advertisement
–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
About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Important Wordclock Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
3 Touring the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4 Getting Around the User Interface . . . . . . . . . . . . 27
PARAMETER Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
–1/DEC & +1/INC Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
5 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Input Channel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
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
Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Copying & Swapping Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . 59
Input Channel Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
6 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Recalling EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Editing EQ Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Preset EQ Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
7 Solo, Monitors & Meters . . . . . . . . . . . . . . . . . . . . 75
Two-track Input (2TR IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Monitor Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Setting the Metering Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Option I/O Meters (input channels 17–24) . . . . . . . . . . . . . . . . . . . . . . 85
8 Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
About the 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 Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
9 Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Option I/O & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Omni Outs & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Monitoring 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
Applying EQ to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Aux Send Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
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
Routing Signals to the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Setting Bus Out Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Routing Bus Signals to the Stereo Bus . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Stereo Pair Bus Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
11 Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Omni Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
v
01V—Owner’s Manual
vi
Contents
12 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
About the Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Pre-fader/Post-fader Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Viewing Effects Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Setting Effects Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Viewing Effects Returns Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Applying EQ to Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Setting Effects Returns Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Monitoring Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Effects Returns & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Recalling Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Editing Effects Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Setting Delay, Freq, Note & Tempo Parameters . . . . . . . . . . . . . . . . . . 137
13 Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . 161
About the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Preset Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Using the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Editing the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
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 Display Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Recalling Mix Scenes Using MIDI Program Change Messages . . . . . . 188
Undoing Mix Scene Recalls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Protecting Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
01V—Owner’s Manual
Contents
vii
Editing Scene Memory Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Renumbering Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
15 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Assigning Faders & On Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
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
Program Change Scene Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Control Change Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
System Exclusive Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
User Defined MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
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—Owner’s Manual
viii
Contents
Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 261
Option I/O Inputs 17–24 (need optional card) . . . . . . . . . . . . . . . . . . . 264
Return 1, 2 (Internal Effect 1, 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Option I/O Output (need optional card) . . . . . . . . . . . . . . . . . . . . . . . 266
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
Appendix D: Resources . . . . . . . . . . . . . . . . . . . . . . . 291
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
01V—Owner’s Manual
Welcome to the 01V
Welcome to the 01V
1
1
In this chapter...
01V—Owner’s Manual
2
Chapter 1—Welcome to the 01V
Welcome to the 01V
Thank you for choosing the Yamaha 01V Digital Mixing Console. Based on the highly successful Yamaha digital mixer series, the Yamaha 01V has been designed with MIDI musicians and small sound reinforcement applications in mind, although its versatility, compactness, and ease-of-use will appeal to both professional and semiprofessional users.
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
4
Chapter 1—Welcome to the 01V
Key Feature Discussion
Configuration
The 01V provides a total of 24 inputs: 12 mono input channels (1 through 12), 2 stereo input channels (13/14 and 15/16), and 8 digital inputs (17 through 24) by means of an
Option I/O card. The stereo output signal is available from the analog STEREO OUT, coaxial DIGITAL STEREO OUT, and can be assigned to the analog OMNI OUTs and
Option I/O digital outputs. 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
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
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—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-
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
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...
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
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
(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
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,
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
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
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...
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
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
•
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
36
Chapter 4—Getting Around the User Interface
To adjust the aux 1 send level of input channel 13/14, press the [AUX 1] button, and then operate fader 13/14.
To adjust the aux 1 send level of input channel 20, use the [OPTION I/O] button to locate OPTION page 2, press [SEL] button 20, use the cursor buttons to select the
AUX 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and
[+1/INC] buttons.
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.
01V—Owner’s Manual
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.
01V—Owner’s Manual
38
Chapter 4—Getting Around the User Interface
01V—Owner’s Manual
Input Channels
39
Input Channels
5
In this chapter...
Copying & Swapping Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
01V—Owner’s Manual
40
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-
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.
01V—Owner’s Manual
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
01V—Owner’s Manual
42
Chapter 5—Input Channels
Changing the Input Phase
The Phase switches, available on input channels 1 through 16, reverse the phase of input signals by 180 degrees. This can be used to compensate for incorrectly wired balanced cables and microphones. Also, when a snare drum is miked top and bottom, the channel connected to the bottom microphone can be phase reversed to prevent signal cancellation.
1. Use the [
∅
/DELAY] button to locate DELAY page 1, as shown below.
2. 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.
01V—Owner’s Manual
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-
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.
01V—Owner’s Manual
44
Chapter 5—Input Channels
Applying EQ to Input Channels
Input channels 1 through 16 feature four-band parametric EQ, while input channels 17
page. See “Viewing Input Channel Settings” on page 57 for more information.
Input Channels Dynamics Processors
dynamics curve viewed on the Dynamics page and VIEW page. See “Viewing Input
Channel Settings” on page 57 for more information.
01V—Owner’s Manual
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
channel selected.
01V—Owner’s Manual
46
Chapter 5—Input Channels
Muting Input Channels
ON
Input channels can be turned on and off (i.e., muted) using the [ON] buttons.
When a channel is on, its [ON] button lights up.
To turn on or off an input channel from 1 through 16, select a fader mode other than Option I/O or Remote, and then press an [ON] button from 1 through 16.
To turn on or off an input channel from 17 through 24, press the [OPTION
I/O] button, and then press an [ON] button from 17 through 24.
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
Faders can be grouped together for multi-channel control using a single
fader. See “Grouping Faders” on page 55 for more information.
01V—Owner’s Manual
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).
01V—Owner’s Manual
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
01V—Owner’s Manual
50
Chapter 5—Input Channels shows how it works.
Routing Pan Signal Destination
Signals are fed equally to bus outs 1 and 2 and the left and right channels of the stereo out.
Signals are fed to bus out 1 and the left channel of the stereo out.
Signals are fed to bus out 2 and the right channel of the stereo out.
The Routing switches on input channels 13 and 14 (likewise 15 and 16) are perma-
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
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.
01V—Owner’s Manual
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.
01V—Owner’s Manual
52
Chapter 5—Input Channels
Pairing Input Channels
Input channels 1 through 12 can be paired together for stereo signal processing. Adjacent odd and even input channels can be paired together (i.e., 1/2, 3/4, 5/6, not 2/3 or
4/5). The following parameters are linked when channels are paired: attenuators, EQ, dynamics, delays, [ON], and [SEL] buttons, faders, aux sends, effects sends, and pre/post settings. Routing switches, [SOLO] buttons, phase, panpots, aux panpots, and fade time on/off are not linked. 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.
01V—Owner’s Manual
Pairing Input Channels
53
Releasing Input Channel Pairs
1. Press the [SEL] button of both input channels simultaneously.
OR
On SETUP page 4, use the cursor buttons to select the paired channel switch, and then press the [ENTER] button.
The following dialog box appears.
2. Select OK, and then press the [ENTER] button.
The stereo pair is broken, and both input channels operate independently.
01V—Owner’s Manual
54
Chapter 5—Input Channels
Input Channel Pair Block Diagram
AUX/EFF PRE/POST
01V—Owner’s Manual
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.
01V—Owner’s Manual
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...
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.
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.
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.
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.
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.
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.
01V—Owner’s Manual
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...
Option I/O Meters (input channels 17–24) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
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-
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
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
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
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.
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
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
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...
Coaxial Digital Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
01V—Owner’s Manual
88
Chapter 8—Stereo Output
About the Stereo Output
The stereo output features four-band parametric EQ, a dynamics processor, balance control, and variable output delay of up to 300 milliseconds. The stereo signal is output via analog XLR-type connectors, analog 2TR OUT connectors, Coaxial digital outputs, and can be assigned to the Option I/O digital outputs or omni outs.
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
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.
01V—Owner’s Manual
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
90
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
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.
Applying EQ to the Stereo Output
page. See “Viewing Stereo Output Settings” on page 89 for more information.
Stereo Output Dynamics Processors
01V—Owner’s Manual
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
92
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
01V—Owner’s Manual
Aux Sends
93
Aux Sends
9
In this chapter...
01V—Owner’s Manual
94
Chapter 9—Aux Sends
About the Aux Sends
The 01V’s four aux sends, which can be used individually or in stereo pairs, feature four-band parametric EQ and dynamics processors. Signals from input channels 1 through 16 and the effects returns can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2. Channel aux sends can be configured individually as pre-fader or post-fader sends. The 01V does not have dedicated aux send connections. 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.
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
Monitoring Aux Sends
Metering Aux Sends
01V—Owner’s Manual
Sending Channel Signals to Aux Sends
95
Sending Channel Signals to Aux Sends
Signals from input channels 1 through 16 and the effects returns can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2.
For Input Channels 1–16
1. Use the [AUX] buttons to select an aux send.
The faders now function as channel aux send controls for the selected aux send, and an
AUX page similar to the one shown below appears.
2. 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-
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
96
Chapter 9—Aux Sends
For Effects Returns 1 & 2
1. Use the [AUX] buttons to select an aux send.
The effects returns rotary controls now function as effects returns aux send controls for the selected aux send, and an AUX page similar to the one shown below appears.
2. Turn up the rotary control of the effects return you want to send to the aux send.
If the aux send is configured post-fader (“Pre-fader/Post-fader Aux Sends” on page 97),
you’ll have to raise the effects returns regular control as well. 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.
01V—Owner’s Manual
98
Chapter 9—Aux Sends
Viewing Aux Send Settings
Settings for the aux sends can be viewed, and certain parameters adjusted on VIEW pages 1 and 2.
1. Use the [AUX] buttons to select an aux send, and then press the MASTER
[SEL] button.
AUX appears on the display, indicating that an aux send is selected.
2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.
3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.
Parameters are explained in the following sections.
01V—Owner’s Manual
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
–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.
01V—Owner’s Manual
100
Chapter 9—Aux Sends
Muting Aux Sends
ON
Aux send masters can be muted using the MASTER [ON] button, which lights up when an aux send is on. The function of this button depends on
the selected Fader mode. See “ON Buttons” on page 34 for more information.
1. Use the [AUX] buttons to select an aux send.
An AUX page similar to the one shown below appears.
The MASTER [ON] button now functions as aux send master on/off switch for the selected aux send.
2. 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
page. See “Viewing Aux Send Settings” on page 98 for more information.
Aux Send Dynamics Processors
viewed on the VIEW page. See “Viewing Aux Send Settings” on page 98 for more information.
01V—Owner’s Manual
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.
01V—Owner’s Manual
102
Chapter 9—Aux Sends
Panning Channel Aux Sends
1. Use the [AUX 1] or [AUX 2] button to locate the AUX 1–2 Pan page, or the [AUX 3] or [AUX 4] button to locate the AUX 3–4 Pan page.
When aux sends are not paired, the AUX PAN pages are empty, as shown below.
When aux sends are paired (“Making Aux Send Pairs” on page 101), the AUX PAN
pages contain panpots for input channels 1 through 16 and the effects returns, as shown below.
2. 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).
01V—Owner’s Manual
Pairing Aux Sends
103
Setting the controls to positions in between these two extremes allows you to set the width of the stereo signal. To maintain a central balance, however, you must set both controls to corresponding values. For example, L8 and
R8, or L10 and R10.
01V—Owner’s Manual
104
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
01V—Owner’s Manual
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...
01V—Owner’s Manual
108
Chapter 10—Bus Outs
About the Bus Outs
The 01V’s four bus outs can be used individually or in stereo pairs. Signals from input
channels 1 through 24 and the effects returns can be routed to bus outs 1 through 4. See
“Routing Input Channels” on page 49 for more information. The 01V does not have
dedicated bus out connections. Instead bus outs must be assigned to the Option I/O digital outputs or omni outs.
Option I/O & the Bus Outs
Bus out signals can be assigned to the Option I/O digital outputs. 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
Monitoring Bus Outs
Metering Bus Outs
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.
01V—Owner’s Manual
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
110
Chapter 10—Bus Outs
Routing Bus Signals to the Stereo Bus
The bus outs can be routed to the Stereo bus and used as sub-groups during mixdown.
Initially odd bus outs are panned to the left and even bus outs to right.
1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 3, a shown below.
2. Use the cursor buttons to select the TO ST switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to turn them on.
3. 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
01V—Owner’s Manual
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.
01V—Owner’s Manual
112
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
01V—Owner’s Manual
Stereo Pair Bus Out Block Diagram
113
Stereo Pair Bus Out Block Diagram
In this diagram, bus outs 1 and 2 are paired.
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
01V—Owner’s Manual
114
Chapter 10—Bus Outs
01V—Owner’s Manual
Omni Outs
115
Omni Outs
11
In this chapter...
01V—Owner’s Manual
116
Chapter 11—Omni Outs
About the Omni Outs
The 01V’s four omni outs can be used as aux send outputs, bus out outputs, additional stereo outputs, or post-fader direct outputs for input channels 1 through 16. Each omni out features a variable output delay of up to 300 milliseconds.
Omni Outs
Omni out signals are converted to analog using 18-bit D/A converters, and then output via balanced 1/4-inch phone jacks with a
+4 dB nominal output level.
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.
01V—Owner’s Manual
Omni Out Delay
117
Omni Out Delay
The omni outs can be delayed individually by up to 300 milliseconds. This can be used to compensate for delays in multi-speaker sound reinforcement systems.
1. Use the [
∅
/DELAY] button to locate DELAY page 4, as shown below.
2. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.
Parameter Range
ON/OFF
ON/OFF
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.
01V—Owner’s Manual
118
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...
Setting Delay, Freq, Note & Tempo Parameters . . . . . . . . . . . . . . . . . . . . . . . 137
01V—Owner’s Manual
120
Chapter 12—Effects
About the Onboard Effects
The 01V’s two onboard stereo multi-effects processors, Effect 1 and Effect 2, provide a wide range of high-quality effects, including reverb, delay, chorus, flange, amp simulator, and freeze. There are 42 different types of effect available. Effects processors 1 and
2 are fed by Effect buses 1 and 2, respectively, and processed signals are returned via effect returns 1 and 2. Effects can be applied to input channels 1 through 24 and the effects returns.
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-
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.
01V—Owner’s Manual
Preset Effects Programs
121
Preset Effects Programs
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.
01V—Owner’s Manual
122
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
Basic Sampler
01V—Owner’s Manual
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-
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.
01V—Owner’s Manual
124
Chapter 12—Effects
4. Use the cursor buttons to select an EFFECT fader, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set the effects send level.
For Effects Returns 1 & 2
To prevent signal loops, effects return 1 can be fed only to Effect 2, and effects return 2 can be fed only to Effect 1.
1. Press the [HOME] button, and then turn up the RETURN level control of the effects return to which you want to apply an effect.
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.
01V—Owner’s Manual
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-
01V—Owner’s Manual
126
Chapter 12—Effects
For Input Channels 17–24
1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.
2. Use [SEL] buttons 17 through 24 to select channels.
3. Use the cursor buttons to select the EFFECT PRE/POST switches, and the
PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.
01V—Owner’s Manual
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.
01V—Owner’s Manual
128
Chapter 12—Effects
Setting Effects Send Master Levels
0
–5
–10
–15
–20
Effects send master levels are controlled using the MASTER fader. The
–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.
01V—Owner’s Manual
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.
01V—Owner’s Manual
130
Chapter 12—Effects
Viewing Effects Returns Settings
Settings for the effects returns can be viewed, and certain parameters adjusted on VIEW pages 1 and 2.
1. Use the effects returns [SEL] button to select an effects returns.
RTN1 or RTN2 appears on the display, indicating that an effects return is selected.
2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.
3. 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
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.
01V—Owner’s Manual
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.
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
Routing Effects Returns
Monitoring Effects Returns
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
01V—Owner’s Manual
132
Chapter 12—Effects
Effects Library
Effects settings are stored as programs in the effects library, which contains 42 preset programs (1–42) and 57 user programs (43–99). User programs are used to store custom effects settings, which can be titled for easy identification. The effects library can also be used to transfer settings from one effects processor to another. For example, the
Effect 1 settings could be stored as a library program and then recalled to Effect 2. 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.
01V—Owner’s Manual
Storing Effects Programs
133
Storing Effects Programs
Custom effects settings can be stored in user programs 43 through 99.
1. Use the [EFFECT 1] or [EFFECT 2] button to locate the library page, as shown below.
To store the effects settings of Effect 1, use the [EFFECT 1] button to locate the library page. To store the effects settings of Effect 2, use the [EFFECT 2] button.
2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 43 through 99.
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.
01V—Owner’s Manual
134
Chapter 12—Effects
Recalling Effects Programs
Effects programs 1 through 99 can be recalled. Programs that use the HQ. PITCH or
FREEZE effects can be recalled only to Effect 2.
1. Use the [EFFECT 1] or [EFFECT 2] button to locate the Library page, as shown below.
To recall an effects program to Effect 1, use the [EFFECT 1] button to locate the library page. To recall an effects program to Effect 2, use the [EFFECT 2] button.
2. 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.
01V—Owner’s Manual
Editing Effects Program Titles
135
Editing Effects Program Titles
User program titles can be edited using the Title Edit function.
1. Use the [EFFECT 1] or [EFFECT 2] button to locate the library page, as shown below.
2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 43 through 99.
3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button.
The Title Edit dialog box appears.
4. Edit the program title.
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.
01V—Owner’s Manual
136
Chapter 12—Effects
Editing Effects
Effects programs can be edited, and then stored as user programs.
1. Press the [EFFECT 1] or [EFFECT 2] button to locate EFFECT1 page 1 or
EFFECT2 page 1, depending on which effect you want to edit.
EFFECT1 page 1 is shown below.
2. Use the cursor buttons to select the effects parameters, and the 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.
01V—Owner’s Manual
Setting Delay, Freq, Note & Tempo Parameters
137
Setting Delay, Freq, Note & Tempo Parameters
Delay parameters can be set manually by entering the delay time in milliseconds, or automatically by entering the NOTE and TEMPO parameters. For example, with the
TEMPO set to 120 beats per minute and NOTE set to eighth note, the delay is automatically set to 250 milliseconds, as shown below. With the TEMPO still at 120 beats per minute, changing the DELAY to 500.0 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.
01V—Owner’s Manual
138
Chapter 12—Effects
Effects Parameters
REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB
PLATE
Hall, room, stage, and plate simulations, all with gates.
Parameter Range Description
REV TIME 0.3–99.9 s
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
01V—Owner’s Manual
Effects Parameters
139
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.
01V—Owner’s Manual
140
Chapter 12—Effects
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.
01V—Owner’s Manual
Effects Parameters
141
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.
01V—Owner’s Manual
142
Chapter 12—Effects
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.
01V—Owner’s Manual
Effects Parameters
143
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.
01V—Owner’s Manual
144
Chapter 12—Effects
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.
01V—Owner’s Manual
Effects Parameters
145
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
01V—Owner’s Manual
146
Chapter 12—Effects
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
01V—Owner’s Manual
Effects Parameters
147
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)
01V—Owner’s Manual
148
Chapter 12—Effects
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.
01V—Owner’s Manual
Effects Parameters
149
REV->CHORUS
Reverb and chorus effects in series.
Parameter Range Description
REV TIME 0.3–99.9 s
INI.DLY
0.0–500.0 ms
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.
01V—Owner’s Manual
150
Chapter 12—Effects
REV->FLANGE
Reverb and flanger effects in series.
Parameter Range Description
REV TIME 0.3–99.9 s
INI.DLY
0.0–500.0 ms
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.
01V—Owner’s Manual
Effects Parameters
151
REV->SYMPHO.
Reverb and symphonic effects in series.
Parameter Range Description
REV TIME 0.3–99.9 s
INI.DLY
0.0–500.0 ms
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.
01V—Owner’s Manual
152
Chapter 12—Effects
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.
01V—Owner’s Manual
Effects Parameters
153
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.
01V—Owner’s Manual
154
Chapter 12—Effects
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.
01V—Owner’s Manual
Effects Parameters
155
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.
01V—Owner’s Manual
156
Chapter 12—Effects
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
01V—Owner’s Manual
Effects Parameters
157
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.
01V—Owner’s Manual
158
Chapter 12—Effects
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.
01V—Owner’s Manual
Effects Block Diagram
159
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
01V—Owner’s Manual
160
Chapter 12—Effects
01V—Owner’s Manual
Dynamics Processors
161
Dynamics Processors
13
In this chapter...
01V—Owner’s Manual
162
Chapter 13—Dynamics Processors
About the Dynamics Processors
Input channels 1 through 16, the aux sends, and the stereo output all feature powerful dynamics processors, offering compressor, limiter, gate, ducker, and compander 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.
01V—Owner’s Manual
Preset Dynamics Programs
163
Preset Dynamics Programs
The following table lists the preset dynamics programs. See “Preset Dynamics Program
Settings” on page 177 for detailed parameter information.
No.
Title Type
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
01V—Owner’s Manual
164
Chapter 13—Dynamics Processors
Using the Dynamics Processors
Input channels 1 through 16, the aux sends, and the stereo output all feature dynamics processors.
To recall a program from the dynamics library, see “Recalling Dynamics Programs” on
page 175. To edit a dynamics processor, see“Editing the Dynamics Processors” on page 166.
For Input Channels 1–16
1. Use [SEL] buttons 1 through 16 to select channels.
2. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below.
3. 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-
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.
01V—Owner’s Manual
Using the Dynamics Processors
165
4. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.
When aux sends are paired (“Making Aux Send Pairs” on page 101), their dynamics
processors are linked.
For the Stereo Output
1. Press the [HOME] button, and then the MASTER [SEL] button.
ST appears on the display, indicating that the stereo output is selected.
2. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below.
3. 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.
01V—Owner’s Manual
166
Chapter 13—Dynamics Processors
Editing the Dynamics Processors
Dynamics processors are edited on the DYNAMICS page 1, as shown below.
1. Use the [DYNAMICS] button to locate DYNAMICS page 1, as shown below.
2. Use [SEL] buttons 1 through 16 and MASTER to select channels.
3. Use the cursor buttons to select the parameters, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.
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.
01V—Owner’s Manual
Processor Types
167
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)
01V—Owner’s Manual
168
Chapter 13—Dynamics Processors
THRESHOLD
—This determines the level of input signal required to trigger the compressor. Signals at a level below the threshold pass through the compressor unaffected.
Signals at and above the threshold level are compressed by the amount specified using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter.
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
01V—Owner’s Manual
Processor Types
169
THRESHOLD
—This determines the level at which the gate closes, cutting off the signal. Signals above the threshold level pass through unaffected. Signals at or below the threshold, however, cause the gate to close. The trigger signal is sourced using the KEY
IN parameter.
RANGE
—This determines the level to which the gate closes. Think of it as a brick holding a garden gate open so that a certain amount of signal always flows through. 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
01V—Owner’s Manual
170
Chapter 13—Dynamics Processors is reduced to a level set by the Range parameter. The trigger signal is sourced using the
KEY IN parameter.
RANGE
—This determines the level to which the signal is ducked. For a setting of
–80 dB, the signal is virtually cutoff. For a setting of –30 dB, however, the signal is ducked by 30 dB. For a setting of 0 dB, the ducker has no effect.
HOLD
— This determines how long ducking remains active once the trigger signal has fallen below the threshold level.
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.
01V—Owner’s Manual
Processor Types
171
+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
01V—Owner’s Manual
172
Chapter 13—Dynamics Processors
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).
01V—Owner’s Manual
Dynamics Library
173
Dynamics Library
Dynamics settings are stored as programs in the dynamics library, which contains 40 preset programs (1–40) and 40 user programs (41–80). User programs are used to store custom dynamics settings, which can be titled for easy identification. The dynamics library can also be used to transfer settings from one dynamics processor to another.
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.
01V—Owner’s Manual
174
Chapter 13—Dynamics Processors
Storing Dynamics Programs
Custom dynamics settings can be stored in user programs 41 through 80.
1. Select the channel whose dynamics processor settings you want to store as a program.
Use [SEL] buttons 1 through 16 to select the input channels 1 through 16. To select an aux send, use the [AUX] buttons to select an aux send, and then press the MASTER
[SEL] button. To select the stereo output, press the [HOME] button, and then the
MASTER [SEL] button.
2. 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.
01V—Owner’s Manual
Recalling Dynamics Programs
175
Recalling Dynamics Programs
Dynamics programs 1 through 80 can be recalled.
1. Select the channel to which you want to recall the dynamics program.
Use [SEL] buttons 1 through 16 to select the input channels 1 through 16. To select an aux send, use the [AUX] buttons to select an aux send, and then press the MASTER
[SEL] button. To select the stereo output, press the [HOME] button, and then the
MASTER [SEL] button.
2. 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.
01V—Owner’s Manual
176
Chapter 13—Dynamics Processors
Editing Dynamics Program Titles
User program titles can be edited using the Title Edit function.
1. Use the [DYNAMICS] button to locate the Library page, as shown below.
2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a user program from 41 through 80.
3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button.
The Title Edit dialog box appears.
4. Edit the program title.
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.
01V—Owner’s Manual
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.
01V—Owner’s Manual
178
Chapter 13—Dynamics Processors
# 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.
01V—Owner’s Manual
#
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
182
Chapter 13—Dynamics Processors
01V—Owner’s Manual
Scene Memories
183
Scene Memories
14
In this chapter...
Recalling Mix Scenes Using MIDI Program Change Messages . . . . . . . . . . . 188
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.
01V—Owner’s Manual
190
Chapter 14—Scene Memories
Editing Scene Memory Titles
Scene memory titles can be edited using the Title Edit function.
1. Use the [MEMORY] button to locate MEMORY page 1, as shown below.
2. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a scene memory.
3. Use the cursor buttons to select the TITLE EDIT switch, and then press the [ENTER] button.
The Title Edit dialog box appears.
4. Edit the scene memory title.
See “Title Edit Dialog Box” on page 37 for more information.
5. 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.
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...
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.
01V—Owner’s Manual
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
01V—Owner’s Manual
196
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
Assigning Faders & On Buttons
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
PANPOT AUTO SCREEN
—When this option is turned on, PAN/ROUT page 1 or
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
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
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...
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
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
– ∞
–1/DEC
PARAMETER
+1/INC
CURSOR
DIGITAL STEREO
COAXIAL 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
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
–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
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
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
–1/DEC
PARAMETER
+1/INC
DIGITAL STEREO
COAXIAL 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
∞
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
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 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
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
–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
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
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
∞
–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
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-
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
–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
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
60
∞
6
0
5
10
20
40
60
∞
6
0
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
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
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 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
–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
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-
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...
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
• System Exclusive Bulk Dump for data backup and transfer between 01Vs—“Bulk
• MMC (MIDI Machine Control) for remote recorder control—“MIDI Machine
• 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
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
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
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-
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-
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-
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
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
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,
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
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
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
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...
Two 01Vs & two ADAT-Interface Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Two 01Vs & two Tascam-Interface Recorders . . . . . . . . . . . . . . . . . . . . . . . . . 248
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
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
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
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
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
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 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
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
Make sure that the odd channel is panned hard left and the right
channel is panned hard right. See “Panning Input Channels” on page
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 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
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
These effects programs use the HQ. PITCH and FREEZE type effects
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.
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
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
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
Ω
Less than 0.02%, 1 kHz, +18 dB into 600
Ω
, CH
IN to ST OUT
20 Hz–20 kHz +1, –3 dB, +4 dB into 600
Ω
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
Ω
, 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
Ω
10 k
Ω
Ω
50–600
Ω
Mics
&
600
Ω
Lines
600
600
Ω
Ω
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
Ω
Ω
Ω
600
10 k
10 k
Ω
Ω
Ω
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
Ω
Ω
10 k
Ω
Lines
8
Ω
phones
40
Ω
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
Ω
)
*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
Ω
)
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-emphasis—See 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 level—See 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 format—See Coaxial format.
Sampling rate — The number of times per second analog audio signals are sampled
(i.e., measured) during A/D conversion. Common digital audio sampling rates are
32 kHz, 44.1 kHz, and 48 kHz.
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.
Snapshot—See 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
Numerics
01V benefits
cascading 214 dimensions
features
initializing
level diagram
preferences
rack mounting
sonic performance
03D parameter to control change assignment table
–1/DEC & +1/INC buttons
15/16–2TR IN switch
2TR IN
about
input channels
2TR IN about
using
2TR OUT about
using
44.1 kHz sampling rate 209
A
A/D converter, definition
About aux sends
bus outs
dynamics library
dynamics processors
edit buffer
effects
effects library
EQ
EQ library
input channels
interface
MIDI & the 01V
monitor & solo
omni outs
option I/O cards 216 scene memories
stereo output
wordclocks 206
AFL, definition
AFL/PFL monitoring
solo
Aliasing, definition
AMP SIMULATE
Analog controls
Analog input specifications
Analog output specifications
Anti-aliasing, definition
Assigning faders & on buttons
input channels
omni outs
option I/O digital outputs 219 oscillator
Attenuator
Auto navigate, wordclock source
209
AUTOPAN
AUX page 1
AUX page 2
Aux pan page
Aux pre/post page
Aux sends about
block diagram
dynamics processors
effects returns
EQ
input channels
level setting
metering
monitoring
muting
omni outs
option I/O
pairing
panning
pre/post fader
specifications
stereo pair block diagram
using
viewing settings
B
Balancing the stereo output
Balancing, definition
Banks internal parameters
MIDI bulk dump
user define
Benefits of a Digital Mixer
Block diagrams aux sends
aux stereo pair
bus outs
bus outs stereo pair
complete
effects
input channels
monitoring
omni outs
option I/O 220 paired input channels
solo
stereo output
Books
Boosting the EQ
Bulk dump definition
interval time
setup
using
burst pink noise
Bus master page
,
Bus outs about
block diagram
bus to stereo
level setting
metering
monitoring
muting
omni outs
option I/O
pairing
specifications
stereo pair block diagram
Bus, definition
Bypassing the EQ
C
Calibrating the faders
PHONES
Cascade delay 215
Cascade, definition
01V—Owner’s Manual
298
Index
Cascading the 01V 214
CH copy page
CH, definition
CH13-14 flip page 213
CHORUS
Clipping, definition
Coaxial definition
Coaxial digital input.
See
Digital stereo input
Coaxial digital output.
See
Digital stereo output
Comp
Compander
Configuration, summary
Connectors
2TR IN
2TR OUT
DIGITAL STEREO IN
DIGITAL STEREO OUT
INPUT (BAL) 1–12
INPUT (BAL) 13–16
MIDI
MONITOR OUT
OMNI OUT
PHONES
STEREO OUT
TO HOST
Consumer format definition
Contrast control
Control change
01V parameter assignment table
03D parameter assignment table
control change assignments
definition
echo
MIDI bulk dump
omni
on/off
page
parameter control
programmable mixer 01 parameter assignment table
using
Control I/O specifications
Control page, option I/O
,
,
Controls
–1/DEC & +1/INC buttons
15/16–2TR IN switch
contrast
CURSOR buttons
ENTER button
fader mode buttons
faders
function buttons
GAIN control
MONITOR OUT LEVEL control
MONITOR–2TR IN switch
ON buttons
PAD switch
PARAMETER wheel
PHONES LEVEL control
POWER switch
Return controls
SEL buttons
SELECTED CHANNEL
SOLO status indicator
Copying channel settings
Crossfading mix scenes
CURSOR buttons
Cutting the EQ
D
D switch, routing
D/A converter, definition
DEC button
De-emphasis digital stereo input 213 option I/O input 216
Delay cascade compensation 215 effects parameter
input channels
omni outs
stereo output
DELAY LCR
Delay page
DELAY page 1
DELAY page 2
DELAY page 3
DELAY page 4
DELAY UNITS, preference
DELAY+ER
DELAY+REV
DELAY->ER
DELAY->REV
Depth, 01V dimensions
Device number, MMC
DIGITAL IN SYNC CAUTION, preference
Digital input specifications
Digital mixer benefits
Digital output specifications
DIGITAL STEREO IN
Digital stereo input connector
emphasis 213 specifications
using 213
DIGITAL STEREO OUT
Digital stereo output connector
dither 212 specifications
stereo output
using 211
Dimensions
DIO, definition
Display about
contrast
effects returns area
elements
faders
function area
memory area
messages
page area
parameter boxes
rotary controls
selected channel area
switches
DIST->DELAY
DISTORTION
Dither 212
Dither page 212
Dither, definition
DSP, definition
DUAL PITCH
Ducking
DYNA.FILTER
DYNA.FLANGE
DYNA.PHASER
Dynamic range, definition
Dynamics edit page
Dynamics library about
MIDI bulk dump
number of programs
page
,
,
preset program list
recalling programs
01V—Owner’s Manual
Index
299
storing programs
summary
titling
DYNAMICS page 1
DYNAMICS page 2
Dynamics processors about
aux sends
comp
compander
ducking
editing
expander
gate
input channels
library
parameters
stereo output
using
E
EARLY REF
ECHO
Edit buffer
definition
Edit indicator
Editing dynamics processors
effects
EFF, definition
EFFECT page 1
,
EFFECT page 2
EFFECT page 3
Effects about
block diagram
edit page
,
,
,
editing
library
library page
parameters
pre/post page
summary
using
Effects library about
MIDI bulk dump
number of programs
preset program list
recalling programs
storing programs
titling programs
Effects returns aux sends
EQ
level setting
metering
monitoring
muting
panning
routing
specifications
viewing settings
Effects returns area, display
Effects sends master level settings
metering
muting
pre/post fader
viewing settings
Emphasis definition
digital stereo input 213 option I/O 216
ENTER button
EQ about
adjusting
aux sends
bypassing
effects returns
input channels
library
library page
,
page
,
resetting
specifications
stereo output
summary
EQ AUTO SCREEN, preference
EQ library about
MIDI bulk dump
number of programs
preset program list
preset program parameters
recalling programs
storing programs
titling programs
EQ page
EQ page 1
EQ page 2
Error messages
Expander
F
F control
FAD, user define
Fade time definition
mix scenes
Fader modes
Faders about
calibrating
display
fader modes
grouping
mode buttons
nominal indicator
reassigning
stereo output
summary
FB gain parameter, input delay
Features
FLANGE
FREEZE
Freq, effects parameter
Function area, display
Function buttons
Further reading
G
G control
GAIN control about
using
Gang, pan mode
Gate
GATE REVERB
General MIDI definition
General specifications
GR, definition
Group page
Grouping faders
Grouping mutes
GUI interface about
summary
01V—Owner’s Manual
300
Index
H
PHONES
Height, 01V dimensions
HIGH button
HI-MID button
HOME page 1
HOME page 2
HOME page 3
HOME page 4
HOME page 5
Home page, Yamaha web site
HPF
HQ.PITCH
I
Implementation chart, MIDI
INC button
INC/DEC SCENE RECALL, preference
Individual, pan mode
Initial settings, definition
Initializing
01V
internal parameter banks
parameter to control change table
scene memory to program change table
user defined MIDI controllers
INPUT (BAL) 1–12
INPUT (BAL) 13–16
Input channels
1 through 12
13 through 16
17 through 24
attenuator
aux sends
block diagram
copying settings
delay
dynamics processors
EQ
grouping faders
grouping mutes
level setting
metering
monitoring
muting
omni outs
option I/O
overview
pairing
panning
phase
routing
specifications
swapping inputs
swapping settings
viewing settings
Input jacks
Input meter page
Input swap page
Inputs and outputs
Internal parameter page
Interval time, MIDI bulk dump
Inv gang, pan mode
L
Latch, user define
LCD, definition
LED, definition
Level diagram
Level setting aux sends
bus outs
effects returns
effects send masters
input channels
stereo output
Libraries dynamics
effects
EQ
LIBRARY LIST ORDER, preference
Line inputs
Line-level signal, definition
Link port about
selecting
using
Linking 01Vs
LISTEN monitoring
solo
Local control
Locate points
MMC
LO-MID button
LOW button
Low-level signal, definition
LPF
LSB, definition
M
Mains lead
Memory area, display
MEMORY page 1
MEMORY page 2
MEMORY page 3
MEMORY page 4
Messages, display
Metering aux sends
bus outs
effects returns
effects sends
input channels
main stereo output meters
metering point
omni outs
option I/O
peak hold
stereo output
Metering point page
Mic inputs
MIDI about
about the connectors about
bulk dump
bulk page
bulk setup
control change page
control change setup
data format
definition
implementation chart
linking 01Vs
local control
local control page
MMC
parameter change setup
parameter control
ports
program change page
program change setup
receive channel
receive indicators
scene recall
setup
setup page
summary
system exclusive parameter control
transmit channel
01V—Owner’s Manual
Index
301
user define page
user defined controllers
using ports
MIDI data format
MIDI Device Number, definition
MIDI page 1
MIDI page 2
MIDI page 3
MIDI page 4
MIDI page 5
Mix parameter, input delay
Mix scenes definition
Scene memories
Mixdown solo mode
MMC
definition
MMC control page
MOD.DELAY
MOD.FILTER
Modulation, definition
MONI TRIM
MONITOR OUT about
using
MONITOR OUT LEVEL control about
using
Monitor setup page
MONITOR–2TR IN switch about
using
Monitoring about
AFL/PFL
aux sends
block diagram
bus outs
D/A converters
effects returns
input channels
MONITOR OUT
MONITOR–2TR IN switch
mono/stereo
setup
specifications
stereo output
using
MONO DELAY
Motorized faders
MSB, definition
MULTI FILTER
Muting aux sends
bus outs
effects returns
effects send masters
grouping channels
input channels
stereo output
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
Titling
Noise gate, definition
Nominal fader indicator
Nominal Level, definition
Normal phase
Nyquist theorem, definition
O
Omni definition
OMNI OUT
Omni out select page
Omni outs about
assigning
aux sends
block diagram
bus outs
connectors
D/A converters
delay
input channels
meter page
metering
specifications
stereo output
ON buttons about
aux sends
effects send masters
fader modes
input channels
master
reassigning
Operating level, definition
Option I/O about the cards 216 assigning outputs 219 aux sends
block diagram 220 bus outs
card specs 217 control page
input channels
input specifications
installing cards 218 metering
output specifications
select page 219 stereo output
summary
swapping inputs
OPTION I/O slot about
available cards 216 installing cards 218
Option in meter page
Option out meter page
OPTION page 1
OPTION page 2
OPTION page 3
OPTION page 4 219
OPTION page 5
Oscillator
Oscillator page
Output delay page
Oversampling, definition
P
PAD switch about
using
Page area, display
Pages aux pan
aux pre/post
,
bulk
bus master
CH copy
CH13-14 flip 213 control change
control, option I/O
,
,
Delay
dither 212
01V—Owner’s Manual
302
Index dynamics library
,
,
effect pre/post
effects edit
effects library
EQ
,
EQ library
,
,
fade time
group
input meter
input swap
internal parameter
local control
memory
memory sort
metering point
MIDI setup
MMC control
monitor setup
omni out meter
omni out select
option I/O out select 219 option in meter
option out meter
oscillator
output delay
pair
,
,
panpot
phase
preferences
program change
recall safe
routing
RTN/output meter
solo setup
ST out meter
user define
view
,
,
wordclock select 209
Pair page
Pairing aux sends
aux sends block diagram
bus outs
input channels
input channels pair block diagram
PAM, definition
PAN/ROUT page 1
PAN/ROUT page 2
PAN/ROUT page 3
PAN/ROUT page 4
213
Panning bus to stereo
channel aux sends
effects returns
input channels
modes
PAN/ROUT page
PANPOT AUTO SCREEN, preference
Panpot page
Parameter boxes, display
Parameter change echo
on/off
Parameter control system exclusive
PARAMETER wheel
Parameters
Dynamics processors preset programs
effects preset programs
EQ preset programs
PCM, definition
Peak hold
Peaking definition
EQ
PEQ, definition
PFL, definition
AFL/PFL
PHANTOM +48V ON–OFF switches
Phantom powering
Phantom powering, definition
Phase
Phase page
PHASER
Phone inputs
PHONES jack connector
using
PHONES LEVEL control about
using
Pink noise definition
pink noise
Ports about
MIDI
selecting
TO HOST
using MIDI
using TO HOST
Post fader, definition
Power cord
POWER switch
Powering down the 01V
Powering up the 01V
Pre fader, definition
Pre/post aux sends
effects sends
monitoring
solo
Preferences
Preferences pages
Preset programs dynamics list
dynamics parameters
effects list
effects parameters
EQ list
EQ parameters
Pro Tools, system
Problem solving
Program change definition
echo
MIDI bulk dump
omni
on/off
page
scene memory assignment table
scene memory assignments
scene recall
using
Programmable mixer 01 parameter to control change assignment table
Programs dynamics list
dynamics parameters
effects list
effects parameters
EQ list
EQ parameters
Protecting scene memories
Q
Q adjusting
definition
Quantization, definition
01V—Owner’s Manual
Index
303
R
Rack mounting
Rear panel
Reassigning faders & on buttons
RECALL CONFIRMATION, preference
Recalling dynamics programs
effects programs
EQ programs
scene memories
undoing mix scene recalls
Receive channel, MIDI
Recording solo mode
Releasing aux send pairs
bus out pairs
input channel pairs
REMOTE page 1
REMOTE page 2
REMOTE page 3
Renumbering scene memories
Request local control
MIDI bulk dump
Resetting the EQ
Return controls about
fader modes
REV+CHORUS
REV+FLANGE
REV+SYMPHO
REV->CHORUS
REV->FLANGE
REV->PAN
REV->SYMPHO
REVERB HALL
REVERB PLATE
REVERB ROOM
REVERB STAGE
REVERSE GATE
Reverse phase
RING MOD
RK124, rack-mount kit
ROTARY
Rotary controls, display
Routing bus to stereo
effects returns
input channels
page
RTN/output meter page
S
Safe channels, mix scenes
Sampling rate definition
setting 209
Scene memories about
definition
display area
edit buffer
edit indicator
fade time
fade time page
memory 00
memory page
,
,
,
memory sort page
MIDI bulk dump
number of memories
program change assignment table
protecting
recall safe page
recalling
recalling via MIDI
renumbering
safe channels
storing
summary
titling
undoing recalls
what’s stored
Security cover
SEL buttons about
fader modes
SELECT CH MESSAGE, preference
Selected channel area, display
Selected channel controls about
EQ controls
SETUP page 1 209
SETUP page 2
SETUP page 3
SETUP page 4
SETUP page 5 212
Shelving definition
EQ
Signal to noise ratio, definition
Sine wave, oscillator
Snapshot, definition
Solo about
AFL/PFL
block diagram
modes
setup
stereo output
using
SOLO buttons about
fader modes
Solo setup page
SOLO status indicator
SOLO TRIM
Sonic performance
Specifications
analog inputs
analog outputs
aux sends
bus outs
control I/O
digital inputs
digital outputs
digital stereo input
digital stereo output
effects returns
EQ
general
input channels
monitor out
omni outs
option I/O inputs
option I/O outputs
stereo output
ST out meter page
STEREO DELAY
Stereo meters about
using
STEREO OUT
Stereo output
2TR OUT
about
balancing
block diagram
connectors
D/A converters
delay
digital stereo output
EQ
fader
level setting
metering
01V—Owner’s Manual
304
Index monitoring
muting
omni outs
option I/O
solo
specifications
viewing settings
STORE CONFIRMATION, preference
Storing dynamics programs
effects programs
EQ programs
MIDI bulk dump
scene memories
SW, user define
Swapping channel settings
Swapping input channels
Switches, display
Switching off the 01V
Switching on the 01V
SYMPHONIC
System examples
ADAT-interface recorder
general
Pro Tools
Tascam-interface recorder
Two ADAT-interface recorders
Two Tascam-interface recorders
System exclusive definition
parameter control
Transmit local control
MIDI bulk dump
Transmit channel, MIDI
Transport control, MMC
TREMOLO
Troubleshooting
Turning off the 01V
Turning on the 01V
U
Undoing mix scene recalls
Unity gain, definition
Unlatch, user define
User define page
User defined MIDI controllers
UTILITY page 1
UTILITY page 2
V
VIEW page 1
,
,
,
VIEW page 2
,
,
,
VIEW page 3
Viewing settings aux sends
effects returns
effects sends
input channels
stereo output
T
Tamper proof cover
Tempo, effects parameter
THD, definition
Title edit dialog box
Titling dialog box
dynamics programs
effects programs
EQ programs
scene memories
TO HOST about
about the connector about
using
Top panel
W
Web site
Width, 01V dimensions
Wordclock about 206 definition
important information
setting 209
Wordclock select page 209
Wordlength 212
X
XLR inputs
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
advertisement
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
Related manuals
advertisement
Table of contents
- 3 Important Information
- 5 Contents
- 11 Welcome to the 01V
- 19 Getting Started
- 23 Touring the 01V
- 37 Getting Around the User Interface
- 49 Input Channels
- 71 EQ
- 85 Solo, Monitors & Meters
- 97 Stereo Output
- 103 Aux Sends
- 117 Bus Outs
- 125 Omni Outs
- 129 Effects
- 171 Dynamics Processors
- 193 Scene Memories
- 203 Other Functions
- 215 Using the Digital Inputs & Outputs
- 231 MIDI
- 251 System Examples
- 263 Troubleshooting
- 267 Appendix A: General
- 271 Appendix B: Specifications
- 283 Appendix C: MIDI
- 301 Appendix D: Resources
- 303 Glossary
- 307 Index