OFF ON OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L R IN OUT 2TR PHONES PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60
208 Chapter 16—Using the Digital Inputs & Outputs Multitrack Recording with Digital DAT Source 01V (wordclock slave) PHANTOM +48V PHANTOM +48V OFF ON OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L Digital In R IN Digital multitrack (wordclock slave) OUT 2TR PHONES PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34
Setting the Wordclock 209 Setting the Wordclock The 01V can generate its own internal wordclock at 44.1 kHz (the industry-standard sampling rate for music CDs) or synchronize to an external wordclock of between 44.1 kHz –10% and 48 kHz +6%, which can be sourced from the Digital Stereo In or a digital Option I/O card. Note: If the 01V is the only digital audio device in your system, you do not need to change the wordclock source. It can be left at internal 44.1 kHz. 1.
210 Chapter 16—Using the Digital Inputs & Outputs A highlighted switch with two diagonal lines like the one shown here indicates that no wordclock is being received from the selected source, and the Fs window will probably show UNLOCK. Before using the 01V, correct the external wordclock, or select another source. This condition typically occurs when the external wordclock source is turned off, or the cable carrying the wordclock signal has been disconnected.
211 Digital Stereo Out Digital Stereo Out The stereo output signal is output digitally in Consumer format from the Digital Stereo Out Coaxial connector. Typically this is connected to the digital input on a DAT or MiniDisc deck for stereo mix recording, or the Digital Stereo In of another 01V for cascade operation. See “Cascading 01Vs” on page 214 for more information. The wordlength of the Digital Stereo Out Coaxial signal is set using the Dither function.
212 Chapter 16—Using the Digital Inputs & Outputs Output Dither When a high-resolution digital audio signal is transferred to a lower-resolution system, some of the least-significant bits (LSB) of data are ignored by the receiving system, which can make low-level signals sound grainy and step like, similar to the noise produced by a low-resolution digital reverb as signals fade. To prevent this, the wordlength of a digital audio signal can be shortened to match that of the receiving system.
213 Digital Stereo In Digital Stereo In Consumer format digital audio signals can be connected to the 01V using the Digital Stereo In Coaxial connection. The digital output of a CD player, DAT, or MiniDisc deck could be connected here, or the Digital Stereo Out of another 01V for cascade operation. See “Cascading 01Vs” on page 214 for more information. DIGITAL STEREO COAXIAL OUT IN 1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 4, as shown below. 2.
214 Chapter 16—Using the Digital Inputs & Outputs Cascading 01Vs By using the Stereo Digital In and Stereo Digital Out connections, two 01Vs can be cascaded together for 48-channel digital mixing, as shown below. 01V-A audio signals are combined into a stereo mix that is then sent to 01V-B via the Digital Stereo Coaxial connections and mixed with the audio signals of 01V-B. 01V-A works as wordclock master and is set to INT 44.
Cascading 01Vs 215 Cascade Delay Since it takes 01V-A several hundred microseconds to process its digital audio data, the input signals of 01V-B need to be delayed slightly to bring them into phase with the signals from 01V-A. The following illustration shows why phase correction is necessary. L R STEREO DIGITAL OUT L R Since signal L has been processed by both 01V-A and 01V-B, it's out of phase with signal R. To bring the signals back in phase, input signal R is delayed by 14 samples on 01V-B.
216 Chapter 16—Using the Digital Inputs & Outputs About Option I/O Cards The 01V features a single slot for an optional Option I/O card, providing eight digital inputs (input channels 17 through 24) and eight assignable digital outputs. Option I/O allows a direct digital connection to digital multitrack recorders, with cards for the following formats: ADAT, Tascam, and AES/EBU. Various Option I/O cards with analog inputs and outputs are also available.
About Option I/O Cards 217 Card Specifications Card Description MY8-AT ADAT Digital I/O MY8-TD Tascam TDIF-1 Digital I/O MY8-AE*1 AES/EBU Digital I/O MY4-DA Analog output MY8-AD Analog input MY4-AD Analog input Inputs Outputs Connector 8 (CH17–24) Optical x2 8 (CH17–24) 8 (bus, aux, ste- 25-pin D-sub x1 reo, ch direct) 8 (CH17–24) 25-pin D-sub x1 — 8 (CH17–24) 4 (CH17–20) 4 (bus, aux, ste- XLR-3-32 type reo, ch direct) (balanced) x4 — Phone jack x8 — XLR-3-31 type (balanced) x4 *1.
218 Chapter 16—Using the Digital Inputs & Outputs Installing Option I/O Cards Warning: Turn off the 01V before installing an Option I/O card. Failure to do so is an electrical shock hazard and may cause serious damage. 1. Turn off the 01V. 2. Undo the two fixing screws and remove the slot cover, as shown below. Keep the cover in a safe place for future use. 3. Insert the card into the slot as shown below. Push it in all the way so that the card’s connector mates correctly with the internal 01V connector.
Assigning Option I/O Digital Outputs 219 Assigning Option I/O Digital Outputs The eight Option I/O digital outputs can be assigned to bus outs 1 through 4, aux sends 1 through 4, the left or right channels of the stereo output, or the post-fader direct outputs of input channels 1 through 16. Although the 01V is a four-bus mixer, assigning the four bus outs and four aux sends to digital outputs allows eight-track simultaneous recording. 1.
01V—Owner’s Manual Option I/O IN De-emphasis or DC Cut Unchanged This section is available only when an optional Option I/O card is installed.
MIDI 221 MIDI 17 In this chapter... MIDI & the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Receive Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
222 Chapter 17—MIDI MIDI & the 01V The 01V can be used with MIDI in the following ways. • Program Change messages for mix scene recall—“Program Change Scene Recall” on page 227. • Control Change messages for real-time parameter control—“Control Change Parameter Control” on page 229. • System Exclusive messages for parameter control—“System Exclusive Parameter Control” on page 231. • System Exclusive Bulk Dump for data backup and transfer between 01Vs—“Bulk Dump” on page 232.
223 MIDI Ports Using the TO HOST Port In this system, the 01V is connected to a personal computer without a MIDI interface via the TO HOST port. The PORT parameter on MIDI page 1 is set to match the type of computer (PC-1, PC-2, or Mac). See “MIDI Setup” on page 224 for more information. 01V operations are recorded as MIDI messages by the MIDI sequencer software. During playback, the sequencer transmits the MIDI messages back to the 01V for automated mixing.
224 Chapter 17—MIDI Using the Link Port In this system, two 01Vs are linked together for simultaneous operation. When, for example, mix scenes are recalled, Program Change messages are transmitted via the port assigned as the Link Port for simultaneous scene recall on both 01Vs. See “Cascading 01Vs” on page 214 for more information.
MIDI Setup 225 versa. When using the TO HOST port, PORT should be set to match the type of computer connected to the 01V, as follows. Setting Computer Platform Port Transmission Speed MIDI Standard MIDI MIDI IN, OUT, THRU 31.25 kbps PC1 NEC PC9800 Series TO HOST 31.25 kbps PC2 IBM PC compatible TO HOST 38.4 kbps Mac Macintosh (clock: 1MHz) TO HOST 31.25 kbps Tx CH—This parameter determines which MIDI Channel the 01V uses to transmit MIDI messages, and can be set from 1 through 16.
226 Chapter 17—MIDI ECHO determines whether received Parameter Change System Exclusive messages are echoed through to the MIDI OUT port. When ECHO is on, the 01V receives Parameter Change System Exclusive messages and echoes them through to the MIDI OUT port regardless of the MIDI Channel settings. BULK—This switch determines whether the 01V receives MIDI Bulk requests and MIDI Bulk Dump messages. When turned on, the 01V transmits Bulk Dump messages in response to Bulk Dump requests.
Program Change Scene Recall 227 Program Change Scene Recall When a MIDI Program Change message is received, a mix scene is recalled in accordance with the scene memory to Program Change assignment table. Likewise, when a mix scene is recalled, the 01V transmits a Program Change message that can be used to recall a mix scene on another 01V or recorded to a MIDI sequencer for automated scene recall. See “Recalling Mix Scenes Using MIDI Program Change Messages” on page 188.
228 Chapter 17—MIDI Using Program Changes In the following example, scene memory #10 is recalled on 01V-A and MIDI Program Change #10 is transmitted, hence scene memory #10 is also recalled on 01V-B. This assumes that the initial Program Change assignment table is being used. By editing the Program Change to scene memory assignments, Program Change #10 could be used to recall a different scene memory on 01V-B, or 01V-A could be set to transmit a different Program Change when scene memory #10 is recalled.
Control Change Parameter Control 229 Control Change Parameter Control When a MIDI Control Change message is received, a mix parameter is adjusted in accordance with the parameter to Control Change assignment table. Likewise, when a mix parameter is adjusted, the 01V transmits a Control Change message that can be used to control another 01V or recorded to a MIDI sequencer for automated parameter control.
230 Chapter 17—MIDI When a Control Change message is received while MIDI page 3 is displayed, that Control Change is selected automatically, making it easy to determine which Control Change is being transmitted when, say, the slider of an external MIDI controller is operated. Using Control Changes In the following example, 01V-A Master fader is operated and MIDI Control Change #27 is transmitted, hence the Master fader on 01V-B is also operated.
231 System Exclusive Parameter Control In the following example, input channel 5 fader movements are recorded in real time to a MIDI sequencer using Control Change #5. During playback, the sequencer transmits Control Change #5 messages back to the 01V and fader 5 moves accordingly. This technique can also be used with [ON] buttons, panpots, and effects, providing automated mixing.
232 Chapter 17—MIDI Bulk Dump 01V scene memories, library programs, and setup data can be transferred to another MIDI device using System Exclusive Bulk Dump. This can be used to back up important 01V data to a MIDI data filer or controlling computer, or to exchange data between 01Vs. The 01V can transmit MIDI System Exclusive Bulk Dump messages at anytime. In order for the 01V to respond to Bulk Dump requests from other MIDI devices, the BULK Rx switch on MIDI page 1 must be turned on.
233 Bulk Dump TRANSMIT INTERVAL—This parameter specifies the interval between data blocks during Bulk Dump transmission. MIDI devices with a relatively small data buffer are easily overloaded when too much data is received at once. Setting an interval of, say, 300 milliseconds allows a slower device to process the received MIDI data correctly. An interval setting of 0 can be used when transferring Bulk Dump data between 01Vs.
234 Chapter 17—MIDI Local Control The MIDI Local Control function can be used to control a remote 01V. Normally, the 01V controls (faders, buttons, rotary controls, and display pages) set the 01V’s internal parameters. When Local Control is turned off, the internal parameters remain the same when controls are operated but the System Exclusive Parameter Change messages that the 01V tramsits can be used to control a remote 01V.
235 Local Control In the following example, 01V-A (remote) and 01V-B (local) are cascaded together for 48-channel digital mixing. Using the Local Control function, both 01Vs can be controlled using the faders, buttons, rotary controls, and display pages of 01V-B. Even the signal levels of 01V-A can be metered on 01V-B. To control 01-B, the Local Control function on 01V-B is turned ON. To control 01V-A, the Local Control function on 01V-B is turned OFF.
236 Chapter 17—MIDI MIDI Machine Control Using MIDI Machine Control (MMC) commands, an MMC-compatible recorder can be controlled from the 01V. [ON] buttons 1 through 6 can be used to control transport functions, while [SEL] buttons 1 through 6 can be used to locate six definable locate points. MMC commands are transmitted via MIDI. 1. Use the [REMOTE] button to locate REMOTE page 2, as shown below.
MIDI Machine Control 237 In the following example, an MMC-compatible hard disk recording system running on a personal computer is remotely controlled from an 01V using MMC commands. The device number on REMOTE page 2 of the 01V should match that of the hard disk recorder.
238 Chapter 17—MIDI User Defined MIDI Controllers The [SOLO] buttons, [ON] buttons, and faders of channels 1 through 16 and Master can be used as MIDI controllers for remote MIDI device control. A MIDI data string up to 16 bytes long can be assigned to each control, and assignments are active only when REMOTE page 3 is displayed. Select another page and these controls perform their regular functions. Four assignment sets can be stored in banks 1 through 4. 1.
239 Linking 01Vs To reset a bank back to its initial assignments, make it the active bank, select the INITIALIZE switch, and then press the [ENTER] button. A confirmation dialog box appears. Select OK, and then press the [ENTER] button to confirm your action. The selected bank is reset to its initial assignments. In the following example, REMOTE page 3 is displayed while the modulation controller on the MIDI keyboard is operated.
240 Chapter 17—MIDI Linking 01Vs using the MIDI Ports If the TO HOST port is connected to a computer for MIDI purposes, simultaneous operation of two 01Vs is still possible using the MIDI ports, as shown below. The LINK PORT parameter on MIDI page 1 should be set to MIDI. See “MIDI Setup” on page 224 for more information.
System Examples 241 System Examples 18 In this chapter... 01V & ADAT-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Two 01Vs & two ADAT-Interface Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . 01V & Tascam-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Two 01Vs & two Tascam-Interface Recorders . . . . . . . . . . . . . . . . . . . . . . . . . 01V & Pro Tools (AES/EBU) . . . . . . . . . . . . . . . . . . . . .
242 Chapter 18—System Examples 01V & ADAT-Interface Recorder This example shows how the 01V can be used with an 8-track digital tape recorder, or 8-track hard disk recorder, featuring ADAT optical connections to create a 16-input, 8-track fully digital recording system, with the 16 mic/line inputs and eight digital tape returns providing up to 24 inputs during mixdown.
243 01V & ADAT-Interface Recorder Monitors Power Amp Headphones Personal computer running MIDI software 01V (wordclock slave) PHANTOM +48V MONITOR OUT PHANTOM +48V OFF ON PHONES OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L R IN OUT 2TR PHONES OUT Digital in Digital multitrack (wordclock master) PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –
244 Chapter 18—System Examples Two 01Vs & two ADAT-Interface Recorders This example shows how two 01Vs can be used with two 8-track digital tape recorders, or 8-track hard disk recorders, featuring ADAT optical connections to create a 32-input, 16-track fully digital recording system, with the 32 mic/line inputs and 16 digital tape returns providing up to 48 inputs during mixdown. 01V-A and 01V-B are cascaded together using the Stereo Digital In and Stereo Digital Out connections.
Two 01Vs & two ADAT-Interface Recorders 245 Monitors Power Amp Headphones Personal computer running MIDI software 01V-A (wordclock slave) PHANTOM +48V MONITOR OUT PHANTOM +48V OFF ON PHONES OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L OUT R IN OUT 2TR Digital in Digital multitrack-A (wordclock master) SYNC OUT PHONES PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16
246 Chapter 18—System Examples 01V & Tascam-Interface Recorder This example shows how the 01V can be used with an 8-track digital tape recorder, or 8-track hard disk recorder, featuring a Tascam Digital Audio Interface (TDIF-1) connection to create a 16-input, 8-track fully digital recording system, with the 16 mic/line inputs and eight digital tape returns providing up to 24 inputs during mixdown.
01V & Tascam-Interface Recorder 247 Monitors Power Amp Headphones Personal computer running MIDI software 01V (wordclock slave) PHANTOM +48V MONITOR OUT PHANTOM +48V OFF ON PHONES PW-88D OFF ON INPUT (BAL) 13 15 14 16 TDIF-1 –10dBV (UNBAL) L R IN TDIF-1 Digital multitrack (wordclock master) OUT 2TR PHONES PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –3
248 Chapter 18—System Examples Two 01Vs & two Tascam-Interface Recorders This example shows how two 01Vs can be used with two 8-track digital tape recorders, or 8-track hard disk recorders, featuring Tascam Digital Audio Interface (TDIF-1) connections to create a 32-input, 16-track fully digital recording system, with the 32 mic/line inputs and 16 digital tape returns providing up to 48 inputs during mixdown.
Two 01Vs & two Tascam-Interface Recorders 249 Monitors Power Amp Headphones Personal computer running MIDI software 01V-A (wordclock slave) PHANTOM +48V MONITOR OUT PHANTOM +48V OFF ON PHONES PW-88D OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L Digital multitrack-A (wordclock master) R IN PHONES 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10
250 Chapter 18—System Examples 01V & Pro Tools (AES/EBU) This example shows how the 01V can be used with a Pro Tools system to create a 16-input, 8-track fully digital recording system, with the 16 mic/line inputs and eight digital tape returns providing up to 24 inputs during mixdown. A Digidesign 888 I/O Audio Interface connects the 01V to the Pro Tools system, with a special 50-pin Pro Tools cable between the computer card and 888.
01V & Pro Tools (AES/EBU) 251 Pro Tools (wordclock master) Monitors Power Amp 50-pin Pro Tools cable 888 I/O Audio Interface 01V (wordclock slave) PHANTOM +48V MONITOR OUT PHANTOM +48V OFF ON XLR cables OFF ON INPUT (BAL) 13 15 14 16 –10dBV (UNBAL) L R IN OUT 2TR PHONES PAD 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAI
252 Chapter 18—System Examples 01V—Owner’s Manual
Troubleshooting 253 Troubleshooting Symptom Advice Make sure that the power cord is connected to a suitable AC wall outlet. See “Connecting the Power Cord” on page 11 for more information. Cannot turn on the 01V. Make sure that the 01V POWER switch is set to the ON position. See “Turning On the 01V” on page 11 for more information. If you still cannot turn on the 01V, contact your Yamaha dealer. The display is difficult to read. Try adjusting the contrast.
254 Troubleshooting Symptom Advice Make sure that the MONITOR–2TR IN switch is set to MONITOR. See “Using Monitor” on page 78 for more information. Input signals are present but the monitor output and phones are dead. Solo mode is selected but nothing can be heard. Make sure a monitor SOURCE is selected on SETUP page 2. See “Monitor Setup” on page 78 for more information. Make sure that the MONITOR OUT LEVEL (or PHONES LEVEL) control is turned up. Also check the MONI TRIM parameter on SETUP page 2.
Troubleshooting Symptom 255 Advice Added channels to a mute group but group muting does not work. Make sure that the mute group is enabled. See “Grouping Mutes” on page 56 for more information. Cannot store an EQ program. EQ settings cannot be stored to preset programs 1 through 40. Try storing to user programs 41 through 80. See “Storing EQ Programs” on page 68 for more information. EQ settings of channel 17 through 24 can not be stored. Cannot recall EQ programs to input channels 17 through 24.
256 Troubleshooting Symptom Advice Fader movements are inconsistent. Try calibrating the faders. See “Calibrating the Faders” on page 204 for more information. DIGITAL IN Sync Error message appears. This warning message appears if digital signals from the Digital Stereo Coaxial In or Option I/O inputs are not wordclock synchronized with the 01V. Make sure that all digital equipment is wordclock synchronized to a common wordclock source. See “Setting the Wordclock” on page 209 for more information.
–190 –180 –170 –160 –150 –140 –130 –120 –110 –100 –90 –80 –70 –60 –50 –40 –30 –20 –10 +10 +4 0 0 +24 +20 –210 –200 –190 –180 –170 –160 –150 –140 –130 –120 –110 –100 –90 –80 –70 –60 –50 –40 –30 –20 –10 dB dB Analog 36 34 35 32 33 30 31 27 28 29 24 25 26 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 Bit Digital Max.
258 Appendix A: General Display Messages Message Meaning BULK: Byte Count Mismatch! The byte count of the received Bulk Dump data is not correct. BULK: Check Sum Error! The check sum of the received Bulk Dump data is not correct. BULK: Memory Protected! The Bulk Dump data cannot be stored because the destination is write-protected. DIGITAL IN Sync Error! This warning message appears if the Digital Stereo Coaxial In signal is not wordclock synchronized with the 01V.
Security Cover 259 Security Cover For certain applications you may wish to fit a protective cover over the 01V’s GAIN controls and PAD switches. Although Yamaha do not make such a cover, the 01V has four fixing holes to affix a custom-made cover. If you fit such a cover, make sure that the fixing screws do not protrude inside the 01V by more than 10 mm. The fixing holes accept M3-size machine screws, and are spaced 40.0 mm vertically, 414 mm horizontally.
260 Appendix A: General 01V—Owner’s Manual
General 261 Appendix B: Specifications General Sampling rate Internal 44.1 kHz External 44.1 kHz (–10%) to 48 kHz (+6%) Signal delay Less than 2.5 ms, fs=44.1 kHz, CH IN to ST OUT Fader 15 × 60 mm motorized Master faders except ST OUT 0 to –72, –∞ dB (128 steps/60 mm) Fader resolution Other faders +6 to –72, –∞ dB (128 steps/60 mm) ST OUT fader 0 to –96, –∞ dB (128 steps/60 mm) Total harmonic distortion (Input gain min.) Less than 0.1%, 20 Hz–20 kHz, +14 dB into 600Ω Less than 0.
262 Appendix B: Specifications INPUT (1–12) PAD (0/26 dB) GAIN (–16 to –60) PHANTOM +48 V switched (CH 1–6, 7–12) INPUT (13/14) GAIN (+10 to –20) INPUT (15/16) GAIN (+10 to –20) INPUT SELECT (15/16, 2TR IN) OUTPUT MONITOR SELECT (2TR IN, MONITOR) MONITOR LEVEL CONTROL PHONES LEVEL CONTROL ON & SEL buttons CH 1–12 CH 13/14 CH 15/16 STEREO/MASTER (AUX 1–4, EFFECT 1, 2) RETURN 1, 2 Faders CH 1–12 CH 13/14 CH 15/16 STEREO/MASTER (AUX 1–4, EFFECT 1, 2) Encoders RETURN 1, 2 SOLO buttons CH 1–12 C
Input Channels 1–16 263 Input Channels 1–16 PHANTOM switch +48 V, CH 1-6, CH 7-12 GAIN control 44 dB (–60 to –16 dB), CH 1–12 detented 30 dB (–20 to +10 dB); CH 13/14, 15/16 PAD switch 0/26 dB attenuation CH 1–12 AD converter 20-bit linear 128-times oversampling Phase Normal/Reverse Input swap Normal (CH 1–8)/Swap (OPTION INPUT CH 17–24) Input flip Normal (CH 13/14)/Flip (DIGITAL STEREO IN) Input select switch CH 15/16–2TR IN Attenuator 0 to –96 dB (1 dB steps) EQ 4-band PEQ (Low, Lo-Mi
264 Appendix B: Specifications Option I/O Inputs 17–24 (need optional card) De-emphasis Automatic de-emphasis filter (15 µs/50 µs) Input swap Normal (CH 17–24)/Swap (CH 1–8) Attenuator 0 to –96 dB (1 dB steps) EQ 2-band PEQ (Low, High) ON/OFF Fader 60 mm motorized AUX, EFFECT send AUX 1, AUX 2, EFFECT 1, EFFECT 2 (pre/post fader) Solo ON/OFF AFL/PFL Pan 33 positions (L1–16, CENTER, R1–16) Routing STEREO, BUS 1–4 Metering Displayed on LCD Peak hold ON/OFF Digital Stereo In De-emphasis
Bus 1–4 265 Bus 1–4 Master level ON/OFF Monitor ON/OFF AFL/PFL BUS to STEREO ON/OFF PAN to STEREO 33 positions (L1–16, CENTER, R1–16) Metering Displayed on LCD Peak hold ON/OFF Aux 1–4 EQ 4-band PEQ (Low, Lo-Mid, Hi-Mid, High) Dynamics Compressor, Gate, Ducking, Expander, Compander Fader 60 mm motorized ON/OFF Monitor ON/OFF AFL/PFL Metering Displayed on LCD Peak hold ON/OFF Stereo Out EQ 4-band PEQ (Low, Lo-Mid, Hi-Mid, High) Fader 60 mm motorized Balance Dynamics Compressor, Gate,
266 Appendix B: Specifications Monitor Out (Solo) Solo trim +6 to –60 dB (1 dB steps) Mono DA converter 18-bit linear 8-times oversampling SELECT switch MONITOR/2TR IN Level control Analog rotary control Phones level Analog rotary control Digital Stereo Out ON/OFF Word length: 16–24 bit Dither Option I/O Output (need optional card) Output select (MY8-AE, TD, AT) OPTION OUT 1: BUS 1, CH 1, CH 9, AUX 1, ST OUT L OPTION OUT 2: BUS 2, CH 2, CH 10, AUX 2, ST OUT R OPTION OUT 3: BUS 3, CH 3, CH 11,
EQ 267 EQ Lo-Mid*1 Low Q High –18.0 dB to +18.0 dB (0.5 dB steps)*2 Gain (G) Frequency (F) Hi-Mid1 21 Hz–20.1 kHz (1/12 octave steps, 120 steps) HPF, 10.0–0.10 (41 steps), L.SHELF 10.0–0.10 (41 steps) LPF, 10.0–0.10 (41 steps), H.SHELF *1. 4-band EQs only (low and high bands only on input channels 17 through 24). *2. When the low and high EQ bands are configured as HPF and LPF, their gain controls function as filter on and off switches.
268 Appendix B: Specifications Analog Inputs Actual Connection PAD GAIN Load Impedance 0 Input channels 1–12 –60 0 3 kΩ –16 For Use With Nominal Input level Sensitivity*1 Nominal Max. Before Clip –66 dB (388 µV) –60 dB (775 µV) –46 dB (3.88 mV) –22 dB (61.6 mV) –16 dB (123 mV) –2 dB (616 mV) +4 dB (1.23 V) +10 dB (2.45 V) +24 dB (12.3 V) –26 dB (38.8 mV) –20 dB (77.5 mV) –6 dB (388 mV) +4 dB (1.23 V) +10 dB (2.45 V) +24 dB (12.3 V) –10 dBV (316 mV) –10 dBV (316 mV) +4 dBV (1.
Digital Audio Inputs 269 Digital Audio Inputs Connection DIGITAL STEREO IN*1 COAXIAL Format Wordlength Level Connector IEC-60958 24 bit 0.5 V pp (75 Ω) Phono *1. De-emphasis is automatically processed when input signal contains emphasis. Digital Audio Outputs Connection DIGITAL STEREO OUT COAXIAL Format Wordlength Level Connector IEC-60958*1 Consumer Use 24 bit*2 0.5 V pp (75 Ω) Phono *1.
270 Appendix B: Specifications Control I/O Connection Format Level Connector — RS-422 8-pin mini DIN MIDI IN MIDI — 5-pin DIN MIDI THRU MIDI — 5-pin DIN MIDI OUT MIDI — 5-pin DIN TO HOST 01V—Owner’s Manual
271 01V Dimensions 01V Dimensions D:520 H:148 W:430 Specifications and external appearance are subject to change without notice.
272 Appendix B: Specifications 01V—Owner’s Manual
Scene Memory to Program Change Table 273 Appendix C: MIDI Scene Memory to Program Change Table Program Change # Initial Scene # 1 User Scene # Program Change # Initial Scene # 01 44 2 02 3 03 4 5 User Scene # Program Change# Initial Scene # 44 87 87 45 45 88 88 46 46 89 89 04 47 47 90 90 05 48 48 91 91 6 06 49 49 92 92 7 07 50 50 93 93 8 08 51 51 94 94 9 09 52 52 95 95 10 10 53 53 96 96 11 11 54 54 97 97 12 12 55 55 98 98 13 1
274 Appendix C: MIDI 01V Parameter to Control Change Table Parameter Control Change # 01V Initial (Default) 0 NO ASSIGN 1 FADER CHANNEL CH1 2 FADER CHANNEL CH2 3 FADER CHANNEL CH3 4 FADER CHANNEL CH4 5 FADER CHANNEL CH5 6 FADER CHANNEL CH6 7 FADER CHANNEL CH7 8 FADER CHANNEL CH8 9 FADER CHANNEL CH9 10 FADER CHANNEL CH10 11 FADER CHANNEL CH11 12 FADER CHANNEL CH12 13 FADER CHANNEL CH13-14 14 FADER CHANNEL CH15-16 15 FADER CHANNEL RETURN1 16
01V Parameter to Control Change Table 275 Parameter Control Change # 01V Initial (Default) 38 ON CHANNEL CH10 39 ON CHANNEL CH11 40 ON CHANNEL CH12 41 ON CHANNEL CH13-14 42 ON CHANNEL CH15-16 43 ON CHANNEL RETURN1 44 ON CHANNEL RETURN2 45 ON MASTER AUX1 46 ON MASTER AUX2 47 ON MASTER AUX3 48 ON MASTER AUX4 49 ON MASTER BUS1 50 ON MASTER BUS2 51 ON MASTER BUS3 52 ON MASTER BUS4 53 ON MASTER EFFECT1 54 ON MASTER EFFECT2 55 ON MASTER S
276 Appendix C: MIDI Parameter Control Change # 01V Initial (Default) 80 FADER EFF1 SEND CH4 81 FADER EFF1 SEND CH5 82 FADER EFF1 SEND CH6 83 FADER EFF1 SEND CH7 84 FADER EFF1 SEND CH8 85 FADER EFF1 SEND CH9 86 FADER EFF1 SEND CH10 87 FADER EFF1 SEND CH11 88 FADER EFF1 SEND CH12 89 FADER EFF1 SEND CH13-14 90 FADER EFF1 SEND CH15-16 91 FADER EFF2 SEND CH1 92 FADER EFF2 SEND CH2 93 FADER EFF2 SEND CH3 94 FADER EFF2 SEND CH4 95 FADER EFF2 SEND
03D & Programmable Mixer 01 Parameter to Control Change Table 277 03D & Programmable Mixer 01 Parameter to Control Change Table Parameter Control Change # 03D Arrangement 0 NO ASSIGN Programmable Mixer 01 Arrangement FADER CHANNEL CH1 1 FADER CHANNEL CH1 FADER CHANNEL CH2 2 FADER CHANNEL CH2 FADER CHANNEL CH3 3 FADER CHANNEL CH3 FADER CHANNEL CH4 4 FADER CHANNEL CH4 FADER CHANNEL CH5 5 FADER CHANNEL CH5 FADER CHANNEL CH6 6 FADER CHANNEL CH6 FADER CHANNEL CH
278 Appendix C: MIDI Parameter Control Change # 03D Arrangement Programmable Mixer 01 Arrangement 38 PAN CHANNEL CH1 ON CHANNEL CH13-14 39 PAN CHANNEL CH2 ON CHANNEL RETURN1 40 PAN CHANNEL CH3 ON CHANNEL RETURN2 41 PAN CHANNEL CH4 ON MASTER AUX1 42 PAN CHANNEL CH5 ON MASTER AUX2 43 PAN CHANNEL CH6 ON MASTER ST OUT 44 PAN CHANNEL CH7 PAN CHANNEL CH1 45 PAN CHANNEL CH8 PAN CHANNEL CH2 46 PAN CHANNEL CH9 PAN CHANNEL CH3 47 PAN CHANNEL CH10
03D & Programmable Mixer 01 Parameter to Control Change Table 279 Parameter Control Change # 03D Arrangement Programmable Mixer 01 Arrangement 80 ON CHANNEL CH17 FADER EFF1 SEND CH17 81 ON CHANNEL CH18 FADER EFF1 SEND CH18 82 ON CHANNEL CH19 FADER EFF1 SEND CH19 83 ON CHANNEL CH20 FADER EFF1 SEND CH20 84 ON CHANNEL CH21 FADER EFF1 SEND CH13-14 85 ON CHANNEL CH22 FADER EFF2 SEND CH1 86 ON CHANNEL CH23 FADER EFF2 SEND CH2 87 ON CHANNEL CH24 FADER EFF
280 MIDI Data Format MIDI Data Format 1. TRANSMIT/RECEIVE DATA 1.1 CHANNEL MESSAGE Reception Received if [Rx CH] matches. Used for EFFECT control. See below for details. 1000nnnn 8n 0nnnnnnn nn 0vvvvvvv vv Note Off Message Note No. Velocity ( ignored) 1.1.2 NOTE ON (9n) Reception Received if [Rx CH] matches. Used for EFFECT control. See below for details. A velocity of 0x00 is the same as NOTE OFF. STATUS DATA 1001nnnn 9n 0nnnnnnn nn 0vvvvvvv vv Note On Message Note No.
MIDI Data Format 1.3 ACTIVE SENSING (Fe) 4. PARAMETER CHANGE Reception Once this message has been received, an interval of 300ms or more during which no message is received will cause MIDI communications to be initialized, clearing Running Status etc. BASIC FORMAT STATUS Active Sensing 11111110 FE 2. TRANSMISSION CONDITION CTL Tx ON STATUS ID No.
282 MIDI Data Format PARAMETER CHANGE (7bit operation for type 0x10:edit buffer) PARAMETER CHANGE (byte operation for type 0x01:system memory) Reception This message is received if [Parameter Change RX] is ON and the [Rx CH] matches the Device Channel included in the SUB STATUS. This is echoed if [Parameter Change ECHO] is ON. When this is received, the specified parameter will be controlled.
MIDI Data Format 283 PARAMETER VALUE REQUEST (type 0x00:edit buffer, 0x01:sysytem memory) PARAMETER CHANGE (type 0x02:function call(title)) Reception When [Parameter Change RX] is ON, this message is received if the [Rx CH] matches the Device Channel included in the SUB STATUS. When [Parameter Change ECHO] is ON, this message will be echoed if the device itself did not receive the message.
284 MIDI Data Format PARAMETER CHANGE (type operation for type 0x03:controller(LCD-Fader mode)) PARAMETER CHANGE (type 0x04:multiple linking) Reception When [Parameter Change RX] is ON and the [Rx CH] matches the Device Channel included in the SUB STATUS, the message will be received. When [Parameter Change ECHO] is ON, this message will be echoed. When this message is received, the LCD screen, the corresponding Fader Mode, and the specified channel will be selected.
MIDI Data Format PARAMETER CHANGE(type 0x05:remote meter) When the following request is received to enable transmission, the specified parameter data will be transmitted at 30 msec intervals for five seconds. If you want meter data to be transmitted continuously, you must continue transmitting requests less than five seconds apart. Reception When [Parameter Change RX] is ON and the [Rx CH] matches the Device Channel that is included in the SUB STATUS, this message is received.
286 MIDI Data Format SCENE MEMORY BULK DUMP FORMAT STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) DATA NAME DATA 11110000 01000011 0000nnnn 01111110 00010000 00001010 01001100 01001101 00100000 00100000 00111000 01000010 00110011 00110100 01001101 0mmmmmmm F0 43 0n 7E 10 00 4C 4D 20 20 38 42 33 34 4D mm CHECK SUM 0ddddddd ds : : 0ddddddd de 0eeeeeee ee EOX 11110111 F7 System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.
MIDI Data Format REMOTE(MMC) MEMORY BULK DUMP FORMAT STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) CHECK SUM 11110000 01000011 0000nnnn 01111110 00000000 00100010 01001100 01001101 00100000 00100000 00111000 01000010 00110011 00110100 01001100 00100000 0ddddddd : 0ddddddd 0eeeeeee EOX 11110111 F7 DATA NAME DATA F0 43 0n 7E 00 22 4C 4D 20 20 38 42 33 34 4C 20 ds : de ee System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.
288 MIDI Data Format DYNAMICS LIBRARY BULK DUMP FORMAT STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) DATA NAME 11110000 01000011 0000nnnn 01111110 00000000 00100100 01001100 01001101 00100000 00100000 00111000 01000010 00110011 00110100 01011001 0mmmmmmm F0 43 0n 7E 00 24 4C 4D 20 20 38 42 33 34 59 mm DATA 0ddddddd ds CHECK SUM : : 0ddddddd de 0eeeeeee ee EOX 11110111 F7 System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.
MIDI Data Format PROGRAM CHANGE ASSIGNMENT TABLE BULK DUMP FORMAT STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) CHECK SUM 11110000 01000011 0000nnnn 01111110 00000001 00001010 01001100 01001101 00100000 00100000 00111000 01000010 00110011 00110100 01010000 00100000 0ddddddd : 0ddddddd 0eeeeeee EOX 11110111 F7 DATA NAME DATA F0 43 0n 7E 01 0A 4C 4D 20 20 38 42 33 34 50 20 ds : de ee System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.
YAMAHA [Digital Mixing Console—Internal Parameters] Date: 01 Feb. 1998 MIDI Implementation Chart Model: 01V Function... Version: 1.
Appendix D: Resources 291 Appendix D: Resources Books • Introducing Digital Audio, Ian R Sinclair, second edition, PC Publishing, 1992. A good all-around introduction to digital audio. Second edition explains oversampling and bitstream techniques. • Principles of Digital Audio, Ken C. Pohlmann, Howard W.Sams & Co, 1989. Covering all aspects of digital audio, this book is ideal for newcomers who want to know the basics plus a bit more.
292 Appendix D: Resources 01V—Owner’s Manual
Glossary 293 Glossary A/D converter—An electronic device for converting analog signals to digital signals. AFL (After Fader Listen)—Monitoring signals after the channel fader. Contrast with PFL. Aliasing—A type of signal distortion that occurs during A/D conversion if the sampling rate is less than twice that of the highest audio frequency. A/D converters employ aliasing filters to remove audio frequencies higher than half the sampling rate. See also Nyquist Sampling Theorem.
294 Glossary mined by the data resolution, about 6 dB per digital bit. Hence, a 16-bit system theoretically provides a 96 dB dynamic range. Edit buffer—The memory area used to store the current mix settings. When a mix scene is stored, the Edit Buffer data is stored to the selected scene memory. When a mix scene is recalled, the data of the selected scene memory is copied into the Edit Buffer. EFF—Abbreviation for effect.
Glossary 295 MSB (Most Significant Byte)—The byte of a digital word that represents the highest value. Contrast with LSB Noise gate—An electronic switch that opens if the trigger signal falls below a specified threshold and closes if the trigger signal exceeds the threshold. Typically used to shut off unwanted hiss and noise. Nominal level—See Operating Level.
296 Glossary Q—The unit used to express a filter’s selectivity. High values imply a narrow frequency band, low values, a wide frequency band. Quantization—The PCM process in which PAM pulses are approximated to the nearest binary value available. S/PDIF format—See Coaxial format. Sampling rate — The number of times per second analog audio signals are sampled (i.e., measured) during A/D conversion. Common digital audio sampling rates are 32 kHz, 44.1 kHz, and 48 kHz.
Index Index Symbols +48 V phantom powering 41 Numerics 01V benefits 4 cascading 214 dimensions 271 features 3 initializing 204 level diagram 257 preferences 203 rack mounting 259 sonic performance 5 03D parameter to control change assignment table 277 –1/DEC & +1/INC buttons 31 15/16–2TR IN switch 2TR IN 77 about 15 input channels 40 2TR IN about 21 using 77 2TR OUT about 21 using 88 44.
298 Index Cascading the 01V 214 CH copy page 59 CH, definition 293 CH13-14 flip page 213 CHORUS 142 Clipping, definition 293 Coaxial definition 293 Coaxial digital input. See Digital stereo input Coaxial digital output.
Index storing programs 174 summary 6 titling 176 DYNAMICS page 1 164, 165, 166 DYNAMICS page 2 174, 175, 176 Dynamics processors about 162 aux sends 164 comp 167 compander 171 ducking 169 editing 166 expander 170 gate 168 input channels 164 library 173 parameters 177 stereo output 165 using 164 E EARLY REF 138 ECHO 142 Edit buffer 185 definition 294 Edit indicator 185 Editing dynamics processors 166 effects 136 EFF, definition 294 EFFECT page 1 123, 124, 136, 137, 157 EFFECT page 2 132, 133, 134, 135 EFFE
300 Index H Headphones. See PHONES Height, 01V dimensions 271 HIGH button 63 HI-MID button 63 HOME page 1 83 HOME page 2 83 HOME page 3 84 HOME page 4 84 HOME page 5 85 Home page, Yamaha web site 291 HPF 62 HQ.
Index user define page 238 user defined controllers 238 using ports 223 MIDI data format 280 MIDI Device Number, definition 294 MIDI page 1 224 MIDI page 2 227 MIDI page 3 229 MIDI page 4 232 MIDI page 5 234 Mix parameter, input delay 45 Mix scenes definition 294 Mix scenes. See Scene memories Mixdown solo mode 80 MMC 236 definition 294 MMC control page 236 MOD.DELAY 140 MOD.
302 Index dynamics library 174, 175, 176 effect pre/post 125 effects edit 123, 124, 136, 137, 157 effects library 132, 133, 134, 135 EQ 43, 63, 64, 65 EQ library 67, 68, 69, 70 fade time 191 group 55, 56 input meter 83 input swap 51 internal parameter 194 local control 234 memory 186, 187, 189, 190 memory sort 190 metering point 85 MIDI setup 224 MMC control 236 monitor setup 78 omni out meter 84 omni out select 116 option I/O out select 219 option in meter 85 option out meter 85 oscillator 202 output del
Index R S Rack mounting 259 Rear panel 22 Reassigning faders & on buttons 194 RECALL CONFIRMATION, preference 203 Recalling dynamics programs 175 effects programs 134 EQ programs 69 scene memories 187 undoing mix scene recalls 189 Receive channel, MIDI 225 Recording solo mode 80 Releasing aux send pairs 101 bus out pairs 111 input channel pairs 53 REMOTE page 1 194 REMOTE page 2 236 REMOTE page 3 238 Renumbering scene memories 190 Request local control 234 MIDI bulk dump 232 Resetting the EQ 66 Return co
304 Index monitoring 88 muting 90 omni outs 88 option I/O 88 solo 88 specifications 265 viewing settings 89 STORE CONFIRMATION, preference 203 Storing dynamics programs 174 effects programs 133 EQ programs 68 MIDI bulk dump 232 scene memories 186 SW, user define 238 Swapping channel settings 59 Swapping input channels 51 Switches, display 30 Switching off the 01V 11 Switching on the 01V 11 SYMPHONIC 143 System examples ADAT-interface recorder 242 general 10 Pro Tools 250 Tascam-interface recorder 246 Two
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