Yamaha 02R96, R96 Owner's manual

Yamaha 02R96, R96 Owner's manual
DIGITAL MIXING CONSOLE
Owner’s Manual
Keep This Manual For Future Reference.
E
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. Failure to follow instructions could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with
these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with
other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may
cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all
installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the
problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on
different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in
is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer
authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service
Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT
THE WIRES IN THIS MAINS LEAD ARE COLOURED IN
ACCORDANCE WITH THE FOLLOWING CODE:
GREEN-AND-YELLOW :
EARTH
BLUE :
NEUTRAL
BROWN :
LIVE
As the colours of the wires in the mains lead of this apparatus may
not correspond with the coloured markings identifying the terminals in
your plug, proceed as follows:
The wire which is coloured GREEN and YELLOW must be
connected to the terminal in the plug which is marked by the letter E
or by the safety earth symbol
or coloured GREEN and YELLOW.
The wire which is coloured BLUE must be connected to the terminal
which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the
terminal which is marked with the letter L or coloured RED.
ADVARSEL!
Lithiumbatteri—Eksplosionsfare ved fejlagtig
håndtering. Udskiftning må kun ske med batteri
af samme fabrikat og type. Levér det brugte
batteri tilbage til leverandoren.
VARNING
Explosionsfara vid felaktigt batteribyte. Använd
samma batterityp eller en ekvivalent typ som
rekommenderas av apparattillverkaren.
Kassera använt batteri enligt fabrikantens
instruktion.
VAROITUS
Paristo voi räjähtää, jos se on virheellisesti
asennettu. Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan tyyppiin. Hävitä
käytetty paristo valmistajan ohjeiden
mukaisesti.
* This applies only to products distributed by YAMAHA KEMBLE
MUSIC (U.K.) LTD.
NEDERLAND
THE NETHERLANDS
● Dit apparaat bevat een lithium batterij voor geheugen
back-up.
● This apparatus contains a lithium battery for memory
back-up.
● Raadpleeg uw leverancier over de verwijdering van de
batterij op het moment dat u het apparaat ann het einde
van de levensduur afdankt of de volgende Yamaha Service
Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
● For the removal of the battery at the moment of the
disposal at the end of the service life please consult your
retailer or Yamaha Service Center as follows:
Yamaha Music Nederland Service Center
Address: Kanaalweg 18-G, 3526 KL
UTRECHT
Tel: 030-2828425
● Gooi de batterij niet weg, maar lever hem in als KCA.
● Do not throw away the battery. Instead, hand it in as small
chemical waste.
• Explanation of Graphical Symbols
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The above warning is located on the
side of the unit.
The lightning flash with arrowhead symbol
within an equilateral triangle is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to constitute a risk of electric shock to
persons.
The exclamation point within an equilateral triangle is intended to alert the user to
the presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
i
Important Information
Warnings
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Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. Failure to do so is a fire and electrical shock hazard.
Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock
may result.
Do not place heavy objects, including this unit, on top of the power cord. A damaged power
cord is a fire and electrical shock hazard. In particular, be careful not to place heavy objects
on a power cord covered by a carpet.
Do not place a container with liquid or small metal objects on top of this unit. Liquid or
metal objects inside this unit are a fire and electrical shock hazard.
This unit is equipped with a dedicated ground connection to prevent electrical shock.
Before connecting the power plug to an AC outlet, be sure to ground the unit. If the power
cord has a three-pin plug, it will provide sufficient grounding so long as the AC outlet is
grounded correctly.
Do not scratch, bend, twist, pull, or heat the power cord. A damaged power cord is a fire
and electrical shock hazard.
Do not remove the unit’s cover. You could receive an electrical shock. If you think internal
inspection, maintenance, or repair is necessary, contact your dealer.
Do not modify the unit. Doing so is a fire and electrical shock hazard.
If lightning begins to occur, turn off the power switch of the unit as soon as possible, and
unplug the power cable plug from the electrical outlet.
If there is a possibility of lightning, do not touch the power cable plug if it is still connected.
Doing so may be an electrical shock hazard.
Use only the included power cord for this unit. Using other types may be a fire and electrical
shock hazard.
The 02R96 has four rear-panel slots for installing mini-YGDAI cards. For technical reasons,
certain card combinations are not supported. Before installing any cards, check the Yamaha
web site to if your card is compatible. Installing cards that are not endorsed by Yamaha may
cause electrical shock, fire, or damage to the unit.
If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a
replacement. Using the unit with a damaged power cord is a fire and electrical shock hazard.
If you notice any abnormality, such as smoke, odor, or noise, or if a foreign object or liquid
gets inside the unit, turn it off immediately. Remove the power cord from the AC outlet.
Consult your dealer for repair. Using the unit in this condition is a fire and electrical shock
hazard.
Should this unit be dropped or the cabinet be damaged, turn the power switch off, remove
the power plug from the AC outlet, and contact your dealer. If you continue using the unit
without heeding this instruction, fire or electrical shock may result.
Cautions
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Keep this unit away from the following locations:
— Locations exposed to oil splashes or steam, such as near cooking stoves, humidifiers, etc.
— Unstable surfaces, such as a wobbly table or slope.
— Locations exposed to excessive heat, such as inside a car with all the windows closed, or
places that receive direct sunlight.
— Locations subject to excessive humidity or dust accumulation.
Hold the power cord plug when disconnecting it from an AC outlet. Never pull the cord. A
damaged power cord is a potential fire and electrical shock hazard.
Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard.
02R96—Owner’s Manual
ii
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This unit has ventilation holes along the front underside and at the rear to prevent the internal temperature from rising too high. Do not block them. Blocked ventilation holes are a
fire hazard. In particular, do not operate the unit while it’s on its side, is upside down, or
while it’s covered with a cloth or dust sheet.
If you are using the optional MB02R96 Peak Meter Bridge, do not hold only the MB02R96
when moving the 02R96. Otherwise, the meter brackets may be damaged, the main unit
may malfunction, or you may be injured if the unit falls.
This unit is heavy. Use two or more people to carry it.
When you transport or move the 02R96 with the MB02R96 attached, do not permit impact
or stress on the cable connector that connects the MB02R96 to the 02R96. Otherwise, malfunction may occur.
To relocate the unit, turn the power switch off, remove the power plug from the AC outlet,
and remove all connecting cables. Damaged cables may cause fire or electrical shock.
If you know you will not use this unit for a long period of time, such as when going on vacation, remove the power plug from the AC outlet. Leaving it connected is a potential fire hazard.
The inside of the unit should be cleaned periodically. Dust accumulation inside the unit
may cause malfunction and is a potential fire hazard. Consult your dealer for information
about cleaning.
To prevent electrical shock when cleaning the unit, remove the power plug from the AC outlet.
Operating Notes
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XLR-type connectors are wired as follows: pin 1–ground, pin 2–hot (+), and pin 3–cold (–).
Insert TRS phone jacks are wired as follows: sleeve–ground, tip–send, and ring–return.
The performance of components with moving contacts, such switches, rotary controls, faders, and connectors, deteriorates over time. The rate of deterioration depends on the operating environment and is unavoidable. Consult your dealer about replacing defective
components.
Using a mobile telephone near this unit may induce noise. If noise occurs, use the telephone
away from the unit.
If the message “WARNING Low Battery!” appears when you turn on this unit, contact your
dealer as soon as possible about replacing the internal data backup battery. The unit will still
operate correctly, but data other than the presets will be lost.
Before replacing the batteries, back up your data to a memory card, or another unit by using
MIDI Bulk Dump.
The digital circuits of this unit may induce a slight noise into nearby radios and TVs. If noise
occurs, relocate the affected equipment.
When connecting D-sub cables, be sure to tighten the screws on both sides of the connector
securely. To disconnect the cable, loosen the screws completely, then remove the cable by
holding the connector part. Do not remove the plug by pulling the cable while the screws
are still attached. Otherwise, the connector may be damaged, leading to malfunction.
When you change the wordclock settings on any device in your digital audio system, some
devices may output noise, so turn down your power amps beforehand, otherwise your
speakers may be damaged.
Interference
The 02R96 uses high-frequency digital circuits that may cause interference on radio and
television equipment located nearby. If interference is a problem, relocate the affected
equipment. Using a mobile telephone near the unit may induce noise. In this case use the
telephone away from the unit.
02R96—Owner’s Manual
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02R96 Exclusion of Certain Responsibility
Manufacturer, importer, or dealer shall not be liable for any incidental damages including
personal injury or any other damages caused by improper use or operation of the 02R96.
Trademarks
ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are registered trademarks of Alesis Corporation. Apogee is a trademark of Apogee Electronics, Inc.
Apple, Mac, and Power Macintosh are registered trademarks and Mac OS is a trademark of
Apple Corporation, Inc. HUI is a trademark of Mackie Designs, Inc. Intel and Pentium are
registered trademarks of Intel Corporation. Nuendo is a registered trademark of Steinberg
Media Technologies AG. Pro Tools is a trademark or registered trademark of Digidesign
and/or Avid Technology, Inc. Tascam Digital Interface is a trademark and Tascam and Teac
are registered trademarks of Teac Corporation. Microsoft and Windows are registered
trademarks of Microsoft Corporation, Inc. Waves is a trademark of Waves, Inc. Yamaha is a
trademark of Yamaha Corporation. All other trademarks are the property of their respective
holders and are hereby acknowledged.
Copyright
No part of the 02R96, its 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.
© 2002 Yamaha Corporation. All rights reserved.
Yamaha Web Site
Further information about the 02R96, related products, and other Yamaha professional
audio equipment is available on the Yamaha Professional Audio Web site at:
<http://www.yamaha.co.jp/product/proaudio/homeenglish/>.
Package Contents
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02R96 Digital Mixing Console
CD-ROM
Power cord
This manual
Optional Extras
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MB02R96 Peak Meter Bridge
SP02R96 Wooden Side Panels
mini YGDAI I/O cards
About this Owner’s Manual
This Owner’s Manual covers the 02R96 Digital Mixing Console.
All the information you need in order to operate the 02R96 Digital Mixing Console is contained in this manual. Use the table of contents to familiarize yourself with the manual’s
organization and to locate tasks and topics, and use the index to locate specific information.
Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on
page 29.
Each chapter of this manual discusses a specific section or function of the 02R96. The Input
and Output Channels are explained in the following chapters: “Input Channels,” “Bus
Outs,” “Aux Sends,” and “Stereo Out.” Where possible, these chapters have been organized
in order of signal flow, from input through to output.
Functions such as EQ and Delay are common to all channels. Rather than repeat the same
information over and over, these functions are explained once in the “Common Channel
Functions” chapter, which starts on page 87. The Input Channels, Bus Outs, Aux Sends, and
02R96—Owner’s Manual
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Stereo Out chapters contain cross-references to the relevant sections of the “Common
Channel Functions” chapter.
Conventions Used in this Manual
The 02R96 features two types of button: physical buttons that you can press (e.g., ENTER
and DISPLAY) and buttons that appear on the display pages. References to physical buttons
are enclosed in square brackets, for example, “press the [ENTER] button.” References to display page buttons are not emphasized, for example, “press the ENTER button.”
Display pages can be selected by using the [DISPLAY] buttons or the Left Tab Scroll, Right
Tab Scroll, and F1–4 buttons below the display. In order to simplify explanations, only the
[DISPLAY] button method is mentioned in the procedures. See “Selecting Display Pages”
on page 31 for details on all the ways in which pages can be selected.
Installing the 02R96
The 02R96 should be placed on a strong and stable surface, somewhere that complies with
the warnings and cautions listed in the previous sections.
02R96—Owner’s Manual
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Contents
1
Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2
Control Surface & Rear Panel . . . . . . . . . . . . . . . . . 4
Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
3
Operating Basics . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Turning On & Off the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Display Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Display Parameter Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Parameter Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Confirmation Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Title Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Encoder Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assigning Parameters to the ENCODER MODE Assign Buttons . . . . . . . . . . . . .
4
Analog I/O & the AD Input Section . . . . . . . . . . . 39
AD Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Control Room Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Studio Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2TR Analog INs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
39
40
40
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Digital I/O & Cascading . . . . . . . . . . . . . . . . . . . . 41
Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2TR Digital Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2TR Digital Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2TR In Sampling Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Slot I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dithering Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitoring Digital Input Channel Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Cascading Consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
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41
43
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48
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49
Input & Output Patching . . . . . . . . . . . . . . . . . . . 52
Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming Input & Output Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Patch Select Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Patching with the Encoders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
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57
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58
02R96—Owner’s Manual
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7
Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Patching Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reversing the Signal Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Attenuating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
EQ’ing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Input Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Channel Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Compressing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Input Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Delaying Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Muting Input Channels (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Input Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Input Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sending Input Channels to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Soloing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Direct Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using MS Decoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
59
59
59
60
61
61
62
62
62
63
63
63
64
65
65
66
67
69
72
72
72
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72
72
72
Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Stereo Out Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Patching the Stereo Out to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Routing Input Channels to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Metering the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitoring the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Attenuating the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
EQ’ing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stereo Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Compressing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Muting the Stereo Out (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting the Stereo Out Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Balancing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Delaying the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Stereo Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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73
73
73
73
73
73
73
73
74
74
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74
74
74
74
75
75
75
75
vii
9
Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Patching Bus Outs to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Routing Input Channels to Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Attenuating Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
EQ’ing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bus Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Compressing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Muting Bus Outs (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Bus Out Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Delaying Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Soloing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pairing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Bus Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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76
76
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77
77
77
77
77
78
78
78
10 Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Patching Aux Send Masters to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting the Aux Send Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pre-Fader or Post-Fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Aux Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Aux Send Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Panning Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Metering Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitoring Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Attenuating Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
EQ’ing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Aux Send Master Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Compressing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Muting Aux Send Masters (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Settings Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Delaying Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Soloing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Aux Send Master Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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viii
11 Common Channel Functions . . . . . . . . . . . . . . . . . 87
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Attenuating Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Output Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Compressing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Output Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pairing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Output Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Output Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Channel Parameter Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Channel Fader Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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90
91
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97
100
101
102
104
106
107
108
109
112
12 Monitoring & Talkback . . . . . . . . . . . . . . . . . . . . . 114
Control Room Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Studio Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Surround Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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115
116
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13 Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
About the Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
General Library Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Channel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Output Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bus to Stereo Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gate Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Comp Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Automix Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Surround Monitor Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
122
122
123
124
124
125
126
127
128
129
130
130
14 Internal Effects & Plug-Ins . . . . . . . . . . . . . . . . . . 131
About the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Patching Effects Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preset Effects & Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
131
131
131
133
135
135
136
15 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . 138
About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Auto Scene Memory Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Storing & Recalling Scenes with the SCENE MEMORY Buttons . . . . . . . . . . . . .
Using the Scene Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fading Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recalling Scenes Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sorting Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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139
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141
142
143
144
ix
16 Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
About Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
What’s Recorded in an Automix? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Automix Main Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Channel Strip [AUTO] Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Automix Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Fader Edit Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Selecting the Timecode Source & Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Creating a Time Signature Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Recording an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Rerecording Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Parameter Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Punching In & Out Individual Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Playing Back an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Editing Events Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
17 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI & the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
MIDI Channel Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Assigning Scenes to Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Assigning Parameters to Control Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Controlling Parameters by Using Parameter Changes . . . . . . . . . . . . . . . . . . . . . 167
Using Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
18 Pro Tools Remote Layer . . . . . . . . . . . . . . . . . . . . 169
Configuring Windows Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Configuring Macintosh Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Configuring the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Configuring Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Control Surface Operation with the Pro Tools Remote Layer . . . . . . . . . . . . . . . 171
Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Setting Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Muting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Panning Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Viewing Send Destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Configuring Sends as Pre or Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Setting Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Muting Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Panning Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Flip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Assigning Inserts/Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Editing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Bypassing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Resetting Faders, Sends, & Panpots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Navigating the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Making Fine Adjustments to the Selected Region . . . . . . . . . . . . . . . . . . . . . . . . . 185
Scrub & Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
02R96—Owner’s Manual
x
19 Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . 189
About the Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assigning a Target to the Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring the User Defined Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the User Defined Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring Machines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transport Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Shuttle & Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting the Locate Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
GPI (General Purpose Interface) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
189
189
190
191
192
192
193
193
194
194
195
20 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Using the User Defined Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Checking the Battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Initializing the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
196
197
200
200
201
Appendix A: Parameter Lists . . . . . . . . . . . . . . . . . . . 202
USER DEFINED KEYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
USER DEFINED KEYS Initial Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Initial Input Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Output Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Initial Output Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Initial Input Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Initial Output Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Initial Input Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Initial Output Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
GPI Trigger Source List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
User Defined Remote Layer Initial Bank Settings . . . . . . . . . . . . . . . . . . . . . . . . .
Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preset EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preset Gate Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preset Compressor Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . .
202
204
204
207
208
213
214
214
215
216
217
219
223
251
255
255
Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 260
General Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Analog Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Analog Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Digital Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Digital Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I/O Slot Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Control I/O Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Connector Pin Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
02R96—Owner’s Manual
260
265
267
267
268
268
269
269
270
270
271
272
xi
Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Initial Parameter to Control Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Format Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Appendix D: Options . . . . . . . . . . . . . . . . . . . . . . . . . . 288
MB02R96 Peak Meter Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
SP02R96 Wooden Side Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
02R96—Owner’s Manual
Welcome
1
1 Welcome
Thank you for choosing the Yamaha 02R96 Digital Mixing Console.
The 02R96 Digital Mixing Console offers 24-bit/96 kHz digital audio processing without
compromise, comprehensive surround mixing and monitoring, including bass management, and hands-on control of popular DAW (Digital Audio Workstation) systems.
Sonic Spec
•
•
•
•
•
Linear 24-bit, 128-times oversampling A/D converters
Linear 24-bit, 128-times oversampling D/A converters
20 Hz–40 kHz (0.5, –1.5 dB) frequency response at 96 kHz sampling rate
105 dB typical dynamic range (AD Input to Stereo Out)
32-bit internal signal processing (58-bit accumulator)
Channel Architecture
•
•
•
•
•
•
56 Input Channels, with Direct Outs
8 Bus Outs, with to Stereo Out routing for subgrouping
8 Aux Sends
Stereo Out
Channels can be named for easy identification
Channel library with 127 user memories
I/O Architecture
•
•
•
•
•
•
•
•
•
•
•
•
16 analog mic inputs on balanced XLRs (plus 48 V phantom) 24 analog line inputs on balanced phone jacks
16 analog inserts
32 inputs, 32 outputs via four mini-YGDAI slots and optional I/O cards, which offer a variety of analog and digital I/O options, with support for all the popular digital audio
interconnect formats, including AES/EBU, ADAT, Tascam TDIF-1, and mLAN.
8 assignable Omni outputs
1 AES/EBU, 2 Coaxial 2-track digital input, with sampling rate converters for connecting
44.1/48 kHz legacy digital audio equipment
1 AES/EBU, 2 Coaxial 2-track digital output
2 analog 2-track inputs
XLR and phono connector stereo outputs
Control room monitor outputs
Dedicated studio monitor outputs
Double channel digital I/O for use with legacy 44.1/48 kHz multitrack recorders
Cascade ports for cascading up to four 02R96s (i.e., 224 Input Channels)
02R96—Owner’s Manual
2
Chapter 1—Welcome
I/O Patching
•
•
•
•
Any available input port can be patched to the Input Channels, Insert Ins, or Effects inputs
Direct Outs, Insert Outs, Bus Outs, Aux Sends, and the Stereo Out can be patched to any
output port
Input and output ports can be named for easy identification
Patches can be stored in the Input and Output Patch libraries
EQ
•
•
4-band parametric EQ on all Input and Output Channels
EQ library with 40 presets, 160 user memories
Groups & Pairs
•
•
•
•
•
•
Horizontal and vertical pairing of Input Channels
Horizontal pairing of Bus Outs, Aux Sends, and Surround Pan
8 Input Channel, 4 Output Channel Fader groups
8 Input Channel, 4 Output Channel Mute groups
4 Input Channel, 4 Output Channel EQ groups
4 Input Channel, 4 Output Channel Compressor groups
Effects
•
•
•
•
•
•
4 internal effects processors
Effects library with 52 presets, 76 user memories
Multichannel effects for surround sound processing
Joystick control of early reflections and reverb with the Reverb 5.1 effect
Optional Waves 56K effects plug-in cards
User defined plug-ins for external effects control via MIDI, with Learn function
Dynamics
•
•
•
•
Gates on all 56 Input Channels
Gate library with 4 presets, 124 user memories
Compressors on all Input Channels and Out Channels (74 in total)
Compressor library with 36 presets, 92 user memories
Automation
•
•
•
•
•
•
•
•
Dynamic automation of virtually all mix parameters, with 1/4-frame accuracy
Automix library with 16 memories
Snapshot style automation with 99 Scene memories, recallable via MIDI or Automix
Individual fade time settings for all Input and Output faders
Scene and library recalls
Punch in/out entire channels with dedicated [AUTO] buttons, or individual parameters
Editing fader moves with Fader Return, Fader Takeover, Absolute/Relative modes
Offline event editing includes, erase, copy, move/merge, trim, duplicate, delete, and insert
02R96—Owner’s Manual
Welcome
3
Surround Sound
•
•
•
•
•
•
3-1 and 5.1 Surround modes
Joystick control
Bass management
Monitor matrix
Surround monitor speaker alignment functions
Surround monitor library with 32 user memories
Remote Control
•
•
•
•
Control and manage your 02R96 from your Mac or PC by using the bundled Studio Manager software
Remote Layers for external equipment control, including predefined targets for controlling
DAW systems, and user defined targets for controlling MIDI equipment, with Learn function
Comprehensive machine control via MMC, including transport, track arming, jog/shuttle,
and built-in locator with eight Locate memories
Assignable GPI (General Purpose Interface) port for external control and “Recording” light
MIDI
•
•
•
Standard MIDI ports, USB TO HOST port, SERIAL TO HOST port, or mLAN MIDI I/O
USB, SERIAL, and mLAN option offer multiport operation
Scene recall, mix parameter control, Bulk Dump, MTC and MIDI Clock for Automix synchronization, MMC for external machine control
Control Surface
•
•
•
•
•
•
•
•
•
25 touch-sensitive 100-mm motorized faders (touch sense used to select channels or punch
faders in/out during Automix recording)
Use the faders to set channel levels or Aux Send levels
Use the 24 Encoders to control Pan, Aux Send levels, or user assigned parameters
Channels arranged into two Input Layers, Master Layer, and Remote Layer
320 x 240 dot LCD display with fluorescent backlight
Complete hands-on control of all channel functions via the SELECTED CHANNEL section
2-digit Scene memory display
4 EQ displays for frequency, gain, and Q
16 user-definable buttons make light work of repetitive tasks
02R96—Owner’s Manual
02R96—Owner’s Manual
EFFECTS/PLUG-INS (p. 9)
FADER MODE (p. 7)
ENCODER MODE (p. 6)
AUX SELECT (p. 6)
DISPLAY ACCESS (p. 7)
AD Input Section (p. 5)
AUX
5
FADER
SOLO
ON
2
SOLO
ON
1
5
0
5
10
15
20
30
40
50
0
5
10
15
20
30
40
50
2
26
50
SEL
SEL
10
50
40
30
20
15
10
5
0
5
10
2
1
3
27
51
3
ON
SOLO
SEL
AUTO
PLUG INS
7
3
AUX
ASSIGN 1
AUX
10
50
40
30
20
15
10
5
0
5
4
28
52
4
ON
SOLO
SEL
AUTO
3
CHANNEL
INSERTS
EFFECTS / PLUG INS
AUTO
1
25
49
AUX
FADER MODE
PAN
ENCODER MODE
6
INTERNAL
EFFECTS
5
10
AUX
AUX 1
AUX
AUX
GROUP
PAIR
2
INPUT
PATCH
REMOTE
MIDI
AUX SELECT
METER
DIO
SETUP
OFF
ON
4
OFF
ON
8
4
10
50
40
30
20
15
10
5
0
5
2
5
29
53
5
ON
SOLO
SEL
AUTO
4
ASSIGN
AUX
AUX
OUTPUT
PATCH
VIEW
UTILITY
INSERT
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
SIGNAL
AUTOMIX
AUTO
DISPLAY
DISPLAY
DISPLAY
INSERT
DISPLAY ACCESS
INSERT
3
1
INSERT
-60
ON
OFF
GAIN
PEAK
-16
2
OFF
ON
-60
SIGNAL
GAIN
PEAK
-16
26dB
+ 48V
SIGNAL
OFF
ON
-60
ON
OFF
PEAK
GAIN
26dB
+ 48V
SIGNAL
-16
26dB
ON
OFF
10
50
40
30
20
15
10
5
0
5
5
6
30
54
6
ON
SOLO
SEL
AUTO
INSERT
10
50
40
30
20
15
10
5
0
5
OFF
ON
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
Channel strips (p. 5)
PAD
+ 48V
6
7
31
55
7
ON
SOLO
SEL
AUTO
INSERT
10
50
40
30
20
15
10
5
0
5
50
40
30
20
15
10
5
0
8
10
AUX 2
AUX 1
10
ON
SOLO
SEL
10
34
50
40
30
20
15
10
5
0
5
OFF
ON
AUTO
INSERT
9
33
10
5
9
ON
SOLO
SEL
AUTO
OFF
ON
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
9
10
11
35
OFF
ON
AUX 3
50
40
30
20
15
10
5
0
5
11
ON
SOLO
SEL
AUTO
INSERT
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
10
12
36
12
ON
SOLO
SEL
AUTO
AUX 4
50
40
30
20
15
10
5
0
5
10
INSERT
11
13
37
13
ON
SOLO
SEL
AUTO
14
38
12
10
15
39
15
ON
SOLO
SEL
AUX 7
50
40
30
20
15
10
5
0
5
OFF
ON
AUTO
INSERT
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
SIGNAL
AUX 6
50
40
30
20
15
10
5
0
14
ON
SOLO
SEL
AUTO
OFF
ON
10
5
INSERT
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
AUX 5
50
40
30
20
15
10
5
0
5
10
OFF
ON
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
13
10
16
40
OFF
ON
AUX 8
50
40
30
20
15
10
5
0
5
16
ON
SOLO
SEL
AUTO
INSERT
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
17
41
17
ON
SOLO
SEL
AUTO
DISPLAY
EQ ON
10
15
OFF
ON
8
16
INSERT
125
kHz
Hz
dB
GAIN
LOW
18
42
18
ON
SOLO
SEL
AUTO
9
1
19
43
19
ON
SOLO
SEL
AUTO
11
3
10
20
44
21 22
21
45
21
ON
SOLO
SEL
AUTO
14
6
10
22
46
BUS 6
50
40
30
20
15
10
5
0
5
22
ON
SOLO
SEL
AUTO
15
7
AUTO
23
47
23
ON
SOLO
SEL
Q
24
48
BUS 8
50
40
30
20
15
10
5
0
24
ON
SOLO
SEL
AUTO
ON
SEL
AUTO
ENTER
SCRUB
SHUTTLE
STOP
REW
SET
DISPLAY
2TR A1
STEREO
2TR A2
SLOT
DIMMER
FF
DEC
2
6
3
REC
7
8
4
INC
TALKBACK
0
10
CONTROL ROOM LEVEL
PLAY
5
1
10
0
10
SURROUND MONITOR LEVEL
BUS
ASSIGN2
ASSIGN1
SURROUND
2TR D3
2TR D2
2TR D1
CONTROL ROOM
CLEAR
SOLO
AUX8
STEREO
STUDIO
CONTROL
ROOM
AUX7
0
PHONES
LEVEL
STEREO (p. 15)
STEREO
70
60
50
40
30
20
15
10
5
0
MASTER
10
10
PHONES
MONITOR
STUDIO
LEVEL
0
0
TALKBACK LEVEL
MACHINE CONTROL
LOCATE MEMORY
RECALL
kHz
Hz
dB
GAIN
DISPLAY
10.0
REMOTE
STEREO
25 48
1 24
LAYER
STORE
Q
EFFECT
HIGH
GAIN
FREQUENCY
HOLD
GRAB
DECAY
LINK
RELEASE
SCENE MEMORY
kHz
Hz
dB
GAIN
HIGH MID
ATTACK
ATTACK
00
10
34
24
23 24
4.00
5
23
34
DIGITAL MIXING CONSOLE
FREQUENCY
DISPLAY
BUS 7
50
40
30
20
15
10
5
0
5
10
16
8
kHz
Hz
dB
GAIN
LOW MID
1.00
BUS 5
50
40
30
20
15
10
5
0
5
10
13
5
Q
FREQUENCY
RATIO
EVEN
ODD
RANGE
R
L
THRESHOLD
R
THRESHOLD
BUS 4
50
40
30
20
15
10
5
0
5
20
ON
DELAY
PAN / SURROUND
PHASE /
INSERT
DISPLAY ACCESS
GAIN
PEAK
+10
GAIN
SIGNAL
34
22
+10
PEAK
GAIN
21
34
SIGNAL
+10
GAIN
COMP
SOLO
SEL
19 20
34
20
+10
SELECTED CHANNEL
17 18
19
34
GATE / COMP
GATE
AUTO
12
4
GAIN
PEAK
+10
GAIN
SIGNAL
34
18
+10
LAYER (p. 15)
BUS 3
50
40
30
20
15
10
5
0
5
10
10
2
USER DEFINED KEYS
Q
FREQUENCY
EQUALIZER
GATE ON COMP ON
L
17
34
PEAK
GAIN
GAIN
Data Entry & Transport
(p. 18)
MACHINE CONTROL (p. 17)
SCENE MEMORY (p. 16)
MONITOR Section (p. 20)
Monitor, Phones & Talkback
Section (p. 19)
SELECTED CHANNEL Section (p. 11)
SIGNAL
+10
+10
DISPLAY
OFF
ON
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
DIRECT
DYNAMICS
STEREO
7
6
4
3
5
2
1
ROUTING
INSERT
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
BUS 2
50
40
30
20
15
10
5
0
5
DISPLAY
DISPLAY
BUS 1
50
40
30
20
15
10
5
0
DISPLAY
OFF
ON
FOLLOW PAN
10
5
14
INSERT
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
USER DEFINED KEYS (p. 16)
8
32
56
8
ON
SOLO
SEL
7
INSERT
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
AUTO
OFF
ON
-60
ON
OFF
GAIN
SIGNAL
PEAK
-16
26dB
+ 48V
Display Section (p. 10)
4
Chapter 2—Control Surface & Rear Panel
2 Control Surface & Rear Panel
Control Surface
Control Surface
5
AD Input Section
AD Input #1 is shown at the top; AD Inputs #17 and #18 below.
+ 48V
1
2
3
4
5
6
ON
OFF
PAD
26dB
A +48V ON/OFF switches (AD 1–16)
These switches turn on and off the +48 V phantom power feed to each INPUT A
(XLR-type connector). Phantom power is typically used to power condenser-type
microphones or direct boxes. See “Phantom Power (AD 1–16)” on page 39 for more
information.
-60
-16
GAIN
PEAK
SIGNAL
1
OFF
ON
B PAD switches (AD 1–16)
These switches turn on and off the 26 dB pad (attenuator) for each AD Input. See “Pad
(AD 1–16)” on page 39 for more information.
INSERT
C GAIN controls
These controls adjust the gain of the AD Input Head Amps. They have an input sensitivity of –16 dB to –60 dB or +10 dB to –34 dB when Pad is on. AD Inputs 17 to 24 have
an input sensitivity of +10 dB to –34 dB. See “Gain” on page 39 for more information.
3
+10
GAIN
D PEAK indicators
34
These indicators light up when the input signal level is 3 dB below clipping. See “PEAK
& SIGNAL Indicators” on page 39 for more information.
18
+10
4
5
17
GAIN
34
PEAK
SIGNAL
17 18
E SIGNAL indicators
These indicators light up when the input signal level is 20 dB below nominal. See
“PEAK & SIGNAL Indicators” on page 39 for more information.
F INSERT ON/OFF switches (AD 1–16)
These switches are for turning on and off the AD Input inserts. See “AD Inserts (AD
1–16)” on page 40 for more information.
Channel strips
Channel strip #1 is shown here.
The function of each channel strip depends on the currently selected Layer. See
“Selecting Layers” on page 33 for more information.
1
A Encoders
2
AUTO
3
SEL
4
SOLO
5
ON
1
B AUTO buttons
10
6
These controls are used to edit Input and Output Channel parameters. Their exact
operation depends on the currently selected Encoder mode and Layer. There are two
preset Encoder modes, Pan and Aux, and two assignable modes, with over 40 parameters to choose from. See “Selecting Encoder Modes” on page 36 for more information.
The Encoders feature push switches that are used to punch the parameter currently
assigned to the Encoders in and out during Automix recording. See “Punching In &
Out Individual Parameters” on page 156 for more information.
These buttons are used to set Automix recording and playback for each channel.
Their exact operation depends on the currently selected Layer. Their indicators light
up orange in Record-Ready mode, red while recording, and green during playback.
See “Channel Strip [AUTO] Buttons” on page 149 for more information.
5
0
5
10
15
20
30
40
50
1
25
49
C SEL buttons
These buttons are used to select Input and Output Channels for editing with the
SELECTED CHANNEL section. Their exact operation depends on the currently
selected Layer. The [SEL] button indicator of the currently selected channel lights up.
See “Selecting Channels” on page 34 for more information. The [SEL] buttons can
also be used to pair channels, and to add and remove channels to and from the EQ,
Comp, Fader, and Mute groups.
02R96—Owner’s Manual
6
Chapter 2—Control Surface & Rear Panel
D SOLO buttons
These buttons are used to solo Channels. The [SOLO] button indicators of channels that
are soloed light up. See “Soloing Channels” on page 102 for more information.
E ON buttons
These buttons are used to mute Input and Output Channels. Their exact operation depends
on the currently selected Layer. The [ON] button indicators of channels that are on light up.
F Channel faders
These 100 mm touch-sensitive motorized faders are used to set the levels of Input Channels,
Bus Outs, and Aux Sends. Their exact operation depends on the currently selected Fader
mode and Layer. See “Selecting Fader Modes” on page 35 for more information. Faders can
be grouped for simultaneous operation. See “Grouping Input Channel Faders” on page 65
and “Grouping Output Channel Faders” on page 106 for more information.
Faders can also be used to select Input and Output Channels. See “Auto Channel Select &
Touch Sense Select” on page 34 for more information. They can also be used to punch channels in and out during Automix recording. See “Punching In & Out Individual Parameters”
on page 156 for more information.
AUX SELECT
AUX SELECT
1
DISPLAY
AUX 1
AUX
2
AUX
3
AUX
4
5
AUX
6
AUX
7
AUX
8
AUX
2
A AUX SELECT DISPLAY button
This button is used to select the following pages: Aux Send, Aux Send Pan, and Input Channel Aux View. See “Aux Sends” on page 79 for more information.
B AUX 1–8 buttons
These buttons are used to select Aux Sends when sending Input Channel signals to Aux
Sends. The button indicator of the currently selected Aux Send lights up. If the currently
selected Aux Send is paired, the indicator of its partner flashes. See “Aux Sends” on page 79
for more information. These buttons can also be used to pair Aux Sends. See “Pairing Channels” on page 104 for more information.
ENCODER MODE
1
ENCODER MODE
DISPLAY
PAN
AUX
2 3
ASSIGN 1
ASSIGN 2
4
A ENCODER MODE DISPLAY button
This button is used to select the Encoder Mode Assign page. See “Selecting Encoder Modes”
on page 36 for more information.
B PAN button
This button is used to select the Pan Encoder mode. Its indicator lights up when this mode
is selected. In this mode, the Encoders function as Pan controls while an Input Channel
Layer is selected. While the Master Layer is selected, Encoders 1–8 function as Input Channel 49–56 Pan controls, and Encoders 9–24 are inactive. See “Selecting Encoder Modes” on
page 36 for more information.
02R96—Owner’s Manual
Control Surface
7
C AUX button
This button is used to select the Aux Encoder mode. Its indicator lights up when this mode
is selected. In this mode, the Encoders function as Aux Send level controls when an Input
Channel Layer is selected. While the Master Layer is selected, Encoders 1–8 function as
Input Channel 49–56 Aux Send controls, and Encoders 9–24 are inactive. See “Selecting
Encoder Modes” on page 36.
D ASSIGN 1 & 2 buttons
These buttons are used to select the assignable Encoder modes. The button indicator for the
currently selected mode lights up. When an assignable mode is selected, the function of the
Encoders depends on the assigned parameter. Up to two parameters, from a list of over 40,
can be assigned to these two buttons. See “Assigning Parameters to the ENCODER MODE
Assign Buttons” on page 37 for more information.
FADER MODE
FADER MODE
FADER
AUX
1 2
A FADER button
This button selects Fader mode, in which the faders control Input or Output Channel levels,
depending on the currently selected Layer. Its indicator lights up when this mode is selected.
See “Selecting Fader Modes” on page 35 for more information.
B AUX button
This button selects the Aux Fader mode, in which the faders control Aux Send levels. Its
indicator lights up when this mode is selected. See “Selecting Fader Modes” on page 35 for
more information.
DISPLAY ACCESS
1 2 3 4
DISPLAY ACCESS
5
6
AUTOMIX
DIO
SETUP
UTILITY
MIDI
REMOTE
METER
VIEW
PAIR
GROUP
INPUT
PATCH
OUTPUT
PATCH
7
8
9 J K L
A AUTOMIX button
This button is used to select the following Automix pages: Automix Main, Automix Memory, Fader Edit, Event Copy, and Event Edit. See “Automix” on page 145 for more information.
B DIO button
This button is used to select the following pages: Word Clock Select, Dither, Cascade In,
Cascade Out, Sampling Rate Converter, and Higher Sample Rate Data Format. See “Digital
I/O & Cascading” on page 41 for more information.
C SETUP button
This button is used to select the following pages: Preferences 1, Preferences 2, Preferences 3,
MIDI/TO HOST Setup, GPI Setup, Input Port Name, Output Port Name, Time Reference,
and Time Signature.
02R96—Owner’s Manual
8
Chapter 2—Control Surface & Rear Panel
D UTILITY button
This button is used to select the following pages: Oscillator, Channel Status Monitor, and
Battery Check.
E REMOTE button
This button is used to select the Remote page. See “About the Remote Layer” on page 189
for more information.
F MIDI button
This button is used to select the following pages: MIDI Setup, Program Change Assign
Table, Control Change Assign Table, and Bulk Dump. See “MIDI” on page 163 for more
information.
G METER button
This button is used to select the following pages: Input Channel Meter, Master Meter, Effect
1-4, Stereo Meter, and Metering Position. See “Metering” on page 87 for more information.
H VIEW button
This button is used to select the following pages: Parameter View, Fader View, and Channel
Library. See “Viewing Channel Parameter Settings” on page 108, “Viewing Channel Fader
Settings” on page 109, and “Channel Library” on page 123 for more information.
I PAIR button
This button is used to select the Input and Output Pair pages. See “Pairing Channels” on
page 104 for more information.
J GROUP button
This button is used to select the following pages: Input Channel Fader Group, Input Channel Mute Group, Output Fader Group, Output Mute Group, Input Equalizer Link, Output
Equalizer Link, Input Comp Link, and the Output Comp Link.
K INPUT PATCH button
This button is used to select the following pages: Input Channel Patch, Input Channel Insert
In Patch, Effects 1–4 Input Patch, Input Channel Name, and Input Patch Library. See “Input
Patching” on page 52 for more information.
L OUTPUT PATCH button
This button is used to select the following pages: Slot Output Patch, Omni Out Patch, Output Insert In Patch, Input Channel Direct Out Destination, 2TR Out Digital, Output Channel Name, and Output Patch Library. See “Output Patching” on page 54 for more
information.
02R96—Owner’s Manual
Control Surface
9
EFFECTS/PLUG-INS
2 3 4
EFFECTS / PLUG INS
1
DISPLAY
INTERNAL
EFFECTS
PLUG INS
CHANNEL
INSERTS
1
2
3
4
5
6
7
A EFFECTS/PLUG-INS DISPLAY button
This button is used to select the following pages: Effects Edit, Effects Library, Plug-In Setup,
and Plug-In Edit. See “Internal Effects & Plug-Ins” on page 131 for more information.
B INTERNAL EFFECTS button
This button is used to select the internal effects processors in conjunction with the
EFFECTS/PLUG-INS [1–4] buttons. Its indicator lights up when it’s pressed. See “Editing
Effects” on page 133 for more information.
C PLUG-INS button
This button is used to select the Plug-Ins in conjunction with the EFFECTS/PLUG-INS
[1–4] buttons. Its indicator lights up when it’s pressed. See “Editing Plug-Ins” on page 136
for more information.
D CHANNEL INSERTS button
If an internal effects processor or Y56K card effect is inserted in the currently selected channel, the relevant Effects Edit or Plug-In Edit page appears when this button is pressed, and
its indicator lights up. In addition, the corresponding EFFECTS/PLUG-INS [1–4] button
indicator flashes. If it’s a Y56K that is inserted, the [PLUG-INS] button indicator also
flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS] button indicator
flashes. A warning message appears if there’s nothing inserted in the currently selected
channel. See “Editing Effects” on page 133 and “Editing Plug-Ins” on page 136 for more
information.
E EFFECTS/PLUG-INS 1–4 buttons
These buttons are used to select the internal effects processors and Plug-Ins in conjunction
with the EFFECTS/PLUG-INS [INTERNAL EFFECTS] and [PLUG-INS] buttons. The button indicator of the currently selected internal effects processor or Plug-In lights up. While
the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is lit, all of these buttons
are inactive.
F Parameter Up/Down buttons
These buttons are used to select the rows of internal effects processor and Plug-In parameters for editing with Parameter controls 1–4. The parameters in the currently selected row
appear highlighted. Up to 16 parameters can be displayed at a time. If more are available,
an up or down arrow is displayed. See “Editing Effects” on page 133 and “Editing Plug-Ins”
on page 136 for more information.
G Parameter controls 1–4
These are rotary controls and push switches. The rotary controls are used to edit the parameters of the currently selected internal effects processor or Plug-In. When the Effects Edit
page is selected, they control the currently selected row of parameters, rows being selected
by the Parameter Up/Down buttons. See “Editing Effects” on page 133 and “Editing
Plug-Ins” on page 136 for more information.
The push switches are used to punch the Effects or Plug-In parameters currently being controlled by the rotary controls in and out during Automix recording. See “Punching In & Out
Individual Parameters” on page 156 for more information.
02R96—Owner’s Manual
10
Chapter 2—Control Surface & Rear Panel
Display Section
1
2
3
4
5
A Display
This 320 x 240 dot display with fluorescent backlight displays pages, information on the
currently selected Scene and channel, the sampling rate, and more. See “About the Display”
on page 29 for more information.
B Contrast control
This control is used to adjust the contrast of the display.
C F1–F4 buttons
These buttons are used to select the pages whose tabs are currently visible. See “Selecting
Display Pages” on page 31 for more information.
D Left Tab Scroll button
This button, which is active only when the left Tab Scroll arrow is displayed, is used to display the tabs of pages available to the left of the currently selected page. See “Selecting Display Pages” on page 31 for more information.
E Right Tab Scroll button
This button, which is active only when the right Tab Scroll arrow is displayed, is used to display the tabs of pages available to the right of the currently selected page. See “Selecting Display Pages” on page 31 for more information.
02R96—Owner’s Manual
Control Surface
11
SELECTED CHANNEL Section
SELECTED CHANNEL
ROUTING
DISPLAY ACCESS
DISPLAY
1
2
3
4
5
6
7
8
STEREO
DIRECT
PHASE /
INSERT
DELAY
PAN / SURROUND
DISPLAY
FOLLOW PAN
L
R
L
R
ODD
EVEN
LINK
GRAB
EFFECT
DYNAMICS
DISPLAY
GATE ON COMP ON
GATE / COMP
GATE
THRESHOLD
RANGE
ATTACK
DECAY
HOLD
COMP
THRESHOLD
RATIO
ATTACK
RELEASE
GAIN
EQUALIZER
LOW
LOW MID
HIGH MID
HIGH
DISPLAY
FREQUENCY
Q
FREQUENCY
GAIN
Q
125
EQ ON
Q
GAIN
FREQUENCY
GAIN
1.00
4.00
Hz
Hz
kHz
kHz
kHz
Q
GAIN
dB
dB
dB
dB
Hz
FREQUENCY
10.0
Hz
kHz
The subsections of the SELECTED CHANNEL section are explained below.
ROUTING
1
ROUTING
DISPLAY
2
FOLLOW PAN
1
2
3
4
5
6
7
8
STEREO
DIRECT
5
3 4
A ROUTING DISPLAY button
This button is used to select the following pages: Input Channel Routing, Bus to Stereo, and
Bus to Stereo Library. See “Routing Input Channels” on page 66 and “Sending Bus Outs to
the Stereo Out” on page 78 for more information.
B FOLLOW PAN button
This button determines whether or not the currently selected Input Channel’s pan setting
is applied to the Bus Outs. Its indicator lights up when it’s pressed. See “Routing Input
Channels” on page 66 for more information.
C STEREO button
This button is used to route the currently selected Input Channel to the Stereo Out. Its indicator lights up when it’s pressed. See “Routing Input Channels” on page 66 for more information.
D DIRECT button
This button is used to route the currently selected Input Channel to its Direct Out. Its indicator lights up when it’s pressed. See “Routing Input Channels” on page 66 for more information.
E ROUTING 1–8 buttons
These buttons are used to route the currently selected Input Channel to the Bus Outs. The
button indicators of Bus Outs to which the Input Channel is routed light up. See “Routing
Input Channels” on page 66 for more information.
02R96—Owner’s Manual
12
Chapter 2—Control Surface & Rear Panel
DISPLAY ACCESS
DISPLAY ACCESS
PHASE /
INSERT
DELAY
1 2
A PHASE/INSERT button
This button is used to select the Input Channel Phase and Insert pages. See “Reversing the
Signal Phase” on page 59 and “Using Inserts” on page 95 for more information.
B DELAY button
This button is used to select the Delay pages. See “Delaying Channel Signals” on page 101
for more information.
DYNAMICS
2 3
4
5
DYNAMICS
1
DISPLAY
GATE ON COMP ON
GATE / COMP
GATE
THRESHOLD
RANGE
ATTACK
DECAY
HOLD
COMP
THRESHOLD
RATIO
ATTACK
RELEASE
GAIN
6
A DYNAMICS DISPLAY button
This button is used to select the following pages: Gate Edit, Gate Library, Comp Edit, and
Comp Library. See “Gating Input Channels” on page 60 and “Compressing Channels” on
page 97 for more information.
B GATE ON button
This button is used to turn the currently selected Input Channel’s Gate on and off. Its indicator lights up when the Gate is on. See “Gating Input Channels” on page 60 for more information.
C COMP ON button
This button is used to turn the currently selected channel’s Compressor on and off. Its indicator lights up when the Compressor is on. See “Compressing Channels” on page 97 for
more information.
D GATE/COMP button
This button is used to set the rotary controls for either Gate or Compressor operation.
When an Output Channel is selected, Compressor is selected automatically and cannot be
changed. See “Gating Input Channels” on page 60 and “Compressing Channels” on page 97
for more information.
E THRESHOLD, RANGE, ATTACK, DECAY, HOLD (THRESHOLD, RATIO, ATTACK,
RELEASE, GAIN) controls
When the GATE/COMP button is set to GATE, these controls set the Threshold, Range,
Attack, Decay, and Hold parameters of the currently selected Input Channel’s Gate. When
it’s set to COMP, they set the Threshold, Ratio, Attack, Release, and Gain parameters of the
currently selected channel’s Compressor. See “Gating Input Channels” on page 60 and
“Compressing Channels” on page 97 for more information.
F GATE/COMP indicators
These indicators show whether the rotary controls are set to control a Gate or Compressor.
The GATE indicator lights up when they’re set to control a Gate; the COMP indicator, when
02R96—Owner’s Manual
Control Surface
13
they’re set to control a Compressor. See “Gating Input Channels” on page 60 and “Compressing Channels” on page 97 for more information.
PAN/SURROUND
8
PAN / SURROUND
1
DISPLAY
L
R
L
R
ODD
EVEN
2
3
LINK
4
GRAB
EFFECT
5 67
A PAN/SURROUND DISPLAY button
This button is used to select the Input Channel Pan pages, the Surround Mode page, and
the Surround Edit pages. See “Panning Input Channels” on page 67 and “Using Surround
Pan” on page 69.
B L & R buttons
These buttons can be used to select horizontally or vertically partnered Input or Output
Channels. They can be used to select the left and right channels when the Stereo Out is
selected. For Input Channels, in Individual Pan mode, the [L] button indicator lights up
when an odd/left channel is selected; the [R] button indicator, when an even/right channel
is selected. In Gang or Inverse Gang Pan mode, the button indicator of the other channel in
the pair flashes while its partner is selected.
C PAN display
This 10-segment display indicates the pan position of the currently selected Input Channel.
When pan is set to center, the center two segments light up. When the Stereo Out is selected,
it displays the balance.
D PAN control
This rotary control is used to pan the currently selected Input Channel. When the Stereo
Out is selected, it is used to set the balance. For Input Channels in Gang or Inverse Gang
Pan mode, horizontally or vertically paired Input Channels are panned simultaneously. See
“Panning Input Channels” on page 67 and “Balancing the Stereo Out” on page 75.
E LINK button
This button, which is enabled only when a Surround mode other than Stereo is selected, is
used to link the PAN control and the Joystick so that either control can be used for normal
and surround panning. It’s a global setting that applies to all Input Channels. Its indicator
lights up when the PAN control and Joystick are linked. If the Joystick is set to control effects
(i.e., the [EFFECT] button indicator is lit), this button is disabled. See “Panning Input
Channels” on page 67 and “Using Surround Pan” on page 69 for more information.
F GRAB button
This button, which is enabled only when a Surround mode other than Stereo is selected, is
used to turn on and off Joystick control for the currently selected Input Channel. Its indicator lights up when Grab is on. When Grab is on, the Joystick can be used to control the
currently selected Input Channel’s surround pan position. When turned off, the Joystick
does not control surround pan. If the PAN control and the Joystick are linked (i.e., the
[LINK] button indicator is lit), Grab is turned off if the PAN control is adjusted. If the Joystick is set to control effects (i.e., the [EFFECT] button indicator is lit), this button is disabled.
02R96—Owner’s Manual
14
Chapter 2—Control Surface & Rear Panel
G EFFECT button
This button is used to select the Joystick for parameter control of the Reverb 5.1 effect. Its
indicator lights up when Reverb 5.1 effect control is on, and the Joystick cannot be used for
surround panning. See “REVERB 5.1” on page 245 for more information.
H Joystick
This control can be used for surround panning, normal panning, or parameter control of
the Reverb 5.1 effect. When the [EFFECT] button indicator is lit, the Joystick controls the
Reverb 5.1 effect. See “REVERB 5.1” on page 245 for more information. When the
[EFFECT] button indicator is off and the [GRAB] button indicator is on, the Joystick controls surround panning of the currently selected Input Channel. When the [EFFECT] button and [GRAB] button indicators are both off, the Joystick can still be used for surround
panning if the Auto Grab preference is on. See “Using Surround Pan” on page 69 for more
information. When the [EFFECT] button indicator is off but the [GRAB] button and
[LINK] button indicators are both on, the Joystick can be used for normal panning in unison with the PAN control. See “Panning Input Channels” on page 67 for more information.
EQUALIZER
2 3
EQUALIZER
1
LOW
LOW MID
HIGH MID
HIGH
DISPLAY
FREQUENCY
Q
FREQUENCY
GAIN
Q
125
kHz
EQ ON
45
Hz
FREQUENCY
GAIN
Q
1.00
Hz
kHz
FREQUENCY
GAIN
Q
GAIN
dB
dB
dB
dB
4.00
Hz
kHz
10.0
Hz
kHz
6
A EQUALIZER DISPLAY button
This button is used to select the following pages: Equalizer Edit, Equalizer Library, Input
Channel Attenuator/Shifter, and Output Attenuator.
B FREQUENCY/Q controls
These are rotary controls and push switches. The push switches are used to select either frequency or Q. The current setting is shown by the FREQUENCY/Q indicators. The rotary
controls are used to set the frequency or Q, as selected by the push switches. See “Using EQ”
on page 91 for more information.
C EQ GAIN controls
These controls are used to set the gain of each EQ band. See “Using EQ” on page 91 for more
information.
D EQ ON button
This button is used to turn the EQ of the currently selected channel on and off. Its indicator
lights up when the EQ is on. See “Using EQ” on page 91 for more information.
E FREQUENCY/Q indicators
These indicators show whether each FREQUENCY/Q control is set to control frequency or
Q. The FREQUENCY indicator lights up when it’s set to control frequency; the Q indicator,
when it’s set to control Q. See “Using EQ” on page 91 for more information.
F EQ displays
Normally these displays show the frequency of each band. When the GAIN is adjusted, the
gain value is displayed. When the Q is adjusted, the Q value is displayed. If the gain or Q is
not adjusted for two seconds, the frequency value reappears. See “Using EQ” on page 91 for
more information.
02R96—Owner’s Manual
Control Surface
15
LAYER
LAYER
1
1 24
REMOTE
25 48
MASTER
2
3
A 1–24 & 25–48 buttons
These buttons select the Input Channel Layers, which determine which Input Channels are
controlled by the channel strips. The LAYER button indicator for the currently selected
Layer lights up. See “Selecting Layers” on page 33 for more information.
B REMOTE button
This button selects the Remote Layer, which can be used to control external devices, including DAWs. See “About the Remote Layer” on page 189 for more information. Its button
indicator lights up when the Remote Layer is selected. See “Selecting Layers” on page 33 for
more information.
C MASTER button
This button selects the Master Layer, from which the channel strips control Input Channels
49–56, Bus Outs, and Aux Sends. Its indicator lights up when the Master Layer is selected.
See “Selecting Layers” on page 33 for more information.
STEREO
STEREO
1
AUTO
2
SEL
3
ON
4
0
5
10
15
20
30
40
50
A AUTO button
This button is used exclusively to set Automix recording and playback for the Stereo
Out. Its indicator lights up orange in Record-Ready mode, red while recording, and
green during playback. See “Channel Strip [AUTO] Buttons” on page 149 for more
information.
B SEL button
The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing with
the SELECTED CHANNEL section. Its indicator lights up when the Stereo Out is
selected. Each time it’s pressed, the selection toggles between the Stereo Out’s left and
right channels. See “Selecting Channels” on page 34 for more information. It can also
be used to add and remove the Stereo Out to and from EQ, Comp, Fader, and Mute
groups.
C ON button
This button is used exclusively to mute the Stereo Out. Its indicator lights up when the
Stereo Out is on. See “Muting the Stereo Out (ON/OFF)” on page 74 for more information.
60
70
STEREO
D Fader
This 100 mm touch-sensitive motorized fader is used exclusively to adjust the level of
the Stereo Out. See “Setting the Stereo Out Level” on page 74 for more information. It
can be grouped with other Output Channel faders for simultaneous operation. See
“Grouping Output Channel Faders” on page 106 for more information. It can also be
used to select the Stereo Out, see “Auto Channel Select & Touch Sense Select” on
page 34, or to punch the Stereo Out in and out during Automix recording. See “Punching In & Out Individual Parameters” on page 156 for more information.
02R96—Owner’s Manual
16
Chapter 2—Control Surface & Rear Panel
SCENE MEMORY
SCENE MEMORY
1
DISPLAY
00
STORE
RECALL
23 4
5
6
A SCENE MEMORY DISPLAY button
This button is used to select the following pages: Scene Memory, Input Channel Fade Time,
Output Fade Time, Recall Safe, and Scene Memory Sort. See “Scene Memories” on page 138
for more information.
B Scene memory display
This displays the number of the currently selected Scene memory. See “Scene Memories” on
page 138 for more information.
C Edit indicator
This indicates that the current mix settings no longer match those of the Scene that was
recalled last. See “Edit Buffer & Edit Indicator” on page 138 for more information.
D STORE button
This button is used to store the current Scene to the selected Scene memory. See “Storing &
Recalling Scenes with the SCENE MEMORY Buttons” on page 140.
E Scene Up/Down buttons
These buttons are used to select Scene memories. Pressing the Scene Up [ ] button increments the selection; pressing the Scene Down [ ] button decrements the selection. Holding
down a button causes the selection to increment/decrement continuously. See “Storing &
Recalling Scenes with the SCENE MEMORY Buttons” on page 140.
F RECALL button
This button is used to recall the selected Scene memory. See “Storing & Recalling Scenes
with the SCENE MEMORY Buttons” on page 140.
USER DEFINED KEYS
USER DEFINED KEYS
1
DISPLAY
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
2
A USER DEFINED KEYS DISPLAY button
This button is used to select the User Defined Key Assign page. See “Using the User Defined
Keys” on page 196 for more information.
B USER DEFINED KEYS 1–16 buttons
Up to 16 functions, from a list of over 150, can be assigned to these buttons. See “Using the
User Defined Keys” on page 196 for more information. These buttons have specific functions when the DAW Remote Layer is selected. See “About the Remote Layer” on page 189
for more information.
02R96—Owner’s Manual
Control Surface
17
MACHINE CONTROL
1
2
3
MACHINE CONTROL
LOCATE MEMORY
DISPLAY
SET
1
2
3
4
5
6
7
8
4
5
REW
FF
STOP
PLAY
REC
6
7
8
A MACHINE CONTROL DISPLAY button
This button is used to select the Locate Memory and Machine Configuration pages. See
“Setting the Locate Memories” on page 194 and “Configuring Machines” on page 192
respectively for more information.
B LOCATE MEMORY 1–8 buttons
Pressing these buttons transmits Locate commands to the target machine (DAW, MMC) in
order to locate the Locate memory points. Their indicators light up momentarily when
they’re pressed. See “Using the Locator” on page 194 for more information.
C SET button
This button is used when specifying the eight Locate points. Its indicator lights up while it’s
pressed. See “Using the Locator” on page 194 for more information.
D REW button
This button starts rewind on the target machine (DAW, MMC). Its indicator lights up while
rewinding is in progress. See “Transport Buttons” on page 193.
E FF button
This button starts fast forward on the target machine (DAW, MMC). Its indicator lights up
while fast forwarding is in progress. See “Transport Buttons” on page 193.
F STOP button
This button stops the target machine (DAW, MMC). Its indicator lights up momentarily
when it’s pressed. See “Transport Buttons” on page 193.
G PLAY button
This button starts playback on the target machine (DAW, MMC). Its indicator lights up
while playback is in progress. See “Transport Buttons” on page 193.
H REC button
This button is used in conjunction with the [PLAY] button to start recording on the target
machine (DAW, MMC). Its indicator lights up while recording is in progress. See “Transport Buttons” on page 193.
02R96—Owner’s Manual
18
Chapter 2—Control Surface & Rear Panel
Data Entry & Transport
5
DEC
1
SHUTTLE
INC
6
2
SCRUB
3
4
ENTER
A SHUTTLE button
This button is used to set the Parameter wheel to Shuttle mode for machine control (DAW,
MMC). Its indicator lights up when Shuttle mode is on. See “Using Shuttle & Scrub” on
page 193 for more information.
B SCRUB button
This button is used to set the Parameter wheel to Scrub mode for machine control (DAW,
MMC). Its indicator lights up when Scrub mode is on. See “Using Shuttle & Scrub” on page
193 for more information.
C Parameter wheel
The Parameter wheel is used to edit parameter values, scroll through Scene and library lists,
and to position the cursor when titling Scenes, Effects, and so on. Its detented action gives
it a positive feel, allowing quick and accurate parameter editing. Turning it clockwise
increases parameter values; turning it counterclockwise decreases them. Turning it fast
allows quick parameter editing.
The Parameter wheel is also used with the Shuttle and Scroll functions. See “Using Shuttle
& Scrub” on page 193 for more information.
D ENTER button
This button is used to select and finalize parameter settings, to set on/off-type parameters,
such as EQ ON/OFF, and to enter characters when titling Scenes, Effects, and so on. When
a Pan control is selected on a Pan display page, pressing this button resets the pan position
to center. For certain parameters, the [ENTER] button supports double clicking (i.e., two
quick presses).
E DEC & INC buttons
These buttons are used to adjust parameter values. Pressing the [INC] button increases the
value of the currently selected parameter by one. Pressing the [DEC] decreases it. Pressing
and holding either button causes the parameter value to change continuously.
These buttons can also be used to set on/off-type parameters, such as EQ ON/OFF. When
such a parameter is selected, pressing the [DEC] button turns the function off, pressing the
[INC] button turns it on.
These buttons can also used to scroll through Scene and library lists.
F Cursor buttons
These 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.
02R96—Owner’s Manual
Control Surface
19
Monitor, Phones & Talkback Section
5
0
10
TALKBACK LEVEL
4
3
PHONES
0
10
0
10
STUDIO
LEVEL
PHONES
LEVEL
1
2
A STUDIO LEVEL control
This control is used to set the level of the STUDIO MONITOR OUT. See “Studio Monitoring” on page 115 for more information.
B PHONES LEVEL control
This control is used to set the level of the PHONES. See “Control Room Monitoring” on
page 114 for more information.
C PHONES jack
This stereo TRS phone jack outputs the Control room signal for monitoring via a pair of
stereo headphones.
D Talkback mic
Tip (left)
1/4" TRS phone plug
Ring (right)
Sleeve (ground)
This built-in microphone is used for talkback. See “Using Talkback” on page 121 for more
information.
E TALKBACK LEVEL control
This control is used to set the level of the built-in talkback microphone. See “Using Talkback” on page 121 for more information.
02R96—Owner’s Manual
20
Chapter 2—Control Surface & Rear Panel
MONITOR Section
MONITOR
The various subsections of the MONITOR section are explained below.
DISPLAY
STUDIO
CONTROL
ROOM
STEREO
AUX7
AUX8
STUDIO
1
SOLO
MONITOR
DISPLAY
STUDIO
2
CLEAR
CONTROL ROOM
CONTROL
ROOM
STEREO
AUX7
AUX8
4
2TR D1
2TR A1
2TR D2
2TR A2
2TR D3
STEREO
ASSIGN1
ASSIGN2
SURROUND
BUS
SLOT
0
10
SURROUND MONITOR LEVEL
0
10
CONTROL ROOM LEVEL
DIMMER
TALKBACK
3
5
A MONITOR DISPLAY button
This button is used to select the following pages: Solo Setting, Control Room Setup, and
Talkback Setup. See “Configuring Solo” on page 102, “Control Room Monitoring” on
page 114, and “Using Talkback” on page 121 respectively for more information. When a
Surround Pan mode is selected, the following pages can also be selected: Surround Monitor,
Surround Monitor Setup, Surround Monitor Patch, and Surround Monitor Library. See
“Surround Monitoring” on page 116 for more information.
B CONTROL ROOM button
This button selects the Control Room Monitor signal as the Studio Monitor signal source.
Its indicator lights up when this source is selected. See “Studio Monitoring” on page 115 for
more information.
C STEREO button
This button selects the Stereo Out signal as the Studio Monitor signal source. Its indicator
lights up when this source is selected. See “Studio Monitoring” on page 115 for more information.
D AUX 7 button
This button selects Aux Send #7 as the Studio Monitor signal source. Its indicator lights up
when this source is selected. See “Studio Monitoring” on page 115 for more information.
E AUX 8 button
This button selects Aux Send #8 as the Studio Monitor signal source. Its indicator lights up
when this source is selected. See “Studio Monitoring” on page 115 for more information.
SOLO
1
2
SOLO
CLEAR
A SOLO indicator
This indicator flashes when one or more Channels are soloed, indicating that the Solo function is active. See “Soloing Channels” on page 102 for more information.
B CLEAR button
This button can be used to unsolo all soloed Channels. See “Soloing Channels” on page 102
for more information.
02R96—Owner’s Manual
Control Surface
21
CONTROL ROOM
CONTROL ROOM
1
2
3
7
2TR D1
2TR A1
2TR D2
2TR A2
2TR D3
STEREO
4
5
6
8
ASSIGN2
ASSIGN1
SURROUND
9
BUS
SLOT
J
K
L
0
10
CONTROL ROOM LEVEL
N
DIMMER
TALKBACK
B STEREO 2TR D2 button
This button selects the 2TR IN DIGITAL COAXIAL 2 as the Control Room
Monitor signal source. Its indicator lights up when this source is selected. See
“Control Room Monitoring” on page 114 for more information.
C STEREO 2TR D3 button
This button selects the 2TR IN DIGITAL COAXIAL 3 as the Control Room
Monitor signal source. Its indicator lights up when this source is selected. See
“Control Room Monitoring” on page 114 for more information.
0
10
SURROUND MONITOR LEVEL
M
A STEREO 2TR D1 button
This button selects the 2TR IN DIGITAL AES/EBU 1 as the Control Room
Monitor signal source. Its indicator lights up when this source is selected. See
“Control Room Monitoring” on page 114 for more information.
D STEREO 2TR A1 button
This button selects the 2TR IN ANALOG 1 as the Control Room Monitor signal
source. Its indicator lights up when this source is selected. See “Control Room
Monitoring” on page 114 for more information.
E STEREO 2TR A2 button
This button selects the 2TR IN ANALOG 2 as the Control Room Monitor signal source. Its
indicator lights up when this source is selected. See “Control Room Monitoring” on page
114 for more information.
F STEREO button
This button selects the Stereo Out as the Control Room Monitor signal source. Its indicator
lights up when this source is selected. See “Control Room Monitoring” on page 114 for
more information.
G STEREO ASSIGN 1 button
This button is used to select the assigned Output Channel as the Control Room Monitor
signal source. Its indicator lights up when this source is selected. See “Control Room Setup”
on page 115 for more information.
H STEREO ASSIGN 2 button
This button is used to select the assigned Output Channel as the Control Room Monitor
signal source. Its indicator lights up when this source is selected. See “Control Room Setup”
on page 115 for more information.
I SURROUND BUS button
This button is used to select the Bus Outs as the Surround Monitor signal source. Its indicator lights up when this source is selected. See “Surround Monitoring” on page 116 for
more information.
J SURROUND SLOT button
This button is used to select the assigned Slot’s Inputs as the Surround Monitor signal
source. Its indicator lights up when this source is selected. See “Surround Monitoring” on
page 116 for more information.
K SURROUND MONITOR LEVEL control
This control is used to adjust the level of the Surround Monitor signals. See “Surround
Monitoring” on page 116 for more information.
L CONTROL ROOM LEVEL control
This control is used to adjust the level of the Control Room Monitor signal. See “Control
Room Monitoring” on page 114 for more information.
02R96—Owner’s Manual
22
Chapter 2—Control Surface & Rear Panel
M DIMMER button
This button is used to dim the Control Room Monitor and Surround Monitor signals. Its
indicator lights up when these signals are dimmed. See “Control Room Monitoring” on
page 114 for more information.
N TALKBACK button
This button turns on the Talkback function, which distributes the Talkback mic signal to the
Studio Monitor Outs and any Slot or Omni Outputs specified on the Talkback Setup page.
See “Using Talkback” on page 121 for more information.
02R96—Owner’s Manual
Power Section (p. 28)
Analog Master I/O Section (p. 24)
OMNI OUTs, Digital I/O & Control Section (p. 26)
AD Input Section (p. 24)
SLOT Section (p. 28)
Rear Panel
23
Rear Panel
02R96—Owner’s Manual
24
Chapter 2—Control Surface & Rear Panel
AD Input Section
AD Input #1 is shown at the top; AD Inputs #17 and #18 below
1
2
A INPUT A & B (BAL) connectors
AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and balanced 1/4-inch
phone jacks, both with a nominal input range of –60 dB to +10 dB. Phantom powering
(+48 V) is supplied to the XLR-type connectors, with individual ON/OFF switches on each
input. The phone jacks, which can also be used with unbalanced phone plugs, have priority
over the XLR-type connectors, so when a phone plug is inserted, the XLR-type connector
is disconnected. AD Inputs 17–24 feature balanced 1/4-inch phone jacks. AD Inputs can be
patched individually to the Input Channels or Insert Ins. See “AD Input Section” on page
39 for more information.
Male XLR plug
Tip (hot)
1 (ground)
3 (cold)
1/4" TRS phone plug
2 (hot)
Ring (cold)
Sleeve (ground)
1
B INSERT I/O +4dB (UNBAL) connectors (AD 1–16)
These unbalanced 1/4-inch TRS phone jacks are used to insert external signal processors,
etc., into AD Inputs 1 through 16. They are wired: sleeve–ground, ring–return, tip–send.
The nominal signal level is +4 dB. Inserts can be turned on and off individually by using the
INSERT ON/OFF switches. See “AD Input Section” on page 39 for more information.
Tip (send)
1/4" phone plug
Tip (send)
Ring (return)
To processor's input
1/4" TRS phone plug
Sleeve (ground)
Tip (return)
Sleeve (ground)
1/4" phone plug
Connect to INSERT jack
From processor's output
Sleeve (ground)
Analog Master I/O Section
1
2
3
4
5
6
A STUDIO MONITOR OUT +4 dB (BAL)
Tip (hot)
These balanced 1/4-inch TRS phone jacks, nominal output
1/4" TRS phone plug
Ring (cold)
level +4 dB, output the analog Studio Monitor signal for
monitoring in the actual studio. The source, which is
Sleeve (ground)
selected by using the STUDIO buttons in the MONITOR
section, can be Aux Send #7, Aux Send #8, the Stereo Out, or Control Room. The output
02R96—Owner’s Manual
25
Rear Panel
level is controlled by the STUDIO LEVEL control. See “Studio Monitoring” on page 115 for
more information.
B STEREO OUT +4 dB (BAL)
These balanced XLR-3-32-type connectors, nominal
Female XLR plug
output level +4 dB, output the analog Stereo Out signal
and are typically connected the stereo inputs of a
2-track recorder. They are wired pin 1–ground, pin
2–hot (+), and pin 3–cold (–). See “Stereo Out Connectors” on page 73.
2 (hot)
3 (cold)
1 (ground)
C 2TR IN ANALOG 1 +4 dB (BAL)
Tip (hot)
These balanced 1/4-inch TRS phone jacks, nominal input
1/4" TRS phone plug
Ring (cold)
level +4 dB, are typically used to connect the analog stereo
outputs of a 2-track recorder. Signals connected here can
Sleeve (ground)
be monitored via the CONTROL ROOM MONITOR
OUT by pressing the CONTROL ROOM [2TR A1] button. In addition, these inputs can be
patched to Input Channels or Insert Ins. See “2TR Analog INs” on page 40.
D CONTROL ROOM MONITOR OUT +4 dB (BAL)
These balanced 1/4-inch TRS phone jacks, nominal output
level +4 dB, output the analog Control Room Monitor signal and are typically used to feed the control room’s main
monitors. See “Control Room Monitoring” on page 114
for more information.
Tip (hot)
1/4" TRS phone plug
Ring (cold)
Sleeve (ground)
E STEREO OUT –10 dBV (UNBAL)
These unbalanced phono connectors, nominal output level
–10 dBV, output the analog Stereo Out signal and are typically connected to the stereo inputs of a 2-track recorder. See “Stereo Out
Connectors” on page 73.
Phono plug
Tip (hot)
Sleeve (ground)
F 2TR IN ANALOG 2 –10 dBV (UNBAL)
Phono plug
Tip (hot)
These unbalanced phono connectors, nominal input level
–10 dBV, are typically used to connect the analog stereo outputs of
Sleeve (ground)
a 2-track recorder. Signals connected here can be monitored via the
CONTROL ROOM MONITOR OUTs by pressing the CONTROL
ROOM [2TR A2] button. In addition, these inputs can be patched to Input Channels or
Insert Ins. See “2TR Analog INs” on page 40.
02R96—Owner’s Manual
26
Chapter 2—Control Surface & Rear Panel
OMNI OUTs, Digital I/O & Control Section
2
3
4 56
7 8
9
J K
L
1
M
N
O
P
A OMNI OUT +4dB (BAL)
These balanced 1/4-inch TRS phone jacks, nominal output
level +4 dB, provide eight analog outputs that can be
patched to the following: Bus Outs, Aux Sends, the Stereo
Out, Insert Outs, Direct Outs, or Surround Monitor Channels. See “Omni Outs” on page 40.
Tip (hot)
1/4" TRS phone plug
Ring (cold)
Sleeve (ground)
B SMPTE TIME CODE INPUT connector
This balanced XLR-3-31-type connector is used to input SMPTE timecode for synchronizing the Automix function. See “Selecting the Timecode Source & Frame Rate” on page 152.
C MTC TIME CODE INPUT connector
This 5-pin DIN connector is used to input MTC for synchronizing the Automix function.
See “Selecting the Timecode Source & Frame Rate” on page 152.
D USB TO HOST port
This USB port is for MIDI communication between the 02R96 and a host computer with a
USB port. See “MIDI I/O” on page 163 for more information.
E SERIAL TO HOST port
This 8-pin mini DIN port is for MIDI communication between the 02R96 and a host computer with a serial port. See “MIDI I/O” on page 163 for more information.
F 2TR OUT DIGITAL COAXIAL 2 & 3
These phono connectors output consumer format (IEC-60958) digital audio, and are typically connected to the digital stereo inputs of 2-track recorders. The following signals can
be patched to these outputs: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and
Control Room. Dither can be applied for digital audio transfer to lower-resolution systems.
See “2TR Digital Outs” on page 43 for more information.
G 2TR OUT DIGITAL AES/EBU 1
This XLR-3-32-type connector outputs AES/EBU format digital audio, and is typically connected to the digital stereo input of a 2-track recorder. The following signals can be patched
to this output: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and Control
Room. Dither can be applied for digital audio transfer to lower-resolution systems. See
“2TR Digital Outs” on page 43 for more information.
02R96—Owner’s Manual
Rear Panel
27
H 2TR IN DIGITAL COAXIAL 2 & 3
These phono connectors accept consumer format (IEC-60958) digital audio, and are typically used to connect the digital stereo outputs of 2-track recorders. Signals connected here
can be monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL
ROOM [2TR D2] or [2TR D3] button. In addition, these inputs can be patched to Input
Channels or Insert Ins. Unsynchronized digital audio signals can be converted by the internal sampling rate converters. See “2TR Digital Ins” on page 44 for more information.
I 2TR IN DIGITAL AES/EBU 1
This XLR-3-31-type connector accepts AES/EBU format digital audio, and is typically used
to connect the digital stereo output of a 2-track recorder. Signals connected here can be
monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL
ROOM [2TR D1] button. In addition, this input can be patched to Input Channels or
Insert Ins. Unsynchronized digital audio signals can be converted by the internal sampling
rate converters. See “2TR Digital Ins” on page 44 for more information.
J WORD CLOCK OUT connector
This BNC connector outputs a wordclock signal at the same clock rate as the 02R96. See
“Wordclock Connections” on page 41 for more information.
K WORD CLOCK 75Ω ON/OFF termination switch
This switch applies 75Ω termination to the WORD CLOCK IN. See “Terminating External
Wordclocks” on page 43 for more information.
L WORD CLOCK IN connector
This BNC connector is for connecting an external wordclock signal. See “Selecting the
Wordclock Source” on page 42 for more information.
M CONTROL port
This 25-pin D-sub connector provides access to the GPI (General Purpose Interface)
through which external equipment can be triggered when specified 02R96 faders or USER
DEFINE KEYS are operated. It can also be used to control a “RECORDING” light outside
of a studio, to trigger the Solo function of an 02R Digital Recording Console, or to turn on
Talkback from an external device. See “GPI (General Purpose Interface)” on page 195 for
more information.
N METER port
This 15-pin D-sub connector is for connecting the optional MB02R96 Peak Meter Bridge.
O MIDI IN, OUT & THRU ports
These standard MIDI IN, OUT, and THRU ports are used to connect the 02R96 to other
MIDI equipment. Supported MIDI messages include Program Changes for Scene recall,
Control Changes and Parameter Changes for real-time parameter control, Bulk Dump for
data storage, MIDI Clock, MTC, and MMC. See “MIDI I/O” on page 163 for more information.
P CASCADE IN & OUT ports
These 64-pin connectors can be used to cascade up to four 02R96s to create a multiple-unit
mixing system. The 02R96 can also be cascaded with an 02R Digital Recording Console. See
“Cascading Consoles” on page 49 for more information.
02R96—Owner’s Manual
28
Chapter 2—Control Surface & Rear Panel
Power Section
1
4
2
3
A POWER ON/OFF switch
This switch is used to turn on the power to the 02R96. See “Turning On & Off the 02R96”
on page 29 for more information.
B Grounding screw
For electrical safety reasons, and correct operation of the touch-sensitive faders, it’s important that the 02R96 is grounded properly. The supplied power cord has a three-pin plug,
and if the ground terminal of the AC outlet is grounded, then the unit will be grounded sufficiently through the power cord. If the AC outlet does not provide a suitable ground, this
screw must be connected to a suitable ground point. Grounding is also an effective method
for eliminating hum, interference, and other noise.
C AC IN connector
This connector is used to connect the 02R96 to an AC outlet via the supplied power cord.
See “Connecting the Power Cord” on page 29 for more information.
D Cooling fan
The cooling fan expels air out through this outlet. If the airflow is restricted, the 02R96 may
overheat, so make sure this outlet is not blocked.
SLOT Section
1
A SLOT 1–4
These four slots are for use with optional mini YGDAI cards, which offer a variety of analog
and digital I/O options. See “Slot I/O” on page 45 for more information. Slot inputs can be
patched to Input Channels or Insert Ins. See “Input Patching” on page 52 for more information. The following signals can be patched to the Slot Outputs: Bus Outs, Aux Sends, Stereo Out, Insert Outs, Direct Outs, and Surround Monitor Channels. See “Output Patching”
on page 54 for more information.
02R96—Owner’s Manual
Operating Basics
29
3 Operating Basics
Connecting the Power Cord
Warning: Turn off all equipment connected to the 02R96 before making any power connections.
Connect the socket-end of the supplied power cord to the AC IN
on the rear panel of the 02R96. Connect the plug-end to a suitable
AC wall outlet, one that conforms to the power supply requirements stated on the 02R96’s rear panel.
Turning On & Off the 02R96
1
2
To prevent loud clicks and thumps in your speakers, turn on your
audio equipment in the following order (reverse this order when turning off)—sound sources, multitrack and master recorders, 02R96,
monitoring power amplifiers.
To turn on the 02R96, press the [POWER] switch.
The startup page appears for a while, and then the last selected display
page appears.
To turn off the 02R96, press the [POWER] switch again.
About the Display
All 02R96 mix parameters can be edited on the various display pages.
EDIT indicator
MIDI indicator
Current Scene
Sampling rate
Selected
DISPLAY
Page title
Page #
Selected channel
Channel name
Page area
Page tab scroll arrow
Page tabs
Current Scene: The number and title of the currently selected Scene memory are displayed here. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page
140 for more information. If the selected Scene is write-protected, a padlock icon appears.
See “Using the Scene Memory Page” on page 141 for more information.
MIDI indicator: This indicator appears when the 02R96 is receiving MIDI data via the
MIDI IN port, USB TO HOST port, or SERIAL TO HOST port.
02R96—Owner’s Manual
30
Chapter 3—Operating Basics
EDIT indicator: This indicator appears when the current mix settings no longer match
those of the Scene that was recalled last. It works in unison with the Edit indicator dot on
the SCENE MEMORY display. See “Edit Buffer & Edit Indicator” on page 138 for more
information.
Selected DISPLAY: This indicates the currently selected display page group, for example,
AUX, EQ, or AUTOMIX. Display page groups are selected by using the [DISPLAY] buttons.
Sampling rate: This indicates the current sampling rate—44.1 kHz (44k), 48 kHz (48k),
88.2 kHz (88k), or 96 kHz (96k).
Selected channel: The Input or Output Channel currently selected by the [SEL] buttons
is indicated here. See “Selecting Channels” on page 34. The first four characters are the
Channel ID (e.g., CH1–CH56, BUS1–BUS8, AUX1–AUX8, ST-L, ST-R. The second four,
are the channel’s Short name. See “Naming Channels” on page 112. If the Channel ID preference is on, only the Channel ID is displayed. See “Channel ID/Channel” on page 198 for
more information.
Channel name: Depending on the currently selected page, this is the Long name of
either the currently selected channel or the channel selected by the cursor buttons. On some
pages, the Aux Send pages, for example, it’s possible to edit Aux Send levels without having
to select each Input Channel. Instead, Input Channel Aux Sends can be selected by using the
cursor buttons. In this case, the name displayed here is different to the name displayed in
the upper-right corner of the display.
Page title: This is the title of the currently selected page.
Page #: Depending on the group of pages currently selected, page numbers are displayed
here. For example, although you can view only one Input Channel 1–24 Aux Send page at
a time, there are in fact eight Input Channel 1–24 Aux Send pages, one for each of the eight
Aux Sends. Page numbers are also displayed when the Effects page group is selected.
Page area: This area of the display is where the various display pages appear.
Page tabs: These tabs are used when selecting pages. Up to four tabs are visible at a time.
See “Selecting Display Pages” on page 31 for more information.
Page tab scroll arrows: These arrows indicate that there are more pages available. See
“Selecting Display Pages” on page 31 for more information.
02R96—Owner’s Manual
Selecting Display Pages
31
Selecting Display Pages
•
•
•
•
Display pages are grouped by function, and each group of pages can be selected by
using the following [DISPLAY] buttons: AUX SELECT, ENCODER MODE,
DISPLAY
EFFECTS/PLUG-INS, ROUTING, DYNAMICS, PAN/SURROUND, EQUALIZER, SCENE MEMORY, USER DEFINED KEYS, MACHINE CONTROL, MONITOR. Further page groups can be selected by using the DISPLAY ACCESS buttons.
The next page in the group can be selected by pressing the [DISPLAY] button.
Previous pages can be selected by pressing and holding down the [DISPLAY] button.
The first page in the group can be selected by double-clicking the [DISPLAY] button.
Pages whose tabs are currently displayed can be
selected by using the F1–F4 buttons.
F1
F2
F3
F4
If there are more pages available than the four whose
tabs are currently displayed, depending on whether they
are located to the left or right, either the left or right Tab
Tab scroll buttons
Scroll arrow appears. Pressing either the Left or Right
Tab Scroll button displays the tabs of these pages, which
can then be selected by using the F1–F4 buttons.
When parameters are divided among several pages, for example, the Input Channel Attenuators, which are divided among three pages, the page containing the parameter for the currently selected channel is selected automatically when channels on different Layers are
selected. For example, if the Input Channel 1–24 Attenuator page is currently selected, and
then you select, say, Input Channel #25 by using the LAYER [25–48] button and [SEL] button #1, the Input Channel 25–48 Attenuator page is selected automatically.
The currently selected page in a group, and the parameter selected on that page, are remembered when you select another group of pages, so when you return to that group, by pressing its [DISPLAY] button, that page is displayed with the same parameter selected.
The Auto Display preferences can be set so that certain pages appear automatically when a
corresponding control is adjusted. For example, if the “Auto EQUALIZER Display” preference is on, the EQ page appears automatically when a SELECTED CHANNEL EQUALIZER control is operated. See page 197 for information on the Auto Display preferences.
Tab Scroll arrows
Display Parameter Boxes
Operation of the various buttons, rotary controls, and faders that
appear on the display pages is straightforward. The only items that
require a special mention are the parameter boxes, such as the
INSERT POSITION, OUT, and IN parameter boxes shown here.
Operation of these boxes consists of two steps. First you select a value,
typically by using the Parameter wheel or INC/DEC buttons. Second
you confirm your selection, while the value is flashing, by pressing the
[ENTER] button. If you select another parameter while the value is
still flashing, it remains unchanged.
Parameter Windows
When a rotary control in the SELECTED CHANNEL section is operated, if the
corresponding parameter does not appear on the currently selected page, a
parameter window like the one shown here is displayed while the control is
adjusted. If the control is not adjusted for awhile, the window closes automatically. If the Auto Display preference for the adjusted parameter is on, the page containing
that parameter appears instead of this parameter window.
02R96—Owner’s Manual
32
Chapter 3—Operating Basics
Confirmation Messages
For certain functions, the 02R96 prompts you for
confirmation before executing them, as shown here.
Press YES to execute the function, or press NO to cancel. If no action is taken for awhile, the confirmation
window closes automatically and the function is not
executed.
Title Edit Window
The Title Edit window is used to enter titles for Scene and library memories, automixes, and
so on. Depending on the item being titled, the number of characters that can be entered is
either 4, 12, or 16. The following screen shots show the available characters. The one on the
left shows uppercase characters and various punctuation marks. That on the right, lowercase characters and numbers.
Use the cursor buttons to select characters, and the [ENTER] button to enter them into the
title. The cursor moves to the right automatically as each character is entered. The Parameter wheel or the arrow buttons can be used to move the cursor within the title.
Use the SHIFT LOCK button to select uppercase and lowercase characters, and use the SPC
button to enter a space. To insert a space at the cursor position and move subsequent characters to the right, press the INS button. To delete the character at the cursor position, press
the DEL button.
When you’ve finished, press the OK button to enter the title, or press CANCEL to cancel
title entry.
02R96—Owner’s Manual
Selecting Layers
33
Selecting Layers
Input and Output Channels are arranged into Layers, as illustrated below. There are four
Layers altogether: two Input Channel Layers, a Master Layer (or Output Layer), and a
Remote Layer.
Input Channels [1–24]
Input Channels [25–48]
Input Channels 49–56, Aux Sends, Bus Outs [MASTER]
[REMOTE]
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
To select Input and Output Channels for editing with the channel strip
LAYER
controls, you use the LAYER buttons to select a Layer.
The LAYER button indicator for the currently selected Layer lights up.
1 24
REMOTE
The currently selected Layer determines the function of the channel
strip Encoders, [AUTO] buttons, [SEL] buttons, [SOLO] buttons,
25 48
MASTER
[ON] buttons, and faders. For example, when Layer 1–24 is selected,
[SEL] button #1 controls Input Channel #1. When Layer 25–48 is
selected, it controls Input Channel #25. And when the Master Layer is
selected, it controls Input Channel #49.
The following table shows which Input and Output Channels are controlled by the channel
strips on each Layer.
Layers
Channel Strips
1–8
9–16
1-24
Input Channels 1–24
25–48
Input Channels 25–48
MASTER
REMOTE
Input Channels 49–56
Aux Send masters 1–8
17–24
Bus Out masters 1–8
Operation depends on the selected target. See “About the Remote Layer” on page
189 for more information.
The exact function of each channel strip fader and Encoder also depends on the currently
selected Fader mode and Encoder mode respectively. See “Selecting Fader Modes” on
page 35 and “Selecting Encoder Modes” on page 36 for more information.
02R96—Owner’s Manual
34
Chapter 3—Operating Basics
Selecting Channels
1
2
To select Input and Output Channels for editing with the SELECTED CHANNEL controls,
you use the LAYER buttons to select a Layer, and the [SEL] buttons to select a channel on
that Layer.
Select a Layer, as explained on page 33.
Use the [SEL] buttons to select an Input or Output Channel.
The [SEL] button indicator for the currently selected channel lights up. In addiSEL
tion, the Channel’s ID and Short name appear in the upper right corner of the display (see page 30).
The exact channel selected by each [SEL] button depends on the currently selected Layer.
For example, when Layer 1–24 is selected, [SEL] button #1 selects Input Channel #1. When
Layer 25–48 is selected, it selects Input Channel #25. And when the Master Layer is selected,
it selects Input Channel #49, as shown in the following table.
Layer
[SEL] Button
1–8
9–16
1-24
Input Channels 1–24
25–48
Input Channels 25–48
MASTER
REMOTE
Input Channels 49–56
Aux Sends 1–8
17–24
Bus Outs 1–8
Operation depends on the selected target. See “About the Remote Layer” on page
189 for more information.
For paired Input or Output channels, the channel whose [SEL] button you press is selected,
and its indicator lights up. The [SEL] button indicator of the other channel flashes.
Vertical and horizontal Input and Output channel partners can also be selected by using the
SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons, which can also be used to
select left and right channels when the Stereo Out is selected.
If the currently displayed page contains a relevant parameter, when a channel’s [SEL] button is pressed, the cursor moves to that parameter automatically. If the currently displayed
page contains no such parameter, the page that does contain such a parameter is selected
automatically. For example, if a Delay page for the Output Channels is selected when an
Input Channel [SEL] button is pressed, the Delay page showing the relevant Input Channel
Delay parameter is selected automatically.
Stereo Out [SEL] Button
The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing with the
SELECTED CHANNEL controls. Its indicator lights up when the Stereo Out is selected.
Each time it’s pressed, the selection toggles between the Stereo Out’s left and right channels.
The SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons can also be used to
select the left and right channels.
If the currently displayed page contains a Stereo Out parameter, that parameter is selected
automatically when the Stereo Out [SEL] button is pressed. If the currently selected page
contain no such parameter, the page that does contain such a parameter is selected automatically. For example, if a Delay page for the Input Channels is currently selected when the
Stereo Out [SEL] button is pressed, the Delay page showing the Stereo Out Delay parameter
is selected automatically.
Auto Channel Select & Touch Sense Select
While the Auto Channel Select preference is on (see page 197), channels can be selected by
moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO],
[SOLO], or [ON] button. While the Touch Sense Select preference is on (see page 199),
channels can be selected simply by touching the fader knobs.
02R96—Owner’s Manual
Selecting Fader Modes
35
Selecting Fader Modes
1
The exact function of each fader depends on the selected Layer and Fader mode.
Select a Layer, as explained on page 33.
2
Use the FADER MODE buttons to select a Fader mode.
FADER MODE
FADER
AUX
[FADER]: Channel faders control Input Channel levels or Output Channel master levels,
depending on the selected Layer.
[AUX]: Channel faders control Aux Send levels, depending on the selected Layer.
The indicator of the currently selected FADER MODE button lights up.
The following table shows the channel fader functions for each Layer and Fader mode.
Layer
1-24
25–48
Fader
Mode
1–8
9–16
Fader
Aux
Aux
17–24
Input Channels 1–24 level
Input Channels 1–24 Aux Send level
Fader
Input Channels 25–48 level
Input Channels 25–48 Aux Send level
Fader
Input Channels 49–56
level
Aux
Input Channels 49–56
Aux Send level
Fader
Operation depends on the selected target. See “About the Remote Layer”
on page 189 for more information.
Master
Remote
Fader
Aux
Aux Sends 1–8 master
level
Bus Outs 1–8 master
level
No operation: faders fixed at –∞
02R96—Owner’s Manual
36
Chapter 3—Operating Basics
Selecting Encoder Modes
1
The exact function of each Encoder depends on the selected Layer and Encoder
mode. There are two preset Encoder modes, Pan and Aux, and two assignable
modes, for which you can choose from over 40 parameters.
Select a Layer, as explained in page 33.
2
Use the ENCODER MODE buttons to select an Encoder mode.
ENCODER MODE
DISPLAY
PAN
AUX
ASSIGN 1
ASSIGN 2
[PAN]: Encoders function as Pan controls.
[AUX]: Encoders control Aux Send levels, depending on the selected Layer.
[ASSIGN 1/2]: Encoders control the parameters assigned to the ASSIGN buttons. See
“Assigning Parameters to the ENCODER MODE Assign Buttons” on page 37 for more
information.
The indicator of the currently selected ENCODER MODE button lights up.
The following table shows the exact Encoder functions for each Layer and Encoder mode.
Layer
1-24
Encoder
Mode
9–16
17–24
Input Channels 1–24 pan
Aux
Input Channels 1–24 Aux Send level
Input Channels 1–24 assigned parameter
Pan
Input Channels 25–48 pan
Aux
Input Channels 25–48 Aux Send level
Assign 1/2
Master
1–8
Pan
Assign 1/2
25–48
Encoder
Input Channels 25–48 assigned parameter
Pan
Input Channels 49–56
pan
No operation
Aux
Input Channels 49–56
Aux Send level
No operation
Assign 1/2
Input Channels 49–56
assigned parameter
Aux Sends 1–8
assigned parameter
Bus Outs 1–8 assigned
parameter
Pan
Remote
Aux
Assign 1/2
02R96—Owner’s Manual
Operation depends on the selected target. See “About the Remote Layer”
on page 189 for more information.
Assigning Parameters to the ENCODER MODE Assign Buttons
37
Assigning Parameters to the ENCODER MODE Assign Buttons
1
Up to two parameters can be assigned to the two ENCODER MODE ASSIGN buttons.
Initially, the following parameters are assigned to the ASSIGN buttons:
[ASSIGN 1]: Input Patch
[ASSIGN 2]: Direct Out
Use the ENCODER MODE [DISPLAY] button to select the Encoder Mode
Assign page.
The names of the parameters currently assigned to each ASSIGN button are displayed in the
left-hand box. The parameter currently assigned to the selected ASSIGN button appears
highlighted in the right-hand box.
2
Press an ASSIGN button, or use the Up/Down cursor buttons, to select an
ASSIGN button.
3
Use the Parameter wheel, or the INC/DEC buttons to select a parameter.
A parameter is selected when it appears inside the dotted box.
See the “Assignable Encoder Mode Parameter List” on page 38 for a complete list of assignable parameters.
4
Press the [ENTER] button to assign your choice.
Once assigned, the selected parameter appears highlighted in the right-hand box.
When channels that do not feature the currently assigned parameter are selected, the
Encoders are inactive. For example, if the assigned Encoder parameter is “Phase,” and the
Master Layer is selected, Encoders 9–24 are inactive, because the Aux Sends and Bus Outs
do not feature Phase parameters.
02R96—Owner’s Manual
38
Chapter 3—Operating Basics
Assignable Encoder Mode Parameter List
02R96—Owner’s Manual
#
Parameter
1
No Assign
Encoder Operation
2
Attenuator
3
Input Patch
Input Channel patch
Confirm patch selection
4
Insert In Patch
Insert In patch
Confirm patch selection
5
Insert Out Patch
Insert Out patch
Confirm patch selection
6
Direct Out
Direct Out patch
Confirm patch selection
7
Phase
Phase: normal/reverse
—
—
Attenuator
Push Switch Operation
—
—
8
Insert On
Insert on/off
—
9
Aux pre/post
Aux pre/post
—
10
Delay On
Delay on/off
—
11
Delay Time
Delay Time
—
12
Delay FB.Gain
Delay FB.Gain
—
13
Delay Mix
Delay Mix
—
14
EQ On
EQ on/off
—
15
EQ Type
EQ Type
—
16
EQ Low Q
EQ Low Q
—
17
EQ Low F
EQ Low Frequency
—
18
EQ Low G
EQ Low Gain
—
19
EQ Low-Mid Q
EQ Low-Mid Q
—
20
EQ Low-Mid F
EQ Low-Mid Frequency
—
21
EQ Low-Mid G
EQ Low-Mid Gain
—
22
EQ High-Mid Q
EQ High-Mid Q
—
23
EQ High-Mid F
EQ High-Mid Frequency
—
24
EQ High-Mid G
EQ High-Mid Gain
—
25
EQ High Q
EQ High Q
—
26
EQ High F
EQ High Frequency
—
27
EQ High G
EQ High Gain
—
28
Gate On
Gate on/off
—
29
Gate Threshold
Gate Threshold
—
30
Gate Range
Gate Range
—
31
Gate Attack
Gate Attack
—
32
Gate Decay
Gate Decay
—
33
Gate Hold
Gate Hold
—
34
Comp On
Comp on/off
—
35
Comp Threshold
Comp Threshold
—
36
Comp Ratio
Comp Ratio
—
37
Comp Attack
Comp Attack
—
38
Comp Release
Comp Release
—
39
Comp Out Gain
Comp Out Gain
—
40
Comp Knee/Width
Comp Knee/Width
—
41
Surr. LFE Level
Surround LFE level
—
42
Surr. Pan Wheel
Surround Pan Wheel
—
43
Scene Fade Time
Scene Fade Time
—
Analog I/O & the AD Input Section
39
4 Analog I/O & the AD Input Section
AD Input Section
The 02R96 features 24 AD Inputs for connecting microphone and line-level sources.
AD Inputs can be patched to Input Channels or Input Channel Insert Ins (see page 52).
They can also be patched to Output Channel Insert Ins (see page 55).
AD Input Connectors (AD 1–16)
AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and balanced 1/4-inch phone jacks, both with a nominal input range of –60 dB to
+10 dB. The phone jacks, which can also be used with unbalanced phone
plugs, have priority over the XLR-type connectors, so when a phone plug is
inserted, the XLR-type connector is disconnected.
AD Input Connectors (AD 17–24)
AD Inputs 17 through 24 feature balanced 1/4-inch phone jacks, with a nominal input range of –34 dB to +10 dB. They can also be used with unbalanced
phone plugs.
Phantom Power (AD 1–16)
+ 48V
ON
OFF
AD Inputs 1 through 16 feature switchable +48 V phantom powering for use
with condenser-type microphones and direct boxes. Phantom power is supplied to the balanced XLR-3-31-type connector, and can be switched individually for each AD Input.
Pad (AD 1–16)
AD Inputs 1 through 16 feature pad switches, which attenuate input signals by
26 dB, allowing the Head Amps to work with high-level signals. Pad is typically used to attenuate “hot” signals from bass or snare drum microphones, or
“hot” line-level signals.
26dB
Gain
-60
-16
GAIN
AD Inputs 1–16
+10
GAIN
34
AD Inputs 17–24
AD Inputs feature detented rotary gain controls with an input sensitivity of
–16 dB to –60 dB, or +10 dB to –34 dB when the Pad is on (+10 dB to –34 dB
for AD Inputs 17–24). The GAIN controls adjust the gain of the Head Amps,
allowing you to optimize input signal levels for the best signal-to-noise performance. Ideally, the GAIN control should be set so that the signal level is relatively high, and it’s okay for the PEAK indicator to light up occasionally. If the
PEAK indicator lights up often, however, you should back off the GAIN control a little, otherwise, signal clipping may occur. If the GAIN is set too low, the
signal-to-noise performance will suffer.
PEAK & SIGNAL Indicators
PEAK
SIGNAL
These indicators are used in conjunction with the GAIN controls and PAD
switches to optimize signal levels. The SIGNAL indicator lights up when the
input signal level is 20 dB below nominal. The PEAK indicator lights up when
the input signal level is 3 dB below clipping.
02R96—Owner’s Manual
40
Chapter 4—Analog I/O & the AD Input Section
AD Inserts (AD 1–16)
AD Inputs 1 through 16 feature switchable analog inserts on 1/4-inch TRS
phone jacks for the send and return signals. They are wired: sleeve–ground,
ring–return, tip–send. The nominal signal level is +4 dB.
OFF
ON
INSERT
AD Input inserts can be turned on and off individually by using the INSERT
ON/OFF switches, so you don’t have to disconnect your external equipment in
order to remove an insert.
Stereo Out
See page 73 for information on the Stereo Out outputs.
Control Room Monitor Out
See page 114 for information on the Control Room Monitor output.
Studio Monitor Out
See page 115 for information on the Studio Monitor output.
Omni Outs
The 02R96 features assignable Omni Outs on balanced 1/4-inch TRS phone jacks. Omni
Outs can be patched to Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel
Insert Outs, or Surround Monitor Channels (see page 55). In addition, Input Channel
Direct Outs can be patched to the Omni Outs (see page 56).
The maximum output level of each OMNI OUT can be set internally to either +4 dB
(–10 dB operating level) or +18 dB (+4 dB operating level). Contact your dealer for further
details.
2TR Analog INs
The 02R96 features two sets of 2-track analog inputs: 2TR IN ANALOG 1
+4 dB (BAL) uses balanced 1/4-inch TRS phone jacks. 2TR IN ANALOG 2
–10 dBV (UNBAL) uses unbalanced phono connectors. These inputs can be
monitored via the Control Room monitors by pressing the CONTROL
ROOM [2TR A1] and [2TR A2] buttons. They can be patched to Input
Channels (see page 52), Input Channel Insert Ins (see page 53), or Output
Channel Insert Ins (see page 55).
02R96—Owner’s Manual
Digital I/O & Cascading
41
5 Digital I/O & Cascading
Wordclocks
Unlike analog audio equipment, digital audio equipment must be synchronized when digital audio signals are transferred from one device to another, otherwise, signals may not be
received correctly and audible noise, glitches, or clicks may occur. Synchronization is
achieved using what’s called a wordclock, which is a clock signal for synchronizing all the
digital audio signals in a system. Note that wordclocks are not the same as SMPTE/EBU or
MTC timecode, which is typically used to synchronize tape machines, MIDI sequencers,
and so on. Wordclock synchronization refers to the synchronization of the digital audio
processing circuits inside each digital audio device.
In a typical digital audio system, one device operates as the wordclock master, and the other
devices operate as wordclock slaves, synchronizing to the wordclock master. Wordclock signals can be distributed via dedicated cables, typically BNC cables, or derived from digital
audio connections, including AES/EBU, ADAT, and Tascam formats.
If you’re connecting to the 02R96 using only analog inputs and outputs, no special wordclock settings are required, and the 02R96 can be set to use its own internally generated
wordclock. If you’re connecting other equipment digitally, however, you must decide which
device to use as the wordclock master and which devices to use as slaves.
The 02R96 can be used as the wordclock master running at either 44.1 kHz, 48 kHz,
88.2 kHz, or 96 kHz, or slaved to an external wordclock source. External wordclock signals
can be received via the Slot Inputs, 2TR Digital Inputs, the CASCADE IN port, or the dedicated BNC WORD CLOCK IN connector.
In a system where all devices share a common wordclock, it’s important that all devices be
turned on even if they’re not being used. Turn on the wordclock master first, and then the
slaves. When shutting down the system, turn off the slaves first, and then the master. Before
use, make sure that the wordclock slaves are correctly locked to the wordclock master. Most
devices have front panel indicators to indicate this. Refer to the relevant owner’s manuals
for more information.
Wordclock Connections
The 02R96 features a BNC wordclock input and a BNC wordclock
output. External wordclock signals can be connected to the WORD
CLOCK IN connector, and terminated by using the 75Ω ON/OFF
switch (see page 43). The WORD CLOCK OUT outputs a wordclock signal at the same clock rate as the 02R96.
02R96—Owner’s Manual
42
Chapter 5—Digital I/O & Cascading
Selecting the Wordclock Source
The wordclock source can be selected as follows.
Note: When you change the wordclock settings on any device in your digital audio system, some
devices may output noise, so turn down your power amps beforehand, otherwise your speakers
may be damaged.
1
Use the DISPLAY ACCESS [DIO] button to locate the Word Clock Select page.
2
Use the cursor buttons to select the sources, and press [ENTER] to set.
The SLOT TYPE column displays the names of any installed I/O Cards. The IN and OUT
columns indicate the number of inputs and outputs available for each installed I/O Card.
The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz,
88.2kHz, 96kHz, or Unlock.
The following are possible wordclock sources:
SLOT1–4 (1/2–15/16): These buttons select the Slot Inputs as the wordclock source.
Inputs are selected in pairs, the number of pairs depending on the type of I/O Card
installed.
WC IN: This button selects the WORDCLOCK IN connector as the wordclock source.
CAS. IN: This button selects the CASCADE IN port as the wordclock source.
2TRD1, 2TRD2, 2TRD3: These buttons select the 2TR Digital Inputs as the wordclock
source.
INT44.1k, INT48k, INT88.2k, INT96k: These buttons select the internal wordclock
generator as the wordclock source.
The source select buttons have the following indications:
A usable wordclock signal is present at this input.
No wordclock signal is present at this input.
A wordclock signal is present, but it’s out of sync with the current 02R96 clock.
This is the currently selected wordclock source.
This input was selected as the wordclock source, but no usable signal was received.
This cannot be selected as the wordclock source because a wordclock signal cannot be
sourced from this input on this type of I/O Card, or no I/O Card is installed.
If an external wordclock source fails for some reason, the 02R96 automatically switches to
its internal wordclock generator at the closest frequency.
02R96—Owner’s Manual
2TR Digital Outs
43
Terminating External Wordclocks
Wordclock signals distributed via BNC cables must be terminated correctly, otherwise, jitter
and synchronization errors may result. Ideally, you should make a separate wordclock connection to each device and terminate it. The following examples show two ways in which
wordclock signals can be distributed and how termination should be applied in each case.
Normally the WORD CLOCK 75Ω ON/OFF switch should be set to ON. The OFF setting
provides support for wordclock source devices with special specifications.
Star Distribution
In this example a dedicated wordclock distribution box is used to supply wordclock signals
to each device individually. Termination is applied at each device.
WC OUT
(BNC)
Wordclock
master
WC IN (BNC)
Wordclock
distribution box
WC IN (BNC)
WC IN (BNC)
WC IN (BNC)
Device-A
Device-B
Device-C
Device-D
Termination = ON
Termination = ON
Termination = ON
Termination = ON
Wordclock slave
Wordclock slave
Wordclock slave
Wordclock slave
Daisy Chain Distribution
In this example the wordclock signal is distributed in a “daisy-chain” fashion, with each
device feeding the wordclock signal on to the next. This method of distribution is not recommended for larger systems.
Wordclock
master
WC OUT (BNC)
WC IN
(BNC)
WC OUT
(BNC)
WC IN
(BNC)
WC OUT
(BNC)
WC IN
(BNC)
Device-A
Device-B
Device-C
Termination = ON
Termination = ON
Termination = ON
Wordclock slave
Wordclock slave
Wordclock slave
2TR Digital Outs
The 02R96 features three sets of 2-track digital outputs: 2TR OUT
DIGITAL AES/EBU 1 uses an XLR-3-32-type connector and outputs
AES/EBU format digital audio. 2TR OUT DIGITAL COAXIAL 2 and 3
use phono connectors and output consumer format (IEC-60958) digital audio. These outputs can be patched to the Bus Outs, Aux Sends,
the Stereo Out, Input or Output Channel Insert Outs, or the Control Room signal (see
page 56). They can also be patched to Direct Outs (see page 56). Digital output signals can
be dithered for transfer to lower-resolution systems (see page 48).
02R96—Owner’s Manual
44
Chapter 5—Digital I/O & Cascading
2TR Digital Ins
The 02R96 features three sets of 2-track digital inputs: 2TR IN DIGITAL AES/EBU 1 uses an XLR-3-31-type connector and accepts
AES/EBU format digital audio. 2TR IN DIGITAL COAXIAL 2 and 3
use phono connectors and accept consumer format (IEC-60958) digital audio. These inputs can be monitored via the Control Room monitors by using the CONTROL ROOM [2TR D1], [2TR D2], and [2TR D3] buttons. They
can be patched to Input Channels (see page 52), Input Channel Insert Ins (see page 53), or
Output Channel Insert Ins (see page 55). Digital audio signals received at sampling rates
other than the current 02R96 rate can be converted by the internal sampling rate converters
(see page 44). You can monitor the Channel Status of digital signals present at these inputs
on the Channel Status Monitor page (see page 48).
2TR In Sampling Rate Conversion
1
2
The 02R96’s 2TR Digital Inputs feature sampling rate converters so you can easily connect
your legacy 44.1/48 kHz digital audio equipment.
Use the DISPLAY ACCESS [DIO] button to locate the Sampling Rate Converter page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz,
88.2kHz, 96kHz, or Unlock.
2TR IN D1–3: These buttons are used to turn on and off the sampling rate converter for
each 2TR Digital Input. When on, the sampling rate of the received digital audio is converted to the 02R96’s current sampling rate. The original sampling rate is displayed.
02R96—Owner’s Manual
Slot I/O
45
Slot I/O
The 02R96 features four Slots for installing optional mini-YGDAI (Yamaha General Digital
Audio Interface) I/O Cards, which offer various analog I/O options and digital I/O interfaces in all the popular digital audio interconnect formats, including AES/EBU, ADAT, and
Tascam.
Slot Inputs can be assigned to Input Channels or Input Channel Insert Ins (see page 52), or
to Output Channel Insert Ins (see page 55). Slot Outputs can be assigned to Bus Outs, Aux
Sends, the Stereo Out, Insert Outs, or the Surround Monitor Channels (see page 54), or
Direct Outs (see page 56).
Slot outputs can be dithered for digital audio transfer to lower-resolution systems (see
page 48).
Available Cards
The following mini-YGDAI I/O Cards are currently available. See the Yamaha Professional
Audio Web site at the following URL for up-to-date news on I/O Cards:
<http://www.yamaha.co.jp/product/proaudio/homeenglish/>.
In
Out
MY8-AD
Card
8
—
MY8-AD241
8
—
4
—
MY4-AD
Format
Analog in
Resolution/Sampling Rate
20-bit, 44.1/48 kHz
Phone jack (balanced) x8
24-bit, 44.1/48 kHz
XLR-3-31 type (balanced) x4
MY8-AD96
8
MY4-DA
—
4
24-bit, 44.1/48 kHz
—
8
24-bit, 44.1/48/88.2/96 kHz
MY8-DA96
Analog out
24-bit, 44.1/48/88.2/96 kHz 25-pin D-sub
MY8-AE2
MY8-AE96
Connectors
XLR-3-32 type (balanced) x4
24-bit, 44.1/48 kHz
25-pin D-sub
AES/EBU I/O
24-bit, 44.1/48/88.2/96 kHz
MY8-AE96S3
MY8-AT2
ADAT I/O
MY8-TD2
Tascam
MY8-mLAN
IEEE1394
8
8
Optical x2
24-bit, 44.1/48 kHz
25-pin D-sub
BNC wordclock output
6-pin 1394 connector x2
1. This card supersedes the 20-bit MY8-AD card.
2. Can handle 24-bit/96 kHz in Double Channel mode.
3. Same as MY8-AE96 except for onboard sampling rate converters.
Card Combination Restrictions
For technical reasons, certain I/O Card combinations are not supported. If you use an
unsupported combination, you run the risk of damaging the 02R96, in which case Yamaha
will not take responsibility for any such damage. See the Yamaha Professional Audio Web
site at the following URL for more details: <http://www.yamaha.co.jp/product/proaudio/homeenglish/>.
02R96—Owner’s Manual
46
Chapter 5—Digital I/O & Cascading
Installing I/O Cards
1
This section explains how to install I/O Cards.
Turn off the 02R96.
2
Undo the two fixing screws and remove the slot cover, as shown below.
Keep the cover and fixing screws in a safe place for future use.
3
Insert the card between the guide rails and slide it all the way into the slot,
as shown below. You may have to push firmly to plug the card into the internal connector.
4
Secure the card using the attached thumbscrews. Do not leave them loose,
as the card will not be grounded correctly, which may cause the 02R96 to
malfunction.
You can check which I/O Cards are installed on the Word Clock Select page (see page 42).
02R96—Owner’s Manual
Slot I/O
47
Setting the Transfer Format for Higher Sampling Rates
1
2
The data transfer format for the higher sampling rates can be set as follows.
Use the DISPLAY ACCESS [DIO] button to locate the Higher Sample Rate Data
Transfer Format page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
The SLOT TYPE column displays the names of any installed I/O Cards.
IN/OUT: These parameters are used to set the input and output data transfer format of I/O
Cards when running at the higher sampling rates (i.e., 88.2 kHz or 96 kHz) to either Double
Channel or Double Speed. In Double Speed mode, digital audio data is received and transmitted at the current higher sampling rate (i.e., 88.2 kHz or 96 kHz). In Double Channel
mode, digital audio data is received and transmitted at a sampling rate that is exactly half
the current higher sampling rate and data is handled by two channels, thereby reducing the
total number of inputs or outputs for an eight channel I/O Card to four. In Double Channel
mode, the even-numbered channels are disabled. Double Channel mode allows you to
record 96 kHz audio to legacy 44.1/48 kHz digital multitrack recorders.
The IN and OUT parameters are only available when a higher sampling rate (i.e., 88.2 kHz
or 96 kHz) is selected. When the sampling rate is 44.1 kHz or 48 kHz, all parameters on this
page are unavailable. As are individual parameters for Slots with analog I/O Cards installed,
or no I/O Card installed. When a digital I/O card that does not support 88.2/96 kHz is
installed, such as the MY8-AE, MY8-AT, or MY8-TD, its IN and OUT formats are fixed at
Double Channel mode.
SRC: These parameters are used to turn on and off the sampling rate converter for each
pair of Slot Inputs. When on, the sampling rate of the received digital audio is converted to
the 02R96’s current sampling rate. The original sampling rate is displayed. These parameters are available only when an I/O Card with onboard sampling rate converters is installed,
such as the MY8-AE96S.
02R96—Owner’s Manual
48
Chapter 5—Digital I/O & Cascading
Dithering Digital Outputs
1
2
For digital audio transfer to lower-resolution systems, the 2TR Digital Outputs and Slot
Outputs can be dithered to 16-bit, 20-bit, or 24-bit.
Use the DISPLAY ACCESS [DIO] button to locate the Dither page.
Use the cursor buttons to select the Dither parameters, and use the Parameter wheel or INC/DEC buttons to set them.
The SLOT column displays the names of any installed I/O Cards.
You can copy the currently selected setting to all Dither parameters by double-clicking the
[ENTER] button.
Monitoring Digital Input Channel Status
1
2
You can monitor the Channel Status of digital audio signals connected to the 2TR Digital
Inputs and Slot Inputs as follows.
Use the DISPLAY ACCESS [UTILITY] button to locate the Channel Status Monitor page.
Use the cursor buttons to select the SLOT 1–4 and 2TR IN buttons, and the
press [ENTER].
Displayed Channel Status information includes sampling rate (FS), emphasis, category, and
copy protection.
02R96—Owner’s Manual
Cascading Consoles
49
Cascading Consoles
Up to four 02R96s can be cascaded, offering a maximum of 224 Input Channels. Several
functions are linked between all cascaded consoles, including Solo, Scene Recall and Store,
so that all consoles work just like one big console. A single Yamaha 02R Digital Recording
Console can be included in the cascade system.
The CASCADE IN and CASCADE OUT
ports are used to transmit and receive
Cascade and control signals. Only use
the optional dedicated Cascade cables for
connecting.
Linked Functions
•
•
•
•
•
•
•
•
•
•
•
The following 02R96 functions are linked via the cascade ports:
AUX SELECT
Display page selection
Solo function
FADER MODE
ENCODER MODE
Metering position setting
Peak Hold On/Off
Meter Fast Fall on/off
Scene Store, Recall, and Title Edit
When a Scene is recalled on the master console, that scene is recalled on all cascaded consoles.
The following Automix functions: Make New Automix, Store, Recall, Undo, Title Edit,
Transport (AutoREC, REC, PLAY, STOP, ABORT).
The following Automix parameters: Automix Enable/Disable, Internal Start Time, Offset
Time, Frame Rate, Overwrite (FADER, ON, PAN, SURR, AUX, AUX ON, EQ), Motor
ON/OFF, Edit Out Mode OFF/RETURN/TAKEOVER, Return Time, Update To End
On/Off, ABSOLUTE/RELATIVE Fader Edit Mode, Touch Sense Edit In On/Off, Touch
Sense Edit Out On/Off.
Function and parameter linking can be turned on or off by using the Cascade COMM Link
preference (see page 198). The Solo function is always linked regardless of this preference.
Note: When the Cascade COMM Link preference is on, do not make any MIDI connections
between cascaded 02R96s. If two 02R96s are cascaded and connected via MIDI, and the Cascade COMM Link preference is on, when a store operation is performed on the master console,
a loop will be created, causing both consoles to execute endless store operations.
When the 02R96 is cascaded with a Yamaha DM2000 Digital Production Console, display
page selection is not linked, and Matrix Send select actions, and Aux Send 9–12 select
actions performed on the DM2000 are ignored by the 02R96.
02R96—Owner’s Manual
50
Chapter 5—Digital I/O & Cascading
Cascade Hookup Examples
Cascading Two 02R96s
Master: Off
Bi-directional: -
Master: On
Bi-directional: On
CASCADE OUT
CASCADE IN
02R96 #1
02R96 #2
CASCADE IN
CASCADE OUT
Final signals
can be output by the
Slot Outputs or Omni Outs.
Final signals
can be output by the
Slot Outputs or Omni Outs.
Cascading Three or More 02R96s
Master: Off
Bi-directional: -
Master: Off
Bi-directional: CASCADE OUT
CASCADE OUT
CASCADE IN
02R96 #1
Master: On
Bi-directional: On
02R96 #2/3
CASCADE OUT
CASCADE IN
02R96 #4
CASCADE IN
Final signals
can be output by the
Slot Outputs or Omni Outs.
Final signals
can be output by the
Slot Outputs or Omni Outs.
Cascading an 02R Digital Recording Console
Master: Off
Bi-directional: Cascade In from: 02R
CASCADE OUT
02R
CASCADE IN
Master: On
Bi-directional: Off
CASCADE OUT
02R96 #1/2
CASCADE IN
02R96 #3
Final signals
can be output by the
Slot Outputs or Omni Outs.
02R96—Owner’s Manual
Cascading Consoles
51
Attenuating Cascade Inputs
1
2
Cascade Inputs can be attenuated, and the Cascade mode and Cascade source can be specified on the Cascade In page.
Use the DISPLAY ACCESS [DIO] button to locate the Cascade In page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
CASCADE MODE: When you want to output the same signals from two 02R96s, turn on
the BI-DIRECTIONAL button. In this case, the Cascade connections are looped. Turn on
the CASCADE MASTER option on the last 02R96 to make it the master console.
CASCADE IN FROM: This is used to specify the type of device connected to the CASCADE IN port, either 02R96 or 02R. When a 02R96 is connected to the CASCADE IN port,
02R96 is specified automatically.
CASCADE IN ATTENUATOR: These controls are used to attenuate Cascade Input signals. The AUX9–AUX12 controls attenuate the corresponding signals only when the 02R96
is cascaded between two Yamaha DM2000 Digital Production Consoles, they have no effect
on the 02R96 itself. You can copy the currently selected setting to all Attenuator parameters
by double-clicking the [ENTER] button.
Turning On & Off Cascade Outputs
1
2
Individual Cascade Outputs can be turned on or off as follows.
Use the DISPLAY ACCESS [DIO] button to locate the Cascade Out page.
Use the cursor buttons to select the ON/OFF buttons, and use the [ENTER]
button to set them.
02R96—Owner’s Manual
52
Chapter 6—Input & Output Patching
6 Input & Output Patching
Input Patching
Signal sources for the Input Channels, Input Channel Insert Ins, and internal effects processors are selected on the Input Patch pages, which are selected by using the DISPLAY
ACCESS [INPUT PATCH] button. Use the cursor buttons to select the patch parameters,
use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set.
Patch parameters display Short Port names. The Long Port name of the currently selected
patch parameter is displayed in the upper-right corner of each page.
Patching can also be done by using the Patch Select Window (see page 57). Input Channel
Inputs, Insert Ins, and Insert Outs can also be patched by using the Encoders (see page 58).
See page 204 for a complete list of input patch sources. See page 207 for a list of initial input
patches.
Input Patch settings can be stored in the Input Patch library, which contains 1 preset memory and 32 user memories. See “Input Patch Library” on page 124 for more information.
Patching Input Channels
AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs,
Bus Outs, or Aux Sends can be patched to the Input Channel Inputs.
The Input Channel Patch parameters for the 56 Input Channels are divided between two
pages. The Input Channel 1–48 Patch page is shown below. The layout of the other page is
the same. When Vertical Input Channel pairing mode is selected, patch parameters for vertical partners are displayed, for example, CH1, CH25, CH2, CH26, and so on.
In addition to using the cursor buttons, Patch parameters can also be selected by using the
LAYER and [SEL] buttons.
02R96—Owner’s Manual
Input Patching
53
Patching Input Channel Insert Ins
AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs can
be patched to the Input Channel Insert Ins.
The Input Channel Insert In Patch parameters for the 56 Input Channels are divided
between two pages. The Input Channel 1–48 Insert In Patch page is shown below. The layout of the other page is the same. When Vertical Input Channel pairing mode is selected,
patch parameters for vertical partners are displayed, for example, CH1, CH25, CH2, CH26,
and so on.
In addition to using the cursor buttons, Patch parameters can also be selected by using the
LAYER and [SEL] buttons.
Patching Effects Inputs
Aux Sends, internal effects processor outputs, or Output Channel Insert Outs can be
patched to the internal effects processor inputs on the Effect 1–4 Input Patch page.
02R96—Owner’s Manual
54
Chapter 6—Input & Output Patching
Output Patching
Signal sources for the Slot Outputs, Omni Outs, Output Channel Inserts Ins, Direct Outs,
and 2TR Digital Outputs are selected on the Output Patch pages, which are selected by
using the DISPLAY ACCESS [OUTPUT PATCH] button. Use the cursor buttons to select
the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and
press [ENTER] to set.
Depending on the patch page, patch parameters display either Short Channel or Short Port
names. The Long Channel or Port name of the currently selected patch parameter is displayed in the upper-right corner of each page.
Signal sources can also be selected by using the Patch Select Window (see page 57). Insert
Ins, Insert Outs, and Direct Outs can also be patched by using the Encoders (see page 58).
See page 208 for a complete list of output patch sources. See page 213 for a list of initial output patches.
Output Patch settings can be stored in the Output Patch library, which contains 1 preset
memory and 32 user memories. See “Output Patch Library” on page 124 for more information.
Patching Slot Outputs
Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround
Monitor Channels can be patched to the Slot Outputs. Slot Outputs can be patched to
Direct Outs on the Direct Out Destination pages (see page 56).
The Slot Output Patch parameters for the four Slots are arranged into two pages. The Slot
1–2 Output Patch page is shown below. The layout of the other page is the same.
When a Slot Output is patched to a Direct Out (see page 56), and that Direct Out is assigned
on an Input Channel Routing page, the Slot Output patch cannot be changed here.
02R96—Owner’s Manual
Output Patching
55
Patching Omni Outs
Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround
Monitor Channels can be patched to the Omni Outs. Omni Outs can be patched to Direct
Outs on the Direct Out Destination pages (see page 56).
When an Omni Out is patched to a Direct out (see page 56), and that Direct Out is assigned
on an Input Channel Routing page, the Omni Out patch cannot be changed here.
Output Channel Inserts Ins
AD Inputs, Slot Inputs, internal effects processor outputs, or Digital or Analog 2TR Inputs
can be patched to the Output Channel Insert Ins. The left and right channels of the Stereo
Out can be patched individually.
In addition to using the cursor buttons, Patch parameters can also be selected by using
[SEL] buttons 9–24 and the STEREO [SEL] button while the Master Layer is selected.
02R96—Owner’s Manual
56
Chapter 6—Input & Output Patching
Patching Direct Outs
Direct Outs can be patched to the Slot Outputs, Omni Outs, or 2TR Digital Outputs.
The Direct Out Destination parameters for the 56 Input Channels are divided between two
pages. The Input Channel 1–48 Direct Out Destination page is shown below. The layout of
the other page is the same.
In addition to using the cursor buttons, Patch parameters can also be selected by using the
LAYER and [SEL] buttons.
Patching the 2TR Digital Outputs
Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or the Control
Room signal can be patched to the 2TR Digital Outputs. 2TR Digital Outputs can be
patched to Direct Outs on the Direct Out Destination pages (see page 56). The left and right
channels of each Digital Output can be patched individually.
When a 2TR Digital Output is patched to a Direct out (see page 56), and that Direct Out is
assigned on an Input Channel Routing page, the 2TR Digital Output patch cannot be
changed here.
02R96—Owner’s Manual
Naming Input & Output Ports
57
Naming Input & Output Ports
1
You can specify Long and Short names for the Input and Output Ports as follows. These
names appear on the Input and Output Patch pages.
See page 215 for a list of the initial Input Port names; page 216 for Output Port names.
Use the DISPLAY ACCESS [SETUP] button to locate the Input Port or Output
Port Name page.
2
Use the Parameter wheel or INC/DEC buttons to select the ports.
3
Use the cursor buttons to select the Long or Short name, and then press
[ENTER].
When the Title Edit window appears, edit the port name, and press OK when you’ve finished. See “Title Edit Window” on page 32 for more information.
When the Name Input Auto Copy option is on, the first four characters of a newly entered
Long name are automatically copied to the Short name and vice versa.
You can reset all port names back to their initial values by pressing the INITIALIZE button.
Patch Select Window
Input and Output patches can be made by using the Patch Select window, shown below,
which appears when the [ENTER] button is pressed while a patch parameter is selected.
Available input and output sources and destinations are displayed in a hierarchical format
in three panes. The existing source or destination is displayed in the upper-right corner of
the window. Use the cursor buttons to move the cursor to the pane on the left, and use the
Parameter wheel or INC/DEC buttons to select the top level item. Then move the cursor to
the center pane, and select an item at the next level. Select an item in the right pane, if available, and then select the YES button and press [ENTER].
02R96—Owner’s Manual
58
Chapter 6—Input & Output Patching
Patching with the Encoders
1
The following patches can be made by using the Encoders: Input Channel Inputs, Insert
Outs, Insert Ins, and Direct Outs.
Assign one of the above parameters to an Encoder ASSIGN button, as
explained on page 37.
2
Press the ASSIGN button to which you assigned the patch parameter.
3
Use the Encoders to select ports, and press the Encoder push switches to set
them.
The coresponding Patch page appears when an Encoder is operated. If you operate another
Encoder, the selection is cancelled and the patch is left unchanged.
02R96—Owner’s Manual
Input Channels
59
7 Input Channels
Patching Input Channels
AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs,
Bus Outs, or Aux Sends can be patched to the Input Channel Inputs. See “Patching Input
Channels” on page 52 for more information.
Metering Input Channels
Input Channel signal levels can be metered on the Meter pages. See “Metering” on page 87
for more information.
Reversing the Signal Phase
1
2
The signal phase of each Input Channel can be reversed as follows.
Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to
select the Phase pages.
The Phase parameters for the 56 Input Channels are divided between two pages. The Input
Channel 1–48 Phase page is shown below. The layout of the other page is the same.
Use the cursor buttons or Parameter wheel to select the NOR/REV buttons,
and the [ENTER] button and INC/DEC buttons to set them.
The NOR/REV buttons can also be selected by using the LAYER and [SEL] buttons.
GLOBAL NOR/REV: These buttons allow you to set the phase of all Input Channels
simultaneously.
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60
Chapter 7—Input Channels
Gating Input Channels
Each Input Channel features a noise Gate for automatically shutting out unwanted noise.
Gate settings can be stored in the Gate library, which contains 4 preset memories and 88
user memories. See “Gate Library” on page 127 for more information.
Preset Gates & Types
The following table lists the preset Gates and types. See page 255 for detailed parameter
information.
#
Preset Name
Type
Description
1
Gate
GATE
Gate template
2
Ducking
DUCKING
Ducking template
3
A. Dr. BD
GATE
Gate preset for use with acoustic bass drums
4
A. Dr. SN
GATE
Gate preset for use with acoustic snare drums
Using the SELECTED CHANNEL DYNAMICS Controls
1
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
Input Channels.
2
Use the [GATE ON] button to turn the currently selected Input Channel’s
Gate on or off.
DYNAMICS
DISPLAY
GATE ON COMP ON
3
GATE / COMP
GATE
THRESHOLD
RANGE
ATTACK
DECAY
HOLD
COMP
THRESHOLD
RATIO
ATTACK
RELEASE
GAIN
Use the [GATE/COMP] button to set the DYNAMICS controls to GATE (GATE
indicator lit), and use the THRESHOLD, RANGE, ATTACK, DECAY, and HOLD
controls to set the Gate.
Gate Edit Page
1
2
Gate settings can be viewed and set on the Gate Edit page. If the Auto DYNAMICS Display
preference is on, this page appears automatically when a gate control in the SELECTED
CHANNEL DYNAMICS section is operated.
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
Input Channels.
Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Gate Library page, and then recall a Gate preset that contains the gate type
that you want.
See “Gate Library” on page 127 for more information.
02R96—Owner’s Manual
Attenuating Input Channels
61
3
Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Gate Edit page.
4
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
KEYIN SOURCE: This determines the trigger source for the currently selected Input
Channel’s Gate. Trigger sources include SELF (the Gate’s own input signal), CHANNEL
(another Input Channel), or AUX (an Aux Send from 1–8). Input Channel trigger sources
are selectable in blocks of 12 channels. For example, if Input Channel #1 is currently
selected, an Input Channel from 1–12 can be selected as the trigger source. However, if
Input Channel #13 is currently selected, an Input Channel from 13–24 can be selected.
STEREO LINK: This allows you to pair Gates for stereo operation even when Input Channels are not paired. Input Channel Gates are paired either horizontally or vertically depending on the Pair mode setting for the currently selected Input Channel. See “Pairing
Channels” on page 104 for more information on horizontal and vertical pairing. When
Input Channels are paired, this parameter is turned on automatically and cannot be
changed.
CURVE: This displays the gate curve (i.e., input level vs. output level).
TYPE: This is the gate type used by the currently selected Input Channel’s Gate.
Meters: These meters indicate the levels of the currently selected Input Channel and its
horizontal or vertical partner. The GR meter indicates the amount of gain reduction being
applied by the currently selected Input Channel’s Gate.
ON/OFF: This turns the currently selected Input Channel’s Gate on and off. It works in
unison with the SELECTED CHANNEL DYNAMICS [GATE ON] button.
PARAMETER: These controls are used to set the Threshold, Range, Attack, Decay, and
Hold parameters.
Attenuating Input Channels
Input Channels signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for
more information.
EQ’ing Input Channels
Each Input Channel features 4-band parametric EQ. See “Using EQ” on page 91 for more
information.
02R96—Owner’s Manual
62
Chapter 7—Input Channels
Grouping Input Channel EQs
1
Input Channel EQs can be grouped, allowing you to control the EQ of several Input Channels simultaneously. There are four Input Channel EQ groups: a, b, c, and d.
Use the DISPLAY ACCESS [GROUP] button to locate the Input Equalizer Link
page.
2
Use the LAYER buttons to select the Layers.
The corresponding group row is selected as each Layer is selected.
3
Use the Up/Down cursor buttons to select EQ groups a–d.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove Input Channels to and from the
selected group.
The EQ settings of the first Input Channel added to the group are applied to all subsequently added Input Channels.
When an Input Channel is added to a group, its [SEL] button indicator lights up.
Input Channel Inserts
Internal effects processors and external signal processors can be patched into the Input
Channels by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing Input Channels
Each Input Channel features a Compressor. See “Compressing Channels” on page 97 for
more information.
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Grouping Input Channel Compressors
63
Grouping Input Channel Compressors
1
Input Channel Compressors can be grouped, allowing you to control the compression of
several Input Channels simultaneously by operating any Compressor control in the group.
There are four Input Channel Compressor groups: i, j, k, and l.
Use the DISPLAY ACCESS [GROUP] button to locate the Input Comp Link
page.
2
Use the LAYER buttons to select the Layers.
The corresponding group row is selected as each Layer is selected.
3
Use the Up/Down cursor buttons to select Comp groups i–l.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove Input Channels to and from the
selected group.
The Compressor settings of the first Input Channel added to the group are applied to all
subsequently added Input Channels.
When an Input Channel is added to a group, its [SEL] button indicator lights up.
If an Input Channel Compressor’s Stereo Link option is on, it’s turned off when that Input
Channel is added to a Comp group.
Delaying Input Channels
Each Input Channel features a Delay function. See “Delaying Channel Signals” on page 101
for more information.
Muting Input Channels (ON/OFF)
1
2
Input Channels can be muted as follows.
Use the LAYER buttons to select the Layers.
Use the [ON] buttons to mute the Input Channels.
The [ON] button indicators of channels that are on are lit.
ON
02R96—Owner’s Manual
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Chapter 7—Input Channels
Grouping Input Channel Mutes (ON/OFF)
1
Input Channel Mutes can be grouped, allowing you to mute several Input Channels simultaneously. There are eight Input Channel Mute groups: I, J, K, L, M, N, O, and P.
Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Mute
Group pages.
The Mute group parameters for the 56 Input Channels are divided between two pages. The
Input Channel 1–48 Mute Group page is shown below. The layout of the other page is the
same.
2
Use the LAYER buttons to select the Layers.
The corresponding Mute Group page and group row is selected as each Layer is selected.
3
Use the Up/Down cursor buttons to select Mute groups I–P.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove mutes to and from the selected
group.
When an Input Channel is added to a Mute group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
Mute groups may contain a combination of channels that are on and channels that are off.
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Setting Input Channel Levels
Setting Input Channel Levels
1
Input Channel levels can be set as follows.
Use the LAYER buttons to select the Layers.
2
Press the FADER MODE [FADER] button to select Fader mode.
3
Use the faders to set the Input Channel levels.
Refer to the legend on the left side of the faders when setting Input Channel levels.
Fader positions can be viewed on the Fader View pages. See “Viewing Channel
Fader Settings” on page 109 for more information.
10
5
0
5
10
15
20
30
40
50
1
25
49
Grouping Input Channel Faders
1
Input Channel faders can be grouped, allowing you to control the level of several Input
Channels simultaneously. There are eight Input Channel Fader groups: A, B, C, D, E, F, G,
and H.
Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Fader
Group pages.
The Fader Group parameters for the 56 Input Channels are divided between two pages. The
Input Channel 1–48 Fader Group page is shown below. The layout of the other page is the
same.
2
Use the LAYER buttons to select the Layers.
The corresponding Fader Group page and group row is selected as each Layer is selected.
3
Use the Up/Down cursor buttons to select Fader groups A–H.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove faders to and from the selected
group.
When an Input Channel is added to a group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
You can temporarily disable a Fader group in order to make adjustments to individual faders by touching two or more faders in the group, or by operating the fader while holding
down its [SEL] button.
Fader groups are active only in Fader mode (i.e., when the FADER MODE [FADER] button
indicator is on). See “Selecting Fader Modes” on page 35 for more information.
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Chapter 7—Input Channels
Routing Input Channels
Each Input Channel can be routed to the Bus Outs, Stereo Out, or its own Direct Out.
Using the SELECTED CHANNEL ROUTING Controls
1
Use the LAYER buttons to select the Layers, and use the
[SEL] buttons to select the Input Channels.
ROUTING
DISPLAY
1
2
2
Use the [1–8], [STEREO], and [DIRECT] buttons to route the
currently selected Input Channel.
[1–8]: These buttons route the currently selected Input Channel to the
Bus Outs.
[STEREO]: This button routes the currently selected Input Channel to
the Stereo Out.
DIRECT: This button routes the currently selected Input Channel to its Direct Out.
[FOLLOW PAN]: This determines whether the Input Channel’s Pan control setting is
applied to the Bus Outs. When off, the levels of the signals fed to the odd and even Bus Outs
is the same. When on, the levels of the signals fed to the odd and even Bus Outs follows the
Pan control.
FOLLOW PAN
3
4
5
6
7
8
STEREO
DIRECT
Routing Pages
1
2
Input Channel routing settings can be viewed and set on the Routing pages. If the Auto
ROUTING Display preference is on, these pages appear automatically when a button in the
SELECTED CHANNEL ROUTING section is pressed. See “Auto ROUTING Display” on
page 197.
Use the SELECTED CHANNEL ROUTING [DISPLAY] button to select the Routing pages.
The Routing parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Routing page is shown below. The layout of the other two pages is the
same.
Use the cursor buttons and Parameter wheel to select the parameters, and
use the [ENTER] button or INC/DEC buttons to set them.
Channels can also be selected by using the LAYER buttons and [SEL] buttons.
ALL STEREO: This button assigns all Input Channels to the Stereo Out.
ALL BUS: This button assigns all Input Channels to all Bus Outs
ALL CLEAR: This button clears all routing assignments.
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Panning Input Channels
The currently selected Surround mode is displayed in the lower-left corner. When Stereo
mode is selected, the Bus Out routing buttons display numbers from 1 through 8. When a
Surround Pan mode is selected, they display abbreviations of the Surround Channel names,
as shown in the following table. See “Using Surround Pan” on page 69 for more information.
Surround Mode
Bus Outs
1
2
3
4
5
6
7
8
Stereo
1
2
3
4
5
6
7
8
3-1
L
R
C
S
5
6
7
8
C
E1
7
8
5.1
L
R
Ls
Rs
1. Short for LFE (Low frequency Effects).
Panning Input Channels
Input Channels can be panned between the left and right channels of the Stereo Out.
Using the Encoders
1
Use the LAYER buttons to select the Layers.
2
Press the ENCODER MODE [PAN] button to select the Pan Encoder
mode.
3
Use the Encoders to pan the input channels.
Using the SELECTED CHANNEL PAN/SURROUND Controls
1
Use the LAYER buttons to select the Layers, and use the [SEL] buttons to
select the Input Channels.
PAN / SURROUND
DISPLAY
L
2
R
L
R
ODD
EVEN
LINK
GRAB
EFFECT
Use the Pan control to pan the currently selected Input Channel.
The pan display indicates the pan position of the currently selected Input Channel. When
pan is set to center, the center two segments light up. You can use the [L] and [R] buttons
to select horizontal or vertical Input Channel partners.
The [LINK] button, which is enabled only when a Surround mode other than Stereo is
selected, is used to link the Pan control and the Joystick so that either control can be used
for panning. It’s a global setting that applies to all Input Channels. For this to work, the
[EFFECT] button indicator must be off and the [GRAB] and [LINK] button indicators
must be on.
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Chapter 7—Input Channels
Pan Pages
1
2
Pan settings can be viewed and set on the Pan pages. If the Auto PAN/SURROUND Display
preference is on, these pages appear automatically when a control in the SELECTED
CHANNEL PAN/SURROUND section is operated. If both the [LINK] and [GRAB] button
indicators are on, these pages will also appear when the Joystick is operated. See “Auto
PAN/SURROUND Display” on page 197.
Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Input Channel Pan pages.
The Pan parameters for the 56 Input Channels are arranged into three pages. The Input
Channel 1–24 Pan page is shown below. The layout of the other two pages is the same.
Use the cursor buttons to select the Pan controls, and use the Parameter
wheel and INC/DEC buttons to set them.
Pan parameters can also be selected by using the LAYER buttons and [SEL] buttons.
The currently selected Pan control can be set to center by pressing [ENTER].
MODE: There are three Pan modes that determine how horizontally and vertically paired
Input Channels are panned: Individual, Gang, and Inverse Gang. This is a global setting that
applies to all paired Input Channels.
In individual mode, paired Input Channel pan controls operate independently.
In Gang mode, paired Input Channel pan controls operate in unison.
In Inverse Gang mode, paired Input Channel pan controls operate in unison but
move in opposite directions.
Aux Send Pan controls can be linked to Input Channel Pan controls so that operating an
Input Channel Pan control also operates the corresponding Aux Send Pan control, and vice
versa (see page 84). While linked, the Pan mode can be set on the Aux Pan page or the Input
Channel Pan page.
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Using Surround Pan
Using Surround Pan
The 02R96 supports 3-1 and 5.1 Surround modes. Surround pan is independent of normal
panning. Normal panning determines how an Input Channel signal is panned between the
left and right channels of the Stereo out, whereas surround panning determines how an
Input Channel signal is panned among the Surround channels (i.e., the Bus Outs). The following table shows how Surround channels are handled by the Bus Outs.
Surround Mode
Bus Outs
1
2
3
4
5
6
3-1
Left
Right
Center
Surround
—
—
5.1
Left
Right
Left
Surround
Right
Surround
Center
LFE
See page 116 for information on surround monitoring.
Selecting Surround Pan Modes
1
2
The Surround mode can be selected as follows.
Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Surround Mode page.
Use the cursor buttons to select the surround mode buttons, and press
[ENTER] to activate the selected mode.
The 3-1 Surround mode page is shown on the left; the 5.1 page on the right. The diagram
on each page shows the typical sound image placement and the Surround channel to Bus
Out configuration.
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Chapter 7—Input Channels
Using the Joystick
1
Use the LAYER buttons to select the Layers, and use the [SEL] buttons to
select the Input Channels.
PAN / SURROUND
DISPLAY
L
2
R
L
R
ODD
EVEN
LINK
GRAB
EFFECT
Press the [GRAB] button to grab the current Joystick position, and then use
the Joystick to set the surround pan.
The [GRAB] button, which is enabled only when a Surround mode other than Stereo is
selected, is used to turn on and off Joystick surround pan control for the currently selected
Input Channel. While Grab is on, the Joystick can be used to set the surround pan position
of the currently selected Input Channel. If the Joystick is set to control effects (i.e., the
[EFFECT] button indicator is lit), the [GRAB] button is disabled.
Selected Channel Surround Edit Page
1
2
Surround pan settings can be viewed and set on the Input Channel Surround Edit page. If
the Auto PAN/SURROUND Display preference is on, and a Surround Pan mode other than
Stereo is selected, this page appears automatically when a PAN/SURROUND control other
than the [EFFECT] button is operated. See “Auto PAN/SURROUND Display” on page 197.
Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Surround Edit page.
Use the LAYER buttons to select the Layers, and use the [SEL] buttons to
select the Input Channels.
The Surround Edit page displays surround pan parameters for the currently selected Input
Channel and its horizontal or vertical partner. The current surround pan position of each
Input Channel is indicated by a small circle. It’s also indicated numerically next to each
Input Channel number, for example, “CH1 (L9, R10).”
The graph of the currently selected Input Channel displays a small square, which indicates
the current position of the Joystick. If the Auto Grab preference is on (see page 198), when
the Joystick is moved to the current surround pan position, the Joystick kicks in as surround
pan control and the small square disappears.
The number of speaker icons and meters around the surround graph depends on the currently selected Surround mode. The meters indicate Bus Out signal levels.
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Using Surround Pan
71
You can move the surround pan directly to one of the speaker icons, including the box icons
without speakers, by selecting its icon, and then pressing [ENTER].
3
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
LFE: This sets the level of the LFE (Low Frequency Effects) Channel (5.1 mode only).
DIV (divergence): This determines how the Center signal is fed to the Left, Right, and
Center channels. When set to 0, the Center signal is fed only to the Left and Right channels
(i.e., Phantom Center). When set to 50, the Center signal is fed equally to the Left, Right,
and Center channels. When set to 100, it’s fed to only the Center channel (i.e., Real Center).
Patterns: These buttons are used to select the seven patterns that determine how the surround pan moves by the Parameter wheel and INC/DEC buttons.
FAST: This sets the speed of surround pan control when using the Parameter wheel and
INC/DEC buttons.
WIDTH: This sets the left-to-right width of the selected pattern.
DEPTH: This sets the front-to-rear depth of the selected pattern.
WIDTH OFFSET: This can be used to offset the left-to-right direction of the selected pattern.
DEPTH OFFSET: This can be used to offset the front-to-rear direction of the selected pattern.
ST LINK: This can be used to link the surround pan parameters of the currently selected
Input Channel and its horizontal or vertical partner regardless of whether they are paired.
PATTERN: When Input Channels are linked, the seven patterns selectable here determine
how the linked surround pan moves by the Parameter wheel and INC/DEC buttons.
Input Channel Surround Pages
1
2
Surround pan positions can be viewed and set on the Surround pages.
Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Input Channel Surround pages.
The Surround parameters for the 56 Input Channels are arranged into three pages. The
Input Channel 1–24 Surround page is shown below. The layout of the other two pages is the
same.
Use the cursor buttons to select the Surround parameters, and use the
Parameter wheel and INC/DEC buttons to set them.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. The
graph for the currently selected Input Channel displays a small square, which indicates the
current position of the Joystick.
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Chapter 7—Input Channels
L/R: These parameters are used to set the left/right surround position. While selected, they
can quickly be set to center by pressing [ENTER].
F/R: These parameters are used to set the front/rear surround position. While selected, they
can quickly be set to center by pressing [ENTER].
You can jump to the more detailed Surround Edit page by pressing [ENTER] while an Input
Channel’s surround graph is selected.
Sending Input Channels to Aux Sends
Input Channel signals can be sent to Aux Sends 1–8. See “Setting Aux Send Levels” on
page 80 and “Pre-Fader or Post-Fader Aux Sends” on page 79.
Soloing Input Channels
Input Channels can be soloed. See page 102 for more information.
Direct Outs
Each Input Channel features a Direct Out, which can be patched to the Slot Outputs, Omni
Outs, or the 2TR Digital Outputs. Direct Out signals can be sourced pre-EQ, pre-fader, or
post-fader. See “Patching Direct Outs” on page 56 and “Routing Input Channels” on
page 66 for more information.
Pairing Input Channels
Horizontal or vertical Input Channel partners can be paired for stereo operation. See “Pairing Channels” on page 104 for more information.
Using MS Decoding
When Input Channels are paired, MS Decoding can be used to decode signals from microphones arranged as MS pairs. MS Decoding is set on the Input Channel Pair pages. See
“Pairing Channels” on page 104 for more information.
Viewing Input Channel Settings
Parameter and fader settings for each Input Channel can be viewed on the View pages. See
“Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader Settings”
on page 109 for more information.
Naming Input Channels
Input Channels can be named for easy identification. See “Naming Channels” on page 112
for more information.
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Stereo Out
73
8 Stereo Out
Stereo Out Connectors
The Stereo Out is output by the STEREO OUT +4 dB (BAL) balanced
XLR-3-32-type connectors and the STEREO OUT –10 dBV (UNBAL)
unbalanced phono connectors.
Patching the Stereo Out to Outputs
The left and right channels of the Stereo Out can be patched to the Slot Outputs, Omni
Outs, or the 2TR Digital Outputs. See “Output Patching” on page 54 for more information.
Routing Input Channels to the Stereo Out
Input Channels can be routed and panned to the Stereo Out. See “Routing Input Channels”
on page 66 for more information.
Sending Bus Outs to the Stereo Out
Bus Out signals can be sent to the Stereo Out. See “Sending Bus Outs to the Stereo Out” on
page 78 for more information.
Metering the Stereo Out
Stereo Out signal levels can be metered on the Meter pages. See “Metering” on page 87 for
more information.
Monitoring the Stereo Out
The Stereo Out can be monitored via the CONTROL ROOM MONITOR OUTs and the
PHONES (see page 114) or the STUDIO MONITOR OUT (see page 115).
Attenuating the Stereo Out
Stereo Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for more
information.
EQ’ing the Stereo Out
The Stereo Out features 4-band parametric EQ. See “Using EQ” on page 91 for more information.
Grouping Master EQs
The Stereo Out EQ can be grouped with the EQs of other Output Channels. See “Grouping
Output Channel EQs” on page 94 for more information.
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Chapter 8—Stereo Out
Stereo Out Inserts
Internal effects processors and external signal processors can be patched into the Stereo Out
by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing the Stereo Out
Signal dynamics can be controlled by using the Stereo Out Compressor. See “Compressing
Channels” on page 97 for more information.
Grouping Master Compressors
The Stereo Out Compressor can be grouped with the Compressors of other Output Channels. See “Grouping Output Channel Compressors” on page 100 for more information.
Muting the Stereo Out (ON/OFF)
ON
The Stereo Out can be muted by using the STEREO [ON] button, which is used
exclusively for this task and is not affected by the Layers. Its indicator lights up
when the Stereo Out is on.
Grouping Master Mutes (ON/OFF)
The Stereo Out Mute can be grouped with the Mutes of other Output Channels. See
“Grouping Output Channel Mutes (ON/OFF)” on page 107 for more information.
Setting the Stereo Out Level
The Stereo Out level is set by using the STEREO fader, which is used exclusively for this task and is not affected by the Layers or Fader modes.
0
5
10
15
20
30
40
50
60
70
STEREO
Grouping Master Faders
The Stereo Out fader can be grouped with the faders of other Output Channels. See
“Grouping Output Channel Faders” on page 106 for more information.
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Balancing the Stereo Out
75
Balancing the Stereo Out
1
The left and right channels of the Stereo Out can be balanced as follows.
Press the STEREO [SEL] button to select the Stereo Out.
PAN / SURROUND
DISPLAY
L
2
R
L
R
ODD
EVEN
Use the Pan control to set the balance.
The pan display indicates the balance. When the balance is set to center, the center two segments light up. The balance can be set to center by pressing [ENTER].
The Stereo Out balance can also be set on the Stereo Fader View page. See “Viewing Channel
Fader Settings” on page 109 for more information.
Delaying the Stereo Out
The left and right channels of the Stereo Out can be delayed independently by using the Stereo Out Delay. See “Delaying Channel Signals” on page 101 for more information.
Viewing Stereo Out Settings
Parameter and fader settings for the Stereo Out can be viewed and set on the View pages.
See “Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader Settings” on page 109 for more information.
Naming the Stereo Out
The Stereo Out can be named for easy identification. See “Naming Channels” on page 112
for more information.
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Chapter 9—Bus Outs
9 Bus Outs
Patching Bus Outs to Outputs
Bus Outs can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See
“Output Patching” on page 54 for more information.
Routing Input Channels to Bus Outs
Input Channels can be routed to the Bus Outs. See “Routing Input Channels” on page 66
for more information.
Metering Bus Outs
Bus Out signal levels can be metered on the Meter pages. See “Metering” on page 87 for
more information.
Monitoring Bus Outs
Bus Outs can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2] button for
monitoring. See “Control Room Monitoring” on page 114 for more information.
Attenuating Bus Outs
Bus Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for more
information.
EQ’ing Bus Outs
Each Bus Out features 4-band parametric EQ. See “Using EQ” on page 91 for more information.
Grouping Master EQs
Bus Out EQs can be grouped with the EQs of other Output Channels. See “Grouping Output Channel EQs” on page 94 for more information.
Bus Out Inserts
Internal effects processors and external signal processors can be patched into the Bus Outs
by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing Bus Outs
Signal dynamics can be controlled by using the Bus Out Compressors. See “Compressing
Channels” on page 97 for more information.
Grouping Master Compressors
Bus Out Compressors can be grouped with the Compressors of other Output Channels. See
“Grouping Output Channel Compressors” on page 100 for more information.
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Muting Bus Outs (ON/OFF)
Muting Bus Outs (ON/OFF)
1
2
Bus Outs can be muted by using the channel strip [ON] buttons.
Press the LAYER [MASTER] button to select the Master Layer.
Use channel strip [ON] buttons 17–24 to mute the Bus Outs.
The [ON] button indicators of Bus Outs that are on light up.
ON
Grouping Master Mutes (ON/OFF)
Bus Out Mutes can be grouped with the Mutes of other Output Channels. See “Grouping
Output Channel Mutes (ON/OFF)” on page 107 for more information.
Setting Bus Out Levels
1
Bus Out levels can be set as follows.
Press the LAYER [MASTER] button to select the Master Layer.
2
Press the FADER MODE [FADER] button to select Fader mode.
3
Use faders 17–24 to set the Bus Out levels.
Refer to the legend on the right side of the faders when setting Bus Out levels.
10
5
0
5
10
15
20
30
40
50
17
41
Grouping Master Faders
BUS 1
Bus Out faders can be grouped with the faders of other Output Channels. See “Grouping
Output Channel Faders” on page 106 for more information.
Delaying Bus Outs
Each Bus Out features a Delay function. See “Delaying Channel Signals” on page 101 for
more information.
Soloing Bus Outs
Bus Outs can be soloed. See page 102 for more information.
Pairing Bus Outs
Bus Outs can be paired for stereo operation. See “Pairing Channels” on page 104 for more
information.
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Chapter 9—Bus Outs
Sending Bus Outs to the Stereo Out
1
2
Bus Outs can be routed to the Stereo Out buses as follows. Bus Out to Stereo Out settings
can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user
memories. See “Bus to Stereo Library” on page 126 for more information.
Use the SELECTED CHANNEL ROUTING [DISPLAY] button to locate the Bus
to Stereo page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
PAN: These controls are used to pan the Bus Out signals between the left and right Stereo
Out buses. The currently selected Pan control can be set to center by pressing [ENTER].
ON/OFF: These buttons are used to turn on and off the Bus Out to Stereo Out routing.
Faders: These faders are used to set the Bus Out to Stereo Out levels. Fader knobs appear
highlighted when faders are set to 0.0 dB.
Viewing Bus Out Settings
Parameter and fader settings for each Bus Out can be viewed and set on the View pages. See
“Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader Settings”
on page 109 for more information.
Naming Bus Outs
Bus Outs can be named for easy identification. See “Naming Channels” on page 112 for
more information.
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Aux Sends
79
10 Aux Sends
Patching Aux Send Masters to Outputs
Aux Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 54 for more information.
Setting the Aux Send Mode
1
Aux Sends have two operating modes—Variable and Fixed—which can be set individually
for each of the eight Aux Sends. In Variable mode, Aux Send levels are variable and the signal
source point can be either pre-fader or post-fader. In Fixed mode, Aux Send levels are fixed
at nominal and the signal source point is fixed to post-fader.
Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.
The Aux Send parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux Send page is shown below: Variable mode on the left, Fixed mode
on the right. The layout of the other two pages is the same.
On the Fixed mode page, “GLOBAL POST” is displayed in the lower-right corner, indicating that the Aux Send Pre/Post parameter is fixed at Post.
2
Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
3
Use the cursor buttons to select the FIXED and VARIABLE buttons, and press
[ENTER] to select a mode.
When the Aux mode is changed, the parameters of the selected Aux Send are set as follows.
Parameters
Level
Change from Variable to Fixed
Change from Fixed to Variable
All set to nominal
All set to –∞
Pre/Post
On/Off
All set to Post
All turned off
All turned on
Pre-Fader or Post-Fader Aux Sends
Aux Sends can be configured individually as either pre-fader or post-fader on the Aux Send
pages (see page 80) or the Aux View pages (see page 83).
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Chapter 10—Aux Sends
Setting Aux Send Levels
Aux Send levels can be set by using the faders or Encoders.
Using the Faders
1
Use the LAYER buttons to select the Layers.
2
Press the FADER MODE [AUX] button to select the Aux Fader mode.
3
Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
4
Use the faders to set the Aux Send levels.
Refer to the legend on the left side of the faders when setting Aux Send levels.
10
5
0
5
10
15
20
30
40
50
Using the Encoders
1
25
49
1
Use the LAYER buttons to select the Layers.
2
Press the ENCODER MODE [AUX] button to select the Aux Encoder mode.
3
Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
4
Use the Encoders to set the Aux Send levels.
Aux Send Pages
You can view and set the Aux Send parameters of all Input Channels on the Aux Send pages.
Operation of the Aux Send pages in Variable and Fixed mode is explained separately.
Variable Mode
1
See page 79 for information on how to select Variable Aux mode.
Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.
The Aux Send parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux Send page in Variable mode is shown below. The layout of the
other two pages is the same.
2
Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
3
Use the cursor buttons to select the Input Channel Aux Send controls.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.
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Aux Send Pages
81
4
To turn Aux Sends on and off, select the rotary controls, and press [ENTER].
The rotary controls of Aux Sends that are turned off, appear gray, and “OFF” appears in
place of the level value. Aux Send levels can still be changed even when they’re off.
5
To set Aux Send levels, select the rotary controls, and use the Parameter
wheel or INC/DEC buttons.
6
To set the Pre/Post parameters, select the PRE/POST buttons, and use the
[ENTER] button or INC/DEC buttons.
7
To set all Input Channels for the selected Aux Send to pre-fader or post-fader
simultaneously, select the GLOBAL PRE or POST button, and then press
[ENTER].
The PRE or POST button appears highlighted, and remains highlighted until the Pre/Post
setting of one or more channels is changed, so you can quickly see if all Input Channels are
set to either pre-fader or post-fader.
Fixed Mode
1
See page 79 for information on how to select Fixed Aux mode.
Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.
The Input Channel 1–24 Aux Send page in Fixed mode is shown below. The layout of the
other two Aux Send pages in Fixed mode is the same.
2
Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
3
Use the cursor buttons or Parameter wheel to select the Aux Send buttons.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.
4
Use the [ENTER] button or INC/DEC buttons to turn Aux Sends on and off.
If the Fader mode is set to Aux, the faders provide a visual indication of the On/Off status
of each Input Channel for the currently selected Aux Send. For Aux Sends that are on, faders
move to the nominal position. Aux Sends that are off, they move to the –∞ position. On/Off
settings cannot be changed by using the faders.
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Chapter 10—Aux Sends
Viewing Aux Send Settings
You can view and set settings of all Aux Sends on the Aux View pages. Level and Pre/Post
parameters are displayed separately.
Level Parameters
1
In Level mode, the Aux View pages display Aux Send Level and On/Off parameters. Fixed
mode Aux Sends can be turned on and off only.
Use the AUX SELECT [DISPLAY] button to select the Aux View pages.
2
Select the DISPLAY LEVEL button, and press [ENTER].
The Aux View parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux View page is shown below in Level mode. The layout of the other
two pages is the same.
3
Use the cursor buttons to select the Input Channel Aux Sends.
Input Channels can also be selected by using the Input Channel Layer buttons and [SEL]
buttons. Aux Sends can also be selected by using the AUX SELECT [1–8] buttons.
4
Use the Parameter wheel or INC/DEC buttons to set the Aux Send levels.
5
Use the [ENTER] button to turn on and off the selected Aux Send.
The various Aux View page indicators are as follows:
Send level set to –∞, or Fixed mode Aux Send set to off.
Send level bar.
Send set to off.
Send level set to nominal.
Send off, level set to nominal.
Fixed mode Aux Send set to on.
In Variable Aux mode, the Level and On/Off parameter values for the selected Aux Send are
displayed in the lower-right corner of the page, for example, “LEVEL: –2.0 dB ON/OFF:
ON.”
In Fixed Aux mode, the On/Off parameter values for the selected Aux Send are displayed in
the lower-right corner of the page, for example, “LEVEL: FIXED ON/OFF: ON.”
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Viewing Aux Send Settings
83
Pre/Post Parameters
1
In Pre/Post mode, the Aux View pages display Aux Send Pre/Post parameters. Fixed mode
Aux Sends can be turned on and off only.
Use the AUX SELECT [DISPLAY] button to select the Aux View pages.
2
Select the DISPLAY PRE/POST button, and press [ENTER].
The Input Channel 1–24 Aux View page is shown below in Pre/Post mode. The layout of the
other two Aux View pages in Pre/Post mode is the same.
3
Use the cursor buttons or Parameter wheel to select the Input Channel Aux
Sends.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. Aux
Sends can also be selected by using the AUX SELECT [1–8] buttons.
4
Use the [ENTER] button or INC/DEC buttons to set the selected Aux Send to
either pre-fader or post-fader.
The various Aux View page indicators are as follows:
Aux Send configured pre-fader.
Aux Send configured post-fader.
Fixed mode Aux Send.
Fixed mode Aux Sends can be turned on and off by using the [ENTER] or INC/DEC buttons.
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Chapter 10—Aux Sends
Panning Aux Sends
1
When Aux Sends are paired, Aux Sends can be panned between the paired Aux buses. See
“Pairing Channels” on page 104 for more information. If the selected Aux Send is not
paired, the message “AUXx–x are not paired” appears.
If the currently selected pair of Aux Send Masters is set to Follow Surround on the Output
Pair page, Aux Sends follow the Input Channel Surround Pan settings and cannot be set
here, in which case the message “Now AUXx-x PAN Following Surround” appears. See
“Pairing Aux Sends” on page 86 for more information.
Use the AUX SELECT [DISPLAY] button to select the Aux Pan pages.
The Aux Pan parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux Pan page is shown below. The layout of the other two pages is the
same.
2
Use the AUX SELECT [1–8] buttons to select the Aux Sends 1–8.
3
Use the cursor buttons to select Input Channel Aux Send pan controls, and
use the Parameter wheel or INC/DEC buttons to set them.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.
The currently selected Pan control can be set to center by pressing [ENTER].
MODE: There are three Pan modes that determine how paired Aux Sends are panned:
Individual, Gang, and Inverse Gang. This is a global setting that applies to all paired Aux
Send Masters.
In individual mode, Aux Send pan controls operate independently.
In Gang mode, the Aux Send pan controls of paired Input Channels operate in
unison.
In Inverse Gang mode, the Aux Send pan controls of paired Input Channels
operate in unison but move in opposite directions.
INPUT PAN LINK: This is used to link Aux Send Pan controls to Input Channel Pan controls so that operating an Input Channel Pan control also operates the corresponding Aux
Send Pan control, and vice versa. This can be set individually for each pair of Aux Send Masters. When a link is established, the pan positions and Pan mode of the Input Channels are
copied to the Aux Sends. While linked, the Pan mode can be set from either the Aux Pan
page or the Input Channel Pan page (see page 67).
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Metering Aux Send Masters
85
Metering Aux Send Masters
Aux Send Master levels can be metered on the Meter pages. See “Metering” on page 87 for
more information.
Monitoring Aux Send Masters
Aux Send Masters can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2]
button for monitoring. See “Control Room Monitoring” on page 114 for more information. Aux 11 and Aux 12 can be monitored via the STUDIO MONITOR OUT (see
page 115).
Attenuating Aux Send Masters
Aux Send Master signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for
more information.
EQ’ing Aux Send Masters
Each Aux Send Master features 4-band parametric EQ. See “Using EQ” on page 91 for more
information.
Grouping Master EQs
Aux Send Master EQs can be grouped with the EQs of other Output Channels. See “Grouping Output Channel EQs” on page 94 for more information.
Aux Send Master Inserts
Internal effects processors and external signal processors can be patched into the Aux Send
Masters by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing Aux Send Masters
Signal dynamics can be controlled by using the Aux Send Master Compressors. See “Compressing Channels” on page 97 for more information.
Grouping Master Compressors
Aux Send Master Compressors can be grouped with the Compressors of other Output
Channels. See “Grouping Output Channel Compressors” on page 100 for more information.
Muting Aux Send Masters (ON/OFF)
1
2
Aux Send Masters can be muted as follows.
Press the LAYER [MASTER] button to select the Master Layer.
Use channel strip [ON] buttons 9–16 to mute the Aux Send Masters.
The [ON] button indicators of Aux Send Masters that are on light up.
ON
Grouping Master Mutes (ON/OFF)
Aux Send Master Mutes can be grouped with the Mutes of other Output Channels. See
“Grouping Output Channel Mutes (ON/OFF)” on page 107 for more information.
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Chapter 10—Aux Sends
Settings Aux Send Master Levels
1
Aux Send Master levels can be set as follows.
Press the LAYER [MASTER] button to select the Master Layer.
2
Press the FADER MODE [FADER] button to select the Fader mode.
3
Use faders 9–16 to set the Aux Send Master levels.
Refer to the legend on the right side of the faders when setting Aux Send Master
levels.
10
5
0
5
10
15
20
30
40
50
9
33
AUX 1
Grouping Master Faders
Aux Send Master faders can be grouped with the faders of other Output Channels. See
“Grouping Output Channel Faders” on page 106 for more information.
Delaying Aux Send Masters
Each Aux Send Master features a Delay function. See “Delaying Channel Signals” on page
101 for more information.
Soloing Aux Sends
Aux Sends can be soloed. See page 102 for more information.
Pairing Aux Sends
Aux Sends can be paired for stereo operation. See “Pairing Channels” on page 104 for more
information.
Viewing Aux Send Master Settings
Parameter and fader settings for each Aux Send Master can be viewed and set on the View
pages. See “Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader
Settings” on page 109 for more information.
Naming Aux Send Masters
Aux Send Masters can be named for easy identification. See “Naming Channels” on page
112 for more information.
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Common Channel Functions
87
11 Common Channel Functions
Metering
Input Channels, Bus Outs, Aux Sends, the Stereo Out, and the effects processors can be
metered on the various Meter pages, which are located by using the DISPLAY ACCESS
[METER] button.
Input and Output Channel Meter pages also display fader positions numerically. The Peak
Hold function, which applies to all level meters, can be turned on or off on any of the Meter
pages.
Setting the Metering Position
Input and Output Channels can be metered pre-EQ, pre-fader, or post-fader. This setting,
which can be set independently for the Input and Output Channels, can be set on the
Metering Position page shown below, or any of the Input and Output Channel Meter pages.
PRE EQ: Channels are metered pre-EQ.
PRE FADER: Channels are metered pre-fader.
POST FADER: Channels are metered post-fader.
Metering Input Channels
There are two types of Input Channel Meter page: 24-channel and 48-channel.
There are three 24-channel Meter pages. The Input Channel 1–24 Meter page is shown
below. The layout of the other two pages is the same. These pages feature two level meters
for each Input Channel. When Input Channels are vertically paired, both meters operate.
When Input Channels are horizontally paired, only the left-hand meter operates.
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Chapter 11—Common Channel Functions
There are two 48-channel Meter pages. The Input Channel 1–48 Meter page is shown below.
The layout of the other page is the same.
Metering Output Channels
Bus Outs, Aux Sends, and the Stereo Out can all be metered on the Master Meter page.
Metering Effects
Effects inputs and outputs are metered on the Effect 1–4 page. There are eight input and
output meters for effect #1, and 2 input and output meters for effects 2 through 4.
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Metering
89
Metering the Stereo out
The Stereo Out can be metered on the Stereo Meter page. Peak signal levels for the left and
right channels are displayed numerically.
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Chapter 11—Common Channel Functions
Attenuating Signals
1
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature pre-EQ attenuation,
which is useful for attenuating “hot” signals before EQ’ing.
Use the EQUALIZER [DISPLAY] button to select the Attenuator pages.
The Attenuator parameters for the 56 Input Channels are arranged into three pages. The
Input Channel 1–24 Attenuator/Shifter page is shown below. The layout of the other two
pages is the same.
The attenuator parameters for the Output Channels appear on the Output Attenuator page.
2
Use the cursor buttons to select the channels, and use the Parameter wheel
or INC/DEC buttons to set the amount of attenuation.
Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.
You can copy the currently selected Input or Output Channel attenuation setting to all
Input or Output Channels respectively by double-clicking the [ENTER] button.
For Input Channels, you can also set the amount of attenuation in bits from +2 bits to –24
bits. Use the cursor buttons to select the bit shift parameters, and use the Parameter wheel
or INC/DEC buttons to set them. The rotary attenuators and the bit shift parameters can
be set independently.
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Using EQ
91
Using EQ
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature 4-band parametric EQ.
The LOW-MID and HIGH-MID bands are peaking type. The LOW and HIGH bands can
be set to shelving, peaking, or HPF and LPF respectively. EQ settings can be stored in the
EQ library, which contains 40 preset memories and 160 user memories. See “EQ Library”
on page 129 for more information.
Preset EQs
The following table lists the preset EQs. See page 251 for detailed parameter information.
#
Preset Name
Description
1
Bass Drum 1
Emphasizes the low range of a bass drum and the attack created by the beater.
2
Bass Drum 2
Creates a peak around 80 Hz, producing a tight, stiff sound.
3
Snare Drum 1
Emphasizes “snappy” and rimshot sounds.
4
Snare Drum 2
Emphasizes various ranges for that classic rock snare drum sound.
5
Tom-tom 1
Emphasizes the attack of tom-toms, and creates a long, “leathery” decay.
6
Cymbal
Emphasizes the attack of crash cymbals, extending the “sparkling” decay.
7
High Hat
Use on a tight high-hat, emphasizing the mid to high range.
8
Percussion
Emphasizes attack and adds clarity to the high-range of instruments, such as
shakers, cabasas, and congas.
9
E. Bass 1
Produces a tight electric bass sound by cutting very low frequencies.
10 E. Bass 2
Unlike preset 9, this preset emphasizes the low range of an electric bass.
11 Syn. Bass 1
Use on a synth bass with emphasized low range.
12 Syn. Bass 2
Emphasizes the attack that is peculiar to synth bass.
13 Piano 1
Makes pianos sound brighter.
14 Piano 2
Used in conjunction with a compressor, this preset emphasizes the attack and
low range of pianos.
15 E. G. Clean
Use for line-level recording of an electric or semi-acoustic guitar to get a slightly
harder sound.
16 E. G. Crunch 1
Adjusts the tonal quality of a slightly distorted guitar sound.
17 E. G. Crunch 2
A variation on preset 16.
18 E. G. Dist. 1
Makes a heavily distorted guitar sound clearer.
19 E. G. Dist. 2
A variation on preset 18.
20 A. G. Stroke 1
Emphasizes the bright tones of acoustic guitars.
21 A. G. Stroke 2
A variation on preset 20. You can also use it with gutsy guitar sounds.
22 A. G. Arpeg. 1
Ideal for arpeggio playing on acoustic guitars.
23 A. G. Arpeg. 2
A variation on preset 22.
24 Brass Sec.
Use with trumpets, trombones, or saxes. When used with a single instrument,
try adjusting the HIGH or HIGH-MID frequency.
25 Male Vocal 1
An EQ template for male vocals. Try adjusting the HIGH or HIGH-MID parameters according to the voice quality.
26 Male Vocal 2
A variation on preset 25.
27 Female Vo. 1
An EQ template for female vocals. Try adjusting the HIGH or HIGH-MID parameters according to the voice quality.
28 Female Vo. 2
A variation on preset 27.
29 Chorus&Harmo
An EQ template for brightening choruses.
30 Total EQ 1
Use on a stereo mix during mixdown. Sounds even better when used with a
compressor.
31 Total EQ 2
A variation on preset 30.
32 Total EQ 3
A variation on preset 30. Can also be used with paired Input or Output Channels.
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Chapter 11—Common Channel Functions
#
Preset Name
33 Bass Drum 3
Description
A variation on preset 1, with low and mid range reduced.
34 Snare Drum 3
A variation on preset 3, creating a thicker sound.
35 Tom-tom 2
A variation on preset 5, emphasizing the mid and high ranges.
36 Piano 3
A variation on preset 13.
37 Piano Low
Emphasizes the low range of pianos recorded in stereo.
38 Piano High
Emphasizes the high range of pianos recorded in stereo.
39 Fine-EQ Cass
Add clarity when recording to or from cassette tape.
40 Narrator
Ideal for recording narration.
Using the SELECTED CHANNEL EQUALIZER Controls
1
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
EQUALIZER
LOW
LOW MID
HIGH MID
HIGH
DISPLAY
FREQUENCY
Q
FREQUENCY
GAIN
Q
125
Hz
kHz
EQ ON
FREQUENCY
GAIN
dB
Q
FREQUENCY
1.00
Hz
Q
GAIN
dB
GAIN
dB
4.00
dB
10.0
Hz
kHz
Hz
kHz
kHz
2
Use the [EQ ON] button to turn the EQ on or off.
3
Use the GAIN controls to set the gain of each band.
When a GAIN control is adjusted, the gain in dB is displayed on the corresponding EQ display. If the GAIN control is not adjusted for two seconds, the EQ display returns to displaying the frequency.
4
To set the frequency, press a FREQUENCY/Q control so that the FREQUENCY
indicator lights up, and use the FREQUENCY/Q control to set the frequency.
The frequency is displayed by the corresponding EQ display.
5
To set the Q, press a FREQUENCY/Q control so that the Q indicator lights
up, and use the FREQUENCY/Q control to set the Q.
The Q value is displayed by the corresponding EQ display. If the Q control is not adjusted
for two seconds, the EQ display returns to displaying the frequency.
To reset an individual gain control, hold down the corresponding FREQUENCY/Q control.
To reset all gain controls, press the LOW and HIGH FREQUENCY/Q controls.
The EQ parameter ranges are as follows.
Parameter
LOW
LOW-MID
Gain
–18.0 dB to +18.0 dB (0.1 dB
Frequency
Q
HIGH-MID
HIGH
steps)1
21.1 Hz to 20.0 kHz (120 steps per 1/12 octave)
HPF, 10.0 to 0.10
(41 steps), L.SHELF
10.0 to 0.10 (41 steps)
LPF, 10.0 to 0.10
(41 steps), H.SHELF
1. The LOW and HIGH GAIN controls function as filter on/off controls when Q is set to HPF or LPF
respectively.
The initial EQ parameter settings are as follows.
Parameter
LOW
LOW-MID
Gain
02R96—Owner’s Manual
HIGH-MID
HIGH
4.00 kHz
10.0 kHz
0 dB
Frequency
125 Hz
Q
L.SHELF
1.00 kHz
0.70
H.SHELF
Using EQ
93
EQ Edit Pages
1
EQ parameters can also be set on the EQ Edit page. If the Auto EQUALIZER Display preference is on, this page appears automatically when a control in the SELECTED CHANNEL
EQUALIZER section is operated. See “Auto EQUALIZER Display” on page 197.
Use the EQUALIZER [DISPLAY] button to select the EQ Edit page.
2
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3
Use the cursor buttons to select the parameters, and use the Parameter
wheel and INC/DEC buttons to set them.
EQ ON: This turns the EQ on and off. While this page is selected, the [ENTER] button can
be used to turn the EQ on and off so long as any parameter other than TYPE is selected.
TYPE: This selects the type of EQ: TYPE I (the EQ type used on legacy Yamaha digital mixing consoles) or TYPE II (a newly developed algorithm).
ATT: This can be used to attenuate signals pre-EQ. It’s the same Attenuator parameter that
appears on the Attenuator pages. See “Attenuating Signals” on page 90 for more information.
CURVE: This displays the EQ curve of the currently selected Input Channel.
Level meters: These meters indicate the levels of the currently selected Input Channel
and its horizontal or vertical partner.
LOW, L-MID, H-MID, HIGH: These are the Q, Frequency (F), and Gain (G) parameters
for the four bands.
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Chapter 11—Common Channel Functions
Grouping Output Channel EQs
1
The Bus Out, Aux Send, and Stereo Out EQs can be grouped, allowing you to control the
EQ of several Output Channels simultaneously. There are four Output Channel EQ groups:
e, f, g, and h.
Use the DISPLAY ACCESS [GROUP] button to locate the Output Equalizer
Link page.
2
Press the LAYER [MASTER] button.
3
Use the Up/Down cursor buttons to select EQ groups e–h.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove Output Channels to and from the
selected group.
The EQ settings of the first Output Channel added to the group are applied to all subsequently added Output Channels.
When an Output Channel is added to a group, its [SEL] button indicator lights up.
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Using Inserts
95
Using Inserts
1
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature assignable Inserts.
Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to
select the Insert page.
The Insert page for Input Channels is shown below.
The Insert page for Bus Outs, Aux Sends, and the Stereo out is shown below.
2
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
INSERT ON/OFF: This turns the currently selected channel’s Insert on and off.
INSERT POSITION: This determines the position of the Insert within the channel, and
can be set to pre-EQ, pre-fader, or post-fader.
INSERT OUT: This selects the destination for the Insert Out, which can be a Slot Output,
Omni Out, 2TR Digital Output, or the input to an internal effects processor. See page 204
and page 208 for Input and Output patch parameter lists. The Port ID of the currently
selected destination is displayed below the currently selected channel’s Long name in the
upper-right corner of the page. The destination port can also be selected by using the Patch
Select window (see page 57), which is accessed by pressing [ENTER] while this parameter
is selected. Insert Outs can also be patched on the Output Patch pages. See “Output Patching” on page 54 for more information.
INSERT IN: This selects the source for the Insert In, which can be an AD Input, Slot Input,
2TR Digital or Analog Input, or the output of an internal effects processor. See page 204 for
a list of Input Channel Insert In sources; page 208 for a list of Output Channel Insert In
sources. The Port ID of the currently selected source is displayed below the currently
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Chapter 11—Common Channel Functions
selected channel’s Long name in the upper-right corner of the page. The source port can
also be selected by using the Patch Select window (see page 57), which is accessed by pressing [ENTER] while this parameter is selected. Insert Ins can also be patched on the Input
Channel Insert In Patch pages. See “Patching Input Channel Insert Ins” on page 53 for more
information.
COMP ON/OFF: This turns the currently selected channel’s Compressor on and off. It
works in unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button, and
the ON/OFF button on the Comp Edit page. See “Compressing Channels” on page 97 for
more information.
COMP POSITION: This determines the position of the Compressor within the channel,
and can be set to pre-EQ, pre-fader, or post-fader. It works in unison with the POSITION
parameter on the Comp Edit page. See “Compressing Channels” on page 97 for more information.
COMP ORDER: If the Insert and Compressor are set to the same position in the channel
(i.e., INSERT POSITION and COMP POSITION are the same), you can use this parameter
to set the order of the Insert and Compressor to either Comp->Ins or Ins->Comp.
When a Y56K card effect, or an internal effects processor is inserted in the currently selected
channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the corresponding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding
Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] button indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]
button indicator also flashes. This applies only to effects that are inserted into channels. If
there’s nothing inserted in the currently selected channel, a message appears.
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Compressing Channels
97
Compressing Channels
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature a Compressor. Settings
can be stored in the Comp library, which contains 36 preset memories and 88 user memories. See “Comp Library” on page 128 for more information.
Preset Comps & Types
The following table lists the preset Comps and types. See page 255 for detailed parameter
information.
#
Preset Name
Type
Description
1
Comp
COMP
Compressor intended to reduce the overall volume level.
Use it on the stereo output during mixdown, or with
paired Input or Output Channels.
2
Expand
EXPAND
Expander template.
3
Compander (H)
COMPAND-H
Hard-kneed compressor template.
4
Compander (S)
COMPAND-S
Soft-kneed compressor template.
5
A. Dr. BD
COMP
Compressor for use with acoustic bass drum.
6
A. Dr. BD
COMPAND-H
Hard-kneed compander for use with acoustic bass drum.
7
A. Dr. SN
COMP
Compressor for use with acoustic snare drum.
8
A. Dr. SN
EXPAND
Expander for use with acoustic snare drum.
9
A. Dr. SN
COMPAND-S
Soft-kneed compander for use with acoustic snare drum.
EXPAND
Expander for use with acoustic tom toms, which automatically reduces the volume when the tom toms are not
played, improving mic separation.
11 A. Dr. OverTop
COMPAND-S
Soft-kneed compander for emphasizing the attack and
ambience of cymbals recorded with overhead mics. It
automatically reduces the volume when the cymbals are
not played, improving mic separation.
12 E. B. Finger
COMP
Compressor for leveling the attack and volume of a finger-picked electric bass guitar.
13 E. B. Slap
COMP
Compressor for leveling the attack and volume of a
slapped electric bass guitar.
14 Syn. Bass
COMP
Compressor for controlling or emphasizing the level of a
synth bass.
15 Piano1
COMP
Compressor for brightening the tonal color of a piano.
16 Piano2
COMP
A variation on preset 15, using a deep threshold to change
the overall attack and level.
17 E. Guitar
COMP
Compressor for electric guitar “cutting” or arpeggio-style
backing. The sound color can be varied by playing different styles.
18 A. Guitar
COMP
Compressor for acoustic guitar “stroke” or arpeggio-style
backing.
19 Strings1
COMP
Compressor for use with strings.
20 Strings2
COMP
A variation on preset 19, intended for violas or cellos.
21 Strings3
COMP
A variation on preset 20, intended for string instruments
with a very low range, such as cellos or contrabass.
22 BrassSection
COMP
Compressor for brass sounds with a fast and strong attack.
23 Syn. Pad
COMP
Compressor for synth pad, intended to prevent diffusion of
the sound.
24 SamplingPerc
COMPAND-S
Compressor for making sampled percussion sound like real
acoustic percussion.
25 Sampling BD
COMP
A variation on preset 24, intended for sampled bass drum
sounds.
26 Sampling SN
COMP
A variation on preset 25, intended for sampled snare drum
sounds.
10 A. Dr. Tom
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Chapter 11—Common Channel Functions
#
Preset Name
Type
Description
27 Hip Comp
COMPAND-S
A variation on preset 26, intended for sampled loops and
phrases.
28 Solo Vocal1
COMP
Compressor for use with main vocals.
29 Solo Vocal2
COMP
A variation on preset 28.
30 Chorus
COMP
A variation on preset 28, intended for choruses.
31 Click Erase
EXPAND
Expander for removing a click track that may bleed
through from a musicians headphones.
32 Announcer
COMPAND-H
Hard-kneed compander for reducing the level of the music
when an announcer speaks.
33 Limiter1
COMPAND-S
A soft-kneed compander with a slow release.
34 Limiter2
COMP
A “peak-stop” compressor.
35 Total Comp1
COMP
Compressor for reducing the overall volume level. Use it on
the stereo output during mixdown, or with paired Input or
Output Channels.
36 Total Comp2
COMP
A variation on preset 35, but with more compression.
Using the SELECTED CHANNEL DYNAMICS Controls
1
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
2
Use the SELECTED CHANNEL DYNAMICS [COMP ON] button to turn the currently selected channel’s Compressor on or off.
DYNAMICS
DISPLAY
GATE ON COMP ON
3
GATE / COMP
GATE
THRESHOLD
RANGE
ATTACK
DECAY
HOLD
COMP
THRESHOLD
RATIO
ATTACK
RELEASE
GAIN
Use the SELECTED CHANNEL DYNAMICS [GATE/COMP] button to set the
DYNAMICS controls to COMP (COMP indicator lit), and use the THRESHOLD, RATIO, ATTACK, RELEASE, and GAIN controls to set the Compressor.
While an output Channel is selected, the [GATE/COMP] button is fixed at COMP.
Comp Edit Page
1
2
Compressor settings can be viewed and set on the Comp Edit page. If the Auto DYNAMICS
Display preference is on, this page appears automatically when a Compressor control in the
SELECTED CHANNEL DYNAMICS section is operated. See “Auto DYNAMICS Display”
on page 197.
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Comp Library page, and recall a preset Compressor that contains the comp
type that you want.
See “Comp Library” on page 128 for more information.
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3
Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Comp Edit page.
4
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
POSITION: This determines the position of the Compressor within the channel, and can
be set to pre-EQ, pre-fader, or post-fader. It works in unison with the COMP POSITION
parameter on the Insert page. See “Using Inserts” on page 95 for more information.
STEREO LINK: This allows you to pair Comps for stereo operation even when channels
are not paired. Input Channel Comps are paired either horizontally or vertically depending
on the Pair mode setting for the currently selected Input Channel. See “Pairing Channels”
on page 104 for more information on horizontal and vertical pairing. When channels are
paired, this parameter is turned on automatically and cannot be changed.
CURVE: This displays the Compressor curve (i.e., input level vs. output level).
TYPE: This is the comp type used by the currently selected channel’s Compressor.
Meters: These meters indicate the levels of the currently selected Input Channel and its
horizontal or vertical partner. The GR meter indicates the amount of gain reduction being
applied by the currently selected channel’s Compressor.
ON/OFF: This turns the currently selected channel’s Compressor on and off. It works in
unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button.
PARAMETER: These controls are used to set the Threshold, Ratio, Attack, Release, Out
Gain, and Knee parameters.
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Grouping Output Channel Compressors
1
The Bus Out, Aux Send, and Stereo Out Compressors can be grouped, allowing you to control the compression of several Output Channels simultaneously. There are four Output
Channel Compressor groups: m, n, o, and p.
Use the DISPLAY ACCESS [GROUP] button to locate the Output Comp Link
page.
2
Press the LAYER [MASTER] button.
3
Use the Up/Down cursor buttons to select Comp groups m–p.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove Output Channels to and from the
selected group.
The Compressor settings of the first Output Channel added to the group are applied to all
subsequently added Output Channels.
When an Output Channel is added to a group, its [SEL] button indicator lights up.
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Delaying Channel Signals
1
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature independent Delay
functions. Input Channel Delays feature feedback, with independent Mix and Gain parameters.
Use the SELECTED CHANNEL DISPLAY ACCESS [DELAY] button to select the
Delay pages.
The Delay parameters for the 56 Input Channels are arranged into three pages. The Input
Channel 1–24 Delay page is shown below. The layout of the other two pages is the same.
The Delay parameters for the Bus Outs, Aux Sends, and the Stereo Out appear on the Output Delay page.
2
Use the cursor buttons to select the Delay parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.
DELAY SCALE: These buttons determine the units of the delay value shown below the
msec value. Units can be set to meters, feet, samples, beats, or timecode frames.
GANG: When this option is turned on, the delay time for paired channels can be set simultaneously. Ganging is relative, so any delay time difference between the two channels is
maintained when this is turned on.
ON/OFF: These buttons turn the individual Delay functions on and off. The [ENTER]
button can be used to turn a Delay on and off regardless of which parameter is selected.
msec: This sets the delay time in milliseconds. The delay time can also be set by using the
parameter below, which is the delay time in the units selected by the DELAY SCALE buttons. You can copy the currently selected Input or Output Channel delay setting to all Input
or Output Channels respectively by double-clicking the [ENTER] button.
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MIX: This parameter, available only on the Input Channel Delay pages, sets the mix of dry
and wet signals.
FB.GAIN: This parameter, available only on the Input Channel Delay pages, sets the
amount of feedback.
Soloing Channels
1
2
Input Channels, Bus Outs, and Aux Sends can be soloed as follows.
Use the LAYER buttons to select the Input Channel Layers if you want to solo
Input Channels, or select the Master Layer if you want to solo Output Channels.
Input and Output Channels cannot be soloed simultaneously. Soled Input Channels will be
unsoled when an Output Channel is soloed, and vice versa.
Use the [SOLO] buttons to solo the channels on the selected Layer.
The [SOLO] button indicators of channels that are soloed light up.
SOLO
The SOLO indicator in the MONITOR section flashes when the Solo
function is active. You can unsolo all soloed channels by pressing the
SOLO [CLEAR] button.
SOLO
CLEAR
Configuring Solo
1
2
The Solo function is configured on the Solo Setup page. If the Auto SOLO Display preference is on, this page appears automatically when a channel is soloed. See “Auto SOLO Display” on page 197.
Use the MONITOR [DISPLAY] button to locate the Solo Setup page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
SOLO: This is used to enable and disable the Solo function.
STATUS: This determines the Solo mode: Recording or Mixdown. It affects only Input
Channels.
In Recording Solo mode, soloed Input Channel signals are fed to the Solo bus and output
via the Control Room Outputs. Other buses are unaffected by this mode. If the Listen
parameter is set to AFTER PAN, the signal source for Input Channels that are off, is pre
fader.
In Mixdown Solo mode, soloed Input Channel signals are fed to the Stereo bus and output
via the Stereo Out and Control Room Outputs. Unsoloed Input Channels are muted and
their [ON] button indicators flash (unless they are Solo Safe enabled). Only Input Channels
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103
that are routed to the Stereo Out can be soloed in this mode. Input Channels that are off are
temporarily turned on when they are soloed.
SEL MODE: This determines the Solo Select mode: Mix Solo or Last Solo. In Mix Solo
mode, any number of channels can be soloed simultaneously. In Last Solo mode, only one
channel can be soloed at a time.
LISTEN: This determines the source of the Input Channel Solo signal: Pre Fader or After
Pan. It does not affect Mixdown Solo mode. Output Channels are fixed at After Pan.
SOLO TRIM: This is used to trim the level of the Solo signal. This parameter does not
affect Mixdown Solo mode.
SOLO SAFE CHANNEL: For Mixdown Solo mode, Input Channels can be configured
individually so that they are not muted when other Input Channels are soloed. Use the
[SEL] buttons, cursor buttons, or Parameter wheel to select the SOLO SAFE CHANNEL
buttons. Use the [ENTER] or INC/DEC buttons to set Solo Safe for each Input Channel.
These settings do not affect Recording Solo mode. You can clear all Solo Safe settings by
selecting the ALL CLEAR button and pressing [ENTER].
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Pairing Channels
Input Channels, Bus Outs, and Aux Sends can be paired for stereo operation. Input Channels can be paired either horizontally, that is, adjacent odd-even channels on the same Layer
(e.g., 1-2, 3-4, 5-6, etc) or vertically, that is, counterpart channels on adjacent Layers (e.g.,
1-25, 2-26, 49-73, 50-74, etc). Bus Outs and Aux Sends can be paired only horizontally.
Pairing Channels by Using the [SEL] Buttons
1
2
Only horizontal pairing can be set by using the [SEL] buttons.
Use the LAYER buttons to select the Layer containing the channels that you
want to pair.
While holding down the [SEL] button of the first channel, press the [SEL] button of the second channel.
The settings of the first channel are copied to the second channel and the channels are
paired. The [SEL] button indicator of the currently selected channel lights up, while the
[SEL] button indicator of the other channel flashes.
Aux Sends can also be paired by using the AUX SELECT buttons.
To cancel a pair, while holding down the [SEL] button of the first channel, press the [SEL]
button of the second channel.
The following channel parameters are copied, and controlled together, when channels are
paired: Fader, On/Off, Insert On/Off, Aux On/Off, Aux Send Level, Aux Pre/Post, Gate
parameters, Compressor parameters, EQ parameters, Fader group, Mute group, EQ group,
Comp group, Solo, Solo Safe, [AUTO] button, Fade Time, Recall Safe, Bus to Stereo On/Off,
Bus to Stereo Level.
The following channel parameters are not copied, or controlled together, when channels are
paired: Input Patch, Insert Patch, Output Patch, Comp Position, Phase, Delay On/Off,
Delay Time, Delay Feedback, Delay Mix, Routing, Pan, Follow Pan, Surround Pan, Bus to
Stereo Pan, Aux Send Pan, Balance, Attenuator.
Pairing Channels by Using the Pair Pages
1
Both horizontal and vertical pairing can be set on the Pair pages.
Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages.
The Pair parameters for the 56 Input Channels are divided between two pages. The Input
Channel 1–48 Pair page is shown below. The layout of the other page is the same.
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105
To set the pair mode, select the PAIR MODE HORIZONTAL or VERTICAL buttons, and press [ENTER].
The Pair mode can be set independently for Input Channels 1–48 and Input Channels
49–56. The Input Channel 1–48 Pair page in Vertical mode is shown below.
Pair parameters for the Bus Outs and Aux Sends appear on the Output Pair page.
3
Use the cursor buttons or Parameter wheel to select the channel pair buttons, and press [ENTER] to make or break pairs.
Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.
A dialog box appears with options for copying the settings of the first channel to the second
channel, the second channel to the first channel, and for resetting both channels to their initial settings. Choose the option required, and then press [ENTER].
On other display pages, paired channels have a heart icon, or a dash between their channel
numbers.
When Input Channels are paired, MS Decoding can be used to decode signals from microphones arranged as MS pairs. MS Decoding is set on the Input Channel Pair pages. This can
be turned on and off for each pair of channels by using the MS buttons.
The Output Pair page displays the currently selected Surround mode (i.e., Stereo, 3-1, or
5.1), which can be set on the Surround Mode page (see page 69). When a Surround mode
other than Stereo is selected, the names of the Surround channels are shown below the Bus
Out and Aux Send pair buttons, as shown in the following table.
Surround Mode
Bus Out/Aux Send
1
2
3
4
5
6
3-1
L
R
C
S
—
—
5.1
L
R
Ls
Rs
C
LFE
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When a Surround mode other than Stereo is selected, Aux Sends can be set to follow the
same Input Channel Surround Pan that applies to the Bus Outs, which is useful for feeding
Surround channel signals to external effects processors. This is turned on and off by using
the F.S buttons that appear below the Aux Send Pair buttons. When a pair of Aux Sends are
set to follow Surround Pan, their Aux Send Pair button is unavailable, and their Aux Pan
parameters (see page 84) are unavailable.
Grouping Output Channel Faders
1
The Bus Out, Aux Send, and Stereo Out faders can be grouped, allowing you to control the
level of several Output Channels simultaneously. There are four Output Channel Fader
groups: Q, R, S, and T.
Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group
page.
2
Press the LAYER [MASTER] button.
3
Use the Up/Down cursor buttons to select Fader groups Q–T.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove Output Channel faders to and from
the selected group.
When an Output Channel is added to a group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
You can temporarily disable a Fader group in order to make adjustments to individual faders by touching two or more faders in the group, or by operating the fader while holding
down its [SEL] button.
Fader groups are active only in Fader mode. See “Selecting Fader Modes” on page 35 for
more information.
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107
Grouping Output Channel Mutes (ON/OFF)
1
The Bus Out, Aux Send, and Stereo Out mutes can be grouped, allowing you to mute several
Output Channels simultaneously. There are four Output Channel Mute groups: U, V, W,
and X.
Use the DISPLAY ACCESS [GROUP] button to locate the Output Mute Group
page.
2
Press the LAYER [MASTER] button.
3
Use the Up/Down cursor buttons to select Mute groups U–X.
The selected group is highlighted by a flashing cursor box.
4
Use the [SEL] buttons to add and remove Output Channels to and from the
selected group.
When an Output Channel is added to a Mute group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
Mute groups may contain a combination of channels that are on and channels that are off.
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Viewing Channel Parameter Settings
1
The parameter setting of the currently selected Input Channel, Bus Out, Aux Send, or the
Stereo Out can be viewed and set on the Parameter View pages.
Use the DISPLAY ACCESS [VIEW] button to select the Parameter View page.
2
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] buttons to set them.
Input Channels
This is the Parameter View page for the Input Channels.
GATE: The following Gate parameters for the currently selected Input Channel can be set:
Gate On/Off, Threshold, Range, Attack, Decay, and Hold. The GR meter indicates the
amount of gain reduction being applied by the Gate. Also displayed are the gate curve and
gate type. See “Gating Input Channels” on page 60 for more information.
COMP: The following Compressor parameters for the currently selected channel can be
set: Comp On/Off, Threshold, Ratio, Attack, Release, Gain, and Knee. The GR meter indicates the amount of gain reduction being applied by the Compressor. Also displayed are the
comp curve and comp type. See “Compressing Channels” on page 97 for more information.
INSERT: The currently selected channel’s Insert can be turned on and off and patched. See
“Using Inserts” on page 95 for more information.
EQ: The currently selected channel’s EQ and Attenuator can be set. Also displayed is the EQ
curve of the currently selected Input Channel. See “Using EQ” on page 91 for more information.
Meters: These meters indicate the levels of the currently selected channel and its horizontal or vertical partner.
Phase: The signal phase of the currently selected Input Channel can be reversed. See
“Reversing the Signal Phase” on page 59 for more information.
DELAY: The currently selected channel’s Delay function can be set. See “Delaying Channel
Signals” on page 101 for more information.
PAIR: This heart icon indicates whether or not channels are paired. See “Pairing Channels”
on page 104 for more information.
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Viewing Channel Fader Settings
109
Output Channels
This is the Parameter View page for the Bus Outs, Aux Sends, and the Stereo Out. Parameters are the same as for the Input Channel Parameter View page, minus the GATE and Phase
sections and the DELAY MIX and FB GAIN parameters. The parameter settings of the left
and right channels of the Stereo Out can be viewed individually. Use the [SEL] buttons to
toggle between the left and right channels.
Viewing Channel Fader Settings
1
The fader-related settings of the currently selected Input Channel, Bus Out, Aux Send, or
the Stereo Out can be viewed and set on the Fader View pages.
Use the DISPLAY ACCESS [VIEW] button to select the Fader View page.
2
Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] buttons to set them.
Pan and Balance controls can be set to center by pressing [ENTER] while they’re selected.
Input Channels
This is the Fader View page for the Input Channels.
PAN: This is the currently selected Input Channel’s Pan parameter. See “Panning Input
Channels” on page 67 for more information.
ON/OFF: This is the On/Off parameter of the currently selected Input Channel. See “Muting Input Channels (ON/OFF)” on page 63 for more information.
Fader: This indicates the fader position of the currently selected Input Channel. The fader
knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed
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Chapter 11—Common Channel Functions
numerically below the fader. See “Setting Input Channel Levels” on page 65 for more information.
SURROUND PAN: The Surround pan parameters for the currently selected Input Channel are displayed only when a Surround mode other than Stereo is selected. See “Using Surround Pan” on page 69 for more information.
BUS ROUTING: This section contains Routing and Follow Pan buttons for the currently
selected Input Channel. See “Routing Input Channels” on page 66 for more information.
The Direct Out output patch can also be set. See “Patching Direct Outs” on page 56 for more
information.
AUX: These are the currently selected Input Channel’s Aux Send Level, On/Off, and
Pre/Post parameters. While a rotary control is selected, the Aux Send can be turned on and
off by pressing [ENTER]. See “Aux Sends” on page 79 for more information.
Meters: These meters indicate the levels of the currently selected Input Channel and its
horizontal or vertical partner. The metering position is displayed below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the currently selected Input Channel is in.
Bus Outs
This is the Fader View page for the Bus Outs.
ON/OFF: This is the On/Off parameter of the currently selected Bus Out. See “Muting Bus
Outs (ON/OFF)” on page 77 for more information.
Fader: This indicates the fader position of the currently selected Bus Out. The fader knob
appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Setting Bus Out Levels” on page 77 for more information.
TO ST PAN, ON/OFF & Fader: These are the Bus Out to Stereo Out Pan, On/Off, and
Fader parameters for the currently selected Bus Out. The fader knob appears highlighted
when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader.
See “Sending Bus Outs to the Stereo Out” on page 78 for more information.
Meters: These meters indicate the levels of the currently selected Bus Out and its partner.
The metering position is displayed below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the currently selected Bus Out is in.
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111
Aux Sends
Below is the Fader View page for the Aux Sends.
ON/OFF: This is the On/Off parameter of the currently selected Aux Send. See “Aux Send
Pages” on page 80 for more information.
Fader: This indicates the fader position of the currently selected Aux Send. The fader knob
appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Settings Aux Send Master Levels” on page 86.
Meters: These meters indicate the levels of the currently selected Aux Send and its partner.
The metering position is displayed below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the currently selected Aux Send is in.
Stereo Out
Below is the Fader View page for the Stereo Out. The settings of the left and right channels
of the Stereo Out can be viewed individually. Use the STEREO [SEL] button to toggle
between the left and right channels.
BAL: This is the Balance parameter for the Stereo Out. See “Balancing the Stereo Out” on
page 75 for more information.
ON/OFF: This is the On/Off parameter of the Stereo Out. See “Muting the Stereo Out
(ON/OFF)” on page 74 for more information.
Fader: This indicates the fader position of the Stereo Out. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the
fader. See “Setting the Stereo Out Level” on page 74 for more information.
Meters: These meters indicate the levels of the Stereo Out. The metering position is displayed below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the Stereo
Out is in.
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Naming Channels
You can specify Long and Short names for the Input Channels, Bus Outs, Aux Sends, and
the Stereo Out as follows.
See page 214 for a list of initial Input Channel names; page 214 for Output Channel names.
Input Channels
1
Use the DISPLAY ACCESS [INPUT PATCH] button to locate the Input Channel
Name page.
2
Use the Parameter wheel, INC/DEC buttons, or the LAYER and [SEL] buttons
to select the Input Channels.
When Vertical Input Channel pairing mode is selected, Input Channels are listed in order
of vertical partners, for example, CH1, CH25, CH2, CH26, and so on.
3
Use the cursor buttons to select the Input Channel’s Long or Short name,
and then press [ENTER].
When the Title Edit window appears, edit the Input Channel name, and press OK when
you’ve finished. See “Title Edit Window” on page 32 for more information.
You can reset all Input Channel names back to their initial values by pressing the INITIALIZE button.
Output Channels
1
Use the DISPLAY ACCESS [OUTPUT PATCH] button to locate the Output
Channel Name page
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113
2
Use the Parameter wheel, INC/DEC buttons, or the Master Layer and [SEL]
buttons to select the Output Channels.
3
Use the cursor buttons to select the Output Channel’s Long or Short name,
and then press [ENTER].
When the Title Edit window appears, edit the Output Channel name, and press OK when
you’ve finished. See “Title Edit Window” on page 32 for more information.
You can reset all Output Channel names back to their initial values by pressing the INITIALIZE button.
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Chapter 12—Monitoring & Talkback
12 Monitoring & Talkback
Control Room Monitoring
The CONTROL ROOM MONITOR OUT uses balanced 1/4-inch
phone jacks, nominal level +4 dB. Typically it’s used to feed the control
room’s main monitors.
The Control Room Monitor signal source is selected by using the CONCONTROL ROOM
TROL ROOM buttons.
[2TR D1]: Selects the 2TR IN DIGITAL AES/EBU 1.
[2TR D2]: Selects the 2TR IN DIGITAL COAXIAL 2.
[2TR D3]: Selects the 2TR IN DIGITAL COAXIAL 3.
[2TR A1]: Selects the 2TR IN ANALOG 1.
[2TR A2]: Selects the 2TR IN ANALOG 2.
[STEREO]: Selects the Stereo Out.
[ASSIGN 1]: Selects the Output Channel assigned to this button on the Control Room
Setup page. See “Control Room Setup” on page 115.
[ASSIGN 2]: Selects the Output Channel assigned to this button on the Control Room
Setup page. See “Control Room Setup” on page 115.
The level of the Control Room Monitor signal can be set by using the
CONTROL ROOM LEVEL control. The [DIMMER] button activates
the Dimmer function, which dims the Control Room Monitor and Surround Monitor signals by the amount specified on the Control Room
Setup page (page 115). The Dimmer function is activated automatically
when the Talkback or Oscillator function is active.
2TR D1
2TR A1
2TR D2
2TR A2
2TR D3
STEREO
ASSIGN1
ASSIGN2
0
10
CONTROL ROOM LEVEL
DIMMER
TALKBACK
The Control Room Monitor signal is also fed to the PHONES jack, the level of
which is set by using the PHONES LEVEL control.
PHONES
0
10
PHONES
LEVEL
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115
Control Room Setup
1
Control room monitoring is configured on the Control Room Setup page.
Use the MONITOR [DISPLAY] button to locate the Control Room Setup page.
2
Use the cursor buttons to select the ASSIGN buttons in the left-hand box,
and use the Parameter wheel to select an Output Channel in the right-hand
box.
Bus Outs or Aux Sends can be assigned to the [ASSIGN 1] and [ASSIGN 2] buttons.
3
Press [ENTER] to assign the selected Output Channel.
Once assigned, the selected Output Channel appears highlighted in the right-hand box.
The other parameters on this page are as follows.
CONTROL ROOM DIMMER LEVEL: This determines the amount of attenuation
applied to the Control Room Monitor and Surround Monitor signals by the Dimmer function. Use the cursor buttons to select it, and use the Parameter wheel or INC/DEC buttons
to set it from.
MONO: This button is be used to switch the Control Room Monitor signal into mono.
Studio Monitoring
The STUDIO MONITOR OUT uses balanced 1/4-inch phone jacks,
nominal level +4 dB. Typically it’s used to feed monitoring systems in the
actual studio.
STUDIO
0
CONTROL
ROOM
STEREO
AUX7
AUX8
10
The Studio Monitor signal source is selected by using the STUDIO buttons.
[CONTROL ROOM]: Selects the Control Room Monitor.
[STEREO]: Selects the Stereo Out.
[AUX 7]: Selects Aux Send #7.
[AUX 8]: Selects Aux Send #8.
The level of the Studio Monitor signal can be set by using the STUDIO LEVEL
control.
STUDIO
LEVEL
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Chapter 12—Monitoring & Talkback
Surround Monitoring
The 02R96 features comprehensive surround monitoring functions, including a pink noise
generator for speaker setup, Bass Management, and down mixing.
The Surround pages explained in this section are available only when a Surround mode
other than Stereo is selected (see page 69).
The Surround Monitor signal source is selected by using the SURROUND buttons. The [BUS] button selects the Bus Outs as the source.
The [SLOT] button selects the Inputs of the Slots specified on the Surround Monitor page as the source. Surround mixes from up to four multitrack recorders can be monitored by patching Slot Inputs to Surround
Monitor Channels (see page 120) and selecting with the [SLOT] button.
The level of the Surround Monitor can be set by using the SURROUND
MONITOR LEVEL control.
Surround monitor speakers can be aligned by using the individual Attenuator and Delay
parameters on each Surround Monitor Channel. In addition to the standard Ls and Rs
speakers, the 02R96 supports Ls2 and Rs2 speakers, with independent Attenuator and Delay
parameters, for a more diffused surround monitoring environment. See “Configuring Surround Monitoring” on page 117 for more information.
Surround Monitor Channels can be patched to Slot Outputs or Omni Outputs. See “Output
Patching” on page 54 for more information.
Surround Monitor settings can be stored in the Surround Monitor library, which contains
1 preset memory and 32 user memories. See “Surround Monitor Library” on page 130 for
more information.
General surround monitoring is performed on the Surround Monitor page.
Use the MONITOR [DISPLAY] button to locate the Surround Monitor page.
SURROUND
BUS
SLOT
0
10
SURROUND MONITOR LEVEL
1
2
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
The number of speaker icons and meters shown on the Surround Monitor page depends on
the currently selected Surround mode. The meters indicate Bus Out signal levels.
MUTE/SOLO: These parameters are used to mute and solo Surround Channels. A Surround Channel is on when its speaker icon is highlighted. Speaker icons can be selected by
using the cursor buttons. When SOLO is on, Surround Channels can be soloed by selecting
speaker icons and pressing [ENTER].
SETTING: These buttons are used to select which Slot’s Inputs are monitored when the
SURROUND [SLOT] button is pressed. Up to four Slots can be assigned, and the signals
from each Slot are mixed. Individual Slot Inputs can be patched to Surround Monitor
Channels on the Surround Monitor Patch page (see page 120).
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Surround Monitoring
117
When the MONITOR L/R to C-R button is on, the Left and Right Surround Monitor Channels are fed to the Control Room Monitors. This is useful when you want to use the same
speakers for Left and Right Surround Monitors and Control Room Monitors.
STATUS: SURROUND MODE indicates the currently selected Surround mode, which is
set on the Surround Mode page (see page 69). MONITOR LEVEL indicates the volume setting of the SURROUND MONITOR LEVEL control, which can be calibrated to 85 dB SPL,
the cinema standard for setting up Surround Channel Monitor speakers. To do this, output
pink noise from the built-in Oscillator (see page 117), set the SURROUND MONITOR
LEVEL control and the level controls on the Surround Monitor speaker amps so that the
total output is 85 dB SPL, then press the SET SPL85 button. The MONITOR LEVEL indication will then display the volume setting relative to 85 dB SPL. Press the SET SPL85 button again to return to the normal volume indication.
Configuring Surround Monitoring
1
2
Surround monitoring, including speaker setup, monitor matrix, Bass Management, and
monitor alignment, is configured on the Surround Monitor Setup page.
Use the MONITOR [DISPLAY] button to locate the Surround Monitor Setup
page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
SPEAKER SETUP: These parameters are for setting the volume balance of the surround
monitor speakers. Select the OSC (Oscillator) parameter and choose from PINK NOISE,
500-2K (pink noise through a 500 Hz to 2 kHz BPF), 1K (1 kHz sinewave), or 50 Hz (50 Hz
sinewave). Use the ON/OFF button to turn the Oscillator on and off. When on, the Oscillator outputs a signal at –20 dB to the Surround Channels whose icons are highlighted. You
can turn on and off Oscillator output for speakers individually. Speaker icons can be
selected by using the cursor buttons or the Bus Out [SEL] buttons on the Master Layer. The
signal phase of the LFE Channel can be reversed by using the SW Phase button. When
ROTATE is on, the Oscillator signal is output by each speaker in turn in a clockwise direction (3 second signal, 2 second pause).
SURR. MODE: This indicates the currently selected Surround mode, which is set on the
Surround Mode page (see page 69).
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Chapter 12—Monitoring & Talkback
MONITOR MATRIX: This is used to select the Surround Monitor Matrix. In 5.1 Surround mode, you can select 5.1, 3-1, or ST. In 3-1 Surround mode, you can select 3-1 or ST.
The ATT parameters can be used to attenuate individual Surround Channel signals. The
following diagrams, which show the Monitor Matrixes available in each Surround mode,
are displayed when this parameter is selected.
3-1 to 3-1
3-1 to ST
5.1 to 5.1
5.1 to 3-1
5.1 to ST
BASS MANAGE: This parameter is used to select the five preset Bass Management
modes. Use the ON/OFF button to turn Bass Management on and off. The following table
lists the Bass Management preset parameter values (“w/BS” means with Bass Management). SMALL speakers are assumed for the presets.
Presets
#
Title
Parameters
HPF
LPF1
LPF2
ATT
AMP
1
DVD Mix w/BS
80-12
80-24
80-24
0
10
2
DVD Author w/BS
80-12
120-42
80-24
0
10
3
Film Mix w/BS
80-12
80-24
80-24
–3
10
4
Film Author w/BS
80-12
120-42
80-24
–3
10
5
Bypass
THRU
THRU
MUTE
0
0
If you are using the 3-1 monitor matrix, even with film sources, use presets 1 and 2, as presets 3 and 4 may not provide correct monitoring.
Bass Management parameters can be set as follows.
Parameter
Range
HPF
THRU, 80-12, 80-12L, 80-24, 80-24L
LPF1
THRU, 80-24, 80-24L, 120-42
LPF2
THRU, 80–24, 80-24L, MUTE
ATT
0 to –12 dB (1 dB steps)
AMP
0 to +12 dB (1 dB steps)
“80-12” means a cutoff frequency of 80 Hz and a filter response of –12 dB/octave. “L” means
Linkwitz filter. Other filters are Butterworth.
02R96—Owner’s Manual
Surround Monitoring
119
The following diagrams show the Bass Management configuration for each monitor matrix
setting, with Bass Management turned on and off.
5.1 ON
3-1 ON
ST ON
5.1 OFF
3-1 OFF
ST OFF
MONITOR ALIGNMENT ATT & DLY ON/OFF:
These buttons are used to turn on and off the Monitor
Alignment Attenuator and Delay parameters of all Surround speakers. The MONITOR ALIGNMENT diagram
and Surround Channel Attenuator and Delay parameters,
which are displayed when either of these buttons are
selected, allow you to align the surround monitor speakers by attenuating and delaying Surround Channels as
necessary. The Attenuator parameters can be set from
–12 dB to +12 dB in 0.1 dB steps. The Delay parameters
can be set from 0.0 to 30.0 msec in 0.02 msec steps.
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Chapter 12—Monitoring & Talkback
Patching Slot Inputs to Surround Channels
1
2
Individual Slot Inputs can be patched to Surround Monitor Channels as follows.
Use the MONITOR [DISPLAY] button to locate the Surround Monitor Patch
page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
SLOT/CH: This patching matrix is used to patch Inputs 1–8 from each of the four Slots to
Surround Monitor Channels 1–8. Each Slot Input can be patched to only one Surround
Monitor Channel.
LEVEL: These parameters are used to set the monitor level of each Slot.
02R96—Owner’s Manual
Using Talkback
121
Using Talkback
The Talkback function distributes the Talkback mic signal to the Studio Monitor Outs and
any Slot or Omni Outputs specified on the Talkback Setup page.
The TALKBACK LEVEL control sets the level of the built-in talkback microphone.
0
10
TALKBACK LEVEL
TALKBACK
The [TALKBACK] button has two modes of operation: If it’s pressed once (i.e.,
for less than 300 ms), the Talkback function is turned on and remains on when
the button is released. This is Latched mode (this mode can be disabled on the
Talkback Setup page). If it’s pressed and held for longer, the Talkback function is
turned on, but turns off when the button is released. This is Unlatched mode.
The [TALKBACK] button indicator flashes while the Talkback function is active.
Talkback Setup
1
Use the MONITOR [DISPLAY] button to locate the Talkback Setup page.
2
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
OUTPUT ASSIGN: These buttons are used to assign the Talkback mic signal to Slot and
Omni Outputs.
TALKBACK DIMMER LEVEL: When the Talkback function is active, this determines the
amount of attenuation applied to sound sources assigned to the Studio Monitors and
selected for Talkback.
USE AD IN x AS TALKBACK: This allows you to select an AD Input as the Talkback signal source. Use the check box to turn this option on and off, and use the number parameter
to specify the number of the AD Input. The signal from the specified AD Input is mixed
with the Talkback mic signal. Turn down the TALKBACK LEVEL if you do not want to use
the Talkback mic.
NEVER LATCH TALKBACK: This options allows you to disable latching for the Talkback
function.
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Chapter 13—Libraries
13 Libraries
About the Libraries
The 02R96 features 10 libraries for storing Automix, Effects, Channel, Input Patch, Output
Patch, Bus to Stereo, Gate, Comp, EQ, and Surround Monitor data.
Library data can be stored to an external MIDI device, such as a MIDI data filer, by using
MIDI Bulk Dump (see page 168).
General Library Operation
1
Since most library functions are the same for each library, rather than explain them several
times, they’re explained only here for conciseness.
Locate the various library pages as explained in the following sections.
The Input Patch Library page shown below is used here for explanation purposes.
2
Use the Parameter wheel or INC/DEC buttons to select the memories.
A memory is selected when it appears inside the dotted box.
3
Use the cursor buttons to select the following page buttons.
TITLE EDIT: To edit the title of the selected memory, select this and press [ENTER]. When
the Title Edit window appears, edit the title, and press OK when you’ve finished. See “Title
Edit Window” on page 32 for more information.
RECALL: To recall the contents of the selected memory, select this and press [ENTER]. If
the Recall Confirmation preference is on, a confirmation window appears before the contents are recalled.
STORE: To store settings to the selected memory, select this and press [ENTER]. When the
Title Edit window appears, enter a title, and press OK. See “Title Edit Window” on page 32
for more information. You can stop the Title Edit window from appearing by turning off
the Store Confirmation preference on page 197.
CLEAR: To delete the contents and title of the selected memory, select this and press
[ENTER]. A confirmation window appears before the memory is cleared.
Read-only preset memories have an “R” icon next to their name. You cannot store, clear, or
edit the title of these memories. Empty memories have the title “No Data!” Memory #0 is a
read-only memory that you can recall to reset settings to their initial values.
Memory #U is a special read-only memory that allows you to undo and redo memory recall
and store operations. After recalling a memory, you can revert to the previously recalled
memory by recalling memory #U. After storing a memory, you can revert it to its previous
contents by recalling memory #U. You can redo either of these undo operations by recalling
memory #U again.
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Channel Library
123
Channel Library
1
2
Input Channel, Bus Out, Aux Send, and Stereo Out channel settings can be stored in the
Channel library, which contains 2 preset memories and 127 user memories.
Use the DISPLAY ACCESS [VIEW] button to select the Channel Library page.
Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels.
When storing, the settings of the currently selected channel are stored to the selected memory. When recalling, the settings in the selected memory are applied to the currently selected
channel.
Only memories whose contents correspond to the currently selected channel can be
recalled. For example, you can recall Input Channel settings to Input Channels, but not to
Aux Sends. When the selected memory and currently selected channel don’t correspond, a
warning triangle and the word “CONFLICT” appear in the STORED FROM box.
Preset memory #0, “Reset(–∞dB),” resets all parameters of the currently selected channel to
their initial values and sets the channel level to –∞ dB. Preset memory #1, “Reset (0dB),”
also resets all parameters, but sets the channel level to 0 dB (i.e., nominal).
SEL CH: This indicates the currently selected channel.
CURRENT CONFIGURATION: If the currently selected channel is an Input Channel,
Surround mode and Aux configuration information is displayed here.
Level meters: These meters indicate the levels of the currently selected Input Channel
and its horizontal or vertical partner.
STORED FROM: This indicates the channel whose settings were originally stored in the
selected memory. If the currently selected channel is an Input channel, Pan mode and Aux
pairing information is also displayed.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
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Chapter 13—Libraries
Input Patch Library
1
Input Patch settings can be stored in the Input Patch library, which contains 1 preset memory and 32 user memories. See page 52 for information on Input Patch settings.
Use the DISPLAY ACCESS [INPUT PATCH] button to select the Input Patch
Library page.
When storing, the current Input Patch settings are stored to the selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
Output Patch Library
1
Output Patch settings can be stored in the Output Patch library, which contains 1 preset
memory and 32 user memories. See page 54 for information on Output Patch settings.
Use the DISPLAY ACCESS [OUTPUT PATCH] button to select the Output Patch
Library page.
When storing, the current Output Patch settings are stored to the selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
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Effects Library
125
Effects Library
1
2
Effects settings can be stored in the Effects library, which contains 52 preset memories and
76 user memories. See page 131 for information on using the Effects.
Use the EFFECTS/PLUG-INS [DISPLAY] button to select the Effect Library
page.
Press the EFFECTS/PLUG-INS [INTERNAL EFFECTS] button, and use the
EFFECTS/PLUG-INS [1–4] buttons to select the internal effects processors.
When storing, the settings of the currently selected internal effects processor, indicated in
the upper-left corner, are stored to the selected memory.
EFFECT NAME: This is the name of the previously recalled Effects memory.
TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O configuration is shown below this.
Level meters: These meters indicate the output levels of the currently selected Effects
processor. There are eight output meters for Effects processor #1, and two output meters for
Effects processors #2 through #4.
EFFECT TYPE: This is the effects type in the selected memory. Its I/O configuration is
shown below this.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
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Chapter 13—Libraries
Bus to Stereo Library
1
Bus to Stereo settings can be stored in the Bus to Stereo library, which contains 1 preset
memory and 32 user memories. See page 78 for information on Bus to Stereo routing.
Use the ROUTING [DISPLAY] button to select the Bus to Stereo Library page.
When storing, the current Bus Out to Stereo Out settings are stored to the selected memory.
CURRENT CONFIGURATION: Bus Out pairing information for the current configuration is displayed here.
LIBRARY CONFIGURATION: Bus Out pairing information for the configuration stored
in the currently selected memory is displayed here.
Only memories whose Bus Out pairing configuration matches the current configuration
can be recalled. When the current configuration and the selected memory don’t match, the
word “CONFLICT” appear in the LIBRARY CONFIGURATION box.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
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Gate Library
127
Gate Library
1
2
Input Channel Gate settings can be stored in the Gate library, which contains 4 preset memories and 124 user memories. See page 60 for information on gating Input Channels.
Use the DYNAMICS [DISPLAY] button to select the Gate Library page.
Use the LAYER buttons to select the Layers, and the [SEL] buttons to select
Input Channels.
When storing, the Gate settings of the currently selected Input Channel, indicated in the
upper-right corner, are stored to the selected memory. When recalling, the Gate settings in
the selected memory are applied to the currently selected Input Channel.
CURRENT TYPE: This indicates the current Gate type of the currently selected channel.
CURRENT CURVE: This is the Gate curve of the currently selected channel.
GR meters: These meters indicate the amount of gain reduction being applied by the
Gate, and the levels of the currently selected channel and its adjacent channel. If Pair mode
for the currently selected channel is set to Vertical, the level of its counterpart on the adjacent Layer is displayed.
The type (Gate or Ducking) and curve of the currently selected memory is displayed to the
right of the memory list.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
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Chapter 13—Libraries
Comp Library
1
2
Comp settings can be stored in the Comp library, which contains 36 preset memories and
92 user memories. See page 97 for information on the Comps.
Use the DYNAMICS [DISPLAY] button to select the Comp Library page.
Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels.
When storing, the Comp settings of the currently selected channel, indicated in the
upper-right corner, are stored to the selected memory. When recalling, the Comp settings
in the selected memory are applied to the currently selected channel.
CURRENT TYPE: This indicates the current Comp type of the currently selected channel.
CURRENT CURVE: This is the Comp curve of the currently selected channel.
GR meters: These meters indicate the amount of gain reduction being applied by the
Comp, and the levels of the currently selected channel and its adjacent channel. If Pair mode
for the currently selected channel is set to Vertical, the level of its counterpart on the adjacent Layer is displayed.
The type (Comp, Expand, Comp Soft, Comp Hard) and curve of the currently selected
memory is displayed to the right of the memory list.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
02R96—Owner’s Manual
EQ Library
129
EQ Library
1
2
Input Channel, Bus Out, Aux Send, and Stereo Out EQ settings can be stored in the EQ
library, which contains 40 preset memories and 160 user memories. See page 91 for information on EQ’ing.
Use the EQUALIZER [DISPLAY] button to select the EQ Library page.
Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels.
When storing, the EQ settings of the currently selected channel, indicated in the upper-left
and right corners, are stored to the selected memory. When recalling, the EQ settings in the
selected memory are applied to the currently selected channel.
CURRENT TYPE: This indicates the current EQ type (TYPE I or TYPE II) for the currently selected channel.
CURRENT CURVE: This is the EQ curve of the currently selected channel.
Level meters: These meters indicate the levels of the currently selected Input Channel
and its horizontal or vertical partner.
CURVE: This displays the EQ curve in the currently selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
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Chapter 13—Libraries
Automix Library
1
Up to 16 Automixes can be stored in the Automix library. See page 145 for information on
using Automix.
Use the AUTOMIX [DISPLAY] button to select the Automix Memory page.
When storing, the current Automix is stored to the selected memory.
TITLE: This is the title of the current Automix.
CURRENT: This is the size of the current Automix.
FREE: This is the amount of free memory for storing the current Automix.
SIZE: This is the size of the selected Automix memory.
PROTECT: To protect the contents of the selected memory, select this and press [ENTER].
A padlock icon appears next to the titles of memories that are write-protected. Automixes
cannot be stored to write-protected memories.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
Surround Monitor Library
1
Surround Monitor settings can be stored in the Surround Monitor library, which contains
1 preset memory and 32 user memories. See page 116 for information on Surround Monitoring.
Use the MONITOR [DISPLAY] button to select the Surround Monitor Library
page.
When storing, the current Surround Monitor settings are stored to the selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 122.
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Internal Effects & Plug-Ins
131
14 Internal Effects & Plug-Ins
About the Effects
The 02R96 features four internal multi-effects processors, offering a whole host of effects
types, including reverbs, delays, modulation-based effects, combination effects, and multichannel effects designed especially for use with surround sound.
Effects processors 2–4 feature assignable stereo inputs and outputs. Processor #1, which is
intended for use with the multichannel surround effects, features eight assignable inputs
and outputs. Processor inputs and outputs can be patched to various sources, including the
inputs and outputs of other effects processors, allowing you to chain processors together in
series.
The output signal levels of the currently selected effects processor can be metered on the
Effects Edit page. The input and output signal levels of all effects processors can be metered
on the Meter pages. See “Metering” on page 87 for more information.
Effects settings can be stored in the Effects library, which contains 52 preset memories and
76 user memories. See “Effects Library” on page 125 for more information.
Patching Effects Processors
Effects processor inputs can be fed from the Aux Sends, Input and Output Channel Insert
Outs, or the outputs of another effects processor. See “Patching Effects Inputs” on page 53
for more information.
Effects processor outputs can be patched to the Input Channels, Input and Output Channel
Insert Ins, or the inputs of another effects processor. See “Output Patching” on page 54 for
more information.
Preset Effects & Types
The following tables list the preset effects and types. See page 223 for detailed parameter
information.
Reverbs
#
Preset Name
Type
Description
1
Reverb Hall
REVERB HALL
Concert hall reverberation simulation with gate
2
Reverb Room
REVERB ROOM
Room reverberation simulation with gate
3
Reverb Stage
REVERB STAGE
Reverb designed for vocals, with gate
4
Reverb Plate
REVERB PLATE
Plate reverb simulation with gate
5
Early Ref.
EARLY REF.
Early reflections without the subsequent reverb
6
Gate Reverb
GATE REVERB
Gated early reflections
7
Reverse Gate
REVERSE GATE
Gated reverse early reflections
Delays
#
Preset Name
Type
Description
8
Mono Delay
MONO DELAY
Simple mono delay
9
Stereo Delay
STEREO DELAY
Simple stereo delay
10 Mod.delay
MOD.DELAY
Simple repeat delay with modulation
11 Delay LCR
DELAY LCR
3-tap (left, center, right) delay
12 Echo
ECHO
Stereo delay with crossed left/right feedback
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Chapter 14—Internal Effects & Plug-Ins
Modulation-based Effects
#
Preset Name
Type
Description
13 Chorus
CHORUS
Chorus
14 Flange
FLANGE
Flanger
15 Symphonic
SYMPHONIC
Proprietary Yamaha effect that produces a richer and more
complex modulation than normal chorus
16 Phaser
PHASER
16-stage stereo phase shifter
17 Auto Pan
AUTO PAN
Auto-panner
18 Tremolo
TREMOLO
Tremolo
19 HQ.Pitch
HQ.PITCH
Mono pitch shifter, producing stable results
20 Dual Pitch
DUAL PITCH
Stereo pitch shifter
21 Rotary
ROTARY
Rotary speaker simulation
22 Ring Mod.
RING MOD.
Ring modulator
23 Mod.Filter
MOD.FILTER
Modulated filter
Guitar Effects
#
Preset Name
Type
Description
24 Distortion
DISTORTION
Distortion
25 Amp Simulate
AMP SIMULATE
Guitar amp simulation
Dynamic Effects
#
Preset Name
Type
Description
26 Dyna.Filter
DYNA.FILTER
Dynamically controlled filter
27 Dyna.Flange
DYNA.FLANGE
Dynamically controlled flanger
28 Dyna.Phaser
DYNA.PHASER
Dynamically controlled phase shifter
Combination Effects
#
02R96—Owner’s Manual
Preset Name
Type
Description
29 Rev+Chorus
REV+CHORUS
Reverb and chorus in parallel
30 Rev->Chorus
REV->CHORUS
Reverb and chorus in series
31 Rev+Flange
REV+FLANGE
Reverb and flanger in parallel
32 Rev->Flange
REV->FLANGE
Reverb and flanger in series
33 Rev+Sympho.
REV+SYMPHO.
Reverb and symphonic in parallel
34 Rev->Sympho.
REV->SYMPHO.
Reverb and symphonic in series
35 Rev->Pan
REV->PAN
Reverb and auto-pan in series
36 Delay+ER.
DELAY+ER.
Delay and early reflections in parallel
37 Delay->ER.
DELAY->ER.
Delay and early reflections in series
38 Delay+Rev
DELAY+REV
Delay and reverb in parallel
39 Delay->Rev
DELAY->REV
Delay and reverb in series
40 Dist->Delay
DIST->DELAY
Distortion and delay in series
Editing Effects
133
Others
#
Preset Name
41 Multi.Filter
Type
MULTI.FILTER
Description
3-band parallel filter (24 dB/octave)
42 Freeze
FREEZE
Simple sampler
43 Stereo Reverb
ST REVERB
Stereo reverb
441 Reverb 5.1
REVERB 5.12
6-channel reverb for 5.1 surround
451
Octa Reverb
OCTA
461
Auto Pan 5.1
AUTO PAN 5.1
6-channel auto pan for 5.1 surround
471
Chorus 5.1
CHORUS 5.1
6-channel chorus for 5.1 surround
481
Flange 5.1
FLANGE 5.1
6-channel flanger for 5.1 surround
491 Sympho. 5.1
SYMPHO. 5.1
6-channel symphonic effect for 5.1 surround
50 M. Band Dyna.
M. BAND DYNA.
Multi-band dynamics processor
511
Comp 5.1
521
Compand 5.1
REVERB2
COMP
5.12
COMPAND
8-channel reverb for 7.1 surround
Multi-band compressor for 5.1 surround
5.12
Multi-band compander for 5.1 surround
1. These effects can be recalled only to effects processor #1.
2. Since these effects types require four DSPs, the total number of effects processors is reduced by
three when one of these types is used. For example, if REVERB 5.1 is used with effects processor #1,
processors 2–4 are unavailable.
Editing Effects
1
The internal effects processors can be edited as follows.
Press the EFFECTS/PLUG INS [INTERNAL EFFECTS] button.
2
Use the EFFECTS/PLUG INS [1–4] buttons to select the internal effects processors.
3
Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Library
page, and recall a preset effects memory that contains the effects type that
you want.
See “Effects Library” on page 125 for more information.
4
Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Edit page.
The available effects parameters depends on the effects type currently selected. See page 131
for detailed parameter information.
5
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
EFFECT NAME: This is the name of the previously recalled Effects memory.
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Chapter 14—Internal Effects & Plug-Ins
TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O configuration is shown below this.
MIX BALANCE: This is used to set the balance between the wet and dry signals. When set
to 0%, only the dry signal is heard. When set to 100%, only the wet signal is heard.
BYPASS: This button is used to bypass the currently selected effects processor.
TEMPO: These parameters, which appear only when an effects type with a delay parameter, or a modulation-based effects type with a Frequency parameter is selected, are used to
automatically calculate and set the delay time, or modulation frequency relative to the specified tempo and note length. Use the Note parameter to specify the note length, and use the
BPM control to specify the tempo. You can also specify the tempo by tapping the TAP
TEMPO button, which calculates the tempo based on the time interval between two taps.
When the MIDI CLK button is on, the tempo is derived from the MIDI Clock information
received at the specified MIDI Rx port. See “MIDI I/O” on page 163.
Meters: These are output meters for the currently selected effects processor. There are
eight meters when processor #1 is selected; two when processors 2–4 are selected.
Effects parameters can also be adjusted by using Parameter controls 1–4. Use the Parameter
Up/Down buttons to select the rows of parameters. The parameters in the currently selected
row appear highlighted. Up to 16 parameters can be displayed at a time, and if more are
available, an up or down arrow is displayed.
Parameter Up/Down
Parameter controls 1–4
When a Y56K card effect, or an internal effects processor is inserted in the currently selected
channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the corresponding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding
Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] button indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]
button indicator also flashes. This applies only to effects that are inserted into channels. If
there’s nothing inserted in the currently selected channel, a message appears.
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About Plug-Ins
135
About Plug-Ins
There are two types of Plug-Ins: Waves Plug-Ins and User Defined Plug-Ins. Waves Plug-Ins
are available on Y56K cards, which need to be installed in the 02R96’s mini YGDAI Slots
(Slots 3 and 4 only). See your Yamaha dealer for details. User Defined Plug-Ins can be used
to control up to 32 user definable parameters via MIDI Control Change or Parameter
Change messages on an external MIDI device, such as an external effects processor. Plug-In
parameters can be controlled by using the four Parameter controls below the display.
Plug-In parameter settings are stored in Scenes, for snapshot-style automation.
When installing Y56K cards, mini YGDAI Slots 3 and 4 correspond to Plug-Ins 3 and 4, so
if you install, for example, a Y56K card in Slot #4, it’s automatically configured as Plug-In
#4. 02R96 signals are patched through to the Y56K card’s effect chains just like any other signal is patched through to a Slot Input or Output. Slot Outputs (i.e., effect chain inputs) can
be fed from the Bus Outs, Aux Sends, Stereo Out, or the Input and Output Channel Insert
Outs. Slot Inputs (i.e., effect chain outputs) can be fed to the Input Channels, or the Input
and Output Channel Insert Ins. See “Input & Output Patching” on page 52.
Configuring Plug-Ins
1
Plug-Ins can be configured as follows.
If you’ve installed a Y56K card into one of the Slots, the 02R96 configures itself automatically and no further configuration settings are required.
Press the EFFECTS/PLUG INS [PLUG-INS] button.
2
Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Setup
page.
3
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TARGET: These are used to assign a target to each of the four Plug-Ins. Parameters for the
specified target appear on the Plug-In Edit page when that Plug-In is selected by using the
EFFECTS PLUG-INS [1–4] buttons. In addition to using the cursor buttons, Plug-Ins can
also be selected on this page by using the EFFECTS PLUG-INS [1–4] buttons.
TITLE: If a Y56K card is installed, its name is displayed here. If the target is set to USER
DEFINED, the specified title of the bank currently selected on the Plug-In Edit page is displayed.
PORT: If a Y56K card is installed, its Slot number is displayed here. If the target is set to
USER DEFINED, you can specify the Plug-Ins MIDI port as MIDI, SERIAL 1–8, USB 1–8,
or SLOT1 1–8. Plug-In MIDI Ports can also be set on the MIDI/To Host Setup page. See
“MIDI I/O” on page 163 for more information.
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Chapter 14—Internal Effects & Plug-Ins
Editing Plug-Ins
1
Plug-Ins can be edited as follows. The settings of Waves Plug-Ins and User Defined Plug-In
banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI
Bulk Dump (see page 168).
If you’ve installed a Y56K card into one of the Slots, display pages especially for the Waves
card are displayed when the corresponding Plug-In is selected. See the Waves documentation for more information. The following explanation applies only to User Defined
Plug-Ins.
Press the EFFECTS/PLUG INS [PLUG-INS] button.
2
Use the EFFECTS/PLUG INS [1–4] buttons to select the Plug-Ins.
3
Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Edit page.
4
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TRANSMIT: This enables and disables MIDI data transmission for the currently selected
Plug-In.
INITIALIZE: This initializes the settings of the currently selected bank.
BANK: These buttons are used to select the parameter banks of the currently selected
Plug-In. Up to four parameter settings can be stored in each bank, making a total of 32
parameters per Plug-In.
TITLE: This is used to enter a title (up to 16 characters long) for each bank. To enter a title
for the currently selected bank, select this and press [ENTER]. When the Title Edit window
appears, enter a title, and press OK when you’ve finished. See “Title Edit Window” on page
32 for more information.
PARAMETER ID/NAME: This is used to select the four rotary controls at the bottom of
the Plug-In Edit page for editing, and to enter a name (up to 16 characters long) for each
control. Use the Parameter wheel or INC/DEC buttons to select a Parameter ID from 1–4,
and then press [ENTER]. When the Title Edit window appears, enter a title, and press OK
when you’ve finished. See “Title Edit Window” on page 32 for more information.
DATA: This is used to specify the MIDI message (up to 16 bytes) to be transmitted when
each parameter control is adjusted. Use the PARAMETER ID/NAME parameter to select a
Parameter ID from 1–4, and then edit as necessary. Data values can be set in hex from 00 to
FF. The VAL setting is the value of the parameter control. The END setting specifies the end
of the data. NOP means no data is transmitted.
LEARN: This button is used to turn on and off the Learn function, which can be used to
learn what MIDI messages are transmitted by external MIDI devices when their controls or
parameters are adjusted. When on, received MIDI messages are displayed by the DATA
parameter. Only the first 16 bytes of data, starting with a Status bit, are displayed.
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Editing Plug-Ins
137
MIN/MAX: These parameters determine the minimum and maximum values of the
MIDI data transmitted when each parameter control is adjusted. Use the PARAMETER
ID/NAME parameter to select a Parameter ID from 1–4, and then edit as necessary.
VAL: This is used to select the format for converting parameter control values to the DATA
parameter’s VAL setting. It applies to the currently selected bank. The available options are
listed in the following table.
VAL
Description
VAL count
One byte
Transmit the lower 7 bits of the parameter value as 1 word
Up to one VAL
MSB/LSB
Transmit the lower 14 bits of the parameter value in 7-bit units
starting from the upper byte
Up to two VAL’s
LSB/MSB
Transmit the lower 14 bits of the parameter value in 7-bit units
starting from the lower byte
Up to two VAL’s
2 Nibbles M
Transmit the lower 8 bits of the parameter value in 4-bit units,
consecutively from the highest data
Up to two VAL’s
3 Nibbles M
Transmit the lower 12 bits of the parameter value in 4-bit units,
consecutively from the highest data
Up to three VAL’s
4 Nibbles M
Transmit the parameter value in 4 bit units, consecutively from
the highest data
Up to four VAL’s
2 Nibbles L
Transmit the lower 8 bits of the parameter value in 4-bit units,
consecutively from the lowest data
Up to two VAL’s
3 Nibbles L
Transmit the lower 12 bits of the parameter value in 4-bit units,
consecutively from the lowest data
Up to three VAL’s
4 Nibbles L
Transmit the parameter value in 4-bit units, consecutively from
the lowest data
Up to four VAL’s
When the controls at the bottom of the Plug-In Edit page are operated, the specified MIDI
data, along with the value of the parameter control, is transmitted.
Plug-In parameters can also be adjusted by using Parameter controls 1–4, which correspond to the four parameters shown at the bottom of the Plug-In Edit page.
Parameter controls 1–4
When a Y56K card effect, or an internal effects processor is inserted in the currently selected
channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the corresponding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding
Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] button indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]
button indicator also flashes. This applies only to effects that are inserted into channels. If
there’s nothing inserted in the currently selected channel, a message appears.
The parameter settings, and the target and bank for each Plug-In are stored in Scenes. When
a Scene is recalled, if the Plug-In’s Target is the same as when the Scene was stored, the
parameters are set accordingly and the corresponding MIDI data is transmitted (so long as
the REMOTE parameter is set to ENABLED). If the Target is not the same, the parameters
are set accordingly but no MIDI data is transmitted.
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Chapter 15—Scene Memories
15 Scene Memories
About Scene Memories
Scene memories allow you to store a snapshot of virtually every 02R96 mix setting in a
Scene. There are 99 Scene memories, and they can be titled for easy identification. Scenes
can be linked to Input and Output Patch library memories, so that input and output
patches are recalled along with Scenes. A fade time of up to 30 seconds can be set individually for each Input and Output Channel fader. Recall Safe can be used to exclude individual
Input and Output Channels and certain parameters from Scene recalls. Stored Scenes can
be sorted as necessary.
Scenes can be stored and recalled by using the SCENE MEMORY [STORE] and [RECALL]
buttons, or by using the Scene Memory page. Scenes can be assigned MIDI Program
Change numbers and recalled remotely. See “Assigning Scenes to Program Changes” on
page 166 for more information. When a Scene is recalled on the 02R96, the Program
Change number assigned to that Scene is transmitted, which can be used to recall programs,
effects, etc., on other MIDI equipment. In addition, manual Scene recalls can be recorded
on-the-fly in an Automix. When that Automix is replayed, the Scenes are recalled automatically. See “Automix” on page 145 for more information.
Scene memories can be stored to external MIDI device, such as a MIDI data filer, by using
MIDI Bulk Dump (see page 168).
What’s Stored in a Scene?
The following items are stored in Scenes: Input and Output Channel settings, Effects settings, Group and Pair settings, Fade Time settings, and Scene title.
Edit Buffer & Edit Indicator
The Edit Buffer is where the current mix settings (i.e., the current Scene) are stored. When
a Scene is stored, the mix settings in the Edit Buffer are written to the selected Scene memory. When a Scene is recalled, the contents of the selected Scene memory are copied to the
Edit Buffer, making them the current mix settings.
When a parameter is adjusted after a Scene has been recalled, the Edit indicators—the dot
on the SCENE MEMORY display and “EDIT” on the display—appear, indicating that the
current mix settings (i.e., those in the Edit Buffer) no longer match those of the Scene that
was recalled last, as illustrated below.
02
SCENE MEMORY display
02
Display
Scene #2 has just been recalled, so the
contents of the Edit Buffer match those of
Scene #2 and the Edit indicators are off.
A parameter has been adjusted since Scene #2
was recalled, so the Edit indicators appear,
indicating that the contents of the Edit Buffer
no longer match those of Scene #2.
The contents of the Edit Buffer are retained while the 02R96 is turned off.
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Auto Scene Memory Update
139
Scene Memories #0 & #U
Scene memory #0 is a special read-only memory that contains the initial settings of all mix
parameters. It can be recalled, but not stored. When you want to reset all mix parameters to
their initial, or default values, recall Scene memory #0. Input Channel faders are set to either
–∞dB or nominal, depending on the Initial Data Nominal preference (see page 198).
Scene memory #U is a special read-only memory that allows you to undo and redo Scene
memory recall and store operations. After recalling a Scene memory, you can revert to the
previously recalled Scene memory by recalling Scene memory #U. After storing a Scene
memory, you can revert it to its previous contents by recalling Scene memory #U. You can
redo either of these undo operations by recalling Scene memory #U again.
Auto Scene Memory Update
Normally, when a Scene is recalled and then edited, that Scene must be stored again in order
to save the edits. If the Scene MEM Auto Update preference on page 198 is on, however,
those edits are stored automatically in a Shadow memory. There’s one Shadow memory for
each Original Scene memory. The contents of the Original and Shadow memories can be
recalled alternately, which is useful for doing A/B comparisons.
When a Scene is recalled, the current mix settings are automatically stored in the Shadow
memory of the Scene memory that was recalled last. When you return to that Scene, you
can recall the Shadow or Original memory alternately.
While the Scene MEM Auto Update preference is on, Shadow memories, not Original
memories are recalled initially. To recall an Original memory, recall its Shadow memory
first, and while the Edit indicators are both off, recall again. This time the Original memory
is recalled.
When recalling Original and Shadow memories, you can easily tell which is currently active
by the Edit indicators, which are off when an Original memory is active, and on when a
Shadow memory is active. Note that when a Scene is stored, the contents of the Original and
Shadow memories will be the same and the Edit indicators will be off regardless of which
memory is active.
When recalling Scenes in an Automix, only the Original memories can be recalled. When
recalling Scenes via MIDI Program Change messages, Original and Shadow memories can
be recalled, and operation is the same as for recalling Scenes by using the 02R96’s SCENE
MEMORY buttons or the Scene Memory page.
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Chapter 15—Scene Memories
Storing & Recalling Scenes with the SCENE MEMORY Buttons
As each Scene memory is selected, its number flashes on the SCENE MEMORY display, and
its number and title flash in the Scene memory section of the display. These stop flashing
when the selected Scene memory is either stored or recalled. Empty Scene memories have
the title “No Data!” and cannot be recalled. You cannot store to Scene memories that are
write-protected.
Warning: When storing Scenes, make sure that there are no 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 Scene, make the adjustments that you really want, and then store the Scene. You may want to store the current Scene
to an unused Scene memory just in case.
Storing Scenes
1
Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene
memories.
2
Press the [STORE] button.
The Title Edit window appears. This window can be disabled by the Store Confirmation
preference on page 197.
3
Enter a title.
See “Title Edit Window” on page 32 for more information.
4
Press OK on the Title Edit window.
The current Scene is stored to the selected Scene memory.
You can undo Scene stores, reverting to the previous mix settings, by recalling Scene memory #U (“Ud” on the SCENE MEMORY display).
Recalling Scenes
1
Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene
memories.
2
Press the [RECALL] button.
The contents of the selected Scene memory are recalled and all mix parameters are set
accordingly. If the Recall Confirmation preference is on, a confirmation window appears
before a Scene is recalled.
You can undo Scene recalls, reverting to the previous mix settings, by recalling Scene memory #U (“Ud” on the SCENE MEMORY display).
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Using the Scene Memory Page
141
Using the Scene Memory Page
1
On the Scene Memory page you can store, recall, write-protect, delete, and edit the titles of
Scenes.
Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory
page.
2
Use the Parameter wheel or INC/DEC buttons to select the Scene memories.
A Scene memory is selected when it appears inside the dotted box.
3
Use the cursor buttons to select the following buttons.
TITLE EDIT: To edit the title of the selected Scene memory, select this and press [ENTER].
When the Title Edit window appears, edit the title, and press OK when you’ve finished. See
“Title Edit Window” on page 32 for more information.
RECALL: To recall the contents of the selected Scene memory, select this and press
[ENTER]. The contents of the selected Scene memory are recalled, all parameters are set
accordingly, the Scene memory’s number and title stop flashing, and the Edit indicators go
off. If the Recall Confirmation preference is on, a confirmation window appears before a
Scene is recalled.
STORE: To store the current Scene to the selected Scene memory, select this and press
[ENTER]. When the Title Edit window appears, enter a title, and press OK. See “Title Edit
Window” on page 32 for more information. When a Scene is stored, the Scene memory’s
number and title stop flashing, and the Edit indicators go off. You can stop the Title Edit
window from appearing by turning off the Store Confirmation preference on page 197. The
“Free: 100%” value indicates the amount of free memory available for storing Scenes.
CLEAR: To delete the contents and title of the selected Scene memory, select this, press
[ENTER], and the press YES when the confirmation window appears.
PROTECT: To protect the contents of the selected Scene memory, select this and press
[ENTER]. A padlock icon appears next to the titles of Scene memories that are write-protected. Scenes cannot be stored to write-protected Scene memories. While the PROTECT
button is selected, the selected Scene memory can be protected and unprotected by using
the INC/DEC buttons.
PATCH LINK: These INPUT and OUTPUT parameters allow you to link Scene memories
to Input and Output Patch library memories, so that when a Scene is recalled, the linked
input and output patches are recalled as well. If the linked Input or Output Patch library
memory contains no data, only the specified Scene is recalled, the input and output patching remains the same.
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Chapter 15—Scene Memories
Fading Scenes
1
Fade times can be specified for individual Input Channels, Bus Outs, Aux Sends, and the
Stereo Out. The fade time determines the time it takes the Input and Output Channel faders
to move to their new positions when a Scene is recalled. You must store these settings in a
Scene beforehand in order for them to take effect. Fade time settings can be specified for
each Scene individually.
Use the SCENE MEMORY [DISPLAY] button to locate a Fade Time page.
The Fade Time parameters for the 56 Input Channels are divided between two pages. The
Input Channel 1–48 Fade time page is shown below. The layout of the other page is the
same.
The Fade Time parameters for the Output Channels appear on the Output Fade Time page.
2
Use the cursor buttons or [SEL] buttons to select the individual Fade Time
parameters, and use the Parameter wheel or INC/DEC buttons to set them.
You can copy the currently selected Input or Output Channel Fade Time setting to all Input
or Output Channels respectively by double-clicking the [ENTER] button.
The Long name of the channel whose Fade Time parameter is currently selected appears in
the upper-right corner of the page. When a channel is selected by using the [SEL] buttons,
its Long name also appears in the upper-right corner of the display.
The Fade Time can be set from 0 to 30 seconds in 0.1 second steps.
You can reset all Fade Time parameters to zero by selecting the ALL CLEAR button, and
then pressing [ENTER].
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Recalling Scenes Safely
143
Recalling Scenes Safely
1
When a Scene is recalled, all mix parameters are set accordingly. In some situations, you
may want to retain the settings of certain parameters on certain channels, and this can be
achieved by using the Recall Safe function. Recall Safe can be set individually for Input
Channels, Bus Outs, Aux Sends, and the Stereo Out.
Use the SCENE MEMORY [DISPLAY] button to locate the Recall Safe page.
2
Select the SAFE ENABLED/DISABLED button, and use the [ENTER] button or
the INC/DEC buttons to enable or disable the Recall Safe function.
3
Use the cursor buttons, [SEL] buttons, or Parameter wheel to select channels,
and use the [ENTER] button or the INC/DEC buttons to set them as Safe channels.
When a channel is selected by using the [SEL] buttons, its Long name appears in the
upper-right corner of the display. When a channel is Safe, its number appears highlighted.
4
Use the cursor buttons or Parameter wheel to select the MODE parameters,
and the [ENTER] button to set them.
The MODE buttons determine which Safe channel parameters are unaffected by Scene
recalls. ALL (all parameters. This option is mutually exclusive with the following options),
FADER (faders), ON (On/Off parameters), PAN (Pan parameters), EQ (EQ parameters),
COMP (Comp parameters), GATE (Gate parameters), AUX (Aux Send levels), AUX ON
(Aux Send On/Off parameters).
The EFFECT button operates independently of the MODE buttons and can be used to
make the effects Safe.
Recall safe settings are stored in Scenes memories.
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Chapter 15—Scene Memories
Sorting Scenes
1
Scene can be sorted by using the Scene Memory Sort function.
Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory Sort
page.
2
Use the cursor button to the select the SOURCE list, and use the Parameter
wheel or the INC/DEC buttons to select the Scene memory you want to
move.
3
Use the cursor button to the select the DESTINATION list, and use the Parameter wheel or the INC/DEC buttons to select the position to which you want
to move the source Scene memory.
4
Press [ENTER] to move the source Scene memory to the specified destination.
The [ENTER] button executes the Sort function regardless of its position.
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Automix
145
16 Automix
About Automix
The 02R96’s Automix function allows dynamic automation of virtually all mix parameters,
including Levels, Mutes, Pan, Surround Pan, Aux Sends, Aux Send Mutes, EQ, effects, and
Plug-Ins. You can specify which of these parameters will be recorded, and punch channels
in and out of recording on-the-fly. User Defined Remote Layer operations, and scene and
library recall operations can also be automated, combining snap shot and dynamic mix
automation. Events are recorded in real time and can be edited either offline, with 1/4 frame
accuracy, or by rerecording with punch in/out. Automix can be synchronized to an external
timecode source or to the internal timecode generator.
Up to 16 Automixes can be stored in the Automix library. See “Automix Library” on page
130 for more information. They can also be stored to an external MIDI device, such as a
MIDI data filer, by using MIDI Bulk Dump (see page 168).
What’s Recorded in an Automix?
The following parameters can be recorded in an Automix.
Parameter
Input
Channels
Bus Out
Masters
Aux Send
Masters
Stereo Out
Channel Levels (faders)
O
O
O
O
Channel Mutes (ON/OFF)
O
O
O
O
Pan
O
—
—
—
Surround Pan
O
—
—
—
EQ (F, Q, G, On/Off)
O
O
O
O
Aux Send 1–8 levels
O
—
—
—
Aux Send 1–8 mutes
O
—
—
—
Scene recalls
EQ, Gate, Comp, Effects, Channel library recalls
Effect parameters (certain parameters)
User Defined Plug-Ins (parameters 1–4)
User Defined Remote Layers (faders, [ON],
Encoders)
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Chapter 16—Automix
Automix Main Page
1
2
This section explains the Automix Main page.
Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main
page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TITLE: This is the title of the current Automix.
DISABLED/ENABLED: This button is used to enable and disable the Automix function.
TIME CODE: This counter displays the current timecode position.
FREE: The amount of free Automix memory remaining is displayed here in kilobytes, percent, and graphically by a bargraph.
SIZE: The size of the current Automix and the size of any Automix data in the undo buffer
are displayed here in kilobytes.
OFFSET: This parameter can be used to specify an offset relative to the external timecode
source in hours, minutes, seconds, frames, and subframes. Specify a “+” value to move
events forward relative to the incoming timecode. Specify a “–” value to move events backwards relative to the incoming timecode. Press the [ENTER] button to reset the currently
selected digits to “00.”
INT START TIME: This parameter is used to set the start time of the internal timecode
generator in hours, minutes, seconds, frames, and subframes. Press the [ENTER] button to
reset the currently selected digits to “00.” The internal timecode generator is selected on the
Time Reference page (see page 152).
UPDATE: This button determines the fate of events that exist beyond the point at which
rerecording is stopped. When TO END is on, all events that exist beyond the point at which
rerecording is stopped for parameters that have been edited during the current pass are
erased. This function is useful when you want parameters to remain the same right through
to the end of the Automix. Events are erased only when the current pass is actually stopped,
not when a punch out occurs. When TO END is off, existing events are left as they are.
When TO END is on, the way in which Fader events are processed depends on the currently
selected Fader Edit mode and Edit Out mode. In the following table, the Fader Edit mode
is set to Absolute. If the Fader Edit mode is set to Relative, and the Edit Out mode is set to
either Takeover or Off, the fader will remain at a position relative to the position at which
recording is stopped.
02R96—Owner’s Manual
Automix Main Page
TO END
147
Return
Takeover or Off
At the point at which recording is stopped, the fader
returns to the position specified by the existing fader
data, at the speed specified by the Time parameter on
the Fader Edit pages.
At the point at which recording is stopped, the fader
remains at the same position until the next Fader
event in the existing data occurs.
Existing data
Existing data
Return time
OFF
Fader edit
Punch in
Fader edit
Time
Time
Stop recording
Punch in
At the point at which recording is stopped, the fader
returns to the position specified by the existing fader
data, at the speed specified by the Time parameter,
and all subsequent events are erased so that the fader
remains at that position right through to the end of
the Automix.
Stop recording
At the point at which recording is stopped, all subsequent events are erased so that the fader remains at
that position right through to the end of the Automix.
Existing data
Existing data
Return time
ON
Fader edit
Fader edit
Punch in
Time
Time
Stop recording
Punch in
Stop recording
EDIT OUT: These buttons are used to set the Edit Out mode: Off, Takeover, or Return. The
Edit Out mode determines how rerecorded fader moves align with existing fader data at the
punch out point. Fader data includes Input Channel levels, Bus Out master levels, Aux Send
master levels, the Stereo Out level, and User Defined Remote Layer faders. The Edit Out
modes are explained in the following table. The Return Time is specified on the Fader Edit
page (see page 151).
Off
At the punch out point, the fader
remains at the same position until the
next Fader event in the existing data
occurs.
Existing data
Return
Takeover
At the punch out point, the fader returns
to the position specified by the existing
fader data, at the speed specified by the
Time parameter on the Fader Edit pages.
At the punch out point, recording continues until the fader position intersects
the existing fader data. If you are still
touching the fader knob at the actual
punch out point, the fader is disabled
until you release it.
Existing data
Existing data
Return time
Fader edit
Fader edit
Time
Punch in
Punch out
Fader edit
Time
Punch in
Punch out
Time
Punch in
Punch out
Actual punch out
In this example, punch out was performed by pressing the [AUTO] button,
and the fader was moved manually
between the punch out and actual
punch out points.
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Chapter 16—Automix
FADER EDIT: These buttons are used to set the Fader Edit mode: Absolute or Relative. The
Fader Edit mode determines how fader moves are rerecorded. It has no effect during the
first recording pass. In Absolute mode, fader moves are rerecorded as absolute values and
existing fader data is erased. In Relative mode, fader moves are rerecorded relative to the
existing fader data.
Fader data includes Input Channel levels, Bus Out master levels, Aux Send master levels,
Stereo Out level, and User Defined Remote Layer faders.
The following table explains Fader Edit mode operation (TO END: off. Edit Out: off)
Absolute
Relative
Fader edits are recorded as absolute values and
existing fader data between the punch in and out
points is erased.
Fader edits are rerecorded relative to the existing
fader data.
Existing data
Existing data
Fader edit
Fader edit
Time
Punch in
Punch out
Time
Punch in
Punch out
TIME REFERENCE: This section displays the current timecode source and frame rate. If
you select this item and then press the [ENTER] button, you can jump directly to the Time
Reference page (see page 152).
OVERWRITE: These buttons determine which parameters can be recorded on the first
pass, and rerecorded (i.e., overwritten) on subsequent passes. They can be set while recording is in progress. Parameters for which the corresponding OVERWRITE button is not set,
cannot be edited while recording is in progress.
Parameter button
Description
FADER
Channel faders (Inputs Channels, Bus Out masters, Aux Send masters, the Stereo Out, and User Defined Layer faders)
ON
Channel Mutes (ON/OFF), User Defined Layer [ON] buttons
PAN
Input Channel Pan, User Defined Layer Encoders
SURR
Input Channel Surround pan, LFE level, DIV parameter
AUX
Aux Send 1–8 levels
AUX ON
Aux Send 1–8 mutes
EQ
EQ (F, Q, G, On/Off)
Scene and library recalls, and internal effects processors and Plug-Ins parameters can be
recorded regardless of the OVERWRITE settings.
NEW: This button is used to create a new Automix. When a new Automix is created, a
Scene recall event to recall the current Scene (i.e., the last Scene recalled) is automatically
inserted at the start of the Automix. You can edit this event so that another Scene is recalled.
This initial Scene is important because it sets all the mix parameters how you’d like them at
the beginning of the Automix. Without it, mix parameters would remain the same as when
Automix playback was stopped.
UNDO: This button is used to undo various Automix operations. During each recording
pass, when a new Automix is created, when an Automix is recalled, when an offline edit is
performed, or when the Undo function is used, the current Automix data is copied to the
Undo buffer, from which it can be retrieved by pressing UNDO while Automix is stopped.
The Undo buffer is cleared when the 02R96 is turned off. If you want to save the contents
of the Undo buffer, perform the undo, and then store the Automix (see page 130).
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AUTO REC: This button works the same as the REC button except that it remains on when
Automix recording is stopped. It appears highlighted while Auto Record mode is on.
REC: This button is used to engage Record-Ready mode, in which Automix recording starts
automatically as soon as the specified timecode source starts. Unlike the AUTO REC button,
however, it’s turned off when recording is stopped. It flashes in Record-Ready mode, and is
highlighted during recording. This button can also be used to engage Automix recording
during playback. To do this, while the PLAY button is highlighted (i.e., during playback),
press the REC button (it flashes in Record-Ready mode). Then press the PLAY button to
start recording. This button can also be used to stop recording.
PLAY: This button is used to start Automix recording and playback when the timecode
source is set to internal. When an external timecode source is selected, while the external
timecode is being received, recording and playback are started, and this button is turned on
automatically. If Automix is stopped by pressing the STOP or ABORT button, recording or
playback can be restarted by pressing this button so long as timecode is still being received.
This button can also be used in conjunction with the REC button to punch in recording
during Automix playback.
STOP: This button is used to stop Automix playback and recording. It appears highlighted
while Automix is stopped.
ABORT: This button is used to abort the current recording without updating the existing
Automix data.
Channel Strip [AUTO] Buttons
•
•
•
•
•
•
The channel strip [AUTO] buttons are used to arm channels in Record-Ready
mode, and to punch channels in and out during recording.
AUTO
The [AUTO] button indicators operate as follows:
Off: Automix playback disabled
Green: Automix stopped or playing
Orange: Record-Ready mode
Red: Recording (even for individual parameters, see page 156)
Flashing red: Takeover in progress
Flashing green: indicates that a fader is inactive, for example, when you continue touching
a fader after actual punch out has occurred when using the Takeover Edit Out mode.
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Chapter 16—Automix
Automix Memory Page
1
2
Automixes can be stored and recalled on the Automix Memory page. The lower half of this
page is identical to the Automix Main page.
Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Memory
page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
The Automix library functions are explained in “Automix Library” on page 130. The
remaining items are the same as on the Main page and are explained on page 146.
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Fader Edit Pages
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Fader Edit Pages
1
2
During playback, fader positions are displayed graphically as black bars on the Fader Edit
page, of which there are two. The Fader Edit 1 page displays Faders positions for Input
Channel 1 through 56, the Bus Outs, and Stereo Out. The Fader Edit 2 page displays faders
positions for Input Channel 1 through 56, the Bus Outs, and Aux Sends. When the Fader
mode is set to Fader, Input and Output Channel levels are displayed. When it’s set to Aux
mode, Aux Send levels are displayed.
During rerecording, arrows are displayed next to each fader bar. A downward arrow indicates that the current fader position is higher than that specified by the existing fader data.
An upward arrow indicates that the current fader position is lower than that specified by the
existing fader data.
Use the DISPLAY ACCESS [AUTOMIX] button to locate the Fader Edit pages.
The Fader Edit 1 page is shown here.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
The counter in the upper-left corner displays the current timecode position.
Edit Safe buttons: The numbered buttons below each fader bar are Channel Safe buttons, which can be used to prohibit automix recording on certain channels. A channel is set
to safe when its button appears highlighted. You can make all channels safe by selecting one
button and then double-clicking the [ENTER] button. A confirmation message appears
and you can elect to make one channel safe or all channels. During recording, events cannot
be recorded, or rerecorded on safe channels, although existing events are played back and
faders, Encoders, [ON] buttons, and so on can still be used, which is useful for rehearsing
mix moves. Channel safe settings cannot be changed during recording.
ABSOLUTE & RELATIVE: These buttons are the same as those on the Main and Memory
pages. See “Automix Main Page” on page 146 for more information.
MOTOR: This button is used to turn the fader motors are on and off for Automix playback. The button appears highlighted when the motors are on. The motors cannot be
turned off during recording, and are automatically turned on when recording starts.
TOUCH SENSE: Touch sense allows you to punch faders in and out during recording
simply by touching fader knobs. Touch sense IN and touch sense OUT can be turned on
and off independently.
UPDATE: This button is the same as that on the Main and Memory pages. See “Automix
Main Page” on page 146 for more information.
EDIT OUT: The TAKEOVER and RETURN buttons are the same as those on the Main and
Memory pages. See “Automix Main Page” on page 146 for more information. The TIME
parameter determines the time it takes faders to return to levels specified by the existing
Automix data when the Edit Out mode is set to Return. It can be set from 0.0 to 30.0 seconds
in 0.1 second steps.
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Chapter 16—Automix
Selecting the Timecode Source & Frame Rate
1
2
The timecode source and frame rate for Automix can be set as follows.
Use the DISPLAY ACCESS [SETUP] button to select the Time Reference page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TIME REFERENCE: The following timecode sources can be selected.
Source
Description
INTERNAL
Internally generated timecode
SMPTE
SMPTE timecode received via the SMPTE TIME CODE INPUT
MIDI CLOCK
MIDI Clock received via the MIDI IN port
MTC
MTC received via the MTC TIME CODE INPUT
USB
MTC received via the USB TO HOST port
SERIAL
MTC received via the SERIAL TO HOST port
SLOT1
MTC received via Slot #1 (for use with an optional mLAN I/O Card installed in Slot #1)
MIDI
MTC received via the MIDI IN port
For the USB, SERIAL, and SLOT1 sources, you must specify a port from 1–8.
FRAMES: The frame rate can be set to: 30, 30D, 29.97, 29.97D, 25, or 24. An Automix will
playback correctly even if the frame rate is different to that which was used when the Automix was originally recorded.
The MIDI CLOCK source supports Song position Pointers, F8 TIMING CLOCK (timing
info), FA START (starts Automix from beginning), FB CONTINUE (starts Automix from
current position), and FC STOP (stops Automix).
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Creating a Time Signature Map
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Creating a Time Signature Map
1
2
When using the MIDI CLOCK timecode source, you’ll also need to specify the initial time
signature and any time signature changes that follow.
Use the DISPLAY ACCESS [SETUP] button to select the Time Signature page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel or INC/DEC buttons to specify the measure and time signature.
To insert a time signature change, use the cursor buttons to select the next available entry,
and press [ENTER], or turn the Parameter wheel.
To delete a time signature change, select it, and then press [ENTER]. The initial time signature entry at measure #1 cannot be deleted.
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Chapter 16—Automix
Recording an Automix
1
This section provides a general procedure for Automix recording.
Connect a timecode source.
2
Select the timecode source and frame rate.
See “Selecting the Timecode Source & Frame Rate” on page 152 for more information.
3
Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main
page.
4
On the Automix Main page, use the ENABLED/DISABLED button to enable
the Automix function.
5
On the Automix Main page, use the OVERWRITE buttons to select which
parameters you want to record.
The corresponding OVERWRITE buttons pages appear highlighted.
6
On the Automix Main page, press the REC button.
The REC button flashes.
Alternatively, you could press the AUTO REC button so that Automix recording starts automatically when timecode is received. The main difference between REC and AUTO REC is
that the AUTO REC functions remains on when recording is stopped, whereas REC must
be pressed each and every time you want to start recording. Initially however, REC may be
the safer option.
7
Use the [AUTO] buttons to arm channels for Automix recording.
The [AUTO] button indicators of armed channels light up orange.
8
Start the timecode source.
The REC and PLAY buttons appear highlighted.
9
Adjust the faders and other controls as necessary.
Use the SELECTED CHANNEL section to edit the currently selected channel. Channels are
selected automatically when the [AUTO] buttons are pressed. You can punch channels out
of recording by using the [AUTO] buttons.
10 To stop Automix recording, stop the timecode source, or press the STOP but-
ton on the Automix Main or Memory page.
A confirmation message appears asking if you want to update the existing Automix data
(i.e., keep the edits just recorded).
Rerecording Events
Events can be rerecorded as many times as you like. Remember, however, that unlike the
first pass, on subsequent passes existing events for the currently punched in parameter are
overwritten, so use the OVERWRITE buttons and [AUTO] buttons with care. Instead of
using the [AUTO] buttons to punch in an entire channel, you can reduce the risk of overwriting important data by punching in and out individual parameters (see page 156). Use
the Update To End option to determine how existing events are handled when rerecording
is stopped (see page 146). Use the Edit Out (see page 147) and Fader Edit (see page 148)
options to determine how Fader events are rerecorded.
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Parameter Recording
155
Parameter Recording
The following table summarizes parameter recording operation for each parameter. Parameter adjustments made on the respective display pages are also recorded.
Parameter
Channel
OVER
WRITE
Set Layer to input, Fader mode to
Fader, use faders
Input
Channel Levels
(faders)
Bus Out, Aux Send
FADER
Stereo Out
Channel Mutes
(ON/OFF)
Pan
Set Layer to Master, Fader mode to
Fader, use faders
Pair/Group
Faders of paired channels and
grouped faders are recorded
together
Use Stereo Out fader
Input
Bus Out, Aux Send
Operation
Set Layer to input, use [ON] buttons
ON
Set Layer to Master, use [ON] buttons
[ON] buttons of paired channels and grouped mutes are
recorded together
Stereo Out
Use Stereo Out [ON] button
Input
PAN
Set Layer to input, Encoder mode to
Pan, use Encoders (Also use SELECTED
CHANNEL section PAN control, or
Joystick if [LINK] is on)
If Pan mode is Gang or
Inverse-Gang, paired channels
are recorded together.
If ST LINK button on Surround
Edit page is on, adjacent channels are recorded together.
Surround Pan
Input
SURR
Use Joystick (If [LINK] is on, also use
SELECTED CHANNEL section PAN
control) (If a surround parameter is
assigned to the Encoders, also use
Encoders)
EQ (F, Q, G, On/Off)
Input, Bus Out, Aux
Send, Stereo Out
EQ
Use SELECTED CHANNEL EQUALIZER
section (If EQ parameter assigned to
an Encoder, also use Encoders)
EQ of paired channels, and
grouped EQs recorded
together
AUX
If Fader mode is Aux, use faders. If
Encoder mode is Aux, use Encoders
(also use Aux Send or Aux view pages)
Aux send levels of paired channels recorded together. (If the
selected Aux Send is paired,
the send level to both Aux
Sends is recorded.)
Aux send 1–8 levels
Input
Aux send 1–8 mutes
Input
AUX
ON
Use Aux Send or Aux view pages
Aux send mutes of paired
channels recorded together (If
the selected Aux Send is
paired, mutes for both Aux
Sends recorded.)
Scene recalls
—
—
Use SCENE MEMORY section or Scene
Memory page
—
Library recalls
EQ, Gate, Comp,
Effects, Channel
—
Use corresponding library page
—
Effect parameters
(certain parameters)
Effects processors
1–4
—
Use Parameter controls 1–4 (push to
punch in/out)
—
User Defined Plug-Ins
(parameters 1–4)
Plug-Ins 1–4
—
Use Parameter controls 1–4 (push to
punch in/out)
—
Faders
FADER
Select User Defined Remote Layer, use
faders
—
[ON] buttons
ON
Select User Defined Remote Layer, use
[ON] buttons
—
Encoders
PAN
Select User Defined Remote Layer, use
Encoder
—
User Defined Remote
Layers
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Chapter 16—Automix
Punching In & Out Individual Parameters
During Automix rerecording, channels can be punched in and out by pressing the channel
strip [AUTO] buttons. Individual parameters can be punched in and out as follows.
Parameter
Channel
OVER
WRITE
Set Layer to input, Fader mode to
Fader
Input
Channel Levels
(faders)
Bus Out, Aux Send
Operation
FADER
Set Layer to Master, Fader mode to
fader
Punch In
Punch Out
Touch fader
knob and
Release fader
adjust1
knob2
Stereo Out
Stereo Out fader
Pan
Input
PAN
Set Layer to input, Encoder mode
to Pan (Also use SELECTED CHANNEL section PAN control, or Joystick if [LINK] is on)
Press Encoder
and adjust
Press Encoder
Surround Pan
Input
SURR
Select Input Layer and assign Surround LFE Level or Surround Pan
Wheel to the Encoders
Press Encoder
and adjust
Press Encoder
Adjust control
Press [AUTO]
button
EQ
Turn on Auto EQ Edit In preference
(see page 199). Use SELECTED
CHANNEL EQUALIZER section (If
EQ parameter assigned to an
Encoder, also use Encoders)
Press EQ [ON]
button
Press [AUTO]
button
Touch fader
knob and
Release fader
EQ (F, Q, G)
All channels
EQ On/Off
Aux send 1–8 levels
Input
AUX
Set Layer to input, Fader mode to
Aux
adjust1
knob2
Set Layer to input, Encoder mode
to Aux
Press Encoder
and adjust
Press Encoder
Effect parameters
(certain parameters)
Effects processors
1–4
—
Select internal effects processors
Push Parameter 1–4 control
Push Parameter 1–4 control
User Defined Plug-Ins
(parameters 1–4)
Plug-Ins 1–4
—
Select Plug-Ins
Push Parameter 1–4 control
Push Parameter 1–4 control
Faders
FADER
Select User Defined Remote Layer
Touch fader
knob and
Release fader
User Defined Remote
Layers
adjust1
Encoders
PAN
Select User Defined Remote Layer
Press Encoder
and adjust
knob2
Press Encoder
1. TOUCH SENSE IN on Fader Edit page must be on.
2. TOUCH SENSE OUT on Fader Edit page must be on.
If during Automix recording you punch in an individual parameter by using the controls
listed in the above table, even if some OVERWRITE buttons are on, only the existing data
of that particular parameter will be overwritten. Likewise, when you punch out an individual parameter by using the controls listed above, only that particular parameter will be
punched out.
If during Automix recording you press an [AUTO] button to punch in a channel, the existing data of all parameters for which the corresponding OVERWRITE buttons are on will be
overwritten. When you press the [AUTO] button to punch out of recording, all of those
parameters will be punched out.
When faders are grouped, if the OVERWRITE FADER button is on, pressing an [AUTO]
button, or touching the fader knob of any fader in the group (if TOUCH SENSE on the
Fader Edit page is on) puts all the corresponding channels into Record mode and all the
[AUTO] button indicators light up red. The same applies to Mute (OVERWRITE ON button) and EQ (OVERWRITE EQ button) groups.
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Playing Back an Automix
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Playing Back an Automix
So long as the Automix function is enabled, the Automix function will chase the incoming
timecode and play and stop the current Automix accordingly. Playback stops automatically
when the end of the Automix data is reached. Playback can be stopped manually by pressing
the STOP or ABORT button on the Automix Main or Memory page. Playback will stop
automatically if no timecode is received for a while, for example, if the timecode source is
disconnected or turned off.
If the timecode source is set to internal, use the PLAY button on the Automix Main or Memory page to start Automix playback, and the STOP button to stop it.
You can disable Automix playback on individual channels by using the channel strip
[AUTO] buttons. During playback, the [AUTO] button indicators appear green. When
Automix playback for an individual channel is disabled, its [AUTO] button indicator goes
out.
During playback, faders move in accordance with recorded Fader events (so long as the corresponding Layer and Fader mode is selected). Fader movement can be disabled by turning
off the fader motors (see page 151). Fader events can be viewed on the Fader Edit pages (see
page 151).
Other events are displayed by the display pages and button indicators. Recorded events of
the currently selected channel are displayed by the SELECTED CHANNEL section controls
and displays.
If the effects type is different to that which was used when the effects parameter edits were
recorded, the parameter edits will not be played back. However, they are not deleted. When
you rerecord effects parameter edits, it’s recommended that you delete the existing effects
events offline. See “Editing Events Offline” on page 158 for more information.
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Chapter 16—Automix
Editing Events Offline
Automix events can be edited offline on the Event Copy and Event Edit pages. Offline editing can be performed only while the Automix function is stopped.
Event Copy Page
1
2
On the Event Copy page, specified events on specified channels between specified in and
out points can be erased, copied, moved/merged, or trimmed.
Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Copy page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
Channel buttons: These buttons are used to specify the Input and Output Channels
whose Automix data you want to erase, copy, move/merge, or trim. In other words, the
source data. A channel is specified when its button appears highlighted. Multiple channels
can be specified. Channel buttons can be selected by using the Parameter wheel or the cursor buttons. You can specify all channels by double-clicking any channel button. A confirmation message appears and you can select one or all channels. It’s not necessary to select
source channels when editing library or Scene recall events or effects or Plug-Ins events.
SOURCE: These parameters are used to select the source Automix for copying and moving/merging. You can select CURRENT, i.e., the current Automix, or MEM and any Automix from 1 to 16. When MEM is selected, the MOVE button changes to MERGE. The Erase
and Trim functions work only with the current Automix and ignore these settings.
TIME SETTING: The IN and OUT parameters are used to specify the region of Automix
data to be erased, copied, moved/merged, or trimmed. The IN and OUT points can be set
on-the-fly by pressing the [ENTER] button while the IN or OUT button is selected. The
captured timecode values can be edited by using the Parameter wheel or the INC/DEC buttons. Press the [ENTER] button to reset the currently selected digits to “00.” Up to eight IN
and OUT timecode values can be captured and stored in the eight Capture memories. Use
the cursor buttons to select the Capture memory number, and use the Parameter wheel or
the INC/DEC buttons to select the Capture memories.
The TO parameter is used to specify the point to which the specified data will be copied or
moved/merged. The TO point can be set on-the-fly by pressing the [ENTER] button while
the TO button is selected. The captured timecode value can be edited by using the Parameter wheel or the INC/DEC buttons. Press the [ENTER] button to reset the currently
selected digits to “00.”
The DESTINATION parameter is used to specify the channel to which the specified data
will be copied or moved/merged. The number of destination channels depends on the
number of source channels specified. For example, if Input Channels 1 though 8 are specified as the source, then the number of destination channels will be eight. Destination channels are contiguous and only the first channel in the range can be specified.
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Editing Events Offline
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TRIM EDIT: These parameters are used to specify the TRIM IN and TRIM OUT times and
the trim level, which can be set in 0.5 dB steps. The TRIM IN parameter determines the
time in which the fader level must achieve the specified trim amount. The TIME SETTING
IN point determines the point at which trimming starts.
The TRIM OUT time determines the time from which the Fader level can start returning to
the previous level. The TIME SETTING OUT point determines the point at which trimming ends.
Existing data
Trim: –x dB
Trimmed data
TRIM IN
TRIM OUT
IN
Time
OUT
PARAM: Pressing this button opens the
PARAMETERS window, which is used to specify
which parameters will be erased, copied,
moved/merged, or trimmed. A parameter is
selected when its button appears highlighted.
Multiple parameters can be specified. You can
select all parameters by double-clicking any
parameter button. A confirmation message
appears and you can select one or all parameters.
Button
Events
FADER
Channel Fader events (Inputs Channels, Bus Out masters, Aux Send masters,
and the Stereo Out)
ON
Channel Mute events
PAN
Input Channel pan events
SURR
Input Channel surround pan, LFE level, and DIV parameter events
EQ
Channel EQ events
CH
Channel library recall events
GATE
Gate library recall events
COMP
Comp library recall events
EQ
EQ library recall events
SCENE
Scene recall events
FX LIB
1–4
Effects library recall events of each internal effects processor
AUX
1–8
Level events of each Aux Send
ON
1–8
Mute events of each Aux Send
REMOTE
1
User Defined Remote Layer events
EFFECT
1–4
Parameter events for each internal effects processor
PLUG-IN
1–4
Parameter events for each Plug-In
LIB
ERASE button: This button is used to erase the specified Automix data. Use the channel
buttons to select the source channels. Use the IN and OUT parameters to specify the region
to be erased. Use the PARAMETERS window to specify which Automix events are to be
erased. Then select the ERASE button and press [ENTER].
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Chapter 16—Automix
COPY button: This button is used to copy the specified Automix data. Use the channel
buttons to select the source channels. Use the IN and OUT parameters to specify the region
to be copied. Use the TO parameter to specify the point to which the specified data is to be
copied. Use the DESTINATION parameter to specify the channels to which the specified
data is to be copied. Use the PARAMETERS window to specify which Automix events are
to be copied. Then select the COPY button and press [ENTER]. Duplicate events at the
specified destination will be erased.
MOVE/MERGE button: This button is used to move/merge the specified Automix data.
To move events, set the SOURCE to CURRENT. Use the channel buttons to select the
source channels. Use the IN and OUT parameters to specify the region to be moved. Use
the TO parameter to specify the point to which the specified data it to be moved. Use the
DESTINATION parameter to specify the channels to which the specified data is to be
moved. Use the PARAMETERS window to specify which Automix events are to be moved.
Then select the MOVE button and press [ENTER].
To merge events from another Automix, select the SOURCE MEM option and specify the
source Automix. Use the channel buttons to select the source channels. Use the IN and OUT
parameters to specify the region to be merged. Use the TO parameter to specify the point to
which the specified data it to be merged. Use the DESTINATION parameter to specify the
channels to which the specified data is to be merged. Use the PARAMETERS window to
specify which Automix events are to be merged. Then select the MERGE button and press
[ENTER].
TRIM button: This button is used to trim the specified Automix data. Use the channel
buttons to select the source channels. Use the IN and OUT parameters to specify the region
to be trimmed. Use the TRIM EDIT IN and OUT parameters to specify the TRIM IN and
OUT times, and set the trim amount. Use the PARAMETERS window to specify which
Automix events are to be trimmed (see below). Then select the TRIM button and press
[ENTER].
For trimming, you can select the following Fader events on the PARAMETERS window:
FADER (i.e., Inputs Channels, Bus Out masters, Aux Send masters, and the Stereo Out),
AUX 1–8 (i.e., Aux Send levels 1–8).
UNDO button: This button works the same as the UNDO button on the Automix Main
page. See “UNDO” on page 148 for more information.
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161
Event Edit Page
1
2
On the Event Edit page, you can edit, duplicate, delete, and insert new events.
Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Edit page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
Event list: Automix events are listed in chronological order. The type of events listed
depends on the Event select buttons. Use the cursor buttons to select event parameters.
While the cursor is on the DUPLICATE, DELETE, SELECTED CH, Event select, or SYNC
buttons, you can use the Parameter wheel or the INC/DEC buttons to scroll the list. While
the cursor is inside the event list, you can use these controls to edit event parameters. The
triangular cursor at the left side of the list indicates the currently selected event. When an
event’s timecode value is edited, the list is resorted automatically.
DUPLICATE button: This button is used to duplicate events. Use the Parameter wheel to
select an event, select the DUPLICATE button, and then press [ENTER]. A duplicate event
is inserted below the currently selected event. If there are no events in the list, you can use
this button to insert a new event of the type specified by the Event select buttons.
DELETE button: This button is used to delete events. Use the Parameter wheel to select
an event, select the DELETE button, and then press [ENTER].
SELECTED CH: When this option is on, only events of the currently selected channel are
displayed. All Scene recall and effects library recall events are displayed regardless of this
option. For paired channels, only events of the currently selected channel are displayed.
Event select buttons: These buttons are used to select the type of events to be displayed
in the event list.
Button
Events Listed
List Format
SCENE/LIB
Library and Scene recall events
TIME CODE, CH, SCENE/LIB
FADER
Channel faders (Inputs Channels, Bus Out masters,
Aux Send masters, and the Stereo Out)
TIME CODE, CH, dB, SEC
ON
Channel Mutes (ON/OFF)
TIME CODE, CH, ON/OFF
PAN
Pan
TIME CODE, CH, L-C-R
SURR
Surround pan
TIME CODE, CH, SURR
AUX
Aux Send 1–8 levels
TIME CODE, CH, AUX, dB
AUX ON
Aux Send 1–8 mutes
TIME CODE, CH, AUX, ON/OFF
SYNC button: This button is used to synchronize the list to the current timecode position. When pressed, events closest to the current timecode position are displayed. This
function can be used during Automix playback.
Timecode counter: This counter displays the current timecode position.
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CAPTURE button: This button is used to capture the current timecode position. Up to
eight timecode values can be captured and stored in the eight Capture memories. Use the
cursor buttons to select the Capture memory number, and use the Parameter wheel or the
INC/DEC buttons to select the Capture memories. Capture memories can be selected even
while the CAPTURE, LOCATE, or INSERT button is selected.
If the Auto Inc TC capture preference is on (see page 199), Capture memories increment
automatically each time a timecode position is captured.
If the Link Capture & Locate Memory preference is on (see page 199), the eight Capture
memories are linked to the eight Locate memories so that, for example, edits made to Capture memory #1 are reflected on Locate memory #1, and vice versa.
Capture memory display: This displays the captured timecode position. The captured
timecode values can be edited by using the Parameter wheel or the INC/DEC buttons. Press
the [ENTER] button to reset the currently selected digits to “00.”
LOCATE button: This button is used to locate events at the Capture memory display
position.
INSERT button: This button is used to insert new events. Use the Event select buttons to
select the type of event that you want to insert. Use the Captured timecode counter to specify the point at which you want to insert the new event. Select the INSERT button, and then
press [ENTER].
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MIDI
163
17 MIDI
MIDI & the 02R96
•
•
•
•
•
•
•
•
•
•
The 02R96 supports the following MIDI messages:
Program Changes for recalling Scenes (see page 166)
Control Changes for real-time parameter control (see page 167)
System Exclusive Parameter Changes for real-time parameter control (see page 167)
MIDI Note On/Off for Freeze effect (see page 244)
Bulk Dump for transmitting Scene, library, and setup data (see page 168)
MTC and MIDI Clock for Automix synchronization (see page 152)
MMC for external machine control (see page 192)
User Defined Plug-Ins transmit user-specified MIDI data when Parameter controls 1–4 are
operated (see page 135)
User Defined Remote Layer transmits user-specified MIDI data when the channel strip faders, Encoders, and [ON] buttons are operated (see page 189)
Predefined Remote Layers for controlling popular DAWs (Digital Audio Workstations),
including Pro Tools (see page 169)
MIDI I/O
•
•
•
•
The 02R96 features four types of interface for transmitting and receiving MIDI data:
Standard MIDI ports
TO HOST USB port
TO HOST SERIAL port
SLOT1 (for use with an optional mLAN I/O Card installed in Slot #1)
TO HOST SERIAL, TO HOST USB, and SLOT1 are multiport interfaces, with eight ports
each.
When the 02R96 receives MIDI data via any of these interfaces, the MIDI indicator appears
on the display (see page 29).
If you are connecting a Windows computer to the TO HOST USB or TO HOST SERIAL
port, you must install and use the YAMAHA CBX Driver for Windows and the YAMAHA
USB Driver for Windows, which are included on the supplied CD-ROM.
If you are connecting a Macintosh computer to the TO HOST USB or TO HOST SERIAL
port, you must install and use the YAMAHA USB Driver for Macintosh and OMS 2.3.8,
which are included on the supplied CD-ROM.
02R96—Owner’s Manual
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Chapter 17—MIDI
MIDI Port Setup
1
2
MIDI ports are configured as follows.
Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup
page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TO HOST SERIAL: These buttons are used to configure the TO HOST SERIAL port for
use with either a Mac or PC.
Caution: When a PC is connected to the TO HOST SERIAL port, do not set this to Mac
because your PC may crash.
GENERAL: These parameters are used to select ports for general MIDI data transmission
and reception, including Program Changes for recalling Scenes, Control Changes for
real-time parameter control, and Note On/Off for use with the Freeze effect. Available ports
include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1 1–8.
MIDI THRU: These parameters allow you to route the incoming MIDI data from one port
through to another port. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1
1–8.
REMOTE1: This parameter is used to select a port for the Remote Layer. Available ports
include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1 1–8. If Pro Tools is selected as the target
for a Remote Layer, “Pro Tools” is displayed here and no settings can be made.
Studio Manager: These parameters are used to select a port for use with the Studio
Manager software and to assign the 02R96 an ID from 1 to 8. Available ports include: MIDI,
SERIAL 1–8, USB 1–8, and SLOT1 1–8. See the Studio Manager documentation for more
information.
DAW: These parameters are used to select ports for use with DAWs. Since three ports are
required to control DAWs, ports are selected in groups of three, as follows: 1–3, 2–4, 3–5,
4–6, 5–7, 6–8. Available ports include: SERIAL, USB, and SLOT1.
PLUG-IN1–4: These parameters are used to select ports for use with the Plug-Ins. If a
Waves Plug-In card is installed in a Slot, the number of that Slot is displayed and no settings
can be made. If the Plug-In target is set to USER DEFINED, you can select a port from
MIDI, SERIAL 1–8, USB 1–8, or SLOT1 1–8. Ports for User Defined Plug-Ins can also be set
on the Plug-In Setup page (see page 135).
Note: Some functions cannot share ports. If you try to assign a port that’s already assigned to
such a function, the message “Change Port?” appears. If you select YES, the port will be assigned
to the selected function and the previously assigned function will be set to “NO ASSIGN.”
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MIDI Channel Setup
165
MIDI Channel Setup
1
2
MIDI Channels for reception and transmission are specified as follows.
Use the DISPLAY ACCESS [MIDI] button to locate the MIDI Setup page.
Use the cursor buttons or Parameter wheel to select the parameters, and use
the INC/DEC buttons or [ENTER] button to set them.
RECEIVE: The Channel buttons are used to select a MIDI Channel for MIDI message
reception. The Enable buttons are used to turn on and off reception of Program Change,
Parameter Change, and Control Change messages.
TRANSMIT: The Channel buttons are used to select a MIDI Channel for MIDI message
transmission. The Enable buttons are used to turn on and off transmission of Program
Change, Parameter Change, and Control Change messages.
OMNI: These buttons determine whether the 02R96 responds to Program Change and
Control Change messages only on the specified MIDI Receive Channel or on all Channels.
ECHO: These buttons determine whether Program Change, Parameter Change, Control
Change, and Other Commands received at the MIDI IN port are echoed through to the
MIDI OUT port.
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Chapter 17—MIDI
Assigning Scenes to Program Changes
02R96 Scenes can be assigned to MIDI Program Changes for remote recall. When a Scene
is recalled on the 02R96, the assigned Program Change number is transmitted. If that Scene
is assigned to more than one Program Change, the lowest Program Change is transmitted.
Likewise, when a Program Change message is received, the assigned Scene is recalled. You
must set the MIDI Setup parameters in order to transmit and receive Program Change messages (see page 165).
1
Initially, Scenes 1 through 99 are assigned sequentially to Program Changes 1 through
99. Scene #0 is assigned to Program Changes #100. A Scene to Program Change assignment table, listing initial assignments and with space to note user assignments, is provided
on page 273. This table can be stored to an external MIDI device, such as a MIDI data filer,
by using MIDI Bulk Dump (see page 168).
Use the DISPLAY ACCESS [MIDI] button to locate the Program Change
Assign Table page.
2
Use the cursor buttons to select the PGM CHG. column, and use the Parameter wheel or INC/DEC buttons to select the Program Changes.
3
Use the cursor buttons to select the SCENE No/TITLE column, and use the
Parameter wheel or INC/DEC buttons to select Scenes.
You can initialize the Scene to Program Change assignment table by selecting the INITIALIZE button, and then pressing [ENTER].
02R96—Owner’s Manual
Assigning Parameters to Control Changes
167
Assigning Parameters to Control Changes
1
02R96 parameters can be assigned to MIDI Control Changes for real-time control. When a
parameter is adjusted on the 02R96, the assigned Control Change message is transmitted.
Likewise, when a Control Change message is received, the assigned 02R96 parameter is set.
You must set the MIDI Setup parameters in order to transmit and receive Control Change
messages (see page 165).
A Parameter to Control Change assignment table, listing the initial assignments, is provided
on page 274. This table can be stored to an external MIDI device, such as a MIDI data filer,
by using MIDI Bulk Dump (see page 168).
Use the DISPLAY ACCESS [MIDI] button to locate the Control Change Assign
Table page.
2
Use the cursor buttons to select the MODE TABLE button, and press [ENTER].
In TABLE mode, when 02R96 parameters are adjusted, MIDI Control Change messages are
transmitted in accordance with the assignments on this page. In NRPN mode, when 02R96
parameters are adjusted, predefined NRPNs (Non Registered Parameter Number) are
transmitted.
3
Use the cursor buttons to select the CTL CHG. column, and use the Parameter
wheel or INC/DEC buttons to select the Control Changes.
4
Use the cursor buttons to select the three PARAMETER columns, and use the
Parameter wheel or INC/DEC buttons to select the parameters.
Parameters with more than 128 steps require two or more Control Change messages for
MIDI transmission and reception. Certain Delay parameters and the faders are divided into
L and H parameters. Delay Time parameters are divided into LOW, MID, and HIGH
parameters. For accurate transmission, all parameters (e.g., both L and H for faders) must
be assigned to individual Control Changes.
You can initialize the Parameter to Control Change assignment table by selecting the INITIALIZE button, and then pressing [ENTER].
Controlling Parameters by Using Parameter Changes
02R96 parameters can be controlled in real time by using Parameter Change messages,
which are System Exclusive messages. When a parameter is adjusted on the 02R96, a Parameter Change message is transmitted. Likewise, when a Parameter Change message is
received, a 02R96 parameter is adjusted. See “MIDI Data Format” on page 275 for detailed
information. You must set the MIDI Setup parameters in order to transmit and receive
Parameter Change messages (see page 165).
02R96—Owner’s Manual
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Chapter 17—MIDI
Using Bulk Dump
1
02R96 data can be stored to an external MIDI device, such as a MIDI data filer, by using
MIDI Bulk Dump.
Use the DISPLAY ACCESS [MIDI] button to locate the Bulk Dump page.
2
To transmit data, use the CATEGORY parameters to select the type of data
you want to transmit, select the TRANSMIT button, and then press [ENTER].
3
To receive data, use the CATEGORY parameters to select the type of data
you want to receive, select the REQUEST button, and then press [ENTER].
The INTERVAL parameter sets the interval between data packets during transmission.
The CATEGORY parameters can be set as follows:
ALL: All data.
SCENE MEM: ALL Scenes, individual Scenes, or current (i.e., the Edit buffer).
AUTOMIX: ALL Automixes, individual Automixes, or the current Automix.
LIBRARY: The following libraries: EQ, Gate, Comp, Channel, Effects, Bus to Stereo, Input
Patch, Output Patch, Surround Monitor. For each library you can specify ALL user memories, individual user memories, and for the Bus to Stereo, Input Patch, Output Patch, Surround Monitor libraries you can also specify the current settings.
BANK: User Defined Remote Layer banks, User Defined Plug-Ins banks, or the User
Defined Keys banks. For each item you can specify ALL or individual banks.
SETUP MEM: 02R96 setup data (i.e., system settings).
PGM TABLE: Scene to MIDI Program Change table. See “Assigning Scenes to Program
Changes” on page 166.
CTL TABLE: Parameter to MIDI Control Change table. See “Assigning Parameters to Control Changes” on page 167.
PLUG-IN: The settings of any installed Y56K cards. You can specify ALL Slots or Slot 3 or 4.
02R96—Owner’s Manual
Pro Tools Remote Layer
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18 Pro Tools Remote Layer
The 02R96 features a Remote Layer target especially designed for controlling Pro Tools.
If an optional MB02R96 Peak Meter Bridge is installed, Pro Tools channel levels are displayed on its meters.
Configuring Windows Computers
1
Connect your PC.
The 02R96 can be connected to your Windows PC by connecting the TO HOST SERIAL
port to a suitable RS232 serial port on your PC, or by connecting the TO HOST USB port
to a USB port on your PC. If you use the TO HOST SERIAL port, make sure that the TO
HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to PC-2 (see page 164).
2
Install the necessary drivers.
Once your PC is connected, you’ll need to install the TO HOST SERIAL or TO HOST USB
drivers included on the 02R96 CD-ROM.
Configuring Macintosh Computers
1
Connect your Mac.
The 02R96 can be connected to your Mac by connecting the TO HOST SERIAL port to
either the Printer or Modem port on your Mac, or by connecting the TO HOST USB port
to a USB port on your Mac. If you use the TO HOST SERIAL port, make sure that the TO
HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to Mac (see page 164).
2
Install OMS.
The 02R96 communicates with Pro Tools via OMS (Open Music System) software. If you
already have OMS installed on your Mac, there’s no need to install it again and you can
move on to the next section. If you don’t already have OMS installed, it’s included on the
02R96 CD-ROM. Refer to the OMS documentation included on the 02R96 CD-ROM for
more information on installing.
3
Install Yamaha USB MIDI driver 1.04 or later.
If you are using the TO HOST USB port, you must also install the Yamaha USB MIDI driver
included on the 02R96 CD-ROM. See the included documentation for more information.
Configuring the 02R96
1
Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup
page, and use the DAW parameter to specify the port to which Pro Tools is
connected.
See “MIDI Port Setup” on page 164 for more information.
2
Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page, and
set the target to Pro Tools.
See “Assigning a Target to the Remote Layer” on page 189 for more information.
3
Use the LAYER [REMOTE] button to select the Remote Layer.
When the Pro Tools Remote Layer is selected, the 02R96’s control surface controls Pro
Tools, not the 02R96. In order to control the 02R96, you need to select an Input Channel
Layer or the Master Layer. Audio mixing on the other Layers and Automix continues while
the Pro Tools Layer is selected.
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Chapter 18—Pro Tools Remote Layer
Configuring Pro Tools
1
Pro Tools needs to be configured as follows. For more information, see your Pro Tools documentation.
Launch Pro Tools.
2
Choose OMS Studio Setup from the Setups menu, and configure OMS as necessary.
This screen shot shows the Yamaha USB MIDI
driver with eight ports. An OMS-compatible
device profile for the 02R96 is included on the
02R96 CD-ROM. See the included documentation for more information.
3
Choose Peripherals from the Setups menu.
4
When the Peripherals window appears, click the MIDI Controllers button.
5
Select HUI as the Type of controller.
6
Select the Receive From and Send To ports, and then click OK.
The 02R96 can emulate up to three typical 8-channel Pro Tools MIDI controllers. A single
MIDI port is required for every eight channels. So you must configure MIDI Controller #2
to use channels 9 through 16, and configure MIDI Controller #3 to use channels 17 through
24.
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Control Surface Operation with the Pro Tools Remote Layer
171
Control Surface Operation with the Pro Tools Remote Layer
This section explains the operation of the 02R96 control surface when the Pro Tools Remote
Layer is selected. 02R96 buttons and controls are referred to by the names printed on the
02R96 with the name of the corresponding Pro Tools function in parenthesis. For example,
“Press the AUX SELECT [AUX 1] (SEND A) button.”
Display
This is the Pro Tools Remote Layer page, the various sections of which are explained below.
•
•
•
F2 (INSERT), F3 (CHANNEL), F4 (METER) buttons
These buttons are used to select the following display modes:
[F2]—Insert Assign/Edit Display mode (see page 172)
[F3]—Channel Display mode (see page 172)
[F4]—Meter Display mode (see page 173)
TARGET
This parameter cannot be changed here. To change the target for this Layer, you must first
select another Layer, and then press the DISPLAY ACCESS [REMOTE] button. See “Assigning a Target to the Remote Layer” on page 189 for more information.
COUNTER
This counter works in unison with the timecode counter
in Pro Tools. The display format is specified in Pro Tools.
The three check boxes indicate the currently selected format, as follows:
TIME CODE: Pro Tools timecode format set to “Time Code.”
FEET: Pro Tools timecode format set to “Feet:Frames.”
BEATS: Pro Tools timecode format set to “Bars:Beats.”
When the Pro Tools timecode format is set to “Minutes:Seconds” or “Samples,” no check
boxes are selected.
CURSOR MODE
The currently selected Cursor mode is displayed here: NAVIGATION, ZOOM, or SELECT. Cursor modes are selected by using the
[INC] (CURSOR MODE) button.
SELECT ASSIGN
This indicates the current function of the Encoders. For example,
Pan (PanR), SndA, SndB, SndC, SndD, or SndE.
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Chapter 18—Pro Tools Remote Layer
INSERT ASSIGN/EDIT Display Mode
Press the [F2] button to select this mode.
ASSIGN: This indicator flashes when the EFFECTS/PLUG-INS [1] (ASSIGN) button is
pressed. See “Assigning Inserts/Plug-ins” on page 182 for more information.
COMPARE: This indicator appears highlighted when the EFFECTS/PLUG-INS [2]
(COMPARE) button is pressed. See “Editing Plug-ins” on page 183 for more information.
BYPASS: This indicator appears highlighted when the EFFECTS/PLUG-INS [3]
(BYPASS) button is pressed. See “Editing Plug-ins” on page 183 and “Bypassing Plug-ins”
on page 184 for more information.
INSERT: This indicator appears highlighted when the EFFECTS/PLUG-INS [4]
(INSERT/ASSIGN) button is pressed. See “Editing Plug-ins” on page 183 for more information.
INSERT/PARAM Display
This section displays mainly insert and plug-in-related information, although other messages are also displayed here.
Encoder Display
This section displays information about the Parameter controls 1–4. The SEL indicators
show the on/off status of the Parameter control push-switches. The rotary control indicators show the positions of the Parameter controls. The “O” symbol below each Parameter
control shows the automation status for each Parameter control.
Channel Display Mode
Press the [F3] button to select this display mode.
In this display mode, controls for the parameters currently assigned to the Encoders are displayed (e.g., pan or aux send). When displaying panpots, the small circles inside the
Encoder icons are highlighted when pan is at center. The name of each channel is displayed
below the Encoder icons. Automation mode settings, aux send destinations, and aux send
pre/post settings can also be displayed here. See “Viewing the Automation Mode” on
page 187, “Viewing Send Destinations” on page 180, and “Configuring Sends as Pre or
Post” on page 180 respectively for more information.
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Control Surface Operation with the Pro Tools Remote Layer
173
Meter Display Mode
Press the [F4] button to select this display mode.
In this display mode, stereo meters for each channel are displayed. The name of each channel is displayed below the meters. Automation mode settings, aux send destinations, and
aux send pre/post settings can also be displayed here. See “Viewing the Automation Mode”
on page 187, “Viewing Send Destinations” on page 180, and “Configuring Sends as Pre or
Post” on page 180 respectively for more information.
Channel Strips
AUTO
SEL
02R96 channel strips correspond to Pro Tools channels from left to right, with the
leftmost Pro Tools channel being handled by 02R96 channel strip #1. You can
change the order of channel strips by dragging the channel select buttons in Pro
Tools, in which case the 02R96 automatically reorders its channel strips. By using
the USER DEFINED KEYS, Pro Tools channels can be scrolled in banks of 24 (see
page 176).
SOLO
ON
Encoders & Push-Switches
The Encoders are used to set pan and send levels. The Encoder push-switches are used to
reset send levels and panpots and to set sends to pre or post fader. Their exact operation
depends on the currently selected Encoder mode, as shown in the following table.
Encoder Mode
[PAN]
[SEND LEVEL]
Encoder
Push-switches
Pan (see page 179)
Reset pan (see page 184)
Send levels (see page 180)
Send pre/post (see page 180)
Reset send levels (see page 184)
[AUTO] buttons
These buttons are used in conjunction with USER DEFINED KEYS [3–8] to set the Automation mode of each channel. See “Setting the Automation Mode” on page 187 for more
information.
[SEL] buttons
These buttons are used to select channels (see page 179) and to select inserts (see page 183).
[SOLO] buttons
These buttons are used to solo channels. See “Soloing Channels” on page 179 for more
information.
[ON] buttons
These buttons are used to mute channels. See “Muting Channels” on page 179 for more
information.
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Chapter 18—Pro Tools Remote Layer
Faders
The faders are used to set channel levels (see page 179), or to set send levels in Flip
mode (see page 181).
10
5
0
5
10
15
20
30
40
50
AUX SELECT Section
AUX SELECT
DISPLAY
AUX 1
(SEND A)
AUX 2
(SEND B)
AUX 3
(SEND C)
AUX 4
(SEND D)
AUX 5
(SEND E)
AUX SELECT [AUX 1–5] buttons are used to select sends A–E. The button indicator of the
currently selected send lights up.
ENCODER MODE Section
ENCODER MODE
DISPLAY
PAN
AUX
PAN
SEND LEVEL
[PAN] (PAN) button
When this button is pressed, the Encoders work as channel panpots. Its indicator lights up
when it’s pressed. See “Panning Channels” on page 179 for more information.
[AUX] (SEND LEVEL) button
When this button is pressed, the Encoders work as send level controls. Its indicator lights
up when it’s pressed, and send A is selected automatically. If the Encoders are currently set
to control pan, its indicator lights automatically when one of the AUX SELECT [AUX 1–5]
(SEND A–E) buttons is pressed.
FADER MODE Section
FADER MODE
FADER
AUX
[FADER] & [AUX] buttons
These buttons are used to select Flip mode, in which faders, Encoders, and [ON] buttons
can be used to control sends. See “Flip Mode” on page 181 for more information.
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175
EFFECTS/PLUG-INS Section
EFFECTS / PLUG INS
( SCROLL)
DISPLAY
(SHOW
INSERT)
PLUG INS
(DEFAULT)
CHANNEL
INSERTS
1
2
3
4
(ASSIGN)
(COMPARE)
(BYPASS)
(INSERT/PARAM)
(SCROLL )
[DISPLAY] (SHOW INSERT) button
This button is used to open and close plug-in windows.
[PLUG-INS] (DEFAULT) button
This button is used in conjunction with other controls to reset faders, panpots, and sends
to their default values. See “Resetting Faders, Sends, & Panpots” on page 184 for more information.
[CHANNEL INSERTS]
This button determines the operation of the [SEL] buttons. When its indicator is off (Channel Select mode), [SEL] buttons select channels (see page 179). When its indicator is on
(Insert Select mode), they select inserts/plug-ins (see page 183).
[1] (ASSIGN) button
This button is used in conjunction with other controls to assign inserts/plug-ins to channels. See “Assigning Inserts/Plug-ins” on page 182 for more information.
[2] (COMPARE) button
This button is used to compare plug-in edits before and after. See “Editing Plug-ins” on page
183 for more information.
[3] (BYPASS) button
This button is used to bypass plug-ins. See “Editing Plug-ins” on page 183 and “Bypassing
Plug-ins” on page 184 for more information.
[4] (INSERT/PARAM) button
This button is used in conjunction with other controls when editing plug-ins. See “Editing
Plug-ins” on page 183 for more information.
Parameter Up ( SCROLL) & Parameter Down (SCROLL ) buttons
These buttons are used to scroll parameters when assigning inserts and editing plug-ins. See
“Assigning Inserts/Plug-ins” on page 182 and “Editing Plug-ins” on page 183 for more
information.
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Chapter 18—Pro Tools Remote Layer
USER DEFINED KEYS Section
USER DEFINED KEYS
DISPLAY
(AUTO
STATUS)
1
2
3
(MIX/EDIT) (SUSPEND) (WRITE)
9
10
( BANK) (BANK )
4
5
6
7
8
(TOUCH)
(LATCH)
(READ)
(TRIM)
(OFF)
14
15
16
11
12
13
(FADER)
(MUTE)
(PAN)
(SEND) (SEND MUTE) (PLUG-IN)
[DISPLAY] (AUTO STATUS) button
This button is used to display the Automation mode settings of all channels. See “Viewing
the Automation Mode” on page 187 for more information.
[1] (MIX/EDIT)
This button is used to toggle between the Mix and Edit windows.
[2] (SUSPEND) button
This button is used to temporarily suspend all automation recording and playback. Its indicator flashes while automation is suspended.
[3] (WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), [8] (OFF)
buttons
These buttons are used in conjunction with the channel strip [AUTO] buttons to set the
Automation mode of each channel strip. See “Setting the Automation Mode” on page 187
for more information.
[9] ( BANK) & [10] (BANK ) buttons
These buttons are used to swap channel banks 24 channels at a time.
[11] (FADER), [12] (MUTE), [13] (PAN), [14] (SEND), [15] (SEND MUTE),
[16] (PLUG-IN) buttons
These buttons are used to select parameters for automation recording and playback. See
“Arming Parameters for Automation” on page 188 for more information.
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177
MACHINE CONTROL Section
MACHINE CONTROL
LOCATE MEMORY
DISPLAY
(MEM-LOC)
SET
1
2
3
4
5
6
7
8
REW
FF
STOP
PLAY
REC
[DISPLAY] (MEM-LOC) button
This button is used to open and close the Memory Locations window.
LOCATE MEMORY [1–8] buttons
These buttons perform the same transport-related functions as the 1–8 number keys on a
Macintosh keyboard. If you set the Numeric keypad Mode in Pro Tools to “Classic” (Setups
menu, Preferences), these buttons can be used to directly locate markers 1–8.
[REW] button
This button rewinds from the current cursor position (it’s non-latching).
[FF] button
This button fast forwards from the current cursor position (it’s non-latching).
[STOP] button
This button stops playback and recording.
[PLAY] button
This button starts playback from the current cursor position.
[REC] button
This button arms Pro Tools for recording ([REC] button indicator flashing), recording is
started by pressing the [PLAY] button ([REC] button indicator lit continuously).
Normally the MACHINE CONTROL section can be used to control Pro Tools only while
the Pro Tools Remote Layer is selected. By turning on the DAW CONTROL option on either
the Locate Memory page (see page 194) or the Machine Configuration page (see page 192),
the MACHINE CONTROL section can be used to control Pro Tools regardless of which
Layer is currently selected.
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Chapter 18—Pro Tools Remote Layer
Data Entry Section
DEC
(ESC)
INC
(CURSOR MODE)
SHUTTLE
SCRUB
ENTER
Parameter Wheel
The Parameter wheel is used for shuttling and scrubbing (see page 186). It’s also used for
making fine adjustments to the selected region (see page 185).
[SHUTTLE] & [SCRUB] buttons
These buttons are used to select the Shuttle and Scrub modes. See “Scrub & Shuttle” on page
186 for more information.
[ENTER] button
This button works the same as the Enter key on your computer keyboard. Pressing it opens
the New Memory Location dialog box. While a dialog box is open, pressing it performs the
same action as clicking the OK button.
[DEC] (ESC) button
For the most part, this button works the same as the Esc key on your computer keyboard.
While a dialog box is open, pressing it performs the same action as clicking the Cancel button.
[INC] (CURSOR MODE) button
This button is used to select the following cursor modes: Navigation (see page 184), Zoom
(see page 185), and Select (see page 185).
Cursor buttons
These buttons can be used to navigate the Edit window (see page 184), zoom waveforms
(see page 185), and to make fine adjustments to the selected region (see page 185). Their
exact operation depends on the currently selected cursor mode.
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Selecting Channels
179
Selecting Channels
1
2
Channels can be selected as follows.
(Make sure the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is not lit
before proceeding.)
Use the [SEL] buttons to select channels.
The [SEL] button indicators of selected channels light up.
To select multiple channels in each eight-channel block (e.g., 1–8, 9–16, or
17–24), while holding down one [SEL] button, use the [SEL] buttons of the
other channels in the same block to add and remove channels.
Setting Channel Levels
1
Channel levels can be set as follows.
(Make sure the FADER MODE [FADER] and [AUX] button indicators are not flashing
before proceeding.)
Use the faders to set channels levels.
Faders in a mix group are controlled together.
Muting Channels
1
2
Channels can be muted as follows.
Use the [ON] buttons to mute channels.
The [ON] button indicators of muted channels go out.
Press the [ON] buttons again to unmute channels.
The [ON] button indicators of unmuted channels are lit.
Grouped channels are muted together.
Panning Channels
1
2
Channels can be panned as follows.
Press the ENCODER MODE [PAN] (PAN) button.
Its indicator lights up.
Use the Encoders to pan the channels.
Pan positions are displayed in Channel Display mode. See “Channel Display Mode” on page
172 for more information.
For stereo aux input channels (i.e., channels with two panpots), use the ENCODER MODE
[PAN] (PAN) button to toggle between the left and right panpots, and pan with the
Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indicator is lit continuously and the SELECT ASSIGN section of the display shows “Pan.” When
the right panpot is active, the ENCODER MODE [PAN] (PAN) button indicator flashes
and the SELECT ASSIGN section of the display shows “PanR.”
Soloing Channels
1
2
Channels can be soloed as follows.
Use the [SOLO] buttons to solo channels.
The [SOLO] button indicators of soloed channels light up and the [ON] button indicators
of unsoloed channels flash.
Press the [SOLO] buttons again to unsolo channels.
Grouped channels are soloed together.
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Chapter 18—Pro Tools Remote Layer
Viewing Send Destinations
Send destinations can be viewed in Channel Display mode [F3] or Meter Display mode [F4]
(see page 172) by pressing the holding the AUX SELECT [AUX 1–5] (SEND A–E) buttons.
Configuring Sends as Pre or Post
1
2
Sends can be configured as either pre or post as follows.
(Make sure the ENCODER MODE [PAN] (PAN) button indicator is not lit before proceeding.)
Use the AUX SELECT [AUX 1–5] (SEND A–E) buttons to select the sends.
The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the button indicator of the selected send.
Use the Encoder push-switches to toggle between pre and post.
Sends can also be set as pre or post fader by using the Encoder push-switches in Flip mode.
See “Flip Mode” on page 181 for more information.
Send pre/post status can be viewed in Channel Display mode [F3] or Meter Display mode
[F4] (see page 172) by pressing the holding the Encoder push-switches.
Setting Send Levels
1
2
Send levels can be set as follows.
Use the AUX SELECT [AUX 1–5] (SEND A–E) buttons to select the sends.
The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the button indicator of the selected send.
The levels for the selected send are displayed in Channel Display mode. See “Channel Display Mode” on page 172 for more information.
Use the Encoders to set the send levels.
Send levels can also be set by using the faders in Flip mode. See “Flip Mode” on page 181 for
more information.
Muting Sends
Sends can be muted by using the [ON] buttons in Flip mode. See “Flip Mode” on page 181
for more information.
Panning Sends
Only sends assigned to stereo destinations can be panned. Sends can be panned by using the
Encoders in Flip mode. See “Flip Mode” on page 181 for more information.
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Flip Mode
181
Flip Mode
In Flip mode, the faders, Encoders, and [ON] buttons can be used to control sends, as
shown in the following table.
Control
Normal mode
Flip mode
Fader
Channel level
Send level
Encoder
Channel pan/send level
Send pan
Encoder push-switches
Encoder mode is Pan, inactive
Encoder mode is Send level, Send pre/post
Send pre/post
[ON] button
Channel mute
Send mute
1
Press the FADER MODE [FADER] or [AUX] button.
The FADER MODE [FADER] and [AUX] button indicators flash alternately, and both the
ENCODER MODE [PAN] (PAN) and [AUX] (SEND LEVEL) button indicators light up.
The SELECT ASSIGN section of the display shows “FLIP.”
2
Use the AUX SELECT [AUX 1–5] (SEND A–E) buttons to select the sends.
The button indicator of the selected send lights up.
3
Use the faders, Encoders, and [ON] buttons to control the currently selected
send.
For stereo aux input channels (i.e., channels with two send panpots), use the ENCODER
MODE [PAN] (PAN) button to toggle between the left and right panpots, and pan with the
Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indicator is lit continuously. When the right panpot is active, the ENCODER MODE [PAN]
(PAN) button indicator flashes.
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Chapter 18—Pro Tools Remote Layer
Assigning Inserts/Plug-ins
1
Inserts can be assigned to channels as follows. The Pro Tools transport must be stopped in
order to make these assignments.
Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.
Its indicator lights up and the [SEL] buttons are set to Insert Select mode.
2
Use the [SEL] buttons to select channels for insert assignment.
The name of the selected channel appears in the INSERT/PARAM section of the display.
The border of the corresponding channel name in the Pro Tools Mix window is highlighted
red.
3
Press the EFFECTS/PLUG-INS [1] (ASSIGN) button.
Its indicator flashes, as does the ASSIGN indicator on the display.
4
Use Parameter controls 1–4 to select inserts/plug-ins.
The names of the inserts/plug-ins appear on the display in abbreviated form. When you
select an insert/plug-in other than the current, the corresponding SEL button flashes on the
display.
5
To confirm your selection, press the relevant Parameter control’s
push-switch.
The SEL button stops flashing.
While the EFFECTS/PLUG-INS [1] (ASSIGN) button indicator is still flashing, you can
assign more inserts/plug-ins to the same channel. To set insert #5, press the Parameter
Down (SCROLL >) button. Press the Parameter Up (< SCROLL) button to view inserts 1–4
again.
To assign inserts/plug-ins to other channels, use the [SEL] buttons to select them. You’ll
need to press the EFFECTS/PLUG-INS [1] (ASSIGN) button each time you select another
channel.
You can cancel this function by pressing the [DEC] (ESC) button.
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Editing Plug-ins
183
Editing Plug-ins
1
Plug-ins can be edited as follows.
Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.
Its indicator lights up and the [SEL] buttons are set to Insert Select mode.
2
Use the [SEL] buttons to select the channel whose plug-in you want to edit.
That channel’s [SEL] button indicator lights up, and the border of the corresponding channel name in the Pro Tools Mix window is highlighted red. The names of the Plug-ins
inserted in the channel are displayed in the INSERT ASSIGN/EDIT section of the display.
3
Use the Parameter control 1–4 push-switches to select the plug-in that you
want to edit.
Plug-in Edit mode is set and the plug-in’s parameters are displayed in the INSERT
ASSIGN/EDIT section of the display. The EFFECTS/PLUG-INS [4] (INSERT/PARAM)
button indicator lights up and the PARAM indicator on the display appears highlighted.
4
Use Parameter controls 1–4 and their push-switches to edit the displayed
parameters.
Parameters displayed on the top row can be edited by using the push-switches. Parameters
displayed on the bottom row can be edited by using the Parameter controls.
5
Use the Parameter Down (SCROLL >) button and Parameter Up (< SCROLL)
button to select the parameter pages.
When a parameter page is first selected, the number of the current parameter page and the
total number of parameter pages is displayed momentarily. For example, “1/2” indicates
that the first page of two is currently selected. While “3/4” indicates that the third page of
four is currently selected. The title of the plug-in is also displayed.
While editing a plug-in you can bypass it by pressing the EFFECTS/PLUG-INS [3]
(BYPASS) button. In which case, the BYPASS indicator on the display appears highlighted.
As soon as you begin editing a plug-in, the COMPARE indicator on the display appears
highlighted. You can compare your edits with the original settings by pressing the
EFFECTS/PLUG-INS [2] (COMPARE) button. The COMPARE indicator on the display
appears highlighted while the original settings are active, and unhighlighted while your
edits are active.
6
To edit another plug-in, press the EFFECTS/PLUG-INS [4] (INSERT/PARAM)
button (its indicator goes out), use the [SEL] buttons to select the channel
(same as step #2), and use the Parameter control 1–4 push-switches to select
the plug-in (same as step #3).
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Chapter 18—Pro Tools Remote Layer
Bypassing Plug-ins
1
Plug-ins can be bypassed as follows.
(Make sure the EFFECTS/PLUG-INS [4] (INSERT/PARAM) button indicator is not lit
before proceeding.)
Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.
Its indicator lights up and the [SEL] buttons are set to Insert Select mode.
2
Use the [SEL] buttons to select plug-ins.
3
While holding down the EFFECTS/PLUG-INS [3] (BYPASS) button, use
Parameter control 1–4 push switches to bypass the plug-ins.
To bypass plug-in #5, press the Parameter Down (SCROLL >) button, and then perform
step 3. Press the Parameter Up (< SCROLL) button to view plug-ins 1–4 again.
The titles of bypassed plug-ins are displayed in uppercase characters. For example, the title
of the plug in “D-Verb” appears as “d-verb” when it’s not bypassed, and appears as
“D-VERB” when it is bypassed.
Resetting Faders, Sends, & Panpots
Faders, panpots, and sends can be reset to their default values as follows. For faders and send
controls, this is “0.” For panpots, it’s center.
Make sure that the EFFECTS PLUG-INS [CHANNEL INSERTS] button indicator is off
before proceeding with these shortcuts.
To do this...
Do this!
Reset a channel fader
EFFECTS PLUG-INS [PLUG-INS]+[SEL]
Reset a channel panpot
[PAN], EFFECTS PLUG-INS [PLUG-INS]+[ENCODER push]
Reset a channel send level
AUX SELECT [AUX1–5], EFFECTS PLUG-INS
[PLUG-INS]+[ENCODER push]
While the EFFECTS PLUG-INS [PLUG-INS] (DEFAULT) button is being pressed, its indicator flashes and “DFLT” appears in the SELECT ASSIGN section of the display.
Grouped channels are reset together.
Navigating the Edit Window
1
The cursor buttons can be used to navigate the Edit window as follows.
Use the [INC] (CURSOR MODE) button to select Navigation cursor mode.
The CURSOR MODE section of the display shows “NAVIGATION.”
2
To move the edit cursor to the previous region boundary, or to the previous
marker, press the Left cursor button.
3
To move the edit cursor to the next region boundary, or to the next marker,
press the Right cursor button.
4
To select the track above, press the Up cursor button.
5
To select the track below, press the Down cursor button.
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Zooming
185
Zooming
1
•
•
•
•
The cursor buttons can be used to zoom the Edit window as follows.
Use the [INC] (CURSOR MODE) button to select Zoom cursor mode.
The CURSOR MODE section of the display shows “ZOOM.”
In Zoom cursor mode, the cursor buttons work as follows:
Left cursor button: Zoom out horizontally.
Right cursor button: Zoom in horizontally.
Up cursor button: Zoom in vertically.
Down cursor button: Zoom out vertically.
Making Fine Adjustments to the Selected Region
1
The cursor buttons can be used in conjunction with the Parameter wheel to make fine
adjustments to the selected region.
Use the [INC] (CURSOR MODE) button to select Select cursor mode.
The CURSOR MODE section of the display shows “SELECT.”
2
While holding down the left cursor button, turn the Parameter wheel to
make fine adjustments to the in point of the selected region.
3
While holding down the right cursor button, turn the Parameter wheel to
make fine adjustments to the out point of the selected region.
4
To select the track above, press the Up cursor button.
5
To select the track below, press the Down cursor button.
6
To move the cursor to the in point of the selected region, double-click the
Left cursor button.
7
To move the cursor to the out point of the selected region, double-click the
Right cursor button.
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Chapter 18—Pro Tools Remote Layer
Scrub & Shuttle
1
The Parameter wheel can be used to scrub and shuttle as follows.
Make sure that Pro Tools is stopped.
2
Press the [SCRUB] button if you want to scrub, press the [SHUTTLE] button
if you want to shuttle.
The corresponding button indicator lights up. The [REW] and [FF] button indicators also
light up, and the cursor mode is set to Navigation (the CURSOR MODE section of the display shows “NAVIGATION”).
3
Turn the Parameter wheel clockwise to scrub/shuttle forwards. Turn it counterclockwise to scrub/shuttle backwards.
Scrub/shuttle starts at the in point of the selected region. If no region is selected, the edit
cursor position is used. Note that if the Edit Insertion Follows Scrub/Shuttle preference is
turned on in Pro Tools (Setups menu, Preferences command, Operation page), the currently selected region will be cancelled when the [SCRUB] or [SHUTTLE] button is
pressed.
Press the left cursor button to move to the in point. Press the right cursor button, to move
to the out point.
You can toggle between scrub and shuttle by pressing the [SCRUB] and [SHUTTLE] buttons, in which case scrub or shuttle continues from the current position.
4
To stop scrub/shuttle, press the [SCRUB] or [SHUTTLE] button again, or press
the [STOP] button.
If you press the [REW], [FF], or [PLAY] button, scrub/shuttle operation is stopped before
rewind, fast forward, or playback commences.
While scrub/ shuttle is active, only the following Pro Tools/02R96 controls can be used:
[SCRUB] and [SHUTTLE] buttons, Parameter wheel, transport buttons, faders, [ON] buttons, and [SOLO] buttons. The current position can be stored as a marker by pressing the
[ENTER] button.
The scrub resolution depends on the current zoom setting, the more zoomed in you are, the
higher the resolution.
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Automation
187
Automation
Viewing the Automation Mode
1
2
The Automation mode setting of each channel can be viewed as follows.
Press either the [F3] or [F4] button.
Channel Display mode or Meter Display mode is selected.
Press and hold a channel’s [AUTO] button.
The channel’s Automation mode is displayed while the [AUTO] button is pressed.
Pro Tools
Display
Auto write
Wrt
Auto touch
Tch
Auto latch
Ltch
Auto read
Read
Auto off
Off
[AUTO] Button Indicators
Flashing red (Record Ready)
Red (Recording)
Green
Off
For MIDI tracks, “—” appears on the display.
The Automation mode settings of all channels can be viewed as follows.
3
Press and hold the USER DEFINED [DISPLAY] (AUTO STATUS) button.
The Automation modes of all channels are displayed while the USER DEFINED [DISPLAY]
(AUTO STATUS) button is pressed.
Setting the Automation Mode
1
The Automation mode can be set as follows.
While holding down a channel’s [AUTO] button, press the USER DEFINED [3]
(WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), or [8] (OFF) button.
If Channel Display mode or Meter Display mode is currently selected, the channel’s Automation mode is displayed while the [AUTO] button is pressed.
Grouped channels are set together.
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Chapter 18—Pro Tools Remote Layer
Trim Mode
1
Trim mode can be set as follows.
While holding down a channel’s [AUTO] button, press the USER DEFINED
KEYS [7] (TRIM) button.
If channel Display mode [F3] or Meter Display mode [F4] is currently selected, the channel’s Automation mode is displayed while its [AUTO] button is pressed.
Pro Tools
Display
Auto trim/write
TWrt
Auto trim/touch
TTch
Auto trim/latch
TLch
Auto trim/read
TRd
[AUTO] Button Indicators
Flashing red/orange (Record Ready)
Orange (Recording)
Flashing green/orange
You can display the Automation mode settings of all channels by pressing and holding the
USER DEFINED KEYS [DISPLAY] (AUTO STATUS) button.
Grouped channels are set together.
Arming Parameters for Automation
Parameters can be selected for automation recording as follows.
1
Use the following USER DEFINED KEYS to arm parameters.
USER DEFINED KEYS
Pro Tools
[11] (FADER)
Volume
[12] (MUTE)
Mute
[13] (PAN)
Pan
[14] (SEND)
Send level
[15] (SEND MUTE)
Send mute
[16] (PLUG-IN)
Plug-in
The button indicators for armed parameters light up.
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Remote Control
189
19 Remote Control
About the Remote Layer
The 02R96’s Remote Layer allows you to control external MIDI equipment directly from
the 02R96. The type of device to be controlled (i.e., the target) is specified on the Remote
page. There are three types of target: User Defined, Nuendo, and Pro Tools. The User
Defined target allows you to specify the MIDI data that will be transmitted when the 24
channel strip faders, Encoders, and [ON] buttons are operated. These settings are stored in
Scenes, for snapshot-style automation. The Nuendo and Pro Tools targets have been especially designed for controlling Nuendo and Pro Tools.
Assigning a Target to the Remote Layer
1
2
Targets are assigned to the Remote Layer as follows.
Use the DISPLAY ACCESS [REMOTE] button to locate the Remote 1–4 pages.
Use the cursor buttons to select the TARGET parameter, use the Parameter
wheel or INC/DEC buttons to select a target, and then press [ENTER].
TARGET: This can be set to NO ASSIGN, USER DEFINED, Nuendo, or Pro Tools. See
page 190 for more information on the User Defined target. See page 169 for more information on the Pro Tools target.
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Chapter 19—Remote Control
Configuring the User Defined Remote Layer
1
2
The User Defined Remote Layer can be configured as follows.
Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TARGET: This is used to select the target (only the User Defined target is explained in this
section).
TRANSMIT: This enables and disables MIDI data transmission for the Remote Layer.
INITIALIZE: This initializes the settings of the currently selected bank.
BANK: These buttons are used to select banks 1, 2, 3, and 4. Each bank can contain MIDI
settings for the 24 faders, Encoders, and [ON] buttons. Banks can be stored to an external
MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 168). See “User
Defined Remote Layer Initial Bank Settings” on page 219 for a list of initial bank settings.
ID/SHORT/LONG: On the Remote Layer, channel strips 1–24 are identified by the fixed
IDs RM01–RM24. You can enter a Short and Long name for each Remote channel strip. To
enter a name, use the cursor buttons to select the SHORT or LONG name, use the [SEL]
buttons, Parameter wheel, or INC/DEC buttons to select the channel strips, and then press
[ENTER]. When the Title Edit window appears, enter a name, and press OK when you’ve
finished. See “Title Edit Window” on page 32 for more information.
ON: These parameters are used to specify the MIDI message (up to 16 bytes) to be transmitted when an [ON] button is pressed. Use the [SEL] buttons to select the channel strips,
and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted
when an [ON] button is pressed. For the SW setting, data value 7F is transmitted when an
[ON] button is turned on, and data value 00 is transmitted when an [ON] button is turned
off. The END setting specifies the end of the data. NOP means no data is transmitted.
UNLATCH/LATCH: This parameter determines the operation of the [ON] buttons:
Latching or Non-latching. When set to UNLATCH, an ON value is transmitted when an
buttons is pressed, and an OFF value is transmitted when it’s released. When set to LATCH,
an ON value is transmitted when the button is pressed and that value is maintained when
the button is released. The next time you press that button, the OFF value is transmitted.
LEARN: This button is used to turn on and off the Learn function, which can be used to
learn what MIDI messages are being transmitted by external MIDI devices when their controls or parameters are adjusted. When on, received MIDI messages are displayed in the
DATA area. Only the first 16 bytes of data, starting with a Status bit, are displayed.
ENCODER: These parameters are used to specify the MIDI message (up to 16 bytes) to be
transmitted when an Encoder is operated. Use the [SEL] buttons to select the channel strips,
and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted
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Using the User Defined Remote Layer
191
when an Encoder is adjusted. For the ENC setting, the Encoder’s current value from 0–127
is transmitted when it’s adjusted. The END setting specifies the end of the data. NOP means
no data is transmitted.
LEARN: This works the same as the [ON] button Learn function above, except the received
MIDI messages are displayed in the ENCODER DATA area. Only one Learn function can
be used at a time.
FADER: These parameters are used to specify the MIDI message (up to 16 bytes) to be
transmitted when a fader is operated. Use the [SEL] buttons to select the channel strips, and
then edit as necessary. When a value from 00 to FF is specified, that value is transmitted
when a fader is adjusted. For the FAD setting, a fader’s current value from 0–127 is transmitted when it’s adjusted. The END setting specifies the end of the data. NOP means no
data is transmitted.
LEARN: This works the same as the [ON] button Learn function above, except the received
MIDI messages are displayed in the FADER DATA area. Only one Learn function can be
used at a time.
Using the User Defined Remote Layer
1
Once configured, the User Defined Remote Layer can be used as follows.
Use the LAYER [REMOTE] button to select the User Defined Remote Layer.
While the User Defined Remote Layer is selected, operating the channel strip faders, Encoders, and [ON] buttons causes the specified MIDI data to be transmitted.
When the User Defined Remote Layer is selected, the Remote page appears. Since this is the
same page as that selected by the DISPLAY ACCESS [REMOTE] button, the User Defined
Remote Layer can be configured here as well, even the target can be changed.
The settings of the channel strip faders, Encoders, and [ON] buttons, and the current target
and bank setting for the Remote Layer are stored in Scenes. When a Scene is recalled, if the
Remote Layer’s target is the same as when the Scene was stored, the faders, Encoders, and
[ON] buttons are set accordingly and the corresponding MIDI data is transmitted (so long
as the TRANSMIT parameter is set to ENABLED). If the target is not the same, the faders,
Encoders, and [ON] buttons are set accordingly, but no MIDI data is transmitted.
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Chapter 19—Remote Control
About Machine Control
The 02R96 can control the transport and locate functions of up to eight external recording
machines that support MMC (MIDI Machine Control).
Machines that support MMC can be controlled by connecting them to the 02R96’s MIDI,
SERIAL, USB, or SLOT1 (with optional mLAN I/O Card installed in Slot #1).
MMC support varies from machine to machine. Some machines may not operate exactly
as explained in this section.
Configuring Machines
1
2
Up to eight machines can be configured as follows.
Use the MACHINE CONTROL [DISPLAY] button to locate the Machine Configuration page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
MACHINE CONTROL/DAW CONTROL: When the MACHINE CONTROL option is
on, the MACHINE CONTROL section controls external MMC machines, except when a
DAW Remote layer is selected, in which case it controls the DAW. When the DAW CONTROl option is on, the MACHINE CONTROL section controls the DAW regardless of
which Layer is currently selected. These settings also appear on the Locate Memory page
(see page 194).
TYPE: This is used to specify the type of machine: MMC or NONE.
PORT: When the machine TYPE is MMC, use this parameter to specify the port for MMC
communications. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1 1–8.
DEVICE ID: When the machine TYPE is MMC, use this parameter to specify the device ID
from 1 to 127 or ALL. The target machine must be set to the same ID. The same ID cannot
be assigned to more than one SERIAL, USB, or SLOT1 port.
TRANSPORT CONTROL: This parameter determines which machine is controlled by
the 02R96’s transport buttons. Only one machine can be controlled at a time.
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Transport Buttons
193
Transport Buttons
The 02R96’s transport can be used to control external machines. The machine that is to be
controlled can be selected on the Machine Configuration page (see page 192).
REW
FF
STOP
PLAY
REC
[REW] button
This button starts rewind on the external machines.
[FF] button
This button starts fast forward on the external machines.
[STOP] button
This button stops the external machines.
[PLAY] button
This button starts playback on the external machines. It’s also used to punch out of recording.
[REC] button
This button is used in conjunction with the [PLAY] button to start recording on the external
machines. Pressing the [REC] button on its own has no effect.
Using Shuttle & Scrub
The Parameter wheel can be used to shuttle and scrub the external machines.
SHUTTLE
SCRUB
When the [SHUTTLE] button indicator is lit, the Parameter wheel can be used to shuttle.
When the [SCRUB] button indicator is lit, the Parameter wheel can be used to scrub. Turn
the Parameter wheel clockwise to shuttle/scrub forwards. Turn it counterclockwise to shuttle/scrub backwards.
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Chapter 19—Remote Control
Using the Locator
MACHINE CONTROL
LOCATE MEMORY
DISPLAY
(MEM-LOC)
SET
1
2
3
4
5
6
7
8
LOCATE MEMORY [1–8] buttons
These buttons are used to set and to locate to the eight Locate memories. Locate memories
can be set on the Locate Memory page (see page 194). To set a locate memory on-the-fly,
while holding down the [SET] button, press a LOCATE MEMORY [1–8] button. The
02R96 must be receiving timecode in order to do this. Once set, the stored position can be
located by pressing the corresponding button. If the button is pressed while the machine is
stopped, the stored position is located. If the button is pressed while the machine is playing,
the stored position is located and then playback continues from that position.
[SET] button
This button is used in conjunction with the LOCATE MEMORY [1–8], [IN], [OUT], and
[RETURN TO ZERO] buttons to set the locate points.
Setting the Locate Memories
1
2
The locate points can be set as follows.
Use the MACHINE CONTROL [DISPLAY] button to locate the Locate Memory
page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
MACHINE CONTROL/DAW CONTROL: When the MACHINE CONTROL option is
on, the MACHINE CONTROL section controls external MMC machines, except when a
DAW Remote layer is selected, in which case it controls the DAW. When the DAW CONTROl option is on, the MACHINE CONTROL section controls the DAW regardless of
which Layer is currently selected.
LOCATE MEMORY 1–8: These time values determine the points that will be located
when the LOCATe MEMORY [1–8] buttons are pressed. They can only be set while the
MACHINE CONTROL option is on. Locate points can be specified in hours, minutes, seconds, and frames, the frame range being dependent on the frame rate setting on the Time
Reference page (see page 152).
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GPI (General Purpose Interface)
195
GPI (General Purpose Interface)
1
The 02R96’s CONTROL port (25-pin D-sub connector) provides a
GPI (General Purpose Interface) for controlling external equipment. Pinouts are provided on page 271. The eight GPI outputs can
be configured so that they output trigger signals when faders or
USER DEFINED KEYS are operated. The GPI can also be used to
control a “RECORDING” warning light outside a studio, or to trigger the Solo function of a Yamaha 02R Digital Recording Console.
Use the DISPLAY ACCESS [SETUP] button to select the GPI page.
The names of the parameters currently assigned to each GPI Output are displayed in the
left-hand box. The parameter currently assigned to the selected GPI Output appears highlighted in the right-hand box.
2
Use the Up/Down cursor buttons to select a GPI Output.
3
Use the Parameter wheel or the INC/DEC buttons to select a function.
A function is selected when it appears inside the dotted box.
See the “GPI Trigger Source List” on page 217 for a complete list of assignable functions.
4
Press the [ENTER] button to assign your choice.
Once assigned, the selected function appears highlighted in the right-hand box.
Faders: Faders can be used to control external equipment. A FADER ON event occurs
when a fader is moved up from –∞. A FADER OFF event occurs when a fader is moved
down to –∞. When such an event occurs, the assigned GPI Output goes High (+5 V) for
approximately 250 msec.
USER DEFINED KEYS: These buttons can be used as general-purpose triggers. For
UNLATCH, when a USER DEFINED KEY is pressed, the assigned GPI Output goes High
(+5 V) for approximately 250 msec. For LATCH, when a USER DEFINED KEY is pressed,
the assigned GPI Output goes High (+5 V) and remains High until the USER DEFINED
KEY is pressed again.
REC LAMP: This source can be used to control a “RECORDING” warning light outside a
studio. When the [REC] button indicator is lit, the assigned GPI Output goes High (+5 V).
POWER ON: While the 02R96 is powered up, the assigned GPI output is High (+5 V).
The 02R96 also features two fixed GPI inputs for use with talkback and dimmer. Each time
the GPI0 input goes Low (ground), the TALKBACK button is turned on or off. Each time
the GPI1 input goes Low (ground), the DIMMER button is turned on or off.
02R96—Owner’s Manual
196
Chapter 20—Other Functions
20 Other Functions
Using the User Defined Keys
Up to 16 functions from a list of over 150 can be
assigned to the USER DEFINED KEYS, and up to
four assignment setups can be stored in banks A, B,
C, and D. See page 202 for a list of initial bank
assignments.
Use the USER DEFINED KEYS [DISPLAY] button to locate the User defined Key Assigned page.
USER DEFINED KEYS
DISPLAY
1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
2
Use the cursor buttons to select the BANK buttons, A, B, C, and D, and press
[ENTER] to select a bank.
3
Use the cursor buttons to select the Assign buttons in the left-hand box, and
use the Parameter wheel or INC/DEC buttons to select a function.
A function is selected when it appears inside the dotted box.
See page 202 for a complete list of assignable functions.
4
Press [ENTER] to activate your selection.
When you select a function that recalls a specific Scene or library memory, you need to specify the number of the memory that you want recalled when the USER DEFINED KEY is
pressed. To do this, in the left-hand box, select the number parameter next to the Assign
button, and use the Parameter wheel or INC/DEC buttons to specify the number.
You can initialize the assignments of the currently selected bank by selecting the INITIALIZE button, and pressing [ENTER].
User Defined Keys banks can be stored to an external MIDI device, such as a MIDI data filer,
by using MIDI Bulk Dump (see page 168).
02R96—Owner’s Manual
Setting Preferences
197
Setting Preferences
You can customize the operation of the 02R96 by using the preferences pages.
Preferences 1
1
Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 1 page.
2
Use the cursor buttons or Parameter wheel to select the preferences, and
use the INC/DEC buttons or [ENTER] button to set them.
Auto ROUTING Display: When this preference is on, the Routing pages appear automatically when a button in the SELECTED CHANNEL ROUTING section is pressed (see
page 66).
Auto DYNAMICS Display: When this preference is on, the Gate Edit page appears automatically when a gate control in the SELECTED CHANNEL DYNAMICS section is operated (see page 60), and the Comp Edit page appears automatically when a Compressor
control in the SELECTED CHANNEL DYNAMICS section is operated (see page 97).
Auto PAN/SURROUND Display: When this preference is on, the Pan pages appears
automatically when a control in the SELECTED CHANNEL PAN/SURROUND section is
operated (see page 68). Similarly, when a Surround Pan mode other than Stereo is selected,
the Input Channel Surround Edit page appears automatically when the Joystick is operated
(see page 70).
Auto EQUALIZER Display: When this preference is on, the EQ Edit page appears automatically when a control in the SELECTED CHANNEL EQUALIZER section is operated
(see page 93).
Auto SOLO Display: When this option is on, the Solo Setup page appears automatically
when an channel is soloed (see page 102).
Auto WORD CLOCK Display: When this preference is on, the Word Clock Select page
appears automatically if the currently selected external wordclock source fails (see page 42).
Auto Channel Select: When this preference is on, channels can be selected by moving
the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO],
or [ON] button.
Store Confirmation: When this preference is on, the Title Edit window appears when
you store a Scene (page 140) or library memory (page 122).
Recall Confirmation: When this preference is on, a confirmation message appears when
you recall a Scene (page 140) or library memory (page 122).
Patch Confirmation: When this preference is on, a confirmation message appears when
you edit the Input and Output Patches (see page 52).
L/R Nominal Pan: When this preference is on, left/odd and right/even signals will be at
nominal level when Input Channels are panned hard left or hard right, and at –3 dB when
panned center. When this preference is off, signals panned hard left or hard right will be at
3 dB, and at nominal level when panned center.
02R96—Owner’s Manual
198
Chapter 20—Other Functions
Fast Meter Fall Time: When this preference is on, the level meters fall quicker.
TC Drop Warning: When this preference is on, a warning message appears if a dropout
is detected in the incoming timecode.
DIO Warning: When this preference is on, a warning message appears if any errors are
detected in digital audio signals received by the Slot Inputs or 2TR Digital Inputs.
MIDI Warning: When this preference is on, a warning message appears if any errors are
detected in the incoming MIDI messages.
Initial Data Nominal: When this preference is on, Input Channel faders are set to nominal when Scene #0 is recalled.
Meter Follow Layer: When this preference is on, the optional MB02R96 Peak Meter
Bridge automatically follows the Layer selection on the 02R96.
Scene MEM Auto Update: When this preference is on, the Shadow Scene memories
can be used (see page 139).
Joystick Auto Grab: When this preference is on, the Joystick automatically kicks in as the
surround pan control when it’s moved to the current surround pan position (see page 70).
Cascade COMM Link: When this preference is on, various functions are linked between
cascaded 02R96s (see page 49). When this preference is off, only digital audio signals are
distributed among the cascaded 02R96s.
Preferences 2
1
Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 2 page.
2
Use the cursor buttons to select the preferences, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
Channel ID/Channel: When the Channel ID preference is on, the Channel ID appears
in the upper-right corner of the display pages (e.g., CH1-CH1). When the Channel Short
Name preference is on, the Channel ID and Channel Short name appear (e.g.,
CH1-NAME).
Port ID/Port: When the Port ID preference is on, patch pages show Port IDs. When the
Port Short Name preference is on, they display Short Port names. See “Patching with the
Encoders” on page 58.
Display Brightness: This preference is used to set the brightness of the LED displays and
indicators.
Fader Touch Sensitivity: This determines the touch sensitivity of the fader knobs when
they are used for selecting channels. If you’re having trouble selecting channels because the
fader knobs are not sensitive enough, try increasing this value. If they are too sensitive, try
reducing it. It’s important that the 02R96 is grounded properly for Touch Select to work
correctly. See “Grounding screw” on page 28 for more information.
02R96—Owner’s Manual
Setting Preferences
199
Preferences 3
1
Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 3 page.
2
Use the cursor buttons or Parameter wheel to select the preferences, and
use the INC/DEC buttons or [ENTER] button to set them.
Mix Update Confirmation: When this preference is on, a confirmation message asking
if you want to update the current Automix with the latest edits appears when Automix
recording is stopped.
Auto EQ Edit In: When this preference is on, EQ is automatically punched into Automix
recording when an EQ control is adjusted.
Auto Inc TC Capture: When this preference is on, the Timecode Capture memory is
incremented automatically each time a timecode address is captured on the Automix Event
Edit page (see page 158).
Link Capture & Locate Memory: When this preference is on, the eight Capture memories on the Automix Event Edit page are linked to the eight Locate memories so that, for
example, edits made to Capture memory #1 are reflected on Locate memory #1, and vice
versa.
Show Compact Size: Automix data, except that in the Undo buffer, is compressed while
recording. When this preference is on, the compressed size of the Automix is displayed on
the Automix Main and Memory pages. When this preference is off, the uncompressed size
is displayed.
Automix Store Undo: When this preference is on, Automix Store operations can be
undone by using the Undo function.
Copy Initial Fader: When this preference is on, when Fader events are copied or moved
on the Automix Event Copy page, the fader value at the specified IN point is copied to the
specified TO point. This eliminates fader position matching problems when no fader event
exists at the specified TO point.
Touch Sense Control: When this preference is on, fader movements are ineffective
when the touch sensors are not triggered (i.e., when fader knobs are moved by an insulated
item, such as a fingernail, instead of a fingertip), allowing “cut-in” style operation. When
this preference is off, fader movements are always recognized.
Touch Sense Select: When this preference is on, channels can be selected simply by
touching the fader knobs.
Receive Full Frame Message: When this preference is on, MTC full frame messages
are recognized and Automix follows them.
Clear Edit Channel after REC: When this preference is on, when using Auto Rec,
channels are automatically unarmed (i.e., [AUTO] buttons are turned off) when Automix
recording stops. When this preference is off, channels remain armed when recording stops.
02R96—Owner’s Manual
200
Chapter 20—Other Functions
Using the Oscillator
1
2
The 02R96 features an oscillator that can be used for calibration or diagnostic purposes.
Use the DISPLAY ACCESS [UTILITY] button to locate the Oscillator page.
Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC button, or [ENTER] button to set them.
OSCILLATOR ON: This turns the Oscillator on or off. While the LEVEL parameter is
selected, the [ENTER] button can be used to turn on and off the Oscillator.
Note: To prevent any sudden tone burst surprises in your monitors or headphones, you may
want to set the LEVEL parameter to minimum before turning on the oscillator.
LEVEL: This sets the Oscillator output level, which is displayed by the adjacent meter. This
parameter can be set by using the Parameter wheel regardless of which parameter is currently selected.
WAVEFORM: These buttons are used to select the waveforms: SINE 100Hz, SINE 1kHz,
SINE 10kHz, PINK NOISE, or BURST NOISE, which is 200 msec pink noise pulses at four
second intervals.
ASSIGN: These buttons are used to assign the Oscillator output to Bus Outs, Aux Sends,
and the Stereo Out.
Checking the Battery
1
The condition of the internal memory-backup battery can be checked as follows.
Use the DISPLAY ACCESS [UTILITY] button to locate the Battery Check page.
If the Status is “Okay,” the battery is okay. If the Status is “Getting Low,” ask your Yamaha
dealer to replace the battery as soon as possible. Do not attempt to replace the battery yourself. Failure to replace a low battery may result in data loss.
02R96—Owner’s Manual
Initializing the 02R96
201
Initializing the 02R96
The 02R96 can be initialized as follows.
Warning: This procedure will clear all user memories and reset all settings to their initial values. You may want to back up any important data beforehand via MIDI Bulk Dump (see
page 168). If you want to reset just the mix settings, recall scene memory #0 instead (see
page 139).
1
Turn off the 02R96.
2
While holding down the SCENE MEMORY [STORE] button, turn on the
02R96.
3
When the confirmation message appears, release the SCENE MEMORY
[STORE] button, select YES, and press [ENTER].
The following message is displayed while initialization is in progress: “Loading Factory Presets & Calibrating the Faders... Do Not Touch the Faders!”
It’s important that you do not touch the faders while this message is displayed, as the faders
may not be calibrated correctly.
The display returns to normal when initialization is complete.
02R96—Owner’s Manual
202
Appendix A: Parameter Lists
Appendix A: Parameter Lists
USER DEFINED KEYS
#
Function
#
Display
0
No ASSIGN
No Assign
1
Scene MEM. Recall +1
Scene +1 Recall
2
Scene MEM. Recall –1
Scene –1 Recall
3
Scene MEM. Recall No. XX
Scene XX Recall
4
Effect-1 Lib. Recall +1
Fx1 Lib+1 Recall
5
Effect-1 Lib. Recall –1
Fx1 Lib –1 Recall
6
Effect-1 Lib. Recall No. XX
Fx1 LibXXX RCL.
7
Effect-2 Lib. Recall +1
Fx2 Lib+1 Recall
8
Effect-2 Lib. Recall –1
Fx2 Lib–1 Recall
9
Effect-2 Lib. Recall No.XX
Fx2 LibXXX RCL.
10
Effect-3 Lib. Recall +1
Fx3 Lib+1 Recall
11
Effect-3 Lib. Recall –1
Fx3 Lib–1 Recall
12
Effect-3 Lib. Recall No.XX
Fx3 LibXXX RCL.
13
Effect-4 Lib. Recall +1
Fx4 Lib+1 Recall
14
Effect-4 Lib. Recall –1
Fx4 Lib–1 Recall
15
Effect-4 Lib. Recall No.XX
Fx4 LibXXX RCL.
16
Effect-1 Bypass On/Off
Fx1 Bypass
17
Effect-2 Bypass On/Off
Fx2 Bypass
18
Effect-3 Bypass On/Off
Fx3 Bypass
19
Effect-4 Bypass On/Off
Fx4 Bypass
20
Channel Lib. Recall +1
CH Lib+1 Recall
21
Channel Lib. Recall –1
CH Lib–1 Recall
22
Channel Lib. Recall No. XX
CH LibXXX Recall
23
GATE Lib. Recall +1
Gate Lib+1 RCL.
24
GATE Lib. Recall –1
Gate Lib–1 RCL.
25
GATE Lib. Recall No. XX
Gate LibXXX RCL.
26
COMP Lib. Recall +1
Comp Lib+1 RCL.
27
COMP Lib. Recall –1
Comp Lib–1 RCL.
28
COMP Lib. Recall No. XX
Comp LibXXX RCL.
29
EQ Lib. Recall +1
EQ Lib+1 Recall
Function
Display
43
Input Fader Group Enable A
IN Fader Group A
44
Input Fader Group Enable B
IN Fader Group B
45
Input Fader Group Enable C
IN Fader Group C
46
Input Fader Group Enable D
IN Fader Group D
47
Input Fader Group Enable E
IN Fader Group E
48
Input Fader Group Enable F
IN Fader Group F
49
Input Fader Group Enable G
IN Fader Group G
50
Input Fader Group Enable H
IN Fader Group H
51
Input MUTE Group Enable I
IN Mute Group I
52
Input MUTE Group Enable J
IN Mute Group J
53
Input MUTE Group Enable K
IN Mute Group K
54
Input MUTE Group Enable L
IN Mute Group L
55
Input MUTE Group Enable M
IN Mute Group M
56
Input MUTE Group Enable N
IN Mute Group N
57
Input MUTE Group Enable O
IN Mute Group O
58
Input MUTE Group Enable P
IN Mute Group P
59
Output Fader Group Enable Q
OutFader Group Q
60
Output Fader Group Enable R
OutFader Group R
61
Output Fader Group Enable S
OutFader Group S
62
Output Fader Group Enable T
OutFader Group T
63
Output MUTE Group Enable U
Out Mute Group U
64
Output MUTE Group Enable V
Out Mute Group V
65
Output MUTE Group Enable W
Out Mute Group W
66
Output MUTE Group Enable X
Out Mute Group X
67
PEAK HOLD On/Off
Peak Hold
68
OSCILLATOR On/Off
OSC. ON/OFF
69
SOLO Enable
SOLO ENABLE
70
Input Patch Lib. Recall +1
IN Patch Lib+1
71
Input Patch Lib. Recall –1
IN Patch Lib–1
72
Input Patch Lib. Recall No. XX
IN Patch LibXX
73
Output Patch Lib. Recall +1
Out Patch Lib+1
74
Output Patch Lib. Recall –1
Out Patch Lib–1
30
EQ Lib. Recall –1
EQ Lib–1 Recall
31
EQ Lib. Recall No. XX
EQ LibXXX Recall
75
Out Patch LibXX
32
SURR. MONI MUTE Mute L
On/Off
Output Patch Lib. Recall No.
XX
Surr.Mon L Mute
76
Channel Name ID/Short
CH Name ID/Short
77
Port Name ID/Short
PortNameID/Short
78
Automix REC
Automix REC
79
Automix PLAY
Automix PLAY
80
Automix STOP
Automix STOP
81
Automix ABORT
Automix ABORT
82
Automix AUTO REC
Automix AUTOREC
83
Automix ENABLE
Automix ENABLE
84
Automix RETURN
Automix RETURN
85
Automix TAKEOVER
Automix TAKEOVER
86
Automix RELATIVE
Automix RELATIVE
87
Automix TOUCH SENSE
Automix T.SENSE
88
Overwrite FADER
Overwrite FADER
89
Overwrite ON
Overwrite ON
90
Overwrite PAN
Overwrite PAN
91
Overwrite SURROUND
Overwrite SURR.
33
SURR. MONI MUTE Mute R
On/Off
34
SURR. MONI MUTE Mute Ls
On/Off
35
SURR. MONI MUTE Mute Rs
On/Off
36
SURR. MONI MUTE Mute C
On/Off
Surr.Mon C Mute
37
SURR. MONI MUTE Mute LFE
On/Off
Surr.Mon LFEMute
38
SURR. MONI SLOT1 ON/OFF
Surr.SLOT1 ON
Surr.Mon R Mute
Surr.Mon Ls Mute
Surr.Mon Rs Mute
39
SURR. MONI SLOT2 ON/OFF
Surr.SLOT2 ON
40
SURR. MONI SLOT3 ON/OFF
Surr.SLOT3 ON
41
42
SURR. MONI SLOT4 ON/OFF
SURR. MONI BASS MANAGE
ON/OFF
02R96—Owner’s Manual
Surr.SLOT4 ON
Bass Manage ON
USER DEFINED KEYS
#
Function
203
Display
92
Overwrite EQ
Overwrite EQ
93
Overwrite AUX
Overwrite AUX
94
Overwrite AUX ON
Overwrite AUX ON
95
Track Arming 1 ON/OFF
Track Arming 1
96
Track Arming 2 ON/OFF
Track Arming 2
97
Track Arming 3 ON/OFF
Track Arming 3
98
Track Arming 4 ON/OFF
Track Arming 4
99
Track Arming 5 ON/OFF
Track Arming 5
100
Track Arming 6 ON/OFF
Track Arming 6
101
Track Arming 7 ON/OFF
Track Arming 7
102
Track Arming 8 ON/OFF
Track Arming 8
103
Track Arming 9 ON/OFF
Track Arming 9
104
Track Arming 10 ON/OFF
Track Arming 10
105
Track Arming 11 ON/OFF
Track Arming 11
106
Track Arming 12 ON/OFF
Track Arming 12
107
Track Arming 13 ON/OFF
Track Arming 13
108
Track Arming 14 ON/OFF
Track Arming 14
109
Track Arming 15 ON/OFF
Track Arming 15
110
Track Arming 16 ON/OFF
Track Arming 16
111
Track Arming 17 ON/OFF
Track Arming 17
112
Track Arming 18 ON/OFF
Track Arming 18
113
Track Arming 19 ON/OFF
Track Arming 19
114
Track Arming 20 ON/OFF
Track Arming 20
115
Track Arming 21 ON/OFF
Track Arming 21
116
Track Arming 22 ON/OFF
Track Arming 22
117
Track Arming 23 ON/OFF
Track Arming 23
118
Track Arming 24 ON/OFF
Track Arming 24
119
Surr Lib. Recall +1
Surr Lib+1 RCL
120
Surr Lib. Recall –1
Surr Lib–1 RCL
121
Surr Lib. Recall No. XX
Surr LibXX RCL
122
CH Copy
Channel Copy
123
CH Paste
Channel Paste
124
Display Back
Display Back
125
Display Forward
Display Forward
02R96—Owner’s Manual
204
Appendix A: Parameter Lists
USER DEFINED KEYS Initial Assignments
#
Bank A
Bank B
Bank C
Bank D
1
Surr Lib 0 Recall
Scene 1 Recall
IN Fader Group A
Automix ENABLE
2
Surr Lib –1 Recall
Scene 2 Recall
IN Fader Group B
Automix REC
3
Surr Lib +1 Recall
Scene 3 Recall
IN Fader Group C
Automix ABORT
4
No Assign
Scene 4 Recall
IN Fader Group D
Automix AUTOREC
5
No Assign
Scene 5 Recall
IN Fader Group E
Automix RETURN
6
Surr.Mon L Mute
Scene 6 Recall
IN Fader Group F
Automix RELATIVE
7
Surr.Mon C Mute
Scene 7 Recall
IN Fader Group G
Automix T. SENSE
8
Surr.Mon R Mute
Scene +1 Recall
IN Fader Group H
Automix TAKEOVER
IN Mute Group I
Overwrite FADER
9
Bass Manage ON
Scene 8 Recall
10
No Assign
Scene 9 Recall
IN Mute Group J
Overwrite ON
11
No Assign
Scene 10 Recall
IN Mute Group K
Overwrite PAN
12
No Assign
Scene 11 Recall
IN Mute Group L
Overwrite SURR
13
No Assign
Scene 12 Recall
IN Mute Group M
Overwrite AUX
14
Surr.Mon Ls Mute
Scene 13 Recall
IN Mute Group N
Overwrite AUX ON
15
Surr.Mon LFEMute
Scene 14 Recall
IN Mute Group O
Overwrite EQ
16
Surr.Mon Rs Mute
Scene –1 Recall
IN Mute Group P
Automix STOP
Input Patch Parameters
Input Channel Inputs
Port ID
Input Channel insert Ins
Description
Port ID
Internal Effects Processor Inputs
Description
Port ID
Description
NONE
NONE
NONE
NONE
NONE
NONE
AD1
AD IN 1
AD1
AD IN 1
AUX1
AUX1
AD2
AD IN 2
AD2
AD IN 2
AUX2
AUX2
AD3
AD IN 3
AD3
AD IN 3
AUX3
AUX3
AD4
AD IN 4
AD4
AD IN 4
AUX4
AUX4
AD5
AD IN 5
AD5
AD IN 5
AUX5
AUX5
AD6
AD IN 6
AD6
AD IN 6
AUX6
AUX6
AD7
AD IN 7
AD7
AD IN 7
AUX7
AUX7
AD8
AD IN 8
AD8
AD IN 8
AUX8
AUX8
AD9
AD IN 9
AD9
AD IN 9
INSCH1
InsertOut-CH1
AD10
AD IN 10
AD10
AD IN 10
INSCH2
InsertOut-CH2
AD11
AD IN 11
AD11
AD IN 11
INSCH3
InsertOut-CH3
AD12
AD IN 12
AD12
AD IN 12
INSCH4
InsertOut-CH4
AD13
AD IN 13
AD13
AD IN 13
INSCH5
InsertOut-CH5
AD14
AD IN 14
AD14
AD IN 14
INSCH6
InsertOut-CH6
AD15
AD IN 15
AD15
AD IN 15
INSCH7
InsertOut-CH7
AD16
AD IN 16
AD16
AD IN 16
INSCH8
InsertOut-CH8
AD17
AD IN 17
AD17
AD IN 17
INSCH9
InsertOut-CH9
AD18
AD IN 18
AD18
AD IN 18
INSCH10
InsertOut-CH10
AD19
AD IN 19
AD19
AD IN 19
INSCH11
InsertOut-CH11
AD20
AD IN 20
AD20
AD IN 20
INSCH12
InsertOut-CH12
AD21
AD IN 21
AD21
AD IN 21
INSCH13
InsertOut-CH13
AD22
AD IN 22
AD22
AD IN 22
INSCH14
InsertOut-CH14
AD23
AD IN 23
AD23
AD IN 23
INSCH15
InsertOut-CH15
AD24
AD IN 24
AD24
AD IN 24
INSCH16
InsertOut-CH16
S1-1
Slot1 CH1 IN
S1-1
Slot1 CH1 IN
INSCH17
InsertOut-CH17
S1-2
Slot1 CH2 IN
S1-2
Slot1 CH2 IN
INSCH18
InsertOut-CH18
S1-3
Slot1 CH3 IN
S1-3
Slot1 CH3 IN
INSCH19
InsertOut-CH19
02R96—Owner’s Manual
Input Patch Parameters
Input Channel Inputs
Port ID
Input Channel insert Ins
Description
Port ID
Description
205
Internal Effects Processor Inputs
Port ID
Description
S1-4
Slot1 CH4 IN
S1-4
Slot1 CH4 IN
INSCH20
InsertOut-CH20
S1-5
Slot1 CH5 IN
S1-5
Slot1 CH5 IN
INSCH21
InsertOut-CH21
S1-6
Slot1 CH6 IN
S1-6
Slot1 CH6 IN
INSCH22
InsertOut-CH22
S1-7
Slot1 CH7 IN
S1-7
Slot1 CH7 IN
INSCH23
InsertOut-CH23
S1-8
Slot1 CH8 IN
S1-8
Slot1 CH8 IN
INSCH24
InsertOut-CH24
S1-9
Slot1 CH9 IN
S1-9
Slot1 CH9 IN
INSCH25
InsertOut-CH25
S1-10
Slot1 CH10 IN
S1-10
Slot1 CH10 IN
INSCH26
InsertOut-CH26
S1-11
Slot1 CH11 IN
S1-11
Slot1 CH11 IN
INSCH27
InsertOut-CH27
S1-12
Slot1 CH12 IN
S1-12
Slot1 CH12 IN
INSCH28
InsertOut-CH28
S1-13
Slot1 CH13 IN
S1-13
Slot1 CH13 IN
INSCH29
InsertOut-CH29
S1-14
Slot1 CH14 IN
S1-14
Slot1 CH14 IN
INSCH30
InsertOut-CH30
S1-15
Slot1 CH15 IN
S1-15
Slot1 CH15 IN
INSCH31
InsertOut-CH31
S1-16
Slot1 CH16 IN
S1-16
Slot1 CH16 IN
INSCH32
InsertOut-CH32
S2-1
Slot2 CH1 IN
S2-1
Slot2 CH1 IN
INSCH33
InsertOut-CH33
S2-2
Slot2 CH2 IN
S2-2
Slot2 CH2 IN
INSCH34
InsertOut-CH34
S2-3
Slot2 CH3 IN
S2-3
Slot2 CH3 IN
INSCH35
InsertOut-CH35
S2-4
Slot2 CH4 IN
S2-4
Slot2 CH4 IN
INSCH36
InsertOut-CH36
S2-5
Slot2 CH5 IN
S2-5
Slot2 CH5 IN
INSCH37
InsertOut-CH37
S2-6
Slot2 CH6 IN
S2-6
Slot2 CH6 IN
INSCH38
InsertOut-CH38
S2-7
Slot2 CH7 IN
S2-7
Slot2 CH7 IN
INSCH39
InsertOut-CH39
S2-8
Slot2 CH8 IN
S2-8
Slot2 CH8 IN
INSCH40
InsertOut-CH40
S2-9
Slot2 CH9 IN
S2-9
Slot2 CH9 IN
INSCH41
InsertOut-CH41
S2-10
Slot2 CH10 IN
S2-10
Slot2 CH10 IN
INSCH42
InsertOut-CH42
S2-11
Slot2 CH11 IN
S2-11
Slot2 CH11 IN
INSCH43
InsertOut-CH43
S2-12
Slot2 CH12 IN
S2-12
Slot2 CH12 IN
INSCH44
InsertOut-CH44
S2-13
Slot2 CH13 IN
S2-13
Slot2 CH13 IN
INSCH45
InsertOut-CH45
S2-14
Slot2 CH14 IN
S2-14
Slot2 CH14 IN
INSCH46
InsertOut-CH46
S2-15
Slot2 CH15 IN
S2-15
Slot2 CH15 IN
INSCH47
InsertOut-CH47
S2-16
Slot2 CH16 IN
S2-16
Slot2 CH16 IN
INSCH48
InsertOut-CH48
S3-1
Slot3 CH1 IN
S3-1
Slot3 CH1 IN
INSCH49
InsertOut-CH49
S3-2
Slot3 CH2 IN
S3-2
Slot3 CH2 IN
INSCH50
InsertOut-CH50
S3-3
Slot3 CH3 IN
S3-3
Slot3 CH3 IN
INSCH51
InsertOut-CH51
S3-4
Slot3 CH4 IN
S3-4
Slot3 CH4 IN
INSCH52
InsertOut-CH52
S3-5
Slot3 CH5 IN
S3-5
Slot3 CH5 IN
INSCH53
InsertOut-CH53
S3-6
Slot3 CH6 IN
S3-6
Slot3 CH6 IN
INSCH54
InsertOut-CH54
S3-7
Slot3 CH7 IN
S3-7
Slot3 CH7 IN
INSCH55
InsertOut-CH55
S3-8
Slot3 CH8 IN
S3-8
Slot3 CH8 IN
INSCH56
InsertOut-CH56
S3-9
Slot3 CH9 IN
S3-9
Slot3 CH9 IN
INSBUS1
InsertOut-BUS1
S3-10
Slot3 CH10 IN
S3-10
Slot3 CH10 IN
INSBUS2
InsertOut-BUS2
S3-11
Slot3 CH11 IN
S3-11
Slot3 CH11 IN
INSBUS3
InsertOut-BUS3
S3-12
Slot3 CH12 IN
S3-12
Slot3 CH12 IN
INSBUS4
InsertOut-BUS4
S3-13
Slot3 CH13 IN
S3-13
Slot3 CH13 IN
INSBUS5
InsertOut-BUS5
S3-14
Slot3 CH14 IN
S3-14
Slot3 CH14 IN
INSBUS6
InsertOut-BUS6
S3-15
Slot3 CH15 IN
S3-15
Slot3 CH15 IN
INSBUS7
InsertOut-BUS7
S3-16
Slot3 CH16 IN
S3-16
Slot3 CH16 IN
INSBUS8
InsertOut-BUS8
S4-1
Slot4 CH1 IN
S4-1
Slot4 CH1 IN
INSAUX1
InsertOut-AUX1
S4-2
Slot4 CH2 IN
S4-2
Slot4 CH2 IN
INSAUX2
InsertOut-AUX2
S4-3
Slot4 CH3 IN
S4-3
Slot4 CH3 IN
INSAUX3
InsertOut-AUX3
S4-4
Slot4 CH4 IN
S4-4
Slot4 CH4 IN
INSAUX4
InsertOut-AUX4
S4-5
Slot4 CH5 IN
S4-5
Slot4 CH5 IN
INSAUX5
InsertOut-AUX5
S4-6
Slot4 CH6 IN
S4-6
Slot4 CH6 IN
INSAUX6
InsertOut-AUX6
02R96—Owner’s Manual
206
Appendix A: Parameter Lists
Input Channel Inputs
Port ID
Input Channel insert Ins
Description
Port ID
Description
Internal Effects Processor Inputs
Port ID
Description
S4-7
Slot4 CH7 IN
S4-7
Slot4 CH7 IN
INSAUX7
InsertOut-AUX7
S4-8
Slot4 CH8 IN
S4-8
Slot4 CH8 IN
INSAUX8
InsertOut-AUX8
S4-9
Slot4 CH9 IN
S4-9
Slot4 CH9 IN
INSSTL
InsertOut-STL
S4-10
Slot4 CH10 IN
S4-10
Slot4 CH10 IN
INSSTR
InsertOut-STR
S4-11
Slot4 CH11 IN
S4-11
Slot4 CH11 IN
FX1-1
Effect1 OUT 1
S4-12
Slot4 CH12 IN
S4-12
Slot4 CH12 IN
FX1-2
Effect1 OUT 2
S4-13
Slot4 CH13 IN
S4-13
Slot4 CH13 IN
FX2-1
Effect2 OUT 1
S4-14
Slot4 CH14 IN
S4-14
Slot4 CH14 IN
FX2-2
Effect2 OUT 2
S4-15
Slot4 CH15 IN
S4-15
Slot4 CH15 IN
FX3-1
Effect3 OUT 1
S4-16
Slot4 CH16 IN
S4-16
Slot4 CH16 IN
FX3-2
Effect3 OUT 2
FX1-1
Effect1 OUT 1
FX1-1
Effect1 OUT 1
FX4-1
Effect4 OUT 1
FX1-2
Effect1 OUT 2
FX1-2
Effect1 OUT 2
FX4-2
Effect4 OUT 2
FX1-3
Effect1 OUT 3
FX1-3
Effect1 OUT 3
FX1-4
Effect1 OUT 4
FX1-4
Effect1 OUT 4
FX1-5
Effect1 OUT 5
FX1-5
Effect1 OUT 5
FX1-6
Effect1 OUT 6
FX1-6
Effect1 OUT 6
FX1-7
Effect1 OUT 7
FX1-7
Effect1 OUT 7
FX1-8
Effect1 OUT 8
FX1-8
Effect1 OUT 8
FX2-1
Effect2 OUT 1
FX2-1
Effect2 OUT 1
FX2-2
Effect2 OUT 2
FX2-2
Effect2 OUT 2
FX3-1
Effect3 OUT 1
FX3-1
Effect3 OUT 1
FX3-2
Effect3 OUT 2
FX3-2
Effect3 OUT 2
FX4-1
Effect4 OUT 1
FX4-1
Effect4 OUT 1
FX4-2
Effect4 OUT 2
FX4-2
Effect4 OUT 2
2TD1L
2TR IN Dig.1 L
2TD1L
2TR IN Dig.1 L
2TD1R
2TR IN Dig.1 R
2TD1R
2TR IN Dig.1 R
2TD2L
2TR IN Dig.2 L
2TD2L
2TR IN Dig.2 L
2TD2R
2TR IN Dig.2 R
2TD2R
2TR IN Dig.2 R
2TD3L
2TR IN Dig.3 L
2TD3L
2TR IN Dig.3 L
2TD3R
2TR IN Dig.3 R
2TD3R
2TR IN Dig.3 R
2TA1L
2TR IN Analog1 L
2TA1L
2TR IN Analog1 L
2TA1R
2TR IN Analog1 R
2TA1R
2TR IN Analog1 R
2TA2L
2TR IN Analog2 L
2TA2L
2TR IN Analog2 L
2TA2R
2TR IN Analog2 R
2TA2R
2TR IN Analog2 R
BUS1
BUS1
BUS2
BUS2
BUS3
BUS3
BUS4
BUS4
BUS5
BUS5
BUS6
BUS6
BUS7
BUS7
BUS8
BUS8
AUX1
AUX1
AUX2
AUX2
AUX3
AUX3
AUX4
AUX4
AUX5
AUX5
AUX6
AUX6
AUX7
AUX7
AUX8
AUX8
02R96—Owner’s Manual
Initial Input Patch Settings
207
Initial Input Patch Settings
Input channel Inputs
#
Source
#
Source
1
AD01
29
S1-05
2
AD02
30
S1-06
3
AD03
31
S1-07
4
AD04
32
S1-08
5
AD05
33
S2-01
6
AD06
34
S2-02
7
AD07
35
S2-03
8
AD08
36
S2-04
9
AD09
37
S2-05
10
AD10
38
S2-06
11
AD11
39
S2-07
12
AD12
40
S2-08
13
AD13
41
S3-01
14
AD14
42
S3-02
15
AD15
43
S3-03
16
AD16
44
S3-04
17
AD17
45
S3-05
18
AD18
46
S3-06
19
AD19
47
S3-07
20
AD20
48
S3-08
21
AD21
49
S4-01
22
AD22
50
S4-02
23
AD23
51
S4-03
24
AD24
52
S4-04
25
S1-01
53
S4-05
26
S1-02
54
S4-06
27
S1-03
55
S4-07
28
S1-04
56
S4-08
Effects Processors Inputs
#
Source
1-1
AUX1
1-2
NONE
1-3
NONE
1-4
NONE
1-5
NONE
1-6
NONE
1-7
NONE
1-8
NONE
2-1
AUX2
2-2
NONE
3-1
AUX3
3-2
NONE
4-1
AUX4
4-2
NONE
02R96—Owner’s Manual
208
Appendix A: Parameter Lists
Output Patch Parameters
Output patch parameters are split into two tables. The first table contains parameters for
the Slot Outputs, Omni Outs, and Output Channel Insert Ins. The second table, Direct
Outs and, 2TR Digital Outputs.
Output Patch Table 1
Slot Outputs
Source
Description
Omni Outs
Source
Output Channel Insert Ins
Description
Source
Description
NONE
NONE
NONE
NONE
NONE
NONE
BUS1
BUS1
BUS1
BUS1
AD1
AD IN 1
BUS2
BUS2
BUS2
BUS2
AD2
AD IN 2
BUS3
BUS3
BUS3
BUS3
AD3
AD IN 3
BUS4
BUS4
BUS4
BUS4
AD4
AD IN 4
BUS5
BUS5
BUS5
BUS5
AD5
AD IN 5
BUS6
BUS6
BUS6
BUS6
AD6
AD IN 6
BUS7
BUS7
BUS7
BUS7
AD7
AD IN 7
BUS8
BUS8
BUS8
BUS8
AD8
AD IN 8
AUX1
AUX1
AUX1
AUX1
AD9
AD IN 9
AUX2
AUX2
AUX2
AUX2
AD10
AD IN 10
AUX3
AUX3
AUX3
AUX3
AD11
AD IN 11
AUX4
AUX4
AUX4
AUX4
AD12
AD IN 12
AUX5
AUX5
AUX5
AUX5
AD13
AD IN 13
AUX6
AUX6
AUX6
AUX6
AD14
AD IN 14
AUX7
AUX7
AUX7
AUX7
AD15
AD IN 15
AUX8
AUX8
AUX8
AUX8
AD16
AD IN 16
STEREO-L
STEREO L
STEREO-L
STEREO L
AD17
AD IN 17
STEREO-R
STEREO R
STEREO-R
STEREO R
AD18
AD IN 18
INSCH1
InsertOut-CH1
INSCH1
InsertOut-CH1
AD19
AD IN 19
INSCH2
InsertOut-CH2
INSCH2
InsertOut-CH2
AD20
AD IN 20
INSCH3
InsertOut-CH3
INSCH3
InsertOut-CH3
AD21
AD IN 21
INSCH4
InsertOut-CH4
INSCH4
InsertOut-CH4
AD22
AD IN 22
INSCH5
InsertOut-CH5
INSCH5
InsertOut-CH5
AD23
AD IN 23
INSCH6
InsertOut-CH6
INSCH6
InsertOut-CH6
AD24
AD IN 24
INSCH7
InsertOut-CH7
INSCH7
InsertOut-CH7
S1-1
Slot1 CH1 IN
INSCH8
InsertOut-CH8
INSCH8
InsertOut-CH8
S1-2
Slot1 CH2 IN
INSCH9
InsertOut-CH9
INSCH9
InsertOut-CH9
S1-3
Slot1 CH3 IN
INSCH10
InsertOut-CH10
INSCH10
InsertOut-CH10
S1-4
Slot1 CH4 IN
INSCH11
InsertOut-CH11
INSCH11
InsertOut-CH11
S1-5
Slot1 CH5 IN
INSCH12
InsertOut-CH12
INSCH12
InsertOut-CH12
S1-6
Slot1 CH6 IN
INSCH13
InsertOut-CH13
INSCH13
InsertOut-CH13
S1-7
Slot1 CH7 IN
INSCH14
InsertOut-CH14
INSCH14
InsertOut-CH14
S1-8
Slot1 CH8 IN
INSCH15
InsertOut-CH15
INSCH15
InsertOut-CH15
S1-9
Slot1 CH9 IN
INSCH16
InsertOut-CH16
INSCH16
InsertOut-CH16
S1-10
Slot1 CH10 IN
INSCH17
InsertOut-CH17
INSCH17
InsertOut-CH17
S1-11
Slot1 CH11 IN
INSCH18
InsertOut-CH18
INSCH18
InsertOut-CH18
S1-12
Slot1 CH12 IN
INSCH19
InsertOut-CH19
INSCH19
InsertOut-CH19
S1-13
Slot1 CH13 IN
INSCH20
InsertOut-CH20
INSCH20
InsertOut-CH20
S1-14
Slot1 CH14 IN
INSCH21
InsertOut-CH21
INSCH21
InsertOut-CH21
S1-15
Slot1 CH15 IN
INSCH22
InsertOut-CH22
INSCH22
InsertOut-CH22
S1-16
Slot1 CH16 IN
INSCH23
InsertOut-CH23
INSCH23
InsertOut-CH23
S2-1
Slot2 CH1 IN
INSCH24
InsertOut-CH24
INSCH24
InsertOut-CH24
S2-2
Slot2 CH2 IN
INSCH25
InsertOut-CH25
INSCH25
InsertOut-CH25
S2-3
Slot2 CH3 IN
02R96—Owner’s Manual
Output Patch Parameters
Slot Outputs
Source
Description
Omni Outs
Source
209
Output Channel Insert Ins
Description
Source
Description
INSCH26
InsertOut-CH26
INSCH26
InsertOut-CH26
S2-4
Slot2 CH4 IN
INSCH27
InsertOut-CH27
INSCH27
InsertOut-CH27
S2-5
Slot2 CH5 IN
INSCH28
InsertOut-CH28
INSCH28
InsertOut-CH28
S2-6
Slot2 CH6 IN
INSCH29
InsertOut-CH29
INSCH29
InsertOut-CH29
S2-7
Slot2 CH7 IN
INSCH30
InsertOut-CH30
INSCH30
InsertOut-CH30
S2-8
Slot2 CH8 IN
INSCH31
InsertOut-CH31
INSCH31
InsertOut-CH31
S2-9
Slot2 CH9 IN
INSCH32
InsertOut-CH32
INSCH32
InsertOut-CH32
S2-10
Slot2 CH10 IN
INSCH33
InsertOut-CH33
INSCH33
InsertOut-CH33
S2-11
Slot2 CH11 IN
INSCH34
InsertOut-CH34
INSCH34
InsertOut-CH34
S2-12
Slot2 CH12 IN
INSCH35
InsertOut-CH35
INSCH35
InsertOut-CH35
S2-13
Slot2 CH13 IN
INSCH36
InsertOut-CH36
INSCH36
InsertOut-CH36
S2-14
Slot2 CH14 IN
INSCH37
InsertOut-CH37
INSCH37
InsertOut-CH37
S2-15
Slot2 CH15 IN
INSCH38
InsertOut-CH38
INSCH38
InsertOut-CH38
S2-16
Slot2 CH16 IN
INSCH39
InsertOut-CH39
INSCH39
InsertOut-CH39
S3-1
Slot3 CH1 IN
INSCH40
InsertOut-CH40
INSCH40
InsertOut-CH40
S3-2
Slot3 CH2 IN
INSCH41
InsertOut-CH41
INSCH41
InsertOut-CH41
S3-3
Slot3 CH3 IN
INSCH42
InsertOut-CH42
INSCH42
InsertOut-CH42
S3-4
Slot3 CH4 IN
INSCH43
InsertOut-CH43
INSCH43
InsertOut-CH43
S3-5
Slot3 CH5 IN
INSCH44
InsertOut-CH44
INSCH44
InsertOut-CH44
S3-6
Slot3 CH6 IN
INSCH45
InsertOut-CH45
INSCH45
InsertOut-CH45
S3-7
Slot3 CH7 IN
INSCH46
InsertOut-CH46
INSCH46
InsertOut-CH46
S3-8
Slot3 CH8 IN
INSCH47
InsertOut-CH47
INSCH47
InsertOut-CH47
S3-9
Slot3 CH9 IN
INSCH48
InsertOut-CH48
INSCH48
InsertOut-CH48
S3-10
Slot3 CH10 IN
INSCH49
InsertOut-CH49
INSCH49
InsertOut-CH49
S3-11
Slot3 CH11 IN
INSCH50
InsertOut-CH50
INSCH50
InsertOut-CH50
S3-12
Slot3 CH12 IN
INSCH51
InsertOut-CH51
INSCH51
InsertOut-CH51
S3-13
Slot3 CH13 IN
INSCH52
InsertOut-CH52
INSCH52
InsertOut-CH52
S3-14
Slot3 CH14 IN
INSCH53
InsertOut-CH53
INSCH53
InsertOut-CH53
S3-15
Slot3 CH15 IN
INSCH54
InsertOut-CH54
INSCH54
InsertOut-CH54
S3-16
Slot3 CH16 IN
INSCH55
InsertOut-CH55
INSCH55
InsertOut-CH55
S4-1
Slot4 CH1 IN
INSCH56
InsertOut-CH56
INSCH56
InsertOut-CH56
S4-2
Slot4 CH2 IN
INSBUS1
InsertOut-BUS1
INSBUS1
InsertOut-BUS1
S4-3
Slot4 CH3 IN
INSBUS2
InsertOut-BUS2
INSBUS2
InsertOut-BUS2
S4-4
Slot4 CH4 IN
INSBUS3
InsertOut-BUS3
INSBUS3
InsertOut-BUS3
S4-5
Slot4 CH5 IN
INSBUS4
InsertOut-BUS4
INSBUS4
InsertOut-BUS4
S4-6
Slot4 CH6 IN
INSBUS5
InsertOut-BUS5
INSBUS5
InsertOut-BUS5
S4-7
Slot4 CH7 IN
INSBUS6
InsertOut-BUS6
INSBUS6
InsertOut-BUS6
S4-8
Slot4 CH8 IN
INSBUS7
InsertOut-BUS7
INSBUS7
InsertOut-BUS7
S4-9
Slot4 CH9 IN
INSBUS8
InsertOut-BUS8
INSBUS8
InsertOut-BUS8
S4-10
Slot4 CH10 IN
INSAUX1
InsertOut-AUX1
INSAUX1
InsertOut-AUX1
S4-11
Slot4 CH11 IN
INSAUX2
InsertOut-AUX2
INSAUX2
InsertOut-AUX2
S4-12
Slot4 CH12 IN
INSAUX3
InsertOut-AUX3
INSAUX3
InsertOut-AUX3
S4-13
Slot4 CH13 IN
INSAUX4
InsertOut-AUX4
INSAUX4
InsertOut-AUX4
S4-14
Slot4 CH14 IN
INSAUX5
InsertOut-AUX5
INSAUX5
InsertOut-AUX5
S4-15
Slot4 CH15 IN
INSAUX6
InsertOut-AUX6
INSAUX6
InsertOut-AUX6
S4-16
Slot4 CH16 IN
INSAUX7
InsertOut-AUX7
INSAUX7
InsertOut-AUX7
FX1-1
Effect1 OUT 1
INSAUX8
InsertOut-AUX8
INSAUX8
InsertOut-AUX8
FX1-2
Effect1 OUT 2
INSSTL
InsertOut-STL
INSSTL
InsertOut-STL
FX1-3
Effect1 OUT 3
INSSTR
InsertOut-STR
INSSTR
InsertOut-STR
FX1-4
Effect1 OUT 4
Surr L
Surround Monitor L
Surr L
Surround Monitor L
FX1-5
Effect1 OUT 5
Surr R
Surround Monitor R
Surr R
Surround Monitor R
FX1-6
Effect1 OUT 6
02R96—Owner’s Manual
210
Appendix A: Parameter Lists
Slot Outputs
Source
Description
Omni Outs
Source
Description
Output Channel Insert Ins
Source
Description
Surr Ls
Surround Monitor Ls
Surr Ls
Surround Monitor Ls
FX1-7
Effect1 OUT 7
Surr Rs
Surround Monitor Rs
Surr Rs
Surround Monitor Rs
FX1-8
Effect1 OUT 8
Surr C
Surround Monitor C
Surr C
Surround Monitor C
FX2-1
Effect2 OUT 1
Surr LFE
Surround Monitor LFE
Surr LFE
Surround Monitor LFE
FX2-2
Effect2 OUT 2
Surr Ls2
Surround Monitor Ls2
Surr Ls2
Surround Monitor Ls2
2TD1L
2TR IN Dig.1 L
Surr Rs2
Surround Monitor Rs2
Surr Rs2
Surround Monitor Rs2
2TD1R
2TR IN Dig.1 R
2TD2L
2TR IN Dig.2 L
2TD2R
2TR IN Dig.2 R
2TD3L
2TR IN Dig.3 L
2TD3R
2TR IN Dig.3 R
2TA1L
2TR IN Analog1 L
2TA1R
2TR IN Analog1 R
2TA2L
2TR IN Analog2 L
2TA2R
2TR IN Analog2 R
02R96—Owner’s Manual
Output Patch Parameters
211
Output Patch Table 2
Direct Outs
Source
2TR Digital Outs
Description
Source
Description
NONE
NONE
NONE
NONE
S1-1
Slot1 CH1 OUT
BUS1
BUS1
S1-2
Slot1 CH2 OUT
BUS2
BUS2
S1-3
Slot1 CH3 OUT
BUS3
BUS3
S1-4
Slot1 CH4 OUT
BUS4
BUS4
S1-5
Slot1 CH5 OUT
BUS5
BUS5
S1-6
Slot1 CH6 OUT
BUS6
BUS6
S1-7
Slot1 CH7 OUT
BUS7
BUS7
S1-8
Slot1 CH8 OUT
BUS8
BUS8
S1-9
Slot1 CH9 OUT
AUX1
AUX1
S1-10
Slot1 CH10 OUT
AUX2
AUX2
S1-11
Slot1 CH11 OUT
AUX3
AUX3
S1-12
Slot1 CH12 OUT
AUX4
AUX4
S1-13
Slot1 CH13 OUT
AUX5
AUX5
S1-14
Slot1 CH14 OUT
AUX6
AUX6
S1-15
Slot1 CH15 OUT
AUX7
AUX7
S1-16
Slot1 CH16 OUT
AUX8
AUX8
S2-1
Slot2 CH1 OUT
STEREO-L
STEREO L
S2-2
Slot2 CH2 OUT
STEREO-R
STEREO R
S2-3
Slot2 CH3 OUT
INSCH1
InsertOut-CH1
S2-4
Slot2 CH4 OUT
INSCH2
InsertOut-CH2
S2-5
Slot2 CH5 OUT
INSCH3
InsertOut-CH3
S2-6
Slot2 CH6 OUT
INSCH4
InsertOut-CH4
S2-7
Slot2 CH7 OUT
INSCH5
InsertOut-CH5
S2-8
Slot2 CH8 OUT
INSCH6
InsertOut-CH6
S2-9
Slot2 CH9 OUT
INSCH7
InsertOut-CH7
S2-10
Slot2 CH10 OUT
INSCH8
InsertOut-CH8
S2-11
Slot2 CH11 OUT
INSCH9
InsertOut-CH9
S2-12
Slot2 CH12 OUT
INSCH10
InsertOut-CH10
S2-13
Slot2 CH13 OUT
INSCH11
InsertOut-CH11
S2-14
Slot2 CH14 OUT
INSCH12
InsertOut-CH12
S2-15
Slot2 CH15 OUT
INSCH13
InsertOut-CH13
S2-16
Slot2 CH16 OUT
INSCH14
InsertOut-CH14
S3-1
Slot3 CH1 OUT
INSCH15
InsertOut-CH15
S3-2
Slot3 CH2 OUT
INSCH16
InsertOut-CH16
S3-3
Slot3 CH3 OUT
INSCH17
InsertOut-CH17
S3-4
Slot3 CH4 OUT
INSCH18
InsertOut-CH18
S3-5
Slot3 CH5 OUT
INSCH19
InsertOut-CH19
S3-6
Slot3 CH6 OUT
INSCH20
InsertOut-CH20
S3-7
Slot3 CH7 OUT
INSCH21
InsertOut-CH21
S3-8
Slot3 CH8 OUT
INSCH22
InsertOut-CH22
S3-9
Slot3 CH9 OUT
INSCH23
InsertOut-CH23
S3-10
Slot3 CH10 OUT
INSCH24
InsertOut-CH24
S3-11
Slot3 CH11 OUT
INSCH25
InsertOut-CH25
S3-12
Slot3 CH12 OUT
INSCH26
InsertOut-CH26
S3-13
Slot3 CH13 OUT
INSCH27
InsertOut-CH27
S3-14
Slot3 CH14 OUT
INSCH28
InsertOut-CH28
S3-15
Slot3 CH15 OUT
INSCH29
InsertOut-CH29
S3-16
Slot3 CH16 OUT
INSCH30
InsertOut-CH30
S4-1
Slot4 CH1 OUT
INSCH31
InsertOut-CH31
02R96—Owner’s Manual
212
Appendix A: Parameter Lists
Direct Outs
Source
2TR Digital Outs
Description
Source
Description
S4-2
Slot4 CH2 OUT
INSCH32
InsertOut-CH32
S4-3
Slot4 CH3 OUT
INSCH33
InsertOut-CH33
S4-4
Slot4 CH4 OUT
INSCH34
InsertOut-CH34
S4-5
Slot4 CH5 OUT
INSCH35
InsertOut-CH35
S4-6
Slot4 CH6 OUT
INSCH36
InsertOut-CH36
S4-7
Slot4 CH7 OUT
INSCH37
InsertOut-CH37
S4-8
Slot4 CH8 OUT
INSCH38
InsertOut-CH38
S4-9
Slot4 CH9 OUT
INSCH39
InsertOut-CH39
S4-10
Slot4 CH10 OUT
INSCH40
InsertOut-CH40
S4-11
Slot4 CH11 OUT
INSCH41
InsertOut-CH41
S4-12
Slot4 CH12 OUT
INSCH42
InsertOut-CH42
S4-13
Slot4 CH13 OUT
INSCH43
InsertOut-CH43
S4-14
Slot4 CH14 OUT
INSCH44
InsertOut-CH44
S4-15
Slot4 CH15 OUT
INSCH45
InsertOut-CH45
S4-16
Slot4 CH16 OUT
INSCH46
InsertOut-CH46
OMNI1
OMNI OUT 1
INSCH47
InsertOut-CH47
OMNI2
OMNI OUT 2
INSCH48
InsertOut-CH48
OMNI3
OMNI OUT 3
INSCH49
InsertOut-CH49
OMNI4
OMNI OUT 4
INSCH50
InsertOut-CH50
OMNI5
OMNI OUT 5
INSCH51
InsertOut-CH51
OMNI6
OMNI OUT 6
INSCH52
InsertOut-CH52
OMNI7
OMNI OUT 7
INSCH53
InsertOut-CH53
OMNI8
OMNI OUT 8
INSCH54
InsertOut-CH54
2TD1L
2TR OUT Dig.1 L
INSCH55
InsertOut-CH55
2TD1R
2TR OUT Dig.1 R
INSCH56
InsertOut-CH56
2TD2L
2TR OUT Dig.2 L
INSBUS1
InsertOut-BUS1
2TD2R
2TR OUT Dig.2 R
INSBUS2
InsertOut-BUS2
2TD3L
2TR OUT Dig.3 L
INSBUS3
InsertOut-BUS3
2TD3R
2TR OUT Dig.3 R
INSBUS4
InsertOut-BUS4
INSBUS5
InsertOut-BUS5
INSBUS6
InsertOut-BUS6
INSBUS7
InsertOut-BUS7
INSBUS8
InsertOut-BUS8
INSAUX1
InsertOut-AUX1
INSAUX2
InsertOut-AUX2
INSAUX3
InsertOut-AUX3
INSAUX4
InsertOut-AUX4
INSAUX5
InsertOut-AUX5
INSAUX6
InsertOut-AUX6
INSAUX7
InsertOut-AUX7
INSAUX8
InsertOut-AUX8
02R96—Owner’s Manual
INSSTL
InsertOut-STL
INSSTR
InsertOut-STR
CR-L
Control Room L
CR-R
Control Room R
Initial Output Patch Settings
Initial Output Patch Settings
Slot Outputs
#
Source
#
Source
SLOT4-02
BUS2
SLOT4-03
BUS3
SLOT4-04
BUS4
SLOT4-05
BUS5
SLOT1-01
BUS1
SLOT4-06
BUS6
SLOT1-02
BUS2
SLOT4-07
BUS7
SLOT1-03
BUS3
SLOT4-08
BUS8
SLOT1-04
BUS4
SLOT4-09
BUS1
SLOT1-05
BUS5
SLOT4-10
BUS2
SLOT1-06
BUS6
SLOT4-11
BUS3
SLOT1-07
BUS7
SLOT4-12
BUS4
SLOT1-08
BUS8
SLOT4-13
BUS5
SLOT1-09
BUS1
SLOT4-14
BUS6
SLOT1-10
BUS2
SLOT4-15
BUS7
SLOT1-11
BUS3
SLOT4-16
BUS8
SLOT1-12
BUS4
SLOT1-13
BUS5
SLOT1-14
BUS6
SLOT1-15
BUS7
SLOT1-16
BUS8
1
AUX1
BUS1
2
AUX2
SLOT2-02
BUS2
3
AUX3
SLOT2-03
BUS3
4
AUX4
SLOT2-04
BUS4
5
AUX5
BUS5
6
AUX6
SLOT2-06
BUS6
7
AUX7
SLOT2-07
BUS7
8
AUX8
SLOT2-08
BUS8
SLOT2-09
BUS1
SLOT2-10
BUS2
SLOT2-11
BUS3
SLOT2-12
BUS4
SLOT2-13
BUS5
SLOT2-14
BUS6
SLOT2-15
BUS7
SLOT2-16
BUS8
SLOT3-01
BUS1
SLOT3-02
BUS2
SLOT3-03
BUS3
SLOT3-04
BUS4
SLOT3-05
BUS5
SLOT3-06
BUS6
SLOT3-07
BUS7
SLOT3-08
BUS8
SLOT3-09
BUS1
SLOT3-10
BUS2
SLOT3-11
BUS3
SLOT3-12
BUS4
SLOT3-13
BUS5
SLOT3-14
BUS6
SLOT3-15
BUS7
SLOT3-16
BUS8
SLOT4-01
BUS1
SLOT2-01
SLOT2-05
213
Omni Outs
#
Source
Direct Outs
#
Destination
1
SLOT1-01
2
SLOT1-02
3
SLOT1-03
4
SLOT1-04
5
SLOT1-05
6
SLOT1-06
7
SLOT1-07
8
SLOT1-08
9
SLOT2-01
10
SLOT2-02
11
SLOT2-03
12
SLOT2-04
13
SLOT2-05
14
SLOT2-06
15
SLOT2-07
16
SLOT2-08
17
SLOT3-01
18
SLOT3-02
19
SLOT3-03
20
SLOT3-04
21
SLOT3-05
22
SLOT3-06
02R96—Owner’s Manual
214
Appendix A: Parameter Lists
#
Destination
23
SLOT3-07
24
SLOT3-08
25
SLOT4-01
Input
Channel ID
Short Name
Long Name
CH15
CH15
CH15
CH16
CH16
CH16
CH17
CH17
CH17
CH18
CH18
CH18
CH19
CH19
CH19
CH20
CH20
CH20
CH21
CH21
CH21
CH22
CH22
CH22
CH23
CH23
CH23
CH24
CH24
CH24
26
SLOT4-02
27
SLOT4-03
28
SLOT4-04
29
SLOT4-05
30
SLOT4-06
31
SLOT4-07
32
SLOT4-08
33
NONE
CH25
CH25
CH25
34
NONE
CH26
CH26
CH26
35
NONE
CH27
CH27
CH27
36
NONE
CH28
CH28
CH28
37
NONE
CH29
CH29
CH29
38
NONE
CH30
CH30
CH30
39
NONE
CH31
CH31
CH31
40
NONE
CH32
CH32
CH32
41
NONE
CH33
CH33
CH33
42
NONE
CH34
CH34
CH34
43
NONE
CH35
CH35
CH35
44
NONE
CH36
CH36
CH36
45
NONE
CH37
CH37
CH37
46
NONE
CH38
CH38
CH38
NONE
CH39
CH39
CH39
NONE
CH40
CH40
CH40
NONE
CH41
CH41
CH41
CH42
CH42
CH42
CH43
CH43
CH43
CH44
CH44
CH44
CH45
CH45
CH45
CH46
CH46
CH46
CH47
CH47
CH47
CH48
CH48
CH48
CH49
CH49
CH49
CH50
CH50
CH50
CH51
CH51
CH51
CH52
CH52
CH52
CH53
CH53
CH53
47
48
49
50
NONE
51
NONE
52
NONE
53
NONE
54
NONE
55
NONE
56
NONE
Initial Input Channel Names
Input
Channel ID
Short Name
Long Name
CH01
CH01
CH01
CH54
CH54
CH54
CH02
CH02
CH02
CH55
CH55
CH55
CH03
CH03
CH03
CH56
CH56
CH56
CH04
CH04
CH04
CH05
CH05
CH05
CH06
CH06
CH06
CH07
CH07
CH07
CH08
CH08
CH08
CH09
CH09
CH09
CH10
CH10
CH10
BUS1
BUS1
BUS1
CH11
CH11
CH11
BUS2
BUS2
BUS2
CH12
CH12
CH12
BUS3
BUS3
BUS3
CH13
CH13
CH13
BUS4
BUS4
BUS4
CH14
CH14
CH14
BUS5
BUS5
BUS5
02R96—Owner’s Manual
Initial Output Channel
Names
Output
Channel ID
Short Name
Long Name
Initial Input Port Names
Output
Channel ID
Short Name
Long Name
Port
PORT ID
Short
Name
Long Name
215
BUS6
BUS6
BUS6
SLOT1-12
S1-12
S112
Slot1 CH12 IN
BUS7
BUS7
BUS7
SLOT1-13
S1-13
S113
Slot1 CH13 IN
BUS8
BUS8
BUS8
SLOT1-14
S1-14
S114
Slot1 CH14 IN
AUX1
AUX1
AUX1
SLOT1-15
S1-15
S115
Slot1 CH15 IN
AUX2
AUX2
AUX2
SLOT1-16
S1-16
S116
Slot1 CH16 IN
AUX3
AUX3
AUX3
SLOT2-01
S2-01
S201
Slot2 CH1 IN
AUX4
AUX4
AUX4
SLOT2-02
S2-02
S202
Slot2 CH2 IN
AUX5
AUX5
AUX5
SLOT2-03
S2-03
S203
Slot2 CH3 IN
AUX6
AUX6
AUX6
SLOT2-04
S2-04
S204
Slot2 CH4 IN
AUX7
AUX7
AUX7
SLOT2-05
S2-05
S205
Slot2 CH5 IN
AUX8
AUX8
AUX8
SLOT2-06
S2-06
S206
Slot2 CH6 IN
ST
ST
STEREO
SLOT2-07
S2-07
S207
Slot2 CH7 IN
SLOT2-08
S2-08
S208
Slot2 CH8 IN
SLOT2-09
S2-09
S209
Slot2 CH9 IN
SLOT2-10
S2-10
S210
Slot2 CH10 IN
SLOT2-11
S2-11
S211
Slot2 CH11 IN
SLOT2-12
S2-12
S212
Slot2 CH12 IN
SLOT2-13
S2-13
S213
Slot2 CH13 IN
SLOT2-14
S2-14
S214
Slot2 CH14 IN
SLOT2-15
S2-15
S215
Slot2 CH15 IN
SLOT2-16
S2-16
S216
Slot2 CH16 IN
SLOT3-01
S3-01
S301
Slot3 CH1 IN
SLOT3-02
S3-02
S302
Slot3 CH2 IN
SLOT3-03
S3-03
S303
Slot3 CH3 IN
SLOT3-04
S3-04
S304
Slot3 CH4 IN
SLOT3-05
S3-05
S305
Slot3 CH5 IN
SLOT3-06
S3-06
S306
Slot3 CH6 IN
SLOT3-07
S3-07
S307
Slot3 CH7 IN
SLOT3-08
S3-08
S308
Slot3 CH8 IN
SLOT3-09
S3-09
S309
Slot3 CH9 IN
SLOT3-10
S3-10
S310
Slot3 CH10 IN
SLOT3-11
S3-11
S311
Slot3 CH11 IN
SLOT3-12
S3-12
S312
Slot3 CH12 IN
SLOT3-13
S3-13
S313
Slot3 CH13 IN
SLOT3-14
S3-14
S314
Slot3 CH14 IN
SLOT3-15
S3-15
S315
Slot3 CH15 IN
SLOT3-16
S3-16
S316
Slot3 CH16 IN
SLOT4-01
S4-01
S401
Slot4 CH1 IN
SLOT4-02
S4-02
S402
Slot4 CH2 IN
SLOT4-03
S4-03
S403
Slot4 CH3 IN
SLOT4-04
S4-04
S404
Slot4 CH4 IN
SLOT4-05
S4-05
S405
Slot4 CH5 IN
SLOT4-06
S4-06
S406
Slot4 CH6 IN
SLOT4-07
S4-07
S407
Slot4 CH7 IN
SLOT4-08
S4-08
S408
Slot4 CH8 IN
SLOT4-09
S4-09
S409
Slot4 CH9 IN
SLOT4-10
S4-10
S410
Slot4 CH10 IN
SLOT4-11
S4-11
S411
Slot4 CH11 IN
SLOT4-12
S4-12
S412
Slot4 CH12 IN
SLOT4-13
S4-13
S413
Slot4 CH13 IN
SLOT4-14
S4-14
S414
Slot4 CH14 IN
Initial Input Port Names
Port
PORT ID
Short
Name
Long Name
AD1
AD01
AD01
AD IN 1
AD2
AD02
AD02
AD IN 2
AD3
AD03
AD03
AD IN 3
AD4
AD04
AD04
AD IN 4
AD5
AD05
AD05
AD IN 5
AD6
AD06
AD06
AD IN 6
AD7
AD07
AD07
AD IN 7
AD8
AD08
AD08
AD IN 8
AD9
AD09
AD09
AD IN 9
AD10
AD10
AD10
AD IN 10
AD11
AD11
AD11
AD IN 11
AD12
AD12
AD12
AD IN 12
AD13
AD13
AD13
AD IN 13
AD14
AD14
AD14
AD IN 14
AD15
AD15
AD15
AD IN 15
AD16
AD16
AD16
AD IN 16
AD17
AD17
AD17
AD IN 17
AD18
AD18
AD18
AD IN 18
AD19
AD19
AD19
AD IN 19
AD20
AD20
AD20
AD IN 20
AD21
AD21
AD21
AD IN 21
AD22
AD22
AD22
AD IN 22
AD23
AD23
AD23
AD IN 23
AD24
AD24
AD24
AD IN 24
SLOT1-01
S1-01
S101
Slot1 CH1 IN
SLOT1-02
S1-02
S102
Slot1 CH2 IN
SLOT1-03
S1-03
S103
Slot1 CH3 IN
SLOT1-04
S1-04
S104
Slot1 CH4 IN
SLOT1-05
S1-05
S105
Slot1 CH5 IN
SLOT1-06
S1-06
S106
Slot1 CH6 IN
SLOT1-07
S1-07
S107
Slot1 CH7 IN
SLOT1-08
S1-08
S108
Slot1 CH8 IN
SLOT1-09
S1-09
S109
Slot1 CH9 IN
SLOT1-10
S1-10
S110
Slot1 CH10 IN
SLOT1-11
S1-11
S111
Slot1 CH11 IN
02R96—Owner’s Manual
216
Appendix A: Parameter Lists
Port
PORT ID
Short
Name
Long Name
SLOT4-15
S4-15
S415
Slot4 CH15 IN
SLOT4-16
S4-16
S416
Slot4 CH16 IN
2TD1L
2TD1L
2D1L
2TR IN Dig.1 L
2TD1R
2TD1R
2D1R
2TR IN Dig.1 R
2TD2L
2TD2L
2D2L
2TR IN Dig.2 L
2TD2R
2TD2R
2D2R
2TR IN Dig.2 R
2TD3L
2TD3L
2D3L
2TR IN Dig.3 L
2TD3R
2TD3R
2D3R
2TR IN Dig.3 R
2TA1L
2TA1L
2A1L
2TR IN Analog1 L
2TA1R
2TA1R
2A1R
2TR IN Analog1 R
2TA2L
2TA2L
2A2L
2TR IN Analog2 L
2TA2R
2TA2R
2A2R
2TR IN Analog2 R
Initial Output Port Names
Port
SLOT1-01
SLOT1-02
SLOT1-03
SLOT1-04
SLOT1-05
SLOT1-06
SLOT1-07
SLOT1-08
SLOT1-09
SLOT1-10
SLOT1-11
SLOT1-12
SLOT1-13
SLOT1-14
SLOT1-15
SLOT1-16
SLOT2-01
SLOT2-02
SLOT2-03
SLOT2-04
SLOT2-05
SLOT2-06
SLOT2-07
SLOT2-08
SLOT2-09
SLOT2-10
SLOT2-11
SLOT2-12
SLOT2-13
SLOT2-14
SLOT2-15
Port ID
S1-01
S1-02
S1-03
S1-04
S1-05
S1-06
S1-07
S1-08
S1-09
S1-10
S1-11
S1-12
S1-13
S1-14
S1-15
S1-16
S2-01
S2-02
S2-03
S2-04
S2-05
S2-06
S2-07
S2-08
S2-09
S2-10
S2-11
S2-12
S2-13
S2-14
S2-15
02R96—Owner’s Manual
Short
Name
S101
S102
S103
S104
S105
S106
S107
S108
S109
S110
S111
S112
S113
S114
S115
S116
S201
S202
S203
S204
S205
S206
S207
S208
S209
S210
S211
S212
S213
S214
S215
Long Name
Slot1 CH1 OUT
Slot1 CH2 OUT
Slot1 CH3 OUT
Slot1 CH4 OUT
Slot1 CH5 OUT
Slot1 CH6 OUT
Slot1 CH7 OUT
Slot1 CH8 OUT
Slot1 CH9 OUT
Slot1 CH10 OUT
Slot1 CH11 OUT
Slot1 CH12 OUT
Slot1 CH13 OUT
Slot1 CH14 OUT
Slot1 CH15 OUT
Slot1 CH16 OUT
Slot2 CH1 OUT
Slot2 CH2 OUT
Slot2 CH3 OUT
Slot2 CH4 OUT
Slot2 CH5 OUT
Slot2 CH6 OUT
Slot2 CH7 OUT
Slot2 CH8 OUT
Slot2 CH9 OUT
Slot2 CH10 OUT
Slot2 CH11 OUT
Slot2 CH12 OUT
Slot2 CH13 OUT
Slot2 CH14 OUT
Slot2 CH15 OUT
Port
SLOT2-16
SLOT3-01
SLOT3-02
SLOT3-03
SLOT3-04
SLOT3-05
SLOT3-06
SLOT3-07
SLOT3-08
SLOT3-09
SLOT3-10
SLOT3-11
SLOT3-12
SLOT3-13
SLOT3-14
SLOT3-15
SLOT3-16
SLOT4-01
SLOT4-02
SLOT4-03
SLOT4-04
SLOT4-05
SLOT4-06
SLOT4-07
SLOT4-08
SLOT4-09
SLOT4-10
SLOT4-11
SLOT4-12
SLOT4-13
SLOT4-14
SLOT4-15
SLOT4-16
OMNI1
OMNI2
OMNI3
OMNI4
OMNI5
OMNI6
OMNI7
OMNI8
2TD1L
2TD1R
2TD2L
2TD2R
2TD3L
2TD3R
Port ID
S2-16
S3-01
S3-02
S3-03
S3-04
S3-05
S3-06
S3-07
S3-08
S3-09
S3-10
S3-11
S3-12
S3-13
S3-14
S3-15
S3-16
S4-01
S4-02
S4-03
S4-04
S4-05
S4-06
S4-07
S4-08
S4-09
S4-10
S4-11
S4-12
S4-13
S4-14
S4-15
S4-16
OMNI1
OMNI2
OMNI3
OMNI4
OMNI5
OMNI6
OMNI7
OMNI8
2TD1L
2TD1R
2TD2L
2TD2R
2TD3L
2TD3R
Short
Name
S216
S301
S302
S303
S304
S305
S306
S307
S308
S309
S310
S311
S312
S313
S314
S315
S316
S401
S402
S403
S404
S405
S406
S407
S408
S409
S410
S411
S412
S413
S414
S415
S416
OMN1
OMN2
OMN3
OMN4
OMN5
OMN6
OMN7
OMN8
2D1L
2D1R
2D2L
2D2R
2D3L
2D3R
Long Name
Slot2 CH16 OUT
Slot3 CH1 OUT
Slot3 CH2 OUT
Slot3 CH3 OUT
Slot3 CH4 OUT
Slot3 CH5 OUT
Slot3 CH6 OUT
Slot3 CH7 OUT
Slot3 CH8 OUT
Slot3 CH9 OUT
Slot3 CH10 OUT
Slot3 CH11 OUT
Slot3 CH12 OUT
Slot3 CH13 OUT
Slot3 CH14 OUT
Slot3 CH15 OUT
Slot3 CH16 OUT
Slot4 CH1 OUT
Slot4 CH2 OUT
Slot4 CH3 OUT
Slot4 CH4 OUT
Slot4 CH5 OUT
Slot4 CH6 OUT
Slot4 CH7 OUT
Slot4 CH8 OUT
Slot4 CH9 OUT
Slot4 CH10 OUT
Slot4 CH11 OUT
Slot4 CH12 OUT
Slot4 CH13 OUT
Slot4 CH14 OUT
Slot4 CH15 OUT
Slot4 CH16 OUT
OMNI OUT 1
OMNI OUT 2
OMNI OUT 3
OMNI OUT 4
OMNI OUT 5
OMNI OUT 6
OMNI OUT 7
OMNI OUT 8
2TR OUT Dig. 1L
2TR OUT Dig. 1R
2TR OUT Dig. 2L
2TR OUT Dig. 2R
2TR OUT Dig. 3L
2TR OUT Dig. 3R
GPI Trigger Source List
GPI Trigger Source List
#
Source
0
NO ASSIGN
1
2
CH1 FADER ON
CH2 FADER ON
3
CH3 FADER ON
4
CH4 FADER ON
5
6
7
8
9
10
CH5 FADER ON
CH6 FADER ON
CH7 FADER ON
CH8 FADER ON
CH9 FADER ON
CH10 FADER ON
11
CH11 FADER ON
12
CH12 FADER ON
13
14
15
16
17
18
CH13 FADER ON
CH14 FADER ON
CH15 FADER ON
CH16 FADER ON
CH17 FADER ON
CH18 FADER ON
19
CH19 FADER ON
20
CH20 FADER ON
21
22
23
24
25
26
CH21 FADER ON
CH22 FADER ON
CH23 FADER ON
CH24 FADER ON
CH25 FADER ON
CH26 FADER ON
27
CH27 FADER ON
28
CH28 FADER ON
29
30
31
32
33
34
CH29 FADER ON
CH30 FADER ON
CH31 FADER ON
CH32 FADER ON
CH33 FADER ON
CH34 FADER ON
35
CH35 FADER ON
36
CH36 FADER ON
37
38
39
40
41
42
CH37 FADER ON
CH38 FADER ON
CH39 FADER ON
CH40 FADER ON
CH41 FADER ON
CH42 FADER ON
43
CH43 FADER ON
44
CH44 FADER ON
45
CH45 FADER ON
46
CH46 FADER ON
47
CH47 FADER ON
48
49
50
CH48 FADER ON
CH49 FADER ON
CH50 FADER ON
51
CH51 FADER ON
52
CH52 FADER ON
#
Source
53
CH53 FADER ON
54
CH54 FADER ON
55
CH55 FADER ON
56
CH56 FADER ON
57
BUS1 FADER ON
58
BUS2 FADER ON
59
BUS3 FADER ON
60
BUS4 FADER ON
61
BUS5 FADER ON
62
BUS6 FADER ON
63
BUS7 FADER ON
64
BUS8 FADER ON
65
AUX1 FADER ON
66
AUX2 FADER ON
67
AUX3 FADER ON
68
AUX4 FADER ON
69
AUX5 FADER ON
70
AUX6 FADER ON
71
AUX7 FADER ON
72
AUX8 FADER ON
73
STEREO FADER ON
74
CH1 FADER OFF
75
CH2 FADER OFF
76
CH3 FADER OFF
77
CH4 FADER OFF
78
CH5 FADER OFF
79
CH6 FADER OFF
80
CH7 FADER OFF
81
CH8 FADER OFF
82
CH9 FADER OFF
83
CH10 FADER OFF
84
CH11 FADER OFF
85
CH12 FADER OFF
86
CH13 FADER OFF
87
CH14 FADER OFF
88
CH15 FADER OFF
89
CH16 FADER OFF
90
CH17 FADER OFF
91
CH18 FADER OFF
92
CH19 FADER OFF
93
CH20 FADER OFF
94
CH21 FADER OFF
95
CH22 FADER OFF
96
CH23 FADER OFF
97
CH24 FADER OFF
98
CH25 FADER OFF
99
CH26 FADER OFF
100
CH27 FADER OFF
101
CH28 FADER OFF
102
CH29 FADER OFF
103
CH30 FADER OFF
104
CH31 FADER OFF
105
CH32 FADER OFF
106
CH33 FADER OFF
107
CH34 FADER OFF
217
02R96—Owner’s Manual
218
#
Appendix A: Parameter Lists
Source
#
Source
108
CH35 FADER OFF
163
UDEF1 UNLATCH
109
CH36 FADER OFF
164
UDEF2 UNLATCH
110
CH37 FADER OFF
165
UDEF3 UNLATCH
111
CH38 FADER OFF
166
UDEF4 UNLATCH
112
CH39 FADER OFF
167
UDEF5 UNLATCH
113
CH40 FADER OFF
168
UDEF6 UNLATCH
114
CH41 FADER OFF
169
UDEF7 UNLATCH
115
CH42 FADER OFF
170
UDEF8 UNLATCH
116
CH43 FADER OFF
171
UDEF9 UNLATCH
117
CH44 FADER OFF
172
UDEF10 UNLATCH
118
CH45 FADER OFF
173
UDEF11 UNLATCH
119
CH46 FADER OFF
174
UDEF12 UNLATCH
120
CH47 FADER OFF
175
UDEF13 UNLATCH
121
CH48 FADER OFF
176
UDEF14 UNLATCH
122
CH49 FADER OFF
177
UDEF15 UNLATCH
123
CH50 FADER OFF
178
UDEF16 UNLATCH
124
CH51 FADER OFF
179
REC LAMP
125
CH52 FADER OFF
180
POWER ON
126
CH53 FADER OFF
127
CH54 FADER OFF
128
CH55 FADER OFF
129
CH56 FADER OFF
130
BUS1 FADER OFF
131
BUS2 FADER OFF
132
BUS3 FADER OFF
133
BUS4 FADER OFF
134
BUS5 FADER OFF
135
BUS6 FADER OFF
136
BUS7 FADER OFF
137
BUS8 FADER OFF
138
AUX1 FADER OFF
139
AUX2 FADER OFF
140
AUX3 FADER OFF
141
AUX4 FADER OFF
142
AUX5 FADER OFF
143
AUX6 FADER OFF
144
AUX7 FADER OFF
145
AUX8 FADER OFF
146
STEREO FADER OFF
147
UDEF1 LATCH
148
UDEF2 LATCH
149
UDEF3 LATCH
150
UDEF4 LATCH
151
UDEF5 LATCH
152
UDEF6 LATCH
153
UDEF7 LATCH
154
UDEF8 LATCH
155
UDEF9 LATCH
156
UDEF10 LATCH
157
UDEF11 LATCH
158
UDEF12 LATCH
159
UDEF13 LATCH
160
UDEF14 LATCH
161
UDEF15 LATCH
162
UDEF16 LATCH
02R96—Owner’s Manual
User Defined Remote Layer Initial Bank Settings
219
User Defined Remote Layer Initial Bank Settings
Bank 1 (GM Vol & Pan)
ID
Short
Name
Long
RM01 GM01
GM-CH01 VOL&PAN
RM02 GM02
GM-CH02 VOL&PAN
RM03 GM03
GM-CH03 VOL&PAN
RM04 GM04
GM-CH04 VOL&PAN
RM05 GM05
GM-CH05 VOL&PAN
RM06 GM06
GM-CH06 VOL&PAN
RM07 GM07
GM-CH07 VOL&PAN
RM08 GM08
GM-CH08 VOL&PAN
RM09 GM09
GM-CH09 VOL&PAN
RM10 GM10
GM-CH10 VOL&PAN
RM11 GM11
GM-CH11 VOL&PAN
RM12 GM12
GM-CH12 VOL&PAN
RM13 GM13
GM-CH13 VOL&PAN
RM14 GM14
GM-CH14 VOL&PAN
RM15 GM15
GM-CH15 VOL&PAN
RM16 GM16
GM-CH16 VOL&PAN
RM17 GM17
NO ASSIGN
RM18 GM18
NO ASSIGN
RM19 GM19
NO ASSIGN
RM20 GM20
NO ASSIGN
RM21 GM21
NO ASSIGN
RM22 GM22
NO ASSIGN
RM23 GM23
NO ASSIGN
RM24 GM24
NO ASSIGN
Controller
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
1
2
3
4
5
6
END
B0
B0
END
B1
B1
END
B2
B2
END
B3
B3
END
B4
B4
END
B5
B5
END
B6
B6
END
B7
B7
END
B8
B8
END
B9
B9
END
BA
BA
END
BB
BB
END
BC
BC
END
BD
BD
END
BE
BE
END
BF
BF
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
0A
07
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
Data Format
7
8
9 10 11 12 13 14 15 16
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
02R96—Owner’s Manual
220
Appendix A: Parameter Lists
Bank 2 (GM Vol & Effect 1)
ID
Short
Name
Long
RM01 GM01
GM-CH01 VOL&EFF1
RM02 GM02
GM-CH02 VOL&EFF1
RM03 GM03
GM-CH03 VOL&EFF1
RM04 GM04
GM-CH04 VOL&EFF1
RM05 GM05
GM-CH05 VOL&EFF1
RM06 GM06
GM-CH06 VOL&EFF1
RM07 GM07
GM-CH07 VOL&EFF1
RM08 GM08
GM-CH08 VOL&EFF1
RM09 GM09
GM-CH09 VOL&EFF1
RM10 GM10
GM-CH10 VOL&EFF1
RM11 GM11
GM-CH11 VOL&EFF1
RM12 GM12
GM-CH12 VOL&EFF1
RM13 GM13
GM-CH13 VOL&EFF1
RM14 GM14
GM-CH14 VOL&EFF1
RM15 GM15
GM-CH15 VOL&EFF1
RM16 GM16
GM-CH16 VOL&EFF1
RM17 GM17
NO ASSIGN
RM18 GM18
NO ASSIGN
RM19 GM19
NO ASSIGN
RM20 GM20
NO ASSIGN
RM21 GM21
NO ASSIGN
RM22 GM22
NO ASSIGN
RM23 GM23
NO ASSIGN
RM24 GM24
NO ASSIGN
02R96—Owner’s Manual
Controller
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
1
2
3
4
5
6
END
B0
B0
END
B1
B1
END
B2
B2
END
B3
B3
END
B4
B4
END
B5
B5
END
B6
B6
END
B7
B7
END
B8
B8
END
B9
B9
END
BA
BA
END
BB
BB
END
BC
BC
END
BD
BD
END
BE
BE
END
BF
BF
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
END
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
0C
07
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
Data Format
7
8
9 10 11 12 13 14 15 16
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
User Defined Remote Layer Initial Bank Settings
221
Bank 3 (XG Vol & Pan)
ID
Short
Name
Long
RM01 XG01
XG-CH01 VOL&PAN
RM02 XG02
XG-CH02 VOL&PAN
RM03 XG03
XG-CH03 VOL&PAN
RM04 XG04
XG-CH04 VOL&PAN
RM05 XG05
XG-CH05 VOL&PAN
RM06 XG06
XG-CH06 VOL&PAN
RM07 XG07
XG-CH07 VOL&PAN
RM08 XG08
XG-CH08 VOL&PAN
RM09 XG09
XG-CH09 VOL&PAN
RM10 XG10
XG-CH10 VOL&PAN
RM11 XG11
XG-CH11 VOL&PAN
RM12 XG12
XG-CH12 VOL&PAN
RM13 XG13
XG-CH13 VOL&PAN
RM14 XG14
XG-CH14 VOL&PAN
RM15 XG15
XG-CH15 VOL&PAN
RM16 XG16
XG-CH16 VOL&PAN
RM17 XG17
XG-CH17 VOL&PAN
RM18 XG18
XG-CH18 VOL&PAN
RM19 XG19
XG-CH19 VOL&PAN
RM20 XG20
XG-CH20 VOL&PAN
RM21 XG21
XG-CH21 VOL&PAN
RM22 XG22
XG-CH22 VOL&PAN
RM23 XG23
XG-CH23 VOL&PAN
RM24 XG24
XG-CH24 VOL&PAN
Controller
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
ON
ENCODER
FADER
1
2
3
4
5
6
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
END
F0
F0
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
43
43
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
10
10
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
4C
4C
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
08
08
NOP
00
00
NOP
01
01
NOP
02
02
NOP
03
03
NOP
04
04
NOP
05
05
NOP
06
06
NOP
07
07
NOP
08
08
NOP
09
09
NOP
0A
0A
NOP
0B
0B
NOP
0C
0C
NOP
0D
0D
NOP
0E
0E
NOP
0F
0F
NOP
10
10
NOP
11
11
NOP
12
12
NOP
13
13
NOP
14
14
NOP
15
15
NOP
16
16
NOP
17
17
Data Format
7
8
9 10 11 12 13 14 15 16
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
0E
0B
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
ENC
FAD
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
F7
F7
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
END
END
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
NOP
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02R96—Owner’s Manual
222
Appendix A: Parameter Lists
Bank 4 (Nuendo VST Mixer)
ID
Short
Name
Long
RM01 CH1
VST MIXER CH1
RM02 CH2
VST MIXER CH2
RM03 CH3
VST MIXER CH3
RM04 CH4
VST MIXER CH4
RM05 CH5
VST MIXER CH5
RM06 CH6
VST MIXER CH6
RM07 CH7
VST MIXER CH7
RM08 CH8
VST MIXER CH8
RM09 CH9
VST MIXER CH9
RM10 CH10
VST MIXER CH10
RM11 CH11
VST MIXER CH11
RM12 CH12
VST MIXER CH12
RM13 CH13
VST MIXER CH13
RM14 CH14
VST MIXER CH14
RM15 CH15
VST MIXER CH15
RM16 CH16
VST MIXER CH16
RM17 CH17
VST MIXER CH17
RM18 CH18
VST MIXER CH18
RM19 CH19
VST MIXER CH19
RM20 CH20
VST MIXER CH20
RM21 CH21
VST MIXER CH21
RM22 CH22
VST MIXER CH22
RM23 CH23
VST MIXER CH23
RM24 CH24
VST MIXER CH24
02R96—Owner’s Manual
Controller
ON
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Data Format
7
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Effects Parameters
223
Effects Parameters
REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE
One input, two output hall, room, stage, and plate reverb simulations, all with gates.
Parameter
Range
Description
REV TIME
0.3–99.0 s
Reverb time
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
LO. RATIO
0.1–2.4
Low-frequency reverb time ratio
DIFF.
0.0–1.0
Reverb diffusion (left–right reverb spread)
DENSITY
0–100%
Reverb density
E/R DLY
0.0–100.0 ms
Delay between early reflections and reverb
E/R BAL.
0–100%
Balance of early reflections and reverb
(0% = all reverb, 100% = all early reflections)
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
GATE LVL
OFF, –60 to 0 dB
Level at which gate kicks in
ATTACK
0–120 ms
Gate opening speed
HOLD
1
Gate open time
DECAY
2
Gate closing speed
1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz), 0.01 ms–1.07 s (fs=88.2 kHz),
0.01 ms–980 ms (fs=96 kHz)
2. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
EARLY REF.
One input, two output early reflections.
Parameter
Range
Description
TYPE
S-Hall, L-Hall, Random,
Revers, Plate, Spring
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.
0.0–1.0
Reflection diffusion (left–right reflection spread)
DENSITY
0–100%
Reflection density
ER NUM.
1–19
Number of early reflections
FB GAIN
–100 to +100%
Feedback gain
HI. RATIO
0.1–1.0
High-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
02R96—Owner’s Manual
224
Appendix A: Parameter Lists
GATE REVERB, REVERSE GATE
One input, two output early reflections with gate, and early reflections with reverse gate.
Parameter
Range
Description
TYPE
Type-A, Type-B
Type of early reflection simulation
ROOMSIZE
0.1–20.0
Reflection spacing
LIVENESS
0–10
Early reflections decay characteristics (0 = dead, 10 = live)
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
DIFF.
0–10
Reflection diffusion (left–right reflection spread)
DENSITY
0–100%
Reflection density
HI. RATIO
0.1–1.0
High-frequency feedback ratio
ER NUM.
1–19
Number of early reflections
FB GAIN
–100 to +100%
Feedback gain
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
MONO DELAY
One input, one output basic repeat delay.
Parameter
Range
Description
DELAY
0.0–2730.0 ms
Delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine DELAY
1.
(Max. value depends on tempo
setting)
02R96—Owner’s Manual
Effects Parameters
225
STEREO DELAY
Two input, two output basic stereo delay.
Parameter
Range
Description
DELAY L
0.0–1350.0 ms
Left channel delay time
DELAY R
0.0–1350.0 ms
Right channel delay time
FB. G L
–99 to +99%
Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback)
FB. G R
–99 to +99%
Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE L
1
Used in conjunction with TEMPO to determine left channel
DELAY
NOTE R
1
Used in conjunction with TEMPO to determine right channel DELAY
1.
(Maximum value depends on the
tempo setting)
MOD. DELAY
One input, two output basic repeat delay with modulation.
Parameter
Range
Description
DELAY
0.0–2725.0 ms
Delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
WAVE
Sine/Tri
Modulation waveform
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
DLY NOTE
1
Used in conjunction with TEMPO to determine DELAY
MOD NOTE
2
Used in conjunction with TEMPO to determine FREQ
1.
(Maximum value depends on
the tempo setting)
2.
02R96—Owner’s Manual
226
Appendix A: Parameter Lists
DELAY LCR
One input, two output 3-tap delay (left, center, right).
Parameter
Range
0.0–2730.0 ms
Left channel delay time
DELAY C
0.0–2730.0 ms
Center channel delay time
DELAY R
0.0–2730.0 ms
Right channel delay time
FB. DLY
0.0–2730.0 ms
Feedback delay time
LEVEL L
–100 to +100%
Left channel delay level
LEVEL C
–100 to +100%
Center channel delay level
LEVEL R
–100 to +100%
Right channel delay level
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE L
1
Used in conjunction with TEMPO to determine DELAY L
NOTE C
1
Used in conjunction with TEMPO to determine DELAY C
NOTE R
1
Used in conjunction with TEMPO to determine DELAY R
NOTE FB
1
Used in conjunction with TEMPO to determine FB. DLY
1.
(Maximum value depends on
the tempo setting)
02R96—Owner’s Manual
Description
DELAY L
Effects Parameters
227
ECHO
Two input, two output stereo delay with crossed feedback loop.
Parameter
Range
Description
DELAY L
0.0–1350.0 ms
Left channel delay time
DELAY R
0.0–1350.0 ms
Right channel delay time
FB. D L
0.0–1350.0 ms
Left channel feedback delay time
FB. D R
0.0–1350.0 ms
Right channel feedback delay time
FB. G L
–99 to +99%
Left channel feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
FB. G R
–99 to +99%
Right channel feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
L->R FB. G
–99 to +99%
Left to right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
R->L FB. G
–99 to +99%
Right to left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE L
1
Used in conjunction with TEMPO to determine DELAY L
NOTE R
1
Used in conjunction with TEMPO to determine DELAY R
NOTE FBL
1
Used in conjunction with TEMPO to determine FB. D L
NOTE FBR
1
Used in conjunction with TEMPO to determine FB. D R
1.
(Maximum value depends on the
tempo setting)
CHORUS
Two input, two output chorus effect.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
AM DEPTH
0–100%
Amplitude modulation depth
PM DEPTH
0–100%
Pitch modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
EQ F
100 Hz–8.00 kHz
EQ (peaking type) frequency
EQ G
–12 to +12 dB
EQ (peaking type) gain
EQ Q
10.0–0.10
EQ (peaking type) bandwidth
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
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228
Appendix A: Parameter Lists
FLANGE
Two input, two output flange effect.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE
Sine, Tri
Modulation waveform
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
EQ F
100 Hz–8.00 kHz
EQ (peaking type) frequency
EQ G
–12 to +12 dB
EQ (peaking type) gain
EQ Q
10.0–0.10
EQ (peaking type) bandwidth
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
SYMPHONIC
Two input, two output symphonic effect.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
EQ F
100 Hz–8.00 kHz
EQ (peaking type) frequency
EQ G
–12 to +12 dB
EQ (peaking type) gain
EQ Q
10.0–0.10
EQ (peaking type) bandwidth
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
SYNC
OFF/ON
Tempo parameter sync on/off
1.
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Effects Parameters
229
PHASER
Two input, two output 16-stage phaser.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
OFFSET
0–100
Lowest phase-shifted frequency offset
PHASE
0.00–354.38 degrees
Left and right modulation phase balance
STAGE
2, 4, 6, 8, 10, 12, 14, 16
Number of phase shift stages
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
AUTOPAN
Two input, two output autopanner.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
DIR.
1
Panning direction
WAVE
Sine, Tri, Square
Modulation waveform
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
EQ F
100 Hz–8.00 kHz
EQ (peaking type) frequency
EQ G
–12 to +12 dB
EQ (peaking type) gain
EQ Q
10.0–0.10
EQ (peaking type) bandwidth
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
2
Used in conjunction with TEMPO to determine FREQ.
1. L<->R, L—>R, L<—R, Turn L, Turn R
2.
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Appendix A: Parameter Lists
TREMOLO
Two input, two output tremolo effect.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
WAVE
Sine, Tri, Square
Modulation waveform
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
EQ F
100 Hz–8.00 kHz
EQ (peaking type) frequency
EQ G
–12 to +12 dB
EQ (peaking type) gain
EQ Q
10.0–0.10
EQ (peaking type) bandwidth
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
HQ. PITCH
One input, two output high-quality pitch shifter.
Parameter
Range
Description
PITCH
–12 to +12 semitones
Pitch shift
FINE
–50 to +50 cents
Pitch shift fine
DELAY
0.0–1000.0 ms
Delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
MODE
1–10
Pitch shift precision
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine DELAY
1.
(Maximum value depends on the
tempo setting)
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Effects Parameters
231
DUAL PITCH
Two input, two output pitch shifter.
Parameter
Range
Description
PITCH 1
–24 to +24 semitones
Channel #1 pitch shift
FINE 1
–50 to +50 cents
Channel #1 pitch shift fine
LEVEL 1
–100 to +100%
Channel #1 level (plus values for normal phase, minus values
for reverse phase)
PAN 1
L63 to R63
Channel #1 pan
DELAY 1
0.0–1000.0 ms
Channel #1 delay time
FB. G 1
–99 to +99%
Channel #1 feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
PITCH 2
–24 to +24 semitones
Channel #2 pitch shift
FINE 2
–50 to +50 cents
Channel #2 pitch shift fine
LEVEL 2
–100 to +100%
Channel #2 level (plus values for normal phase, minus values
for reverse phase)
PAN 2
L63 to R63
Channel #2 pan
DELAY 2
0.0–1000.0 ms
Channel #2 delay time
FB. G 2
–99 to +99%
Channel #2 feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
MODE
1–10
Pitch shift precision
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE 1
1
Used in conjunction with TEMPO to determine Channel #1
delay
NOTE 2
1
Used in conjunction with TEMPO to determine Channel #2
delay
1.
(Maximum value depends on the
tempo setting)
ROTARY
One input, two output rotary speaker simulator.
Parameter
Range
Description
ROTATE
STOP, START
Rotation stop, start
SPEED
SLOW, FAST
Rotation speed (see SLOW and FAST parameters)
SLOW
0.05–10.00 Hz
SLOW rotation speed
FAST
0.05–10.00 Hz
FAST rotation speed
DRIVE
0–100
Overdrive level
ACCEL
0–10
Acceleration at speed changes
LOW
0–100
Low-frequency filter
HIGH
0–100
High-frequency filter
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Appendix A: Parameter Lists
RING MOD.
Two input, two output ring modulator.
Parameter
Range
SOURCE
Description
OSC, SELF
Modulation source: oscillator or input signal
OSC FREQ
0.0–5000.0 Hz
Oscillator frequency
FM FREQ
0.05–40.00 Hz
Oscillator frequency modulation speed
FM DEPTH
0–100%
Oscillator frequency modulation depth
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE FM
1
Used in conjunction with TEMPO to determine FM FREQ
1.
MOD. FILTER
Two input, two output modulation filter.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
PHASE
0.00–354.38°
Left-channel modulation and right-channel modulation
phase difference
TYPE
LPF, HPF, BPF
Filter type: low pass, high pass, band pass
OFFSET
0–100
Filter frequency offset
RESO.
0–20
Filter resonance
LEVEL
0–100
Output level
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ
1.
DISTORTION
One input, two output distortion effect.
02R96—Owner’s Manual
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
N. GATE
0–20
Noise reduction
Effects Parameters
233
AMP SIMULATE
One input, two output guitar amp simulator.
Parameter
Range
Description
AMP TYPE
1
Guitar amp simulation type
DST TYPE
DST1, DST2, OVD1,
OVD2, CRUNCH
Distortion type (DST = distortion, OVD = overdrive)
DRIVE
0–100
Distortion drive
MASTER
0–100
Master volume
BASS
0–100
Bass tone control
MIDDLE
0–100
Middle tone control
TREBLE
0–100
High tone control
CAB DEP
0–100%
Speaker cabinet simulation depth
EQ F
99–8.0 kHz
Parametric equalizer frequency
EQ G
–12 to +12 dB
Parametric equalizer gain
EQ Q
10.0–0.10
Parametric equalizer bandwidth
N. GATE
0–20
Noise reduction
1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT
DYNA. FILTER
Two input, two output dynamically controlled filter.
Parameter
Range
Description
SOURCE
INPUT, MIDI
Control source: input signal or MIDI Note On velocity
SENSE
0–100
Sensitivity
DIR.
UP, DOWN
Upward or downward frequency change
DECAY
1
Filter frequency change decay speed
TYPE
LPF, HPF, BPF
Filter type
OFFSET
0–100
Filter frequency offset
RESO.
0–20
Filter resonance
LEVEL
0–100
Output Level
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
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Appendix A: Parameter Lists
DYNA. FLANGE
Two input, two output dynamically controlled flanger.
Parameter
Range
Description
SOURCE
INPUT, MIDI
Control source: input signal or MIDI Note On velocity
SENSE
0–100
Sensitivity
DIR.
UP, DOWN
Upward or downward frequency change
DECAY
1
Decay speed
OFFSET
0–100
Delay time offset
FB GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
EQ F
100 Hz–8.00 kHz
EQ (peaking type) frequency
EQ G
–12 to +12 dB
EQ (peaking type) gain
EQ Q
10.0–0.10
EQ (peaking type) bandwidth
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
DYNA. PHASER
Two input, two output dynamically controlled phaser.
Parameter
Range
Description
SOURCE
INPUT, MIDI
Control source: input signal or MIDI Note On velocity
SENSE
0–100
Sensitivity
DIR.
UP, DOWN
Upward or downward frequency change
DECAY
1
Decay speed
OFFSET
0–100
Lowest phase-shifted frequency offset
FB GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
STAGE
2, 4, 8, 10, 12, 14, 16
Number of phase shift stages
LSH F
21.2 Hz–8.00 kHz
Low shelving filter frequency
LSH G
–12 to +12 dB
Low shelving filter gain
HSH F
50.0 Hz–16.0 kHz
High shelving filter frequency
HSH G
–12 to +12 dB
High shelving filter gain
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
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Effects Parameters
235
REV+CHORUS
One input, two output reverb and chorus effects in parallel.
Parameter
Range
Description
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
REV/CHO
0–100%
Reverb and chorus balance (0% = all reverb, 100% = all chorus)
FREQ.
0.05–40.00 Hz
Modulation speed
AM DEPTH
0–100%
Amplitude modulation depth
PM DEPTH
0–100%
Pitch modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
REV->CHORUS
One input, two output reverb and chorus effects in series.
Parameter
Range
Description
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
REV BAL.
0–100%
Reverb and chorused reverb balance (0% = all chorused
reverb, 100% = all reverb)
FREQ.
0.05–40.00 Hz
Modulation speed
AM DEPTH
0–100%
Amplitude modulation depth
PM DEPTH
0–100%
Pitch modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
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Appendix A: Parameter Lists
REV+FLANGE
One input, two output reverb and flanger effects in parallel.
Parameter
Range
Description
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
REV/FLG
0–100%
Reverb and flange balance (0% = all reverb, 100% = all
flange)
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE
Sine, Tri
Modulation waveform
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
REV->FLANGE
One input, two output reverb and flanger effects in series.
Parameter
Range
Description
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
REV BAL.
0–100%
Reverb and flanged reverb balance (0% = all flanged reverb,
100% = all reverb)
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE
Sine, Tri
Modulation waveform
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
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Effects Parameters
237
REV+SYMPHO.
One input, two output reverb and symphonic effects in parallel.
Parameter
Range
Description
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
REV/SYM
0–100%
Reverb and symphonic balance (0% = all reverb, 100% = all
symphonic)
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
REV->SYMPHO.
One input, two output reverb and symphonic effects in series.
Parameter
Range
Description
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
REV BAL.
0–100%
Reverb and symphonic reverb balance (0% = all symphonic
reverb, 100% = all reverb)
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–500.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
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Appendix A: Parameter Lists
REV->PAN
One input, two output reverb and autopan effects in parallel.
Parameter
Range
Description
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
REV BAL.
0–100%
Reverb and panned reverb balance (0% = all panned reverb,
100% = all reverb)
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
DIR.
1
Panning direction
WAVE
Sine, Tri, Square
Modulation waveform
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
2
Used in conjunction with TEMPO to determine FREQ.
1. L<–>R, L–>R, L<–R, Turn L, Turn R
2.
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Effects Parameters
239
DELAY+ER.
One input, two output delay and early reflections effects in parallel.
Parameter
Range
Description
DELAY L
0.0–1000.0 ms
Left channel delay time
DELAY R
0.0–1000.0 ms
Right channel delay time
FB. DLY
0.0–1000.0 ms
Feedback delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
DLY/ER
0–100%
Delay and early reflections balance (0% = all delay, 100% =
all early reflections)
TYPE
S-Hall, L-Hall, Random,
Revers, Plate, Spring
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.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
ER NUM.
1–19
Number of early reflections
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE L
1
Used in conjunction with TEMPO to determine left channel
DELAY L
NOTE R
1
Used in conjunction with TEMPO to determine right channel DELAY R
NOTE FB
1
Used in conjunction with TEMPO to determine FB. DLY
1.
(Maximum value depends on
the tempo setting)
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240
Appendix A: Parameter Lists
DELAY->ER.
One input, two output delay and early reflections effects in series.
Parameter
Range
Description
DELAY L
0.0–1000.0 ms
Left channel delay time
DELAY R
0.0–1000.0 ms
Right channel delay time
FB. DLY
0.0–1000.0 ms
Feedback delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
DLY BAL.
0–100%
Delay and early reflected delay balance (0% = all early
reflected delay, 100% = all delay)
TYPE
S-Hall, L-Hall, Random,
Revers, Plate, Spring
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.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
ER NUM.
1–19
Number of early reflections
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE L
1
Used in conjunction with TEMPO to determine left channel
DELAY L
NOTE R
1
Used in conjunction with TEMPO to determine right channel DELAY R
NOTE FB
1
Used in conjunction with TEMPO to determine FB. DLY
1.
(Maximum value depends on the
tempo setting)
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Effects Parameters
241
DELAY+REV
One input, two output delay and reverb effects in parallel.
Parameter
Range
Description
DELAY L
0.0–1000.0 ms
Left channel delay time
DELAY R
0.0–1000.0 ms
Right channel delay time
FB. DLY
0.0–1000.0 ms
Feedback delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
DELAY HI
0.1–1.0
Delay high-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
DLY/REV
0–100%
Delay and reverb balance (0% = all delay, 100% = all reverb)
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
REV HI
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE L
1
Used in conjunction with TEMPO to determine left channel
DELAY L
NOTE R
1
Used in conjunction with TEMPO to determine right channel DELAY R
NOTE FB
1
Used in conjunction with TEMPO to determine FB. DLY
1.
(Maximum value depends on the
tempo setting)
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Appendix A: Parameter Lists
DELAY->REV
One input, two output delay and reverb effects in series.
Parameter
Range
Description
DELAY L
0.0–1000.0 ms
Left channel delay time
DELAY R
0.0–1000.0 ms
Right channel delay time
FB. DLY
0.0–1000.0 ms
Feedback delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
DELAY HI
0.1–1.0
Delay high-frequency feedback ratio
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
DLY BAL
0–100%
Delay and delayed reverb balance (0% = all delayed reverb,
100% = all delay)
INI. DLY
0.0–500.0 ms
Initial delay before reverb begins
REV TIME
0.3–99.0 s
Reverb time
REV HI
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.1–1.0
Spread
DENSITY
0–100%
Reverb density
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE L
1
Used in conjunction with TEMPO to determine left channel
DELAY L
NOTE R
*1
Used in conjunction with TEMPO to determine right channel DELAY R
NOTE FB
*1
Used in conjunction with TEMPO to determine FB. DLY
1.
(Maximum value depends on the
tempo setting)
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Effects Parameters
243
DIST->DELAY
One input, two output distortion and delay effects in series.
Parameter
Range
Description
DST TYPE
DST1, DST2, OVD1,
OVD2, CRUNCH
Distortion type (DST = distortion, OVD = overdrive)
DRIVE
0–100
Distortion drive
MASTER
0–100
Master volume
TONE
–10 to +10
Tone control
N. GATE
0–20
Noise reduction
DELAY
0.0–2725.0 ms
Delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO
0.1–1.0
High-frequency feedback ratio
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
DLY BAL
0–100%
Distortion and delay balance (0% = all distortion, 100% = all
delayed distortion)
SYNC
OFF/ON
Tempo parameter sync on/off
DLY NOTE
1
Used in conjunction with TEMPO to determine DELAY
MOD NOTE
2
Used in conjunction with TEMPO to determine FREQ.
1.
(Maximum value depends on
the tempo setting)
2.
MULTI FILTER
Two input, two output 3-band multi-filter (24 dB/octave).
Parameter
Range
Description
TYPE 1
HPF, LPF, BPF
Filter 1 type: high pass, low pass, band pass
TYPE 2
HPF, LPF, BPF
Filter 2 type: high pass, low pass, band pass
TYPE 3
HPF, LPF, BPF
Filter 3 type: high pass, low pass, band pass
FREQ. 1
28 Hz–16.0 kHz
Filter 1 frequency
FREQ. 2
28 Hz–16.0 kHz
Filter 2 frequency
FREQ. 3
28 Hz–16.0 kHz
Filter 3 frequency
LEVEL 1
0–100
Filter 1 level
LEVEL 2
0–100
Filter 2 level
LEVEL 3
0–100
Filter 3 level
RESO. 1
0–20
Filter 1 resonance
RESO. 2
0–20
Filter 2 resonance
RESO. 3
0–20
Filter 3 resonance
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Appendix A: Parameter Lists
FREEZE
One input, one output basic sampler.
Parameter
Range
Description
REC MODE
MANUAL, INPUT
In MANUAL mode, recording is started by pressing the REC
and PLAY buttons. In INPUT mode, Record-Ready mode is
engaged by pressing the REC button, and actual recording is
triggered by the input signal.
REC DLY
–1000 to +1000 ms
Recording delay. For plus values, recording starts after the
trigger is received. For minus values, recording starts before
the trigger is received.
TRG LVL
–60 to 0 dB
Input trigger level (i.e., the signal level required to trigger
recording or playback)
TRG MASK
0–1000 ms
Once playback has been triggered, subsequent triggers are
ignored for the duration of the TRG MASK time.
PLAY
MODE
MOMENT, CONT.,
INPUT
In MOMENT mode, the sample plays only while the that the
PLAY button is pressed. In CONT mode, playback continues
once the PLAY button has been pressed. The number of
times the sample plays is set using the LOOP NUM parameter. In INPUT mode, playback is triggered by the input signal.
START
1
Playback start point in milliseconds
END
1
Playback end point in milliseconds
LOOP
1
Loop start point in milliseconds
LOOP NUM
0–100
Number of times the sample plays
START
[SAMPLE]
0–262000
Playback start point in samples
END
[SAMPLE]
0–262000
Playback end point in samples
LOOP
[SAMPLE]
0–262000
Loop start point in samples
PITCH
–12 to +12 semitones
Playback pitch shift
FINE
–50 to +50 cents
Playback pitch shift fine
MIDI TRG
OFF, C1–C6, ALL
PLAY button can be triggered by using MIDI Note on/off
messages.
1. 0.0–5941.0 ms (fs=44.1 kHz), 0.0 ms–5458.3 ms (fs=48 kHz), 0.0–2970.5 ms (fs=88.2 kHz),
0.0 ms–2729.1 ms (fs=96 kHz)
ST REVERB
Two input, two output stereo reverb.
02R96—Owner’s Manual
Parameter
Range
Description
REV TIME
0.3–99.0 s
Reverb time
REV TYPE
Hall, Room, Stage, Plate
Reverb type
INI. DLY
0.0–100.0 ms
Initial delay before reverb begins
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
LO. RATIO
0.1–2.4
Low-frequency reverb time ratio
DIFF.
0.0–1.0
Reverb diffusion (left–right reverb spread)
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
E/R BAL.
0–100%
Balance of early reflections and reverb
(0% = all reverb, 100% = all early reflections)
Effects Parameters
245
REVERB 5.1
One input, six output reverb for 5.1 surround, with surround panning.
Parameter
Range
Description
REV TIME
0.3–99.0 s
Reverb time
REV TYPE
Hall, Room, Stage, Plate
Reverb type
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
DIFF.
0.0–1.0
Reverb diffusion (left–right reverb spread)
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
DIV.
0–100%
Divergence determines how the front center signal is fed to
the Left, Right, and Center channels. When set to 0%, it’s
fed only to the Left and Right channels (i.e., Phantom Center). When set to 50%, it’s fed equally to the Left, Right, and
Center channels. When set to 100%, it’s fed to only the
Center channel (i.e., Real Center).
ROOMSIZE
0.1–20.0
Size of simulated room’s reverb
POS L/R
L63–R63
Left/right listening position
POS F/R
F63–R63
Front/rear listening position
POS CTRL
OFF, NOR, INV
1
ER L/R
L63–R63
Left/right early reflections position
ER F/R
F63–R63
Front/rear early reflections position
ER LVL
0–100
Early reflections level
ER CTRL
OFF, NOR, INV
1
REV L/R
L63–R63
Left/right reverb position
REV F/R
F63–R63
Front/rear reverb position
REV LVL
0–100
Reverb level
REV CTRL
OFF, NOR, INV
1
1. When set to NOR, the position can be set by using the Joystick so long as the SELECTED CHANNEL
PAN/SURROUND [EFFECT] button’s indicator is on. When set to INV, the Joystick will work inversely. When set to OFF, Joystick control is off.
OCTA REVERB
Eight input, eight output reverb.
Parameter
Range
REV TIME
Description
0.3–99.0 s
Reverb time
REV TYPE
Hall, Room, Stage, Plate
Reverb type
INI. DLY
0.0–100.0 ms
Initial delay before reverb begins
HI. RATIO
0.1–1.0
High-frequency reverb time ratio
LO. RATIO
0.1–2.4
Low-frequency reverb time ratio
DIFF.
0.0–1.0
Reverb diffusion (left–right reverb spread)
DENSITY
0–100%
Reverb density
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
E/R BAL.
0–100%
Balance of early reflections and reverb
(0% = all reverb, 100% = all early reflections)
02R96—Owner’s Manual
246
Appendix A: Parameter Lists
AUTO PAN 5.1
Six input, six output autopanner for 5.1 surround. You can reset to the pan position specified by the OFFSET parameter by pressing the RESET button.
Parameter
Range
Description
SOURCE
OFF, HOLD, INPUT,
MIDI
When set to OFF, the TRIGGER button is used to start autopan. When set to HOLD, autopan runs continuously. When
set to INPUT, the input signal triggers autopan. When set to
MIDI, a MIDI Note On message can be used to trigger autopan.
TRIG. LVL
–60 to 0 dB
Input trigger level (i.e., the signal level required to trigger
panning when SOURCE set to INPUT)
TIME
0.1 s–10.0 s
The time after which autopan starts once it’s been triggered
SPEED
0.05 Hz–40.00 Hz
Autopan speed
DIR.
Turn L, Turn R
Autopan direction
OFFSET
–180 to +180 degrees
Pan offset
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
CHORUS 5.1
Six input, six output chorus for 5.1 surround.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
AM DEPTH
0–100%
Amplitude modulation depth
PM DEPTH
0–100%
Pitch modulation depth
MOD. DLY
0.0–400.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
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Effects Parameters
247
FLANGE 5.1
Six input, six output flanger for 5.1 surround.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–400.0 ms
Modulation delay time
FB. GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE
Sine, Tri
Modulation waveform
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
SYMPHO 5.1
Six input, six output symphonic effect for 5.1 surround.
Parameter
Range
Description
FREQ.
0.05–40.00 Hz
Modulation speed
DEPTH
0–100%
Modulation depth
MOD. DLY
0.0–400.0 ms
Modulation delay time
WAVE
Sine, Tri
Modulation waveform
HPF
THRU, 21.2 Hz–8.00
kHz
High-pass filter cutoff frequency
LPF
50.0 Hz–16.0 kHz,
THRU
Low-pass filter cutoff frequency
SYNC
OFF/ON
Tempo parameter sync on/off
NOTE
1
Used in conjunction with TEMPO to determine FREQ.
1.
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248
Appendix A: Parameter Lists
M. BAND DYNA.
Two input, two output 3-band dynamics processor, with individual solo and gain reduction
metering for each band.
Parameter
Range
Description
LOW GAIN
–96.0 to +12.0 dB
Low band level
MID GAIN
–96.0 to +12.0 dB
Mid band level
HI. GAIN
–96.0 to +12.0 dB
High band level
PRESENCE
–10 to +10
For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For
negative values, the opposite will occur. When set to 0, all
three bands are affected the same.
EXP. THRE
–54.0 dB to –24.0 dB
Expander threshold
EXP. RAT
1:1 to ∞:1
Expander ratio
EXP. REL
1
Expander release time
EXP. BYP
ON/OFF
Expander bypass
CMP. THRE
–24.0 dB to 0.0 dB
Compressor threshold
CMP. RAT
1:1 to 20:1
Compressor ratio
CMP. REL
1
Compressor release time
CMP. ATK
0–120 ms
Compressor attack
CMP. KNEE
0–5
Compressor knee
CMP. BYP
ON/OFF
Compressor bypass
LIM. THRE
–12.0 dB to 0.0 dB
Limiter threshold
LIM. REL
1
Limiter release time
LIM. ATK
0–120 ms
Limiter attack
LIM. KNEE
0–5
Limiter knee
LIM. BYP
ON/OFF
Limiter bypass
LOOKUP
0.0–100.0 ms
Lookup delay
L–M XOVR
21.2 Hz–8.00 kHz
Low/mid crossover frequency
M–H XOVR
21.2 Hz–8.00 kHz
Mid/high crossover frequency
SLOPE
–6 dB to –12 dB
Filter slope
CEILING
–6.0 dB to 0.0 dB, OFF
Specifies the maximum output level
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
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Effects Parameters
249
COMP 5.1
Six input, six output compressor for 5.1 surround, with individual solo for each band, and
gain reduction metering of left and right (L+R), left surround and right surround (LS+RS),
center (C), or LFE channels.
Parameter
Range
Description
LOW GAIN
–96.0 to +12.0 dB
Low band level
MID GAIN
–96.0 to +12.0 dB
Mid band level
HI. GAIN
–96.0 to +12.0 dB
High band level
PRESENCE
–10 to +10
For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For
negative values, the opposite will occur. When set to 0, all
three bands are affected the same.
THRE
–24.0 dB to 0.0 dB
Compressor threshold
RATIO
1:1 to ∞:1
Compressor ratio
ATTACK
0–120 ms
Compressor attack
RELEASE
1
Expander release time
KNEE
0–5
Compressor knee
LOOKUP
0.0–100.0 ms
Lookup delay
CEILING
–6.0 dB to 0.0 dB, OFF
Specifies the maximum output level
L–M XOVR
21.2 Hz–8.00 kHz
Low/mid crossover frequency
M–H XOVR
21.2 Hz–8.00 kHz
Mid/high crossover frequency
SLOPE
–6 dB to –12 dB
Filter slope
KEY LINK
2
Key-in linking
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
2. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is independent). 3+2: key-in of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are
linked, and LS and RS are linked.
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Appendix A: Parameter Lists
COMPAND 5.1
Six input, six output compander for 5.1 surround, with individual solo for each band, and
gain reduction metering of left and right (L+R), left surround and right surround (LS+RS),
center (C), or LFE channels.
Parameter
Range
Description
LOW GAIN
–96.0 to +12.0 dB
Low band level
MID GAIN
–96.0 to +12.0 dB
Mid band level
HI. GAIN
–96.0 to +12.0 dB
High band level
PRESENCE
–10 to +10
For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For
negative values, the opposite will occur. When set to 0, all
three bands are affected the same.
THRE
–24.0 dB to 0.0 dB
Compressor threshold
RATIO
1:1 to 20:1
Compressor ratio
ATTACK
0–120 ms
Compressor attack
WIDTH
1–90 dB
Width before the expander operates
TYPE
Soft, Hard
Compander type
LOOKUP
0.0–100.0 ms
Lookup delay
CEILING
–6.0 dB to 0.0 dB, OFF
Specifies the maximum output level
L–M XOVR
21.2 Hz–8.00 kHz
Low/mid crossover frequency
M–H XOVR
21.2 Hz–8.00 kHz
Mid/high crossover frequency
SLOPE
–6 dB to –12 dB
Filter slope
KEY LINK
1
Key-in linking
1. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is independent). 3+2: key-in of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are
linked, and LS and RS are linked.
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Preset EQ Parameters
Preset EQ Parameters
#
01
02
03
04
05
06
07
08
09
10
Parameter
Title
Bass Drum 1
Bass Drum 2
Snare Drum 1
Snare Drum 2
Tom-tom 1
Cymbal
High Hat
Percussion
E. Bass 1
E. Bass 2
LOW
L-MID
H-MID
HIGH
PEAKING
PEAKING
PEAKING
H.SHELF
G
+3.5 dB
–3.5 dB
0.0 dB
+4.0 dB
F
100 Hz
265 Hz
1.06 kHz
5.30 kHz
Q
1.2
10
0.9
—
PEAKING
PEAKING
PEAKING
LPF
G
+8.0 dB
–7.0 dB
+6.0 dB
ON
F
80 Hz
400 Hz
2.50 kHz
12.5 kHz
Q
1.4
4.5
2.2
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
–0.5 dB
0.0 dB
+3.0 dB
+4.5 dB
F
132 Hz
1.00 kHz
3.15 kHz
5.00 kHz
Q
1.2
4.5
0.11
—
L.SHELF
PEAKING
PEAKING
PEAKING
G
+1.5 dB
–8.5 dB
+2.5 dB
+4.0 dB
F
180 Hz
335 Hz
2.36 kHz
4.00 kHz
Q
—
10
0.7
0.1
PEAKING
PEAKING
PEAKING
PEAKING
G
+2.0 dB
–7.5 dB
+2.0 dB
+1.0 dB
F
212 Hz
670 Hz
4.50 kHz
6.30 kHz
Q
1.4
10
1.2
0.28
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–2.0 dB
0.0 dB
0.0 dB
+3.0 dB
F
106 Hz
425 Hz
1.06 kHz
13.2 kHz
Q
—
8
0.9
—
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–4.0 dB
–2.5 dB
+1.0 dB
+0.5 dB
F
95 Hz
425 Hz
2.80 kHz
7.50 kHz
Q
—
0.5
1
—
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–4.5 dB
0.0 dB
+2.0 dB
0.0 dB
F
100 Hz
400 Hz
2.80 kHz
17.0 kHz
Q
—
4.5
0.56
—
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–7.5 dB
+4.5 dB
+2.5 dB
0.0 dB
F
35.5 Hz
112 Hz
2.00 kHz
4.00 kHz
Q
—
5
4.5
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
+3.0 dB
0.0 dB
+2.5 dB
+0.5 dB
F
112 Hz
112 Hz
2.24 kHz
4.00 kHz
Q
0.1
5
6.3
—
02R96—Owner’s Manual
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#
11
12
13
14
15
16
17
18
19
20
21
Appendix A: Parameter Lists
Parameter
Title
Syn. Bass 1
Syn. Bass 2
Piano 1
Piano 2
E. G. Clean
E. G. Crunch 1
E. G. Crunch 2
E. G. Dist. 1
E. G. Dist. 2
A. G. Stroke 1
A. G. Stroke 2
02R96—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
85 Hz
950 Hz
4.00 kHz
12.5 kHz
Q
0.1
8
4.5
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
+2.5 dB
0.0 dB
+1.5 dB
0.0 dB
F
125 Hz
180 Hz
1.12 kHz
12.5 kHz
Q
1.6
8
2.2
—
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–6.0 dB
0.0 dB
+2.0 dB
+4.0 dB
F
95 Hz
950 Hz
3.15 kHz
7.50 kHz
Q
—
8
0.9
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
+3.5 dB
–8.5 dB
+1.5 dB
+3.0 dB
F
224 Hz
600 Hz
3.15 kHz
5.30 kHz
Q
5.6
10
0.7
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
+2.0 dB
–5.5 dB
+0.5 dB
+2.5 dB
F
265 Hz
400 Hz
1.32 kHz
4.50 kHz
Q
0.18
10
6.3
—
PEAKING
PEAKING
PEAKING
PEAKING
G
+4.5 dB
0.0 dB
+4.0 dB
+2.0 dB
F
140 Hz
1.00 kHz
1.90 kHz
5.60 kHz
Q
8
4.5
0.63
9
PEAKING
PEAKING
PEAKING
H.SHELF
G
+2.5 dB
+1.5 dB
+2.5 dB
0.0 dB
F
125 Hz
450 Hz
3.35 kHz
19.0 kHz
Q
8
0.4
0.16
—
L.SHELF
PEAKING
PEAKING
H.SHELF
G
+5.0 dB
0.0 dB
+3.5 dB
0.0 dB
F
355 Hz
950 Hz
3.35 kHz
12.5 kHz
Q
—
9
10
—
L.SHELF
PEAKING
PEAKING
H.SHELF
G
+6.0 dB
–8.5 dB
+4.5 dB
+4.0 dB
F
315 Hz
1.06 kHz
4.25 kHz
12.5 kHz
Q
—
10
4
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
–2.0 dB
0.0 dB
+1.0 dB
+4.0 dB
F
106 Hz
1.00 kHz
1.90 kHz
5.30 kHz
Q
0.9
4.5
3.5
—
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–3.5 dB
–2.0 dB
0.0 dB
+2.0 dB
F
300 Hz
750 Hz
2.00 kHz
3.55 kHz
Q
—
9
4.5
—
253
Preset EQ Parameters
#
22
23
24
25
26
27
28
29
30
31
32
Parameter
Title
A. G. Arpeg. 1
A. G. Arpeg. 2
Brass Sec.
Male Vocal 1
Male Vocal 2
Female Vo. 1
Female Vo. 2
Chorus & Harmo
Total EQ 1
Total EQ 2
Total EQ 3
LOW
L-MID
H-MID
HIGH
L.SHELF
PEAKING
PEAKING
PEAKING
G
–0.5 dB
0.0 dB
0.0 dB
+2.0 dB
F
224 Hz
1.00 kHz
4.00 kHz
6.70 kHz
Q
—
4.5
4.5
0.12
L.SHELF
PEAKING
PEAKING
H.SHELF
G
0.0 dB
–5.5 dB
0.0 dB
+4.0 dB
F
180 Hz
355 Hz
4.00 kHz
4.25 kHz
Q
—
7
4.5
—
PEAKING
PEAKING
PEAKING
PEAKING
G
–2.0 dB
–1.0 dB
+1.5 dB
+3.0 dB
F
90 Hz
850 Hz
2.12 kHz
4.50 kHz
Q
2.8
2
0.7
7
PEAKING
PEAKING
PEAKING
PEAKING
G
–0.5 dB
0.0 dB
+2.0 dB
+3.5 dB
F
190 Hz
1.00 kHz
2.00 kHz
6.70 kHz
Q
0.11
4.5
0.56
0.11
PEAKING
PEAKING
PEAKING
H.SHELF
G
+2.0 dB
–5.0 dB
–2.5 dB
+4.0 dB
F
170 Hz
236 Hz
2.65 kHz
6.70 kHz
Q
0.11
10
5.6
—
PEAKING
PEAKING
PEAKING
PEAKING
G
–1.0 dB
+1.0 dB
+1.5 dB
+2.0 dB
F
118 Hz
400 Hz
2.65 kHz
6.00 kHz
Q
0.18
0.45
0.56
0.14
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–7.0 dB
+1.5 dB
+1.5 dB
+2.5 dB
F
112 Hz
335 Hz
2.00 kHz
6.70 kHz
Q
—
0.16
0.2
—
PEAKING
PEAKING
PEAKING
PEAKING
G
–2.0 dB
–1.0 dB
+1.5 dB
+3.0 dB
F
90 Hz
850 Hz
2.12 kHz
4.50 kHz
Q
2.8
2
0.7
7
PEAKING
PEAKING
PEAKING
H.SHELF
G
–0.5 dB
0.0 dB
+3.0 dB
+6.5 dB
F
95 Hz
950 Hz
2.12 kHz
16.0 kHz
Q
7
2.2
5.6
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
+4.0 dB
+1.5 dB
+2.0 dB
+6.0 dB
F
95 Hz
750 Hz
1.80 kHz
18.0 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
67 Hz
850 Hz
1.90 kHz
15.0 kHz
Q
—
0.28
0.7
—
02R96—Owner’s Manual
254
#
33
34
35
36
37
38
39
40
Appendix A: Parameter Lists
Parameter
Title
Bass Drum 3
Snare Drum 3
Tom-tom 2
Piano 3
Piano Low
Piano High
Fine-EQ Cass
Narrator
02R96—Owner’s Manual
LOW
L-MID
H-MID
HIGH
PEAKING
PEAKING
PEAKING
PEAKING
G
+3.5 dB
–10.0 dB
+3.5 dB
0.0 dB
F
118 Hz
315 Hz
4.25 kHz
20.0 kHz
Q
2
10
0.4
0.4
L.SHELF
PEAKING
PEAKING
PEAKING
G
0.0 dB
+2.0 dB
+3.5 dB
0.0 dB
F
224 Hz
560 Hz
4.25 kHz
4.00 kHz
Q
—
4.5
2.8
0.1
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–9.0 dB
+1.5 dB
+2.0 dB
0.0 dB
F
90 Hz
212 Hz
5.30 kHz
17.0 kHz
Q
—
4.5
1.2
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
+4.5 dB
–13.0 dB
+4.5 dB
+2.5 dB
F
100 Hz
475 Hz
2.36 kHz
10.0 kHz
Q
8
10
9
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
–5.5 dB
+1.5 dB
+6.0 dB
0.0 dB
F
190 Hz
400 Hz
6.70 kHz
12.5 kHz
Q
10
6.3
2.2
—
PEAKING
PEAKING
PEAKING
PEAKING
G
–5.5 dB
+1.5 dB
+5.0 dB
+3.0 dB
F
190 Hz
400 Hz
6.70 kHz
5.60 kHz
Q
10
6.3
2.2
0.1
L.SHELF
PEAKING
PEAKING
H.SHELF
G
–1.5 dB
0.0 dB
+1.0 dB
+3.0 dB
F
75 Hz
1.00 kHz
4.00 kHz
12.5 kHz
Q
—
4.5
1.8
—
PEAKING
PEAKING
PEAKING
H.SHELF
G
–4.0 dB
–1.0 dB
+2.0 dB
0.0 dB
F
106 Hz
710 Hz
2.50 kHz
10.0 kHz
Q
4
7
0.63
—
255
Preset Gate Parameters (fs = 44.1 kHz)
Preset Gate Parameters (fs = 44.1 kHz)
#
1
2
3
4
Title
Gate
Ducking
A. Dr. BD
A. Dr. SN
Type
GATE
DUCKING
GATE
GATE
Parameter
Value
Threshold (dB)
–26
Range (dB)
–56
Attack (ms)
0
Hold (ms)
2.56
Decay (ms)
331
Threshold (dB)
–19
Range (dB)
–22
Attack (ms)
93
Hold (ms)
1.20 S
Decay (ms)
6.32 S
Threshold (dB)
–11
Range (dB)
–53
Attack (ms)
0
Hold (ms)
1.93
Decay (ms)
400
Threshold (dB)
–8
Range (dB)
–23
Attack (ms)
1
Hold (ms)
0.63
Decay (ms)
238
Preset Compressor Parameters (fs = 44.1 kHz)
#
1
Title
Comp
Type
COMP
Parameter
–8
Ratio ( :1)
2.5
Attack (ms)
60
Out gain (dB)
0.0
Knee
2
3
Expand
Compander (H)
EXPAND
COMPAND-H
250
Threshold (dB)
–23
Ratio ( :1)
1.7
Attack (ms)
1
Out gain (dB)
2
Release (ms)
70
Threshold (dB)
–10
Ratio ( :1)
3.5
Attack (ms)
Out gain (dB)
Threshold (dB)
COMPAND-S
3.5
Knee
Release (ms)
Compander (S)
2
Release (ms)
Width (dB)
4
Value
Threshold (dB)
1
0.0
6
250
–8
Ratio ( :1)
4
Attack (ms)
25
Out gain (dB)
0.0
Width (dB)
24
Release (ms)
180
02R96—Owner’s Manual
256
#
Appendix A: Parameter Lists
Title
Type
Parameter
Threshold (dB)
5
6
A. Dr. BD
A. Dr. BD
COMP
COMPAND-H
A. Dr. SN
COMP
3
Attack (ms)
9
Out gain (dB)
A. Dr. SN
EXPAND
2
Release (ms)
58
Threshold (dB)
–11
Ratio ( :1)
3.5
Attack (ms)
Out gain (dB)
COMPAND-S
Threshold (dB)
–17
Ratio ( :1)
2.5
Attack (ms)
Out gain (dB)
A. Dr. Tom
EXPAND
2
Release (ms)
12
Threshold (dB)
–23
Attack (ms)
Out gain (dB)
A. Dr. OverTop
COMPAND-S
E. B. Finger
COMP
2
151
–8
1.7
Attack (ms)
11
Out gain (dB)
0.0
Width (dB)
10
Release (ms)
128
Threshold (dB)
–20
Attack (ms)
Out gain (dB)
2
2
5.0
2
Release (ms)
749
Threshold (dB)
–24
Ratio ( :1)
2
Attack (ms)
38
Out gain (dB)
–3.5
Width (dB)
54
Release (ms)
842
Threshold (dB)
–12
2
Attack (ms)
15
Out gain (dB)
4.5
Knee
Release (ms)
02R96—Owner’s Manual
0
0.5
Ratio ( :1)
Ratio ( :1)
12
2
Threshold (dB)
Knee
11
8
3.5
Knee
Ratio ( :1)
10
7
192
Release (ms)
A. Dr. SN
1
–1.5
Release (ms)
Knee
9
5.5
Knee
Ratio ( :1)
8
–24
Ratio ( :1)
Width (dB)
7
Value
2
470
257
Preset Compressor Parameters (fs = 44.1 kHz)
#
13
14
15
16
Title
E. B. Slap
Syn. Bass
Piano1
Piano2
Type
COMP
COMP
COMP
COMP
Parameter
Threshold (dB)
–12
Ratio ( :1)
1.7
Attack (ms)
4.0
Knee
hard
Release (ms)
133
Threshold (dB)
–10
Ratio ( :1)
3.5
Attack (ms)
COMP
3.0
Knee
hard
Release (ms)
250
Threshold (dB)
–9
Ratio ( :1)
2.5
Attack (ms)
17
Out gain (dB)
1.0
Knee
hard
Release (ms)
238
Threshold (dB)
–18
Ratio ( :1)
3.5
Attack (ms)
Out gain (dB)
A. Guitar
COMP
Strings1
COMP
–8
3.5
Attack (ms)
Out gain (dB)
Strings2
COMP
7
2.5
4
Release (ms)
261
Threshold (dB)
–10
Ratio ( :1)
2.5
Attack (ms)
Out gain (dB)
5
1.5
2
Release (ms)
238
Threshold (dB)
–11
Ratio ( :1)
2
Attack (ms)
33
Out gain (dB)
1.5
Knee
20
2
174
Ratio ( :1)
Knee
19
7
6.0
Threshold (dB)
Knee
18
9
Out gain (dB)
Release (ms)
E. Guitar
6
Out gain (dB)
Knee
17
Value
2
Release (ms)
749
Threshold (dB)
–12
Ratio ( :1)
1.5
Attack (ms)
93
Out gain (dB)
1.5
Knee
Release (ms)
4
1.35 S
02R96—Owner’s Manual
258
#
21
Appendix A: Parameter Lists
Title
Strings3
Type
COMP
Parameter
Threshold (dB)
–17
Ratio ( :1)
1.5
Attack (ms)
76
Out gain (dB)
2.5
Knee
22
BrassSection
COMP
Syn. Pad
COMP
186
Threshold (dB)
–18
Ratio ( :1)
1.7
Attack (ms)
18
Out gain (dB)
4.0
25
SamplingPerc
Sampling BD
COMPAND-S
COMP
226
Threshold (dB)
–13
Ratio ( :1)
2
Attack (ms)
58
Out gain (dB)
2.0
27
28
Sampling SN
Hip Comp
Solo Vocal1
COMP
COMPAND-S
COMP
238
Threshold (dB)
–18
Ratio ( :1)
1.7
Attack (ms)
Out gain (dB)
8
–2.5
Width (dB)
18
Release (ms)
238
Threshold (dB)
–14
Ratio ( :1)
2
Attack (ms)
2
Out gain (dB)
3.5
Knee
4
Release (ms)
35
Threshold (dB)
–18
Attack (ms)
4
8
Out gain (dB)
8.0
Knee
hard
Release (ms)
354
Threshold (dB)
–23
Ratio ( :1)
20
Attack (ms)
15
Out gain (dB)
0.0
Width (dB)
15
Release (ms)
163
Threshold (dB)
–20
Ratio ( :1)
2.5
Attack (ms)
31
Out gain (dB)
2.0
Knee
Release (ms)
02R96—Owner’s Manual
1
Release (ms)
Ratio ( :1)
26
1
Release (ms)
Knee
24
2
Release (ms)
Knee
23
Value
1
342
259
Preset Compressor Parameters (fs = 44.1 kHz)
#
29
Title
Solo Vocal2
Type
COMP
Parameter
Threshold (dB)
–8
Ratio ( :1)
2.5
Attack (ms)
26
Out gain (dB)
1.5
Knee
Release (ms)
30
Chorus
COMP
Click Erase
EXPAND
–9
Ratio ( :1)
1.7
Attack (ms)
39
Out gain (dB)
2.5
Announcer
COMPAND-H
226
Threshold (dB)
–33
Ratio ( :1)
2
Attack (ms)
1
Out gain (dB)
Limiter1
COMPAND-S
Threshold (dB)
–14
Ratio ( :1)
2.5
Attack (ms)
Out gain (dB)
35
Total Comp1
COMP
COMP
18
Release (ms)
180
Total Comp2
COMP
–9
Ratio ( :1)
3
Attack (ms)
20
Out gain (dB)
–3.0
90
3.90 s
Threshold (dB)
0
Ratio ( :1)
∞
Attack (ms)
0
Out gain (dB)
0.0
Knee
hard
Release (ms)
319
Threshold (dB)
–18
Ratio ( :1)
3.5
Attack (ms)
94
Out gain (dB)
2.5
Knee
hard
Release (ms)
447
Threshold (dB)
–16
Ratio ( :1)
36
1
–2.5
Width (dB)
Release (ms)
Limiter2
2
284
Width (dB)
34
2.0
Release (ms)
Threshold (dB)
33
2
Release (ms)
Knee
32
3
331
Threshold (dB)
Knee
31
Value
6
Attack (ms)
11
Out gain (dB)
6.0
Knee
Release (ms)
1
180
02R96—Owner’s Manual
260
Appendix B: Specifications
Appendix B: Specifications
General Spec
Number of scene memories
99
Internal
Sampling Frequency
External
Normal rate: 44.1 kHz–10% to 48 kHz+6%
Double rate: 88.2 kHz–10% to 96 kHz+6%
Less than 2.0 ms CH INPUT to STEREO OUT (fs=48 kHz)
Signal Delay
Less than 1.1 ms CH INPUT to STEREO OUT (fs=96 kHz)
100 mm motorized with touch sense × 25
Fader
+10 to –96, –∞ dB (256 steps/100 mm) input faders
Fader Resolution
Total Harmonic Distortion1
(CH INPUT to STEREO OUT)
(Input Gain=Min.)
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz
0 to –130, –∞ dB (256 steps/100 mm) master faders, stereo fader
fs=48 kHz
Less than 0.05% 20 Hz to 20 kHz @ +14 dB into 600 Ω
Less than 0.01% 1 kHz @ +18 dB into 600 Ω
fs=96 kHz
Less than 0.05% 20 Hz to 40 kHz @ +14 dB into 600 Ω
Less than 0.01% 1 kHz @ +18 dB into 600 Ω
20 Hz–20 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω (fs=48 kHz)
Frequency Response
(CH INPUT to STEREO OUT)
20 Hz–40 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω (fs=96 kHz)
110 dB typ. DA Converter (STEREO OUT)
Dynamic Range
(maximum level to noise level)
105 dB typ. AD+DA (to STEREO OUT) @ fs=48 kHz
105 dB typ. AD+DA (to STEREO OUT) @ fs=96 kHz
–128 dB Equivalent Input Noise
Hum & Noise2
(20 Hz–20 kHz)
–92 dB residual output noise. STEREO OUT (STEREO OUT off)
Rs=150 Ω
Input Gain=Max.
Input Pad =0 dB
–92 dB (96 dB S/N) STEREO OUT (STEREO fader at nominal level and
all CH INPUT faders at minimum level)
–64 dB (68 dB S/N) STEREO OUTPUT (STEREO fader at nominal level
and one CH INPUT fader at nominal level)
74 dB CH INPUT (CH1–24) to STEREO OUT/OMNI (BUS) OUT
74 dB CH INPUT (CH1–24) to OMNI (AUX) OUT (via pre input fader)
Maximum Voltage Gain
74 dB CH INPUT (CH1–24) to CONTROL ROOM MONITOR OUT (via
STEREO bus)
Crosstalk
(@ 1 kHz)
–80 dB adjacent input channels (CH1–24)
Input Gain=Min.
–80 dB input to output
AD Input (1–16: A/B)
AD Input (17–24)
Analog Input
(2TR IN ANALOG 1, 2)
02R96—Owner’s Manual
Phantom switch
+48 V DC is supplied to A (XLR-3-31 type) input
Pad switch
0/26 dB attenuation
Gain control
44 dB (–60 to –16), detented
Peak indicator
LED (red) turns on when post HA level reaches 3 dB below clipping
Signal indicator
LED (green) turns on when post HA level reaches 20 dB below nominal
Insert
I/O (pre AD converter)
Insert switch
on/off
AD converter
24-bit linear, 128-times oversampling (fs=48 kHz)
Gain control
44 dB (–34 to +10), detented
Peak indicator
LED (red) turns on when post HA level reaches 3 dB below clipping
Signal indicator
LED (green) turns on when post HA level reaches 20 dB below nominal
AD converter
24-bit linear, 128-times oversampling (fs=48 kHz)
AD converter
24-bit linear, 128-times oversampling (fs=48 kHz)
General Spec
261
Option Input (SLOT 1–4)
Available cards
Optional digital interface cards (MY8, MY4 series)
Digital Input
(2TR IN DIGITAL 1–3)
SRC
On/off (1:3 and 3:1 maximum input to output sample rate ratio)
Input patch
—
Phase
Gate-type3
Normal/reverse
On/off
Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48, 49–56)/AUX1–8
On/off
Comp-type4
Key in: self /Stereo Link
Pre EQ/pre fader/post fader
Attenuator
EQ
–96.0 to +12.0 dB (0.1 dB step)
4-band PEQ5
On/off
Input Channel CH1–56
Delay
0–43400 samples
On/off
—
Fader
100 mm motorized (INPUT/AUX1–8)
Aux send
Solo
OSCILLATOR
STEREO OUT
OMNI OUT 1–8
CONTROL ROOM MONITOR
OUT
STUDIO MONITOR OUT
AUX1–8; pre fader/post fader
On/off
Pre fader/after pan
Pan
127 positions (Left= 1–63, Center, Right= 1–63)
Surround pan
127 × 127 positions
LFE level
–∞, –96 dB to +10 dB (256 step)
Routing
STEREO, BUS1–8, DIRECT OUT
Direct out
Pre EQ/pre fader/post fader
Metering
TALKBACK
On/off
Displayed on LCD
Peak hold on/off
Level control
Analog rotary potentiometer
AD converter
24-bit linear, 128-times oversampling
Talkback select
Built-in microphone/AD IN 1–16
On/off
—
Level
0 to –96 dB (1 dB step)
On/off
—
Waveform
Sine 100 Hz, sine 1 kHz, sine 10 kHz, pink noise, burst noise
Routing
BUS1–8, AUX1–8, STEREO L, R
DA converter
24-bit linear, 128-times oversampling
Output patch
SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT
1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO)
DA converter
24-bit linear, 128-times oversampling
Monitor select
STEREO, 2TR IN DIGITAL 1, 2TR IN DIGITAL 2, 2TR IN DIGITAL 3, 2TR
I N ANALOG 1, 2TR IN ANALOG 2, ASSIGN 1, 2 (BUS 1–8/AUX 1–8)
Mono
On/off
Dimmer
On/off
DA converter
24-bit linear, 128-times oversampling
Level control
Analog rotary potentiometer
Phones level
Analog rotary potentiometer
Monitor select
CONTROL ROOM, STEREO, AUX 7, AUX 8, TALKBACK
DA converter
24-bit linear, 128-times oversampling
Level control
Analog rotary potentiometer
02R96—Owner’s Manual
262
Appendix B: Specifications
Dither
2TR OUT DIGITAL 1–3
Option Output (SLOT 1–4)
On/off
Word length 16, 20, 24-bit
Output patch
STEREO, BUS1–8, AUX 1–8, DIRECT OUT 1–56, INSERT OUT, CONTROL ROOM
Available card
Optional digital interface card (MY8, MY4 series)
Output patch
SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT
1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO)
Dither
Comp-type4
Attenuator
EQ
On/off
Word length 16/20/24-bit
On/off
Pre EQ/pre fader/post fader
–96.0 to +12.0 dB (0.1 dB step)
4-band PEQ5
On/off
STEREO
On/off
—
Fader
100 mm motorized
Balance
127 positions (Left=1–63, Center, Right=1–63)
Delay
0–43400 samples
Metering
Comp-type4
Attenuator
EQ
Displayed on LCD
Peak hold on/off
On/off
Pre EQ/pre fader/post fader
–96.0 to +12.0 dB (0.1 dB step)
4-band PEQ5
On/off
BUS1–8
On/off
—
Fader
100 mm motorized
Delay
0–43400 samples
Level (–∞, –130 dB to 0 dB)
Bus to stereo
On/off
Pan: 127 positions (Left=1–63, Center, Right=1–63)
Metering
Comp-type4
Attenuator
EQ
AUX1–8
Peak hold on/off
On/off
Pre EQ/pre fader/post fader
–96.0 to +12.0 dB (0.1 dB step)
4-band PEQ5
On/off
On/off
—
Fader
100 mm motorized
Delay
0–43400 samples
Metering
02R96—Owner’s Manual
Displayed on LCD
Displayed on LCD
Peak hold on/off
General Spec
SURROUND MONITOR
Mute
On/off
Solo
On/off
Source
BUS1–8, SLOT 1–4
Monitor to C-R
On/off
Oscillator
Pink noise/500–2 kHz/1 kHz/50 Hz
Monitor matrix
5.1→5.1, 5.1→3-1, 5.1→ST, 3.1→3.1, 3.1→ST
Bass
management
5 presets
Monitor
alignment
ATT (–12.0 dB to 12 dB 0.1 dB step), Delay (0–30.0 msec 0.02 msec
step)
Bypass
On/off
In/out
INTERNAL EFFECTS
(EFFECT 1–4)
Power Requirements
Dimensions
263
8-in, 8-out (EFFECT1): depends on effects type
2-in, 2-out (EFFECT2–4): depends on effects type
Effect-in from
AUX1–8/INSERT OUT/effect-out
Effect-out to
Input patch/effect-in
U.S./Canada
120 V, 60 Hz 200 W
Other
220–240 V, 50/60 Hz 200 W
(H x D x W)
239 x 697 x 667 mm (9.4" x 27.4" x 26.3")
Net weight
34 kg (75 lbs)
Operating free-air temperature range
10–35°C (50–95°F)
Storage temperature range
–20 to 60°C (–4 to 140°F)
Supplied Accessories
AC Cable
CD-ROM (Studio Manager)
Options
Digital interface card (MY8, MY4 series)
PEAK METER BRIDGE: MB02R96
SIDE PANEL: SP02R96
1. Total harmonic distortion is measured with a 6 dB/octave filter @ 80 kHz.
2. Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave
attenuation.
3. See “Gate Parameters” on page 264.
4. See “Comp Parameters” on page 264.
5. See “EQ Parameters” on page 263.
EQ Parameters
LOW/HPF
Q
0.1–10.0
(41 points)
low shelving
HPF
F
G
L-MID
H-MID
0.1–10.0
(41 points)
HIGH /LPF
0.1–10.0
(41 points)
high shelving
LPF
21.2 Hz–20 kHz (1/12 oct step)
±18 dB
(0.1 dB step)
HPF: on/off
±18 dB
(0.1 dB step)
±18 dB
(0.1 dB step)
LPF: on/off
02R96—Owner’s Manual
264
Appendix B: Specifications
Gate Parameters
Threshold
–54 dB to 0 dB (0.1 dB step)
Range
–70 dB to 0 dB (1 dB step)
Attack
0 ms–120 ms (1 ms step)
0.02 ms–1.96 s (216 points) @ 48 kHz
Gate
Hold
0.02 ms–2.13 s (216 points) @ 44.1 kHz
0.01 ms–981 ms (216 points) @ 96 kHz
0.01 ms–1.06 s (216 points) @ 88.2 kHz
5 ms–42.3 s (160 points) @ 48 kHz
Decay
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Threshold
–54 dB to 0 dB (0.1 dB step)
Range
–70 dB to 0 dB (1 dB step)
Attack
0 ms–120 ms (1 ms step)
0.02 ms–1.96 s (216 points) @ 48 kHz
Ducking
Hold
0.02 ms–2.13 s (216 points) @ 44.1 kHz
0.01 ms–981 ms (216 points) @ 96 kHz
0.01 ms–1.06 s (216 points) @ 88.2 kHz
5 ms–42.3 s (160 points) @ 48 kHz
Decay
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Comp Parameters
Compressor
Threshold
–54 dB to 0 dB (0.1 dB step)
Ratio (x :1)
x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points)
Out gain
0 dB to +18 dB (0.1 dB step)
Knee
Hard, 1, 2, 3, 4, 5 (6 step)
Attack
0 ms–120 ms (1 ms step)
5 ms–42.3 s (160 points) @ 48 kHz
Release
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Expander
Threshold
–54 dB to 0 dB (0.1 dB step)
Ratio (x :1)
x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points)
Out gain
0 dB to +18 dB (0.1 dB step)
Knee
Hard, 1, 2, 3, 4, 5 (6 points)
Attack
0 ms–120 ms (1 ms step)
5 ms–42.3 s (160 points) @ 48 kHz
Release
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
02R96—Owner’s Manual
Controls
Compander H
Threshold
–54 dB to 0 dB (0.1 dB step)
Ratio (x :1)
x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20 (15 points)
Out gain
–18 dB to 0 dB (0.1 dB step)
Width
1 dB–90 dB (1 dB step)
Attack
0 ms–120 ms (1 ms step)
265
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
Release
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Compander S
Threshold
–54 dB to 0 dB (0.1 dB step)
Ratio (x :1)
x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20 (15 points)
Out gain
–18 dB to 0 dB (0.1 dB step)
Width
1 dB–90 dB (1 dB step)
Attack
0 ms–120 ms (1 ms step)
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
Release
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Controls
Analog Section
INPUT 1–16
+48 V switch
ON/OFF
PAD switch
0/26 dB
GAIN control
–16 to –60 dB
INSERT switch
ON/OFF
INPUT 17–24
GAIN control
+10 to –34 dB
TALKBACK
TALKBACK LEVEL control
STUDIO MONITOR OUT
STUDIO LEVEL control
CONTROL ROOM MONITOR OUT
CONTROL ROOM LEVEL control
PHONES
PHONES LEVEL control
Digital Section
DISPLAY button
FADER MODE Section
AUX SELECT
AUX 1, AUX 2, AUX 3, AUX 4, AUX 5, AUX 6, AUX 7, AUX 8
buttons (w/LED)
FADER MODE
FADER, AUX button (w/LED)
ENCODER MODE
DISPLAY ACCESS
buttons
DISPLAY button
PAN, AUX, ASSIGN 1, ASSIGN 2 buttons (w/LED)
AUTOMIX, DIO, SETUP, UTILITY, MIDI, REMOTE, METER,
VIEW, PAIR, GROUP, INPUT PATCH, OUTPUT PATCH
DISPLAY access, π, †
DISPLAY CONTROL Section
EFFECTS/PLUG-INS
INTERNAL EFFECTS, PLUG-INS, CHANNEL INSERTS, 1, 2, 3, 4
Parameter control: 1, 2, 3, 4
Others
√, F1, F2, F3, F4, ® buttons
LCD contrast control
02R96—Owner’s Manual
266
Appendix B: Specifications
DISPLAY button
ROUTING
1, 2, 3, 4, 5, 6, 7, 8, STEREO, DIRECT, FOLLOW PAN buttons
(w/LED)
DISPLAY ACCESS
PHASE/INSERT, DELAY buttons
DISPLAY, GATE /COMP buttons
DYNAMICS
GATE ON, COMP ON buttons (w/LED)
Parameter control x 5
DISPLAY button
SELECTED CHANNEL Section
PAN/SURROUND
L, R, LINK, GRAB, EFFECT buttons (w/LED)
Pan control
Joystick (Sound image position control)
DISPLAY button
EQ ON button (w/LED)
EQUALIZER
GAIN controls: LOW, LOW-MID, HIGH-MID, HIGH
FREQUENCY/Q controls: LOW, LOW-MID, HIGH-MID, HIGH
controls (w/SW)
MONITOR Section
MONITOR
DISPLAY button
STUDIO
CONTROL ROOM, STEREO, AUX 7, AUX 8 buttons (w/LED)
SOLO
CLEAR button
CONTROL ROOM
2TR D1, 2TR D2, 2TR D3, 2TR A1, 2TR A2, STEREO, ASSIGN
1, ASSIGN 2 buttons (w/LED)
SURROUND
Others
SCENE MEMORY
SCENE MEMORY and USER
DEFINED KEYS section
LOCATOR
MACHINE CONTROL Section
MASTER Section
DATA ENTRY Section
02R96—Owner’s Manual
SURROUND MONITOR LEVEL control
TALKBACK, DIMMER buttons (w/LED)
CONTROL ROOM LEVEL control
DISPLAY button
π, †, STORE, RECALL buttons
DISPLAY button
USER DEFINED KEYS
CHANNEL STRIP Section
BUS, SLOT buttons (w/LED)
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16 buttons
(w/LED)
DISPLAY button
LOCATE MEMORY: 1, 2, 3, 4, 5, 6, 7, 8, SET buttons (w/LED)
TRANSPORT
CONTROL
REW, FF, STOP, PLAY, REC, SHUTTLE, SCRUB (w/LED)
Encoders
x 24 (1–24)
Buttons
AUTO x 24 (1–24), SEL x 24 (1–24), SOLO x 24 (1–24), ON x
24 (1–24)
Faders (w/ touch
sense)
x 24 (1–24)
LAYER
1–24, 25–48, MASTER, REMOTE buttons (w/LED)
STEREO
AUTO, SEL, ON buttons (w/LED)
Fader (w/touch sense) x 1
Buttons
INC, DEC, π, †, √, ®, ENTER buttons
Encoder
Parameter wheel
Indicators
267
Indicators
Analog Section
PEAK LED
x24
INPUT 1–24
SIGNAL LED
x24
INPUT 1–24
Digital Section
DISPLAY CONTROL Section
DISPLAY
320 × 240 dot graphic LCD (w/contrast control potentiometer)
DYNAMICS
GATE, COMP LEDs x2
PAN/SURROUND
Pan position LEDs x10
SELECTED CHANNEL Section
FREQUENCY, Q LEDs 2 × 4
dB, Hz, kHz 3 × 4
EQUALIZER
3-digit numeric LEDs x4 (parameter value)
MONITOR Section
SOLO
LED x1
SCENE MEMORY section
Scene memory number
2-digit numeric LED x1
Libraries
Effect library (EFFECT 1–4)
Compressor library
Gate library
EQ library
Channel library
Surround Monitor library
Input patch library
Output patch library
Bus to Stereo library
Presets
52 (EFFECT 2–4: 44)
User memories
76
Presets
36
User memories
92
Presets
4
User memories
124
Presets
40
User memories
160
Presets
2
User memories
127
Presets
1
User memories
32
Presets
1
User memories
32
Presets
1
User memories
32
Presets
1
User memories
32
02R96—Owner’s Manual
268
Appendix B: Specifications
Analog Input Spec
Input
PAD GAIN
–60
dB
0
INPUT A/B 1–16
–16
dB
26
INPUT 17–24
Actual Load
Impedance
–34
dB
—
+10
dB
3k Ω
For Use
With
Nominal
50–600 Ω
Mics &
600 Ω
Lines
4K Ω
600 Ω
Lines
Input level
Max.
before clip
Sensitivity1
Nominal
–70 dB
(0.245 mV)
–60 dB
(0.775 mV)
–26 dB
(38.8 mV)
–16 dB
(0.123 V)
–2 dB
(616 mV)
0 dB
(775 mV)
+10 dB
(2.45 V)
+24 dB
(12.28 V)
–44 dB
(4.89 mV)
–34 dB
(15.5 mV)
0 dB
(775 mV)
+10 dB
(2.45 V)
+24 dB
(12.28 V)
Connector
A: XLR-3-31 type (Bal–46 dB
(3.88 mV) anced)2
B: Phone jack (TRS)
(Balanced)3
–20 dB
(77.5 mV) Phone jack (TRS) (Bal-
INSERT IN 1–16
—
10K Ω
600 Ω
Lines
–6 dB
(388 mV)
+4 dB
(1.23 V)
+18 dB
(6.16 V)
2TR IN ANALOG
1 [L, R]
—
10K Ω
600 Ω
Lines
+4 dB
(1.23 V)
+4 dB
(1.23 V)
+18 dB
(6.16 V)
2TR IN ANALOG
2 [L, R]
—
10K Ω
600 Ω
Lines
–10 dBV
(0.316 V)
–10 dBV
(0.316 V)
+4 dBV
(1.58 V)
anced)3
Phone jack (TRS)4
Phone jack (TRS) (Balanced)3
Phono (Unbalanced)
1. Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V) or the nominal output level when the unit
is set to maximum gain. (All faders and level controls are maximum position.)
2. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).
4. Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND
In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
For 2TR IN ANALOG 2 levels, 0 dBV is referenced to 1.00 Vrms.
All input AD converters (except INSERT I/O 1–16) are 24-bit linear, 128-times oversampling.
+48 V DC (phantom power) is supplied to CH INPUT (1–16) XLR type connectors via individual switches.
Analog Output Spec
Output level
Actual Source
Impedance
For Use
With
Nominal
GAIN SW1
600 Ω
10k Ω Lines
150 Ω
STUDIO MONITOR OUT
[L, R]
C-R MONITOR OUT [L, R]
Output
Max. before
clip
—
–10 dBV
(0.316 V)
+4 dBV
(1.58 V)
600 Ω Lines
—
+4 dB
(1.23 V)
+18 dB
(6.16 V)
XLR-3-32 type (Bal-
150 Ω
10k Ω Lines
—
+4 dB
(1.23 V)
+18 dB
(6.16 V)
Phone Jack (TRS) (Bal-
150 Ω
10k Ω Lines
—
+4 dB
(1.23 V)
+18 dB
(6.16 V)
Phone Jack (TRS) (Bal-
+18 dB
(default)
+4 dB
(1.23 V)
+18 dB
(6.16 V)
+4 dB
–10 dB
(0.245 V)
+4 dB
(1.23 V)
10k Ω Lines
—
+4 dB
(1.23 V)
+18 dB
(6.16 V)
Phone Jack (TRS)4
8 Ω Phones
—
4 mW
25 mW
Stereo Phone Jack (TRS)
40 Ω Phones
—
12 mW
75 mW
(Unbalanced)5
STEREO OUT [L, R]
OMNI OUT 1–8
150 Ω
INSERT OUT 1–16
600 Ω
PHONES
100 Ω
10k Ω Lines
1. The maximum output level of each OMNI OUT can be set internally.
2. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).
4. Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND
5. PHONES stereo phone jack is unbalanced (Tip=LEFT, Ring=RIGHT, Sleeve=GND).
STEREO OUT [L, R], 0 dBV is referenced to 1.00 Vrms.
In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
All output DA converters (except INSERT OUT 1–16) are 24-bit, 128-times oversampling.
02R96—Owner’s Manual
Connector
Nominal
Phono (Unbalanced)
anced)2
anced)3
anced)3
Phone Jack (TRS) (Balanced)3
Digital Input Spec
269
Digital Input Spec
Input
2TR IN DIGITAL
Format
Data length
Level
1
AES/EBU
24-bit
RS422
2
IEC-60958
24-bit
0.5 Vpp/75 Ω Phono
3
IEC-60958
24-bit
0.5 Vpp/75 Ω Phono
—
—
CASCADE IN
RS422
Connector
XLR-3-31 type (Balanced)1
D-SUB Half Pitch Connector 68P
(Female)
1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
Digital Output Spec
Output
Format
1
2TR OUT DIGITAL
AES/EBU1
Professional use
Data length
Level
Connector
24-bit2
RS422
XLR-3-32 type (Balanced)3
2
IEC-609584
Consumer use
24-bit2
0.5V pp/75 Ω Phono
3
IEC-609584
Consumer use
24-bit2
0.5V pp/75 Ω Phono
—
—
CASCADE OUT
RS422
D-SUB Half Pitch Connector 68P (Female)
1. Channel status of 2TR OUT DIGITAL 1
Type: 2 audio channels
Emphasis: NO
Sampling rate: depends on the internal configuration
2. Dither: word length 16/20/24 bit
3. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
4. Channel status of 2TR OUT DIGITAL 2, 3
Type: 2 audio channels
Category code: 2 channel PCM encoder/decoder
Copy prohibit: NO
Emphasis: NO
Clock accuracy: Level II (1000 ppm)
Sampling rate: depends on the internal configuration
02R96—Owner’s Manual
270
Appendix B: Specifications
I/O Slot Spec (1–4)
Each I/O SLOT accepts a digital interface card. Only SLOT #1 has a serial interface.
Card Name
Function
Accept
Input
MY8-AT
ADAT
YES
8 IN
MY8-TD
TASCAM
YES
8 IN
MY8-AE
AES/EBU
YES
8 IN
MY4-AD
ANALOG IN
YES
4 IN
MY8-AD
ANALOG IN
YES
8 IN
MY4-DA
ANALOG OUT
YES
—
Number of
available cards
Output
8 OUT (depends on output
patch)1
8 OUT (depends on output
patch)1
8 OUT (depends on output
patch)1
4
4
4
—
4
—
4
4 OUT (depends on output
patch)1
4
MY8-AD24
ANALOG IN
YES
8 IN
—
4
MY8-AD96
ANALOG IN
YES
8 IN
—
4
MY8-DA96
ANALOG OUT
YES
—
MY8-AE96S
AES/EBU
YES
8 IN
MY8-AE96
AES/EBU
YES
8 IN
8 OUT (depends on output
patch)1
8 OUT (depends on output
patch)1
8 OUT (depends on output
patch)1
4
2
4
1. See the Digital I/O chapter.
Details depend on each interface card.
Control I/O Spec
I/O Port
TO HOST
MIDI
TIME CODE IN
Serial
USB
Format
Level
—
RS422
Connector in Console
Mini DIN Connector 8P
USB 1.1
0 V–3.3 V
IN
MIDI
—
DIN Connector 5P
OUT
MIDI
—
DIN Connector 5P
THRU
MIDI
—
DIN Connector 5P
MTC
MIDI
—
DIN Connector 5P
SMPTE
SMPTE
B type USB connector
Nominal –10 dB/10k Ω XLR-3-31 type (Balanced)1
IN
—
TTL/75 Ω (ON/OFF)2
BNC Connector
OUT
—
TTL/75 Ω
BNC Connector
CONTROL
—
—
D-SUB Connector 25P (Female)
METER
—
RS422
D-SUB Connector 15P (Female)
WORD CLOCK
1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
2. This switch is on the rear panel.
02R96—Owner’s Manual
Connector Pin Assignments
271
Connector Pin Assignments
CASCADE IN
CASCADE OUT
Pin
Signal
Pin
Signal
Pin
Signal
Pin
Signal
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
GND
INPUT 1-2(+)
INPUT 3-4(+)
INPUT 5-6(+)
INPUT 7-8(+)
INPUT 9-10(+)
INPUT 11-12(+)
INPUT 13-14(+)
INPUT 15-16(+)
DTR IN(+)
RTS OUT(+)
GND
WORD CLOCK IN(+)
WORD CLOCK OUT(+)
CONTROL IN(+)
CONTROL OUT(+)
GND
GND
INPUT 17-18(+)
INPUT 19-20(+)
INPUT 21-22(+)
INPUT 23-24(+)
RESERVED
RESERVED
RESERVED
RESERVED
ID0 IN
ID2 IN
ID4 IN
ID0 OUT
ID2 OUT
ID4 OUT
MSB IN
FG
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
GND
INPUT 1-2(–)
INPUT 3-4(–)
INPUT 5-6(–)
INPUT 7-8(–)
INPUT 9-10(–)
INPUT 11-12(–)
INPUT 13-14(–)
INPUT 15-16(–)
DTR IN(–)
RTS OUT(–)
GND
WORD CLOCK IN(–)
WORD CLOCK OUT(–)
CONTROL IN(–)
CONTROL OUT(–)
ID6 IN
ID6 OUT
INPUT 17-18(–)
INPUT 19-20(–)
INPUT 21-22(–)
INPUT 23-24(–)
RESERVED
RESERVED
RESERVED
RESERVED
ID1 IN
ID3 IN
ID5 IN
ID1 OUT
ID3 OUT
ID5 OUT
2CH/LINE IN
FG
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
GND
OUTPUT 1-2(+)
OUTPUT 3-4(+)
OUTPUT 5-6(+)
OUTPUT 7-8(+)
OUTPUT 9-10(+)
OUTPUT 11-12(+)
OUTPUT 13-14(+)
OUTPUT 15-16(+)
DTR OUT(+)
RTS IN(+)
GND
WORD CLOCK OUT(+)
WORD CLOCK IN(+)
CONTROL OUT(+)
CONTROL IN(+)
GND
GND
OUTPUT 17-18(+)
OUTPUT 19-20(+)
OUTPUT 21-22(+)
OUTPUT 23-24(+)
RESERVED
RESERVED
RESERVED
RESERVED
ID0 OUT
ID2 OUT
ID4 OUT
ID0 IN
ID2 IN
ID4 IN
MSB OUT
FG
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
GND
OUTPUT 1-2(–)
OUTPUT 3-4(–)
OUTPUT 5-6(–)
OUTPUT 7-8(–)
OUTPUT 9-10(–)
OUTPUT 11-12(–)
OUTPUT 13-14(–)
OUTPUT 15-16(–)
DTR OUT(–)
RTS IN(–)
GND
WORD CLOCK OUT(–)
WORD CLOCK IN(–)
CONTROL OUT(–)
CONTROL IN(–)
ID6 OUT
ID6 IN
OUTPUT 17-18(–)
OUTPUT 19-20(–)
OUTPUT 21-22(–)
OUTPUT 23-24(–)
RESERVED
RESERVED
RESERVED
RESERVED
ID1 OUT
ID3 OUT
ID5 OUT
ID1 IN
ID3 IN
ID5 IN
2CH/LINE OUT
FG
CONTROL Port
Pin
Signal
Pin
Signal
1
2
3
4
5
6
7
8
9
10
GPO0
GPO2
GPO4
GPO6
GND
GND
GND
GND
+5V
GPI1
14
15
16
17
18
19
20
21
22
23
GPO1
GPO3
GPO5
GPO7
GND
GND
GND
+5V
GPI0
N.C.
11
N.C.
24
SOLO1
12
SMODE1
25
MAS/SLV1
13
SPARE1
1. For 02R SOLO control.
02R96—Owner’s Manual
239 mm
PAD
02R96—Owner’s Manual
PAN
FADER
ON
2
ON
1
5
0
5
10
15
20
30
40
50
5
10
15
20
30
40
50
2
26
50
SOLO
SOLO
10
SEL
10
50
40
30
20
15
10
5
0
5
3
27
51
3
ON
SOLO
SEL
AUTO
2
AUTO
PLUG INS
1
0
AUX
ASSIGN 1
10
50
40
30
20
15
10
5
0
5
4
28
52
4
ON
SOLO
SEL
AUTO
3
CHANNEL
INSERTS
10
50
40
30
20
15
10
5
0
5
5
29
53
5
ON
SOLO
SEL
AUTO
4
ASSIGN 2
AUX 8
AUX 7
EFFECTS / PLUG INS
SEL
1
25
49
AUX
FADER MODE
INTERNAL
EFFECTS
5
10
AUX 6
AUX 5
ENCODER MODE
AUX 2
AUX 1
OUTPUT
PATCH
AUX 4
GROUP
PAIR
VIEW
UTILITY
OFF
ON
AUX 3
INPUT
PATCH
REMOTE
MIDI
AUX SELECT
METER
DIO
4
INSERT
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
SIGNAL
SETUP
OFF
ON
AUTOMIX
AUTO
DISPLAY
DISPLAY
DISPLAY
INSERT
DISPLAY ACCESS
INSERT
3
1
INSERT
-60
ON
OFF
GAIN
PEAK
-16
SIGNAL
OFF
ON
-60
2
GAIN
26dB
+ 48V
PEAK
-16
ON
OFF
SIGNAL
OFF
ON
-60
26dB
+ 48V
PEAK
GAIN
ON
OFF
SIGNAL
-16
26dB
+ 48V
10
50
40
30
20
15
10
5
0
5
6
30
54
6
ON
SOLO
SEL
AUTO
INSERT
5
SIGNAL
10
50
40
30
20
15
10
5
0
5
OFF
ON
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
7
31
55
7
ON
SOLO
SEL
AUTO
INSERT
6
SIGNAL
10
50
40
30
20
15
10
5
0
5
8
32
56
8
ON
SOLO
SEL
50
40
30
20
15
10
5
10
10
34
AUX 2
AUX 1
50
40
30
20
15
10
5
0
5
10
ON
SOLO
SEL
AUTO
OFF
ON
9
33
9
ON
SOLO
SEL
8
INSERT
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
SIGNAL
AUTO
OFF
ON
10
0
5
INSERT
7
SIGNAL
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
AUTO
OFF
ON
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
10
11
35
OFF
ON
AUX 3
50
40
30
20
15
10
5
0
5
11
ON
SOLO
SEL
AUTO
INSERT
9
SIGNAL
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
10
12
36
AUX 4
50
40
30
20
15
10
5
0
5
12
ON
SOLO
SEL
AUTO
INSERT
10
SIGNAL
13
37
13
ON
SOLO
SEL
AUTO
5
14
38
PEAK
10
15
39
15
ON
SOLO
SEL
Specifications and external appearance subject to change without notice.
For European Model
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: 70 A
Conformed Environment: E1, E2, E3 and E4
10
16
40
OFF
ON
AUX 8
50
40
30
20
15
10
5
0
5
16
ON
SOLO
SEL
AUTO
INSERT
13
SIGNAL
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
5
17
41
BUS 1
50
40
30
20
15
10
17
ON
SOLO
SEL
AUTO
DISPLAY
EQ ON
10
OFF
ON
DIRECT
8
INSERT
16
SIGNAL
125
kHz
Hz
dB
GAIN
LOW
18
42
18
ON
SOLO
SEL
AUTO
9
1
3
19
43
19
ON
SOLO
SEL
AUTO
11
BUS 3
50
40
30
20
15
10
5
0
5
10
10
2
10
20
44
19 20
34
20
DELAY
5
21
45
21
ON
SOLO
SEL
AUTO
14
6
7
22
46
22
ON
SOLO
SEL
AUTO
15
AUTO
23
47
23
ON
SOLO
SEL
Q
10
5
24
48
BUS 8
50
40
30
20
15
10
24
ON
SOLO
SEL
AUTO
STORE
1 24
5
0
ON
SEL
AUTO
STEREO
70
60
50
40
30
20
15
10
MASTER
STEREO
ENTER
SCRUB
SHUTTLE
STOP
REW
SET
10
AUX8
2TR A1
2TR A2
STEREO
SLOT
DIMMER
FF
DEC
PLAY
5
1
2
6
3
REC
7
8
4
INC
TALKBACK
0
10
CONTROL ROOM LEVEL
0
10
SURROUND MONITOR LEVEL
BUS
ASSIGN2
ASSIGN1
SURROUND
2TR D3
2TR D2
2TR D1
CONTROL ROOM
CLEAR
SOLO
AUX7
10
PHONES
0
STEREO
STUDIO
DISPLAY
CONTROL
ROOM
10
PHONES
LEVEL
MONITOR
STUDIO
LEVEL
0
0
TALKBACK LEVEL
MACHINE CONTROL
LOCATE MEMORY
RECALL
kHz
Hz
dB
GAIN
DISPLAY
10.0
REMOTE
Q
EFFECT
HIGH
GAIN
HOLD
GRAB
FREQUENCY
RELEASE
LAYER
25 48
LINK
DECAY
SCENE MEMORY
kHz
Hz
dB
GAIN
HIGH MID
ATTACK
ATTACK
00
0
24
34
23 24
4.00
5
23
34
DIGITAL MIXING CONSOLE
FREQUENCY
DISPLAY
BUS 7
50
40
30
20
15
10
5
0
5
10
16
8
kHz
Hz
dB
GAIN
BUS 6
50
40
30
20
15
10
5
0
5
10
1.00
BUS 5
50
40
30
20
15
10
5
0
5
10
13
Q
LOW MID
RATIO
R
EVEN
L
ODD
FREQUENCY
GAIN
GAIN
PEAK
+10
+10
SIGNAL
34
22
21 22
THRESHOLD
R
PAN / SURROUND
PHASE /
INSERT
DISPLAY ACCESS
21
34
PEAK
GAIN
GAIN
SIGNAL
+10
+10
COMP
BUS 4
50
40
30
20
15
10
5
0
5
20
ON
19
34
RANGE
SOLO
SEL
PEAK
GAIN
GAIN
SIGNAL
+10
+10
SELECTED CHANNEL
17 18
34
18
THRESHOLD
AUTO
12
4
USER DEFINED KEYS
Q
FREQUENCY
EQUALIZER
17
34
GATE / COMP
GATE
L
PEAK
GAIN
GAIN
SIGNAL
+10
+10
DISPLAY
OFF
ON
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
GATE ON COMP ON
DYNAMICS
STEREO
7
6
2
4
5
1
3
ROUTING
INSERT
15
SIGNAL
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
BUS 2
50
40
30
20
15
10
5
0
5
DISPLAY
DISPLAY
FOLLOW PAN
10
0
5
OFF
ON
DISPLAY
INSERT
14
SIGNAL
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
667 mm
AUX 7
50
40
30
20
15
10
5
0
5
OFF
ON
AUTO
INSERT
12
SIGNAL
-60
ON
OFF
GAIN
26dB
+ 48V
-16
AUX 6
50
40
30
20
15
10
14
ON
SOLO
SEL
AUTO
OFF
ON
10
0
5
INSERT
11
SIGNAL
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
AUX 5
50
40
30
20
15
10
5
0
5
10
OFF
ON
-60
ON
OFF
GAIN
PEAK
-16
26dB
+ 48V
272
Appendix B: Specifications
Dimensions
697 mm
Scene Memory to Program Change Table
273
Appendix C: MIDI
Scene Memory to Program Change Table
Program
Change #
Initial
Scene #
1
2
User
Scene #
Program
Change #
Initial
Scene #
01
44
02
45
3
03
4
04
5
User
Scene #
Program
Change#
Initial
Scene #
44
87
87
45
88
88
46
46
89
89
47
47
90
90
05
48
48
91
91
6
06
49
49
92
92
7
07
50
50
93
93
8
08
51
51
94
94
9
09
52
52
95
95
10
10
53
53
96
96
11
11
54
54
97
97
12
12
55
55
98
98
13
13
56
56
99
99
14
14
57
57
100
00
15
15
58
58
101
—
16
16
59
59
102
—
17
17
60
60
103
—
18
18
61
61
104
—
19
19
62
62
105
—
20
20
63
63
106
—
21
21
64
64
107
—
22
22
65
65
108
—
23
23
66
66
109
—
24
24
67
67
110
—
25
25
68
68
111
—
26
26
69
69
112
—
27
27
70
70
113
—
28
28
71
71
114
—
29
29
72
72
115
—
30
30
73
73
116
—
31
31
74
74
117
—
32
32
75
75
118
—
33
33
76
76
119
—
34
34
77
77
120
—
35
35
78
78
121
—
36
36
79
79
122
—
37
37
80
80
123
—
38
38
81
81
124
—
39
39
82
82
125
—
40
40
83
83
126
—
41
41
84
84
127
—
42
42
85
85
128
—
43
43
86
86
User
Scene #
02R96—Owner’s Manual
274
Appendix C: MIDI
Initial Parameter to Control Change Table
#
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
High
NO ASSIGN
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
FADER H
NO ASSIGN
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
FADER L
Mid
Low
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
INPUT1
INPUT2
INPUT3
INPUT4
INPUT5
INPUT6
INPUT7
INPUT8
INPUT9
INPUT10
INPUT11
INPUT12
INPUT13
INPUT14
INPUT15
INPUT16
INPUT17
INPUT18
INPUT19
INPUT20
INPUT21
INPUT22
INPUT23
INPUT24
INPUT25
INPUT26
INPUT27
INPUT28
INPUT29
INPUT30
INPUT31
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
INPUT1
INPUT2
INPUT3
INPUT4
INPUT5
INPUT6
INPUT7
INPUT8
INPUT9
INPUT10
INPUT11
INPUT12
INPUT13
INPUT14
INPUT15
INPUT16
INPUT17
INPUT18
INPUT19
INPUT20
INPUT21
INPUT22
INPUT23
INPUT24
INPUT25
INPUT26
INPUT27
02R96—Owner’s Manual
#
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
High
FADER L
FADER L
FADER L
FADER L
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
Mid
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
Low
INPUT28
INPUT29
INPUT30
INPUT31
INPUT1
INPUT2
INPUT3
INPUT4
INPUT5
INPUT6
INPUT7
INPUT8
INPUT9
INPUT10
INPUT11
INPUT12
INPUT13
INPUT14
INPUT15
INPUT16
INPUT17
INPUT18
INPUT19
INPUT20
INPUT21
INPUT22
INPUT23
INPUT24
INPUT25
INPUT1
INPUT2
INPUT3
INPUT4
INPUT5
INPUT6
INPUT7
INPUT8
INPUT9
INPUT10
INPUT11
INPUT12
INPUT13
INPUT14
INPUT15
INPUT16
INPUT17
INPUT18
INPUT19
INPUT20
INPUT21
INPUT22
INPUT23
INPUT24
INPUT25
INPUT1
INPUT2
INPUT3
INPUT4
INPUT5
INPUT6
MIDI Data Format
275
MIDI Data Format
1. CHANNEL MESSAGE
Command
8n NOTE OFF
9n NOTE ON
Bn CONTROL CHANGE
Cn PROGRAM CHANGE
4.2.2 PARAMETER CHANGE
rx/tx
rx
rx
rx/tx
rx/tx
function
Control the internal effects
Control the internal effects
Control parameters
Switch scene memories
2. SYSTEM COMMON MESSAGE
Command
F1 MIDI TIME CODE QUARTER
FRAME
F2 SONG POSITION POINTER
rx/tx
rx
rx
function
Used when TIME REFERENCE is
MIDI CLOCK.
Used when TIME REFERENCE is
MIDI CLOCK.
3. SYSTEM REALTIME MESSAGE
Command
F8 TIMING CLOCK
FA START
rx/tx
rx
rx*
FB CONTINUE
rx*
FC STOP
FE ACTIVE SENSING
FF RESET
rx*
rx
rx
function
MIDI clock
Start automix (from the
beginning)
Start automix (from the
middle)
Stop automix
Check MIDI cable connections
Clear running status
Received only when the Automix TIME REFERENCE setting is
MIDI CLOCK.
4. EXCLUSIVE MESSAGE
Command
F0 7F dd 06 MMC COMMAND
rx/tx
tx
F0 7F dd 07 MMC RESPONSE
rx
F0 7F dd 01 MIDI TIME CODE
rx
function
MMC command (refer to
MMC specification)
MMC response (refer to MMC
specification)
Used when TIME REFERENCE is
MTC.
4.2 System Exclusive Message
4.2.1 Bulk Dump
Command
rx/tx
F0 43 0n 7E BULK DUMP DATA
rx/tx
F0 43 2n 7E BULK DUMP REQUEST rx/tx
function
BULK DUMP DATA
BULK DUMP REQUEST
The following data types of bulk dump are used on the 02R96.
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
rx/tx
rx/tx
rx/tx
rx/tx
rx/tx
function
02R96-specific parameter
change
02R96-specific parameter
request
General purpose digital mixer
parameter change
General purpose digital mixer
parameter request
The following data types of parameter change are used by the 02R96.
Type
1
2
3
4
16
17
18
32
33
34
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
rx
rx
rx
tx/rx
tx/rx
function
Edit buffer
Patch data
Setup data
Backup data
Function (recall, store, title)
Function (pair)
Function (event)
Key remote
remote meter
remote counter
** tx means that the data can be transmitted from the 02R96. rx means that
the data can be received by the 02R96.
Format Details
1. NOTE OFF (8n)
4.1 Real Time System Exclusive
Data name
'm'
'S'
'a'
'R'
'O'
'H'
'G'
'Y'
'Q'
'E'
'J'
'K'
'P'
'C'
'L'
'I'
'V'
'N'
Command
F0 43 1n 3E 0B PARAMETER
CHANGE
F0 43 3n 3E 0B PARAMETER
REQUEST
F0 43 1n 3E 7F PARAMETER
CHANGE
F0 43 3n 3E 7F PARAMETER
REQUEST
function
Scene Memory & Request
Setup Memory & Request
Automix data & Request
Input patch library & Request
Output patch library & Request
Channel library & Request
Gate library & Request
Compressor library & Request
Equalizer library & Request
Effect library & Request
Bus to Stereo library & Request
Surround Monitor library & Request
Program change table & Request
Control change table & Request
User define layer & Request
Plug-in User define & Request
User define key & Request
Plug-in Effect Card Data & Request
Reception
Received when the [Rx CH] matches.
Used to control effects.
STATUS
DATA
1000nnnn 8n Note off message
0nnnnnnn nn Note number
0vvvvvvv vv Velocity (ignored)
2. NOTE ON (9n)
Reception
Received when the [Rx CH] matches.
Used to control effects.
STATUS
DATA
1001nnnn 9n Note on message
0nnnnnnn nn Note number
0vvvvvvv vv Velocity (1-127:on, 0:off)
3. CONTROL CHANGE (Bn)
Reception
Received when [Control Change Rx] is ON and the [Rx CH] matches.
However if [OMNI] is ON, this is received regardless of the channel. If
[Control Change ECHO] is ON, these messages are echoed to MIDI OUT.
If [TABLE] is selected, parameters will be controlled according to the settings of the [Control assign table]. The parameters that can be set are defined in the CONTROL CHANGE ASSIGN PARAMETER LIST. If
[NRPN] is selected, four messages are used to control the defined parameter: NRPN control numbers (62h, 63h) and DATA ENTRY control numbers (06h, 26h). Parameter settings are defined in the CONTROL
CHANGE ASSIGN PARAMETER LIST.
Transmission
If [TABLE] is selected, operating the parameters specified in the [Control
assign table] will cause these messages to be transmitted on the [Tx CH] if
[Control Change TX] is ON. The parameters that can be specified are defined in the CONTROL CHANGE ASSIGN PARAMETER LIST.
If [NRPN] is selected, operating the specified parameters will cause data to
be transmitted on the [Tx CH] if [Control Change TX] is ON, using four
messages: NRPN control numbers (62h, 63h) and DATA ENTRY control
numbers (06h, 26h). Parameter settings are defined in the CONTROL
CHANGE ASSIGN PARAMETER LIST.
02R96—Owner’s Manual
276
Appendix C: MIDI
8. CONTINUE (FB)
If [TABLE] is selected
STATUS
DATA
1011nnnn Bn Control change
0ccccccc cc Control number (0-95, 102-119)
0vvvvvvv vv Control value (0-127)
If [NRPN] is selected
STATUS
DATA
STATUS
DATA
STATUS
DATA
STATUS
DATA
1011nnnn
01100010
0vvvvvvv
1011nnnn
01100011
0vvvvvvv
1011nnnn
00100110
0vvvvvvv
1011nnnn
00000110
0vvvvvvv
Bn
62
vv
Bn
63
vv
Bn
26
vv
Bn
06
vv
STATUS
Control change
9. STOP (FC)
LSB of parameter number
Control change
*1
Reception
This message is received if the automix TIME REFERENCE setting is MIDI
CLOCK, and will cause automix to stop.
*1
STATUS
NRPN MSB
MSB of parameter number
Control change
LSB of parameter data
Control change
*1, *2
MSB of data entry
*2
MSB of parameter data
*2
Reception
This message is received if [Program Change RX] is ON and [Rx CH]
matches. However if [OMNI] is ON, this is received regardless of the channel.
A scene memory will be recalled according to the settings of the [Program
Change Table].
This message will be echoed if [Program Change ECHO] is ON.
Transmission
If [Program Change TX] is ON, this message is transmitted according to
the settings of the [Program Change Table] on the [Tx CH] channel when
a scene memory is recalled.
If the recalled scene has been assigned to more than one program number,
the lowest-numbered program number will be transmitted. Transmission
to Studio Manager using Program Change messages will not be performed
since there is no guarantee that the contents of the tables will match. (Parameter Changes will always be used.)
1100nnnn Cn Program change
0nnnnnnn nn Program number (0-127)
5. SONG POSITION POINTER (F2)
Reception
If this is received when the automix TIME REFERENCE setting is MIDI
CLOCK, the automix will move to the song position that was received.
11110010 F2 Song position pointer
0vvvvvvv vv Song position LSB
0vvvvvvv vv Song position MSB
6. TIMING CLOCK (F8)
Reception
If the automix TIME REFERENCE setting is MIDI CLOCK, this message
is used to synchronize automix. It is also used to control effects. This message is transmitted 24 times per quarter note.
STATUS
11111000 F8 Timing clock
7. START (FA)
Reception
This message is received if the automix TIME REFERENCE setting is MIDI
CLOCK, and will start the automix. In actuality, automix will start when
the next TIMING CLOCK is received after receiving the START message.
STATUS
11111010
11111100 FC Stop
LSB of data entry
4. PROGRAM CHANGE (Cn)
STATUS
DATA
11111011 FB Continue
NRPN LSB
*1) There is no particular need to add the 2nd, 3rd, and 4th status
for transmission. However if these are present during reception, they should be received.
*2) Does not need to be transmitted if the parameter data fits
within 7 bits.
STATUS
DATA
Reception
This message is received if the automix TIME REFERENCE setting is MIDI
CLOCK, and will cause automix to start from the current song position. In
actuality, automix will start when the next TIMING CLOCK is received after receiving the CONTINUE message.
FA Start
10. ACTIVE SENSING (FE)
Reception
Once this message has been received, the failure to receive any message for
an interval of 400 ms or longer will cause MIDI transmission to be initialized, such as by clearing the Running Status.
STATUS
11111101 FE Active sensing
11. SYSTEM RESET (FF)
Reception
When this message is received, MIDI communications will be cleared, e.g.,
by clearing the Running Status.
STATUS
11111111 FF System reset
12. SYSTEM EXCLUSIVE MESSAGE (F0)
12.1 MIDI MACHINE CONTROL (MMC)
These messages are transmitted when the Machine Control section of the
02R96 is operated. For details, refer to the MMC specification.
12.2 BULK DUMP
This message sends or receives the contents of various memories stored
within the 02R96.
The basic format is as follows.
For DUMP DATA
F0 43 0n 7E cc cc <Model ID> tt mm mm [Data ...]
cs F7
For DUMP REQUEST
F0 43 2n 7E <Model ID> tt mm mm F7
Device Number
n
DATA COUNT (the number of bytes that follow this, ending
cc cc
before the checksum)
<Model ID> Model ID (for the 02R96, this is 4C 4D 20 20 38 43 35 34)
DATA TYPE
tt
DATA NUMBER
mm mm
CHECK SUM
cs
A unique header (Model ID) is used to determine whether the device is a
02R96.
CHECK SUM is obtained by adding the bytes that follow BYTE COUNT
(LOW) and end before CHECK SUM, taking the binary compliment of
this sum, and then setting bit 7 to 0.
CHECK SUM = (-sum)&0x7F
Reception
This message is received if [Bulk RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS.
When a bulk dump is received, it is immediately written into the specified
memory.
When a bulk dump request is received, a bulk dump is immediately transmitted.
Transmission
This message is transmitted on the [Tx CH] by key operations in the [MIDI]-[BULK DUMP] screen.
A bulk dump is transmitted on the [Rx CH] in response to a bulk dump
02R96—Owner’s Manual
Format Details
request.
The data area is handled by converting seven words of 8-bit data into eight
words of 7-bit data.
[Conversion from actual data into bulk data]
d[0~6]: actual data
b[0~7]: bulk data
b[0] = 0;
for( I=0; I<7; I++){
if( d[I]&0x80){
b[0] |= 1<<(6-I);
}
b[I+1] = d[I]&0x7F;
}
[Restoration from bulk data into actual data]
d[0~6]: actual data
b[0~7]: bulk data
for( I=0; I<7; I++){
b[0] <<= 1;
d[I] = b[I+1]+(0x80&b[0]);
}
12.2.1 Scene memory bulk dump format
The 02R96 can transmit and receive scene memories in compressed form.
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01101101
0mmmmmmm
0mmmmmmm
BLOCK INFO. 0ttttttt
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
6D
mh
ml
tt
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
12.2.2 Scene memory bulk dump request format
The second and third bytes of the DATA NAME indicate the scene number
that is being requested. If this is 256, the data of the edit buffer will be
bulk-dumped.
EOX
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'S'
No.256 = Current
CHECK SUM
EOX
:
0ddddddd
0eeeeeee
11110111
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
12.2.4 Setup memory bulk dump request format
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01010011
00000010
00000000
11110111
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
53
02
00
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'S'
No.256 = Current
End of exclusive
12.2.5 User define layer bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
'8'
'C'
'5'
'4'
'm'
m=0-99, 256(Scene0-99, EDIT BUFFER)
End of exclusive
System exclusive message
DATA
Receive is effective 1-99, 256
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
53
02
00
tt
total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds Setup memory data
m=0-99, 256(Scene0-99, EDIT BUFFER)
CHECK SUM
EOX
DATA NAME
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01010011
00000010
00000000
BLOCK INFO. 0ttttttt
'm'
:
0ddddddd
0eeeeeee
11110111
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
6D
mh
ml
F7
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
data count = ch * 128 + cl
DATA
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01101101
0mmmmmmm
0mmmmmmm
11110111
Of the setup memory of the 02R96, this bulk-dumps data other than the
User define layer, User define plug-in, User define keys, Control change table, and Program change table.
Manufacture's ID number (YAMAHA)
total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds Scene data of block[mm]
STATUS
ID No.
SUB STATUS
FORMAT No.
12.2.3 Setup memory bulk dump format
System exclusive message
n=0-15 (Device number=MIDI Channel)
277
DATA NAME
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001100
00000000
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
4C
00
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'L'
02R96—Owner’s Manual
278
Appendix C: MIDI
0bbbbbbb bb b=0-3(bank no.1-4)
BLOCK INFO. 0ttttttt tt total block number(minimum number
DATA
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds User define layer
CHECK SUM
EOX
:
0ddddddd
0eeeeeee
11110111
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
DATA NAME
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001001
00000000
0bbbbbbb
11110111
4D
20
20
38
43
35
34
49
00
bb
F7
'M'
''
''
'8'
'C'
'5'
'4'
'I'
b=0-7(bank no.1-8)
12.2.6 User define layer bulk dump request format
EOX
The second and third bytes of the DATA NAME indicate the bank number.
12.2.9 User Define Key bulk dump format
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001100
00000000
0bbbbbbb
11110111
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
4C
00
bb
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'L'
b=0-3(bank no.1-4)
End of exclusive
The second and third bytes of the DATA NAME indicate the bank number.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01001001
00000000
0bbbbbbb
BLOCK INFO. 0ttttttt
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
49
00
bb
tt
n=0-15 (Device number=MIDI Channel)
'M'
''
''
'8'
'C'
'5'
'4'
'I'
CHECK SUM
EOX
12.2.8 User define plug-in bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number.
02R96—Owner’s Manual
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'V'
b=0-3(bank no.A-D)
CHECK SUM
EOX
:
0ddddddd
0eeeeeee
11110111
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
12.2.10 User Define Key bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number.
STATUS
ID No.
SUB STATUS
FORMAT No.
b=0-7(bank no.1-8)
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
System exclusive message
DATA
data count = ch * 128 + cl
'L'
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
56
00
bb
tt
total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds User define key data
Universal bulk dump
:
0ddddddd
0eeeeeee
11110111
F0
43
2n
7E
4C
11110000
01000011
0000nnnn
01111110
cccccccc
cccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01010110
00000000
0bbbbbbb
BLOCK INFO. 0ttttttt
Manufacture's ID number (YAMAHA)
DATA
11110000
01000011
0010nnnn
01111110
01001100
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
System exclusive message
total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds User define plug-in data
STATUS
ID No.
SUB STATUS
FORMAT No.
The second and third bytes of the DATA NAME indicate the bank number.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
Universal bulk dump
12.2.7 User define plug-in bulk dump format
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
End of exclusive
DATA NAME
BANK No.
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01010110
00000000
0bbbbbbb
11110111
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
56
00
bb
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'V'
b=0-3(bank no.A-D)
End of exclusive
Format Details
12.2.11 Control change table bulk dump format
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
11110000
01000011
0000nnnn
01111110
00000011
00010010
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01000011
00000000
00000000
BLOCK INFO. 0ttttttt
DATA
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
:
'4'
'C'
No.256 = Current
0ddddddd de
0eeeeeee ee ee=(Invert('L'+...+de)+1)&0x7F
11110111 F7 End of exclusive
DATA NAME
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01000011
00000000
00000000
11110111
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
43
02
00
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'C'
No.256 = Current
End of exclusive
12.2.13 Program change table bulk dump format
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01010000
00000000
00000000
BLOCK INFO. 0ttttttt
DATA
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
50
02
00
tt
STATUS
ID No.
SUB STATUS
FORMAT No.
'5'
(342/7)*8+(342%7)+1=391bytes→
unfixed
System exclusive message
Manufacture's ID number (YAMAHA)
DATA NAME
EOX
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01010001
LIB. No. H 0bbbbbbb
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
50
02
00
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'P'
No.256 = Current
End of exclusive
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
51
bb
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'Q'
0-199(EQ Library no.1-200),
256-(channel current data)
LIB. No. L 0bbbbbbb bb
BLOCK INFO. 0ttttttt tt total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
DATA
'L'
''
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01010000
00000000
00000000
11110111
12.2.15 Equalizer library bulk dump format
Universal bulk dump
'M'
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.1 - 199:Library no.200, 256:CH1 - 311:CH56, 384:BUS1 391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R
256 and following are data for the corresponding channel of the edit buffer.
For reception by the 02R96, only the user area is valid. (40-199, 256-)
n=0-15 (Device number=MIDI Channel)
data count = ch * 128 + cl
:
0ddddddd
0eeeeeee
11110111
12.2.14 Program change table bulk dump request
format
'C'
12.2.12 Control change table bulk dump request
format
STATUS
ID No.
SUB STATUS
FORMAT No.
CHECK SUM
EOX
'8'
total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds Control change table data
:
CHECK SUM
EOX
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
43
02
00
tt
279
CHECK SUM
EOX
0ddddddd
:
0ddddddd
0eeeeeee
11110111
ds EQ Library data
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
''
'8'
12.2.16 Equalizer library bulk dump request format
'C'
The second and third bytes of the DATA NAME indicate the bank number. (See above)
'5'
'4'
'P'
No.256 = Current
total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds Program change table data
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
F0
43
2n
7E
4C
4D
20
20
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
02R96—Owner’s Manual
280
Appendix C: MIDI
00111000
01000011
00110101
00110100
DATA NAME 01010001
LIB. No. H 0bbbbbbb
38
43
35
34
51
bb
'8'
'C'
'5'
'4'
'Q'
0-199(EQ Library no.1-200),
256-(channel current data)
LIB. No. L 0bbbbbbb bb
EOX
11110111 F7 End of exclusive
12.2.17 Compressor library bulk dump format
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.1 - 199:Library no.200, 256:CH1 - 311:CH56, 384:BUS1 391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R
256 and following are data for the corresponding channel of the edit buffer.
For reception by the 02R96, only the user area is valid. (36-127, 256-)
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01011001
LIB. No. H 0bbbbbbb
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
59
bb
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
7E
ch
cl
4C
4D
20
20
38
43
35
34
47
bh
LIB. No. L 0bbbbbbb
BLOCK INFO. 0ttttttt
bl
tt total block number(minimum number
Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'G'
0-127(GATE Library no.1-128),
256-351(channel current data)
is 0)
DATA
''
''
'8'
0bbbbbbb
bb current block number(0-total block
0ddddddd
:
0ddddddd
0eeeeeee
11110111
ds GATE Library data
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
CHECK SUM
EOX
'C'
'5'
'4'
'Y'
0-127(COMP Library no.1-128),
256-(channel current data)
CHECK SUM
EOX
:
0ddddddd
0eeeeeee
11110111
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
12.2.18 Compressor library bulk dump request format
The second and third bytes of the DATA NAME indicate the library number. (See above)
System exclusive message
Manufacture's ID number (YAMAHA)
12.2.20 Gate library bulk dump request format
The second and third bytes of the DATA NAME indicate the library number. (See above)
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01000111
LIB. No. H 0bbbbbbb
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
47
bh
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'G'
0-127(GATE Library no.1-128),
256-351(channel current data)
LIB. No. L 0bbbbbbb bl
EOX
11110111 F7 End of exclusive
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
12.2.21 Effect library bulk dump format
'L'
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.1 - 127:Library no.128, 256:EFFECT1 - 259:EFFECT8
256-259 are the data for the corresponding area of the edit buffer.
For reception by the 02R96, only the user area is valid. (52-127, 256-259)
'M'
''
''
'8'
'C'
'5'
'4'
'Y'
0-127(COMP Library no.1-128),
256-(channel current data)
LIB. No. L 0bbbbbbb bb
EOX
11110111 F7 End of exclusive
12.2.19 Gate library bulk dump format
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.1 - 127:Library no.128, 256:CH1 - 311:CH56
256 and following are data for the corresponding channel of the edit buff-
02R96—Owner’s Manual
FORMAT No. 01111110
COUNT HIGH 0ccccccc
COUNT LOW 0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01000111
LIB. No. H 0bbbbbbb
'M'
DATA
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
59
bb
F0 System exclusive message
43 Manufacture's ID number (YAMAHA)
0n n=0-15 (Device number=MIDI
number)
'L'
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds COMP Library data
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01011001
LIB. No. H 0bbbbbbb
STATUS
11110000
ID No.
01000011
SUB STATUS 0000nnnn
data count = ch * 128 + cl
LIB. No. L 0bbbbbbb bb
BLOCK INFO. 0ttttttt tt total block number(minimum number
STATUS
ID No.
SUB STATUS
FORMAT No.
er.
For reception by the 02R96, only the user area is valid. (4-127, 256-)
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
Format Details
00110100 34 '4'
DATA NAME 01000100 45 'E'
LIB. No. H 0bbbbbbb bh 0-127(Effect Library no.1-128),
256-259(Effect1-4 current)
LIB. No. L 0bbbbbbb bl
BLOCK INFO. 0ttttttt tt total block number(minimum number
DATA
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds Effect Library data
CHECK SUM
EOX
:
0ddddddd
0eeeeeee
11110111
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
12.2.22 Effect library bulk dump request format
The second and third bytes of the DATA NAME indicate the library number. (See above)
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01000100
LIB. No. H 0bbbbbbb
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
45
bh
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
12.2.26 Channel library bulk dump request format
The second and third bytes of the DATA NAME indicate the library number. (See above)
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110001
00110010
DATA NAME 01001000
LIB. No. H 0bbbbbbb
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'1'
'2'
'H'
0-128(Channel Library no.0-128),
256-(current)
'L'
12.2.27 Input patch library bulk dump format
'M'
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current input patch data
For reception by the 02R96, only the user area is valid. (1-32, 256)
''
''
'8'
'C'
'5'
'4'
'E'
0-127(Effect Library no.1-128),
256-259(Effect1-4 current)
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 128:Library no.128,
256:CH1 - 311:CH56, 384:BUS1 - 391:BUS8, 512:AUX1 - 519:AUX8,
768:STEREO L - 769:STEREO R
256 and following are the data for the corresponding channel of the edit
buffer.
For reception by the 02R96, only the user area is valid. (2-128, 256-)
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
48
bh
System exclusive message
Universal bulk dump
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
12.2.25 Channel library bulk dump format
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01001000
LIB. No. H 0bbbbbbb
F0
43
2n
7E
4C
4D
20
20
38
43
31
32
48
bh
LIB. No. L 0bbbbbbb bl
EOX
11110111 F7 End of exclusive
LIB. No. L 0bbbbbbb bl
EOX
11110111 F7 End of exclusive
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
281
System exclusive message
Manufacture's ID number (YAMAHA)
DATA NAME
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01010010
0bbbbbbb
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
52
bh
''
'8'
'C'
'5'
'4'
'H'
0-128(Channel Library no.0-128),
256-(current)
LIB. No. L 0bbbbbbb bl
BLOCK INFO. 0ttttttt tt total block number(minimum number
DATA
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds channel Library data
CHECK SUM
EOX
:
0ddddddd
0eeeeeee
11110111
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'R'
0-32(Library no.0-32), 256(Current
data)
is 0)
number)
DATA
'L'
''
n=0-15 (Device number=MIDI Channel)
0bbbbbbb bb current block number(0-total block
Universal bulk dump
'M'
Manufacture's ID number (YAMAHA)
0bbbbbbb bl
BLOCK INFO. 0ttttttt tt total block number(minimum number
n=0-15 (Device number=MIDI Channel)
data count = ch * 128 + cl
System exclusive message
CHECK SUM
EOX
0ddddddd
:
0ddddddd
0eeeeeee
11110111
ds Input Patch Library data
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
12.2.28 Input patch library bulk dump request format
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current input patch data
STATUS
ID No.
SUB STATUS
FORMAT No.
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
DATA NAME
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01010010
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
52
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'R'
02R96—Owner’s Manual
282
Appendix C: MIDI
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
EOX
0bbbbbbb bl
11110111 F7 End of exclusive
12.2.29 Output patch library bulk dump format
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current output patch data
For reception by the 02R96, only the user area is valid. (1-32, 256)
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
DATA NAME
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001111
0bbbbbbb
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
4F
bh
System exclusive message
Manufacture's ID number (YAMAHA)
data count = ch * 128 + cl
''
''
'4'
'O'
0-32(Library no.0-32), 256(Current
data)
CHECK SUM
EOX
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
EOX
0-32(Library no.0-32), 256(Current
data)
0ddddddd
:
0ddddddd
0eeeeeee
11110111
ds Input Patch Library data
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001010
0bbbbbbb
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
4A
bh
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'J'
0-32 (Library no.0-32), 256 (Current
data)
0bbbbbbb bl
11110111 F7 End of exclusive
System exclusive message
Manufacture's ID number (YAMAHA)
12.2.33 Surround Monitor library bulk dump format
n=0-15 (Device number=MIDI Channel)
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current data
For reception by the 02R96, only the user area is valid. (1-32, 256)
Universal bulk dump
'L'
'M'
''
''
'8'
'C'
'5'
'4'
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
'O'
0-32(Library no.0-32), 256(Current
data)
12.2.31 Bus to Stereo library bulk dump format
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current data
For reception by the 02R96, only the user area is valid.
02R96—Owner’s Manual
'J'
number)
DATA
0bbbbbbb bl
11110111 F7 End of exclusive
F0
43
0n
7E
ch
cl
4C
'4'
is 0)
:
de
ee ee=(Invert('L'+...+de)+1)&0x7F
F7 End of exclusive
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current output patch data
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
'5'
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current data
'5'
12.2.30 Output patch library bulk dump request format
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
'C'
12.2.32 Bus to Stereo library bulk dump request format
CHECK SUM
EOX
EOX
'8'
'C'
:
0ddddddd
0eeeeeee
11110111
DATA NAME
''
'8'
DATA
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
4F
bh
''
0bbbbbbb bb current block number(0-total block
'L'
'M'
'M'
0bbbbbbb bl
BLOCK INFO. 0ttttttt tt total block number(minimum number
Universal bulk dump
is 0)
0bbbbbbb bb current block number(0-total block
number)
0ddddddd ds Input Patch Library data
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001111
0bbbbbbb
4D
20
20
38
43
35
34
4A
bh
n=0-15 (Device number=MIDI Channel)
00100000 bl
BLOCK INFO. 0ttttttt tt total block number(minimum number
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001010
0bbbbbbb
System exclusive message
Manufacture's ID number (YAMAHA)
DATA NAME
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
''
'8'
'C'
'5'
'4'
'K'
0-32(Library no.0-32), 256(Current
data)
is 0)
0bbbbbbb bb current block number(0-total block
Universal bulk dump
'L'
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
4B
bh
0bbbbbbb bl
BLOCK INFO. 0ttttttt tt total block number(minimum number
n=0-15 (Device number=MIDI Channel)
data count = ch * 128 + cl
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001011
0bbbbbbb
number)
DATA
0ddddddd ds Input Patch Library data
:
:
Format Details
CHECK SUM
EOX
0ddddddd de
0eeeeeee ee ee=(Invert('L'+...+de)+1)&0x7F
11110111 F7 End of exclusive
12.2.34 Surround Monitor library bulk dump request
format
The second and third bytes of the DATA NAME indicate the library number.
0:Library no.0 - 32:Library no.32, 256:current data
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001011
0bbbbbbb
F0
43
2n
7E
4C
4D
20
20
38
43
35
34
4B
bh
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
FORMAT No. 01111110
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
DATA NAME 01000001
0mmmmmmm
0mmmmmmm
EOX
11110111
'M'
''
'8'
'C'
'5'
'4'
'K'
0-32(Library no.0-32), 256(Current
data)
The second byte of the DATA NAME indicates the slot number.
0:SLOT 1 - 3:SLOT 4
The data is not received if the Developer ID and Product ID are different
than the card that is installed in the slot.
The data is not transmitted if a valid plug-in effect card is not installed.
DATA NAME
DATA
CHECK SUM
EOX
F0
43
0n
7E
ch
cl
4C
4D
20
20
38
43
35
34
4E
mh
ml
xh
xl
yh
yl
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Universal bulk dump
data count = ch * 128 + cl
'L'
'M'
''
'M'
''
''
'8'
'C'
'5'
'4'
'A'
0-3 (SLOT1-4)
End of exclusive
12.3 PARAMETER CHANGE
12.3.1 Parameter change basic format
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA *)
EOX
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
block count (High)
block count (Low)
total size (High)
total size (Low)
Developer id (Low)
Product id (High)
Product id (Low)
Plug-in Effect card memory data
(1024/7)*8+(1024%7)+1=1171bytes
DATA *)
EOX
MODEL ID (digital mixer)
02R96
Data type
System exclusive message
11110000
01000011
0001nnnn
00111110
01111111
0ttttttt
0eeeeeee
F0
43
1n
3E
7F
tt
ee
0ccccccc
0ddddddd
:
11110111
cc Channel No.
dd Data
:
F7 End of exclusive
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
Data type
For parameters with a data size of 2 or more, data for that size
will be transmitted.
12.3.3 Parameter request basic format
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
11110000
01000011
0011nnnn
00111110
00001011
0ttttttt
0eeeeeee
F0
43
3n
3E
0B
tt
ee
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Data type
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
ee=(Invert('L'+...+de)+1)&0x7F
End of exclusive
12.2.36 Plug-in effect card bulk dump request format
cc Channel No.
dd Data
:
F7 End of exclusive
n=0-15 (Device number=MIDI Channel)
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
'5'
0-3 (SLOT1-4)
0ccccccc
0ddddddd
:
11110111
Manufacture's ID number (YAMAHA)
12.3.2 Parameter Change basic format (Universal
format)
'C'
'N'
F0
43
1n
3E
0B
tt
ee
For parameters with a data size of 2 or more, data for that size
will be transmitted.
'8'
'4'
System exclusive message
11110000
01000011
0001nnnn
00111110
00001011
0ttttttt
0eeeeeee
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
''
Developer id (High)
ds
:
de
ee
F7
'L'
''
0bbbbbbb bl
11110111 F7 End of exclusive
11110000
01000011
0000nnnn
01111110
0ccccccc
0ccccccc
01001100
01001101
00100000
00100000
00111000
01000011
00110101
00110100
01001110
0mmmmmmm
0mmmmmmm
0xxxxxxx
0xxxxxxx
0yyyyyyy
0yyyyyyy
0000iiii
0000iiii
0000jjjj
0000jjjj
0ddddddd
:
0ddddddd
0eeeeeee
11110111
Universal bulk dump
'L'
12.2.35 Plug-in effect card bulk dump format
STATUS
ID No.
SUB STATUS
FORMAT No.
COUNT HIGH
COUNT LOW
7E
4C
4D
20
20
38
43
35
34
41
mm
ml
F7
283
EOX
0ccccccc cc Channel No.
11110111 F7 End of exclusive
The second byte of the DATA NAME indicates the library number.
0:SLOT 1 - 3:SLOT 4
STATUS
11110000 F0 System exclusive message
ID No.
01000011 43 Manufacture's ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
02R96—Owner’s Manual
284
Appendix C: MIDI
12.3.4 Parameter request basic format (Universal
format)
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
11110000
01000011
0011nnnn
00111110
01111111
0ttttttt
0eeeeeee
F0
43
3n
3E
7F
tt
ee
System exclusive message
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
Data type
DATA
0ccccccc cc Channel No.
11110111 F7 End of exclusive
12.3.5 Parameter Address
Consult your dealer for parameter address details.
12.3.6 Parameter change
(Edit buffer)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified parameter will be controlled.
Transmission
If [Parameter change TX] is ON and a parameter not specified in the
[Control assign table] is modified, this message will be transmitted with
the device number specified by the [Tx CH].
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
F0
43
1n
3E
7F
01
ee
0ccccccc
0ddddddd
:
11110111
cc Channel No.
dd Data
:
F7 End of exclusive
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
Edit Buffer
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
DATA
EOX
12.3.7 Parameter request
(Edit buffer)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmitted as a Parameter Change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
11110000
01000011
0011nnnn
00111110
01111111
00000001
0eeeeeee
F0
43
3n
3E
7F
01
ee
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
Edit Buffer
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
EOX
0ccccccc cc Channel No.
11110111 F7 End of exclusive
12.3.8 Parameter change
(Patch data)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified parameter will be controlled.
STATUS
11110000 F0 System exclusive message
ID No.
01000011 43 Manufacture's ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
02R96—Owner’s Manual
EOX
3E
0B
02
ee
0ccccccc
0ddddddd
:
11110111
cc Channel No.
dd Data
:
F7 End of exclusive
02R96
Patch data
12.3.9 Parameter request
(Patch data)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmitted as a Parameter Change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
11110000
01000011
0011nnnn
00111110
00001011
00000010
0eeeeeee
F0
43
3n
3E
0B
02
ee
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Patch data
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
System exclusive message
11110000
01000011
0001nnnn
00111110
01111111
00000001
0eeeeeee
MODEL ID (digital mixer)
00111110
00001011
00000010
0eeeeeee
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
Manufacture's ID number (YAMAHA)
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
EOX
GROUP ID
MODEL ID
ADDRESS
EOX
0ccccccc cc Channel No.
11110111 F7 End of exclusive
12.3.10 Parameter change (Setup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be controlled.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
System exclusive message
11110000
01000011
0001nnnn
00111110
00001011
00000011
0eeeeeee
F0
43
1n
3E
0B
03
ee
0ccccccc
0ddddddd
:
11110111
cc Channel No.
dd Data
:
F7 End of exclusive
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Setup memory
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
DATA
EOX
12.3.11 Parameter request (Setup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmitted as a Parameter Change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
11110000
01000011
0011nnnn
00111110
00001011
00000011
0eeeeeee
F0
43
3n
3E
0B
03
ee
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Setup memory
Element No.
(If ‘ee’ is 0, ‘ee’ is expanded to two
bytes)
0ppppppp pp Parameter No.
EOX
0ccccccc cc Channel No.
11110111 F7 End of exclusive
Format Details
12.3.12 Parameter change (Backup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be controlled.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA
EOX
11110000
01000011
0001nnnn
00111110
00001011
00000100
0aaaaaaa
0aaaaaaa
0ccccccc
0ddddddd
:
11110111
F0
43
1n
3E
0B
04
ee
pp
cc
dd
:
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Backup memory
Element No.
Parameter No.
Channel No.
Data
End of exclusive
12.3.13 Parameter request (Backup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmitted as a Parameter Change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
EOX
11110000
01000011
0011nnnn
00111110
00001011
00000100
0aaaaaaa
0aaaaaaa
0ccccccc
11110111
F0
43
3n
3E
0B
04
ee
pp
cc
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
DATA
EOX
channel*1)
256
256
tx/rx
tx/rx
tx/rx
SCENE STORE
EQ LIB STORE
GATE LIB STORE
COMP LIB STORE
EFF LIB STORE
CHANNEL LIB STORE
INPATCH LIB STORE
OUTPATCH LIB STORE
Bus to Stereo LIB STORE
Surround Monitor LIB STORE
AUTOMIX LIB STORE
1-99
41-200
5-128
37-128
53-128
3-128
1-32
1-32
1-32
1-32
1-32
256, 16383
0-513, 16383
0-56, 16383
0-513, 16383
0-7, 16383
0-513, 16383
256, 16383
256, 16383
256, 16383
256, 16383
256, 16383
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
0x20
0x21
0x22
0x23
0x24
0x26
0x27
0x28
0x29
0x2A
0x2B
*1) 0:CH1 - 55:CH56, 128:BUS1 - 135:BUS8, 256:AUX1 263:AUX5, 512:STEREO L - 513:STEREO R
Use 256 if the recall destination or store source is a single data
item.
Effect is 0:Effect 1–3:Effect 4
If the store destination is 16383 (0x3FFF), this indicates that
the library data has been changed by a external cause
(only transmitted by the 02R96)
*2) This is also transmitted when a program that has not been
assigned to the [Program change table] is recalled.
(Normally this would be transmitted as a program change
message.)
12.3.15 Parameter change (Function call: title)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the title of the specified memory/library will be
changed
Transmission
In response to a request, a Parameter Change message will be transmitted
on the [Rx CH].
If [Parameter change ECHO] is ON, this message will be retransmitted
without change.
Parameter No.
Channel No.
End of exclusive
Transmission
If [Parameter change ECHO] is ON, this message will be retransmitted
without change.
F0
43
1n
3E
7F
10
ff
aa
aa
dd
dd
F7
number
0-32
1-16
Element No.
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified memory/library will be stored/recalled.
11110000
01000011
0001nnnn
00111110
00000110
00010000
00ffffff
0aaaaaaa
0aaaaaaa
0ddddddd
0ddddddd
11110111
function
Surround Monitor LIB RECALL 0x0A
AUTOMIX LIB RECALL
0x0B
Backup memory
12.3.14 Parameter change (Function call Library:
store/recall)
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
285
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA
System exclusive message
Manufacture's ID number (YAMAHA)
EOX
11110000
01000011
0001nnnn
00111110
00000110
00010000
0100aaaa
0nnnnnnn
0nnnnnnn
0ddddddd
:
0ddddddd
11110111
F0
43
1n
3E
7F
10
4a
nn
nn
dd
:
dd
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
Function call Library
Address UL (function)
Address LU (number H)
Address LL (number L)
title 1
title x(depend on the library)
End of exclusive
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
function
SCENE LIB TITLE
0x40
EQ LIB TITLE
GATE LIB TITLE
COMP LIB TITLE
EFF LIB TITLE
CHANNEL LIB TITLE
INPATCH LIB TITLE
OUTPATCH LIB TITLE
Bus to Stereo LIB TITLE
Surround Monitor LIB TITLE
AUTOMIX LIB TITLE
0x41
0x42
0x43
0x44
0x46
0x47
0x48
0x49
0x4A
0x4B
Address UU
Address UL (function)
Address LU (number H)
Address LL (number L)
channel High
channel Low
End of exclusive
function
SCENE RECALL
0x00
number
0-99
channel*1)
256
EQ LIB RECALL
GATE LIB RECALL
COMP LIB RECALL
EFF LIB RECALL
CHANNEL LIB RECALL
INPATCH LIB RECALL
OUTPATCH LIB RECALL
Bus to Stereo LIB RECALL
0x01
0x02
0x03
0x04
0x06
0x07
0x08
0x09
1-200
1-128
1-128
1-128
0-128
0-32
0-32
0-32
0-513
0-95
0-513
0-7
0-513
256
256
256
tx/rx
tx*2)/r
x
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
number
0-99, 256(0:response
only)
1-200(1-40:response only)
1-128(1-4:response only)
1-128(1-36:response only)
1-128(1-52:response only)
0-128(0-1:response only)
0-32(0:response only)
0-32(0:response only)
0-32(0:response only)
0-32(0:response only)
1-16
size
16
16
16
16
16
16
16
16
16
16
16
12.3.16 Parameter request (Function call: title)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, a Parameter Change message will be transmitted on
the [Rx CH].
02R96—Owner’s Manual
286
Appendix C: MIDI
MODEL ID (digital mixer)
Effect is 0:Effect 1–3:Effect 4
In the case of PAIR, you must specify channels for which pairing is possible.
In the case of PAIR ON with COPY, you must specify Source
Channel as the copy source, and Destination Channel as the
copy destination.
Universal
12.3.19 Parameter change (Function call Event: Effect)
Function call Library
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the corresponding effect’s function activates (depending on the effect type).
Refer to the above table for the Functions and Numbers.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
EOX
11110000
01000011
0011nnnn
00111110
00000110
00010000
0100aaaa
0nnnnnnn
0nnnnnnn
11110111
F0
43
3n
3E
7F
10
4a
nn
nn
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Address UL (function)
Address LU (number H)
Address LL (number L)
End of exclusive
12.3.17 Parameter change (Function call: Scene/Library
Clear)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified memory/library will be stored/recalled.
Transmission
If [Parameter change ECHO] is ON, this message will be retransmitted
without change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
EOX
11110000
01000011
0001nnnn
00111110
00000110
00010000
0110aaaa
0nnnnnnn
0nnnnnnn
11110111
F0
43
1n
3E
7F
10
6a
nn
nn
F7
function
SCENE LIB CLEAR
EQ LIB CLEAR
GATE LIB CLEAR
COMP LIB CLEAR
EFF LIB CLEAR
CHANNEL LIB CLEAR
INPATCH LIB CLEAR
OUTPATCH LIB CLEAR
Bus to Stereo LIB CLEAR
Surround Monitor LIB CLEAR
AUTOMIX LIB CLEAR
Manufacture's ID number (YAMAHA)
MODEL ID (digital mixer)
Universal
Function call Library
Address UL (function)
Address LU (number H)
DATA
EOX
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
Function call Event
Function
Release:0, Press:1
Destination Effect Number 0 - 7
End of exclusive
function
Freeze Play button
Freeze Record button
Auto Pan 5.1 Trigger Button
Auto Pan 5.1 Reset Button
0x00
0x01
0x02
0x03
Channel
0:Effect1-3:Effect4
0:Effect1-3:Effect4
0:Effect1
0:Effect1
• This does not activate when the effect type is different.
12.3.20 Parameter change (Key remote)
number
1-99
41-200
5-128
37-128
1-128
2-128
0-32
0-32
0-32
0-32
1-16
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
Universal
Function call Pair
Function
Source channel number H
Source channel number L
Destination channel number H
Destination channel number L
End of exclusive
0x00
0x01
0x02
Channel
*1)
*1)
*1)
*1)0:CH1 - 55:CH56, 128:BUS1 - 135:BUS8, 256:AUX1 263:AUX8, 512:STEREO L - 513:STEREO R
02R96—Owner’s Manual
System exclusive message
End of exclusive
11110000 F0 System exclusive message
function
PAIR ON with COPY
PAIR ON with RESET BOTH
PAIR OFF
F0
43
1n
3E
7F
12
0a
00
dd
00
dd
F7
Address LL (number L)
0x60
0x61
0x62
0x63
0x64
0x66
0x67
0x68
0x69
0x6A
0x6B
43
1n
3E
7F
11
0a
dd
dd
dd
dd
F7
EOX
11110000
01000011
0001nnnn
00111110
00000110
00010010
0000aaaa
00000000
0ddddddd
00000000
0ddddddd
11110111
n=0-15 (Device number=MIDI Channel)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON.
When this is received, pairing will be enabled/disabled for the specified
channel. (Items other than PAIR are reserved for future use.)
01000011
0001nnnn
00111110
00000110
00010001
0000aaaa
0ddddddd
0ddddddd
0ddddddd
0ddddddd
11110111
DATA
System exclusive message
12.3.18 Parameter change (Function call: pair, copy)
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the same processing that is executed when the key
specified by Address is pressed (released). (Refer to the PARAMETER
CHANGE PARAMETER NUMBER LIST.)
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA
EOX
11110000
01000011
0001nnnn
00111110
00001011
00100000
0aaaaaaa
0aaaaaaa
0aaaaaaa
0ddddddd
11110111
F0
43
1n
3E
0B
20
aa
aa
aa
dd
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Address UU
Address UL
Address LU
Address LL
0:press, 1:release
End of exclusive
12.3.21 Parameter change (Remote Meter)
When transmission is enabled by receiving a Request of Remote meter, the
specified meter information is transmitted every 50 msec for 10 seconds.
When you want to transmit meter information continuously, a Request
must be transmitted continuously within every 10 seconds.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When transmission has been enabled by a Request, the parameter specified
by Address (see PARAMETER CHANGE PARAMETER NUMBER LIST)
will be transmitted on the [Rx CH] channel at 50 msec intervals for a duration of 10 seconds.
Transmission will be disabled if the power is turned off and on again, or if
the PORT setting is changed.
If [Parameter Change ECHO] is ON, this message is retransmitted without
Format Details
change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA
EOX
EOX
11110000
01000011
0001nnnn
00111110
00001011
00100001
0aaaaaaa
0aaaaaaa
0aaaaaaa
0ddddddd
0ddddddd
:
11110111
F0
43
1n
3E
0B
21
aa
aa
aa
dd
dd
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Address UU
Address UL
Address LU
Address LL
Data1 H
Data1 L
F7 End of exclusive
Meter data uses the unmodified DECAY value of the DSP. For the interpretation of the value, refer to the PARAMETER CHANGE PARAMETER
NUMBER LIST.
12.3.22 Parameter request (Remote Meter)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the parameter specified by Address (refer to PARAMETER CHANGE PARAMETER NUMBER LIST) will be transmitted
on the [Rx CH] at 50 msec intervals for a duration of 10 seconds.
If Address UL= 0x7F is received, transmission of all meter data will be halted immediately. (disable)
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA
EOX
11110000 F0
01000011 43
0011nnnn 3n
00111110 3E
00001011 0B
00100001 21
0aaaaaaa aa
0aaaaaaa aa
0aaaaaaa aa
0cccccccccc
0ccccccccCc
11110111 F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Address UU
Address UL
Address LU
Address LL
Count H
Count L
End of exclusive
12.3.23 Parameter change (Remote Time Counter)
When transmission is enabled by receiving a Request of Remote Time
Counter, the Time Counter data is transmitted every 50 msec for 10 seconds. When you want to transmit Counter information continuously, a
Request must be transmitted within every 10 seconds.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When transmission is enabled by receiving a Request, the Time Counter
information is transmitted on [RxCH] channel every 50 msec for 10 seconds.
Transmission will be disabled if the power is turned off and on again, or if
the PORT setting is changed.
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA
11110000
01000011
0001nnnn
00111110
00001011
00100001
0000tttt
0ddddddd
0ddddddd
0ddddddd
0ddddddd
F0
43
1n
3E
0B
22
0t
dd
dd
dd
dd
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Remote Time Counter
0:Time Code, 1: Measure, Beat, Clock
Hour / Measure H
Min / Measure L
287
11110111 F7 End of exclusive
12.3.24 Parameter request (Remote Time Counter)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the Time Counter information is transmitted on the
[Rx CH] channel every 50 msec for 10 seconds.
When the second byte of Address is received on 0x7F, data transmission
will be halted immediately.
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
EOX
11110000
01000011
0011nnnn
00111110
00001011
00100001
0aaaaaaa
F0
43
3n
3E
0B
22
aa
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Remote Time Counter
0:Transmission request,
0x7F:Transmission stop request
11110111 F7 End of exclusive
12.3.25 Parameter change (Automix Status)
When transmission is enabled by receiving a Request of Automix status,
the Automix Status data is transmitted every second for 10 seconds. When
you want to transmit the Automix Status information continuously, the
Request must be transmitted continuously minimum within 10 seconds
interval. The data is transmitted continuously while the transmission is enabled, even when the Automix Status on the 02R96 has been changed.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When the transmission is set to enable by receiving a Request. The Automix Status data is transmitted on the [Rx CH] channel every second for 10
seconds. The data is transmitted continuously while the transmission is
enabled, even when the Automix Status on the 02R96 has been changed.
Transmission will be disabled if the power is turned off and on again, or if
the PORT setting is changed.
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
DATA
EOX
11110000
01000011
0001nnnn
00111110
00001011
00100011
00000000
0000dddd
0000dddd
11110111
F0
43
1n
3E
0B
23
00
0d
0d
F7
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Automix Status
Automix Status H
Automix Status L
End of exclusive
12.3.26 Parameter request (Automix Status)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When the data is received, the Automix Status data is transmitted on the
[Rx CH] every second for 10 seconds.
When the second byte of Address is received on 0x7F, data transmission
will be halted immediately (disable).
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS
ID No.
SUB STATUS
GROUP ID
MODEL ID
ADDRESS
Sec / Beat
Frame / Clock
EOX
11110000
01000011
0011nnnn
00111110
00001011
00100011
0aaaaaaa
F0
43
3n
3E
0B
23
aa
System exclusive message
Manufacture's ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
MODEL ID (digital mixer)
02R96
Automix Status
0:Transmission request,
0x7F:Transmission stop request
11110111 F7 End of exclusive
02R96—Owner’s Manual
288
Appendix D: Options
Appendix D: Options
MB02R96 Peak Meter Bridge
Installation
1
Unscrew the four fixing screws 1 on the 02R96 rear panel to which the
meter bridge will be attached.
1
1
2
Using the four supplied 8 mm screws B, attach the brackets to the meter
bridge, as shown below.
3
Align the meter bridge with the 02R96, and, using two of the supplied
12 mm screws C, screw in the top two fixing screws, but don’t tighten them
fully.
4
Screw in the bottom two screws C and tighten them fully.
5
Fully tighten the top two screws C.
6
Connect the meter bridge cable to the 02R96’s METER port.
3
2
3
2
02R96—Owner’s Manual
MB02R96 Peak Meter Bridge
289
Meter Bridge Controls
A Channel indicators
These indicators show which channels are currently being
metered: Input Channels 1–24, 25–48, or 49–56 and Aux Sends
1–8 and Bus Outs 1–8.
9
5
56
OVER
8
7
B INPUT METERING POSITION button & indicators
This button is used to set the metering position for Input Channels
to pre-EQ, pre-fader, or post-fader. It works in unison with the
PRE EQ, PRE FADER, and POST FADER buttons for Input
Channels on the Meter pages. The indicators show the current setting.
C PEAK HOLD button
This button is used to turn the Peak Hold function on and off. Its
indicator lights up when Peak Hold is on. It works in unison with
the PEAK HOLD buttons on the Meter pages.
D LAYER buttons
4
These button are used to select Layers for metering. The button
indicator for the currently selected Layer lights up. If the Meter
Follow Layer preference is on (see page 198), these Layers are
selected automatically when the LAYER buttons on the 02R96 are
pressed.
3
E OUTPUT METERING POSITION button & indicators
This button is used to set the metering position for Output Channels to pre-EQ, pre-fader, or post-fader. It works in unison with
the PRE EQ, PRE FADER, and POST FADER buttons for Output
Channels on the Meter pages. The indicators show the current setting.
2
6
F Meters
These 12-segment LED meters display the signals levels of the
channels on the currently selected Layer.
G STEREO meters
These 32-segment meters display the signal levels of the Stereo
Out.
1
H CONTROL ROOM button
This button is used to display the level of the Control Room signal
on the STEREO meters. Its indicator lights up when the STEREO
meters are displaying Control Room levels.
I BUS meters
These 12-segment LED meters display Bus Out signal levels.
02R96—Owner’s Manual
290
Appendix D: Options
SP02R96 Wooden Side Panels
Attach the side panels as shown below.
02R96—Owner’s Manual
291
Index
Symbols
+48V ON/OFF switches 5
Numerics
1–24 button 15
25–48 button 15
2TR I/O
channel status 48
dithering outputs 48
patching digital outputs 56
patching direct outs 56
patching inputs 52
sampling rate conversion 44
2TR IN ANALOG 1 +4 dB (BAL) 25
2TR IN ANALOG 2 –10 dBV (UNBAL)
25
2TR IN DIGITAL AES/EBU 1 27
2TR IN DIGITAL COAXIAL 2 & 3 27
2TR OUT DIGITAL AES/EBU 1 26
2TR OUT DIGITAL COAXIAL 2 & 3 26
2TR OUT DIGITAL OUT PATCH page
56
3-1 surround mode 69
5.1 surround mode 69
96 kHz, 88.2 kHz, 48 kHz, 44.1 kHz,
selecting 42
A
Absolute mode, automix 148
AC IN connector 28
AD inputs
connectors 24
in detail 39
patching 52
patching output channel insert ins
55
summary 5
talkback 121
Adat I/O card 45
AES/EBU I/O card 45
AMP SIMULATE 233
Analog I/O & the AD input section
chapter 39
Architecture
channels 1
I/O 1
ASSIGN 1 & 2 buttons, control room 21
ASSIGN 1 & 2 buttons, encoder mode 7
Assigning
control changes 167
parameters to encoders 37
program changes 166
see also Routing
targets to the remote layer 189
user defined keys 196
ATTACK control 12
Attenuating
cascade inputs 51
channel signals 90
AUTO buttons
about 5
in detail 149
Pro Tools 173
STEREO 15
using 154
Auto channel select 34
Auto Channel Select preference 197
Auto DYNAMICS Display preference
197
Auto EQ Edit In preference 199
Auto EQUALIZER Display preference
197
Auto Inc TC Capture preference 199
AUTO PAN 5.1 246
Auto PAN/SURROUND Display
preference 197
Auto ROUTING Display preference 197
Auto scene memory update 139
Auto SOLO Display preference 197
Auto WORD CLOCK Display
preference 197
Automix
about 145
absolute mode 148
AUTO buttons 149
cascading consoles 49
copying events 158
deleting events 161
duplicating events 161
erasing events 158
EVENT COPY page 158
EVENT EDIT page 161
event list 161
FADER EDIT pages 151
features 2
inserting events 161
library 130
MAIN page 146
MEMORY page 150
merging events 158
motors on/off 151
moving events 158
offline editing 158
overwrite parameters 148
parameter recording 155
playback 157
protecting memories 130
punching individual parameters 156
recording 154
relative mode 148
rerecording 154
return mode 147
storing via bulk dump 168
takeover mode 147
time signature map 153
timecode offset 146
timecode source 152
touch sense in/out 151
trim edit 159
undo 148
update to end 146
what’s recorded 145
AUTOMIX button 7
Automix chapter 145
AUTOMIX MAIN page 146
AUTOMIX MEMORY page 150
AUTOMIX page 130
Automix Store Undo preference 199
AUTOPAN 229
AUX 1–8 buttons 6
AUX 7 button, studio 20
AUX 8 button, studio 20
AUX button, encoder mode 7
AUX FADER VIEW page 111
AUX PAN CH pages 84
AUX SELECT section
about 6
Pro Tools 174
using 79
AUX SEND CH pages 80
Aux sends
attenuating 90
automix 145
channel library 123
compressors 97
delay 101
EQ 91
fixed mode 79
follow surround pan 105
grouping faders 106
grouping mutes 107
inserts 95
link pan to input channels 84
master level setting 86
metering 88
muting 85
naming 112
pairing 104
pan modes 84
panning 84
patching to 2TR digital outputs 56
patching to effects 53
patching to input channels 52
patching to omni outs 55
patching to slot outputs 54
pre/post fader 79
scene recall safe 143
setting levels 80
soloing 102
variable mode 79
viewing fader settings 109
viewing parameter settings 108
viewing settings 82
Aux sends chapter 79
AUX, fader mode 7
B
Balance, stereo out 75
Bars, time signature map 153
BASS MANAGE 118
Battery check 200
BATTERY CHECK page 200
BI-DIRECTIONAL, cascade setting 51
Bulk dump 168
BULK DUMP page 168
02R96—Owner’s Manual
292
BUS button 21
BUS FADER VIEW page 110
Bus outs
attenuating 90
automix 145
bus to stereo library 126
channel library 123
compressors 97
delay 101
EQ 91
grouping faders 106
grouping mutes 107
inserts 95
level setting 77
metering 88
muting 77
naming 112
pairing 104
patching to 2TR digital outputs 56
patching to input channels 52
patching to omni outs 55
patching to slot outputs 54
routing to 66
routing to stereo out 78
scene recall safe 143
soloing 102
viewing fader settings 109
viewing parameter settings 108
Bus outs chapter 76
BUS TO STEREO LIBRARY page 126
BUS TO STEREO page 78
Bypassing effects 134
C
Cascade COMM Link preference 198
CASCADE IN page 51
CASCADE IN port 27
CASCADE IN port pin assignments 271
CASCADE OUT page 51
CASCADE OUT port 27
CASCADE OUT port pin assignments
271
Cascading consoles
about 49
attenuating cascade inputs 51
hookup examples 50
linked functions 49
master setting 51
turning off cascade outputs 51
Category, channel status 48
CH DIRECT OUT DESTINATION
pages 56
CH EQUALIZER LIBRARY page 129
CH FADER EDIT pages 151
CH FADER VIEW page 109
CH GATE EDIT page 60
CH PARAMETER VIEW page 108
CH SURROUND EDIT page 70
Channel display mode, Pro Tools 172
Channel ID/Channel preference 198
CHANNEL INSERTS button 9
CHANNEL LIBRARY page 123
Channel names, assigning 112
02R96—Owner’s Manual
Channel status monitor 48
CHANNEL STATUS MONITOR page
48
Channel strips
about 5
Pro Tools 173
selecting layers 33
user defined remote layer 190
CHORUS 227
CHORUS 5.1 246
CLEAR button 20
Clear Edit Channel after REC preference
199
Clearing library memories 122
Clearing scene memories 141
Combination effects 132
Common channel functions chapter 87
COMP 5.1 249
COMP EDIT page 98
COMP indicator 12
COMP LIBRARY page 128
COMP ON button 12
COMPAND 5.1 250
Compander 97
Compressors
grouping input channels 63
grouping output channels 100
library 128
order 96
parameter table 264
presets 97
using 97
Confirmation messages 32
Contrast control 10
CONTROL CHANGE ASSIGN TABLE
page 167
Control changes
assignments 167
echoing 165
omni 165
receive enable 165
storing assignments via bulk dump
168
transmit enable 165
CONTROL port 27
CONTROL port pin assignments 271
Control room
dimmer level 115
monitoring 114
patching to 2TR digital outputs 56
setup 115
CONTROL ROOM button 20
CONTROL ROOM LEVEL control 21
CONTROL ROOM MONITOR OUT
+4 dB (BAL) 25
CONTROL ROOM SETUP page 115
Control surface
features 3
illustration 4
Control surface & rear panel chapter 4
Cooling fan 28
Copy Initial Fader preference 199
Copy, channel status 48
Copying automix events 158
Current scene display 29
Currently selected channel
display 30
name display 30
selecting 34
Currently selected page
page number display 30
selecting 31
title display 30
Cursor buttons 18
D
Data entry section
about 18
Pro Tools 178
DAW
MIDI port setup 164
see alsoPro Tools
DEC button 18
DECAY control 12
DEL, title edit window 32
DELAY button 12
Delay effects 131
DELAY LCR 226
DELAY SCALE 101
DELAY+ER. 239
DELAY+REV 241
DELAY->ER. 240
DELAY->REV 242
Delaying channel signals 101
Deleting automix events 161
Digital I/O & cascading chapter 41
Dimensions 272
DIMMER button 22
Dimmer level, control room 115
Dimmer level, talkback 121
DIO button 7
DIO Warning preference 198
DIRECT button 11
Direct outs
patching 56
routing to 66
Display
about 10
confirmation messages 32
in detail 29
parameter boxes 31
parameter windows 31
Pro Tools 171
DISPLAY ACCESS section 7
DISPLAY ACCESS section, SELECTED
CHANNEL section 12
Display Brightness preference 198
DISPLAY buttons
AUX SELECT 6
DYNAMICS 12
EFFECTS/PLUG-INS 9
ENCODER MODE 6
EQUALIZER 14
MACHINE CONTROL 17
MONITOR 20
PAN/SURROUND 13
293
ROUTING 11
SCENE MEMORY 16
USER DEFINED KEYS 16
DIST->DELAY 243
DISTORTION 232
DITHER page 48
Dithering digital outputs 48
DIV (divergence) 71
Double channel 47
Double speed 47
DUAL PITCH 231
Ducking, input channels 60
Duplicating automix events 161
DYNA. FILTER 233
DYNA. FLANGE 234
DYNA. PHASER 234
Dynamic effects 132
DYNAMICS section
about 12
compressors 98
gates 60
Dynamics. See Gates and Compressors
E
EARLY REF. 223
ECHO 227
Edit buffer 138
Edit indicators
display 30
SCENE MEMORY section 138
Editing
automix events 158
compressors 97
effects 133
gates 60
library memory titles 122
plug-ins 136
scene memory titles 141
EFFECT 1–4 INPUT/OUTPUT METER
page 88
EFFECT button 14
EFFECT EDIT page 133
EFFECT INPUT PATCH pages 53
EFFECT LIBRARY page 125
Effects
about 131
automix 145
bypassing 134
editing 133
features 2
library 125
metering 88
parameter tables 223
patching inputs 53
patching output channel insert ins
55
patching outputs 52
presets 131
tempo 134
EFFECTS/PLUG-INS 1–4 buttons 9
EFFECTS/PLUG-INS section
about 9
editing effects 133
editing plug-ins 136
Pro Tools 175
Emphasis, channel status 48
ENCODER MODE ASSIGN page 37
ENCODER MODE section
about 6
Pro Tools 174
using 36
Encoder modes, selecting 36
Encoders
about 5
assignable parameter list 38
assigning parameters 37
automix punch in/out 156
panning input channels 67
patching inputs & outputs 58
Pro Tools 173
selecting encoder modes 36
setting aux send levels 80
user defined remote layer 190
ENTER button 18
EQ
automix 145
EQUALIZER EDIT page 93
features 2
frequency 92
gain 92
grouping input channels 62
grouping output channels 94
library 129
presets 91
Q 92
using 91
EQ displays 14
EQ GAIN controls 14
EQ ON button 14
EQUALIZER EDIT page 93
EQUALIZER section
about 14
using 92
Erasing automix events 158
EVENT COPY page 158
EVENT EDIT page 161
Event editing 158
Event list, automix 161
Expander 97
F
F1–F4 buttons
about 10
editing effects 134
editing plug-ins 137
Pro Tools 171
FADER button 7
Fader edit mode 148
FADER MODE section
about 7
Pro Tools 174
using 35
Fader Touch Sensitivity preference 198
Faders
about 6
auto channel select 34
automix punch in/out 156
aux send master levels 86
bus out levels 77
fader edit mode 148
grouping input channels 65
grouping output channels 106
input channel levels 65
motors on/off 151
Pro Tools 174
selecting fader modes 35
setting aux send levels 80
STEREO 15
stereo out level 74
touch sense in/out, automix 151
touch sense select 34
user defined remote layer 190
Fading scenes 142
Fast Meter Fall Time preference 198
Features 1
FF button 17
Fixed mode, aux sends 79
FLANGE 228
FLANGE 5.1 247
FOLLOW PAN button 11
Follow surround pan, aux sends 105
Frame rate, automix 152
FREQUENCY controls 14
FREQUENCY indicators 14
FX 131
G
GAIN control, dynamics 12
GAIN controls, AD inputs 5
Gang mode
aux send pan 84
input channel pan 68
GATE indicator 12
GATE LIBRARY page 127
GATE ON button 12
GATE REVERB 224
GATE/COMP button 12
Gates
library 127
parameter table 264
presets 60
using 60
GPI 195
GPI SETUP page 195
GR meters
compressors 99
gates 61
GRAB button 13
Grounding screw 28
GROUP button 8
Grouping
features 2
input channel compressors 63
input channel EQs 62
input channel faders 65
input channel mutes 64
output channel compressors 100
output channel EQs 94
output channel faders 106
02R96—Owner’s Manual
294
output channel mutes 107
Guitar effects 132
H
HIGH EQ 91
HIGHER SAMPLE RATE DATA
TRANSFER FORMAT page 47
HIGH-MID EQ 91
HOLD control 12
Horizontal pairing 104
HQ. PITCH 230
I
IEEE1394 45
INC button 18
Individual mode
aux send pan 84
input channel pan 68
Initial Data Nominal preference 198
Initializing the 02R96 201
Input & output patching chapter 52
INPUT A & B (BAL) connectors 24
INPUT CH AUX VIEW pages 82
INPUT CH DELAY pages 101
INPUT CH FADE TIME pages 142
INPUT CH FADER GROUP page 65
INPUT CH INSERT IN PATCH pages
53
INPUT CH METER page 87
INPUT CH MUTE GROUP page 64
INPUT CH PAIR pages 104
INPUT CH PAN pages 68
INPUT CH ROUTING pages 66
INPUT CH SURROUND pages 71
INPUT CHANNEL NAME page 112
Input channels
attenuating 90
automix 145
channel library 123
compressors 97
delay 101
EQ 91
gating 60
grouping compressors 63
grouping EQs 62
grouping faders 65
grouping mutes 64
inserts 95
level setting 65
metering 87
muting 63
naming 112
pairing 104
panning 67
patching 52
reversing phase 59
selecting layers 33
soloing 102
viewing fader settings 109
viewing parameter settings 108
Input channels chapter 59
INPUT COMP LINK page 63
INPUT EQUALIZER LINK page 62
02R96—Owner’s Manual
INPUT PATCH button 8
INPUT PATCH LIBRARY page 124
INPUT PATCH pages 52
Input patching 52
INPUT PORT NAME page 57
Input port naming 57
INS, title edit window 32
Insert assign/edit display mode, Pro
Tools 172
INSERT I/O +4dB (UNBAL) connectors
24
INSERT ON/OFF switches 5
Inserting automix events 161
Inserts
AD insert on/off switches 5
order 96
patching input channel insert ins 53
patching insert outs to effects inputs
53
patching insert outs to omni outs 55
patching insert outs to slot outputs
54
patching output channel insert ins
55
patching outs to 2TR digital outputs
56
using 95
Installing I/O cards 46
Internal effects & plug-ins chapter 131
INTERNAL EFFECTS button 9
Internal timecode source 152
Internet, yamaha web site iii
Inverse gang mode
aux send pan 84
input channel pan 68
Inverting input channel phase 59
J
Joystick
about 14
panning input channels 67
reverb 5.1 effect 245
surround pan 70
Joystick Auto Grab preference 198
K
Keyin source 61
L
L button 13
L/R Nominal Pan preference 197
Last solo mode 103
LAYER section
about 15
selecting layers 33
Layers
encoder modes 36
fader modes 35
selecting 33
selecting channels 34
Learn function
user defined plug-ins 136
user defined remote layer 190
Left Tab Scroll button 10
LFE 71
Libraries
about 122
automix 130, 145
bus to stereo 126
channel 123
compressor 128
effects 125
EQ 129
gate 127
input patch 124
output patch 124
specifications 267
storing via bulk dump 168
surround monitor 130
using 122
Libraries chapter 122
LINK button 13
Link Capture & Locate Memory
preference 199
LISTEN, solo 103
LOCATE MEMORY 1–8 buttons 17
LOCATE MEMORY page 194
Long channel names, assigning 112
Long port names 57
LOW EQ 91
LOW-MID EQ 91
M
M. BAND DYNA. 248
MACHINE CONFIGURATION page
192
Machine control
about 192
locator 194
machine configuration 192
scrub & shuttle 193
setting locate memories 194
transport buttons 193
MACHINE CONTROL section
about 17
LOCATE MEMORY 194
Pro Tools 177
Macintosh
configuring for Pro Tools 169
MIDI port setup 164
USB driver 163
MASTER button 15
Master layer, selecting 33
MASTER METER page 88
MASTER PARAMETER VIEW page 109
MB02R96 peak meter bridge 288
Measures, time signature map 153
Merging automix events 158
METER button 8
Meter display mode, Pro tools 173
Meter Follow Layer preference 198
METER port 27
Meter, time signature map 153
Metering
effects 88
input channels 87
295
metering position 87
output channels 88
stereo out 89
METERING POSITION page 87
MIDI
bulk dump 168
control change messages 167
data format 275
features 3
I/O ports 163
MIDI SETUP page 165
parameter change messages 167
port setup 164
ports 27
program change messages 166
supported messages 163
MIDI button 8
MIDI chapter 163
MIDI clock
automix timecode source 152
Tap tempo, effects 134
MIDI SETUP page 165
MIDI Warning preference 198
MIDI/TO HOST SETUP page 164
mini YGDAI. See Slots
Mix solo mode 103
Mix Update Confirmation preference
199
Mixdown, solo status 102
mLAN I/O card 45
MMC. See Machine control
MOD. DELAY 225
MOD. FILTER 232
Modulation-based effects 132
MONITOR ALIGNMENT 119
MONITOR MATRIX 118
MONITOR section 20
Monitoring
configuring surround monitoring
117
control room 114
control room setup 115
studio 115
surround 116
Monitoring & talkback chapter 114
MONO DELAY 224
Motors on/off 151
Moving automix events 158
MS decoding 105
MTC TIME CODE INPUT connector
26
MTC, timecode source 152
MULTI FILTER 243
Multi-effects 131
Muting
automix 145
aux sends 85
bus outs 77
grouping input channels 64
grouping output channels 107
input channels 63
stereo out 74
N
Naming channels 112
Naming library memories 122
Naming scene memories 140
NEVER LATCH TALKBACK 121
O
OCTA REVERB 245
Offline editing 158
Offsetting automix timecode 146
OMNI OUT +4dB (BAL) 26
OMNI OUT PATCH page 55
Omni outs
about 40
patching 55
patching direct outs 56
Omni, MIDI 165
OMS
configuring for Pro Tools 170
installing for Pro Tools 169
ON buttons
channel strips 6
Pro Tools 173
see also Grouping
see also Muting
STEREO 15
user defined remote layer 190
Operating basics chapter 29
Options iii
Order, inserts/compressors 96
Oscillator 200
OSCILLATOR page 200
Other functions chapter 196
OUTPUT CHANNEL NAME page 112
Output channels
attenuating 90
compressors 97
delay 101
EQ 91
grouping compressors 100
grouping EQs 94
grouping faders 106
grouping mutes 107
inserts 95
library 123
metering 88
naming 112
pairing 104
selecting master layer 33
soloing 102
viewing fader settings 109
viewing parameter settings 108
OUTPUT COMP LINK page 100
OUTPUT DELAY page 101
OUTPUT EQUALIZER LINK page 94
OUTPUT FADE TIME page 142
OUTPUT FADER GROUP page 106
OUTPUT INSERT IN PATCH page 55
OUTPUT MUTE GROUP page 107
OUTPUT PAIR page 104
OUTPUT PATCH button 8
OUTPUT PATCH LIBRARY page 124
Output patching 54
OUTPUT PORT NAME page 57
Output port naming 57
Overwrite parameters 148
P
Package contents iii
PAD switches 5
Pages
page number display 30
page tab scroll arrows 30
selecting 31
tabs 30
title display 30
PAIR button 8
Pairing channels
features 2
pan modes 68
using 104
PAN button 6
PAN control 13
PAN display 13
PAN/SURROUND section
about 13
joystick and surround pan 70
panning input channels 67
Panning
automix 145
aux sends 84
input channels 67
modes 68
Parameter boxes 31
Parameter change messages 167
Parameter controls 1–4 9
Parameter Up/Down buttons 9
Parameter wheel 18
Parameter windows 31
Patch Confirmation preference 197
Patch link 141
Patch select window 57
Patching
2TR digital outputs 56
direct outs 56
effects inputs 53
features 2
input channel insert ins 53
input channels 52
input library 124
inputs 52
omni outs 55
output channel insert ins 55
output library 124
outputs 54
patch select window 57
scene memory links 141
slot outputs 54
surround monitor 120
with the encoders 58
Patterns 71
PC
configuring for Pro Tools 169
MIDI port setup 164
USB driver 163
Peak hold 87
02R96—Owner’s Manual
296
PEAK indicators 5
Phantom power switches 5
Phase, input channel phase reverse 59
PHASE/INSERT button
about 12
reversing phase 59
PHASER 229
Phone jacks 23
PHONES jack 19
PHONES LEVEL control 19
Phono connectors 23
Picture of control surface 4
PLAY button 17
PLAY button, automix 149
Playing back an automix 157
PLUG-IN EDIT page 136
PLUG-IN SETUP page 135
Plug-ins
about 135
configuring 135
editing 136
MIDI port setup 164
storing via bulk dump 168
PLUG-INS button 9
Port ID/Port preference 198
Port IDs 57
Port names 57
Position, compressors 96, 99
Position, inserts 95
Post/pre. See Pre/post
Power cord 29
POWER switch 28
Powering up the 02R96 29
Pre/post
aux sends 79
metering 87
solo 103
PREFERENCES1 page 197
PREFERENCES2 page 198
PREFERENCES3 page 199
Presets
compressors 97
effects 131
EQ 91
gates 60
Pro tools
arming parameters for automation
188
assigning inserts/plug-ins 182
automation 187
AUX SELECT section 174
bypassing plug-ins 184
channel display mode 172
channel strips 173
configuring 170
configuring Macintosh computers
169
configuring sends as pre or post 180
configuring the 02R96 169
configuring Windows computers
169
control surface operation 171
data entry section 178
02R96—Owner’s Manual
display 171
editing plug-ins 183
EFFECTS/PLUG-INS section 175
ENCODER MODE section 174
FADER MODE section 174
flip mode 181
insert assign/edit display mode 172
MACHINE CONTROL section 177
making fine adjustments to the
selected region 185
meter display mode 173
muting channels 179
muting sends 180
navigating the edit window 184
OMS 169
panning channels 179
panning sends 180
resetting faders, sends, & panpots
184
scrub & shuttle 186
selecting channels 179
setting channel levels 179
setting send levels 180
setting the automation mode 187
soloing channels 179
trim mode 188
USER DEFINED KEYS section 176
viewing send destinations 180
zooming 185
Pro tools remote layer chapter 169
PROGRAM CHANGE ASSIGN TABLE
page 166
Program changes
assignments 166
echoing 165
omni 165
receive enable 165
storing assignments via bulk dump
168
transmit enable 165
Protecting automix memories 130
Protecting scene memories 141
Punch in/out, individual parameters 156
Q
Q controls 14
Q indicators 14
Q, EQ 92
R
R button 13
RANGE control 12
RATIO control 12
RCA connectors 23
Read-only memories 122
Rear panel 23
REC button 17
RECALL button 16
Recall Confirmation preference 197
RECALL SAFE page 143
Recalling
library memories 122
scene memories 140
Receive channel 165
Receive Full Frame Message preference
199
Recording an automix 154
Recording, solo status 102
Relative mode, automix 148
RELEASE control 12
REMOTE button, DISPLAY ACCESS 8
REMOTE button, LAYER 15
Remote control chapter 189
Remote layer
about 189
assigning targets 189
MIDI port setup 164
Pro Tools 169
selecting 33
REMOTE page 189
REMOTE page, Pro Tools 171
REMOTE page, user defined 190, 191
Requesting bulk dump 168
Rerecording an automix 154
Return mode, automix 147
REV+CHORUS 235
REV+FLANGE 236
REV+SYMPHO. 237
REV->CHORUS 235
REV->FLANGE 236
REV->PAN 238
REV->SYMPHO. 237
REVERB 5.1 245
Reverb effects 131
REVERB HALL 223
REVERB PLATE 223
REVERB ROOM 223
REVERB STAGE 223
REVERSE GATE 224
Reversing input channel phase 59
REW button 17
Right Tab Scroll button 10
RING MOD. 232
ROTARY 231
ROUTING 1–8 buttons 11
Routing input channels 66
ROUTING section
about 11
using 66
S
Safe channels, automix 151
Safe channels, scene memories 143
Safe channels, solo 102
Sampling rate
2TR IN SRC 44
display 30
setting 42
slot SRC 47
SAMPLING RATE CONVERTER page
44
Scene down button 16
Scene MEM Auto Update preference 198
Scene memories
about 138
auto scene memory update 139
297
automix 145
cascading consoles 49
current scene display 29
edit buffer 138
edit indicator 138
fading scenes 142
memory #0 139
MIDI program changes 166
protecting 141
recalling 140
safe channels 143
sorting 144
storing 140
storing via bulk dump 168
undo memory 139
what’s stored 138
Scene memories chapter 138
SCENE MEMORY page 141
SCENE MEMORY section
about 16
display 16
using 140
SCENE MEMORY SORT page 144
Scene up button 16
Scroll arrows, pages 30
SCRUB button 18
SEL buttons
input channels 5
pairing channels 104
Pro Tools 173
selecting channels 34
STEREO 34
SEL MODE, solo 103
SELECTED CHANNEL section 11
Selecting
auto channel select 34
channels 34
encoder modes 36
fader modes 35
layers 33
pages 31
touch sense select 34
SERIAL TO HOST port 26
MIDI 163
timecode source 152
SET button 17
SET SPL85 117
Setting levels
aux send masters 86
aux sends 80
bus outs 77
input channels 65
stereo out 74
SETUP button 7
Shadow memories 139
SHIFT LOCK, title edit window 32
Short channel names 112
Short port names 57
Show Compact Size preference 199
SHUTTLE button 18
SIGNAL indicators 5
SLOT button 21
SLOT OUTPUT PATCH pages 54
Slots
about 28, 45
available cards 45
card restrictions 45
channel status 48
dithering outputs 48
double channel 47
double speed 47
installing cards 46
MIDI 163
patching direct outs 56
patching inputs 52
patching output channel insert ins
55
patching outputs 54
timecode source 152
SMPTE TIME CODE INPUT connector
26
Solo
cascading consoles 49
configuring 102
safe channels 103
sel mode 103
status 102
trim 103
using 102
SOLO buttons
about 6
Pro Tools 173
using 102
SOLO indicator 20
SOLO SETUP page 102
SOLO TRIM 103
Soloing channels 102
Sonic Spec 1
Sorting scene memories 144
SP02R96 wooden side panels 290
SPEAKER SETUP 117
Specifications 260
SRC. See Sampling rate
STATUS, solo 102
STEREO 2TR A1 button 21
STEREO 2TR A2 button 21
STEREO 2TR D1 button 21
STEREO 2TR D2 button 21
STEREO 2TR D3 button 21
STEREO button, control room 21
STEREO button, routing 11
STEREO button, studio 20
STEREO DELAY 225
STEREO fader 15
STEREO FADER VIEW page 111
Stereo link, compressors 99
Stereo link, gates 61
Stereo link, surround pan 71
STEREO METER page 89
Stereo out
attenuating 90
automix 145
balance 75
channel library 123
compressors 97
delay 101
EQ 91
grouping faders 106
grouping mutes 107
inserts 95
level setting 74
metering 88, 89
muting 74
naming 112
patching to 2TR digital outputs 56
patching to omni outs 55
patching to slot outputs 54
routing to 66
scene recall safe 143
viewing fader settings 109
viewing parameter settings 108
STEREO OUT +4 dB (BAL) 25
STEREO OUT –10 dBV (UNBAL) 25
Stereo out chapter 73
STEREO section 15
STOP button 17
STOP button, automix 149
STORE button 16
Store Confirmation preference 197
Storing
library memories 122
scene memories 140
STUDIO LEVEL control 19
Studio manager port setup 164
STUDIO MONITOR OUT +4 dB (BAL)
24
Studio monitoring 115
SURROUND MODE SELECT page 69
SURROUND MONITOR LEVEL
control 21
SURROUND MONITOR LIBRARY 130
SURROUND MONITOR page 116
SURROUND MONITOR PATCH page
120
SURROUND MONITOR SETUP page
117
Surround monitoring 116
configuring 117
library 130
patching slot inputs 120
patching to omni outs 55
patching to slot outputs 54
Surround pan
automix 145
aux send pan 105
channel page 71
edit page 70
features 3
joystick 70
selecting modes 69
using 69
Switching on the 02R96 29
SYMPHO 5.1 247
SYMPHONIC 228
T
Tabs, pages 30
Takeover mode, automix 147
Talkback
02R96—Owner’s Manual
298
AD inputs 121
dimmer level 121
mic 19
setup 121
using 121
TALKBACK button 22
TALKBACK LEVEL control 19
TALKBACK SETUP page 121
Tascam I/O card 45
TC Drop Warning preference 198
Tempo, effects 134
Terminating wordclocks 43
THRESHOLD control 12
TIME REFERENCE page 152
Time signature map, automix 153
TIME SIGNATURE page 153
Timecode
automix source 152
capturing, automix 161
capturing, locate memories 194
capturing, setting memories 194
display 146
offset 146
Title edit window 32
Titling library memories 122
Titling scene memories 140
TO END 146
Touch Sense Control preference 199
Touch sense in/out, automix 151
Touch sense select 34
Touch Sense Select preference 199
Transmit channel 165
Transmitting bulk dump 168
Transport. See Data entry section
TREMOLO 230
Trimming automix events 159
Turning channels on or off. See Muting
Turning on the 02R96 29
Type I/II EQ 93
U
Undo automix 148
Undo scene memory 139
UPDATE 146
USB TO HOST port 26
drivers 163
MIDI 163
timecode source 152
USER DEFINED KEY ASSIGN page 196
USER DEFINED KEYS 1–16 16
USER DEFINED KEYS section
about 16
Pro Tools 176
using 196
User defined layer
automix 145
configuring 190
storing via bulk dump 168
using 191
User defined plug-ins
about 135
automix 145
configuring 135
02R96—Owner’s Manual
editing 136
storing via bulk dump 168
UTILITY button 8
V
Variable mode, aux sends 79
Vertical pairing 104
VIEW button 8
Viewing channel fader settings
input channels 109
output channels 109
Viewing channel parameter settings
input channels 108
output channels 108
W
Waves Y56K plug-ins effects card 135
Web site iii
Welcome chapter 1
Windows
configuring for Pro Tools 169
MIDI port setup 164
USB driver 163
WORD CLOCK 75Ω ON/OFF
termination switch 27
WORD CLOCK IN connector 27
WORD CLOCK OUT connector 27
WORD CLOCK SELECT page 42
Wordclocks
about 41
connections 41
selecting the source 42
terminating 43
X
XLR connectors 23
Y
Y56K plug-ins effects card 135
Yamaha web site iii
YGDAI. See Slots
02R96 Block Diagram
(Gain Reduction) (Out Meter)
INPUT 1(...56)
SIGNAL
GAIN
METER (Out Meter)
METER
0
26
INSERT I/O
(1-16)
METER
(Gain Reduction)
PAD
B
INSERT
OFF
GATE
AD IN 1( ...16)
AD Input
1-16
AD
ON
INSERT
ATT
4BAND
EQ
Keyin
12ch Group(1-12,13-24....)
AUX 1-8
INPUT
DELAY
PAN
STEREO R
Same as stereo master L
(Gain Reduction) (Out Meter)
LFE
(Gain Reduction)(Out Meter)
COMP
METER METER
PRE/POST
ON
AUX
COMP
AD IN 17( ..24)
OUTPUT
DELAY
ON
OSCILLATOR
SLOT1
SLOT IN
(1-4)
16
SLOT3
16
SLOT4
64
LEVEL
BUS 1(...8)
BUS to STEREO
AUX1(...8)
Same as above
SINE 100Hz
SINE 1kHz
SINE 10kHz
Pink Noise
Burst Noise
SLOT1 Input
1-16
SLOT2 Input
1-16
SLOT3 Input
1-16
SLOT4 Input
1-16
16
SLOT2
BUS 1(...8)
TO INPUT PATCH
PAN
16
METER
INSERT
ON LEVEL
4BAND
EQ
ATT
DIRECT OUT 1(...56)
INSERT
METER
INSERT
Keyin
Self or Stereo Link
AD Input
17-24
AD
STEREO L
METER METER
SIGNAL
INPUT
(17-24)
INSERT
ON LEVEL
OUTPUT
DELAY
4BAND
EQ
ATT
METER
INSERT
ON LEVEL
BAL
INSERT
METER
PAN
PEAK
x8
SOLO
METER
Mono in x 56
TO TALKBACK SELECT
INSERT
LEVEL
ON
AUX1(...8)
To CASCADE OUTPUT
CASCADE IN
isolate
2TR OUT DIGITAL PATCH
TO SURROUND MONITOR
CASCADE OUT
STEREO
BUS1-8
AUX1-8
2
2TR OUT DIGITAL 1
56
74
DITHER
2
2TR OUT DIGITAL 2
CONTROL ROOM 2
DITHER
2
2TR OUT DIGITAL 3
DIRECTOUT1-56
INSERT OUT
USE AD IN (1-16)
AS TALKBACK
FX2 SEND 1-2
FX3 SEND 1-2
2
2TR IN DIGITAL 1
AES/EBU
2TR IN DIGITAL 3
2TRD1 L/R
SRC
2TRD2 L/R
SRC
2TRD3 L/R
COAXIAL
+18dB
+4dB
BUS1-8
AUX1-8
for each OMNI OUT
SURROUND MONITOR
STEREO
BUS1-8
AUX1-8
DIRECT OUT 1-56
INSERT OUT
8
2
R
ASSIGN1
8
PHONES
DA
L
C-R
LEVEL
CONTROL ROOM MONITOR OUT
DA
8
8
56
3
DA
74
4
OMNI OUT
DA
5
DA
SLOT1 Input 1-8
SLOT2 Input 1-8
SLOT3 Input 1-8
SLOT4 Input 1-8
8
8
8
8
8x8
Patch
8
8
8
8
SLOT
6
L
PINK NOISE
R
500-2kHz
BPF
Ls/S
1kHz, 50Hz
BUS1-8
7
SLOT1
SLOT2
SLOT3
SLOT4
2TRA2 L/R
8
R
8
Rs
C
BUS
LFE
SURROUND MONITOR ATT
LEVEL
HPF
DELAY
HPF
DELAY
HPF
DELAY
HPF
DELAY
HPF
DELAY
LPF1
DELAY
LPF2
DELAY
16
16
16
16
DITHER
DITHER
DITHER
DITHER
SLOT1
SLOT2
SLOT3
SLOT4
SLOT IN
(1-4)
DELAY
TO OUTPUT PATCH
TO MONITOR SELECT
8
SOLO LOGIC
ASSIGN2
8
8
10
BUS1-8
L
STUDIO MONITOR OUT
R
DA PHONES
LEVEL
DA
2
STEREO
L
STUDIO
LEVEL
SURROUND MONITOR to C-R
DA
OMNI 1
OMNI 2
OMNI 3
OMNI 4
OMNI 5
OMNI 6
OMNI 7
OMNI 8
DA
L
AUX1-8
DA
2
DA
R
DA
8
2TRA1 L/R
AD
COAXIAL
CONTROL
ROOM
AUX8
STEREO
OUTPUT PATCH
AD
RCA
STEREO L
STEREO R
MONITOR SELECT
8
8
1
R
2TR IN ANALOG 2
2
2
2
2
2
2
STEREO
2TR D1
2TR D2
2TR D3
2TR A1
2TR A2
L
TRS
AES/EBU
COAXIAL
AUX8
FX2 Return 1-2
FX3 Return 1-2
FX4 Return 1-2
DA
2
2TR IN ANALOG 1
SOLO L
DA
2
2TR IN DIGITAL 2 COAXIAL
AUX7
SOLO R
SRC
8
AUX7
AD IN 1-16
Sur1
FX4 SEND 1-2
16
TALK BACK
FX1 Return 1-2
TB
DIMM
74
FX1-4
DIMM
INSERT OUT
8
TB
AD
TALKBACK DIMM
AUX1-8
SELECT
Sur1 Return 1-8
MONO
FX1 SEND 1-8
EFFECT
2
8
DITHER
off
METER
TO INPUT PATCH
AUX1-8
L
(-10dBV)
R
BUS1-8
STEREO OUT
STEREO L
INPUT PATCH
STEREO R
DA
DA
L
(+4dB)
R
DIMM
INPUT
(1-16)
PEAK
AUX 8
ON
A
COMP
AUX 1
+48V
PHANTOM
SOLO L
SOLO R
OFF
STEREO L
STEREO R
x 16
BUS1 (L)
BUS2 (R)
BUS3 (L/C/Ls)
BUS4 (R/S/Rs)
BUS5 (L/C)
BUS6 (R/LFE)
BUS7
BUS8
METER METER
02R96 Level Diagram
Analog
Analog
dBu
+24
+20
Digital
dBFS
Bit
0
0
INSERT
–20
–30
[+10dBu]
3
Nominal
Input
–10
5
INPUT
PATCH
PHASE
GATE
INSERT
ATT.
EQ
INSERT
COMP
DELAY
ON
LEVEL
INSERT
PAN
BUS
Adder
INSERT
ATT.
EQ
INSERT
COMP
MASTER
ON
MASTER
LEVEL
INSERT
BAL
DELAY
OUTPUT
PATCH
Analog
Analog
DA
CASCADE IN
CASCADE OUT
Digital Clipping Level
[+18dBu]
2
4
AD
Digital
dBu
1
+10
Max. Output
[+18dBu]
Nominal Output
[+4dBu]
[+4dBu]
GAIN MIN.,
PAD ON
–20
–50
7
–60
–40
–50
–80
–90
–70
Max.
Input [–46dBu]
CONTROL ROOM MONITOR OUT
STEREO OUT
STUDIO MONITOR OUT
OMNI OUT (default setting:18dB)
12
13
14
–60
15
–80
–110
–120
–100
–70
17
–80
18
–90
20
–100
21
–130
–110
–140
22
–110
23
–120
24
–120
–150
–130
25
–130
26
–160
–140
–170
27
–140
28
–150
29
–150
–180
–160
30
–160
31
–190
–170
–200
32
–210
DSP Noise Floor
–170
33
34
–180
–40
–60
GAIN MAX.,
PAD OFF
19
–90
–30
–50
Nominal
Input [–60dBu]
16
–100
+4
0
–20
OMNI OUT (4dB)
10
11
–70
+10
8
9
–30
+24
+20
–10
6
–40
–190
GAIN
Max.
Input [+24dBu]
–10
+4
0
PAD
Digital
–180
35
36
[0dBu = 0.775Vrms]
[0dBFS = Full Scale]
–190
YAMAHA [Digital Mixing Console-Internal Parameters]
Model: 02R96
Function...
Date: 20 Mar. 2002
MIDI Implementation Chart
Version: 1.0
Transmitted
Recognized
Remarks
1–16
1–16
1–16
1–16
Memorized
Memorized
Basic
Channel
Default
Changed
Mode
Default
Messages
Altered
X
X
**************
OMNI off/OMNI on
X
X
Note
Number
True Voice
X
**************
0–127
X
Velocity
Note On
Note Off
X
X
O
O
After
Key’s
Ch’s
X
X
X
X
X
X
O
O
Assignable
0–127
**************
0–127
0–99
Assignable
O
O
*1
Pitch Bend
Control
Change
Prog
Change
0-95,102-119
:True#
System Exclusive
Effect Control
System
Common
:Song Pos
:Song Sel
:Tune
X
X
X
O
X
X
Automix
System
Real Time
:Clock
:Commands
X
X
O
O
Automix,
Effect Control
Aux
Messages
:Local ON/OFF
:All Notes OFF
:Active Sense
:Reset
X
X
X
X
X
X
O
O
Notes
MTC quarter frame message is recognized (MTC IN & MIDI IN).
*1: Bulk Dump/Request, Parameter Change/Request, and MMC.
For MIDI Remote, ALL messages can be transmitted.
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
O: Yes
X: No
YAMAHA CORPORATION
V868730 R0 1 IP 320
02 04 830 AP Printed in Japan
Pro Audio & Digital Musical Instrument Division
P.O. Box 3, Hamamatsu, 430-8651, Japan
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