Yamaha 01V manual

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–10dBV (UNB

L

AL)

15

PHANT

OM +48V

OFF

ON

13

R

16

OUT

IN

2TR

PHONES

14

GAIN

–60

–34

7

26dB

26dB

–16

+10

–16

+10

Owner’s Manual

–60

–34

–60

–34

–60

–34

GAIN

26dB

–16

+10

GAIN

–16

+10

GAIN

GAIN

–60

–34

Owner’s Manual

10

11

12

–16

+10

–60

–34

9

26dB

GAIN

8

15/16

2TR IN

+10

GAIN

–20

+10

GAIN

–20

15/16

13/14

MONIT

2TR IN

OR

10

0

LEVEL

OR

0

LEVEL

10

PHONES

DIGIT

AL MIXING CONSOLE

HIGH

EQ

PAN

F

HI-MID

LO-MID

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

PAN

F

G

LOW

G

SELECTED CHANNEL

1 RETURN 2 interstage

Phistersvej 31, 2900 Hellerup, Danmark

Telefon 3946 0000, fax 3946 0040 www.interstage.dk

- pro audio with a smile

8

9

10

SEL

11

SEL

SEL

12

SEL

13/14

SEL

15/16

SEL

SOLO

STEREO

MASTER

SEL

SOLO

ON

OLO

E

SOLO

ON

SO

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

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

IMPORTANT NOTICE FOR

THE UNITED KINGDOM

Connecting the Plug and Cord

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.

* This applies only to products distributed by YAMAHA KEMBLE

MUSIC (U.K.) LTD.

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.

NEDERLAND

● Dit apparaat bevat een lithium batterij voor geheugen 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

● Gooi de batterij niet weg, maar lever hem in als KCA.

THE NETHERLANDS

● This apparatus contains a lithium battery for memory back-up.

● 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

● Do not throw away the battery. Instead, hand it in as small chemical waste.

Important Information

Read the Following Before Operating the 01V

Warnings

• Do not locate the 01V in a place subject to excessive heat or in direct sunlight. This could be a fire hazard.

• Do not place the 01V in a place subject to excessive humidity or dust. This could be a fire and electrical shock hazard.

• Connect the 01V power cord only to an AC outlet of the type stated in this

Owner’s

Manual

or as marked on the 01V. Failure to do so is a fire and electrical shock hazard.

• Do not plug several devices into the same AC outlet. This can overload the AC outlet, and can be a fire and electrical shock hazard. It may also affect the performance of some devices.

• Do not place heavy objects on the power cord. A damaged power cord is a potential fire and electrical shock hazard.

• If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a replacement. Using the 01V in this condition is a fire and shock hazard.

• Hold the power cord plug when disconnecting from an AC outlet. Never pull the cord. Damaging the power cord in this way is a potential fire and electrical shock hazard.

• Do not place small metal objects on top of the 01V. Metal objects inside the 01V are a fire and electrical shock hazard.

• Do not block the 01V ventilation slots. The 01V has ventilation slots on the top and rear to prevent the internal temperature from rising. Blocked ventilation slots are a fire hazard.

• Do not try to modify the 01V. This could be a fire and electrical shock hazard.

• The 01V operating temperature is between 5˚C and 35˚C (41˚F and 95˚F).

Cautions

• Turn off all audio devices and speakers when connecting to the 01V. Refer to the owner’s manual for each device. Use the correct cables and connect as specified.

• If you notice any abnormality—such as smoke, odor, or noise—turn off the 01V immediately. Remove the power cord from the AC outlet. Confirm that the abnormality is no longer present. Consult your dealer for repair. Using the 01V in this condition is a fire and shock hazard.

• If a foreign object or water gets inside the 01V, turn it off immediately. Remove the power cord from the AC outlet. Consult your dealer for repair. Using the 01V in this condition is a fire and electrical shock hazard.

• If you plan not to use the 01V for a long period of time, remove the power cord from the AC outlet. Leaving the 01V connected is a fire hazard.

• Do not use benzene, thinner, cleaning detergent, or a chemical cloth to clean the 01V.

Use only a soft, dry cloth.

• The 01V is a heavy piece of equipment. Always grip the underneath, not the side panels, when lifting.

i

01V—Owner’s Manual

ii

Interference

01V uses high-frequency digital circuits that may cause interference on radios and televisions placed close to it. If interference does occur, relocate the affected equipment.

Copyright

© 1998 Yamaha Corporation. All rights reserved.

No part of the 01V software or this

Owner’s Manual

may be reproduced or distributed in any form or by any means without the prior written authorization of Yamaha Corporation.

Trademarks

ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are registered trademarks of Alesis Corporation. Macintosh is a registered trademark of

Apple Computer, Inc. Pro Tools is a registered trademark of Digidesign or Avid Technology, Inc. Tascam Digital Interface is a trademark and Tascam and TEAC are registered trademarks of TEAC Corporation. Windows is a trademark of Microsoft

Corporation.

All other trademarks are the property of their respective holders and are hereby acknowledged.

Package Contents

The 01V package should contain the following items. Make sure that you have them all.

• 01V Digital Mixing Console

• Owner’s Manual

Contact your Yamaha dealer if anything is missing.

Keep this manual for future reference!

01V—Owner’s Manual

Contents

iii

Contents

1 Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . 1

Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Key Feature Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

2 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

01V System Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Important Wordclock Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning On the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning Off the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3 Touring the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Top Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

4 Getting Around the User Interface . . . . . . . . . . . . 27

About the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

PARAMETER Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

–1/DEC & +1/INC Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

ENTER Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Title Edit Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

5 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Input Channel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Phantom Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pad Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Setting Input Channel Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Changing the Input Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Attenuating Input Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Applying EQ to Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Input Channels Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Muting Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Monitoring Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

01V—Owner’s Manual

iv

Contents

Input Channels & the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & the Option I/O Outs . . . . . . . . . . . . . . . . . . . . . . . . . 50

Swapping Inputs 1–8 & 17–24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Grouping Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Grouping Mutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Copying & Swapping Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . 59

Input Channel Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

6 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

About the 01V EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Adjusting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

EQ Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Resetting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Preset EQ Program List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Storing EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Recalling EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Editing EQ Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Preset EQ Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

7 Solo, Monitors & Meters . . . . . . . . . . . . . . . . . . . . 75

About Monitor & Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Monitor Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Two-track Input (2TR IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Monitor Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Using Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Monitor Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Solo Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Using Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Solo Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Metering Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Main Stereo Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Peak Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Setting the Metering Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Option I/O Meters (input channels 17–24) . . . . . . . . . . . . . . . . . . . . . . 85

Effects Send Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

8 Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

About the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Analog Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

2TR Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Coaxial Digital Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . 88

Option I/O & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Omni Outs & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Solo & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Monitoring the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

01V—Owner’s Manual

Contents

Metering the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Routing Signals to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Viewing Stereo Output Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Setting the Stereo Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Muting the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Balancing the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Applying EQ to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Stereo Output Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

9 Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

About the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Option I/O & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Omni Outs & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Monitoring Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Metering Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Sending Channel Signals to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . 95

Pre-fader/Post-fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Setting Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Muting Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Applying EQ to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Aux Send Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Stereo Pair Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

10 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

About the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Option I/O & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Omni Outs & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Routing Signals to the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Setting Bus Out Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Muting Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Routing Bus Signals to the Stereo Bus . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Pairing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Bus Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Stereo Pair Bus Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

11 Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

About the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Assigning Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Omni Out Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Omni Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

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12 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

About the Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Using the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Pre-fader/Post-fader Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Viewing Effects Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Metering Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Setting Effects Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Muting Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Viewing Effects Returns Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Metering Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Applying EQ to Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Muting Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Setting Effects Returns Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Panning Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Routing Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Monitoring Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Effects Returns & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Storing Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Recalling Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Editing Effects Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Setting Delay, Freq, Note & Tempo Parameters . . . . . . . . . . . . . . . . . . 137

Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Effects Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

13 Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . 161

About the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Preset Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Using the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Editing the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Processor Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Storing Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Recalling Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Editing Dynamics Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Preset Dynamics Program Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

14 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . 183

About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

What’s Stored in Scene Memories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

About the Edit Buffer & Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Scene Memory 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Scene Memory Display Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Storing Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Recalling Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Recalling Mix Scenes Using MIDI Program Change Messages . . . . . . 188

Undoing Mix Scene Recalls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Protecting Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

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Editing Scene Memory Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Renumbering Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Setting a Fade Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Recalling Scene Data Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

15 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Assigning Faders & On Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Setting 01V Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Initializing the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Calibrating the Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

16 Using the Digital Inputs & Outputs . . . . . . . . . . . 205

About Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Setting the Wordclock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Digital Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Output Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Digital Stereo In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Cascading 01Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

About Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Installing Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Assigning Option I/O Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Option I/O Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

17 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

MIDI & the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

MIDI Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

MIDI Receive Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Program Change Scene Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Control Change Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

System Exclusive Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Local Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

User Defined MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Linking 01Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

18 System Examples . . . . . . . . . . . . . . . . . . . . . . . . . . 241

01V & ADAT-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Two 01Vs & two ADAT-Interface Recorders . . . . . . . . . . . . . . . . . . . . 244

01V & Tascam-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Two 01Vs & two Tascam-Interface Recorders . . . . . . . . . . . . . . . . . . . 248

01V & Pro Tools (AES/EBU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Appendix A: General . . . . . . . . . . . . . . . . . . . . . . . . . . 257

01V Level Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Display Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

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Security Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Rack-mounting Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 261

General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Input Channels 1–16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Option I/O Inputs 17–24 (need optional card) . . . . . . . . . . . . . . . . . . . 264

Digital Stereo In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Return 1, 2 (Internal Effect 1, 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Bus 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Aux 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Omni Out 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Monitor Out (Solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Digital Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Option I/O Output (need optional card) . . . . . . . . . . . . . . . . . . . . . . . 266

Memories & Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Analog Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Analog Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Digital Audio Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Digital Audio Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Control I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

01V Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . 273

01V Parameter to Control Change Table . . . . . . . . . . . . . . . . . . . . . . 274

03D & Programmable Mixer 01 Parameter to Control Change Table 277

MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Appendix D: Resources . . . . . . . . . . . . . . . . . . . . . . . 291

Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Yamaha Web Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

01V—Owner’s Manual

Welcome to the 01V

Welcome to the 01V

1

1

In this chapter...

Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Key Feature Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

01V—Owner’s Manual

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Chapter 1—Welcome to the 01V

Welcome to the 01V

Thank you for choosing the Yamaha 01V Digital Mixing Console. Based on the highly successful Yamaha digital mixer series, the Yamaha 01V has been designed with MIDI musicians and small sound reinforcement applications in mind, although its versatility, compactness, and ease-of-use will appeal to both professional and semiprofessional users.

About this Owner’s Manual

This Owner’s Manual contains all the information you’ll need in order to operate your

01V Digital Mixing Console. Use the table of contents to find general information and familiarize yourself with the organization of this manual, and use the index to locate

specific items. A glossary of 01V-related jargon is provided on page 293.

Each chapter covers a specific section of the 01V. The Input Channels Chapter, for example, explains all about input channels, while the Scene Memories Chapter deals with scene memories. The content of each chapter should be fairly obvious from its title. Items such as EQ and dynamics, which are available on input channels, aux sends, and the stereo output, are explained in their own chapters.

Where possible, the individual sections of a chapter are organized in order of signal flow. The Input Channel Chapter, for example, starts with the input connectors and works through each input channel function, finishing up at the buses.

01V Installation

Site the 01V on a stable surface, somewhere that complies with the important information at the front of this manual. The 01V can be rack-mounted using an optional rack-mount kit.

01V—Owner’s Manual

01V Features

01V Features

01V Sonic Specs

• Linear 20-bit 128-times oversampling A/D converters

• Linear 20-bit 8-times oversampling D/A converters (STEREO OUT)

• 105 dB typical dynamic range (CH INPUT to STEREO OUT)

• 20 Hz–20 kHz (+1, –3 dB) frequency response

• 32-bit internal digital audio processing

• 44-bit digital EQ processing

01V Features

• 24 inputs (including 8 digital inputs)

• 14 outputs (STEREO OUT, OMNI OUTs, 8 assignable digital outputs)

• Continuously variable gain controls

• Balanced XLRs with +48 V phantom powering (input channels 1 through 12)

• 26 dB pad (input channels 1 through 12)

• Balanced phone jack inputs (input channels 1 through 16)

• Four configurable analog Omni outs (AUX, BUS, CH DIRECT, STEREO)

• Option I/O slot for digital interface with 8-track digital multitrack recorders

• 8 assignable digital outputs from an Option I/O card (Tascam, ADAT, AES/EBU)

• Coaxial-type digital input and output

• Versatile solo modes for comprehensive monitoring

• 3 fader groups for multiple fader control

• 3 mute groups for multiple mute control

• 250 ms input delay (1–16) and 300 ms output delay (STEREO OUT, OMNI OUTs)

• Channel Copy function

• Stereo-pair operation for input channels, aux sends, and bus outs

• 100 scene memories for storing mix snapshots

• Four-band parametric EQ (2-band on Option I/O input channels)

• Powerful EQ library with 40 preset programs and 40 user programs

• Dedicated controls for EQ and pan

• Two stereo multi-effects processors onboard

• Powerful effects library with 42 preset programs and 57 user programs

• The equivalent of 22 dynamics processors onboard (compressor, gate, ducking, expander, compander)

• Powerful dynamics library with 40 preset programs and 40 user programs

• 320 x 80 dot LCD display

• Comprehensive MIDI implementation (remote control, MMC, Bulk)

• Built-in MIDI interface and TO HOST port for quick and simple connection to a personal computer

• 15 motorized 60 mm faders

3

01V—Owner’s Manual

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Chapter 1—Welcome to the 01V

Key Feature Discussion

Configuration

The 01V provides a total of 24 inputs: 12 mono input channels (1 through 12), 2 stereo input channels (13/14 and 15/16), and 8 digital inputs (17 through 24) by means of an

Option I/O card. The stereo output signal is available from the analog STEREO OUT, coaxial DIGITAL STEREO OUT, and can be assigned to the analog OMNI OUTs and

Option I/O digital outputs. The four bus outputs and four aux sends can be assigned to the analog OMNI OUTs and Option I/O digital outputs. The Effect 1 and Effect 2 buses feed the onboard stereo multi-effects processors, whose signals are returned via effects returns 1 and 2, which feature four-band parametric EQ. Input channels 1 through 12 feature balanced XLR and phone jack connections, with switchable phantom powering.

Input channels 13 through 16 feature phone jack connections. Input channels 17 through 24 are accessed via an Option I/O card.

Full-feature input channels 1 through 16 feature an attenuator, four-band parametric

EQ, dynamics processor, delay, and can be assigned to aux sends 1 through 4 and effects sends 1 and 2. Simplified input channels 17 through 24 feature an attenuator, two-band parametric EQ, and can be assigned to aux sends 1 and 2 and effects sends 1 and 2.

Input channels 1 through 8 and 17 through 24 can be swapped, so that Option I/O digital input signals appear on full-feature channels 1 through 8. Input delays can be used for microphone-placement compensation, while output delays can be used for delay-compensation in multi-speaker systems. The number of input channels can be increased by digitally cascading two 01Vs together. Option I/O digital outputs can be configured as bus outs, aux sends, input channel direct outs, or stereo outs. So although the 01V is a four-bus mixer, assigning the four buses and four aux sends, or the channel direct outs to the Option I/O eight outputs allows eight-track simultaneous recording.

Benefits of a Digital Mixer

You’re probably already familiar with the many benefits offered by digital audio, but what exactly are the benefits for digital audio mixing? Well, an audio mixer has the job of combining audio signals from various sources, at differing levels and impedances, usually into a stereo mix. And it must do this without introducing any new distortions and noise. Analog mixers do a pretty good job, but even with the best designs, non-linear effects caused by circuit components are unavoidable.

In the digital realm, audio mixing consists of adding and multiplying binary numbers that represent audio signals. The DSP (Digital Signal Processor) chips used for these calculations never get their sums wrong, so once past the initial A/D conversion, audio signals are immune from signal degradation. With the 01V, noise, distortion, and crosstalk are virtually eliminated, and you’ll hear a new clarity in your mixes.

Once in the digital domain, it makes sense to keep audio data digital, as multiple

AD/DA conversions can degrade signal quality. With an Option I/O interface card, the

01V can be connected directly to a modular digital multitrack recorder, thereby keeping audio data in the digital domain for both recording and mixing. The final stereo mix can be transferred to a two-track digital recorder using the 01V’s Coaxial STEREO

OUT.

Onboard stereo multi-effects processors and dynamics processors mean that signals remain in the digital domain, eliminating unnecessary AD/DA conversions. Digital signal processing is performed using third-generation Yamaha DSPs, as used in the

Yamaha ProR3 Digital Reverberator.

01V—Owner’s Manual

Key Feature Discussion

5

01V Sonic Performance

The 01V’s linear 20-bit 128-times oversampling A/D converters provide a typical dynamic range of 105 dB. The STEREO OUT features 20-bit 8-times oversampling

D/A converters, while the MONITOR OUT and OMNI OUTs feature 18-bit 8-times oversampling D/A converters. Oversampling techniques effectively increase the internal sampling rate, so side effects caused by steep low-pass filters, used to filter out sampling frequency components during D/A conversion, are virtually eliminated.

Consequently, audio signal integrity is maintained from input through to output.

The 01V can generate the industry standard sampling rate of 44.1 kHz, or synchronize to an external wordclock source from 44.1 kHz –10% to 48 kHz +6%.

Four-band Parametric EQ & Library

Input channels 1 through 16, the stereo output, aux sends, and effects returns all feature four-band fully parametric EQ, with variable gain, frequency, Q, and bypass. Input channels 17 through 24 feature a simplified two-band parametric EQ. High and low EQ

bands can be used as shelving, peaking, or HPF and LPF, respectively. See “EQ” on page

61 for more information.

EQ settings can be stored in the EQ library as programs, or with all mix settings in mix scenes. The EQ library consists of 40 preset programs and 40 user programs. User programs allow you to store frequently used EQ settings, which can be titled for easy identification. The unique collection of preset EQ programs are designed for specific applications and instruments, and provide a good reference and starting point when

making EQ adjustments. See “EQ Library” on page 67 for more information.

Motorized Faders

The 01V features 15 motorized 60 mm faders that move automatically when a mix scene is recalled, providing a clear and visual indication of fader levels. A fade time of up to 25 seconds can be set for each mix scene individually. Faders can be grouped

together in one of three fader groups for multiple fader control. See “Grouping Faders”

on page 55 for more information. Faders on paired channels move simultaneously. See

“Pairing Input Channels” on page 52 for more information.

01V Faders are multifunction controls, and their exact operation depends on the selected Fader mode. Input channel faders may be used as channel faders or aux or effects send controls. The STEREO fader may be used as the stereo output fader or aux

or effects send master level faders. See “Fader Modes” on page 32 for more information.

Faders 1 through 16 and master can be assigned to various internal parameters on

REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See “Assigning Fad-

ers & On Buttons” on page 194 and “User Defined MIDI Controllers” on page 238 for

more information.

01V—Owner’s Manual

6

Chapter 1—Welcome to the 01V

Onboard Effects Processors

The 01V has two stereo multi-effects processors onboard: Effect 1 and Effect 2. These processors provide a wide range of quality effects, including reverb, delay, chorus, flange, amp simulator, and more. There are 34 different effects types available. The effects processors are fed by the Effect 1 and Effect 2 buses, and the processed signals are returned through the effects return channels. Effects can be applied to input channels

1 through 24. Effects return 1 can be fed to Effect 2, and Effects return 2 can be fed to

Effect 1.

Effects settings can be stored in the effects library as programs, or with all mix settings in mix scenes. The effect library consists of 42 preset programs and 57 user programs.

User programs allow you to store your own effects programs, which can be titled for

easy identification. See “Effects Library” on page 132 for more information.

External effects processors can be patched into the 01V using the aux sends.

Onboard Dynamics Processors

Dynamics processors, providing compressor, gate, ducking, expander, and compander, are available on input channels 1 through 16, the stereo output, and the aux sends.

That’s equivalent to 22 dynamics processors! Dynamics processors can be self triggering

(i.e., the signal being processed is used as the trigger signal), or triggered by a signal from another channel.

Dynamics settings can be stored in the dynamics library as programs, or with all mix settings in mix scenes. The dynamics library consists of 40 preset programs and 40 user programs. User programs allow you to store your own dynamics programs, which can

be titled for easy identification. See “Dynamics Library” on page 173 for more information.

Option I/O & Digital I/O

The 01V features a single slot for an optional Option I/O card, providing eight digital inputs (input channels 17 through 24) and eight assignable digital outputs. Option I/O provides a direct digital connection to modular digital multitrack recorders, with cards for the following formats: ADAT, Tascam, and AES/EBU. Various Option I/O cards with

analog inputs and outputs are also available. See “About Option I/O Cards” on page 216 for more information. 01V Option I/O cards are not interchangeable with the YGDAI

cards used by the Yamaha 02R and 03D Digital Recording Consoles, such as the

CD8-AT.

The Coaxial DIGITAL STEREO IN and OUT allow direct connection to stereo digital recorders and other digital equipment. Digital stereo signals can be routed to the Stereo

bus for cascade operation, or to input channels 13/14 for mixing and processing. See

“Digital Stereo In” on page 213 for more information.

Easy-to-Learn GUI Interface

01V operation is both logical and intuitive. The 320 x 80 dot LCD display uses graphical icons to represent rotary controls, switches, and faders, and provides a clear indication of the current mix settings and EQ curves. Dedicated controls allow for quick EQ and pan adjustments. Mixing functions and configuration settings are organized into display pages. Parameter selection and editing is performed using the [CURSOR],

[ENTER], [–1/DEC] and [+1/INC] buttons, and PARAMETER wheel.

01V—Owner’s Manual

Key Feature Discussion

Scene Memories

On many mixers, the only way to store mix settings is with marker pen and masking tape. With the 01V, however, virtually every mix setting can be stored in a mix scene using the 01V’s 99 scene memories. Mix scenes can be recalled instantly with just one button press, or remotely using MIDI Program Change commands. If you work on several projects at a time, you can store the current mix scene so when you return to that project, you can start again right where you left off. Scene memories also make light work of night-after-night sound checks. Simply press recall to return to the previous night’s mix settings. For theater work, scene memories allow accurate and repeatable sound changes between scenes.

MIDI

In addition to regular MIDI ports, the 01V features a TO HOST port that allows the

01V to be connected directly to a personal computer without a MIDI interface.

MIDI Program Change messages can be used to recall mix scenes, and mix parameters can be assigned to MIDI Control Change messages for real-time remote control. Mix parameters that can be stored in mix scenes can be controlled remotely using MIDI System Exclusive messages. Scene memory, library, and setup data can be transferred to a

MIDI data filer, computer, or another 01V for backup and archive using MIDI Bulk

Dump. See “MIDI” on page 221 for more information.

When REMOTE page 2 is displayed, the 01V’s [SEL] and [ON] buttons can be used to control recorders that support MMC (MIDI Machine Control) commands (stop, play, rewind, forward, and record). When REMOTE page 3 is displayed, faders, [SOLO] &

[ON] buttons function as assignable MIDI Controllers.

7

01V—Owner’s Manual

8

Chapter 1—Welcome to the 01V

01V—Owner’s Manual

Getting Started

Getting Started

9

2

In this chapter...

01V System Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Important Wordclock Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning On the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning Off the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

01V—Owner’s Manual

10

Chapter 2—Getting Started

01V System Example

This example shows the kind of system possible with the 01V.

Monitors

Power Amp

Headphones

Personal computer running MIDI software

Serial port

MIDI interface

PHONES

MONITOR OUT

MIDI IN

MIDI OUT

PHANTOM +48V OFF ON

INPUT (BAL)

PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10 0

LEVEL

10

PHONES

OPTION I/O

Digital in

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

Digital out

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

–1/DEC

PARAMETER

+1/INC

CURSOR

OUT

Digital in

DIGITAL STEREO

COAXIAL

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

IN

Digital out

Digital multitrack

DAT recorder

00.00.00.00

8-TRACK DIGITAL

DAT

MIC/LINE inputs 1–16

Drum machine

Guitar processor

MIDI IN

MIDI IN

MIDI OUT

MIDI IN

Tone generator

MIDI keyboard

Vocals

Bass processor

Drums

01V—Owner’s Manual

Important Wordclock Information

11

Important Wordclock Information

Unlike analog audio equipment, digital audio equipment must be wordclock synchro-

nized when digital audio is transferred from one device to another. See “About Wordclocks” on page 206 for more information.

If the 01V is the only digital audio device in your system, no special wordclock settings are required, and the 01V synchronizes to its own internal wordclock. Add a DAT recorder or digital multitrack recorder, however, and the system must be configured so

that digital audio equipment synchronizes to a common wordclock source. The “System Examples” on page 241 show how to configure wordclock settings with a variety of

digital audio equipment.

Connecting the Power Cord

Warning: Turn off all equipment before making any connections.

Connect the 01V power cord to a suitable AC wall outlet, one that conforms to the power supply requirements stated on the rear panel of the 01V.

Turning On the 01V

Always turn on your audio equipment in the following order:

1. Sound sources

POWER

ON/ OFF

2. 01V

3. Monitor amplifier

To turn on the 01V, press the 01V POWER switch located on the rear panel.

When turned on, the 01V startup screen appears for a few seconds, and then the display page selected when the 01V was last turned off appears.

Turning Off the 01V

Always turn off your audio equipment in the following order:

1. Monitor amplifier

2. 01V

3. Sound sources

To turn off the 01V, press the 01V POWER switch located on the rear panel.

All parameter settings, scene memories, and library programs are stored when the 01V is turned off.

01V—Owner’s Manual

12

Chapter 2—Getting Started

01V—Owner’s Manual

Touring the 01V

13

Touring the 01V

3

In this chapter...

Top Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

01V—Owner’s Manual

14

Chapter 3—Touring the 01V

Top Panel Controls

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–18

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

The individual sections of the 01V are explained on the following pages.

01V—Owner’s Manual

Top Panel Controls

15

Analog Control Section

1 2 3

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

15/16

2TR IN

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

+10

LEVEL

–20

MONITOR

OUT

+10

LEVEL

–20

PHONES

4 5 6

A

PAD switches

These switches are used to turn on and off the 26 dB input pads. See “Pad Switches” on page 41 for more information.

B

15/16–2TR IN Switch

This switch is used to select the signal source for input channels 15 and 16: phone jacks

15 and 16 (15/16) or the 2TR IN phono jacks (2TR IN).

C

MONITOR–2TR IN Switch

This switch is used to select the signal source for the monitor out and phones: Monitor bus (MONITOR) or 2TR IN phono jacks (2TR IN).

D

GAIN controls

These controls are used to adjust the gain of the input preamps. See “Setting Input

Channel Gain” on page 41 for more information.

E

MONITOR OUT LEVEL control

This control is used to adjust the monitor out level.

F

PHONES LEVEL control

This control is used to adjust the phones level.

01V—Owner’s Manual

16

Chapter 3—Touring the 01V

Display, Selected Channel Controls & Meters

FUNCTION

MEMORY

1 RETURN 2

1

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

4

2 3

A

Display

This 320 x 80 dot LCD display provides clear indication of mix settings and operating status. As well as showing parameter values numerically, faders and rotary controls are represented graphically, so you can actually see pan and fader positions. The display

also shows EQ curves and signal level meters. See “Display” on page 28 for more information.

B

SELECTED CHANNEL Controls

These controls are used to adjust the pan and EQ of the selected channel. Dedicated rotary controls for PAN, EQ frequency (F) and EQ gain (G), and EQ [HIGH],

[HI-MID], [LO-MID], and [LOW] buttons make for quick operation. When the EQ

AUTO SCREEN option is turned on, and an EQ control is adjusted, the EQ page appears automatically. Likewise, for the PANPOT AUTO SCREEN option and PAN

control. See “Setting 01V Preferences” on page 203 for more information.

C

Contrast

This control is used to adjust the display contrast. Adjust it so that the display is clear and easy-to-read from your viewing position. You may need to readjust it when viewing the display from a different height or angle.

D

Stereo Output Meters

These 12-segment LED bar-type meters display the stereo output signal levels.

Parameter Wheel, Cursors & Enter

–1/DEC

PARAMETER

+1/INC

CURSOR

ENTER

These controls are used to navigate around the display pages and edit parameters. See

“Getting Around the User Interface” on page 27 for more information.

01V—Owner’s Manual

Top Panel Controls

17

Function Buttons

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

MEMORY

Function buttons are used to access the following function pages. Related pages are grouped together and can be selected by repeatedly pressing a button. The name of the selected function and its page number appear in the top-left corner of the display.

Button

UTILITY

MIDI

SETUP

VIEW

DYNAMICS

EQ/ATT

ø/DELAY

PAN/ROUTING

MEMORY

Pages

Oscillator, Preferences-1, Preferences-2

MIDI Setup, Program Change, Control Change, Bulk, Local Control

Word Clock Select, Monitor/Solo Setup, Group, Pair, Dither

Channel View, Fader View, CH Copy

Dynamics Edit, Dynamics Library

EQ Edit, EQ Library

Phase, Input Delay 1–8, Input Delay 9–16, Output Delay

Panpot, Routing, Bus Master, Omni Out Select

Memory, Fade Time, Memory Sort, Recall Safe

Fader Mode Buttons

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

HOME

Fader mode buttons are used to select the following fader modes and display pages.

Pressing buttons repeatedly selects the various pages that are available for a mode. The name of the selected function and its page number appear in the top-left corner of the display.

Button

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE

AUX 1

AUX 2

AUX 3

AUX 4

HOME

Pages

Effect1 Edit, Effect1 Library, Effect1 Pre/Post

Effect2 Edit, Effect2 Library, Effect2 Pre/Post

Option In Meter, Channel Control, Option Out Meter, Option Out

Select, Input Swap

Internal Parameter, MMC Control, User Define

Pre/Post, Aux 1-2 Pan

Pre/Post, Aux 1-2 Pan

Pre/Post, Aux 3-4 Pan

Pre/Post, Aux 3-4 Pan

Input Meter, Rtn/Output Meter, Omni Out Meter, St Out Meter,

Metering Point

01V—Owner’s Manual

18

Chapter 3—Touring the 01V

SEL, SOLO, ON buttons & Faders

1

2

3

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

ON ON

5

SOLO

6

4

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

A

SEL buttons

The [SEL] buttons are used to select channels for parameter editing: input channels 1 through 24, effects returns 1 and 2, aux sends 1 through 4, effects sends 1 and 2, and the stereo output. Press [SEL] button 13/14 or 15/16 repeatedly to select input channels 13 and 14 or 15 and 16, respectively. Since most functions on input channels 13 and 14

(likewise 15 and 16) are linked together, the only time you’ll need to select either channel 13 or channel 14 (likewise 15 or 16) is to set the Phase or Pan for a channel individually. The number of the selected channel appears in the lower-right corner of the

display. See “Display” on page 28 for more information.

Normally, [SEL] buttons 1 through 8 select channels 1 through 8. When the [OPTION

I/O] button is pressed, however, they select input channels 17 through 24, which are

only available when an Option I/O card is installed. See “SEL Buttons” on page 32 for more information. The [SEL] buttons 1 through 6 are also used to transmit MMC

(MIDI Machine Control) Locate commands when REMOTE page 2 is displayed.

Finally, [SEL] buttons are also used to make and break channel pairs (“Pairing Input

Channels” on page 52) and fader and mute groups (“Grouping Faders” on page 55 and

“Grouping Mutes” on page 56).

B

SOLO buttons

The [SOLO] buttons are used to solo channels: input channels 1 through 16 and effects returns 1 and 2. Normally, [SOLO] buttons 1 through 8 select channels 1 through 8.

When the [OPTION I/O] button is pressed, however, they select input channels 17

through 24, which are only available when an Option I/O card is installed. See “Solo

Buttons” on page 33 for more information.

The [SOLO] buttons 1 through 16 can also be used as MIDI controllers on REMOTE

page 3. See “User Defined MIDI Controllers” on page 238 for more information.

C

ON buttons

The [ON] buttons are used to turn channels on and off: input channels 1 through 24, effects returns 1 and 2, aux sends 1 through 4, effects sends 1 and 2, and the stereo out-

01V—Owner’s Manual

Top Panel Controls

19

put. Normally, [ON] buttons 1 through 8 select channels 1 through 8. When the

[OPTION I/O] button is pressed, however, they select input channels 17 through 24,

which are only available when an Option I/O card is installed. See “ON Buttons” on page 34 for more information.

The [ON] buttons 1 through 16 and master can be assigned to various internal parameters on REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See

“Assigning Faders & On Buttons” on page 194 and “User Defined MIDI Controllers” on page 238 for more information.

D

Faders

Depending on the selected fader mode, the 01V’s 60 mm motorized faders are used to control channel levels, aux send levels, or effects sends levels. Normally, faders 1 through 8 control channels 1 through 8. When the [OPTION I/O] button is pressed, however, they control input channels 17 through 24, which are only available when an

Option I/O card is installed. See “Faders (plus Return Rotary Controls)” on page 35 for more information.

Faders 1 through 16 and master can be assigned to various internal parameters on

REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See “Assigning Fad-

ers & On Buttons” on page 194 and “User Defined MIDI Controllers” on page 238 for

more information.

E

RETURN Controls

The RETURN controls are used to adjust the effects return levels, and their positions are displayed in the lower-left corner of the display.

F

SOLO Status Indicator

The SOLO status indicator lights up when a channel is soloed.

01V—Owner’s Manual

20

Chapter 3—Touring the 01V

Inputs & Outputs

Input and output connectors are located on the top and rear panels.

Top Panel

PHANTOM +48V

OFF ON

INPUT (BAL)

1

PHANTOM +48V

OFF ON

13

14

15

16

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

2

3 4 5

A

INPUT (BAL) 1–12

Input channels 1 through 12 feature balanced XLR-3-31-type and balanced phone jack connectors, both with a nominal input range of –60 dB to +10 dB. Phantom powering

(+48 V) is supplied to the XLR connectors, with master on/off switches for connectors

1 through 6 and 7 through 12. 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. With their high sensitivity and 26 dB

PAD switches, these inputs can handle a wide range of signals, from condenser microphones to “hot” line levels.

Male XLR plug

1 (ground)

3 (cold)

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground) 2 (hot)

B

INPUT (BAL) 13–16

Input channels 13 through 16 feature balanced phone jack connectors, with a nominal input range of –20 dB to +10 dB.

These inputs are designed for use with line-level sources, and can also be used with unbalanced phone plugs. The stereo outputs of an external effects processor or other stereo device can be connected here.

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

01V—Owner’s Manual

Inputs & Outputs

21

C

2TR IN

These are phono jacks with a –10 dBV nominal input level.

Signals input here can be monitored via the monitor out and phones when the MONITOR–2TR IN switch is set to

2TR IN. The stereo outputs of a master recorder can be connected here for confidence monitoring and master playback.

By setting the 15/16–2TR IN switch to 2TR IN, 2TR IN signals can be fed to input channels 15 and 16 for mixing with other signals.

Phono plug

Tip

Sleeve

D

2TR OUT

These are phono jacks with a –10 dBV nominal output level.

The 2TR OUT signal is the same as the stereo out signal. A cassette deck, DAT, or MiniDisc deck connected here can be used to record the stereo mix.

E

PHONES

This is a stereo (TRS) phone jack, to which a pair of stereo headphones can be connected for monitoring. The phones signal is the same as the monitor out signal, and the level is set using the phones level control.

Phono plug

1/4" TRS phone plug

Tip

Sleeve

Tip (left)

Ring (right)

Sleeve (ground)

01V—Owner’s Manual

22

Chapter 3—Touring the 01V

Rear Panel

1 2 3 4 5 2 6 7 8

CH 7-12

ON OFF

MONITOR OUT

+4dB (BAL)

R L 4

OMNI OUT

+4dB (BAL)

3 2

PHANTOM +48V

STEREO OUT

R +4dB (BAL) L

1

CH 1-6

ON OFF

DIGITAL STEREO

COAXIAL

OUT IN

THRU

MIDI

OUT IN

TO HOST

OPTION I/O

POWER

ON/ OFF

9 J

A

MONITOR OUT

These are balanced 1/4-inch phone jacks with a +4 dB nominal output level. Balanced or unbalanced phone plugs can be connected. They output the monitor signals and should be connected to the inputs on a monitor amplifier. The monitor signal source is set using the MONITOR–2TR IN switch and SETUP page 2, and the output level is set using the MONITOR LEVEL control.

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

B

PHANTOM +48V ON–OFF Switches

The CH 1–6 and CH 7–12 PHANTOM +48V ON–OFF switches are used to turn on and off the +48 V phantom power for XLR inputs 1 through 6 and 7 through 12, respectively.

C

OMNI OUTs

These are balanced 1/4-inch phone jacks with a +4 dB nominal output level. Balanced or unbalanced phone plugs can be connected. These outputs can be configured individually as analog bus outs, aux sends, stereo outs, or direct outs for input channels 1 through 16. Bus outputs are typically connected to multitrack recorders, while aux sends are typically used to feed external effects processors, foldback amplifiers, and so on.

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

01V—Owner’s Manual

Inputs & Outputs

23

D

STEREO OUT

These are balanced XLR-3-32-type connectors with a +4 dB nominal output level. They are wired pin

1–ground, pin 2–hot (+), and pin

3–cold (–). They output the main stereo mix.

Female XLR plug

2 (hot)

3 (cold)

1 (ground)

If you need to connect the balanced ST OUT to an unbalanced phone jack input, use a cable with the following wiring scheme (i.e., XLR pins 3 and 1 linked).

Tip (hot)

2 (hot)

Female XLR plug

3 (cold)

1/4" phone plug

Sleeve (ground) 1 (ground)

E

DIGITAL STEREO OUT

This phono jack outputs the main stereo mix as Coaxial format 24-bit digital audio, allowing digital transfer to a DAT, MiniDisc deck, or other digital recorder.

F

DIGITAL STEREO IN

This phono jack accepts 24-bit Coaxial format digital audio. Signals input here can be fed directly to the Stereo bus for stereo cascade operation (i.e., two mixers working together), or to input channels 13 and 14.

G

MIDI IN, OUT, THRU

These are standard MIDI IN, OUT, and THRU ports and are used to connect the 01V to other MIDI equipment for remote control and data backup. The MIDI IN port receives MIDI messages, while the MIDI OUT port transmits them. The MIDI THRU port transmits all MIDI messages received at the MIDI IN port.

H

TO HOST

This 8-pin mini DIN port is used to connect the 01V to a personal computer for use with MIDI software. It eliminates the need for a computer MIDI interface, and together with the MIDI ports allows the 01V to be used as a MIDI interface for other MIDI equipment.

I

POWER switch

This switch is used to turn on and off the 01V. It’s recessed to prevent accidental operation.

J

OPTION I/O slot

An Option I/O card can be installed here, providing access to the 01V’s eight digital

inputs and outputs. See “About Option I/O Cards” on page 216.

01V—Owner’s Manual

24

Chapter 3—Touring the 01V

Block Diagram

01V—Owner’s Manual

Block Diagram

25

AUX/EFF PRE/POST AUX/EFF PRE/POST

01V—Owner’s Manual

26

Chapter 3—Touring the 01V

01V—Owner’s Manual

Getting Around the User Interface

27

Getting Around the User Interface

4

In this chapter...

About the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

PARAMETER Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

–1/DEC & +1/INC Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

ENTER Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Title Edit Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

01V—Owner’s Manual

28

Chapter 4—Getting Around the User Interface

About the User Interface

Thanks to a user-friendly interface, 01V operation is both logical and intuitive. The 320 x 80 dot LCD display provides clear indication of mix settings and operating status, while dedicated SELECTED CHANNEL controls allow for quick EQ and pan adjustments. Operation of the multifunction faders depends on the selected Fader mode.

Mixing functions and configuration settings are organized into display pages, with up to five related pages being grouped together. For example, the MIDI Setup and Program

Change pages are grouped together under MIDI. Parameter selection and editing is carried out using the [CURSOR], [ENTER], [–1/DEC] and [+1/INC] buttons, and

PARAMETER wheel, which is detented for precise and accurate editing.

Display

The 320 x 80 dot LCD display provides clear indication of mix settings and operating status. As well as showing parameter values numerically, faders and rotary controls are represented graphically, so you can actually see pan and fader positions. The display also shows EQ curves and signal level meters. The various sections of the display are explained below.

Page area

Function

Memory

Effects

Returns

Selected channel

Function

—This area of the display shows the name of the function selected using the Function and Fader mode buttons. Functions are divided into pages, which are identified by numbered tabs, as shown here. In this example, page 1 of the VIEW function is selected. The following functions can be selected.

Function Buttons

UTILITY

MIDI

SETUP

VIEW

DYNAMICS

EQ/ATT

ø/DELAY

PAN/ROUTING

MEMORY

Fader Mode Buttons

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE

AUX 1

AUX 2

AUX 3

AUX 4

HOME

01V—Owner’s Manual

Display

29

Memory

—This area of the display shows the number and title of the selected scene memory, whether that scene memory is read only or write protected (indicated by the closed padlock icon), and whether or not the

contents of the Edit Buffer have been edited. See “Scene Memory Display Area” on page 185 for more information. Also in the Memory area

are the MIDI and HOST indicators, which appear when MIDI data is

received at the MIDI IN or TO HOST port, respectively. See “MIDI

Receive Indicators” on page 224 for more information.

Effects Returns

—This area of the display shows two control icons, which indicate the positions of the RETURN level controls, and the type of effects selected for the two onboard effects processors: Effect 1 and

Effect 2. When the EFFECT 1 or EFFECT 2 Fader mode is selected, the corresponding control icon is highlighted.

Selected channel

—This area of the display shows three control icons:

Pan, EQ frequency (F), and EQ gain (G), which indicate the pan, EQ frequency, and EQ gain of the selected channel. Below these is the selected channel indicator, showing which channel is currently selected. The following channels can be selected.

CH1 through CH24

—Input channels 1 through 24

ST

—Stereo output

RTN1, RTN2

—Effects returns 1 and 2

AUX1 through AUX4

—Aux sends 1 through 4

EFF1, EFF2

—Effects sends 1 and 2

1–16, MAS

—Remote function channels

When channels 13 through 16, the effects return channels, or paired input channels from 1 through 12 are selected, dotted lines appear to the right of these control icons when an odd or left channel is selected. Similarly, dotted lines appear to the left, as shown here, when an even or right channel is selected.

Page area

—This area of the display is where the various setup, utility, and mixing function pages appear. As well as showing parameter values numerically, faders and rotary controls are represented graphically, so you can actually see pan and fader posi-

tions. See “Display Elements” on page 30 for more information. An example page is

shown below.

01V—Owner’s Manual

30

Chapter 4—Getting Around the User Interface

Display Elements

This section explains the various control elements that appear on display pages.

Switches

Switches appear as boxes with a shadowed outline (i.e., a thicker outline on the right side and bottom).

Simple on/off-type switches are highlighted when they are turned on. In this example, the [ST] switch is on.

The labels inside some switches change when they turned on and off, as these phase switches show.

For option-type switches, only one switch can be on at a time. In this example, the monitor source can be set to either stereo out or ST

CASCADE IN, but not both.

To operate a switch, use the cursor buttons to select it, and the [ENTER] button or

[–1/DEC] and [+1/INC] buttons to turn it on or off.

Rotary Controls

Some parameters appear as rotary controls, as this example from the PANPOT page shows. To adjust a rotary control, use the cursor buttons to select it and use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to adjust it.

Parameter Boxes

Some parameters appear in parameter boxes

(i.e., dotted-line boxes), as this example from the EFFECT1 EDIT page shows. To adjust a parameter box parameter, use the cursor buttons to select it, and the PARAMETER wheel or

[–1/DEC] and [+1/INC] buttons to set it.

Parameter boxes that require you to confirm new settings flash until you press the [ENTER] button.

Faders

Pages such as VIEW and BUS MASTER display faders graphically. To adjust a fader, use the cursor buttons to select it, and the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set it. Fader knobs appear highlighted when set to the nominal position.

Nominal

01V—Owner’s Manual

Cursor Buttons

31

Cursor Buttons

The cursor buttons are used to move the cursor around the display pages, selecting parameters and options. The cursor appears as a flashing box, making it easy to see which parameter or option is currently selected. Holding down a cursor button moves the cursor continuously in the respective direction.

PARAMETER Wheel

The PARAMETER wheel is used to adjust parameter values, scroll through scene memory and library programs, and position the cursor when titling scene memories, effects programs, 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.

CURSOR

PARAMETER

–1/DEC & +1/INC Buttons

Like the PARAMETER wheel, the [–1/DEC] and [+1/INC] buttons are used to adjust parameter values, scroll through scene memory and library programs, and position the cur-

–1/DEC

PARAMETER

+1/INC

sor when titling scene memories, effects programs, and so on. The [–1/DEC] button is used to decrement values, while the [+1/INC] button is used to increment them. Holding down the [–1/DEC] or [+1/INC] button sweeps through a parameter’s adjustable range. When titling memories or programs, the

[–1/DEC] button is used to toggle between uppercase, lowercase, and numerals, while the [+1/INC] button is used to insert spaces.

ENTER Button

The [ENTER] button is used to activate parameter settings selected using the [CURSOR] buttons, and set on/off-type parameters, such as EQ

ON/OFF. It’s also used to confirm settings and enter characters when titling

ENTER

scene memories, effects programs, and so on. On the EQ page, the [ENTER] button is used solely to turn the EQ on and off.

01V—Owner’s Manual

32

Chapter 4—Getting Around the User Interface

Fader Modes

The 01V [SEL], [SOLO], and [ON] buttons, channel faders, and STEREO (MASTER) fader are multifunction controls, and their exact operation depends on the selected

Fader mode. Operation of these controls is shown in the following tables.

SEL Buttons

The [SEL] buttons are used to select channels for EQ, Pan, Dynamics, and Routing operations. The following channels can be selected:

CH1 through CH24

—Input channels 1 through 24

ST

—Stereo output

RTN1, RTN2

—Effects returns 1 and 2

AUX1 through AUX4

—Aux sends 1 through 4

EFF1, EFF2

—Effects sends 1 and 2

1–16, MAS

—Remote function channels

The [SEL] buttons are also used to make and release channel pairs and fader and mute

groups (“Grouping Faders” on page 55 and “Grouping Mutes” on page 56).

Fader Mode

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE 1

REMOTE 2

REMOTE 3

1–8

[17–24]

9–12

SEL button

13/14

15/16

STEREO

[MASTER]

RETURN 1/2

CH 1–16 select

STEREO OUT select

AUX 1 master select

AUX 2 master select

AUX 3 master select

AUX 4 master select

EFFECT 1 master select

EFFECT 2 master select

RETURN 1/2 select

CH 17–24

*1 select

— — STEREO select

Internal parameter assign select —

MMC (1–6) —

User defined MIDI controller select —

*1. CH17–20 with four-input Option I/O cards.

Input Channel [SEL] button Examples

To select the EQ function for input channel 3, press the [HOME] button, and then press

[SEL] button 3 (CH3 appears in the bottom right corner of the display). Use the

SELECTED CHANNEL F and G controls to adjust the EQ. (If a fader mode other than

Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To select the Pan function for input channel 13, press the [HOME] button, and then press [SEL] button 13/14 repeatedly until CH13 appears on the display. Use the

SELECTED CHANNEL PAN control to adjust the pan. Since most functions on input

01V—Owner’s Manual

Fader Modes

33

channels 13 and 14 (likewise 15 and 16) are linked, the only time you’ll need to select these channels individually is to set the Phase or Pan. (If a fader mode other than

Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To select the EQ function for input channel 20, press the [OPTION I/O] button, and then press [SEL] button 20 (CH20 appears on the display). Use the F and G controls to adjust the EQ.

Master [SEL] Button Examples

To select the stereo output, press the [HOME] button, and then press the MASTER

[SEL] button (ST appears in the bottom right corner of the display).

To select the AUX 1 master, press the [AUX 1] button, and then press the MASTER

[SEL] button (AUX1 appears on the display).

To select the EFFECT 1 master, press the [EFFECT 1] button, and then press the MAS-

TER [SEL] button (EFF1 appears on the display).

Solo Buttons

The [SOLO] buttons are used to solo channels for monitoring. See “Solo Setup” on page 80 for more information. The following channels can be soloed:

CH1 through CH24

—Input channels 1 through 24

RTN1, RTN2

—Effects returns 1 and 2

Fader Mode

1–8

[17–24]

SOLO button

9–12 13/14

15/16

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

CH 1–16 solo

OPTION I/O

REMOTE 1

REMOTE 2

REMOTE 3

CH 17–24

*1 solo

— —

User defined MIDI controller

*1. CH17–20 with four-input Option I/O cards.

RETURN 1/2

RETURN 1/2 solo

The [SOLO] buttons 1 through 16 can be used as MIDI controllers on REMOTE page

3. See “User Defined MIDI Controllers” on page 238 for more information.

Usage Examples

To solo input channel 3, press the [HOME] button, and then press [SOLO] button 3.

(If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To solo input channels 13/14, press the [HOME] button, and then press [SOLO] button

13/14. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To solo input channel 20, press the [OPTION I/O] button, and then press [SOLO] button 20.

01V—Owner’s Manual

34

Chapter 4—Getting Around the User Interface

ON Buttons

The [ON] buttons are used to turn channels on or off. They work with the following channels:

CH1 through CH24

—Input channels 1 through 24

ST

—Stereo output

RTN1, RTN2

—Effects returns 1 and 2

AUX1 through AUX4

—Aux sends 1 through 4

EFF1, EFF2

—Effects sends 1 and 2

The bus outs can be turned on or off on PAN/ROUT page 4.

Fader Mode

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE 1

REMOTE 2

REMOTE 3

1–8

[17–24]

9–12

ON button

13/14

15/16

STEREO

[MASTER]

RETURN 1/2

CH 1–16 On/Off

CH 17–24

*1

On/Off

— —

MMC (1–6)

Assigned internal parameters

STEREO OUT

On/Off

AUX 1 master On/Off

AUX 2 master On/Off

AUX 3 master On/Off

AUX 4 master On/Off

EFFECT 1 master On/Off

EFFECT 2 master On/Off

RETURN 1/2

On/Off

STEREO OUT

On/Off

User defined MIDI controllers —

*1. CH17–20 with four-input Option I/O cards.

On buttons 1 through 16 and master can be assigned to various internal parameters on

REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See “Assigning Fad-

ers & On Buttons” on page 194 and “User Defined MIDI Controllers” on page 238 for

more information.

Input Channel [ON] button Examples

To turn on or off input channel 3, press the [HOME] button, and then press [ON] button 3. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To turn on or off input channels 13/14, press the [HOME] button, and then press [ON] button 13/14. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To turn on or off input channel 20, press the [OPTION I/O] button, and then press

[ON] button 20.

Master [ON] Button Examples

To turn on or off the stereo output, press the [HOME] button, and then use the MAS-

TER [ON] button.

01V—Owner’s Manual

Fader Modes

35

To turn on or off the AUX 1 send master, press the [AUX 1] button, and then use the

MASTER [ON] button.

To turn on or off the EFFECT 1 send master, press the [EFFECT 1] button, and then use the MASTER [ON] button.

Faders (plus Return Rotary Controls)

The faders are used to adjust channel levels.

Fader Mode

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

1–8

[17–24]

9–12

Fader

13/14

15/16

CH 1–16 level

CH 1–16 AUX 1 send level

CH 1–16 AUX 2 send level

CH 1–16 AUX 3 send level

CH 1–16 AUX 4 send level

CH 1–16 EFFECT 1 send level

CH 1–16 EFFECT 2 send level

STEREO

[MASTER]

STEREO master level

AUX 1 master level

AUX 2 master level

AUX 3 master level

AUX 4 master level

EFFECT 1 master level

EFFECT 2 master level

Rotary Control

RETURN 1/2

RETURN 1/2 levels

RETURN 1/2 AUX

1 send levels

RETURN 1/2 AUX

2 send levels

RETURN 1/2 AUX

3 send levels

RETURN 1/2 AUX

4 send levels

RETURN 1 level

*1

RETURN 2 EFFECT

1 send level

*2

RETURN 1 EFFECT

2 send level

RETURN 2 level

OPTION I/O CH 17–24

*3 level

REMOTE 1

— —

Assigned internal parameters

STEREO master level

REMOTE 2

REMOTE 3

User defined MIDI controllers

*1. Effects return 1 cannot be fed to effect send 1

*2. Effects return 2 cannot be fed to effect send 2

*3. CH17–20 with four-input Option I/O cards.

RETURN 1/2 levels

Faders 1 through 16 and master can be assigned to various internal parameters on

REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See “Assigning Fad-

ers & On Buttons” on page 194 and “User Defined MIDI Controllers” on page 238 for

more information.

Input Channel Level Examples

To adjust the level of input channel 3, press the [HOME] button, and then operate fader

3.

To adjust the level of input channel 13/14, press the [HOME] button, and then operate fader 13/14.

To adjust the level of input channel 20, press the [OPTION I/O] button, and then operate fader 20.

Input Channel Aux Send Examples

To adjust the aux 1 send level of input channel 3, press the [AUX 1] button, and then operate fader 3.

01V—Owner’s Manual

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Chapter 4—Getting Around the User Interface

To adjust the aux 1 send level of input channel 13/14, press the [AUX 1] button, and then operate fader 13/14.

To adjust the aux 1 send level of input channel 20, use the [OPTION I/O] button to locate OPTION page 2, press [SEL] button 20, use the cursor buttons to select the

AUX 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and

[+1/INC] buttons.

Note: Aux send levels for input channels 17 through 24 can only be set using the virtual faders on OPTION page 2.

Input Channel Effects Send Examples

To adjust the Effect 1 send level of input channel 3, press the [EFFECT 1] button, and then operate fader 3.

To adjust the Effect 1 send level of input channel 13/14, press the [EFFECT 1] button, and then operate fader 13/14.

To adjust the Effect 1 send level of input channel 20, use the [OPTION I/O] button to locate OPTION page 2, press [SEL] button 20, use the cursor buttons to select the

EFFECT 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and

[+1/INC] buttons.

Note: Effects send levels for input channels 17 through 24 can only be set using the virtual faders on OPTION page 2.

Master Level Examples

To adjust the level of stereo out, press the [HOME] button, and then operate the MAS-

TER fader.

To adjust the AUX 1 master send level, press the [AUX 1] button, and then operate the

MASTER fader.

To adjust the EFFECT 1 master send level, press the [EFFECT 1] button, and then operate the MASTER fader.

To adjust the BUS OUT 1 master send level, use the [PAN/ROUT] button to locate

PAN/ROUT page 3, use the cursor buttons to select the BUS 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons.

Note: Bus out master levels can only be set using the virtual faders on PAN/ROUT page 3.

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Title Edit Dialog Box

37

Title Edit Dialog Box

The Title Edit dialog box is used to title mix scenes, EQ programs, dynamics programs, and effects programs. Program titles can be up to 12 characters, scene memory titles up to 8 characters.

1. Use the cursor buttons to position the cursor in the title window.

2. Use the PARAMETER wheel to select characters.

3. Use the cursor buttons to select the following switches, and press the

[ENTER] button to execute their functions.

INS

—Insert a space at the cursor position and moves subsequent characters to the right. Characters moved beyond the right edge of the title window are lost.

DEL

—Delete the character at the cursor position and move subsequent characters to the left.

4. Use the [+1/INC] button to enter a space at the cursor position.

5. Use the [–1/DEC] button to t oggle the character at the cursor position between uppercase, lowercase, and numerals.

6. Press the [ENTER] button to store.

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Chapter 4—Getting Around the User Interface

01V—Owner’s Manual

Input Channels

39

Input Channels

5

In this chapter...

Input Channel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Phantom Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pad Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Setting Input Channel Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Changing the Input Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Attenuating Input Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Applying EQ to Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Input Channels Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Muting Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Monitoring Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & the Option I/O Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Swapping Inputs 1–8 & 17–24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Grouping Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Grouping Mutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Copying & Swapping Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Input Channel Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

01V—Owner’s Manual

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Chapter 5—Input Channels

Input Channel Overview

This section provides an overview of 01V input channels.

Input Channels 1–12

1

3

2

XLR INPUT

(balanced)

Phone jack INPUT

(balanced)

Input channels 1 through 12 feature balanced

XLR-3-31-type and balanced phone jack connectors, both with a nominal input range of –60 dB to +10 dB. Phantom powering (+48 V) is supplied to the XLR connectors, with master on/off switches for connectors 1 through 6 and 7 through 12. 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. Inputs 1 through 8 can be

swapped with inputs 17 through 24. See “Swapping Inputs

1–8 & 17–24” on page 51 for more information.

Input Channels 13–16

13

14

15

16

Phone jacks INPUT

(balanced)

Apart from being stereo, input channels 13/14 and 15/16 offer the same features as input channels 1 through 12. Normally, the input signals for input channels 13 and 14 are derived from phone jack inputs 13 and 14. By using the

CH13-14 FLIP function on PAN/ROUT page 4, however, the DIGITAL STEREO IN signals can be fed to input chan-

nels 13 and 14. See “Digital Stereo In” on page 213 for more information. Similarly, the input signals for input channels

15 and 16 are normally derived from phone jack inputs 15 and 16. By using the 15/16–2TR IN switch, however, the

2TR IN signals can be fed to input channels 15 and 16. See

“Two-track Input (2TR IN)” on page 77 for more information.

Input Channels 17–24

OPTION I/O

Input channels 17 through 24 do not have analog input connectors, a pad switch, gain control, or direct out. They are somewhat simpler than input channels 1 through 16 in that they feature only an attenuator, two-band parametric

EQ, and can be assigned to aux sends 1 and 2, but not aux sends 3 and 4. Input channels 17 through 24 are accessed

through the digital inputs of the Option I/O slot. See “About

Option I/O Cards” on page 216 for more information.

Inputs 17 through 24 can be swapped with inputs 1 through

8. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

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Phantom Powering

41

Phantom Powering

CH 1-6

ON OFF

CH 7-12

ON OFF

Input channels 1 through 12 feature +48 V phantom powering for use with condenser-type microphones. Phantom powering is supplied to the balanced XLR-3-31-type connector, and can be switched for inputs 1 through 6 and inputs 7 through 12. Phantom powering should be turned on only when a condenser-type microphone is connected.

Warning: Make sure that phantom powering is turned off when connecting an unbalanced source to an XLR input.

Pad Switches

26dB

Input channels 1 through 12 feature 26 dB pad switches. Input pads attenuate the input signal by 26 dB, allowing the input preamp to work with high-level signals. You may need to use a pad with “hot” signals from bass or snare drum microphones, or “hot” line-level signals. PAD switch settings are not stored in scene memories.

Setting Input Channel Gain

GAIN controls adjust the gain of the input channel preamps. They’re used to optimize the input signal level for the best signal-to-noise performance, and should be set in conjunction with the level meters on the HOME pages. Ideally, the GAIN control should be set so that the signal level is relatively high, and it’s okay for it to reach CLIP occasionally. If CLIP is reached often, however, back off the GAIN control a little, otherwise, signal distortion may occur. The GAIN control should be set with care. If it’s set too low, the signal-to-noise performance will suffer. If it’s set too high, unpleasant signal clipping and distortion may occur.

–16

+10 GAIN

–60

–34

The GAIN controls on input channels 1 through 12 are designed for use with microphone signals, and have an input sensitivity of –16 dB to

–60 dB. Used in conjunction with the 26 dB PAD switches, however, these channels can also be used with line-level signals and “hot” microphone signals. With the pad switch on, input sensitivity is +10 to –34 dB.

A detented action allows for accurate repeat setting.

The GAIN controls on input channels 13 through 16 are designed for use with line-level signals, and have a gain range of –10 dB to 20 dB.

+10

GAIN

–20

GAIN control settings are not stored in scene memories.

Metering Input Channels

Signal levels can be metered on the HOME pages. See “Metering Signal Levels” on page

83 for more information.

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Chapter 5—Input Channels

Changing the Input Phase

The Phase switches, available on input channels 1 through 16, reverse the phase of input signals by 180 degrees. This can be used to compensate for incorrectly wired balanced cables and microphones. Also, when a snare drum is miked top and bottom, the channel connected to the bottom microphone can be phase reversed to prevent signal cancellation.

1. Use the [

/DELAY] button to locate DELAY page 1, as shown below.

2. Use [SEL] buttons 1 through 16 to select channels.

Phase switches can also be selected using the cursor buttons.

3. Use the [ENTER] button, or the [–1/DEC] and [+1/INC] buttons to set the phase of the selected channel to normal or reversed.

Normal phase

Reversed phase

The Phase switches on input channels 13 and 14 (likewise 15 and 16) are not linked, and

can be set independently. When input channels 1 through 12 are paired (“Pairing Input

Channels” on page 52), their Phase switches continue to work independently.

Input channels 17 through 24 do not have Phase switches.

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Attenuating Input Channel Signals

43

Attenuating Input Channel Signals

Input channels 1 through 24 are fitted with digital attenuators, which can be used to attenuate input signals from 0 dB to –96 dB in 1 dB steps.

For Input Channels 1–16

1. Use the [EQ/ATT] button to locate EQ page 1, as shown below.

2. Use [SEL] buttons 1 through 16 to select channels.

3. Use the cursor buttons to select the ATT control, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to adjust it.

The Attenuation functions on input channels 13 and 14 (likewise 15 and 16) are per-

manently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their attenuators are linked, so adjustments can be made with either

channel selected.

The Attenuation function can be used to compensate for signal level increases caused by EQ boosting or dynamics processing. Although such signals can be reduced using the GAIN controls, doing so would adversely affect the performance of the A/D converters, which need a reasonable signal level in order to maximize signal-to-noise performance. Since the digital attenuators are located after A/D conversion, they can be used to attenuate signals without affecting performance.

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the ATT control, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to adjust it.

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Chapter 5—Input Channels

Applying EQ to Input Channels

Input channels 1 through 16 feature four-band parametric EQ, while input channels 17

through 24 feature two-band parametric EQ. See “EQ” on page 61 for more information. EQ can be turned on or off and the EQ curve viewed on the EQ page and VIEW

page. See “Viewing Input Channel Settings” on page 57 for more information.

Input Channels Dynamics Processors

Input channels 1 through 16 feature a dynamics processor. See “Dynamics Processors” on page 161 for more information. The dynamics can be turned on or off and the

dynamics curve viewed on the Dynamics page and VIEW page. See “Viewing Input

Channel Settings” on page 57 for more information.

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Delaying Channel Signals

45

Delaying Channel Signals

The Channel Delays, available on input channels 1 through 16, can be used to compensate for microphone placement, or simply as delay effects. The delay parameters for input channels 1 through 8 are on DELAY page 2, while those for input channels 9 though 16 are on DELAY page 3. Both pages are shown below.

1. Use the [

/DELAY] button to locate DELAY page 2 or 3, as shown below.

2. Use the [SEL] buttons to select channels.

3. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Parameter Range

ON/OFF

ON/OFF

DELAY

MIX

FB. GAIN

0–250 ms

–100 to +100

–99 to +99

Description

These switches are used to turn on and off the delays.

Delay can be specified in milliseconds, meters, or samples

(“Setting 01V Preferences” on page 203). The maximum

delay in samples is fixed at 11025. The maximum delay in milliseconds and meters depends on the sampling rate. At

44.1 kHz, for example, it is 250 milliseconds and 85.2 meters, respectively.

This parameter determines the level of delayed signal. 0 is no delay. +50 is a 50/50 mix of delayed and dry signals.

+100 is all delay, no dry. Negative values are the same except the delayed signal is phase reversed.

This parameter determines how much of the delayed signal is fed back into the delay. 0 is no feedback. +99 is maximum feedback. Negative values are the same except the feedback signal is phase reversed.

The Channel Delays on input channels 13 and 14 (likewise 15 and 16) are permanently

linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their Channel Delays are linked, so adjustments can be made with either

channel selected.

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Chapter 5—Input Channels

Muting Input Channels

ON

Input channels can be turned on and off (i.e., muted) using the [ON] buttons.

When a channel is on, its [ON] button lights up.

To turn on or off an input channel from 1 through 16, select a fader mode other than Option I/O or Remote, and then press an [ON] button from 1 through 16.

To turn on or off an input channel from 17 through 24, press the [OPTION

I/O] button, and then press an [ON] button from 17 through 24.

The [ON] buttons on input channels 13 and 14 (likewise 15 and 16) are per-

manently linked. When input channels 1 through 12 are paired (“Pairing

Input Channels” on page 52), their [ON] buttons are linked.

ON buttons can be grouped together for multi-channel muting using a single

[ON] button. See “Grouping Mutes” on page 56 for more information.

Setting Input Channel Levels

6

0

5

10

20

40

60

Input channel levels are controlled using the motorized 60 mm faders.

To adjust the level of an input channel from 1 through 16, press the [HOME] button, and then operate a fader from 1 through 16.

To adjust the level of an input channel from 17 through 24, press the

[OPTION I/O] button, and then operate a fader from 17 through 24.

Faders operation depends on the selected Fader mode. See “Faders (plus

Return Rotary Controls)” on page 35 for more information. The selected

fader mode is shown on the display. See “Display” on page 28 for more information.

The faders on input channels 13 and 14 (likewise 15 and 16) are permanently

linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their faders are linked.

Faders can be grouped together for multi-channel control using a single

fader. See “Grouping Faders” on page 55 for more information.

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Panning Input Channels

47

Panning Input Channels

The Panpots, available on input channels 1 through 24 (and the effects returns), are used to pan signals between the left and right channels of the stereo out, and the odd and even bus outs. Panpots can be adjusted using the SELECTED CHANNEL PAN control, the quickest method, or the panpot pages in conjunction with the cursor buttons, [–/DEC] and [+/INC] buttons, and PARAMETER wheel.

For quick panning, select a channel and use the

PAN control.

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

For Input Channels 1–16 & the Effects Returns

1. Use the [SEL] buttons to select channels.

To select input channel 13 or 14 (likewise 15 or 16), press [SEL] button 13/14 (15/16) repeatedly. The number of the currently selected channel appears on the display. To select the left or right channel of effects return 1 (likewise effects return 2), press [SEL] button RETURN 1 (RETURN 2) repeatedly. As these channels are selected, the letter

“R” or “L” appears on the display next to the panpot icon.

2. Use the PAN control to pan the selected channel.

If the PANPOT AUTO SCREEN option is turned on in the preferences (“Setting 01V

Preferences” on page 203), the PAN/ROUT page shown below appears, and the Home

fader mode is selected. This page can also be located using the [PAN/ROUTING] button.

Panpots can be adjusted on this page by using the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons. In addition to the [SEL] buttons, panpots on the PAN/ROUT page can be selected using the cursor buttons.

For Input Channels 17–24

1. Press the [OPTION I/O] button.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the PAN control to pan the selected channel.

If the PANPOT AUTO SCREEN option is turned on in the preferences (“Setting 01V

Preferences” on page 203), the OPTION page shown below appears. This page can also

01V—Owner’s Manual

48

Chapter 5—Input Channels be located using the [OPTION I/O] button.

Panpots can also be adjusted on this page by using the cursor buttons to select the PAN control and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set it.

Including center, there are 33 pan positions.

Hard left Center Hard right

L16

···

L3

L2

L1

CENTER

R1

R2

R3

···

R16

Input channels 1 through 12 and 17 through 24 feature a single panpot, as shown here.

Input channels 13/14 and 15/16 (and the effects returns) feature dual panpots, with the inner panpots being odd-numbered channel pans 13 and 15

(effects returns left), and the outer panpots being even-numbered channel pans 14 and 16 (effects returns right). When working with stereo signals, these dual panpots can be used to adjust the width of stereo signals, as shown below.

With the inner control set at L16 and the outer control set at R16, as shown here, the width of a stereo signal is 100%.

With both controls set at CENTER, as shown here, the width of the stereo signal is zero (i.e., mono).

Setting the controls to positions in between these two extremes allows you to set the width of the stereo signal. To maintain a central balance, however, you must set both controls to corresponding values. For example, L8 and

R8, or L10 and R10.

Pan Modes

The three Pan modes, INDIVIDUAL, GANG, and INV. GANG, determine how the panpots operate on input channels 13/14, 15/16 (and the effects returns), and paired input channels 1 through 12. Since input channels 17 through 24 cannot be paired, they are not affected by the Pan modes.

1. Use the cursor buttons to select the MODE parameter, and the PARAM-

ETER wheel or [–1/DEC] and [+1/INC] buttons to select a mode.

INDIVIDUAL

—In this mode, panpots function independently.

GANG

—In this mode, panpots are ganged (i.e., linked) together.

INV. GANG

—In this mode, panpots are ganged together but operation is inverted (i.e., panpots move in opposite directions).

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Routing Input Channels

49

Routing Input Channels

The Routing switches, available on input channels 1 through 24 (and the effects returns), are used to route signals to the four bus outs, stereo out, and direct outs.

For Input Channels 1–16 & the Effects Returns

1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 2, as shown below.

2. Use the [SEL] buttons to select channels.

3. Use the cursor buttons to select the Routing switches and the [ENTER] button to set them.

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the Routing switches and the [ENTER] button to set them.

A highlighted Routing switch indicates that a channel has been routed.

Input channels 1 through 12 have four bus out routing switches (1, 2, 3, 4), a stereo out routing switch (ST), and a direct out routing switch (D). The latter switch is turned on automatically when an input channel is selected as the source for an Option I/O out on OPTION page 4. Likewise, when an input channel is selected as the source for an Option I/O out on OPTION page 4, the

corresponding D switch on the PAN/ROUT page is turned on. See “Assigning

Option I/O Digital Outputs” on page 219 for more information.

Input channels 13 through 24 (and the effects returns) have four bus out routing switches (1, 2, 3, 4) and a stereo out routing switch (ST).

Routing switches work in conjunction with Panpots to feed signals through to the left and right channels of the stereo out and the odd and even bus outs. The following table

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Chapter 5—Input Channels shows how it works.

Routing Pan Signal Destination

Signals are fed equally to bus outs 1 and 2 and the left and right channels of the stereo out.

Signals are fed to bus out 1 and the left channel of the stereo out.

Signals are fed to bus out 2 and the right channel of the stereo out.

The Routing switches on input channels 13 and 14 (likewise 15 and 16) are perma-

nently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their Routing switches are not linked.

Monitoring Input Channels

Input channels can be monitored using the monitor out or phones. See “Monitor

Setup” on page 78 for more information.

Input Channels & Aux Sends

Signals from input channels 1 through 16 can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2. Input channel sends can be configured as either pre-fader or post-fader sends. When aux sends are

paired, aux send panpots become available on each input channel. See “Aux Sends” on page 93 for more information.

Input Channels & the Omni Outs

Direct signals from input channels 1 through 16 can be selected for the omni outs. See

“Omni Outs” on page 115 for more information. Note that OMNI OUTs are not

affected by the D switches on the PAN/ROUT page 2.

Input Channels & the Option I/O Outs

Input channels 1 through 16 can be selected as sources for the Option I/O outs. See

“Routing Input Channels” on page 49 and “About Option I/O Cards” on page 216 for

more information.

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Swapping Inputs 1–8 & 17–24

51

Swapping Inputs 1–8 & 17–24

The inputs to channels 1 through 8 can be swapped with those of input channels 17 through 24 either individually or altogether. This allows signals from the Option I/O digital inputs to make use of the 4-band EQ, dynamics processors, and other functions of full-feature input channels 1 through 8.

1. Use the [OPTION I/O] button to locate OPTION page 5, as shown below.

2. Use the cursor buttons to select the GLOBAL or individual SWAP switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Swap switches appear highlighted when channels are swapped.

When channels are swapped, their meter numbers appear highlighted on HOME page

1 and OPTION page 1, as shown below. When a swapped channel is selected, the selected channel area of the display alternately shows the channel number and “SWAP”, also shown below.

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Chapter 5—Input Channels

Pairing Input Channels

Input channels 1 through 12 can be paired together for stereo signal processing. Adjacent odd and even input channels can be paired together (i.e., 1/2, 3/4, 5/6, not 2/3 or

4/5). The following parameters are linked when channels are paired: attenuators, EQ, dynamics, delays, [ON], and [SEL] buttons, faders, aux sends, effects sends, and pre/post settings. Routing switches, [SOLO] buttons, phase, panpots, aux panpots, and fade time on/off are not linked. Panpot operation depends on the selected Pan mode.

See “Pan Modes” on page 48 for more information.

Making Input Channel Pairs

1. Press the [SEL] button of both input channels simultaneously.

OR

Use the [SETUP] button to locate SETUP page 4, as shown below, and use the cursor buttons to select channel pairs, and then press the [ENTER] button.

The following dialog box appears.

CH 1 –> 2

—Copy the settings of input channel 1 to input channel 2.

CH 2 –> 1

—Copy the settings of input channel 2 to input channel 1.

RESET BOTH

—Reset both input channels to their initial settings.

2. Use the cursor buttons to select a pairing mode, and then press the

[ENTER] button.

The highlighted switch and STEREO label show that the input channels are now configured as a stereo pair.

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Pairing Input Channels

53

Releasing Input Channel Pairs

1. Press the [SEL] button of both input channels simultaneously.

OR

On SETUP page 4, use the cursor buttons to select the paired channel switch, and then press the [ENTER] button.

The following dialog box appears.

2. Select OK, and then press the [ENTER] button.

The stereo pair is broken, and both input channels operate independently.

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Chapter 5—Input Channels

Input Channel Pair Block Diagram

AUX/EFF PRE/POST

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Grouping Faders

55

Grouping Faders

Input channel faders 1 through 16 can be grouped together in fader groups for multi-channel control using a single fader. Three groups are available: A, B, and C.

Making Fader Groups

1. Use the [SETUP] button to locate SETUP page 3, as shown below.

2. Use the up and down cursor buttons to select the fader groups, and the

[SEL] buttons to add and remove faders to and from that group.

Channels cannot be in more than one group at a time.

Input channels 13/14, 15/16, and paired input channels 1 through 12 (“Pairing Input

Channels” on page 52) are added and removed together.

Operate only one fader in a group at a time. If you attempt to adjust two or more faders in the same group, the fader motors may malfunction due to the increased load.

Enabling & Disabling Fader Groups

Fader groups can be enabled and disabled using the ENABLE switches. Disabling a group allows you to adjust faders without removing them from the group.

1. Use the up and down cursor buttons to select the fader group that you want to disable: A, B, or C.

2. Use the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to enable or disable the selected group.

Fader group enabled

Fader group disabled

01V—Owner’s Manual

56

Chapter 5—Input Channels

Grouping Mutes

Input channel [ON] buttons 1 through 16 can be grouped together in mute groups for multi-channel control using a single button. Three groups are available: D, E, and F.

Mute groups may contain on channels and off channels, making it easy to toggle between channels. When switched, on channels go off and off channels come on.

Making a Mute Group

1. Use the [SETUP] button to locate SETUP page 3, as shown below.

2. Use the up and down cursor buttons to select the mute groups, and the

[SEL] buttons to add and remove channels to and from that group.

Channels cannot be in more than one group at a time.

Input channels 13/14, 15/16, and paired input channels 1 through 12 (“Pairing Input

Channels” on page 52) are added and removed together.

Enabling & Disabling Mute Groups

Mute groups can be enabled and disabled using the ENABLE switches. Disabling a group allows you to set channels without removing them from the group.

1. Use the up and down cursor buttons to select the mute group that you want to disable: D, E, or F.

2. Use the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to enable or disable the selected group.

Mute group enabled

Mute group disabled

01V—Owner’s Manual

Viewing Input Channel Settings

57

Viewing Input Channel Settings

Settings for input channels 1 through 16 can be viewed, and certain parameters adjusted on VIEW pages 1 and 2. Settings for input channels 17 through 24 can be viewed and adjusted on OPTION page 2.

Input Channels 1–16

1. Use the [VIEW] button to locate VIEW page 1 or 2

VIEW pages for input channels 1 through 12 appear as below.

VIEW pages for input channels 13/14 and 15/16 appear as below.

2. Use [SEL] buttons 1 through 16 to select channels.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

01V—Owner’s Manual

58

Chapter 5—Input Channels

Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

Most of the parameters for input channels 17 through 24 can be set only on OPTION page 2.

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Copying & Swapping Channel Settings

59

Copying & Swapping Channel Settings

The Channel Copy function is used to copy input channel settings from one channel to another. The Channel swap function is used to swap input channel settings between channels. Copy and Swap can be used with input channels 1 through 16.

1. Use the [VIEW] button to locate the VIEW page shown below.

2. Use the cursor buttons and PARAMETER wheel to select the SOURCE and

DESTINATION channels.

3. Use the cursor buttons and [ENTER] button to select a CATEGORY.

ALL

—All input channel settings.

EQ

—EQ settings.

DELAY

—Delay settings.

DYNAMICS

—Dynamics settings.

FADER

—Fader settings.

4. Use the cursor buttons to select COPY or SWAP, and the [ENTER] button to execute the function.

01V—Owner’s Manual

60

Chapter 5—Input Channels

INPUT

(BAL)

1-12

Input Channel Block Diagram

to

1-6,

7-12

PHANTOM

+48V

Pad HA

26dB

GAIN

AD

ATT

4-Band

PEQ

Meter

Dynamics

Meter

Delay

Meter

ON

CH Fader

PAN

AUX1

AUX2

AUX3

AUX4

EFF1

EFF2

AUX/EFF

PRE/POST to

OUTPUT

SELECT

1

BUS

2 3 4

AUX

1 2 3 4

EFF

1 2 L

ST

R

13

INPUT

(BAL)

14

DIGITAL

STEREO

IN

15

INPUT

(BAL)

16

INPUT

1-8

(BAL)

17-24

Option I/O

IN

HA

GAIN

HA

AD

AD

De-emphasis

Pad

Pad

HA

GAIN

HA

FLIP

4-Band

PEQ

Meter

Dynamics

ATT

4-Band

PEQ

Dynamics

Delay

ON

Delay

CH Fader

PAN*

AUX1

AUX2

AUX3

AUX4

EFF1

EFF2

AUX/EFF

PRE/POST to

OUTPUT

SELECT

ON/OFF to MONI to MONI

15/16

2TR IN

AD

AD from 2TR IN

Meter

4-Band

PEQ

ATT

4-Band

PEQ

Same as INPUT 13

Same as INPUT 14

Meter

Unchanged

Unchanged

SWAP

Meter

De-emphasis or DC Cut

This section is available only when an optional Option I/O card is installed.

ATT

2-Band

PEQ

CH Fader

PAN

ON

AUX1

AUX2

EFF1

EFF2

AUX/EFF

PRE/POST

*PAN: INDIVIDUAL/GANG/INV. GANG

01V—Owner’s Manual

EQ

61

EQ

6

In this chapter...

About the 01V EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Adjusting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

EQ Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Resetting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Preset EQ Program List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Storing EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Recalling EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Editing EQ Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Preset EQ Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

01V—Owner’s Manual

62

Chapter 6—EQ

About the 01V EQ

Input channels 1 through 16, the effects returns, aux sends, and stereo out all feature four-band parametric EQ, with variable gain, frequency, Q, and ON/OFF parameters.

Input channels 17 through 24 feature a simplified two-band parametric EQ. See the

“Block Diagram” on page 24 for the exact location of each EQ section. The high and

low bands of each EQ can be used as shelving, peaking, or HPF (High-Pass Filter) and

LPF (Low-Pass Filter), respectively.

EQ settings can be stored in the EQ library as programs, or with all mix settings in mix scenes. The EQ library consists of 40 preset programs and 40 user programs. User programs allow you to store frequently used EQ settings, which can be titled for easy identification. The unique collection of preset EQ programs are designed for specific applications and instruments, and provide a good reference and starting point when making EQ adjustments. The EQ library cannot be used with the 2-band EQs on input

channels 17 through 24. See “EQ Library” on page 67 for more information.

The EQs on input channels 13 and 14 (likewise 15 and 16) are permanently linked.

When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52),

their EQs are linked.

The EQ parameters and response curve for input channels 1 through 16, the effects returns, aux sends, and stereo out appear on the EQ page shown below.

The EQ parameters and response curve for input channels 17 through 24 appear on the

OPTION page shown below.

The quickest way to adjust the EQ is by using the SELECTED CHANNEL controls shown below.

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

01V—Owner’s Manual

Adjusting the EQ

63

Adjusting the EQ

EQ can be adjusted using the SELECTED CHANNEL controls, the quickest method, or the EQ pages in conjunction with the cursor buttons, [–/DEC] and [+/INC] buttons, and PARAMETER wheel.

PAN

EQ HIGH

HI-MID

F

LO-MID

For quick EQ'ing select a channel and use the

EQ controls.

G

LOW

SELECTED CHANNEL

For Input Channels 1–16

1. Use [SEL] buttons 1 through 16 to select channels.

2. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the EQ page shown below appears, and the Home fader mode is

selected. This page can also be located using the [EQ/ATT] button.

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

For Input Channels 17–24

1. Press the [OPTION I/O] button.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the [HIGH] and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the OPTION page shown below appears. This page can also be

located using the [OPTION I/O] button.

01V—Owner’s Manual

64

Chapter 6—EQ

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

For Effects Returns 1 & 2

1. Use the effects returns [SEL] buttons to select effects returns 1 and 2.

2. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the EQ page shown below appears, and the Home fader mode is

selected. This page can also be located using the [EQ/ATT] button.

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

For Aux Sends 1–4

1. Use the Fader Mode AUX buttons to select an aux send.

2. Press the MASTER [SEL] button.

3. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the EQ page shown below appears, and the Home fader mode is

selected. This page can also be located using the [EQ/ATT] button.

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

When aux sends are paired (“Pairing Aux Sends” on page 101), their EQs are linked.

01V—Owner’s Manual

Adjusting the EQ

65

For the Stereo Output

1. Press the [HOME] button.

2. Press the MASTER [SEL] button.

ST is the selected channel.

3. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the EQ page shown below appears, and the Home fader mode is

selected. This page can also be located using the [EQ/ATT] button.

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

01V—Owner’s Manual

66

Chapter 6—EQ

EQ Specs

The following table contains the EQ specs.

Gain (G)

Frequency (F)

Q

Low

Lo-Mid

1

Hi-Mid

1

High

–18.0 dB to +18.0 dB (0.5 dB steps)

2

21 Hz–20.1 kHz (1/12 octave steps, 120 steps)

HPF, 10.0–0.10

(41 steps),

L.SHELF

10.0–0.10 (41 steps)

LPF, 10.0–0.10

(41 steps),

H.SHELF

1. Four-band EQs only (low and high bands only on input channels 17 through 24).

2. When the low and high EQ bands are configured as HPF and LPF, their gain controls function as filter on and off switches.

Bypassing the EQ

The selected channel’s EQ can be turned on or off using the EQ ON switch on the EQ page (OPTION page 2 for channels 17 through 24), or the [ENTER] button. While the EQ page is displayed, the [ENTER] button turns the EQ on or off regardless of the cursor position.

ENTER

Resetting the EQ

To reset all the EQ parameters on the selected channel to their initial values, press the

[HIGH] and [LOW] buttons simultaneously.

The following table contains the initial EQ values.

Low

Lo-Mid

1

Hi-Mid

1

High

Gain (G)

Frequency (F)

Q

0 dB

125 Hz

L.SHELF

0 dB

1.00 kHz

0.70

0 dB

4.00 kHz

0.70

0 dB

10.0 kHz

H.SHELF

1. Four-band EQs only (low and high bands only on input channels 17 through 24).

01V—Owner’s Manual

EQ Library

67

EQ Library

EQ settings can be stored as programs in the EQ library, which contains 40 preset programs (1–40) and 40 user programs (41–80). User programs allow you to store frequently used EQ settings, and they can be titled for easy identification. The EQ library can also be used to transfer settings from one EQ to another. For example, the stereo out EQ settings could be stored as a library program and then recalled to an aux send

EQ. The unique collection of preset EQ programs are designed for specific applications and instruments, and provide a good reference and starting point when making EQ

adjustments. See page 71 for a complete list of the preset EQ programs.

The EQ library is controlled from the EQ Library page shown below. Use the [EQ/ATT] button to locate this page.

As each program is selected, its EQ curve appears in the EQ CURVE window. Above this are signal level meters for the selected channel.

Preset EQ Program List

Title

Bass Drum 1

Bass Drum 2

Snare Drum 1

Snare Drum 2

Tom-tom 1

Cymbal

High Hat

Percussion

E.Bass 1

E.Bass 2

Syn.Bass 1

Syn.Bass 2

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

#

13

14

15

16

09

10

11

12

17

18

19

20

05

06

07

08

01

02

03

04

#

33

34

35

36

29

30

31

32

37

38

39

40

25

26

27

28

21

22

23

24

Title

A.G.Stroke 2

A.G.Arpeg. 1

A.G.Arpeg. 2

Brass Sec.

Male Vocal 1

Male Vocal 2

Female Vo. 1

Female Vo. 2

Chorus&Harmo

Total EQ 1

Total EQ 2

Total EQ 3

Bass Drum 3

Snare Drum 3

Tom-tom 2

Piano 3

Piano Low

Piano High

Fine-EQ Cass

Narrator

01V—Owner’s Manual

68

Chapter 6—EQ

Storing EQ Programs

EQ programs are stored on the EQ Library page. You can store EQ settings to user programs 41 to 80. Preset programs 1 through 40 are read only.

1. Use the [EQ/ATT] button to locate the EQ Library page shown below.

2. Use the [SEL] buttons to select the channel whose EQ settings you want to store as a program.

You can select input channels 1 through 16, the effects returns, aux sends, or stereo out.

You cannot select input channels 17 through 24.

3. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select programs.

The program list order can be set using the LIBRARY LIST ORDER option in prefer-

ences (“Setting 01V Preferences” on page 203).

4. Use the cursor buttons to select STORE, and then press the [ENTER] button.

The Title Edit dialog box appears. If the STORE CONFIRMATION option is turned off

in the preferences (“Setting 01V Preferences” on page 203), the Title Edit dialog box

does not appear and the EQ program is stored.

5. Enter a title for the EQ program.

See “Title Edit Dialog Box” on page 37 for more information.

6. When you’ve finished, select OK, and then press the [ENTER] button.

The EQ program is stored.

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Recalling EQ Programs

69

Recalling EQ Programs

EQ programs are recalled on the EQ Library page. You can recall any one of the 40 preset and 40 user programs.

1. Use the [EQ/ATT] button to locate the EQ Library page shown below.

2. Use the [SEL] buttons to select the channel to which you want to recall the EQ program.

You can select input channels 1 through 16, the effects returns, aux sends, or stereo out.

You cannot select input channels 17 through 24.

3. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select programs.

As each program is selected its EQ curve is displayed in the EQ CURVE window.

The program list order can be set using the LIBRARY LIST ORDER option in prefer-

ences (“Setting 01V Preferences” on page 203).

4. Use the cursor buttons to select RECALL, and then press the [ENTER] button.

The EQ program is recalled. If the RECALL CONFIRMATION option is turned on in

the preferences (“Setting 01V Preferences” on page 203), a confirmation dialog box

appears. In this case, select OK, and then press the [ENTER] button to confirm the recall.

01V—Owner’s Manual

70

Chapter 6—EQ

Editing EQ Program Titles

The titles of stored EQ programs can be edited using the Title Edit function.

1. Use the [EQ/ATT] button to locate the EQ Library page shown below.

2. Use the PARAMETER wheel to select programs.

3. Use the cursor buttons to select TITLE EDIT, and then press the [ENTER] button.

The Title Edit dialog box appears.

4. Edit the program title.

See “Title Edit Dialog Box” on page 37 for more information.

5. When you’ve finished, select OK, and then press the [ENTER] button.

The new title is stored.

01V—Owner’s Manual

Preset EQ Program Parameters

71

#

Preset EQ Program Parameters

Title

01 Bass Drum 1

02 Bass Drum 2

03 Snare Drum 1

04 Snare Drum 2

05 Tom-tom 1

06 Cymbal

07 High Hat

08 Percussion

09 E.Bass 1

10 E.Bass 2

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

Parameter

L-MID H-MID

PEAKING

–2.5 dB

420 Hz

0.5

PEAKING

0.0 dB

397 Hz

4.5

PEAKING

–7.5 dB

667 Hz

10

PEAKING

0.0 dB

420 Hz

8

PEAKING

+4.5 dB

111 Hz

5

PEAKING

0.0 dB

111 Hz

5

PEAKING

0.0 dB

1.00 kHz

4.5

PEAKING

–8.5 dB

334 Hz

10

PEAKING

–3.5 dB

265 Hz

10

PEAKING

–7.0 dB

397 Hz

4.5

PEAKING

+1.0 dB

2.82 kHz

1

PEAKING

+2.0 dB

2.82 kHz

0.56

PEAKING

+2.0 dB

4.49 kHz

1.2

PEAKING

0.0 dB

1.05 kHz

0.9

PEAKING

+2.5 dB

2.00 kHz

4.5

PEAKING

+2.5 dB

2.24 kHz

6.3

PEAKING

+3.0 dB

3.17 kHz

0.11

PEAKING

+2.5 dB

2.37 kHz

0.7

PEAKING

0.0 dB

1.05 kHz

0.9

PEAKING

+6.0 dB

2.52 kHz

2.2

LOW

L.SHELF

–4.0 dB

94 Hz

L.SHELF

–4.5 dB

99 Hz

PEAKING

+2.0 dB

210 Hz

1.4

L.SHELF

–2.0 dB

105 Hz

L.SHELF

–7.5 dB

35 Hz

PEAKING

+3.0 dB

111 Hz

0.1

PEAKING

–0.5 dB

132 Hz

1.2

L.SHELF

+1.5 dB

177 Hz

PEAKING

+3.5 dB

99 Hz

1.2

PEAKING

+8.0 dB

79 Hz

1.4

HIGH

H.SHELF

+0.5 dB

7.55 kHz

H.SHELF

0.0 dB

16.9 kHz

PEAKING

+1.0 dB

6.35 kHz

0.28

H.SHELF

+3.0 dB

13.4 kHz

H.SHELF

0.0 dB

4.00 kHz

H.SHELF

+0.5 dB

4.00 kHz

H.SHELF

+4.5 dB

5.04 kHz

PEAKING

+4.0 dB

4.00 kHz

0.1

H.SHELF

+4.0 dB

5.33 kHz

LPF

ON

12.6 kHz

Description

Emphasizes the low range of a bass drum and the attack created by the beater.

Creates a peak around

80Hz, producing a tight, stiff sound.

Emphasizes snapping and rimshot sounds.

Emphasizes the ranges of that classic rock snare drum sound.

Emphasizes the attack of tom-toms, and creates a long, “leathery” decay.

Emphasizes the attack of crash cymbals, extending the “sparkling” decay.

Use on a tight high-hat, emphasizing the mid to high range.

Emphasizes the attack and clarifies the high-range of instruments, such as shakers, cabasas, and congas.

Makes a tight electric bass sound by cutting very low frequencies.

Unlike program 9, this program emphasizes the low range of an electric bass.

01V—Owner’s Manual

72

Chapter 6—EQ

# Title

11 Syn.Bass 1

12 Syn.Bass 2

13 Piano 1

14 Piano 2

15 E.G.Clean

16 E.G.Crunch 1

17 E.G.Crunch 2

18 E.G.Dist. 1

19 E.G.Dist. 2

20 A.G.Stroke 1

Parameter

L-MID H-MID

PEAKING

+1.5 dB

445 Hz

0.4

PEAKING

0.0 dB

944 Hz

9

PEAKING

–5.5 dB

397 Hz

10

PEAKING

0.0 dB

1.00 kHz

4.5

PEAKING

–8.5 dB

1.05 kHz

10

PEAKING

0.0 dB

1.00 kHz

4.5

PEAKING

0.0 dB

944 Hz

8

PEAKING

–8.5 dB

595 Hz

10

PEAKING

+8.5 dB

944 Hz

8

PEAKING

0.0 dB

177 Hz

8

PEAKING

+2.5 dB

3.36 kHz

0.16

PEAKING

+3.5 dB

3.36 kHz

10

PEAKING

+0.5 dB

1.33 kHz

6.3

PEAKING

+4.0 dB

1.88 kHz

0.63

PEAKING

+4.5 dB

4.23 kHz

4

PEAKING

+1.0 dB

1.88 kHz

3.5

PEAKING

+2.0 dB

3.17 kHz

0.9

PEAKING

+1.5 dB

3.17 kHz

0.7

PEAKING

0.0 dB

4.00 kHz

4.5

PEAKING

+1.5 dB

1.12 kHz

2.2

LOW

G

F

Q

PEAKING

G

+3.5 dB

F

83 Hz

Q

0.1

PEAKING

G

+2.5 dB

F

125 Hz

Q

1.6

L.SHELF

–6.0 dB

94 Hz

PEAKING

G

+3.5 dB

F

223 Hz

Q

5.6

PEAKING

G

+2.0 dB

F

265 Hz

Q

0.18

PEAKING

G

+4.5 dB

F

140 Hz

Q

8

PEAKING

G

+2.5 dB

F

125 Hz

Q

8

G

F

Q

L.SHELF

G

+5.0 dB

F

354 Hz

Q

L.SHELF

G

+6.0 dB

F

315 Hz

Q

PEAKING

–2.0 dB

105 Hz

0.9

Used in conjunction with a compressor, this program emphasizes the attack and low range of a piano sound.

Use for line-recording an electric guitar or semi-acoustic guitar to get a slightly hard sound.

Description

HIGH

H.SHELF

0.0 dB

19.0 kHz

H.SHELF

0.0 dB

12.6 kHz

H.SHELF

+2.5 dB

4.49 kHz

PEAKING

+2.0 dB

5.65 kHz

9

H.SHELF

+4.0 dB

12.6 kHz

H.SHELF

+4.0 dB

5.33 kHz

H.SHELF

+4.0 dB

7.55 kHz

H.SHELF

+3.0 dB

5.33 kHz

H.SHELF

0.0 dB

12.6 kHz

H.SHELF

0.0 dB

12.6 kHz

Use on a synth bass with emphasized low range.

Emphasizes the attack that is peculiar to a synth bass.

This is used to make a piano sound brighter.

Adjusts the tonal quality of a slightly distorted guitar sound.

A variation on program

16.

Makes a heavily distorted guitar sound clearer.

A variation on program

18.

Emphasizes the bright tones of an acoustic guitar.

01V—Owner’s Manual

# Title

21 A.G.Stroke 2

22 A.G.Arpeg. 1

23 A.G.Arpeg. 2

24 Brass Sec.

25 Male Vocal 1

26 Male Vocal 2

27 Female Vo. 1

28 Female Vo. 2

29 Chorus&Harmo

30 Total EQ 1

Preset EQ Program Parameters

73

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

G

F

Q

LOW

PEAKING

–1.0 dB

118 Hz

0.18

L.SHELF

–7.0 dB

111 Hz

PEAKING

–0.5 dB

187 Hz

0.11

PEAKING

+2.0 dB

167 Hz

0.11

PEAKING

–2.0 dB

88 Hz

2.8

PEAKING

–0.5 dB

94 Hz

7

L.SHELF

0.0 dB

177 Hz

PEAKING

–2.0 dB

88 Hz

2.8

L.SHELF

–3.5 dB

297 Hz

L.SHELF

–0.5 dB

223 Hz

Parameter

L-MID H-MID

PEAKING

+1.0 dB

397 Hz

0.45

PEAKING

+1.5 dB

334 Hz

0.16

PEAKING

0.0 dB

1.00 kHz

4.5

PEAKING

–5.0 dB

236 Hz

10

PEAKING

–1.0 dB

841 Hz

2

PEAKING

0.0 dB

944 Hz

2.2

PEAKING

–5.5 dB

354 Hz

7

PEAKING

–1.0 dB

841 Hz

2

PEAKING

–2.0 dB

749 Hz

9

PEAKING

0.0 dB

1.00 kHz

4.5

PEAKING

+1.5 dB

2.67 kHz

0.56

PEAKING

+1.5 dB

2.00 kHz

0.2

PEAKING

+2.0 dB

2.00 kHz

0.56

PEAKING

–2.5 dB

2.67 kHz

5.6

PEAKING

+1.5 dB

2.11 kHz

0.7

PEAKING

+3.0 dB

2.11 kHz

5.6

PEAKING

0.0 dB

4.00 kHz

4.5

PEAKING

+1.5 dB

2.11 kHz

0.7

PEAKING

0.0 dB

2.00 kHz

4.5

PEAKING

0.0 dB

4.00 kHz

4.5

HIGH

PEAKING

+2.0 dB

5.99 kHz

0.14

H.SHELF

+2.5 dB

6.72 kHz

PEAKING

+3.5 dB

6.72 kHz

0.11

H.SHELF

+4.0 dB

6.72 kHz

PEAKING

+3.0 dB

4.49 kHz

7

H.SHELF

+6.5 dB

16.0 kHz

H.SHELF

+4.0 dB

4.23 kHz

PEAKING

+3.0 dB

4.49 kHz

7

H.SHELF

+2.0 dB

3.56 kHz

PEAKING

+2.0 dB

6.72 kHz

0.12

Description

A variation on program

20. You can also use it with a gutsy guitar sound.

Corrects arpeggio technique of an acoustic guitar.

A variation on program

22.

Use with trumpets, trombones, or sax. With one instrument, adjust the HIGH or H-MID frequency.

Use as a template for male vocal. Adjust the

HIGH or H-MID setting according to the voice quality.

A variation on program

25.

Use as a template for female vocal. Adjust the

HIGH or H-MID setting according to the voice quality.

A variation on program

27.

Use as a template for a chorus. It makes the entire chorus much brighter.

Use on a stereo mix during mixdown. Sounds even better when used with a compressor.

01V—Owner’s Manual

74

Chapter 6—EQ

# Title

31 Total EQ 2

32 Total EQ 3

33 Bass Drum 3

34 Snare Drum 3

35 Tom-tom 2

36 Piano 3

37 Piano Low

38 Piano High

39 Fine-EQ Cass

40 Narrator

LOW

G

F

Q

G

F

Q

G

F

Q

PEAKING

G

+4.0 dB

F

94 Hz

Q

7

L.SHELF

G

+1.5 dB

F

66 Hz

Q

G

F

PEAKING

G

+3.5 dB

F

118 Hz

Q

2

L.SHELF

0.0 dB

Q

223 Hz

G

F

Q

G

F

Q

L.SHELF

–9.0 dB

88 Hz

PEAKING

G

+4.5 dB

F

99 Hz

Q

8

PEAKING

–5.5 dB

187 Hz

10

PEAKING

–5.5 dB

187 Hz

10

L.SHELF

–1.5 dB

74 Hz

PEAKING

–4.0 dB

105 Hz

4

Parameter

L-MID H-MID

PEAKING

+1.5 dB

397 Hz

6.3

PEAKING

+1.5 dB

397 Hz

6.3

PEAKING

+1.5 dB

210 Hz

4.5

PEAKING

–13.0 dB

472 Hz

10

PEAKING

+1.5 dB

749 Hz

2.8

PEAKING

+0.5 dB

841 Hz

0.28

PEAKING

–10.0 dB

315 Hz

10

PEAKING

+2.0 dB

561 Hz

4.5

PEAKING

–18.0 dB

1.00 kHz

4.5

PEAKING

–1.0 dB

707 Hz

7

PEAKING

+6.0 dB

6.72 kHz

2.2

PEAKING

+5.0 dB

6.72 kHz

2.2

PEAKING

+2.0 dB

5.33 kHz

1.2

PEAKING

+4.5 dB

2.37 kHz

9

PEAKING

+1.0 dB

4.00 kHz

1.8

PEAKING

+2.0 dB

2.52 kHz

0.63

PEAKING

+3.5 dB

4.23 kHz

0.4

PEAKING

+3.5 dB

4.23 kHz

2.8

PEAKING

+2.0 dB

1.78 kHz

5.6

PEAKING

+2.0 dB

1.88 kHz

0.7

Description

HIGH

H.SHELF

0.0 dB

12.6 kHz

PEAKING

+3.0 dB

5.65 kHz

0.1

H.SHELF

0.0 dB

16.9 kHz

H.SHELF

+2.5 dB

10.0 kHz

H.SHELF

+3.0 dB

12.6 kHz

H.SHELF

0.0 dB

10.0 kHz

PEAKING

0.0 dB

20.1 kHz

0.4

PEAKING

0.0 dB

4.00 kHz

0.1

H.SHELF

+6.0 dB

17.9 kHz

H.SHELF

+4.0 dB

15.1 kHz

A variation on program

30.

A variation on program

30. Can also be used with stereo inputs or external effect returns.

A variation on program

1. The low and mid range is removed.

A variation on program

3. It creates a thick sound.

A variation on program

5. Emphasizes the mid and high range.

A variation on program

13.

Use for the low range of a piano sound recorded in stereo.

Use for the high range of a piano sound recorded in stereo.

Use when recording to or from cassette tape to make the sound clearer.

Use when recording narration.

01V—Owner’s Manual

Solo, Monitors & Meters

75

Solo, Monitors & Meters

7

In this chapter...

About Monitor & Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Monitor Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Two-track Input (2TR IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Monitor Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Using Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Monitor Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Solo Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Using Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Solo Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Metering Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Main Stereo Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Peak Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Setting the Metering Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Option I/O Meters (input channels 17–24) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Effects Send Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

01V—Owner’s Manual

76

Chapter 7—Solo, Monitors & Meters

About Monitor & Solo

Flexible monitoring and solo functions mean the 01V can be used in a wide range of applications. All inputs and outputs can be monitored pre or post fader via the monitor out or phones. Recording Solo and Mixdown Solo modes allow quick monitoring of inputs channels and effects returns. Monitor and solo parameters appear on SETUP page 2 shown below.

When no channels are soloed, the signal source for the monitor out and phones is selected using the MONITOR SETUP parameters in the top half of this page. Selectable sources are: the stereo output, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Signals can be sourced pre-fader (PFL) or post-fader (AFL). Other parame-

ters include monitor trim and a mono/stereo switch. See “Monitor Setup” on page 78 for more information.

The SOLO SETUP parameters in the bottom half of this page are used to configure the

Solo function. Input channels 1 through 24 and the effects returns can be soloed using the [SOLO] buttons. Two Solo modes are available: Recording Solo and Mixdown Solo.

The SEL MODE determines how signals from each channel are soloed: individually or mixed together. Signals can be sourced pre-fader (PFL) or post-fader (AFL). Other

parameters include solo trim and a solo enable switch. See “Solo Setup” on page 80 for more information.

01V—Owner’s Manual

Monitor Outputs

77

Monitor Outputs

Monitor and solo signals are output via the monitor out and phones connections. Make

sure the MONITOR–2TR IN switch is set to MONITOR for monitoring. See

“Two-track Input (2TR IN)” on page 77 for more information.

Monitor signals are converted to analog using 18-bit 8-times oversampling D/A converters, and then output via balanced

1/4-inch phone jacks with a +4 dB nominal output level.

MONITOR OUT

+4dB(BAL)

R L

The MONITOR OUT LEVEL control is used to adjust the level of the monitor out signal.

0

LEVEL

10

MONITOR

OUT

Phones

A pair of stereo headphones can be connected to the PHONES stereo (TRS) phone jack. The phones signal is the same as the monitor out signal.

PHONES

The PHONES LEVEL control is used to adjust the level of the phones signal.

0

LEVEL

10

PHONES

Two-track Input (2TR IN)

Signals connected via the 2TR IN jacks can be monitored via the

MONITOR OUT and PHONES when the MONITOR–2TR IN switch is set to 2TR IN. The stereo outputs of a master recorder can be connected here for confidence monitoring and master playback. The 2TR IN uses phono jacks with a –10 dBV nominal input level.

L

–10dBV (UNBAL)

R

IN

2TR

OUT

MONITOR

2TR IN

By setting the 15/16–2TR IN switch to 2TR IN, 2TR IN signals can be fed to input channels 15 and 16 for mixing with other signals. Normally, the input signals for these input channels are derived from phone jack inputs 15 and 16.

The 2TR OUT jacks are explained on page 88.

15/16

2TR IN

01V—Owner’s Manual

78

Chapter 7—Solo, Monitors & Meters

Monitor Setup

The signal source for the monitor out and phones is selected using the MONITOR

SETUP parameters on SETUP page 2. Selectable sources are: the stereo output, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Since the Solo function has priority, these sources can be monitored only when the Solo function is off (i.e., no channels are soloed). Signals can be sourced pre-fader (PFL) or post-fader (AFL).

Other parameters include monitor trim and a mono/stereo switch.

1. Use the [SETUP] button to locate SETUP page 2 shown below.

2. Use the cursor buttons to select the MONITOR SETUP parameters, and the PARAMETER wheel, [–1/DEC] and [+1/INC] buttons, and [ENTER] button to set them.

SOURCE

—These switches are used to select the signal source for the monitor out and phones. You can select the stereo out, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Several sources can be selected simultaneously.

LISTEN

—This switch sets the monitor signal source to pre-fader (PFL) or post-fader

(AFL). It affects the stereo out, aux send, and bus out monitor sources. For example, when set to PFL, the stereo out can be monitored regardless of the position of the stereo master fader. When set to AFL, however, this fader must be raised in order to monitor the stereo out.

MONI TRIM

—This parameter is used to adjust the level of the monitor signal from

–60 dB to +6 dB.

MONO

—This switch sets the monitor and phone’s signals to mono (MONO) or stereo (ST). When set to MONO, the left and right signals are summed together to form a mono mix, which is attenuated by –3 dB.

Using Monitor

To monitor, for example, the stereo out, proceed as follows.

1. Connect a monitoring system (amp, speakers) to the MONITOR OUT.

2. Make sure that the MONITOR–2TR IN switch is set to MONITOR.

3. Set the MONITOR OUT LEVEL control midway.

If you are using headphones, set the PHONES LEVEL control midway.

4. Use the [SETUP] button to locate SETUP page 2, explained previously.

5. Set the SOURCE to STEREO OUT.

If MONITOR SETUP LISTEN is set to AFL, the STEREO fader must be raised. Otherwise, you won’t hear anything.

01V—Owner’s Manual

Monitor Block Diagram

79

Monitor Block Diagram

1

BUS

2 3 4

AUX

1 2 3 4

EFF

1 2

ST

L R

4-Band

PEQ

Meter

Dynamics

4-Band

PEQ

Dynamics

Meter

L

R

2TR OUT

BALANCE

ON

Delay

Delay

DA

DA

ST

Dither to

OUTPUT

SELECT

L

R

STEREO

OUT

DIGITAL

STEREO

OUT

MONI

L R

LISTEN

STEREO OUT

Meter

BUS master fader

ON

PAN

1-4

4-Band

PEQ

Meter Meter

Dynamics

AUX master fader

ON

LISTEN

Meter

Meter

LISTEN from

DIGITAL

STEREO

IN

LISTEN

BUS

1-4

1-4

AUX

1-4

1-4

ST CASCADE IN to

OUTPUT

SELECT to

OUTPUT

SELECT

Monitor section

MONI

TRIM

MONO

DA

DA

MONITOR

2TR IN

LEVEL to INPUT 15, 16

L

2TR IN

R

LEVEL

L

R

MONITOR

OUT

PHONES

01V—Owner’s Manual

80

Chapter 7—Solo, Monitors & Meters

Solo Setup

The Solo function, available on input channels 1 through 24 and the effects returns, is used to monitor channels individually. Two solo modes are available: Recording Solo and Mixdown Solo. These and configured using the SOLO SETUP parameters on

SETUP page 2. Solo has priority over the sources selected using the MONITOR SETUP parameters. Channel signals can be soloed pre-fader (PFL) or post-fader (AFL). When

input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their

[SOLO] buttons continue to work independently.

1. Use the [SETUP] button to locate SETUP page 2 shown below.

2. Use the cursor buttons to select the MONITOR SETUP parameters, and the PARAMETER wheel, [–1/DEC] and [+1/INC] buttons, and [ENTER] button to set them.

SOLO

—This switch is used to enable and disable the Solo function. When set to DIS-

ABLE, signals are not soloed, the [SOLO] indicator on the soloed channel lights up instead of flashing, and the SOLO status indicator does not light up.

SOLO MODE

—These switches are used to select the Solo mode: Recording Solo or

Mixdown Solo.

In Recording Solo mode, Soloed channel signals are fed to the Monitor bus and then output to the monitor out and phones. No other outputs are affected. Input channels that are turned off can also be soloed. If LISTEN is set to AFL, off channels are monitored PFL. This mode is typically used to monitor individual input signals in recording and sound reinforcement applications, and is useful for checking whether signals are clipping, or making EQ adjustments in isolation.

In Mixdown Solo mode, Soloed channels signals are fed to the Stereo bus and then output to the stereo output, monitor out, and phones. Non-soloed channels are muted.

Only channels that are routed to the Stereo bus cab be soloed. For the purpose of soloing, channels that are turned off are turned on when soloed. This mode is typically used when adjusting individual channels during mixdown.

SEL MODE

—These switches set the Solo Select mode. In LAST SOLO mode, only one channels can be soloed at a time. In MIX SOLO mode, however, several channels can be soloed simultaneously.

LISTEN

—This switches set the solo signal source to pre-fader (PFL) or post-fader

(AFL). It affects input channels 1 through 24 and the effects returns. This switch is not effective in Mixdown Solo mode because the monitor out and phones signals are sourced from the Stereo bus. In this mode, the MONITOR SETUP LISTEN switch can be used to select either PFL or AFL.

SOLO TRIM

—This parameter is used to adjust the level of the solo signal from –60 dB to +6 dB.

01V—Owner’s Manual

Using Solo

81

Using Solo

Input channels 1 through 24 and the effects returns can be soloed as follows.

1. Connect a monitoring system (amp, speakers) to the MONITOR OUT.

2. Make sure that the MONITOR–2TR IN switch is set to MONITOR.

3. Set the MONITOR OUT LEVEL control midway.

If you are using headphones, set the PHONES LEVEL control midway.

4. Use the [SETUP] button to locate SETUP page 2, explained previously, and configure as necessary.

For Input Channels 1–16

5. Use [SOLO] buttons 1 through 16 to solo channels.

For Input Channels 17–24

6. Press the [OPTION I/O] button.

7. Use [SOLO] buttons 17 through 24 to solo channels.

For Effects Returns 1 & 2

8. Use the effects returns [SOLO] buttons to solo effects returns 1 and 2.

When a channel is soloed, its [SOLO] button and the main SOLO indicator flash.

If SOLO SETUP LISTEN is set to AFL, you must raise the soloed channel’s fader. Otherwise, you won’t hear anything.

01V—Owner’s Manual

82

Chapter 7—Solo, Monitors & Meters

Solo Block Diagram

01V—Owner’s Manual

Metering Signal Levels

83

Metering Signal Levels

Signal level meters for input channels 1 through 16, the effects returns, aux sends, bus outs, omni outs, and stereo output are provided on the HOME pages. The signal source points for input and output meters can be set on HOME page 5. Stereo output levels can be metered using the main stereo meters or the meters on HOME page 4. A Peak

Hold function can be set globally for all meters. Meters for input channels 17 through

24 and the eight digital outputs (Option I/O) are available on the OPTION pages. All meters feature a CLIP indicator, which lights up when signals clip. If this happens, back off the levels, otherwise signal distortion may occur.

Input channels 1 through 16, the stereo output, aux sends, and effects sends can also be metered on the VIEW pages.

1. Use the [HOME] button to locate the following HOME pages.

Input channels 1–16

HOME page 1 displays signal level meters for input channels 1 through 16. The decibel value below each meter indicates the position of the corresponding channel fader. The highlighted numbers 1, 2, and 3 indicate that input channels 1, 2, and 3 have been

swapped with input channels 17, 18, and 19. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

Meters for input channels 1 through 16 also appear on the VIEW pages. See “Viewing

Input Channel Settings” on page 57 for more information.

Effects Returns, Aux Sends & Bus Outs

HOME page 2 displays signal level meters for the effects returns, aux sends, and bus outs. The decibel value below each meter indicates the position of the corresponding fader. The position of the stereo fader (ST) is also shown.

Meters for the effects returns also appear on the EFFECT and VIEW pages. See “Using

the Effects” on page 123 and “Viewing Effects Returns Settings” on page 130. Meters for

the aux sends also appear on the VIEW pages. See “Viewing Aux Send Settings” on page

98 for more information.

01V—Owner’s Manual

84

Chapter 7—Solo, Monitors & Meters

Omni Outs

HOME page 3 displays signal level meters for the four omni outs. The source assigned to an omni out is displayed below its meters. These assignments are made on

PAN/ROUT page 4. See “Assigning Omni Outs” on page 116 for more information.

Stereo Output

HOME page 4 displays signal level meters for the stereo output. Compared to the main stereo meters, these have a large scale from –72 dB to CLIP.

Meters for the stereo output also appear on the VIEW pages. See “Viewing Stereo Output Settings” on page 89 for more information.

Main Stereo Meters

L STEREO R

–15

–18

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

In addition to the meters on HOME page 4, stereo output levels are displayed on the dedicated 12-segment main stereo meters, with

Peak Hold. The meters range from –48 dB to CLIP. If a CLIP LED does light, reduce the stereo output level to prevent signal distortion. The main stereo meters are not affected by the metering points on HOME page 5.

Peak Hold

The Peak Hold function works with the HOME, OPTION I/O, and main stereo meters.

When it’s turned on, the meter segments lit by the loudest signal peaks remain on, providing an easy way to check for peak levels.

1. Use the PARAMETER wheel, [–1/DEC] and [+1/INC] buttons, or [ENTER] button to turn the Peak Hold function on or off.

To reset the Peak Hold function, turn it off and then on again.

01V—Owner’s Manual

Setting the Metering Point

85

Setting the Metering Point

The metering points for input channels 1 through 16 and the effects returns can be set to either PRE EQ or PRE FADER. For the stereo output, aux send, and bus out meters it can be set to either POST EQ or POST ON. These settings do not affect the main stereo meters, which always meter POST ON signals.

1. Use the [HOME] button to locate HOME page 5, as shown below.

2. Use the cursor buttons to select the switches, and the PARAMETER wheel,

[–1/DEC], [+1/INC], and [ENTER] buttons to set them.

INPUT

—Used to set the meter source points for input channels 1 through 16 and the effects returns to either PRE EQ or PRE FADER.

OUTPUT

—Used to set the meter source points for the stereo output, aux send, and bus out meters to either POST EQ or POST ON.

Option I/O Meters (input channels 17–24)

Signal level meters for input channels 17 through 24 and the Option I/O outputs are displayed on the OPTION pages.

1. Use the [OPTION I/O] button to locate the OPTION pages.

Signal level meters for inputs 17 through 24 are displayed on OPTION page 1, as shown below. The decibel value below each meter indicates the position of the corresponding fader. The highlighted numbers 20 and 22 indicate that input channels 20 and 22 have

been swapped with input channels 4 and 6. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

Signal level meters for the Option I/O outputs are displayed on OPTION page 3, as shown below. The source assigned to each output is displayed below its meter. These

assignments are made on OPTION page 4. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

01V—Owner’s Manual

86

Chapter 7—Solo, Monitors & Meters

Effects Send Meters

Signal level meters for effects sends 1 and 2 are displayed on the VIEW pages.

1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send, and then press the MASTER [SEL] button.

EFF1 or EFF2 appears on the display, indicating that an effects send is selected.

2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.

Signal level meters for effects send 1 are displayed on VIEW pages 1 and 2, as shown below.

Signal level meters for effects send 2 are displayed on VIEW pages 1 and 2, as shown below.

01V—Owner’s Manual

Stereo Output

87

Stereo Output

8

In this chapter...

About the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Analog Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

2TR Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Coaxial Digital Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Option I/O & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Omni Outs & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Solo & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Monitoring the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Metering the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Routing Signals to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Viewing Stereo Output Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Setting the Stereo Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Muting the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Balancing the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Applying EQ to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Stereo Output Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

01V—Owner’s Manual

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Chapter 8—Stereo Output

About the Stereo Output

The stereo output features four-band parametric EQ, a dynamics processor, balance control, and variable output delay of up to 300 milliseconds. The stereo signal is output via analog XLR-type connectors, analog 2TR OUT connectors, Coaxial digital outputs, and can be assigned to the Option I/O digital outputs or omni outs.

Analog Stereo Output

The stereo output signal is converted to analog using

20-bit 8-times oversampling D/A converters, and then output via balanced XLR-3-32-type connectors with a

+4 dB nominal output level.

STEREO OUT

R +4dB(BAL) L

2TR Out & the Stereo Output

In addition to the XLR connectors, the stereo output signal is output to the 2TR OUT connectors. These are phono jacks with a –10 dBV nominal output level, and are typically connected to the analog inputs of a stereo cassette deck, DAT, or MiniDisc deck for stereo mix recording.

L

–10dBV (UNBAL)

R

IN

2TR

OUT

Coaxial Digital Out & the Stereo Output

The stereo output signal is output digitally in Coaxial format from the digital stereo out connector. Typically this is connected to the digital input on a DAT or MiniDisc deck for stereo mix

recording. See “Digital Stereo Out” on page 211 for more information.

DIGITAL STEREO

COAXIAL

OUT IN

Option I/O & the Stereo Output

The stereo output signal can be assigned to the Option I/O digital outputs. See “About

Option I/O Cards” on page 216 for more information.

Omni Outs & the Stereo Output

The stereo output signal can be assigned to the omni outs. See “Assigning Omni Outs” on page 116 for more information.

Solo & the Stereo Output

The Mixdown Solo modes work in conjunction with the stereo output. See “Solo

Setup” on page 80 for more information.

Monitoring the Stereo Output

The stereo output can be monitored using the monitor out or phones. See “Monitor

Setup” on page 78 for more information.

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Metering the Stereo Output

89

Metering the Stereo Output

Stereo output signal levels can be metered using the L STEREO R meters or HOME

page 4 meters. See “Metering Signal Levels” on page 83 for more information.

Routing Signals to the Stereo Output

Input channels 1 through 24 and the effects return can be routed to the stereo output.

See “Routing Input Channels” on page 49 for more information.

Viewing Stereo Output Settings

Settings for the stereo output can be viewed, and certain parameters adjusted on VIEW pages 1 and 2.

1. Press the [HOME] button, and then the MASTER [SEL] button.

ST appears on the display, indicating that the stereo output is selected.

2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

Parameters are explained in the following sections.

01V—Owner’s Manual

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Chapter 8—Stereo Output

Setting the Stereo Output Level

0

–5

–10

–15

–20

The stereo output level is controlled using the STEREO fader. Since this fader is also used to control the aux and effects send master levels, you may need to press the [HOME] button before adjusting the stereo

output level. See “Faders (plus Return Rotary Controls)” on page 35 for more information.

–30

–40

–50

–70

– ∞

STEREO

MASTER

Muting the Stereo Output

ON

The stereo output can be muted using the STEREO [ON] button. This button lights up when stereo output is on. Since this button is also used to mute the aux and effects send master outputs, you may need to press the

[HOME] button before turning the stereo output on or off. See “ON Buttons” on page 34 for more information.

Balancing the Stereo Output

The left and right channels of the stereo output signal can be balanced as follows.

1. Press the [HOME] button, and then the STEREO [SEL] button.

ST appears on the display, indicating that the stereo output is selected.

2. Use the PAN control to adjust the balance.

The balance can also be adjusted on the VIEW page. See “Viewing Stereo Output Settings” on page 89 for more information.

Applying EQ to the Stereo Output

The stereo output features four-band parametric EQ. See “EQ” on page 61 for more information. The EQ can be turned on or off, and the EQ curve viewed on the VIEW

page. See “Viewing Stereo Output Settings” on page 89 for more information.

Stereo Output Dynamics Processors

The stereo output features a stereo dynamics processor. See “Dynamics Processors” on page 161 for more information. The dynamics can be turned on or off, and the dynam-

ics curve viewed on the VIEW page. See “Viewing Stereo Output Settings” on page 89 for more information.

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Stereo Output Delay

91

Stereo Output Delay

The left and right channels of the stereo output can be delayed individually by up to

300 milliseconds. This can be used to compensate for delays in multi-speaker sound reinforcement systems.

1. Use the [

/DELAY] button to locate DELAY page 4, as shown below.

2. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Parameter Range

ON/OFF

ON/OFF

Description

DELAY

0–300 ms

These switches are used to turn on and off the delays.

Delay can be specified in milliseconds, meters, or samples

(“Setting 01V Preferences” on page 203). The maximum

delay in samples is fixed at 13229. The maximum delay in milliseconds and meters depends on the sampling rate. At

44.1 kHz, for example, it is 300 milliseconds and 102.2 meters, respectively.

01V—Owner’s Manual

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Chapter 8—Stereo Output

Stereo Output Block Diagram

1

BUS

2 3 4

AUX

1 2 3 4

EFF

1 2

ST

L R

4-Band

PEQ

Meter

Dynamics

4-Band

PEQ

Dynamics

BALANCE

ON

Meter

Delay

Delay

DA

DA

ST

Dither to

OUTPUT

SELECT

L

R

2TR OUT

L

R

STEREO

OUT

DIGITAL

STEREO

OUT

MONI

L R

LISTEN

STEREO OUT

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Aux Sends

93

Aux Sends

9

In this chapter...

About the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Option I/O & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Omni Outs & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Monitoring Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Metering Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Sending Channel Signals to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Pre-fader/Post-fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Setting Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Muting Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Applying EQ to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Aux Send Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Stereo Pair Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

01V—Owner’s Manual

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Chapter 9—Aux Sends

About the Aux Sends

The 01V’s four aux sends, which can be used individually or in stereo pairs, feature four-band parametric EQ and dynamics processors. Signals from input channels 1 through 16 and the effects returns can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2. Channel aux sends can be configured individually as pre-fader or post-fader sends. The 01V does not have dedicated aux send connections. Instead aux sends must be assigned to the Option I/O digital outputs or omni outs.

The 01V does not have dedicated aux return inputs. Use the input channels to return aux signals. Stereo return signals can be connected to input channels 13/14 and 15/16.

The onboard effects are explained in their own chapter. See “Effects” on page 119 for more information.

Option I/O & the Aux Sends

Aux send signals can be assigned to the Option I/O digital outputs. See “About Option

I/O Cards” on page 216 for more information.

Omni Outs & the Aux Sends

Aux send signals can be assigned to the omni outs. See “Assigning Omni Outs” on page

116 for more information.

Monitoring Aux Sends

Aux sends can be monitored using the monitor out or phones. See “Monitor Setup” on page 78 for more information.

Metering Aux Sends

Aux send signal levels can be metered on the HOME pages. See “Metering Signal Levels” on page 83 for more information.

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95

Sending Channel Signals to Aux Sends

Signals from input channels 1 through 16 and the effects returns can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2.

For Input Channels 1–16

1. Use the [AUX] buttons to select an aux send.

The faders now function as channel aux send controls for the selected aux send, and an

AUX page similar to the one shown below appears.

2. Raise the fader of the channel you want to send to the aux send.

If the aux send is configured post-fader (“Pre-fader/Post-fader Aux Sends” on page 97),

you’ll have to raise the channel’s regular fader as well. To do this, press the [HOME] button, and then raise the fader.

The aux send controls on input channels 13 and 14 (likewise 15 and 16) are perma-

nently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their aux send controls are linked.

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select an AUX fader, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set the send level.

If the aux send is configured post-fader (“Pre-fader/Post-fader Aux Sends” on page 97),

you’ll have to raise the channel’s regular fader as well. If the Option I/O fader mode is still selected, simply raise the fader.

01V—Owner’s Manual

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Chapter 9—Aux Sends

For Effects Returns 1 & 2

1. Use the [AUX] buttons to select an aux send.

The effects returns rotary controls now function as effects returns aux send controls for the selected aux send, and an AUX page similar to the one shown below appears.

2. Turn up the rotary control of the effects return you want to send to the aux send.

If the aux send is configured post-fader (“Pre-fader/Post-fader Aux Sends” on page 97),

you’ll have to raise the effects returns regular control as well. To do this, press the

[HOME] button, and then turn up the rotary control.

01V—Owner’s Manual

Pre-fader/Post-fader Aux Sends

97

Pre-fader/Post-fader Aux Sends

The aux sends on input channels 1 through 24 and the effects returns can be configured individually as pre-fader or post-fader sends. Pre-fader means that signals are sourced before, and are not affected by the regular channel fader. Post-fader means that signals are sourced after, and are affected by the regular channel fader. With a post-fader send, the regular channel fader can be used to control the channel level and the aux send level simultaneously.

For Input Channels 1–16 & the Effects Returns

1. Use the [AUX] buttons to locate an AUX PRE/POST page, as shown below.

The value below each PRE/POST switch indicates the position of the aux send fader.

The position of the corresponding aux send master fader is displayed at the top of the page.

2. Use the [SEL] buttons or cursor buttons to select the PRE/POST switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

The PRE/POST switches on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired, or when aux sends are

configured as stereo pairs (“Pairing Input Channels” on page 52), their PRE/POST

switches are linked.

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the AUX PRE/POST switches, and the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

When aux 1 and 2 are paired (“Pairing Aux Sends” on page 101), the PRE/POST

switches are linked.

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Chapter 9—Aux Sends

Viewing Aux Send Settings

Settings for the aux sends can be viewed, and certain parameters adjusted on VIEW pages 1 and 2.

1. Use the [AUX] buttons to select an aux send, and then press the MASTER

[SEL] button.

AUX appears on the display, indicating that an aux send is selected.

2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

Parameters are explained in the following sections.

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Setting Aux Send Master Levels

99

Setting Aux Send Master Levels

0

–5

–10

–15

–20

Aux send master levels are controlled using the MASTER fader. The

function of this fader depends on the selected Fader mode. See “Faders (plus Return Rotary Controls)” on page 35 for more information.

–30

–40

–50

–70

– ∞

STEREO

MASTER

1. Use the [AUX] buttons to select an aux send.

An AUX page similar to the one shown below appears.

The MASTER fader now functions as aux send master level control for the selected aux send.

2. Use the MASTER fader to set the aux send master level.

The position of the aux send master fader is displayed at the top of the AUX PRE/POST page.

When aux sends are paired (“Pairing Aux Sends” on page 101), their master faders are

linked.

The aux send master levels can be viewed and adjusted on the VIEW pages. See “Viewing Aux Send Settings” on page 98 for more information.

01V—Owner’s Manual

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Chapter 9—Aux Sends

Muting Aux Sends

ON

Aux send masters can be muted using the MASTER [ON] button, which lights up when an aux send is on. The function of this button depends on

the selected Fader mode. See “ON Buttons” on page 34 for more information.

1. Use the [AUX] buttons to select an aux send.

An AUX page similar to the one shown below appears.

The MASTER [ON] button now functions as aux send master on/off switch for the selected aux send.

2. Use the MASTER [ON] button to turn the aux send on or off.

When aux sends are paired (“Pairing Aux Sends” on page 101), their on switches are

linked.

The aux send master switches can be viewed and set on the VIEW pages. See “Viewing

Aux Send Settings” on page 98 for more information.

Applying EQ to Aux Sends

Each aux send features a four-band parametric EQ. See “EQ” on page 61 for more information. The EQ can be turned on or off, and the EQ curve viewed on the VIEW

page. See “Viewing Aux Send Settings” on page 98 for more information.

Aux Send Dynamics Processors

Each aux send features a dynamics processor. See “Dynamics Processors” on page 161 for more information. The dynamics can be turned on or off, and the dynamics curve

viewed on the VIEW page. See “Viewing Aux Send Settings” on page 98 for more information.

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Pairing Aux Sends

101

Pairing Aux Sends

Aux sends 1 and 2 and aux sends 3 and 4 can be paired together for stereo signal processing. When paired, the EQ, dynamics, master faders, ON buttons, and monitors of each aux send are set the same and linked for simultaneous control. In addition to the linking of aux send master parameters, pairing also affects input channels 1 through 24 and the effects returns. For these channels, aux send controls and pre/post switches are linked, and aux send panpots appear.

Making Aux Send Pairs

1. Use the [SETUP] button to locate SETUP page 4, as shown below.

2. Use the cursor buttons to select aux pair 1/2 or 3/4, and then press the

[ENTER] button.

The following dialog box appears.

AUX 1 –> 2

—Copy the settings of aux send 1 to aux send 2.

AUX 2 –> 1

—Copy the settings of aux send 2 to aux send 1.

RESET BOTH

—Reset both aux sends to their initial settings.

3. Use the cursor buttons to select a pairing mode, and then press the

[ENTER] button.

The highlighted switch and STEREO label show that the aux sends are now configured as a stereo pair.

Releasing Aux Send Pairs

1. On SETUP page 4, use the cursor buttons to select the paired aux switch, and then press the [ENTER] button.

The following dialog box appears.

2. Select OK, and then press the [ENTER] button.

The stereo pair is broken, and both aux sends operate independently.

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Chapter 9—Aux Sends

Panning Channel Aux Sends

1. Use the [AUX 1] or [AUX 2] button to locate the AUX 1–2 Pan page, or the [AUX 3] or [AUX 4] button to locate the AUX 3–4 Pan page.

When aux sends are not paired, the AUX PAN pages are empty, as shown below.

When aux sends are paired (“Making Aux Send Pairs” on page 101), the AUX PAN

pages contain panpots for input channels 1 through 16 and the effects returns, as shown below.

2. Use the [SEL] buttons or cursor buttons to select the channel panpots, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

For input channels 13/14, 15/16, and the effects returns, press the [SEL] buttons repeatedly to select the odd/left and even/right channels.

The INPUT PAN LINK option is used to link aux send panpots to their corresponding channel panpots. When this option is on, pan settings made on the AUX PAN pages are reflected on PAN/ROUT page 1 and vice versa. Also, the aux panpots are affected by the

INDIVIDUAL, GANG, and INV. GANG pan modes on PAN/ROUT page 1.

Including center, there are 33 pan positions.

Hard left Center Hard right

L16

···

L3

L2

L1

CENTER

R1

R2

R3

···

R16

Input channels 1 through 12 feature a single panpot, as shown here.

Input channels 13/14 and 15/16 and the effects returns feature dual panpots, with the inner panpots being the odd/left channel pans and the outer panpots being the even/right channel pans. When working with stereo signals, these dual panpots can be used to adjust the width of stereo signals, as shown below.

With the inner control set at L16 and the outer control set at R16, as shown here, the width of a stereo signal is 100%.

With both controls set at CENTER, as shown here, the width of the stereo signal is zero (i.e., mono).

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103

Setting the controls to positions in between these two extremes allows you to set the width of the stereo signal. To maintain a central balance, however, you must set both controls to corresponding values. For example, L8 and

R8, or L10 and R10.

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Chapter 9—Aux Sends

Aux Send Block Diagram

1

BUS

2 3 4

AUX

1 2 3 4

EFF

1 2

ST

L R

4-Band

PEQ

Meter Meter

Dynamics

AUX 1 master fader

ON

4-Band

PEQ

Meter Meter

Dynamics

AUX 2 master fader

ON

4-Band

PEQ

Meter Meter

Dynamics

AUX 3 master fader

ON

4-Band

PEQ

Meter Meter

Dynamics

AUX 4 master fader

ON

LISTEN

Meter

LISTEN

Meter

AUX 1 to

OUTPUT

SELECT

AUX 1

AUX 2 to

OUTPUT

SELECT

AUX 2

Meter

LISTEN

Meter

AUX 3 to

OUTPUT

SELECT

AUX 3

LISTEN

AUX 4 to

OUTPUT

SELECT

AUX 4

MONI

L R to

MONITOR

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Stereo Pair Aux Send Block Diagram

105

Stereo Pair Aux Send Block Diagram

01V—Owner’s Manual

106

Chapter 9—Aux Sends

01V—Owner’s Manual

Bus Outs

107

Bus Outs

10

In this chapter...

About the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Option I/O & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Omni Outs & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Routing Signals to the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Setting Bus Out Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Muting Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Routing Bus Signals to the Stereo Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Pairing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Bus Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Stereo Pair Bus Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

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Chapter 10—Bus Outs

About the Bus Outs

The 01V’s four bus outs can be used individually or in stereo pairs. Signals from input

channels 1 through 24 and the effects returns can be routed to bus outs 1 through 4. See

“Routing Input Channels” on page 49 for more information. The 01V does not have

dedicated bus out connections. Instead bus outs must be assigned to the Option I/O digital outputs or omni outs.

Option I/O & the Bus Outs

Bus out signals can be assigned to the Option I/O digital outputs. See “About Option

I/O Cards” on page 216 for more information.

Omni Outs & the Bus Outs

Bus out signals can be assigned to the omni outs. See “Assigning Omni Outs” on page

116 for more information.

Monitoring Bus Outs

Bus outs can be monitored using the monitor out or phones. See “Monitor Setup” on page 78 for more information.

Metering Bus Outs

Bus out signal levels can be metered on the HOME pages. See “Metering Signal Levels” on page 83 for more information.

Routing Signals to the Bus Outs

Signals from input channels 1 through 24 and the effects returns can be routed to bus

outs 1 through 4. See “Routing Input Channels” on page 49 and “Routing Effects

Returns” on page 131 for more information.

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Setting Bus Out Master Levels

109

Setting Bus Out Master Levels

Bus out master levels are controlled using the virtual faders on PAN/ROUT page 3.

1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 3, a shown below.

2. Use the cursor buttons to select the bus out master faders, and the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

When bus outs are paired (“Pairing Bus Outs” on page 111), their master faders are

linked.

Bus out master levels can be controlled using regular faders on REMOTE page 1. See

“Assigning Faders & On Buttons” on page 194 for more information.

Muting Bus Outs

Bus outs are muted using the virtual ON switches on PAN/ROUT page 3.

1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 3, a shown below.

2. Use the cursor buttons to select the bus out ON switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

When bus outs are paired (“Pairing Bus Outs” on page 111), their ON switches are

linked.

Bus outs can be muted using regular [ON] buttons on REMOTE page 1. See “Assigning

Faders & On Buttons” on page 194 for more information.

01V—Owner’s Manual

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Chapter 10—Bus Outs

Routing Bus Signals to the Stereo Bus

The bus outs can be routed to the Stereo bus and used as sub-groups during mixdown.

Initially odd bus outs are panned to the left and even bus outs to right.

1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 3, a shown below.

2. Use the cursor buttons to select the TO ST switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to turn them on.

3. Use the cursor buttons to select the panpots, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

Including center, there are 33 pan positions.

Hard left Center Hard right

L16

···

L3

L2

L1

CENTER

R1

R2

R3

···

R16

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Pairing Bus Outs

111

Pairing Bus Outs

Bus outs 1 and 2 and bus outs 3 and 4 can be paired together for stereo signal processing. When paired, the master faders and ON buttons are linked for simultaneous control.

Making Bus Out Pairs

1. Use the [SETUP] button to locate SETUP page 4, as shown below.

2. Use the cursor buttons to select bus pair 1/2 or 3/4, and then press the

[ENTER] button.

The following dialog box appears.

BUS 1 –> 2

—Copy the settings of bus out 1 to bus out 2.

BUS 2 –> 1

—Copy the settings of bus out 2 to bus out 1.

RESET BOTH

—Reset both bus outs to their initial settings.

3. Use the cursor buttons to select a pairing mode, and then press the

[ENTER] button.

The highlighted switch and STEREO label show that the bus outs are now configured as a stereo pair.

Releasing Bus Out Pairs

1. On SETUP page 4, use the cursor buttons to select the paired bus switch, and then press the [ENTER] button.

The following dialog box appears.

2. Select OK, and then press the [ENTER] button.

The stereo pair is broken, and both bus outs operate independently.

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Chapter 10—Bus Outs

Bus Out Block Diagram

1

BUS

2 3 4

AUX

1 2 3 4

EFF

1 2

ST

L R

Meter

BUS 1 master fader

ON

PAN

Meter

TO ST

BUS 2 master fader

ON

PAN

Meter

PAN

Meter

TO ST

TO ST

BUS 3 master fader

BUS 4 master fader

ON

ON

Meter

BUS 1 to

OUTPUT

SELECT

BUS 1

LISTEN

Meter

LISTEN

Meter

BUS 2 to

OUTPUT

SELECT

BUS 2

BUS 3 to

OUTPUT

SELECT

BUS 3

LISTEN

Meter

BUS 4 to

OUTPUT

SELECT

BUS 4

LISTEN

PAN

TO ST

MONI

L R to

MONITOR

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Stereo Pair Bus Out Block Diagram

113

Stereo Pair Bus Out Block Diagram

In this diagram, bus outs 1 and 2 are paired.

BUS

1 2 3 4 1

AUX EFF ST

2 3 4 1 2 L R

Meter

BUS 1 master fader

Meter

PAN

Meter

TO ST

BUS 2 master fader

ON

LISTEN

BUS 1

Meter

Unchanged

LISTEN

BUS 2

Meter

Unchanged

PAN

Meter

TO ST

BUS 3 master fader

PAN

Meter

TO ST

BUS 4 master fader

ON

LISTEN

BUS 3

Meter

Unchanged

Unchanged

LISTEN

BUS 4

TO ST

PAN

BUS 1

BUS 2

BUS 3

BUS 4

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Chapter 10—Bus Outs

01V—Owner’s Manual

Omni Outs

115

Omni Outs

11

In this chapter...

About the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Assigning Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Omni Out Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Omni Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

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Chapter 11—Omni Outs

About the Omni Outs

The 01V’s four omni outs can be used as aux send outputs, bus out outputs, additional stereo outputs, or post-fader direct outputs for input channels 1 through 16. Each omni out features a variable output delay of up to 300 milliseconds.

Omni Outs

Omni out signals are converted to analog using 18-bit D/A converters, and then output via balanced 1/4-inch phone jacks with a

+4 dB nominal output level.

4

OMNI OUT

+4dB (BAL)

3 2 1

Assigning Omni Outs

Omni outs are initially assigned to aux sends 1 through 4. They can also be assigned to the bus outs, the left and right channels of the stereo output, or post-fader direct outputs of input channels 1 through 16.

1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 4, a shown below.

2. Use the cursor buttons to select the OMNI OUT parameter boxes, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select sources for the omni outs.

3. Press the [ENTER] button to confirm your selection.

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Omni Out Delay

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Omni Out Delay

The omni outs can be delayed individually by up to 300 milliseconds. This can be used to compensate for delays in multi-speaker sound reinforcement systems.

1. Use the [

/DELAY] button to locate DELAY page 4, as shown below.

2. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Parameter Range

ON/OFF

ON/OFF

DELAY

0–300 ms

Description

These switches are used to turn on and off the delays.

Delay can be specified in milliseconds, meters, or samples

(“Setting 01V Preferences” on page 203). The maximum

delay in samples is fixed at 13229. The maximum delay in milliseconds and meters depends on the sampling rate. At

44.1 kHz, for example, it is 300 milliseconds and 102.2 meters, respectively.

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Chapter 11—Omni Outs

Omni Out Block Diagram

STEREO L

STEREO R

BUS 1 from

BUS 4

AUX 1

AUX 4

CH 1

CH 2

CH 15

CH 16

OMNI OUT

Select

Delay

DA

1-4

OMNI

OUT

01V—Owner’s Manual

Effects

119

Effects

12

In this chapter...

About the Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Using the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Pre-fader/Post-fader Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Viewing Effects Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Setting Effects Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Metering Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Muting Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Viewing Effects Returns Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Metering Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Applying EQ to Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Muting Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Setting Effects Returns Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Panning Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Routing Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Monitoring Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Effects Returns & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Storing Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Recalling Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Editing Effects Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Setting Delay, Freq, Note & Tempo Parameters . . . . . . . . . . . . . . . . . . . . . . . 137

Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Effects Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

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Chapter 12—Effects

About the Onboard Effects

The 01V’s two onboard stereo multi-effects processors, Effect 1 and Effect 2, provide a wide range of high-quality effects, including reverb, delay, chorus, flange, amp simulator, and freeze. There are 42 different types of effect available. Effects processors 1 and

2 are fed by Effect buses 1 and 2, respectively, and processed signals are returned via effect returns 1 and 2. Effects can be applied to input channels 1 through 24 and the effects returns.

Effects settings are stored as programs in the effects library, which contains 42 preset

programs and 57 user programs. See “Effects Library” on page 132 for more informa-

tion. Effects settings are also stored in scene memories. See “Storing Mix Scenes” on page 186 for more information.

Effects processors are edited on EFFECT1 page 1, as shown below, and EFFECT2 page

2. Use the [EFFECT 1] button to locate the EFFECT1 pages and the [EFFECT 2] button to locate the EFFECT2 pages. When EFFECT1 pages are selected, the effects return 1 level icon is highlighted, as shown below. When EFFECT2 pages are selected, the effects return 2 level icon is highlighted.

The title of the selected program and the type of effect it uses appear at the top of the page. Below these are the effects parameters, the number of which vary depending on the type of effect selected. The type of effect is displayed above the effects returns level control icons. On this page, Effect 1 is using a HALL reverb, while Effect 2 is using a

CHORUS effect. Up and down arrow icons, like the down icon on this page, indicate that more parameters are available and can be selected using the up and down cursor buttons. The meters indicate effects returns signal levels for the selected effects processor.

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Preset Effects Programs

121

Preset Effects Programs

The following table lists the preset effects programs. See “Effects Parameters” on page 138 for detailed parameter information. Effects programs that use the HQ.

PITCH or FREEZE type effects can be used only with Effect 2.

Reverb-type Effects

# Title Type Description

01 Reverb Hall

REVERB HALL

Reverb simulating a large space such as a concert hall.

02 Reverb Room

REVERB ROOM

Reverb simulating the acoustics of a smaller space

(room) than REVERB HALL.

03 Reverb Stage

REVERB STAGE Reverb designed with vocals in mind.

04 Reverb Plate

05 Early Ref.

06 Gate Reverb

07 Reverse Gate

REVERB PLATE

EARLY REF.

GATE REVERB

REVERSE GATE

Simulation of a metal-plate reverb unit, producing a feeling of hard-edged reverberation.

An effect which isolates only the early reflection (ER) component from reverberation. A flashier effect than reverb is produced.

A type of ER designed for use as gated reverb.

A reverse-playback type ER.

Delays

# Title

08 Mono Delay

09 Stereo Delay

10 Mod.delay

11 Delay LCR

12 Echo

Type

MOD.DELAY

DELAY LCR

Description

MONO DELAY

Mono delay with simple operation. Use when you don't need to use complex parameter settings.

STEREO DELAY Stereo delay with independent left and right.

Mono delay with modulation.

ECHO

Three-tap delay (L, C, R).

Stereo delay with additional parameters for more detailed control. The signal can be fed back from left to right, and right to left.

Modulation-type Effects

Type # Title

13 Chorus

14 Flange

CHORUS

FLANGE

15 Symphonic

16 Phaser

17 Auto Pan

18 Tremolo

19 HQ.Pitch

20 Dual Pitch

21 Rotary

SYMPHONIC

PHASER

AUTO PAN

TREMOLO

HQ.PITCH

DUAL PITCH

ROTARY

Description

Three-phase stereo chorus.

The well-known flanging effect.

A Yamaha proprietary effect that produces a richer and more complex modulation than chorus.

Stereo phaser with 2–16 stages of phase shift.

An effect which cyclically moves the sound between left and right.

Tremolo

Only one note is pitch-shifted, but a stable effect is produced.

Stereo pitch shift with left and right pitches set independently.

Simulation of a rotary speaker.

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Chapter 12—Effects

# Title

22 Ring Mod.

23 Mod.Filter

Type

RING MOD.

MOD.FILTER

Description

An effect that modifies the pitch by applying amplitude modulation to the frequency of the input.

On the 01V, even the modulation frequency can be controlled by modulation.

An effect which uses an LFO to modulate the frequency of the filter.

Guitar Effects

# Title Type Description

24 Distortion

DISTORTION Distortion

25 Amp Simulate

AMP SIMULATE Guitar Amp Simulator

Dynamic Effects

# Title

26 Dyna.Filter

27 Dyna.Flange

28 Dyna.Phaser

Type

DYNA.FILTER

DYNA.FLANGE

DYNA.PHASER

Description

Dynamically controlled filter. Responds to MIDI Note

On velocity when SOURCE set to MIDI.

Dynamically controlled flanger. Responds to MIDI

Note On velocity when SOURCE set to MIDI.

Dynamically controlled phase shifter. Responds to

MIDI Note On velocity when SOURCE set to MIDI.

Combined Effects

# Title Type Description

29 Rev+Chorus

30 Rev->Chorus

REV+CHORUS Reverb and chorus in parallel

REV->CHORUS Reverb and chorus in series

31 Rev+Flange

32 Rev->Flange

REV+FLANGE

REV->FLANGE

Reverb and flanger in parallel

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 parallel

36 Delay+ER.

37 Delay->ER.

DELAY+ER.

DELAY->ER.

Delay and early reflections in parallel

Delay and early reflections in series

38 Delay+Rev

39 Delay->Rev

40 Dist->Delay

DELAY+REV

DELAY->REV

DIST->DELAY

Delay and reverb in parallel

Delay and reverb in series

Distortion and delay in series

Other Effects

# Title

41 Multi.Filter

42 Freeze

Type

MULTI.FILTER

FREEZE

Description

Three-band parallel filter (24 dB/octave). Easily setup when used with the Internal Parameter function on

REMOTE page 1 (see page 194).

Basic Sampler

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Using the Effects

123

Using the Effects

There are two stages to applying effects: 1) Sending the input channel signal to an effects processor. 2) Returning the processed signal back into the mix. The following three sections explain how to send signals from input channels 1 through 16, 17 through 24, and the effects returns to effects processors. The final section explains how to return the processed signal back into the mix.

For Input Channels 1–16

1. Press the [HOME] button, and then raise the fader of the channel to which you want to apply an effect.

This step is necessary because effects sends are initially configured as post-fader sends.

If the channel fader is not raised, no signal is fed to the effects sends. See

“Pre-fader/Post-fader Effects Sends” on page 125 for more information.

2. Press the [EFFECT 1] or [EFFECT 2] button to select an effects processor.

An EFFECT page similar to the one shown below appears, and faders now function as effects send controls.

3. Raise the channel’s fader (i.e., effects send level control).

This sends the channel signal to the selected effects processor. The effects return meters display the level of the effects return signal.

Since each effects processor has a mono input, the signals of input channels 13 and 14

(likewise 15 and 16) are summed into a mono mix before being fed to an effects pro-

cessor. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their effects send controls are linked.

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Raise the fader of the channel to which you want to apply an effect.

This step is necessary because effects sends are initially configured as post-fader sends.

If the channel fader is not raised, no signal is fed to the effects sends. See

“Pre-fader/Post-fader Effects Sends” on page 125 for more information.

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Chapter 12—Effects

4. Use the cursor buttons to select an EFFECT fader, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set the effects send level.

For Effects Returns 1 & 2

To prevent signal loops, effects return 1 can be fed only to Effect 2, and effects return 2 can be fed only to Effect 1.

1. Press the [HOME] button, and then turn up the RETURN level control of the effects return to which you want to apply an effect.

This step is necessary because effects sends are initially configured as post-fader sends.

If the channel fader is not raised, no signal is fed to the effects sends. See

“Pre-fader/Post-fader Effects Sends” on page 125 for more information.

2. Press the [EFFECT 1] or [EFFECT 2] button to select an effects processor.

An EFFECT page similar to the one shown below appears, and effects returns rotary controls now function as effects returns effects send controls.

3. Turn up the effects return RETURN level control (i.e., effects send level control).

This sends the effects return signal to the selected effects processor. The effects return meters display the level of the effects return signal.

Returning Processed Signals

The final stage to applying effects is to return the processed signal back into the mix.

1. Press the [HOME] button.

Faders now function as regular channels faders.

2. Turn up the effects return control corresponding to the effect that you are using: Return 1 for Effect 1, Return 2 for Effect 2.

The processed signal is returned into the mix.

3. Set the EQ, pan, and so on for the effects return channel.

Effects programs can be recalled from the effects library. See “Recalling Effects Programs” on page 134 for more information.

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Pre-fader/Post-fader Effects Sends

125

Pre-fader/Post-fader Effects Sends

Effects sends on input channels 1 through 24 and effects returns 1 and 2 can be configured as either pre-fader or post-fader sends. Pre-fader means that signals are sourced before, and are not affected by the regular channel fader. Post-fader means that signals are sourced after, and are affected by the regular channel fader. With a post-fader send, the regular channel fader can be used to control the channel level and the effects send level simultaneously.

For Input Channels 1–16 & the Effects Returns

1. Use the [EFFECT 1] button to locate the PRE/POST page for Effect 1, or the [EFFECT 2] button to locate the PRE/POST page for Effect 2.

Both pages are shown below.

The value below each PRE/POST switch indicates the position of the effects send fader.

The position of the corresponding effects send master fader is displayed at the top of the page.

To prevent signal loops, effects return 1 can be fed only to Effect 2, and effects return 2 can be fed only to Effect 1. This is why EFFECT1 page 3 does not have a PRE/POST switch for effect 1, and EFFECT2 page 3 does not have a PRE/POST switch for effect 2.

2. Use the [SEL] buttons or cursor buttons to select the PRE/POST switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

The PRE/POST switches on input channels 13 and 14 (likewise 15 and 16) are perma-

nently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their PRE/POST switches are linked.

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Chapter 12—Effects

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the EFFECT PRE/POST switches, and the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

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Viewing Effects Send Settings

127

Viewing Effects Send Settings

Settings for the effects sends can be viewed, and certain parameters adjusted on VIEW pages 1 and 2.

1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send, and then press the MASTER [SEL] button.

EFF1 or EFF2 appears on the display, indicating that an effects send is selected.

2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

Parameters are explained in the following sections.

Metering Effects Sends

Effects sends signal levels can be metered on the VIEW pages. See “Viewing Effects Send

Settings” on page 127 for more information.

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Chapter 12—Effects

Setting Effects Send Master Levels

0

–5

–10

–15

–20

Effects send master levels are controlled using the MASTER fader. The

function of this fader depends on the selected Fader mode. See “Faders (plus Return Rotary Controls)” on page 35 for more information.

–30

–40

–50

–70

– ∞

STEREO

MASTER

1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send.

An EFFECT page similar to the one shown below appears.

The MASTER fader now functions as effects send master level control for the selected effects send.

2. Use the MASTER fader to set the effects send master level.

The position of the effects send master fader is displayed at the top of the EFFECT

PRE/POST page.

The effects send master levels can be viewed and adjusted on the VIEW pages. See

“Viewing Effects Send Settings” on page 127 for more information.

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Muting Effects Sends

129

Muting Effects Sends

ON

Effects send masters can be muted using the MASTER [ON] button, which lights up when an effects send is on. The function of this button depends

on the selected Fader mode. See “ON Buttons” on page 34 for more information.

1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send.

An EFFECT page similar to the one shown below appears.

The MASTER [ON] button now functions as effects send master on/off switch for the selected effects send.

2. Use the MASTER [ON] button to turn the effects send on or off.

The effects send master switches can be viewed and set on the VIEW pages. See “Viewing Effects Send Settings” on page 127 for more information.

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Chapter 12—Effects

Viewing Effects Returns Settings

Settings for the effects returns can be viewed, and certain parameters adjusted on VIEW pages 1 and 2.

1. Use the effects returns [SEL] button to select an effects returns.

RTN1 or RTN2 appears on the display, indicating that an effects return is selected.

2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

Parameters are explained in the following sections.

Metering Effects Returns

Effects returns signal levels can be metered on the EFFECT and VIEW pages. See “Using

the Effects” on page 123 and “Viewing Effects Returns Settings” on page 130.

Applying EQ to Effects Returns

Effects returns feature four-band parametric EQ. See “EQ” on page 61 for more information. The EQ can be turned on or off, and the EQ curve viewed on the VIEW page.

See “Viewing Effects Returns Settings” on page 130 for more information.

Muting Effects Returns

ON

Effects returns can be turned on and off (i.e., muted) using the effects returns

[ON] buttons. When an effects returns is on, its [ON] button lights up.

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Setting Effects Returns Levels

131

Setting Effects Returns Levels

1 RETURN 2

Effects return levels are controlled using the effects return rotary controls.

To adjust the level of an effects return, press the [HOME] button, and then use the rotary controls.

Rotary control operation depends on the selected Fader mode.

See “Faders (plus Return Rotary Controls)” on page 35 for more information. The selected fader mode is shown on the

display. See “Display” on page 28 for more information.

Panning Effects Returns

Effects return panpots are used to pan signals between the left and right channels of the

stereo out, and the odd and even bus outs. See “Panning Input Channels” on page 47 for more information.

Routing Effects Returns

Effects returns can be routed to the four buses and stereo out. See “Routing Input Channels” on page 49 for more information.

Monitoring Effects Returns

Effects returns can be monitored using the monitor out or phones. See “Monitor Setup” on page 78 for more information.

Effects Returns & Aux Sends

Signals from effects returns 1 and 2 can be sent to aux sends 1 through 4. Effects return sends can be configured as either pre-fader or post-fader sends. When aux sends are

paired, aux send panpots become available on each effects return. See “Aux Sends” on page 93 for more information.

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Chapter 12—Effects

Effects Library

Effects settings are stored as programs in the effects library, which contains 42 preset programs (1–42) and 57 user programs (43–99). User programs are used to store custom effects settings, which can be titled for easy identification. The effects library can also be used to transfer settings from one effects processor to another. For example, the

Effect 1 settings could be stored as a library program and then recalled to Effect 2. The unique collection of preset effects programs is designed for specific applications and instruments, and provides a good reference and starting point when using the effects

processors. See page 121 for a complete list of the preset effects programs.

The effects library is controlled from the library page shown below. Use the [EFFECT

1] or [EFFECT 2] button to locate it. Although the effects library can be accessed using either button, the effects library is in fact common to both effects processors. When the library page is selected using the [EFFECT 1] button, store and recall operations affect

Effect 1. When the library page is selected using the [EFFECT 2] button, store and recall operations affect Effect 2.

The top half of the library page contains the STORE, RECALL, and TITLE EDIT switches. Below these is the library window, which can be scrolled using the PARAME-

TER wheel. The “R” icon next to a preset program means read only. The meters indicate effects returns signal levels for the selected effects processor.

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Storing Effects Programs

Custom effects settings can be stored in user programs 43 through 99.

1. Use the [EFFECT 1] or [EFFECT 2] button to locate the library page, as shown below.

To store the effects settings of Effect 1, use the [EFFECT 1] button to locate the library page. To store the effects settings of Effect 2, use the [EFFECT 2] button.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 43 through 99.

The program list order can be set using the LIBRARY LIST ORDER option in prefer-

ences (“Setting 01V Preferences” on page 203).

3. Use the cursor buttons to select the STORE switch, and then press the

[ENTER] button.

The Title Edit dialog box appears. If the STORE CONFIRMATION option is turned off

in the preferences (“Setting 01V Preferences” on page 203), the Title Edit dialog box

does not appear and the effects program is stored.

4. Title the effects program.

See “Title Edit Dialog Box” on page 37 for more information.

5. Select OK, and then press the [ENTER] button.

The effects program is stored.

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Recalling Effects Programs

Effects programs 1 through 99 can be recalled. Programs that use the HQ. PITCH or

FREEZE effects can be recalled only to Effect 2.

1. Use the [EFFECT 1] or [EFFECT 2] button to locate the Library page, as shown below.

To recall an effects program to Effect 1, use the [EFFECT 1] button to locate the library page. To recall an effects program to Effect 2, use the [EFFECT 2] button.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select programs.

As each program is selected its type is displayed.

The program list order can be set using the LIBRARY LIST ORDER option in prefer-

ences (“Setting 01V Preferences” on page 203).

3. Use the cursor buttons to select the RECALL switch, and then press the

[ENTER] button.

The effects program is recalled. If the RECALL CONFIRMATION option is turned on

in the preferences (“Setting 01V Preferences” on page 203), a confirmation dialog box

appears. In this case, select OK, and then press the [ENTER] button to confirm the recall.

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Editing Effects Program Titles

User program titles can be edited using the Title Edit function.

1. Use the [EFFECT 1] or [EFFECT 2] button to locate the library page, as shown below.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 43 through 99.

3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button.

The Title Edit dialog box appears.

4. Edit the program title.

See “Title Edit Dialog Box” on page 37 for more information.

5. Select OK, and then press the [ENTER] button.

The program is stored with its new title.

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Editing Effects

Effects programs can be edited, and then stored as user programs.

1. Press the [EFFECT 1] or [EFFECT 2] button to locate EFFECT1 page 1 or

EFFECT2 page 1, depending on which effect you want to edit.

EFFECT1 page 1 is shown below.

2. Use the cursor buttons to select the effects parameters, and the PARAM-

ETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

Up and down arrow icons, like the down icon on this page, indicate that more parameters are available and can be selected using the up and down cursor buttons.

Effects parameters, including variable range and description, are listed on page 138.

To store the edited program, see “Storing Effects Programs” on page 133.

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Setting Delay, Freq, Note & Tempo Parameters

Delay parameters can be set manually by entering the delay time in milliseconds, or automatically by entering the NOTE and TEMPO parameters. For example, with the

TEMPO set to 120 beats per minute and NOTE set to eighth note, the delay is automatically set to 250 milliseconds, as shown below. With the TEMPO still at 120 beats per minute, changing the DELAY to 500.0 milliseconds would automatically set the NOTE parameter to quarter note. Similarly, changing the NOTE parameter to sixteenth note would automatically set the DELAY parameter to 125.5 milliseconds. If the TEMPO parameter is changed, the DELAY parameter is automatically recalculated.

The TEMPO can be set from 25 to 300 beats per minute, although the range may be reduced if the DELAY parameter calculation exceeds the maximum delay time.

The FREQ. parameter for modulation-type effects can also be set either manually or automatically. For example, with the TEMPO set to 120 beats per minute and NOTE set to quarter note, the FREQ. is automatically set to 2.00 hertz, as shown below. With the TEMPO still at 120 beats per minute, changing the FREQ. to 4.00 hertz would automatically set the NOTE parameter to eighth note. Similarly, changing the NOTE parameter to sixteenth note would automatically set the FREQ. parameter to 8.00 hertz.

If the TEMPO parameter is changed, the FREQ. parameter is automatically recalculated.

The TEMPO can be set from 25 to 300 beats per minute, although the range may be reduced if the FREQ. parameter calculation exceeds the maximum frequency.

The TEMPO parameter can be entered manually or by using the Tap Tempo function.

To use Tap Tempo, select the TAP TEMPO switch, and then press the [ENTER] button on each beat. The TEMPO is calculated automatically based on the time between each button press.

Only the DELAY and FREQ. parameters can be controlled by using MIDI Control

Change and System Exclusive Parameter Change messages.

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Chapter 12—Effects

Effects Parameters

REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB

PLATE

Hall, room, stage, and plate simulations, all with gates.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

0.1–1.0

LO.RATIO

0.1–2.4

DIFF.

DENSITY

E/R DLY

E/R BAL.

0–10

0–100%

0.0–100.0 ms

0–100%

GATE LVL OFF, –60 to 0 dB

ATTACK 0–120 ms

HOLD

*1

DECAY

HPF

LPF

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Low-frequency reverb time ratio

Reverb diffusion (left–right reverb spread)

Reverb density

Delay between early reflections and reverb

Balance of early reflections and reverb (0% = ER,

100% = reverb)

Level at which gate kicks in

Gate opening speed

Gate open time

*2

Gate closing speed

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz)

2. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

EARLY REF.

Early reflections.

Parameter Range Description

TYPE

S-Hall, L-Hall,

Random, Revers,

Plate, Spring

ROOMSIZE 0.1–20.0

LIVENESS

INI.DLY

DIFF.

DENSITY

ER NUM.

FB GAIN

HI.RATIO

HPF

LPF

Type of early reflection simulation

0–10

0.0–500.0 ms

0–10

0–100%

1–19

Reflection spacing

Early reflections decay characteristics (0 = dead, 10 = live)

Initial delay before reverb begins

Reverb diffusion (left–right reverb spread)

Reverb density

Number of early reflections

–99 to +99%

0.1–1.0

Feedback gain

High-frequency feedback ratio

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

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GATE REVERB, REVERSE GATE

Early reflections with gate, and early reflections with reverse gate.

Parameter Range Description

TYPE

ROOMSIZE

LIVENESS

INI.DLY

DIFF.

DENSITY

HI.RATIO

ER NUM.

FB GAIN

HPF

LPF

Type-A, Type-B

0.1–20.0

0–10

0.0–500.0 ms

0–10

0–100%

0.1–1.0

Type of early reflection simulation

Reflection spacing

Early reflections decay characteristics (0 = dead, 10 = live)

Initial delay before reverb begins

Reverb diffusion (left–right reverb spread)

Reverb density

High-frequency feedback ratio

1–19

–99 to +99%

Number of early reflections

Feedback gain

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

MONO DELAY

Basic repeat delay.

Parameter

DELAY

NOTE

FB.GAIN

HI.RATIO

HPF

LPF

TEMPO

*2

Range Description

0.0–2730.0 ms

*1

Delay time

Used in conjunction with TEMPO to determine DELAY

–99 to +99%

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0.1–1.0

High-frequency feedback ratio

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps Used in conjunction with NOTE to determine DELAY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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STEREO DELAY

Basic stereo delay.

Parameter

DELAY L

NOTE L

FB.G L

DELAY R

NOTE R

FB.G R

HI.RATIO

HPF

LPF

TEMPO

*2

Range Description

0.0–1350.0 ms

*1

–99 to +99%

Left channel delay time

Used in conjunction with TEMPO to determine left channel DELAY

Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0.0–1350.0 ms

*1

Right channel delay time

Used in conjunction with TEMPO to determine right channel DELAY

–99 to +99%

Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0.1–1.0

High-frequency feedback ratio

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Used in conjunction with NOTE L and NOTE R to determine DELAY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

MOD.DELAY

Basic repeat delay with modulation.

Parameter

DELAY

DLY NOTE

Range

0.0–2725.0 ms

*1

FB.GAIN

FREQ.

MOD

NOTE

DEPTH

HI.RATIO

HPF

LPF

TEMPO

*3

–99 to +99%

0.05–40.00 Hz

*2

Description

Delay time

Used in conjunction with TEMPO to determine DELAY

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Modulation speed

Used in conjunction with TEMPO to determine FREQ

0–100%

0.1–1.0

25–300 bps

Modulation depth

High-frequency feedback ratio

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

Used in conjunction with DLY NOTE and MOD NOTE to determine DELAY and FREQ.

1.

(Maximum value depends on the tempo setting)

2.

3. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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DELAY LCR

Three-tap delay (left, center, right).

Parameter

DELAY L

NOTE L

LEVEL L

DELAY C

NOTE C

LEVEL C

DELAY R

NOTE R

LEVEL R

FB.DLY

NOTE FB

FB.GAIN

HI.RATIO

HPF

LPF

TEMPO

*2

Range Description

0.0–2730.0 ms

*1

–100 to +100%

0.0–2730.0 ms

*1

Left channel delay time

Used in conjunction with TEMPO to determine DELAY

L

Left channel delay level

Center channel delay time

Used in conjunction with TEMPO to determine DELAY

C

–100 to +100%

0.0–2730.0 ms

*1

Center channel delay level

Right channel delay time

Used in conjunction with TEMPO to determine DELAY

R

–100 to +100%

0.0–2730.0 ms

*1

–99 to +99%

Right channel delay level

Feedback delay time

Used in conjunction with TEMPO to determine

FB.DLY

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0.1–1.0

High-frequency feedback ratio

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Used in conjunction with NOTE parameters to determine DELAY L, DELAY C, DELAY R, and FB.DLY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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ECHO

Stereo delay with crossed feedback loop.

Parameter Range Description

DELAY L

NOTE L

FB.G L

DELAY R

NOTE R

FB.G R

FB.D L

NOTE FBL

L->R FB.G

0.0–1350.0 ms

*1

–99 to +99%

0.0–1350.0 ms

*1

–99 to +99%

0.0–1350.0 ms

*1

–99 to +99%

Left channel delay time

Used in conjunction with TEMPO to determine DELAY

L

Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel delay time

Used in conjunction with TEMPO to determine DELAY

R

Right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Left channel feedback delay time

Used in conjunction with TEMPO to determine FB.D L

Left to right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

FB.D R

NOTE FBR

R->L FB.G

HI.RATIO

HPF

LPF

TEMPO

*2

0.0–1350.0 ms

*1

–99 to +99%

Right channel feedback delay time

Used in conjunction with TEMPO to determine FB.D R

Right to left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0.1–1.0

High-frequency feedback ratio

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Used in conjunction with NOTE parameters to determine DELAY L, DELAY R, FB.D L, and FB.D R

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

CHORUS

Chorus effect.

Parameter Range

FREQ.

NOTE

0.05–40.00 Hz

*1

DEPTH 0–100%

MOD.DLY

0.0–500.0 ms

WAVE

TEMPO

*2

Sine, Tri

25–300 bps

Description

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

Modulation depth

Modulation delay time

Modulation waveform

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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FLANGE

Flange effect.

Parameter Range

FREQ.

NOTE

0.05–40.00 Hz

*1

DEPTH 0–100%

MOD.DLY

0.0–500.0 ms

FB.GAIN

WAVE

TEMPO

*2

–99 to +99%

Sine, Tri

25–300 bps

Description

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

Modulation depth

Modulation delay time

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Modulation waveform

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

SYMPHONIC

Symphonic efect.

Parameter Range

FREQ.

NOTE

0.05–40.00 Hz

*1

DEPTH 0–100%

MOD.DLY

0.0–500.0 ms

WAVE

TEMPO

*2

Sine, Tri

25–300 bps

Description

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

Modulation depth

Modulation delay time

Modulation waveform

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

PHASER

16-stage phaser.

Parameter

FREQ.

NOTE

DEPTH

FB.GAIN

OFFSET

STAGE

TEMPO

*2

Range Description

0.05–40.00 Hz

*1

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

0–100%

–99 to +99%

Modulation depth

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0–100 Lowest phase-shifted frequency offset

2, 4, 8, 10, 12, 14, 16 Number of phase shift stages

25–300 bps Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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AUTOPAN

Auto-panner.

Parameter

FREQ.

NOTE

DEPTH

DIR.

WAVE

TEMPO

*3

Range

0.05–40.00 Hz

*1

0–100%

*2

Sine, Tri, Square

25–300 bps

Description

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

Modulation depth

Panning direction

Modulation waveform

Used in conjunction with NOTE to determine FREQ.

1.

2. L<->R, L—>R, L<—R, Turn L, Turn R

3. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

TREMOLO

Tremolo effect

.

Parameter

FREQ.

NOTE

DEPTH

WAVE

TEMPO

*2

Range

0.05–40.00 Hz

*1

0–100%

Sine, Tri, Square

25–300 bps

Description

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

Modulation depth

Modulation waveform

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

HQ.PITCH (Effect 2 only)

High-quality pitch shifter.

Parameter

PITCH

FINE

MODE

DELAY

NOTE

FB.GAIN

TEMPO

*2

Range Description

–12 to +12 semitones Pitch shift

–50 to +50 cents Pitch shift fine

1–10

0.0–1000.0 ms

*1

Pitch shift precision

Delay time

Used in conjunction with TEMPO to determine DELAY

–99 to +99%

25–300 bps

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Used in conjunction with NOTE to determine DELAY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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DUAL PITCH

Twin-voice pitch shifter.

Parameter

PITCH L

FINE L

LEVEL L

PITCH R

FINE R

LEVEL R

DELAY L

NOTE L

FB.G L

DELAY R

NOTE R

FB.G R

MODE

TEMPO

*2

Range Description

–24 to +24 semitones Left channel pitch shift

–50 to +50 cents Left channel pitch shift fine

–100 to +100%

Left channel level (plus values for normal phase, minus values for reverse phase)

–24 to +24 semitones Right channel pitch shift

–50 to +50 cents Right channel pitch shift fine

–100 to +100%

Right channel level (plus values for normal phase, minus values for reverse phase)

0.0–1000.0 ms

*1

–99 to +99%

Left channel delay time

Used in conjunction with TEMPO to determine DELAY

L

Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0.0–1000.0 ms

*1

–99 to +99%

1–10

25–300 bps

Right channel delay time

Used in conjunction with TEMPO to determine DELAY

R

Right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Pitch shift precision

Used in conjunction with NOTE parameters to determine DELAY L and DELAY R

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

ROTARY

Rotary speaker simulator.

Parameter

ROTATE

SPEED

DRIVE

ACCEL

LOW

HIGH

SLOW

FAST

Range

STOP, START

SLOW, FAST

0–100

0–10

0–100

0–100

0.05–10.00 Hz

0.05–10.00 Hz

Description

Rotation stop, start

Rotation speed (see SLOW and FAST parameters)

Overdrive level

Accelation at speed changes

Low-frequency filter

High-frequency filter

SLOW rotation speed

FAST rotation speed

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RING MOD.

Ring modulator.

Parameter Range

SOURCE OSC, SELF

OSC FREQ 0.0–3000.0 Hz

FM FREQ 0.05–40.00 Hz

NOTE FM

*1

FM DEPTH

TEMPO

*2

0–100%

25–300 bps

Description

Modulation source: oscillator or input signal

Oscillator frequency

Oscillator frequency modulation speed

Used in conjunction with TEMPO to determine FM

FREQ

Oscillator frequency modulation depth

Used in conjunction with NOTE FM to determine FM

FREQ

1.

2. For more information about the FM FREQ., NOTE FM, and TEMPO parameters, see

“Setting Delay, Freq, Note & Tempo Parameters” on page 137.

MOD.FILTER

LFO modulation-type filter.

Parameter

FREQ.

NOTE

DEPTH

TYPE

OFFSET

RESO.

PHASE

Range

0.05–40.00 Hz

*1

0–100%

LPF, HPF, BPF

0–100

0–20

0.00–354.38

°

LEVEL

TEMPO

*2

0–100

25–300 bps

Description

Modulation speed

Used in conjunction with TEMPO to determine FREQ

Modulation depth

Filter type: low pass, high pass, band pass

Filter frequency offset

Filter resonance

Left-channel modulation and right-channel modulation phase difference

Output level

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

DISTORTION

Distortion effect.

Parameter

DST TYPE

DRIVE

MASTER

TONE

N.GATE

Range

DST1, DST2, OVD1,

OVD2, CRUNCH

0–100

0–100

–10 to +10

0–20

Description

Distortion type (DST = distortion, OVD = overdrive)

Distortion drive

Master volume

Tone

Noise reduction

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AMP SIMULATE

Guitar Amp Simulator.

Parameter Range Description

AMP TYPE

*1

Guitar amp simulation type

DST TYPE

N.GATE

DRIVE

MASTER

CAB DEP

BASS

MIDDLE

TREBLE

EQ F

EQ G

EQ Q

DST1, DST2, OVD1,

OVD2, CRUNCH

0–20

0–100

0–100

0–100%

0–100

0–100

0–100

99–8.0 kHz

–12 to +12 dB

10.0–0.10

Distortion type (DST = distortion, OVD = overdrive)

Noise reduction

Distortion drive

Master volume

Speaker cabinet simulation depth

Bass tone control

Middle tone control

High tone control

Parametric equalizer frequency

Parametric equalizer gain

Parametric equalizer bandwidth

1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI,

FLAT

DYNA.FILTER

Dynamically controlled filter.

Parameter

SOURCE

SENSE

TYPE

OFFSET

RESO.

LEVEL

DIR.

DECAY

Range

INPUT, MIDI

0–100

LPF, HPF, BPF

0–100

0–20

0–100

UP, DOWN

*1

Description

Control source: input signal or MIDI note on velocity

Sensitivity

Filter type

Filter frequency offset

Filter resonance

Output Level

Upward or downward frequency change

Filter frequency change decay speed

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

DYNA.FLANGE

Dynamically controlled flanger.

Parameter

SOURCE

SENSE

Range

INPUT, MIDI

0–100

FB GAIN –99 to +99%

Control source: input signal or MIDI note on velocity

Sensitivity

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Delay time offset

Upward or downward frequency change

Decay speed

Description

OFFSET

DIR.

DECAY

0–100

UP, DOWN

*1

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

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DYNA.PHASER

Dynamically controlled phaser.

Parameter

SOURCE

SENSE

FB GAIN

OFFSET

DIR.

STAGE

DECAY

Range Description

INPUT, MIDI

0–100

–99 to +99%

Control source: input signal or MIDI note on velocity

Sensitivity

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

0–100

UP, DOWN

Lowest phase-shifted frequency offset

Upward or downward frequency change

2, 4, 8, 10, 12, 14, 16 Number of phase shift stages

*1

Decay speed

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48kHz)

REV+CHORUS

Reverb and chorus effects in parallel.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

DENSITY

FREQ.

NOTE

0.1–1.0

0–100%

0.05–40.00 Hz

*1

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

DEPTH

MOD.DLY

WAVE

REV/CHO

HPF

LPF

TEMPO

*2

0–100%

0.0–500.0 ms

Sine, Tri

0–100%

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Modulation depth

Modulation delay time

Modulation waveform

Reverb and chorus balance (0% = chorus, 100% = reverb)

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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REV->CHORUS

Reverb and chorus effects in series.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

DENSITY

FREQ.

NOTE

0.1–1.0

0–100%

0.05–40.00 Hz

*1

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

DEPTH

WAVE

REV BAL.

HPF

LPF

TEMPO

*2

0–100%

MOD.DLY

0.0–500.0 ms

Sine, Tri

0–100%

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Modulation depth

Modulation delay time

Modulation waveform

Reverb and chorused reverb balance (0% = chorused reverb, 100% = reverb)

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

REV+FLANGE

Reverb and flanger effects in parallel.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

DENSITY

FREQ.

NOTE

0.1–1.0

0–100%

0.05–40.00 Hz

*1

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

DEPTH

MOD.DLY

FB.GAIN

WAVE

REV/FLG

HPF

LPF

TEMPO

*2

0–100%

0.0–500.0 ms

–99 to +99%

Sine, Tri

0–100%

Reverb and flange balance (0% = flange, 100% = reverb)

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Modulation depth

Modulation delay time

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Modulation waveform

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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REV->FLANGE

Reverb and flanger effects in series.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

DENSITY

FREQ.

NOTE

0.1–1.0

0–100%

0.05–40.00 Hz

*1

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

DEPTH

MOD.DLY

FB.GAIN

WAVE

REV BAL.

HPF

LPF

TEMPO

*2

0–100%

0.0–500.0 ms

–99 to +99%

Sine, Tri

0–100%

Reverb and flanged reverb balance (0% = flanged reverb, 100% = reverb)

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Modulation depth

Modulation delay time

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Modulation waveform

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

REV+SYMPHO.

Reverb and symphonic effects in parallel.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

DENSITY

FREQ.

0.1–1.0

0–100%

0.05–40.00 Hz

NOTE

*1

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

DEPTH

WAVE

REV/SYM

HPF

LPF

TEMPO

*2

0–100%

MOD.DLY

0.0–500.0 ms

Sine, Tri

0–100%

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Modulation depth

Modulation delay time

Modulation waveform

Reverb and symphonic balance (0% = symphonic,

100% = reverb)

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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REV->SYMPHO.

Reverb and symphonic effects in series.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

DENSITY

FREQ.

NOTE

0.1–1.0

0–100%

0.05–40.00 Hz

*1

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

DEPTH

WAVE

REV BAL.

HPF

LPF

TEMPO

*2

0–100%

MOD.DLY

0.0–500.0 ms

Sine, Tri

0–100%

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

Modulation depth

Modulation delay time

Modulation waveform

Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb)

Used in conjunction with NOTE to determine FREQ.

1.

2. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

REV->PAN

Reverb and auto-pan effects in parallel.

Parameter Range Description

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

HI.RATIO

DENSITY

FREQ.

NOTE

0.1–1.0

0–100%

0.05–40.00 Hz

*1

DEPTH

DIR.

0–100%

*2

WAVE

REV BAL.

HPF

LPF

TEMPO

*3

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

Modulation depth

Panning direction

Sine, Tri, Square

0–100%

Modulation waveform

Reverb and panned reverb balance (0% = panned reverb, 100% = reverb)

Thru, 21 Hz–8.0 kHz High-pass filter cutoff frequency

50 Hz–16.0 kHz, Thru

Hz

Low-pass filter cutoff frequency

25–300 bps Used in conjunction with NOTE to determine FREQ.

1.

2. L<->R, L—>R, L<—R, Turn L, Turn R

3. For more information about the FREQ., NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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DELAY+ER.

Delay and early reflections effects in parallel.

Parameter

DELAY L

NOTE L

FB.GAIN

DELAY R

NOTE R

HI.RATIO

FB.DLY

NOTE FB

DLY/ER

Range

0.0–1000.0 ms

*1

–99 to +99%

0.0–1000.0 ms

*1

0.1–1.0

0.0–1000.0 ms

*1

0–100%

Description

Left channel delay time

Used in conjunction with TEMPO to determine left channel DELAY L

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel delay time

Used in conjunction with TEMPO to determine right channel DELAY R

High-frequency feedback ratio

Feedback delay time

Used in conjunction with TEMPO to determine

FB.DLY

Delay and early reflections balance (0% = early reflections, 100% = delay)

TYPE

S-Hall, L-Hall,

Random, Revers,

Plate, Spring

ROOMSIZE 0.1–20.0

Type of early reflection simulation

LIVENESS

INI.DLY

DENSITY

ER NUM.

TEMPO

*2

0–10

0.0–500.0 ms

0–100%

1–19

25–300 bps

Reflection spacing

Early reflections decay characteristics (0 = dead, 10 = live)

Initial delay before reverb begins

Reverb density

Number of early reflections

Used in conjunction with NOTE parameters to determine DELAY L, DELAY R, and FB.DLY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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DELAY->ER.

Delay and early reflections effects in series.

Parameter

DELAY L

NOTE L

FB.GAIN

DELAY R

NOTE R

HI.RATIO

FB.DLY

NOTE FB

DLY BAL.

Range

0.0–1000.0 ms

*1

–99 to +99%

0.0–1000.0 ms

*1

0.1–1.0

0.0–1000.0 ms

*1

0–100%

Description

Left channel delay time

Used in conjunction with TEMPO to determine left channel DELAY L

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel delay time

Used in conjunction with TEMPO to determine right channel DELAY R

High-frequency feedback ratio

Feedback delay time

Used in conjunction with TEMPO to determine

FB.DLY

Delay and early reflected delay balance (0% = early reflected delay, 100% = delay)

TYPE

S-Hall, L-Hall,

Random, Revers,

Plate, Spring

ROOMSIZE 0.1–20.0

Type of early reflection simulation

LIVENESS

INI.DLY

DENSITY

ER NUM.

TEMPO

*2

0–10

0.0–500.0 ms

0–100%

1–19

25–300 bps

Reflection spacing

Early reflections decay characteristics (0 = dead, 10 = live)

Initial delay before reverb begins

Reverb density

Number of early reflections

Used in conjunction with NOTE parameters to determine DELAY L, DELAY R, and FB.DLY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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DELAY+REV

Delay and reverb effects in parallel.

Parameter Range Description

DELAY L

NOTE L

FB.GAIN

DELAY R

NOTE R

DLY HI

FB.DLY

NOTE FB

DLY/REV

0.0–1000.0 ms

*1

–99 to +99%

0.0–1000.0 ms

*1

0.1–1.0

0.0–1000.0 ms

*1

0–100%

Left channel delay time

Used in conjunction with TEMPO to determine left channel DELAY L

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel delay time

Used in conjunction with TEMPO to determine right channel DELAY R

Delay high-frequency feedback ratio

Feedback delay time

Used in conjunction with TEMPO to determine

FB.DLY

Delay and reverb balance (0% = reverb, 100% = delay)

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

REV HI

DENSITY

0.1–1.0

0–100%

HPF

LPF

TEMPO

*2

Thru, 21 Hz–8.0 kHz

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

High-pass filter cutoff frequency

Used in conjunction with NOTE parameters to determine DELAY L, DELAY R, and FB.DLY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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DELAY->REV

Delay and reverb effects in series.

Parameter Range Description

DELAY L

NOTE L

FB.GAIN

DELAY R

NOTE R

DLY HI

FB.DLY

NOTE FB

DLY BAL

0.0–1000.0 ms

*1

–99 to +99%

0.0–1000.0 ms

*1

0.1–1.0

0.0–1000.0 ms

*1

0–100%

Left channel delay time

Used in conjunction with TEMPO to determine left channel DELAY L

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel delay time

Used in conjunction with TEMPO to determine right channel DELAY R

Delay high-frequency feedback ratio

Feedback delay time

Used in conjunction with TEMPO to determine

FB.DLY

Delay and delayed reverb balance (0% = delayed reverb, 100% = delay)

REV TIME 0.3–99.9 s

INI.DLY

0.0–500.0 ms

REV HI

DENSITY

0.1–1.0

0–100%

HPF

LPF

TEMPO

*2

Thru, 21 Hz–8.0 kHz

Reverb time

Initial delay before reverb begins

High-frequency reverb time ratio

Reverb density

50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency

25–300 bps

High-pass filter cutoff frequency

Used in conjunction with NOTE parameters to determine DELAY L, DELAY R, and FB.DLY

1.

(Maximum value depends on the tempo setting)

2. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

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DIST->DELAY

Distortion and delay effects in series.

Parameter

DST TYPE

DRIVE

MASTER

TONE

N.GATE

Range

DST1, DST2, OVD1,

OVD2, CRUNCH

0–100

0–100

–10 to +10

0–20

DLY BAL

DELAY

DLY NOTE

FB.GAIN

HI.RATIO

FREQ.

MOD

NOTE

DEPTH

TEMPO

*3

0–100%

0.0–2725.0 ms

*1

–99 to +99%

0.1–1.0

0.05–40.00 Hz

*2

0–100%

25–300 bps

Description

Distortion type (DST = distortion, OVD = overdrive)

Distortion drive

Master volume

Tone control

Noise reduction

Distortion and delay balance (0% = distortion, 100%

= delayed distortion)

Delay time

Used in conjunction with TEMPO to determine DELAY

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

High-frequency feedback ratio

Modulation speed

Used in conjunction with TEMPO to determine FREQ.

Modulation depth

Used in conjunction with NOTE parameters to determine DELAY and FREQ.

1.

(Maximum value depends on the tempo setting)

2.

3. For more information about the DELAY, NOTE, and TEMPO parameters, see “Setting

Delay, Freq, Note & Tempo Parameters” on page 137.

MULTI FILTER

Three-band parallel filter (24 dB/octave)

Parameter

TYPE 1

TYPE 2

TYPE 3

FREQ. 1

FREQ. 2

FREQ. 3

LEVEL 1

LEVEL 2

LEVEL 3

RESO. 1

RESO. 2

RESO. 3

Range

HPF, LPF, BPF

HPF, LPF, BPF

HPF, LPF, BPF

28 Hz–16.0 kHz

28 Hz–16.0 kHz

28 Hz–16.0 kHz

0–100

0–100

0–100

0–20

0–20

0–20

Description

Filter 1 type: low pass, high pass, band pass

Filter 2 type: low pass, high pass, band pass

Filter 3 type: low pass, high pass, band pass

Filter 1 frequency

Filter 2 frequency

Filter 3 frequency

Filter 1 level

Filter 2 level

Filter 3 level

Filter 1 resonance

Filter 2 resonance

Filter 3 resonance

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Effects Parameters

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FREEZE (Effect 2 only)

Basic Sampler with 2.9 second memory.

Parameter Range Description

REC MODE MANUAL, INPUT

In MANUAL mode, recording is started by pressing the [ENTER] button. In INPUT mode, recording is triggered by an input signal.

Playback start point in milliseconds START

*1

[SAMPLE]

PLY MODE

0–131070

MOMENT, CONTI.,

INPUT

Playback start point in samples

In MOMENT mode, the sample plays for the moment that the [ENTER] button is pressed. In CONT. mode, playback continues once the [ENTER] button has been pressed. In INPUT mode, playback continues once it’s been triggered by an input signal. The number of times the sample plays is set using the

LOOP NUM parameter.

Playback end point in milliseconds

Playback end point in samples

END *1

[SAMPLE] 0–131070

LOOP

NUM

0–100

LOOP

[SAMPLE]

TRG LVL

TRG DLY

*1

0–131070

–60 to 0 dB

–1000 to +1000 ms

Number of times the sample plays

Loop start point in milliseconds

Loop start point in samples

Input trigger level (i.e., the signal level required to trigger recording or playback)

Recording delay. For plus values, recording starts after the trigger is received. For minus values, recording starts before the trigger is received.

TRG MASK

MIDI TRG

PITCH

FINE

0–1000 ms

OFF, C1–C6, ALL

Once playback has been triggered, subsequent triggers are ignored for the duration of the TRG MASK time.

Sample playback can be triggered using MIDI Note on/off messages.

–12 to +12 semitones Playback pitch shift

–50 to +50 cents Playback pitch shift fine

1. 0.0–2972.1 ms (fs=44.1 kHz), 0.0 ms–2730.6 ms (fs=48 kHz)

To record and playback a sample

1. Send a channel signal to Effect 2, and then recall the Freeze effect.

See “Using the Effects” on page 123 and “Recalling Effects Programs” on page 134.

2. Use the [EFFECT 2] button to locate EFFECT 2 page 1, as shown below.

3. Select the (REC) switch, and then press the [ENTER] button. Note that the previous sampler is deleted at this point.

The REC switch appears highlighted, and input signal can be heard.

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4. Select the (PLAY) switch, and press the [ENTER] button to start recording.

The bar below the REC and PLAY switches fills up as recording progresses.

With the REC MODE is set to INPUT, recording starts automatically when an input signal exceeds the TRG LVL.

5. To play back the sample, select the (PLAY) switch, and then press the

[ENTER] button.

With the PLY MODE is set to INPUT, playback starts automatically when an input signal exceeds the TRG LVL.

Use the PLY MODE parameters to set the type of playback, and the START, END, and

LOOP parameters to edit the sample.

Be aware that samples are lost when another type of effect is recalled or the 01V is turned off.

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Meter

Internal

Effect 1

Meter

Internal

Effect 2

Effects Block Diagram

4-Band

PEQ

Meter

4-Band

PEQ

ON

EFF RTN 1

Rotary

PAN*

AUX1

AUX2

AUX3

AUX4

EFF2

AUX/EFF

PRE/POST

4-Band

PEQ

Meter

4-Band

PEQ

EFF RTN 2

Rotary

ON PAN*

AUX1

AUX2

AUX3

AUX4

EFF1

AUX/EFF

PRE/POST

*PAN: INDIVIDUAL/GANG/INV. GANG

1

BUS

2 3 4

AUX

1 2 3 4

EFF

1 2

ST

L R

Effect send 1 master fader

ON

Effect send 2 master fader

ON

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Dynamics Processors

161

Dynamics Processors

13

In this chapter...

About the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Preset Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Using the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Editing the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Processor Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Storing Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Recalling Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Editing Dynamics Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Preset Dynamics Program Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

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Chapter 13—Dynamics Processors

About the Dynamics Processors

Input channels 1 through 16, the aux sends, and the stereo output all feature powerful dynamics processors, offering compressor, limiter, gate, ducker, and compander func-

tions. See the “Block Diagram” on page 24 for the exact location of each dynamics pro-

cessor. Input channel processors can be self triggering (i.e., the signal being processed is used as the trigger signal), or triggered by a signal from another input channel.

Dynamics settings are stored as programs in the dynamics library, which contains 40

preset programs and 40 user programs. See “Dynamics Library” on page 173 for more

information. Dynamics settings are also stored in scene memories. See “Storing Mix

Scenes” on page 186 for more information.

Dynamics processors are edited on DYNAMICS page 1, as shown below. Use the

[DYNAMICS] button to locate this page.

The name of the type of dynamics processor appears in the middle of the page next the dynamics curve. To the left is the processor on/off switch. Below these are the dynamics parameters, the number of which vary depending on the type of processor selected. The

GR meter indicates the amount of gain reduction being applied to the selected channel.

Next to this are level meters for the selected channel and its neighbor.

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Preset Dynamics Programs

The following table lists the preset dynamics programs. See “Preset Dynamics Program

Settings” on page 177 for detailed parameter information.

No.

Title Type

01 Comp

02 Gate

03 Expand

04 Ducking

COMP

GATE

EXPAND

DUCKING

05 Compander(H) COMPAND-H

06 Compander(S) COMPAND-S

07 A.Dr.BD

08 A.Dr.BD

COMP

GATE

09 A.Dr.BD

10 A.Dr.SN

11 A.Dr.SN

12 A.Dr.SN

13 A.Dr.SN

14 A.Dr.Tom

15 A.Dr.OverTop

16 E.B.Finger

17 E.B.Slap

18 Syn.Bass

19 Piano1

20 Piano2

COMPAND-H

COMP

EXPAND

GATE

COMPAND-S

EXPAND

COMPAND-S

COMP

COMP

COMP

COMP

COMP

No.

Title

21 E.Guitar

22 A.Guitar

23 Strings1

24 Strings2

25 Strings3

26 BrassSection

27 Syn.Pad

28 SamplingPerc

29 Sampling BD

30 Sampling SN

31 Hip Comp

32 Solo Vocal1

33 Solo Vocal2

34 Chorus

35 Click Erase

36 Announcer

37 Limiter1

38 Limiter2

39 Total Comp1

40 Total Comp2

Type

COMP

COMP

COMP

COMP

COMP

COMP

COMP

COMPAND-S

COMP

COMP

COMPAND-S

COMP

COMP

COMP

EXPAND

COMPAND-H

COMPAND-S

COMP

COMP

COMP

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Chapter 13—Dynamics Processors

Using the Dynamics Processors

Input channels 1 through 16, the aux sends, and the stereo output all feature dynamics processors.

To recall a program from the dynamics library, see “Recalling Dynamics Programs” on

page 175. To edit a dynamics processor, see“Editing the Dynamics Processors” on page 166.

For Input Channels 1–16

1. Use [SEL] buttons 1 through 16 to select channels.

2. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below.

3. Press the [ENTER] button to turn on the dynamics processor.

The ON/OFF switch appears highlighted when the dynamics processor is on. While

DYNAMICS page 1 is displayed, the [ENTER] button turns the dynamics processor on or off regardless of the cursor position.

4. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

The dynamics processors on input channels 13 and 14 (likewise 15 and 16) are perma-

nently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their dynamics processors are linked, so adjustments can be made with

either channel selected.

For Aux Sends 1–4

1. Use the [AUX] buttons to select an aux send, and then press the MASTER

[SEL] button.

AUX appears on the display, indicating that an aux send is selected.

2. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below.

3. Press the [ENTER] button to turn on the dynamics processor.

The ON/OFF switch appears highlighted when the dynamics processor is on. While

DYNAMICS page 1 is displayed, the [ENTER] button turns the dynamics processor on or off regardless of the cursor position.

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4. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

When aux sends are paired (“Making Aux Send Pairs” on page 101), their dynamics

processors are linked.

For the Stereo Output

1. Press the [HOME] button, and then the MASTER [SEL] button.

ST appears on the display, indicating that the stereo output is selected.

2. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below.

3. Press the [ENTER] button to turn on the dynamics processor.

The ON/OFF switch appears highlighted when the dynamics processor is on. While

DYNAMICS page 1 is displayed, the [ENTER] button turns the dynamics processor on or off regardless of the cursor position.

4. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

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Editing the Dynamics Processors

Dynamics processors are edited on the DYNAMICS page 1, as shown below.

1. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below.

2. Use [SEL] buttons 1 through 16 and MASTER to select channels.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

TYPE

—This is the name of the type of dynamics processor currently selected: COMP,

GATE, DUCKING, EXPAND, COMPANDER-(H), or COMPANDER-(S).

ON/OFF

—This switch is used to turn on or off the dynamics processors. While

DYNAMICS page 1 is displayed, the [ENTER] button turns the dynamics processor on or off regardless of the cursor position.

KEY IN

—This parameter is used to select the trigger source for the dynamics processors, and can be set to SELF (i.e., the signal being processed is used as the trigger signal) or triggered by a signal from another input channel from CH1 through CH16.

CURVE

—This window shows the curve of the dynamics processor, providing a visual indication of how it’s set. The horizontal axis corresponds to the input signal and the vertical axis corresponds to the output signal.

A straight line at 45 degrees from the bottom left corner indicates that the input signal will pass through the dynamics processor unaffected. This can be seen when, for example, a compressor is set with a compression ratio of 1:1.

PARAMETER

—These controls are used to adjust the dynamics processor’s parameters.

The number and type of parameters available depends on the type of dynamics processor selected.

Meters

—The GR meter indicates the amount of gain reduction being applied to the selected channel. Next to this are level meters for the selected channel and its neighbor.

The GR meter works from top to bottom. For the COMP, DUCKING, EXPAND, and

COMPANDER types, the GR meter displays the amount of gain reduction. For the

GATE type, the processor is active when the input signal is below the threshold, so the

GR meter displays the amount of gain reduction when the input signal is below the threshold, and when there is no input signal.

The dynamics processors parameters are explained in detail on page 167.

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Processor Types

Dynamics processors are generally used to correct or control signal levels, although they can also be used creatively to shape a sound’s volume envelope. The following sections explain the COMP, GATE, DUCKING, EXPAND, COMPANDER-(H), and

COMPANDER-(S) dynamics processors, their parameters, and general applications.

COMP

The COMP processor is a compressor that attenuates signals above a specified threshold, providing automatic level control. Vocalists that tend to move toward and away from the microphone while singing produce fluctuating signal levels; sometimes loud, sometimes soft. Likewise, acoustic instruments with a large dynamic range produce sound levels

+20

+10

0

–10

–20

–30

–40

Compression ratio = 2:1

Threshold = –20dB

Knee = hard

from pianissimo (very soft) through to fortis-

simo (very loud). In these situations, it is often difficult to set an average fader level that will allow a voice or instrument to be heard

–50

–60

–70

–70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20

clearly throughout a song or piece of music.

This is where the compressor comes in with automatic level control. By automatically reducing high levels, thus effectively reducing the dynamic range, the compressor makes it much easier to control signals and set appropriate fader levels. Reducing the dynamic range also means that recording levels can be set higher, therefore improving signal-to-noise performance.

The COMP processor can also be used as a limiter, which is essentially a compressor with a high ratio setting. Compression ratios above 10:1 are considered to limit signals rather than compress them. When an input signal exceeds the specified threshold level, its level is automatically reduced to the threshold level. This means that the limiter’s output level never actually exceeds the threshold level. Limiters are often used to prevent signals from overloading amplifiers and tape recorders. A limiter with a relatively high threshold, for example, could be used with the stereo outputs to prevent amplifier and speaker overload.

+20

+10

0

–10

–20

–30

–40

–50

–60

–70

Compression ratio = 20:1

Threshold = –20dB

Knee = hard

–70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20

Parameter

THRESHOLD

OUT GAIN

KNEE

ATTACK

RELEASE

RATIO

Range

–54 dB to 0 dB (55 steps)

0.0 dB to +18.0 dB (0.5 dB steps) hard, 1, 2, 3, 4, 5

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz)

6 ms–46 s (fs = 44.1 kHz)

1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1,

10:1, 20:1,

:1 (16 steps)

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THRESHOLD

—This determines the level of input signal required to trigger the compressor. Signals at a level below the threshold pass through the compressor unaffected.

Signals at and above the threshold level are compressed by the amount specified using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter.

OUT GAIN

—This sets the compressor’s output signal level, and can be used to compensate for the overall level change caused by the compression process.

KNEE

—This determines how compression is applied at the threshold point. When set to hard, compression at the specified ratio is applied as soon as the input signal level exceeds the specified threshold. For knee settings from 1 to 5, however, compression is applied gradually as the signal exceeds the specified threshold, creating a more natural sound. This is called soft-knee compression.

ATTACK

—This determines how soon the signal is compressed once the compressor has been triggered. With a fast attack time, the signal is compressed almost immediately. With a slow attack time, however, the initial transient of a sound passes through unaffected. Attack times from 1 to 5 milliseconds are a good place to start.

RELEASE

—This determines how soon the compressor returns to its normal gain once the trigger signal level drops below the threshold. If the release time is too short, the gain will recover too quickly causing level pumping (i.e., noticeable gain fluctuations).

If it is set too long, the compressor may not have time to recover before the next high level signal appears, and it will be compressed incorrectly. Release times from 0.1 to 0.5 seconds are a good place to start.

RATIO

—This determines the amount of compression, that is, the change in output signal level relative to change in input signal level. For a 2:1 ratio, for example, a 10 dB change in input level (above the threshold) results in a 5 dB change in output level. For a 5:1 ratio, a 10 dB change in input level (above the threshold) results in a 2 dB change in output level.

GATE

A gate, or noise gate is essentially an audio switch used to mute signals below a set threshold level. It can be used to cut background noise picked up by open microphones, noise and hiss from guitar valve amps and effects pedals, and leakage between drum microphones. It also has many creative uses too. For example, gating a drum sound with a short decay time tightens up the sound. Also, patching a gate into a droning bass synth channel and then triggering it from the kick drum channel allows the bass synth through only when the kick drum is struck, adding extra “oomph” on the beat.

Parameter

THRESHOLD

RANGE

HOLD

ATTACK

DECAY

–54 dB to 0 dB (55 steps)

–70 dB to 0 dB (71 steps)

0.02 ms–1.96 s (fs = 48 kHz)

0.02 ms–2.13 s (fs = 44.1 kHz)

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz)

6 ms–46 s (fs = 44.1 kHz)

Range

+20

+10

0

–10

–20

–30

–40

–50

–60

–70

Threshold = –10dB

Range = –30dB

Range = –70dB

–70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20

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THRESHOLD

—This determines the level at which the gate closes, cutting off the signal. Signals above the threshold level pass through unaffected. Signals at or below the threshold, however, cause the gate to close. The trigger signal is sourced using the KEY

IN parameter.

RANGE

—This determines the level to which the gate closes. Think of it as a brick holding a garden gate open so that a certain amount of signal always flows through. For a setting of –70 dB, the gate closes completely when the input signal falls below the threshold. For a setting of –30 dB, however, the gate half closes. For a setting of 0 dB, the gate has no effect. When signals are gated abruptly, the sudden disappearance can sometimes sound odd. This parameter causes the gate to reduce the signal level rather than cut it completely.

HOLD

—This determines how long the gate stays open once the trigger signal has fallen below the threshold level.

ATTACK

—This determines how fast the gate opens when the signal exceeds the threshold level. Slow attack times can be used to remove the initial transient edge of percussive sounds. Too slow an attack time makes some sounds appear backwards.

DECAY

—This determines how fast the gate closes once the hold time has expired. A longer decay time produces a more natural gating effect, allowing the natural decay of an instrument to pass through. With a maximum decay time of between 42 and 63 seconds, you could even use this for fade-outs.

DUCKING

Ducking is commonly used for voice-over applications in which the background music level is reduced automatically when an announcer speaks. Ducking is achieved by triggering a compressor with a different sound source. For example, a ducker is patched into the background music channel, and the KEY IN signal is sourced from the

+20

+10

0

–10

–20

–30

–40

Threshold = –20dB

announcer’s microphone channel. When the announcer’s microphone level exceeds the specified threshold, the background music level is reduced automatically, allowing the

–50

–60

–70

Range = –30dB

–70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20

announcer to be heard clearly. The same technique can also be used for vocals in a mix.

For example, ducking backing sounds such as rhythm guitar and synth pad during vocal phrases allows the vocals to be heard more clearly. This can also be used to bring solo instruments up in a mix.

Range Parameter

THRESHOLD

RANGE

HOLD

ATTACK

DECAY

–54 dB to 0 dB (55 steps)

–70 dB to 0 dB (71 steps)

0.02 ms–1.96 s (fs = 48 kHz)

0.02 ms–2.13 s (fs = 44.1 kHz)

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz)

6 ms–46 s (fs = 44.1 kHz)

THRESHOLD

—This determines the level of trigger signal (KEY IN) required to activate ducking. Trigger signal levels below the threshold do not activate ducking. Trigger signals at and above the threshold level, however, activate ducking, and the signal level

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Chapter 13—Dynamics Processors is reduced to a level set by the Range parameter. The trigger signal is sourced using the

KEY IN parameter.

RANGE

—This determines the level to which the signal is ducked. For a setting of

–80 dB, the signal is virtually cutoff. For a setting of –30 dB, however, the signal is ducked by 30 dB. For a setting of 0 dB, the ducker has no effect.

HOLD

— This determines how long ducking remains active once the trigger signal has fallen below the threshold level.

ATTACK

—This determines how soon the signal is ducked once the ducker has been triggered. With a fast attack time, the signal is ducked almost immediately. With a slow attack time, however, ducking appears to fade the signal. Too fast an attack time may sound abrupt.

DECAY

—This determines how soon the ducker returns to its normal gain once the trigger signal level drops below the threshold.

EXPAND

An expander is similar to a compressor except that it works on signals below the threshold level. By reducing signals below the threshold level, the expander attenuates low-level noise, effectively increasing the dynamic range and improving the signal-to-noise performance. An expander set to an infinite ratio (i.e.,

:1) is essentially a gate. The following two graphs show typical expander curves. The one on the left shows an expander with an expansion ratio of 2:1 and a hard knee setting. The one on the right shows an expander with an expansion ratio of 2:1 and a soft knee setting of 5.

–10

–20

–30

–40

–50

–60

–70

+20

+10

0

Expansion ratio = 2:1

Knee = hard

Threshold = –10dB

–10

–20

–30

–40

–50

–60

–70

+20

+10

0

Expansion ratio = 2:1

Knee = 5

Threshold = –20dB

–70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20 –70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20

Parameter

THRESHOLD

OUT GAIN

KNEE

ATTACK

RELEASE

RATIO

Range

–54 dB to 0 dB (55 steps)

0.0 dB to +18.0 dB (0.5 dB steps) hard, 1, 2, 3, 4, 5

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz)

6 ms–46 s (fs = 44.1 kHz)

1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1,

10:1, 20:1,

:1 (16 steps)

THRESHOLD

—This determines the level of input signal required to trigger the expander. Signals above the threshold pass through the expander unaffected. Signals at and below the threshold level are attenuated by the amount specified using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter.

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+20

+10

0

–10

–20

–30

–40

–50

–60

–70

OUT GAIN

—This sets the expander’s output signal level, and can be used to compensate for the overall level change caused by the expansion process.

KNEE

—This determines how expansion is applied at the threshold point. When set to hard, expansion at the specified ratio is applied as soon as the input signal level falls below the specified threshold. For knee settings from 1 to 5, however, expansion is applied gradually as the signal falls below the specified threshold, creating a more natural sound.

ATTACK

—This determines how soon the signal is expanded once the expander has been triggered. With a fast attack time, the signal is expanded almost immediately. With a slow attack time, however, the initial transient of a sound passes through unaffected.

Attack times from 1 to 5 milliseconds are a good place to start.

RELEASE

—This determines how soon the expander returns to its normal gain once the trigger signal level exceeds the threshold. If the release time is too short, the gain will recover too quickly causing level pumping (i.e., noticeable gain fluctuations). If it is set too long, the expander may not have time to recover before the next low-level signal appears, and it will be expanded incorrectly. Release times from 0.1 to 0.5 seconds are a good place to start.

RATIO

—This determines the amount of expansion. That is, the change in output signal level relative to change in input signal level. For a 2:1 ratio, for example, a 5 dB change in input level (below the threshold) results in a 10 dB change in output level. For a 5:1 ratio, a 2 dB change in input level (below the threshold) results in a 10 dB change in output level.

COMPANDER (HARD & SOFT)

The hard (H) and soft (S) companders comprise of compressor, expander, and limiter.

The limiter prevents output signals from exceeding 0 dB. The compressor compresses signals that exceed the threshold level. The expander attenuates signals below the threshold and width. The soft compander has an expansion ratio of 1.5:1, while the hard compander has an expansion ratio of 5:1. The following two graphs show typical compander curves. The one on the left shows the hard compander. The one on the right, the soft compander.

Width

Threshold

–10

–20

–30

–40

–50

–60

–70

+20

+10

0

Width

Threshold

–70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20

Hard Compander

–70 –60 –50 –40 –30 –20 –10

Input Level (dB)

0 +10 +20

Soft Compander

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Parameter

THRESHOLD

OUT GAIN

WIDTH

ATTACK

RELEASE

RATIO

Range

–54 dB to 0 dB (55 steps)

–18 dB to 0 dB (0.5 dB steps)

1 dB–90 dB (1 dB steps)

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz)

6 ms–46 s (fs = 44.1 kHz)

1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1,

10:1, 20:1 (15 steps)

THRESHOLD

—This determines the input signal level at which compression and expansion are applied. Signals at a level below the sum of the threshold and width are attenuated by the expander. Signals at and above the threshold level are compressed by the amount specified using the Ratio parameter. The trigger signal is sourced using the

KEY IN parameter.

OUT GAIN

—This sets the compander’s output signal level. It can be used to compensate for the overall level change caused by the compression and expansion processes.

WIDTH

—This determines how far below the threshold level expansion is applied. The expander is essentially turned off when the width is set to 90 dB.

ATTACK

—This determines how soon the signal is compressed and expanded once the compander has been triggered. With a fast attack time, the signal is companded almost immediately. With a slow attack time, however, the initial transient of a sound passes through unaffected. Attack times from 1 to 5 milliseconds are a good place to start.

RELEASE

—This determines how soon the compressor and expander return to their normal gains once the trigger signal level drops below the threshold. If the release time is too short, the gain will recover too quickly causing level pumping (i.e., noticeable gain fluctuations). If it is set too long, the compressor may not have time to recover before the next high level signal appears, and it will be compressed incorrectly. Release times from 0.1 to 0.5 seconds are a good place to start.

RATIO

—This determines the amount of compression. That is, the change in output signal level relative to change in input signal level. For a 2:1 ratio, for example, a 10 dB change in input level (above the threshold) results in a 5 dB change in output level. For a 5:1 ratio, a 10 dB change in input level (above the threshold) results in a 2 dB change in output level. The expander ratios are fixed: 1.5:1 for the soft compander (S) and 5:1 for the hard compander (H).

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Dynamics Library

Dynamics settings are stored as programs in the dynamics library, which contains 40 preset programs (1–40) and 40 user programs (41–80). User programs are used to store custom dynamics settings, which can be titled for easy identification. The dynamics library can also be used to transfer settings from one dynamics processor to another.

For example, the stereo out dynamics settings could be stored as a library program, and then recalled to an aux send dynamics processor. The unique collection of preset dynamics programs is designed for specific applications and instruments, and provides

a good reference and starting point when using the dynamics processors. See page 177

for a complete list of the preset dynamics programs.

The dynamics library is controlled from the library page shown below. Use the

[DYNAMICS] button to locate it.

The top half of the library page contains the STORE, RECALL, and TITLE EDIT switches. Below these is the library window, which can be scrolled using the PARAME-

TER wheel. The “R” icon next to a preset program means read only. As each program is selected, its dynamics curve is displayed. The GR meter indicates the amount of gain reduction being applied to the selected channel. Next to this are level meters for the selected channel and its neighbor.

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Storing Dynamics Programs

Custom dynamics settings can be stored in user programs 41 through 80.

1. Select the channel whose dynamics processor settings you want to store as a program.

Use [SEL] buttons 1 through 16 to select the input channels 1 through 16. To select an aux send, use the [AUX] buttons to select an aux send, and then press the MASTER

[SEL] button. To select the stereo output, press the [HOME] button, and then the

MASTER [SEL] button.

2. Use the [DYNAMICS] button to locate the Library page, as shown below.

3. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 41 through 80.

The program list order can be set using the LIBRARY LIST ORDER option in prefer-

ences (“Setting 01V Preferences” on page 203).

4. Use the cursor buttons to select the STORE switch, and then press the

[ENTER] button.

The Title Edit dialog box appears. If the STORE CONFIRMATION option is turned off

in the preferences (“Setting 01V Preferences” on page 203), the Title Edit dialog box

does not appear and the dynamics program is stored.

5. Title the dynamics program.

See “Title Edit Dialog Box” on page 37 for more information.

6. Select OK, and then press the [ENTER] button.

The dynamics program is stored.

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175

Recalling Dynamics Programs

Dynamics programs 1 through 80 can be recalled.

1. Select the channel to which you want to recall the dynamics program.

Use [SEL] buttons 1 through 16 to select the input channels 1 through 16. To select an aux send, use the [AUX] buttons to select an aux send, and then press the MASTER

[SEL] button. To select the stereo output, press the [HOME] button, and then the

MASTER [SEL] button.

2. Use the [DYNAMICS] button to locate the Library page, as shown below.

3. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select programs.

As each program is selected its dynamics curve is displayed.

The program list order can be set using the LIBRARY LIST ORDER option in prefer-

ences (“Setting 01V Preferences” on page 203).

4. Use the cursor buttons to select the RECALL switch, and then press the

[ENTER] button.

The Dynamics program is recalled. If the RECALL CONFIRMATION option is turned

on in the preferences (“Setting 01V Preferences” on page 203), a confirmation dialog

box appears. In this case, select OK, and then press the [ENTER] button to confirm the recall.

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Editing Dynamics Program Titles

User program titles can be edited using the Title Edit function.

1. Use the [DYNAMICS] button to locate the Library page, as shown below.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 41 through 80.

3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button.

The Title Edit dialog box appears.

4. Edit the program title.

See “Title Edit Dialog Box” on page 37 for more information.

5. Select OK, and then press the [ENTER] button.

The program is stored with its new title.

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Preset Dynamics Program Settings

177

#

01 Comp

02 Gate

03 Expand

04 Ducking

Preset Dynamics Program Settings

Title Type

05 Compander(H)

06 Compander(S)

07 A.Dr.BD

08 A.Dr.BD

COMP

GATE

EXPAND

DUCKING

COMPAND-H

COMPAND-S

COMP

GATE

Parameter

Release (ms)

Threshold (dB)

Range (dB)

Attack (ms)

Hold (ms)

Decay (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Range (dB)

Attack (ms)

Hold (ms)

Decay (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Range (dB)

Attack (ms)

Hold (ms)

Decay (ms)

Value

–8

4

25

0.0

1

0.0

6

250

70

–19

–22

93

1.20 S

6.32 S

–10

3.5

0

2.56

331

–23

1.7

1

3.5

2

2

250

–26

–56

–8

2.5

60

0.0

9

5.5

2

58

24

180

–24

3

–11

–53

0

1.93

400

Description

Compressor intended to reduce the overall volume level. Use it on the stereo output during mixdown. It can also be used with the stereo input.

Gate template.

Expander template.

Ducking template.

Hard-knee compressor template.

Soft-knee compressor template.

Compressor program for use with acoustic kit’s bass drum.

Gate program for use with acoustic kit’s bass drum.

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# Title

09 A.Dr.BD

10 A.Dr.SN

11 A.Dr.SN

12 A.Dr.SN

13 A.Dr.SN

14 A.Dr.Tom

15 A.Dr.OverTop

16 E.B.Finger

Type

COMPAND-H

COMP

EXPAND

GATE

COMPAND-S

EXPAND

COMPAND-S

COMP

Parameter

Knee

Release (ms)

Threshold (dB)

Range (dB)

Attack (ms)

Hold (ms)

Decay (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Value Description

–12

2

15

4.5

2

470

–23

2

0

0.5

8

3.5

2

12

–11

3.5

1

–1.5

7

192

–17

2.5

COMPAND-H program for use with acoustic kit’s bass drum.

Compressor program for use with acoustic kit’s snare drum.

Expander program for use with acoustic kit’s snare drum.

2

151

–8

–23

1

0.63

238

–8

Gate program for use with acoustic kit’s snare drum.

1.7

11

0.0

10

COMPAND-H program for use with acoustic kit’s snare drum.

128

–20

2

2

5.0

2

Expander program for use with acoustic kit’s tom toms, which automatically reduces the volume when the tom toms are not played, helping to differentiate the bass and snare drums clearly.

749

–24 Soft-knees compander program

2 to emphasize the attack and ambience of cymbals recorded

38 with overhead microphones. It

–3.5

automatically reduces the vol-

54 ume when the cymbals are not

842 played, helping to differentiate the bass and snare drums clearly.

Compressor program to level the attack and volume level of a finger-picked electric bass guitar.

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#

17 E.B.Slap

Title

18 Syn.Bass

19 Piano1

20 Piano2

21 E.Guitar

22 A.Guitar

23 Strings1

24 Strings2

Preset Dynamics Program Settings

179

Type

COMP

COMP

COMP

COMP

COMP

COMP

COMP

COMP

Parameter

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Value

4

261

–10

2.5

–8

3.5

7

2.5

hard

238

–18

3.5

7

6.0

2

174

9

3.0

hard

250

–9

2.5

17

1.0

–12

1.7

6

4.0

hard

133

–10

3.5

2

749

–12

1.5

93

1.5

4

1.35 S

–11

2

33

1.5

5

1.5

2

238

Description

Compressor program to level the attack and volume level of a slap electric bass guitar.

Compressor program to control or emphasize the level of a synth bass.

Compressor program to brighten the tonal color of a piano.

A variation on program 19, using a deep threshold to change the entire attack and level.

Compressor program for electric guitar cutting and arpeggio-style backing performance.

The sound color can be varied using different playing styles.

Compressor program for acoustic guitar stroke and arpeggio-style backing performance.

Compressor program for strings.

A variation on program 23, intended for violas or cellos.

01V—Owner’s Manual

180

Chapter 13—Dynamics Processors

# Title

25 Strings3

26 BrassSection

27 Syn.Pad

28 SamplingPerc

29 Sampling BD

30 Sampling SN

31 Hip Comp

32 Solo Vocal1

Type

COMP

COMP

COMP

COMPAND-S

COMP

COMP

COMPAND-S

COMP

Parameter

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Value

4

35

–18

4

–14

2

2

3.5

1

238

–18

1.7

8

–2.5

18

238

18

4.0

1

226

–13

2

58

2.0

2

186

–18

1.7

–17

1.5

76

2.5

15

163

–20

2.5

31

2.0

1

342

8

8.0

hard

354

–23

20

15

0.0

Description

A variation on program 23, intended for string instruments with a very low range, such as cellos or contrabass.

Compressor program intended for brass sounds with a fast and strong attack.

Compressor program for synth pad, intended to prevent diffusion of the sound.

Compressor program for sampled sounds, making them as powerful as real acoustic drums.

This program is for percussion sounds.

A variation on program 28, intended for sampled bass drum sounds.

A variation on program 28, intended for sampled snare drum sounds.

A variation on program 28, intended for sampled sound loops.

Compressor program suited for use with solo vocals.

01V—Owner’s Manual

# Title

33 Solo Vocal2

34 Chorus

35 Click Erase

36 Announcer

37 Limiter1

38 Limiter2

39 Total Comp1

40 Total Comp2

Preset Dynamics Program Settings

181

Type

COMP

COMP

EXPAND

COMPAND-H

COMPAND-S

COMP

COMP

COMP

Parameter

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Width (dB)

Release (ms)

Threshold (dB)

Ratio ( :1)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Threshold (dB)

Ratio ( :1)

Attack (ms)

Out gain (dB)

Knee

Release (ms)

Value

–9

3

20

–3.0

90

3.90 s

0

0

2

284

–14

2.5

1

–2.5

18

180

–33

2

1

2.0

39

2.5

2

226

3

331

–9

1.7

–8

2.5

26

1.5

447

–16

6

11

6.0

1

180

0.0

hard

319

–18

3.5

94

2.5

hard

Description

A variation on program 32.

A variation on program 32, intended for chorus vocals.

Expander program to remove click track sounds that may bleed out of the musicians monitor headphones.

Hard compander program to reduce the music level when the announcer speaks, making the voice clearer.

A soft-knee compander program with a slow release.

A compressor program using the peak-stop style.

Compressor intended to reduce the overall volume level. Use it on the stereo output during mixdown. It can also be used with the stereo input.

A variation on program 39 with greater compression.

01V—Owner’s Manual

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Chapter 13—Dynamics Processors

01V—Owner’s Manual

Scene Memories

183

Scene Memories

14

In this chapter...

About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

What’s Stored in Scene Memories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

About the Edit Buffer & Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Scene Memory 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Scene Memory Display Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Storing Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Recalling Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Recalling Mix Scenes Using MIDI Program Change Messages . . . . . . . . . . . 188

Undoing Mix Scene Recalls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Protecting Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Editing Scene Memory Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Renumbering Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Setting a Fade Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Recalling Scene Data Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

01V—Owner’s Manual

184

Chapter 14—Scene Memories

About Scene Memories

Scene memories are memory locations that are used to store mix scenes. A mix scene consists of all 01V mix settings (i.e., EQ, fader positions, effects, dynamics, and so on).

There are 100 scene memories, and 1 through 99 can be titled for easy identification.

The Recall Undo function can be used to undo accidental scene memory recalls, or for quick A/B mix comparisons. Crossfades from 0 to 25 seconds can be set up using the

Fade Time function. Individual channels can be set as “safe channels” so their settings remain unchanged when a mix scene is recalled.

Scene memories can be stored and recalled in two ways:

• Manually on MEMORY page 1

• Remotely using MIDI Program Change messages from a computer or MIDI sequencer

Scene memory data can be backed up to an external MIDI device, such as a MIDI data

filer, using MIDI Bulk Dump. See “Bulk Dump” on page 232 for more information. A

scene memory to Program Change assignment table is provided on page 273.

Mix scenes are stored and recalled on MEMORY page 1, as shown below. Use the

[MEMORY] button to locate it.

The area to the left of the page contains the TITLE EDIT, RECALL, and STORE switches. Next to these is the scene memory list, which can be scrolled using the

PARAMETER wheel. If the INC/DEC MEMORY RECALL option is turned on in the

preferences (“Setting 01V Preferences” on page 203), the [–1/DEC] and [+1/INC] but-

tons can also be used to select and recall scene memories. Scene memory 00 contains the initial settings and is a read-only memory, which means it can only be recalled. As each scene memory is selected, the PROTECT switch indicates whether or not it’s protected. Below this is the RECALL UNDO switch for undoing mix scene recalls. After intializing the 01V, the RECALL UNDO switch appears gray until a mix scene is recalled, because there is no data for undoing.

What’s Stored in Scene Memories?

Virtually all 01V mix settings are stored in a scene memories. Settings that are not stored consist mainly of analog controls and switches. Namely, the 26 dB PAD switches,

GAIN controls, 15/16–2TR IN switch, MONITOR–2TR IN switch, MONITOR OUT

LEVEL control, PHONES LEVEL control, display contrast control, and on the rear panel, the phantom power switches.

In addition, the following data types are not stored: 01V Setup data, MIDI Program

Change Map, MIDI Control Change Map, Scene Memory data, EQ library, Dynamics library, and Effects library. This data can be backed up to an external MIDI device, such

as a MIDI data filer, using MIDI Bulk Dump. See “Bulk Dump” on page 232 for more information.

01V—Owner’s Manual

About the Edit Buffer & Indicator

185

About the Edit Buffer & Indicator

The Edit Buffer is the scene memory area inside the 01V that contains the current mix settings. When a mix scene is stored, the mix settings in the Edit Buffer are written to the selected scene memory. When a mix scene is recalled, the contents of the selected scene memory are placed in the Edit Buffer, making them the current mix settings.

When a parameter is adjusted after a mix scene has been recalled, the EDIT indicator appears in the Memory area of the display, indicating that the current mix settings (i.e., those in the Edit Buffer) no longer match those of the mix scene that was recalled last.

Scene memory 02 has just been recalled, so the contents of the Edit

Buffer match those of scene memory

02.

The EDIT indicator means that a parameter has been changed since scene memory 02 was recalled, so the contents of the Edit Buffer no longer match those of scene memory 02.

The Edit Buffer settings are stored when the 01V is turned off, so they don’t have to be stored to a scene memory before the 01V is turned off.

Scene Memory 00

Scene memory 00 is a little different to scene memories 1 through 99 in that it’s a read-only memory and contains the initial 01V settings. You can recall it, but you cannot store it. To reset all mix settings to their initial values, recall scene memory 00.

Scene Memory Display Area

The scene memory area of the display shows the number and title of the selected scene memory, whether that scene memory is read only or write protected (indicated by the closed padlock icon), and whether or not the contents of the Edit Buffer have been edited. Scene memories from 1 to

99 can be protected individually against accidental overwriting. Scene memory 00 is a read only memory. When a scene memory other than the one recalled last is selected, the scene memory number flashes. If the scene memory that was recalled last is selected again, or a different scene memory is recalled, the number stops flashing. Also in the Memory area are the MIDI and HOST indicators, which appear when MIDI data is

received at the MIDI IN or TO HOST port, respectively. See “MIDI

Receive Indicators” on page 224 for more information.

01V—Owner’s Manual

186

Chapter 14—Scene Memories

Storing Mix Scenes

Mix scenes can be stored in scene memories 1 through 99.

Caution: When storing mix scenes, make sure that there are no mix settings in the Edit

Buffer that you do not want to store. Perhaps some settings have been adjusted accidentally, or by someone else. If you are not sure of the Edit Buffer’s exact contents, recall the last mix scene, make the adjustments that you really want, and then store the mix scene.

You may want to store the current mix settings to an unused scene memory just in case.

1. Use the [MEMORY] button to locate MEMORY page 1, as shown below.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a scene memory from 1 through 99.

The scene memory list order can be set using the LIBRARY LIST ORDER option in

preferences (“Setting 01V Preferences” on page 203).

3. Use the cursor buttons to select the STORE switch, and then press the

[ENTER] button.

The Title Edit dialog box appears. If the STORE CONFIRMATION option is turned off

in the preferences (“Setting 01V Preferences” on page 203), the Title Edit dialog box

does not appear and the mix scene is stored.

4. Title the mix scene.

See “Title Edit Dialog Box” on page 37 for more information.

5. Select OK, and then press the [ENTER] button.

The mix scene is stored to the selected scene memory, the scene memory number stops flashing, and the EDIT indicator disappears.

01V—Owner’s Manual

Recalling Mix Scenes

187

Recalling Mix Scenes

Mix scenes can be recalled from scene memories 0 through 99 manually, or remotely using MIDI Program Change messages.

Note: When recalling mix scenes, be aware that volume levels may change suddenly as channels are turned on and fader levels adjusted. Nobody likes sudden loud noises, or speaker damage.

1. Use the [MEMORY] button to locate MEMORY page 1, as shown below.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select scene memories.

As each scene memory is selected, its title and number flash on the display.

The program list order can be set using the LIBRARY LIST ORDER option in prefer-

ences (“Setting 01V Preferences” on page 203).

3. Use the cursor buttons to select the RECALL switch, and then press the

[ENTER] button.

The mix scene is recalled, the scene memory title and number stop flashing, and the

EDIT indicator disappears.

If the RECALL CONFIRMATION option is turned on in the preferences (“Setting 01V

Preferences” on page 203), a confirmation dialog box appears. In this case, select OK,

and then press the [ENTER] button to confirm the recall.

If the INC/DEC MEMORY RECALL option is turned on in the preferences (“Setting

01V Preferences” on page 203), the [–1/DEC] and [+1/INC] buttons can be used to

select and recall scene memories. As the [–1/DEC] or [+1/INC] button is pressed, subsequent scene memories that contain a mix scene are selected and recalled.

Mix scene recalls can be undone using the Recall Undo function. See “Undoing Mix

Scene Recalls” on page 189 for more information.

01V—Owner’s Manual

188

Chapter 14—Scene Memories

Recalling Mix Scenes Using MIDI Program

Change Messages

MIDI Program Change messages can be used to recall mix scenes for snapshot-style mix automation. Program Change messages can be transmitted from a controlling computer, MIDI sequencer, or MIDI keyboard. Most MIDI keyboards, for example, transmit a Program Change message when a voice is selected. This could be used to recall a corresponding mix scene on the 01V, so that just one press of a button (or footswitch), the synthesizer and 01V are reconfigured ready for the next song or scene.

To recall mix scenes using MIDI Program Change messages you must:

1. Connect MIDI equipment capable of transmitting Program Change messages to the 01V.

2. Configure the 01V to receive MIDI Program Change messages. See “MIDI

Setup” on page 224 for more information.

3. Assign Program Change messages to scene memories. See “Program

Change Scene Recall” on page 227 for more information.

If the Program Change Tx switch is turned on (“MIDI Setup” on page 224), the 01V

transmits a Program Change message each time a mix scene is recalled. This could be used to recall programs on other MIDI equipment, for example, effects program on an external effects processor, or a voice on a synthesizer. Recalling scene memory #10, for example, would recall voice #10 on a synthesizer. Program Change messages transmitted by the 01V can be recorded to a MIDI sequencer for automated scene changes.

01V—Owner’s Manual

Undoing Mix Scene Recalls

189

Undoing Mix Scene Recalls

Mix scene recalls can be undone using the Recall Undo function.

1. Use the [MEMORY] button to locate MEMORY page 1, as shown below.

2. Use the cursor buttons to select the RECALL UNDO switch.

The RECALL UNDO switch appears gray until a mix scene is recalled after the 01V is initialized.

3. Press the [ENTER] button.

The 01V returns to the mix settings that were active before the mix scene was recalled.

Pressing the [ENTER] button again redoes the mix scene recall. Pressing again undoes it, and so on.

Recall Undo is useful when a mix scene is recalled by mistake, but can also be used for

A/B mix comparisons. To compare different mix settings, for example, store them to two scene memories. Recall one mix scene, and then the other. Recall Undo will then toggle between the two mixes.

Protecting Scene Memories

Scene memories can be protected individually against accidental overwriting by using the Protect function. When a scene memory is protected, mix scenes cannot be stored in it, and scene memory data received via MIDI Bulk Dump is ignored.

1. Use the [MEMORY] button to locate MEMORY page 1, as shown below.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a scene memory.

Only scene memories that contain a mix scene can be protected.

3. Use the cursor buttons to select the PROTECT switch.

4. Press the [ENTER] button.

When a scene memory is protected, the word PROTECT appears next to it in the scene memory list and a closed padlock appears in the scene memory area on the display.

To turn off the protection, select the PROTECT switch, and then press the [ENTER] button.

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Chapter 14—Scene Memories

Editing Scene Memory Titles

Scene memory titles can be edited using the Title Edit function.

1. Use the [MEMORY] button to locate MEMORY page 1, as shown below.

2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a scene memory.

3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button.

The Title Edit dialog box appears.

4. Edit the scene memory title.

See “Title Edit Dialog Box” on page 37 for more information.

5. Select OK, and then press the [ENTER] button.

The scene memory is stored with its new title.

Renumbering Scene Memories

Scene memories can be renumbered by using the Sort function.

1. Use the [MEMORY] button to locate MEMORY page 3, as shown below.

2. Use the cursor buttons to select the list on the left, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a scene memory.

3. Use the cursor buttons to select the list on the right, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select the insertion point.

4. Use the cursor buttons to select the SORT switch, and then press the

[ENTER] button.

The selected scene memory is renumbered.

01V—Owner’s Manual

Setting a Fade Time

191

Setting a Fade Time

Using the Fade Time function, crossfades, fade outs, and fade ins from 0 to 25 seconds can be performed automatically by recalling mix scenes. Fade Time settings must be stored with a mix scene before they have any effect. Faders for input channels 1 through

16, the effects returns, aux send masters, bus out masters, and the stereo output can be enabled for fading individually.

1. Use the [MEMORY] button to locate MEMORY page 2, as shown below.

2. Use the cursor buttons to select the TIME control, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set it.

The Fade Time can be set from 0 to 25 seconds in 0.1 second steps.

3. Use the cursor buttons to select the FADE ENABLE switches, and the

[ENTER] button to enable channels for fading.

FADE ENABLE switches appear highlighted when channels are enabled for fading.

4. Store the current mix scene in a scene memory. See “Storing Mix Scenes” on page 186 for more information.

Note: The Fade Time settings must be stored with a mix scene before they have any effect.

5. Recall the mix scene. See “Recalling Mix Scenes” on page 187 for more information.

When the mix scene is recalled, enabled faders move to their new positions over the specified time. With a 5-second fade time, for example, it takes the enabled faders 5 seconds to reach their new positions. In a typical crossfade, one channel would fade out while another channel fades in.

01V—Owner’s Manual

192

Chapter 14—Scene Memories

Recalling Scene Data Safely

When a mix scene is recalled, all mix settings are updated so that they match those of the recalled mix scene. In some cases, it may be necessary to retain mix settings of certain channels. This can be achieved using the Recall Safe function. Safe channels remain the same when mix scenes are recalled.

1. Use the [MEMORY] button to locate MEMORY page 4, as shown below.

2. Use the cursor buttons to select the SAFE CHANNEL switches, and the

[ENTER] button to set channels as safe.

SAFE CHANNEL switches appear highlighted for safe channels.

3. Use the cursor buttons to select a MODE (ALL PARAM or FADER ONLY), and the [ENTER] button to activate it.

In ALL PARAM mode, all parameters are safe. In FADER ONLY mode, only the faders are safe. All other parameters are updated when mix scenes are recalled.

4. Make sure the SAFE switch is set to ENABLE.

5. Use the cursor buttons to select the SAFE switch, and then press the

[ENTER] button to enable the Recall Safe function.

The SAFE switch works as a master Recall Safe on/off, so you don’t have to set individual channels when you want a scene recall to update all channels.

6. Recall a mix scene. See “Recalling Mix Scenes” on page 187 for more information.

When a mix scene is recalled, and providing that the SAFE switch is set to ENABLE, mix settings on safe channels remain the same.

If a mix scene containing paired channels, fader group, or mute group settings is recalled, and one of the channels in the pair or group is set as a safe channel, the pair or group is cancelled and only the non-safe channel is updated.

Recall Safe settings are not stored in mix scenes. They are, however, stored as part of the

01V Setup data. See “Bulk Dump” on page 232 for more information.

01V—Owner’s Manual

Other Functions

193

Other Functions

15

In this chapter...

Assigning Faders & On Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Setting 01V Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Initializing the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Calibrating the Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

01V—Owner’s Manual

194

Chapter 15—Other Functions

Assigning Faders & On Buttons

The faders and [ON] buttons of input channels 1 though 16 and the stereo output

(master) can be assigned functions other than their regular functions. Input channel faders 1 through 4, for example, can be used to control bus out master levels, which do not have their own dedicated faders. These assignments are active only when REMOTE page 1 is displayed. Select another page and the [ON] buttons and faders perform their regular functions. Four assignment sets can be stored in banks 1 through 4.

1. Use the [REMOTE] button to locate REMOTE page 1, as shown below.

While this page is displayed, faders and [ON] buttons perform the functions assigned to them here, not their regular functions.

2. Use [SEL] buttons 1 through 16 and MASTER to select the channels whose

[ON] buttons and faders you want to reassign.

3. Use the cursor buttons to select the parameters boxes, and the PARAM-

ETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

Available functions for the faders and [ON] buttons are listed in the subsequent tables.

4. Use the cursor buttons to select the BANK switches, and then press the

[ENTER] button to activate the selected bank.

The switch of the active bank appears highlighted.

Custom assignments are stored in their respective banks when other banks are selected,

and banks can be stored using MIDI Bulk Dump. See “Bulk Dump” on page 232 for more information.

To reset a bank back to its initial assignments, make it the active bank, select the INI-

TIALIZE switch, and then press the [ENTER] button. A confirmation dialog box appears. Select OK, and then press the [ENTER] button to confirm your action. The selected bank is reset to its initial assignments.

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Assigning Faders & On Buttons

195

Fader Assignments

Faders 1 through 16 and master can be assigned to the following parameters.

NO ASSIGN

FADER

Parameter

CHANNEL

MASTER

AUX1 SEND, AUX2 SEND

AUX3 SEND, AUX4 SEND

EFF1 SEND

EFF2 SEND

Channel

CH1–12, CH13-14, CH15-16, CH17–24,

RETURN1, RETURN2

AUX1–4, BUS1–4, EFFECT1, EFFECT2, ST OUT

CH1–12, CH13-14, CH15-16, CH17–24,

RETURN1, RETURN2

CH1–12, CH13-14, CH15-16, RETURN1,

RETURN2

CH1–12, CH13-14, CH15-16, CH17–24,

RETURN2

CH1–12, CH13-14, CH15-16, CH17–24,

RETURN1

DELAY

EQ (F, G, Q)

DYNAMICS

EFFECT

TIME

MIX

FB GAIN

F LOW

G LOW

Q LOW

F L-MID

G L-MID

Q L-MID

F H-MID

G H-MID

Q H-MID

F HIGH

G HIGH

Q HIGH

ATT

RATIO

KNEE/HOLD

THRESHOLD

ATTACK

G/RANGE

REL/DECAY

EFFECT1

EFFECT2

CHANNEL

AUX1, 2

CH1–12, CH13-14, CH15-16, ST OUT L, ST

OUT R, OMNI1–4

CH1–12, CH13-14, CH15-16, CH17–24,

RETURN1, RETURN2, AUX1–4, ST OUT

CH1–12, CH13-14, CH15-16, RETURN1,

RETURN2, AUX1–4, ST OUT

CH1–12, CH13-14, CH15-16, RETURN1,

RETURN2, AUX1–4, ST OUT

CH1–12, CH13-14, CH15-16, CH17–24,

RETURN1, RETURN2, AUX1–4, ST OUT

CH1–12, CH13-14, CH15-16, CH17–24

CH1–12, CH13-14, CH15-16, AUX1–4, ST OUT

PARAM1–19

PAN AUX3, 4

BUS TO ST

BALANCE

CH1–24, RETURN1 L, RETURN1 R, RETURN2 L,

RETURN2 R

CH1–16, RETURN1 L, RETURN1 R, RETURN2 L,

RETURN2 R

BUS1–4

ST OUT

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Chapter 15—Other Functions

On Button Assignments

On buttons 1 through 16 and master can be assigned to the following parameters.

NO ASSIGN

Parameter

ON (channel on/off)

CHANNEL

MASTER

BUS TO ST

Channel

CH1–12, CH13-14, CH15-16,

CH17–24, RETURN1, RETURN2

AUX1–4, BUS1–4, EFFECT1, EFFECT2,

ST OUT

BUS1–4

PHASE

(normal/reverse)

CHANNEL CH1–16

PRE/POST (pre/post)

DELAY (on/off)

EQ (on/off)

DYNAMICS (on/off)

AUX1 SEND, AUX2 SEND

AUX3 SEND, AUX4 SEND

EFF1 SEND

EFF2 SEND

CHANNEL

OUTPUT

CHANNEL

OUTPUT

CHANNEL

OUTPUT

CH1–12, CH13-14, CH15-16,

CH17–24, RETURN1, RETURN2

CH1–12, CH13-14, CH15-16,

RETURN1, RETURN2

CH1–12, CH13-14, CH15-16,

CH17–24, RETURN2

CH1–12, CH13-14, CH15-16,

CH17–24, RETURN1

CH1–12, CH13-14, CH15-16

ST OUT L, ST OUT R, OMNI1–4

CH1–12, CH13-14, CH15-16,

CH17–24, RETURN1, RETURN2

AUX1–4, ST OUT

CH1–12, CH13-14, CH15-16

AUX1–4, ST OUT

01V—Owner’s Manual

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197

Initial Assignments for Bank 1

These are the initial fader and [ON] button assignments for Bank 1.

Channel

1

2

3

4

5

6

7

8

9

10

11

12

13–14

15–16

MAS

Control

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

Parameter

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

ON MASTER

FADER MASTER

NO ASSIGN

NO ASSIGN

NO ASSIGN

NO ASSIGN

NO ASSIGN

NO ASSIGN

NO ASSIGN

NO ASSIGN

ON MASTER

FADER MASTER

EFFECT1

EFFECT1

EFFECT2

EFFECT2

ST OUT

AUX1

AUX1

AUX2

AUX2

AUX3

AUX3

AUX4

AUX4

BUS1

BUS1

BUS2

BUS2

BUS3

BUS3

BUS4

BUS4

01V—Owner’s Manual

198

Chapter 15—Other Functions

Initial Assignments for Bank 2

These are the initial fader and [ON] button assignments for Bank 2.

Channel

1

2

3

4

5

6

7

8

9

10

11

12

13–14

15–16

MAS

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

NO ASSIGN

NO ASSIGN

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

DELAY

Control

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

Parameter

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CHANNEL

TIME

CH9

CH9

CH10

CH10

CH11

CH11

CH12

CH12

CH13-14

CH13-14

CH15-16

CH15-16

CH5

CH5

CH6

CH6

CH7

CH7

CH8

CH8

CH1

CH1

CH2

CH2

CH3

CH3

CH4

CH4

01V—Owner’s Manual

Assigning Faders & On Buttons

199

Initial Assignments for Bank 3

These are the initial fader and [ON] button assignments for Bank 3.

Channel

1

2

3

4

5

6

7

8

9

10

11

12

13–14

15–16

MAS

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

Control

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

Parameter

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

EFFECT1

PARAM9

PARAM10

PARAM11

PARAM12

PARAM13

PARAM14

PARAM15

PARAM1

PARAM2

PARAM3

PARAM4

PARAM5

PARAM6

PARAM7

PARAM8

01V—Owner’s Manual

200

Chapter 15—Other Functions

Initial Assignments for Bank 4

These are the initial fader and [ON] button assignments for Bank 4.

Channel

1

2

3

4

5

6

7

8

9

10

11

12

13–14

15–16

MAS

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

NO ASSIGN

EFFECT

Control

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

Parameter

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

EFFECT2

PARAM9

PARAM10

PARAM11

PARAM12

PARAM13

PARAM14

PARAM15

PARAM1

PARAM2

PARAM3

PARAM4

PARAM5

PARAM6

PARAM7

PARAM8

01V—Owner’s Manual

User Assignment table

Use this table for your own assignments.

Channel

1

2

3

4

5

6

7

8

9

10

11

12

13–14

15–16

MAS

Control

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

[ON] button

Fader

Assigning Faders & On Buttons

201

Parameter

01V—Owner’s Manual

202

Chapter 15—Other Functions

Using the Oscillator

The 01V features a useful audio oscillator with 100 Hz, 1 kHz, and 10 kHz sine wave tones and pink noise and burst pink noise. It can be assigned to individual aux sends, bus outs, effects sends, or the stereo output, and is useful for calibration or diagnostic purposes. Assigning burst noise to an effects send is a convenient way to audition reverb settings.

1. Use the [UTILITY] button to locate UTILITY page 1, as shown below.

2. Use the cursor buttons to select the parameters, and the [ENTER] button,

PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

ON/OFF—

This switch is used to turn the oscillator on or off.

Note: To prevent sudden tone-burst surprises in your monitors or headphones, set the oscillator level, stereo output, aux sends, bus outs, or effects returns to a minimal level.

WAVEFORM

—This switch is used to select the type of waveform generated by the oscillator: 100 Hz, 1 kHz, or 10 kHz sine wave tones, pink noise, or burst pink noise, which consists of 200 ms pulses at four second intervals.

LEVEL

—This control is used to adjust the output level of the oscillator from 0 dB to

–96 dB.

ASSIGN

—These switches are used to assign the oscillator to individual aux sends, bus outs, effects sends, or the stereo output.

The Oscillator page also features level meters for the aux sends, bus outs, and effects returns.

When the oscillator is assigned to a bus, the oscillator signal has priority and other signals routed to that bus are muted.

01V—Owner’s Manual

Setting 01V Preferences

203

Setting 01V Preferences

The Preferences are used to customize the operation of the 01V.

1. Use the [UTILITY] button to locate UTILITY page 2 or 3, as shown below.

2. Use the cursor buttons to select the parameters, and the [ENTER] button,

PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

EQ AUTO SCREEN

—When this option is turned on, EQ page 1 or OPTION page 2 appears when the selected channel F or G control is adjusted, or the selected channel

[HIGH], [HI-MID], [LO-MID], or [LOW] button is pressed. See “Adjusting the EQ” on page 63 for more information.

PANPOT AUTO SCREEN

—When this option is turned on, PAN/ROUT page 1 or

OPTION page 2 appears when the selected channel PAN control is adjusted. See “Panning Input Channels” on page 47 for more information.

STORE CONFIRMATION

—When this option is turned on, the Title Edit dialog box, which also functions as a confirmation, appears whenever a mix scene or library program is stored; useful for preventing mix scenes and library programs from being stored accidentally.

RECALL CONFIRMATION

—When this option is turned on, a confirmation dialog box appears whenever a mix scene or library program is recalled; useful for preventing mix scenes and library programs from being recalled accidentally.

DIGITAL IN SYNC CAUTION

—When this option is turned on, a warning message appears if digital signals from the Digital Stereo Coaxial In or Option I/O inputs are not

wordclock synchronized with the 01V. See “Setting the Wordclock” on page 209 for more information.

“SELECTED CH” MESSAGE

—When this option is turned on, a message indicating the selected channel appears when the Fader mode is switched to and from Option I/O.

DELAY UNITS

—Delay values for the input channel delay, stereo output delay, and

omni out delay can be specified in milliseconds, meters, or samples. See “Delaying

Channel Signals” on page 45, “Stereo Output Delay” on page 91, and “Omni Out

Delay” on page 117.

INC/DEC SCENE RECALL

—When this option is turned on, the [–1/DEC] and

[+1/INC] buttons can be used to select and recall scene memories while MEMORY page 1 is displayed. As the [–1/DEC] or [+1/INC] button is pressed, subsequent scene

memories that contain a mix scene are selected and recalled. See “Recalling Mix Scenes” on page 187 for more information.

01V—Owner’s Manual

204

Chapter 15—Other Functions

LIBRARY LIST ORDER

—When this option is set to UP, EQ, effects, dynamics, and scene memory lists appear with the lowest program/scene at the bottom and the highest at the top. When set to DOWN, they appear with the lowest at the top, highest at the bottom.

Initial Settings

Preference

EQ AUTO SCREEN

PANPOT AUTO SCREEN

STORE CONFIRMATION

RECALL CONFIRMATION

DIGITAL IN SYNC CAUTION

“SELECTED CH” MESSAGE

DELAY UNITS

INC/DEC SCENE RECALL

LIBRARY LIST ORDER

Options

ON/OFF

ON/OFF

ON/OFF

ON/OFF

ON/OFF

ON/OFF msec, meter, sample

ON/OFF

UP/DOWN

Initial Setting

ON

ON

ON

OFF

ON

ON msec

OFF

UP

Initializing the 01V

The Initialization function can be used to reset the 01V to its factory settings, clear all programs in the EQ, effects, and dynamics libraries, empty all scene memories, and reset the MIDI Program Change to scene memory, and Control Change to parameter assignment tables.

Note: If you want to reset just the mix settings and retain the programs and scene mem-

ories, recall scene memory 00 instead. See “Scene Memory 00” on page 185 for more information.

1. Turn off the 01V.

2. While holding down the [MEMORY] button, turn on the 01V.

<<INITIALIZE MEMORY?>> appears on the display.

3. Release the [MEMORY] button.

4. Press the [+1/DEC] to initialize the 01V, or the [–1/INC] to cancel.

If you choose to initialize the 01V, mix settings are reset to their factory settings, all programs in the EQ, effects, and dynamics libraries are cleared, the scene memories are emptied, and the faders are calibrated.

Calibrating the Faders

If the 01V is not used for a long time, it’s moved to a new location, or fader movements have been obstructed, the faders may need calibrating. The calibration process calculates the torque required by each fader motor to drive its fader accurately and smoothly.

1. Turn off the 01V.

2. While holding down the [ENTER] button, turn on the 01V.

3. Release the [ENTER] button.

The fader calibration process starts. When the faders return to their original positions, calibration is complete. Do not attempt to use the 01V before calibration is completed.

01V—Owner’s Manual

Using the Digital Inputs & Outputs

205

Using the Digital Inputs & Outputs

16

In this chapter...

About Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Setting the Wordclock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Digital Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Output Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Digital Stereo In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Cascading 01Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

About Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Installing Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Assigning Option I/O Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Option I/O Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

01V—Owner’s Manual

206

Chapter 16—Using the Digital Inputs & Outputs

About Wordclocks

Unlike analog audio equipment, digital audio equipment must be synchronized when digital audio is transferred from one device to another. Otherwise, the digital audio might not be read correctly and audible noise, glitches, or clicks may occur. Synchronization is achieved using what’s called a wordclock, which is a clock signal for synchronizing all the digital audio words in an audio system. Note that wordclocks are not the same as SMPTE or MIDI timecode, which are used to synchronize audio recorders,

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 acts as the wordclock master and the other devices act as wordclock slaves that synchronize to the master wordclock signal. If the

01V is the only digital audio device in your system, no special wordclock settings are required and the 01V synchronizes to its own internal wordclock. Add a DAT recorder or digital multitrack recorder, however, and you must decide which device to use as wordclock master and which devices to use as slaves. Even when you’ve done this and configured your system, it may be necessary to change the wordclock settings in certain situations, such as when recording from a DAT or CD player.

The wordclock signal runs at the same frequency as the sampling rate. The 01V generates its own wordclock at 44.1 kHz (the industry-standard sampling rate for music

CDs) and can be used as wordclock master. Alternatively, it can be used as a wordclock slave synchronized to an external wordclock of between 44.1 kHz –10% and 48 kHz

+6%. Converting the sampling rate of digital audio is a complicated process, so it’s best to use the 44.1 kHz sampling rate, especially if your work is destined for CD distribution.

Wordclock signals can be distributed via dedicated cables or derived from standard digital audio connections, as shown below. With AES/EBU and Coaxial digital audio connections, a wordclock signal is transmitted even when no audio signal is present.

Wordclock slave Wordclock slave

00.00.00.00

Wordclock In

Wordclock Out

Digital Audio Out

Digital Audio Out

Wordclock master

Wordclock Out

Digital Audio In

Digital Audio In

DAT

00.00.00.00

Wordclock In

DAT

Wordclock slave Wordclock slave

In a system where all devices share a common wordclock, it’s important that all devices be turned on even when 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 commencing with a recording session, make sure that all wordclock slaves are synchronized to the master wordclock. Some devices have front panel indicators to show when they are wordclock synchronized. Refer to the instructions for each device.

The following system examples show three typical wordclock setups with the 01V. For

detailed system examples with specific equipment, see “System Examples” on page 241.

01V—Owner’s Manual

About Wordclocks

207

Digitally Recording to DAT

01V (wordclock master)

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

MONITOR

OUT

10 0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

CURSOR

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

DIGITAL STEREO

COAXIAL OUT

Digital In

DAT (wordclock slave)

00.00.00.00

DAT

In this system, the 01V’s stereo output signal is digitally transferred to a DAT recorder.

The 01V works as wordclock master and the DAT works as wordclock slave. The 01V is set to internal wordclock. The DAT derives its wordclock signal from the Digital Stereo

Coaxial Out connection of the 01V. Both devices operate at a sampling rate of 44.1 kHz.

Multitrack Recording

01V (wordclock slave)

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

MONITOR

OUT

10 0

LEVEL

10

PHONES

OPTION I/O

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

MEMORY

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

0

5

10

20

40

60

6

0

5

10

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– ∞

–1/DEC

PARAMETER

+1/INC

CURSOR

DIGITAL STEREO

COAXIAL OUT

ENTER

1

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3

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5

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6

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7

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8

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9 10 11 12 13/14 15/16 STEREO

MASTER

Digital In

Digital multitrack

(wordclock master)

Digital Out

Digital In

8-TRACK DIGITAL

DAT (wordclock slave)

00.00.00.00

DAT

In this system, audio is recorded to, and mixed from the digital multitrack recorder. The

01V’s stereo output signal is digitally transferred to the DAT recorder. The digital multitrack recorder is wordclock master and the 01V and DAT recorder are wordclock slaves. The 01V derives its wordclock from the Option I/O digital input. The DAT derives its wordclock signal from the Digital Stereo Coaxial Out connection of the 01V.

The sampling rate is the same as that used when the digital multitrack tapes were formatted or recorded.

01V—Owner’s Manual

208

Chapter 16—Using the Digital Inputs & Outputs

Multitrack Recording with Digital DAT Source

01V (wordclock slave)

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

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–60

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–16

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–60

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–16

+10 GAIN

–60

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12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

OPTION I/O

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

HOME

1

17

SEL

2

18

SEL

3

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SEL

4

20

SEL

5

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SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

DIGITAL STEREO

COAXIAL IN

6

0

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– ∞

CURSOR

ENTER

1

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2

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3

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4

20

5

21

6

22

7

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8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

Digital In

Digital Out

Digital Out

Digital multitrack

(wordclock slave)

00.00.00.00

8-TRACK DIGITAL

DAT (wordclock master)

DAT

In this system, audio is recorded to, and mixed from the digital multitrack recorder.

The DAT output signal is digitally transferred to the 01V for recording to the digital multitrack recorder. The DAT recorder is wordclock master and the 01V and digital multitrack recorder are wordclock slaves. The 01V derives its wordclock from the

Digital Stereo Coaxial In connection. The digital multitrack recorder derives its wordclock from the 01V’s Option I/O connection. The sampling rate is the same as that used when the DAT tape was recorded. A CD player could be connected instead of the DAT recorder. In this case, the sampling rate would be fixed at 44.1 kHz, the industry-standard sampling rate for music CDs.

01V—Owner’s Manual

Setting the Wordclock

209

Setting the Wordclock

The 01V can generate its own internal wordclock at 44.1 kHz (the industry-standard sampling rate for music CDs) or synchronize to an external wordclock of between

44.1 kHz –10% and 48 kHz +6%, which can be sourced from the Digital Stereo In or a digital Option I/O card.

Note: If the 01V is the only digital audio device in your system, you do not need to change the wordclock source. It can be left at internal 44.1 kHz.

1. Use the [SETUP] button to locate SETUP page 1, as shown below.

Note: When the wordclock source is changed, audible glitches or clicks may be produced, so it’s a good idea to turn down the volume on all monitor amps and headphones first.

2. Use the cursor buttons to select the SOURCE switches, and the [ENTER] button to set them.

AUTO NAVIGATE

—This function checks all possible wordclock sources and then displays a dialog box recommending a suitable source. Note that in some situations this function may not be able to recommend a suitable source. The following dialog box appears when this function is run. Select OK, and press the [ENTER] button to start digital input scanning.

To select the wordclock source manually, use the following switches.

This switch selects the internal 44.1 kHz wordclock. A highlighted switch like the one shown here indicates that the 01V is synchronized to the wordclock source and ready for use.

This switch selects the Digital Stereo In as the wordclock source. A switch like the one shown here with a single diagonal line indicates that a wordclock signal is present at this input but the 01V is not synchronized to it.

This switch selects the Option I/O card as the wordclock source. A switch like the one shown here with two diagonal lines indicates that no wordclock signal is present at this input.

01V—Owner’s Manual

210

Chapter 16—Using the Digital Inputs & Outputs

A highlighted switch with two diagonal lines like the one shown here indicates that no wordclock is being received from the selected source, and the Fs window will probably show UNLOCK. Before using the 01V, correct the external wordclock, or select another source. This condition typically occurs when the external wordclock source is turned off, or the cable carrying the wordclock signal has been disconnected.

If the DIGITAL IN SYNC CAUTION option is turned on in the preferences (“Setting

01V Preferences” on page 203), a warning message appears if digital signals from the

Digital Stereo Coaxial In or Option I/O inputs are not wordclock synchronized with the

01V. If this message appears, configure the external device as wordclock master.

When an MY8-AE Option I/O card is installed, the OPTION SLOT switch is replaced by four SLOT switches, as shown below.

These switches are used to select a pair of AES/EBU digital inputs as the wordclock source.

This window displays the status of the 01V wordclock. 44.1k indicates that the 01V is locked to a sampling rate of 44.1 kHz. When the wordclock source is changed, the word LOCK appears, indicating that the 01V is in the process of locking to the new source. If the external wordclock source is lost, the word UNLOCK appears. This condition typically occurs when the external wordclock source is turned off or the cable carrying the wordclock signal has been disconnected.

When a CD player is connected to the Digital Stereo In, the only available sampling rate is 44.1 kHz. When a DAT is connected, the sampling rate is determined by the DAT.

Some DATs record at a fixed sampling rate, while others allow the user to choose, typically between 44.1 kHz and 48 kHz.

01V—Owner’s Manual

Digital Stereo Out

211

Digital Stereo Out

The stereo output signal is output digitally in Consumer format from the Digital Stereo Out Coaxial connector. Typically this is connected to the digital input on a DAT or MiniDisc deck for stereo mix recording, or the Digital Stereo In of another 01V for

cascade operation. See “Cascading 01Vs” on page 214 for more information. The wordlength of the Digital Stereo Out Coaxial

signal is set using the Dither function. See “Output Dither” on page 212 for more information.

DIGITAL STEREO

COAXIAL

OUT IN

In the following example, the Digital Stereo Coaxial Out on the 01V is connected to the digital input of a DAT recorder for digital mixdown recording. The 01V works as word-

clock master, while the DAT works as wordclock slave. See “About Wordclocks” on page

206 for more information. When the digital input on the DAT recorder is selected as the

recording source, the DAT should automatically synchronize to the wordclock signal coming from the 01V. On some DAT recorders, the wordclock source may have to be set separately. Refer to the instructions supplied with your DAT recorder.

01V

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

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–16

+10 GAIN

–60

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–16

+10 GAIN

–60

–34

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+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

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60

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– ∞

0

–5

–10

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CURSOR

ENTER

1

17

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3

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4

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5

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6

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7

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24

9 10 11 12 13/14 15/16 STEREO

MASTER

DIGITAL STEREO

COAXIAL OUT

Digital In

DAT recorder

00.00.00.00

DAT

01V—Owner’s Manual

212

Chapter 16—Using the Digital Inputs & Outputs

Output Dither

When a high-resolution digital audio signal is transferred to a lower-resolution system, some of the least-significant bits (LSB) of data are ignored by the receiving system, which can make low-level signals sound grainy and step like, similar to the noise produced by a low-resolution digital reverb as signals fade. To prevent this, the wordlength of a digital audio signal can be shortened to match that of the receiving system. Instead of simply chopping the unwanted bits off, the 01V uses the industry-standard technique known as dither is used to optimize the wordlength reduction process.

Dither can be set independently for the Digital Stereo Out and Option I/O digital outputs, and should be matched to the wordlength supported by the receiving digital audio device. For example, with a 16-bit DAT recorder connected to the Digital Stereo Out, the DIGITAL ST OUT should be set to a wordlength of 16, and with a 20-bit digital multitrack recorder connected via the Option I/O, OPTION OUT should be set to 20.

1. Use the [SETUP] button to locate SETUP page 5, as shown below.

2. Use the cursor buttons to select the WORD LENGTH switches, and the

[ENTER] button to set them.

Dither works by comparing the output of a special pseudorandom number sequence generator with the lowest data bit of the shortened data word and the unwanted data bits. The lowest bit is then rounded up or down prior to D/A conversion, thereby optimizing the digital output signal for use with lower-resolution systems. Since dither endows the digital signal with a noise floor close to the minimum theoretical limit, some audio professionals choose not to use it for applications with a wide dynamic range, such as classical recording. If you’re in any doubt, it’s probably best to use it.

01V—Owner’s Manual

Digital Stereo In

213

Digital Stereo In

Consumer format digital audio signals can be connected to the

01V using the Digital Stereo In Coaxial connection. The digital output of a CD player, DAT, or MiniDisc deck could be connected here, or the Digital Stereo Out of another 01V for cas-

cade operation. See “Cascading 01Vs” on page 214 for more information.

DIGITAL STEREO

COAXIAL

OUT IN

1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 4, as shown below.

2. Use the cursor buttons to select the FLIP and ON/OFF switches, and the

[ENTER] button to set them.

FLIP

—This switch is used to flip the inputs of input channels 13 and 14 with the Digital

Stereo In. Normally, analog inputs 13 and 14 feed input channels 13 and 14, and the

Digital Stereo In feeds the Stereo bus. When flipped, analog inputs 13 and 14 feed the

Stereo bus, and the Digital Stereo In feeds input channels 13 and 14.

ON/OFF

—This switch is used to turn on or off the stereo cascade signal. The source of the stereo cascade signal is set by the FLIP switch. The stereo cascade signal can be mon-

itored pre or post this switch using the monitors or phones. See “Monitor Setup” on page 78 for more information.

Note: To prevent noise when using the Digital Stereo In connection, the source device

and the 01V must be wordclock synchronized. See “About Wordclocks” on page 206 for more information.

Digital audio signals containing emphasis are automatically deemphasized.

In the following example, the Digital Stereo Coaxial In on the 01V is connected to the digital output of a DAT recorder for mixing from a digital source. The 01V works as wordclock slave, while the DAT works as wordclock master. On 01V SETUP page 1, set

the wordclock source to ST IN DIGITAL. See “Setting the Wordclock” on page 209 for more information.

01V

PHANTOM +48V OFF

ON

PHANTOM +48V OFF

ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

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–60

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8

–16

+10 GAIN

–60

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9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

5

10

20

40

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0

6

0

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6

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0

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10

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60

6

0

5

10

20

40

60

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

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–70

– ∞

CURSOR

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

DIGITAL STEREO

COAXIAL IN

Digital Out

DAT recorder

00.00.00.00

DAT

01V—Owner’s Manual

214

Chapter 16—Using the Digital Inputs & Outputs

Cascading 01Vs

By using the Stereo Digital In and Stereo Digital Out connections, two 01Vs can be cascaded together for 48-channel digital mixing, as shown below. 01V-A audio signals are combined into a stereo mix that is then sent to 01V-B via the Digital Stereo Coaxial connections and mixed with the audio signals of 01V-B. 01V-A works as wordclock master and is set to INT 44.1K, while 01V-B works as wordclock slave with its word-

clock source set to ST IN DIGITAL. See “Setting the Wordclock” on page 209 for more information.

01V-A (sub-mixer) 01V-B (main-mixer)

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

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7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

DIGITAL STEREO

COAXIAL OUT

DIGITAL STEREO

COAXIAL IN

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

AUX 1 AUX 2 AUX 3 AUX 4

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON MEMORY

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

AUX 1 AUX 2 AUX 3 AUX 4

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON MEMORY

–1/DEC

PARAMETER

+1/INC –1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

0

–5

–10

–15

–20

–30

–40

–50

–70

CURSOR

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

CURSOR

ENTER ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

For cascade operation, 01V-B Coaxial input should not be flipped and Stereo Cascade

should be turned on. See “Digital Stereo In” on page 213 for more information.

MIDI Local Control

Using the MIDI Local Control function, 01V-A can be controlled using the controls on

01V-B. When Local Control on 01V-B is turned off, its faders, buttons, and display pages all control 01V-A instead of its own functions. In addition, the meters on 01V-B

display 01V-A signal levels. See “Local Control” on page 234 for more information.

Link Port

For simultaneous solo operation, display page and fader mode selection, two or more

01Vs can be linked together using the TO HOST or MIDI ports. See “Linking 01Vs” on page 239.

Cascading Aux Sends

Aux sends can be cascaded as follows. Assign, say, aux send 1 on 01V-A (submixer) to a MONI OUT and connect it to, say, input 13 on 01V-B (main-mixer). Then, feed channel 13 on 01V-B through to aux send 1 pre-fader. 01V-B aux send 1 output now contains the aux send 1 signals of both 01Vs. Aux sends 2, 3, and 4 can be cascaded in a similar manner using inputs 14, 15, and 16 on 01V-B.

01V—Owner’s Manual

Cascading 01Vs

215

Cascade Delay

Since it takes 01V-A several hundred microseconds to process its digital audio data, the input signals of 01V-B need to be delayed slightly to bring them into phase with the signals from 01V-A. The following illustration shows why phase correction is necessary.

L R L R

STEREO

DIGITAL

OUT

STEREO

DIGITAL

IN

Since signal L has been processed by both 01V-A and 01V-B, it's out of phase with signal R. To bring the signals back in phase, input signal R is delayed by 14 samples on 01V-B.

01V-A

01V-B

This kind of phase correction is not unique to the 01V. All digital audio equipment takes a few hundred microseconds to process digital audio data. Use the Delay function

(“Delaying Channel Signals” on page 45) on 01V-B to delay all input channels by 14

samples.

Cascading Two or More 01Vs

In this example, the channel delay should be set to 14 samples on 01V-C, 28 samples on

01V-B.

01V-A

DIGITAL

STEREO

COAXIAL

OUT

IN

01V-B

DIGITAL

STEREO

COAXIAL

OUT IN

01V-C

01V—Owner’s Manual

216

Chapter 16—Using the Digital Inputs & Outputs

About Option I/O Cards

The 01V features a single slot for an optional Option I/O card, providing eight digital inputs (input channels 17 through 24) and eight assignable digital outputs. Option I/O allows a direct digital connection to digital multitrack recorders, with cards for the following formats: ADAT, Tascam, and AES/EBU. Various Option I/O cards with analog inputs and outputs are also available. See the Yamaha PA Web site for news of other 01V

Option I/O cards. 01V Option I/O cards are not interchangeable with the YGDAI cards used by the Yamaha 02R and 03D Digital Recording Consoles.

<http://www.yamaha.co.jp/product/proaudio/homeenglish/>

MY8-AT ADAT

The MY8-AT card has two Alesis ADAT MultiChannel Optical Digital Interface connectors and is used to connect 8-track digital multitrack recorders such as the Alesis

ADAT, Alesis ADAT-XT, or Fostex D-90 Hard Disk Recorder.

MY8-TD Tascam

The MY8-TD card has a Tascam Digital Audio Interface (TDIF-1) 25-pin D-sub connector and is used to connect 8-track digital multitrack recorders such as the Tascam

DA-88 or DA-38. MY8-TD cards feature a device selector switch that should be set according to the type of recorder connected. EXT: 88 for use with a Tascam DA-88. INT:

38 for use with a Tascam DA-38 or other recorder.

MY8-AE AES/EBU

The MY8-AE card has a 25-pin D-sub connector and is used to connect digital audio equipment with AES/EBU format digital inputs and outputs.

MY4-DA Analog Output

The MY4-DA card features four analog XLR outputs. With this card you could, for example, assign the four bus outs to the Omni outputs and the four aux sends to the

MY4-DA analog outputs for a total of eight analog outputs.

MY8-AD 8 Analog Input

The MY8-AD card features eight analog phone jack inputs, providing eight analog inputs to input channels 17 through 24.

MY4-AD 4 Analog Input

The MY4-AD card features four analog XLR inputs, providing four analog inputs to input channels 17 through 20.

01V—Owner’s Manual

About Option I/O Cards

217

Card Specifications

Card

MY8-AT

MY8-TD

MY8-AE

*1

MY4-DA

MY8-AD

MY4-AD

Description

Analog output

Analog input

Analog input

Inputs

ADAT Digital I/O 8 (CH17–24)

Tascam TDIF-1 Digital I/O 8 (CH17–24)

AES/EBU Digital I/O 8 (CH17–24)

8 (CH17–24)

4 (CH17–20)

Outputs Connector

8 (bus, aux, stereo, ch direct)

Optical x2

25-pin D-sub x1

25-pin D-sub x1

4 (bus, aux, stereo, ch direct)

XLR-3-32 type

(balanced) x4

Phone jack x8

XLR-3-31 type

(balanced) x4

*1. Cable not included.

The eight Option I/O digital inputs feed input channels 17 through 24. See “Input

Channels 17–24” on page 40 for more information. The inputs to channels 1 through

8 can be swapped with those of input channels 17 through 24 either individually or altogether. This allows signals from the Option I/O digital inputs to make use of the

4-band EQ, dynamics processors, and other functions of full-feature input channels 1

through 8. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

Option I/O digital audio signals containing emphasis are automatically deemphasized.

The eight Option I/O digital outputs can be assigned to bus outs 1 through 4, aux sends

1 through 4, the left or right channels of the stereo output, or the post-fader direct out-

puts of input channels 1 through 16. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

01V—Owner’s Manual

218

Chapter 16—Using the Digital Inputs & Outputs

Installing Option I/O Cards

Warning: Turn off the 01V before installing an Option I/O card. Failure to do so is an electrical shock hazard and may cause serious damage.

1. Turn off the 01V.

2. Undo the two fixing screws and remove the slot cover, as shown below.

Keep the cover in a safe place for future use.

3. Insert the card into the slot as shown below. Push it in all the way so that the card’s connector mates correctly with the internal 01V connector.

4. Secure the card using the two fixing screws. Do not leave the screws loose, as the card will not be grounded correctly.

5. Turn on the 01V.

The 01V checks to see what type of Option I/O card is installed when it’s turned on. If installation is successful, the type of card installed is displayed on OPTION page 1, as shown below.

01V—Owner’s Manual

Assigning Option I/O Digital Outputs

219

Assigning Option I/O Digital Outputs

The eight Option I/O digital outputs can be assigned to bus outs 1 through 4, aux sends

1 through 4, the left or right channels of the stereo output, or the post-fader direct outputs of input channels 1 through 16. Although the 01V is a four-bus mixer, assigning the four bus outs and four aux sends to digital outputs allows eight-track simultaneous recording.

1. Use the [OPTION I/O] button to locate OPTION page 4, as shown below.

2. Use the cursor buttons to select the switches, and the [ENTER] button,

PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Switches appear highlighted when selected as the output source.

Option I/O digital outputs are automatically assigned to post-fader direct outputs of input channels 1 through 12 when the corresponding D switch on PAN/ROUT page 1 is turned on. Likewise, when a direct output is selected as the source for an Option I/O output on this page, the corresponding D switch is turned on on the PAN/ROUT page.

See “Routing Input Channels” on page 49 for more information.

01V—Owner’s Manual

220

Chapter 16—Using the Digital Inputs & Outputs

Option I/O Block Diagram

AUX/EFF PRE/POST

01V—Owner’s Manual

MIDI

221

MIDI

17

In this chapter...

MIDI & the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

MIDI Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

MIDI Receive Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Program Change Scene Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Control Change Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

System Exclusive Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Local Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

User Defined MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Linking 01Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

01V—Owner’s Manual

222

Chapter 17—MIDI

MIDI & the 01V

The 01V can be used with MIDI in the following ways.

• Program Change messages for mix scene recall—“Program Change Scene Recall” on page 227.

• Control Change messages for real-time parameter control—“Control Change

Parameter Control” on page 229.

• System Exclusive messages for parameter control—“System Exclusive Parameter

Control” on page 231.

• System Exclusive Bulk Dump for data backup and transfer between 01Vs—“Bulk

Dump” on page 232.

• MMC (MIDI Machine Control) for remote recorder control—“MIDI Machine

Control” on page 236.

• MIDI Link for simultaneous operation—“Linking 01Vs” on page 239.

• MIDI Local Control for remote 01V operation—“Local Control” on page 234.

• User defined MIDI controllers for remote operation—“User Defined MIDI Controllers” on page 238.

• MIDI Note On for Freeze effect playback and Note On velocity for the DYNA.FIL-

TER, DYNA.FLANGE, and DYNA.PHASER effects—“Effects Parameters” on page 138.

MIDI Ports

The MIDI IN port receives MIDI messages, while the MIDI OUT port transmits them.

The MIDI THRU port transmits all MIDI messages received at the MIDI IN port. In addition to regular MIDI ports, the 01V features a TO HOST port for connecting to a personal computer without a MIDI interface.

MIDI

TO HOST

THRU

OUT IN

Apart from being a bidirectional connection that can transmit and receive MIDI data, the TO HOST port functions in the same way as the regular MIDI ports. Whether you use the regular MIDI ports or TO HOST port will depend on your particular system and application. The PORT parameter on MIDI page 1 is used to select the port for reg-

ular MIDI transmission. See “MIDI Setup” on page 224 for more information. The

unused port automatically becomes the LINK PORT, which is used for simultaneous operation with another 01V.

01V—Owner’s Manual

MIDI Ports

223

Using the TO HOST Port

In this system, the 01V is connected to a personal computer without a MIDI interface via the TO HOST port. The PORT parameter on MIDI page 1 is set to match the type

of computer (PC-1, PC-2, or Mac). See “MIDI Setup” on page 224 for more information. 01V operations are recorded as MIDI messages by the MIDI sequencer software.

During playback, the sequencer transmits the MIDI messages back to the 01V for automated mixing.

MIDI Sequencer

Serial port

TO HOST

01V

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

Using the MIDI Ports

In this system, the 01V, MIDI keyboard, and MIDI sampler connect to the computer via a standard MIDI interface. Since the MIDI interface features only one MIDI IN port, which is connected to the MIDI OUT of the MIDI keyboard, the system must be repatched in order to record MIDI messages from the 01V. Alternatively, a MIDI interface with two or more MIDI INs could be used.

MIDI Sequencer

MIDI keyboard

Serial port

MIDI OUT

MIDI interface

MIDI IN

01V

MIDI IN

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

MONITOR

OUT

10 0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G

LOW

SELECTED CHANNEL

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO SOLO

ON ON

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

CURSOR

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

MIDI Sampler

MIDI IN

01V—Owner’s Manual

224

Chapter 17—MIDI

Using the Link Port

In this system, two 01Vs are linked together for simultaneous operation. When, for example, mix scenes are recalled, Program Change messages are transmitted via the

port assigned as the Link Port for simultaneous scene recall on both 01Vs. See “Cascading 01Vs” on page 214 for more information.

01V-A (sub-mixer)

PHANTOM +48V OFF

ON

PHANTOM +48V OFF

ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10 0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

–1/DEC

PARAMETER

+1/INC

ENTER

CURSOR

01V-B (main-mixer)

DIGITAL STEREO

COAXIAL OUT

DIGITAL STEREO

COAXIAL IN

PHANTOM +48V OFF

ON

PHANTOM +48V OFF

ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10 0

LEVEL

10

PHONES

TO HOST TO HOST

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

OR

–1/DEC

PARAMETER

+1/INC

MIDI OUT MIDI IN

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

CURSOR

ENTER

MIDI IN MIDI OUT

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

Note: When the MIDI ports and TO HOST ports of two 01Vs are connected together, be sure to turn off the Program Change Tx and Rx switches. Otherwise, a MIDI loop will occur when mix scenes are recalled.

MIDI Receive Indicators

When MIDI data is received via the MIDI IN port, the MIDI receive indicator shown here appears.

When data is received via the TO HOST port, the HOST receive indicator shown here appears.

MIDI Setup

MIDI parameters such as transmit channel (Tx), receive channel (Rx), omni, and echo are set on MIDI page 1.

1. Use the [MIDI] button to locate MIDI page 1, as shown below.

2. Use the cursor buttons to select the parameters, and the [ENTER] button,

PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

PORT/LINK PORT

—The PORT parameter determines whether the TO HOST or

MIDI ports are used for regular MIDI transmission. The LINK PORT parameter, used

when linking 01Vs (“Linking 01Vs” on page 239), is automatically set to the unused

port. If, for example, PORT is set to MIDI, LINK PORT will be set to HOST, and vice

01V—Owner’s Manual

MIDI Setup

225

versa. When using the TO HOST port, PORT should be set to match the type of computer connected to the 01V, as follows.

Setting

MIDI

PC1

PC2

Mac

Computer Platform

Standard MIDI

NEC PC9800 Series

IBM PC compatible

Macintosh (clock: 1MHz)

Port Transmission Speed

MIDI IN, OUT, THRU 31.25 kbps

TO HOST 31.25 kbps

TO HOST

TO HOST

38.4 kbps

31.25 kbps

Tx CH

—This parameter determines which MIDI Channel the 01V uses to transmit

MIDI messages, and can be set from 1 through 16. The device receiving MIDI messages from the 01V should be set to the same MIDI Channel. When the 01V transmits MIDI data in response to a request, that data is transmitted on the same MIDI Channel that the request was received on.

Rx CH

—This parameter determines which MIDI Channel the 01V uses to receive

MIDI messages, and can be set from 1 through 16. The device transmitting MIDI messages to the 01V should be set to the same MIDI Channel. When PROGRAM CHANGE

OMNI or CONTROL CHANGE OMNI is turned on, program change and Control

Change messages can be received regardless of this setting.

PROGRAM CHANGE

—Program Change messages are used to recall mix scenes. See

“Program Change Scene Recall” on page 227 for more information. The four ON/OFF

switches in this group are as follows.

Tx determines whether the 01V transmits Program Change messages when a mix scene is recalled. Rx determines whether the 01V recalls mix scenes when Program Change messages are received. OMNI determines whether the 01V receives Program Change messages on all 16 MIDI Channels (ON) or just the Rx channel (OFF).

ECHO determines whether received Program Change messages are echoed through to the MIDI OUT port. When ECHO is on, the 01V receives Program Change messages and echoes them through to the MIDI OUT port regardless of the MIDI Channel settings.

CONTROL CHANGE

—Control Change messages are used to control 01V parameters

in real time. See “Control Change Parameter Control” on page 229 for more information. The four ON/OFF switches in this group are as follows.

Tx determines whether the 01V transmits Control Change messages when mix parameters are adjusted. Rx determines whether the 01V adjusts mix parameters when Control Change messages are received. OMNI determines whether the 01V receives Control

Change messages on all 16 MIDI Channels (ON) or just the Rx channel (OFF).

ECHO determines whether received Control Change messages are echoed through to the MIDI OUT port. When ECHO is on, the 01V receives Control Change messages and echoes them through to the MIDI OUT port regardless of the MIDI Channel settings.

PARAM. CHANGE

—Parameter Change System Exclusive messages are used to con-

trol 01V parameters in real time. See “System Exclusive Parameter Control” on page 231 for more information. The three ON/OFF switches in this group are as follows.

Tx determines whether the 01V transmits Parameter Change System Exclusive messages when mix parameters are adjusted. Rx determines whether or not the 01V adjusts mix parameters when Parameter Change System Exclusive messages are received.

When Rx is turned on, the 01V transmits Parameter Change System Exclusive messages in response to requests even if Tx is turned off.

01V—Owner’s Manual

226

Chapter 17—MIDI

ECHO determines whether received Parameter Change System Exclusive messages are echoed through to the MIDI OUT port. When ECHO is on, the 01V receives Parameter

Change System Exclusive messages and echoes them through to the MIDI OUT port regardless of the MIDI Channel settings.

BULK

—This switch determines whether the 01V receives MIDI Bulk requests and

MIDI Bulk Dump messages. When turned on, the 01V transmits Bulk Dump messages in response to Bulk Dump requests. Bulk Dump messages and Bulk Dump requests are never echoed. Bulk Dump messages can be transmitted from the 01V regardless of this

setting. See “Bulk Dump” on page 232 for more information.

01V—Owner’s Manual

Program Change Scene Recall

227

Program Change Scene Recall

When a MIDI Program Change message is received, a mix scene is recalled in accordance with the scene memory to Program Change assignment table. Likewise, when a mix scene is recalled, the 01V transmits a Program Change message that can be used to recall a mix scene on another 01V or recorded to a MIDI sequencer for automated scene

recall. See “Recalling Mix Scenes Using MIDI Program Change Messages” on page 188.

Initially, scene memories 1 through 99 are assigned sequentially to Program Changes 1

through 99 as listed in the “Scene Memory to Program Change Table” on page 273,

although these assignments can be edited on MIDI page 2. These assignments are used for both transmission and reception, so if Program Change #10 is assigned to scene memory 20, the 01V recalls scene memory 20 when Program Change #10 is received, and transmits Program Change #10 when scene memory 20 is recalled.

In order for the 01V to receive and transmit MIDI Program Change messages, the Pro-

gram Change Rx and Tx switches on MIDI page 1 must be turned on. See “MIDI Setup” on page 224 for more information.

1. Use the [MIDI] button to locate MIDI page 2, as shown below.

2. Use the cursor buttons to select the PGM CHG. column, and then use the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a Program

Change.

3. Use the right cursor button to select the NO. TITLE column, and then use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a scene memory.

A scene memory to Program Change assignment table is

provided on page 273. To reset the assignments to their ini-

tial settings, use the cursor buttons to select the INITIAL-

IZE switch, and then press the [ENTER] button. The dialog box shown here appears. Click OK to initialize.

The current scene memory to Program Change assignment table can be stored to an

external MIDI device, such as a MIDI data filer, using MIDI Bulk Dump. See “Bulk

Dump” on page 232 for more information.

If a scene memory is assigned to two or more Program Changes, the lowest Program

Change is transmitted when that scene memory is recalled.

If a scene memory that is not assigned to a Program Change is recalled, a System Exclu-

sive Parameter Change Scene Recall message is transmitted. See “System Exclusive

Parameter Control” on page 231 for more information.

01V—Owner’s Manual

228

Chapter 17—MIDI

Using Program Changes

In the following example, scene memory #10 is recalled on 01V-A and MIDI Program

Change #10 is transmitted, hence scene memory #10 is also recalled on 01V-B. This assumes that the initial Program Change assignment table is being used. By editing the

Program Change to scene memory assignments, Program Change #10 could be used to recall a different scene memory on 01V-B, or 01V-A could be set to transmit a different

Program Change when scene memory #10 is recalled.

01V-A 01V-B

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

15/16

2TR IN

MONITOR

2TR IN

–16

GAIN

–60

1

+10

GAIN

–60

2

+10

GAIN

–60

3

+10

GAIN

–60

4

+10

GAIN

–60

5

+10

GAIN

–60

6

+10

GAIN

–60

7

+10

GAIN

–60

8

+10

GAIN

–60

9

+10

GAIN

–60

10

+10

GAIN

–60

11

GAIN

12

+10 GAIN –20 +10 GAIN –20

13/14 15/16

0 LEVEL

MONITOR

OUT

0 LEVEL 10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO SOLO

ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

10

5

20

40

60

6

0

20

40

60

5

10

6

0

20

40

60

10

5

6

0

20

40

60

5

10

6

0

20

40

60

10

5

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

10

5

20

40

60

6

0

20

40

60

5

10

6

0

20

40

60

10

5

6

0

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

MIDI

(Program Change #10)

PAD

26dB 26dB 26dB

PHANTOM +48V

26dB 26dB

OFF ON

26dB

INPUT (BAL)

26dB 26dB 26dB 26dB

PHANTOM +48V OFF ON

26dB 26dB

13

14

15

16

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

15/16

2TR IN

MONITOR

2TR IN

+10

GAIN

–60

1

+10

GAIN

–60

2

+10

GAIN

–60

3

+10

GAIN

–60

4

+10

GAIN

–60

5

+10

GAIN

–60

6

+10

GAIN

–60

7

+10

GAIN

–60

8

+10

GAIN

–60

9

+10

GAIN

–60

10

+10

GAIN

–60

11

GAIN

12

+10 GAIN –20 +10 –20

13/14 15/16

0 LEVEL 10

MONITOR

OUT

0 LEVEL 10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO

SOLO SOLO

ON ON MEMORY

–1/DEC

PARAMETER

+1/INC

20

40

60

5

10

6

0

20

40

60

10

5

6

0

20

40

60

5

10

6

0

20

40

60

10

5

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

20

40

60

5

10

6

0

10

5

20

40

60

6

0

20

40

60

5

10

6

0

10

5

20

40

60

6

0

20

40

60

5

10

6

0

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

In the following example, program, or patch #5 is selected on the MIDI keyboard and

MIDI Program Change #5 is transmitted, hence scene memory #5 is recalled on the

01V. This assumes that the initial Program Change assignment table is being used. By editing the Program Change to scene memory assignments, Program Change #5 could be used to recall a different scene memory on the 01V.

MIDI keyboard

01V

(Program Change #5)

MIDI OUT MIDI IN

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

15/16

2TR IN

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

1 2 3 4

–16

+10

–60

–34

5

–16

+10

–60

–34

6

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

7 8 9 10 11 12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO

SOLO SOLO

ON ON MEMORY

–1/DEC

PARAMETER

+1/INC

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

In the following example, Program Change #26 has been entered into a song on the

MIDI sequencer. When the song is played, MIDI Program Change #26 is transmitted at the specified location and scene memory #26 is recalled automatically on the 01V.

Since the 01V outputs Program Change messages when mix scenes are recalled, mix scene recalls can be recorded to the MIDI sequencer in real time.

01V

MIDI Sequencer

MIDI

(Program Change #26)

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

15/16

2TR IN

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

1 2

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

3 4 5 6 7

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

8 9 10 11 12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

–30

–40

–50

–70

–5

0

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

01V—Owner’s Manual

Control Change Parameter Control

229

Control Change Parameter Control

When a MIDI Control Change message is received, a mix parameter is adjusted in accordance with the parameter to Control Change assignment table. Likewise, when a mix parameter is adjusted, the 01V transmits a Control Change message that can be used to control another 01V or recorded to a MIDI sequencer for automated parameter control.

Up to 114 mix parameters can be assigned to Control Changes 0 through 95 and 102 through 119 (Control Changes 96 through 101 are not used). Initially, 01V parameters

are assigned to Control Changes as listed in the “01V Parameter to Control Change

Table” on page 274, although these assignments can be edited on MIDI page 3. These

assignments are used for both transmission and reception, so if Control Change 10 is assigned to channel fader 10, the 01V adjusts channel fader 10 when Control Change

#10 data is received, and transmits Control Change #10 when channel fader 10 is adjusted. Assignment tables for use with the Yamaha Programmable Mixer 01 and

Yamaha 03D Digital Mixing Console are also provided.

In order for the 01V to receive and transmit MIDI Control Change messages, the Con-

trol Change Rx and Tx switches on MIDI page 1 must be turned on. See “MIDI Setup” on page 224 for more information.

1. Use the [MIDI] button to locate MIDI page 3, as shown below.

2. Use the cursor buttons to select the CTL CHG. column, and then use the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a Control

Change.

Since Control Changes 0 and 32 are used in conjunction with Program Change and

Bank Select messages, some MIDI sequencers may not record these Control Changes correctly. In this case, set Control Changes 0 and 32 to NO ASSIGN.

3. Use the right cursor button to select the PARAMETER columns and the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select parameters.

A parameter to Control Change assignment table is

provided on page 274. To reset the assignments to their

initial settings, use the cursor buttons to select the INI-

TIALIZE switch, and then press the [ENTER] button.

The dialog box shown here appears. Choose DEFAULT to initialize.

The P.MIX 01 and 03D switches are used to configure Control Changes for use with the

Yamaha Programmable Mixer 01 or Yamaha 03D Digital Mixer. Parameter to Control

Change assignment tables for these are provided on page 277.

The current parameter to Control Change assignment table can be stored to an external

MIDI device, such as a MIDI data filer, using MIDI Bulk Dump. See “Bulk Dump” on page 232 for more information.

01V—Owner’s Manual

230

Chapter 17—MIDI

When a Control Change message is received while MIDI page 3 is displayed, that Control Change is selected automatically, making it easy to determine which Control

Change is being transmitted when, say, the slider of an external MIDI controller is operated.

Using Control Changes

In the following example, 01V-A Master fader is operated and MIDI Control Change

#27 is transmitted, hence the Master fader on 01V-B is also operated. This assumes that the initial Control Change assignment table is being used. By editing the Control

Change to parameter assignments, Control Change #27 could be used to control a different parameter on 01V-B, or 01V-A could be set to transmit a different Control

Change when its Master fader is operated.

01V-A

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

1 2 3 4

–16

+10

–60

–34

5

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

6 7 8 9

–16

+10

–60

–34

10

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

11 12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0 10

LEVEL

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1 RETURN 2

SEL SEL

SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

–30

–40

–50

–70

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

MIDI

(Control Change #27)

01V-B

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

2 3 4 5 6

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

7 8 9 10

–16

+10

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1 RETURN 2

SEL SEL

SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

In the following example, an assignable MIDI controller on the MIDI keyboard is assigned Control Change #85. When this controller is adjusted, Control Change #85 is transmitted, hence the effects 1 send level for input channel 9 is adjusted on the 01V.

This assumes that the initial Control Change assignment table is being used. By editing the Control Change to parameter assignments, MIDI controllers can be used to control various 01V parameters.

MIDI keyboard

01V

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

15/16

2TR IN

MONITOR

2TR IN

–16

+10

–60

–34

1

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

2 3 4 5 6 7 8 9 10 11

–16

+10

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

(Control Change #85)

MIDI OUT MIDI IN

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO

ON

SOLO

ON

SOLO

ON

SOLO

ON

SOLO

ON

SOLO

ON

SOLO

ON

SOLO

ON

SOLO

ON

SOLO SOLO

ON ON

SOLO SOLO SOLO

ON ON ON ON

SOLO SOLO

ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

10

20

40

60

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

–5

0

–10

–15

–20

–30

–40

–50

–70

– ∞

CURSOR

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

01V—Owner’s Manual

System Exclusive Parameter Control

231

In the following example, input channel 5 fader movements are recorded in real time to a MIDI sequencer using Control Change #5. During playback, the sequencer transmits Control Change #5 messages back to the 01V and fader 5 moves accordingly. This technique can also be used with [ON] buttons, panpots, and effects, providing automated mixing.

01V

MIDI Sequencer

Recording

MIDI Control Change #5

Playback

MIDI Control Change #5

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

15/16

2TR IN

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

1 2 3

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

4 5 6 7 8

–16

+10

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

9 10 11 12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0 10

LEVEL

MONITOR

OUT

0 10

LEVEL

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1 RETURN 2

SEL SEL

SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

10

20

0

5

40

60

6

10

20

40

60

0

5

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

40

60

0

5

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

6

10

20

0

5

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

System Exclusive Parameter Control

01V mix parameters can also be controlled in real time using MIDI System Exclusive messages. When a mix parameter is adjusted, the 01V transmits a System Exclusive

Parameter Change message. The Transmit and Request functions on MIDI page 5 use

System Exclusive messages to request parameter settings from other 01Vs.

When programs are recalled from the EQ, dynamics, or effects library, System Exclusive

Parameter Change Library Recall messages are also transmitted. When channels are soloed, System Exclusive Parameter Change Key Remote messages are transmitted.

If a scene memory that is not assigned to a Program Change is recalled, a System Exclusive Parameter Change Scene Recall message is transmitted.

In order for the 01V to receive and transmit System Exclusive Parameter Change messages, the PARAM. CHANGE Rx and Tx switches on MIDI page 1 must be turned on.

See “MIDI Setup” on page 224 for more information.

Data formats for System Exclusive Parameter Change messages are provided in “MIDI

Data Format” on page 280.

01V—Owner’s Manual

232

Chapter 17—MIDI

Bulk Dump

01V scene memories, library programs, and setup data can be transferred to another

MIDI device using System Exclusive Bulk Dump. This can be used to back up important 01V data to a MIDI data filer or controlling computer, or to exchange data between

01Vs.

The 01V can transmit MIDI System Exclusive Bulk Dump messages at anytime. In order for the 01V to respond to Bulk Dump requests from other MIDI devices, the

BULK Rx switch on MIDI page 1 must be turned on. See “MIDI Setup” on page 224 for more information.

1. Use the [MIDI] button to locate MIDI page 4, as shown below.

2. Use the cursor buttons to select a CATEGORY switch, and press the

[ENTER] button to select it.

The switch of the selected category appears highlighted.

3. For the SCENE MEM., LIBRARY, and REMOTE categories, use the cursor buttons, PARAMETER wheel, and [–1/DEC] and [+1/INC] buttons to set the TYPE, FROM, and TO parameters.

ALL

Data Type

SETUP MEM.

PGM. TABLE

CTL. TABLE

SCENE MEM.

LIBRARY

REMOTE

Type

EQ

DYNA

EFF

INTP

MMC

UDEF

Range Description

— All the following data

EDIT, 1–99

01V setup data (all current settings)

MIDI page 2 settings (scene memory to Program Change assignment table)

MIDI page 3 settings (parameter to Control Change assignment table)

Scene memories (EDIT is the

Edit Buffer)

41–80

41–80

43–99

Banks 1–4

EQ library user programs

Dynamics library user programs

Effects library user programs

REMOTE page 1 banks

ALL (locate points 1–6) REMOTE page 2 locate points

Banks 1–4 REMOTE page 3 banks

4. Use the cursor buttons to select the REQUEST or TRANSMIT switch, and then press the [ENTER] button.

When REQUEST is used, the 01V transmits a MIDI Bulk Dump request message. The receiving device then transmits the requested Bulk Dump data to the 01V. When

TRANSMIT is used, the 01V transmits the selected data category via Bulk Dump.

01V—Owner’s Manual

Bulk Dump

233

TRANSMIT INTERVAL

—This parameter specifies the interval between data blocks during Bulk Dump transmission. MIDI devices with a relatively small data buffer are easily overloaded when too much data is received at once. Setting an interval of, say,

300 milliseconds allows a slower device to process the received MIDI data correctly. An interval setting of 0 can be used when transferring Bulk Dump data between 01Vs.

Using MIDI Bulk Dump

In the following example, the scene memories and user effects programs from 01V-A are transferred to 01V-B using MIDI Bulk Dump. The BULK Rx switch on MIDI page

1 of 01V-B must be turned on, otherwise the Bulk Dump data will be ignored. See

“MIDI Setup” on page 224 for more information.

01V-A 01V-B

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

1 2

–16

GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

3 4 5 6 7

–16

+10

–60

–34

8

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

9 10 11 12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0 10

LEVEL

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

MIDI Bulk Dump

(Scene memories and effects programs)

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

1 2

–16

+10

–60

–34

3

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

4 5 6 7 8

–16

+10

–60

–34

9

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

10 11 12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0 10

LEVEL

MONITOR

OUT

0 10

LEVEL

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1 RETURN 2

SEL SEL

SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–18

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

10

20

40

60

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

10

20

40

60

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

–5

0

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

–1/DEC

PARAMETER

+1/INC

5

10

20

40

60

6

0

10

20

40

60

5

6

0

5

10

20

40

60

6

0

10

20

40

60

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

10

20

40

60

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

10

20

40

60

5

6

0

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

In the following example, all data from the 01V is transferred to a MIDI data filer. The storage device could also be a computer running software with Bulk data management features. In order to transfer Bulk Dump data from the MIDI data filer back to the 01V,

the BULK Rx switch on MIDI page 1 must be turned on. See “MIDI Setup” on page 224 for more information.

01V

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

1 2

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

3 4

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

5 6 7

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

8 9

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

10 11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO SOLO

ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

MIDI Bulk Dump (All data)

MIDI OUT

MIDI data filer

MIDI IN

MIDI IN

MIDI OUT

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

10

0

5

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

0

5

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

0

5

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

0

5

20

40

60

6

10

0

5

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

CURSOR

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

01V—Owner’s Manual

234

Chapter 17—MIDI

Local Control

The MIDI Local Control function can be used to control a remote 01V. Normally, the

01V controls (faders, buttons, rotary controls, and display pages) set the 01V’s internal parameters. When Local Control is turned off, the internal parameters remain the same when controls are operated but the System Exclusive Parameter Change messages that the 01V tramsits can be used to control a remote 01V. Controllable parameters include all those that can be stored in mix scenes and the solo and monitor setings. When Local

Control is turned off, the parameter values displayed on the local 01V are in fact those of the remote 01V. In addition, the meters on the local 01V display the signals levels of

the remote 01V. This is useful when two 01Vs are cascaded together. See “Cascading

01Vs” on page 214 for more information.

1. Use the [MIDI] button to locate MIDI page 5, as shown below.

2. Use the cursor buttons to select the LOCAL CONTROL switch, and then press the [ENTER] button.

Local Control is turned off and MIDI page 5 appears, as shown below.

01V—Owner’s Manual

While Local Control is turned off, the function area of the display appears highlighted, as shown here, serving as a reminder that Local

Control is off.

The TRANSMIT and REQUEST functions are used to match local and remote settings when 01Vs are first connected. The TRANSMIT function transmits the local 01V CONTROLLER settings to the remote 01V. The REQUEST function requests the parameter settings of the remote 01V and sets the local 01V CON-

TROLLER accordingly. The internal parameters of the local 01V are unaffected by either function.

For scene memories, the local 01V stores and recalls its own parameter settings regardless of the Local Control function.

Be aware that when Local Control is being used to control a remote 01V (i.e., Local

Control is off on the local 01V), remote control may be disrupted temporarily due to wordclock abnormalities on the local 01V. Also, if parameters are adjusted directly on the remote 01V, the meters on the local 01V may not display levels correctly.

Local Control cannot be turned off while a mix-scene crossfade is in progress (Fade

Time), and a warning message appears if you try to do so. Local Control can, however, be turned on while a mix-scene fade is in progress.

Local Control

235

In the following example, 01V-A (remote) and 01V-B (local) are cascaded together for

48-channel digital mixing. Using the Local Control function, both 01Vs can be controlled using the faders, buttons, rotary controls, and display pages of 01V-B. Even the signal levels of 01V-A can be metered on 01V-B. To control 01-B, the Local Control function on 01V-B is turned ON. To control 01V-A, the Local Control function on

01V-B is turned OFF. Both 01Vs should be set to the same PORT (MIDI or TO HOST), and the MIDI receive channel (Rx) on 01V-A should match the MIDI transmit channel

(Tx) on 01V-B. See “MIDI Setup” on page 224 for more information.

01V-A (remote) 01V-B (local)

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

DIGITAL STEREO

COAXIAL OUT

DIGITAL STEREO

COAXIAL IN

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

MEMORY

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

TO HOST

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

CURSOR

TO HOST

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

CURSOR

ENTER ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

01V—Owner’s Manual

236

Chapter 17—MIDI

MIDI Machine Control

Using MIDI Machine Control (MMC) commands, an MMC-compatible recorder can be controlled from the 01V. [ON] buttons 1 through 6 can be used to control transport functions, while [SEL] buttons 1 through 6 can be used to locate six definable locate points. MMC commands are transmitted via MIDI.

1. Use the [REMOTE] button to locate REMOTE page 2, as shown below.

While this page is displayed, controls other than [ON] buttons 1 through 6 and [SEL] buttons 1 through 6 are disabled.

2. Use the cursor buttons to select the DEVICE No. parameter, and the

PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a device number.

The device number, which can be set from 1 through 127 or ALL, should be set to match that of the recorder you want to control. When set to ALL, all MMC-compatible recorders connected can be controlled together.

3. Use [ON] buttons 1 through 6 to transmit the following transport commands to a recorder.

On Button

3

4

1

2

5

6

Function

Rewind

Fast Forward

Stop

Play

Pause

Record

MMC Command Value

05

04

01

02

09

06

4. Use the cursor buttons and PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set the locate times in hours, minutes, seconds, and frames.

5. Use [SEL] buttons 1 through 6 to transmit the locate commands to the recorder.

Locate points can be stored using MIDI Bulk Dump. See “Bulk Dump” on page 232 for more information.

01V—Owner’s Manual

MIDI Machine Control

237

In the following example, an MMC-compatible hard disk recording system running on a personal computer is remotely controlled from an 01V using MMC commands. The device number on REMOTE page 2 of the 01V should match that of the hard disk recorder.

01V

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10 0

LEVEL

10

PHONES

Digital audio

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

AUX 1 AUX 2 AUX 3 AUX 4

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

CURSOR

OPTION I/O

MIDI Machine Control

TO HOST

Serial port

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

Personal computer with audio card

In the following example, an MMC-compatible digital multitrack recorder is remotely controlled from an 01V using MMC commands. The device number on REMOTE page 2 of the 01V should match that of the digital multitrack recorder.

01V

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ

HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

OPTION I/O

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

–1/DEC

PARAMETER

+1/INC

CURSOR

MIDI OUT

DIGITAL IN

Digital multitrack

DIGITAL OUT

MIDI Machine Control

8-TRACK DIGITAL

MIDI IN

01V—Owner’s Manual

238

Chapter 17—MIDI

User Defined MIDI Controllers

The [SOLO] buttons, [ON] buttons, and faders of channels 1 through 16 and Master can be used as MIDI controllers for remote MIDI device control. A MIDI data string up to 16 bytes long can be assigned to each control, and assignments are active only when REMOTE page 3 is displayed. Select another page and these controls perform their regular functions. Four assignment sets can be stored in banks 1 through 4.

1. Use the [REMOTE] button to locate REMOTE page 3, as shown below.

While this page is displayed, the [SOLO] and [ON] buttons and faders on channels 1 through 16 and Master transmit the assigned MIDI data when operated. Other controls are disabled.

2. Use the [SEL] buttons to select channels 1 through 16 or Master, and the cursor buttons and [ENTER] button to select the SOLO, ON, and FADER switches.

Controls can also be selected simply by operating them. For example, operating channel fader 5 automatically selects it. The switch of the selected control appears highlighted. The Master channel does not feature a [SOLO] button.

3. Use the cursor buttons to select the DATA parameters, and the PARAM-

ETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

The following hexadecimal DATA values can be set.

Hex: 00–FF

SW: [SOLO] and [ON] buttons (7F for ON, 00 for OFF)

FAD: Faders (00–7F)

END: Completes the command

4. Use the cursor buttons to select the BANK switches, and then press the

[ENTER] button to activate the selected bank.

The switch of the active bank appears highlighted.

In UNLATCH mode, the [SOLO] and [ON] buttons function as momentary switches, and the specified data is transmitted when they’re pressed and then released. SW is transmitted as 7F when buttons are pressed, and 00 when they’re released.

In LATCH mode, the [SOLO] and [ON] buttons function as latching switches (i.e., they remain on when pressed), and the specified data is transmitted only when they’re pressed. SW is transmitted as 7F when buttons are pressed, and 00 is transmitted when the buttons are pressed again.

When a Control Change message is received while REMOTE page 3 is displayed, its value appears in the DATA boxes, making it easy to determine which Control Change is being transmitted when, say, the slider of an external MIDI controller is operated.

Custom assignments are stored when other banks are selected, and banks can be stored

using MIDI Bulk Dump. See “Bulk Dump” on page 232 for more information.

01V—Owner’s Manual

Linking 01Vs

239

To reset a bank back to its initial assignments, make it the active bank, select the INI-

TIALIZE switch, and then press the [ENTER] button. A confirmation dialog box appears. Select OK, and then press the [ENTER] button to confirm your action. The selected bank is reset to its initial assignments.

In the following example, REMOTE page 3 is displayed while the modulation controller on the MIDI keyboard is operated. The 01V detects Modulation Controller Control

Change #1 and assigns it to the selected 01V fader. Then, when the fader is operated, the 01V transmits Control Change #1 messages back to the MIDI keyboard. The 01V

must be set to receive MIDI Control Change messages. See “MIDI Setup” on page 224 for more information.

01V

MIDI keyboard

MIDI OUT

MIDI IN

MIDI IN

(Control Change)

MIDI OUT

PAD

26dB 26dB

PHANTOM +48V OFF ON

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB 26dB

PHANTOM +48V OFF ON

13

26dB 26dB 26dB

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10 GAIN –20 +10 GAIN –20

13/14 15/16

0 LEVEL 10

MONITOR

OUT

0 LEVEL 10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ

HIGH

HI-MID

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO SOLO

ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

CURSOR

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

Linking 01Vs

The TO HOST connection links the two or more 01Vs together for simultaneous operation, so when, for example, the fader mode is set to Aux 1 on 01V-B, the fader mode on 01V-A is also set to Aux 1, and vice versa. Other linked functions include

• Operations

Fader mode & Display page selection, Scene memory title edit, and Mix scene store

(including title) and recall

• Parameters

Solo, Metering point (HOME page 5), and Meter Peak Hold on/off

The LINK PORT parameter on MIDI page 1 should be set to HOST. See “MIDI Setup” on page 224 for more information.

01V-A

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

TO HOST

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ

HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

–30

–40

–50

–70

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

01V-B

TO HOST

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

10

20

40

60

0

5

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

01V—Owner’s Manual

240

Chapter 17—MIDI

Linking 01Vs using the MIDI Ports

If the TO HOST port is connected to a computer for MIDI purposes, simultaneous operation of two 01Vs is still possible using the MIDI ports, as shown below. The LINK

PORT parameter on MIDI page 1 should be set to MIDI. See “MIDI Setup” on page 224 for more information.

01V-A

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

MEMORY

MIDI OUT

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

MIDI IN

01V-B

MIDI IN

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ HIGH

HI-MID

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

–18

SOLO

MEMORY

–1/DEC

PARAMETER

+1/INC

MIDI OUT

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

Cascading Two or More 01Vs

Three or more 01Vs can be linked as shown below, although in this case, only settings made on 01VA are reflected to the other 01Vs. Adjustments made on 01V-B or 01V-C do not affect the other 01Vs. The LINK PORT parameters on MIDI page 1 should be

set to MIDI. See “MIDI Setup” on page 224 for more information.

01V-A

MIDI

OUT

MIDI

IN

01V-B

MIDI

THRU

MIDI

IN

MIDI

THRU

01V-C

01V—Owner’s Manual

System Examples

241

System Examples

18

In this chapter...

01V & ADAT-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Two 01Vs & two ADAT-Interface Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . 244

01V & Tascam-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Two 01Vs & two Tascam-Interface Recorders . . . . . . . . . . . . . . . . . . . . . . . . . 248

01V & Pro Tools (AES/EBU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

01V—Owner’s Manual

242

Chapter 18—System Examples

01V & ADAT-Interface Recorder

This example shows how the 01V can be used with an 8-track digital tape recorder, or

8-track hard disk recorder, featuring ADAT optical connections to create a 16-input,

8-track fully digital recording system, with the 16 mic/line inputs and eight digital tape returns providing up to 24 inputs during mixdown.

System Components

• 01V Digital Mixing Console

• MY8-AT Option I/O card

• 8-track digital tape recorder, or 8-track hard disk recorder, such as Alesis ADAT, Alesis ADAT-XT, Alesis M20, Akai DR8, Akai DD8, Fostex D-90, or Fostex CX-8.

• Two ADAT optical cables

See “Installing Option I/O Cards” on page 218 for MY8-AT installation instructions.

Wordclock Configuration

For digital audio transfer, digital audio devices must be wordclock synchronized (see

“About Wordclocks” on page 206). In this example, the digital multitrack recorder is

wordclock master and the 01V and DAT recorder are wordclock slaves. The 01V derives its wordclock from the Option I/O digital input. The DAT derives its wordclock from the Digital Stereo Coaxial Out of the 01V. The wordclock frequency, which is the same as the sampling rate, is set when the digital multitrack tape is formatted or first recorded.

For digital recording from the DAT recorder to the digital multitrack recorder, the DAT recorder must be configured as wordclock master and the 01V and digital multitrack recorder as wordclock slaves. In this case, the 01V would derive its wordclock from the

Digital Stereo Coaxial In connection, and the digital multitrack recorder would derive its wordclock from the 01V’s Option I/O connection. The sampling rate will be the same as that used when the DAT tape was recorded. If a CD player is used instead of the

DAT, the sampling rate will be fixed at 44.1 kHz, the industry-standard for music CDs.

System Notes

• The digital IN and OUT connectors on the MY8-AT card are connected to the digital multitrack recorder using ADAT optical cables.

• On an Alesis ADAT 8-Track Digital Audio Recorder, use the DIGITAL IN button to select the optical digital input.

• Although the 01V is a four-bus mixer, a combination of bus outs, aux sends, and channel direct outputs can be assigned to the digital outputs for eight-track simulta-

neous recording. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

01V—Owner’s Manual

01V & ADAT-Interface Recorder

243

Monitors

Power Amp

Headphones

Personal computer running MIDI software

Serial port

MIDI interface

01V

(wordclock slave)

PAD

26dB 26dB 26dB 26dB

PHANTOM +48V OFF ON

26dB 26dB

INPUT (BAL)

26dB 26dB 26dB

MONITOR

OUT

PHANTOM +48V OFF ON

26dB 26dB 26dB

13

14

PHONES

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

OUT

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10

–60

GAIN –34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10

–60

GAIN –34

9

–16

+10

–60

GAIN –34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

OPTION I/O

Digital in

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

L STEREO R

–15

–18

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

IN

Digital out

Digital multitrack

(wordclock master)

ADAT

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

SOLO

MEMORY

DAT recorder

(wordclock slave)

MIDI IN

MIDI OUT

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

–1/DEC

PARAMETER

+1/INC

ENTER

CURSOR

OUT

Digital in

DIGITAL STEREO

COAXIAL

IN

Digital out

00.00.00.00

DAT

MIC/LINE inputs 1–16

Drum machine

Guitar processor

MIDI IN

MIDI IN

MIDI OUT

MIDI IN

Tone generator

MIDI keyboard

Vocals

Bass processor

Drums

01V—Owner’s Manual

244

Chapter 18—System Examples

Two 01Vs & two ADAT-Interface Recorders

This example shows how two 01Vs can be used with two 8-track digital tape recorders, or 8-track hard disk recorders, featuring ADAT optical connections to create a 32-input,

16-track fully digital recording system, with the 32 mic/line inputs and 16 digital tape returns providing up to 48 inputs during mixdown.

01V-A and 01V-B are cascaded together using the Stereo Digital In and Stereo Digital

Out connections. 01V-B audio signals are combined into a stereo mix, which is then fed to 01V-A via the Digital Stereo Coaxial connections and mixed with the audio signals of 01V-A. The TO HOST connection links the two 01Vs together for simultaneous operation, so when, for example, the fader mode is set to Aux 1 on 01V-A, the fader

mode on 01V-B is also set to Aux 1, and vice versa. See “Cascading 01Vs” on page 214 for more information.

System Components

• Two 01V Digital Mixing Consoles

• Two MY8-AT Option I/O cards

• Two 8-track digital tape recorders, or 8-track hard disk recorders, such as Alesis

ADAT, ADAT-XT, Alesis M20, Akai DR8, Akai DD8, Fostex D-90, or Fostex CX-8.

• Four ADAT optical cables

• ADAT sync cable

See “Installing Option I/O Cards” on page 218 for MY8-AT installation instructions.

Wordclock Configuration

For digital audio transfer, digital audio devices must be wordclock synchronized (see

“About Wordclocks” on page 206). In this example, digital multitrack recorder A is

wordclock master, while digital multitrack recorder B, the 01Vs, and DAT recorder are wordclock slaves. Digital multitrack recorder B derives its wordclock from the sync connection with recorder A. The 01Vs derive their wordclocks from their Option I/O digital inputs, and the DAT, from the Digital Stereo Coaxial Out of the 01V. The wordclock frequency, which is the same as the sampling rate, is set when the digital multitrack tape is formatted or first recorded.

For digital recording from the DAT recorder to the digital multitrack recorders, the

DAT recorder must be configured as wordclock master and the 01Vs and digital multitrack recorders as wordclock slaves. The sampling rate will be the same as that used when the DAT tape was recorded. If a CD player is used instead of the DAT, the sampling rate will be fixed at 44.1 kHz, the industry-standard for music CDs.

System Notes

• The digital IN and OUT connectors on the MY8-AT cards are connected to the digital multitrack recorders using ADAT optical cables.

• On Alesis ADAT 8-Track Digital Audio Recorders, use the DIGITAL IN button to select the optical digital input.

• Although the 01V is a four-bus mixer, a combination of bus outs, aux sends, and channel direct outputs can be assigned to the digital outputs for eight-track simulta-

neous recording. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

01V—Owner’s Manual

Two 01Vs & two ADAT-Interface Recorders

245

Monitors

Power Amp

Headphones

Personal computer running MIDI software

Serial port

MIDI interface

01V-A

(wordclock slave)

MONITOR

OUT

PHONES

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

OUT

OPTION I/O

Digital in

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

IN

Digital out

MIDI IN

OUT

Digital in

–1/DEC

PARAMETER

+1/INC

MIDI OUT

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

ENTER

CURSOR

DIGITAL STEREO

COAXIAL

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

IN

Digital out

Digital multitrack-A

(wordclock master)

DAT recorder

(wordclock slave)

00.00.00.00

DAT

ADAT

TO HOST

DIGITAL STEREO

COAXIAL IN

SYNC

OUT

TO HOST

DIGITAL STEREO

COAXIAL OUT

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

INPUT (BAL)

PAD

26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

MONITOR

OUT

10 0

LEVEL

10

PHONES

OUT

OPTION I/O

Digital in

MIDI IN

MIDI OUT

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

IN

Digital out

Digital multitrack-B

(wordclock slave)

ADAT

01V-B

(wordclock slave)

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

SYNC

IN

01V—Owner’s Manual

246

Chapter 18—System Examples

01V & Tascam-Interface Recorder

This example shows how the 01V can be used with an 8-track digital tape recorder, or

8-track hard disk recorder, featuring a Tascam Digital Audio Interface (TDIF-1) connection to create a 16-input, 8-track fully digital recording system, with the 16 mic/line inputs and eight digital tape returns providing up to 24 inputs during mixdown.

System Components

• 01V Digital Mixing Console

• MY8-TD Option I/O card

• 8-track digital tape recorder, or 8-track hard disk recorder, such as the Tascam DA-38

Tascam DA-88, Tascam DA-98, or Akai DD8.

• Tascam PW-88D digital audio cable

See “Installing Option I/O Cards” on page 218 for MY8-TD installation instructions.

Wordclock Configuration

For digital audio transfer, digital audio devices must be wordclock synchronized (see

“About Wordclocks” on page 206). In this example, the digital multitrack recorder is

wordclock master and the 01V and DAT recorder are wordclock slaves. The 01V derives its wordclock from the Option I/O digital input. The DAT derives its wordclock from the Digital Stereo Coaxial Out of the 01V. The wordclock frequency, which is the same as the sampling rate, is set when the digital multitrack tape is formatted or first recorded.

For digital recording from the DAT recorder to the digital multitrack recorder, the DAT recorder must be configured as wordclock master and the 01V and digital multitrack recorder as wordclock slaves. In this case, the 01V would derive its wordclock from the

Digital Stereo Coaxial In connection. Since the digital multitrack recorder cannot derive a wordclock signal from its digital inputs, a BNC cable is used to supply a wordclock signal from the 01V. (Note that this connection is only necessary when the digital multitrack recorder is used as a wordclock slave.) The sampling rate will be the same as that used when the DAT tape was recorded. If a CD player is used instead of the DAT, the sampling rate will be fixed at 44.1 kHz, the industry-standard for music CDs.

System Notes

• The TDIF-1 connector on the MY8-TD is connected to the digital multitrack recorder using a Tascam PW-88D digital audio cable.

• MY8-TD cards feature a device selector switch that should be set according to the type of recorder connected. “EXT: 88” for DA-88. “INT: 38” for DA-38 or other recorder.

• Although the 01V is a four-bus mixer, a combination of bus outs, aux sends, and channel direct outputs can be assigned to the digital outputs for eight-track simulta-

neous recording. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

• The BNC wordclock connection from the 01V to the digital multitrack recorder is only necessary when the digital multitrack recorder is used as a wordclock slave.

01V—Owner’s Manual

01V & Tascam-Interface Recorder

247

Monitors

Power Amp

Headphones

Personal computer running MIDI software

Serial port

MIDI interface

01V

(wordclock slave)

PAD

26dB 26dB 26dB 26dB

PHANTOM +48V

OFF ON

26dB 26dB

INPUT (BAL)

26dB 26dB 26dB

MONITOR

OUT

PHANTOM +48V

OFF ON

26dB 26dB 26dB

13

14

PHONES

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

TDIF-1

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

PW-88D

OPTION I/O

TDIF-1

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

–18

–24

–30

–36

–42

–48

CLIP

–3

–6

–9

–12

–15

SOLO

MEMORY

WORD

CLOCK

OUT

SYNC IN

MIDI IN

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

–1/DEC

PARAMETER

+1/INC

CURSOR

OUT

Digital in

DIGITAL STEREO

COAXIAL

MIDI OUT

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

IN

Digital out

Digital multitrack

(wordclock master)

00.00.00.00

8-TRACK DIGITAL

DAT recorder

(wordclock slave)

DAT

MIC/LINE inputs 1–16

Drum machine

Guitar processor

MIDI IN

MIDI IN

MIDI OUT

MIDI IN

Tone generator

MIDI keyboard

Vocals

Bass processor

Drums

01V—Owner’s Manual

248

Chapter 18—System Examples

Two 01Vs & two Tascam-Interface Recorders

This example shows how two 01Vs can be used with two 8-track digital tape recorders, or 8-track hard disk recorders, featuring Tascam Digital Audio Interface (TDIF-1) connections to create a 32-input, 16-track fully digital recording system, with the 32 mic/line inputs and 16 digital tape returns providing up to 48 inputs during mixdown.

01V-A and 01V-B are cascaded together using the Stereo Digital In and Stereo Digital

Out connections. 01V-B audio signals are combined into a stereo mix, which is then fed to 01V-A via the Digital Stereo Coaxial connections and mixed with the audio signals of 01V-A. The TO HOST connection links the two 01Vs together for simultaneous operation, so when, for example, the fader mode is set to Aux 1 on 01V-A, the fader

mode on 01V-B is also set to Aux 1, and vice versa. See “Cascading 01Vs” on page 214 for more information.

System Components

• Two 01V Digital Mixing Consoles

• Two MY8-TD Option I/O cards

• Two 8-track digital tape recorders, or 8-track hard disk recorders, such as the Tascam

DA-38 Tascam DA-88, Tascam DA-98, or Akai DD8.

• Two Tascam PW-88D digital audio cables

• Tascam PW-88S sync cable

See “Installing Option I/O Cards” on page 218 for MY8-TD installation instructions.

Wordclock Configuration

For digital audio transfer, digital audio devices must be wordclock synchronized (see

“About Wordclocks” on page 206). In this example, digital multitrack recorder A is

wordclock master, while digital multitrack recorder B, the 01Vs, and DAT recorder are wordclock slaves. Digital multitrack recorder B derives its wordclock from the sync connection with recorder A. The 01Vs derive their wordclocks from their Option I/O digital inputs, and the DAT, from the Digital Stereo Coaxial Out of the 01V. The wordclock frequency, which is the same as the sampling rate, is set when the digital multitrack tape is formatted or first recorded.

For digital recording from the DAT recorder to the digital multitrack recorders, the

DAT recorder must be configured as wordclock master and the 01Vs and digital multitrack recorders as wordclock slaves. The sampling rate will be the same as that used when the DAT tape was recorded. If a CD player is used instead of the DAT, the sampling rate will be fixed at 44.1 kHz, the industry-standard for music CDs.

System Notes

• The TDIF-1 connectors on the MY8-TD cards are connected to the digital multitrack recorders using Tascam PW-88D digital audio cables.

• MY8-TD cards feature a device selector switch that should be set according to the type of recorder connected. “EXT: 88” for DA-88. “INT: 38” for DA-38 or other recorder.

• Although the 01V is a four-bus mixer, a combination of bus outs, aux sends, and channel direct outputs can be assigned to the digital outputs for eight-track simulta-

neous recording. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

01V—Owner’s Manual

Two 01Vs & two Tascam-Interface Recorders

249

Monitors

Power Amp

Headphones

Personal computer running MIDI software

Serial port

MIDI interface

01V-A

(wordclock slave)

PAD

26dB 26dB 26dB 26dB

PHANTOM +48V

OFF ON

26dB 26dB

INPUT (BAL)

26dB 26dB 26dB

MONITOR

OUT

PHANTOM +48V

OFF ON

26dB 26dB 26dB

13

14

PHONES

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

TDIF-1

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

PW-88D

OPTION I/O

TDIF-1

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ

HIGH

HI-MID

F

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

MIDI IN

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

–1/DEC

PARAMETER

+1/INC

CURSOR

OUT

Digital in

DIGITAL STEREO

COAXIAL

MIDI OUT

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

IN

Digital out

Digital multitrack-A

(wordclock master)

00.00.00.00

8-TRACK DIGITAL

DAT recorder

(wordclock slave)

DAT

TO HOST

DIGITAL STEREO

COAXIAL IN

SYNC

OUT

PW-88S sync cable

TO HOST

DIGITAL STEREO

COAXIAL OUT

MIDI IN

MIDI OUT

PHANTOM +48V OFF ON PHANTOM +48V OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

15/16

2TR IN

L

–10dBV (UNBAL)

R

IN OUT

2TR

PHONES

MONITOR

2TR IN

TDIF-1

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

2

–16

+10 GAIN

–60

–34

3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

OPTION I/O

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

PAN

EQ HIGH

HI-MID

F

LO-MID

G

LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14 15/16

SEL SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

TDIF-1

Digital multitrack-B

(wordclock slave)

8-TRACK DIGITAL

01V-B

(wordclock slave)

–1/DEC

PARAMETER

+1/INC

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

–30

–40

–50

–70

– ∞

0

–5

–10

–15

–20

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

ENTER

CURSOR

SYNC

IN

01V—Owner’s Manual

250

Chapter 18—System Examples

01V & Pro Tools (AES/EBU)

This example shows how the 01V can be used with a Pro Tools system to create a

16-input, 8-track fully digital recording system, with the 16 mic/line inputs and eight digital tape returns providing up to 24 inputs during mixdown.

A Digidesign 888 I/O Audio Interface connects the 01V to the Pro Tools system, with a special 50-pin Pro Tools cable between the computer card and 888. The 01V connects to the 888 via a 25-pin D-sub cable and XLR to 25-pin D-sub splitter box, which provides eight AES/EBU inputs (four XLRs) and eight AES/EBU outputs (four XLRs).

Pro Tools transport functions can be controlled remotely from the 01V using MIDI

Machine Control (MMC) commands. See “MIDI Machine Control” on page 236 for more information.

System Components

• 01V Digital Mixing Console

• MY8-AE Option I/O card

• Pro Tools system with Digidesign 888 I/O Audio Interface

• XLR to 25-pin D-sub splitter box (or 25-pin D-sub to XLR break-out cable)

• 25-pin D-sub cable, 50-pin Pro Tools cable

See “Installing Option I/O Cards” on page 218 for MY8-AE installation instructions.

Wordclock Configuration

For digital audio transfer, digital audio devices must be wordclock synchronized (see

“About Wordclocks” on page 206). In this example, Pro Tools is wordclock master and

the 01V and DAT recorder are wordclock slaves. The 01V derives its wordclock from the

Option I/O digital input. The DAT derives its wordclock from the Digital Stereo Coaxial

Out of the 01V. The wordclock frequency, which is the same as the sampling rate, is set by Pro Tools.

For digital recording from the DAT recorder to Pro Tools, the DAT recorder must be configured as wordclock master and the 01V and Pro Tools as wordclock slaves. In this case, the 01V would derive its wordclock from the Digital Stereo Coaxial In connection, and Pro Tools would derive its wordclock from the 01V’s Option I/O connection. The sampling rate will be the same as that used when the DAT tape was recorded. If a CD player is used instead of the DAT, the sampling rate will be fixed at 44.1 kHz, the industry-standard for music CDs.

System Notes

• The AES/EBU connector on the MY8-AE card is connected to the XLR to 25-pin

D-sub splitter box using a 25-pin D-sub cable.

• The splitter box is connected to the 888 I/O Audio Interface using AES/EBU compatible XLR cables.

• The 888 I/O Audio Interface is connected to the Pro Tools audio card using a special

50-pin Pro Tools cable.

• The XLR to 25-pin D-sub splitter box is custom made and not available from

Yamaha.

• A 25-pin D-sub to XLR break-out cable could be used instead of the splitter box.

01V—Owner’s Manual

01V & Pro Tools (AES/EBU)

251

Pro Tools (wordclock master)

Monitors

Power Amp

50-pin Pro Tools cable

888 I/O Audio Interface

To computer

Serial port

MIDI interface

01V

(wordclock slave)

MONITOR

OUT

PHANTOM +48V

OFF ON

PHANTOM +48V

OFF ON

PAD

26dB 26dB 26dB 26dB 26dB 26dB

INPUT (BAL)

26dB 26dB 26dB 26dB 26dB 26dB

13

14

15

16

L

–10dBV (UNBAL)

R

IN

2TR

OUT

PHONES

15/16

2TR IN

MONITOR

2TR IN

–16

+10 GAIN

–60

–34

1

–16

+10 GAIN

–60

–34

–16

+10 GAIN

–60

–34

2 3

–16

+10 GAIN

–60

–34

4

–16

+10 GAIN

–60

–34

5

–16

+10 GAIN

–60

–34

6

–16

+10 GAIN

–60

–34

7

–16

+10 GAIN

–60

–34

8

–16

+10 GAIN

–60

–34

9

–16

+10 GAIN

–60

–34

10

–16

+10 GAIN

–60

–34

11

–16

+10 GAIN

–60

–34

12

+10

GAIN

–20 +10

GAIN

–20

13/14 15/16

0

LEVEL

10

MONITOR

OUT

0

LEVEL

10

PHONES

AES/EBU

XLR cables

OPTION I/O

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

EFFECT 1

FADER MODE

EFFECT 2 OPTION I/O REMOTE

AUX 1 AUX 2 AUX 3 AUX 4

FUNCTION

MEMORY

1 RETURN 2

PAN

F

G

DIGITAL MIXING CONSOLE

F

PAN

EQ

HIGH

HI-MID

LO-MID

G LOW

SELECTED CHANNEL

HOME

1

17

SEL

2

18

SEL

3

19

SEL

4

20

SEL

5

21

SEL

6

22

SEL

7

23

SEL

8

24

SEL

9

SEL

10

SEL

11

SEL

12

SEL

13/14

SEL

15/16

SEL

STEREO

MASTER

SEL

1 RETURN 2

SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

SOLO

MEMORY

XLR to D-sub splitter box

25-pin D-sub cable

MIDI IN

5

10

20

40

60

6

0

6

0

5

10

20

40

60

5

10

20

40

60

6

0

6

0

5

10

20

40

60

5

10

20

40

60

6

0

6

0

5

10

20

40

60

5

10

20

40

60

6

0

6

0

5

10

20

40

60

5

10

20

40

60

6

0

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

6

0

5

10

20

40

60

0

–5

–10

–15

–20

–30

–40

–50

–70

– ∞

–1/DEC

PARAMETER

+1/INC

CURSOR

OUT

Digital in

DIGITAL STEREO

COAXIAL

DAT recorder

(wordclock slave)

00.00.00.00

DAT

MIDI OUT

ENTER

1

17

2

18

3

19

4

20

5

21

6

22

7

23

8

24

9 10 11 12 13/14 15/16 STEREO

MASTER

IN

Digital out

MIC/LINE inputs 1–16

Drum machine

Guitar processor

MIDI IN

MIDI IN

MIDI OUT

MIDI IN

Tone generator

MIDI keyboard

Vocals

Bass processor

Drums

01V—Owner’s Manual

252

Chapter 18—System Examples

01V—Owner’s Manual

Troubleshooting

253

Troubleshooting

Symptom

Cannot turn on the 01V.

The display is difficult to read.

Connected a condenser-type microphone but it doesn’t work.

Advice

Make sure that the power cord is connected to a suitable AC wall out-

let. See “Connecting the Power Cord” on page 11 for more information.

Make sure that the 01V POWER switch is set to the ON position. See

“Turning On the 01V” on page 11 for more information.

If you still cannot turn on the 01V, contact your Yamaha dealer.

Try adjusting the contrast. See “Display, Selected Channel Controls &

Meters” on page 16 for more information.

Make sure that the +48 V phantom power is turned on for that input.

If a phone plug is plugged into the same input channel, the XLR input

is disabled. See “Input Channel Overview” on page 40 for more information.

The SELECTED CHANNEL PAN and

EQ F and G controls adjust the wrong channel.

Use the [SEL] buttons to select channels. See “SEL Buttons” on page

32 for more information.

Input channel signal levels are too low or too high.

Faders don’t function as expected.

[SEL] buttons don’t function as expected.

Make sure that the GAIN control and PAD switch are set correctly. See

Gain and Pad on page 41.

Use the HOME pages to check signal levels. See “Metering Signal Levels” on page 83 for more information.

Make sure that you have selected the right fader mode. See “Faders

(plus Return Rotary Controls)” on page 35 for more information.

Make sure that you have selected the correct fader mode. See “SEL

Buttons” on page 32 for more information.

[SOLO] buttons don’t function as expected.

Make sure that you have selected the correct fader mode. See “Solo

Buttons” on page 33 for more information.

[ON] buttons don’t function as expected.

Make sure that you have selected the correct fader mode. See “ON

Buttons” on page 34 for more information.

Effects Return Rotary controls don’t function as expected

Cannot access input channels 17 through 24.

Make sure that you have selected the correct fader mode. See “Faders

(plus Return Rotary Controls)” on page 35 for more information.

Input channels 17 through 24 are available only when an optional

Option I/O card is installed. See “About Option I/O Cards” on page

216 for more information.

Cannot select the HI-MID and

LO-MID EQ bands on input channels

17 through 24.

Input channels 17 through 24 feature 2-band EQ, so these bands cannot be selected.

Cannot send signals from input channels 17 through 24 to aux sends 3 and 4.

This is correct. Input channels 17 through 24 can only be sent to aux

sends 1 and 2. See “About the Aux Sends” on page 94 for more information.

Input signals 1 through 8 appear on input channels 17 through 24.

Probably because the inputs have been swapped. See “Swapping

Inputs 1–8 & 17–24” on page 51 for more information.

Input signals are present but the stereo output is dead.

Raise the STEREO fader and turn on the STEREO [ON] button. Make

sure that the input channels are routed to the stereo output. See

“Routing Input Channels” on page 49 for more information.

01V—Owner’s Manual

254

Troubleshooting

Input signals are present but the monitor output and phones are dead.

Solo mode is selected but nothing can be heard.

Symptom Advice

Make sure that the MONITOR–2TR IN switch is set to MONITOR. See

“Using Monitor” on page 78 for more information.

Make sure a monitor SOURCE is selected on SETUP page 2. See “Monitor Setup” on page 78 for more information.

Make sure that the MONITOR OUT LEVEL (or PHONES LEVEL) control is turned up. Also check the MONI TRIM parameter on SETUP page 2.

See “Monitor Setup” on page 78 for more information.

Make sure that the MONITOR–2TR IN switch is set to MONITOR. See

“Two-track Input (2TR IN)” on page 77 for more information.

Make sure that the MONITOR OUT LEVEL (or PHONES LEVEL) control is turned up, and that the SOLO TRIM control on SETUP page 2 is

turned up. See “Using Solo” on page 81 for more information.

Solo doesn’t function as expected and the [SOLO] button indicators light up instead of flashing.

Channels seem to run out of headroom, especially when EQ boost is applied.

The Digital Stereo Coaxial In signal appears on input channels 13 and

14.

Check whether or not the Solo function is enabled. See “Solo Setup” on page 80 for more information.

Use the Attenuator function on the EQ page to reduce the level. See

“Attenuating Input Channel Signals” on page 43 for more information.

Probably because the Digital Stereo Coaxial In is flipped with inputs

13 and 14. See “Digital Stereo In” on page 213 for more information.

Cannot hear signals connected to inputs 13 and 14.

The 2TR IN signal appears on input channels 15 and 16.

Cannot hear signals connected to inputs 15 and 16.

Cannot select the bus out master faders.

Recordings made via the Digital

Stereo Coaxial Out or Option I/O sound grainy.

Digital Stereo Coaxial In and Option

I/O digital input signals sound noisy.

Input channels are configured as a stereo pair but the signal appears to be mono.

Configured a stereo pair but the signal sounds out of phase.

Signals sound delayed.

Added faders to a fader group but grouping does not work.

Probably because these inputs have been flipped with the Digital Ste-

reo Coaxial In on PAN/ROUT page 4. See “Digital Stereo In” on page

213 for more information.

Probably because the 15/16–2TR IN switch is set to 2TR IN. See

“Two-track Input (2TR IN)” on page 77 for more information.

Probably because the 15/16–2TR IN switch is set to 2TR IN. See

“Two-track Input (2TR IN)” on page 77 for more information.

Bus out master levels are set using the virtual faders on PAN/ROUT

page 3. See “Setting Bus Out Master Levels” on page 109 for more information.

Make sure that the Dither function is set to match the wordlength of

the digital recorder. See “Output Dither” on page 212 for more information.

Make sure that all digital audio equipment is wordclock synchronized

to a common wordclock source. See “About Wordclocks” on page

206 for more information.

Make sure that the odd channel is panned hard left and the right

channel is panned hard right. See “Panning Input Channels” on page

47 for more information.

Make sure that the phase of both input channels in the stereo pair is set the same. Phase settings are not linked when channels are paired.

See “Changing the Input Phase” on page 42 for more information.

Make sure that the Channel Delay function is set correctly. See “Delaying Channel Signals” on page 45 for more information.

Make sure that the fader group is enabled. See “Grouping Faders” on page 55 for more information.

01V—Owner’s Manual

Troubleshooting

255

Symptom Advice

Added channels to a mute group but group muting does not work.

Cannot store an EQ program.

Make sure that the mute group is enabled. See “Grouping Mutes” on page 56 for more information.

EQ settings cannot be stored to preset programs 1 through 40. Try

storing to user programs 41 through 80. See “Storing EQ Programs” on page 68 for more information. EQ settings of channel 17 through

24 can not be stored.

Cannot recall EQ programs to input channels 17 through 24.

EQ programs cannot be recalled to input channels 17 through 24.

Cannot locate the aux send panpots.

The bus master level faders work in unison.

No output from the OMNI OUTs.

Cannot send channel signals to the effects processors.

Aux send panpots are only available when aux sends are paired. See

“Pairing Aux Sends” on page 101 for more information.

Probably because the bus outs are paired. See “Pairing Bus Outs” on page 111 for more information.

Check the OMNI OUT source assignments. See “Assigning Omni

Outs” on page 116 for more information.

If the effects sends are configured post-fader, the regular channel

fader must be raised in addition to the aux send fader. See “Using the

Effects” on page 123 for more information.

The effects send meters indicate that signals are being sent to the effects, but the processed sounds cannot be heard.

Processed signals are returned via the effects returns. See “Returning

Processed Signals” on page 124 for more information.

Cannot store effects programs.

Cannot recall effects programs 19 and 42 to Effect 1.

Effects settings cannot be stored to preset programs 1 through 42. Try

storing to user programs 43 through 99. See “Storing Effects Programs” on page 133 for more information.

These effects programs use the HQ. PITCH and FREEZE type effects

and can only be recalled to Effect 2. See “Preset Effects Programs” on page 121 for more information.

Cannot feed effects return 1 to

Effect 1, or effects return 2 to Effect

2.

This is to prevent signal loops. See “Using the Effects” on page 123 for more information.

Cannot store dynamics programs.

Cannot store to scene memory 00.

Cannot store mix scenes.

Cannot recall mix scenes.

Help! I recalled a mix scene by mistake.

The scene memory number keeps flashing.

Recalling a mix scene doesn’t update some channels.

The specified fade time has no effect.

Dynamics settings cannot be stored to preset programs 1 through 40.

Try storing to user programs 41 through 80. See “Storing Dynamics

Programs” on page 174 for more information.

Scene memory 00 is a read-only memory. See “Scene Memory 00” on page 185 for more information.

Is the selected scene memory protected? See “Protecting Scene Memories” on page 189 for more information.

Only scene memories that contain data can be recalled.

Use the Undo function to return to the previous mix settings. See

“Undoing Mix Scene Recalls” on page 189 for more information.

This is because a scene memory other than the one last recalled has

been selected but not recalled. See “Scene Memory Display Area” on page 185 for more information.

Perhaps these channels are safe channels? See “Recalling Scene Data

Safely” on page 192 for more information.

Fade Time settings must be stored in mix scenes before they take

effect. See “Setting a Fade Time” on page 191 for more information.

01V—Owner’s Manual

256

Troubleshooting

DIGITAL IN Sync Error message appears.

Cannot transmit or receive MIDI messages.

MIDI Program Change messages don’t recall mix scenes.

MIDI Control Change messages don’t control mix parameters.

Cannot receive MIDI Bulk Dump data.

Symptom

Fader movements are inconsistent.

UNLOCK appears in the Fs window of SETUP page 1.

Controls have no effect on the 01V.

MMC commands have no effect.

Advice

Try calibrating the faders. See “Calibrating the Faders” on page 204 for more information.

This warning message appears if digital signals from the Digital Stereo

Coaxial In or Option I/O inputs are not wordclock synchronized with the 01V. Make sure that all digital equipment is wordclock synchro-

nized to a common wordclock source. See “Setting the Wordclock” on page 209 for more information.

Make sure the external wordclock source is turned on and that the

cable carrying the wordclock signal has not been disconnected. See

“Setting the Wordclock” on page 209 for more information.

On MIDI page 1, check the following settings: PORT, Tx CH, Rx CH, and the Tx and Rx switches for Program Change, Control Change,

etc. See “MIDI Setup” on page 224 for more information.

Make sure that the 01V is configured to receive Program Change messages and that the MIDI Channels of the 01V and transmitting device

match. See “MIDI Setup” on page 224 for more information.

Perhaps the Program Change being transmitted is not assigned to an

01V scene memory? Check the mix scene to Program Change assign-

ment table. See “Program Change Scene Recall” on page 227 for more information.

If the scene memory assigned to the received Program Change contains no data, it cannot be recalled.

Make sure that the 01V is configured to receive Control Change messages and that the MIDI Channels of the 01V and transmitting device

match. See “MIDI Setup” on page 224 for more information.

Perhaps the Control Change being transmitted is not assigned to an

01V parameter? Check the parameter to Control Change assignment

table. See “Control Change Parameter Control” on page 229 for more information.

Make sure that the BULK Rx switch on MIDI page 1 is turned on. See

“MIDI Setup” on page 224 for more information.

Perhaps the Local Control function on MIDI page 5 is turned off? See

“Local Control” on page 234 for more information.

Make sure the device number matches that of the MMC-compatible

recorder. See “MIDI Machine Control” on page 236 for more information.

01V—Owner’s Manual

01V Level Diagram

01V Level Diagram

257

Appendix A: General

Nominal Output

01V—Owner’s Manual

258

Appendix A: General

Display Messages

Message

BULK: Byte Count Mismatch!

BULK: Check Sum Error!

BULK: Memory Protected!

DIGITAL IN Sync Error!

For Effect2 Only.

LOW BATTERY!!

Memory Protected

MIDI IN: Framing Error!

MIDI IN: Data Overrun!

MIDI: Rx Buffer Full!

MIDI: Tx Buffer Full!

NO DATA

Now Fading(Fade Time).

OPTION IN Sync Error!

Read Only

Selected channel: CHxx

Preparing to LOCAL OFF...

TO HOST: Framing Error!

TO HOST: Data Overrun!

TO HOST: Data Parity Error!

TO HOST: Rx Buffer Full!

TO HOST: Tx Buffer Full!

WRONG WORD CLOCK!

Meaning

The byte count of the received Bulk Dump data is not correct.

The check sum of the received Bulk Dump data is not correct.

The Bulk Dump data cannot be stored because the destination is write-protected.

This warning message appears if the Digital Stereo Coaxial

In signal is not wordclock synchronized with the 01V.

Make sure that all digital equipment is wordclock synchro-

nized to a common wordclock source. See “Setting the

Wordclock” on page 209 for more information. This warn-

ing message can be disabled by turning off the DIGITAL IN

SYNC CAUTION option in the preferences (“Setting 01V

Preferences” on page 203).

The selected effect program can be recalled only to

Effect 2.

The internal battery voltage is getting very low. Back up

the Setup data (“Bulk Dump” on page 232), and ask your

dealer to replace the battery.

Cannot execute as selected scene memory is protected.

An incorrect signal may have been input to the MIDI IN.

An incorrect signal may have been input to the MIDI IN.

The 01V is probably receiving too much MIDI data.

The 01V is probably transmitting too much MIDI data.

Cannot execute as no data has been stored.

Local Control cannot be turned off while a mix-scene fade is in progress (Fade Time).

This warning message appears if the Option I/O input digital signal is not wordclock synchronized with the 01V.

Make sure that all digital equipment is wordclock synchro-

nized to a common wordclock source. See “Setting the

Wordclock” on page 209 for more information. This warn-

ing message can be disabled by turning off the DIGITAL IN

SYNC CAUTION option in the preferences (“Setting 01V

Preferences” on page 203).

Cannot execute as selected scene memory is read only.

CHxx is the selected channel.

The MIDI Local Control function is preparing for use.

An incorrect signal may have been input to the TO HOST connector.

An incorrect signal may have been input to the TO HOST connector.

An incorrect signal may have been input to the TO HOST connector.

The 01V is probably receiving too much MIDI data at the

TO HOST connector.

The 01V is probably transmitting too much MIDI data from the TO HOST connector.

The received wordclock is not correct and the 01V cannot synchronize correctly. Select a suitable wordclock, or use the AUTO NAVIGATE function on the SETUP page 1.

01V—Owner’s Manual

Security Cover

259

Security Cover

For certain applications you may wish to fit a protective cover over the 01V’s GAIN controls and PAD switches. Although Yamaha do not make such a cover, the 01V has four fixing holes to affix a custom-made cover. If you fit such a cover, make sure that the fixing screws do not protrude inside the 01V by more than 10 mm. The fixing holes accept

M3-size machine screws, and are spaced 40.0 mm vertically, 414 mm horizontally.

Rack-mounting Kit

The 01V can be rack mounted using the optional RK124 Rack Mount Kit. See your

Yamaha dealer for details.

Attach the rack-mount brackets as shown below.

01V—Owner’s Manual

260

Appendix A: General

01V—Owner’s Manual

General

261

Appendix B: Specifications

General

Sampling rate

Internal

External

44.1 kHz

44.1 kHz (–10%) to 48 kHz (+6%)

Signal delay

Less than 2.5 ms, fs=44.1 kHz, CH IN to ST OUT

Fader

Fader resolution

Total harmonic distortion

(Input gain min.)

15

×

60 mm motorized

Master faders except ST OUT 0 to –72, –

dB (128 steps/60 mm)

Other faders +6 to –72, –

dB (128 steps/60 mm)

ST OUT fader 0 to –96, –

dB (128 steps/60 mm)

Frequency response

Less than 0.1%, 20 Hz–20 kHz, +14 dB into

600

Less than 0.02%, 1 kHz, +18 dB into 600

, CH

IN to ST OUT

20 Hz–20 kHz +1, –3 dB, +4 dB into 600

Dynamic range

(maximum signal to noise level ratio)

D/A converter (ST OUT)

A/D+D/A (to ST OUT)

110 dB typ.

105 dB typ.

Hum & Noise

(20 Hz–20 kHz) Rs 150

, Input gain max., Input pad

0 dB, Input sensitivity –60 dB

Measured with a 6 dB/oct filter at 12.7 kHz; equivalent to a 20 kHz filter with an infinite dB/oct attenuation

Maximum voltage gain

–128 dB equivalent input noise

–94 dB residual output noise, ST OUT off

–94 dB (98 dB S/N) ST OUT, ST fader at nominal level and all CH IN faders at min.

–64 dB (68 dB S/N) ST OUT fader at nominal level and one CH IN fader at nominal level.

CH IN (CH 1–12) to ST

OUT/OMNI (BUS) OUT

70 dB

CH IN (CH 1–12) to OMNI

(AUX) OUT (pre input fader)

70 dB

Crosstalk

(at 1 kHz)

CH IN (CH 13–16) to ST OUT 30 dB

CH IN (CH 1–12) to MONI-

TOR OUT (via ST bus)

Adjacent input channels

(CH 1–12)

76 dB

–70 dB

–60 dB Adjacent input channels

(CH 13–16)

Input to output –70 dB

01V—Owner’s Manual

262

Appendix B: Specifications

Analog controls

INPUT (1–12)

INPUT (13/14)

INPUT (15/16)

OUTPUT

ON & SEL buttons

Faders

Encoders

SOLO buttons

Digital controls

FADER MODE buttons

SELECTED CHANNEL

EQ buttons

Encoders

Input control buttons

Setup buttons

Data entry

Encoder

Buttons

CURSOR buttons

LCD

Display

LED

Power requirements

Power consumption

Dimensions (W

×

H

×

D)

Weight

Free-air operating temperature range

Security cover

Options

PAD (0/26 dB)

GAIN (–16 to –60)

PHANTOM +48 V switched (CH 1–6, 7–12)

GAIN (+10 to –20)

GAIN (+10 to –20)

INPUT SELECT (15/16, 2TR IN)

MONITOR SELECT (2TR IN, MONITOR)

MONITOR LEVEL CONTROL

PHONES LEVEL CONTROL

CH 1–12

CH 13/14

CH 15/16

STEREO/MASTER (AUX 1–4, EFFECT 1, 2)

RETURN 1, 2

CH 1–12

CH 13/14

CH 15/16

STEREO/MASTER (AUX 1–4, EFFECT 1, 2)

RETURN 1, 2

CH 1–12

CH 13/14

CH 15/16

RETURN 1, 2

HOME, EFFECT 1, EFFECT 2, OPTION I/O,

REMOTE, AUX 1, AUX 2, AUX 3, AUX 4

HIGH, HI-MID, LO-MID, LOW

PAN, F (EQ), G (EQ)

EQ/ATT, Ø/DELAY, DYNAMICS, PAN/ROUTING,

VIEW

UTILITY, MIDI, SETUP, MEMORY

PARAMETER (24 detents)

+1/INC, –1/DEC, ENTER

LEFT, RIGHT, UP, DOWN

320

×

80 dot

Graphic LCD w/backlight and contrast control

ST OUT meters, 12 elements

×

2

SOLO mode indicator

U.S.A. & Canada 120 V AC, 60 Hz

Europe 230 V AC, 50 Hz

70 W

430

×

148

×

520 mm (16.9 x 5.8 x 20.4 inches)

12.5 kg (27.5 lbs)

10˚ C to 35˚ C (50˚ F to 95˚ F)

Four M3 fixing holes for custom-made cover

Digital interface card (MY8, MY4 series),

Rack-Mount Kit (RK124)

01V—Owner’s Manual

Input Channels 1–16

263

Input Channels 1–16

PHANTOM switch

GAIN control

PAD switch

+48 V, CH 1-6, CH 7-12

44 dB (–60 to –16 dB), CH 1–12 detented

30 dB (–20 to +10 dB); CH 13/14, 15/16

0/26 dB attenuation CH 1–12

AD converter

20-bit linear 128-times oversampling

Phase

Normal/Reverse

Input swap

Normal (CH 1–8)/Swap (OPTION INPUT CH 17–24)

Input flip

Normal (CH 13/14)/Flip (DIGITAL STEREO IN)

Input select switch

CH 15/16–2TR IN

Attenuator

0 to –96 dB (1 dB steps)

EQ

4-band PEQ (Low, Lo-Mid, Hi-Mid, High)

Dynamics

Compressor, Gate, Ducking, Expander, Compander

Delay

0–250 ms, fs=44.1 kHz

ON/OFF

Fader

AUX, EFFECT send

Solo

Pan

Routing

Metering

60 mm motorized

INPUT, AUX 1, AUX 2, AUX 3, AUX 4, EFFECT 1, EFFECT 2

AUX 1–4, EFFECT 1, EFFECT 2 (pre/post fader)

ON/OFF

AFL/PFL

33 positions (L1–16, CENTER, R1–16)

STEREO, BUS 1–4

Direct out (OMNI OUT 1–4, OPTION OUT via OUTPUT SELECT)

Displayed on LCD

Peak hold ON/OFF

01V—Owner’s Manual

264

Appendix B: Specifications

Option I/O Inputs 17–24 (need optional card)

De-emphasis

Automatic de-emphasis filter (15

µ s/50

µ s)

Input swap

Normal (CH 17–24)/Swap (CH 1–8)

Attenuator

0 to –96 dB (1 dB steps)

EQ

2-band PEQ (Low, High)

ON/OFF

Fader

AUX, EFFECT send

Solo

Pan

Routing

Metering

60 mm motorized

AUX 1, AUX 2, EFFECT 1, EFFECT 2 (pre/post fader)

ON/OFF

AFL/PFL

33 positions (L1–16, CENTER, R1–16)

STEREO, BUS 1–4

Displayed on LCD

Peak hold ON/OFF

Digital Stereo In

De-emphasis

Automatic de-emphasis filter (15

µ s/50

µ s)

Input select

Normal (CH 13/14) / Flip (DIGITAL STEREO IN)

Cascade in

ON/OFF (to STEREO BUS)

Return 1, 2 (Internal Effect 1, 2)

EQ

4-band PEQ

ON/OFF

Level control

AUX, EFFECT send

Solo

Pan

Routing

Metering

Rotary encoder

INPUT, AUX 1, AUX 2, AUX 3, AUX 4, EFFECT 1, 2

AUX 1–4, EFFECT 1, 2 (pre/post)

ON/OFF

AFL/PFL

33 positions (L1–16, CENTER, R1–16)

STEREO, BUS 1–4

Displayed on LCD

Peak hold ON/OFF

01V—Owner’s Manual

Bus 1–4

265

Bus 1–4

Master level

ON/OFF

Monitor

BUS to STEREO

PAN to STEREO

Metering

ON/OFF

AFL/PFL

ON/OFF

33 positions (L1–16, CENTER, R1–16)

Displayed on LCD

Peak hold ON/OFF

Aux 1–4

EQ

Dynamics

Fader

ON/OFF

Monitor

4-band PEQ (Low, Lo-Mid, Hi-Mid, High)

Compressor, Gate, Ducking, Expander, Compander

60 mm motorized

Metering

ON/OFF

AFL/PFL

Displayed on LCD

Peak hold ON/OFF

Stereo Out

EQ

Fader

Balance

Dynamics

ON/OFF

Delay

Monitor

Metering

DA converter

4-band PEQ (Low, Lo-Mid, Hi-Mid, High)

60 mm motorized

Compressor, Gate, Ducking, Expander, Compander

0–300 ms, fs=44.1 kHz

ON/OFF

AFL/PFL

12-element

×

2 LED meters. (post fader) and displayed on LCD

20-bit linear 8-times oversampling

Omni Out 1–4

Output select

CH 1–16, BUS 1–4, AUX 1–4, STEREO L, STEREO R

Delay

0–300 ms, fs=44.1 kHz

DA converter

18-bit linear 8-times oversampling

01V—Owner’s Manual

266

Appendix B: Specifications

Monitor Out (Solo)

Solo trim

+6 to –60 dB (1 dB steps)

Mono

DA converter

SELECT switch

Level control

Phones level

18-bit linear 8-times oversampling

MONITOR/2TR IN

Analog rotary control

Analog rotary control

Digital Stereo Out

Dither

ON/OFF

Word length: 16–24 bit

Option I/O Output (need optional card)

Output select

(MY8-AE, TD, AT)

Output select

(MY4-DA)

Dither

OPTION OUT 1: BUS 1, CH 1, CH 9, AUX 1, ST OUT L

OPTION OUT 2: BUS 2, CH 2, CH 10, AUX 2, ST OUT R

OPTION OUT 3: BUS 3, CH 3, CH 11, AUX 3, ST OUT L

OPTION OUT 4: BUS 4, CH 4, CH 12, AUX 4, ST OUT R

OPTION OUT 5: BUS 1, CH 5, CH 13, AUX 1, ST OUT L

OPTION OUT 6: BUS 2, CH 6, CH 14, AUX 2, ST OUT R

OPTION OUT 7: BUS 3, CH 7, CH 15, AUX 3, ST OUT L

OPTION OUT 8: BUS 4, CH 8, CH 16, AUX 4, ST OUT R

OPTION OUT 1: BUS 1, CH 1, CH 5, CH 9, CH 13, AUX 1, ST OUT L

OPTION OUT 2: BUS 2, CH 2, CH 6, CH 10, CH 14, AUX 2, ST OUT R

OPTION OUT 3: BUS 3, CH 3, CH 7, CH 11, CH 15, AUX 3, ST OUT L

OPTION OUT 4: BUS 4, CH 4, CH 8, CH 12, CH 16, AUX 4, ST OUT R

ON/OFF

Word length: 16–24 bit

Memories & Libraries

Type

Scene Memories

Effects Library

Dynamics Library

EQ Library

Total

100

99

80

80

Preset

1

42

40

40

User

99

57

40

40

01V—Owner’s Manual

EQ

267

EQ

Gain (G)

Frequency (F)

Q

Low

Lo-Mid

*1

Hi-Mid

1

High

–18.0 dB to +18.0 dB (0.5 dB steps)

*2

21 Hz–20.1 kHz (1/12 octave steps, 120 steps)

HPF, 10.0–0.10

(41 steps),

L.SHELF

10.0–0.10 (41 steps)

LPF, 10.0–0.10

(41 steps),

H.SHELF

*1. 4-band EQs only (low and high bands only on input channels 17 through 24).

*2. When the low and high EQ bands are configured as HPF and LPF, their gain controls function as filter on and off switches.

01V—Owner’s Manual

268

Appendix B: Specifications

Analog Inputs

Connection PAD GAIN

Actual

Load

Impedance

For Use

With

Nominal

Input channels 1–12

Input channels

13–16

2TR IN (L, R)

0

0

26

–60

–16

–20

+10

3 k

10 k

10 k

50–600

Mics

&

600

Lines

600

600

Lines

Lines

Sensitivity

*1

–66 dB

(388

µ

V)

–22 dB

(61.6 mV)

+4 dB

(1.23 V)

–26 dB

(38.8 mV)

+4 dB

(1.23 V)

–10 dBV

(316 mV)

Input level

Nominal

–60 dB

(775

µ

V)

–16 dB

(123 mV)

+10 dB

(2.45 V)

–20 dB

(77.5 mV)

+10 dB

(2.45 V)

–10 dBV

(316 mV)

Max.

Before Clip

Connector in

Console

–46 dB

(3.88 mV)

–2 dB

(616 mV)

XLR-3-31 type

(balanced)

*2

&

TRS phone jack

(balanced)

*3

+24 dB

(12.3 V)

–6 dB

(388 mV)

TRS phone jack

+24 dB

(12.3 V)

(balanced)

3

+4 dBV

(1.58 V)

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 01V is set to maximum gain (all faders and level controls at maximum positions).

*2. Input channel XLR-type connectors are balanced (pin 1 = ground, pin 2 = hot, pin 3 = cold).

*3. Input channel phone jacks are balanced (tip = hot, ring = cold, sleeve = ground).

* Where dB represents a specific voltage, 0 dB is referenced to 0.775 V rms.

* For 2TR IN levels, 0 dBV is referenced to 1.00 V rms.

* Input channels 1–16 and ST IN use linear 20-bit 128-times oversampling A/D converters.

* +48 V DC phantom powering switched in 6-channel blocks (1-6, 7-12) available via the XLR-type connectors of input channels 1–12

Analog Outputs

Connection

Actual

Source

Impedance

For Use

With

Nominal

Output Level

Nominal

Max. Before

Clip

Connector in Console

STEREO OUT (L, R)

OMNI OUT (1–4)

2TR OUT (L, R)

150

150

600

600

10 k

10 k

Lines

Lines

Lines

+4 dB

(1.23 V)

+4 dB

(1.23 V)

–10 dBV

(316 mV)

+4 dB

(1.23 V)

+18 dB

(6.16 V)

+18 dB

(6.16 V)

+4 dBV

(1.58 V)

+18 dB

(6.16 V)

XLR-3-32 type

(balanced)

*1

TRS phone jack

(balanced)

*2

Phono (unbalanced)

MONITOR OUT (L, R)

PHONES

150

100

10 k

Lines

8

phones

40

phones

4 mW

12 mW

25 mW

75 mW

TRS phone jack

(balanced)

2

Stereo phone jack

(unbalanced)

*1. STEREO OUT XLR-type connectors are balanced (pin 1 = ground, pin 2 = hot, pin 3 = cold).

*2. OMNI/MONITOR OUT TRS phone jacks are balanced (tip = hot, ring = cold, sleeve = ground).

*3. PHONES stereo phone jack is unbalanced (tip = send, ring = return, sleeve = ground).

* For 2TR OUT, 0 dBV is referenced to 1.00 V rms.

* Where dB represents a specific voltage, 0 dB is referenced to 0.775 V rms.

* STEREO OUT uses 20-bit 8-times oversampling D/A converters.

* OMNI OUT 1–4 and MONITOR OUT use 18-bit 8-times oversampling D/A converters.

*3

01V—Owner’s Manual

Digital Audio Inputs

269

Digital Audio Inputs

Connection

DIGITAL

STEREO IN

*1

COAXIAL

Format

IEC-60958

Wordlength

24 bit

Level

0.5 V pp

(75

)

*1. De-emphasis is automatically processed when input signal contains emphasis.

Connector

Phono

Digital Audio Outputs

Connection Format Wordlength

DIGITAL

STEREO OUT

COAXIAL

IEC-60958

*1

Consumer Use

24 bit

*1. Channel status

Type: 2 audio channels

Category code: 2 channel PCM encoder/decoder

Copy prohibit: No

Emphasis: No

Clock accuracy: Level II (1,000 ppm)

Sampling rate: depends on internal configuration

*2. Dither: wordlength 16–24 bit

*2

Level

0.5 V pp

(75

)

Connector

Phono

Option I/O Cards

Card

MY8-AT

MY8-TD

MY8-AE

MY4-DA

MY8-AD

MY4-AD

Format

ADAT

TASCAM

AES/EBU

Analog out

Analog in

Analog in

Inputs

8 IN (CH 17–24)

8 IN (CH 17–24)

8 IN (CH 17–24)

8 IN (CH 17–24)

4 IN (CH 17–20)

Outputs

8 OUT (BUS, AUX, ST, CH direct)

8 OUT (BUS, AUX, ST, CH direct)

8 OUT (BUS, AUX, ST, CH direct)

4 OUT (BUS, AUX, ST, CH direct)

01V—Owner’s Manual

270

Appendix B: Specifications

Control I/O

Connection

TO HOST

MIDI IN

MIDI THRU

MIDI OUT

Format

MIDI

MIDI

MIDI

Level

RS-422

Connector

8-pin mini DIN

5-pin DIN

5-pin DIN

5-pin DIN

01V—Owner’s Manual

01V Dimensions

01V Dimensions

271

H:148

W:430

Specifications and external appearance are subject to change without notice.

D:520

01V—Owner’s Manual

272

Appendix B: Specifications

01V—Owner’s Manual

Scene Memory to Program Change Table

273

Appendix C: MIDI

Program

Change #

26

27

28

23

24

25

29

30

31

32

16

17

18

13

14

15

19

20

21

22

36

37

38

33

34

35

39

40

41

42

43

9

10

11

12

6

7

8

3

4

5

1

2

Scene Memory to Program Change Table

User

Scene #

Program

Change #

69

70

71

66

67

68

72

73

74

75

59

60

61

56

57

58

62

63

64

65

79

80

81

76

77

78

82

83

84

85

86

52

53

54

55

49

50

51

44

45

46

47

48

Initial

Scene #

26

27

28

23

24

25

29

30

31

32

16

17

18

13

14

15

19

20

21

22

36

37

38

33

34

35

39

40

41

42

43

09

10

11

12

06

07

08

01

02

03

04

05

Initial

Scene #

69

70

71

66

67

68

72

73

74

75

59

60

61

56

57

58

62

63

64

65

79

80

81

76

77

78

82

83

84

85

86

52

53

54

55

49

50

51

44

45

46

47

48

User

Scene #

Program

Change#

109

110

111

112

113

114

115

116

117

118

99

100

101

102

103

104

105

106

107

108

119

120

121

122

123

124

125

126

127

128

95

96

97

98

92

93

94

87

88

89

90

91

Initial

Scene #

99

00

95

96

97

98

92

93

94

87

88

89

90

91

User

Scene #

01V—Owner’s Manual

274

Appendix C: MIDI

27

28

29

30

23

24

25

26

19

20

21

22

15

16

17

18

35

36

37

31

32

33

34

11

12

13

14

7

8

9

10

5

6

3

4

0

1

2

FADER

FADER

FADER

ON

ON

ON

ON

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

Control

Change #

01V Parameter to Control Change Table

Parameter

ON

ON

ON

ON

ON

01V Initial (Default)

NO ASSIGN

CHANNEL

CHANNEL

CH1

CH2

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH3

CH4

CH5

CH6

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH7

CH8

CH9

CH10

CH11

CH12

CH13-14

CH15-16

CHANNEL

CHANNEL

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

CHANNEL

CHANNEL

CHANNEL

BUS3

BUS4

EFFECT1

EFFECT2

ST OUT

CH1

CH2

CH3

CHANNEL

NO ASSIGN

CH4

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH5

CH6

CH7

CH8

CH9

RETURN1

RETURN2

AUX1

AUX2

AUX3

AUX4

BUS1

BUS2

User

01V—Owner’s Manual

01V Parameter to Control Change Table

275

Control

Change #

65

66

67

68

61

62

63

64

57

58

59

60

53

54

55

56

49

50

51

52

45

46

47

48

41

42

43

44

38

39

40

73

74

75

76

69

70

71

72

77

78

79

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

ON

ON

ON

PAN

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

FADER

FADER

FADER

01V Initial (Default)

MASTER

MASTER

MASTER

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

MASTER

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

BALANCE

EFF1 SEND

EFF1 SEND

EFF1 SEND

CH6

CH7

CH8

CH9

CH10

CH11

CH12

CH13

EFFECT1

EFFECT2

ST OUT

CH1

CH2

CH3

CH4

CH5

AUX1

AUX2

AUX3

AUX4

BUS1

BUS2

BUS3

BUS4

CH10

CH11

CH12

CH13-14

CH15-16

RETURN1

RETURN2

CH14

CH15

CH16

RETURN1 L

RETURN1 R

RETURN2 L

RETURN2 R

ST OUT

CH1

CH2

CH3

Parameter

User

01V—Owner’s Manual

276

Appendix C: MIDI

Control

Change #

113

114

115

116

109

110

111

112

105

106

107

108

95

102

103

104

117

118

119

91

92

93

94

87

88

89

90

83

84

85

86

80

81

82

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

01V Initial (Default)

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

NO ASSIGN

CH23

CH24

CH5

CH6

CH7

CH8

CH9

CH10

CH11

CH12

CH13-14

CH15-16

CH17

CH18

CH19

CH20

CH21

CH22

CH4

CH5

CH6

CH7

CH8

CH9

CH10

CH11

CH12

CH13-14

CH15-16

CH1

CH2

CH3

CH4

Parameter

User

01V—Owner’s Manual

03D & Programmable Mixer 01 Parameter to Control Change Table

277

27

28

29

30

23

24

25

26

19

20

21

22

15

16

17

18

35

36

37

31

32

33

34

11

12

13

14

9

10

7

8

5

6

3

4

0

1

2

Control

Change #

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

03D Arrangement

NO ASSIGN

CHANNEL

CHANNEL

CH1

CH2

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH3

CH4

CH5

CH6

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH7

CH8

CH9

CH10

CHANNEL

CHANNEL

NO ASSIGN

NO ASSIGN

CH11

CH12

NO ASSIGN

NO ASSIGN

CHANNEL

CHANNEL

CH17

CH18

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH19

CH20

CH21

CH22

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

MASTER

MASTER

MASTER

CH23

CH24

CH13-14

RETURN1

RETURN2

AUX1

AUX2

AUX3

MASTER

NO ASSIGN

AUX4

MASTER

MASTER

BUS1

BUS2

MASTER

MASTER

MASTER

BUS3

BUS4

ST OUT

03D & Programmable Mixer 01 Parameter to

Control Change Table

FADER

FADER

FADER

FADER

FADER

Parameter

Programmable Mixer 01 Arrangement

ON

ON

ON

ON

ON

ON

ON

ON

FADER

FADER

FADER

FADER

FADER

FADER

FADER

ON

ON

ON

ON

ON

ON

ON

ON

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

CHANNEL

CHANNEL

CHANNEL

CHANNEL

MASTER

MASTER

MASTER

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

CH10

CH11

CH12

CH17

CH18

CH19

CH20

CH2

CH3

CH4

CH5

CH6

CH7

CH8

CH9

CH20

CH13-14

RETURN1

RETURN2

AUX1

AUX2

ST OUT

CH1

CH8

CH9

CH10

CH11

CH12

CH17

CH18

CH19

CH1

CH2

CH3

CH4

CH5

CH6

CH7

01V—Owner’s Manual

Control

Change #

65

66

67

68

61

62

63

64

57

58

59

60

53

54

55

56

49

50

51

52

45

46

47

48

41

42

43

44

38

39

40

73

74

75

76

69

70

71

72

77

78

79

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

ON

ON

ON

ON

PAN

PAN

PAN

ON

PAN

PAN

PAN

PAN

PAN

PAN

PAN

ON

ON

ON

ON

ON

ON

ON

278

Appendix C: MIDI

03D Arrangement

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH8

CH9

CH10

CH11

CHANNEL

NO ASSIGN

CH12

NO ASSIGN

NO ASSIGN

CH1

CH2

CH3

CH4

CH5

CH6

CH7

NO ASSIGN

CHANNEL CH17

CHANNEL

CHANNEL

CH18

CH19

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH20

CH21

CH22

CH23

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH24

CH13

CH14

CH1

CH2

CH3

CH4

CH5

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH6

CH7

CH8

CH9

CHANNEL

CHANNEL

CH10

CH11

CHANNEL

NO ASSIGN

CH12

NO ASSIGN

NO ASSIGN

NO ASSIGN

PAN

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

Parameter

Programmable Mixer 01 Arrangement

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

ON

ON

ON

ON

ON

ON

PAN

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

NO ASSIGN

BALANCE

EFF1 SEND

CHANNEL

CHANNEL

CHANNEL

MASTER

MASTER

MASTER

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CH8

CH9

CH10

CH11

CH12

ST OUT

CH1

CH2

CH3

CH4

CH5

CH6

CH7

CH10

CH11

CH12

CH17

CH18

CH19

CH20

CH13

CH14

RETURN1 L

RETURN1 R

RETURN2 L

RETURN2 R

CH2

CH3

CH4

CH5

CH6

CH7

CH8

CH9

CH13-14

RETURN1

RETURN2

AUX1

AUX2

ST OUT

CH1

01V—Owner’s Manual

03D & Programmable Mixer 01 Parameter to Control Change Table

279

Control

Change #

113

114

115

116

109

110

111

112

105

106

107

108

95

102

103

104

117

118

119

91

92

93

94

87

88

89

90

83

84

85

86

80

81

82

ON

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

ON

FADER

FADER

03D Arrangement

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

CHANNEL

MASTER

MASTER

MASTER

MASTER

MASTER

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

CH8

CH9

CH10

CH11

EFF1 SEND

NO ASSIGN

CH12

NO ASSIGN

NO ASSIGN

ST OUT

CH1

CH2

CH3

CH4

CH5

CH6

CH7

NO ASSIGN

EFF1 SEND CH13-14

BALANCE ST OUT

CH17

CH18

CH19

CH20

CH21

CH22

CH23

CH24

CH13-14

RETURN1

RETURN2

AUX1

AUX2

AUX3

AUX4

Parameter

Programmable Mixer 01 Arrangement

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

FADER

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF1 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

EFF2 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

AUX1 SEND

NO ASSIGN

CH20

CH13-14

CH11

CH1

CH2

CH3

CH4

CH5

CH6

CH7

CH8

CH9

CH10

CH11

CH12

CH17

CH18

CH19

CH3

CH4

CH5

CH6

CH7

CH8

CH9

CH10

CH17

CH18

CH19

CH20

CH13-14

CH1

CH2

01V—Owner’s Manual

280

MIDI Data Format

MIDI Data Format

1. TRANSMIT/RECEIVE DATA

1.1 CHANNEL MESSAGE

1.1.1 NOTE OFF (8n)

Reception

Received if [Rx CH] matches.

Used for EFFECT control. See below for details.

STATUS

DATA

1000nnnn 8n

0nnnnnnn nn

0vvvvvvv vv

Note Off Message

Note No.

Velocity ( ignored)

1.1.2 NOTE ON (9n)

Reception

Received if [Rx CH] matches.

Used for EFFECT control. See below for details.

A velocity of 0x00 is the same as NOTE OFF.

STATUS

DATA

1001nnnn 9n

0nnnnnnn nn

0vvvvvvv vv

Note On Message

Note No.

Velocity ( 1-127:On, 0:off)

* Using Note data for EFFECT control

1: Dynamic Flange/Dynamic Phase/Dynamic Filter

When the SOURCE parameter is set to MIDI, Velocity will be used together with Note On/Off to control the frequency width of Modulation.

2: Freeze

When PLAY MODE is MOMENT or CONTINUE, a Note On message will start play. However, this is only when the note number specified for MIDI TRG is received. Also, play will not occur if there is no recorded data.

Regardless of the Note Number, a Note Off message will stop play if

PLAY MODE is MOMENT.

1.1.3 CONTROL CHANGE (Bn)

Reception

Received when [Control Change RX] is ON and the [Rx CH] matches. However if [OMNI] is ON, this message is received regardless of the channel.

When [Control Change ECHO] is ON, this message will be echoed.

Parameters will be controlled according to the settings of the [control assign table].

Control of specific faders can be disabled by the [midi fader control input mute] settings.

If this message is received while the [control assign table] page is displayed, the cursor location will move to that control number.

Transmission

If [Control Change TX] is ON, this message is transmitted on the [Tx

CH] whenever a parameter specified in the [control assign table] is operated.

If [Control Change ECHO] is ON, these messages will be merged with the unit's own output while taking advantage of running status.

STATUS

DATA

1011nnnn Bn

0ccccccc cc

0vvvvvvv vv

Control Change

Control No. ( 0-95, 102-119)

Control Value (0-127)

The control value is converted to the parameter value according to the following equation.

C = 128 (byte parameter)

16384 (word parameter)

S = number of total possible steps for the parameter

C / S = X remainder Y

INT((Y+1)/2) = Z

If (MIDI DATA - Z) < 0 then

If ((MIDI DATA - Z)/X) > MAX then

In other cases

INT((MIDI DATA -Z)/X)

-> param = 0

-> param = MAX

-> param =

1.1.4 PROGRAM CHANGE (Cn)

Reception

Received when [Program Change RX] is ON if the [Rx CH] matches.

However if [OMNI] is ON, this is received regardless of the channel.

This is echoed if [Program Change ECHO] is ON.

A scene memory will be recalled according to the settings of the [Program change table].

Transmission

If [Program Change TX] is ON, this is transmitted on the [Tx CH] channel when a scene memory is recalled.

If two or more program numbers have been assigned to the memory number which was recalled, the lowest numbered program number will be transmitted.

This message is echoed if [Program Change ECHO] is ON. (If a memory number which is not specified in the [Midi Program

Change Assign Table] is recalled, the Parameter Change (Function

Call) described below will be transmitted.)

STATUS

DATA

1100nnnn Cn

0nnnnnnn nn

Program Change

Program No. ( 0-127)

1.2 EXCLUSIVE MESSAGE (F0-F7)

1.2.1 MOTION CONTROL STATE (MCS)

MMC STOP/PLAY/FORWARD/REWIND/RECORD/

PAUSE

Transmission

In the [REMOTE-MMC] page, this is transmitted by key operations.

The [DEVICE NO.] specifies the transmission destination.

STATUS

ID No.

Device ID

Command

EOX

11110000 F0

01111111 7F

System Exclusive Message

Real Time System Exclusive

0ddddddd dd

00000110 06

Destination (00-7E, 7F:all call)

Machine Control Command(mcc) sub-id

0ccccccc cc

Command String

[1]:Stop

[2]:Play

[4]:Fast Forward

[5]:Rewind

11110111 F7

[6]:Record Strobe

[9]:Pause

End Of Exclusive

1.2.2 MOTION CONTROL PROCESS (MCP)

MMC LOCATE (target)

Transmission

In the [REMOTE-MMC] page, this is transmitted by key operations.

The [DEVICE NO.] specifies the transmission destination. (The ID of the receiving device must be set.)

STATUS

ID No.

Device ID

Command

EOX

11110000 F0

01111111 7F

0ddddddd dd

00000110 06

01000100 44 Locate

00000110 06 byte count

00000001 01

0hhhhhhh hh

"target" sub command hour

0mmmmmmm mm

System Exclusive Message

Real Time System Exclusive

Destination (00-7E, 7F:all call)

Machine Control Command(mcc) sub-id

0sssssss ss

0fffffff ff

0sssssss ss

11110111 F7 minute second frame sub-frame( only '0')

End Of Exclusive

01V—Owner’s Manual

1.3 ACTIVE SENSING (Fe)

Reception

Once this message has been received, an interval of 300ms or more during which no message is received will cause MIDI communications to be initialized, clearing Running Status etc.

STATUS 11111110 FE Active Sensing

2. TRANSMISSION CONDITION

CTL Tx ON

CONTROL CHANGE $BnH

PGM Tx ON

PROGRAM CHANGE $CnH

SYSTEM EXCLUSIVE

PARAMETER CHANGE

$F0H, $43H, $1nH

(RESPONSE FOR

PARAMETER REQUEST)

SYSTEM EXCLUSIVE

BULK DUMP $F0H, $43H, $0nH

PARAM Tx ON

BULK REQUEST $F0H, $43H, $2nH

USER DEFINE

MMC $F0H, $7FH, nnH, 06H

MIDI TX CH?

MIDI OUT

MIDI IN

CTL ECHO ON

PGM ECHO ON

PARAM ECHO ON

3. RECEIVE CONDITION

MIDI IN

MIDI Rx CH?

PGM OMNI ON

CTL OMNI ON

PARAM OMNI ON

CTL Rx ON

PGM Rx ON

PARAM Rx ON

BULK Rx ON

$8nH NOTE OFF

$9nH NOTE ON/OFF

$BnH CONTROL CHANGE

$CnH PROGRAM CHANGE

SYSTEM EXCLUSIVE

$F0H, $43H, $1nH

PARAMETER CHANGE

$F0H, $43H, $3nH

PARAMETER REQUEST

SYSTEM EXCLUSIVE

$F0H, $43H, $0nH, BULK DUMP

$F0H, $43H, $2nH, BULK REQUEST

CTL ECHO ON

PGM ECHO ON

PARAM ECHO ON

MIDI OUT

MIDI Data Format

281

4. PARAMETER CHANGE

BASIC FORMAT

STATUS

ID No.

SUB STATUS

GROUP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0pppnnnn pn

00111110 3e

00000100 04

0ttttttt tt

System Exclusive Message

Manufacturer's ID No.(YAMAHA) p=mode 1:parameter change or response for request, 3:parameter request n=0-15(Device Channel No.1-16)

MODEL ID (digital mixer)

Device code (01V)

(type)

0ddddddd dd0 data 0

: :

0ddddddd ddn data n

11110111 F7 End Of Exclusive type

-----------------------------------------------------------------------------

0x00 edit buffer ...byte operation format

0x01 system memory (setup, backup) ...byte operation format

0x02 function call (mem/lib recall, mem/lib store, clear, title)

0x03 controller (LCD/fader mode)...byte operation format

0x04 multiple link (fader mode, solo mode, title,,,)

0x05 remote meter (meter data)

0x10 edit buffer ...7bit operation format

0x40 edit buffer ...bit operation format

0x41 system memory (setup, backup) ...bit operation format

0x43 controller (key remote) ...bit operation format

PARAMETER CHANGE (byte operation for type

0x00:edit buffer)

Reception

This message is received if [Parameter Change RX] is ON and the [Rx

CH] matches the Device Channel included in the SUB STATUS.

If [Parameter Change ECHO] is ON, this will be echoed.

The specified parameter will be controlled when this message is received.

Transmission

If [Parameter Change TX] is ON, this message will be transmitted on the [Tx CH] Device Channel when a parameter that is not specified in the [Control Assign Table] is modified.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change or response n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

00000000 00 byte operation for edit buffer (type)

0aaaaaaa dd1 address( H) high 7 bits of 14 bits address

0aaaaaaa dd2 address( L) low 7 bits of 14 bits address

0000dddd dd3 data( H) high 4 bits of 8 bits data

0000dddd dd4 data( L) low 4 bits of 8 bits data

: : : continuous address datas

11110111 F7 End Of Exclusive

The valid range of addresses is 0x0000 - 0x03FF

01V—Owner’s Manual

282

MIDI Data Format

PARAMETER CHANGE (7bit operation for type

0x10:edit buffer)

Reception

This message is received if [Parameter Change RX] is ON and the [Rx

CH] matches the Device Channel included in the SUB STATUS.

This is echoed if [Parameter Change ECHO] is ON.

When this is received, the specified parameter will be controlled.

Transmission

If [Parameter Change TX] is ON, this message is transmitted on the

[Tx CH] Device Channel when a parameter not specified in the

[Control Assign Table] is modified.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

00010000 10

7bit operation for edit buffer (type)

0aaaaaaa dd0 address( H) high 7 bits of 14 bits address

0aaaaaaa dd1 address( L) low 7 bits of 14 bits address

0ddddddd dd2 data 7bit

:

11110111 F7

:

End Of Exclusive

The valid range of addresses is 0x0000 - 0x03FF

PARAMETER CHANGE (bit operation for type

0x40:edit buffer)

Reception

When [Parameter Change RX] is ON, this message is received if the

[Rx CH] matches the Device Channel included in the SUB STATUS.

If [Parameter Change ECHO] is ON, this message will be echoed.

When this message is received, the specified parameter will be controlled.

Transmission

If [Parameter Change TX] is ON, this message is transmitted on the

[Tx CH] Device Channel when a parameter not specified in the

[Control Assign Table] is modified.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

01000000 40 bit operation for edit buffer (type)

0aaaaaaa dd0 address( H) high 7 bits of 14 bits address

0aaaaaaa dd1 address( L) low 7 bits of 14 bits address

0ddddddd dd2 data(bit0-2:change bit no.0-7, bit3:0=reset

:

11110111 F7

1=set)

:

End Of Exclusive

The valid range of addresses is 0x0000 - 0x03FF

PARAMETER CHANGE (byte operation for type

0x01:system memory)

Reception

When [Parameter Change RX] is ON, this message is received if the

[Rx CH] matches the Device Channel included in the SUB STATUS.

When [Parameter Change ECHO] is ON, this is echoed.

When this is received, the specified parameter will be controlled.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change or response n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

00000001 01 byte operation for system memory (type)

0aaaaaaa dd0 address( H) high 7 bits of 14 bits address

0aaaaaaa dd1 address( L) low 7 bits of 14 bits address

0000dddd dd2 data( H) high 4 bits of 8 bits data

0000dddd dd3 data( L) low 4 bits of 8 bits data

:

: continuous address datas

11110111 F7

End Of Exclusive

The system memory will depend on the address, as follows.

0x0000 - 0x007F

: setup memory(128byte)

0x0080 - 0x0147

: backup memory(200byte)

0x0200

: card type(1byte)

PARAMETER CHANGE (bit operation for type

0x41:system memory)

Reception

When [Parameter Change RX] is ON, this message is received if the

[Rx CH] matches the Device Channel included in the SUB STATUS.

When [Parameter Change ECHO] is ON, this is echoed.

When this is received, the specified parameter will be controlled.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change or response n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

01000001 41 bit operation for system memory (type)

0aaaaaaa dd0 address( H) high 7 bits of 14 bits address

0aaaaaaa dd1 address( L) low 7 bits of 14 bits address

0ddddddd dd2 data(bit0-2:change bit no.0-7, bit3:0=reset

:

11110111 F7

1=set)

:

End Of Exclusive

The system memory will depend on the address, as follows.

0x0000 - 0x007F

: setup memory(128byte)

0x0080 - 0x0147

: backup memory(200byte)

01V—Owner’s Manual

MIDI Data Format

283

PARAMETER VALUE REQUEST (type 0x00:edit buffer, 0x01:sysytem memory)

Reception

When [Parameter Change RX] is ON, this message is received if the

[Rx CH] matches the Device Channel included in the SUB STATUS.

When [Parameter Change ECHO] is ON, this message will be echoed if the device itself did not receive the message.

When this message is received, the value of the specified parameter will be transmitted as a Parameter Change message.

Transmission

When [Parameter Change ECHO] is ON, this message will be transmitted without change if the device itself did not receive the message.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0011nnnn 3n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter request n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

00tttttt tt

00:edit buffer, 01:system memory (type)

0aaaaaaa dd0 address( H) high 7 bits of 14 bits address

0aaaaaaa dd1 address( L) low 7 bits of 14 bits address

0ddddddd dd count

11110111 F7

End Of Exclusive

The system memory will depend on the address, as follows.

0x0000 - 0x007F

: setup memory(128byte)

0x0080 - 0x0147

: backup memory(200byte)

0x0200

: card type(1byte)

PARAMETER CHANGE (type 0x02:function call)

Reception

When [Parameter Change RX] is ON, this message is received if the

[Rx CH] matches the Device Channel included in the SUB STATUS.

When [Parameter Change ECHO] is ON, this message will be echoed.

When this message is received, the corresponding memory/library/table will be recalled/stored/cleared.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

00000010 02 function call

0ddddddd dd0 function

0ddddddd dd1 number

0ddddddd dd2 channel

11110111 F7 End Of Exclusive function number channel Tx/Rx

-----------------------------------------------------------------------------------------

0x00 scene recall 0-99(memory 0-99)

0x01 eq lib recall 0-79(library 1-80)

0x02 dyn lib recall 0-79(library 1-80)

0x7f

0-19,22

0-13,16-19,22

Tx* /Rx

Tx/Rx

Tx/Rx

0x03 eff lib recall 0-98(library 1-99)

0x10 scene store 1-99(memory 1-99)

0x11 eq lib store 40-79(library 41-80)

0x12 dyn lib store 40-79(library 41-80)

0x13 eff lib store 42-98(library 43-99)

Channel

0,1

0x7f

0-19,22

0-13,16-19,22

0,1

Tx/Rx

Rx only

Rx only

Rx only

Rx only

0-11(ch1-12), 12-13(13/14-15/16), 14-15(return 1-2),

16-19(aux 1-4), 22(st mas), 23-30(ch17-24)

0,1(EFF1,2 for eff lib recall/store), 0x7f(current/edit buffer)

* [0x00:scene recall] is transmitted only when a program which is not assigned to the program change table has been recalled. In other cases, a program change will normally be transmitted.

PARAMETER CHANGE (type 0x02:function call(title))

Reception

When [Parameter Change RX] is ON and the [Rx CH] matches the

Device Channel included in the SUB STATUS, this message will be received.

When [Parameter Change ECHO] is ON, this message will be echoed.

When this message is received, the title of the corresponding memory/library will be modified.

Transmission

Parameter Change messages are transmitted on the [Rx CH] channel in response to a request.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change or response n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

00000010 02 function call

0ddddddd dd0 function

0ddddddd dd1 number

0ddddddd dd2 title1(If data is empty, TITLEs are not

: transmitted.)

:

0ddddddd ddn title-n

11110111 F7

End Of Exclusive

If 01V receives a bulk request for an empty memory, TITLEs are not transmitted.

function number

---------------------------------------------------------------------------------------------

0x30 scene title 0-99(mem 0-99),0x7f(edit buffer) for response

1-99(mem 1-99),0x7f(edit buffer) for Rx

0x31 eq lib title 0-79(library 1-80)

40-79(library 41-80)

0x32 dynamics lib title 0-79(library 1-80)

40-79(library 41-80)

0x33 eff lib title 0-98(library 1-99)

42-98(library 43-99) for response for Rx for response for Rx for response for Rx

PARAMETER VALUE REQUEST (type 0x02:function call(title))

Reception

When [Parameter Change RX] is ON and the [Rx CH] matches the

Device Channel included in the SUB STATUS, this message will be received.

When [Parameter Change ECHO] is ON and the 01V itself did not receive the message, the message will be echoed.

When this is received, the title of the corresponding memory/library will be transmitted.

Transmission

When [Parameter Change ECHO] is ON and the 01V itself did not receive the message, the message will be echoed.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0011nnnn 3n

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter request n=0-15(Device Channel No.1-16)

00111110 3e

00000100 04

MODEL ID

Device code (01V)

00000010 02 function call

0ddddddd dd0 function

0ddddddd dd1 number

11110111 F7

End Of Exclusive function number

---------------------------------------------------------------------------

0x30 scene title

0x31 eq lib title

0-99(mem 0-99),0x7f(edit buffer)

0-79(library 1-80)

0x32 dynamics lib title

0x33 eff lib title

0-79(library 1-80)

0-98(library 1-99)

01V—Owner’s Manual

284

MIDI Data Format

PARAMETER CHANGE (type operation for type

0x03:controller(LCD-Fader mode))

Reception

When [Parameter Change RX] is ON and the [Rx CH] matches the

Device Channel included in the SUB STATUS, the message will be received.

When [Parameter Change ECHO] is ON, this message will be echoed.

When this message is received, the LCD screen, the corresponding

Fader Mode, and the specified channel will be selected.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

00111110 3e

00000100 04

01000011 03

00000001 01

0ddddddd dd

0ddddddd dd

0000dddd dd

11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change n=0-15(Device Channel No.1-16)

MODEL ID

Device code (01V) controller (type) control No.(LCD-Fader mode) channel select(0-30)

LCD select No.(0-17)

PAGE No.(0-4)

End Of Exclusive

PARAMETER CHANGE (bit operation for type

0x43:controller(key remote))

Reception

When [Parameter Change RX] is ON and the [Rx CH] matches the

Device Channel included in the SUB STATUS, this message will be received.

When [Parameter Change ECHO] is ON, this message will be echoed.

When this message is received, the same processing will be performed as when the specified key (refer to the table below) is pressed

(released).

Transmission

When [Parameter Change ECHO] is ON, this message will be transmitted without change.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

00111110 3e

00000100 04

01000011 43

00000000 00

0ddddddd dd

0000dddd dd

:

11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) parameter change n=0-15(Device Channel No.1-16)

MODEL ID

Device code (01V) controller control no.(0:key remote)

No. 0-10,99-102(key 1-11,100-103) data(bit0-2:change bit no.0-7, bit3:0=reset 1=set)

:

End Of Exclusive bit1 bit2 bit3 bit4 bit5 bit6 bit7

------------------------------------------------------------------------------------------------------------------------------------------------key1 key2 key3

0

1

2

ON1

ON9

SOLO1

ON2

ON10

SOLO2

ON3

ON11

SOLO3

ON4

ON12

SOLO4

ON5

ON13-14

SOLO5

ON6

ON15-16

SOLO6

ON7 ON8

ONSTOUT ------

SOLO7 SOLO8 key4 key5 key6 key7 key8 key9 key10 key11

3

4

5

6

7

8

9

10

SOLO9

SEL1

SOLO12

SEL4

SOLO13-14 SOLO15-16 ------

SEL5 SEL6

SEL9 SEL10 SEL11 SEL12 SEL13-14 SEL15-16

ONRTN1 ONRTN2 SOLORT1 SOLORT2 SELRTN1 SELRTN2

AUX1

LOW

SOLO10

SEL2

AUX2

L-MID

UP LEFT

DYNAMIX EQ

SOLO11

SEL3

AUX3

H-MID

RIGHT

DELAY key100 99 FRZ-REC FRZ-PLAY -----key101 100 SOLO1 SOLO2 SOLO3 key102 101 SOLO9 key103 102 SOLO17

SOLO10

SOLO18

SOLO11

SOLO19

AUX4

HIGH

DOWN

PAN

------

SOLO4

SOLO12

SOLO20

EFFECT1

------

ENTER

UTILITY MIDI

------

SOLO5

EFFECT2

------

INC

------

SOLO6

SEL7

SEL STO

HOME

OPTION

------

DEC

SETUP

------

SOLO7

------

SEL8

------

MEMORY

REMOTE

------

------

VIEW

------

SOLO8

SOLO13-14 SOLO15-16 SOLO-RTN1 SOLO-RTN2

SOLO21 SOLO22 SOLO23 SOLO24

* Normally, data should be transmitted as "set(bit3=1)." In this case, the 01V will determine that that switch has been pressed and then immediately released, and will perform the appropriate processing.

This means that you will not have to transmit "reset(bit3=0)" separately.

* The keys followed by 100 are virtual key, it would be the keys on

LCD.

PARAMETER CHANGE (type 0x04:multiple linking)

This message is valid only for the connector that has been specified as the LINK PORT.

When two '01V' units have been connected by a cable, some of the functions (refer to the following table) will be linked.

The same LINK PORT connector settings must be made on both units.

Reception

This message is always received, and will execute the LINK function

(refer to the following table). (This is not dependent on

MIDI-SETUP.)

Transmission

This message is transmitted when LINK-related functions (refer to following table) are performed. (This is not dependent on

MIDI-SETUP.)

When [Parameter Change ECHO] is ON, this message is transmitted without change.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

00111110 3e

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Tx/Rx Channel No.1-16)

MODEL ID

00000100 04

00000100 04

Device code (01V) multiple linking

0mmfffff mf data format (bit6-5:status, bit4-0:contents)

0ddddddd dd0 data #0

0ddddddd dd1 data #1

: :

11110111 F7 End Of Exclusive

Status Function Note

----------------------------------------------------------------------------------------------------------

0x00 scene recall

0x01 scene store

Recall the specified memory number

Store to the specified memory number with title

0x02 scene title edit

(Assign the same title to all)

If the title was modified, make it the same, make it match

Match the solo mode 0x48 solo mode bit6: enable/disable bit5: on/off bit2: recording/mixdown bit1: sel mix/last bit0: after fader/pre fader

0x60 display call

0x61

0x62 metering point peak hold

When the screen (Fader Mode) is changed, make it match

Make the meter points match

Make the meter Peak Hold ON/OFF match

01V—Owner’s Manual

MIDI Data Format

285

PARAMETER CHANGE(type 0x05:remote meter)

When the following request is received to enable transmission, the specified parameter data will be transmitted at 30 msec intervals for five seconds. If you want meter data to be transmitted continuously, you must continue transmitting requests less than five seconds apart.

Reception

When [Parameter Change RX] is ON and the [Rx CH] matches the

Device Channel that is included in the SUB STATUS, this message is received.

When [LOCAL OFF] is ON, the incoming meter data will be displayed. In other cases it will be ignored.

Transmission

When transmission is enabled by a request, this will be transmitted every 30msec on the [Rx CH] channel, for five seconds.

Transmission will be disabled when the power is turned on, and when

PORT settings have been modified.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0001nnnn 1n

00111110 3e

00000100 04

00000101 05

0sgttttt tt

0mmmmmmm mm0

0mmmmmmm mm1

: :

11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Tx/Rx Channel No.1-16)

MODEL ID

Device code (01V) remote meter meter no.(s:special bit, g:gr bit)

End Of Exclusive

In the Meter no., bit 6 is the special bit, and bit 5 is the gr bit.

When the Gr bit is on, the single byte gr will be added uniformly to the end of the data string.

When the Special bit is on, the two bytes stLED L/R will be added uniformly to the end of the data string.

When both are on, gr comes first, and stLED L/R come later.

PARAMETER VALUE REQUEST(type 0x05:remote meter)

This message is used to obtain meter data from the 01V. It is used in

LOCAL OFF MODE to display the meter of the remote device, or to display the meter on the screen of a personal computer, etc.

In order to obtain meter data, the meter whose data is required must be displayed in the LCD of the remote device. This means that before transmitting this request, you must first transmit the above-described "4.6.4.11 PARAMETER CHANGE (type 0x03:bit operation for controller(LCD-Fader mode))" to display the appropriate meter in the LCD screen of the remote device.

Reception

When [Parameter Change RX] is ON and the [Rx CH] matches the

Device Channel included in SUB STATUS, this message will be received.

When this message is received, Parameter Change (remote meter) messages will begin to be transmitted on the [Rx CH] channel.

Transmission

When [LOCAL OFF] is ON, transmit a meter data request for the currently displayed meter on the [Tx CH]. For each request, meter data will be transmitted for five seconds. If you want meter data continuously for longer than this, you will need to transmit requests at intervals of five seconds or less. When the 01V is in LOCAL OFF

MODE, transmit requests at approximately one-second intervals.

When [Parameter Change ECHO] is ON and the 01V itself did not receive this message, the message will be echoed.

STATUS

ID No.

SUB STATUS

GROUOP ID

MODEL ID

PARAM TYPE

DATA

EOX

11110000 F0

01000011 43

0011nnnn 3n

00111110 3e

00000100 04

00000101 05

0sgttttt tt

11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Tx/Rx Channel No.1-16)

MODEL ID

Device code (01V) remote meter meter no.(s:special bit, g:gr bit)

End Of Exclusive

Table of signal levels and codes

Level code Level code Level code

-------------------------------------------------------------------------------------

-72dB

-68dB

0x1F

0x24

-30dB

-27dB

0x57

0x5A

-9dB

-8dB

0x72

0x73

-64dB

-60dB

-56dB

-51dB

0x29

0x2F

0x33

0x3A

-24dB

-21dB

-18dB

-16dB

0x5F

0x62

0x67

0x69

-7dB

-6dB

-5dB

-4dB

0x75

0x77

0x78

0x79

-48dB

-46dB

-42dB

-39dB

-36dB

-33dB

0x3F

0x41

0x47

0x4A

0x4F

0x52

-15dB

-14dB

-13dB

-12dB

-11dB

-10dB

0x6A

0x6B

0x6D

0x6F

0x70

0x71

-3dB

-2dB

-1dB

0dB

CLIP

0x7A

0x7B

0x7D

0x7E

0x7F

5. SYSTEM EXCLUSIVE

MESSAGE (Bulk Dump) &

REQUEST

These messages input and output the contents of various types of internal memory.

The unique header identifies whether or not the data is for the 01V.

The CHECK SUM is calculated by adding the data following the

BYTE COUNT(LOW) until the data preceding the CHECK SUM, then inverting the bits (2's complement), and setting bit 7 to 0.

CHECK SUM = ( -sum) & 0x7F

Reception

This is received if [Bulk RX] is ON and the [Rx CH] matches the

Device Channel that is included in SUB STATUS.

When a BULK DUMP is received, it will immediately be written into the specified memory.

When a BULK DUMP REQUEST is received, a bulk dump will be transmitted immediately.

Transmission

In the [MIDI-BULK] page, this is transmitted on the [Tx CH] channel by key operations.

In response to a Bulk Dump Request, a Bulk Dump Message is transmitted on the [Rx CH] channel.

'P'

'Q'

'Y'

'E'

'I'

'L'

'U'

'C' data name rx/tx function

------------------------------------------------------------------------------------------------------

'M'

'S' rx/tx rx/tx

Scene Memory & Request

Setup Memory & Request rx/tx rx/tx rx/tx rx/tx

Remote(Internal Parameter) Memory & Request

Remote(MMC) Memory & Request

Remote(User Define) Memory & Request

Control Change Assign Table & Request rx/tx rx/tx rx/tx rx/tx

Program Change Assign Table & Request

Equalizer Library & Request

Dynamics Library & Request

Effect Library & Request

01V—Owner’s Manual

286

MIDI Data Format

SCENE MEMORY BULK DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00010000 10

BYTE COUNT(LOW) 00001010 00

01001100 4C

01001101 4D

DATA NAME

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01001101 4D

0mmmmmmm mm

DATA

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

2048(2038+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'M' m=0-99,127(Scene Memory No.0-99, edit buffer)

Receive is effective No.1-99,127

Scene Memory(10+(1014*2) bytes)

CHECK SUM

0ddddddd ds

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7 ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

The ten bytes at the beginning are the ID + title, and are 7 bit data.

The subsequent 1014 bytes are all split into 4 bit data.

SCENE MEMORY BULK DUMP REQUEST FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01001101 4D

0mmmmmmm mm

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'M' m=0-99,127(Scene Memory No.0-99,current)

End Of Exclusive

SETUP MEMORY BULK DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000010 02

BYTE COUNT(LOW) 00001010 0A

01001100 4C

01001101 4D

DATA NAME

DATA

CHECK SUM

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010011 53

00100000 20

0ddddddd ds

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

266(256+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'S'

' '

Setup Memory(128*2bytes) ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

All data is split into 4 bit.

SETUP MEMORY BULK DUMP REQUEST FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010011 53

00100000 20

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'S'

' '

End Of Exclusive

REMOTE(Internal Parameter) MEMORY BULK

DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000000 00

BYTE COUNT(LOW) 01100100 64

01001100 4C

01001101 4D

DATA NAME

DATA

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01001001 49

0bbbbbbb bb

0ddddddd ds

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

100(90+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'I' b = 0-3(bank no.1-4)

Remote(Internal Parameter) Memory(90bytes)

CHECK SUM

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7 ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

All data is 7 bit data.

REMOTE(Internal Parameter) MEMORY BULK

DUMP REQUEST FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01001001 49

0bbbbbbb bb

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'I' b = 0-3(bank no.1-4)

End Of Exclusive

01V—Owner’s Manual

MIDI Data Format

287

REMOTE(MMC) MEMORY BULK DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000000 00

BYTE COUNT(LOW) 00100010 22

01001100 4C

01001101 4D

DATA NAME

DATA

CHECK SUM

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01001100 4C

00100000 20

0ddddddd ds

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

34(24+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'L'

' '

Remote(MMC) Memory(24bytes) ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

All data is 7 bit data.

REMOTE(MMC) MEMORY BULK DUMP REQUEST

FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01001100 4C

00100000 20

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'L'

' '

End Of Exclusive

REMOTE(User Define) MEMORY BULK DUMP

FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00001011 0B

BYTE COUNT(LOW) 00101010 2A

01001100 4C

01001101 4D

DATA NAME

DATA

CHECK SUM

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010101 55

0bbbbbbb bb

0ddddddd ds

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

1450(1440+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'U' bb = 0-3(bank no. 1-4)

Remote(User Define) Memory(1440bytes) ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

All data (word) is split into 7 bit.

REMOTE(User Define) MEMORY BULK DUMP

REQUEST FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010101 55

0bbbbbbb bb

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'U' bb = 0-3(bank no. 1-4)

End Of Exclusive

EQUALIZER LIBRARY BULK DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000000 00

BYTE COUNT(LOW) 00101110 2E

01001100 4C

01001101 4D

DATA NAME

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010001 51

0mmmmmmm mm

DATA 0ddddddd ds

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

46(36+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'Q' m= 0-79 (Equalizer Library No.1-80)

96-124(ch1-12,13/14,15/16,RTN1/2,AUX

1-4,ST MAS,ch17-24)

Receive is effective No.40-79,96-125

Equalizer Library Memory(12+(12*2)bytes)

CHECK SUM

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7 ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

The twelve bytes at the beginning are the title, and are 7 bit data. The following twelve bytes are all split into 4 bit data.

EQUALIZER LIBRARY BULK DUMP REQUEST

FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010001 51

0mmmmmmm mm

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'Q' m= 0-79 (Equalizer Library No.1-80)

96-124(ch1-12,13/14,15/16,RTN1/2,AUX

1-4,ST MAS,ch17-24)

End Of Exclusive

01V—Owner’s Manual

288

MIDI Data Format

DYNAMICS LIBRARY BULK DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000000 00

BYTE COUNT(LOW) 00100100 24

01001100 4C

01001101 4D

DATA NAME

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01011001 59

0mmmmmmm mm

DATA 0ddddddd ds

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

36(26+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'Y' m= 0-79 (Dynamics Library No.1-80)

96-114(ch1-12,13/14,15/16,AUX1-4,ST

MAS)

Receive is effective No.40-79,96-115

Dynamics Library Memory(12+(7*2)bytes)

CHECK SUM

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7 ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

The first twelve bytes are the title, and are 7 bit data. The following seven bytes are all split into 4 bit data.

DYNAMICS LIBRARY BULK DUMP REQUEST

FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01011001 59

0mmmmmmm mm

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'Y' m= 0-79 (Dynamics Library No.1-80)

96-114(ch1-12,13/14,15/16,AUX1-4,ST

MAS)

End Of Exclusive

EFFECT LIBRARY BULK DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000000 00

BYTE COUNT(LOW) 01101000 68

01001100 4C

01001101 4D

DATA NAME

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01000101 45

0mmmmmmm mm

DATA

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

104(94+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'E' m= 0-98 (Effect Library No.1-99)

112-113(Effct1, Effect2)

Receive is effective 42-98,112-113

Effect Library Memory(12+(41*2)bytes)

CHECK SUM

0ddddddd ds

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7 ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

The first twelve bytes are the title, and are 7 bit data. The following 41 bytes are all split into 4 bit data.

EFFECT LIBRARY BULK DUMP REQUEST FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01000101 45

0mmmmmmm mm

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'E' m= 0-98 (Effect Library No.1-99)

112-113(Effect1, Effect2)

End Of Exclusive

01V—Owner’s Manual

PROGRAM CHANGE ASSIGNMENT TABLE BULK

DUMP FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000001 01

BYTE COUNT(LOW) 00001010 0A

01001100 4C

01001101 4D

DATA NAME

DATA

CHECK SUM

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010000 50

00100000 20

0ddddddd ds

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

138(128+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'P'

' '

Program Change Table(128bytes) ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

All data is 7 bit data.

PROGRAM CHANGE ASSIGNMENT TABLE BULK

DUMP REQUEST FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01010000 50

00100000 20

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'P'

' '

End Of Exclusive

MIDI Data Format

289

Control Change Assignment Table Bulk Dump

Format

STATUS

ID No.

SUB STATUS

FORMAT No.

11110000 F0

01000011 43

0000nnnn 0n

01111110 7E

BYTE COUNT(HIGH) 00000010 02

BYTE COUNT(LOW) 01100000 60

01001100 4C

01001101 4D

DATA NAME

DATA

CHECK SUM

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01000011 43

00100000 20

0ddddddd ds

: :

0ddddddd de

0eeeeeee ee

EOX 11110111 F7

System Exclusive Message

Manufacturer's ID No.(YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

352(342+10)bytes

'8'

'B'

'3'

'4'

' '

' '

'L'

'M'

'C'

' '

Control Change Table(114x3bytes) ee=(INVERT('L'+'M'+...+ds+...+de)+1)

AND 7Fh

End Of Exclusive

All data is 7 bit data.

CONTROL CHANGE ASSIGNMENT TABLE BULK

DUMP REQUEST FORMAT

STATUS

ID No.

SUB STATUS

FORMAT No.

DATA NAME

EOX

11110000 F0

01000011 43

0010nnnn 2n

01111110 7E

01001100 4C

01001101 4D

00100000 20

00100000 20

00111000 38

01000010 42

00110011 33

00110100 34

01000011 43

00100000 20

11110111 F7

' '

' '

'L'

'M'

System Exclusive Message

Manufacturer's ID (YAMAHA) n=0-15(Device Channel No.1-16)

Universal Bulk Dump

'8'

'B'

'3'

'4'

'C'

' '

End Of Exclusive

01V—Owner’s Manual

YAMAHA [Digital Mixing Console—Internal Parameters]

Model: 01V

Date: 01 Feb. 1998

MIDI Implementation Chart

Version: 1.0

Function...

Transmitted Recognized Remarks

Basic

Channel

Mode

Default

Changed

Default

Messages

Altered

Note

Number

Velocity

True Voice

Note On

Note Off

After

Touch

Pitch bend

Keys

Ch’s

1–16

1–16

X

X

**************

X

**************

X

X

X

X

X

1–16

1–16

OMNI off/OMNI on

X

X

0–127

X

X

X

X

O

O

Memorized

Memorized

Control

Change

0–95, 102–119 O O Assignable

Prog

Change :True#

System Exclusive

System

Common

:Song Pos

:Song Sel

:Tune

System

Real Time

:Clock

:Commands

Aux

Messages

:Local ON/OFF

:All Notes OFF

:Active Sense

:Reset

0–127

**************

O

X

X

X

X

X

X

X

X

X

Notes

Mode 1: OMNI ON, POLY

Mode 3: OMNI OFF, POLY

X

X

X

X

O

O

0–127

0–99

O

X

X

X

Assignable

*1

MTC quarter frame message is recognized

*1: Bulk Dump/Request, Parameter Change/Request, and MMC.

For MIDI Remote, ALL messages can be transmitted.

Mode 2: OMNI ON, MONO

Mode 4: OMNI OFF, MONO

O: Yes

X: No

Appendix D: Resources

291

Appendix D: Resources

Books

Introducing Digital Audio, Ian R Sinclair, second edition, PC Publishing, 1992. A good all-around introduction to digital audio. Second edition explains oversampling and bitstream techniques.

Principles of Digital Audio, Ken C. Pohlmann, Howard W.Sams & Co, 1989. Covering all aspects of digital audio, this book is ideal for newcomers who want to know the basics plus a bit more.

The Art of digital Audio, John Watkinson, Focal Press (Butterworth Group), 1990. An essential read for digital audio professionals—but only for the serious!

The MIDI Ins, Outs & Thrus, Jeff Rona, Hal Leonard Publishing, 1992. An excellent introduction to MIDI with many illustrations for easy understanding.

MIDI Systems & Control, Francis Rumsey, second edition, Focal Press, 1994. Covers all MIDI topics in detail and looks at how MIDI can be used to control systems (i.e., digital mixers, synths).

THE MIDI BOOK, Steve DeFuria with Joe Scacciaferro, Hal Leonard Books. A good introduction for anyone new to MIDI.

THE MIDI RESOURCE BOOK, Steve DeFuria with Joe Scacciaferro, Hal Leonard

Books, 1988. Following on from THE MIDI BOOK, this one looks at the real nuts and bolts of MIDI including the MIDI specification and how to read MIDI Implementation Charts.

Yamaha Sound Reinforcement Handbook, Gary Davis and Ralph Jones, second edition, Hal Leonard Publishing Corporation, 1990. Although primarily concerned with sound reinforcement, many of the subjects covered also apply to studio audio applications. The second edition also includes a comprehensive section on MIDI.

Yamaha Web Site

Information on Yamaha professional audio products can be found at the Yamaha Professional Audio Web site.

<http://www.yamaha.co.jp/product/proaudio/homeenglish/>

01V—Owner’s Manual

292

Appendix D: Resources

01V—Owner’s Manual

Glossary

293

Glossary

A/D converter—An electronic device for converting analog signals to digital signals.

AFL (After Fader Listen)—Monitoring signals after the channel fader. Contrast with

PFL.

Aliasing—A type of signal distortion that occurs during A/D conversion if the sampling rate is less than twice that of the highest audio frequency. A/D converters employ aliasing filters to remove audio frequencies higher than half the sampling rate. See also

Nyquist Sampling Theorem.

Anti-aliasing—In digital audio, a technique used to prevent aliasing in the form of an anti-aliasing filter before A/D conversion. This filter removes audio frequencies that are higher than half the sampling frequency (e.g., for a 32 kHz sampling rate, audio frequencies above 16 kHz are filtered).

Balancing

—A technique for reducing interference in audio cables by using two conductors, known as the hot (+) and cold (–), to carry two versions of the audio signal,

180 degrees out of phase with each other. Since any interference picked up will be in the same phase on both conductors, the differential amplifier at the balanced input cancels out the noise, but amplifies the audio signal.

Bulk Dump—A MIDI function for transferring data between MIDI equipment. Data is transmitted as MIDI System Exclusive messages.

Bus—A common conductor used to collect and distribute audio signals.

Cascade—A technique for increasing the number of available inputs by connecting two or more audio mixers together.

CH—Abbreviation for channel.

Clipping—The unwanted distortion effect caused by inputting too large a signal to an audio circuit.

Coaxial—The electrical connection for transmitting and receiving consumer format digital audio, typically using phono connectors. See also Consumer format.

Consumer format

—The consumer digital audio format, developed by Sony and

Philips, for transferring digital audio data between consumer-type digital audio equipment, such as CD players, DAT, DCC, and MiniDisc decks. Two channels of digital audio (left & right) are carried in one connection, usually a phono connection. This format is also referred to as IEC60958 (formerly 958) and S/PDIF. See also Coaxial.

Control Change—A type of MIDI message providing real-time parameter control.

Typical Control Changes include Modulation, Volume, Pan, and Portamento.

D/A converter—An electronic device for converting digital signals to analog signals.

De-emphasisSee Emphasis.

DIO—Abbreviation for digital input and output.

Dither—The process of adding low-level random noise to audio signals in order to reduce A/D converter quantization noise. Dither techniques are also used for digital audio wordlength reduction (e.g., 20 to 16-bit conversion).

DSP (Digital Signal Processor)—A chip designed specifically for processing large amounts of data at high speed and in real time. This type of processor is ideal for handling digital audio data.

Dynamic range—The difference between the loudest and quietest signal levels in a system. In an audio device, usually the difference between the maximum output level and the residual noise floor. In a digital system, the available dynamic range is deter-

01V—Owner’s Manual

294

Glossary mined by the data resolution, about 6 dB per digital bit. Hence, a 16-bit system theoretically provides a 96 dB dynamic range.

Edit buffer—The memory area used to store the current mix settings. When a mix scene is stored, the Edit Buffer data is stored to the selected scene memory. When a mix scene is recalled, the data of the selected scene memory is copied into the Edit Buffer.

EFF—Abbreviation for effect.

Emphasis—A technique used to improve the noise performance of first generation

AD/DA converters by boosting analog signals above 3.5 kHz by 6 dB/octave prior to

A/D conversion. Emphasis was subsequently detected by the D/A converter and de-emphasis applied after D/A conversion. Although not used anymore, emphasis functions are often provided for compatibility with old digital recordings.

EQ snapshot—A set of EQ settings.

Fade time—The time it takes faders to move to new positions when a mix scene is recalled. Can be used for crossfading between channels.

Fs—Abbreviation for sampling frequency.

General MIDI (GM)—An extension to the MIDI Standard that, among other things, states that a General MIDI tone generator must be at least 24-note polyphonic, have 16 parts, and 128 specific preset voices.

GR—Abbreviation for gain reduction.

Initial settings—The settings used when a device is first turned on after leaving the factory. Also known as the default, or factory settings.

LCD (Liquid Crystal Display)—A type of display device that uses liquid crystals to generate characters and graphics.

LED (Light Emitting Diode)—A type of diode that lights up when an electric current is applied.

Line-Level Signal—A high-level signal in the range from –20 dB to +20 dB. Most audio equipment outputs signals at line level. Contrast with Low-Level Signal.

Low-Level Signal—A signal in the range from –100 dB to –20 dB. Microphone and electric guitar signals are in this range. Contrast with Line-Level Signal.

LSB (Least Significant Byte)

The byte of a digital word that represents the lowest value. Contrast with MSB.

MIDI (Musical Instrument Digital Interface)—An internationally agreed standard that allows electronic musical instruments and audio equipment to communicate.

MIDI Device Number—A numbering scheme used to identify individual devices in a MIDI system, commonly used for transmitting System Exclusive data.

Mix scene—A set of mixer settings. Just like a play, a piece of music consists of various scenes, each requiring different mixer settings. Mix scenes are stored in scene memories, and can be recalled manually or using MIDI Program Changes, which can be sent from a computer, MIDI footswitch, keyboard, or sequencer. See also Scene memories.

MMC (MIDI Machine Control)— A set of MIDI messages for controlling recorders, video tape machines, and other studio equipment. Typical MMC commands include Stop, Play, Rewind, and Pause.

Mdulation—A technique for controlling a signal’s frequency (pitch) or amplitude

(level) using an LFO (low frequency oscillator). The LFO frequency is set using modulation speed parameters and the amount of LFO control is set using modulation depth parameters.

01V—Owner’s Manual

Glossary

295

MSB (Most Significant Byte)

The byte of a digital word that represents the highest value. Contrast with LSB

Noise gate—An electronic switch that opens if the trigger signal falls below a specified threshold and closes if the trigger signal exceeds the threshold. Typically used to shut off unwanted hiss and noise.

Nominal levelSee Operating Level.

Nyquist theorem—The Nyquist theorem states that the sampling rate of a digital audio system must be at least twice that of the highest audio frequency, otherwise waveform distortion know as aliasing will occur. See also Aliasing.

OMNI—The MIDI mode in which a device responds to MIDI data on all 16 channels.

Operating level—This is the signal level at which a piece of audio equipment is designed to operate. The two most common operating levels are –10 dBV (316 mV), which is used by semiprofessional equipment, and +4 dBu (1.23 V), which is used by professional equipment.

Oversampling—Sampling an audio signal at a rate higher than the actual sampling rate to reduce noise caused by quantization errors.

PAM (Pulse Amplitude Modulation)—In the first part of the A/D conversion process, pulses occurring at the sampling rate are modulated by an analog audio signal.

See also PCM.

PC—Originally, the abbreviation for personal computer. Although today it’s used as the generic name for any IBM-compatible personal computer, usually running a version of the Microsoft Windows operating system.

PCM (Pulse Code Modulation)—In the second part of the A/D conversion process, the pulses derived using PAM are converted into binary data words using PCM.

See also PAM.

Peaking—A type of EQ circuit used to cut and boost a band of frequencies, producing a mountain-peak type response. The width of the band is called the Q. Midband EQ is usually of the peaking type. Compare with Shelving.

PEQ—An abbreviation for parametric EQ.

PFL (Pre Fader Listen)—Monitoring signals before the channel fader. Contrast with

AFL.

Phantom powering—The technique for supplying condenser-type microphones a

DC voltage via the signal carrying conductors of a balanced cable.

Pink noise—A type of random noise that contains an equal amount of energy per

octave. For example, the bands 100–200, 800–1600, and 3000–6000 all contain the same amount of energy. White noise, on the other hand, has an equal amount of energy per

frequency band. That is, 100–200, 800–900, and 3000–3100.

Post fader—The point in the signal path after the fader. Aux sends are often configured as post-fader sends, which means the aux send signal is sourced after the channel fader. The advantage of this is that the aux send signal can be controlled at the same time as the main channel signal using the same fader. Post-fader aux sends are typically used to feed effects processors. See also AFL.

Pre fader—The point in the signal path before the fader. Aux sends are often configured as pre-fader sends, which means the aux send signal is sourced before the channel fader. The advantage of this is that the aux send signal can be controlled independently of the main channel signal. Pre-fader aux sends are often used for foldback mixes. See

also PFL.

Program Change—A type of MIDI message for selecting programs.

01V—Owner’s Manual

296

Glossary

Q—The unit used to express a filter’s selectivity. High values imply a narrow frequency band, low values, a wide frequency band.

Quantization—The PCM process in which PAM pulses are approximated to the nearest binary value available.

S/PDIF formatSee Coaxial format.

Sampling rate — The number of times per second analog audio signals are sampled

(i.e., measured) during A/D conversion. Common digital audio sampling rates are

32 kHz, 44.1 kHz, and 48 kHz.

Scene memories—Memory locations used to store mix scenes. See also Mix scene.

Shelving—A type of EQ circuit used to cut and boost frequencies above or below a set frequency. It produces a shelf-looking response curve. High and low EQs are usually of the shelving type. Contrast with Peaking.

Signal-to-noise ratio (S/N)—In an audio system, the difference between the operating signal level and the residual noise floor expressed as a decibel ratio, commonly used to measure a system’s noise performance.

SnapshotSee Mix scene.

ST OUT—The 01V stereo output.

System Exclusive—A type of MIDI message for exclusive use with a particular device. See also Bulk Dump.

THD (Total Harmonic Distortion)—The measure of distortion introduced by an audio system relative to the audio signal expressed as a percentage. Compared to third-harmonic distortion, which is the measure of a single harmonic, total harmonic distortion is the sum of distortions produced at all harmonics.

Unity gain—A gain of one.

Wordclock—A clock signal used to synchronize the data processing circuits of all devices connected in a digital audio system. The wordclock frequency is the same as the sampling rate.

01V—Owner’s Manual

Index

297

Index

Symbols

+48 V phantom powering

41

Numerics

01V benefits

4

cascading 214 dimensions

271

features

3

initializing

204

level diagram

257

preferences

203

rack mounting

259

sonic performance

5

03D parameter to control change assignment table

277

–1/DEC & +1/INC buttons

31

15/16–2TR IN switch

2TR IN

77

about

15

input channels

40

2TR IN about

21

using

77

2TR OUT about

21

using

88

44.1 kHz sampling rate 209

A

A/D converter, definition

293

About aux sends

94

bus outs

108

dynamics library

173

dynamics processors

162

edit buffer

185

effects

120

effects library

132

EQ

62

EQ library

67

input channels

40

interface

28

MIDI & the 01V

222

monitor & solo

76

omni outs

116

option I/O cards 216 scene memories

184

stereo output

88

wordclocks 206

AFL, definition

293

AFL/PFL monitoring

78

solo

80

Aliasing, definition

293

AMP SIMULATE

147

Analog controls

15

Analog input specifications

268

Analog output specifications

268

Anti-aliasing, definition

293

Assigning faders & on buttons

194

input channels

49

omni outs

116

option I/O digital outputs 219 oscillator

202

Attenuator

43

Auto navigate, wordclock source

209

AUTOPAN

144

AUX page 1

95

,

96

,

97

,

99

,

100

AUX page 2

102

Aux pan page

102

Aux pre/post page

95

,

96

,

97

,

99

,

100

Aux sends about

94

block diagram

104

dynamics processors

164

effects returns

131

EQ

64

input channels

50

level setting

99

metering

83

monitoring

94

muting

100

omni outs

94

option I/O

94

pairing

101

panning

102

pre/post fader

97

specifications

265

stereo pair block diagram

105

using

95

viewing settings

98

B

Balancing the stereo output

90

Balancing, definition

293

Banks internal parameters

194

MIDI bulk dump

232

user define

238

Benefits of a Digital Mixer

4

Block diagrams aux sends

104

aux stereo pair

105

bus outs

112

bus outs stereo pair

113

complete

24

effects

159

input channels

60

monitoring

79

omni outs

118

option I/O 220 paired input channels

54

solo

82

stereo output

92

Books

291

Boosting the EQ

63

Bulk dump definition

293

interval time

232

setup

226

using

232

,

233

burst pink noise

202

Bus master page

109

,

110

Bus outs about

108

block diagram

112

bus to stereo

110

level setting

109

metering

83

monitoring

108

muting

109

omni outs

108

option I/O

108

pairing

111

specifications

265

stereo pair block diagram

113

Bus, definition

293

Bypassing the EQ

66

C

Calibrating the faders

204

Cans.

See

PHONES

Cascade delay 215

Cascade, definition

293

01V—Owner’s Manual

298

Index

Cascading the 01V 214

CH copy page

59

CH, definition

293

CH13-14 flip page 213

CHORUS

142

Clipping, definition

293

Coaxial definition

293

Coaxial digital input.

See

Digital stereo input

Coaxial digital output.

See

Digital stereo output

Comp

167

Compander

171

Configuration, summary

4

Connectors

2TR IN

21

2TR OUT

21

DIGITAL STEREO IN

23

DIGITAL STEREO OUT

23

INPUT (BAL) 1–12

20

INPUT (BAL) 13–16

20

MIDI

23

MONITOR OUT

22

OMNI OUT

22

PHONES

21

STEREO OUT

23

TO HOST

23

Consumer format definition

293

Contrast control

16

Control change

01V parameter assignment table

274

03D parameter assignment table

277

control change assignments

229

definition

293

echo

225

MIDI bulk dump

232

omni

225

on/off

225

page

229

parameter control

229

programmable mixer 01 parameter assignment table

277

using

230

Control I/O specifications

270

Control page, option I/O

43

,

47

,

49

,

58

,

63

,

95

,

97

,

123

,

126

Controls

–1/DEC & +1/INC buttons

31

15/16–2TR IN switch

15

contrast

16

CURSOR buttons

31

ENTER button

31

fader mode buttons

17

faders

19

function buttons

17

GAIN control

15

MONITOR OUT LEVEL control

15

MONITOR–2TR IN switch

15

ON buttons

18

PAD switch

15

PARAMETER wheel

31

PHONES LEVEL control

15

POWER switch

23

Return controls

19

SEL buttons

18

SELECTED CHANNEL

16

SOLO status indicator

19

Copying channel settings

59

Crossfading mix scenes

191

CURSOR buttons

31

Cutting the EQ

63

D

D switch, routing

49

D/A converter, definition

293

DEC button

31

De-emphasis digital stereo input 213 option I/O input 216

Delay cascade compensation 215 effects parameter

137

input channels

45

omni outs

117

stereo output

91

DELAY LCR

141

Delay page

45

DELAY page 1

42

DELAY page 2

45

DELAY page 3

45

DELAY page 4

91

,

117

DELAY UNITS, preference

203

DELAY+ER

152

DELAY+REV

154

DELAY->ER

153

DELAY->REV

155

Depth, 01V dimensions

271

Device number, MMC

236

DIGITAL IN SYNC CAUTION, preference

203

Digital input specifications

269

Digital mixer benefits

4

Digital output specifications

269

DIGITAL STEREO IN

23

Digital stereo input connector

23

emphasis 213 specifications

264

using 213

DIGITAL STEREO OUT

23

Digital stereo output connector

23

dither 212 specifications

266

stereo output

88

using 211

Dimensions

271

DIO, definition

293

Display about

16

contrast

16

effects returns area

29

elements

30

faders

30

function area

28

memory area

29

messages

258

page area

29

parameter boxes

30

rotary controls

30

selected channel area

29

switches

30

DIST->DELAY

156

DISTORTION

146

Dither 212

Dither page 212

Dither, definition

293

DSP, definition

293

DUAL PITCH

145

Ducking

169

DYNA.FILTER

147

DYNA.FLANGE

147

DYNA.PHASER

148

Dynamic range, definition

293

Dynamics edit page

164

,

165

,

166

Dynamics library about

173

MIDI bulk dump

232

number of programs

266

page

174

,

175

,

176

preset program list

163

recalling programs

175

01V—Owner’s Manual

Index

299

storing programs

174

summary

6

titling

176

DYNAMICS page 1

164

,

165

,

166

DYNAMICS page 2

174

,

175

,

176

Dynamics processors about

162

aux sends

164

comp

167

compander

171

ducking

169

editing

166

expander

170

gate

168

input channels

164

library

173

parameters

177

stereo output

165

using

164

E

EARLY REF

138

ECHO

142

Edit buffer

185

definition

294

Edit indicator

185

Editing dynamics processors

166

effects

136

EFF, definition

294

EFFECT page 1

123

,

124

,

136

,

137

,

157

EFFECT page 2

132

,

133

,

134

,

135

EFFECT page 3

125

Effects about

120

block diagram

159

edit page

123

,

124

,

136

,

137

,

157

editing

136

library

132

library page

132

,

133

,

134

,

135

parameters

138

pre/post page

125

summary

6

using

123

Effects library about

132

MIDI bulk dump

232

number of programs

266

preset program list

121

recalling programs

134

storing programs

133

titling programs

135

Effects returns aux sends

131

EQ

64

level setting

131

metering

83

monitoring

131

muting

130

panning

47

,

131

routing

49

specifications

264

viewing settings

130

Effects returns area, display

29

Effects sends master level settings

128

metering

86

muting

129

pre/post fader

125

viewing settings

127

Emphasis definition

294

digital stereo input 213 option I/O 216

ENTER button

31

EQ about

62

adjusting

63

aux sends

64

bypassing

66

effects returns

64

input channels

63

library

67

library page

67

,

68

,

69

,

70

page

63

,

64

,

65

resetting

66

specifications

267

stereo output

65

summary

5

EQ AUTO SCREEN, preference

203

EQ library about

67

MIDI bulk dump

232

number of programs

266

preset program list

67

preset program parameters

71

recalling programs

69

storing programs

68

titling programs

70

EQ page

43

EQ page 1

43

,

63

,

64

,

65

EQ page 2

67

,

68

,

69

,

70

Error messages

258

Expander

170

F

F control

63

FAD, user define

238

Fade time definition

294

mix scenes

191

Fader modes

32

Faders about

19

calibrating

204

display

30

fader modes

35

grouping

55

mode buttons

17

nominal indicator

30

reassigning

194

stereo output

90

summary

5

FB gain parameter, input delay

45

Features

3

FLANGE

143

FREEZE

157

Freq, effects parameter

137

Function area, display

28

Function buttons

17

Further reading

291

G

G control

63

GAIN control about

15

using

41

Gang, pan mode

48

Gate

168

GATE REVERB

139

General MIDI definition

294

General specifications

261

GR, definition

294

Group page

55

,

56

Grouping faders

55

Grouping mutes

56

GUI interface about

28

summary

6

01V—Owner’s Manual

300

Index

H

Headphones.

See

PHONES

Height, 01V dimensions

271

HIGH button

63

HI-MID button

63

HOME page 1

83

HOME page 2

83

HOME page 3

84

HOME page 4

84

HOME page 5

85

Home page, Yamaha web site

291

HPF

62

HQ.PITCH

144

I

Implementation chart, MIDI

290

INC button

31

INC/DEC SCENE RECALL, preference

203

Individual, pan mode

48

Initial settings, definition

294

Initializing

01V

204

internal parameter banks

194

parameter to control change table

229

scene memory to program change table

227

user defined MIDI controllers

238

INPUT (BAL) 1–12

20

INPUT (BAL) 13–16

20

Input channels

1 through 12

40

13 through 16

40

17 through 24

40

attenuator

43

aux sends

50

block diagram

60

copying settings

59

delay

45

dynamics processors

164

EQ

63

grouping faders

55

grouping mutes

56

level setting

46

metering

83

monitoring

50

muting

46

omni outs

50

option I/O

50

overview

40

pairing

52

panning

47

phase

42

routing

49

specifications

263

swapping inputs

51

swapping settings

59

viewing settings

57

Input jacks

20

Input meter page

83

Input swap page

51

Inputs and outputs

20

Internal parameter page

194

Interval time, MIDI bulk dump

232

Inv gang, pan mode

48

L

Latch, user define

238

LCD, definition

294

LED, definition

294

Level diagram

257

Level setting aux sends

99

bus outs

109

effects returns

131

effects send masters

128

input channels

46

stereo output

90

Libraries dynamics

173

effects

132

EQ

67

LIBRARY LIST ORDER, preference

204

Line inputs

20

Line-level signal, definition

294

Link port about

222

selecting

224

using

224

Linking 01Vs

239

LISTEN monitoring

78

solo

80

Local control

234

Locate points

MMC

236

LO-MID button

63

LOW button

63

Low-level signal, definition

294

LPF

62

LSB, definition

294

M

Mains lead

11

Memory area, display

29

MEMORY page 1

186

,

187

,

189

,

190

MEMORY page 2

191

MEMORY page 3

190

MEMORY page 4

192

Messages, display

258

Metering aux sends

83

bus outs

83

effects returns

83

effects sends

86

input channels

83

main stereo output meters

84

metering point

85

omni outs

84

option I/O

85

peak hold

84

stereo output

84

Metering point page

85

Mic inputs

20

MIDI about

222

about the connectors about

23

bulk dump

232

bulk page

232

bulk setup

226

control change page

229

control change setup

225

data format

280

definition

294

implementation chart

290

linking 01Vs

239

local control

234

local control page

234

MMC

236

parameter change setup

225

parameter control

229

ports

222

program change page

227

program change setup

225

receive channel

225

receive indicators

224

scene recall

227

setup

224

setup page

224

summary

7

system exclusive parameter control

231

transmit channel

225

01V—Owner’s Manual

Index

301

user define page

238

user defined controllers

238

using ports

223

MIDI data format

280

MIDI Device Number, definition

294

MIDI page 1

224

MIDI page 2

227

MIDI page 3

229

MIDI page 4

232

MIDI page 5

234

Mix parameter, input delay

45

Mix scenes definition

294

Mix scenes.

See

Scene memories

Mixdown solo mode

80

MMC

236

definition

294

MMC control page

236

MOD.DELAY

140

MOD.FILTER

146

Modulation, definition

294

MONI TRIM

78

MONITOR OUT about

22

using

77

MONITOR OUT LEVEL control about

15

using

77

Monitor setup page

78

MONITOR–2TR IN switch about

15

using

77

Monitoring about

76

AFL/PFL

78

aux sends

94

block diagram

79

bus outs

108

D/A converters

77

effects returns

131

input channels

50

MONITOR OUT

22

MONITOR–2TR IN switch

77

mono/stereo

78

setup

78

specifications

266

stereo output

88

using

78

MONO DELAY

139

Motorized faders

5

MSB, definition

295

MULTI FILTER

156

Muting aux sends

100

bus outs

109

effects returns

130

effects send masters

129

grouping channels

56

input channels

46

stereo output

90

MY4-AD 4 Analog Input 216

MY4-DA Analog Output 216

MY8-AD 8 Analog Input 216

MY8-AE AES/EBU 216

MY8-AT ADAT 216

MY8-TD Tascam 216

N

Naming.

See

Titling

Noise gate, definition

295

Nominal fader indicator

30

Nominal Level, definition

295

Normal phase

42

Nyquist theorem, definition

295

O

Omni definition

295

OMNI OUT

22

Omni out select page

116

Omni outs about

116

assigning

116

aux sends

94

block diagram

118

bus outs

108

connectors

22

D/A converters

116

delay

117

input channels

50

meter page

84

metering

84

specifications

265

stereo output

88

ON buttons about

18

aux sends

100

effects send masters

129

fader modes

34

input channels

46

master

90

reassigning

194

Operating level, definition

295

Option I/O about the cards 216 assigning outputs 219 aux sends

94

block diagram 220 bus outs

108

card specs 217 control page

43

,

63

,

95

,

97

,

123

,

126

input channels

50

input specifications

264

installing cards 218 metering

85

output specifications

266

select page 219 stereo output

88

summary

6

swapping inputs

51

OPTION I/O slot about

23

available cards 216 installing cards 218

Option in meter page

85

Option out meter page

85

OPTION page 1

85

OPTION page 2

43

,

47

,

49

,

58

,

63

,

95

,

97

,

123

,

126

OPTION page 3

85

OPTION page 4 219

OPTION page 5

51

Oscillator

202

Oscillator page

202

Output delay page

91

,

117

Oversampling, definition

295

P

PAD switch about

15

using

41

Page area, display

29

Pages aux pan

102

aux pre/post

95

,

96

,

97

,

99

,

100

bulk

232

bus master

109

,

110

CH copy

59

CH13-14 flip 213 control change

229

control, option I/O

43

,

47

,

49

,

58

,

63

,

95

,

97

,

123

,

126

Delay

45

dither 212

dynamics edit 164

,

165

,

166

01V—Owner’s Manual

302

Index dynamics library

174

,

175

,

176

effect pre/post

125

effects edit

123

,

124

,

136

,

137

,

157

effects library

132

,

133

,

134

,

135

EQ

43

,

63

,

64

,

65

EQ library

67

,

68

,

69

,

70

fade time

191

group

55

,

56

input meter

83

input swap

51

internal parameter

194

local control

234

memory

186

,

187

,

189

,

190

memory sort

190

metering point

85

MIDI setup

224

MMC control

236

monitor setup

78

omni out meter

84

omni out select

116

option I/O out select 219 option in meter

85

option out meter

85

oscillator

202

output delay

91

,

117

pair

52

,

101

,

111

panpot

47

phase

42

preferences

203

program change

227

recall safe

192

routing

49

RTN/output meter

83

solo setup

80

ST out meter

84

user define

238

view

57

,

86

,

89

,

98

,

127

,

130

wordclock select 209

Pair page

52

,

101

,

111

Pairing aux sends

101

aux sends block diagram

105

bus outs

111

input channels

52

input channels pair block diagram

54

PAM, definition

295

PAN/ROUT page 1

47

PAN/ROUT page 2

49

PAN/ROUT page 3

109

,

110

PAN/ROUT page 4

116

,

213

Panning bus to stereo

110

channel aux sends

102

effects returns

47

,

131

input channels

47

modes

48

PAN/ROUT page

47

PANPOT AUTO SCREEN, preference

203

Panpot page

47

Parameter boxes, display

30

Parameter change echo

225

on/off

225

Parameter control system exclusive

231

PARAMETER wheel

31

Parameters

Dynamics processors preset programs

177

effects preset programs

138

EQ preset programs

71

PCM, definition

295

Peak hold

84

Peaking definition

295

EQ

62

PEQ, definition

295

PFL, definition

295

PFL/AFL.

See

AFL/PFL

PHANTOM +48V ON–OFF switches

22

Phantom powering

41

Phantom powering, definition

295

Phase

42

Phase page

42

PHASER

143

Phone inputs

20

PHONES jack connector

21

using

77

PHONES LEVEL control about

15

using

77

Pink noise definition

295

pink noise

202

Ports about

222

MIDI

23

selecting

224

TO HOST

23

using MIDI

223

using TO HOST

223

Post fader, definition

295

Power cord

11

POWER switch

23

Powering down the 01V

11

Powering up the 01V

11

Pre fader, definition

295

Pre/post aux sends

97

effects sends

125

monitoring

78

solo

80

Preferences

203

Preferences pages

203

Preset programs dynamics list

163

dynamics parameters

177

effects list

121

effects parameters

138

EQ list

67

EQ parameters

71

Pro Tools, system

250

Problem solving

253

Program change definition

295

echo

225

MIDI bulk dump

232

omni

225

on/off

225

page

227

scene memory assignment table

273

scene memory assignments

227

scene recall

227

using

228

Programmable mixer 01 parameter to control change assignment table

277

Programs dynamics list

163

dynamics parameters

177

effects list

121

effects parameters

138

EQ list

67

EQ parameters

71

Protecting scene memories

189

Q

Q adjusting

63

definition

296

Quantization, definition

296

01V—Owner’s Manual

Index

303

R

Rack mounting

259

Rear panel

22

Reassigning faders & on buttons

194

RECALL CONFIRMATION, preference

203

Recalling dynamics programs

175

effects programs

134

EQ programs

69

scene memories

187

undoing mix scene recalls

189

Receive channel, MIDI

225

Recording solo mode

80

Releasing aux send pairs

101

bus out pairs

111

input channel pairs

53

REMOTE page 1

194

REMOTE page 2

236

REMOTE page 3

238

Renumbering scene memories

190

Request local control

234

MIDI bulk dump

232

Resetting the EQ

66

Return controls about

19

fader modes

35

REV+CHORUS

148

REV+FLANGE

149

REV+SYMPHO

150

REV->CHORUS

149

REV->FLANGE

150

REV->PAN

151

REV->SYMPHO

151

REVERB HALL

138

REVERB PLATE

138

REVERB ROOM

138

REVERB STAGE

138

REVERSE GATE

139

Reverse phase

42

RING MOD

146

RK124, rack-mount kit

259

ROTARY

145

Rotary controls, display

30

Routing bus to stereo

110

effects returns

49

input channels

49

page

49

RTN/output meter page

83

S

Safe channels, mix scenes

192

Sampling rate definition

296

setting 209

Scene memories about

184

definition

296

display area

185

edit buffer

185

edit indicator

185

fade time

191

fade time page

191

memory 00

185

memory page

186

,

187

,

189

,

190

memory sort page

190

MIDI bulk dump

232

number of memories

266

program change assignment table

273

protecting

189

recall safe page

192

recalling

187

recalling via MIDI

188

renumbering

190

safe channels

192

storing

186

summary

7

titling

190

undoing recalls

189

what’s stored

184

Security cover

259

SEL buttons about

18

fader modes

32

SELECT CH MESSAGE, preference

203

Selected channel area, display

29

Selected channel controls about

16

EQ controls

63

SETUP page 1 209

SETUP page 2

78

,

80

SETUP page 3

55

,

56

SETUP page 4

52

,

101

,

111

SETUP page 5 212

Shelving definition

296

EQ

62

Signal to noise ratio, definition

296

Sine wave, oscillator

202

Snapshot, definition

296

Solo about

76

AFL/PFL

80

block diagram

82

modes

80

setup

80

stereo output

88

using

81

SOLO buttons about

18

fader modes

33

Solo setup page

80

SOLO status indicator

19

SOLO TRIM

80

Sonic performance

5

Specifications

280

analog inputs

268

analog outputs

268

aux sends

265

bus outs

265

control I/O

270

digital inputs

269

digital outputs

269

digital stereo input

264

digital stereo output

266

effects returns

264

EQ

267

general

261

input channels

263

monitor out

266

omni outs

265

option I/O inputs

264

option I/O outputs

266

stereo output

265

ST out meter page

84

STEREO DELAY

140

Stereo meters about

16

using

84

STEREO OUT

23

Stereo output

2TR OUT

88

about

88

balancing

90

block diagram

92

connectors

23

D/A converters

88

delay

91

digital stereo output

88

dynamics processors 165

EQ

65

fader

90

level setting

90

metering

84

01V—Owner’s Manual

304

Index monitoring

88

muting

90

omni outs

88

option I/O

88

solo

88

specifications

265

viewing settings

89

STORE CONFIRMATION, preference

203

Storing dynamics programs

174

effects programs

133

EQ programs

68

MIDI bulk dump

232

scene memories

186

SW, user define

238

Swapping channel settings

59

Swapping input channels

51

Switches, display

30

Switching off the 01V

11

Switching on the 01V

11

SYMPHONIC

143

System examples

ADAT-interface recorder

242

general

10

Pro Tools

250

Tascam-interface recorder

246

Two ADAT-interface recorders

244

Two Tascam-interface recorders

248

System exclusive definition

296

parameter control

231

Transmit local control

234

MIDI bulk dump

232

Transmit channel, MIDI

225

Transport control, MMC

236

TREMOLO

144

Troubleshooting

253

Turning off the 01V

11

Turning on the 01V

11

U

Undoing mix scene recalls

189

Unity gain, definition

296

Unlatch, user define

238

User define page

238

User defined MIDI controllers

238

UTILITY page 1

202

UTILITY page 2

203

V

VIEW page 1

57

,

86

,

89

,

98

,

127

,

130

VIEW page 2

57

,

86

,

89

,

98

,

127

,

130

VIEW page 3

59

Viewing settings aux sends

98

effects returns

130

effects sends

127

input channels

57

stereo output

89

T

Tamper proof cover

259

Tempo, effects parameter

137

THD, definition

296

Title edit dialog box

37

Titling dialog box

37

dynamics programs

176

effects programs

135

EQ programs

70

scene memories

190

TO HOST about

222

about the connector about

23

using

223

Top panel

14

W

Web site

291

Width, 01V dimensions

271

Wordclock about 206 definition

296

important information

11

setting 209

Wordclock select page 209

Wordlength 212

X

XLR inputs

20

01V—Owner’s Manual

98 04 2000 AP Printed in Japan

interstage

Phistersvej 31, 2900 Hellerup, Danmark

Telefon 3946 0000, fax 3946 0040 www.interstage.dk

YAMAHA CORPORATION

Pro Audio Division, #18/3

P.O. Box 3, Hamamatsu, 430-8651, Japan

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