user manual - Warehouse Sound Systems

user manual - Warehouse Sound Systems
DIGITAL RECORDING CONSOLE
E
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha
may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST
be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with
these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with
other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may
cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all
installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the
problem by using one of the following measures:
Relocate either this product or the device that is being affected by the interference.
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the
appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
* 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
BLUE
BROWN
: EARTH
: NEUTRAL
: 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.
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.
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.
NEDERLAND
THE NETHERLANDS
● Dit apparaat bevat een lithium batterij voor geheugen backup.
● This apparatus contains a lithium battery for memory backup.
● Raadpleeg uw leverancier over de verwijdering van de batterij
op het moment dat u het apparaat ann het einde van de
levensduur afdankt of de volgende Yamaha Service Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
● For the removal of the battery at the moment of the disposal
at the end of the service life please consult your retailer or
Yamaha Service Center as follows:
Yamaha Music Nederland Service Center
Address: Kanaalweg 18-G, 3526 KL
UTRECHT
Tel: 030-2828425
● Gooi de batterij niet weg, maar lever hem in als KCA.
● Do not throw away the battery. Instead, hand it in as small
chemical waste.
Important Information
i
Important Information
Please read the following before operating your 02R Digital Recording
Console.
Precautions
Installing the 02R
•
•
•
•
•
•
•
•
•
•
•
•
The unit should be connected only to an AC receptacle of the type
described in the owner’s manual or as marked on the unit.
Be careful to prevent the 02R from getting wet; do not allow water to
enter the 02R, especially when raining or snowing, or near a body of a
water. Otherwise, fire or electrical shock may result.
Do not block the ventilation holes on the 02R. The 02R has ventilation
holes on the top, rear, front and bottom panel to prevent the inside
temperature from rising. If the ventilation holes are blocked, the heat
will remain inside, resulting in fire. In particular, avoid the following
situations:
Do not orient the 02R upside down, face down, or sideways.
Do not place the 02R in a narrow, non-ventilated space, such as in a
bookcase or closet. Use a dedicated rack.
Do not place a table cloth on top of the 02R; do not place the 02R on a
carpet or mattress.
Do not place heavy objects on the power cord. If the cord is damaged,
fire or electrical shock may result. In particular, it is possible that one
might accidentally place a heavy object on the carpet that covers the
cord, or place the 02R on top of a power cord; avoid these situations.
To allow for the efficient release of heat, maintain a gap of 10 cm or
more between the rear of the 02R and the wall. Locate the 02R away
from other equipment. If the release of heat is insufficient, the heat
will remain inside the device, and result in a fire.
Do not install the 02R in a place where it may be exposed to oil,
smoke, or steam (for example, near a cooking table or humidifier).
Otherwise, fire or electrical shock may result.
Do not place the 02R on an unstable surface, such as an unstable
bench or slanted surface. Otherwise, the equipment may fall or drop,
resulting in injury.
Do not place the power cord near a heating device. Otherwise, the
cord sheath may melt, resulting in fire or electrical shock.
Do not locate the 02R in a place subject to excessive heat, such as
inside a car with all the windows closed, or in direct sunlight.
Otherwise, fire may result.
Do not place the 02R in a place subject to excessive humidity or dust.
Otherwise, fire or electrical shock may result.
Do not handle the power plug with wet hands. Otherwise, you may
receive an electrical shock.
02R Owner’s Manual
ii
Important Information
•
•
•
•
•
When you remove the power plug, be sure to hold the plug. Never
pull on the cord. Otherwise, the power cord will become damaged,
resulting in fire or electrical shock.
When relocating the 02R, since the 02R is heavy, make sure that two
or more people carry it.
When you are moving the 02R to another location, first turn off the
power switch, remove the power plug from the AC outlet, and
remove all cables connected to external devices. Otherwise, the cables
may become damaged, resulting in fire or electrical shock.
The 02R offers superb sonic quality. To ensure the best possible
results, you should use the best quality connecting cables that you
can afford. Regular maintenance involves keeping all connections
clean using a quality contact cleaner.
Do not place a container with liquid or small metal objects on top of
this unit. Liquid or metal objects inside this unit are a fire and
electrical shock hazard.
Using the 02R
Do not touch the 02R under the following circumstances:
•
If you hear thunder, turn off the power switch and remove the power
plug from the AC outlet as soon as possible.
If you fear a lightning hit, and the 02R has been connected to an AC
outlet, do not touch the power plug. Otherwise, you may receive an
electrical shock.
•
Do not attempt to modify this equipment. Otherwise, fire or electrical
shock may result.
Do not remove the case of the 02R. Otherwise, electrical shock may
result.
If you think the 02R needs to be checked for maintenance or repair,
consult your dealer.
Do not place a container of water, or any small metal object on top of
the 02R. If water is spilled or if the metal object falls inside, fire or
electrical shock may result. This applies to vases, potted plants,
glasses, cosmetic bottles, medicine, etc.
Do not damage, process, bend, twist, stretch, or heat the power cord.
Otherwise, the cord may be damaged, resulting in fire or electrical
shock.
When you are connecting audio devices or speakers to the 02R, make
sure that first you turn off the power to all devices to be connected.
Refer to the user's guide for each device, and use the specified cable
for connection.
Set the volume level on all the devices to the minimum before turning
on the power. Otherwise, an extremely loud noise could damage your
hearing.
If you plan not to use the 02R for a long period of time (such as when
you are on vacation), remove the power plug from the AC outlet.
Otherwise, a fire could possibly result.
•
•
•
•
•
•
02R Owner’s Manual
Important Information
iii
If an abnormality occurs while operating the 02, remove the plug from
the AC outlet
•
If you notice any abnormality—such as smoke, odor, noise, etc—turn
off the power to the 02R immediately, and remove the power plug
from the AC outlet. Confirm that the abnormality is no longer
present, then consult your dealer for repair. If you continue using the
02R under abnormal conditions, fire or electrical shock may result.
•
If a foreign object or water enters inside the equipment, turn off the
power to the 02R immediately, remove the power plug from the AC
outlet, and consult your dealer for repair. If you continue using the
02R under this condition, fire or electrical shock may result.
•
If the power cord is damaged (for example, the it is cut or if the core
wire is exposed), ask your dealer for a replacement. If you continue
using the 02R under this condition, fire or electrical shock may result.
•
If the 02R is dropped, or the cabinet is damaged, turn off the power
switch, remove the power plug from the AC outlet, and consult your
dealer. If you continue using the 02R under this condition, fire or
electrical shock may result.
Maintenance
•
Before cleaning the 02R, remove the power plug from the AC outlet
for safety. Otherwise, an electrical shock may result.
•
An authorized dealer should clean the internal parts of the 02R on a
regular basis. If you do not clean them for a long period of time,
allowing dust to accumulate inside the equipment, fire or
malfunction may result.
Consult your dealer about cleaning and its cost.
The optimum frequency for cleaning is once a year. It is especially
effective to clean before a rainy or humid season starts.
•
The performance of contact parts—such as switches, the volume
encoder, and connectors—deteriorates with use. The degree of
deterioration may differ depending on the environment, but the
deterioration itself cannot be avoided. To replace the contact parts,
consult your dealer.
•
Do not apply oil, grease, or a contact repair agent to the faders.
Otherwise, the conductivity of the electrical contact point may be
affected.
If you think the faders' movement is awkward, refer to
“User’s Guide” on page 215 for calibration information.
Data backup
Data stored inside the equipment may be destroyed by malfunction
or incorrect operation of the equipment. Be sure to save important
data to an external MIDI device for backup.
02R Owner’s Manual
iv
Important Information
Influences on other electrical devices
This equipment uses many digital circuits, which may cause noise to
occur on nearby radio or TV. In this case, relocate the 02R away from
those devices.
02R Exclusion of Certain Responsibility
Manufacturer, importer, or dealer shall not be liable for any incidental
damages including injury to the person, and/or any other damages
caused by improper use or operation of the 02R. Please, read the
instructions in this manual.
Copyright
© 1997 Yamaha Corporation. All rights reserved.
No part of the 02R software or its user manuals 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. Dolby, AC-3,
and Pro-Logic are trademarks of Dolby Laboratories Licensing
Corporation. Copyright 1992 Dolby Laboratories, Inc. All rights reserved.
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. All other trademarks and
registered trademarks are the property of their respective holders.
Package Contents
Your 02R package contains the following items. If you do not have them
all, please contact your Yamaha dealer.
•
02R Console
•
This Owner’s Manual (contains Getting Started Guide and User’s
Guide)
Important Note About Project Manager
Version 1 of Project Manager is not compatible with the 02R Version 2 and
may cause data loss. To obtain Version 2 of Project Manager, contact Zeep
in Canada at <http://www.zeep.com/> or tel: 514-272-2224 or fax: 514272-2888. Alternatively, contact your Yamaha dealer for additional
information about archiving 02R Version 2 data.
02R Owner’s Manual
Getting Started
Guide
DIGITAL RECORDING CONSOLE
Getting Started Guide
Contents
i
Contents
1
Introduction to the 02R. . . . . . . . . . . . . . . . . . . . . . 1
02R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
User Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Top and Rear Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Key Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Basic Assumptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Making the Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Power ON/OFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Setting the Synchronization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
3
Introductory Recording Tutorial . . . . . . . . . . . . . 19
Setting the Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Applying EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Using the EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
4
Secondary Recording Tutorial. . . . . . . . . . . . . . . 41
Aux Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Setting the Aux Send Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Creating a Monitor Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Recalling and Editing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Patching in a Dynamics Processor . . . . . . . . . . . . . . . . . . . . . . . . . 54
Using the Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
02R Getting Started Guide
ii
Contents
5
Mixing and Automix. . . . . . . . . . . . . . . . . . . . . . . 67
What is 02R Automix? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Real-time Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Editing Automix Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Off-line Automix Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Using the Automix Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
02R Getting Started Guide
Introduction to the 02R
1
1
Introduction to the 02R
1
In this chapter...
02R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
User Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Top and Rear Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Key Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
02R Getting Started Guide
2
Introduction to the 02R
02R
From the company that pioneered digital mixing consoles and leads the
industry with its acclaimed DSP technology comes the 02R Digital mixing
Console—the most advanced digital mixing console in the world. All of
Yamaha’s experience and innovation has been applied to the 02R, to create
a perfect mixer for use with the current generation of modular digital
multitrack tape and disk recorders.
Inputs and Outputs – I/O Cards and Digital Cascade
With the 02R you can record and mix directly to your modular digital
multitrack recorder without ever leaving the sonic purity of the digital
domain. It is a 40 input channel mixer, each with full dynamic processing
and 4-band parametric EQ, plus two stereo internal effects returns. It comes
with 24 analog inputs, featuring 20-bit 64-times oversampling
analog-to-digital conversion. By adding one of the optional digital I/O
cards, you can also have 8 channels of direct digital input. Depending on
configuration, up to four cards can be inserted into the 02R. The cards allow
you to select from any of the currently used formats (ADAT®, TDIF™,
Yamaha, or AES/EBU). The optional cards allow you to route up to 16
outputs directly to your modular digital multitrack recorder. In addition,
you can insert a Digital Cascade card into one of the I/O slots, allowing
you to connect multiple 02Rs together to create a larger digital mixing
system.
Dynamic Automix with Total and Instant Recall
The 02R is a fully dynamic automated mixing console—all referenced to
timecode. Its onboard automix system memorizes not just the faders, but a
myriad of parameters. Switch individual channels on or off, adjust the EQ
or the pan position, change the auxiliary send, and recall any scene
memory—automatically. There are 96 internal scene memories which can
store every digital mix parameter in a “snapshot” providing instant recall
and reset.
Crystal Clarity and Unsurpassed Audio Quality
The 02R features Yamaha’s latest generation 32-bit proprietary audio DSP.
All of your mix data is processed internally with 32-bit precision. Using the
power of the latest generation effects processor chip, it also has a startling
range of effects available: shimmering reverbs, clean, precise delays,
flanging and chorus, and other effects are built into this mixer. It also
features dynamics processors on all the inputs, allowing you to compress,
limit, or gate the signals, giving you unparalleled sonic quality and
flexibility. The 02R samples audio at 44.1 kHz or 48 kHz using its internal
clock, and can sample at any frequency from 28 kHz to 53 kHz when an
external word clock is applied.
02R Getting Started Guide
Introduction to the 02R
3
RISC Technology
To provide powerful system control and full dynamic automix, the 02R is
driven by a RISC technology CPU. With all this power and sonic quality,
the 02R will become the heart of your digital recording studio.
User Guides
The 02R is supplied with an Owner’s Manual that consists of two guides—a
Getting Started Guide and a User’s Guide. You should keep this manual
handy for future reference.
Getting Started Guide
The Getting Started Guide contains a simple description and a couple of
tutorials about digital recording with the 02R to get you started. It also has
a tutorial on the automix system.
User’s Guide
The User’s Guide explains each 02R function in full detail. Use its table of
contents to search for general topics and the index to search for specifics. A
glossary of related terms is also provided.
Where to Start
If you are unfamiliar with the 02R, you should start with the Getting Started
Guide. Read through the section and follow the steps outlined in the
tutorials. Refer to the User’s Guide when you are more familiar with the 02R
and just need the details of how a particular function works. You may also
want to refer to the User’s Guide for more detailed information while using
the Getting Started Guide.
Automix System
Regardless of your level of experience, you should read through the section
“Mixing and Automix” on page 67 of the Getting Started Guide. The automix
system built into the 02R is unique to this product. Even experienced
recording engineers will want to refer to this section to discover how to
record and playback entire mixing sessions. You should also refer to the
section entitled “Automix” on page 137 of the User’s Guide.
Installation
You should locate the 02R on a stable surface. It should be sited so that the
display can be easily read from a comfortable position. Leave plenty of
access space at the back of the 02R to make the required connections to the
other equipment in your digital recording studio.
02R Getting Started Guide
4
Introduction to the 02R
Top and Rear Panels
+48V
+48V
+48V
+48V
+48V
+48V
+48V
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF
OFF
OFF
OFF
A
B
A
B
20dB
+4
-16
+48V
ON
A
B
20dB
GAIN
-40
-60
+4
-16
A
B
20dB
-40
-60
GAIN
+4
-16
A
B
20dB
-40
-60
GAIN
+4
-16
A
B
20dB
GAIN
-40
-60
+4
-16
GAIN
+4
-16
OFF
A
B
20dB
-40
-60
ON
A
B
20dB
GAIN
-40
-60
+4
-16
0
-40
-60
GAIN
+4
-16
20dB
-40
-60
GAIN
+4
-16
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
2
3
4
5
6
7
20dB
GAIN
PEAK
SIGNAL
1
10
T/B LEVEL
20dB
8
-40
-60
+4
-16
GAIN
20dB
-40
-60
+4
-16
GAIN
20dB
-40
-60
+4
-16
GAIN
20dB
-40
-60
+4
-16
GAIN
20dB
-40
-60
+4
-16
GAIN
20dB
-40
-60
+4
-16
20dB
GAIN
-40
-60
+4
-16
GAIN
+4
-40
-60
-40
+4
-40
GAIN
GAIN
+4
-40
+4
GAIN
-40
GAIN
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
PEAK
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
SIGNAL
9
10
11
12
13
14
15
16
17/18
19/20
21/22
0
23/24
0
10
10
PHONES
LEVEL
STUDIO
LEVEL
DIGITAL RECORDING CONSOLE
SELECTED CHANNEL
SCENE MEMORY
DISPLAY ACCESS
CLIP
-2
-4
SCENE
MEMORY
DIGITAL
I/O
SETUP
UTILITY
AUTOMIX
MIDI
GROUP
PAIR
-6
FADER STATUS
-12
1
2
AUX 1
AUX 2
C-R
3
4
AUX 3
AUX 4
AUX 5
ST
-15
INPUT
-24
AUX
-35
-48
1 2 3 4
5 6 7 8
CONFIGURATION
-60
AUX 6
STUDIO
-72
SELECTED CHANNEL
L STEREO R
Ø/ATT
PAN
DELAY
5
6
AUX 5
AUX 6
7
8
AUX 7
EFF1
AUX 8
EFF2
ROUTING
MIC/LINE
2TR-D1
2TR-A1
2TR-D2
2TR-A2
CONTRAST
TAPE/RTN
OUTPUT
METER
VIEW
AUX 1
AUX 2
EQ
DYNAMICS
MIXING
ST
AUX 3
DIRECT
SEND LEVEL
ROUTING
AUX 5
AUX 7
EFF1
AUX 6
2TR-D3
ST
AUX 5
AUX 6
MONO
DIM
AUX 4
ON
AUX
AUX 8
EFF2
AUX
L/MONO
L
ODD
R
R
EVEN
CONTROL ROOM
PAN
Q
SLATE
T/B
TALKBACK
LOW/HPF
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
L-MID
H-MID
HIGH/LPF
F
SEL
Hz
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
TAPE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
FLIP
ON
ON
EFF1
RTN
EFF2
RTN
SOLO
kHz
G
0
dB
EQ ON
10
C-R
LEVEL
EQUALIZER
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
STORE
RECALL
SCENE MEMORY
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
10
0
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
20
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
30
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
40
40
40
40
40
40
40
40
40
40
40
40
40
40
40
40
40
40
40
40
15
CURSOR
ENTER
40
50
50
50
∞
50
∞
1
50
∞
2
50
∞
3
5
3
6
4
50
∞
4
50
∞
5
50
∞
6
50
∞
8
50
∞
50
∞
50
∞
9
10
11
INPUT
INPUT
INPUT
19
17
50
∞
12
50
∞
13
50
∞
50
∞
14
15
50
∞
16
50
∞
17/18
50
∞
19/20
∞
21/22
∞
23/24
STEREO
1
L
L
1
+4dB
2
R
AUX SEND
L
L
23
R
21
INPUT
B
L
R
INPUT A
INPUT
B
INPUT A
INPUT
B
INPUT A
INPUT
B
INPUT A
INPUT A
INPUT
B
INPUT
B
INSERT
I/O
INSERT
I/O
INPUT A
INPUT A
INPUT
B
INPUT
B
INSERT
I/O
INSERT
I/O
2
R
2 -10dBV
1 +4dB
2TR IN
STEREO OUT ANALOG ANALOG
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
24
22
20
18
16
15
14
13
12
11
10
9
COAXIAL
POWER
AES/EBU
OUT
IN
ON/ OFF
TIME CODE INPUT
STEREO OUT
DIGITAL
THRU
OFF
MIDI
INSERT
I/O
0dB
8
INSERT
I/O
0dB
7
INSERT
I/O
0dB
6
INSERT
I/O
0dB
5
0dB
4
0dB
3
0dB
2
SLOT 4
SLOT 3
SLOT 2
SLOT 1
AES/EBU
1
3
WORD CLOCK
OUT
COAXIAL
2
75Ω
ON
METER
SMPTE
MTC
02R Getting Started Guide
INPUT A
R
-10dBV
STUDIO C- R
MONITOR MONITOR
OUT +4dB OUT +4dB
INPUT
+4dB
L
R
50
∞
7
60
70
2TR IN DIGITAL
IN
TO HOST
0dB
1
Introduction to the 02R
5
Features
Sonic Specifications
•
Linear 20-bit 64-times oversampling A/D convertors
•
Linear 20-bit 8-times oversampling D/A convertors
•
105 dB dynamic range (typical)
•
32-bit precision internal processing with a dynamic range of over
190 dB using Yamaha’s 32-bit proprietary audio DSP
General Features
•
40 input channel mixer, with full dynamic processing and 4-band
parametric equalization
•
Dynamic automix—all referenced to timecode
•
96 internal scene memories for storing all digital mixer settings
•
4-band Parametric EQ with sweepable center-frequency from 20 Hz to
20kHz and adjustable bandwidth (Q)
•
Extensive EQ library
•
Comprehensive dynamics processors on each input channel, tape
return, and buss and stereo output:
•
Compressor
•
Expander
•
Gate/Ducking
•
Soft and Hard Compander
•
Dynamics library
•
Fully programmable channel settings: phase and attenuation, delay,
pan, routing, meters, EQ, and dynamics
•
Channel library
•
Two internal stereo effects using proprietary processor chip
•
Effects library
•
8 output busses, 8 auxiliary send busses, and main stereo mix buss
•
24 balanced analog inputs (8 channels with either XLR-type or phone
connectors)
•
Continuously variable gain control
•
20 dB input pad
•
8 XLR-type inputs with 48V phantom power for condenser
microphones
•
8 analog insert input/output connections
•
2 analog 2TR IN inputs
02R Getting Started Guide
6
Introduction to the 02R
•
2 analog stereo outputs
•
6 analog auxiliary send outputs
•
Stereo studio and control room outputs
•
3 digital 2TR IN inputs
•
2 digital stereo outputs
•
Industry standard AES/EBU or IEC958 Part2 (Consumer) digital
inputs and outputs
•
100 mm motorized faders
•
Fader and mute groups for single fader or button control over several
faders or channel ON buttons
•
Adjacent channel pair function for stereo operation on inputs, tape
returns, and auxiliary channels
•
Dedicated buttons and controls of the Selected Channel module
•
Large 320 × 240 pixel, FL-backlit, user-friendly graphical display
•
RISC technology CPU
•
SMPTE and MTC synchronization plus full MIDI implementation
Options
•
•
02R Getting Started Guide
Digital I/O cards:
•
ADAT (CD8-AT)
•
TASCAM (CD8-TDII)
•
Yamaha (CD8-Y)
•
AES/EBU double slot card (CD8-AE)
•
AES/EBU single slot card (CD8-AE-S)
•
Cascade Kit (CD8-CS)
Analog I/O cards
•
Analog I/O double slot card (CD8-AD)
•
Analog input single slot card (CD8-AD-S)
•
Automix 1 MB memory expansion (ME4M)
•
Meter bridge (MB02)
•
Wooden side panels (W02SP)
Introduction to the 02R
7
Key Features
This section looks at some of the key features of the 02R, what they mean to
you, and some hints about how you can use them.
Dynamic Automix
One of the most demanding jobs of the recording engineer is taking all the
raw material produced during a multitrack recording session and mixing it
all together into an artistically satisfying master recording. The ability to
setup portions of the mix and then have them playback automatically as
you work on other portions is probably the most important feature of the
02R.
It has an on-board automix system that memorizes fader positions,
switches individual channels on or off, adjusts the EQ or pan positions, and
changes the auxiliary sends—all referenced to timecode. It can also record
and execute scene memory changes, also referenced to timecode. This
allows you to perform an entire mixing session, and then edit individual
channel settings until you have achieved the perfect mix.
The 02R allows you to record a mixdown in real-time and then edit the
results, either in real-time or by using one of the event editors. You can
select single parameters of the mixer to edit—for example, just enable the
faders for one pass as you create your mixdown.
Scene Memories
The 02R has 96 internal scene memories each of which is a snapshot of all
the digital settings of the mixer (a mix scene). Each can be named for easy
identification. They can be stored and later recalled instantly.
If you work on several projects at one time, you can store the current mixer
settings in a scene memory so when you return to that project, you can start
immediately from where you left off. When you are working on a
mixdown, the ability to recall mixer scenes can speed the process and
allows for accurate repetition of the various parts of the mix. When you use
the 02R for sound reinforcement applications, the ability to recall mix
scenes can make light work of night-after-night sound checks.
Storing the mixer settings to a scene memory is a simple matter of pressing
the [STORE] button and confirming the request.
Note: You can customize your 02R to perform the storage operation without
confirmation. See “Preferences” on page 198 of the User’s Guide for more details.
02R Getting Started Guide
8
Introduction to the 02R
Recalling the scene is even easier—just press the [RECALL] button. You
should be careful that your scene memories flow into each other smoothly.
The instant recall means that you can have very abrupt level changes or the
unexpected intrusion of a very loud channel.
Note: The 02R allows you to have programmable fades between scene memories.
The only thing you need to watch is the sudden sound of a channel being switched
on. Even then, if the original channel level was set to –∞ dB, you should have no
problems. See “Fade Time” on page 136 of the User’s Guide.
Large Graphical Display
The heart of the 02R user interface is the large graphical display located in
the center of the console. Using the Display Access controls, you can gain
immediate access to the features of the mixer—clearly displayed on the 320
× 240 pixel, FL-backlit, user-friendly graphical display. Virtual control
modules are shown on the display, allowing you to adjust almost any
digital parameter anywhere in the system.
As well as displaying parameter values numerically, faders, rotary controls,
and push buttons are represented graphically, so you can actually see
button status, pan positions, and fader levels.
In addition the EQ curves are displayed graphically as are the dynamics
processor parameters.
User Interface
The 02R user interface is powerful but very intuitive. There are two main
methods of working with the 02R:
•
Use the DISPLAY ACCESS controls to modify one parameter at a time
across the entire recording console.
•
Use the SELECTED CHANNEL controls to modify all of the
parameters of the currently selected channel.
The DISPLAY ACCESS controls consist of a block of 24 function buttons
divided into three groups—CONFIGURATION, MIXING, and AUX—plus
the large backlit graphical display, four cursor buttons, a detented encoder
wheel, and the [ENTER] button. There is also a related block of four SCENE
MEMORY buttons—to increment, decrement, store, and recall the scene
memories.
The SELECTED CHANNEL controls consist of four main blocks of
controls—each block was designed to be as familiar as the equivalent
controls on a regular analog mixer, but with the power of digital precision
and instant recall. The ROUTING block selects the bus onto which to route
the current channel signal. The AUX block selects the auxiliary buss to send
the channel signal to and sets the send level. The PAN block sets the pan
position of the channel signal. The EQ block sets the EQ curve for the
02R Getting Started Guide
Introduction to the 02R
9
current channel. You can customize your 02R to automatically select the
corresponding display pages when you adjust a control in these blocks.
Motorized Faders
In addition to the DISPLAY ACCESS and SELECTED CHANNEL controls,
each input channel and the stereo master channel utilizes a 100 mm
motorized fader. When a scene memory is recalled, the faders position
themselves automatically to the levels stored. Fader movements are
replayed automatically in synchronization with timecode automix during
playback.
The faders allow you to quickly and accurately set the levels for the
selected channels. By pressing the [FLIP] button, you can transfer fader
control over your tape returns as well. Faders can be grouped into one of
four fader groups for control of multiple faders from a single control.
(There are also four mute groups which allow you to toggle a group of
channels on or off.) You can also control two adjacent channels in stereo
with the pair operation using only one fader.
Internal Stereo Effects
The 02R features eight aux sends, two of which are routed to the internal
multi-effects stereo processors: Effect 1 and Effect 2. Using the power of
Yamaha’s proprietary effects processor chip, the 02R has a startling range of
special effects available to apply to your mix. Shimmering reverbs, clean
and precise delays, flanging and chorus, and a myriad of other effects are
available built right into this mixer. The effects are processed entirely
within the digital domain, ensuring the signal quality is the finest that a
digital system can provide.
External effects processors can be patched into the system using the 02R’s
analog AUX send outputs, which feature 18-bit linear, 8-times
oversampling D/A converters.
Effects can be applied to input channels or the tape return channels, and the
auxiliary sends can be configured pre-fader or post-fader. There are 40
preset effects programs and 88 user effects programs for you to store your
own settings.
Dynamics Processors
Dynamics processors are generally used to correct or control signal levels.
However, you can also use them creatively to shape the volume envelope
of a sound. The 02R features comprehensive dynamics processors for all
the input, return, bus, and stereo output channels—a total of 50 processors.
These processors allow you to compress, expand, limit, gate, or duck the
signals passing through the mixer, giving you unparalleled sonic quality
and flexibility.
Similar to the internal stereo effects, the dynamics processors are patched
directly into the signal path while the audio data remains in the digital
02R Getting Started Guide
10
Introduction to the 02R
domain. The dynamics program settings are stored in the dynamics library.
There are 40 preset programs for you to recall and 88 user programs for you
to store your own dynamics programs
Parametric EQ with Library
The 02R contains a high-performance four-band, fully parametric EQ. Each
input channel, tape and effect return, and the stereo output channel
features an EQ. You can tailor the EQ curve with a high degree of precision,
covering the entire dynamic spectrum from 21 Hz to 20.1 kHz. Select the
center-frequency (F) and adjust the bandwidth (Q) and the gain (G) until
you have achieved the perfect sound.
EQ settings can be stored and recalled using scene memories, and can be
adjusted in real-time with the dynamic automix system. The 02R also has
an extensive EQ library which allows you to store frequently used EQ
settings for instant recall. An EQ program stored in the EQ library is a good
starting point and reference when making adjustments to the EQ.
Digital Benefits
You’re probably already familiar with the many benefits of digital audio,
but what exactly are the benefits for digital audio mixing?
An audio mixer has the job of combining audio signals from various
sources, at differing levels and impedances, usually into a stereo signal. It
must do this without introducing any new distortions and noise. Most
analog mixers do a pretty good job, but even with the best designs,
nonlinear effects caused by circuit components are unavoidable.
In the digital realm, audio mixing consists of adding and multiplying the
binary numbers that represent audio signals. The 02R uses a 32-bit DSP
(Digital Signal Processor) chip for these calculations, ensuring a very high
degree of precision. Once past the analog-to-digital conversion, audio
signals are essentially immune from standard signal degradation. With the
02R, noise, distortion, and crosstalk are virtually eliminated. You’ll hear a
new clarity in your mixes.
Once in the digital realm, there’s little point converting back to analog. The
02R features stereo digital outputs for direct mixdown to DAT and other
digital recorders. It uses the industry standards AES/EBU or IEC958 Part 2
(Consumer) for its digital inputs and outputs. With one of the optional
digital I/O cards installed in your 02R, you can record direct-to-digital to
your modular digital multitrack recorder.
02R Getting Started Guide
Introduction to the 02R
11
02R Sonic Performance
The 02R uses linear 20-bit 64-times oversampling analog-to-digital
converters to provide a typical dynamic range of 105 dB. This means that
an audio program’s dynamic range, from low to high levels, is processed
intact. The 02R samples audio at 44.1 kHz or 48 kHz. It provides a full
spectrum frequency response from 20 Hz to 20 kHz, +1, –3 dB.
For digital-to-analog conversion, the 02R features 20-bit 8-times
oversampling for its main stereo outputs, including the control room
monitor outputs, and 18-bit 8-times oversampling for the studio and aux
send outputs. Oversampling and bitstream techniques effectively increase
the internal sampling rate, so side effects caused by steep low-pass filters,
which are used to filter out undesirable sampling frequency components
during conversion, are virtually eliminated. Consequently, audio signal
integrity is maintained from input through to output.
02R Getting Started Guide
Getting Started
2
13
Getting Started
In this chapter...
Basic Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Making the Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Power ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Setting the Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Recall Scene Memory 0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
02R Getting Started Guide
2
14
Getting Started
Basic Assumptions
The 02R was designed to be the perfect digital mixing console for a studio
using the current generation of modular digital multitrack tape and disk
recorders. Although the 02R can also be used as a sound-reinforcement
mixer, the typical user will own a project recording or post-production
studio with some form of multitrack recorder. Therefore, your 02R will
probably be equipped with one or more of the optional input/output
cards. For the purposes of these tutorials, it does not matter if you are
working with an analog or digital multitrack.
What You Will Need
To perform the following tutorials, you will need:
•
The 02R.
•
A sound source: CD player, drum machine, synthesizer/sequencer
with demo song.
•
Amplifiers and speakers, or headphones.
•
A multitrack recorder and a stereo master recorder.
•
Audio connecting cables.
Making the Connections
WARNING! Before
making any connections,
make sure that all your
equipment is turned OFF.
1. Connect your sound source to input channel 1.
If you are using a stereo sound source, connect it to input channel 2 as well.
A stereo source is not essential, and for most of the tutorials it will probably
be easier to work with just one channel. If your sound source has XLR-type
connectors, connect it to the XLR-type connectors on the 02R. Otherwise,
use the phone jacks and select INPUT B with the [A/B] switch.
2. Connect the C-R MONITOR OUT connectors to the inputs on your
power amplifier.
If you are using headphones, connect them to the PHONES jack.
3. Connect your multitrack recorder to the appropriate optional
input/output card.
WARNING! The 02R
should be connected only to
an AC receptacle of the
voltage type marked on its
rear panel.
02R Getting Started Guide
You can also connect your stereo master recorder to either the digital or
analog STEREO OUT connectors.
4. Plug the 02R into a suitable AC receptacle.
Getting Started
15
Basic Setup
The following illustration shows how to set up a minimal system that will
allow you to perform the following tutorials.
Amplifier
Sound Source
Multitrack recorder
02R Getting Started Guide
16
Getting Started
Power ON/OFF
This section explains how to power the 02R on and off.
Power ON
It is always important to observe the correct order for powering up
equipment in a studio. Always start with the multitrack and mastering
recorders and the signal processors, then the 02R, and finally the
monitoring amplifiers and other downstream gear.
POWER
ON/ OFF
1. Turn ON the power to the 02R by pressing the POWER switch on
the rear panel.
The 02R start-up screen appears for a few seconds, the faders return to their
previous positions, then the page that was used when the 02R was last
powered off appears.
Power OFF
It is always important to observe the correct order for powering off
equipment in a studio. Always start with the monitoring amplifiers and
other downstream gear, then the 02R, and finally the multitrack and
mastering recorders and the signal processors.
1. Turn OFF the power to the 02R by pressing the POWER switch on
the rear panel.
All mix settings, mix scenes, and other data are stored when the 02R is
powered off.
Setting the Synchronization
Before you use the 02R with a modular digital multitrack recorder or DAT
master recorder, be sure to correctly set the synchronization. The 02R must
be slaved to an external wordclock in order to process the input digital
signals without drop-out or distortion. Refer to the section “Word Clock
Select” on page 188 of the User’s Guide.
Look in the chapter “Installing Options” on page 217 of the User’s Guide.
There is a section for each of the optional digital I/O cards that the 02R
supports. Refer to the appropriate section for the card installed in your 02R.
02R Getting Started Guide
Getting Started
17
Recall Scene Memory 0
Before you start the tutorials, you should set the 02R to its initial mixer
settings.
1. Use the SCENE MEMORY increment or decrement buttons to
select scene memory 0 “0 Initial Data”.
2. Press the [RECALL] button.
STORE
RECALL
SCENE MEMORY
This is a read-only scene memory that contains the default settings for the
system. The 02R will be reset to its initial settings.
Note: It is best to start at the beginning of each tutorial and work your way
through, taking breaks as required. If you deviate too far from the tutorial, or jump
into a tutorial halfway through, you may find that subsequent tutorial steps do not
work as expected. Also note that the tutorials do not explain all 02R functions, nor
do they serve as a substitute for the User’s Guide explanations. For full details on
all 02R functions, refer to the User’s Guide.
02R Getting Started Guide
Introductory Recording Tutorial
3
19
Introductory Recording Tutorial
In this chapter...
Setting the Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Applying EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Using the EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
02R Getting Started Guide
3
20
Introductory Recording Tutorial
Setting the Input Level
Assuming that the 02R is powered ON and your music source is playing,
the very first thing you need to do is set up a basic control room monitor
mix. When you recall Scene Memory 0 “0 Initial Data”, all the channel
faders are set to the 0 dB mark.
Setting Fader Levels
0
If the faders are not set to 0 dB, you should perform the following steps to
optimize the input signal level for the best performance:
10
5
5
10
0
1. Set the fader for MIC/LINE 1 to the 0 dB mark.
15
5
20
10
The 0 dB fader position is a good place to start when setting fader levels. It
is a good setting with regard to signal level and noise performance and it
leaves room for you to raise the level later, if necessary.
30
15
40
20
50
30
2. Set the STEREO fader to the 0 dB mark.
60
70
40
∞
50
∞
STEREO
1
The stereo output meters are indicating the stereo output level. The stereo
mix signal is now being output to the digital and analog STEREO OUT
connectors.
Selecting a Monitor Source
2TR-D2
2TR-A2
2TR-D3
ST
AUX 5
AUX 6
Before you can hear anything through your monitor amplifier and
speakers, you have to select a Control Room source:
1. Press the [ST] button of the CONTROL ROOM buttons group.
This selects the stereo bus for monitoring in the control room.
MONO
DIM
2. Adjust the volume with the C-R LEVEL control.
CONTROL ROOM
0
10
You should be able to hear the sound source through your monitor
speakers. If you are using stereo headphones, you will need to adjust the
PHONES LEVEL control to set a comfortable listening level.
C-R
LEVEL
Note: Be very careful with the level settings, especially if you are using stereo
headphones. When you are adjusting a unit as complex as the 02R, it is possible for
you to inadvertently switch on a very loud signal source. Damaged loudspeakers or
amplifiers can be very expensive. Damage to your hearing can be much worse. Your
ears are for life!
02R Getting Started Guide
Introductory Recording Tutorial
21
Setting the GAIN
1. Use the [METER] button to locate the METER 1/3 page.
METER
20dB
The MIC/LINE 1 signal is metered.
2. If the sound is distorted, the PEAK indicator is illuminated, or the
level is going up to CLIP, press the 20 dB (pad) switch to attenuate
the input signal for MIC/LINE 1.
You usually need to pad (attenuate) the input signal when you connect a
line level device, such as a synthesizer or an effects unit to the channel. If
you connect a microphone, you should not need to pad the signal.
If you want to use a high impedance device, such as a guitar or bass guitar,
you should insert a direct box or effects processor between the guitar and
the 02R—or you should mike the guitar amplifier.
Note: The stereo input channels (LINE 17 through 24) accept line level signals
only.
3. Use the GAIN control for MIC/LINE 1 to optimize the signal level.
+4
-16
GAIN
-40
-60
Ideally the level should be set relatively high to obtain the best
signal-to-noise performance. It is acceptable for the PEAK indicator to
occasionally illuminate but the signal levels should not reach CLIP. If the
PEAK indicator illuminates constantly, the signal is overloading the input
preamplifier and you may be able to hear analog clipping distortion. When
CLIP is reached, you will experience digital clipping distortion, which is
usually very unpleasant sounding.
02R Getting Started Guide
22
Introductory Recording Tutorial
Back off the GAIN control a little until the PEAK indicator illuminates very
occasionally. The GAIN control should be set with some care. If it is set too
low, the signal-to-noise performance will suffer, and if it is set too high,
signal clipping and distortion may occur.
∅/ATT Display Function
If a lot of EQ boost is applied, the signal level may reach CLIP on the
METER page but the PEAK LED may not light up. Instead of lowering the
GAIN control, which would reduce A/D converter efficiency, you can use
the Attenuator function to attenuate the level.
1. Press the [∅/ATT] button.
Ø/ATT
The ∅/ATT 1/1 page shown below appears.
2. Press the [SEL] button for MIC/LINE 1.
SEL
3. Use the encoder wheel to attenuate the signal.
On the ∅/ATT page you can attenuate signals and reverse the phase, all in
the digital domain.
Note: You should rarely find it necessary to use the ∅/ATT function on an input
signal after the gain level has been correctly set, but you may need to attenuate
after you apply EQ, effects, or dynamics to the signal.
Peak Hold
1. Use the [METER] button to locate the METER 1/3 page.
METER
02R Getting Started Guide
2. You may find the Peak Hold function useful at this point. To turn it
on, use the CURSOR buttons to select the PEAK HOLD icon and
press [ENTER]. When the Peak Hold function is on, its icon is
highlighted.
Introductory Recording Tutorial
23
The peak level is indicated by an empty square box. Peak Hold is very
useful for level checking before recording. You can leave a mix to play
through unattended while Peak Hold watches out for signal peaks. If any
levels reach CLIP, back off the relevant GAIN control or use the ∅/ATT
display function to attenuate the signal and run through the mix again.
Note: The Peak Hold function also works on the stereo output meters and
controls the optional meter bridge (MB02).
3. To clear the Peak Hold levels, select the PEAK HOLD icon with the
CURSOR buttons and press [ENTER].
When you clear the Peak Hold levels, it also clears the peaks from the
stereo output meters.
Typically, you will be using more than just one input channel, so you will
need to set the input signal level for each channel individually. Since it is
relatively easy to set them at this point, take time and care. If you have to
adjust them later in the mixing process, you may need to adjust the faders,
auxiliary sends, and other levels, as well.
Channel ON/OFF
The channel [ON] buttons are used to turn channels ON or OFF. This
function is sometimes called MUTE. When you recall Scene Memory 0 “0
Initial Data”, all the channels are turned ON.
1. Press the channel [ON] button for MIC/LINE 1.
ON
The sound is cut and the LED inset in the [ON] button switches off.
Note: Even though you can no longer hear the sound source, the meter for
MIC/LINE 1 continues to be displayed. This is because the meter signal is sourced
before the [ON] button.
2. Press the [ON] button again to turn the channel back ON.
The LED inset in the [ON] button illuminates again and you will be able to
hear the sound source again.
SCENE MEMORY
Edit Indicator
SCENE MEMORY LED
The 2-digit (7-segment) LED shows the currently selected scene memory. It
also contains the Edit Indicator, which will start flashing when you adjust
the first digital parameter of the current scene memory. See “Scene
Memories” on page 62 of the Getting Started Guide.
02R Getting Started Guide
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Introductory Recording Tutorial
Applying EQ
The next step is to apply EQ to MIC/LINE 1.
Each 02R channel features a four-band fully parametric EQ, with variable
bandwidth (Q), frequency (F), and gain (G). The power of the 02R user
interface means that there are two ways of adjusting the EQ for
MIC/LINE 1.
One method is to use the EQ 1/2 page.
The more convenient method is to use the buttons and controls of the
EQUALIZER block of the SELECTED CHANNEL controls.
Q
LOW/HPF
L-MID
H-MID
HIGH/LPF
F
Hz
kHz
G
dB
EQ ON
EQUALIZER
Note: You can customize your 02R so that when you adjust a control of the EQ
block of the SELECTED CHANNEL controls, the EQ 1/2 page automatically
appears. See “Preferences” on page 198 of the User’s Guide for more information.
The default setting is to automatically display the EQ page.
The rest of this tutorial describes the operation of the EQ 1/2 page.
Turning the EQ ON/OFF
1. Press the [SEL] button for MIC/LINE 1.
SEL
When you press the [SEL] button for a channel, the LED and numeric
indicators of the SELECTED CHANNEL controls change to reflect the
status of the channel you selected.
2. Press the [EQ] button.
EQ
02R Getting Started Guide
Introductory Recording Tutorial
25
The EQ 1/2 page appears, showing the EQ curve and settings for
MIC/LINE 1.
3. Use the CURSOR buttons to select the EQ ON icon.
If the EQ is ON, the icon will be highlighted. The LED inset in the [EQ ON]
button of the SELECTED CHANNEL—EQUALIZER block controls will
also be illuminated.
4. To turn the EQ either on or off, press the [ENTER] button or the
[EQ ON] button.
The ON icon will change to OFF. The LED inset in the [EQ ON] button will
no longer be illuminated.
Turn the EQ on for the remainder of this tutorial.
Setting the Gain
1. Select the gain (G) icon for the LOW band using the CURSOR
buttons.
Alternatively, press the [LOW/HPF] button of the SELECTED
CHANNEL—EQUALIZER controls.
2. Rotate the encoder wheel clockwise to boost the gain.
Alternatively, you could use the EQUALIZER G control.
02R Getting Started Guide
26
Introductory Recording Tutorial
The gain increases in 0.5 dB steps and the EQ curve on the EQ page
changes to reflect this.
3. Rotate the encoder wheel counterclockwise to reduce the gain.
The gain decreases in 0.5 dB steps.
Alternatively, you could use the EQUALIZER G control.
4. Use the CURSOR buttons to select the gain (G) icon for the L-MID
band and adjust its level with the encoder wheel. Select the
other bands as well.
You can also select the EQ bands using the [LOW/HPF], [L-MID],
[H-MID], and [HIGH/LPF] buttons of the SELECTED
CHANNEL—EQUALIZER controls.
Note: Applying a lot of EQ boost may increase the signal level sufficiently to
cause distortion. If this does occur, reduce the amount of EQ boost or adjust the
attenuation level to compensate (the ATT icon). You can switch back to the
METER 1/3 page and select POST EQ to monitor the signal levels.
Note: You can reset the gain of each band to 0.0 dB by double-clicking the
corresponding [LOW/HPF], [L-MID], [H-MID], or [HIGH/LPF] buttons of the
SELECTED CHANNEL—EQUALIZER controls.
02R Getting Started Guide
Introductory Recording Tutorial
27
Setting the Frequency
1. Select the frequency (F) icon for the LOW band using the CURSOR
buttons.
2. Use the encoder wheel to sweep through the frequency range.
Alternatively, you could use the EQUALIZER F control.
All four bands of the 02R parametric EQ cover virtually the entire audio
spectrum, from 21 Hz to 20.1 kHz. Although they are labelled LOW,
L-MID, H-MID, and HIGH, the frequency of the bands can actually be in
any order.
Note: If your 02R is busy processing some complex data, it may take a little time
to update the EQ curve. However, the internal EQ circuits reflect your
adjustments immediately.
Note: As well as the frequency value in Hz displayed under the icon and on the
numeric LED in the SELECTED CHANNEL—EQUALIZER controls, the dotted
vertical line on the EQ graph indicates the current frequency position.
3. Use the CURSOR buttons to select the frequency (F) icon for the
L-MID band and adjust its position with the encoder wheel. Select
the other bands and adjust their frequency.
You can also select the EQ bands using the [LOW/HPF], [L-MID],
[H-MID], and [HIGH/LPF] buttons of the SELECTED
CHANNEL—EQUALIZER controls. Adjust the EQUALIZER F control for
each band.
02R Getting Started Guide
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Introductory Recording Tutorial
Setting the Bandwidth
The L-MID and H-MID bands are peaking type EQs. The LOW and HIGH
bands are initially configured as shelving type EQs, however, they can also
be configured as peaking type EQs. The LOW band can also be configured
as a HPF (high-pass filter) and the HIGH band as a LPF (low-pass filter).
1. Select the bandwidth (Q) icon for the LOW band using the
CURSOR buttons.
2. Use the encoder wheel to sweep through the bandwidth.
Alternatively, you could use the EQUALIZER Q control.
The LOW band changes from low-shelving to peaking to high-pass filter as
you continue to rotate the encoder wheel.
3. As you rotate the encoder wheel counterclockwise, it effectively
increases the Q—narrowing the bandwidth, as shown on the EQ
graph.
A narrow curve is useful for boosting or cutting specific frequencies.
4. Use the CURSOR buttons to select the bandwidth (Q) icon for the
L-MID band and adjust its position with the encoder wheel. Select
and adjust the bandwidth of the other bands.
You can also select the different bands using the [LOW/HPF], [L-MID],
[H-MID], and [HIGH/LPF] buttons of the SELECTED
CHANNEL—EQUALIZER controls. Adjust the EQUALIZER Q control for
each band.
The HIGH band changes from high-shelving to peaking to low-pass filter
as you adjust its value.
02R Getting Started Guide
Introductory Recording Tutorial
29
Resetting the EQ
1. Press and hold the [LOW/HPF] button and then press the
[HIGH/LPF] button of the SELECTED CHANNEL—EQUALIZER
controls.
All EQ values will be reset to their initial values.
LOW/HPF
L-MID
H-MID
HIGH/LPF
Q
LOW SHELF
Peak – 0.7
Peak – 0.7
HIGH SHELF
F
125 Hz
1.00 kHz
4.00 kHz
10.0 kHz
G
0 dB
0 dB
0 dB
0 dB
02R Getting Started Guide
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Introductory Recording Tutorial
Using the EQ Library
The EQ Library is used to access and store EQ settings—stored as
programs. There are 32 preset programs (1 to 32) for you to recall and 96
user programs (33 to 128 plus UNDO) for you to store your own EQ
settings. First you need to know how to recall EQ programs, then how to
store your own.
Note: The programs 33 to 40 contain preset programs and are listed in the “EQ
Programs” on page 54 of the User’s Guide. However, you can store your own
settings to these programs.
Recalling an EQ Program
1. Use the [EQ] button to locate the EQ 2/2 page shown below.
EQ
The top of the page shows the EQ curve for the selected channel and a level
meter for the channel and its adjacent pair.
2. Press the [SEL] button for MIC/LINE 1.
This step is required only if you have selected another channel.
3. Select the RECALL icon with the CURSOR buttons.
In order to scroll through the list of EQ programs, the cursor must be on the
STORE, RECALL, CLEAR, COPY, or PASTE icons.
4. Use the encoder wheel to select an EQ program.
As you scroll through the EQ programs, the EQ curve for each program is
displayed to the left of the list.
5. Press the [ENTER] button.
02R Getting Started Guide
Introductory Recording Tutorial
31
The EQ program is recalled. The EQ curve for MIC/LINE 1 is set
accordingly. The EQ curve at the top of the display is updated.
Your sound source is modified by the program you recalled. If the sound
doesn’t change, check if you have left the EQ ON switch turned OFF on the
EQ 1/2 page. You can also quickly check if the LED inset in the EQ ON
button of the SELECTED CHANNEL—EQUALIZER controls is
illuminated or not.
6. Use the [EQ] button to locate the EQ 1/2 page.
The EQ 1/2 page shows the updated EQ curve and exact settings of the EQ
program recalled.
Undoing a Recall
You can undo EQ program recalls by recalling the “U” EQ program, which
contains the previous EQ settings.
1. Use the CURSOR buttons to select the RECALL icon and rotate the
encoder wheel until program “U” is highlighted.
2. Press the [ENTER] button.
The previous EQ settings are recalled.
02R Getting Started Guide
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Introductory Recording Tutorial
Storing an EQ Program
1. Use the [EQ] button to locate the EQ 2/2 page shown below.
EQ
2. Select the STORE icon with the CURSOR buttons.
In order to scroll through the list of EQ programs, the cursor must be on the
STORE, RECALL, CLEAR, COPY, or PASTE icons.
3. Use the encoder wheel to select an EQ program.
If you select one of the preset programs (1 to 32), an error message appears
when you attempt to store your program. Select a program from the 96 user
programs (33 to 128). You cannot store your settings to the “U” program
either.
4. Use the CURSOR buttons to select the TITLE EDIT box.
02R Getting Started Guide
Introductory Recording Tutorial
33
5. Select the individual character positions with the CURSOR buttons
and rotate the encoder wheel to select the characters.
You can create a name of up to 16 characters long. It can contain any of the
following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
You can select the “INS.” icon to insert a space (blank) at the current cursor
position. Select the icon with the CURSOR buttons and press the [ENTER]
button. The “DEL.” icon is used to delete the character at the cursor
position.
Note: The “COPY” and “PASTE” icons allow you to select the title from
another EQ program and paste it into your program. These icons only copy the
title, not the actual EQ settings. See “Icons” on page 55 of the User’s Guide.
6. Use the CURSOR buttons to select the STORE icon and press the
[ENTER] button.
The 02R displays a confirmation dialog box asking if you want to store
your settings in the selected EQ program. The dialog box has two icons:
“CANCEL” and “EXECUTE”.
Note: You can customize your 02R to prevent the dialog box appearing during
STORE operations. In this case, the program is stored without confirmation. See
“Preferences” on page 198 of the User’s Guide for more information.
02R Getting Started Guide
34
Introductory Recording Tutorial
CANCEL is the default. To cancel the STORE operation, either press the
[ENTER] button or wait about 10 seconds—the STORE operation will be
automatically cancelled.
To store your settings, use the CURSOR buttons to select the “EXECUTE”
icon and press the [ENTER] button. The EQ program is stored.
Note: If you decide you don’t like an EQ program after you have stored it, it is
very easy to overwrite it by creating new settings and storing them to the same
location. Conversely, it is also very easy to accidentally overwrite a valued EQ
program.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS A
CONFIRMATION DIALOG BOX!
02R Getting Started Guide
Introductory Recording Tutorial
35
Routing
This tutorial assumes you have a multitrack recorder and you have
connected it to your 02R—after having one or more of the optional
input/output cards installed:
•
Alesis ADAT (CD8-AT)—This single slot card supports an 8-channel
ADAT compatible modular digital multitrack recorder. It provides
eight input channels and eight output channels. You can insert up to
four of these cards in the 02R.
•
TASCAM TDIF-1 (CD8-TDII)—This single slot card supports an
8-channel TASCAM modular digital multitrack recorder. It provides
eight input channels and eight output channels. You can insert up to
four of these cards in the 02R.
•
YAMAHA (CD8-Y)—This single slot card supports an 8-channel
YAMAHA modular digital multitrack recorder. It provides eight input
channels and eight output channels. You can insert up to four of these
cards in the 02R.
•
AES/EBU (CD8-AE double slot card, CD8-AE-S single slot
card)—These cards support an 8-channel AES/EBU compatible
modular digital multitrack recorder (such as the Akai DD1500 series).
They provide eight input channels and eight output channels.
•
Analog AD/DA (CD8-AD)—This double slot card supports any
8-channel analog multitrack recorder. It provides eight input channels
and eight output channels. You can insert only two of these cards in the
02R.
The 02R allows you to route the first 16 MIC/LINE channels directly to an
output. If you have the correct configuration, this means you can send
direct outputs to a 16-track recorder (for example, two paired ADAT
compatible modular digital multitrack recorders).
You can route any channel to one of the eight output buses. The buses feed
to each of the four 8-track I/O slots in the back of the 02R. You can also
route any channel to the stereo bus.
When you recall Scene Memory 0 “0 Initial Data”, all the channels are
routed to the stereo bus.
02R Getting Started Guide
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Introductory Recording Tutorial
Using the ROUTING Display Function
There are two ways to operate the Routing function.
One method is to use the ROUTING 1/2 page.
The more convenient method is to use the buttons of the ROUTING block
of the SELECTED CHANNEL controls.
1
2
3
4
5
6
7
8
ST
DIRECT
ROUTING
Note: You can customize the 02R so that when you press a button in the
ROUTING block of the SELECTED CHANNEL controls, the ROUTING 1/2
page automatically appears. See “Preferences” on page 198 of the User’s Guide for
more information.
02R Getting Started Guide
Introductory Recording Tutorial
37
Selecting the Routing
1. Use the [ROUTING] button to locate the ROUTING 1/2 page shown
below.
ROUTING
2. Use the ROUTING buttons of the SELECTED CHANNEL controls to
route the MIC/LINE 1 channel.
As you press the ROUTING buttons, the LED inset in the button
illuminates and the corresponding icon on the ROUTING page appears
highlighted.
You can also operate the routing using the CURSOR buttons to move to the
desired routing icon and pressing the [ENTER] button.
Note: When you select a route, the signal from the channel will be routed to the
selected bus. The output from that bus will appear at the corresponding outputs of
all the I/O cards installed in the 02R. The only exception is when you are using I/O
cards in slots 1 and 2 for direct output. See “Routing” on page 39 of the User’s
Guide for further details.
02R Getting Started Guide
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Introductory Recording Tutorial
Panning
There are two ways to use the Pan function.
One method is to use the PAN 1/1 page.
The more convenient method is to use the buttons and controls of the PAN
block of the SELECTED CHANNEL controls.
L/ODD
L
ODD
R/EVEN
R
EVEN
PAN
Note: You can customize your 02R so that when you adjust a control of the PAN
block of the SELECTED CHANNEL controls, the PAN 1/1 page automatically
appears. See “Preferences” on page 198 of the User’s Guide for more information.
Adjusting the Pan
1. Press the [PAN] button.
PAN
The PAN 1/1 page shown below appears.
2. Press the [SEL] button for MIC/LINE 1 and rotate the PAN control.
The LED inset in the [L/ODD] button will be illuminated. The current pan
position is indicated on the adjacent LED bargraph. As an alternative, you
can use the CURSOR buttons to select the PAN icon for MIC/LINE 1 and
rotate the encoder wheel.
You can adjust the pan position from extreme right/even (R16) through the
center (C) to extreme left/odd (L16). There are 33 pan positions to choose
from.
02R Getting Started Guide
Introductory Recording Tutorial
39
Ganging Pans
You can gang the pan controls of two adjacent channels for simultaneous
pan adjustment
1. Press the [SEL] button for MIC/LINE 1.
You can also select the MIC/LINE 1 icon using the CURSOR buttons.
2. Press the [ENTER] button to connect the channels together.
You can also gang channels together by simultaneously pressing the
[L/ODD] and [R/EVEN] buttons of the PAN block of the SELECTED
CHANNEL group.
Ganged pan is indicated by a pair of dotted lines between the pan controls,
as shown below.
When you adjust one channel, the ganged channel also moves by a
corresponding amount. For further details, see “Pan Gang” on page 37 of
the User’s Guide.
02R Getting Started Guide
Secondary Recording Tutorial
4
41
Secondary Recording Tutorial
In this chapter...
Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Setting the Aux Send Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Creating a Monitor Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Recalling and Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Patching in a Dynamics Processor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Using the Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
02R Getting Started Guide
4
42
Secondary Recording Tutorial
Aux Sends
The 02R has eight aux sends.
AUX 7 and AUX 8 are used to feed the internal effects processors, with the
signal remaining entirely in the digital domain.
The other auxiliary sends—AUX 1 through AUX 6—can be used to feed
external signal processors and effects units, foldback amplifiers, or
multitrack recording equipment. AUX 5 and AUX 6 can also be used to
construct a monitor mix, and routed directly to either the studio or control
room monitors. When a send is used to feed an external effects processor,
the processed signal can be returned via one of the stereo input channels or
an unused input channel.
There are two different ways to access the auxiliary send channels:
DISPLAY ACCESS—AUX buttons
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
AUX
•
The [AUX 1] to [AUX 6] buttons access the AUX 1 to 6 pages, which
display the aux send level controls and pre/post icons.
•
The [AUX 7] and [AUX 8] buttons access the AUX 7 and 8 pages, which
are used with the internal effects processors: Effect 1 and Effect 2.
When an AUX button is pressed, the faders and rotary encoders control aux
send levels, not channel levels.
SELECTED CHANNEL—AUX controls
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
SEND LEVEL
ON
AUX
02R Getting Started Guide
These buttons and controls set the aux send levels for the selected channel.
•
The [AUX 1] to [AUX 8] buttons allow you to select the aux buses you
want to send the selected channel signal to.
•
The SEND LEVEL rotary encoder is used to set the level—indicated by
the adjacent LED bargraph.
•
The [ON] button is used to turn the send on or off.
Secondary Recording Tutorial
43
Setting the Aux Send Level
In this tutorial, MIC/LINE 1 channel is sent to AUX 1.
1. Press the [AUX 1] button.
AUX 1
FADER STATUS
INPUT
AUX
1 2 3 4
5 6 7 8
The AUX 1 1/1 page shown below appears.
The faders change from channel level controls to aux send level controls. To
indicate the change, the AUX LED of the FADER STATUS indicator
illuminates. The number indicator corresponding to the current AUX
button (in this case, AUX 1) is also illuminated. The faders automatically
move from their channel level positions to the aux send level positions.
Note: Avoid blocking the fader movements when the faders move to their aux
send positions by placing objects on the 02R. It is possible to damage the faders.
Although the faders have moved to the auxiliary send level positions, the
02R remembers the channel signal levels.
2. Select MIC/LINE 1 using the [SEL] buttons or the CURSOR buttons.
Turn the aux send on by pressing the [AUX 1] button and then the [ON]
button in the AUX group of the SELECTED CHANNEL controls. The
default is for the send to be ON, therefore this step is not usually required.
Note: In order to change the aux send status from on to off, you must first select
the send channel with the corresponding button of the SELECTED
CHANNEL—AUX controls
3. To change the aux send from post to pre fader, press the [ENTER]
button.
The PRE icon becomes the POST icon and is highlighted when the signal is
pre-fader.
02R Getting Started Guide
44
Secondary Recording Tutorial
4. To change the signal level, adjust the fader for MIC/LINE 1 until
the desired value is obtained.
You can use the rotary encoders for the tape returns or press the [FLIP]
button. Then the tape return channels can be operated by the faders. The
effect returns can only be adjusted with the rotary encoders.
You can also use the SEND LEVEL encoder in the AUX group of the
SELECTED CHANNEL controls. You must press the corresponding
[AUX 1] button to make certain you are adjusting the signal level for the
correct aux send.
SEND LEVEL
Note: In order to adjust the aux send level with the SEND LEVEL encoder, you
must first select the send channel with the corresponding button of the SELECTED
CHANNEL—AUX controls
02R Getting Started Guide
Secondary Recording Tutorial
45
Creating a Monitor Mix
The 02R has two different monitoring outputs—the control room outputs
and the studio outputs—plus, of course, the PHONES output (which is a
duplicate of the control room output).
C-R
ST
AUX 5
AUX 6
STUDIO
2TR-D1
2TR-A1
2TR-D2
2TR-A2
2TR-D3
ST
AUX 5
AUX 6
MONO
DIM
During a multitrack recording session, what you want to listen to in the
control room is often very different from what the musicians need in the
studio. For example, while recording a rhythm section, the bass player and
the drummer may want to hear the kick drum at a much higher volume
than you need in the control room.
To cater to this requirement, the 02R allows you to create a mono monitor
mix using either AUX 5 or AUX 6 or a stereo mix using both AUX 5 and
AUX 6.
Monitor Mix Process
The process for creating the monitor mix is similar to the steps detailed in
“Setting the Aux Send Level” on page 43 of the Getting Started Guide
1. Press the [AUX 5] button.
CONTROL ROOM
2. Select MIC/LINE 1 using the [SEL] buttons or the CURSOR buttons.
Turn the aux send on by pressing the [AUX 5] button and then the [ON]
button in the AUX group of the SELECTED CHANNEL controls.
You should leave the send pre-fader. This will allow the musicians to
continue to hear each other independently of anything you may be doing
in the control room.
3. Press the [AUX 5] button of the STUDIO buttons group.
You should also press the [AUX 5] button of the CONTROL ROOM
buttons group so you can hear the results of adjusting the levels.
4. Adjust the fader for MIC/LINE 1 until the desired signal level is
obtained.
Use the Talkback system to check with your musicians, to see if they are
content with the signal levels you have set. When you finish setting the
studio monitor levels, press the [ST] button of the CONTROL ROOM
buttons group for monitoring in the control room.
02R Getting Started Guide
46
Secondary Recording Tutorial
Applying Effects
The 02R features two internal multi-effects stereo processors: Effect 1 and
Effect 2. These are fed by AUX 7 and AUX 8, and the processed signals are
returned via EFF 1 RTN and EFF 2 RTN, respectively. When you use the
internal effects, the signal gets processed without ever leaving the digital
domain.
Effects can be applied to input channels or the tape return channels. Effects
are organized into programs. There are 40 preset effects programs (1
through 40) and 88 user effects programs (41 through 128 plus an UNDO
buffer) for you to store your own settings.
Setting the Send Levels
The process for applying effects is similar to the steps as detailed in
“Setting the Aux Send Level” on page 43 of the Getting Started Guide. The
following example shows applying effects to MIC/LINE 1 using AUX 7.
1. Use the [AUX 7] button to locate the AUX 7 1/3 page shown
below.
AUX 7
EFF1
The faders automatically move from the channel level positions to the aux
send level positions. Even though the fader has changed positions, the 02R
remembers the channel signal levels.
Note: Avoid blocking the fader movements when the faders move to their aux
send positions by placing objects on the 02R. It is possible to damage the faders.
2. Select MIC/LINE 1 using the [SEL] buttons or the CURSOR buttons.
Turn the aux send on by pressing the [AUX 7] button and then the [ON]
button in the AUX group of the SELECTED CHANNEL controls.
3. Press the [ENTER] button to change the aux send from pre to post
fader.
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47
Sends to the effects are usually post fader. This means the signal level feed
into the effects processor follows the “dry” channel level.
4. Adjust the fader for MIC/LINE 1 until the desired signal level is
obtained.
Adjusting the Effect Return
The effect return channel is similar to one of the input channels except that
it has no analog input, and therefore no gain or input pad need to be
applied. Otherwise the steps are similar to those starting with “Setting the
GAIN” on page 21 of the Getting Started Guide.
The easiest way of applying all the required adjustments is to select the
View 1/2 page. This allows you to see all the parameters of the channel on
one page, while you can still use the dedicated buttons and controls of the
SELECTED CHANNEL group.
1. Use the [VIEW] button to locate the VIEW 1/2 page shown below,
and press the [SEL] button for EFF 1 RTN.
VIEW
2. If the sound is distorted or the level is constantly going up to CLIP,
use the CURSOR buttons to select the ∅/ATT icon. Adjust the level
with the encoder wheel.
Note: In many cases, clipping in the effect return channel is caused by the send
level being too high. You may need to adjust the send levels as well as the
attenuation if you experience clipping.
3. Select the PAN icon with the CURSOR buttons and set the pan
position using the encoder wheel.
Note: Setting the pan position, routing, and EQ can all be done quickly and
easily with the dedicated controls of the SELECTED CHANNEL block.
4. Use the CURSOR buttons to select the ROUTING icons. Press the
[ENTER] button to select routes for the effect return signal.
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Secondary Recording Tutorial
By default (assuming you are still working with Scene Memory 0 “0 Initial
Data”) the effect return channel is routed to the stereo bus.
Note: Although you cannot route the effect return channel to the direct outputs,
you can route it to the same bus that the input channel is routed to, allowing you to
record the effect together with the input signal.
Many engineers prefer to add effects only during the final mix. It is very easy to
apply effects, but difficult to remove it once it has been recorded. You may want to
send the effect to the monitor mix, however, especially when recording a
vocalist—many vocalists dislike hearing their voice “dry” in the monitors.
5. Select the EQ graph with the CURSOR buttons and press the
[ENTER] button.
The 02R will automatically switch to the EQ 1/2 page. Follow the steps
detailed in “Applying EQ” on page 24 of the Getting Started Guide to set the
EQ for the effect return channel EFF 1 RTN.
Note: Many engineers prefer to hold off applying EQ to a recording until they
are ready to mixdown. Again, it is much easier to apply EQ than to subsequently
remove it.
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49
Recalling and Editing Effects
Once you have applied effects to MIC/LINE 1, you need to know how to
recall effects programs from the effects library and to adjust their
parameters in order to create your own effect programs.
Recalling Effects Programs
1. Use the [AUX 7] button to locate the AUX 7 2/3 page shown
below.
AUX 7
EFF1
The parameters of the currently selected effects program are displayed on
this page. You will see the library (LIB) icon, an effects curve or icon
(depending on the selected effect), and a level meter for the effects return
stereo pair, as well as icons for adjusting the parameters.
2. Use the [AUX 7] button to locate the AUX 7 3/3 page shown
below.
Alternatively, you could select the LIB icon and press the [ENTER] button
to go to the AUX 7 3/3 page.
02R Getting Started Guide
50
Secondary Recording Tutorial
3. Use the CURSOR buttons to select the RECALL icon. Rotate the
encoder wheel to select an effects program.
The 02R will scroll through the available effects programs. The program
that is highlighted is the program that will be recalled when you press the
[ENTER] button.
4. Press the [ENTER] button.
The effects program is recalled.
If you attempt to recall a user program that is empty, the 02R displays an
error message, indicating that the selected memory location is not available
for recall.
Editing Effects
You can edit the preset effects programs and then store them as user effects
programs. The 02R has 40 preset programs (1 through 40). Some are simple
variations of a basic effect, for example, different types of reverb and delay
(echo) are available.
Select the preset effects program that is closest to the effect you are trying to
achieve and edit its parameters.
1. Use the CURSOR buttons to select the LIB icon and press the
[ENTER] button.
The AUX 7 2/3 page appears.
You can also press the [AUX 7] button to get to this page. This button
allows you to access the aux send levels, the effects editing, and the effects
library pages.
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51
2. Select the various parameters with the CURSOR buttons, and
adjust the value with the encoder wheel.
As you adjust the parameters, you should listen carefully to the results.
Some of the parameters of some of the effects are very subtle in their effect,
others are quite obvious.
After you have modified the effects program to your satisfaction, you are
ready to store it.
Storing a User Effect
The 02R has 88 user effects program locations (41 through 128) for you to
store your own settings. You can store your effects program in the Effect
Library, or you can just rely on the 02R scene memory to recall your
settings. The following instructions show you how to store your program
in the library.
1. Select the LIB icon with the CURSOR buttons and press the [ENTER]
button.
The AUX 7 3/3 page appears.
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Secondary Recording Tutorial
2. Use the CURSOR buttons to select the TITLE EDIT box, as shown
below.
3. Select the individual character positions with the CURSOR
buttons. Use the encoder wheel to select the characters.
You can create a name of up to 16 characters long. It can contain any of the
following characters:
02R Getting Started Guide
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
Secondary Recording Tutorial
53
You can select the “INS.” icon to insert a space (blank) at the cursor position
in the TITLE EDIT box. Select the icon with the CURSOR buttons and press
the [ENTER] button. The “DEL.” icon is used to delete the character at the
cursor position.
Note: The “COPY” and “PASTE” icons allow you to select the title from
another effects program and paste it into your program for subsequent editing.
These icons only copy the title, not the effects settings. See “Icons” on page 110 of
the User’s Guide.
4. Use the CURSOR buttons to select the STORE icon. Rotate the
encoder wheel to select an effects program.
If you select one of the preset programs (1 to 40), the message “Preset is
read only!” appears when you attempt to store your program. Select a
program from the 88 user programs (41 to 128).
You cannot store your settings to program “U” (the UNDO buffer) either.
5. Press the [ENTER] button.
The 02R displays a confirmation dialog box asking if you want to store
your settings in the selected effects program. The dialog box has two icons:
“CANCEL” and “EXECUTE”.
Note: You can customize your 02R to prevent the dialog box appearing during
STORE operations. See “Preferences” on page 198 of the User’s Guide for more
information.
CANCEL is the default. To cancel the STORE operation, either press the
[ENTER] button or wait about 10 seconds—the STORE operation will be
automatically cancelled.
To store your settings, use the CURSOR buttons to select the “EXECUTE”
icon and press the [ENTER] button. The effects program is stored.
Note: If you decide you do not like an effects program after you have stored it, it
is very easy to overwrite it by creating new settings and storing them to the same
location. Conversely, it is also very easy to accidentally overwrite a valued effects
program.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS A
CONFIRMATION DIALOG BOX!
02R Getting Started Guide
54
Secondary Recording Tutorial
Patching in a Dynamics Processor
The 02R features comprehensive dynamics processors for all the channel
inputs, tape returns, and stereo and bus outputs. These processors allow
you to compress, expand, compress/expand (compand), gate, or duck the
signals passing through the mixer.
The dynamics processors are generally used to correct or control signal
levels, giving you unparalleled sonic quality and flexibility. You can also
use them creatively to shape the volume envelope of a sound.
Compressor
A compressor provides a form of automatic level control. It attenuates high
levels, thus effectively reducing the dynamic range, making it much easier
to control signals and set appropriate fader levels. Reducing the dynamic
range also means that recording levels can be set higher, thereby improving
the signal-to-noise performance.
Limiting is an extreme form of compression, where the output signal is
sharply attenuated so that it cannot exceed a particular level.
Expander
An expander is another form of automatic level control. By attenuating the
signal below the threshold, the expander reduces low-level noise or
expands the dynamic range of the recorded material.
Compander
A compander is a compressor/expander—a combination of signal
compression and expansion. The compander attenuates the input signal
above the threshold as well as the level below the width. For very dynamic
material, this program allows you to retain the dynamic range without
having to be concerned with excessive output signal levels and clipping.
Gate and Ducking
A gate, or noise gate is an audio switch used to mute signals below a set
threshold level. It can be used to suppress background noise and hiss from
valve (tube) amps, effects pedals, and microphones.
Ducking is used to automatically reduce signal levels when the level of a
source signal exceeds a specified threshold. It is used for voice-over
applications where, for example, the level of background music is
automatically reduced, allowing an announcer to be heard clearly.
02R Getting Started Guide
Secondary Recording Tutorial
55
Compressing the Stereo Output
You can apply dynamics to the input channels, for example, the channel
you have used throughout these tutorials—MIC/LINE 1. The selection of
dynamics program would depend on the input material: a gate for a noisy
guitar amp, a compressor for an unpredictable vocalist, and so on.
In this case, apply a compressor to the stereo bus to add punch to the
output signal. You can hear the effect by monitoring the stereo bus with the
control room buttons.
1. Use the [DYNAMICS] button to locate the DYNAMICS 1/2 page
shown below.
DYNAMICS
2. Press the [SEL] button for STEREO.
Note: If one of the icons B1 through B8 in the KEY IN section of the display is
highlighted, it means the corresponding output bus is selected. To select the stereo
bus, move the cursor to the STEREO icon using the CURSOR buttons and press
the [ENTER] button.
By default (assuming you are still working with Scene Memory 0 “0 Initial
Data”) the dynamics processor is set to a compression program with all
parameters set to the default value as shown in the table below:
Threshold
0 dB
Knee
hard
Ratio
1:1
Attack
0 ms
Out Gain
0 dB
Release
5 ms *1
*1
This value is obtained when the sampling frequency is 48 kHz.
The processor is OFF.
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56
Secondary Recording Tutorial
3. Use the CURSOR buttons to select the DYNAMICS OFF icon and
press the [ENTER] button to turn the processor on.
The icon is highlighted with the text changed to ON. Being able to easily
turn the dynamics processor on and off allows you to perform quick A-B
listening tests.
4. Select the KEY IN parameter with the CURSOR buttons. Rotate the
encoder wheel or press the [ENTER] button to select the trigger
source for the processor.
By default, the STEREO channel is triggered by itself, pre-EQ (SELF –
PRE-EQ). You can select post-EQ or the signal on the aux buses, AUX 1 or
AUX 2.
Note: As you change the KEY IN parameter, the icons in the KEY IN block on
the display also change.
You should select either SELF – PRE-EQ or SELF – POST-EQ.
5. Use the CURSOR buttons to select the compressor parameters.
6. Adjust the value of each parameter by rotating the encoder
wheel.
To compress the stereo output signal, try settings similar to those in the
following table:
Threshold
–10 dB
Knee
2
Ratio
2:1
Attack
60 ms
Out Gain
0 dB
Release
1.02 sec *1
*1
This value is obtained when the sampling frequency is 44.1 kHz or 48 kHz.
The above settings provide a 2:1 compression above –10 dB. This means for
every 1 dB change in input signal level above –10 dB there will be a 0.5 dB
change in the output level. You can increase the output level without as
much risk of clipping. The overall effect is the output signal sounds louder,
essentially because you have limited—or compressed—the dynamic range.
Experiment with the settings until you get an effect that you like.
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57
Using the Dynamics Library
Once you have applied a dynamics processor to the stereo bus, you need to
know how to recall dynamics programs from the library and to adjust the
parameters to create your own dynamics programs.
Recalling Dynamics Programs
1. Use the [DYNAMICS] button to locate the DYNAMICS 2/2 page
shown below.
DYNAMICS
Alternatively, you could use the LIB icon on the DYNAMICS 1/2 page to
go to the DYNAMICS 2/2 page.
2. Use the CURSOR buttons to select the RECALL icon. Rotate the
encoder wheel to select a dynamics program.
The 02R will scroll through the available dynamics programs. The program
that is highlighted is the program that will be recalled when you press the
[ENTER] button.
3. Press the [ENTER] button.
The dynamics program is recalled.
If you attempt to recall a user program that is empty, the 02R displays an
error message, indicating that the selected memory location is not available
for recall.
Note: Unlike EQ and effects, it is sometimes necessary to apply a dynamics
processor to an input signal as you are recording multitrack sources. Some signals
are too unpredictable or noisy to record without some form of compression or
gating. However, you should be very selective about the dynamics you apply, as the
same rule holds: it is easy to add the effect, but very difficult to remove it
afterwards.
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Secondary Recording Tutorial
Editing Dynamics Programs
You can edit the preset dynamics programs and then store them as user
programs. The 02R has 40 preset programs (1 through 40). Each program is
a variation on the six basic dynamics processors available:
•
Compressor (CMP)
•
Gate (GAT)
•
Expander (EXP)
•
Compander – Hard (CPH)
•
Compander – Soft (CPS)
•
Ducking (DUK)
Select the preset dynamics program that is closest to the effect you are
trying to achieve and edit its parameters. For a list of the preset programs,
see “Preset Dynamics Programs” on page 76 of the User’s Guide.
Note: The program name of each preset dynamics program contains a three letter
code indicating the type of dynamics processor it is.
1. Use the [DYNAMICS] button to locate the DYNAMICS 1/2 page
shown below.
Alternatively, you could use the LIB icon on the DYNAMICS 2/2 page to
go to the DYNAMICS 1/2 page.
2. Select the various parameters with the CURSOR buttons, and
adjust the values with the encoder wheel.
After you have modified the dynamics program to your satisfaction, you
are ready to store it.
02R Getting Started Guide
Secondary Recording Tutorial
59
Storing a User Dynamics Program
The 02R has 88 user dynamics program locations (41 through 128) for you
to store your own settings. You can store your dynamics program in the
Dynamics Library, or you can just rely on the 02R scene memory to recall
your settings. The following instructions show you how to store your
program in the library.
1. Use the [DYNAMICS] button to locate the DYNAMICS 2/2 page
shown below.
Alternatively, you could use the LIB icon on the DYNAMICS 1/2 page to
go to the DYNAMICS 2/2 page.
2. Use the CURSOR buttons to select the TITLE EDIT box.
3. Select the individual character positions with the CURSOR
buttons. Use the encoder wheel to select the characters.
You can create a name of up to 16 characters long. It can contain any of the
following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
02R Getting Started Guide
60
Secondary Recording Tutorial
You can select the “INS.” icon to insert a space (blank) at the current cursor
position in the TITLE EDIT box. Select the icon with the CURSOR buttons
and press the [ENTER] button. The “DEL.” icon is used to delete the
character at the cursor position.
Note: The “COPY” and “PASTE” icons allow you to select the title from
another dynamics program and paste it into your program for subsequent editing.
These icons only copy the title, not the dynamics settings. See “Icons” on page 88
of the User’s Guide.
4. Use the CURSOR buttons to select the STORE icon. Rotate the
encoder wheel to select a dynamics program.
If you select one of the preset programs (1 to 40), the message “Preset is
read only!”, appears when you attempt to store your program. Select a
program from the 88 user programs (41 to 128). You cannot store your
settings to program “U” (the UNDO buffer) either.
5. Press the [ENTER] button.
The 02R will display a confirmation dialog box asking if you want to store
your settings in the selected dynamics program. The dialog box has two
icons: “CANCEL” and “EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during STORE operations. See “Preferences” on page 198 of the User’s
Guide for more information.
02R Getting Started Guide
Secondary Recording Tutorial
61
CANCEL is the default. To cancel the STORE operation, either press the
[ENTER] button or wait about 10 seconds—the STORE operation will be
automatically cancelled.
To store your settings, use the CURSOR buttons to select the “EXECUTE”
icon and press the [ENTER] button. The dynamics program is stored.
Note: If you decide you do not like a dynamics program after you have stored it,
it is very easy to overwrite it by creating new settings and storing them to the same
location. Conversely, it is also very easy to accidentally overwrite a valued
dynamics program.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS A
CONFIRMATION DIALOG BOX!
02R Getting Started Guide
62
Secondary Recording Tutorial
Scene Memories
The 02R scene memories are a snapshot of all the digital parameters of the
mixer. The 02R has 96 mix scene memory locations. Each can be named for
easy identification.
There are two special scene memories. “0 Initial Data” is a read-only scene
memory that resets the 02R to its default settings. The other is an undo
buffer entitled “U”. Recalling the undo buffer restores the last state of the
02R.
STORE
RECALL
Scene memories can be stored and recalled using the [STORE] and
[RECALL] buttons. Scene memories are selected using the SCENE
MEMORY increment or decrement buttons.
SCENE MEMORY
They can also be recalled using automix or by using MIDI Program
Changes from a computer, MIDI sequencer, or MIDI footswitch. You can
save scene memories to a MIDI data filer.
Storing a Scene Memory
When you store a scene memory, you should check that all the mixer
settings in the Edit Buffer are correct. Some settings may have been
adjusted accidentally, or by someone else. If you are not sure about the
exact contents of the mixer and do not want to laboriously check each
setting, recall the initial mixer settings (Scene Memory 0 “0 Initial Data”),
make the adjustments that you really want, and then store.
Note: You may want to store the current mix settings to an unused scene
memory, just in case.
1. Use the SCENE MEMORY increment or decrement buttons to
select a scene memory.
You cannot store your settings to either of the special scene memories: “U”
(the UNDO buffer) or “0 Initial Data”. If you select these scene memories,
an error message appears when you attempt to store your scene memory.
SCENE MEMORY
When you select a new scene memory, the number displayed in the SCENE
MEMORY LED indicator flashes.
2. Press the [STORE] button.
The 02R displays a confirmation dialog box asking if you want to store
your settings in the selected scene memory. The dialog box has two icons:
“CANCEL” and “EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during STORE operations. See “Preferences” on page 198 of the User’s
Guide for more information.
02R Getting Started Guide
Secondary Recording Tutorial
63
CANCEL is the default. To cancel the STORE operation, either press the
[ENTER] button or wait about 10 seconds—the STORE operation will be
automatically cancelled.
To store your settings, use the CURSOR buttons to select the “EXECUTE”
icon and press the [ENTER] button.
The scene memory is stored.
Note: If you decide you do not like a scene memory after you have stored it, it is
very easy to overwrite it by adjusting the mixer settings and storing them to the
same location. Conversely, it is also very easy to accidentally overwrite a valued
scene memory. The 02R has a “Memory Protect” feature to help prevent this, but
this feature can interfere with your work, plus it is very easy to turn off the
protection. See “Protecting Scene Memories” on page 134 of the User’s Guide
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS A
CONFIRMATION DIALOG BOX!
Naming a Scene Memory
Scene memories can be named before being stored or after. In the latter
case, you must first recall the scene memory, name it, and then store it. In
this tutorial, a scene memory that has already been stored is named.
1. Use the [SCENE MEMORY] button to locate the SCENE 1/5 page
shown below.
SCENE
MEMORY
2. Use the SCENE MEMORY increment or decrement buttons, or
encoder wheel, to select the scene memory.
When you select a different scene memory, the number displayed in the
SCENE MEMORY LED indicator flashes.
3. Press the [RECALL] button to recall the scene memory.
4. Use the CURSOR buttons to select the TITLE EDIT box.
02R Getting Started Guide
64
Secondary Recording Tutorial
5. Select the individual character positions with the CURSOR
buttons. Use the encoder wheel to select the characters.
You can create a name of up to 16 characters long. It can contain any of the
following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
You can select the “INSERT” icon to insert a space (blank) at the cursor
position in the title edit box. Select the icon with the CURSOR buttons and
press the [ENTER] button. The “DELETE” icon is used to delete the
character at the cursor position.
Note: The “COPY” and “PASTE” icons allow you to copy the title from another
scene memory and paste it into the title edit box for subsequent editing. If you use
the Copy function, be sure to select the scene memory whose name you are editing
before storing. Otherwise, you’ll overwrite the scene whose name you copied.
6. Press the [STORE] button.
If you respond to the confirmation dialog box by selecting “EXECUTE”
and pressing the [ENTER] button, the scene memory is stored with its new
name.
02R Getting Started Guide
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65
Recalling a Scene Memory
Scene memories are recalled using the [RECALL] button. They can also be
recalled using the automix or by using MIDI Program Change Messages.
1. Use the SCENE MEMORY increment or decrement buttons to
select the desired scene memory.
STORE
RECALL
SCENE MEMORY
When you select a different scene memory, the number displayed in the
SCENE MEMORY LED indicator flashes.
2. Press the [RECALL] button.
The selected scene memory is recalled.
Note: When recalling mix scenes, be aware that volume levels may change
suddenly as channels are switched ON and faders moved. The 02R has a feature
that allows you to fade the levels as a scene memory is loaded, but it cannot
compensate for the sudden burst of a channel suddenly being switched on. See
“Fade Time” on page 136 of the User’s Guide for further information.
When the scene memory is recalled, the number displayed in the SCENE
MEMORY LED indicator stops flashing.
If you attempt to recall a scene memory that is empty, the 02R displays an
error message, indicating that the selected memory location is not available
for recall.
02R Getting Started Guide
Mixing and Automix
5
67
Mixing and Automix
In this chapter...
What is 02R Automix?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Real-time Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Editing Automix Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Off-line Automix Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Using the Automix Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
5
02R Getting Started Guide
68
Mixing and Automix
What is 02R Automix?
There are three basic steps to making a multitrack recording:
•
Setup and initial tracks
•
Overdubbing
•
Mixdown
Each step is vital in order to produce a satisfactory recording, but the most
difficult one for most engineers is the mixdown. The musicians have
finished their work. They have played their instruments and sung their
vocals. All that raw material is stored on your multitrack recorder, waiting
to be turned into a perfect final mix.
To assist you with this difficult task, the 02R has a fully-featured on-board
automix system. It memorizes fader position changes, switches individual
channels on or off, adjusts the EQ or pan positions, and changes the
auxiliary sends—all based on timecode. It can also recall scene memories
and programs from the EQ library, effects library, dynamics library, and
channel library.
This allows you to record an entire mixing session, and then edit the
individual channel settings in multiple passes until you have achieved
perfection. You can punch-in to fine tune a specific parameter or you can
use one of the event editors to adjust the timecode position of a channel
setting or scene change. You can easily create a mix that would be virtually
impossible to achieve on a standard analog mixer.
Automix Memory
The 02R has a current automix buffer and 16 automix memories. There is
also an undo buffer. Only the current mix can be played back and recorded.
You can store the current mix in any of the 16 automix memories.
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69
Real-time Automix
These tutorials have assumed you are using your 02R with one or more of
the optional I/O cards installed and a multitrack recorder connected. In
this section, you will be synchronizing your multitrack recorder to the 02R.
There are three basic ways of doing this:
•
If your multitrack recorder is equipped with a SMPTE timecode output
connector, you use an audio cable to connect it to the SMPTE
TIME CODE INPUT jack on the rear panel of the 02R.
•
Use an external SMPTE timecode generator if your multitrack recorder
cannot output SMPTE time. You need to record timecode onto one of
the tracks of your multitrack recorder and connect the output from that
track directly to the SMPTE TIME CODE INPUT jack on the rear panel
of the 02R.
•
Use a MIDI sequencer to send MTC (MIDI timecode) or MIDI Clocks to
the 02R as well as your multitrack recorder. Connect a MIDI cable to
the MTC TIME CODE INPUT jack on the rear panel of the 02R.
There is an additional option—you can automate the 02R using its internal
timecode generator. However, you cannot synchronize with an external
device as the 02R has no timecode output connectors. This mode is effective
for learning how to use the automix system.
Basic Connections and Setup
1. Connect your timecode source to the 02R.
2. Use the [AUTOMIX] button to locate the AUTOMIX 1/7 page.
AUTOMIX
3. Use the CURSOR buttons to select the desired “Frames” rate and
press the [ENTER] button.
The 02R supports the following frame rates:
•
30—30 frames per second.
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Mixing and Automix
•
30D—29.97 frames per second (30 drop frame).
•
25—25 frames per second.
•
24—24 frames per second.
These frame rates apply to the SMPTE, MTC, and INT time references.
4. Select the “Time Reference” with the CURSOR buttons and press
the [ENTER] button.
Select the time reference from the four options:
•
SMPTE timecode (the motion picture standard)
•
MTC (MIDI timecode)
•
INT (internal)
•
MIDI (MIDI Clock)
5. Use the CURSOR buttons to select the “Automix” ENABLE and
press the [ENTER] button to switch it on.
The automix system will not function unless this check box is enabled.
6. Select the desired “Overwrite” items with the CURSOR buttons
and press the [ENTER] button.
This field allows you to select the types of events that will be recorded.
Only the items selected will be recorded. Choose from the following:
•
FADER—channel level operations (fader or encoder) including
auxiliary send levels.
•
CH ON—[ON] button selections for each channel.
•
PAN—pan position for each channel.
•
EQ—EQ selections for each channel.
•
SURROUND—surround pan events
Note: Scene memories and all library recall operations will be recorded
regardless of the settings of the “Overwrite” options.
The other options on this page are also important, but not for the purposes
of this tutorial. See “Automix Main” on page 144 of the User’s Guide for
more details.
Creating a New Automix
To record an entire mixing session with the 02R automix system, you must
first create a new automix. When a new automix is created, the contents of
the current automix (referred to as “events”) are deleted and the current
automix is returned to its default settings.
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71
If you want to keep the contents of the current automix, store them into an
available memory location before proceeding.
1. Use the [AUTOMIX] button to locate the AUTOMIX 2/7 page.
AUTOMIX
STORE
RECALL
2. Use the SCENE MEMORY increment or decrement buttons to
select your starting scene memory and press the [RECALL]
button.
SCENE MEMORY
The selected scene memory is recalled.
Your mixdown scene memory should be stored with the [FLIP] button
pressed so that the faders operate the tape returns rather than the input
channels.
Note: You can customize your 02R so that the [FLIP] button status is ignored
during scene memory recalls. In this case, you may need to press the [FLIP] button
before you start recording your automix. See “Preferences” on page 198 of the
User’s Guide for more information.
3. Set your starting levels for the mixdown and press the [STORE]
button to update the scene memory.
The 02R will display a popup confirmation request message. Select the
“EXECUTE” icon and press the [ENTER] button.
4. Use the CURSOR buttons to select the “NEW” icon and press the
[ENTER] button.
The 02R will display a popup confirmation request message asking if you
want to make a new automix. The popup has two icons: “CANCEL” and
“EXECUTE”:
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CANCEL is the default. To cancel the NEW operation, either press the
[ENTER] button or wait about 10 seconds—the NEW operation will be
automatically cancelled.
To create the new automix, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The last scene memory
that was stored or recalled will be inserted at timecode location 00:00:00.00.
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Recording the First Session
1. Use the [AUTOMIX] button to locate the AUTOMIX 1/7 page.
AUTOMIX
2. Select the “REC” (record) icon with the CURSOR buttons and
press the [ENTER] button.
The “REC” icon will flash, indicating AUTOMIX RECORD READY status:
3. Press the [SEL] buttons for the tape return channels you want to
record.
The LED inset in the selected channel [SEL] buttons flash indicating that
they are armed for recording.
Note: Remember the scene memory you recalled has the [FLIP] function
engaged. Therefore you should be selecting the [SEL] buttons in the row above the
faders.
4. Start the device that is providing the timecode.
It should start from a location before the music starts.
Note: The 02R automix function will not respond correctly in cases where the
source timecode starts at “23:59:30.00” and rolls over to “00:00:00.00”. The
timecode must be continuous.
When timecode is received when the 02R is in AUTOMIX RECORD
READY status, the “REC” icon is highlighted and automix recording will
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Mixing and Automix
begin. The timecode will be displayed in real-time in the “Time Code” field
of the “Automix Main” page.
Note: If the timecode is not being displayed correctly in the “Time Code” field,
check the following:
•
Are your cables connected between the timecode source device and the 02R
correctly?
•
Is the timecode source device setup correctly to output timecode?
5. While monitoring the recording, operate the faders and other
controls for the selected channels.
When you are recording the automix events, you can only operate the
controls, specifically the faders, of the selected channels.
Note: The 02R tries to prevent accidental level changes by “freezing” the faders
that have not been selected. To avoid damaging the unit, do not attempt to operate
the faders of channels that have not been selected.
Automix Recording Notes
02R Getting Started Guide
•
When you are recording pan or EQ changes you may find it more
convenient to use the buttons and controls of the SELECTED
CHANNEL block.
•
If you have selected more than one channel with the [SEL] buttons, the
SELECTED CHANNEL controls can only adjust the channel that was
selected last. The same applies for EQ and dynamics processor
operations. Because of these restrictions, you may find it more
convenient to work on your automix recording one channel at a time
when editing EQ and pan data.
•
While you are recording automix events, you can select other 02R
display functions, allowing you to adjust the parameters for multiple
channels.
•
To record a recall operation from EQ, dynamics, or channel libraries,
press the [SEL] button for the channel to be changed, then use the
corresponding display function to perform the recall operation. To
record a recall operation from the effect libraries, use the [AUX 7] or
[AUX 8] button to access the effect libraries.
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75
6. When you have completed recording the automix session, use
the CURSOR buttons to select the “STOP” icon and press the
[ENTER] button.
You may find it faster and more convenient to stop the automix recording
session by stopping the device that is providing the timecode. In this case,
the effect is the same as if you selected the STOP function on the 02R:
The “REC” icon will change to normal and the “STOP” icon is highlighted.
The events recorded during the automix session will be written to the
current automix memory.
You can also discard the events recorded during the automix session by
selecting the “UNDO” icon with the CURSOR buttons and pressing the
[ENTER] button.
You can stop the automix recording session by selecting the “ABORT” icon
with the CURSOR buttons and pressing the [ENTER] button. However, the
events recorded during the automix session will be discarded.
Note: The ABORT function must be used before an automix recording has
stopped. Once the recording has stopped, the automix data will be updated and a
new current mix is created. At this point after stopping an automix recording, the
UNDO function can be used to retrieve the previous automix data.
In most cases, punch-in edits or using the event editors can correct minor
errors.
7. Stop the device that is providing the timecode.
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Editing Automix Events
Overwriting Events
You can overwrite the events that have been recorded into the current
automix. You can alter events on an already recorded channel or you can
record new events onto another channel. For example, you may first record
the faders for the rhythm section to the automix and then overwrite the
fader operations for the lead parts and vocals.
1. Use the [AUTOMIX] button to locate the AUTOMIX 1/7 page.
AUTOMIX
WARNING! Be careful
that previously recorded
events are not accidentally
overwritten when you
make these selections.
2. Use the CURSOR buttons to select the desired “Overwrite” items
and press the [ENTER] button.
Note: If you double-click the [ENTER] button on a selected “Overwrite” item,
only that item will be selected and the other items will be switched off.
3. Select the “REC” icon with the CURSOR buttons and press the
[ENTER] button.
The “REC” icon will flash.
4. Press the [SEL] buttons for the tape return channels you want to
overwrite.
It is very important that you be careful when you select the type of events
and channels that will be overwritten. If you select the same channel and
the same type of event as the last session, the previously recorded events
will be deleted the moment the automix recording begins.
5. Start the device that is providing the timecode.
It should have been rewound and again start from a location before the
music starts. The previously recorded automix will playback.
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77
6. While monitoring the recording, adjust the parameters you want
to overwrite.
7. When you have completed the automix overwriting session, use
the CURSOR buttons to select the “STOP” icon and press the
[ENTER] button.
You may find it faster and more convenient to stop the automix recording
session by stopping the device that is providing the timecode. The effect is
the same as if you selected the STOP function on the 02R.
The “REC” icon will change to normal and the “STOP” icon is highlighted.
The events recorded during the overwriting session will be added to the
current automix memory.
8. Stop the device that is providing the timecode.
Punch-in Automix Data
If you made a mistake in just one portion of the automix, you can replace
the erroneous data with a punch-in.
1. Use the [AUTOMIX] button to locate the AUTOMIX 1/7 page.
AUTOMIX
2. Use the CURSOR buttons to select the desired “Overwrite” items
and press the [ENTER] button.
3. Select the “REC” icon with the CURSOR buttons and press the
[ENTER] button.
The “REC” icon will flash.
4. Start the device that is providing the timecode.
It should have been rewound and again start from a location before the
music starts. The previously recorded automix will playback, however,
because you have not selected any channels, the 02R will remain in
AUTOMIX RECORD READY status.
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Mixing and Automix
5. Monitor the recording. At the punch-in location, press the [SEL]
buttons for the tape return channels you want to fix.
Recording will begin from the location where you pressed the [SEL] button.
Note: From this point, new events will be recorded and previously existing
events will be deleted.
6. While monitoring the recording, adjust the parameters you want
to fix.
7. When you have finished adjusting the parameters, press the [SEL]
buttons again.
The 02R will return to AUTOMIX RECORD READY status.
Note: If you do not adjust any parameters between the punch-in and punch-out
points, any events of the selected type that were previously recorded there will have
been deleted.
8. Use the CURSOR buttons to select the “STOP” icon and press the
[ENTER] button.
You may find it faster and more convenient to stop the automix recording
session by stopping the device that is providing the timecode. The effect is
the same as if you selected the STOP function on the 02R.
The “REC” icon will change to normal and the “STOP” icon is highlighted.
9. Stop the device that is providing the timecode.
Editing Fader/Encoder Movements
If you are replacing erroneous fader/encoder data using a punch-in, the
02R allows you to monitor the differences on the Fader Edit page.
1. Use the [AUTOMIX] button to locate the AUTOMIX 1/7 page.
AUTOMIX
02R Getting Started Guide
2. Use the CURSOR buttons to select the “FADER—Overwrite” item
and press the [ENTER] button.
Mixing and Automix
79
3. Use the [AUTOMIX] button to locate the AUTOMIX 3/7 page.
This display allows you to watch the fader movements as dynamic
bargraphs. Several features make this display convenient to use while you
perform detailed fader/encoder edits.
4. Use the CURSOR buttons to select “Fader Edit Out—RET” and press
[ENTER] to change its value.
If the RET check box is not selected, you may want to move the fader back
to its previously recorded level before you punch-out. If the RET check box
is selected, the fader will automatically return to the previously recorded
level when you punch out. The time it takes to return to the previous level
is controlled by the “Time” field.
5. Select the “REC” icon with the CURSOR buttons and press the
[ENTER] button.
The “REC” icon will flash.
6. Start the device that is providing the timecode.
The 02R will remain in AUTOMIX RECORD READY status.
7. Monitor the recording. At the punch-in location, press the [SEL]
button for the tape return channel you want to edit.
Recording will begin from where you pressed the [SEL] button.
8. While monitoring the recording, adjust the fader you want to edit.
As you operate the fader, the display shows the previously recorded
position as well as the new position. An arrow in the display indicates the
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Mixing and Automix
direction the fader has to be moved to return to the previously recorded
position:
If the fader is moved to a position lower
than the previously recorded position
If the fader is moved to a position higher
than the previously recorded position
9. When you have finished adjusting the fader, press the [SEL] button
again.
The 02R will return to AUTOMIX RECORD READY status.
10. Use the CURSOR buttons to select the “STOP” icon and press the
[ENTER] button.
You may find it faster and more convenient to stop the automix recording
session by stopping the device that is providing the timecode. The effect is
the same as if you selected the STOP function on the 02R.
11. Stop the device that is providing the timecode.
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81
Off-line Automix Editing
Editing Scene and Library Recall Events
The Event Edit (Scene/Lib.) page, shown below, allows you to duplicate
and delete mix scene and library recall events, and insert new events.
Timecode addresses can be captured on-the-fly, and new events inserted at
the captured points. The Locate function provides a speedy way to locate
events in a complex automix.
1. Use the [AUTOMIX] button to locate the AUTOMIX 5/7 page.
AUTOMIX
Mix scene recall events and library program recall events are listed in the
Time Code, Memory, and Channel columns. Events can be moved by
editing the timecode addresses, and events are resorted automatically. In
the Memory column, event type and memory number can be edited. In the
Channel column, the channel number for EQ, dynamics, effects, and
channel library events can be edited. Mix scene events do not have a
Channel value.
2. Use the CURSOR buttons to move up or down the event list, and
the encoder wheel to edit values.
You can edit the following data:
•
Time Code—the location of the event as a timecode value. The 02R
sorts events by their timecode value.
•
Memory—the type of the event. You can select from the following
events:
•
SCENE—scene memory recall. The number indicates the scene
number (from 0 to 96).
•
EQ.Lib.—EQ library recall. The number indicates the EQ library
number (from 1 to 128).
•
DY.Lib.—dynamics library recall. The number indicates the
dynamics library number (from 1 to 128).
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Mixing and Automix
•
•
EF.Lib.—effect library recall. The number indicates the effect
library number (from 1 to 128).
•
CH.Lib.—channel library recall. The number indicates the
channel library number (from 1 to 64).
Channel—the channel that the recall applies to. For scene memory
recall, this field is blank.
For timecode, you can independently adjust the hours, minutes, seconds,
and frames values.
3. Use the CURSOR buttons to select the DUPLICATE icon and press
the [ENTER] button to duplicate the selected event.
The selected event can be duplicated or deleted using the DUPLICATE and
DELETE icons. When the Selected CH parameter is checked, only events
corresponding to the selected channel are listed, useful for editing an
automix consisting of many events.
4. Use the CURSOR buttons to select the DELETE icon and press
[ENTER] to delete the selected event.
When the SYNC icon is pressed, events occurring around the current
timecode address are displayed. The timecode counter below the SYNC
icon displays the incoming timecode. When the CAPTURE icon below that
is pressed, the current timecode address is captured and displayed in the
window below. Up to eight timecode addresses can be captured, and they
are stored when the 02R is turned off. The parameter next to the CAPTURE
icon is used to select the addresses. When the LOCATE icon is pressed,
events occurring about the captured timecode address are displayed.
When the INSERT icon is pressed, a new scene recall event is inserted at
the captured timecode address. The new event can be edited as required.
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Editing Channel On, Pan, & Fader events
The Event Edit (CH ON, PAN, FADER) page, shown below, allows you
edit channel on/off, pan, and fader events, and duplicate, delete, and
insert new events. Timecode addresses can be captured on-the-fly, and
new events inserted at the captured points. The Locate function provides
a speedy way to locate events in a complex automix.
1. Use the [AUTOMIX] button to locate the AUTOMIX 6/7 page.
AUTOMIX
Channel on/off, pan, and fader events are listed in the Time Code, and
Channel columns. Events can be moved by editing the timecode addresses,
and events are resorted automatically. In the Channel column, the channel
number can be edited. The value in the third column depends on the event
type selected using the CH ON (ON/OFF), PAN (L-C-R), and FADER
(dB/SEC) check boxes.
2. Use the CURSOR buttons to move up or down the event list, and
the encoder wheel to edit values.
3. Use the CURSOR buttons to select the DUPLICATE icon and press
the [ENTER] button to duplicate an event.
The selected event can be duplicated or deleted using the DUPLICATE and
DELETE icons. When the Selected CH parameter is checked, only events
corresponding to the selected channel are listed, useful for editing an
automix consisting of many events.
4. Use the CURSOR buttons to select the DELETE icon and press
[ENTER] to delete the current event.
When the SYNC icon is pressed, events occurring around the current
timecode address are displayed. The timecode counter below the SYNC
icon displays the incoming timecode. When the CAPTURE icon below that
is pressed, the current timecode addresses is captured and displayed in the
window below. Up to eight timecode addresses can be captured, and they
are stored when the 02R is turned off. The parameter next to the CAPTURE
icon is used to select the addresses. When the LOCATE icon is pressed,
events occurring around the captured timecode address are displayed.
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When the INSERT icon is pressed, a new event is inserted at the captured
timecode address. The type of event depends on which of the CH ON,
PAN, FADER check boxes is checked. The new event can be edited as
required.
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85
Erasing Events
The Event Copy page, shown below, allows you to copy, move, erase and
trim the level of automix events. In this tutorial just the Erase function is
used. See “Event Copy” on page 153 of the User’s Guide for information
about the other functions.
1. Use the [AUTOMIX] button to locate the AUTOMIX 4/7 page.
AUTOMIX
The channel icons are used to select the channels whose automix data is to
be edited.
2. Use the CURSOR buttons to select the channel check boxes, and
press the [ENTER] button to check them.
The Parameter check boxes are used to select parameters for editing, and
multiple parameters can be selected. The parameters are:
•
FADER—Channel input and output level events (faders/rotary
encoders)
•
CH ON—Channel on/off (mute) events
•
PAN—pan events
•
EQ—EQ events
•
SCENE—Scene memory recall events
•
AUX 1–8—Channel aux send events (faders/rotary encoders)
•
REMOTE 1–4—MIDI Remote events
•
SURR—Surround pan events
•
EQLIB—EQ library program recall events
•
CHLIB—Channel library program recall events
•
DYLIB—Dynamics library program recall events
•
EFLIB—Effects library program recall events
3. Use the CURSOR buttons to select the parameter check boxes,
and press the [ENTER] button to check them.
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Mixing and Automix
4. Use the CURSOR buttons and encoder wheel to set the In Time.
5. Use the CURSOR buttons and encoder wheel to set the Out Time.
The Extract function allows you to delete the selected parameters from
the selected channels between the In Time and Out Time points.
6. Use the CURSOR buttons to select the “ERASE” icon and press the
[ENTER] button.
A confirmation dialog box appears.
7. Select EXECUTE and press the (ENTER) button.
The events are deleted. If you change your mind, you can restore the
deleted events using the Undo function. You can undo only the last
operation.
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Using the Automix Library
Storing an Automix
An automix can be stored in one of the 16 automix memories available on
the Memory Management page shown below.
1. Use the [AUTOMIX] button to locate the AUTOMIX 2/7 page.
AUTOMIX
2. Use the CURSOR buttons to select the TITLE EDIT box.
3. Use the CURSOR buttons to move the cursor within the title, and
the encoder wheel to select the characters.
Automix titles can be up to 16 characters long, and the following characters
are available.
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
You can select the “INS.” icon to insert a space at the cursor position in the
TITLE EDIT box. Select the icon with the CURSOR buttons and press the
[ENTER] button. The “DEL.” icon is used to delete the character at the
cursor position in the TITLE EDIT box.
Note: The “COPY” and “PASTE” icons allow you to select the title from
another automix program and paste it into your program for subsequent editing.
These icons only copy the title. See “AUTOMIX Name Edit Functions” on page
149 of the User’s Guide.
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Mixing and Automix
4. Use the CURSOR buttons to select the STORE icon. Use the
encoder wheel to select an automix and press the [ENTER]
button.
The 02R will display a popup confirmation request message asking if you
want to store your settings in the selected automix program. The popup
has two icons: “CANCEL” and “EXECUTE”.
CANCEL is the default. To cancel the STORE operation, either press the
[ENTER] button or wait about 10 seconds—the STORE operation will be
automatically cancelled.
To store your settings, use the CURSOR buttons to select the “EXECUTE”
icon and press the [ENTER] button. The automix is stored.
Automix Memory
Automix memory is shared between the current automix and the stored
automixes. This means that a “Memory Full” error message could appear
even though there are empty automix locations. A complex automix,
containing many events, may exceed the memory capacity. If this occurs,
backup and delete any unused automixes and attempt the STORE
operation again.
The default capacity of the 02R automix memory is 480K. You can expand
this to 1.5 MB or 2.5 MB by installing the optional ME4M memory
expansion kits.
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89
Recalling an Automix
1. Use the [AUTOMIX] button to locate the AUTOMIX 2/7 page.
AUTOMIX
2. Use the CURSOR buttons to select the RECALL icon. Use the
encoder wheel to select an automix.
The 02R will scroll through the available automixes. The program that is
highlighted will be recalled when you press the [ENTER] button.
3. Press the [ENTER] button.
The 02R will display a popup confirmation request message asking if you
want to recall selected automix program. The popup has two icons:
“CANCEL” and “EXECUTE”.
CANCEL is the default. To cancel the RECALL operation, either press the
[ENTER] button or wait about 10 seconds—the RECALL operation will be
automatically cancelled.
To recall the automix, use the CURSOR buttons to select the “EXECUTE”
icon and press the [ENTER] button. The automix program is recalled.
Note: When you recall an automix program, you are overwriting the current
automix. Make sure that you have backed up or stored the current automix just in
case.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS ITS
CONFIRMATION POPUP MESSAGE!
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Index
Index
A
Attenuation 22
Audio quality 2
Automix
about 7
editing 76
editing faders and encoders 78
editing scene and library recalls
81
extracting events 85
frame rate 69
making new automixes 70
memories 68
memory expansion 88
off-line editing 81
overwriting 76
punch-in 77
real-time operation 69
recalling automixes 89
recording 73
recording notes 74
setup 69
storing automixes 87
time reference 69
titling 87
what is it? 68
Aux sends
about 42
AUX buttons 42
selected channel AUX controls
42
setting send levels 43
B
Basic setup 15
C
Compander 54
Compressor 54
Converters 11
Crystal clarity 2
02R Getting Started Guide
D
Deleting events 85
Digital audio, benefits 10
Display 8
DSP 2
Ducking 54
Dynamics
about 9
compander 54
compressor 54
ducking 54
editing programs 58
expander 54
gate 54
library 57
recalling programs 57
stereo output 55
storing programs 59
titling programs 59
resetting 29
storing programs 32
titling programs 32
undo 31
Erasing events 85
Expander 54
F
Faders 9
editing events 83
level setting 20
Features 5
Frame rate, automix 69
Frequency, EQ 27
G
Gain control, setting 21
Ganging pans 39
Gate 54
E
I
Editing
automix events 76
dynamics programs 58
effects 50
faders and encoders 78
on/off, pan, and fader events 83
scene and library recalls 81
Effects
about 9
editing 50
recalling programs 49
returns 47
send levels 46
storing user programs 51
titling 51
using 46
EQ
about 10
applying 24
bandwidth 28
frequency 27
gain 25
library 30
on/off 24
Q 28
recalling programs 30
Initial data 62
Input level, setting 20
Installation 3
Interface, about 8
Internal effects, about 9
I/O cards 2
L
LCD 8
Library
dynamics 57
effects 49
EQ 30
M
Memory expansion kit 88
MIDI Clock 69
Monitoring 45
Monitor source, setting 20
Motorized faders 9
MTC 69
Muting channels 23
Index
N
Naming See Titling.
Noise gate 54
O
selecting 37
using 36
S
Q, EQ 28
Scene memories
about 7
editing recall events 81
indicator 23
recalling 65
recalling scene 0 17
storing 62
titling 63
Scene memory buttons 62
Scene 0 17
Setting
aux send levels 43
effects send levels 46
EQ 24
fader levels 20
gain controls 21
input levels 20
monitor source 20
pan 38
SMPTE 69
Snapshots 62
Sonic performance 2
Storing
automixes 87
dynamics programs 59
effects programs 51
EQ programs 32
scene memories 62
Switching the 02R on/off 16
R
T
Rear panel 4
Recalling
automixes 89
dynamics programs 57
effects programs 49
EQ programs 30
scene memories 65
Resetting the EQ 29
Returns, effects 47
RISC technology 3
Routing
about 35
Time reference, automix 69
Titling
automixes 87
dynamics programs 59
effects programs 51
EQ programs 32
scene memories 63
Top panel 4
turning channels on/off 23
Turning the 02R on/off 16
Off-line editing 81
ON buttons 23
On/off event editing 83
Options 6
Overwriting automix events 76
P
Pad 21
Pan
about 38
editing events 83
ganging 39
setting 38
Parametric EQ, about 10
Peak hold 22
Phase 22
Powering on/off 16
Programs
dynamics 57
effects 49
EQ 30
Punch-in, automix 77
Q
91
U
Undo
EQ recall 31
User guides, about 3
User interface, about 8
W
Wordclock 16
Z
02R
features 5
installation 3
options 6
rear panel 4
top panel 4
02R Getting Started Guide
User’s Guide
DIGITAL RECORDING CONSOLE
User’s Guide
Contents at a Glance
i
Contents at a Glance
1
Controls and Connections. . . . . . . . . . . . . . . . . . . 1
2
User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
3
Mixing and Monitoring. . . . . . . . . . . . . . . . . . . . . 25
4
MIXING Display Functions . . . . . . . . . . . . . . . . . . 31
5
Surround Pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
6
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
7
Auxiliary Channels . . . . . . . . . . . . . . . . . . . . . . . . 97
8
Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 103
9
Scene Memories. . . . . . . . . . . . . . . . . . . . . . . . . 127
10
Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
11
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
12
Groups and Pairs . . . . . . . . . . . . . . . . . . . . . . . . 181
13
Digital I/O, Setup, and Utilities. . . . . . . . . . . . . . 187
14
Installing Options . . . . . . . . . . . . . . . . . . . . . . . . 217
15
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
16
Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
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Contents
iii
Contents
1
Controls and Connections. . . . . . . . . . . . . . . . . . . 1
Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Rear Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
2
User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
About the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
DISPLAY ACCESS Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
CURSOR Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Encoder Wheel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
ENTER Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
SCENE MEMORY Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Display Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
SELECTED CHANNEL Controls . . . . . . . . . . . . . . . . . . . . . . . . . . 23
3
Mixing and Monitoring. . . . . . . . . . . . . . . . . . . . . 25
Analog Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Phantom Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Pad. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
GAIN Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
SEL Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
ON Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Analog Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Monitor Selector Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Monitor Level Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
4
MIXING Display Functions . . . . . . . . . . . . . . . . . . 31
Phase and Attenuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Pan and Balance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Pan Gang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Stereo Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
PAN controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
ROUTING buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
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Contents
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Channel Library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
EQ controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Preset EQ Program Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
5
Surround Pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
About Surround Pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Selecting a Surround Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Panning Sounds Freely. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Panning Sounds Using the Trajectories . . . . . . . . . . . . . . . . . . . . . 69
Linking Channels for Surround Pan . . . . . . . . . . . . . . . . . . . . . . . 72
CSR (Center:Side Ratio) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
6
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Preset Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Expander. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Compander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Gate and Ducking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
DYNAMICS Display Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Patching in a Processor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Dynamics Processor Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
KEY IN and LINK Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Preset Dynamics Program Parameters. . . . . . . . . . . . . . . . . . . . . . 90
7
Auxiliary Channels . . . . . . . . . . . . . . . . . . . . . . . . 97
About the 02R Auxiliaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
The AUX Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Stereo Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
AUX [ON] Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
AUX Pre or Post. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Monitor Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
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Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 103
About Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
AUX 7 and AUX 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Preset Effects Program Parameters. . . . . . . . . . . . . . . . . . . . . . . . 112
9
Scene Memories. . . . . . . . . . . . . . . . . . . . . . . . . 127
What are Scene Memories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
What is Stored in a Scene Memory? . . . . . . . . . . . . . . . . . . . . . . . 129
What is the Edit Buffer? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Initial Data and UNDO Memory . . . . . . . . . . . . . . . . . . . . . . . . . 129
Storing Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Naming a Scene Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Recalling Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Fader Recall Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Fade Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
10
Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
What is the Automix Function? . . . . . . . . . . . . . . . . . . . . . . . . . . 138
What is Timecode? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Automix Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Automix Main . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Memory Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Fader Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Event Copy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Event Edit (Scene/Lib.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Event Edit (CH ON, PAN, FADER) . . . . . . . . . . . . . . . . . . . . . . . 156
11
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
MIDI and the 02R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Program Change Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Bulk Dump/Request . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Fader Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI Control Change Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
MIDI Remote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
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12
Groups and Pairs . . . . . . . . . . . . . . . . . . . . . . . . 181
Grouping Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Grouping Mutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Pairing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
MS Decoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
13
Digital I/O, Setup, and Utilities. . . . . . . . . . . . . . 187
Word Clock Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Input Signal Select. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Cascade Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Slot Output Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Aux Output Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
24-bit Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Oscillator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Emphasis Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Channel Status Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Battery Check. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Communication Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
02R System Initialization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
14
Installing Options . . . . . . . . . . . . . . . . . . . . . . . . 217
02R Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Installing 02R Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Analog I/O Card—AD/DA (CD8-AD) . . . . . . . . . . . . . . . . . . . . 224
Analog I/O Card—A/D (CD8-AD-S) . . . . . . . . . . . . . . . . . . . . . 224
Digital I/O Card—AES/EBU (CD8-AE/CD8-AE-S). . . . . . . . . 225
Digital I/O Card—ADAT (CD8-AT) . . . . . . . . . . . . . . . . . . . . . . 227
Digital Cascade Kit (CD8-CS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Digital I/O Card—TDIF-1 (CD8-TDII) . . . . . . . . . . . . . . . . . . . . 234
Peak Meter Bridge (MB02) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
15
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
General Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Input Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Output Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Digital Input and Output Specifications . . . . . . . . . . . . . . . . . . . 247
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Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Appendix: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Parameter Change and Request Format . . . . . . . . . . . . . . . . . . . 265
Bulk Dump and Request Format . . . . . . . . . . . . . . . . . . . . . . . . . 273
16
Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
References and Further Reading. . . . . . . . . . . . . . . . . . . . . . . . . . 295
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
02R User’s Guide
Controls and Connections
1
1
Controls and Connections
1
In this chapter...
Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
02R User’s Guide
2
Controls and Connections
Front Panel
SELECTED CHANNEL controls
Analog input controls
Analog output controls
Display screen
and related controls
DISPLAY ACCESS controls
Monitor controls
Scene memory controls
Display controls
Faders
02R User’s Guide
Controls and Connections
3
Analog input controls
+48V
+48V
1
2
+48V
ON
ON
ON
OFF
OFF
OFF
A
B
A
B
A
B
3
20dB
20dB
20dB
4
5
6
1.
+4
-16
-40
GAIN -60
+4
-16
-40
GAIN -60
+4
-16
-40
GAIN -60
PEAK
PEAK
PEAK
SIGNAL
SIGNAL
SIGNAL
1
2
3
Phantom switches (channels 1 to 8)
These switches turn the +48 V DC phantom power ON and OFF
for the XLR-3-31 connectors.
2.
A/B switches (channels 1 to 8)
These switches select between the XLR-3-31 connectors and the
phone connectors.
3.
20 dB (pad) switches (channels 1 to 16)
These switches attenuate the input signal by 20 dB.
4.
GAIN controls
These controls adjust the gain of the input preamp.
The analog input controls are not controlled or stored by the 02R
automix and scene memory functions. To allow easy recall of the
gain setting, the controls are detented.
5.
PEAK LED
This red LED illuminates when the input signal exceeds 3 dB
below clipping.
It is acceptable if this LED illuminates occasionally. However, if it is
continuously illuminated, the input preamp is being overloaded
and clipping distortion will result.
6.
SIGNAL LED
This green LED illuminates when the input signal exceeds 10 dB
below nominal.
02R User’s Guide
4
Controls and Connections
Analog output controls
0
10
T/B LEVEL
7
7.
This control sets the volume level of the built-in talkback
microphone.
8.
10
STUDIO
LEVEL
0
STUDIO LEVEL control
This control sets the level of the signal sent to the STUDIO
MONITOR OUTPUT connectors.
8
0
T/B LEVEL control and microphone
10
9.
PHONES
LEVEL
PHONES LEVEL control and connector
This control sets the level of signal output to a pair of stereo
headphones plugged into the connector.
9
DISPLAY ACCESS controls
DISPLAY ACCESS
SCENE
MEMORY
DIGITAL
I/O
SETUP
UTILITY
AUTOMIX
MIDI
GROUP
PAIR
0
CONFIGURATION
Ø/ATT
DELAY
PAN
ROUTING
METER
VIEW
EQ
DYNAMICS
A
MIXING
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
B
AUX
10.
CONFIGURATION buttons
These buttons access the corresponding Display function.
Button
02R User’s Guide
Description
SCENE MEMORY
Store and recall mix scenes.
DIGITAL I/O
Define the digital interconnections and word
clock source, cascade parameters, and dither characteristics.
SETUP
Set SOLO status and preferences
UTILITY
Define oscillator, check battery status.
AUTOMIX
Store and recall automix programs.
MIDI
Set the MIDI channels and tables. Control
bulk data transfers.
GROUP
Set up the fader groups.
PAIR
Set up channel pairs.
Controls and Connections
11.
5
MIXING buttons
These buttons access the corresponding Display function.
Button
12.
Description
∅/ATT
Set phase and attenuation.
DELAY
Set the channel delay.
PAN
Set the pan position.
ROUTING
Set the channel routing.
METER
Meter the levels from the individual input
channels, the tape and effect return channels, the 8 main busses, and the 8 auxiliary
busses.
VIEW
View and set all the parameters for the selected channel and access the channel library.
EQ
Set the equalization and access the EQ library.
DYNAMICS
Set the dynamics and access the dynamics
library.
AUX buttons
These buttons access the corresponding Display function.
Button
Description
AUX 1 to 6
Set the channel levels to the auxiliary busses.
AUX 7 and 8
Set the channel levels to the auxiliary busses and set the effect parameters.
02R User’s Guide
6
Controls and Connections
Display and related controls
C
Edit
Indicator
F
G
SCENE MEMORY
CLIP
-2
-4
-6
FADER STATUS
-12
-15
INPUT
D
-24
AUX
-35
-48
1 2 3 4
5 6 7 8
-60
-72
SELECTED CHANNEL
L STEREO R
E
MIC/LINE
CONTRAST
TAPE/RTN
OUTPUT
H
13.
SCENE MEMORY indicator
This 2-digit (7-segment) LED shows the currently selected Scene
Memory program. It also contains the Edit Indicator, which will
start flashing when the current mix scene is first adjusted.
14.
FADER STATUS indicators
These LED indicators show the status of the faders. When you
select the AUX buttons ([AUX 1] through [AUX 8]), the AUX LED
will illuminate to indicate the faders are used to set the auxiliary
send levels. The currently selected AUX button is also indicated
here.
Normally, the INPUT LED is illuminated.
15.
SELECTED CHANNEL indicators
The 2-digit (7-segment) LED shows the currently selected channel
number for the SELECTED CHANNEL controls. The three LEDs
below indicate the status of the selected channel: MIC/LINE,
TAPE/RTN, or OUTPUT.
16.
Graphical display
This is the 320 × 240 pixel, CFL-backlight, graphical display. It
displays the system functions and their parameter values both
graphically and numerically.
17.
Stereo output level meters
These stereo meters consist of 21-elements per channel.
18.
Contrast control
This control adjusts the contrast of the graphical display.
02R User’s Guide
Controls and Connections
7
SELECTED CHANNEL controls
SELECTED CHANNEL
I
1
2
AUX 1
AUX 2
3
4
AUX 3
AUX 4
5
6
AUX 5
AUX 6
7
8
AUX 7
EFF1
AUX 8
EFF2
ST
DIRECT
SEND LEVEL
ROUTING
L/ODD
J
ON
AUX
L
ODD
R/EVEN
K
R
EVEN
PAN
Q
LOW/HPF
L-MID
H-MID
HIGH/LPF
F
Hz
kHz
L
G
dB
EQ ON
EQUALIZER
19.
ROUTING buttons
These buttons set the routing for the currently selected channel.
20.
AUX buttons and controls
These buttons and controls set the auxiliary send channel and level
for the currently selected channel.
21.
PAN buttons and controls
These buttons and controls set the pan position for the currently
selected channel.
22.
EQ buttons and controls
These buttons and controls set the equalization for the currently
selected channel.
02R User’s Guide
8
Controls and Connections
Monitor controls
23.
C-R
ST
AUX 5
AUX 6
STUDIO buttons
These buttons select the monitor signal sent to the
STUDIO MONITOR OUTPUT connectors.
M
24.
STUDIO
2TR-D1
2TR-A1
2TR-D2
2TR-A2
2TR-D3
ST
AUX 5
AUX 6
MONO
DIM
These buttons select the monitor signal sent to the
C-R MONITOR OUT connectors.
25.
26.
O
TALKBACK
P
SOLO
Q
0
C-R
LEVEL
02R User’s Guide
10
SOLO button
This button activates the SOLO bus. Use the ON buttons to select a
channel to monitor.
CONTROL ROOM
T/B
TALKBACK buttons
These buttons allow the control room to talk to the studio and to
SLATE control room information to the output buses.
N
SLATE
CONTROL ROOM buttons
27.
C-R LEVEL
This control sets the level of the C-R MONITOR OUT connectors.
Controls and Connections
9
Faders
U
R
R
S
SEL
SEL
SEL
SEL
SEL
T
ON
ON
ON
TAPE
TAPE
TAPE
14
15
16
SEL
SEL
SEL
SEL
SEL
SEL
SEL
SEL
ON
ON
ON
ON
ON
ON
ON
ON
FLIP
ON
ON
EFF1
RTN
EFF2
RTN
S
T
10
10
10
10
10
10
10
0
15
15
15
15
15
15
15
30
20
20
20
20
20
20
20
30
30
30
30
30
30
30
40
40
40
40
40
40
40
50
50
50
50
50
50
50
∞
∞
∞
∞
∞
∞
∞
40
50
14
15
16
17/18
19/20
21/22
60
70
∞
23/24
STEREO
V
28.
Tape and Effect return controls
These continuously rotary controls set the level of the tape and
effect returns. The current level of a return channel is shown by the
corresponding icon at the bottom of the display.
29.
SEL buttons
These buttons select the individual channels. When you press
one of the SEL buttons, the LED in the center of the button is
illuminated.
30.
ON buttons
These buttons switch the selected channel ON or OFF. When a
channel is ON, the LED in the center of the button is
illuminated.
When you press the SOLO button (engage the SOLO function),
these buttons are used to select the monitor channels. The LEDs
inset in the buttons are switched off. Press the ON buttons to
select channels to send to the SOLO bus. When you press the
SOLO button again (cancel the SOLO function), the prior
channel status is restored and the appropriate LEDs are
switched back on.
02R User’s Guide
10
Controls and Connections
31.
FLIP button
This button interchanges the functions of MIC/LINE channels 1 to
16 and TAPE RETURN channels 1 to 16. This allows you to set the
tape return levels with the Faders rather than the Tape Return
controls.
Holding down the FLIP button for one second activates the MIDI
Remote function. See “MIDI Remote” on page 165 of the User’s
Guide.
32.
Faders
These 100mm motorized faders set the channel level for the
corresponding channel.
The faders will position themselves automatically when a scene
memory snapshot is recalled, a number of faders are grouped or
paired, or an automix is played back.
Scene memory controls
XY
W
Z
STORE
RECALL
SCENE MEMORY
\
[
CURSOR
]
ENTER
33.
STORE button
This button stores the current mixer settings into the current scene
memory location.
34.
Increment button
This button selects the next scene memory.
35.
Decrement button
This button selects the previous scene memory.
36.
RECALL button
This button recalls the current scene memory. All mixer settings
are restored to the positions recorded in the scene memory
snapshot.
02R User’s Guide
Controls and Connections
11
Display controls
37.
Encoder wheel
This control adjusts the value of the currently selected parameter.
Rotate it clockwise to increase the value, and counterclockwise to
decrease the value.
38.
CURSOR buttons
These buttons select the parameters and options on the display
pages.
39.
ENTER button
This button either confirms a parameter setting made with the
Encoder wheel or it sets a parameter that only has two possible
values.
Rear Panel
1
2
4 5
5
3
1
6
4
2
6
1
+4dB
R
INPUT
23
+4dB
21
INPUT
INPUT
19
17
R
INPUT A
INPUT
B
INPUT A
INPUT
B
INPUT A
INPUT
B
INPUT A
INPUT A
INPUT
B
INPUT
B
INSERT
I/O
INSERT
I/O
INPUT A
INPUT A
INPUT
B
INPUT
B
INSERT
I/O
INSERT
I/O
2
R
2 -10dBV
1 +4dB
STUDIO C- R
2TR IN
MONITOR MONITOR
OUT +4dB OUT +4dB STEREO OUT ANALOG ANALOG
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
24
22
20
18
16
15
14
13
12
11
10
9
COAXIAL
POWER
AES/EBU
OUT
IN
ON/ OFF
COAXIAL
METER
SMPTE
MTC
STEREO OUT
DIGITAL
TIME CODE INPUT
0 A B
THRU
OFF
MIDI
C
1.
8
INSERT
I/O
0dB
7
INSERT
I/O
0dB
6
INSERT
I/O
0dB
5
0dB
4
0dB
3
0dB
2
SLOT 4
SLOT 3
SLOT 2
SLOT 1
0dB
1
1
3
WORD CLOCK
OUT
INSERT
I/O
0dB
AES/EBU
2
75Ω
ON
3 9
INPUT A
INPUT
B
L
-10dBV
R
INPUT
R
L
R
8
L
L
AUX SEND
L
L
7
2TR IN DIGITAL
IN
TO HOST
DE
F
G
STUDIO MONITOR OUT connectors
These are balanced 1/4" phone jacks with a +4 dB nominal output
level. They output the monitor signals for the studio, and can be
connected to the inputs on a monitor or headphone amplifier.
The monitor signal source is determined by the STUDIO buttons.
The output level is set using the STUDIO LEVEL control.
2.
AUX SEND connectors
These are unbalanced 1/4" phone jacks with a +4 dB nominal
output level. They output the signals from AUX buses 1 to 6, and
can be used to feed external effects processors, foldback amplifiers,
or multitrack recording equipment.
02R User’s Guide
12
Controls and Connections
3.
C-R MONITOR OUT connectors
These are balanced 1/4” phone connectors with a +4 dB nominal
output level. They are wired TRS. They output the signal selected
by the CONTROL ROOM buttons.
4.
STEREO OUT ANALOG (1 and 2) connectors
STEREO OUT (1) are balanced XLR-3-32 type connectors with a
+4 dB nominal output level. STEREO OUT (2) are unbalanced
phono jacks with a –10 dBV nominal output level.
These connectors output the main stereo signals for recording, and
can be connected to cassette and other analog recorders.
5.
2TR IN ANALOG (1 and 2) connectors
2TR IN (1) are balanced phone jacks with a +4 dB nominal input
level. 2TR IN (2) are unbalanced phono jacks with a –10 dBV
nominal input level.
Signals input here are fed through to the CONTROL ROOM
buttons (24) and are monitored in the control room or the studio.
The outputs of a 2-track master recorder can be connected here for
confidence monitoring and playback.
6.
Stereo input channels (17 to 24)
These are pairs of balanced 1/4" phone jacks with a –40 to +4 dB
nominal input level. You can connect the return from a stereo
effects unit to these input channels.
The signals from 2TR IN DIGITAL (1) can be routed to channels
17/18 and the signals from2TR IN DIGITAL (2) can be routed to
channels 19/20.
7.
Input channels (9 to 16)
These are balanced phone jack connectors. The nominal input level
is –60 dB to +4 dB. Wiring is sleeve–ground, tip–hot (+), and
ring–cold (–). They can be used with balanced or unbalanced
plugs.
8.
Input channels (1 to 8)
INPUT A (1 to 8) are balanced XLR-3-31 type connectors. The
nominal input level is –60 dB to +4 dB. They are wired according to
the IEC 268 standard: Pin 1–ground, pin 2–hot (+), and pin 3–cold
(–). Phantom powering is available for condenser type
microphones.
Note: Make sure that the balanced devices you plug into the input
connectors also use pin 2–hot, pin 3–cold wiring. If they are wired
differently, undesirable phase shifts may occur. However, you can invert
the phase of an input signal with the 02R.
INPUT B (1 to 8) are balanced phone jack connectors. The nominal
input level is –60 dB to +4 dB. Wiring is sleeve–ground, tip–hot (+),
and ring–cold (–). They can be used with balanced or unbalanced
plugs. See the note above.
02R User’s Guide
Controls and Connections
13
INSERT I/O (1 to 8) are unbalanced phone jack connectors. Both
the nominal output and input levels are +0 dB. Wiring is
sleeve–ground, tip–out, and ring–in. Connect external dynamic
processors and other analog devices here.
9.
POWER switch
This is a push-type power switch. It is recessed to prevent
accidental operation. Press once to power ON; press again to
power OFF.
10.
METER connector
This 15-pin Dsub connector sends the meter information from each
of the input channels, tape and effect return channels, auxiliary
channels, etc., to the optional meter bridge (MB02).
11.
TIME CODE INPUT
SMPTE connector
This phone jack is a nominal –10 dB/10kΩ connector. It accepts
standard SMPTE timecode to synchronize the 02R to an external
timecode source.
MTC connector
This is a standard 5-pin DIN-type MIDI connector. It is used to
connect the 02R to a MIDI timecode source for external
synchronization.
12.
STEREO OUT DIGITAL connectors
The COAXIAL output is an RCA/phono jack. It outputs the main
stereo signals for recording, and can be connected to DAT, MD,
and DCC digital recorders via a 75Ω coaxial cable. The output
format is IEC958 Part 2 (S/PDIF - Consumer).
The AES/EBU output is an XLR-3-32 type connector. It also
outputs the main stereo signals for recording. The output format is
IEC958 Part 3 (AES/EBU - Professional).
13.
MIDI connectors
These are standard 5-pin DIN-type MIDI THRU, OUT, and IN
connections. They are used to connect the 02R to external MIDI
devices for sequencer synchronization and control.
14.
WORD CLOCK connectors
These are TTL/75Ω BNC connectors for transmitting (OUT) and
receiving (IN) word clock signals. A switch is provided to apply a
75Ω terminator to the signal if the 02R is the last device in the
chain.
15.
TO HOST connector
This 8-pin Mini DIN connector is to plug a Macintosh or PC into
the 02R for dedicated external system control.
02R User’s Guide
14
Controls and Connections
16.
2TR IN DIGITAL (1 to 3) connectors
2TR IN DIGITAL (1) is an XLR-3-32 type connector. The input
format is IEC958 Part 3 (AES/EBU - Professional).
2TR IN DIGITAL (2 and 3) are phono jacks. The input format is
IEC958 Part 2 (S/PDIF - Consumer).
Signals input here are fed through to the CONTROL ROOM
buttons (24) and are monitored in the control room or the studio.
The outputs of a 2-track master recorder can be connected here for
confidence monitoring and playback.
Note: Digital signals routed through the control room selector switch
do not have to be synchronized with the system word clock.
The signals from 2TR IN DIGITAL (1) can also be routed to stereo
input channels 17/18.
The signals from 2TR IN DIGITAL (2) can be routed to stereo input
channels 19/20 or directly to the stereo buss.
Note: Digital signals that are routed to the stereo input channels or
directly to the stereo buss must be synchronized with the system word
clock to prevent dropout and/or other noise.
17.
Option slots (1 to 4)
These slots accept one of the optional I/O cards.
List of Cards
Card
Format
Product
AES/EBU CD8-AE
Digital I/O
Analog I/O
Cascade Kit
Size
Slot
Double
1 or 2 (max 2
cards, 16 ch)
CD8-AE-S
Single
1–4 (max 4
cards, 32 ch)
ADAT
CD8-AT
Single
1–4 (max 4
cards, 32 ch)
TDIF-1
CD8-TDΙΙ
Single
1–4 (max 4
cards, 32 ch)
YAMAHA CD8-Y
Single
1–4 (max 4
cards, 32 ch)
AD/DA
CD8-AD
Double
1 or 2 (max 2
cards, 16 ch)
A/D
CD8-AD-S
Single
1–4 (max 4
cards, 32 ch)
CD8-CS KIT
Single × 2 Any (normally 3
or 4)
Use slots 1 and 2 for direct output lines to your multitrack recorder.
See Section 14, “Installing Options” on page 217 of the User’s Guide
for further details.
02R User’s Guide
INPUT 18,20
22,24
INPUT 17,19
21,23
INPUT 9-16
INSERT
I/O
+0dB
1-8
INPUT B
INPUT A
TAPE
B
A
HA
GAIN
HA
GAIN
HA
HA
GAIN
20dB
PAD
20dB
PAD
(+48V)
1–8 Slot 1
9–16 Slot 2
ON
+48V
OFF
EFF1,2
De Emp
DC CUT
SIGNAL
A/D
Format
Converter
DC CUT
DC CUT
SIGNAL
PEAK
DC CUT
PEAK
A/D
A/D
A/D
SIGNAL
PEAK
PHASE
4BAND
EQ
4BAND
EQ
4BAND
EQ
4BAND
EQ
4BAND
EQ
4BAND
EQ
2TR IN
ANALOG
R
L
3
2
L
2
–10dBV R
1
+4dB
COAXIAL
AES/EBU 1
PHASE
PHASE
2TR IN
DIGITAL
ATT
ATT
PHASE
PHASE
PHASE
Same as 1-8
ATT
DELAY
DELAY
Meter
DELAY
OSC
HA
T/B LEVEL
DELAY
DELAY
Gain Reduction
Meter
DYNAMICS
DYNAMICS
Gain
Reduction
Meter
DYNAMICS
Meter
DELAY
Gain Reduction
DYNAMICS
ON
ON
ON
ON
ON
Meter
ON
Meter
Meter
ON
DIRECT
ON
ON
ON
ON
Line17/18
A/D
Line19/20
Meter
De-EMP
SLATE
Same as ST IN
EFF1 can not be assigned to AUX7
EFF2 can not be assigned to AUX8
C-R
Digital
Audio
Interface
Format
Receiver
ON
Meter
ON
Meter
BUS
1234 56 78
ST
LR
AUX
1234 56 78
ATT
ATT
ST
AUX 6
AUX 5
4BAND
EQ
4BAND
EQ
Meter
ON
D/A
BUS MASTER
LEVEL
Meter
Selector
T/B
Meter
Meter
Dither
MONO
D/A
C-R
DIRECT
Meter
Dither
Meter
Meter
Meter
DIRECT
2TR-A1
2TR-A2
ST
AUX 6
BUS MASTER
LEVEL
Meter
De-EMP
T/B
Gain Reduction
DYNAMICS
Gain Reduction
DYNAMICS
2TR-D1
2TR-D2
2TR-D3
AUX 5
DYNAMICS
Meter
Gain
Reduction
DYNAMICS
Meter
DIM
Format
Converter
Format
Converter
BUS 1-8
BUS 1-8
RTN1,2
PHONES
LEVEL
C-R
LEVEL
Slot 3
Slot 4
Slot 1
Slot 2
Digital
Audio
Interface
Format
Transmitter
STUDIO
LEVEL
EFFECTOR
D/A
Dither
Dither
D/A
L
STUDIO
MONITOR
OUT
+4dB
[Phones]
C-R
MONITOR
OUT
R +4dB
L
R
L
AUX SEND
+4dB
1-6
AES/EBU
STEREO
OUT
DIGITAL
COAXIAL
1
+4dB
R
STEREO
OUT
ANALOG
L
2
–10dBV
R
Block Diagram
User Interface
2
17
User Interface
In this chapter...
About the User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
DISPLAY ACCESS Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
CURSOR Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Encoder Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
ENTER Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
SCENE MEMORY Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Display Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
SELECTED CHANNEL Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
02R User’s Guide
2
18
User Interface
About the User Interface
The 02R user interface is powerful but very intuitive. There are two main
methods of working with the 02R:
•
Use the DISPLAY ACCESS controls to modify one parameter at a time
across the entire recording console.
•
Use the SELECTED CHANNEL controls to modify all of the
parameters of the currently selected channel. You will find these
controls similar to the setup of an analog mixer.
Use whichever method is most convenient to you. You will probably find
you use a combination of both methods, dependent on what you are trying
to do with the 02R.
The DISPLAY ACCESS controls consist of a block of twelve function
buttons divided into three groups: the CONFIGURATION group, the
MIXING group, and the AUX group, plus the large backlit graphical
display, four CURSOR buttons, a detented encoder wheel, and the
[ENTER] button. There is also a related block of four SCENE MEMORY
buttons.
The SELECTED CHANNEL controls consist of four main blocks of
controls, each block corresponding to the equivalent controls on an analog
mixer. The ROUTING block selects the buss onto which to route the current
channel signal. The AUX block selects the auxiliary buss to send the
channel signal to and sets the send level. The PAN block sets the pan
position of the channel signal. The EQ block sets the equalization curve for
the current channel.
The biggest difference between the two methods is that the DISPLAY
ACCESS functions are directly associated with one or more pages on the
display. The following section will briefly explain each of the controls of the
two main blocks. Later sections will give more details about how to use
these controls.
DISPLAY ACCESS Buttons
CONFIGURATION group
DISPLAY ACCESS
SCENE
MEMORY
AUTOMIX
DIGITAL
I/O
SETUP
UTILITY
MIDI
GROUP
PAIR
CONFIGURATION
02R User’s Guide
These buttons access the Display Functions that control the system
configuration of the 02R.
•
The [SCENE MEMORY] button is used to examine and edit the scene
memories. You can also set channels to “recall safe”, which means they
will not change levels when the scene is recalled, and you can set recall
fade time.
User Interface
19
•
The [DIGITAL I/O] button is used to select the word clock source,
define the digital input/output connectors, control the cascade
configuration, and set the word dither.
•
The [SETUP] button is used to control the solo function and defines
system preferences.
•
The [UTILITY] button is used to set the oscillator function and check
the battery, emphasis, and channel status monitors.
•
The [AUTOMIX] button is used to set and control the automix
parameters.
•
The [MIDI] button is used to select the MIDI channels and MIDI
functions.
•
The [GROUP] and [PAIR] buttons are used to create fader and mute
groups and pair channels together.
MIXING group
Ø/ATT
DELAY
PAN
ROUTING
METER
VIEW
EQ
DYNAMICS
These buttons access the Display Functions that set mixer parameters for
the entire recording console.
MIXING
•
The [∅/ATT] button is used to reverse the phase and attenuate the
signals after they have been converted to digital.
•
The [DELAY] key is used to apply a small delay to the input signal, for
example, to compensate for the gap between the record and playback
heads of your multitrack recorder.
•
The [PAN] button is used to adjust the pan position for a group of
channels.
•
The [ROUTING] button selects the routing page – a large visual patch
bay.
•
The [METER] button is used to meter the individual channels.
•
The [VIEW] button is used to adjust all the parameters for the selected
channel. It also accesses the Channel library.
•
The [EQ] button is used to view the equalization curve and parameters
of each individual channel. It also accesses the EQ library.
•
The [DYNAMICS] button is used to adjust the dynamics of each
individual channel. It also accesses the Dynamics library.
AUX group
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
These buttons access the Display Functions that set the auxiliary send
levels for the recording console.
AUX
•
The [AUX 1] to [AUX 6] buttons set the auxiliary send levels to the
corresponding auxiliary buss. You can also select whether to send the
signal pre or post fader.
•
The [AUX 7] and [AUX 8] buttons also set the send levels to the
corresponding auxiliary bus and can select pre or post fader. However,
02R User’s Guide
20
User Interface
these two sends are routed to the internal effects unit. Therefore, the
buttons also allow you to select and set the effects parameters.
Display
The large backlit 320 × 240 pixel graphical 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 positions and fader positions. In addition, EQ curves
are displayed graphically and signal levels are metered. The following
illustration shows information that is always displayed and explains what
it means:
Scene Memory Title and Number
Selected Channel
Display Function Name & Page Number
Tape Return Level
When the [FLIP] button is pressed, these
icons become the channel level indicators and
are highlighted.
Effect Return Level
The page number shows how many pages are available within the selected
function and which one of those pages is currently selected. For example,
SCENE 1/3 indicates that the first page of the three SCENE pages is
selected.
The CONTRAST control allows you to adjust the contrast of the display for
different environments.
02R User’s Guide
User Interface
21
CURSOR Buttons
The CURSOR buttons are used to select parameters and options on the
display. The selected parameter or option usually appears highlighted.
CURSOR
The CURSOR buttons are also used to position the cursor in a name when
naming automix mixes, scene memories, EQ programs, effects programs,
dynamics programs, and channel library programs.
When a display left or right icon appears at the left or right side of a page,
indicating that another display page is available, the CURSOR buttons are
used to select that display.
Encoder Wheel
The encoder wheel is used to adjust the parameter selected using the
CURSOR buttons. Its detented action gives it a positive feel, allowing quick
and accurate parameter adjustments. Turning it clockwise increases the
selected parameter value. Turning it counterclockwise decreases the
selected parameter value. The faster you turn it, the faster the parameter
value changes.
The encoder wheel is also used to scroll through the automix programs,
mix scenes, effects programs, EQ programs, and dynamics processor
programs. When naming automixes, mix scenes, user effects programs,
user EQ programs, and user dynamics programs, the encoder wheel is
used to scroll through the available characters.
ENTER Button
ENTER
The [ENTER] button is used to confirm settings made using the encoder
wheel and to toggle two-option parameters such as EQ ON/OFF.
SCENE MEMORY Buttons
STORE
RECALL
SCENE MEMORY
These buttons allow you to select, store and recall scene memories. The
current scene memory is indicated on the SCENE MEMORY LED.
02R User’s Guide
22
User Interface
Display Functions
The following table lists all the 02R display functions and briefly explains
what they do.
Display Function
02R User’s Guide
Description
SCENE
Store and recall mix scenes.
DIGITAL I/O
Sets digital I/O parameters and selects word
clock.
SETUP
Sets the solo parameters and system preferences.
UTILITY
Controls the oscillator parameters and accesses the emphasis monitor, the channel status
monitor, and the battery level check.
MIDI
Set the MIDI channels, build the program
change table, and control MIDI bulk data transfers.
AUTOMIX
Create, store, recall, and play automix programs.
GROUP
Set up the fader and mute groups.
PAIR
Set up channel pairs.
∅/ATT
Set phase and attenuation.
DELAY
Set the channel delay.
PAN
Set the pan position.
ROUTING
Set the channel routing.
METER
Meter the levels from the individual input channels, the tape and effect return channels, the 8
main busses, and the 8 auxiliary busses.
VIEW
Set all parameters for the selected channel
and access the channel library.
EQ
Set the equalization and access the EQ library.
DYNAMICS
Set the dynamics processor and access the
dynamics library.
AUX 1 to 6
Set the channel levels to the auxiliary busses.
AUX 7 and 8
Set the channel levels to the auxiliary busses
and set the internal effect parameters.
User Interface
23
SELECTED CHANNEL Controls
These controls are very similar in setup to the controls of an analog mixer.
You may find working with the buttons and controls of this section of the
02R is much faster and more intuitive than working through the pages of
the DISPLAY ACCESS functions.
ROUTING buttons
1
2
3
4
5
6
7
8
ST
DIRECT
ROUTING
The routing buttons allow you to directly select the destination for the
selected channel. The LEDs in the buttons illuminate to indicate the status
of the channel.
Note: You can customize your 02R so that when you adjust any of the
controls in this group, the display switches to the ROUTING page. See
“Preferences” on page 198 of the User’s Guide.
AUX controls
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
SEND LEVEL
ON
AUX
The AUX buttons allow you to select the auxiliary buses you want to send
the selected channel signal to. The SEND LEVEL rotary encoder is used to
set the level —indicated by the adjacent LED bargraph. The [ON] button is
used to turn the send on or off. This allows you to make quick A-B
comparisons.
02R User’s Guide
24
User Interface
PAN controls
L/ODD
L
ODD
R/EVEN
R
EVEN
PAN
These controls allow you to set the pan position of the selected channel. The
[L/ODD] and [R/EVEN] buttons select the left/odd and right/even
channels. Use the rotary encoder to adjust the pan position. The current
position is indicated on the adjacent LED bargraph.
Note: You can customize your 02R so that when you adjust any of the
controls in this group, the display switches to the PAN page. See “Preferences” on
page 198 of the User’s Guide.
EQUALIZER controls
Q
LOW/HPF
L-MID
H-MID
HIGH/LPF
F
Hz
kHz
G
dB
EQ ON
EQUALIZER
These controls allow you to adjust the EQ of the selected channel. Select the
band you want to adjust with one the buttons in the top row: [LOW/HPF],
[L-MID], [H-MID], or [HIGH/LPF]. The three LED indicators will reflect
the status of the selected band. Adjust the values (Q, F, and G) with the
adjacent rotary encoders. Use the [EQ ON] button to turn the EQ on or off.
Note: You can customize your 02R so that when you adjust any of the
controls in this group, the display switches to the EQ page. See “Preferences” on
page 198 of the User’s Guide.
02R User’s Guide
Mixing and Monitoring
3
25
Mixing and Monitoring
In this chapter...
Analog Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Phantom Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
GAIN Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
SEL Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
ON Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Analog Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Monitor Selector Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Monitor Level Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
02R User’s Guide
3
26
Mixing and Monitoring
Analog Inputs
The 02R is equipped with 24 analog input connectors. The first sixteen
channels, 1 through 16, are mono input channels designed for microphone
to line level signal inputs. The last eight channels, 17 through 24, are stereo
channels designed for line level signals only.
INPUT
23
INPUT
21
INPUT
INPUT
19
17
INPUT A
INPUT
B
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
24
22
20
18
16
15
14
13
12
11
10
9
INSERT
I/O
0dB
8
INPUT A
INPUT
B
INSERT
I/O
0dB
7
INPUT A
INPUT
B
INSERT
I/O
0dB
6
INPUT A
INPUT
B
INSERT
I/O
0dB
5
INPUT A
INPUT A
INPUT
B
INPUT
B
INSERT
I/O
INSERT
I/O
0dB
4
0dB
3
INPUT A
INPUT A
INPUT
B
INPUT
B
INSERT
I/O
INSERT
I/O
0dB
2
0dB
1
In addition, the first eight channels not only have selectable input
connectors, XLR-type or phone, but they also have an insert connector,
allowing you to patch external signal processors before the input signal is
converted to digital.
For monitoring the output of a stereo tape recorder or another similar
analog device, the 02R also has two pairs of 2TR IN phone connectors.
Phantom Power
+48V
ON
OFF
A
B
Phantom power provides a +48 V DC power source for condenser type
microphones. It is applied to the XLR-type connectors (INPUT A) for input
channels 1 through 8. The phantom power switch for each channel is used
to turn it ON and OFF. Phantom power is applied to each individual input.
Phantom power can only be applied to the XLR-type connectors
(INPUT A) for input channels 1 through 8. Select those connectors with the
A/B switch: up for A, down for B.
With phantom power set to ON, non-phantom powered microphones,
dynamic microphones, and balanced line-level sources can still be
connected to INPUT A connectors for input channels 1 through 8.
However, be careful with unbalanced sources.
02R User’s Guide
Mixing and Monitoring
27
Pad
20dB
The Pad function attenuates input signals by 20 dB. This is useful when
inputting high level signals that would otherwise overload the input
preamplifier. By increasing the effective range of the GAIN control,
high-level signals can be adjusted accurately. Pad can be set individually
for the mono input channels 1 through 16. The [20 dB] (pad) switch at the
top of each channel is used to turn it ON and OFF: up for OFF, down for
ON.
GAIN Controls
+4
-16
GAIN
PEAK
SIGNAL
-40
-60
The GAIN controls are used to optimize the input channel signal levels.
Use them with the PEAK indicators. This red LED illuminates when the
input signal exceeds 3 dB below clipping. Ideally the level should be set
relatively high. It is acceptable if this LED illuminates occasionally. If it is
continuously illuminated, however, back off the GAIN control a little,
otherwise the input preamplifier is being overloaded and clipping
distortion will result.
The GAIN control should be set with some care. If it is set too low, the
signal-to-noise performance will suffer, and if it is set too high, unpleasant
signal clipping and distortion may occur.
The SIGNAL indicator is a green LED which illuminates when the input
signal exceeds 10 dB below nominal.
The analog input controls are not controlled or stored by the 02R automix
and scene memory functions. To assist in easy recall of the gain setting, the
GAIN controls are detented. You should note the analog settings on a copy
of the User Settings Sheet at the back of the manual.
SEL Buttons
SEL
The [SEL] buttons are used to select a channel in order to perform some
action on it. When a channel is selected, the LED set in the corresponding
button lights up and its name appears in the Selected Channel area of the
display. Stereo-pair channels are selected together.
Note: You can use the [SEL] buttons to create stereo-pair channels. Refer to
“Pairing Channels” on page 184 of the User’s Guide.
The SELECTED CHANNEL controls are set to the current status of the
selected channel. Depending on which display function is active, the
selected channel may be highlighted, or the entire display may be
dedicated to its parameters.
02R User’s Guide
28
Mixing and Monitoring
ON Buttons
ON
The [ON] buttons are used to turn channels on and off. The input channel,
tape return channel, effect return channel, and stereo output [ON] buttons
turn their respective channels on and off. When a channel is turned on, the
LED set in the corresponding button lights up. When it is turned off, the
LED goes off. Stereo-pair channels are turned on and off together.
Faders
10
0
5
5
0
5
10
15
The 02R’s faders are motorized. This means that they can be positioned
automatically. You can group or pair faders together so all faders in a group
or pair move automatically when you move any fader in that group or
stereo pair.
10
15
20
30
Fader positions are stored in scene memories. When a scene memory is
recalled the faders automatically move to their stored positions.
20
40
50
30
40
60
70
50
∞
∞
STEREO
Fader positions are stored when the 02R is powered OFF. Even if faders are
subsequently moved, they return automatically to their last positions when
the 02R is powered ON again.
Note: You should avoid placing objects on the 02R that may block fader
movements. There are several operations, such as recalling a scene memory,
selecting the auxiliary buses, and automix playback, that automatically move the
faders. If a fader is blocked, it could be damaged as it attempts to move.
Rotary Encoders
To adjust the levels of the tape and effect return channels, the 02R provides
a continuously rotary encoder for each channel. The channel levels are
indicated by the Tape Return Level and Effect Return Level icons at the
bottom of the display.
FLIP Button
FLIP
Although the rotary encoders are reasonably accurate, there will be times,
for example during a mixdown, when you want the increased accuracy
and feel of a fader to adjust the tape return levels.
The faders for input channels 1 through 16 are multifunction controls.
When you press the [FLIP] button, the faders switch to adjusting the tape
returns. The Tape Return icons are highlighted to indicate the input
channels have moved up to the TAPE controls, and the LED in the [FLIP]
button is illuminated.
02R User’s Guide
Mixing and Monitoring
29
Analog Outputs
L
R
L
The 02R is equipped with a pair of analog stereo out connectors, one pair
XLR-type for connecting to professional equipment, the other phono jacks.
There are also two pairs of phone jacks to provide a stereo output to your
control room and studio monitoring systems.
R
2 -10dBV
1 +4dB
STEREO OUT ANALOG
Monitor Selector Switches
STUDIO Buttons
C-R
ST
AUX 5
AUX 6
These buttons select the monitor signal sent to the studio monitor system.
In many studios, this would be a headphone amplifier, typically one that
could drive several sets of headphones. This system provides the
monitoring that your musicians need in order to successfully work on a
multitrack recording.
STUDIO
You can select the same signal that is being monitored in the control room
with the [C-R] button. When you press this button, it cancels the current
settings. When you press it again, it restores the previous settings.
You can send the signal from the stereo bus by pressing the [ST] button.
The most flexible approach is to set up a separate mix using one of the
auxiliary channels (press either the [AUX 5] or [AUX 6] button), and send
that to the studio monitors. This allows you, for example, to apply reverb
and equalization to the monitor signal you send to your vocalist, while you
record the performance dry. You can select any combination of the [ST],
[AUX 5], and [AUX 6] buttons—including none.
CONTROL ROOM Buttons
2TR-D1
2TR-A1
2TR-D2
2TR-A2
2TR-D3
ST
AUX 5
AUX 6
MONO
DIM
The buttons select the monitor signal sent to the control room monitor
system. This is usually a large pair of near-field loudspeakers. Many
studios also use a smaller speaker system, such as the YAMAHA NS-10M,
to monitor a “typical” listening environment.
You can select one of five 2TR IN inputs, three of which are digital (the
2TR-D1 to 2TR-D3 buttons). These inputs are used for monitoring two
track source signals, for example, the return of your master recorder. When
you press any of these buttons, the current setting is cancelled. When you
press the button again, the previous setting is restored.
CONTROL ROOM
You can also monitor the signal on the stereo bus with the [ST] button or
select the auxiliary channels (AUX 5 or AUX 6). You can select any
combination of the [ST], [AUX 5], and [AUX 6] buttons—including none.
Convert the monitor signal to monaural by pressing the [MONO] button or
mute the output by 20 dB by pressing the [DIM] button.
02R User’s Guide
30
Mixing and Monitoring
SOLO Button
You can monitor input channels in isolation by pressing the [SOLO] button.
The LEDs in the center of the selected channel [ON] buttons are
extinguished. You select the channel(s) you want to solo by pressing the
corresponding [ON] button. When you press the [SOLO] button again, the
originally selected LEDs are illuminated again.
SOLO
Note: If the 02R is connected to other units with the digital cascade kit
(CD8-CS), only the [SOLO] button on the cascade master unit is valid. See
“Digital Cascade Kit (CD8-CS)” on page 229 of the User’s Guide
TALKBACK Buttons
SLATE
The talkback system allows you to talk to musicians in the studio without
leaving the 02R. Press the [T/B] button and start talking. The [SLATE]
button sends the talkback signal to the main buses as well as the stereo bus,
for example, allowing you to record a memo before recording a take.
T/B
TALKBACK
You can also record 100 Hz, 1 kHz, and 10 kHz sine waves and white noise
tones by using the oscillator function. See “Oscillator” on page 209 of the
User’s Guide for details.
Monitor Level Controls
C-R LEVEL Control
0
10
C-R
LEVEL
This control is used to adjust the volume output through the control room
monitor outputs.
T/B LEVEL Control
0
10
T/B LEVEL
This control adjusts the volume of the talkback signal. The talkback signal
is picked up by the built-in microphone right below the control.
STUDIO LEVEL Control
0
10
STUDIO
LEVEL
This control is used to adjust the overall volume output through the studio
monitor outputs.
If you are using a headphone amplifier to provide studio monitoring, you
may need a unit that allows individual adjustment of each set of
headphones.
PHONES LEVEL Control
This control is used to adjust the volume of a set of stereo headphones
plugged into the connector just above the control.
0
10
PHONES
LEVEL
02R User’s Guide
MIXING Display Functions
4
31
MIXING Display Functions
In this chapter...
Phase and Attenuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Pan and Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Pan Gang. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Stereo Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
PAN controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
ROUTING buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Channel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
EQ controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Preset EQ Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
02R User’s Guide
4
32
MIXING Display Functions
Phase and Attenuation
1. Press the [∅/ATT] button.
Ø/ATT
The ∅/ATT page
appears.
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
3. To change the phase,
press the [ENTER] button.
The NOR icon changes
to REV and is
highlighted.
4. To change the
attenuation, rotate the
encoder wheel until the
desired value is shown.
5. To set all channels
(except the stereo
output) to the same
phase and attenuation,
double-click the
(ENTER) button.
Phase
The Phase function reverses the phase of an input signal by 180 degrees.
The phase can be set for MIC/LINE inputs 1 to 24, TAPE inputs 1 to 16, and
the effects returns. Phase reversal can be used to compensate for incorrectly
wired balanced cables and microphones. When a snare drum is miked top
and bottom, the channel connected to the bottom microphone can be phase
reversed to prevent phase cancellation.
NOR—normal phase
REV—reversed phase
The Phase functions of adjacent channels are not linked when those
channels are configured as a stereo pair. Likewise, the Phase functions of
odd and even channels 17 to 24 always work independently. The effects
returns have only one phase control each, so the left and right signals of
these channels are always controlled together. The stereo output does not
have a phase reverse function. Phase can also be set on the View 1/2 page.
Attenuation
After A/D conversion, input signals can be attenuated using the
Attenuation function. Signals can be attenuated from 0 dB to –96 dB in 1 dB
steps. The stereo output can be attenuated from +12 dB to –96 dB. For the
TAPE inputs, the Attenuation function comes after de-emphasis.
Attenuation can be used to compensate for level increases caused by EQ
boosting or dynamics processing. Instead of using a GAIN control to
reduce a boosted signal, it’s better to use the Attenuation function.
Although levels can be reduced using the GAIN controls, this also reduces
the level of the signal being fed to the A/D converter, which is not desired.
The Attenuation function comes after the A/D converter, so conversion
performance is not affected.
The Attenuation functions of adjacent channels are not linked when those
channels are configured as a stereo pair. Likewise, the Attenuation
functions of odd and even channels 17 to 24 always work independently.
The effects returns and stereo output channels have only one Attenuation
control each, so the left and right signals of these channels are always
controlled together.
Attenuation can also be set on the View 1/2 and EQ 1/2 pages. However,
operation for input channels 17 to 24, and MIC or TAPE channels
configured as stereo pairs is as follows: since only one attenuation control is
displayed on the View or EQ page, the attenuation functions of each
channel are linked to preserve their relative settings. If the channel whose
control cannot be seen reaches the minimum or maximum attenuation
setting, a message appears.
02R User’s Guide
MIXING Display Functions
33
Phase & Attenuation Pages
There are two pages to the ∅/ΑΤΤ 1/1 function. The first page, shown
below, contains the Phase and Attenuation controls for MIC/LINE
channels 1 to 24, and appears when one of these channels is selected.
The second page, shown below, contains the Phase and Attenuation
controls for TAPE channels 1 to 16, effects returns (EFF 1 and EFF 2), and
the stereo output, and appears when one of these channels is selected.
Note: When a stereo channel (17 to 24) is stored to the channel library, phase
and attenuation parameters for both the left and right channels are stored. If such a
channel program is recalled to a mono channel, the phase and attenuation settings
of the left channel are used.
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MIXING Display Functions
Delay
1. Press the [DELAY] button.
DELAY
The DELAY display
function appears.
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
3. By default, the delay is
off. Press the [ENTER]
button to turn it on. The
OFF icon, highlighted,
changes to ON.
4. Use the CURSOR buttons
to select either [Smpl] or
[mSEC].
5. To change the delay,
rotate the encoder
wheel until the desired
value is shown.
6. To set all channels to the
same delay time,
double-click the
(ENTER) button.
02R User’s Guide
The DELAY display function is used to apply a small amount of delay to
input or return signals to compensate for situations such as line or cabling
delays or the gap between the record and playback heads (or circuitry) of
your multitrack recorder. You can delay a signal from 0 to 2,600
samples—at 44.1 kHz this is a delay of 0 to 59.0 ms and at 48 kHz it is a
delay of 0 to 54.2 ms.
Delay can be applied to any of the input channels and the tape and effect
return channels. The stereo input channels are always ganged together. The
MIC/LINE and TAPE channels are set independently only when they are
not linked together in GANG mode with the PAN function
Delay and Cascade
If you use a digital cascade kit (CD8-CS) to connect more than four 02Rs
together, you will need to use the DELAY display function to apply delay
to the machines closest to the output. Set a delay value of 10 to 20 samples
for each unit.
The digital cascade kit will automatically apply the correct amount of delay
when you connect four or less 02Rs together. See “Cascade Configuration”
on page 191 of the User’s Guide.
Delay Pages
There are two pages to the DELAY 1/1 function. The first page, shown
below, contains the Delay controls for MIC/LINE channels 1 to 24, and
appears when one of these channels is selected.
MIXING Display Functions
35
The second page, shown below, contains the Delay controls for TAPE
channels 1 to 16 and effects returns (EFF 1 and EFF 2), and appears when
one of these channels is selected.
Fine-Tuning the Delay
You can adjust the delay, either samples [Smpl] or milliseconds [mSEC]
with coarse or fine precision just by the placement of the cursor on the
selected channel.
For example, if the cursor is positioned over the thousands digit of the
samples [Smpl] field, when you rotate the encoder wheel, the values
increase or decrease by thousands of samples.
If the cursor is positioned over the hundreds or tens digit of the samples
field, when you rotate the encoder wheel, the values increase or decrease
by hundreds or tens of samples.
The same is true when the cursor is positioned over the ones digit of the
samples field, or the tens, ones, or decimal digits of the milliseconds
[mSEC] field.
02R User’s Guide
36
MIXING Display Functions
Pan and Balance
1. Press the [PAN] button.
The PAN display function is used to pan and balance signals. The input
channels, including the stereo input channels, and the tape and effect
returns can be panned, and the stereo output can be balanced.
PAN
The PAN display
function appears.
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
Pan Pages
There are two pages to the PAN 1/1 function. The first page, shown below,
contains the Pan controls for MIC/LINE channels 1 to 24, and appears
when one of these channels is selected.
3. To change the pan
position, rotate the
encoder wheel until the
desired value is shown.
The second page, shown below, contains the Pan controls for TAPE
channels 1 to 16, effects returns (EFF 1 and EFF 2), and the stereo output
(balance), and appears when one of these channels is selected.
The number of the selected channel is highlighted. Channel pan positions
are indicated by marker lines, just like the ones on real knobs. The current
pan value is displayed under the panpot icon.
Note: When a stereo channel (17 to 24) is stored to the channel library, pan
settings for both the left and right channels are stored. If such a channel program is
recalled to a mono channel, the pan settings of the left channel are used.
02R User’s Guide
MIXING Display Functions
37
Pan Positions
Including center, there are 33 pan positions:
L16 ← L15 ← ... ← L2 ← L1 ← C → R1 → R2 → ... → R15 → R16
Pan Gang
1. Press the [PAN] button.
PAN
When channels are configured as a stereo pair, pan controls remain
independent. Using the Gang function pan controls of adjacent channels
can be ganged together, indicated by dotted lines between the two controls,
as shown below.
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
3. Press the [ENTER] button
to connect the odd and
even channels together.
Pans can also be linked
by pressing the PAN
L/ODD and R/EVEN
buttons at the same
time.
To cancel the Gang function, press the [ENTER] button again. The dotted
lines between the pan controls disappear.
Stereo Width
When channels are configured as a stereo pair, the width of a stereo signal
can be set using the pan controls. When the pan controls are set hard-left
and hard-right, the stereo width is 100%. With both pans set to center the
stereo width is 0%. Setting the controls to a position in between allows you
to set the stereo width from 0% to 100%. To maintain a central balance,
however, you must set both controls to a corresponding left and right
values. For example, L5 and R5, or L10 and R10.
02R User’s Guide
38
MIXING Display Functions
Switching to Gang mode allows you to reposition the stereo signal within
the stereo field. For example, you could set L5 and R10 before you Gang the
channels. After you press [ENTER], adjusting either channel moves the
other a corresponding amount. If you set the left channel to L7, the right
channel would adjust to R8.
PAN controls
You can also adjust the pan position or balance of the selected channel with
the controls in the SELECTED CHANNEL group.
L/ODD
L
ODD
R/EVEN
R
EVEN
PAN
These controls allow you to select the pan position of the selected channel.
The buttons select one of two channels (channels are always paired for the
pan function). The LED is illuminated in the selected channel of the pair.
Use the rotary encoder to adjust the pan position. The current position is
indicated on the adjacent LED bargraph.
You can link the odd and even channel pairs by pressing and holding the
[L/ODD] button and then pressing the [R/EVEN] button. When a pair of
channels are linked together in GANG mode, The LEDs in both buttons are
illuminated and the LED of selected channel flashes. The indicator for the
selected channel also flashes in the adjacent LED bargraph.
Note: You can customize your 02R so that when you adjust any of the controls
in this group, the display switches to the PAN display function. See “Preferences”
on page 198 of the User’s Guide.
02R User’s Guide
MIXING Display Functions
39
Routing
1. Press the [ROUTING]
button.
ROUTING
The ROUTING display
function appears.
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
The ROUTING display function is used to select the bus routing of the
input channels and tape and effect return signals. The first 16 input
channels, 1 through 16, can also be routed to the direct outputs. By default,
all channels are routed to the stereo bus. Input channels configured as a
stereo pair can be routed individually.
Note: Since routing a channel to its own input would create a feedback loop, the
message “Would Cause Feedback!” appears if you attempt to route a channel to the
bus selected as its input source on the SCENE 4/5 page. Also, if a channel library
program containing routing settings that would cause such a feedback loop is
recalled, the Input Patching settings on the SCENE 4/5 page are reset to their
defaults.
3. Use the CURSOR buttons
to select the routing
destinations and press
Direct Outputs
the [ENTER] button to
switch a route ON or OFF. All the input channels and tape and effect return signals can be routed to
the output buses and the stereo bus. You can only route the first 16 input
channels, MIC/LINE 1 through 16, to the direct outputs. The outputs for
the optional boards are as follows:
Slot
Direct Out all OFF
Direct Out all ON
Slot 1
Bus 1 to 8
Direct 1 to 8
Slot 2
Bus 1 to 8
Direct 9 to 16
Slot 3
Bus 1 to 8
Bus 1 to 8
Slot 4
Bus 1 to 8
Bus 1 to 8
If you select both direct out and an output bus for a channel, the direct
output will take priority.
Routing Pages
There are two pages to the ROUTING 1/2 function. The first page, shown
below, contains the Routing controls for MIC/LINE channels 1 to 24, and
appears when one of these channels is selected.
02R User’s Guide
40
MIXING Display Functions
The second page, shown below, contains the Routing controls for TAPE
channels 1 to 16 and effects returns (EFF 1 and EFF 2), and appears when
one of these channels is selected.
ROUTING buttons
1
2
3
4
5
6
7
8
ST
DIRECT
ROUTING
02R User’s Guide
You can also set the routing for the selected channel with the ROUTING
buttons in the SELECTED CHANNEL group. A route is selected ON when
its icon is highlighted on the display.
The routing buttons allow you to directly select the destination for the
selected channel. The LED in each the button illuminates to indicate the
status of the channel.
Note: You can customize your 02R so that when you adjust any of the buttons in
this group, the display switches to the ROUTING display function. See
“Preferences” on page 198 of the User’s Guide.
MIXING Display Functions
41
Metering
1. Use the [METER] button to
select the METER pages.
METER
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
3. Use the CURSOR buttons
to select the PEAK HOLD
icon and press the
[ENTER] button to switch
the function on or off.
The 02R features comprehensive signal level metering. The mono and
stereo input channels, the tape and effect returns, and the auxiliary sends
and buses are all metered using the METER display function. The control
room output is metered using the dedicated 21-segment LED meters. Peak
hold is available for all meters.
Meter Pages
There are three pages to the METER function. The first page, shown below,
contains the meters for MIC/LINE channels 1 to 24, and appears when one
of these channels is selected.
4. Select one of the meter
source point
icons—PRE EQ,
POST EQ, or
POST FADER—with the
CURSOR buttons. Make it
the current meter point
by pressing the [ENTER]
button.
The second METER page, shown below, contains the meters for TAPE
channels 1 to 16 and effects returns (EFF 1 and EFF 2), and appears when
one of these channels is selected.
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42
MIXING Display Functions
Setting the Bus Out and The third METER page contains the meters for the bus outs, aux sends, and
the stereo output, plus the master faders for the bus outs and aux sends,
Aux Send Levels
and appears when one of these channels is selected.
1. Use the CURSOR buttons
to select one of the
fader icons.
2. Adjust the level by
rotating the encoder
wheel.
Peak Hold
The Peak Hold function can be turned on and off from any page of the
METER display function. Clear the peak hold levels by turning the Peak
Hold off (select the PEAK HOLD icon and press the [ENTER] button) or by
selecting another display function. The dedicated control room output
meter peak hold is not affected when other display functions are selected.
Note: When the 02R reaches CLIP, digital signal distortion occurs. You must
ensure this does not happen. Digital distortion is very unpleasant sounding. There
are a several things you can do. If CLIP is reached, but the corresponding PEAK
indicator is not illuminated, you need to attenuate the channel slightly with the
∅/ATT display function (see “Phase and Attenuation” on page 32 of the User’s
Guide). Otherwise, back off the GAIN control a little (see “GAIN Controls” on
page 27 of the User’s Guide).
Meter Source Points
The following table lists the meter signal source points:
Signal
Source Points
MIC/LINE 1–24
Post GAIN and
A/D, Pre EQ
Post EQ
Post Fader
TAPE 1–16, EFF1, EFF2
Pre EQ
Post EQ
Post Fader
BUS 1–8, AUX 1–8, STEPre Fader
REO OUT
02R User’s Guide
Post Fader
MIXING Display Functions
43
By changing the meter source points, you can easily observe the effect of
changing the EQ or channel fader levels on the signal.
Note: Switching the meter source point for the input channels switches it for the
tape and effect returns as well. Switching it for the tape and effect return changes
the input channels.
Optional Meter Bridge—MB02
L STEREO R
PEAK METER BRIDGE MB02 FOR
MIC·LINE·TAPE
TAPE
MIC
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
PRE EQ
POST EQ
POST FADER
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
CLIP
–2
–4
–6
–8
–10
–12
–14
–18
–24
–30
–36
–42
–48
-60
-72
STEREO·BUS·AUX
PRE FADER
POST FADER
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
SELECT
AUX
BUS
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
BUS·AUX
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
MIC
17
18
19
20
21
22
23
24
1
L EFF
R
RTN
2
L EFF
R
RTN
LINE
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
PEAK HOLD
If your 02R is equipped with the optional Meter Bridge—MB02, the
METER display function controls both the selection of the meter points for
each channel as well as switching the Peak Hold function ON or OFF. The
levels displayed on the optional meter bridge will be identical to the levels
shown on the METER pages.
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MIXING Display Functions
View
1. Use the [VIEW] button to
locate the VIEW 1/2
page.
VIEW
The VIEW display function allows you to see all the parameters of an
individual channel at a glance and adjust any parameter that you feel
requires a change. You can view the input channels (MIC/LINE 1 through
16, LINE 17/18 through 23/24) and the tape and effect return channels
(TAPE 1 through 16, EFF1 and EFF2).
Shown below is the VIEW 1/2 page.
2. Select a channel by
pressing one of the [SEL]
buttons.
3. Use the CURSOR buttons
to select an item.
4. Adjust the value of the
item using the encoder
wheel and/or the
[ENTER] button.
5. To set the EQ, use the
CURSOR buttons to
select the EQ curve and
press the [ENTER] button.
The 02R will switch to
the EQ display function.
6. To set the dynamics,
select the dynamics
curve with the CURSOR
buttons and press the
[ENTER] button. The 02R
will switch to the
DYNAMICS display
function.
Unlike the previous display functions in this section, the VIEW display
function shows the currently selected channel only.
Phase/Attenuation
Each time you press the [ENTER] button, the phase will alternate between
NOR (normal) and REV (reversed). Rotate the encoder wheel to adjust the
attenuation.
Operation for input channels 17 to 24, and MIC or TAPE channels
configured as stereo pairs is as follows: since only one attenuation control is
displayed on the View page, the attenuation functions of each channel are
linked to preserve their relative settings. If the channel whose control
cannot be seen reaches the minimum or maximum attenuation setting, a
message appears. The indicators in the PAN [L/ODD] and [R/EVEN]
buttons indicate whether the left or right channel of a pair is selected.
These controls duplicate the phase/attenuation function. See “Phase and
Attenuation” on page 32 of the User’s Guide.
Pan
Rotate the encoder wheel to set the pan position. You may find the PAN
controls in the SELECTED CHANNEL group more convenient for setting
the pan position.
02R User’s Guide
MIXING Display Functions
45
When you press the [ENTER] button, the channel will be linked with its
adjacent channel in GANG mode. Dotted lines will indicate the connection
to the corresponding channel. Press the [ENTER] button again to switch
back to INDIVIDUAL mode.
See “Pan and Balance” on page 36 and “Pan Gang” on page 37 of the User’s
Guide.
MS
The MS icon is used to turn the MS Decoding function on or off. When the
MS function is turned on, channels are configured as a stereo pair
automatically, and when the stereo pair is cancelled, the MS function is
turned off. See page 186 for more information.
Pair
Each time you press the [ENTER] button, PAIR will alternately be set or
cancelled. Pair only applies to the individual input and tape return
channels. See “Pairing Channels” on page 184 of the User’s Guide.
If the selected channel is one of the stereo input channels or the effect return
channels, the PAIR function does not apply. Instead the pan icon for the
opposite channel will be displayed here.
Routing
Use the CURSOR buttons to select the routing assignment. Each time you
press the [ENTER] button, the selected route will alternately switch on or
off. You may find using the ROUTING buttons in the SELECTED
CHANNEL group a more convenient way to select the routes. See
“Routing” on page 39 of the User’s Guide.
Delay
Rotate the encoder wheel clockwise to increase the delay, counterclockwise
to decrease the delay. You can select “Smpl” (samples) or “mSEC”
(milliseconds) with the CURSOR buttons. Press the [ENTER] button to turn
the delay on or off. See “Delay” on page 34 of the User’s Guide.
Note: The fine-tuning procedure is not available from this display function. See
“Fine-Tuning the Delay” on page 35 of the User’s Guide.
Meter Source Point
When the cursor is located at this part of the display, as you press the
[ENTER] button, you can cycle through the meter source points—PRE EQ,
POST EQ, or POST FADER. There are also level meters for the channel pair
(selected and its corresponding even or odd mate). See “Metering” on page
41 of the User’s Guide.
02R User’s Guide
46
MIXING Display Functions
Groups and Channel ON
Use the CURSOR buttons to select the fader and mute group icons. Each
time you press the [ENTER] button, the selected group will alternately be
set or cancelled. Remember that a channel can only belong to one fader
group and one mute group. See “Grouping Faders” on page 182 and
“Grouping Mutes” on page 183 of the User’s Guide.
Press the [ON] button to turn the channel on or off. See “ON Buttons” on
page 28 of the User’s Guide.
Beside the fader and mute group icons is the fader position icon. You
cannot adjust this from the display, but it accurately reflects the current
position of the channel fader. Displayed below the icon is the fader position
in dB. See “Faders” on page 28 of the User’s Guide.
Auxiliary Sends
Select an auxiliary channel with the CURSOR buttons. Each time you press
the [ENTER] button, the setting alternates between pre and post-fader. To
adjust the signal or to turn the send on or off, you need to use the AUX
controls in the SELECTED CHANNEL group. The SEND LEVEL control
adjusts the signal level and the [ON] button turns the send on or off. See
“The AUX Buttons” on page 99 as well as “AUX 7 and AUX 8” on page 106
of the User’s Guide.
EQ
When the cursor is on the ON icon, pressing the [ENTER] button will turn
the EQ on or off. When the EQ is on, the icon text is “ON” and is
highlighted.
Use the CURSOR buttons to select the EQ curve icon and press the
[ENTER] button. The 02R will switch to the EQ display function. See “EQ”
on page 51 of the User’s Guide. To return to the VIEW display function,
press the [VIEW] button again.
You may find using the EQUALIZER controls in the SELECTED
CHANNEL group a more convenient way to set the equalization. See “EQ
controls” on page 53 of the User’s Guide.
Dynamics
When the cursor is on the OFF icon, pressing the [ENTER] button will turn
the dynamics processor on or off. When the dynamics processor is off, the
icon text is “OFF” and is displayed in normal video.
Use the CURSOR buttons to select the dynamics curve and press the
[ENTER] button. The 02R will switch to the DYNAMICS display function.
See “DYNAMICS Display Function” on page 83 of the User’s Guide. To
return to the VIEW display function, press the [VIEW] button again.
02R User’s Guide
MIXING Display Functions
47
If the selected channel is one of the effect return channels, dynamics is
replaced by the EFFECT TYPE display. It shows the name of the current
effects program for the channel. Use the CURSOR buttons to select the
effects program name and press the [ENTER] button. The 02R will switch
to the EFFECT display function. See “Effects” on page 108 of the User’s
Guide. To return to the VIEW display function, press the [VIEW] button
again.
Library
When the cursor is located on the LIB icon, press the [ENTER] button to
access the channel library. You can also press the [VIEW] button again to
achieve the same thing.
02R User’s Guide
48
MIXING Display Functions
Channel Library
1. Use the [VIEW] button to
select the VIEW 2/2
page.
The Channel Library is used to access and store channel settings—stored as
programs. There are 64 user programs (plus an UNDO buffer) for you to
store your channel settings.
You can access the channel library from the VIEW 1/2 page by selecting the
LIB icon with the CURSOR buttons and pressing the [ENTER] button.
VIEW
Shown below is the VIEW 2/2 page.
Storing Channel
Programs
1. Select the STORE icon
with the CURSOR button
and use the encoder
wheel to select a
program number.
2. Use the CURSOR buttons
and encoder wheel to
name the program.
3. Press the [ENTER] button.
The 02R pops up a
confirmation request.
4. Select EXECUTE and
press the [ENTER] button.
The channel program is
stored.
Recalling Channel
Programs
1. Select the RECALL icon
with the CURSOR
buttons.
2. Use the encoder wheel
to select a channel
program.
3. Press the [ENTER] button.
The channel program is
recalled.
The Channel Library is overlaid on the VIEW 1/2 page.
The top of the display is a scrolling box containing the channel programs.
The bottom of the display contains the icons and the TITLE EDIT box. Use
the CURSOR buttons to select from the STORE, RECALL, CLEAR, COPY,
PASTE, INS., DEL., and EXIT icons.
Selecting the EXIT icon and pressing the [ENTER] button switches back to
the VIEW 1/2 page. You can also just press the [VIEW] button again.
Icons
•
STORE—This icon is used to store the current program to the library.
Select the icon with the CURSOR buttons. Use the encoder wheel to
select a program and press the [ENTER] button. The 02R displays a
confirmation dialog box asking if you want to store your settings in the
selected program. The box has two icons: “CANCEL” and
“EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the STORE operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the STORE operation, either press
the [ENTER] button or wait about 10 seconds—the STORE operation
will be automatically cancelled.
To store your settings, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
stored.
02R User’s Guide
MIXING Display Functions
49
When you confirm a STORE operation, any existing data in the
selected program location will be overwritten.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS
A CONFIRMATION DIALOG BOX!
•
RECALL—This icon is used to recall a program from the library. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The recalled program is now
the current program.
•
CLEAR—This icon is used to clear the contents of a channel program.
Use the CURSOR buttons to select the icon. Use the encoder wheel to
select a channel program and press the [ENTER] button. The 02R
displays a confirmation dialog box asking you want to clear the
channel program. The box has two icons: “CANCEL” and
“EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the CLEAR operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the CLEAR operation, either press
the [ENTER] button or wait about 10 seconds—the CLEAR operation
will be automatically cancelled.
To clear the channel program, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
cleared.
If you change your mind, the cleared channel program can be retrieved
by recalling the Undo channel program (U).
•
COPY—This icon is used to copy the name of a library program. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The program name is copied
into an edit buffer.
•
PASTE—This icon is used to paste a program name previously
selected with the COPY operation into the TITLE EDIT box. Select the
icon with the CURSOR buttons and press the [ENTER] button. The
program name is pasted from the edit buffer into the TITLE EDIT box
for subsequent editing.
•
INS.—This icon is used to insert blank characters into the TITLE EDIT
box at the current cursor location. Select the icon with the CURSOR
buttons and press the [ENTER] button.
•
DEL.—This icon is used to delete characters from the TITLE EDIT box
at the current cursor location. Select the icon with the CURSOR buttons
and press the [ENTER] button.
UNDO Operation
When the 02R stores or recalls a program, the previous settings are always
preserved in the UNDO buffer. If you discover you have made a mistake,
you can always recall the UNDO buffer (displayed as “U:” in the scrolling
list of programs). Use the CURSOR buttons to select the RECALL icon, then
02R User’s Guide
50
MIXING Display Functions
rotate the encoder wheel until the UNDO buffer is the current program,
and press the [ENTER] button. The previous settings are restored.
Program Name
Channel program names can be up to 16 characters long and can contain
any of the following characters:
02R User’s Guide
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
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q
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{
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~
MIXING Display Functions
51
EQ
1. Use the (EQ) button to
select the EQ 1/2 page.
EQ
2. Select a channel using
the [SEL] buttons.
The 02R is equipped with a four-band, fully parametric EQ, with variable
bandwidth, center frequency, gain, and ON/OFF parameters.
EQ can be applied to the input channels (MIC/LINE 1 through 16, LINE
17/18 through 23/24), the tape and effect return channels (TAPE 1 through
16, EFF1 and EFF2), and the stereo output. For stereo channels, the
equalization curve is applied equally to both channels.
Shown below is the EQ 1/2 page.
3. Use the CURSOR buttons
to select the EQ ON
icon. Press the [ENTER]
button to turn the EQ on
or off.
The icon changes from
ON to OFF. When the EQ
is on, the icon is
highlighted.
4. Select a icon using the
CURSOR buttons, for
example the “F” control
for the H-MID band.
5. To change the value of
the selected item,
rotate the encoder
wheel until the desired
value is shown.
Similar to the VIEW display function, the EQ display function shows the
equalization for the currently selected channel only.
The top of the display shows the EQ library icon, the equalization curve,
and a level meter for the currently selected channel pair. The vertical dotted
line in the equalization curve indicates the center frequency of the selected
band.
The bottom of the display contains the icons for adjusting the parameters
for the currently selected channel:
•
ATT—The attenuator rotary icon is used to attenuate the channel level.
Operation for input channels 17 to 24, and MIC or TAPE channels
configured as stereo pairs is as follows: since only one attenuation
control is displayed on the EQ page, the attenuation functions of each
channel are linked to preserve their relative settings. If the channel
whose control cannot be seen reaches the minimum or maximum
attenuation setting, a message appears. The indicators in the PAN
[L/ODD] and [R/EVEN] buttons indicate whether the left or right
channel of a pair is selected.
02R User’s Guide
52
MIXING Display Functions
This control duplicate Attenuation function. See “Phase and Attenuation”
on page 32 of the User’s Guide.
Note: The attenuator rotary icon is adjusting the same parameter as in the
∅/ATT display function. When you boost the gain of the equalization curve,
you may cause the overall signal level to reach CLIP. Watch the level meters
for the selected pair as you adjust the EQ values. If CLIP is reached, digital
signal distortion will occur.
•
EQ ON icon—Indicates the status of the EQ, on or off. The text “ON” is
highlighted when the EQ is on.
•
Rotary icons—There is an icon for bandwidth (Q), center frequency
(F), and gain (G) for each of the four bands, LOW, L-MID, H-MID, and
HIGH.
Use the CURSOR buttons to select the desired icon and adjust its value
with the rotary encoder. Switch the EQ on or off by pressing the [ENTER]
button.
Equalization parameters:
Q
G
Peak 10 to 0.1
in 41 steps /
SHELF / HPF
21 Hz to 20.1 kHz
in 1/12 octave
steps *1
±18 dB
in 0.5 dB steps
HPF = ON/OFF
L-MID
Peak 10 to 0.1
in 41 steps
21 Hz to 20.1 kHz
in 1/12 octave
steps *1
±18 dB
in 0.5 dB steps
H-MID
Peak 10 to 0.1
in 41 steps
21 Hz to 20.1 kHz
in 1/12 octave
steps *1
±18 dB
in 0.5 dB steps
Peak 10 to 0.1
in 41 steps /
SHELF / LPF
21 Hz to 20.1 kHz
in 1/12 octave
steps *1
±18 dB in 0.5 dB
steps
LPF = ON/OFF
LOW/HPF
HIGH/LPF
*1
02R User’s Guide
F
When the sampling frequency is 32 kHz, the frequency range (F) is 21 Hz to
15.1 kHz
MIXING Display Functions
53
EQ controls
You can also adjust the equalization for the selected channel with the
EQUALIZER controls in the SELECTED CHANNEL group.
Q
LOW/HPF
L-MID
H-MID
HIGH/LPF
F
Hz
kHz
G
dB
EQ ON
EQUALIZER
These controls allow you to adjust the equalization of the selected channel.
Select the band you want to adjust with one the buttons in the top row:
[LOW/HPF], [L-MID], [H-MID], or [HIGH/LPF]. The three LED
indicators will reflect the status of the selected band. Adjust the values, Q
(bandwidth), F (frequency), and G (gain), with the corresponding rotary
encoders. Use the [EQ ON] button to insert the equalization into the
channel.
Note: You can customize your 02R so that when you adjust any of the controls
in this group, the display switches to the EQ display function. See “Preferences” on
page 198 of the User’s Guide.
Reset the Gain
You can reset the gain of each band to 0.0 dB by double-clicking the
corresponding [LOW/HPF], [L-MID], [H-MID], or [HIGH/LPF] buttons.
Reset the EQ
You can reset all the values of the EQ for the selected channel. Press and
hold the [LOW/HPF] button and then press the [HIGH/LPF] button.
All the EQ values will be reset to their default.
LOW/HPF
L-MID
H-MID
HIGH/LPF
Q
LOW SHELF
Peak—0.7
Peak—0.7
HIGH SHELF
F
125 Hz
1.00 kHz
4.00 kHz
10.0 kHz
G
0dB
0dB
0dB
0dB
02R User’s Guide
54
MIXING Display Functions
EQ Programs
These are the preset EQ programs.
No
Program Name
No
Program Name
1
Bass Drum 1
21
A.G.Stroke 2
2
Bass Drum 2
22
A.G.Arpeggio 1
3
Snare Drum 1
23
A.G.Arpeggio 2
4
Snare Drum 2
24
Brass Section
5
Tom-tom 1
25
Male Vocal 1
6
Cymbal
26
Male Vocal 2
7
High Hat
27
Female Vocal 1
8
Percussion
28
Female Vocal 2
9
E.Bass 1
29
Chorus & Harmony
10
E.Bass 2
30
Total EQ 1
11
Syn.Bass 1
31
Total EQ 2
12
Syn.Bass 2
32
Total EQ 3
13
Piano 1
33
Bass Drum 3
14
Piano 2
34
Snare Drum 3
15
E.G.Clean
35
Tom-tom 2
16
E.G.Crunch 1
36
Piano 3
17
E.G.Crunch 2
37
Piano Low
18
E.G.Distortion 1
38
Piano High
19
E.G.Distortion 2
39
Fine-EQ(Cass)
20
A.G.Stroke 1
40
Narrator
Note: The programs 33 to 40 contain preset programs and are listed in the table
above. However, you can store your own settings to these programs.
02R User’s Guide
MIXING Display Functions
55
EQ Library
1. Use the [EQ] button to
select the EQ 2/2 page.
EQ
Recalling EQ Programs
The EQ Library is used to access and store EQ settings—stored as
programs. There are 40 preset programs (1 to 40) for you to recall and 88
user programs (41 to 128 plus UNDO) for you to store your own EQ
settings.
You can access the EQ library from the EQ 1/2 page by selecting the LIB
icon with the CURSOR buttons and pressing the [ENTER] button.
Shown below is the EQ 2/2 page.
1. Select a channel using
the [SEL] buttons.
2. Use the CURSOR buttons
to select the RECALL
icon and select an EQ
program with the
encoder wheel.
3. Press the [ENTER] button.
The EQ program is
recalled.
Storing EQ Programs
1. Use the CURSOR buttons
to select the STORE icon
and select an EQ
program with the
encoder wheel.
2. Use the CURSOR buttons
and encoder wheel to
name the program.
3. Press the [ENTER] button.
The 02R pops up a
confirmation request.
4. Select EXECUTE and
press the [ENTER] button.
The EQ program is
stored.
The top of the display shows the EQ library icon, the equalization curve,
and a level meter for the currently selected channel pair.
The middle of the display shows a scrolling list of EQ programs. The name
of the EQ program under the cursor is highlighted. The encoder wheel is
used to scroll through the program list. A small diagram of the response
curve of the highlighted EQ program is shown to the right.
Beside the list of EQ programs is the TITLE EDIT field. The CURSOR
buttons are used to select the character, and the encoder wheel is used to
change its value.
The bottom of the display contains the control button icons. Use the
CURSOR buttons to select from the STORE, RECALL, CLEAR, COPY,
PASTE, INS., and DEL. icons.
Exiting the Library
Selecting the LIB icon and pressing the [ENTER] button switches back to
the EQ 1/1 page. You can also press the [EQ] button again.
Icons
•
STORE—This icon is used to store the current program to the library.
Select the icon with the CURSOR buttons. Use the encoder wheel to
02R User’s Guide
56
MIXING Display Functions
select a program and press the [ENTER] button. The 02R displays a
confirmation dialog box asking if you want to store your settings in the
selected program. The box has two icons: “CANCEL” and
“EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the STORE operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the STORE operation, either press
the [ENTER] button or wait about 10 seconds—the STORE operation
will be automatically cancelled.
To store your settings, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
stored.
When you confirm a STORE operation, any existing data in the
selected program location will be overwritten.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS
A CONFIRMATION DIALOG BOX!
•
RECALL—This icon is used to recall a program from the library. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The recalled program is now
the current program.
•
CLEAR—This icon is used to clear the contents of an EQ program. Use
the CURSOR buttons to select the icon. Use the encoder wheel to select
an EQ program and press the [ENTER] button. The 02R displays a
confirmation dialog box asking if you want to clear the EQ program.
The box has two icons: “CANCEL” and “EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the CLEAR operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the CLEAR operation, either press
the [ENTER] button or wait about 10 seconds—the CLEAR operation
will be automatically cancelled.
To clear the EQ program, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
cleared.
If you change your mind, the cleared EQ program can be retrieved by
recalling the Undo EQ program (U).
02R User’s Guide
•
COPY—This icon is used to copy the name of a library program. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The program name is copied
into an edit buffer.
•
PASTE—This icon is used to paste a program name previously
selected with the COPY operation into the TITLE EDIT box. Select the
icon with the CURSOR buttons and press the [ENTER] button. The
program name is pasted from the edit buffer into the TITLE EDIT box
for subsequent editing.
MIXING Display Functions
57
•
INS. —This icon is used to insert blank characters into the TITLE EDIT
box at the current cursor location. Select the icon with the CURSOR
buttons and press the [ENTER] button.
•
DEL.—This icon is used to delete characters from the TITLE EDIT box
at the current cursor location. Select the icon with the CURSOR buttons
and press the [ENTER] button.
UNDO Operation
When the 02R stores or recalls a program, the previous settings are always
preserved in the UNDO buffer. If you discover you have made a mistake,
you can always recall the UNDO buffer (displayed as “U:” in the scrolling
list of programs). Use the CURSOR buttons to select the RECALL icon, then
rotate the encoder wheel until the UNDO buffer is the current program,
and press the [ENTER] button. The previous settings are restored.
Program Name
EQ program names can be up to 16 characters long and can contain any of
the following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
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p
q
r
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x
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{
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~
02R User’s Guide
58
MIXING Display Functions
Preset EQ Program Parameters
MIXING Display Functions
No
1
2
3
4
5
6
7
8
9
Parameter
Name
Bass Drum 1
Bass Drum 2
Snare Drum 1
Snare Drum 2
Tom-tom 1
Cymbal
High Hat
Percussion
E.Bass 1
02R User’s Guide
LOW
L-MID
H-MID
HIGH
PEAKING
PEAKING
PEAKING
Q
1.2
10
0.9
F
99Hz
265Hz
1.05kHz
5.33kHz
G
+3.5dB
–3.5dB
0.0dB
+4.0dB
PEAKING
PEAKING
PEAKING
LPF
Q
1.4
4.5
2.2
F
79Hz
397Hz
2.52kHz
12.6kHz
G
+8.0dB
–7.0dB
+6.0dB
ON
PEAKING
PEAKING
PEAKING
H.SHELF
Q
1.2
4.5
0.11
F
132Hz
1.00kHz
3.17kHz
5.04kHz
G
–0.5dB
0.0dB
+3.0dB
+4.5dB
L.SHELF
PEAKING
PEAKING
PEAKING
10
0.7
0.1
Q
H.SHELF
F
177Hz
334Hz
2.37kHz
4.00kHz
G
+1.5dB
–8.5dB
+2.5dB
+4.0dB
PEAKING
PEAKING
PEAKING
PEAKING
Q
1.4
10
1.2
0.28
F
210Hz
667Hz
4.49kHz
6.35kHz
G
+2.0dB
–7.5dB
+2.0dB
+1.0dB
L.SHELF
PEAKING
PEAKING
H.SHELF
8
0.9
Q
F
105Hz
420Hz
1.05kHz
13.4kHz
G
–2.0dB
0.0dB
0.0dB
+3.0dB
L.SHELF
PEAKING
PEAKING
H.SHELF
0.5
1
2.82kHz
Q
F
94Hz
420Hz
G
–4.0dB
–2.5dB
+1.0dB
+0.5dB
L.SHELF
PEAKING
PEAKING
H.SHELF
4.5
0.56
Q
7.55kHz
F
99Hz
397Hz
2.82kHz
16.9kHz
G
–4.5dB
0.0dB
+2.0dB
0.0dB
L.SHELF
PEAKING
PEAKING
H.SHELF
5
4.5
Q
F
35Hz
111Hz
2.00kHz
4.00kHz
G
–7.5dB
+4.5dB
+2.5dB
0.0dB
Description
Emphasizes the low range
of the 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.
MIXING Display Functions
No
10
11
12
Parameter
Name
E.Bass 2
Syn.Bass 1
Syn.Bass 2
LOW
14
15
16
17
Piano 1
Piano 2
E.G.Clean
E.G.Crunch 1
E.G.Crunch 2
E.G.Distortion 1
PEAKING
PEAKING
0.1
5
6.3
F
111Hz
111Hz
2.24kHz
4.00kHz
G
+3.0dB
0.0dB
+2.5dB
+0.5dB
E.G.Distortion 2
H.SHELF
H.SHELF
PEAKING
PEAKING
PEAKING
Q
0.1
8
4.5
F
83Hz
944Hz
4.00kHz
12.6kHz
G
+3.5dB
+8.5dB
0.0dB
0.0dB
H.SHELF
PEAKING
PEAKING
PEAKING
Q
1.6
8
2.2
F
125Hz
177Hz
1.12kHz
12.6kHz
G
+2.5dB
0.0dB
+1.5dB
0.0dB
H.SHELF
Q
PEAKING
PEAKING
8
0.9
F
94Hz
944Hz
3.17kHz
7.55kHz
G
–6.0dB
0.0dB
+2.0dB
+4.0dB
H.SHELF
PEAKING
PEAKING
PEAKING
Q
5.6
10
0.7
F
223Hz
595Hz
3.17kHz
5.33kHz
G
+3.5dB
–8.5dB
+1.5dB
+3.0dB
H.SHELF
PEAKING
PEAKING
PEAKING
Q
0.18
10
6.3
F
265Hz
397Hz
1.33kHz
4.49kHz
G
+2.0dB
–5.5dB
+0.5dB
+2.5dB
PEAKING
PEAKING
PEAKING
PEAKING
Q
8
4.5
0.63
9
F
140Hz
1.00kHz
1.88kHz
5.65kHz
G
+4.5dB
0.0dB
+4.0dB
+2.0dB
H.SHELF
PEAKING
PEAKING
PEAKING
Q
8
0.4
0.16
F
125Hz
445Hz
3.36kHz
19.0kHz
G
+2.5dB
+1.5dB
+2.5dB
0.0dB
H.SHELF
Q
PEAKING
PEAKING
9
10
F
354Hz
944Hz
3.36kHz
12.6kHz
G
+5.0dB
0.0dB
+3.5dB
0.0dB
H.SHELF
L.SHELF
19
HIGH
PEAKING
L.SHELF
18
H-MID
Q
L.SHELF
13
L-MID
Q
PEAKING
PEAKING
10
4
F
315Hz
1.05kHz
4.23kHz
12.6kHz
G
+6.0dB
–8.5dB
+4.5dB
+4.0dB
59
Description
Unlike program 9, this
emphasizes the low range
of the electric bass.
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.
Emphasize the attack and
low range of the piano
sound by using a
compressor.
Use for line-recording an
electric guitar or
semi-acoustic guitar to get
a slightly hard sound.
Adjusts the tonal quality of
a slightly distorted guitar
sound.
This is a variation on
program 16.
Makes a heavily distorted
guitar sound clearer.
This is a variation on
program 18.
02R User’s Guide
60
No
20
MIXING Display Functions
Parameter
Name
A.G.Stroke 1
LOW
A.G.Stroke 2
A.G.Arpeggio 1
PEAKING
PEAKING
0.9
4.5
3.5
F
105Hz
1.00kHz
1.88kHz
5.33kHz
G
–2.0dB
0.0dB
+1.0dB
+4.0dB
H.SHELF
Q
24
25
26
27
A.G.Arpeggio 2
Brass Section
Male Vocal 1
Male Vocal 2
Female Vocal 1
29
Female Vocal 2
Chorus & Harmony
02R User’s Guide
PEAKING
4.5
297Hz
749Hz
2.00kHz
3.56kHz
G
–3.5dB
–2.0dB
0.0dB
+2.0dB
Q
PEAKING
PEAKING
PEAKING
4.5
4.5
0.12
F
223Hz
1.00kHz
4.00kHz
6.72kHz
G
–0.5dB
0.0dB
0.0dB
+2.0dB
H.SHELF
Q
PEAKING
PEAKING
7
4.5
F
177Hz
354Hz
4.00kHz
4.23kHz
G
0.0dB
–5.5dB
0.0dB
+4.0dB
PEAKING
PEAKING
PEAKING
PEAKING
Q
2.8
2
0.7
7
F
88Hz
841Hz
2.11kHz
4.49kHz
G
–2.0dB
+1.0dB
+1.5dB
+3.0dB
PEAKING
PEAKING
PEAKING
PEAKING
Q
0.11
4.5
0.56
0.11
F
187Hz
1.00kHz
2.00kHz
6.72kHz
G
–0.5dB
0.0dB
+2.0dB
+3.5dB
H.SHELF
PEAKING
PEAKING
PEAKING
Q
0.11
10
5.6
F
167Hz
236Hz
2.67kHz
6.72kHz
G
+2.0dB
–5.0dB
+2.5dB
+4.0dB
PEAKING
PEAKING
PEAKING
PEAKING
Q
0.18
0.45
0.56
0.14
F
118Hz
397Hz
2.67kHz
5.99kHz
G
–1.0dB
+1.0dB
+1.5dB
+2.0dB
H.SHELF
L.SHELF
28
PEAKING
9
H.SHELF
F
L.SHELF
23
HIGH
PEAKING
L.SHELF
22
H-MID
Q
L.SHELF
21
L-MID
Q
PEAKING
PEAKING
0.16
0.2
F
111Hz
334Hz
2.00kHz
6.72kHz
G
–7.0dB
+1.5dB
+1.5dB
+2.5dB
PEAKING
PEAKING
PEAKING
PEAKING
Q
2.8
2
0.7
7
F
88Hz
841Hz
2.11kHz
4.49kHz
G
–2.0dB
+1.0dB
+1.5dB
+3.0dB
Description
Emphasizes the bright
tones of an acoustic
guitar.
This is a variation on
program 20. You can also
use it for the electric gut
guitar.
Corrects arpeggio
technique of an acoustic
guitar.
This is 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.
This is a variation on
program 25.
Use as a template for
female vocal. Adjust the
HIGH or H-MID setting
according to the voice
quality.
This is a variation on
program 27
Use as a template for a
chorus. It makes the entire
chorus much brighter.
MIXING Display Functions
No
30
31
Parameter
Name
Total EQ 1
Total EQ 2
LOW
33
Total EQ 3
Bass Drum 3
Snare Drum 3
PEAKING
PEAKING
7
2.2
5.6
F
94Hz
944Hz
2.11kHz
16.0kHz
G
–0.5dB
0.0dB
+3.0dB
+6.5dB
36
37
Tom-tom 2
Piano 3
Piano Low
H.SHELF
H.SHELF
PEAKING
PEAKING
PEAKING
Q
7
2.8
5.6
F
94Hz
749Hz
1.78kHz
17.9kHz
G
+4.0dB
+1.5dB
+2.0dB
+6.0dB
H.SHELF
Q
PEAKING
PEAKING
0.28
0.7
F
66Hz
841Hz
1.88kHz
15.1kHz
G
+1.5dB
+0.5dB
+2.0dB
+4.0dB
PEAKING
PEAKING
PEAKING
PEAKING
Q
2
10
0.4
0.4
F
118Hz
315Hz
4.23kHz
20.1kHz
G
+3.5dB
–10.0dB
+3.5dB
0.0dB
Q
PEAKING
PEAKING
PEAKING
4.5
2.8
0.1
F
223Hz
561Hz
4.23kHz
4.00kHz
G
0.0dB
+2.0dB
+3.5dB
0.0dB
H.SHELF
L.SHELF
35
HIGH
PEAKING
L.SHELF
34
H-MID
Q
L.SHELF
32
L-MID
Q
PEAKING
PEAKING
4.5
1.2
F
88Hz
210Hz
5.33kHz
16.9kHz
G
–9.0dB
+1.5dB
+2.0dB
0.0dB
PEAKING
PEAKING
PEAKING
H.SHELF
Q
8
10
9
F
99Hz
472Hz
2.37kHz
10.0kHz
G
+4.5dB
–13.0dB
+4.5dB
+2.5dB
PEAKING
PEAKING
PEAKING
H.SHELF
Q
10
6.3
2.2
F
187Hz
397Hz
6.72kHz
12.6kHz
G
–5.5dB
+1.5dB
+6.0dB
0.0dB
61
Description
Use on the STEREO bus
during mixdown. For more
effect, try it with a
compressor.
This is a variation on
program 30.
This is a variation on
program 30. Also use
these programs for stereo
inputs or external effect
returns.
This is a variation on
program 1. The low and
mid range is removed.
This is a variation on
program 3. It creates
rather thick sound.
This is a variation on
program 5. Emphasizes
the mid and high range.
This is a variation on
program 13.
Use for the low range of
the piano sound when it is
recorded in stereo. Use
with program 38.
02R User’s Guide
62
MIXING Display Functions
No
38
Parameter
Name
Piano High
LOW
40
Fine-EQ(Cass)
Narrator
H-MID
HIGH
PEAKING
PEAKING
PEAKING
PEAKING
Q
10
6.3
2.2
0.1
F
187Hz
397Hz
6.72kHz
5.65kHz
G
–5.5dB
+1.5dB
+5.0dB
+3.0dB
H.SHELF
L.SHELF
39
L-MID
Q
PEAKING
PEAKING
4.5
1.8
F
74Hz
1.00kHz
4.00kHz
12.6kHz
G
–1.5dB
0.0dB
+1.0dB
+3.0dB
PEAKING
PEAKING
PEAKING
H.SHELF
Q
4
7
0.63
F
105Hz
707Hz
2.52kHz
10.0kHz
G
–4.0dB
–1.0dB
+2.0dB
0.0dB
Description
Use for the high range of
the piano sound when it is
recorded in stereo. Use
with program 37.
Use for recording to or
from cassette tape to
make the sound clearer.
Use for recording a voice
reading a text.
Note: The EQ programs were programmed for recording acoustic musical instruments. If you are using them for a
sampler, synthesizer, or rhythm machine, adjust the parameters accordingly.
Note: Programs 33 to 40 contain preset programs and are listed in the table above. However, you can store your own
settings to these programs.
02R User’s Guide
Surround Pan
5
63
Surround Pan
In this chapter...
About Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Selecting a Surround Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Panning Sounds Freely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Panning Sounds Using the Trajectories . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Linking Channels for Surround Pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
CSR (Center:Side Ratio) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
5
02R User’s Guide
64
Surround Pan
About Surround Pan
The 02R Surround Pan function supports 2+2, 3+1, and 3+2+1 surround
modes, making it ideal for sophisticated surround sound production.
Sounds can be moved freely around a two-dimensional sound space, or
along preset circle, ellipse, semicircle, or diagonal trajectories. Surround
channels can be transferred directly to a digital multitrack recorder via
YGDAI (DIGITAL I/O 5/5). In addition, surround channels can be output
via the analog aux sends (SETUP 2/4).
Output Assignments
The following table shows how the surround channels are assigned to the
02R bus outs in each mode. Connect the bus outs that correspond to the
mode you are using to a surround sound monitoring system or recorder.
Use the DIGITAL I/O 5/5 page to set the bus out to I/O card assignments.
See “Slot Output Select” on page 194.
Mode
BUS 1
BUS 2
BUS 3
BUS 4
BUS 5
BUS 6
2+2
FL
(front left)
FR
(front right)
RL
(rear left)
RR
(rear right)
—
—
3+1
L
(left)
R
(right)
C
(center)
S
(surround)
—
—
3+2+1
FL
(front left)
FR
(front right)
RL
(rear left)
RR
(rear right)
FC
(front center)
SW
(subwoofer)
While a surround mode is active, buses 1 to 6 cannot be used for regular
routing. Buses 5 and 6, however, can be used as normal with the 2+2 and
3+1 surround modes.
02R User’s Guide
Surround Pan
65
Selecting a Surround Mode
1. Use the [ROUTING]
button to locate the
ROUTING 2/4 page.
Surround pan modes are selected on the ROUTING 2/2 page—Surround
On/Off. When the Surround function is active, there are four ROUTING
pages.
ROUTING
2. Use the CURSOR buttons
to select the SURROUND
icon, and press the
(ENTER) button.
A confirmation dialog
box appears.
3. Select EXECUTE and
press the (ENTER) button.
4. Use the CURSOR buttons
to select a surround
mode, and press the
(ENTER) button.
5. To turn off the Surround
function, select the
SURROUND icon and
press the (ENTER) button.
2+2 Surround Mode
Four-channel surround sound consisting of front left (FL), front right (FR),
rear left (RL), and rear right (RR) channels.
Bus Out 1
DIGITAL RECORDING CONSOLE
Amps
Bus Out 2
Bus Out 3
FL
FR
RL
RR
Bus Out 4
Recorder
02R User’s Guide
66
Surround Pan
3+1 Surround Mode
Four-channel surround sound consisting of left (L), center (C), right (R),
and surround (S) channels. Ideal for Dolby Surround authoring.
Bus Out 1
DIGITAL RECORDING CONSOLE
Amps
Bus Out 2
Bus Out 3
L
C
R
Bus Out 4
S
Recorder
3+2+1 Surround Mode
Six-channel surround sound consisting of front left (FL), front center (FC),
front right (FR), rear left (RL), rear right (RR), and subwoofer (SW)
channels. Ideal for Dolby AC-3 Surround authoring.
Bus Out 1
Amps
DIGITAL RECORDING CONSOLE
Bus Out 2
Bus Out 3
SW
FL
FC
FR
Bus Out 4
Bus Out 5
Bus Out 6
RL
Recorder
02R User’s Guide
RR
Surround Pan
67
Panning Sounds Freely
1. Use the [ROUTING]
button to locate the
ROUTING 3/4 page.
ROUTING
2. Use the CURSOR buttons
to select the MIC, LINE,
or TAPE icon, and press
the (ENTER) button.
This section explains how to position sounds using the ROUTING 3/4
page. Sounds can also be moved along preset circle, ellipse, semicircle, or
diagonal trajectories on the ROUTING 4/4 page.
The ROUTING 3/4 page consists of three parts: MIC, LINE, and TAPE, and
the three icons at the top of the page are used to select them. These pages
are selected automatically when the relevant [SEL] button is pressed. All
pages feature the timecode counter. The MIC page, shown below, contains
surround pan controls for MIC inputs 1 to 16.
3. Use the [SEL) buttons to
select a channel.
4. Use the CURSOR buttons
to select the left/right or
front/rear parameter.
5. Use the encoder wheel
to position the sound.
The surround pan position for each channel is displayed on a
two-dimensional pan graph. The pan position is indicated by a
small circle. Small speaker icons above and below the pan graph
indicate the selected surround pan mode. In this example, two
speakers at the front and two at the rear indicate that 2+2 surround
mode is selected. Below the pan graph are two parameters. The
(left/right) parameter moves the sound from left to right. The
(front/rear) parameter moves the sound from front to rear.
The LINE page, shown below, contains surround pan controls for LINE
inputs 17 to 24 and the effects returns.
02R User’s Guide
68
Surround Pan
The TAPE page, shown below, contains surround pan controls for TAPE
inputs 1 to 16.
02R User’s Guide
Surround Pan
69
Panning Sounds Using the Trajectories
1. Use the [ROUTING]
button to locate the
ROUTING 4/4 page.
ROUTING
This page can also be
accessed from the
ROUTING 3/4 page by
pressing the (ENTER)
button while a surround
pan graph is selected.
This section explains how to move sounds along preset circle, ellipse,
semicircle, or diagonal trajectories using the ROUTING 4/4 page. The
preset trajectories can be fine-tuned using the Width, Depth, and Offset
parameters.
The ROUTING 4/4 page, shown below, can be located using either the
[ROUTING] button or by pressing the [ENTER] button while a surround
pan graph on the ROUTING 3/4 page is selected. The EXIT icon on the
ROUTING 4/4 page can be used to return to the ROUTING 3/4 page. Like
the ROUTING 3/4 pages, the ROUTING 4/4 page features a timecode
counter.
2. Use the [SEL) buttons to
select a channel.
3. Use the CURSOR buttons
to select a trajectory,
and press the (ENTER)
button to activate it.
4. Set the Width, Depth,
and Offset parameters
using the encoder
wheel.
5. Move the cursor to
another parameter and
use the encoder wheel
to move the sound
along the selected
trajectory.
Level meters
When the FAST icon is
highlighted, sounds can
be moved at high
speed.
6. To return to the ROUTING
3/4 page, select the EXIT
icon and press the
(ENTER) button.
Surround mode/jump
The surround pan position for each channel is
displayed on a two-dimensional pan graph. The pan
position is indicated by a small circle. Small speaker
icons above and below the pan graph indicate the
selected surround pan mode. In this example, two
speakers at the front and two at the rear indicate that
2+2 surround mode is selected. Next to each speaker is
a signal level meter indicating the master bus out level.
Selecting a speaker icon and then pressing the
[ENTER] button makes the sound jump to that speaker.
In 3+2+1 mode, a subwoofer level control is available
on this page.
To quickly move a sound to the default position, select the left/right
trajectory icon and double-click the [ENTER] button.
02R User’s Guide
70
Surround Pan
Trajectories
The following surround pan trajectories are available.
Left to right—The sound moves from left to right. The following
illustrations show some typical left to right trajectories.
Front to rear—The sound moves from front to back. The following
illustrations show some typical front to rear trajectories.
Rear left to front right diagonal—The sound moves on a diagonal
trajectory from the rear left to the front right. Width, depth and
offset can be set for this trajectory. The following illustrations show
some typical trajectories.
Front left to rear right diagonal—The sound moves on a diagonal
trajectory from the front left to the rear right. Width, depth and
offset can be set for this trajectory. The following illustrations show
some typical trajectories.
02R User’s Guide
Surround Pan
71
Left to right semicircle—The sound moves from left to right on a
semicircular trajectory. Use the width and depth parameters to set
the size and shape of the semicircle. The shape can be adjusted
from a semicircle to a narrow oval. Use the offset parameters to
offset the trajectory to the left, right, front, or rear. The following
illustrations show some typical trajectories.
Front to rear semicircle—The sound moves from front to rear on a
semicircular trajectory. Use the width and depth parameters to set
the size and shape of the semicircle. The shape can be adjusted
from a semicircle to a narrow oval. Use the offset parameters to
offset the trajectory to the left, right, front, or rear. The following
illustrations show some typical trajectories.
Circle—The sound moves on a circular trajectory. Use the width
and depth parameters to set the size and shape. The shape can be
adjusted from a perfect circle to a narrow oval. Use the offset
parameters to offset the trajectory to the left, right, front, or rear.
The following illustrations show some typical trajectories.
02R User’s Guide
72
Surround Pan
Linking Channels for Surround Pan
1. Use the [ROUTING]
button to locate the
ROUTING 4/4 page.
For stereo input channels (17 to 24), or mono input channels configured as a
stereo pair, you can select one of eight patterns and move both sounds
together. The following illustration shows how the two channels are
panned with the various patterns and trajectories.
Trajectory
ROUTING
Pattern
2. Use the [SEL) buttons to
select a channel.
3. Use the CURSOR buttons
to select the ST LINK
icon, and then press the
(ENTER) button.
4. Use the CURSOR buttons
to select the PATTERN
parameter, and the
encoder wheel to select
a pattern.
Note: ST LINK settings are not stored in channel library programs. So when a
channel program is recalled and the destination channel is using ST LINK, the
surround settings of the other linked channel are changed to match. Also, when the
surround settings of a stereo channel are stored, only the settings of the selected
channel are stored.
By default, ST LINK is turned on for stereo channels. Note that if just the ST
LINK parameter is turned off, it is possible to overwrite the pan
movements of the other channel during subsequent automix recording.
02R User’s Guide
Surround Pan
73
CSR (Center:Side Ratio)
1. Use the [ROUTING]
button to locate the
ROUTING 4/4 page.
For the 3+1 and 3+2+1 surround modes that use a center speaker, the CSR
(Center:Side Ratio) control can be used to set the amount of front-center
sound heard through the center and left and right front speakers.
CSR
Description
0.0
2. Use the [CURSOR)
buttons to select the CSR
control.
The front-center sound appears only in the left and right
speakers.
0.5
The front-center sound appears in the center and left and
right speakers at the same level.
3. Use the encoder wheel
to set the CSR ratio.
1.0
The front-center sound appears only in the center speaker.
ROUTING
Surround Pan Notes
Surround pan settings can be stored and recalled using scene memories.
The FAST parameter setting on the ROUTING 4/4 page, however, is not
stored.
Real-time surround pan adjustments can be recorded in an automix, and on
the SETUP 4/4 page—Preferences 2—you can choose which surround
parameters are recorded: X/Y (surround pan position), CSR (Center:Side
ratio), and SWF (subwoofer).
Although it is possible to select other trajectories on the ROUTING 4/4
page while automix recording is in progress, these actions are not recorded.
Likewise, the ST LINK parameter cannot be turned on or off while
recording. In both cases an “Automix Running” message appears. To
automate these parameters, store the settings in a scene memory and use
the automix to recall that.
When channels are linked using ST LINK, the X/Y pan movements of both
channels are recorded regardless of which channel is selected. CSR and
subwoofer adjustments, however, are recorded only for the selected
channel. Of course, if the channels are configured as a stereo pair, CSR and
subwoofer adjustments of both channels are recorded.
The X/Y pan movements of left and right channels in a stereo pair cannot
be recorded individually. Note that if the ST LINK parameter is turned off
after X/Y pan movements have been recorded, it is possible to overwrite
the X/Y pan movements of the other channel during subsequent automix
recording.
02R User’s Guide
Dynamics
6
75
Dynamics
In this chapter...
Dynamics Processors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Preset Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Compander. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Gate and Ducking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
DYNAMICS Display Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Patching in a Processor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Dynamics Processor Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
KEY IN and LINK Indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Preset Dynamics Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
02R User’s Guide
6
76
Dynamics
Dynamics Processors
Dynamics processors are generally used to correct or control signal levels.
However, you can also use them creatively to shape the volume envelope
of a sound. The 02R features comprehensive dynamics processors for all
the input channels, tape returns, and the bus and stereo outputs. These
processors allow you to compress, expand, compress-expand (compand),
gate, or duck the signals passing through the mixer, giving you
unparalleled sonic quality and flexibility.
Preset Dynamics Programs
These are the preset dynamics programs.
No
02R User’s Guide
Program Name
No
Program Name
1
A.Dr.BD
"CMP
21
BrassSection
"CMP
2
A.Dr.BD
"EXP
22
Syn.Pad
"CMP
3
A.Dr.BD
"GAT
23
SamplingPerc
"CPS
4
A.Dr.BD
"CPH
24
Sampling BD
"CMP
5
A.Dr.SN
"CMP
25
Sampling SN
"CMP
6
A.Dr.SN
"EXP
26
Hip Comp
"CPS
7
A.Dr.SN
"GAT
27
Solo Vocal1
"CMP
8
A.Dr.SN
"CPS
28
Solo Vocal2
"CMP
9
A.Dr.Tom
"EXP
29
Chorus
"CMP
10
A.Dr.OverTop
"CPS
30
Compander(H)
"CPH
11
E.B.finger
"CMP
31
Compander(S)
"CPS
12
E.B.slap
"CMP
32
Click Erase
"EXP
13
Syn.Bass
"CMP
33
Announcer
"CPH
14
Piano1
"CMP
34
Easy Gate
"GAT
15
Piano2
"CMP
35
BGM Ducking
"DUK
16
E.Guitar
"CMP
36
Limiter1
"CPS
17
A.Guitar
"CMP
37
Limiter2
"CMP
18
Strings1
"CMP
38
Total Comp1
"CMP
19
Strings2
"CMP
39
Total Comp2
"CMP
20
Strings3
"CMP
40
Total Comp3
"CMP
Dynamics
77
Compressor
dB
+20
Compression ratio = 2:1
+10
A compressor provides a form of automatic level control. By attenuating
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 the signal-to-noise performance.
0
Output Level
-10
Threshold = -20dB
-20
Knee = hard
-30
-40
-50
-60
-70
dB
-70
-60
-50
-40
-30 -20 -10
Input Level
0
+10
+20
Compressor (CMP) parameters:
Parameter
Value
Threshold (dB)
–54 to 0
Ratio
1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0, 6.0, 8.0,
10, 20, ∞
(16 points)
Attack (ms)
0 to 120
(121 points)
Outgain (dB)
0 to +18
(36 points)
Knee
hard,1,2,3,4,5
Release (ms)
*1
*2
*3
(55 points)
sec *1,
6 ms to 46.0
5 ms to 42.3
8 ms to 63.4 sec *3
(6 points)
sec *2,
(160 points)
These values are obtained when the sampling frequency is 48 kHz.
These values are obtained when the sampling frequency is 44.1 kHz.
These values are obtained when the sampling frequency is 32 kHz
Threshold determines the level of input signal required to trigger the
compressor. Signals at a level below the threshold pass through unaffected.
Signals at and above the threshold level are compressed by the amount
specified using the Ratio parameter. The trigger signal is determined using
the KEY IN parameter.
Note: See “KEY IN” on page 84 of the User’s Guide for an explanation of the
KEY IN parameter.
Ratio controls the amount of compression—the change in output signal
level relative to change in input signal level. With 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.
Attack controls 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, the initial transient of a sound passes
through unaffected.
Out Gain sets the compressor’s output signal level. Compression tends to
reduce the average signal level. Out Gain can be used to counter this level
reduction and set an appropriate level for the next stage in the audio path.
02R User’s Guide
78
Dynamics
Knee sets the transition of the signal at the threshold. With a hard knee, the
transition between uncompressed and compressed signal is immediate.
With the softest knee, knee5, the transition starts before the signal reaches
the threshold and gradually ends above the threshold.
Release 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—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.
02R User’s Guide
Dynamics
79
Expander
dB
+20
Expansion ratio = 2:1
+10
0
Knee = hard
Output Level
-10
Threshold = -10dB
-20
-30
An expander is another form of automatic level control. By attenuating the
signal below the threshold, the expander reduces low-level noise and
effectively increases the dynamic range of the recorded material.
-40
-50
Expander (EXP) parameters:
-60
-70
dB
-70
-60
-50
-40
-30 -20 -10
Input Level
0
+10
Parameter
+20
dB
Threshold (dB)
–54 to 0
Ratio
1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0, 6.0, 8.0,
10, 20, ∞
(16 points)
Attack (ms)
0 to 120
(121 points)
Outgain (dB)
0 to +18
(36 points)
Knee
hard,1,2,3,4,5
+20
Expansion ratio = 2:1
+10
Knee = knee5
0
Output Level
-10
Value
(55 points)
Threshold = -20dB
-20
-30
Release (ms)
-40
-50
sec *1,
6 ms to 46.0
5 ms to 42.3
8 ms to 63.4 sec *3
(6 points)
sec *2,
(160 points)
-60
-70
dB
-70
-60
-50
-40
-30 -20 -10
Input Level
0
+10
+20
*1
*2
*3
These values are obtained when the sampling frequency is 48kHz.
These values are obtained when the sampling frequency is 44.1 kHz.
These values are obtained when the sampling frequency is 32 kHz
Threshold determines the level of input signal required to trigger the
expander. Signals above the threshold pass through unaffected. Signals at
and below the threshold level are attenuated by the amount specified using
the Ratio parameter. The trigger signal is determined using the KEY IN
parameter.
Ratio controls the amount of expansion—the change in output signal level
relative to change in input signal level. With a 1:2 ratio, for example, a 5 dB
change in input level (below the threshold) results in a 10 dB change in
output level. For a 1:5 ratio, a 2 dB change in input level (below the
threshold) results in a 10 dB change in output level.
Attack controls 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, the initial transient of a sound passes
through unaffected.
Out Gain sets the expander’s output signal level.
Knee sets the transition of the signal at the threshold. With a hard knee, the
transition between unexpanded and expanded signal is immediate. With
the softest knee, knee5, the transition starts before the signal reaches the
threshold and gradually ends above the threshold.
Release determines how soon the expander returns to its normal gain once
the trigger signal level drops below the threshold.
02R User’s Guide
80
Dynamics
Compander
dB
+20
A compander is a compressor-expander—a combination of signal
compression and expansion. The compander attenuates the input signal
above the threshold as well as the level below the width. For very dynamic
material, this program allows you to retain the dynamic range without
having to be concerned with excessive output signal levels and clipping.
+10
Width
0
Output Level
-10
-20
Threshold
-30
-40
-50
-60
-70
dB
-70
-60
-50
-40
-30 -20 -10
Input Level
0
+10
+20
CompanderH (CPH) and CompanderS (CPS)
parameters:
Parameter
Value
Threshold (dB)
–54 to 0
Ratio
1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0, 6.0, 8.0,
10, 20
(15 points)
Attack (ms)
0 to 120
(121 points)
Outgain (dB)
–18 to 0
(36 points)
Width (dB)
1 to 90
Release (ms)
*1
*2
*3
(55 points)
(90 points)
sec *1,
6 ms to 46.0
5 ms to 42.3
8 ms to 63.4 sec *3
sec *2,
(160 points)
These values are obtained when the sampling frequency is 48kHz.
These values are obtained when the sampling frequency is 44.1 kHz.
These values are obtained when the sampling frequency is 32 kHz
Threshold determines the level of input signal required to trigger the
compander. Signals above the threshold pass through unaffected. Signals at
and below the threshold level are attenuated by the amount specified using
the Ratio parameter. The trigger signal is determined using the KEY IN
parameter.
Ratio controls the amount of companding—the change in output signal
level relative to change in input signal level. With 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. The hard compander (CPH) has a fixed ratio of 5:1 for
expansion and the soft compander (CPS) has a fixed ratio of 1.5:1 for
expansion.
Attack controls how soon the signal is companded once the compander has
been triggered. With a fast attack time, the signal is companded almost
immediately. With a slow attack time, the initial transient of a sound passes
through unaffected.
Out Gain sets the compander’s output signal level.
Width is used to determine the distance, in decibels, between the expander
and the compressor. With a width of 90 dB, the expander is effectively
switched off and the compander is simply a compressor-limiter. With a
smaller width (30dB) and a high threshold (0dB), the compander is an
expander-compressor-limiter.
Release determines how soon the compander returns to its normal gain
once the trigger signal level drops below the threshold.
02R User’s Guide
Dynamics
81
Gate and Ducking
dB
+20
+10
0
A gate, or noise gate is an audio switch used to mute signals below a set
threshold level. It can be used to suppress background noise and hiss from
valve (tube) amps, effects pedals, and microphones.
Threshold = -10dB
Output Level
-10
-20
-30
Range = -30dB
-40
-50
-60
Range = -70dB
-70
dB
-70
-60
-50
-40
-30 -20 -10
Input Level
0
+10
+20
Ducking is used to automatically reduce the levels of one signal when the
level of a source signal exceeds a specified threshold. It is used for
voice-over applications where, for example, level of background music is
automatically reduced, allowing an announcer to be heard clearly.
dB
Gate (GAT) and Ducking (DUK) parameters:
+20
+10
Parameter
0
Output Level
-10
Threshold = -20dB
-20
-30
-40
-50
Range = -30dB
-60
Threshold (dB)
–54 to 0
(55 points)
Range (dB)
–70 to 0
(71 points)
Attack (ms)
0 to 120
-50
-40
-30 -20 -10
Input Level
0
+10
+20
0.02 ms to 2.13
0.02 ms to
2.94 sec *3
Decay (ms)
5ms to 42.3s *1, 6 ms to 46.0 sec*2,
8 ms to 63.4 sec *3
dB
-60
(121 points)
1.96s *1,
Hold (ms)
-70
-70
Value
*1
*2
*3
sec *2,
0.03 ms to
(216 points)
(160 points)
These values are obtained when the sampling frequency is 48kHz.
These values are obtained when the sampling frequency is 44.1 kHz.
These values are obtained when the sampling frequency is 32 kHz
Threshold sets 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 cause the gate to close.
For ducking, trigger signal levels at and above the threshold level activate
ducking, and the signal level is reduced to a level set by the Range
parameter.
The trigger signal is determined using the KEY IN parameter.
Range controls the level to which the gate closes. It can be used to reduce
the signal level rather than cut it completely. At a setting of –70 dB, the gate
closes completely when the input signal falls below the threshold. At a
setting of –30 dB, the gate only closes so far allowing an attenuated signal
through. At a setting of 0 dB, the gate has no effect. When signals are gated
abruptly, the sudden cutoff can sound odd.
For ducking, a setting of –70 dB causes the signal to be virtually cutoff. At a
setting of –30 dB the signal is ducked by 30 dB. At a setting of 0 dB, the
duck has no effect.
Attack 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
signals sound backwards.
02R User’s Guide
82
Dynamics
For ducking, this controls how soon the signal is ducked once the duck has
been triggered. With a fast attack time, the signal is ducked almost
immediately. With a slow attack time, ducking fades the signal. Too fast an
attack time may sound abrupt.
Hold sets how long the gate stays open or the ducking remains active once
the trigger signal has fallen below the threshold level.
Decay controls 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.
For ducking, this determines how soon the ducker returns to its normal
gain after the hold time has expired.
02R User’s Guide
Dynamics
83
DYNAMICS Display Function
1. Use the [DYNAMICS]
button to locate the
DYNAMICS 1/2 page.
DYNAMICS
Dynamics can be applied to the input channels (MIC/LINE 1 through 16,
LINE 17/18 through 23/24), the tape return channels (TAPE 1 through 16),
the internal bus outputs (BUS 1 through 8), and the stereo output. For
stereo and paired channels, the dynamics processor is applied equally to
both channels.
Shown below is the DYNAMICS 1/2 page.
2. Select a channel using
the [SEL] buttons.
Note: Press the [SEL]
button for the STEREO
channel to access the
dynamics processors for the
output buses.
The DYNAMICS 1/2 page shows the dynamics settings of the currently
selected channel.
The top of the page contains the dynamics LIB icon, the DYNAMICS icon,
the main control prompts (KEY IN, ST.LINK, and optionally IN), the
dynamics graph, and the gain reduction meter plus a level meter for the
currently selected channel pair.
The bottom of the page is split into two main sections:
The first section shows the channel KEY IN settings and LINK icons. These
settings can be changed using the CURSOR buttons, the encoder wheel,
and [ENTER] button.
The second section contains the controls for adjusting the parameters for
the currently selected channel. There are rotary icons for the threshold,
ratio, output gain, attack, release, and so on, depending on which dynamics
program you have selected. Use the CURSOR buttons to select the desired
icon and adjust its value with the encoder wheel. Press the [ENTER] button
to turn the dynamics processor on or off.
02R User’s Guide
84
Dynamics
Patching in a Processor
1. To turn the dynamics
processor on, use the
CURSOR buttons to
select the DYNAMICS
icon and press the
[ENTER] button.
The icon changes from
OFF to ON and is
highlighted.
2. Use the CURSOR buttons
to select the KEY IN
prompt and rotate the
encoder wheel or press
the [ENTER] button to
select a trigger source.
3. Use the CURSOR buttons
to select the ST.LINK
prompt and rotate the
encoder wheel or press
the [ENTER] button to turn
the stereo link on or off.
4. If the stereo link is on,
use the CURSOR buttons
to select the IN prompt
and rotate the encoder
wheel or press the
[ENTER] button to select
the channels to patch
the dynamics processor
into.
DYNAMICS Icon
The DYNAMICS ON/OFF icon is used to turn the dynamics processor on
or off for the selected channel.
Control Prompts
The main control prompts are used to patch a dynamics processor into a
channel or stereo pair:
Prompt
Value
KEY IN
SELF - POST EQ, SELF - PRE EQ, LEFT - POST EQ,
LEFT - PRE EQ, AUX 1, AUX 2
ST.LINK
ON, OFF
IN
BOTH, L (left/odd), R (right/even)
KEY IN selects the processor trigger source—the signal that triggers, or
activates the processor. You can select the current channel either before or
after equalization, the left channel (again either before or after
equalization), or either AUX 1 or AUX 2.
You cannot select the left channel (before or after equalization) for the first
input channel, MIC/LINE 1, the first tape return channel, TAPE 1, the first
bus channel, or the stereo output channel.
ST.LINK determines if a channel pair is to be linked together. You cannot
turn it off while channels are configured as a stereo pair.
IN appears only when ST.LINK is set to ON. It determines whether a
dynamics processor is patched into just the left/odd channel (L),
right/even channel (R), or both (BOTH).
Note: The DYNAMICS ON/OFF, KEY IN, ST.LINK, and IN parameters are
not stored in the dynamics programs. These are individual channel (or stereo pair)
parameters and are stored in the scene memories. DYNAMICS ON/OFF can be
stored in channel programs.
02R User’s Guide
Dynamics
85
Dynamics Processor Meters
The amount of processor gain reduction (GR) and the output signal levels
are shown on the DYNAMICS 1/2 and 2/2 pages, as shown below.
Gain reduction is the amount by which a signal’s level is reduced. The
output signal levels are conventional level meters which work from
bottom-to-top. The GR level meter is inverted and works from
top-to-bottom.
For compression, expansion, companding, and ducking, the GR meter
operates when the processor is active, that is when it has been triggered by
the KEY IN signal, and it shows the amount of signal level reduction.
For a gate, the processor is active when the input signal is below the
threshold. So the GR meter operates when the input signal is below the
threshold and also when there is no input signal.
Dynamics Graph
The dynamics graph gives you a visual indication of how the parameters of
the dynamics processor will effect the signal as it passes through. The
horizontal axis of the graph indicates the input signal. The vertical axis
indicates the output signal:
When the dynamics graph is a straight line at 45° from the bottom left
corner of the graph, it indicates that the dynamics processor will have no
effect on the input signal.
02R User’s Guide
86
Dynamics
KEY IN and LINK Indicators
The channel KEY IN settings and LINK settings are shown below.
The settings can be changed with the CURSOR buttons, and the encoder
wheel, or the [ENTER] button. The following table shows the meaning of
the KEY IN icons:
Icon
Meaning
SELF – POST EQ—the trigger is taken from the current
channel after the equalization.
SELF – PRE EQ—the trigger is taken from the current
channel before equalization.
LEFT – POST EQ—the trigger is taken from the left
channel after the equalization.
LEFT – PRE EQ—the trigger is taken from the left
channel before equalization.
A1
AUX 1—the trigger is taken from the first auxiliary
channel.
A2
AUX 2—the trigger is taken from the second auxiliary
channel.
The KEY IN icons duplicate the KEY IN prompt, giving you a faster visual
indication of the channel status. When the cursor is on a KEY IN icon, press
the [ENTER] button to select that channel. The only way you can select the
output buses 1 through 8 is with this method.
The LINK icons duplicate the ST.LINK prompt, giving you a faster visual
indication of the channel status.
02R User’s Guide
Dynamics
87
Dynamics Library
1. Use the [DYNAMICS]
button to locate the
DYNAMICS 2/2 page.
DYNAMICS
The DYNAMICS Library
page appears.
The Dynamics Library is used to access and store dynamics programs.
There are 40 preset programs (1 to 40) for you to recall and 88 user
programs (41 to 128 plus UNDO) for you to store your own dynamics
programs.
You can access this page from the DYNAMICS 1/2 page by selecting the
LIB icon with the CURSOR buttons and pressing the [ENTER] button.
Shown below is the DYNAMICS 2/2 page.
Recalling Dynamics
Programs
1. Select a channel using
the [SEL] buttons.
2. Use the CURSOR buttons
to select the RECALL
icon and rotate the
encoder wheel to select
a dynamics program .
3. Press the [ENTER] button.
The dynamics program
is recalled.
Storing Dynamics
Programs
1. Use the CURSOR buttons
to select the STORE icon
and select a dynamics
program with the
encoder wheel.
The top of the page shows the dynamics LIB icon, the main control
prompts, the dynamics graph, and the gain reduction meter plus a level
meter for the currently selected channel pair.
The middle of the page shows a scrolling list of dynamics programs. The
name of the dynamics program under the cursor is highlighted. When the
cursor is on the STORE, RECALL, CLEAR, COPY, or PASTE icons, the
encoder wheel is used to scroll through the program list. A small diagram
of the dynamics graph of the highlighted program is shown to the right
along with its vital statistics, such as Attack, Hold, Decay, and so forth.
2. Use the CURSOR buttons
and encoder wheel to
name the program.
Beside the list of dynamics programs is the TITLE EDIT field. The CURSOR
buttons are used to select the character, and the encoder wheel is used to
change its value.
3. Press the [ENTER]
button. A confirmation
dialog box appears.
The bottom of the page contains several icons. Use the CURSOR buttons to
select from the STORE, RECALL, CLEAR, COPY, PASTE, INS., and DEL.
icons.
4. Select EXECUTE and
press the [ENTER] button.
The dynamics program
is stored.
Exiting the Library
Selecting the LIB icon and pressing the [ENTER] button switches back to
the DYNAMICS 1/2 page. You can also use the [DYNAMICS] button.
02R User’s Guide
88
Dynamics
Icons
•
STORE —This icon is used to store the current program to the library.
Select the icon with the CURSOR buttons. Use the encoder wheel to
select a program and press the [ENTER] button. The 02R displays a
confirmation dialog box asking if you want to store your settings in the
selected program. The dialog box has two icons: “CANCEL” and
“EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the STORE operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the STORE operation, either press
the [ENTER] button or wait about 10 seconds—the STORE operation
will be automatically cancelled.
To store your settings, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
stored.
When you confirm a STORE operation, any existing data in the
selected program location is overwritten.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS
A CONFIRMATION DIALOG BOX!
•
RECALL—This icon is used to recall a program from the library. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The recalled program is now
the current program.
•
CLEAR—This icon is used to clear the contents of a dynamics
program. Use the CURSOR buttons to select the icon. Use the encoder
wheel to select a dynamics program and press the [ENTER] button.
The 02R displays a confirmation dialog box asking if you want to clear
the dynamics program. The dialog box has two icons: “CANCEL” and
“EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the CLEAR operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the CLEAR operation, either press
the [ENTER] button or wait about 10 seconds—the CLEAR operation
will be automatically cancelled.
To clear the dynamics program, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
cleared.
If you change your mind, the cleared dynamics program can be
retrieved by recalling the Undo dynamics program (U).
•
02R User’s Guide
COPY—This icon is used to copy the name of a library program. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The program name is copied
into an edit buffer.
Dynamics
89
•
PASTE—This icon is used to paste a program name previously
selected with the COPY operation into the TITLE EDIT box. Select the
icon with the CURSOR buttons and press the [ENTER] button. The
program name is pasted from the edit buffer into the TITLE EDIT box
for subsequent editing.
•
INS.—This icon is used to insert blank characters into the TITLE EDIT
box at the current cursor location. Select the icon with the CURSOR
buttons and press the [ENTER] button.
•
DEL.—This icon is used to delete characters from the TITLE EDIT box
at the current cursor location. Select the icon with the CURSOR buttons
and press the [ENTER] button.
UNDO Operation
When the 02R stores or recalls a program, the previous settings are always
preserved in the UNDO buffer. If you discover you have made a mistake,
you can always recall the UNDO buffer (displayed as “U:” in the scrolling
list of programs). Use the CURSOR buttons to select the RECALL icon, then
rotate the encoder wheel until the UNDO buffer is the current program,
and press the [ENTER] button. The previous settings are restored.
Program Name
Dynamics program names can be up to 16 characters in length and can
contain any of the following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
02R User’s Guide
90
Dynamics
Dynamics
Preset Dynamics Program Parameters
The “Release”, “Hold”, and “Decay” values shown in the following table are valid when the 02R is set at a
sampling frequency of 44.1 kHz.
No.
1
2
3
4
5
6
Name
A.Dr.BD
A.Dr.BD
A.Dr.BD
A.Dr.BD
A.Dr.SN
A.Dr.SN
02R User’s Guide
Type
"CMP
"EXP
"GAT
"CPH
"CMP
"EXP
Compressor
Expander
Gate
CompanderH
Compressor
Expander
Parameter
Value
Threshold (dB)
–24
Ratio ( :1)
3
Attack (ms)
9
Outgain (dB)
5.5
Knee
2
Release (ms)
58
Threshold (dB)
–23
Ratio ( :1)
1.7
Attack (ms)
1
Outgain (dB)
3.5
Knee
2
Release (ms)
70
Threshold (dB)
–11
Range (dB)
–53
Attack (ms)
0
Hold (ms)
1.93
Decay (ms)
400
Threshold (dB)
–11
Ratio ( :1)
3.5
Attack (ms)
1
Outgain (dB)
–1.5
Width (dB)
7
Release (ms)
192
Threshold (dB)
–17
Ratio ( :1)
2.5
Attack (ms)
8
Outgain (dB)
3.5
Knee
2
Release (ms)
12
Threshold (dB)
–23
Ratio ( :1)
2
Attack (ms)
0
Outgain (dB)
0.5
Knee
2
Release (ms)
151
Description
Compressor that gives the best
results with an acoustic bass
drum.
Expander for the same purpose
as program 1.
Gate for the same purpose as
program 1.
Hard compander for the same
purpose as program 1.
Compressor that gives the best
results with an acoustic snare
drum.
Expander for the same purpose
as program 5.
Dynamics
No.
7
8
9
10
11
12
13
Name
A.Dr.SN
A.Dr.SN
A.Dr.Tom
A.Dr.OverTop
E.B.finger
E.B.slap
Syn.Bass
Type
"GAT
"CPS
"EXP
"CPS
"CMP
"CMP
"CMP
Gate
CompanderS
Expander
CompanderS
Compressor
Compressor
Compressor
Parameter
Value
Threshold (dB)
–8
Range (dB)
–23
Attack (ms)
1
Hold (ms)
0.63
Decay (ms)
238
Threshold (dB)
–8
Ratio ( :1)
1.7
Attack (ms)
11
Outgain (dB)
0.0
Width (dB)
10
Release (ms)
128
Threshold (dB)
–20
Ratio ( :1)
2
Attack (ms)
2
Outgain (dB)
5.0
Knee
2
Release (ms)
749
Threshold (dB)
–24
Ratio ( :1)
2
Attack (ms)
38
Outgain (dB)
–3.5
Width (dB)
54
Release (ms)
842
Threshold (dB)
–12
Ratio ( :1)
2
Attack (ms)
15
Outgain (dB)
4.5
Knee
2
Release (ms)
470
Threshold (dB)
–12
Ratio ( :1)
1.7
Attack (ms)
6
Outgain (dB)
4.0
Knee
hard
Release (ms)
133
Threshold (dB)
–10
Ratio ( :1)
3.5
Attack (ms)
9
Outgain (dB)
3.0
Knee
hard
Release (ms)
250
91
Description
Gate for the same purpose as
program 5.
Soft compander for the same
purpose as program 5.
Expander for acoustic toms
automatically reduces the volume
when the toms are not played,
helping to differentiate the bass
and snare drums clearly.
Soft compander to emphasize
the attack and ambience of
cymbals using overhead
microphones. It automatically
reduces the volume when the
cymbals are not played, helping
differentiate the bass and snare
drums clearly.
Compressor to equalize the attack
and volume level of a finger-picked
electric bass guitar.
Compressor to equalize the attack
and volume level of a slap electric
bass guitar
Compressor to adjust and/or
emphasize the level of a synth
bass.
02R
User’s Guide
92
Dynamics
No.
14
15
16
17
18
19
20
Name
Piano1
Piano2
E.Guitar
A.Guitar
Strings1
Strings2
Strings3
02R User’s Guide
Type
"CMP
"CMP
"CMP
"CMP
"CMP
"CMP
"CMP
Compressor
Compressor
Compressor
Compressor
Compressor
Compressor
Compressor
Parameter
Value
Threshold (dB)
–9
Ratio ( :1)
2.5
Attack (ms)
17
Outgain (dB)
1.0
Knee
hard
Release (ms)
238
Threshold (dB)
–18
Ratio ( :1)
3.5
Attack (ms)
7
Outgain (dB)
6.0
Knee
2
Release (ms)
174
Threshold (dB)
–8
Ratio ( :1)
3.5
Attack (ms)
7
Outgain (dB)
2.5
Knee
4
Release (ms)
261
Threshold (dB)
–10
Ratio ( :1)
2.5
Attack (ms)
5
Outgain (dB)
1.5
Knee
2
Release (ms)
238
Threshold (dB)
–11
Ratio ( :1)
2
Attack (ms)
33
Outgain (dB)
1.5
Knee
2
Release (ms)
749
Threshold (dB)
–12
Ratio ( :1)
1.5
Attack (ms)
93
Outgain (dB)
1.5
Knee
4
Release (ms)
1.35 S
Threshold (dB)
–17
Ratio ( :1)
1.5
Attack (ms)
76
Outgain (dB)
2.5
Knee
2
Release (ms)
186
Description
Compressor to brighten the tonal
color of a piano.
A variation on program 14,
adjusting the attack and entire
level using a deeper threshold.
Compressor for backing
performances, such as electric
rhythm guitar playing chords or
arpeggios.
A variation on program 16,
intended for acoustic guitar
playing rhythm chords or
arpeggios.
Compressor for string
instruments. This program was
intended for violins.
A variation on program 18, intended
for violas or cellos.
A variation on program 18, intended
for string instruments with a very
low range, such as cellos or
contrabass.
Dynamics
No.
21
22
23
24
25
26
27
Name
BrassSection
Syn.Pad
Type
"CMP
"CMP
SamplingPerc "CPS
Sampling BD
Sampling SN
Hip Comp
Solo Vocal1
"CMP
"CMP
"CPS
"CMP
Compressor
Compressor
CompanderS
Compressor
Compressor
CompanderS
Compressor
Parameter
Value
Threshold (dB)
–18
Ratio ( :1)
1.7
Attack (ms)
18
Outgain (dB)
4.0
Knee
1
Release (ms)
226
Threshold (dB)
–13
Ratio ( :1)
2
Attack (ms)
58
Outgain (dB)
2.0
Knee
1
Release (ms)
238
Threshold (dB)
–18
Ratio ( :1)
1.7
Attack (ms)
8
Outgain (dB)
–2.5
Width (dB)
18
Release (ms)
238
Threshold (dB)
–14
Ratio ( :1)
2
Attack (ms)
2
Outgain (dB)
3.5
Knee
4
Release (ms)
35
Threshold (dB)
–18
Ratio ( :1)
4
Attack (ms)
8
Outgain (dB)
8.0
Knee
hard
Release (ms)
354
Threshold (dB)
–23
Ratio ( :1)
20
Attack (ms)
15
Outgain (dB)
0.0
Width (dB)
15
Release (ms)
163
Threshold (dB)
–20
Ratio ( :1)
2.5
Attack (ms)
31
Outgain (dB)
2.0
Knee
1
Release (ms)
342
93
Description
Compressor intended for brass
sounds with fast and strong
attack.
Compressor for synth pad,
intended to prevent diffusion of
the sound.
Compressor for sampled sounds
to boost them to be as powerful
and clear as the acoustic sounds.
This program is for percussion
sounds.
A variation on program 23, intended
for sampled bass drum sounds.
A variation on program 23, intended
for sampled snare drum sounds.
A variation on program 23, intended
for sampled sounds for loops.
Compressor suited for a solo
vocal source.
02R
User’s Guide
94
Dynamics
No.
28
29
30
31
32
33
34
Name
Solo Vocal2
Chorus
Type
"CMP
"CMP
Compander(H) "CPH
Compander(S) "CPS
Click Erase
Announcer
Easy Gate
02R User’s Guide
"EXP
"CPH
"GAT
Compressor
Compressor
CompanderH
CompanderS
Expander
CompanderH
Gate
Parameter
Value
Threshold (dB)
–8
Ratio ( :1)
2.5
Attack (ms)
26
Outgain (dB)
1.5
Knee
3
Release (ms)
331
Threshold (dB)
–9
Ratio ( :1)
1.7
Attack (ms)
39
Outgain (dB)
2.5
Knee
2
Release (ms)
226
Threshold (dB)
–10
Ratio ( :1)
3.5
Attack (ms)
1
Outgain (dB)
0.0
Width (dB)
6
Release (ms)
250
Threshold (dB)
–8
Ratio ( :1)
4
Attack (ms)
25
Outgain (dB)
0.0
Width (dB)
24
Release (ms)
180
Threshold (dB)
–33
Ratio ( :1)
2
Attack (ms)
1
Outgain (dB)
2.0
Knee
2
Release (ms)
284
Threshold (dB)
–14
Ratio ( :1)
2.5
Attack (ms)
1
Outgain (dB)
–2.5
Width (dB)
18
Release (ms)
180
Threshold (dB)
–26
Range (dB)
–56
Attack (ms)
0
Hold (ms)
2.56
Decay (ms)
331
Description
A variation on program 27.
A variation on program 27, intended
for chorus vocals.
A template for the hard knee
compander program.
A template for the soft knee
compander program.
Expander to remove click track
sounds that may bleed out of the
monitor headphones the
musicians are using.
Hard compander reduces the
level during the interval between
the words, making the voice
sound even.
A template for the gate program.
Dynamics
No.
35
36
37
38
39
40
Name
BGM Ducking
Limiter1
Limiter2
Total Comp1
Total Comp2
Total Comp3
Type
"DUK
"CMP
"CMP
"CMP
"CMP
"CMP
Ducking
CompanderS
Compressor
Compressor
Compressor
Compressor
Parameter
Value
Threshold (dB)
–19
Range (dB)
–22
Attack (ms)
93
Hold (ms)
1.20 S
Decay (ms)
6.32 S
Threshold (dB)
–8
Ratio ( :1)
4
Attack (ms)
25
Outgain (dB)
0.0
Width (dB)
24
Release (ms)
180
Threshold (dB)
0
Ratio ( :1)
∞
Attack (ms)
0
Outgain (dB)
0.0
Knee
hard
Release (ms)
319
Threshold (dB)
–8
Ratio ( :1)
2.5
Attack (ms)
60
Outgain (dB)
0.0
Knee
2
Release (ms)
1.12 S
Threshold (dB)
–18
Ratio ( :1)
3.5
Attack (ms)
94
Outgain (dB)
2.5
Knee
hard
Release (ms)
447
Threshold (dB)
–16
Ratio ( :1)
6
Attack (ms)
11
Outgain (dB)
6.0
Knee
1
Release (ms)
180
95
Description
Ducking background music for
voiceovers, typically keyed from
the announcer’s channel.
A template for a limiter using the
soft compander program. This
program has a slow release.
A template for a limiter using the
compressor program. This
program is a PEAK STOP type.
Compressor intended to reduce
the overall volume level. Use for
the stereo out during mixdown. It
is also interesting on stereo input
signals.
A variation of program 38. It has a
harder compression ratio.
A variation of program 38. It has an
extreme compression ratio, almost
a limiter in effect.
02R
User’s Guide
Auxiliary Channels
7
97
Auxiliary Channels
In this chapter...
About the 02R Auxiliaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
The AUX Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Stereo Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
AUX [ON] Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
AUX Pre or Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Monitor Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
7
02R User’s Guide
98
Auxiliary Channels
About the 02R Auxiliaries
The 02R has eight auxiliary sends: AUX 1, AUX 2, AUX 3, AUX 4, AUX 5,
AUX 6, AUX 7, and AUX 8. The auxiliary sends can be configured
pre-fader or post-fader.
AUX 7 and AUX 8 are used to feed the internal effects processors: Effect 1
and Effect 2. EFF 1 RTN and EFF 2 RTN are used to return the processed
signals. Refer to “Internal Effects” on page 103 of the User’s Guide for
further details.
The other auxiliary sends can be used to feed external effects processors,
foldback amplifiers, or multitrack recording equipment. When a send is
used to feed an external effects processor, the processed signal can be
returned via one of the stereo input channels or an unused monophonic
input channel.
There are two different ways to access the auxiliary send channels:
DISPLAY ACCESS—AUX buttons
AUX 1
AUX 2
AUX 5
AUX 6
AUX 3
AUX 4
AUX 7
EFF1
AUX 8
EFF2
AUX
These buttons access the AUX pages that set the auxiliary send levels for
the recording console.
•
The [AUX 1] to [AUX 6] buttons set the auxiliary send levels to the
corresponding auxiliary bus. You can also select whether to send the
signal pre or post fader.
•
The [AUX 7] and [AUX 8] buttons also set the send levels to the
corresponding auxiliary bus and can select pre or post fader. However,
these two sends are routed to the internal effects unit. Therefore, the
buttons also allow you to select and set the effects parameters.
The channel aux send level controls for each aux send are displayed on two
pages. The first page shows MIC/LINE aux controls. The second, TAPE
and effects returns aux controls.
SELECTED CHANNEL—AUX controls
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
SEND LEVEL
AUX
02R User’s Guide
ON
These buttons and controls set the auxiliary send levels for the currently
selected channel.
•
The [AUX 1] to [AUX 8] buttons allow you to select the auxiliary buses
you want to send the selected channel signal to.
•
The SEND LEVEL rotary encoder is used to set the level – indicated by
the adjacent LED bargraph.
•
The [ON] button is used to turn the send on or off. It allows you to
make easy A-B comparisons.
Auxiliary Channels
99
The AUX Buttons
1. Press the [AUX 1] button.
The AUX functions for AUX 1 through AUX 6 set the channel send levels to
each of the auxiliary buses. With this function, you can select an auxiliary
bus and then set the levels of a group of input channels simultaneously.
You can also select whether to send the signal pre or post fader.
AUX 1
The AUX 1 page
appears.
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
3. To turn the send on,
press the [ON] button in
the AUX group of the
SELECTED CHANNEL
controls. The LED inset in
the button illuminates.
Note: The [ON] button is
the only way to turn the send
on or off.
4. To change the aux send
from pre to post-fader,
press the [ENTER] button.
The icon is highlighted
and the text changes to
POST when the signal is
post fader.
Note: Pre or post fader
selection can only be made
from the AUX pages.
5. To change the signal
level, adjust the
corresponding fader or
rotary encoder until the
desired value is
obtained.
Note: This example only
shows AUX 1. The other
channels are identical in
function.
Fader Status
When the AUX functions are selected, the faders change from channel level
controls to auxiliary send level controls. The faders automatically move to
the corresponding auxiliary send levels.
Note: Avoid blocking the fader movements when the faders move to their
auxiliary send positions by placing objects on the 02R. It is possible to damage the
faders.
The AUX LED of the FADER STATUS indicator will illuminate to indicate
the fader status. The number indicator corresponding to current the AUX
button is also illuminated:
FADER STATUS
INPUT
AUX
1 2 3 4
5 6 7 8
The send levels for the input channels are operated by their faders. Press
the [FLIP] button, and the send levels for the tape return channels can be
operated by the faders. You can also use the rotary encoders to set the tape
return levels. The effect return levels can only be adjusted with the rotary
encoders.
Note: When you press the [FLIP] button, the faders will automatically move to
the levels of the opposite channels (from input levels to tape return levels). Avoid
blocking the fader movements when the faders reposition by placing objects on the
02R. It is possible to damage the faders.
SELECTED CHANNEL Controls
You can use the SEND LEVEL encoder in the AUX group of the SELECTED
CHANNEL controls to set the signal level to the auxiliary bus. The method
of working with these controls is different than working with the DISPLAY
ACCESS—AUX buttons.
02R User’s Guide
100
Auxiliary Channels
Select a channel with the [SEL] buttons. Select the auxiliary bus with the
[AUX 1] through [AUX 8/EFF 2] buttons. Turn the send on or off with the
[ON] button. Adjust the send level with the SEND LEVEL encoder.
SEND LEVEL
AUX Pages
The channel aux send level controls for each aux send are displayed on two
pages. The first page, shown below, shows aux controls for MIC/LINE
channels 1 to 24. Select this page using a MIC/LINE [SEL] button.
The second page shows aux controls for TAPE channels 1 to 16 and effects
returns 1 and 2. Select this page using a TAPE or EFF RTN [SEL] button.
02R User’s Guide
Auxiliary Channels
101
Stereo Input Channels
Input channels 1 through 16 are mono inputs. The stereo input channels 17
through 24 are paired together and handle two signals: left and right.
Before feeding a stereo input signal to the auxiliary level controls, the left
and right signals are summed to form a mono L+R mix.
AUX [ON] Button
The auxiliary sends can be turned on or off for quick A-B comparisons by
using the [ON] button in the AUX group of the SELECTED CHANNEL
controls. When the send for a channel is turned off, the send level icon for
that channel continues to show the current level setting for the channel, but
the text underneath the icon switches to “OFF” giving you a quick visual
indicator of the channel send status:
The LED inset in the [ON] button is illuminated when the send for a
channel is turned on.
Note: The [ON] button of the SELECTED CHANNEL – AUX controls is the
only way to turn the channel send on or off.
AUX Pre or Post
The auxiliary sends can be configured as pre-fader or post-fader. This
setting can be changed by selecting a channel with a [SEL] button or the
CURSOR buttons and pressing the [ENTER] button for that channel.
If you select a channel with a [SEL] button or the CURSOR buttons and
double-click the [ENTER] button, all channels will be set to the same
pre-fader or post-fader status as the selected channel.
02R User’s Guide
102
Auxiliary Channels
POST —the auxiliary send signal is sourced after the channel fader. This
means that the signal is controlled by the channel fader as well as the send
level. In order to send a signal to the auxiliary bus, you must have that
fader raised as well. This enables the channel-to-mix and channel-to-effects
signal levels to be controlled together, with the former supplying the dry,
unaffected signal and the latter supplying the wet, affected signal. This is
useful when, for example, you fade-out a channel, since the channel-to-mix
and channel-to-effects signals are reduced together.
PRE—the auxiliary send signal is sourced before the channel fader. The
send signal is unaffected by the channel fader and its level can be set
independently.
Note: Pre or post-fader selection can only be made from the corresponding AUX
page.
Monitor Mix
1. Press the [AUX 5] button.
AUX 5
The AUX 5 page
appears.
2. Select a channel using
the [SEL] buttons or the
CURSOR buttons.
3. Set the send on and set it
to pre/post fader as
detailed previously.
4. Press the [AUX 5] button
of the STUDIO buttons
group.
5. Adjust the STUDIO LEVEL
control, then adjust the
channel level using the
appropriate faders or
rotary encoders.
The 02R has two different monitoring outputs—the control room outputs
(including the PHONES output) and the studio outputs.
Often during a multitrack recording session, what you want to listen to in
the control room is very different from what the musicians need in the
studio. For example, while recording a rhythm section, the bass player and
the drummer may want to hear the kick drum at a much higher volume
than you need in the control room.
To cater to this requirement, the 02R allows you to create a monitor mix
using either AUX 5 or AUX 6.
Use the STUDIO buttons to select the monitor signal sent to the studio
monitor system. You can monitor the signal on the stereo bus with the [ST]
button or select the auxiliary channels (AUX 5 or AUX 6). You can select
any combination of the [ST], [AUX 5], and [AUX 6] buttons:
C-R
ST
AUX 5
AUX 6
STUDIO
You can also use the [C-R] button to send the signal being monitored in the
control room to the studio outputs.
Use the CONTROL ROOM buttons to select the monitor signal sent to the
control room monitor system. See “Monitor Selector Switches” on page 29
and “Monitor Level Controls” on page 30 of the User’s Guide for more
details.
02R User’s Guide
Internal Effects
8
103
Internal Effects
In this chapter...
About Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
AUX 7 and AUX 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Preset Effects Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
8
02R User’s Guide
104
Internal Effects
About Effects
The 02R features two internal multi-effects stereo processors: Effect 1 and
Effect 2. These are fed by AUX 7 and AUX 8, and the processed signals are
returned via EFF 1 RTN and EFF 2 RTN, respectively. The auxiliary sends
can be configured pre-fader or post-fader. Effects can be applied to input
channels, the tape return channels, or the stereo output channel. Effects are
organized into programs. There are 40 preset effects programs (1 through
40) and 88 user effects programs (41 through 128 plus an UNDO buffer) for
you to store your own settings.
There are two different ways to access the internal effects sends:
DISPLAY ACCESS—AUX buttons
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
These buttons access the AUX pages that set the auxiliary send levels for
the recording console.
AUX
The [AUX 7] and [AUX 8] buttons are routed to the internal effects unit.
Use them to set the send levels to the corresponding effects unit and select
pre or post fader. These buttons also allow you to select and set the effects
parameters.
The channel aux send level controls for each aux send are displayed on two
pages. The first page shows MIC/LINE aux controls. The second, TAPE
and effects returns aux controls.
SELECTED CHANNEL—AUX controls
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
EFF1
AUX 8
EFF2
SEND LEVEL
AUX
02R User’s Guide
ON
These buttons and controls set the auxiliary send levels for the currently
selected channel.
•
The [AUX 1] to [AUX 8] buttons allow you to select the auxiliary buses
you want to send the selected channel signal to.
•
The SEND LEVEL rotary encoder is used to set the level—indicated by
the adjacent LED bargraph.
•
The [ON] button is used to turn the send on or off. It allows you to
make easy A-B comparisons.
Internal Effects
105
Preset Effects Programs
These are the preset effects programs:
No
Program Name
No
Program Name
1
REVERB HALL1
21
REVERSE GATE
2
REVERB HALL2
22
DELAY->EARLY REF
3
REVERB ROOM1
23
DELAY L-C-R 1
4
REVERB ROOM2
24
DELAY L-C-R 2
5
REVERB STAGE
25
CHORUS->DLY LCR
6
REVERB PLATE
26
MONODLY->CHORUS
7
REV AMBIENCE1
27
STEREO INI.DLY ECHO
8
REV AMBIENCE2
28
ECHO
9
REV LIVE ROOM1
29
CROSS ECHO
10
REV LIVE ROOM2
30
CROSS DELAY
11
REVERB VOCAL1
31
CHORUS1
12
REVERB VOCAL2
32
CHORUS2
13
REV SN.ROOM
33
BROAD CHORUS
14
REV SN.PLATE
34
FLANGE
15
CHORUS->REVERB
35
SYMPHONIC
16
FLANGE->REVERB1
36
TREMOLO
17
FLANGE->REVERB2
37
AUTO PAN
18
EARLY REF.1
38
PHASING
19
EARLY REF.2
39
ST.PITCH CHANGE
20
GATE REVERB
40
VOCAL DOUBLER
02R User’s Guide
106
Internal Effects
AUX 7 and AUX 8
1. Press the [AUX 7] button.
The AUX functions for AUX 7 and AUX 8 set the channel send levels to
either of these effects buses. Similar to the functions for AUX 1 through
AUX 6, you select an effect bus and then set the levels of a group of input
channels. You can also select whether to send the signals pre or post fader.
AUX 7
EFF1
The AUX 7 page
appears.
2. Select a channel using
the [SEL] buttons or the
cursor buttons.
3. To turn the send on,
press the [ON] button in
the AUX group of the
SELECTED CHANNEL
controls. The LED inset in
the button illuminates.
Note: The [ON] button is
the only way to turn the send
on or off.
4. To change the aux send
from pre to post-fader,
press the [ENTER] button.
The icon is highlighted
and the text changes to
POST when the signal is
post fader.
Note: Pre or post fader
selection can only be made
from the AUX pages.
5. To change the signal
level, adjust the fader or
rotary encoder until the
desired value is
obtained.
Note: AUX 7 and AUX 8
are identical.
Fader Status
When the AUX functions are selected, the faders change from channel level
controls to auxiliary send level controls. The faders automatically move to
the corresponding auxiliary send levels.
Note: Avoid blocking the fader movements when the faders move to their
auxiliary send positions by placing objects on the 02R. It is possible to damage the
faders.
The AUX LED of the FADER STATUS indicator will illuminate to indicate
the fader status. The number indicator corresponding to current the AUX
button is also illuminated:
FADER STATUS
INPUT
AUX
1 2 3 4
5 6 7 8
The send levels for the input channels are operated by their faders. Press
the [FLIP] button, and the send levels for the tape return channels can be
operated by the faders. You can also use the rotary encoders to set the tape
return levels. The effect return levels can only be adjusted with the rotary
encoders.
Note: When you press the [FLIP] button, the faders will automatically move to
the levels of the opposite channels (from input levels to tape return levels). Avoid
blocking the fader movements when the faders reposition by placing objects on the
02R. It is possible to damage the faders.
SELECTED CHANNEL Controls
You can use the SEND LEVEL encoder in the AUX group of the SELECTED
CHANNEL controls to set the signal level to the auxiliary bus. The method
of working with these controls is different than working with the DISPLAY
ACCESS—AUX buttons.
Select a channel with the [SEL] buttons. Select the auxiliary bus with the
[AUX 1] through [AUX 8/EFF 2] buttons. Turn the send on or off with the
[ON] button. Adjust the send level with the SEND LEVEL encoder.
SEND LEVEL
02R User’s Guide
Internal Effects
107
AUX Pages
The channel aux send level controls for each aux send are displayed on two
pages. The first page, shown below, shows aux controls for MIC/LINE
channels 1 to 24. Select this page using a MIC/LINE [SEL] button.
The second page shows aux controls for TAPE channels 1 to 16 and a single
effects return. To prevent a feedback loop, AUX 7 cannot be sent to Effect 1,
and AUX 8 cannot be sent to Effect 2. Select this page using a TAPE or EFF
RTN [SEL] button.
02R User’s Guide
108
Internal Effects
Effects
1. Use the [AUX 7] button to
locate the AUX 7 2/3
page.
AUX 7
EFF1
The 02R is equipped with two internal multi-effects stereo processors.
These processors have a startling range of special effects available to apply
to your mix—shimmering reverbs, clean, precise delays, flanging and
chorus, and a myriad of other effects are available.
Shown below is the AUX 7 2/3 page.
2. Select an icon using the
cursor buttons.
3. To change the value of
the selected item,
rotate the encoder
wheel until the desired
value is shown.
The top of the page shows the effects LIB icon, an effects curve or icon
(which changes depending on the selected effect), and a level meter for the
effects return channel.
The bottom of the page shows the controls for adjusting the parameters for
the currently selected channel. These control parameters change depending
on the selected effects. Use the cursor buttons to select the desired icon and
adjust its value with the encoder wheel.
Note: Only one effects program can run on an effects processor. This means that
all the channel auxiliary sends that are set to, for example, AUX 7 will be processed
by the program that is currently running on Effect Processor 1. The current effect
program can be stored in scene memory.
02R User’s Guide
Internal Effects
109
Effects Library
1. Use the [AUX 7] button to
locate the AUX 7 3/3
page.
AUX 7
EFF1
The Effects Library is used to access and store effects programs. There are
40 preset effects programs (1 through 40) and 88 user effects programs (41
through 128 plus an UNDO buffer) for you to store your own settings.
You can access this page from the EFFECT 2/3 page by selecting the LIB
icon with the CURSOR buttons and pressing the [ENTER] button.
Shown below is the AUX 7 3/3 page.
Recalling Effects
Programs
1. Use the CURSOR buttons
to select the RECALL
icon and select an
effects program with the
encoder wheel.
2. Press the [ENTER] button.
The effects program is
recalled.
Storing Effects
Programs
1. Use the CURSOR buttons
to select the STORE icon
and select an effects
program with the
encoder wheel.
2. Use the CURSOR buttons
and encoder wheel to
name the program.
3. Press the [ENTER] button.
The 02R pops up a
confirmation request.
4. Select EXECUTE and
press the [ENTER] button.
The effects program is
stored.
The top of the page shows an effects curve or icon (which changes
depending on the selected effect), and a level meter for the effects return
channel.
The middle of the page shows a scrolling list of effects programs. The name
of the effects program under the cursor is highlighted. When the cursor is
on the STORE, RECALL, CLEAR, COPY, or PASTE icons, the encoder
wheel is used to scroll through the program list.
Beside the list of effects programs is the EFFECT TYPE field and below that
is the TITLE EDIT field. The cursor buttons are used to select the characters
in the title, and the encoder wheel is used to change the value.
The bottom of the page contains several icons. Use the cursor buttons to
select from the STORE, RECALL, CLEAR, COPY, PASTE, INS., and DEL.
icons.
02R User’s Guide
110
Internal Effects
Exiting the Library
Selecting the LIB icon and pressing the [ENTER] button switches back to
the EFFECT 2/3 page.
Icons
•
STORE —This icon is used to store the current program to the library.
Select the icon with the CURSOR buttons. Use the encoder wheel to
select a program and press the [ENTER] button. The 02R displays a
confirmation dialog box asking if you want to store your settings in the
selected program. The dialog box has two icons: “CANCEL” and
“EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the STORE operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the STORE operation, either press
the [ENTER] button or wait about 10 seconds—the STORE operation
will be automatically cancelled.
To store your settings, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
stored.
When you confirm a STORE operation, any existing data in the
selected program location will be overwritten.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS
A CONFIRMATION DIALOG BOX!
•
RECALL—This icon is used to recall a program from the library. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The recalled program is now
the current program.
•
CLEAR—This icon is used to clear the contents of an effects program.
Use the CURSOR buttons to select the icon. Use the encoder wheel to
select an effects program and press the [ENTER] button. The 02R
displays a confirmation asking if you want to clear the effects program.
The dialog box has two icons: “CANCEL” and “EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the CLEAR operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the CLEAR operation, either press
the [ENTER] button or wait about 10 seconds—the CLEAR operation
will be automatically cancelled.
To clear the effects program, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
cleared.
If you change your mind, the cleared effects program can be retrieved
by recalling the Undo effects program (U).
02R User’s Guide
Internal Effects
111
•
COPY—This icon is used to copy the name of a library program. Select
the icon with the CURSOR buttons. Use the encoder wheel to select a
program and press the [ENTER] button. The program name is copied
into an edit buffer.
•
PASTE—This icon is used to paste a program name previously
selected with the COPY operation into the TITLE EDIT box. Select the
icon with the CURSOR buttons and press the [ENTER] button. The
program name is pasted from the edit buffer into the TITLE EDIT box
for subsequent editing.
•
INS.—This icon is used to insert blank characters into the TITLE EDIT
box at the current cursor location. Select the icon with the CURSOR
buttons and press the [ENTER] button.
•
DEL.—This icon is used to delete characters from the TITLE EDIT box
at the current cursor location. Select the icon with the CURSOR buttons
and press the [ENTER] button.
UNDO Operation
When the 02R stores or recalls a program, the previous settings are always
preserved in the UNDO buffer. If you discover you have made a mistake,
you can always recall the UNDO buffer (displayed as “U:” in the scrolling
list of programs). Use the CURSOR buttons to select the RECALL icon, then
rotate the encoder wheel until the UNDO buffer is the current program,
and press the [ENTER] button. The previous settings are restored.
Program Name
Effects program names can be up to 16 characters long and can contain any
of the following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
02R User’s Guide
112
Internal Effects
Preset Effects Program Parameters
Internal Effects
Program 1 — REVERB HALL1
This simulates the reverberation in a larger concert hall, and adds spread to sounds such as strings and brass.
Parameter
Setting
Range
Description
Rev.Time
2.8s
0.3–30.0s
Reverb time.
Hi.Ratio
0.8
0.1–1.0
High frequency decay ratio.
Diff.
6
0–10
Reverb diffusion.
Ini.Dly
40.0ms
0.1–200.0ms
Initial delay between the direct sound and early reflections.
Density
3
0–3
Average time between reflections.
LPF
7.0kHz
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
THRU
THRU–8.0kHz
High pass filter cutoff frequency.
Rev.Dly
18.0ms
0.1–85.0ms
Delay between early reflections and reverb.
Rev.Bal
50%
0–100%
Reverb balance. The amount of reverb.
Program 2 — REVERB HALL2
This is a variation of program 1. It emphasizes longer reverberation and spaciousness.
Parameter
Setting
Rev.Time
3.2s
Hi.Ratio
0.7
Diff.
8
Ini.Dly
38.0ms
Density
3
LPF
6.3kHz
HPF
THRU
Rev.Dly
17.0ms
Rev.Bal
50%
Range
Same as program 1
Description
Same as program 1
Program 3 — REVERB ROOM1
This simulates reverberation of a room with many reflective wall aspects. It gives a live acoustic feel to drums.
Parameter
Setting
Rev.Time
1.4s
Hi.Ratio
0.8
Diff.
7
Ini.Dly
5.0ms
Density
3
LPF
THRU
HPF
280Hz
Rev.Dly
1.0ms
Rev.Bal
50%
02R User’s Guide
Range
Same as program 1
Description
Same as program 1
Internal Effects
113
Program 4 — REVERB ROOM2
This is a variation on program 3.
Parameter
Setting
Rev.Time
1.8s
Hi.Ratio
0.6
Diff.
6
Ini.Dly
17.0ms
Density
3
LPF
9.0kHz
HPF
80Hz
Rev.Dly
4.0ms
Rev.Bal
50%
Range
Same as program 1
Description
Same as program 1
Program 5 — REVERB STAGE
This has a slightly brighter effect than the REVERB HALL programs. Applying a small amount of this effect to an
entire mix will create the feel of live acoustic environment.
Parameter
Setting
Rev.Time
3.4s
Hi.Ratio
0.9
Diff.
8
Ini.Dly
45.0ms
Density
3
LPF
THRU
HPF
70Hz
Rev.Dly
9.0ms
Rev.Bal
50%
Range
Same as program 1
Description
Same as program 1
Program 6 — REVERB PLATE
This simulates an old "steel plate reverb" and is effective on vocals or musical instruments, especially percussion.
Parameter
Setting
Rev.Time
2.4s
Hi.Ratio
0.7
Diff.
8
Ini.Dly
16.0ms
Density
3
LPF
8.0kHz
HPF
THRU
Rev.Dly
2.0ms
Rev.Bal
50%
Range
Same as program 1
Description
Same as program 1
02R User’s Guide
114
Internal Effects
Program 7 — REV AMBIENCE1
This creates space (a smaller space than created by the REVERB ROOM programs) around instruments. A small
amount of these effects is effective on vocal and chorus, as well as percussion instruments.
Parameter
Setting
Rev.Time
1.2s
Hi.Ratio
1.0
Diff.
8
Ini.Dly
19.0ms
Density
3
LPF
9.0kHz
HPF
45Hz
Rev.Dly
4.0ms
Rev.Bal
50%
Range
Same as program 1
Description
Same as program 1
Program 8 — REV AMBIENCE2
This is a variation on program 7.
Parameter
Setting
Rev.Time
0.8s
Hi.Ratio
0.6
Diff.
8
Ini.Dly
0.1ms
Density
3
LPF
THRU
HPF
56Hz
Rev.Dly
0.1ms
Rev.Bal
50%
Range
Same as program 1
Description
Same as program 1
Program 9 — REV LIVE ROOM1
This simulates reverberation in much larger rooms.
Parameter
Setting
Rev.Time
2.4s
Hi.Ratio
0.8
Diff.
7
Ini.Dly
0.1ms
Density
3
LPF
7.0kHz
HPF
THRU
Rev.Dly
0.1ms
Rev.Bal
50%
02R User’s Guide
Range
Same as program 1
Description
Same as program 1
Internal Effects
115
Program 10 — REV LIVE ROOM2
This is a variation on program 9.
Parameter
Setting
Rev.Time
2.2s
Hi.Ratio
0.5
Diff.
6
Ini.Dly
12.0ms
Density
3
LPF
4.0kHz
HPF
THRU
Rev.Dly
3.0ms
Rev.Bal
50%
Range
Same as program 1
Description
Same as program 1
Program 11 — REVERB VOCAL1
This is useful for vocal and chorus.
Parameter
Setting
Rev.Time
1.8s
Hi.Ratio
0.4
Diff.
3
Ini.Dly
19.0ms
Density
3
LPF
6.3kHz
HPF
110Hz
Rev.Dly
10.0ms
Rev.Bal
100%
Range
Same as program 1
Description
Same as program 1
Program 12 — REVERB VOCAL2
This has longer reverberation than program 11. This could be suitable for ballads.
Parameter
Setting
Rev.Time
2.8s
Hi.Ratio
0.3
Diff.
6
Ini.Dly
35.0ms
Density
2
LPF
6.3KHz
HPF
80Hz
Rev.Dly
30.0ms
Rev.Bal
100%
Range
Same as program 1
Description
Same as program 1
02R User’s Guide
116
Internal Effects
Program 13 — REV SN.ROOM
This is a reverb variation to enhance the sound of a snare drum.
Parameter
Setting
Rev.Time
1.3s
Hi.Ratio
0.9
Diff.
8
Ini.Dly
26.0ms
Density
1
LPF
10.0KHz
HPF
180Hz
Rev.Dly
4.0ms
Rev.Bal
90%
Range
Same as program 1
Description
Same as program 1
Program 14 — REV SN.PLATE
This is also for snare drums, similar to program 13.
Parameter
Setting
Rev.Time
1.7s
Hi.Ratio
0.9
Diff.
2
Ini.Dly
20.0ms
Density
1
LPF
11.0KHz
HPF
140Hz
Rev.Dly
6.0ms
Rev.Bal
90%
Range
Same as program 1
Description
Same as program 1
Program 15 — CHORUS–>REVERB
Stereo chorus followed by reverb. This program will change a dry sound into a warm sound with spread. Use the
reverb Depth parameter to adjust the amount of reverberation.
Parameter
Setting
Range
Description
Freq.
4.5Hz
0.1–40.0Hz
Modulation frequency.
Depth
14%
0–100%
Modulation depth. The amount of modulation.
Mod.Dly
7.3ms
0.0–255.0ms
Modulation delay. The delay time before modulation begins.
Rev.Time
1.7s
0.3–30.0s
Reverb time.
Hi.Ratio
0.8
0.1–1.0
High frequency decay ratio.
Diff.
8
0–10
Reverb diffusion.
Ini.Dly
30.0ms
0.1–200.0ms
Initial delay between the direct sound and early reflections.
LPF
12.0KHz
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
40Hz
THRU–8.0kHz
High pass filter cutoff frequency.
Depth
60%
0–100%
Reverb depth. The amount of reverb.
02R User’s Guide
Internal Effects
117
Program 16 — FLANGE–>REVERB1
Flange effect followed by reverb. This effect is more appropriate to emphasize modulation effects than the
CHORUS–>REVERB program. Use the reverb Depth parameter to adjust the amount of reverberation.
Parameter
Setting
Range
Description
Freq.
2.4Hz
0.1–40.0Hz
Flange modulation frequency.
Depth
68%
0–100%
Flange depth. The amount of modulation.
FB.Gain
+37%
–99 to +99%
Feedback gain. The amount of signal returned to the flanger.
Mod.Dly
254.4ms
0.0–255.0ms
Flange delay. The delay time before modulation begins.
Rev.Time
2.6s
0.3–30.0s
Reverb time.
Diff.
8
0–10
Reverb diffusion.
Ini.Dly
10.0ms
0.1–200.0ms
Initial delay between the direct sound and early reflections.
LPF
9.0KHz
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
45Hz
THRU–8.0kHz
High pass filter cutoff frequency.
Depth
61%
0–100%
Reverb depth. The amount of reverb.
Program 17 — FLANGE–>REVERB2
This is a variation of program 16.
Parameter
Setting
Freq.
3.3Hz
Depth
9%
FB.Gain
–63%
Mod.Dly
0.4ms
Rev.Time
1.4s
Diff.
8
Ini.Dly
9.1ms
LPF
9.0KHz
HPF
45Hz
Depth
56%
Range
Description
Same as program 16 Same as program 16
Program 18 — EARLY REF.1
Simulates early reflections only. It can create a wide range of effects , from gate-reverb to ambience effects.
Parameter
Setting
Range
Description
Type
L-Hall
ER type
Choose S-Hall, L-Hall, Random, Reverse, Plate, or Spring.
RoomSize
2.5
0.1–20.0
Time interval between the early reflections.
Liveness
2
0–10
Rate at which reflected sounds fade or decay.
Diff.
8
0–10
Reverb diffusion.
Ini.Dly
23.7ms
0.1–200.0ms
Initial delay between the direct sound and early reflections.
ER Num.
15
1–15
Number of early reflections.
Hi.Ratio
0.8
0.1–1.0
High frequency decay ratio.
FB.Gain
0%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
LPF
10.0kHz
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
THRU
THRU–8.0kHz
High pass filter cutoff frequency.
02R User’s Guide
118
Internal Effects
Program 19 — EARLY REF.2
This is a variation on program 18. It produces a thicker sound.
Parameter
Setting
Type
S-Hall
RoomSize
2.0
Liveness
7
Diff.
7
Ini.Dly
4.8ms
ER Num.
15
Hi.Ratio
0.8
FB.Gain
0%
LPF
11.0kHz
HPF
THRU
Range
Description
Same as program 18 Same as program 18
Program 20 — GATE REVERB
Simulates a gate reverb effect by using the EARLY REFLECTION program.
Parameter
Setting
Range
Description
Type
Type-B
Type-A, Type-B
Type of reflections
RoomSize
1.9
0.1–20.0
Time interval between the early reflections.
Liveness
8
0–10
Rate at which reflected sounds fade or decay.
Diff.
7
0–10
Reverb diffusion.
Ini.Dly
0.1ms
0.1–200.0ms
Initial delay between the direct sound and early reflections.
ER Num.
15
1–15
Number of early reflections.
Hi.Ratio
0.8
0.1–1.0
High frequency decay ratio.
FB.Gain
0%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
LPF
12.0kHz
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
THRU
THRU–8.0kHz
High pass filter cutoff frequency.
Program 21 — REVERSE GATE
This is a variation on program 20. It creates somewhat strange, reversed gate reverb sound.
Parameter
Setting
Type
Type-A
RoomSize
2.8
Liveness
8
Diff.
5
Ini.Dly
0.1ms
ER Num.
15
Hi.Ratio
0.8
FB.Gain
0%
LPF
12.0kHz
HPF
THRU
02R User’s Guide
Range
Same as program 20 Same as program 20
Description
Internal Effects
119
Program 22 — DELAY–>EARLY REF
This effect creates early reflection sound after a delay.
Parameter
Setting
Range
Description
Delay
256.0ms
0.1–320.0ms
Delay time.
FB.Gain
+43%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
Hi.Ratio
0.3
0.1–1.0
High frequency decay ratio.
Type
Random
ER type
Choose S-Hall, L-Hall, Random, Reverse, Plate, or Spring.
RoomSize
6.8
0.1–20
Time interval between the early reflections.
Liveness
4
0–10
Rate at which reflected sounds fade or decay.
Diff.
3
0–10
Reverb diffusion.
Ini.Dly
8.0ms
0.1–200.0ms
Initial delay between the direct sound and early reflections.
ER Num.
12
1–15
Number of early reflections.
Depth
47%
0–100%
Reverb depth. The amount of reverb.
Program 23 — DELAY L-C-R 1
A three-part delay with independent delay time parameters for left, right, and center.
Parameter
Setting
Range
Description
Dly(L)
125.0ms
0.1–1000.0ms
Left channel delay time.
Dly(R)
250.0ms
0.1–1000.0ms
Right channel delay time.
Dly(C)
500.0ms
0.1–1000.0ms
Centre channel delay time.
Level(C)
+57
–100 to +100
Centre delay volume level.
FB.Dly
125.0ms
0.1–1000.0ms
Feedback delay. The delay time before feedback starts.
FB.Gain
+20%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
Hi.Ratio
0.8
0.1–1.0
High frequency decay ratio.
LPF
THRU
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
THRU
THRU–8.0kHz
High pass filter cutoff frequency.
Ini.Dly
0.1ms
0.1–320.0ms
Initial delay between the direct sound and early reflections.
Program 24 — DELAY L-C-R 2
This is a variation on program 23.
Parameter
Setting
Dly(L)
250.0ms
Dly(R)
500.0ms
Dly(C)
1000.0ms
Level(C)
+57
FB.Dly
1000.0ms
FB.Gain
+17%
Hi.Ratio
0.8
LPF
THRU
HPF
THRU
Ini.Dly
0.1ms
Range
Description
Same as program 23 Same as program 23
02R User’s Guide
120
Internal Effects
Program 25 — CHORUS–>DLY LCR
Chorus effect is followed by a three-part delay (L-C-R) with feedback.
Parameter
Setting
Range
Description
Freq.
0.8Hz
0.1–40.0Hz
Chorus modulation frequency.
Depth
24%
0–100%
Chorus depth. The amount of modulation.
Mod.Dly
5.9ms
0.0–255.0ms
Chorus delay. The delay time before modulation starts.
Dly(L)
26.4ms
0.1–1000.0ms
Left channel delay time.
Dly(R)
33.2ms
0.1–1000.0ms
Right channel delay time.
Dly(C)
13.1ms
0.1–1000.0ms
Centre channel delay time.
Level(C)
+60
–100 to +100
Centre delay volume level.
FB.Dly
40.5ms
0.1–1000.0ms
Feedback delay. The delay time before feedback starts.
FB.Gain
–48%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
Hi.Ratio
0.1
0.1–1.0
High frequency decay ratio.
Program 26 — MONODLY–>CHORUS
Mono feedback delay followed by stereo chorus.
Parameter
Setting
Range
Description
Delay
400.0ms
0.1–1000.0ms
Delay time.
FB.Gain
+32%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
LPF
THRU
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
THRU
THRU–8.0kHz
High pass filter cutoff frequency.
Freq.
0.4Hz
0.1–40.0Hz
Chorus modulation frequency.
Mod.Dly
0.1ms
0.0–255.0ms
Chorus delay. The delay time before modulation starts.
EQ F
315Hz
160Hz–8.0kHz
Equalizer frequency.
EQ G
0dB
–12 to +12dB
Equalizer signal gain.
AM Depth
10%
0–100%
Amplitude modulation depth.
PM Depth
40%
0–100%
Pitch modulation depth.
Program 27 — STEREO INI.DLY ECHO
Stereo feedback delay followed by stereo echo.
Parameter
Setting
Range
Description
FB.D(L)
220.0ms
0.1–360.0ms
Left channel feedback delay time.
FB.G(L)
+40%
–99 to +99%
Left channel feedback gain.
FB.D(R)
220.0ms
0.1–360.0ms
Right channel feedback delay time.
FB.G(R)
+40%
–99 to +99%
Right channel feedback gain.
Hi.Ratio
0.4
0.1–1.0
High frequency decay ratio.
LPF
THRU
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
THRU
THRU–8.0kHz
High pass filter cutoff frequency.
Dly(L)
220.0ms
0.1–320.0ms
Left channel delay time.
Dly(R)
110.0ms
0.1–320.0ms
Right channel delay time.
02R User’s Guide
Internal Effects
121
Program 28 — ECHO
This is a common echo effect.
Parameter
Setting
Range
Description
Dly(L)
220.0ms
0.1–500.0ms
Left channel delay time.
FB.G(L)
+44%
–99 to +99%
Left channel feedback gain.
Dly(R)
180.0ms
0.1–500.0ms
Right channel delay time.
FB.G(R)
–55%
–99 to +99%
Right channel feedback gain.
Hi.Ratio
0.2
0.1–1.0
High frequency decay ratio.
LPF
THRU
1.0kHz–THRU
Low pass filter cutoff frequency.
HPF
THRU
THRU–8.0kHz
High pass filter cutoff frequency.
Ini.Dly
0.1ms
0.1–320.0ms
Initial delay between the direct sound and early reflections.
L->R Bal
0%
0–100%
Feeds left channel signal back to the right channel.
R->L Bal
0%
0–100%
Feeds right channel signal back to the left channel.
Program 29 — CROSS ECHO
The echo feedback signal crosses from left to right and from right to left.
Parameter
Setting
Dly(L)
200.0ms
FB.G(L)
+40%
Dly(R)
350.0ms
FB.G(R)
+40%
Hi.Ratio
0.4
LPF
THRU
HPF
THRU
Ini.Dly
0.1ms
L->R Bal
34%
R->L Bal
34%
Range
Description
Same as program 28 Same as program 28
Program 30 — CROSS DELAY
The echo feedback signal crosses completely.
Parameter
Setting
Dly(L)
220.0ms
FB.G(L)
+44%
Dly(R)
180.0ms
FB.G(R)
–55%
Hi.Ratio
0.2
LPF
THRU
HPF
THRU
Ini.Dly
0.1ms
L->R Bal
100%
R->L Bal
100%
Range
Description
Same as program 28 Same as program 28
02R User’s Guide
122
Internal Effects
Program 31 — CHORUS1
A stereo chorus. Creates a rich, thickening effect.
Parameter
Setting
Range
Description
Freq.
0.6Hz
0.1–40.0Hz
Modulation frequency.
AM Depth
49%
0–100%
Amplitude modulation depth.
PM Depth
35%
0–100%
Pitch modulation depth.
LSF F
220Hz
32Hz–1.0kHz
Low shelving filter frequency.
LSF G
+3dB
–12 to +12dB
Low shelving filter gain.
Mod.Dly
12.1ms
0.0–255.0ms
Chorus delay. The delay time before modulation starts.
EQ F
560Hz
160Hz–8.0kHz
Equalizer frequency.
EQ G
–1dB
–12 to +12dB
Equalizer signal gain.
HSF F
4.0kHz
1.0–10.0kHz
High shelving filter frequency.
HSF G
+1dB
–12 to +12dB
High shelving filter gain.
Program 32 — CHORUS2
This is a variation on program 31. The modulation is much thicker and shimmering.
Parameter
Setting
Freq.
0.6Hz
AM Depth
49%
PM Depth
35%
LSF F
220Hz
LSF G
0dB
Mod.Dly
12.1ms
EQ F
560Hz
EQ G
0dB
HSF F
4.0kHz
HSF G
0dB
Range
Description
Same as program 31 Same as program 31
Program 33 — BROAD CHORUS
This is a variation on program 31, with more spread and spaciousness.
Parameter
Setting
Freq.
0.5Hz
AM Depth
64%
PM Depth
90%
LSF F
180Hz
LSF G
+2dB
Mod.Dly
38.0ms
EQ F
560Hz
EQ G
0dB
HSF F
3.2kHz
HSF G
+2dB
02R User’s Guide
Range
Same as program 31 Same as program 31
Description
Internal Effects
123
Program 34 — FLANGE
Stereo flanger. Creates a rich, swirling effect, full of harmonics.
Parameter
Setting
Range
Description
Freq.
1.2Hz
0.1–40.0Hz
Modulation frequency.
Depth
25%
0–100%
Modulation depth.
FB.Gain
+45%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
LSF F
63Hz
32Hz–1.0kHz
Low shelving filter frequency.
LSF G
0dB
–12 to +12dB
Low shelving filter gain.
Mod.Dly
14.6ms
0.0–255.0ms
Flange delay. The delay time before modulation starts.
EQ F
630Hz
160Hz–8.0kHz
Equalizer frequency.
EQ G
+2dB
–12 to +12dB
Equalizer signal gain.
HSF F
3.2kHz
1.0–10.0kHz
High shelving filter frequency.
HSF G
0dB
–12 to +12dB
High shelving filter gain.
Program 35 — SYMPHONIC
This program creates a rich and grand chorus effect, bigger than chorus alone.
Parameter
Setting
Range
Description
Freq.
0.6Hz
0.1–40.0Hz
Modulation frequency.
Depth
8%
0–100%
Modulation depth.
Mod.Dly
2.4ms
0.0–255.0ms
Modulation delay. The delay time before modulation starts.
LSF F
63Hz
32Hz–1.0kHz
Low shelving filter frequency.
LSF G
0dB
–12 to +12dB
Low shelving filter gain.
EQ F
500Hz
160Hz–8.0kHz
Equalizer frequency.
EQ G
0dB
–12 to +12dB
Equalizer signal gain.
HSF F
6.3kHz
1.0–10.0kHz
High shelving filter frequency.
HSF G
–2dB
–12 to +12dB
High shelving filter gain.
Program 36 — TREMOLO
A stereo tremolo, just like on a classic guitar amplifier. It creates a fat sound that is great with guitars.
Parameter
Setting
Range
Description
Freq.
3.1Hz
0.1–40.0Hz
Modulation frequency.
AM Depth
84%
0–100%
Amplitude modulation depth.
PM Depth
6%
0–100%
Pitch modulation depth.
LSF F
250Hz
32Hz–1.0kHz
Low shelving filter frequency.
LSF G
+2dB
–12 to +12dB
Low shelving filter gain.
EQ F
630Hz
160Hz–8.0kHz
Equalizer frequency.
EQ G
+1dB
–12 to +12dB
Equalizer signal gain.
HSF F
2.8KHz
1.0–10.0kHz
High shelving filter frequency.
HSF G
+1dB
–12 to +12dB
High shelving filter gain.
02R User’s Guide
124
Internal Effects
Program 37 — AUTO PAN
This effect performs automatic panning across the stereo image.
Parameter
Setting
Range
Description
Freq.
0.5Hz
0.1–40.0Hz
Modulation frequency.
LR Depth
98%
0–100%
Left to right pan depth.
FR Depth
15%
0–100%
Front to rear pan depth.
LSF F
140Hz
32Hz–1.0kHz
Low shelving filter frequency.
LSF G
+4dB
–12 to +12dB
Low shelving filter gain.
Dir.
L<–>R
Pan direction
Choose from L<–>R, L-->R, L<--R, Turn L, or Turn R.
EQ F
630Hz
160Hz–8.0kHz
Equalizer frequency.
EQ G
+3dB
–12 to +12dB
Equalizer signal gain.
HSF F
3.2kHz
1.0–10.0kHz
High shelving filter frequency.
HSF G
0dB
–12 to +12dB
High shelving filter gain.
Program 38 — PHASING
Stereo phaser. This effect simulates old phase shifter effects.
Parameter
Setting
Range
Description
Freq.
1.3Hz
0.1–40.0Hz
Modulation frequency.
Depth
52%
0–100%
Modulation depth.
FB.Gain
+68%
–99 to +99%
Feedback gain. The amount of signal returned to the effect.
Offset
32
0–100
Phase offset. The amount that the signal phase is offset.
Stage
4
4, 6, 8
Stage of phase.
LSF F
250Hz
32Hz–1.0kHz
Low shelving filter frequency.
LSF G
+2dB
–12 to +12dB
Low shelving filter gain.
HSF F
3.6KHz
1.0–10.0kHz
High shelving filter frequency.
HSF G
+1dB
–12 to +12dB
High shelving filter gain.
Program 39 — ST.PITCH CHANGE
Two-part stereo pitch shifter. This stereo effect changes the pitch of the left and right channels independently of each
other.
Parameter
Setting
Range
Description
Pitch
0
–12 to +12
Coarse pitch change for pitch changers 1 and 2.
Fine(1)
+20
–50 to +50
Fine pitch for pitch changer 1.
Fine(2)
–20
–50 to +50
Fine pitch for pitch changer 2.
Out(1)
+100
–100 to +100
Output volume level for pitch changer 1.
Out(2)
+100
–100 to +100
Output volume level for pitch changer 2.
Pan(1)
L100
L100–R100
Pan control for pitch changer 1.
Pan(2)
R100
L100–R100
Pan control for pitch changer 2.
FB.G(1)
+28%
–99 to +99%
Feedback gain for pitch changer 1.
FB.G(2)
–28%
–99 to +99%
Feedback gain for pitch changer 2.
Delay
25.0ms
0.1–255.0ms
Delay time before the feedback starts.
02R User’s Guide
Internal Effects
125
Program 40 — VOCAL DOUBLER
This is a thin harmonizing effect obtained by setting a longer delay.
Parameter
Setting
Pitch
0
Fine(1)
+5
Fine(2)
–10
Out(1)
+100
Out(2)
+100
Pan(1)
L6
Pan(2)
R6
FB.G(1)
+10%
FB.G(2)
–10%
Delay
60.0ms
Range
Description
Same as program 39 Same as program 39
02R User’s Guide
Scene Memories
9
127
Scene Memories
In this chapter...
What are Scene Memories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
What is Stored in a Scene Memory? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
What is the Edit Buffer? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Initial Data and UNDO Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Storing Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Naming a Scene Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Recalling Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Fader Recall Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Fade Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
9
02R User’s Guide
128
Scene Memories
What are Scene Memories?
STORE
RECALL
Scene memories are a snapshot of all the 02R mixer setting. There are 96
mix scene memory locations. Each can be titled for easy identification. They
can be stored and recalled manually using the [STORE] and [RECALL]
buttons. They can also be recalled by the automix (AUTOMIX) system or
by using MIDI Program Changes from a computer, MIDI sequencer, or
MIDI footswitch. You can also save scene memories to a MIDI data filer.
SCENE MEMORY
The title and number of the current scene memory are shown at the top left
side of the display.
Scene Memory Number and Title
SCENE MEMORY
The number and status of the scene memory is shown in the SCENE
MEMORY LED beside the display. When you select a new scene memory
with the SCENE MEMORY increment or decrement buttons, the number in
the scene memory indicator flashes.
Use the [RECALL] button to load the selected scene memory into the
current edit buffer. When you first change a parameter in the recalled
memory, the Edit Indicator starts to flash. To save your changes, select a
scene memory with the increment or decrement buttons and press the
[STORE] button. The 02R will request you confirm the action.
To display the number of the scene memory that was stored or recalled last,
press the scene memory increment and decrement buttons together.
02R User’s Guide
Scene Memories
129
What is Stored in a Scene Memory?
Virtually all 02R mix settings are stored in a scene memory. Settings that are
not stored consist mainly of analog controls and switches. They are: +48V
phantom switches, A/B input switches, 20 dB (pad) switches, GAIN
controls, T/B LEVEL control, STUDIO LEVEL control, PHONES LEVEL
control, C-R LEVEL control, and the display CONTRAST control.
MIDI setup and assignment table data are also not stored in the scene
memory.
What is the Edit Buffer?
The Edit Buffer is the current mix settings. When a scene memory is
recalled, the mix settings of the selected scene memory are written to the
Edit Buffer. When a scene memory is stored, the mix settings in the Edit
Buffer are written to the selected scene memory.
SCENE MEMORY
The first time you adjust a parameter in the current mix settings, the Edit
Indicator of the SCENE MEMORY indicator on the display starts to flash.
This indicates that the current mix settings—those in the Edit Buffer—do
not match those of the scene memory previously recalled.
Edit Indicator
Initial Data and UNDO Memory
The 02R has two special scene memory locations. Scene number ”0“ (zero)
and scene number “U” are read-only memory locations.
Scene number “0—Initial Data” contains the initial mix settings for the 02R.
When you want to reset all the mixer settings to their initial values, recall
this scene memory. Normally, all channel faders move to the minimum
position. You can, however, set the Initial Data Nominal preference so that
they move to the nominal position. Aux and bus master faders move to the
nominal (0.0 dB) position regardless of this preference. See “Preferences”
on page 198.
Scene number “U” is the UNDO memory. It always contains a copy of the
last scene memory. Even if you have pressed the [STORE] button and
confirmed the operation, you can still recall the contents of the overwritten
scene memory by recalling scene number “U”.
02R User’s Guide
130
Scene Memories
Storing Mix Scenes
1. Use the increment or
decrement buttons to
select a scene memory.
STORE
RECALL
SCENE MEMORY
2. Press the [STORE] button.
A confirmation dialog
box appears.
3. Use the CURSOR buttons
to select “EXECUTE” and
press the [ENTER] button.
The mix scene is stored.
The 02R has 96 scene memory locations. You can save additional scenes to a
MIDI data filer. Scene memories can be titled for easy identification.
When you are about to store a scene memory, make sure there are no
settings in the Edit Buffer that you do not want to store. Maybe some
settings have been adjusted accidentally, or by someone else. If you are not
sure about the Edit Buffer’s exact contents, first recall the last scene
memory, make the adjustments that you really want, and then store. You
may want to store the current mix settings to an unused scene memory, just
in case.
Storage Confirmation
When you save the mixer settings to a scene memory location, the 02R
displays a confirmation dialog box, with two icons: “CANCEL” and
“EXECUTE”, as shown below:
Note: You can customize your 02R to prevent the dialog box appearing during
the STORE operation. See “Preferences” on page 198 of the User’s Guide for
more information.
CANCEL is the default. To cancel the STORE operation, either press the
[ENTER] button or wait about 10 seconds—the STORE operation will be
automatically cancelled. A prompt indicating the operation has been
cancelled will flash momentarily on the display.
To store your settings, use the CURSOR buttons to select the “EXECUTE”
icon and press the [ENTER] button. The program is stored.
Note: When a scene memory is stored, all the previous data in the selected scene
memory is overwritten. The 02R has an UNDO function, but you should still be
careful not to overwrite an important scene memory.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS A
CONFIRMATION DIALOG BOX!
Reorganizing Scene Memories
By recalling a scene memory and then storing it to another location, you
can copy and reorganize your scene memories.
02R User’s Guide
Scene Memories
131
Naming a Scene Memory
1. Use the [SCENE
MEMORY] button to
locate the SCENE 1/5
page.
Scene memories can be titled on the SCENE 1/5 page shown below. Scene
memories can be named before being stored or after. In the latter case, you
must first recall the scene memory, name it, and then store it.
SCENE
MEMORY
2. Use the CURSOR buttons
to select the title edit
box.
3. Select the individual
character positions with
the CURSOR buttons.
Rotate the encoder
wheel to select
characters for your title.
4. Press the [STORE] button.
Respond to the
confirmation dialog box
by selecting “EXECUTE”
and pressing the [ENTER]
button. The scene
memory is stored.
The left side of the page shows a list of the scene memories. The name of
the scene memory under the cursor is highlighted. The SCENE MEMORY
increment or decrement buttons are used to scroll through the list.
Beside the list of scene memories is the title edit field. The CURSOR buttons
are used to select the character, and the encoder wheel is used to change its
value. A table of the available characters is shown below the title edit field.
Below the character table are four icons. Use the CURSOR buttons to select
from the INSERT, DELETE, COPY, or PASTE icons. Below these are the
scene memory CLEAR icon and scene memory memory free indicator.
Scene memory memory is displayed as a percentage. If these is not enough
memory to store a scene memory, the message “Scene Memory Area Full”
appears.
At the bottom of the right side of the display is the Memory Protect check
box. When this box is checked, all scene memories are protected from the
storage operations.
02R User’s Guide
132
Scene Memories
Character Set
A scene memory name can be up to 16 characters long and can contain any
of the following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
Icons
•
INSERT—This icon is used to insert blank characters into the title edit
box at the current cursor location. Select the icon with the CURSOR
buttons and press the [ENTER] button.
•
DELETE—This icon is used to delete characters from the title edit box
at the current cursor location. Select the icon with the CURSOR buttons
and press the [ENTER] button.
•
COPY—This icon is used to copy the name of another scene memory.
Select the icon with the CURSOR buttons. Use the encoder wheel to
select a scene memory and press the [ENTER] button. The scene
memory name is copied into an edit buffer.
•
PASTE—This icon is used to paste a scene memory name previously
selected with the COPY operation into the title edit box. Select the icon
with the CURSOR buttons and press the [ENTER] button. The scene
memory name is pasted from the edit buffer into the title edit box,
replacing any text that was there. You can then edit the text to create a
unique scene memory name.
•
CLEAR—This icon is used to clear the contents of a scene memory. Use
the CURSOR buttons to select the icon. Use the encoder wheel to select
a scene memory and press the [ENTER] button. The 02R displays a
confirmation dialog box asking if you want to clear the scene memory.
The box has two icons: “CANCEL” and “EXECUTE”.
Note: You can customize your 02R to prevent the confirmation dialog box
appearing during the CLEAR operation. See “Preferences” on page 198 of
the User’s Guide for more information.
CANCEL is the default. To cancel the CLEAR operation, either press
the [ENTER] button or wait about 10 seconds—the CLEAR operation
will be automatically cancelled.
To clear the scene memory, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The scene memory is
cleared.
02R User’s Guide
Scene Memories
133
If you change your mind, the cleared mix scene can be retrieved by
recalling the Undo scene memory (U).
02R User’s Guide
134
Scene Memories
Protecting Scene Memories
You can protect stored mix scenes against accidental overwriting using this
Memory Protect function. This is useful when you’ve set up many mix
scenes for repeated use, or when inexperienced users operate 02R.
When the Memory Protect is checked, mix settings cannot be stored using
the [STORE] button. Any scene memory data received as MIDI Bulk Dump
is also ignored.
Recalling Scene Memories
Scene memories are recalled using the [RECALL] button. They can also be
recalled using MIDI Program Changes.
STORE
RECALL
SCENE MEMORY
Note: When you recall a scene memory, all mix settings in the Edit Buffer
(current mix scene) are overwritten. You may want to store the Edit Buffer to an
unused scene memory before recalling, just in case.
Note: When recalling mix scenes, be aware that volume levels may change
suddenly as channels are switched ON and faders moved. The 02R has a feature
that allows you to fade the levels as a scene memory is loaded, but it cannot
compensate for the sudden burst of a channel suddenly being switched on. See
“Fade Time” on page 136 of the User’s Guide
02R User’s Guide
Scene Memories
135
Fader Recall Safe
1. Use the [SCENE
MEMORY] button to
locate the SCENE 2/5
page.
The 02R has two methods of protecting the system from sudden volume
level changes when a scene memory is recalled. You can select individual
channels to safety. When the scene memory is recalled, the fader level will
not change from the level it was set to in the previous mix.
Shown below is the SCENE 2/5 page—Fader Recall Safe.
SCENE
MEMORY
2. Use the CURSOR buttons
to select the
“Enable/Disable”
options and use the
[ENTER] button to
ENABLE the safe
function.
3. Select the individual
channels with the [SEL]
buttons or the CURSOR
buttons. Press the [ENTER]
button to enable a
channel. Its icon is
highlighted.
4. Press the [STORE] button.
Respond to the
confirmation dialog box
by selecting “EXECUTE”
and pressing the [ENTER]
button. The scene
memory is stored.
The “Enable/Disable” controls are in the top left corner of the page. Use the
CURSOR buttons to select ENABLE check box and press the [ENTER]
button.
The remainder of the screen contains icons for each of the input and return
channels plus the stereo master fader. Select an icon and press the [ENTER]
button to safety a channel.
In order for the “Fader Recall Safe” function to have any effect, you must
store the scene memory (see “Storing Mix Scenes” on page 130 of the User’s
Guide).
Restoring the Faders
To restore the fader movements, select the “DISABLE” option and press the
[ENTER] button. Reset the fader levels. Then store the scene memory again
(see “Storing Mix Scenes” on page 130 of the User’s Guide).
Note: If you DISABLE the fader recall safe or switch off the individual channels
and then store the scene memory, be aware that the current fader levels will be
stored in the memory, not the levels that were previously stored there.
02R User’s Guide
136
Scene Memories
Fade Time
1. Use the [SCENE
MEMORY] button to
locate the SCENE 3/5
page.
The second method of protecting the system from sudden volume level
changes is to set the fade time for each channel. When the scene memory is
recalled, the fader level will change from its previous level to the new level
of the recalled memory. You can control the duration of the change.
Shown below is the SCENE 3/5 page—Fade Time.
SCENE
MEMORY
2. Select the individual
channels with the [SEL]
buttons or the CURSOR
buttons. Rotate the
encoder wheel to set the
fade time value.
3. Press the [STORE] button.
Respond to the
confirmation dialog box
by selecting “EXECUTE”
and pressing the [ENTER]
button.
The scene memory is
stored.
The page consists of all the “Mic”, “Tape” and “Line/Rtn/ST” channels
with a fade time value beside each. You can set the fade time from 0.0 sec to
10.0 sec.
Note: If you double-click the [ENTER] button on a selected channel, all the
channels will be set to the same fade time as that channel.
In order for the fade time you set to have any effect, you must store the
scene memory (see “Storing Mix Scenes” on page 130 of the User’s Guide).
02R User’s Guide
Automix
10
137
Automix
10
In this chapter...
What is the Automix Function? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
What is Timecode?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Automix Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Automix Main . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Memory Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Fader Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Event Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Event Edit (Scene/Lib.). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Event Edit (CH ON, PAN, FADER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
02R User’s Guide
138
Automix
What is the Automix Function?
One of the most demanding jobs of the recording engineer is taking all
the raw material produced during a multitrack recording session and
mixing it all together into an artistically satisfying master recording. The
ability to setup portions of the mix and then have them playback
automatically as you work on other portions is probably the most
important feature of any digital recording studio.
The 02R has an on-board automix system that memorizes fader positions,
switches individual channels on or off, adjusts the equalization or pan
positions, and changes the auxiliary sends—all based on timecode. It can
record and execute scene memory changes, also determined by timecode.
This allows you to perform an entire mixing session, and then edit
individual channel settings until you have achieved a perfect mix.
What is Stored in an AUTOMIX Memory?
An AUTOMIX memory starts with a scene memory and a start time. As
each parameter is adjusted, the adjustment and the associated time is
recorded in memory. The following parameters can be recorded in an
automix. Some parameters can only be recorded when the corresponding
overwrite check box is checked on the AUTOMIX 1/7 page. Other
parameters can be recorded at any time.
02R User’s Guide
•
FADER—Input and output level events (faders/rotary encoders)
(FADER overwrite check box)
•
CH ON—Channel on/off (mute) events (CH ON overwrite check box)
•
PAN—pan events (PAN overwrite check box)
•
EQ—EQ events (EQ overwrite check box)
•
SCENE—Scene memory recall events
•
AUX 1–8—Channel aux send events (faders/rotary encoders) (FADER
overwrite check box)
Automix
•
REMOTE 1–4—MIDI Remote events
•
SURR—Surround pan events (SURROUND overwrite check box)
•
EQLIB—EQ library program recall events
•
CHLIB—Channel library program recall events
•
DYLIB—Dynamics library program recall events
•
EFLIB—Effects library program recall events
139
To record a mix scene or library program recall in real time, start automix
recording and then recall the scene or program as normal. The recall
action will be recorded by the automix as a recall event, and can then be
edited on the AUTOMIX 5/7 page.
What is the 02R Memory Capacity?
The 02R has a current AUTOMIX buffer and 16 AUTOMIX memories.
There is also an undo buffer. Only the current mix can be played back and
recorded. You can store the current mix in any of the 16 automix
memories.
The default memory capacity of the 02R is 480K. Total size of the current
mix and the 16 AUTOMIX memories should be under 480K. If you find
yourself running out of memory, you can download unused AUTOMIX
memories to a storage device, such as a MIDI data filer, then clear the
memories. You can also expand the available memory with 1 MB
expansion kits (ME4M). You can install up to two of these kits in the 02R,
resulting in a maximum memory size of approx. 2.5 MB.
What is the Current Buffer?
The only automix program that can be recorded or played back is the
current AUTOMIX buffer. When you perform edits to the current buffer,
its previous state is saved in an undo buffer. You can always undo the last
edit operation.
Note: You cannot undo a STORE operation. Once you have confirmed the
operation, the previous AUTOMIX memory contents have been overwritten.
02R User’s Guide
140
Automix
What is Timecode?
Timecode is a signal that contains a chronological record of the absolute
time in a recording. It is used for synchronizing different recorders. It can
be used for electronic editing. Timecode was initially invented for the
motion picture business, as a method of synchronizing the pictures
recorded in the frames of a camera to the sound recorded on tape
recorder.
The 02R supports four types of timecode:
•
SMPTE timecode
•
MTC (MIDI timecode)
•
Internal timecode (for leaning Automix)
•
MIDI (MIDI Clock)
When you synchronize the 02R to an external device such as a multitrack
recorder or MIDI sequencer, the external device will provide SMPTE or
MTC timecode to allow the automix to synchronize with the data on the
recorder or sequencer.
Using SMPTE Timecode
SMPTE timecode is a synchronization signal developed for the film and
television industries (Society of Motion Picture and Television Engineers).
It is normally implemented as timing pulses converted into an audio
signal and recorded onto tape or film. Some devices are able to transmit
SMPTE timecode directly.
SMPTE indicates an absolute time in hours:minutes:seconds:frames.
There are four basic formats, depending on the number of frames that a
second is divided into:
•
24 frames per second
•
25 frames per second
•
29.97 frames per second (30 drop frame)
•
30 frames per second (29.97/30 non-drop frame)
Use SMPTE timecode when you want to synchronize an 02R automix
with video recorders, a multitrack recorder, or other film and video
post-production recorders.
02R User’s Guide
Automix
141
Connections
If the connected device can directly output SMPTE timecode, use an
audio cable to connect the output to the TIME CODE INPUT—SMPTE
connector on the back of the 02R.
If the connected device does not have a dedicated SMPTE output
connector, record the timecode onto a spare track (in the case of a
multitrack recorder) or a special track (in the case of a video recorder or
film post-production recorder) and connect the output from that track to
the timecode input connector on the 02R.
SMPTE Time code
SMPTE Time code
TIME CODE INPUT (SMPTE)
TIME CODE INPUT (SMPTE)
Analog tape
output connector
SMPTE
output connector
Digital MTR
Digital MTR
The connected device has
a dedicated SMPTE output connector
The connected divice does not have
a dedicated SMPTE output connector
Using MIDI Timecode (MTC)
MTC is a MIDI System message that indicates absolute time in
hours:minutes:seconds:frames, in the same fashion as SMPTE. MTC is an
alternate method of transferring the timecode data from one device to
another.
Use MTC when you want to synchronize an 02R automix with MIDI
sequencers or a multitrack recorder that has MTC output jacks. Use a
MIDI cable to plug the MTC output connector of the controlling device
into the TIME CODE INPUT—MTC connector on the back of the 02R.
The 02R can use the MTC or MIDI IN jack to receive MTC, and the first
jack to receive MTC takes priority. While MTC is being read from the
02R User’s Guide
142
Automix
MIDI IN jack, any MTC arriving at the MTC jack is ignored, and vice
versa.
MIDI Time code
TIME CODE INPUT (MTC)
or
MIDI IN
MIDI OUT (MTC OUT)
MIDI sequencer
Note: When transmitting MTC to the 02R, you should use a dedicated output
on the connected device. Otherwise the 02R has to discard MIDI playback data and
other extraneous information, decreasing the accuracy of the timecode data.
Using MIDI Clock
Automix can be referenced to an external MIDI Clock, and supports
Timing Clock (F8H), Start (FAH), Continue (FBH), Stop (FCH), and Song
Position Pointers (F3H, **H, **H).
Use MIDI Clock when you want to synchronize an automix to a MIDI
sequencer that does not support MTC. Use a MIDI cable to connect the
MIDI OUT connector of the controlling device to the TIME CODE
INPUT—MTC connector on the back of the 02R.
MIDI Clock
TIME CODE INPUT (MTC)
MIDI OUT
MIDI sequencer
02R User’s Guide
Automix
143
Automix Function
The Automix function consists of six pages.
1/7 Automix Main
The Automix Main page controls the record and playback operations.
Select the timecode frame rate, and the timecode input. Set the initial start
time and enable the editing operations.
2/7 Memory Management
The Memory Management page is used to name the AUTOMIX and
perform store and recall operations. You can also control the record and
playback operations from this page.
3/7 Fader Edit
The Fader Edit page is used to edit the fader positions and set motor
parameters. You can also control the record and playback operations from
this page.
4/7 Event Copy
The Event Copy page allows you to copy, move, extract and trim the level of
automix events.
5/7 Event Edit (Scene/Lib.)
The Event Edit (Scene/Lib.) page allows you to duplicate and delete mix
scene and library recall events, and insert new events. Timecode
addresses can be captured on-the-fly, and new events inserted at the
captured points.
6/7 Event Edit (CH ON, PAN, FADER)
The Event Edit (CH ON, PAN, FADER) page allows you edit channel
on/off, pan, and fader events, and duplicate, delete, and insert new
events. Timecode addresses can be captured on-the-fly, and new events
inserted at the captured points.
7/7 Time Signature
The Time Signature page allows you to enter time signature information
for use with MIDI Clock.
Automix functions can be customized using the preferences on the
SETUP 4/4 page. See “Preferences 2” on page 201.
02R User’s Guide
144
Automix
Automix Main
1. Use the [AUTOMIX]
button to locate the
AUTOMIX 1/7 page.
Basic automix functions are controlled using the Automix Main page
shown below.
AUTOMIX
2. Select the “INT Start
Time” with the CURSOR
buttons and set the
desired value by
rotating the encoder
wheel.
3. Use the CURSOR buttons
to select the desired
“Frame” rate check box
and press the [ENTER]
button.
4. Select a “TC Input”
check box with the
CURSOR buttons and
press the [ENTER] button.
5. Use the CURSOR buttons
to select the “Automix”
ENABLE check box and
press the [ENTER] button
to change its value.
6. Select the “Overwrite”
status check boxes with
the CURSOR buttons
and press the [ENTER]
button.
7. Use the CURSOR buttons
to select the “Edit Out”
END or RET check box
and press the [ENTER]
button to change its
value.
8. Select a “Fader Edit
Mode” check box with
the CURSOR buttons
and press the [ENTER]
button.
02R User’s Guide
The top row of this page consists of the timecode counter, the current free
memory size, shown in a bargraph, kilobytes, and percentage, and the
size of the current memory buffer and the undo buffer.
The second row has automix offset and internal timecode generator start
time parameters.
In the third row, you set the frame rate (30, 30D (drop frame), 25, or 24)
and select the Time Reference (SMPTE, MTC, INT (internal SMPTE), or
MIDI (MIDI Clock).
The fourth row allows you to set the Automix ENABLE and select the
real-time edit Overwrite status (FADER, CH ON, PAN, EQ,
SURROUND).
In the fifth row, you set the Edit Out END/RET and select the Fader Edit
Mode (ABSOLUTE or RELATIVE). At the end of the row is the UNDO
icon, which allows you to undo the last edit operation.
The bottom row contains the automix transport icons. Select from the
following:
•
AUTOREC—recording starts when the 02R receives timecode.
•
REC—places the 02R in record ready mode.
•
PLAY—starts playback of the automix program when timecode is
received.
•
STOP—stops recording or playback.
•
ABORT—stops recording and discards any data recorded.
Automix
145
Time Code Counter
The timecode counter displays the incoming timecode.
For the SMPTE, MTC, and INT time references,
timecode is displayed in hours, minutes, seconds, and
frames. If you select INT (internal) timecode, the
timecode counters starts straightaway.
For MIDI Clock, timecode is displayed in bars, beats,
and MIDI clocks.
Offset
Using an offset, automix events can be moved backwards or forwards
relative to the incoming timecode.
For the SMPTE, MTC, and INT time references,
offset is specified in hours, minutes, seconds,
and frames.
For MIDI, it’s specified in bars, beats, MIDI
clocks, and Time Signature.
Timecode Type and Frame Rate
Select the timecode type from the following list:
•
SMPTE timecode
•
MTC (MIDI Timecode)
•
INT (internal SMPTE)
•
MIDI (MIDI Clock)
Select the timecode frame rate from the following list:
•
24 frames per second
•
25 frames per second
•
29.97 frames per second (30 drop frame)
•
30 frames per second (29.97/30 non-drop frame)
Automix ENABLE
When the 02R receives timecode during enable status (box checked), it
will start playback of the AUTOMIX (or recording if it is in REC ready
mode). If the 02R is in disable status, the AUTOMIX will not function.
02R User’s Guide
146
Automix
Overwrite Mode
The Overwrite check boxes can be used to select certain parameters for
automix recording. These are: FADER, CH ON, PAN, EQ or
SURROUND. The FADER check box includes rotary encoders and AUX
send levels. The following parameters are not affected by the Overwrite
check boxes and can be recorded at any time: mix scene recalls, MIDI
Remote actions, and EQ, channel, dynamics, and effects program recalls.
Use the [SEL] buttons to select a channel for recording. The parameter
will be recorded during the first record operation, and overwritten
during subsequent passes (recordings). During the overwrite operation,
the [SEL] button will flash.
During automix recording, you cannot change a parameter settings
unless the corresponding parameter has been selected and the channel
[SEL] button (edit key) has been pressed. If the parameter has been
selected and the channel [SEL] button has been pressed, automix
playback for that parameter will be stopped, and you can record new
data.
Note: It is possible to change a parameter during automix playback, but automix
playback has priority.
Fader Edit & Edit Out Modes
Real-time fader edits can be performed in either Absolute or Relative
mode. These modes determine how existing data interacts with real-time
automix edits. These modes can also be combined with the END and RET
Edit Out options, which determine what faders do when a real-time edit
is stopped. See “Fader Edit & Fader Edit Out Modes” on page 151 for
more information.
UNDO
This operation allows you to undo the following conditions: updating the
automix (after recording has been stopped via the stop key or due to the
interrupted timecode), recalling the data from the automix memory into
the current mix, creating a new mix, storing Automix, clearing Automix,
or aborting the automix. It returns the current automix to its previous
state.
02R User’s Guide
Automix
Using the Transport
Controls
1. Use the CURSOR buttons
to select a transport
icon.
2. Press the [ENTER] button
to operate the selected
automix control.
147
Transport Controls
The following five operations have been made as icons: AUTOREC, REC,
PLAY, STOP, ABORT. Use the CURSOR buttons to select the desired
operation and press the [ENTER] button.
AUTOREC—Selecting this icon will start AUTOMIX recording when the
02R receives timecode, even if it is not in REC ready mode. You can use
this key when you do not want to press the REC ready key many times.
Note: A channel must be selected with its [SEL] button in order for any automix
events to be recorded.
REC—Selecting this icon will cause the unit to enter REC ready mode.
The icon will flash. The 02R starts recording when it receives timecode
during REC ready mode. The icon will be highlighted. Selecting this icon
during AUTOMIX playback will cause the 02R to enter REC ready mode.
Selecting the PLAY icon will start a punch-in recording.
Note: A channel must be selected with its [SEL] button in order for any automix
events to be recorded.
PLAY—Selecting this icon when timecode is being received and the
AUTOMIX is stopped will play back the automix. Selecting this icon
while the 02R is in record ready mode will start a punch-in recording.
Note: A channel must be selected with its [SEL] button in order for any automix
events to be recorded.
STOP—Selecting this icon will stop the playback and/or recording of the
AUTOMIX. When recording is stopped, the data will be stored as the new
current mix.
ABORT—Selecting this icon will stop the playback or recording of the
AUTOMIX. When the recording is stopped, the data will be discarded.
(Internally, the data is stored in memory for the undo operation.)
02R User’s Guide
148
Automix
Memory Management
1. Use the [AUTOMIX]
button to locate the
AUTOMIX 2/7 page.
The Memory Management page, shown below, is used to store, recall,
title, and clear automixes. Some of the functions from the Automix Main
page also appear on this page.
AUTOMIX
2. Use the encoder wheel
to select an AUTOMIX
memory from the
scrolling list.
3. Select the RECALL icon
with the CURSOR
buttons and press the
[ENTER] button.
4. Edit the title with the
CURSOR buttons,
encoder wheel, and
[ENTER] button.
5. Use the CURSOR buttons
to select the “Automix”
ENABLE check box and
press the [ENTER] button.
6. Select the “Overwrite”
check boxes with the
CURSOR buttons and
press the [ENTER] button.
7. Use the CURSOR buttons
to select “Edit Out” END
or RET check box and
press the [ENTER] button.
8. Use the CURSOR buttons
and the [ENTER] button to
operate the automix
transport.
The top left of the display shows a scrolling list of the 16 AUTOMIX
memories.
The top right of the display is the Title Edit field. The CURSOR buttons
are used to select the character, and the encoder wheel is used to change
its value. AUTOMIX memory names can be up to 16 characters long.
Below the Title Edit field are the edit control button icons. Use the
CURSOR buttons to select from the PASTE, COPY, INS., DEL., STORE,
RECALL, CLEAR, and A.CLR icons.
Between the list of AUTOMIX memories and the Title Edit field is the
memory Size indicator.
The bottom of the display consists of three rows. The first row allows you
to set the Automix ENABLE and select the real-time edit Overwrite status
(FADER, CH ON, PAN, EQ, SURROUND).
The second row allows you set the Edit Out to END or RET. Beside that is
the timecode counter and the Free memory indicator. At the end of the
row are the UNDO (which allows you to undo the last edit operation) and
NEW (which creates a new automix in the current buffer) icons.
The last row on the bottom contains the automix transport icons
(AUTOREC, REC, PLAY, STOP, or ABORT).
02R User’s Guide
Automix
149
AUTOMIX Name Edit Functions
AUTOMIX memory names can be up to 16 characters long and can
contain any of the following characters:
!
“
#
$
%
&
'
(
)
*
+
,
-
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
~
•
COPY—This icon is used to copy the name of an AUTOMIX program.
Select the icon with the CURSOR buttons. Use the encoder wheel to
select a program and press the [ENTER] button. The program name is
copied into an edit buffer.
•
PASTE—This icon is used to paste the AUTOMIX program name
previously selected with the COPY operation into the TITLE EDIT box.
Select the icon with the CURSOR buttons and press the [ENTER]
button. The program name is pasted from the edit buffer into the
TITLE EDIT box for subsequent editing.
•
INS.—This icon is used to insert blank characters into the TITLE EDIT
box at the current cursor location. Select the icon with the CURSOR
buttons and press the [ENTER] button.
•
DEL.—This icon is used to delete characters from the TITLE EDIT box
at the current cursor location. Select the icon with the CURSOR buttons
and press the [ENTER] button.
AUTOMIX Memory Edit Functions
•
STORE—This icon is used to store the current AUTOMIX program to
the library. Select the icon with the CURSOR buttons. Use the encoder
wheel to select an AUTOMIX program and press the [ENTER] button.
The 02R displays a confirmation dialog box asking if you want to store
your settings in the selected program. The box has two icons:
“CANCEL” and “EXECUTE”.
CANCEL is the default. To cancel the STORE operation, either press
the [ENTER] button or wait about 10 seconds—the STORE operation
will be automatically cancelled.
To store your settings, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The program is
stored.
When you confirm a STORE operation, any existing data in the
selected automix memory location will be overwritten. You cannot
undo the STORE operation.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS
A CONFIRMATION DIALOG BOX!
02R User’s Guide
150
Automix
•
RECALL—This icon is used to recall an AUTOMIX program from the
library. Select the icon with the CURSOR buttons. Use the encoder
wheel to select an AUTOMIX program and press the [ENTER] button.
The 02R displays a confirmation dialog box asking if you want to recall
the selected program. The box has two icons: “CANCEL” and
“EXECUTE”.
CANCEL is the default. To cancel the RECALL operation, either press
the [ENTER] button or wait about 10 seconds—the RECALL operation
will be automatically cancelled.
To recall your settings, use the CURSOR buttons to select the
“EXECUTE” icon and press the [ENTER] button. The recalled program
is now the current program. You can undo or redo the recall operation.
•
CLEAR—delete the data located in the currently selected AUTOMIX
memory location. You cannot undo the CLEAR function.
•
A.CLR—delete all the data from all AUTOMIX memory locations. You
cannot undo the ALL CLEAR function.
UNDO
This operation allows you to undo the following conditions: updating the
automix (after recording has been stopped via the STOP transport
function or due to the interrupted timecode), recalling the data from the
automix memory into the current mix, creating a new mix, or aborting the
automix. It returns the current automix to its previous state.
NEW
Before you can record an automix session, you must create a new
automix. This operation allows you to create a new mix. As a default new
mix, the current scene memory (the last scene memory to be stored or
recalled) will be inserted at timecode location 00:00:00.00. Later, you can
edit the timecode location using the AUTOMIX event edit operations.
02R User’s Guide
Automix
151
Fader Edit
1. Use the [AUTOMIX]
button to locate the
AUTOMIX 3/7 page.
The Fader Edit page displays fader positions relative to previously
recorded data, and is convenient for real-time fader edits.
AUTOMIX
2. Use the CURSOR buttons
to select the MOTOR ON
icon and press [ENTER] to
change its value.
3. Select the “Fader Edit
Out” RETURN check box
with the CURSOR
buttons and press the
[ENTER] button. Rotate
the encoder wheel to set
a “Time” value.
4. Select the desired
“Fader Edit Mode”
check box with the
CURSOR buttons and
press the [ENTER] button.
5. Use the CURSOR buttons
and the [ENTER] button to
operate the automix
transport.
The top half of the display shows the current fader positions graphically
for the input channels (MIC/LINE 1 through 16, LINE 17/18 through
23/24), the tape and effect return channels (TAPE 1 through 16, EFF1 and
EFF2), and the stereo output. There is also the “MOTOR ON” icon.
The bottom of the display consists of two rows. The first row allows you
set the Fader Edit Out to END or RET, set the Return time from 0.0 to 3.0
seconds, and select the Fader Edit Mode (ABSOLUTE or RELATIVE).
The last row contains the automix transport icons (AUTOREC, REC,
PLAY, STOP, or ABORT).
MOTOR ON
When you select this icon (the icon is in highlighted and the text reads
MOTOR OFF), the fader motors are switched off during playback of an
automix. The fader levels will still change according to the recording, but
the faders will not move.
Fader Edit & Fader Edit Out Modes
Real-time fader edits can be performed in either Absolute or Relative
mode, and can also be combined with the END and RET Edit Out
options. The END option works with the Overwrite parameters (FADER,
CH ON, PAN, EQ, SURROUND, aux send level, or MIDI Remote). RET
works only with fader events.
RELATIVE—In Relative mode, real-time fader edits are recorded relative
to existing fader events (i.e., the new fader movements are added to or
subtracted from existing events).
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152
Automix
ABSOLUTE—In Absolute mode, real-time fader edits are recorded as is
(i.e., the new fader movements overwrite the existing events).
RET (Return)—With the RET option on, the fader returns to the position
previously recorded at the point recording stops. You can specify the
return time from 0.0 to 3.0 seconds. The RET option works when automix
recording is stopped using the STOP icon, the incoming timecode is
stopped, or the channel is dropped out of recording using a [SEL] button.
END (Write to End)—With the END option on, the fader (CH ON, PAN,
EQ, SURROUND, aux send level, or MIDI Remote) remains at the
position where recording stops, and remains there all the way to the end
of the automix (i.e., data up to the end of the automix is rewritten to
accommodate the new fader position). The END option works only when
automix recording is stopped using the STOP icon, or the incoming
timecode is stopped. It has no effect if a channel is dropped out of
recording using a [SEL] button.
With both the END and RET options on, the fader returns to the position
previously recorded at the point recording stops and remains at that
position all the way to the end of the automix data (i.e., data up to the end
of the automix is rewritten to accommodate the fader position returned to
when recording is stopped).
Using the END option in Relative mode allows you to apply a relative
level change to all fader events for a channel through to the end of the
automix. Instead of having to record a relative level change all the way
through to the end of the automix, END allows you to stop recording
soon after making the level change, and have the 02R automatically
rewrite the data up to the end of the automix to accommodate the new
fader position.
If the END, RET, and RELATIVE options are all on, when recording is
stopped, fader data up to the end of the automix is not rewritten.
Fader Edit
When you record a fader overdub, this display shows the previously
recorded level and the new fader setting, plus an arrow indicating which
direction the fader will have to be moved to return to the previous level.
Refer to the following diagram:
If the fader is moved to a position lower
than the previously recorded position
02R User’s Guide
If the fader is moved to a position higher
than the previously recorded position
Automix
153
Event Copy
1. Use the [AUTOMIX]
button to locate the
AUTOMIX 4/7 page.
The Event Copy page, shown below, allows you to copy, move, extract and
trim the level of automix events.
AUTOMIX
2. Use the CURSOR buttons
and (ENTER) button to
select channels and
parameters.
3. Use the CURSOR buttons
to select “IN Time” and
set using the encoder
wheel.
4. Use the CURSOR buttons
to select “Out Time” and
change the value with
the encoder wheel.
5. Select the EXTRACT icon
with the CURSOR
buttons and press the
[ENTER] button to extract
the specified data.
The channel icons are used to select the channels whose automix data is
to be edited, and the following channels can be selected: MIC/LINE 1 to
24, TAPE 1 to 16, effects returns (E1, E2), and the stereo output. Multiple
channels can be selected for editing. Input channels 17 to 24 are selected
in pairs.
The Parameter check boxes are used to select parameters for editing, and
multiple parameters can be selected. The parameters are:
•
FADER—Input and output level events (faders/rotary encoders)
•
CH ON—Channel on/off (mute) events
•
PAN—pan events
•
EQ—EQ events
•
SCENE—Scene memory recall events
•
AUX 1–8—Channel aux send events (faders/rotary encoders)
•
REMOTE 1–4—MIDI Remote events
•
SURR—Surround pan events
•
EQLIB—EQ library program recall events
•
CHLIB—Channel library program recall events
•
DYLIB—Dynamics library program recall events
•
EFLIB—Effects library program recall events
With a channel icon or parameter icon selected, double-clicking the
[ENTER] button display the following dialog box, which allows you to
select all channels or parameter in one go.
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154
Automix
The In Time and Out Time parameters are used to select the range of
automix data for editing. The Copy To parameter is used with the Copy
and Move/Merge function. When the Source parameter is set to Current,
data from the current automix between the In Time and Out Time
parameters can be copied or moved to a point specified using the Copy
To parameter. When Source is set to an automix from 1 to 16, data from
another automix between the In Time and Out Time parameters can be
copied to or merged with the current automix. The following table shows
how existing data at the source and destination are affected by these
functions.
Function
Data at Source
Data at Destination
Copy
Remains
Overwritten
Move
Deleted
Overwritten
Merge
Remains
Merged
Erase
The Erase function allows you to delete the selected parameters from the
selected channels between the In Time and Out Time points. When the
ERASE icon is pressed, a confirmation dialog box appears.
Copy
The Copy function allows you to copy the selected parameters from the
selected channels between the In Time and Out Time points. When the
COPY icon is pressed, a confirmation dialog box appears.
When only one channel is selected as a source, you can specify the
destination channel using the channel parameter next to Copy To. The
destination channel can be selected from MIC 1 to 16, TAPE 1 to 16, LINE
17 to 23, or EFF 1 or 2.
Move/Merge
The Move function allows you to move the selected parameters from the
selected channels between the In Time and Out Time points to the Copy
To point. When the MOVE icon is pressed, a confirmation dialog box
appears. When the Source is set to an automix memory instead of the
current automix, the Move function becomes the Merge function.
Trim Edit
The Trim Edit function allows you to trim the fader and rotary encoder
levels of the selected channels between the In Time and Out Time points.
The In parameter determines how long it takes to reach the specified trim
level after the In Time. The Out parameter determines how long it takes
to return to the previous level before the Out Time. In and Out
parameters can be set from 0.0 to 10.0 seconds in 0.1 second steps.
Undo
The Undo function can be used to undo Erase, Trim, Copy, or
Move/Merge operations. When the UNDO icon is pressed, a
confirmation dialog box appears.
02R User’s Guide
Automix
155
Event Edit (Scene/Lib.)
1. Use the [AUTOMIX]
button to locate the
AUTOMIX 5/7 page.
The Event Edit (Scene/Lib.) page, shown below, allows you to duplicate
and delete mix scene and library recall events, and insert new events.
Timecode addresses can be captured on-the-fly, and new events inserted
at the captured points. The Locate function provides a speedy way to
locate events in a complex automix.
AUTOMIX
2. Use the CURSOR buttons
to select an event to
edit.
3. Use the CURSOR buttons
to select the DUPLICATE
icon and press [ENTER] to
duplicate an event.
4. Use the CURSOR buttons
to select the DELETE icon
and press [ENTER] to
delete an event.
Address Capture
1. With timecode running,
press the (CAPTURE)
button.
2. To insert an event at the
captured address, press
the (INSERT) button.
3. Use the (LOCATE) button
to locate events around
the captured address.
Mix scene recall events and library program recall events are listed in the
Time Code, Memory, and Channel columns. Events can be moved by
editing the timecode addresses, and events are resorted automatically. In
the Memory column, event type and memory number can be edited. In
the Channel column, the channel number for EQ, dynamics, effects, and
channel library events can be edited. Mix scene events do not have a
Channel value. Use the CURSOR buttons to move up or down the event
list, and the encoder wheel to edit values.
The selected event can be duplicated or deleted using the DUPLICATE
and DELETE icons. When the Selected CH parameter is checked, only
events corresponding to the selected channel are listed, useful for editing
an automix consisting of many events.
When the SYNC icon is pressed, events occurring around the current
timecode address are displayed. The timecode counter below the SYNC
icon displays the incoming timecode. When the CAPTURE icon below
that is pressed, the current timecode address is captured and displayed in
the window below. Up to eight timecode addresses can be captured, and
they are stored when the 02R is turned off. The parameter next to the
CAPTURE icon is used to select the addresses. When the LOCATE icon is
pressed, events occurring about the captured timecode address are
displayed. When the INSERT icon is pressed, a new scene recall event is
inserted at the captured timecode address. The new event can then be
edited as required.
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156
Automix
Event Edit (CH ON, PAN, FADER)
1. Use the [AUTOMIX]
button to locate the
AUTOMIX 6/7 page.
The Event Edit (CH ON, PAN, FADER) page, shown below, allows you
edit channel on/off, pan, and fader events, and duplicate, delete, and
insert new events. Timecode addresses can be captured on-the-fly, and
new events inserted at the captured points. The Locate function provides
a speedy way to locate events in a complex automix.
AUTOMIX
2. Use the CURSOR buttons
to select an event to
edit.
3. Use the CURSOR buttons
to select the INSERT icon
and press [ENTER] to
insert an event.
4. Use the CURSOR buttons
to select the DELETE icon
and press [ENTER] to
delete the current event.
Address Capture
1. With timecode running,
press the (CAPTURE)
button.
2. To insert an event at the
captured address, press
the (INSERT) button.
3. Use the (LOCATE) button
to locate events around
the captured address.
Channel on/off, pan, and fader events are listed in the Time Code, and
Channel columns. Events can be moved by editing the timecode
addresses, and events are resorted automatically. In the Channel column,
the channel number can be edited. The value in the third column depends
on the event type selected using the CH ON (ON/OFF), PAN (L-C-R),
and FADER (dB/SEC) check boxes. Use the CURSOR buttons to move up
or down the event list, and the encoder wheel to edit values.
The selected event can be duplicated or deleted using the DUPLICATE
and DELETE icons. When the Selected CH parameter is checked, only
events corresponding to the selected channel are listed, useful for editing
an automix consisting of many events.
When the SYNC icon is pressed, events occurring around the current
timecode address are displayed. The timecode counter below the SYNC
icon displays the incoming timecode. When the CAPTURE icon below
that is pressed, the current timecode address is captured and displayed in
the window below. Up to eight timecode addresses can be captured, and
they are stored when the 02R is turned off. The parameter next to the
CAPTURE icon is used to select the addresses. When the LOCATE icon is
pressed, events occurring around the captured timecode address are
displayed. When the INSERT icon is pressed, a new event is inserted at
the captured timecode address. The type of event depends on which of
the CH ON, PAN, FADER check boxes is checked. The new event can be
edited as required.
Time Signature
See the addendum at the end of this manual.
02R User’s Guide
MIDI
11
157
MIDI
In this chapter...
MIDI and the 02R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Program Change Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Bulk Dump/Request. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Fader Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI Control Change Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
MIDI Remote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
02R User’s Guide
11
158
MIDI
MIDI and the 02R
THRU
OUT
MIDI
IN
The 02R supports the following MIDI messages:
•
Program Changes for mix scene recalls (page 160)
•
Control Changes for remote control of 02R mix parameters (page 164)
•
System Exclusive for mix parameter control (page 262)
•
Bulk Dump for data backup and transfer between 02Rs (page 161)
•
MTC (MIDI Timecode) for automix synchronization (page 144)
•
Note On/Off for fader start (page 163)
•
MIDI Remote for remote device control from the 02R (page 165)
•
MIDI Machine Control (MMC) (page 168)
Bulk Dump
The 02R can send or receive the following types of bulk data:
02R User’s Guide
•
Scene Memories
•
Automix Memories
•
Effect Library Programs
•
Dynamics Library Programs
•
EQ Library Programs
•
Channel Library Programs
•
System Setup
•
Program Change Assign Table
MIDI
159
Setup
1. Use the [MIDI] button to
locate the MIDI 1/5
page.
The MIDI Setup page is used to configure basic 02R MIDI parameters, such
as MIDI transmit and receive channels, OMNI on/off, and echo on/off.
Shown below is the MIDI 1/5 page—MIDI Setup.
MIDI
2. Use the CURSOR buttons
to select the item you
want to change and
press the [ENTER] button.
Receive Channel
Use these parameters to set the Receive Channel, and select whether the
02R will receive Program Change, Parameter Change, and Control Change
messages. When you change the MIDI Receive Channel, the MIDI Transmit
Channel is set automatically to the corresponding channel.
Transmit Channel
Use these functions to set the Transmit Channel, and select whether the 02R
will transmit Program Change and Parameter Change messages.
OMNI
Use this function to select whether the 02R will receive Program Change
messages regardless of the Receive Channel setting. This parameter is
enabled when it is highlighted.
Echo
Use this function to select whether the received Program Change messages
are echoed from the MIDI IN to the MIDI OUT. This parameter is enabled
when it is highlighted.
02R User’s Guide
160
MIDI
Program Change Assign
1. Use the [MIDI] button to
locate the MIDI 2/5
page.
MIDI Program Change messages are used to recall scene memories.
Shown below is the MIDI 2/5 page—MIDI Program Change Assign.
MIDI
2. Select a Program
Change number with
the CURSOR buttons. Use
the encoder wheel to
change the value of the
corresponding Scene
Memory number.
Press the [ENTER] button
to enable or disable the
current Scene Memory
number. When a
memory is disabled,
“---” appears beside the
Program Change
number.
3. Use the CURSOR buttons
to select the “TABLE
RESET” control icon and
press the [ENTER] button.
4. Select the “UNDO”
control icon using the
CURSOR buttons and
press the [ENTER] button.
The default Program Change Assign table consists of a mapping of
Program Change numbers 1 through 96 to Scene Memories 1 through 96.
Program Change numbers 98 through 127 are mapped to nothing.
Messages containing those Program Change numbers are ignored.
Program Change number 97 is mapped to Scene Memory 0 (initial data). A
scene memory to Program Change assignment table is provided on page
255.
TABLE RESET
The TABLE RESET command sets the Program Change Assign table back
to its default mapping.
UNDO
The UNDO command restores the Program Change Assign table to its
previous state.
Backup
You can create a Program Change Assign table and save it to a data storage
device such as a MIDI data filer by executing the Program Change Assign
table Bulk Dump command.
02R User’s Guide
MIDI
161
Bulk Dump/Request
1. Use the [MIDI] button to
locate the MIDI 3/5
page.
The 02R uses MIDI Bulk Dump and Request messages to store or recall
scene memories, automix memories, system setup and program change
tables, and effects, dynamics, EQ, and channel library programs.
Shown below is the MIDI 3/5 page—MIDI Bulk Dump & Request.
MIDI
2. Select the “TYPE” of data
you want to dump or
request with the CURSOR
buttons and press the
[ENTER] button.
3. Use the CURSOR buttons
to select the “NUMBER”
field and use the
encoder wheel to select
the desired program or
memory.
4. Select the “EXECUTE”
command with the
CURSOR buttons and
press the [ENTER] button
to execute the MIDI
bulk dump or request.
Type
This function allows you to select eight types of 02R data to Bulk Dump or
Bulk Request:
•
Scene Memories
•
Automix Memories
•
Channel Library Programs
•
Dynamics Library Programs
•
Effect Library Programs
•
EQ Library Programs
•
System Setup
•
Program Change Assign Table
Number
For all of the data types except the System Setup and Program Change
Assign Table data, you can select the number of the program or memory
you want to dump or request. The list shows the program number and its
corresponding name.
Execute
There are four commands you can execute:
02R User’s Guide
162
MIDI
•
BULK DUMP—the data of the selected type and number will be
output to the connected MIDI device.
•
BULK REQUEST—the 02R will request the selected type and number
from the connected MIDI device.
•
DUMP ALL—all the programs or memories of the selected data type
will be transmitted to the connected MIDI device.
•
REQUEST ALL—the 02R will request all the programs or memories of
the selected data type from the connected MIDI device.
When you execute one of the above commands, the 02R displays its current
status in the STATUS field at the bottom of the display.
You can abort a bulk data transmission by moving the cursor with the
CURSOR buttons.
Important: Do not turn off the 02R while transmitting or receiving Bulk Dump
data. Doing so may damage the data stored in the 02R.
02R User’s Guide
MIDI
163
Fader Start
When the Fader Start preference is checked (“Preferences” on page 198), a
MIDI Note On message (velocity 127) is transmitted when a fader is raised
from infinity (oo). When the fader is moved back to infinity, a
corresponding MIDI Note Off message (velocity 0) is transmitted. This can
be used in conjunction with a “MIDI to trigger” interface box to
automatically start CD players, tape decks, etc. This function is intended
for use with stereo sound sources. That’s why only the odd-numbered
channels 9, 11, 13, and 15 cause a MIDI Note on message to be transmitted.
Paired mono input channels 9 to 16 and the stereo channels 17 to 24
provide up to eight stereo pairs for use with Fader Start. MIDI Note
messages are transmitted on the Transmit Channel set on the MIDI 1/5
page. MIDI Note On Messages are of the format 9n, kk, vv. Where kk is the
note number and vv is the velocity.
Channel
Note Number
Decimal
Hex
MIC9
37
25h
MIC11
38
26h
MIC13
39
27h
MIC15
40
28h
LINE17/18
41
29h
LINE19/20
42
2Ah
LINE21/22
43
2Bh
LINE23/24
44
2Ch
02R User’s Guide
164
MIDI
MIDI Control Change Assign
1. Use the [MIDI] button to
locate the MIDI 4/5
page.
MIDI
2. Use the CURSOR buttons
to select the Control
Change column, and
the encoder wheel to
select a Control
Change.
3. Use the CURSOR buttons
to select the parameter
type, channel type, and
channel number
parameters, and the
encoder wheel to set
them.
The MIDI Control Assign page is used to assign 02R parameters to MIDI
Control Changes, which can be used to control 02R mix settings in real
time. 02R mix settings can be controlled by transmitting Control Changes
from other MIDI devices. A synthesizer with assignable sliders, for
example. Note that the 02R does not transmit Control Change messages.
Up to 114 02R mix parameters can be assigned to Control Changes 0 to 95
and 102 to 119 (Control Changes 96 to 101 cannot be used). See Parameter
to Control Change Table (02R & User Maps) on page 256 for more
information.
To use Control Change messages, make sure that the Receive Channel
Control Change parameter is enabled on the MIDI Setup page. See Setup on
page 159 for more information.
Shown below is the MIDI 4/5 page—MIDI Control Assign.
4. To initialize the
assignments, use the
CURSOR buttons to
select a mapping
(P.MIX01, 02R, 03D) and
press the (ENTER) button.
A confirmation dialog
box appears. By default
“CANCEL” is selected.
5. Use the CURSOR buttons
to select “EXECUTE” and
press the [ENTER] button.
Parameters in the Parameter Assign window of this page consist of four
columns. From left to right: Control Change number (0 to 95 and 102 to
119), parameter type (FADER, ON, PANPOT, BALANCE, SURROUND,
and EQ), channel type (CHANNEL, AUX 1–8 SEND), and channel number
(MIC 1–16, LINE 17–24, TAPE 1–16, EFF1, EFF 2, ST MASTER).
Parameters can be reset to the initial assignments using the 02R Initialize
function. In addition, Control Change to parameter maps for Yamaha’s
Programmable Mixer 01 and 03D Digital Mixing Console are provided. Use
these maps when controlling the 02R from one of these consoles. See
Parameter to Control Change Table (03D & Programmable Mixer 01 Maps)
on page 259 for more information.
02R User’s Guide
MIDI
165
MIDI Remote
The MIDI Remote function allows you to control other MIDI equipment
from the 02R. Connection is made using the MIDI IN and OUT
connections. Remote equipment can be controlled using the 02R faders,
rotary encoders, [ON] buttons, CURSOR buttons, and encoder wheel.
MIDI Remote operations are recorded by the automix, so real time
adjustments on other MIDI equipment can be automated.
The following MIDI equipment can be controlled from the 02R.
•
Bus/Aux Master (controls bus and send levels on 02R)
•
MIDI Machine Control
•
Digital mixers—Yamaha Programmable Mixer 01, 02R, 03D
•
GM tone generator
•
XG tone generator
•
Digital effects processors—Yamaha ProR3, REV500
•
Pro Tools
MIDI Remote Connections
Remote equipment is connected to the 02R using the MIDI IN and OUT
connections. Two typical setups are shown below.
MIDI OUT
02R
MIDI IN
MIDI IN
ProR3
MIDI OUT
MIDI OUT
MIDI IN
MIDI OUT
02R
MIDI IN
MIDI IN
02R
MIDI OUT
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
MIDI
I/F
03D
MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
REV500
MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
XG
MIDI OUT
02R User’s Guide
166
MIDI
Configuring Remotes
1. Use the [MIDI] button to
locate the MIDI 5/5
page.
MIDI Remote operations take place on the MIDI 5/5 page shown below.
Up to four remotes can be active at the same time, each operating on a
different MIDI Channel. The REMOTE 1 to 4 icons are used to select the
remotes.
MIDI
The [FLIP] button flashes.
To get to the MIDI 5/5
quickly, hold down the
[FLIP] button for about
one second.
2. Use the CURSOR buttons
to select a REMOTE icon,
and press the [ENTER]
button to activate it.
3. Use the CURSOR buttons
to select the rotary icon,
and the encoder wheel
to select a remote
configuration.
On the page shown below, the Programmable Mixer 01 configuration has
been selected for use with REMOTE 1. The same configuration can be
selected for use with several remotes. So you could, for example, control
two or three 02Rs remotely.
4. Use the CURSOR buttons
to select the MIDI CH
parameter, and the
encoder wheel to select
a MIDI Channel for the
remote.
Only MIDI Channels
other than the MIDI
Channels selected on
the MIDI 1/5 page can
be selected.
While the MIDI 5/5 page is selected, the following controls have no effect
on the 02R (essentially these control are in a local off condition): 02R faders,
rotary encoders, [ON] buttons, MIC/LINE [SEL] buttons 1 to 16, CURSOR
buttons, and encoder wheel. To remind you of this the message “>>>>
REMOTE <<<<“ flashes at the bottom of the MIDI 5/5 page.
The various remote configurations are explained on the following pages.
02R User’s Guide
MIDI
167
BUS/AUX Master
The Bus/Aux Master page is not really a MIDI Remote page because it
controls the bus out, aux send, and stereo master levels of the 02R itself.
Although similar to the METER 3/3 page, this page allows you to use the
02R faders instead of the encoder wheel to set the levels.
While the BUS/AUX Master page is selected, MIC channel [SEL] buttons 1
to 14 can be used to make and break bus and aux pairs. To make a pair,
press and hold the [SEL] buttons of both channels. When the Make Pair
dialog box appears, select EXECUTE to pair the channels. Which channel’s
settings are copied to the other channel depends on which [SEL] button
you press first. For example, if you press the MIC 1 [SEL] button and then
MIC 2 [SEL] button, the settings of the bus 1 channel are copied to the bus 2
channel, and vice versa. The Make Pair dialog box, shown below, indicates
in which direction the channels settings will be copied.
To cancel a channel pair, press both [SEL] buttons, and choose EXECUTE
on the Break Pair dialog box.
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168
MIDI
MIDI Machine Control
02R controls can be used to remotely control the following parameters of a
a device that supports MMC (MIDI Machine Control), such as a recorder.
Parameters on the
MMC Device
02R Controls
[ON] buttons
MIC 1
Rewind
MIC 2
Fast Forward
MIC 3
Stop
MIC 4
Play
MIC 5
Pause
MIC 6
Record
TAPE 1–8
Locate points 1–8 recall
Transport functions on MMC supporting device can be controlled from the
02R using MIC [ON] buttons 1 to 6. Up to eight locate points can be set
using the CURSOR buttons and encoder wheel, and TAPE [ON] buttons 1
to 8 are used to locate the specified points. These locate points are linked
with the capture buffers in Automix mode, and when time code is inputted,
press the [ENTER] button while the cursor is on the locate point number to
capture the time code. Time reference and frame rate are also linked with
the Automix mode. Set the Device Number (DEVICE NO) to match that
assigned to the MMC device.
02R User’s Guide
MIDI
169
Yamaha Programmable Mixer 01
02R controls can be used to remotely control the following parameters of a
Yamaha Programmable Mixer 01.
02R Controls
Faders
Rotary encoders
[ON] buttons
Parameters on the
Programmable Mixer 01
MIC 1–16
Channel levels 1–16
17/18
Stereo input level
STEREO
Stereo output level
TAPE 1–16
Input channel pans 1–16
EFF1 & EFF2
Effects returns levels 1 & 2
MIC 1–16
Channel on/off 1–16
EFF1 & EFF2
Effects returns on/off 1 & 2
17/18
Stereo input on/off
STEREO
Stereo output on/off
Display functions
Mix scene recall
Programmable Mixer 01 Setup
On the Programmable Mixer 01’s MIDI SETUP page, set the PROGRAM,
CONTROL, and BULK parameters as shown below. Set the Tx Ch and Rx
Ch parameters to match the MIDI Transmit Channel and Receive Channel
settings on the 02R’s MIDI 1/5 page.
On the Programmable Mixer 01’s CONTROL CHANGE ASSIGN page, set
the Control Change mode to REGISTER, as shown below.
02R User’s Guide
170
MIDI
There are two pages for Programmable Mixer 01 remote control. Pages can
be selected using the page icon at the right hand side of each page, or by
operating a control on that page. For example, operating fader 16 displays
the first page, while operating fader 17/18 displays the second page.
When the 02R or Programmable Mixer 01 is first connected, or turned on,
use the CONNECT function to update the 02R controls so that they match
those of the Programmable Mixer 01. When the CONNECT function is
used, the settings from the Programmable Mixer 01 are copied to the 02R.
Scene memories on the Programmable Mixer 01 can be recalled from either
page. To do this, use the PGM parameter to select a MIDI Program Change
from 0 to 127. When the RCL icon is pressed, the corresponding scene
memory is recalled on the Programmable Mixer 01, and the 02R controls
move to their new positions. The SCENE number and TITLE parameters
do not change until the scene is recalled. Then they display the scene
memory number and title. The 02R fader positions correspond to fader
positions on the Programmable Mixer 01. Likewise, the indicators in the
02R [ON] buttons show which channels on the Programmable Mixer 01 are
turned on and which are turned off.
02R User’s Guide
MIDI
171
Yamaha 02R Digital Mixing Console
02R controls can be used to remotely control the following parameters of a
Yamaha 02R Digital Mixing Console.
02R Controls
Faders
Rotary encoders
[ON] buttons
Display functions
Parameters on the
02R Digital Mixing Console
MIC 1–16
MIC levels 1–16
LINE 17–24
LINE levels 17–24
STEREO
Stereo output level
TAPE 1–16
TAPE levels 1–16
EFF1 & EFF2
Effects returns levels 1 & 2
MIC 1–16
MIC on/off 1–16
LINE 17–24
LINE on/off 17–24
EFF1 & EFF2
Effects returns on/off 1 & 2
STEREO
Stereo output on/off
Mix scene recall
Remote 02R Setup
On the MIDI 1/5 page of the remote 02R, set the Program Change and
Parameter Change parameters as shown below. Set the MIDI Receive and
Transmit Channels to match those of the controlling 02R
02R User’s Guide
172
MIDI
There are two pages for 02R remote control. Pages can be selected using the
page icon at the right hand side of each page, or by operating a control on
that page. For example, operating fader 16 displays the first page, while
operating fader 17/18 displays the second page.
When the 02Rs are first connected, or turned on, use the CONNECT
function to update the controlling 02R so that its controls match those of the
remote 02R. When the CONNECT function is used, the settings from the
remote 02R are copied to the controlling 02R.
Scene memories on the remote 02R can be recalled from either page. To do
this, use the PGM parameter to select a MIDI Program Change from 0 to
127. When the RCL icon is pressed, the corresponding scene memory is
recalled on the remote 02R, and the controlling 02R controls move to their
new positions. The SCENE number and TITLE parameters do not change
until the scene is recalled. Then they display the scene memory number
and title. The controlling 02R fader positions correspond to fader positions
on the remote 02R. Likewise, the indicators in the controlling 02R [ON]
buttons show which channels on the remote 02R are turned on and which
are turned off.
02R User’s Guide
MIDI
173
Yamaha 03D Digital Mixing Console
02R controls can be used to remotely control the following parameters of a
Yamaha 03D Digital Mixing Console.
02R Controls
Faders
Rotary encoders
[ON] buttons
Display functions
Parameters on the
03D Digital Mixing Console
MIC 1–16
Channel levels 1–16
17/18
Stereo input level
STEREO
Stereo output level
TAPE 1–16
Input channel pans 1–16
EFF1 & EFF2
Effects returns levels 1 & 2
MIC 1–16
Channel on/off 1–16
EFF1 & EFF2
Effects returns on/off 1 & 2
17/18
Stereo input on/off
STEREO
Stereo output on/off
Mix scene recall
03D Setup
On the MIDI Setup page of the 03D, set the various MIDI parameters as
shown below. Set the MIDI Receive and Transmit Channels to match those
of the 02R
02R User’s Guide
174
MIDI
There are two pages for 03D remote control. Pages can be selected using the
page icon at the right hand side of each page, or by operating a control on
that page. For example, operating fader 16 displays the first page, while
operating fader 17/18 displays the second page.
When the 02R or 03D is first connected, or turned on, use the CONNECT
function to update the 02R controls so that they match those of the 03D.
When the CONNECT function is used, the settings from the 03D are copied
to the 02R.
Scene memories on the 03D can be recalled from either page. To do this, use
the PGM parameter to select a MIDI Program Change from 0 to 127. When
the RCL icon is pressed, the corresponding scene memory is recalled on the
03D, and the 02R controls move to their new positions. The SCENE number
and TITLE parameters do not change until the scene is recalled. Then they
display the scene memory number and title. The 02R fader positions
correspond to fader positions on the 03D. Likewise, the indicators in the
02R [ON] buttons show which channels on the 03D are turned on and
which are turned off.
02R User’s Guide
MIDI
175
General MIDI Tone Generator
02R controls can be used to remotely control the following parameters of a
General MIDI-compatible tone generator.
02R Controls
Parameters on the
GM Tone Generator
Faders
MIC 1–16
Part levels 1–16
Rotary encoders
TAPE 1–16
Selectable Control Changes for 1–16
[ON] buttons
MIC 1–16
Part on/off 1–16
There is one page for General MIDI tone generator remote control. The
TAPE 1–16 rotary encoders can be assigned to various MIDI Control
Changes using the CONTROLLER ASSIGN parameter.
When the 02R or General MIDI tone generator is first connected, or turned
on, use the CONNECT function to update the tone generator controls so
that they match those of the 02R. When the CONNECT function is used,
the settings displayed on the 02R are transmitted to the General MIDI tone
generator.
The Part On/Off function controlled using the 02R [ON] buttons is not in
the GM specification. To turn a tone generator part off, the 02R transmits a
Volume message wit h a zero value. To turn a tone generator part on, the
02R transmits a Volume message with a value corresponding to the VOL
fader displayed on the 02R.
If you use this page to control a MIDI sequencer, for example, the Yamaha
QY700, on the MIDI 1/5 page of the 02R disable the Program Change and
Control Change parameters.
02R User’s Guide
176
MIDI
XG Tone Generator
02R controls can be used to remotely control the following parameters of an
XG-compatible tone generator.
02R Controls
Faders
Rotary encoders
[ON] buttons
Parameters on the
XG Tone Generator
MIC 1–16
Part Volumes 1–16 (17–32)
LINE 17/18
Part Volume AD 1
LINE 19/20
Part Volume AD 2
LINE 21/22
Part Volume Reverb return
LINE 22/23
Part Volume Chorus return
STEREO
Part Volume MASTER
TAPE 1–16
Part PAN, Reverb, or Chorus 1–16
(17–32)
EFF 1 RTN
Part PAN, Reverb, or Chorus AD 1
EFF 2 RTN
Part PAN, Reverb, or Chorus AD 2
MIC 1–16
Part on/off 1–16 (17–32)
LINE 17/18
Part on/off AD 1
LINE 19/20
Part on/off AD 2
LINE 21/22
Part on/off Reverb return
LINE 22/23
Part on/off Chorus return
STEREO
Part on/off MASTER
There are two pages for XG tone generator remote control. Pages can be
selected using the page icon at the right hand side of each page, or by
operating a control on that page. For example, operating fader 16 displays
the first page, while operating fader 17/18 displays the second page. The
PART icon is used to select parts 1 to 16 and parts 17 to 32. The TAPE 1–16
rotary encoders can be assigned for use with Pan, Reverb, or Chorus. This
setting is made using the PAN, REV, and CHO icons.
When the 02R or XG tone generator is first connected, or turned on, use the
CONNECT function to update the 02R controls so that they match those of
02R User’s Guide
MIDI
177
the XG tone generator. When the CONNECT function is used, the settings
from the XG tone generator are copied to the 02R.
If you use this page to control an XG MIDI sequencer, for example, the
Yamaha QY700, on the MIDI 1/5 page of the 02R disable the Program
Change and Control Change parameters.
02R User’s Guide
178
MIDI
ProR3 & REV500
02R controls can be used to remotely control the following parameters of a
Yamaha ProR3 & REV500.
02R Controls
Parameters on the
ProR3 or REV500
Faders
MIC 1–16
Parameters 1–16 value
Rotary encoders
TAPE 1–16
Parameters 1–16 value
Display functions
Program recall
REV500 Setup
On the REV500, use the UTILITY button to locate the MIDI Channel page,
and set to the same MIDI Channel as that of the REV500 MIDI Remote page
(CH). Press the UTILITY button again to locate the MIDI OUT ECHO
BACK page, and set to OFF. The REV500 does not receive MIDI messages
in Utility mode, so press a PROGRAM button ([TYPE], [PRESET/USER],
[–], or [+]) to return to Program mode.
ProR3 Setup
On the ProR3, use the UTILITY button to locate the MIDI Channel page,
and set to the same MIDI Channel as that of the ProR3 MIDI Remote page
(CH). The ProR3 does not receive MIDI messages in Utility mode, so press
the PGM button to return to Program mode.
Apart from the number and type of parameters, the ProR3 and REV500
remote pages are essentially the same. As well as remote parameter control,
the 02R can be used to recall reverb programs. To do this, use the PGM
parameter to select a reverb program. When the RCL icon is pressed, the
corresponding reverb program is recalled on the ProR3 or REV500, and the
02R controls move to their new positions. The TITLE and TYPE parameters
do not change until the reverb program is recalled. Then they display the
reverb program’s title and the type of the effect used. The 02R fader
positions correspond to parameter settings on the ProR3 or REV500.
02R User’s Guide
MIDI
179
When the 02R or ProR3/REV500 is first connected, or turned on, use the
CONNECT function to update the 02R controls so that they match those of
the ProR3/REV500. When the CONNECT function is used, the settings
from the ProR3/REV500 are copied to the 02R.
02R User’s Guide
180
MIDI
Pro Tools
02R controls can be used to remotely control the following parameters of a
Pro Tools system.
02R Controls
Parameters on the
Pro Tools System
Faders
MIC 1–16
Track levels 1–16
[ON] buttons
MIC 1–16
Mute 1–16
CURSOR buttons and [ENTER]
button
Rewind, Fast Forward, Stop, Play,
Record
Pro Tools Setup
Pro Tools 4.0x—In the MIDI Controller area of the Peripheral dialog box,
set the MIDI Controller type to either MM16 or DC16. Select 16 as the
number of channels. Set the “Receive From” and “Send To” parameters
accordingly.
Older version (only 8 tracks are controllable)—In the MIDI Controller
area of the Peripheral dialog box, select CS-10 as the Device. Set the “Port”
parameter accordingly.
With Pro Tools version 4.0x or later up to 16 tracks can be controlled from
the 02R. With earlier versions only eight tracks can be controlled.
Use the cursor buttons to select the Rewind, Fast Forward, Stop, Play, and
Record transport icons, and the [ENTER] button execute each function.
Note that [ON] button presses are not recorded by the automix.
02R User’s Guide
Groups and Pairs
12
181
Groups and Pairs
In this chapter...
Grouping Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Grouping Mutes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Pairing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
MS Decoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
02R User’s Guide
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182
Groups and Pairs
Grouping Faders
1. Use the [GROUP] button
to locate the GROUP 1/2
page.
GROUP
2. Use the CURSOR buttons
to select from group A
through D.
The 02R allows you to group the faders for multiple fader control using
only one fader. This makes it easy to control several faders simultaneously.
The input channel and the tape and effect returns can be grouped. There
are four groups available: A, B, C, and D.
Shown below is the GROUP 1/2 page—Fader Group. You can group the
input channels—MIC/LINE 1 through 16 and LINE 17/18 through
23/24—and the tape and effect returns—TAPE 1 through 16, EFF1 and
EFF2:
3. Use the [SEL] buttons to
add or remove faders to
and from the selected
group.
Another method is to use
the CURSOR buttons to
select the faders and
press the [ENTER] button.
Note: Stereo-pair channels
are added or removed
together.
4. Select a “Enable” group
icon and turn it on or off
by pressing the [ENTER]
button.
When a group is off, the
LEDs of the faders flash.
The individual levels
can be adjusted.
The faders are listed in two main rows with the four group icons below
each channel number.
On the right side of the page are the “Enable” group select icons. You can
adjust the level balance within a group by turning the group on or off by
selecting the corresponding icon (a group is ON when its icon is
highlighted) and pressing the [ENTER] button. The LEDs inset in the [SEL]
buttons of the faders in the group will flash and they will be ungrouped
temporarily, allowing you to adjust the individual fader levels.
If you try to operate multiple faders, the first fader you select will have
priority. It is possible to upset the relative positions of the faders if you
attempt to operate more than one at a time.
Note: A fader can only be assigned to one group. If you attempt to assign a fader
to more than one group, the message “Duplicate Grouping!” appears
02R User’s Guide
Groups and Pairs
183
Grouping Mutes
1. Use the [GROUP] button
to locate the GROUP 2/2
page.
GROUP
2. Use the CURSOR buttons
to select from group E
through H.
The 02R also allows you to group channel status controls for multiple
channel control using only one channel ON button. The channels in a
group can be on or off depending on their status when they were grouped.
Pressing a channel ON button toggles the status of all the channels in the
group. There are four groups available: E, F, G, and H.
Shown below is the GROUP 2/2 page—Mute Group. You can group the
input channels—MIC/LINE 1 through 16 and LINE 17/18 through
23/24—and the tape and effect returns—TAPE 1 through 16, EFF1 and
EFF2:
3. Use the [SEL] buttons to
add or remove channels
to and from the selected
group.
Another method is to use
the CURSOR buttons to
select the channels and
press the [ENTER] button.
Note: Stereo-pair channels
are added or removed
together.
4. Select a “Enable” group
icon and turn it on or off
by pressing the [ENTER]
button.
When a group is off, the
LEDs of the channels
flash. You can change
the channel status of
any channel in the
group.
The channels are listed in two main rows with the four group icons below
each channel number.
On the right side of the page are the “Enable” group select icons. You can
change the status of the channels within a group by disabling the group by
selecting the corresponding icon (a group is enabled when its icon is
highlighted) and pressing the [ENTER] button. The LEDs inset in the [SEL]
buttons of the channels in the group will flash and they will be ungrouped
temporarily, allowing you to adjust the individual channel status of the
group members.
Note: A channel can only be assigned to one group. If you attempt to assign a
channel to more than one group, the message “Duplicate Grouping!” appears.
02R User’s Guide
184
Groups and Pairs
Pairing Channels
1. Use the [PAIR] button to
locate the PAIR 1/2
page.
PAIR
2. Use the CURSOR buttons
to select a pair of
channels, and press the
[ENTER] button to
activate the pair.
Adjacent channels can be paired for stereo operation. This makes it easy to
work with stereo signals, because you only have to adjust one channel to
control both left and right signals. The 02R allows you to pair MIC/LINE
channels, TAPE channels, aux sends, or bus outs.
There are two pages to the PAIR function. The first page, shown below,
contains pair hearts for TAPE channels 1 to 16 and MIC/LINE channels 1 to
16.
1. Press the [PAIR] button
again to select the PAIR
2/2 page.
2. Select a pair of aux
sends or bus outs, and
press the [ENTER] button
to activate the pair.
The following functions are linked when TAPE or MIC/LINE channels are
paired:
02R User’s Guide
•
Faders and encoders
•
Aux 1–8 send levels
•
Aux 1–8 on/off
•
Aux 1–8 pre/post
•
Delay on/off
•
Delay parameters
•
EQ parameters
•
Dynamics parameters
•
Fader group and mute group
•
Fade time
•
Recall safe
•
Solo on/off
•
Surround CSR and subwoofer
Groups and Pairs
185
The second PAIR page, shown below, contains pair hearts for the aux sends
and bus outs.
The following functions are linked when aux channels are paired:
•
Input channel aux send level (depends on input channel pan)
•
Aux master levels
•
Aux master on/off and pre/post
The following functions are linked when bus channels are paired:
•
Bus master levels
•
Dynamics parameters
Use the CURSOR buttons to select a heart and press the [ENTER] button to
make or break the pair.
Another method of pairing input channels is to press and hold the [SEL]
buttons of both channels. When the Make Pair dialog box appears, select
EXECUTE to pair the channels. Which channel’s settings are copied to the
other channel depends on which [SEL] button you press first. For example,
if you press the MIC 1 [SEL] button and then MIC 2 [SEL] button, the
settings of the MIC 1 channel are copied to the MIC 2 channel, and vice
versa. The Make Pair dialog box, shown below, indicates in which direction
the channels settings will be copied.
When a channel from a stereo pair is selected, its [SEL] button indicator
lights up, and the [SEL] button indicator on the other channel flashes. To
cancel a channel pair, press both [SEL] buttons, and choose EXECUTE on
the Break Pair dialog box. The SELECTED CHANNEL AUX buttons can be
used to pair aux channels in a similar way.
02R User’s Guide
186
Groups and Pairs
MS Decoding
1. Use the [PAIR] button to
locate the PAIR 1/2
page.
PAIR
Adjacent MIC/LINE or TAPE channels configured as a stereo pair can be
used to decode signals derived using MS microphone techniques. MS
signals are controlled using the channel faders and pan controls. Other
channel controls work as normal.
Shown below is the PAIR 1/2 page—Pair.
2. Use the CURSOR buttons
to select the MS icons,
and the (ENTER) button
to set them.
The MS function can also
be set on the View 1/2
page. See “View” on
page 44.
When the MS function is turned on, channels are configured as a stereo
pair, although unlike regular pair mode the faders work independently.
When the stereo pair is cancelled, the MS function is turned off.
Channels configured in MS mode have to be stored as two individual
channel programs, with the odd/M channel as one program, and the
even/S channel as another. When you recall these programs, make sure
that the destination channels are not already configured as a stereo pair. If
they are the channel faders will be set the same.
The width of sound can be controlled by adjusting the S level.
The following table shows how the MS signals work with the channel
controls.
MS
Fader Function
Pan Function
M (odd-numbered channel)
M level
ML and MR balance
(in the direction of M)
S (even-numbered channel)
S level
SL and SR balance
Bus send levels are as follows:
L = ML + SL
R = MR – SR (pan coefficient of the right side of S is inverted)
02R User’s Guide
Digital I/O, Setup, and Utilities
13
187
Digital I/O, Setup, and Utilities
In this chapter...
Word Clock Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Input Signal Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Cascade Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Dither. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Slot Output Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Aux Output Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
24-bit Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Emphasis Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Channel Status Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Battery Check . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Communication Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
02R System Initialization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
02R User’s Guide
13
188
Digital I/O, Setup, and Utilities
Word Clock Select
1. Use the [DIGITAL I/O]
button to locate the
DIGITAL I/O 1/5 page.
DIGITAL
I/O
Note: The 02R always
recalls the last page visited
even after you turn the power
off and back on again.
2. Use the CURSOR buttons
to select a wordclock
source and press the
[ENTER] button.
The 02R processes audio data at 44.1 kHz or 48 kHz using its internal clock,
and can run at any frequency from 32 kHz –6% to 48 kHz +6% when an
external wordclock is applied.
Wordclock
When you connect a number of digital audio devices together, all the
devices should synchronize to one device—the wordclock master. The
wordclock master generates a sync pulse which allows the other devices
connected to it to determine where the start of each digital word is.
Although most digital interconnect protocols are self-clocking, it is more
reliable to use a dedicated line for your wordclock signal. This is especially
important in a multitrack environment where up to eight channels of
digital data may be multiplexed on one cable.
When you are using a digital device—such as a DAT mastering recorder or
a modular digital multitrack recorder—connected to the 02R, all the digital
devices in the system, including the 02R, should synchronize the
wordclock being supplied by one master device. If any device does not
synchronize to the system wordclock, dropout and/or other noise may
occur.
In Section 14, “Installing Options” on page 217 of the User’s Guide, there are
examples of connecting external digital devices to the 02R and setting the
appropriate wordclock selection. Refer to this section for details for each of
the optional digital I/O cards.
Note: Wordclock is not required if you use the analog I/O card (CD8-AD) to
connect to an analog multitrack recorder.
Shown below is the DIGITAL I/O 1/5 page—Word Clock Select.
02R User’s Guide
Digital I/O, Setup, and Utilities
189
The left side of the display is a list of the cards in the four option slots of the
02R. The indication varies depending on the type of optional card being
used:
•
Cascade (CD8-CS)
•
ADAT (CD8-AT)
•
TDIF-1 (CD8-TDII)
•
AES/EBU (CD8-AE/CD8-AE-S)
•
YAMAHA (CD8-Y)
•
Analog AD/DA (CD8-AD)
•
Analog A/D (CD8-AD-S)
•
No Connection
Beside each optional slot indicator is a row of four boxes defining the
connections to the card inserted in the corresponding slot.
Note: When a cascade card is inserted in any slot, the boxes defining the
connections are still displayed. However, you cannot select any of these items.
Across the bottom of the display are boxes for the external wordclock
(W.CLK IN), the digital inputs (2TR D1 and 2TR D2), and the internal
wordclock (INT 48k and INT 44.1k). To the left of the boxes are the
wordclock indicators.
There is also an indicator—inside the “Fs” box—that shows the current
wordclock frequency or status.
Wordclock indicators
W.CLK
IN
No wordclock input.
W.CLK
IN
Wordclock input. However, the input wordclock
frequency is different from that of the selected wordclock.
W.CLK
IN
Wordclock input. No discrepancy between the input and
selected wordclock frequencies.
W.CLK
IN
Wordclock input is selected. The 02R is synchronized to
the input wordclock frequency.
W.CLK
IN
The wordclock input is selected, but the wordclock signal
is inappropriate.
W.CLK
IN
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190
Digital I/O, Setup, and Utilities
Input Signal Select
1. Use the [DIGITAL I/O]
button to locate the
DIGITAL I/O 2/5 page.
DIGITAL
I/O
2. Use the CURSOR buttons
to select the desired
icons. Change the
setting by pressing the
[ENTER] button.
The 02R has 24 built-in analog input connectors; the individual input
channels (MIC/LINE 1 through 16) and the stereo input channels (LINE
17/18 through 23/24). You can route two of the 2-track digital inputs to the
stereo input channels (2TR IN D1 to LINE 17/18 and 2TR IN D2 to LINE
19/20). You can also convert the individual input channels (MIC/LINE 1
through 16) to tape return channels, allowing you to perform 32-track
mixdowns with the 02R.
Shown below is the DIGITAL I/O 2/5 page—Input Signal Select.
Note: If there is no digital
I/O card or signal present
when you select a digital
input, the default analog
selection will not be changed.
There are four boxes on this page.
The first box is for MIC 1-8 (MIC/LINE 1 through 8). You can select “CARD
SLOT 3” or “INT ANALOG” (the default). If there is no digital I/O card in
slot 3, the selection will fail.
The second box is for MIC 9-16 (MIC/LINE 9 through 16). You can select
“CARD SLOT 4” or “INT ANALOG” (the default). If there is no digital I/O
card in slot 4, the selection will fail.
The third box is for LINE 17/18. You can select “BUS 1/2”, “2TR-IN D1”, or
“INT ANALOG” (the default). If there is no digital signal (no wordclock
present) at the 2TR IN DIGITAL connector #1, the selection will fail.
The fourth box is for LINE 19/20. You can select “BUS 3/4”, “2TR-IN D2”,
or “INT ANALOG” (the default). If there is no digital signal (no wordclock
present) at the 2TR IN DIGITAL connector #2, the selection will fail.
Note: You cannot select 2TR-IN D1 or 2TR-IN D2 for digital input/output if
the corresponding switch (2TR-D1 or 2TR-D2) for either connector has been
selected with the CONTROL ROOM monitor switches.
02R User’s Guide
Digital I/O, Setup, and Utilities
191
Cascade Configuration
1. Use the [DIGITAL I/O]
button to locate the
DIGITAL I/O 5/5 page.
DIGITAL
I/O
2. Use the CURSOR buttons
to specify which of the
internal auxiliary buses
the cascade AUX A and
AUX B buses will be
assigned to.
Just like the modular digital multitrack recorders it is intended to work
with, the 02R was designed to be easily expandable from a basic 16-track
(40 input) system up to a 64-track (160 input) system. It uses Cascade
Digital I/O card kits (CD8-CS) to accomplish this.
For installation details, see Section 14, “Installing Options” on page 217 of
the User’s Guide, specifically “Digital Cascade Kit (CD8-CS)” on page 229.
Shown below is the DIGITAL I/O 5/5 page—Cascade Configuration.
Press the [ENTER] button
to make the selection.
3. Select the “ID” option
with the CURSOR
buttons and rotate the
encoder wheel to
specify the cascade ID
number.
4. Use the CURSOR buttons
to select the cascade
input attenuator icons.
Rotate the encoder
wheel to change the
attenuation level.
5. Select the “2TR-D2 to
Stereo Bus” option with
the CURSOR buttons
and press the [ENTER]
button to ENABLE.
Rotate the encoder
wheel to change the
attenuation level.
02R User’s Guide
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Digital I/O, Setup, and Utilities
Cascade Aux Bus Assign
The Cascade Digital I/O card kit (CD8-CS) has two paired auxiliary buses:
AUX A and AUX B. You can assign these buses to any pair of the 02R’s
internal auxiliary buses—but not to the same pairs.
If a cascade card is not inserted in the 02R, this display is grayed-out.
ID
The ID value specifies the order in the cascade of this 02R. The first slave
unit is assigned 0 (zero). The cascade master is assigned the highest ID
value (maximum 3). You can select from 0 to 3 as the unit ID.
You can only set this item when a cascade card is inserted in the 02R and set
to IN. When the page is grayed-out, the ID is automatically set to 0.
Cascade Input Attenuator
These icons allow you to set the input level of each bus line that is being
input into the 02R. You can set the levels for the internal buses 1 through 8,
the cascade auxiliary buses (AUX A and AUX B), the stereo bus, and the
solo bus.
You can only set this item when a cascade card is inserted in the 02R and set
to IN.
2TR-D2 to Stereo Bus
This option allows you to route the 2TR-D2 digital input connector to the
stereo bus. You also can set the attenuation level.
Note: The device plugged into the 2TR-D2 digital input connector must be
synchronized to the system wordclock to prevent dropout and/or other noise. You
cannot assign the 2TR-D2 to the stereo bus if the corresponding switch (2TR-D2)
has been selected with the CONTROL ROOM monitor switches. Select another
monitor source before you try to assign this signal to the stereo bus.
Custom Cascade
The cascade system was designed to be able to connect four 02R’s together,
but in fact you can actually add even more units if you want. The cascade
digital I/O cards were designed to compensate for the signal delay of
connecting up to four units together. If you add more units, you will have
to compensate for the signal delay with the DELAY display function. See
“Delay and Cascade” on page 34 of the User’s Guide for more details.
02R User’s Guide
Digital I/O, Setup, and Utilities
193
Dither
1. Use the [DIGITAL I/O]
button to locate the
DIGITAL I/O 4/5 page.
DIGITAL
I/O
2. Use the CURSOR buttons
to select the ON/OFF
icon for the desired bus
and press the [ENTER]
button to change the
value.
3. Select the Word Length
with the CURSOR
buttons and press the
[ENTER] button.
When you connect a number of digital audio devices together, you may
find their digital word size is different. For example, the 02R uses a 20-bit
word size for input and output and a 32-bit word size for internal
processing. Professional digital equipment uses a 24-bit wordsize, while
consumer digital equipment uses a 20-bit wordsize. In order to obtain the
best possible signal quality, the 02R has a dither function for its internal bus
and stereo bus outputs.
Dithering is a mathematical process where a random noise is added to the
least significant bit of a digital word. With very low level signals, the
quantization error becomes correlated to the signal level. This creates a
small but measurable amount of distortion. By adding dither, the
correlation between the signal level and the quantization error is cancelled,
allowing the digital system to encode amplitudes smaller than the least
significant bit. If you change the word size as a signal passes from one
digital system to another, being able to add dither allows you to maintain a
high quality signal.
Shown below is the DIGITAL I/O 4/5 page—Dither.
Dither ON/OFF
You can turn the dither function on or off for the stereo bus and for the
internal buses 1 through 8. The internal buses are paired for the dither
function.
Word Length
You can add dither to compensate for any word size from 16-bit to 24-bit.
02R User’s Guide
194
Digital I/O, Setup, and Utilities
Slot Output Select
1. Use the [DIGITAL I/O]
button to locate the
DIGITAL I/O 3/5 page.
The Slot Output Select function allows you to individually select bus outs,
aux sends, channel direct outs, and the left and right channels of the
stereo output for I/O card outputs.
Shown below is the DIGITAL I/O 3/5 page—Slot Output Select.
DIGITAL
I/O
2. Use the CURSOR buttons
to chose one of the four
SLOT icons, and the
[ENTER] button to select
it.
Slots can also be
selected by pressing
the left or right cursor
button repeatedly.
3. Use the CURSOR buttons
to select a source for
each output.
For each output you can select one source: bus, aux, stereo, or direct. By
default all outputs are set to bus. Direct outputs 1 to 8 appear on the SLOT
1 page, while direct outputs 9 to 16 appear on the SLOT 2 page.
When no I/O cards are inserted, or a cascade card is inserted, these pages
are grayed out.
In 24-bit Recording mode, where each slot is reduced to four outputs, the
Slot Output Assign pages appear as follows:
02R User’s Guide
Digital I/O, Setup, and Utilities
195
02R User’s Guide
196
Digital I/O, Setup, and Utilities
Solo
1. Use the [SETUP] button to
locate the SETUP 1/4
page.
Shown below is the SETUP 1/4 page—Solo.
SETUP
2. Use the CURSOR buttons
to select the desired
“Mode” and press the
[ENTER] button.
3. Use the CURSOR buttons
to select a “Status” and
press the [ENTER] button.
Recording mode:
Solo Functions
4. Select a “Listen” point
with the CURSOR
buttons and press the
[ENTER] button.
5. Select the “Solo Level”
icon and adjust the level
with the encoder wheel.
•
Status—This command determines which bus will be used when you
press the [SOLO] button. If you select “Recording”, the Solo bus will be
used. If you select “Mixdown”, the signals selected by the combination
of the [SOLO] button and the [ON] buttons will be sent to the Stereo
bus, and all other channels will be off.
•
Listen—This command is only functional in “Recording Mode”. It
selects the point the Solo monitoring signal will be taken from. You can
select “Pre Fader” or “After Pan” as the monitoring points.
Mixdown mode:
6. Use the CURSOR buttons
to select the “Solo Safe”
channels and press the
[ENTER] button to
enable/disable the
selected channel.
In “Mixdown Mode” the signal is always taken from after the pan and
this function is grayed-out.
•
Mode—This command controls which channels are added to the Solo.
If you select “Mix Solo”, all channels that are selected ON will be
added to output. If you select “Last Solo”, the channel that was last
selected ON will be output.
If you only want to listen to one channel at a time in solo mode, select
“Last Solo”.
•
Solo Level—This rotary icon controls the output level sent to the Solo
bus in “Recording Mode”.
In “Mixdown Mode” the signal is sent to the stereo bus and this icon is
grayed-out.
•
Cue Dim—This rotary icon sets the level to which the cue outputs are
dimmed when talkback is engaged.
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•
197
Solo Safe—Tape, Mic, Line, and Effects—These functions disable solo
On/Off selection. If you set a channel to Solo Safe while it was set to
Solo ON, the channel remains unconditionally ON in “Mixdown
Mode” when you select Solo.
This function has no effect in “Recording Mode”.
How to use Solo
1. Press the [SOLO] button.
The LEDs inset in all the [ON] buttons start flashing.
2. Press the [ON] buttons for the channels you want to solo.
The LED inset in the [ON] button you select is illuminated steadily. If you
selected “Last Solo” in the Status command, only the last channel you
select will be soloed.
3. Press the [SOLO] button again to cancel the solo function.
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Preferences
1. Use the [SETUP] button to
locate the SETUP 3/4 or
SETUP 4/4 page.
The 02R is a very flexible mixer. You can customize its behavior to suit your
needs using the preferences, which are divided into two pages: SETUP 3/4
and SETUP 4/4.
Shown below is the SETUP 3/4 page—Preferences 1.
SETUP
2. Use the CURSOR buttons
to select a preference.
3. Enable or disable the
preference by pressing
the [ENTER] button.
Preferences 1 Options
•
Auto EQ Display—With this option checked, when you operate the
buttons or controls in the SELECTED CHANNEL—EQUALIZER
group, the EQ page appears automatically.
•
Auto PAN Display—With this option checked, when you operate the
buttons or controls in the SELECTED CHANNEL—PAN group, the
PAN page appears automatically.
•
Auto ROUTING Display—With this option checked, when you
operate the buttons in the SELECTED CHANNEL—ROUTING group,
the ROUTING 1/4 page appears automatically.
•
Auto AUTOMIX Display—With this option checked, the AUTOMIX
1/7 page appears automatically when automix recording is stopped.
•
Auto SOLO Display—With this option checked, the SETUP 1/4 page
appears automatically when you press the [SOLO] button.
•
Auto WORD CLOCK Display—With this option checked, the
DIGITAL I/O 1/5 page appears automatically if a DIGITAL I/O error
occurs.
•
Store Confirmation—With this option checked, the 02R will request
you confirm any scene memory or library store or clear operations. The
initial setting is checked.
You should leave this option in its default state when your 02R is going
to be operated by an inexperienced person. Forcing them to respond to
a confirmation message may prevent the accidental loss of your
valuable data.
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When you confirm a STORE or CLEAR operation, any existing data
in the selected program location will be overwritten or cleared.
YOU SHOULD ALWAYS BE CAREFUL WHEN THE 02R DISPLAYS
A CONFIRMATION DIALOG BOX!
•
Recall Confirmation—With this option checked, the 02R will request
you confirm any scene memory or library recall operation.
•
Remote Talkback (C3)—With this option checked, you can enable the
Talkback system by sending a MIDI Note On message for C3. You
disable the Talkback system by sending a MIDI Note Off message for
C3.
•
Transmit Key Remote—With this option checked, when you operate
any buttons, controls, or faders, the 02R will transmit system exclusive
parameter change messages from its MIDI OUT connector. This is
intended to be used to remotely control another 02R.
•
Insert Tx Bulk Wait—With this option checked, Bulk Dump data is
transmitted at intervals. When another device cannot receive 02R Bulk
Dump data correctly, turning this option on may help.
•
Fast Meter Fall Time—With this option checked, the level meters will
respond more quickly to level changes. When the option is not
checked, the level meters delay their fall in order to allow you to see
the level changes more clearly.
•
CR Level to MB02—With this option checked, the level of the C-R
MONITOR OUT signal is displayed on the optional MB02’s stereo
meters.
•
Pre Fader Direct Out—With this option checked, the direct output
signal is sourced pre fader. Normally, the direct output signal is
sourced post fader.
•
Pre EQ Direct Out—With this option checked, the direct output signal
is sourced pre EQ. You cannot turn on both Pre EQ Direct Out and Pre
Fader Direct Out at the same time.
•
Slate Tone—With this option checked, when you press the [SLATE]
button, a 50 Hz tone at –34 dB is recorded along with the talkback
input.
•
TC Drop Warning OFF—With this option checked, the 02R will not
report a warning when the timecode reader detects a frame dropout.
If you have a noisy connection to your timecode source, or it was
poorly recorded on an analog recorder, this message may appear so
often that it becomes distracting. However, if you know your timecode
source is reliable, you may want to leave this option off so that the 02R
can warn you of any undesirable timecode events.
•
DIO Warning OFF—With this option checked, the 02R will not report
a warning when an error is detected in the digital signals being input
from one of the digital I/O cards. When the 02R detects an error, the
message “DIGITAL I/O Error!” is flashed on the display.
If you have a poor connection to your modular digital multitrack
recorder or any other digital audio devices, this message may appear
so often that it becomes distracting. You should be aware that if the 02R
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detects an error in the digital input or output, your recorded data may
be compromised. However, some modular digital multitrack recorders
will cause this error while performing synchronization during start-up.
•
MIDI Warning OFF—With this option checked, the 02R will not report
a warning when it receives a MIDI error.
The following error conditions will not be reported: “Byte Count
Error!”, “Check Sum Error!”, “Code Mismatch!”, “ID Mismatch”, and
“MIDI Ch Mismatch”.
•
Initial Data Nominal—When scene memory 0 is recalled, all channel
faders move to the minimum position. With this preference checked,
however, they move to the nominal position. Aux and bus master
faders move to the nominal (0.0 dB) position regardless of this
preference.
•
Fader Start—When the Fader Start preference is checked, a MIDI Note
On message is transmitted when an odd-numbered channel fader is
raised from infinity (oo). See “Fader Start” on page 163.
•
Force SUB Boot—With this option checked, the 02R forces the SUB
CPU to boot each time the 02R is turned on. Check this option to
prevent the 02R from booting the SUB CPU when you select MIDI
Clock as the automix Time Reference, or assign a MIDI Remote page.
Since MIDI Remote page assignments are stored in scene memories,
the SUB CPU may boot when a scene memory containing MIDI
Remote parameters is recalled. Turning on the Force SUB Boot check
box will prevent this.
Preferences 1—Factory Settings
Option / Setting
02R User’s Guide
Option / Setting
Auto EQ Display
ON
Fast Meter Fall Time
OFF
Auto PAN Display
ON
CR Level to MB02
OFF
Auto ROUTING Display
ON
Pre Fader Direct Out
OFF
Auto AUTOMIX Display
OFF Pre EQ Direct Out
OFF
Auto SOLO Display
OFF Slate Tone
OFF
Auto WORD CLOCK Display OFF TC Drop Warning OFF
OFF
Store Confirmation
ON
OFF
Recall Confirmation
OFF MIDI Warning OFF
OFF
Remote Talk Back (C3)
OFF Initial Data Nominal
OFF
Transmit Key Remote
OFF Fader Start
OFF
Insert Tx Bulk Wait
OFF Force SUB Boot
OFF
DIO Warning OFF
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Preferences 2
Shown below is the SETUP 4/4 page—Preferences 2.
•
MIX Update Confirmation—With this option checked, a confirmation
dialog box appears after performing an automix edit asking whether or
not you want to keep the new edit, thereby updating the automix.
•
REC Recall Safe Faders—With this option checked, you can record
fader movements even though the faders are set to Recall Safe.
•
Fader Flip Recall Safe—With this option checked, the [FLIP] button is
not affected when a mix scene is recalled.
•
Touch Sense Select—With this option checked, adjusting a fader or
rotary encoder displays the corresponding page, or selects the channel,
allowing for quick operation.
•
Touch Sense Edit—With this option checked and the FADER
Overwrite option on the AUTOMIX 1/7 page checked, simply moving
a fader during automix recording automatically selects that fader for
recording. You may find this more convenient than using the [SEL]
buttons to select faders. Be careful, however, because if an Overwrite
parameter other than FADER is selected, because data recorded before
the edit start point will be deleted.
•
Auto EQ Edit In—With this option checked, adjusting the EQ affects
only the selected band. For example, adjusting the HIGH EQ does not
affect the LOW EQ.
•
Restore Last Edit Ch—With this option checked, the channel edited
last is automatically selected for subsequent edits. In Rec Ready mode,
the last channel edited is selected for subsequent edits. In Auto Rec
mode, selecting one of the last channels edited automatically selects all
the channels that were edited last for subsequent edits.
•
Surround X, Y Edit—With this option checked, surround pan X and Y
movements can be recorded in an automix. The Extract, Copy, and
Move functions on the AUTOMIX 4/7 page only affect the X and Y
data when this box is checked.
•
Surround CSR Edit—With this option checked, surround pan CSR
movements can be recorded in an automix. The Extract, Copy, and
Move functions on the AUTOMIX 4/7 page only affect the CSR data
when this box is checked.
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02R User’s Guide
•
Surround SWF Edit—With this option checked, surround pan SWF
(subwoofer level) movements can be recorded in an automix. The
Extract, Copy, and Move functions on the AUTOMIX 4/7 page only
affect the SWF data when this box is checked.
•
Link Surround Master—With this option checked, the surround
master level can be controlled using the STEREO fader.
•
Auto Inc. TC Capture—With this option checked, the timecode
capture memory is incremented automatically as timecode addresses
are captured.
•
Compact Automix Bulk—With this option checked, automix data is
compressed before Bulk Dump transmission, so it uses less memory on
the storage device. Data is automatically uncompressed when it’s
dumped back to the 02R. Do not use this function when transmitting
automix data to a Version 1 02R.
•
Compact Scene Bulk—With this option checked, mix scene data is
compressed before Bulk Dump transmission, so it uses less memory on
the storage device. Data is automatically uncompressed when it’s
dumped back to the 02R. Do not use this function when transmitting
mix scene data to a Version 1 02R.
•
Show Compact Size—With this option checked, when a compressed
automix is in memory, the amount of free memory is displayed on the
AUTOMIX 1/7 page.
•
Automix Store Undo—With this option checked, automix store and
recall operations carried out on the Automix 2/7 page can be undone
using the UNDO icon.
•
Copy Initial Faders—With this option checked, a new fader event is
inserted when a fader event is copied or moved. This new fader event
is inserted at the specified Copy To time, and takes the fader position at
the specified In Time. This option prevents fader position matching
problems that occur when there is no fader event at the In Time. You
can specify the time between the Copy To and the new event using the
RET parameter.
•
Tx 02R Link Message—With this option checked, the 02R can control
several other 02Rs via MIDI. This would typically be set on the 02R
master in a cascade system. See “MIDI Link” on page 232.
•
Rx 02R Link Message—With this option checked, the 02R receives
Link Messages from the master 02R. This would typically be set on the
02R slave in a cascade system. See “MIDI Link” on page 232.
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203
Preferences 2—Factory Settings
Option / Setting
Option / Setting
MIX Update Confirmation
OFF Surround SWF Edit
OFF
REC Recall Safe Faders
OFF Link Surround Master
OFF
Fader Flip Recall Safe
OFF Auto Inc. TC Capture
OFF
Touch Sense Select
OFF Compact Automix Bulk
OFF
Touch Sense Edit
OFF Compact Scene Bulk
OFF
Auto EQ Edit In
OFF Show Compact Size
OFF
Restore Last Edit Ch
OFF Copy Initial Faders
OFF
Surround X, Y Edit
ON
Tx 02R Link Message
OFF
Surround CSR Edit
OFF Rx 02R Link Message
OFF
Aux Output Select
1. Use the [SETUP] button to
locate the SETUP 2/4
page.
Using the Aux Output Select function, bus outputs can be assigned to the
analog aux send outputs, providing analog bus outputs. Bus signals 1 to 6
can be assigned individually to aux send outputs 1 to 6.
Shown below is the SETUP 2/4 page—Aux Output Select.
SETUP
2. Use the CURSOR buttons
to select the AUX and
BUS icons, and the
(ENTER) button to set
them.
Initially, the aux buses are assigned to the analog aux outputs. A
highlighted AUX or BUS icon indicates which bus is assigned to an output.
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24-bit Recording
1. Use the [SCENE
MEMORY] button to
locate the SCENE 5/5
page.
SCENE
MEMORY
2. Use the CURSOR buttons
to select the NORMAL
MODE and 24bit MODE
icons, and press the
(ENTER) button to set
them.
Using two recorder tracks per channel, high-resolution digital audio can be
recorded at the maximum wordlength of 24 bits. Recorder tracks 1 to 4 are
used for the upper 16 bits, while tracks 5 to 8 are used for the lower 8 bits.
In 24-bit Recording mode, a single slot can output up to four channels,
which are selected on the DIGITAL I/O 5/5 page. See “Slot Output Select”
on page 194. Slots 1 and 3 output bus signals 1 to 4, while slots 2 and 4
output bus signals 5 to 8. Aux, stereo, and direct out signals can also be
recorded in 24-bit mode. Output signals are split in two and fed to two
recorder tracks. For example, bus out 1 is split and fed to recorder track 1
(upper 16 bits) and track 5 (lower 8 bits). Bus out 2 feeds tracks 2 and 6. Bus
out 3, tracks 3 and 7. And bus out 4, tracks 4 and 8.
For playback, track signals are automatically recombined and fed to the
02R channels as shown in the following table.
Slot
02R Channel
Notes
1
TAPE IN 1–4
TAPE INs 5–8 disabled
2
TAPE IN 9–12
TAPE INs 13–16 disabled
3
MIC IN 1–4
MIC INs 5–8 disabled
4
MIC IN 9–12
MIC INs 13–16 disabled
As the table shows, in 24-bit Recording mode four MIC or TAPE channels
for each slot cannot be used. So if all four slots are used for 24-bit recording
the maximum number of slot inputs is reduced from 32 to 16. The
recording mode can be set individually for each slot, however, and settings
are stored in scene memories.
The following I/O cards can be used with 24-bit Recording mode: ADAT
(CD8-AT), Tascam (CD8-TDII), Yamaha (CD8-Y), AES Single (CD8-AE-S),
and AES Double (CD8-AE). The following I/O cards can be used with
24-bit Recording mode: ADAT (CD8-AT), Tascam (CD8-TDII), Yamaha
(CD8-Y), AES Single (CD8-AE-S), and AES Double (CD8-AE). The input
and output configurations for analog I/O cards are not affected by the
24-bit Recording mode settings.
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Shown below is the SCENE 5/5 page—24bit Recording Mode.
If you attempt to set 24bit MODE when the Input
Patch for a slot is assigned one or more buses, the
confirmation dialog box shown here appears.
Choose EXECUTE to cancel the Input Patching
and activate 24bit MODE.
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Input Patching
1. Use the [SCENE
MEMORY] button to
locate the SCENE 4/5
page.
SCENE
MEMORY
2. Use the CURSOR buttons
to select an input icon,
and the (ENTER) button
to select that input
channel group.
The Input Patching function allows you to select the signal sources for
MIC/LINE channels 1 to 24 and TAPE channels 1 to 16. The same source
can be selected for several channels. Bus outs can be patched through to the
TAPE channels for bus out monitoring and subgrouping. To prevent a
feedback loop, you cannot select bus outs to which a channel is routed, or
route a channel to the bus selected as its signal source. In either case a
warning message appears.
Shown below is the TAPE 1–8 page of SCENE 4/5. On this page you can
select a card input from 1 to 8 or the corresponding bus out for TAPE
channels 1 to 8.
You can also use the
[SEL] buttons to select
input channel groups.
3. Use the CURSOR buttons
to select a signal source,
and the (ENTER) button
to set it.
Shown below is the TAPE 9–16 page of SCENE 4/5. On this page you can
select a card input from 9 to 16 or the corresponding bus out for TAPE
channels 9 to 16.
In 24bit MODE you cannot select individual
buses. If you attempt to select a bus, the
confirmation dialog box shown here appears.
Choose EXECUTE to assign all buses to the card
inputs.
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Likewise, if a slot is configured for 24bit MODE,
all buses are assigned to the card inputs, and you
attempt to select a card input, the confirmation
dialog box shown here appears. Choose
EXECUTE to cancel all the bus assignments.
Shown below is the MIC 1–8 page of SCENE 4/5. On this page you can
select internal or slot 3 inputs from 1 to 8. The Input Select parameters INT
ANALOG and CARD SLOT 3 also appear on the DIGITAL I/O 2/5 (Input
Signal Select) page.
Shown below is the MIC 9–16 page of SCENE 4/5. On this page you can
select internal or slot 4 inputs from 9 to 16. The Input Select parameters INT
ANALOG and CARD SLOT 4 also appear on the DIGITAL I/O 2/5 (Input
Signal Select) page.
Input Patching settings are stored in scene memories.
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Shown below is the LINE 17–24 page of SCENE 4/5. On this page you can
select internal input (LINE), bus, or 2TR IN (17/18, 19/20 only). These
parameters also appear on the DIGITAL I/O 2/5 (Input Signal Select) page.
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209
Oscillator
1. Use the [UTILITY] button
to select the UTILITY 1/4
page.
UTILITY
2. Use the CURSOR buttons
to select the ON or OFF
icon and press the
[ENTER] button.
Before starting a recording session, many engineers like to record a few
seconds of sine wave tones. These tones are used to compare the
performance of multitrack recorders when you take the master tapes from
one studio to another. This is especially important when the multitrack
recorder is analog. The 02R has an oscillator function that allows you to
send 100 Hz, 1 kHz, and 10 kHz sine waves and white noise to the
auxiliary and output buses and the stereo bus.
Shown below is the UTILITY 1/4 page—Oscillator.
3. Select the “Level” icon
with the CURSOR
buttons. Rotate the
encoder wheel to set the
oscillator output level.
4. Use the CURSOR buttons
to select the “Wave
Form” and press the
[ENTER] button.
5. Select the output
assignment icons with
the CURSOR buttons
and press the [ENTER]
button for each output.
Oscillator Functions
•
ON/OFF—This icon is used to turn the oscillator on or off. When the
oscillator is on, the Control Room DIM (mute) function is automatically
turned on.
•
Level—This rotary icon allows you to set the oscillator output level. Set
the level from –96 dB to 0 dB. Watch the level meters to ensure you are
not driving the 02R into digital clipping.
•
Wave Form—These icons allow you to select the wave form you want
output. The 02R can generate four different wave forms: “Sine 100Hz”,
“Sine 1kHz”, “Sine 10kHz”, and “Noise”.
•
BUS Assign—Select the output buses 1 through 8.
•
Stereo Assign—Select the stereo bus.
•
Aux Assign—Select the auxiliary buses 1 through 8.
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Emphasis Monitor
1. Use the [UTILITY] button
to locate the UTILITY 2/4
page.
UTILITY
This function allows you to monitor the emphasis information of the digital
inputs. If an input digital signal was recorded with emphasis—a technique
used in early digital recordings to compensate for the deficiencies of the
hardware of the period, similar to Dolby® or dbx® noise reduction for
analog—the 02R can compensate by applying de-emphasis to the signal
before further processing.
Note: When the 02R receives data that has been processed with emphasis ON, it
will automatically process the data by applying de-emphasis. It will continue
processing the signal internally and will subsequently out put the data with
emphasis OFF. Regardless of whether a signal has been received with emphasis
ON, the 02R will always output the signal with emphasis OFF.
Shown below is the UTILITY 2/4 page—Emphasis Monitor.
This page allows you to monitor the emphasis information of the signal
input from each digital input jack of optional slots 1-4 and 2TR DIGITAL
IN 1-3 connectors. One of the following three icons will appear depending
on the status of the input signal:
No signal or an invalid signal is being input.
02R User’s Guide
OFF
Valid digital audio signal is being input. De-emphasis is
not required and is off for the signal.
ON
Valid digital audio signal is being input. De-emphasis is
required and is set to on for the signal.
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211
Channel Status Monitor
1. Use the [UTILITY] button
to locate the UTILITY 3/4
page.
This function shows the channel status information of digital audio signal.
Channel status information is only present in IEC958 digital audio signals.
Shown below is the UTILITY 3/4 page—Channel Status Monitor.
UTILITY
2. Use the CURSOR buttons
to select an input
signal—“SLOT1”,
“SLOT2”, “SLOT3”,
“SLOT4”, or “2TR”—and
press the [ENTER] button.
If applicable, the 02R will
show the channel status
information for the
selected input.
This page allows you to monitor the channel status information from a
digital audio signal using the IEC958 Part3 (AES/EBU Professional) format
or IEC958 Part2 (Consumer) format.
Select one of the [SLOT1], [SLOT2], [SLOT3], [SLOT4], and [2TR] icons in
the upper part of the page to select the information you wish to monitor. If
you select one of SLOTs 1–4 and any card other than the CD8-AE
(AES/EBU card) is installed in the corresponding slot (or no card is
installed), the page is grayed out and you cannot monitor the information.
The table in the center of the page shows the contents of the channel status
of the selected signal.
Each indication has the following meaning:
•
Fs—This is the sampling frequency information. One of “32k”, “44.1k”,
“48k”, “None” (unknown), and “(UNLOCK)” will appear.
“(UNLOCK)” means that no signal is being input or the input signal is
invalid. In this case, the Emphasis, Category, and Copy columns will
show “---”.
•
Emphasis—This shows the status of emphasis of the control bit. “ON”,
“OFF” or “???” (unknown) will be shown.
•
Category—This shows the status of the “category bit” which is
implemented only for the IEC958 Part2 (Consumer) format. The
following items are included:
General—Used temporarily.
Laser Optical—Laser optical device
D/D Conv—Digital-to-digital converter and signal processor
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Magnetic—Magnetic tape device and magnetic disk device
D. Broadcast—Digital broadcast reception
Instruments—Musical instruments, microphones and the sources that
generate the original signal
A/D Conv—A/D Converter (Without copyright information)
A/D Conv with (C)—A/D Converter (With copyright information)
Solid Memory—Solid memory device
Experimental—Experimental device
Unknown—Unknown
Note: If you monitor a signal in the IEC958 Part3 (AES/EBU Professional)
format (which does not have a category code bit), the Category column will
show “AES/EBU”.
•
Copy—This shows the status of “C bit” (Copyright information) that
has been implemented in only the IEC958 Part 2 (Consumer) format.
The following items will be shown:
Ok—Copy allowed.
Prohibit—Copy prohibited.
Note: If you monitor a signal in the IEC958 Part3 (AES/EBU Professional)
format (which does not have a “C” bit), the Copy column will show “---”.
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213
Battery Check
1. Use the [UTILITY] button
to locate the UTILITY 4/4
page.
This function allows you to check the status of the 02R’s backup battery.
Shown below is the UTILITY 4/4 page—Battery Check.
UTILITY
If there is enough battery capacity, the battery says “Yes, I’m fine!”
If the battery needs to be changed, it says, “I’m exhausted... Replace me
immediately.”, as shown below.
Note: If this message appears, your important data in memory, such as scene
memories, automix memories, and libraries, may be lost. Ask your nearest Yamaha
dealer or Yamaha Service Center to replace the battery as soon as possible.
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Communication Speed
1. Use the [UTILITY] button
to locate the UTILITY 4/4
page.
UTILITY
The Communications Speed section of the UTILITY 4/4 page allows you to
monitor the TO HOST port speed, and is for use with computer software
such as Project Manager or Visualizer. The controlling host computer
automatically configures the communication speed, so you don’t have to
worry about these settings. Once communications between the 02R and
host computer have been established, you can change the communication
speed on the computer only, and the check boxes on the UTILITY 4/4 page
are grayed out.
The *1 speed is the default at 38.4 kbps.
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215
02R System Initialization
1. Turn off the 02R.
2. Press and hold the left
CURSOR button.
This operation allows you to reset the 02R to its initial settings. This
operation deletes all scene memories, automix programs, and clears all user
library programs from the channel, dynamics, effect, and EQ libraries.
Note: If you just want to reset the current mix settings, recall Scene Memory 0.
See “Initial Data and UNDO Memory” on page 129 of the User’s Guide.
CURSOR
3. Turn the 02R back on.
Initialization consists of:
•
Clearing all user RAM settings: all scene memories (except Scene
Memory 0), automix programs, and user library programs from the
channel, dynamics, effect, and EQ libraries.
•
Initializing the Edit Buffer. See “What is the Edit Buffer?” on page 129
of the User’s Guide.
•
Initializing the Program Change table (list of scene memories to MIDI
Program Change numbers). See “Program Change Assign” on page
160 of the User’s Guide.
•
Coping Scene Memory 0 to the Edit Buffer.
•
Initializing the input and output ports.
•
Calibrating the faders.
A confirmation dialog
box appears.
4. Select the EXECUTE icon
by with the CURSOR
buttons and press the
[ENTER] button.
The 02R initializes itself.
When it has completed
the initialization
operation, the SCENE
1/1 page appears.
Note: Avoid blocking the fader movements by placing objects on the 02R
while the faders are calibrating themselves. It is possible to damage the faders.
•
Refreshing the display.
The SCENE 1/1 page appears.
Fader Calibration
This operation allows you to calibrate the faders.
1. Turn off the 02R.
2. Press and hold the [ENTER] button, then turn the 02R back on.
The faders are calibrated.
Note: Avoid blocking the fader movements by placing objects on the 02R while
the faders are being calibrated. It is possible to damage the faders.
02R User’s Guide
Installing Options
14
217
Installing Options
In this chapter...
02R Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Installing 02R Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Analog I/O Card—AD/DA (CD8-AD) . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Analog I/O Card—A/D (CD8-AD-S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Digital I/O Card—AES/EBU (CD8-AE/CD8-AE-S) . . . . . . . . . . . . . . . . 225
Digital I/O Card—ADAT (CD8-AT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Digital Cascade Kit (CD8-CS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Digital I/O Card—TDIF-1 (CD8-TDII). . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Peak Meter Bridge (MB02) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
02R User’s Guide
14
218
Installing Options
02R Options
There are a number of options you can add to your 02R. Some of these
options add to the convenience and appearance of the 02R, such as the
peak meter bridge (MB02) or the wooden side panels (W02SP). There is
also a memory expansion kit (ME4M) which allows you to add up to 2 MB
of additional memory for the automix system.
The most important options are the I/O cards.
These cards support direct digital interconnection to the latest generation of
modular digital multitrack recorders. Alesis ADAT, TASCAM TDIF-1,
YAMAHA, and AES/EBU cards are available.
In addition, you can insert a Digital Cascade card into one of the I/O slots,
allowing you to cascade multiple 02Rs together to create a larger digital
mixing system.
Analog cards are also available for connecting analog multitrack recorders
and providing more analog inputs.
02R Options
Type
Analog I/O Card
Digital I/O Card
Product
Format
CD8-AD
AD/DA
CD8-AD-S
A/D
CD8-AE
AES/EBU
CD8-AE-S
AES/EBU
CD8-AT
ADAT
CD8-TDΙΙ
TDIF-1
CD8-Y
YAMAHA
Digital Cascade Kit
CD8-CS
Peak Meter Bridge
MB02
Memory Expansion Kit
ME4M
Wooden Side Panels
W02SP
I/O Cards
The I/O cards transmit and receive signals between your 02R and external
devices, such as modular digital multitrack recorders, hard disk recorders,
analog multitrack recorders, or other 02Rs. The cards come in two sizes:
single slot and double slot:
02R User’s Guide
•
Single slot I/O cards can be installed in any slot from 1 to 4.
•
Double slot I/O cards can only be installed in slots 1 or 2.
Installing Options
219
The I/O cards fall into three groups:
•
Digital I/O Cards—These cards provide 8 tracks of digital input and
output. They are used to connect the 02R to a digital multitrack
recorder—either tape or disk based. Cards supporting ADAT, TDIF-1,
YAMAHA, and AES/EBU formats are available. Except for the
CD8-AE card, these cards are single slot, allowing you to insert up to
four cards giving you a maximum 32 tracks of digital mixdown.
•
Analog I/O Cards—These cards provide 8 tracks of analog input and
output. The CD8-AD can be used to connect the 02R to an analog
multitrack recorder or to increase the number of analog inputs and
outputs. The CD8-AD-S offers 8 analog phone jack inputs on a single
slot card. Conversion is performed in 20-bit linear. The sampling
frequency is the same as the current wordclock master on the 02R.
•
Cascade I/O Card—This card allows you to connect the bus lines 1
through 8, two pairs of the auxiliary buses 1 through 8 to the cascade
card’s AUX A and AUX B buses, the STEREO bus, and the SOLO bus
of two or more 02R’s. One 02R is the cascade master, the others are
slaves.
The following table lists the I/O cards available:
Card
Format
Product
CD8-AE
double slots 1 or 2
(max 2 cards, 16 ch)
CD8-AE-S
single, slots 1–4
(max 4 cards, 32 ch)
ADAT
CD8-AT
single slots 1–4
(max 4 cards, 32 ch)
TDIF-1
CD8-TDΙΙ
single slots 1–4
(max 4 cards, 32 ch)
YAMAHA
CD8-Y
single slots 1–4
(max 4 cards, 32 ch)
AD/DA
CD8-AD
double slots 1 or 2
(max 2 cards, 16 ch)
A/D
CD8-AD-S
single slots 1–4
(max 4 cards, 32 ch
CD8-CS
single slots 1–4 (normally 3 or 4)
kit incl. 2 cards & cable.
AES/EBU
Digital I/O
Size & Location
Analog I/O
Cascade Kit
Peak Meter Bridge
The Peak Meter Bridge (MB02) displays the levels for all the input, output,
and bus channels of the 02R, plus it duplicates the stereo output signal
meters. The meter bridge displays the information shown on the METER
pages in a much more convenient form.
02R User’s Guide
220
Installing Options
Memory Expansion Kit
The memory expansion kit (ME4M) expands the 02R automix system
memory from the standard 512K to either 1.5 MB or 2.5 MB.
Note: Take the 02R to your YAMAHA dealer or authorized service center for
installation of the ME4M kit. Doing the installation yourself invalidates the
warranty.
Wooden Side Panels
These Wooden Side Panels (W02SP) attach to either side of the 02R to give
it an attractive appearance.
02R User’s Guide
Installing Options
221
Installing 02R Options
Single Slot Cards
1. Turn off the 02R.
TO PREVENT ELECTRICAL SHOCK, ENSURE THE 02R IS TURNED OFF
BEFORE YOU OPEN ANY OF THE SLOT COVERS!
Note: Before you install a card in the 02R, be certain to turn the power
off. Not only do you risk electrical shock, you can also damage either the
02R or the optional card. You will also invalidate any warranties for the 02R
or the optional cards.
2. Remove the cover plate from the slot in which you intend to insert
the optional card.
Note: You should save the cover plates for possible later use. You should
also never operate the 02R with one of the slots uncovered. This disrupts
the flow of air through the power supply and other components and can
cause premature failure of internal components.
3. Insert the optional card as shown below.
When you insert the card, press it firmly into the slot to make certain
the connector on the card edge seats firmly on the bus slot inside the
02R. Make sure the card is properly secured with the screws that held
the cover plate in place.
4. Turn on the 02R.
Verify that the card has been recognized by the system software on the
DIGITAL I/O 1/5 page (see “Word Clock Select” on page 188 of the
User’s Guide). If the card was installed properly, the 02R should
correctly identify it in the appropriate slot.
02R User’s Guide
222
Installing Options
Double Slot Cards
1. Turn off the 02R.
TO PREVENT ELECTRICAL SHOCK, ENSURE THE 02R IS TURNED OFF
BEFORE YOU OPEN ANY OF THE SLOT COVERS!
Note: Before you install a card in the 02R, be certain to turn the power
off. Not only do you risk electrical shock, you can also damage either the
02R or the optional card. You will also invalidate any warranties for the 02R
or the optional cards.
2. Remove the cover plate from the slot in which you intend to insert
the optional card as well as the slot over top
The double slot cards can only be installed in SLOT1 and/or SLOT2.
Note: You should save the cover plates for possible later use. You should
also never operate the 02R with one of the slots uncovered. This disrupts
the flow of air through the power supply and other components and can
cause premature failure of internal components.
3. Insert the optional card as shown below.
When you insert the card, press it firmly into the slot to make certain
the connector on the card edge seats firmly on the bus slot inside the
02R. Make sure the card is properly secured with the screws that held
the cover plate in place.
4. Turn on the 02R.
Verify that the card has been recognized by the 02R on the DIGITAL
I/O 1/5 page (see “Word Clock Select” on page 188 of the User’s Guide).
If the card was installed properly, the 02R should correctly identify it in
the appropriate slot.
02R User’s Guide
Installing Options
223
Peak Meter Bridge and Wooden Side Panels
1. Turn off the 02R.
TO PREVENT ELECTRICAL SHOCK, ENSURE THE 02R IS TURNED OFF
BEFORE YOU FASTEN ANY CONNECTORS OR UNDO ANY SCREWS!
Note: Before you install the MB02 on the 02R, be certain to turn the
power off. Not only do you risk electrical shock, you can also damage either
the 02R or the MB02. You may also invalidate any warranties for the 02R or
the Peak Meter Bridge (MB02).
2. Install the Peak Meter Bridge and/or Wooden Side Panels as
shown in the following diagram:
3. Turn on the 02R.
Verify that the MB02 is functioning correctly.
Memory Expansion Kit
The Memory Expansion Kit (ME4M) is a dealer/service
center installed option only. Any attempt by a customer to
install this option will invalidate any warranties for the 02R or
the ME4M.
Please take your 02R to your YAMAHA dealer or a YAMAHA service
center to have the Memory Expansion Kit (ME4M) installed in the 02R.
02R User’s Guide
224
Installing Options
Analog I/O Card—AD/DA (CD8-AD)
The CD8-AD is used to connect an analog multitrack recorder or other
analog devices to the 02R.
Installing the CD8-AD
The CD8-AD is a double slot card. For installation instructions, see “Double
Slot Cards” on page 222 of the User’s Guide. Before you install the CD8-AD,
you need to set the individual input and output level switches. Set the
switches to –10 dBv or +4 dB as appropriate. Refer to the instructions
included with the CD8-AD for more information.
Setup of the CD8-AD
1. Use the [DIGITAL I/O] button to locate the DIGITAL I/O 1/5 page.
If the card was installed properly, the 02R will identify it in the
appropriate slot.
2. Make the required connections between the 02R and your
analog devices.
You should use the highest quality connecting cables you can afford to
maintain the best possible signal quality.
Analog I/O Card—A/D (CD8-AD-S)
The CD8-AD-S card offers eight analog phone jack inputs.
Installing the CD8-AD-S
The CD8-AD-S is a single slot card. For installation instructions, see “Single
Slot Cards” on page 221 of the User’s Guide. Before you install the
CD8-AD-S, you need to set the input and output level switches. Set the
switches to –10 dBv or +4 dB as appropriate. Refer to the instructions
included with the CD8-AD-S for more information.
Setup of the CD8-AD-S
1. Use the [DIGITAL I/O] button to locate the DIGITAL I/O 1/5 page.
If the card was installed properly, the 02R will identify it in the
appropriate slot.
2. Make the required connections between the 02R and your
analog devices.
You should use the highest quality connecting cables you can afford to
maintain the best possible signal quality.
02R User’s Guide
Installing Options
225
Digital I/O Card—AES/EBU
(CD8-AE/CD8-AE-S)
The AES/EBU digital I/O cards (CD8-AE/CD8-AE-S) are used to connect
AES/EBU compatible multitrack digital recorders or other similar digital
devices to the 02R.
Installing the CD8-AE/CD8-AE-S
The CD8-AE card is a double slot card (see “Double Slot Cards” on page
222). The CD8-AE-S card is a single slot card (see “Single Slot Cards” on
page 221).
1. Connect the AES/EBU compatible multitrack digital recorder to
the 02R using the appropriate connectors.
XLR cable x 4
XLR cable x 4
AES/EBU
OUT
CD8-AE
SLOT 1
AES/EBU
IN
WORD
CLOCK
IN
BNC 75
cable
WORD
CLOCK
OUT
AES/EBU
OUT
AES/EBU
IN
Digital MTR
This illustration shows how to
connect to a CD8-AE card.
For the CD8-AE-S card, 25-pin
D-SUB cables are used instead
of the XLR cables.
Use high quality 110Ω digital connecting cables to connect to the
CD8-AE card. Use 25-pin D-SUB cables that are suitable for digital
audio use to connect to the CD8-AE-S card.
2. If your AES/EBU compatible multitrack digital recorder has a
dedicated wordclock output connector, connect it to the WORD
CLOCK—IN connector on the back of the 02R and turn the 75Ω
terminator switch on.
If there is no dedicated wordclock output, you can obtain the
wordclock signal required from one of the digital interconnect lines.
Note: A dedicated wordclock connection will give you the best wordclock
synchronization results.
02R User’s Guide
226
Installing Options
Wordclock Selection
1. Turn on your AES/EBU compatible multitrack digital recorder and
then the 02R.
It is always important to observe the correct order for turning on
equipment in a studio. Start with the AES/EBU compatible multitrack
and mastering recorders and the signal processors, then the 02R, and
finally the monitoring amplifiers and other downstream gear.
2. Use the [DIGITAL I/O] button to locate the DIGITAL I/O 1/5 page.
If the card was installed properly, the 02R will identify it in the
appropriate slot.
3. Use the CURSOR buttons to select the wordclock source.
If your AES/EBU compatible multitrack digital recorder has a
dedicated wordclock output connector, use the CURSOR buttons to
select the W.CLK IN box and press the [ENTER] button. If the
multitrack digital recorder does not have a dedicated wordclock
output, select the TAPE 1/2 box—the first box in the SLOT1 row—and
press the [ENTER] button.
The current wordclock source is indicated by a highlighted icon. See
“Word Clock Select” on page 188 of the User’s Guide for further details.
02R User’s Guide
Installing Options
227
Digital I/O Card—ADAT (CD8-AT)
The ADAT digital I/O card (CD8-AT) is used to connect Alesis ADAT
compatible modular digital multitrack recorders to the 02R.
Installing the CD8-AT
The ADAT digital I/O card (CD8-AT) is a single slot card. For installation
instructions, see “Single Slot Cards” on page 221 of the User’s Guide.
1. Connect the ADAT modular digital multitrack recorder to the 02R
using the appropriate connectors.
OUTPUT
INPUT
OUTPUT
CD8-AT
SLOT 1
INPUT
CD8-AT
OPTICAL
OUTPUT
SLOT 2
OPTICAL
INPUT
SYNC
OUT
ALESIS ADAT
(Word clock master)
OPTICAL
OUTPUT
02R (Word clock slave)
75Ω Switch=ON
OPTICAL
INPUT
SYNC
IN
ALESIS ADAT
(Word clock slave)
Use the special ADAT optical cables to plug the IN connector of the
CD8-AT to the OPTICAL OUT connector of the ADAT modular digital
multitrack recorder. Plug the OUT connector of the CD8-AT to the
OPTICAL IN connector of the ADAT recorder.
If you have installed more than one CD8-AT in the 02R and have more
than one ADAT recorder, connect it in the same manner as the first unit.
The Alesis ADAT modular digital multitrack recorder does not have a
dedicated wordclock output connector. If you are using the BRC ADAT
remote controller, you can use the 48kHz OUT connector and an
appropriate cable to plug it into the WORD CLOCK—IN connector on
the back of the 02R and turn the 75Ω terminator switch on.
If there is no dedicated wordclock output, you can obtain the
wordclock signal required from the digital interconnect line.
Note: A dedicated wordclock line will give you the best wordclock
synchronization results.
02R User’s Guide
228
Installing Options
Wordclock Selection
1. Power on your ADAT modular digital multitrack recorder and then
the 02R.
It is always important to observe the correct order for powering up
equipment in a studio. Start with the ADAT and mastering recorders
and the signal processors, then the 02R, and finally the monitoring
amplifiers and other downstream gear.
2. Use the [DIGITAL I/O] button to locate the DIGITAL I/O 1/5 page.
If the card was installed properly, the 02R will identify it in the
appropriate slot. The ADAT digital I/O card (CD8-AT) can be installed
in any slot. You should install the first two cards in SLOT1 and SLOT2
in order to access the direct out lines.
Note: If the W.CLK IN box or the TAPE1/2 box is not showing a proper
wordclock input (no discrepancy between the input and selected wordclock
frequencies), check the connections between the ADAT modular digital
multitrack recorder and the 02R.Check that the ADAT recorder is powered
on.
3. Use the CURSOR buttons to select the wordclock source.
If you are using the 48kHz OUT connector from the BRC ADAT remote
controller plugged into the WORD CLOCK—IN connector, use the
CURSOR buttons to select the W.CLK IN box and press the [ENTER]
button. If you are just using an ADAT modular digital multitrack
recorder, select the TAPE 1/2 box—the first box in the SLOT1
row—and press the [ENTER] button.
The current wordclock source is indicated by a highlighted icon. See
“Word Clock Select” on page 188 of the User’s Guide for further details.
02R User’s Guide
Installing Options
229
Digital Cascade Kit (CD8-CS)
The digital cascade kit (CD8-CS) is used to connect two or more 02Rs
together. The kit consists of two cascade I/O cards and a special cable.
When two or more 02Rs are connected together, they share the output
buses 1 through 8, four auxiliary buses (two paired buses, AUX A and
AUX B), the stereo bus, and the solo bus.
WORD CLOCK OUT
SYNC
SYNC
Digital MTR
(Word clock master)
Digital MTR
(Word click
slave)
SLOT 1
WORD
CLOCK
SLOT 2 IN
Digital MTR
(Word clock slave)
SYNC
Digital MTR
(Word clock slave)
IN
OUT
WORD
CLOCK
OUT
WORD
CLOCK
IN
CD8-CS
SLOT 4 SLOT 4
02R cascade slave (Word clock slave)
75Ωswitch=ON
SLOT 2
SLOT 1
02R cascade slave (Word clock slave)
75Ωswitch=ON
Installing the CD8-CS
The cascade I/O card (CD8-CS) is a single slot card. At least one cascade
I/O card should be installed in each 02R. If you are connecting more than
two 02Rs, the middle units should have two cards. The cascade I/O cards
should be installed in SLOT3 or SLOT4. You should reserve SLOT1 and
SLOT2 for digital I/O cards.
For installation instructions, see “Single Slot Cards” on page 221 of the
User’s Guide.
1. Set the IN/OUT switch of the cascade I/O card installed in the first
02R to the IN position.
This 02R will be the cascade master.
2. Set the IN/OUT switch of the cascade I/O card installed in the
second 02R to the OUT position.
This 02R will be the cascade slave.
02R User’s Guide
230
Installing Options
3. Use a BNC cable to plug the WORD CLOCK—OUT connector on
the back of the first 02R into the WORD CLOCK—IN connector on
the second 02R.
The 02R that is the cascade master should be receiving a wordclock
signal from a wordclock master device, such as a modular digital
multitrack recorder or other appropriate device.
Wordclock Selection
1. Power on your modular digital multitrack recorder and then the
02R units in order, starting with the cascade master.
It is always important to observe the correct order for powering up
equipment in a studio. Start with the multitrack and mastering
recorders and the signal processors, then the 02R, and finally the
monitoring amplifiers and other downstream gear.
2. Use the [DIGITAL I/O] button to locate the DIGITAL I/O 1/5 page.
If the cascade I/O card was installed properly, the 02R will identify it in
the appropriate slot.
3. Use the CURSOR buttons to select the wordclock source.
Select the W.CLK IN box and press the [ENTER] button.
Note: If the W.CLK IN box is not showing a proper wordclock input (no
discrepancy between the input and selected wordclock frequencies), check
the connections between the 02R units.
4. On the 02R cascade master, use the [DIGITAL I/O] button to
locate the DIGITAL I/O 1/5 page.
If the cascade I/O card was installed properly, the 02R will identify it in
the appropriate slot. A digital I/O card should be installed in SLOT1 or
SLOT2 in order to access the direct out lines.
5. Use the CURSOR buttons to select the wordclock source.
02R User’s Guide
Installing Options
231
If your multitrack digital recorder has a dedicated wordclock output
connector, use the CURSOR buttons to select the W.CLK IN box and
press the [ENTER] button. Otherwise, select a box from the appropriate
I/O slot row and press the [ENTER] button.
The current wordclock source is indicated by a highlighted icon. See
“Word Clock Select” on page 188 of the User’s Guide for further details.
Cascade Settings
1. On the 02R cascade master, use the [DIGITAL I/O] button to
locate the DIGITAL I/O 3/5 page.
2. Select the “ID” parameter with the CURSOR buttons and rotate
the encoder wheel until the appropriate value is set.
The cascade master should have the highest ID number in the system.
If you have four 02Rs cascaded together, the cascade master should be
set to ID=3.
Note: If you connect more than four 02R units together, you will have to
adjust the delay to compensate for signal processing time. See “Delay and
Cascade” on page 34 of the User’s Guide.
3. On the 02R cascade slave, use the [DIGITAL I/O] button to locate
the DIGITAL I/O 3/5 page.
If the cascade slave and cascade master units are powered on and
connected correctly, the ID number for the cascade slave is set to the
appropriate value automatically.
4. Use the CURSOR buttons to select the “Cascade Aux Bus Assign”
parameter.
Use the CURSOR buttons to select two pairs of auxiliary buses from
the cascade slave to send to the cascade master AUX A and AUX B
buses.
Note: It is not possible to send the same pair of auxiliary buses from the
cascade slave to both AUX A and AUX B on the cascade master.
See “Cascade Configuration” on page 191 of the User’s Guide for
further details.
02R User’s Guide
232
Installing Options
MIDI Link
When several 02Rs are cascaded together, the master 02R can control a
number of functions, listed below, of the slave 02Rs via MIDI. Master and
slave 02Rs should be connected as shown below.
MIDI
IN
02R Slave (3)
MIDI
THRU
MIDI
IN
02R Slave (2)
MIDI
THRU
MIDI
IN
02R Slave (1)
MIDI
OUT
02R Master (0)
On the master 02R, the Tx 02R Link Message preference should be turned
on. On the slave 02Rs, the Rx 02R Link Message preference should be
turned on. See “Preferences” on page 198. MIDI messages are processed
regardless of the MIDI Channel settings.
Linked Commands
•
Scene memory recall and store (including title)
•
Automix memory recall and store (including title)
•
Automix New and Undo
•
Automix transport functions (Auto Rec, Record, Play, Stop,
Abort)
Linked Parameters
02R User’s Guide
•
Meter input module patch point
•
Meter output module patch point
•
Meter Peak Hold
•
Automix Enable
•
Automix fader Return (Edit Out)
•
Automix fader Return Time (Edit Out)
•
Automix Overwrite
•
Automix Relative
•
Automix Motor
•
Automix Frame
•
Automix MTC
•
Automix generator start time Hour, minute, second, frame
•
Automix timecode offset
Installing Options
233
Solo function
When two or more 02R units are cascaded together, only the [SOLO] button
on the cascade master continues to function. When you press the [SOLO]
button on the cascade master, however, you can solo individual channels
on the cascade slaves.
1. On the 02R cascade master, use the [SETUP] button to locate the
SETUP 1/4 page.
2. Select the “Mode” field with the CURSOR buttons to set the solo
function status.
You can only set this status on the cascade master.
See “Solo” on page 196 of the User’s Guide for further details.
3. On the 02R cascade master, press the [SOLO] button.
The LEDs inset in the [ON] buttons of all the cascaded 02R units will
flash.
4. Press the [ON] button of the channel (or channels) that you want
to solo.
In Recording mode, the channel signal is sent to the Solo bus on the
cascade master, and you can monitor the signal using the monitor
system connected to the cascade master. In Mixdown mode, the
channel signal is sent to the Stereo bus.
02R User’s Guide
234
Installing Options
Digital I/O Card—TDIF-1 (CD8-TDII)
The TDIF-1 digital I/O card (CD8-TDII) is used to connect TASCAM
TDIF-1 modular digital multitrack recorders such as the DA-88 to the 02R.
Installing the CD8-TDII
The TDIF-1 digital I/O card (CD8-TDII) is a single slot card. For installation
instructions, see “Single Slot Cards” on page 221 of the User’s Guide.
1. Connect the TASCAM DA-88 modular digital multitrack recorder
to the 02R using the appropriate connectors.
CD8-TD
SLOT 1
CD8-TD
SLOT 2
WORD
CLOCK IN
WORD
SYNC OUT
DIGITAL
I/O
SYNC
OUT
TASCAM DA-88
(Word clock Master)
DIGITAL
I/O
02R (Word clock slave)
75 switch=ON
SYNC
IN
TASCAM DA-88/DA-38
(Word clock slave)
Use the special cable to plug the connector of the CD8-AT to the
DIGITAL I/O connector of the TASCAM DA-88 recorder.
If you have installed more than one CD8-TDII in the 02R and have
more than one TASCAM DA-88 recorder, connect it in the same
manner as the first unit.
The TASCAM DA-88 recorder is equipped with a WORD SYNC OUT
connector. Use a BNC cable to plug it into the WORD CLOCK—IN
connector on the back of the 02R.
If you are using more than one TASCAM DA-88 recorder, make the
first unit the wordclock master. There are SYNC IN/SYNC OUT
connectors on the DA-88 recorders that allow them to run together.
DA-38s can not be used as wordclock master, because they do not have
a SYNC OUT connector.
02R User’s Guide
Installing Options
235
Wordclock Selection
1. Power on your DA-88 modular digital multitrack recorder and
then the 02R.
It is always important to observe the correct order for powering up
equipment in a studio. Start with the DA-88 and mastering recorders
and the signal processors, then the 02R, and finally the monitoring
amplifiers and other downstream gear.
2. Use the [DIGITAL I/O] button to locate the DIGITAL I/O 1/5 page.
If the card was installed properly, the 02R should will identify it in the
appropriate slot. The TDIF-1 digital I/O card (CD8-TDII) can be
installed in any slot. You should install the first two cards in SLOT1
and SLOT2 in order to access the direct out lines.
Note: If the W.CLK IN box is not showing a proper wordclock input (no
discrepancy between the input and selected wordclock frequencies), check
the BNC cable between the WORD SYNC OUT connector on the DA-88
and the WORD CLOCK IN connector on the 02R.Check that the DA-88 is
powered on.
3. Use the CURSOR buttons to select the wordclock source.
Use the CURSOR buttons to select the W.CLK IN box and press the
[ENTER] button.
The current wordclock source is indicated by a highlighted icon. See
“Word Clock Select” on page 188 of the User’s Guide for further details.
02R User’s Guide
236
Installing Options
Peak Meter Bridge (MB02)
The Peak Meter Bridge (MB02) allows you to quickly and easily check the
levels of the input channels, the tape and effect returns, the output buses 1
through 8, the auxiliary buses 1 through 8, and the stereo bus.
Using the MB02
6
5
L STEREO R
PEAK METER BRIDGE MB02 FOR
MIC·LINE·TAPE
TAPE
MIC
PRE EQ
POST EQ
POST FADER
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
1
CLIP
–2
–4
–6
–8
–10
–12
–14
–18
–24
–30
–36
–42
–48
-60
-72
2
STEREO·BUS·AUX
PRE FADER
3
POST FADER
SELECT
AUX
BUS
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
BUS·AUX
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
MIC
17
18
19
20
21
22
23
24
1
L EFF
R
RTN
2
L EFF
R
RTN
LINE
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
CLIP
–3
–6
–9
–12
–15
–18
–24
–30
–36
–42
–48
1
PEAK HOLD
4
1. Level meters
These peak level meters show the signal level of each input channel
(MIC/LINE 1 through 16, LINE 17/18 through 23/24), the tape returns
(TAPE 1 through 16), the effect returns (EFF1 and EFF2), the output
buses (BUS1 through BUS8), and the auxiliary buses (AUX1 through
AUX8).
2. STEREO level meter
This peak level meter shows the level of the stereo bus.
3. SELECT buttons
These buttons are used to select the signal being monitored.
02R User’s Guide
•
BUS/AUX—When this button is on, the level meters on the right
side of the panel will indicate the output levels of the output
buses (BUS 1 through BUS 8), and the auxiliary buses (AUX 1
through AUX 8).
•
MIC—When this button is on, the level meters on the left side of
the panel will indicate the tape return levels and the meters on
the right side of the panel indicate the individual input channel
levels (MIC/LINE 1 through 16). If a digital I/O card is installed
in SLOT3 and/or SLOT4, the MIC channels can monitor the
output from the connected multitrack digital recorder, allowing
you to see the levels of tape return channels 17 through 32.
•
LINE—When this button is on, the level meters on the left side of
the panel indicate the individual input channel levels
(MIC/LINE 1 through 16). The meters on the right side of the
panel indicate the stereo input channels (LINE 17/18 through
23/24) and the effect returns (EFF1 and EFF2).
Installing Options
237
4. PEAK HOLD button
This button is used to enable or cancel the Peak Hold function.
Note: The operation of this button duplicates the function of the PEAK
HOLD icon in the METER display function. See “Metering” on page 41 and
“Peak Hold” on page 42 of the User’s Guide.
5. STEREO-BUS-AUX Indicators
These indicators show the meter source points for the channels being
monitored.
•
PRE FADER—When this LED is illuminated, the bus signal
before the fader is being displayed.
•
POST FADER—When this LED is illuminated, the bus signal
after the fader is being displayed.
The meter source points are set with the METER display function. See
“Meter Source Points” on page 42 of the User’s Guide.
6. MIC-LINE-TAPE Indicators
These indicators show the meter source points for the channels being
monitored.
•
PRE EQ—When this LED is illuminated, the signal before the EQ
signal is being displayed.
•
POST EQ—When this LED is illuminated, the signal after the EQ
is being displayed.
•
POST FADER—When this LED is illuminated, the signal after
the fader is being displayed.
The meter source points are set with the METER display function. See
“Meter Source Points” on page 42 of the User’s Guide.
02R User’s Guide
Specifications
15
239
Specifications
In this chapter...
General Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Input Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Output Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Digital Input and Output Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Error Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Parameter Change and Request Format . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Bulk Dump and Request Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
02R User’s Guide
15
240
Specifications
Specifications
Specifications
General Specifications
Number of scene memories
Sampling frequency
Signal delay
Fader resolution
96
Internal
44.1 kHz, 48 kHz
External
(32 kHz –6%) to (48 kHz +6%)
Less than 2.5 ms. MIC/LINE input to STEREO output
+10 to –90, –∞ dB (128 steps/100 mm) input faders.
0 to –120, –∞ dB (128 steps/100 mm) stereo fader
Total harmonic distortion (THD)
Less then 0.2%, 20 Hz to 20 kHz (analog output) @+14 dB into 600Ω
Frequency response
+1, –3 dB, 20 Hz to 20 kHz @+4 dB into 600Ω
Dynamic range
110 dB typical D/A Converter (STEREO OUT) *
105 dB typical A/D to D/A (MIC/LINE IN to STEREO OUT) *
–128 dB Equivalent input noise
Hum & Noise (20 Hz to 20 kHz) *,
Rs = 150Ω, Input gain max.
Input pad = 0 dB
Input sensitivity = –60 dBV
–88 dB residual output noise. STEREO OUTPUT. STEREO OUTPUT off
–88 dB (92 dB S/N) STEREO OUTPUT. Master fader at nominal level and all channel faders at minimum level
–64 dB (68 dB S/N) STEREO OUTPUT. Master fader at nominal level and one input fader at nominal level
74 dB MIC/LINE (1 through 16) IN to STEREO OUT
Maximum Voltage Gain
74 dB MIC/LINE (1 through 16) IN to AUX SEND 1, 2, 3, 4, 5, 6 (via
PRE INPUT FADER)
74 dB MIC/LINE (1 through 16) IN to MONITOR OUT (via STEREO
bus)
54 dB LINE (17 through 24) IN to STEREO OUT
Crosstalk(@1kHZ)
70 dB adjacent input channels
70 dB input to output
* Hum & Noise are measured with a 6 dB/octave filter @12.7 kHz; equivalent to a 20 kHz filter with an infinite dB/octave attenuation.
* Sampling Frequency: Internal 48 kHz
02R User’s Guide
Specifications
241
Inputs
Input channel (MIC/LINE 1 through 24)
Phantom switch
MIC/LINE 1 to 8
Select switch
A (XLR) / B (phone)
MIC/LINE 1 through 8
44 dB (–60 to –16)
MIC/LINE 1 through 16
44 dB (–40 to +4)
LINE 17/18 through 23/24
Gain trim
Peak indicator
LED (red) illuminates when post HA level reaches 3 dB below clipping
Signal indicator
LED (green) illuminates when post HA level reaches 10 dB below nominal
Insert
MIC/LINE 1 through 8 (pre A/D)
Pad switch
0/20 dB attenuation
AD converter
20 bit linear / 64 times oversampling
I/O option
ADAT / TASCAM / YAMAHA
Attenuator
0 to 96 dB (1 dB step)
Filter
DC cut filter / de-emphasis
MIC/LINE 1 through 16
MIC/LINE 1 through 16
ON/OFF
LOW/HPF
L-MID
H-MID
HIGH/LPF
10 to 0.1 (Peaking)
(41 steps)
Q Low shelving
4 band parametric
equalizer
HPF
(slope = 12 dB/oct)
High shelving
LPF
(slope = 12 dB/oct)
21 Hz to 20.1 kHz (@ 48 kHz and 44.1 kHz)
F 21 Hz to 15.1 kHz (@ 32 kHz)
(1/12 octave steps)
±18 dB
G (0.5 dB steps)
HPF = ON/OFF
LPF = ON/OFF
02R
User’s Guide
242
Specifications
Input channel (MIC/LINE 1 through 24)
Compressor / Expander
Threshold
–54 dB to 0 dB
(1 dB steps)
Ratio
1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞
points)
Out gain
0 dB to +18 dB
Knee
hard , 1 , 2 , 3 , 4 , 5
Attack
0 ms to 120 ms
Release
5 ms to 42.3 sec (@48 kHz), 6 ms to 46.0 sec (@44.1 kHz),
8 ms to 63.4 sec (@32 kHz)
(160 points)
(16
(0.5 dB steps)
(6 steps)
(1 ms steps)
Gate / Ducking
Dynamics
Threshold
–54 dB to 0 dB
(1 dB steps)
Range
–70 dB to 0 dB
(1 dB steps)
Attack
0 ms to 120 ms
(1 ms steps)
Hold
0.02 ms to 1.96 sec (@ 48 kHz), 0.02 ms to 2.13 sec
(@ 44.1 kHz), 0.03 ms to 2.94 sec (@ 32 kHz) (216 points)
Decay
5 ms to 42.3 sec (@ 48 kHz), 6 ms to 46.0 sec (@ 44.1 kHz),
8 ms to 63.4 sec (@32 kHz)
(160 points)
CompanderH / CompanderS
Threshold
–54 dB to 0 dB
Ratio
1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20 (15 points)
Out gain
–18 dB to 0 dB
Width
1 dB to 90 dB
(1 dB steps)
Attack
0 ms to 120 ms
(1 ms steps)
Release
5 ms to 42.3 sec (@48 kHz), 6 ms to 46.0 sec (@44.1 kHz),
8 ms to 63.4 sec (@32 kHz)
(160 points)
Delay
0 to 2600 samples
Phase
NORMAL / REVERSE
(1 dB steps)
(0.5 dB steps)
Channel ON/OFF ( 1 to 20)
Channel SEL ( 1 to 20)
Fader (1 to 20)
100 mm motorized
INPUT FADER / AUX1 / AUX2 / AUX3 / AUX4 / AUX5 / AUX6 / AUX7 / AUX8
ON/OFF
Aux send
02R User’s Guide
AUX 1
PRE / POST FADER (external effects )
AUX 2
PRE / POST FADER (external effects )
AUX 3
PRE / POST FADER (external effects )
AUX 4
PRE / POST FADER (external effects )
AUX 5
PRE / POST FADER (external effects )
AUX 6
PRE / POST FADER (external effects )
AUX 7
PRE / POST FADER (internal effects )
AUX 8
PRE / POST FADER (internal effects )
Specifications
243
Input channel (MIC/LINE 1 through 24)
Pan
33 positions (L = 16 to 1, C, R = 16 to 1 )
Routing
BUS 1 through 8. ST. DIRECT
Solo
ON/OFF
Pre fader / After pan
Peakhold: ON/OFF
Meter
12 points displays of the pre-EQ / post-EQ / post-fader levels of all channel input
are displayed on the screen.
Tape Input channel (TAPE 1 through 16)
I/O option
ANALOG, ADAT, TASCAM, AES/EBU, YAMAHA
Filter
DC cut filter / de-emphasis
Attenuator
4 band parametric
equalizer
Dynamics
0 to 96 dB (1 dB step)
Delay
0 to 2600 sample
Phase
NORMAL / REVERSE
(Parameters are the same as MIC/LINE input equalizer.)
(Parameters are the same as MIC/LINE input dynamics.)
ON/OFF
Fader
Rotary encoder
INPUT / AUX1 / AUX2 / AUX3 / AUX4 / AUX5 / AUX6 / AUX7 / AUX8
Aux send
(Parameters are the same as MIC/LINE input aux send.)
Pan
33 positions ( L = 16 to 1, C, R = 16 to 1)
Routing
BUS 1 through 8. ST
Solo
ON/OFF
Pre fader / After pan
Peakhold: ON/OFF
Meter
12 points displays of the pre-EQ / post-EQ / post-fader levels of all channel input
are displayed on the screen.
Effect Return (EFF 1 through 2)
Attenuator
0 to 96 dB (1 dB step)
4 band parametric
equalizer
(Parameters are the same as MIC/LINE input equalizer.)
Delay
0 to 2600 sample
Phase
NORMAL / REVERSE
ON/OFF
Fader
Rotary encoder
INPUT / AUX1 / AUX2 / AUX3 / AUX4 / AUX5 / AUX6 / AUX7 / AUX8
Aux send
(Parameters are the same as MIC/LINE input aux send. EFF1 can only send to
AUX8. EFF2 can only send to AUX7.)
Pan
33 positions (L = 16 to 1, C, R = 16 to 1)
02R
User’s Guide
244
Specifications
Effect Return (EFF 1 through 2)
Routing
Solo
BUS 1 through 8. ST
ON/OFF
Pre fader / After pan
Peakhold: ON/OFF
Meter
12 points displays of the pre-EQ / post-EQ / post-fader levels of all channel input
are displayed on the screen.
Outputs
STEREO OUT
Dynamics
(parameters are the same as MIC/LINE input dynamics.)
4 band parametric
equalizer
(parameters are the same as MIC/LINE input equalizer.)
Fader
100 mm motorized
ON/OFF
Meter
21-elements x 2 LED meter. (pre fader / post fader)
D/A converter
20bit linear / 8 times oversampling
BUS OUT (BUS1 through BUS8)
Dynamics
(parameters are the same as MIC/LINE input dynamics.)
Level
rotary encoder
Meter
12 points displays of the pre/post fader levels of all channel input are displayed
on the screen.
I/O option
ANALOG, ADAT, TASCAM, AES/EBU, YAMAHA
AUX OUT (AUX1 through AUX8)
Level
rotary encoder
Meter
12 points displays of the pre/post fader levels of all channel input are displayed
on the screen.
D/A converter
18bit linear / 8 times oversampling (AUX1 through AUX6)
CONTROL ROOM MONITOR OUT
Select switch
2TR-A1 / 2TR-A2 / 2TR-D1 / 2TR-D2 / 2TR-D3 / AUX5 /AUX6 / ST
Mono
ON/OFF
DIM
ON/OFF
D/A converter
20bit linear / 8 times oversampling
Emphasis
Auto ON/OFF
Level control
Phone level
02R User’s Guide
Specifications
245
STUDIO MONITOR OUT
Select switch
AUX5 / AUX6 / C-R / ST_
D/A converter
18bit linear / 8 times oversampling
Level control
TALKBACK
Talkback
ON/OFF
Slate
ON/OFF
Level control
A/D converter
16 bit linear / 64 times oversampling
Libraries
Internal Digital Effector (EFFECT 1, 2)
Number of factory presets
40
Number of user library
88
Dynamics
Number of factory presets
40
Number of user library
88
Equalizer Library
Number of factory presets
32
Number of user library
96
Channel Library
Number of user library
Power Requirement
64
USA/Canada
120V
60 Hz
UK
240V
50 Hz
General
230V
50 Hz
Power Consumption
180W
Dimensions (H × D × W)
221.5 mm × 685 mm × 672 mm
Net Weight
31kg
Free-air operating
temperature range
10 to 35°C
CD8-AE
Options
DIGITAL I/O CARD
(AES/EBU)
DIGITAL I/O CARD (ADAT)
CD8-AT
A/D CARD
CD8-AD-S DIGITAL CASCADE KIT
CD8-CS
AD/DA CARD
CD8-AD
PEAK METER BRIDGE
MB02
DIGITAL I/O CARD (TDIF-1)
CD8-TDII
MEMORY EXPANSION KIT
ME4M
DIGITAL I/O CARD (YAMAHA)
CD8-Y
WOODEN SIDE PANEL
W02SP
CD8-AE
-S
02R
User’s Guide
246
Specifications
Input Specifications
Input
connection
PAD GAIN
Actual
load
impedance
For use
with
nominal
–60
CH INPUT
MIC/LINE 1
through16
0
–16
3kΩ (XLR) 50 to 600Ω
4kΩ (Phone mics and
jack)
600Ω lines
20
CH INPUT
LINE 17 through 24
–40
Sensitivity*1 Nominal
–70 dB
(245µV)
–60 dB
(775µV)
–26 dB
(38.8mV)
–16 dB
(123mV)
– 6 dB
(388mV)
+ 4 dB
(1.23V)
–50 dB
(2.45mV)
–40 dB
(7.75mV)
– 6 dB
(388mV)
+ 4 dB
(1.23V)
Mixer
Max.
connector
before clip
–40 dB
(7.75mV) XLR-3-31
+ 4 dB
type*2 or
(1.23V) Phone Jack
*3
+24 dB (TRS)
(12.3V)
–20 dB
(77.5mV) Phone Jack
*3
+24 dB (TRS)
(12.3V)
4kΩ
600Ω lines
10kΩ
600Ω lines
–10 dB
(245mV)
+ 0 dB
(775mV)
+20 dB
(7.75V)
Phone
Jack*4
10kΩ
600Ω lines
+ 4 dB
(1.23V)
+ 4 dB
(1.23V)
+24 dB
(12.3V)
Phone
Jack*5
10kΩ
600Ω lines
–10 dBV
(316mV)
–10 dBV
(316mV)
+10 dBV
(3.16V)
RCA/phono
+4
INSERT IN MIC/LINE 1
through 8
Input level
2 TRACK INPUT [ L,R ]
*6
*1 Sensitivity is the lowest level that will produce an output of +4 dB (1.23V) or the nominal output level when the unit
is set to maximum gain. (All faders and level controls are maximum position.)
*2 XLR type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*3 MIC/LINE INPUT and LINE INPUT phone jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
*4 INSERT INPUT phone jacks are unbalanced. (Tip=OUT, Ring=IN, Sleeve=GND)
*5 2 TRACK INPUT phone jacks are balanced.
*6 2 TRACK INPUT RCA/phone jacks are unbalanced.
✳ In these specifications, when dB represents are specific voltage, 0 dB is referenced to 0.775 volts RMS.
✳ In these specifications, when dBV represents are specific voltage, 0 dBV is referenced to 1 volts RMS.
02R User’s Guide
Specifications
247
Output Specifications
Output connection
Actual
source
impedance
For use
with
nominal
Output level
Nominal
Max before clip
Mixer connector
150Ω
600Ω lines
+ 4 dB
(1.23V)
+24 dB
(12.3V)
XLR-3-32 type
600Ω
10kΩ lines
–10 dBV
(316mV)
+10 dBV
(3.16V)
RCA/phono
(Unbalanced)
STUDIO MONITOR OUT (L, R) 150Ω
10kΩ lines
+ 4 dB
(1.23V)
+24 dB
(12.3V)
Phone Jack
(Balanced)
CONTROL ROOM MONITOR
OUT (L, R)
150Ω
10kΩ lines
+ 4 dB
(1.23V)
+24 dB
(12.3V)
Phone Jack
(Balanced)
AUX (1, 2, 3, 4, 5, 6)
600Ω
10kΩ lines
+ 4 dB
(1.23V)
+20 dB
(7.75V)
Phone Jack
(Unbalanced)
INSERT OUT
MIC/LINE 1 through 8
600Ω
10kΩ lines
+ 0 dB
(0.775V)
+20 dB
(7.75V)
Phone Jack
(Unbalanced)*1
PHONES
100Ω
8Ω phones
1 mW
25 mW
Stereo Phone Jack
(Unbalanced)
STEREO OUT (L, R)
40Ω phones 3 mW
110 mW
*1 INSERT OUTPUT phone jacks are balanced. (Tip=OUT, Ring=IN, Sleeve=GND)
✳ In these specifications, when dB represents are specific voltage, 0 dB is referenced to 0.775 volts RMS.
✳ In these specifications, when dBV represents are specific voltage, 0 dBV is referenced to 1 volts RMS.
Digital Input and Output Specifications
Input/Output
Format
Level
Mixer connector
DIGITAL IN (COAXIAL)
(2TRK IN 2, 3)
IEC958 Consumer
(S/PDIF)
0.5Vpp/75Ω
RCA/phono jack
DIGITAL OUT (COAXIAL)
(STEREO OUT)
IEC958 Consumer
(S/PDIF)
0.5Vpp/75Ω
RCA/phono jack
DIGITAL IN (AES/EBU)
(2TRK IN 1)
IEC958 Professional
RS422
(AES/EBU)
XLR-3-32 type
DIGITAL OUT (AES/EBU)
(STEREO OUT)
IEC958 Professional
RS422
(AES/EBU)
XLR-3-31 type
WORD CLOCK IN
–
TTL / 75Ω
BNC
WORD CLOCK OUT
–
TTL / 75Ω
BNC
MIDI IN
MIDI
–
DIN Connector 5P
MIDI OUT
MIDI
–
DIN Connector 5P
MIDI THRU
MIDI
–
DIN Connector 5P
TO HOST
–
–
MiniDIN Connector 8P
METER
–
RS422
Dsub Connector 15p
MTC IN
MIDI
–
DIN Connector 5P
TC IN
SMPTE
Nominal –10 dBV/10kΩ RCA/phono jack
02R
User’s Guide
248
Specifications
Dimensions
D : 68
5
H : 21
1.5
196.5
183.8
W : 672
Specifications and external appearance are subject to change without notice.
For European Model
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: 9A
Conformed Environment: E1, E2, E3 and E4
02R User’s Guide
15
Specifications
249
Options
AD/DA I/O Card Specifications
Analog Input
Input
connections
GAIN
Input level
For use
Actual load
with nomimpedance
Sensitivity*1 Nominal
inal
+4
INPUT 1
through 8
10kΩ
600Ω lines
–10
Max.
before clip
–6 dB
(388mV)
+4 dB
(1.23mV)
+24 dB
(12.3mV)
–20 dBV
(100mV)
–10 dBV
(316mV)
+10 dBV
(3.16V)
Mixer
connector
Phone Jack
(TRS)*2
*1 Sensitivity is the lowest level that will produce an output of +4 dB (1.23V) or the nominal output level when the unit
is set to maximum gain. (All faders and level controls are maximum position.)
*2 CH INPUT phone jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
✳ In these specifications, when dB represents are specific voltage, 0 dB is referenced to 0.775 volts RMS.
✳ In these specifications, when dBV represents are specific voltage, 0 dBV is referenced to 1 volts RMS.
Analog Output
Output connections
For use
Actual source
GAIN
with nomimpedance
inal
+4
OUTPUT 1 through 8
150Ω
10kΩ lines
–10
Output level
Nominal
Max before clip
+4 dB
(1.23mV)
+24 dB
(12.3mV)
–10 dBV
(316mV)
+10 dBV
(3.16V)
Mixer connector
Phone Jack
(TRS)*1
*1 CH OUTPUT phone jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)
✳ In these specifications, when dB represents are specific voltage, 0 dB is referenced to 0.775 volts RMS.
✳ In these specifications, when dBV represents are specific voltage, 0 dBV is referenced to 1 volts RMS.
Digital I/O Card Specifications
Digital Input/Output
Input/Output
Format
Level
DA88/DA38 (BUS/DIRECT OUT, TAPE IN) TDIF-1
C-MOS
ADAT (BUS/DIRECT OUT, TAPE IN)
OPTICAL
ADAT
Mixer connector
D-SUB 25PIN
XLR-3-31 type (INPUT)
AES/EBU (BUS/DIRECT OUT, TAPE IN)
AES/EBU
RS422
XLR-3-32 type (OUTPUT)
D-SUB 25PIN
YAMAHA (BUS/DIRECT OUT, TAPE IN)
YAMAHA
RS422
D-SUB 25PIN
CASCADE (BUS/DIRECT OUT, TAPE IN)
YAMAHA
RS422
D-SUB 25PIN
02R
User’s Guide
250
Specifications
Troubleshooting
If there is any trouble, check the situation and follow the corrective actions described below.
The power is not turned on.
• Did you plug the power cord to a correct AC outlet?
• Is the POWER switch ON?
No sound is produced.
• Is the signal coming in from the external device?
• Is the input "ON" indicator lit?
• Is the input fader raised?
• Is the stereo output "ON" indicator lit?
• Is the stereo output fader raised?
• Is the option board securely inserted?
• Is the output bus assigned correctly?
• Is the word clock set correctly?
• Is the output in the C-R monitor section selected?
The volume level is very low.
• Are the PAD switch and GAIN volume control set correctly?
• Is the input fader raised?
• Is the gain set too low in the equalizer section?
• Are the threshold and ratio settings for the dynamics processor set correctly?
• Is the [DIM] key in the C-R monitor section OFF?
Sound is distorted.
• Are the PAD switch and GAIN volume control set correctly?
• Is the input fader raised too high?
• Is the stereo output fader raised too high?
• Is the gain set too high in the equalizer section?
A pair of stereo channels does not sound in stereo.
• Is the pan setting correct?
Abnormal phase
• Is the phase on the input device set correctly?
The volume level of certain channels goes up and down.
• Is the dynamics processor ducking set for those channels?
Scene data cannot be stored.
• Is memory protect ON?
• You cannot store scene data to Scene “0.”
MIDI data cannot be transmitted or received.
• Does the MIDI transmit channel match the receive channel?
• Is the switch for the item to be transmitted/received (Program Change, Parameter Change) turned
on?
The fader movement is not consistent.
• Calibrate the faders. See “Fader Calibration” on page 215 of the User’s Guide.
02R User’s Guide
Specifications
251
Error Messages
Follow the corrective actions described below when the error messages are shown on the display:
Error Message
Corrective Action
2TR-D1 No Input!
Correct digital signal is not input to 2TR-D1.
(C-R monitoring is not available.)
2TR-D2 Cascade Disabled
2TR-D2 cannot be routed to STEREO BUS.
(Incorrect word clock setting)
2TR-D2 No Input!
Correct digital signal is not input to 2TR-D2.
(C-R monitoring is not available.)
2TR-D3 No Input!
Correct digital signal is not input to 2TR-D3.
(C-R monitoring is not available.)
Automix Aborted!
Automix data was aborted.
(You can undo the operation.)
Automix Disabled!
Time code was input, but automix is disabled.
Automix REC Ready!
Ready for recording automix.
Automix Recording!
Recording automix now.
Automix Running!
Automix is now running.
Automix Updated!
Automix has been updated.
(You can undo the operation.)
Byte Count Error!
Byte count for the received bulk data is not correct.
Can't assign 2TR-D1!
2TR-D1 cannot be routed to line 17/18. (The signal at 2TR-D1 is not
syncing with the 02R, or 2TR-D1 has been selected in the C-R monitor section.)
Can't assign 2TR-D2!
2TR-D2 cannot be routed to line 19/20. (The signal at 2TR-D2 is not
syncing with the 02R, or 2TR-D2 has been selected in the C-R monitor section.)
Can't select SLOT3!
SLOT3 cannot be selected for digital input.
(The I/O card is not in SLOT3.)
Can't select SLOT4!
SLOT4 cannot be selected for digital input.
(The I/O card is not in SLOT4.)
Can't select WORD CLOCK!
Not available as a word clock source.
Cannot Copy Title!
You cannot copy the title from the memory that has no data.
Cannot Paste Title!
You cannot paste the title to the memory that has no data.
Check Sum Error!
Check sum of the received bulk data is not correct.
Code Mismatch!
Product code for the received bulk data is not correct.
DIGITAL I/O Error!
Incoming signal from SLOT DIO is not syncing with the 02R. The
synchronization system has not been configured successfully. Or, if
the sync system has been configured, this message may still appear
if the clock sent from the MTR is unstable until the digital MTR enters
CHASE status. You can select whether this message will be shown or
not. (see “Preferences” on page 198 of the User’s Guide)
Duplicate Grouping!
You cannot duplicate the group.
02R
User’s Guide
252
Specifications
Error Message
Corrective Action
Fixed Fragmentation!
The automix memory has been corrected. Abnormal data may be
generated in the memory if you turn off the power during recording
or if incomplete bulk data is received.
Frame Drop Out!(#)
Time code frame is dropping out.
(The count in the parenthesis shows the number of dropping
frames.)
Frame Jump!
Time code frame is dropping out.
ID Mismatch!
Model ID for parameter change is not correct.
Illegal Time Range!
In/out time setting is incorrect.
Low Battery!
The internal battery voltage is getting very low. Back up the setup data
stored in the 02R (see “Bulk Dump/Request” on page 161 of the User’s
Guide), and ask your dealer to replace the battery.
MAIN SCI0 Framing Err.
Consult the nearest YAMAHA service center.
MAIN SCI0 OverRun Err.
Consult the nearest YAMAHA service center.
MAIN SCI0 Party Err.
Consult the nearest YAMAHA service center.
MAIN SCI0 RxBuf. Full
MIDI data being transmitted is too large.
MAIN SCI0 TxBuf. Full
MIDI data being received is too large.
MAIN SCI1 Framing Err.
Check the connection at the TO HOST connector.
MAIN SCI1 OverRun Err.
Check the connection at the TO HOST connector.
MAIN SCI1 Party Err.
Check the connection at the TO HOST connector.
MAIN SCI1 RxBuf. Full
Check the connection at the TO HOST connector.
MAIN SCI1 TxBuf. Full
Check the connection at the TO HOST connector.
MAIN->SUB Disconnected!
Consult the nearest YAMAHA service center.
Make New Mix!
First make a New Mix.
Memory Full!
Automix memory is full.
MIDI Ch Mismatch (#)
The device number of the received bulk data is not correct.
No Aux Send!
There is no AUX send from EFF1 to AUX7 or EFF2 to AUX8.
No Time Code!
Time code is not being input.
Preset is read only!
You cannot store data to the preset memory.
Redone.
The previous operation was redone.
Scene 0 is read only!
You cannot store data to Scene “0.”
Scene Memory Protected!
Scene memory is write-protected.
Select Channel!
A channel for extract has not been assigned.
Select Parameter!
The parameter for extract has not been assigned.
Set Overwrite!
Set the overwrite parameter.
SOLO Ready!
The track is ready for solo.
SOLO Slave!
You cannot change the solo status and the Solo key is disabled if the
unit is a cascade slave.
SUB->MAIN Disconnected!
Consult the nearest YAMAHA service center.
SUB SCI0 Framing Err.
Consult the nearest YAMAHA service center.
SUB SCI0 OverRun Err.
Consult the nearest YAMAHA service center.
02R User’s Guide
Specifications
Error Message
253
Corrective Action
SUB SCI0 Party Err.
Consult the nearest YAMAHA service center.
SUB SCI0 RxBuf. Full
MIDI data being transmitted is too large.
SUB SCI0 TxBuf. Full
MIDI data being received is too large.
SUB SCI1 Framing Err.
Check the MIDI connection.
SUB SCI1 OverRun Err.
Check the MIDI connection.
SUB SCI1 Party Err.
Check the MIDI connection.
SUB SCI1 RxBuf. Full
MIDI data being transmitted is too large.
SUB SCI1 TxBuf. Full
MIDI data being received is too large.
TC RxBuf. Full
Buffer for time code reception is full.
TC TxBuf. Full
Buffer for time code transmission is full.
Too Large Bulk!
MIDI bulk data size is too large.
Undo Buf. is Empty!
The previous operation cannot be undone because no data exists in
the undo buffer.
Undo Buf. is Full!
The store operation cannot be done because the data exists in the
undo buffer.
Undone Recall.
The recall operation was undone.
Undone Store.
The store operation was undone.
Wrong WORD CLOCK!
The device for synchronization (selected from the 02R) is sending incorrect word clock. Reconfigure the synchronization system.
Too many cascade in/out cards. There are more than two cascade cards or too many cards with the
Shut off the power and check
“in” or “out” setting. Check the slot condition, and turn the power on
slot, please.
to the 02R again.
02R
User’s Guide
Appendix: MIDI
255
Appendix: MIDI
Scene Memory to Program Change Table
Program
Change #
Initial
Scene #
1
2
User
Scene #
Program
Change #
Initial
Scene #
1
44
2
45
3
3
4
5
User
Scene #
Program
Change#
Initial
Scene #
44
87
87
45
88
88
46
46
89
89
4
47
47
90
90
5
48
48
91
91
6
6
49
49
92
92
7
7
50
50
93
93
8
8
51
51
94
94
9
9
52
52
95
95
10
10
53
53
96
96
11
11
54
54
97
0
12
12
55
55
98
—
13
13
56
56
99
—
14
14
57
57
100
—
15
15
58
58
101
—
16
16
59
59
102
—
17
17
60
60
103
—
18
18
61
61
104
—
19
19
62
62
105
—
20
20
63
63
106
—
21
21
64
64
107
—
22
22
65
65
108
—
23
23
66
66
109
—
24
24
67
67
110
—
25
25
68
68
111
—
26
26
69
69
112
—
27
27
70
70
113
—
28
28
71
71
114
—
29
29
72
72
115
—
30
30
73
73
116
—
31
31
74
74
117
—
32
32
75
75
118
—
33
33
76
76
119
—
34
34
77
77
120
—
35
35
78
78
121
—
36
36
79
79
122
—
37
37
80
80
123
—
38
38
81
81
124
—
39
39
82
82
125
—
40
40
83
83
126
—
41
41
84
84
127
—
42
42
85
85
128
—
43
43
86
86
User
Scene #
02R User’s Guide
256
Appendix: MIDI
Parameter to Control Change Table (02R & User Maps)
Parameter
Control
Change #
02R Map
0
NO ASSIGN
User Map
1
FADER
CHANNEL
MIC 1
2
FADER
CHANNEL
MIC 2
3
FADER
CHANNEL
MIC 3
4
FADER
CHANNEL
MIC 4
5
FADER
CHANNEL
MIC 5
6
FADER
CHANNEL
MIC 6
7
FADER
CHANNEL
MIC 7
8
FADER
CHANNEL
MIC 8
9
FADER
CHANNEL
MIC 9
10
FADER
CHANNEL
MIC 10
11
FADER
CHANNEL
MIC 11
12
FADER
CHANNEL
MIC 12
13
FADER
CHANNEL
MIC 13
14
FADER
CHANNEL
MIC 14
15
FADER
CHANNEL
MIC 15
16
FADER
CHANNEL
MIC 16
17
FADER
CHANNEL
LINE 17/18
18
FADER
CHANNEL
LINE 19/20
19
FADER
CHANNEL
LINE 21/22
20
FADER
CHANNEL
LINE 23/24
21
FADER
CHANNEL
EFF 1
22
FADER
CHANNEL
EFF 2
23
FADER
CHANNEL
ST MASTER
24
FADER
CHANNEL
AUX 1
25
FADER
CHANNEL
AUX 2
26
FADER
CHANNEL
AUX 3
27
FADER
CHANNEL
AUX 4
28
FADER
CHANNEL
AUX 5
29
FADER
CHANNEL
AUX 6
30
FADER
CHANNEL
AUX 7
31
FADER
CHANNEL
AUX 8
32
NO ASSIGN
33
FADER
CHANNEL
BUS 1
34
FADER
CHANNEL
BUS 2
35
FADER
CHANNEL
BUS 3
36
FADER
CHANNEL
BUS 4
37
FADER
CHANNEL
BUS 5
02R User’s Guide
Appendix: MIDI
257
Parameter
Control
Change #
02R Map
User Map
38
FADER
CHANNEL
BUS 6
39
FADER
CHANNEL
BUS 7
40
FADER
CHANNEL
BUS 8
41
ON
CHANNEL
MIC 1
42
ON
CHANNEL
MIC 2
43
ON
CHANNEL
MIC 3
44
ON
CHANNEL
MIC 4
45
ON
CHANNEL
MIC 5
46
ON
CHANNEL
MIC 6
47
ON
CHANNEL
MIC 7
48
ON
CHANNEL
MIC 8
49
ON
CHANNEL
MIC 9
50
ON
CHANNEL
MIC 10
51
ON
CHANNEL
MIC 11
52
ON
CHANNEL
MIC 12
53
ON
CHANNEL
MIC 13
54
ON
CHANNEL
MIC 14
55
ON
CHANNEL
MIC 15
56
ON
CHANNEL
MIC 16
57
ON
CHANNEL
LINE 17/18
58
ON
CHANNEL
LINE 19/20
59
ON
CHANNEL
LINE 21/22
60
ON
CHANNEL
LINE 23/24
61
ON
CHANNEL
EFF 1
62
ON
CHANNEL
EFF 2
63
ON
CHANNEL
ST MASTER
64
PANPOT
CHANNEL
MIC 1
65
PANPOT
CHANNEL
MIC 2
66
PANPOT
CHANNEL
MIC 3
67
PANPOT
CHANNEL
MIC 4
68
PANPOT
CHANNEL
MIC 5
69
PANPOT
CHANNEL
MIC 6
70
PANPOT
CHANNEL
MIC 7
71
PANPOT
CHANNEL
MIC 8
72
PANPOT
CHANNEL
MIC 9
73
PANPOT
CHANNEL
MIC 10
74
PANPOT
CHANNEL
MIC 11
75
PANPOT
CHANNEL
MIC 12
76
PANPOT
CHANNEL
MIC 13
77
PANPOT
CHANNEL
MIC 14
78
PANPOT
CHANNEL
MIC 15
79
PANPOT
CHANNEL
MIC 16
02R User’s Guide
258
Appendix: MIDI
Parameter
Control
Change #
02R Map
User Map
80
PANPOT
CHANNEL
LINE 17
81
PANPOT
CHANNEL
LINE 18
82
PANPOT
CHANNEL
LINE 19
83
PANPOT
CHANNEL
LINE 20
84
PANPOT
CHANNEL
LINE 21
85
PANPOT
CHANNEL
LINE 22
86
PANPOT
CHANNEL
LINE 23
87
PANPOT
CHANNEL
LINE 24
88
PANPOT
CHANNEL
EFF 1 Lch
89
PANPOT
CHANNEL
EFF 1 Rch
90
PANPOT
CHANNEL
EFF 2 Lch
91
PANPOT
CHANNEL
EFF 2 Rch
92
BALANCE
ST MASTER
93
NO ASSIGN
94
NO ASSIGN
95
NO ASSIGN
102
FADER
AUX 7 SEND
MIC 1
103
FADER
AUX 7 SEND
MIC 2
104
FADER
AUX 7 SEND
MIC 3
105
FADER
AUX 7 SEND
MIC 4
106
FADER
AUX 7 SEND
MIC 5
107
FADER
AUX 7 SEND
MIC 6
108
FADER
AUX 7 SEND
MIC 7
109
FADER
AUX 7 SEND
MIC 8
110
FADER
AUX 7 SEND
MIC 9
111
FADER
AUX 7 SEND
MIC 10
112
FADER
AUX 7 SEND
MIC 11
113
FADER
AUX 7 SEND
MIC 12
114
FADER
AUX 7 SEND
MIC 13
115
FADER
AUX 7 SEND
MIC 14
116
FADER
AUX 7 SEND
MIC 15
117
FADER
AUX 7 SEND
MIC 16
118
NO ASSIGN
119
NO ASSIGN
02R User’s Guide
Appendix: MIDI
259
Parameter to Control Change Table (03D & Programmable Mixer 01 Maps)
Parameter
Control
Change #
03D Map
0
NO ASSIGN
Programmable Mixer 01 Map
FADER
CHANNEL
MIC 1
1
FADER
CHANNEL
MIC 1
FADER
CHANNEL
MIC 2
2
FADER
CHANNEL
MIC 2
FADER
CHANNEL
MIC 3
3
FADER
CHANNEL
MIC 3
FADER
CHANNEL
MIC 4
4
FADER
CHANNEL
MIC 4
FADER
CHANNEL
MIC 5
5
FADER
CHANNEL
MIC 5
FADER
CHANNEL
MIC 6
6
FADER
CHANNEL
MIC 6
FADER
CHANNEL
MIC 7
7
FADER
CHANNEL
MIC 7
FADER
CHANNEL
MIC 8
8
FADER
CHANNEL
MIC 8
FADER
CHANNEL
MIC 9
9
FADER
CHANNEL
MIC 9
FADER
CHANNEL
MIC 10
10
FADER
CHANNEL
MIC 10
FADER
CHANNEL
MIC 11
11
FADER
CHANNEL
MIC 11
FADER
CHANNEL
MIC 12
12
FADER
CHANNEL
MIC 12
FADER
CHANNEL
MIC 13
13
FADER
CHANNEL
MIC 13
FADER
CHANNEL
MIC 14
14
FADER
CHANNEL
MIC 14
FADER
CHANNEL
MIC 15
15
FADER
CHANNEL
MIC 15
FADER
CHANNEL
MIC 16
16
FADER
CHANNEL
MIC 16
FADER
CHANNEL
LINE 17/18
17
FADER
CHANNEL
LINE 17/18
18
19
NO ASSIGN
FADER
20
21
LINE 19/20
NO ASSIGN
FADER
CHANNEL
FADER
CHANNEL
22
23
CHANNEL
LINE 21/22
NO ASSIGN
LINE 23/24
FADER
CHANNEL
EFF 1
FADER
CHANNEL
EFF 2
FADER
CHANNEL
AUX 7
FADER
CHANNEL
AUX 8
FADER
CHANNEL
ST MASTER
ON
CHANNEL
MIC 1
ON
CHANNEL
MIC 2
24
NO ASSIGN
ON
CHANNEL
MIC 3
25
NO ASSIGN
ON
CHANNEL
MIC 4
26
FADER
CHANNEL
EFF 1
ON
CHANNEL
MIC 5
27
FADER
CHANNEL
EFF 2
ON
CHANNEL
MIC 6
28
FADER
CHANNEL
AUX 1
ON
CHANNEL
MIC 7
29
FADER
CHANNEL
AUX 2
ON
CHANNEL
MIC 8
30
FADER
CHANNEL
AUX 3
ON
CHANNEL
MIC 9
31
FADER
CHANNEL
AUX 4
32
NO ASSIGN
ON
CHANNEL
MIC 10
ON
CHANNEL
MIC 11
33
FADER
CHANNEL
BUS 1
ON
CHANNEL
MIC 12
34
FADER
CHANNEL
BUS 2
ON
CHANNEL
MIC 13
35
FADER
CHANNEL
BUS 3
ON
CHANNEL
MIC 14
36
FADER
CHANNEL
BUS 4
ON
CHANNEL
MIC 15
37
FADER
CHANNEL
ST MASTER
ON
CHANNEL
MIC 16
02R User’s Guide
260
Appendix: MIDI
Parameter
Control
Change #
03D Map
Programmable Mixer 01 Map
38
PANPOT
CHANNEL
MIC 1
ON
CHANNEL
LINE 17/18
39
PANPOT
CHANNEL
MIC 2
ON
CHANNEL
EFF 1
40
PANPOT
CHANNEL
MIC 3
ON
CHANNEL
EFF 2
41
PANPOT
CHANNEL
MIC 4
NO ASSIGN
42
PANPOT
CHANNEL
MIC 5
NO ASSIGN
43
PANPOT
CHANNEL
MIC 6
ON
CHANNEL
ST MASTER
44
PANPOT
CHANNEL
MIC 7
PANPOT
CHANNEL
MIC 1
45
PANPOT
CHANNEL
MIC 8
PANPOT
CHANNEL
MIC 2
46
PANPOT
CHANNEL
MIC 9
PANPOT
CHANNEL
MIC 3
47
PANPOT
CHANNEL
MIC 10
PANPOT
CHANNEL
MIC 4
48
PANPOT
CHANNEL
MIC 11
PANPOT
CHANNEL
MIC 5
49
PANPOT
CHANNEL
MIC 12
PANPOT
CHANNEL
MIC 6
50
PANPOT
CHANNEL
MIC 13
PANPOT
CHANNEL
MIC 7
51
PANPOT
CHANNEL
MIC 14
PANPOT
CHANNEL
MIC 8
52
PANPOT
CHANNEL
MIC 15
PANPOT
CHANNEL
MIC 9
53
PANPOT
CHANNEL
MIC 16
PANPOT
CHANNEL
MIC 10
54
PANPOT
CHANNEL
LINE 17
PANPOT
CHANNEL
MIC 11
55
PANPOT
CHANNEL
LINE 18
PANPOT
CHANNEL
MIC 12
56
PANPOT
CHANNEL
LINE 19
PANPOT
CHANNEL
MIC 13
57
PANPOT
CHANNEL
LINE 20
PANPOT
CHANNEL
MIC 14
58
PANPOT
CHANNEL
LINE 21
PANPOT
CHANNEL
MIC 15
59
PANPOT
CHANNEL
LINE 22
PANPOT
CHANNEL
MIC 16
60
PANPOT
CHANNEL
LINE 23
PANPOT
CHANNEL
LINE 17
61
PANPOT
CHANNEL
LINE 24
PANPOT
CHANNEL
LINE 18
62
NO ASSIGN
PANPOT
CHANNEL
EFF 1 Lch
63
NO ASSIGN
PANPOT
CHANNEL
EFF 1 Rch
64
ON
CHANNEL
MIC 1
PANPOT
CHANNEL
EFF 2 Lch
65
ON
CHANNEL
MIC 2
PANPOT
CHANNEL
EFF 2 Rch
66
ON
CHANNEL
MIC 3
NO ASSIGN
67
ON
CHANNEL
MIC 4
BALANCE
68
ON
CHANNEL
MIC 5
FADER
AUX 7 SEND
MIC 1
69
ON
CHANNEL
MIC 6
FADER
AUX 7 SEND
MIC 2
70
ON
CHANNEL
MIC 7
FADER
AUX 7 SEND
MIC 3
71
ON
CHANNEL
MIC 8
FADER
AUX 7 SEND
MIC 4
72
ON
CHANNEL
MIC 9
FADER
AUX 7 SEND
MIC 5
73
ON
CHANNEL
MIC 10
FADER
AUX 7 SEND
MIC 6
74
ON
CHANNEL
MIC 11
FADER
AUX 7 SEND
MIC 7
75
ON
CHANNEL
MIC 12
FADER
AUX 7 SEND
MIC 8
76
ON
CHANNEL
MIC 13
FADER
AUX 7 SEND
MIC 9
77
ON
CHANNEL
MIC 14
FADER
AUX 7 SEND
MIC 10
78
ON
CHANNEL
MIC 15
FADER
AUX 7 SEND
MIC 11
79
ON
CHANNEL
MIC 16
FADER
AUX 7 SEND
MIC 12
02R User’s Guide
ST MASTER
Appendix: MIDI
Parameter
Control
Change #
80
03D Map
FADER
CHANNEL
FADER
CHANNEL
FADER
CHANNEL
FADER
CHANNEL
81
82
LINE 17/18
LINE 19/20
NO ASSIGN
85
86
Programmable Mixer 01 Map
NO ASSIGN
83
84
LINE 21/22
NO ASSIGN
87
LINE 23/24
NO ASSIGN
88
NO ASSIGN
89
ON
CHANNEL
EFF 1
90
ON
CHANNEL
EFF 2
FADER
AUX 7 SEND
MIC 13
FADER
AUX 7 SEND
MIC 14
FADER
AUX 7 SEND
MIC 15
FADER
AUX 7 SEND
MIC 16
FADER
AUX 7 SEND
LINE 17/18
FADER
AUX 8 SEND
MIC 1
FADER
AUX 8 SEND
MIC 2
FADER
AUX 8 SEND
MIC 3
FADER
AUX 8 SEND
MIC 4
FADER
AUX 8 SEND
MIC 5
FADER
AUX 8 SEND
MIC 6
91
NO ASSIGN
FADER
AUX 8 SEND
MIC 7
92
NO ASSIGN
FADER
AUX 8 SEND
MIC 8
93
NO ASSIGN
FADER
AUX 8 SEND
MIC 9
94
NO ASSIGN
FADER
AUX 8 SEND
MIC 10
FADER
AUX 8 SEND
MIC 11
95
ON
CHANNEL
ST MASTER
102
FADER
AUX 7 SEND
MIC 1
NO ASSIGN
103
FADER
AUX 7 SEND
MIC 2
NO ASSIGN
104
FADER
AUX 7 SEND
MIC 3
NO ASSIGN
105
FADER
AUX 7 SEND
MIC 4
NO ASSIGN
106
FADER
AUX 7 SEND
MIC 5
NO ASSIGN
107
FADER
AUX 7 SEND
MIC 6
NO ASSIGN
108
FADER
AUX 7 SEND
MIC 7
NO ASSIGN
109
FADER
AUX 7 SEND
MIC 8
NO ASSIGN
110
FADER
AUX 7 SEND
MIC 9
NO ASSIGN
111
FADER
AUX 7 SEND
MIC 10
NO ASSIGN
112
FADER
AUX 7 SEND
MIC 11
NO ASSIGN
113
FADER
AUX 7 SEND
MIC 12
NO ASSIGN
114
FADER
AUX 7 SEND
MIC 13
NO ASSIGN
115
FADER
AUX 7 SEND
MIC 14
NO ASSIGN
116
FADER
AUX 7 SEND
MIC 15
NO ASSIGN
117
FADER
AUX 7 SEND
MIC 16
118
119
261
NO ASSIGN
BALANCE
NO ASSIGN
NO ASSIGN
ST MASTER
NO ASSIGN
02R User’s Guide
262
Appendix: MIDI
MIDI Data Format
1. General remarks
1-1
This section describes the MIDI functionality of the 02R.
1-2
Electrical characteristics and message formats are in compliance with MIDI standard 1.0.
2. Messages transmitted and received
2-1. Program change
Transmission/reception can be turned ON or OFF using the “MIDI Setup” display function (see “Setup” on
page 159 of the User’s Guide).
When a memory recall occurs, the program change corresponding to that memory number will be
transmitted on the specified MIDI channel.
When a program change is received on the specified MIDI channel or in OMNI mode, the memory
corresponding to that program number will be recalled.
The user can create a customized program change assign table (see “Program Change Assign” on page 160 of
the User’s Guide).
2-2. System exclusive messages
System exclusive messages include Bulk Dump/Request and Parameter Change/Request. For these
messages, the device number will be the same as the MIDI channel.
Bulk Dump/Request
Transmission and reception is always ON.
Bulk Request is transmitted using the “MIDI Bulk Dump & Request” display function (see “Bulk
Dump/Request” on page 161 of the User’s Guide) on the specified MIDI channel.
Bulk Dump transmits the contents of the corresponding memory on the specified MIDI channel, and is
transmitted either by operations in the “MIDI Bulk Dump & Request” display function, or when a Bulk
Request is received on the specified MIDI channel.
When a Bulk Dump is received, the contents of the corresponding memory will change.
Parameter Change/Request
Transmission/reception can be turned ON or OFF using the “MIDI Setup” display function (see “Setup” on
page 159 of the User’s Guide).
If parameter change transmission is ON, a message will be transmitted on the specified MIDI channel when
the parameters of the 02R are modified.
02R User’s Guide
Appendix: MIDI
263
If parameter change reception is ON and a parameter request is received on the specified MIDI channel, the
contents of the corresponding parameter will be transmitted on the specified MIDI channel regardless of
whether transmission is ON or OFF.
If parameter change reception is ON and a parameter change is received on the specified MIDI channel, the
contents of the corresponding parameter will be modified.
Transmission of KEY REMOTE parameter changes can be turned ON or OFF using the “Preferences” display
function (see “Preferences” on page 198 of the User’s Guide) independently of other parameters. This is used
only in special circumstances such as when externally monitoring key operations. Normally, it should be left
OFF.
2-3. Active sensing, MIDI reset
If, after receiving Active Sensing, no messages are received for an interval longer than 300 ms, or when MIDI
Reset is received, only the running status will be cleared.
Active Sensing is transmitted.
2-4. Quarter-frame messages
MIDI Time Code Quarter-frame messages are received at the MTC connector.
3. Echo Back
If ECHO is turned ON, the Program Change messages will be transmitted immediately after being received.
4. Transmission Condition
PGM T × ON
PROGRAM CHANGE $CnH
SYSTEM EXCLUSIVE
PARAMETER CHANGE
$F0H, $43H, $1nH
PARAM T × ON
KEY REMOTE T × ON
MIDI CH?
(KEY REMOTE)
(RESPONSE FOR
PARAMETER REQUEST)
SYSTEM EXCLUSIVE
BULK DUMP $F0H, $43H, $0nH
MIDI OUT
BULK REQUEST $F0H, $43H, $2nH
PGM ECHO ON
MIDI IN PROGRAM CHANGE $CnH
ACTIVE SENSE $FEH
02R User’s Guide
264
Appendix: MIDI
5. Receive Condition
PGM OMNI ON
PGM R × ON
$CnH PROGRAM CHANGE
PARAM R × ON
MIDI IN
SYSTEM EXCLUSIVE
$F0H,$43H,$1nH
PARAMETER CHANGE
MIDI CH?
$F0H,$43H,$3nH
PARAMETER REQUEST
SYSTEM EXCLUSIVE
$F0H, $43H, $0nH BULK DUMP
$F0H, $43H, $2nH BULK REQUEST
PGM ECHO ON
$CnH MIDI OUT PROGRAM CHANGE
MTC IN
02R User’s Guide
∗∗H, MIDI QUARTER FRAME MESSAGE
$F1H, $
Appendix: MIDI
265
Parameter Change and Request Format
Appendix: MIDI
PARAMETER CHANGE (basic format)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
0ttttttt tt
(type number, bit6:0=byte 1=bit operation)
0ddddddd dd0
data 0-n
:
:
DATA
0ddddddd ddn
EOX
11110111 F7
End Of Exclusive
PARAMETER CHANGE REQUEST
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0011nnnn 3n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
0ttttttt tt
(type number, bit6:0=byte)
0ddddddd dd0
address( H) high 7 bits of 14 bits address
0ddddddd dd1
address( L) low 7 bits of 14 bits address
0ddddddd dd2
count
11110111 F7
End Of Exclusive
DATA
EOX
type number:
0
edit buffer( used byte or bit operation format)
1
setup( used byte operation format, request and response for request only)
2
backup( used byte operation format, request and response for request only)
24 recall/store( parameter change only)
25 key remote( parameter change only)
26 fader/encoder Remote( parameter change only)
02R User’s Guide
266
Appendix: MIDI
PARAMETER CHANGE (byte operation for type number 0:edit buffer, 1:setup, 2:backup)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
00tttttt tt
(type number, bit6 = 0( byte operation))
0ddddddd dd0
address( H) high 7 bits of 14 bits address
0ddddddd dd1
address( L) low 7 bits of 14 bits address
0ddddddd dd2
data( H) high 4 bits of 8 bits data( 0000dddd)
0ddddddd dd3
data( L) low 4 bits of 8 bits data( 0000dddd)
:
:
11110111 F7
End Of Exclusive
DATA
EOX
You can modify two or more continuous bytes by increasing pairs of "data( H)" and "data(L)".
PARAMETER CHANGE (bit operation for type number 0:edit buffer)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
01tttttt tt
(type number, bit6 = 1( bit operation))
0ddddddd dd0
address( H) high 7 bits of 14 bits address
0ddddddd dd1
address( L) low 7 bits of 14 bits address
0ddddddd dd2
data( bit0-3:change bit0-7 bit4:0=reset 1=set)
:
:
11110111 F7
End Of Exclusive
DATA
EOX
You can modify two or more bits in same address data.
PARAMETER CHANGE (recall/store)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
00011000 18
recall/store (type number)
0ddddddd dd0
instruction
0ddddddd dd1
number
0ddddddd dd2
channel
11110111 F7
End Of Exclusive
DATA
EOX
02R User’s Guide
Appendix: MIDI
instruction
number
channel
0x00 scene recall
0-96 (memory 0-96)
0x7e (undo)
0
0
Tx only
Tx only
0x01 eq lib recall
0-127 (library 1-128)
0-15(mic1-16)
16-31(tape1-16)
32-35(line)
36,37(eff1,eff2)
38(st mas)
64-79(undo mic)
80-95(undo tape)
96-99(undo line)
100,101(undo eff)
102(undo st mas)
Tx only
Tx only
Tx only
Tx only
Tx only
0-127 (library 1-128)
0
0-35,38,39-46(bus,aux)
64-95,102
103-110(undo bus,aux)
Tx only
Tx only
0-127 (library 1-128)
0
36,37
100,101
Tx only
0-63 (library 1-64)
0
0-37
64-101
Tx only
0x10 scene store
1-96 (memory 1-96)
0x7e (undo)
0, 62(from host)
0
Tx only
Tx only
0x11 eq lib store
32-127 (library 33-128)
0
0-38,62
64-102
Tx only
Tx only
0x12 dynamics lib str
40-127 (library 41-128)
0
0-35,38,39-46,62
64-95,102,103-110
Tx only
Tx only
0x13 eff lib store
40-127 (library 41-128)
0
36,37,62
100,101
Tx only
Tx only
0x14 channel lib str
0-63 (library 1-64)
0
0-37,62
64-101
Tx only
Tx only
0
0x02 dynamics lib rcl
0x03 eff lib recall
0x04 channel lib rcl
267
02R User’s Guide
268
Appendix: MIDI
PARAMETER CHANGE (key remote)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
00011001 19
key remote (type number)
DATA
0ddddddd dd0
key No.( H) high 7 bits
0ddddddd dd1
key No.( L) low 7 bits
0ddddddd dd2
key on( 1)/off( 0)
11110111 F7
End Of Exclusive
EOX
PARAMETER CHANGE (fader remote)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
00011001 1A
fader remote (type number)
DATA
0ddddddd dd0
No. (0-20:fader 1-21(st mas)
64-87:encoder tape1-16,rtn1-2,aux,pan,q,f,g,entry)
EOX
02R User’s Guide
0ddddddd dd1
data(fader 0~127/ encoder -64~+63)
11110111 F7
End Of Exclusive
Appendix: MIDI
269
bus send level control ( receive only)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
00011001 1A
fader remote (type number)
DATA
0ddddddd dd0
33 ( bus send level)
0ccccccc CH
0-15(mic),16-31(tape),32-35(line),36-37(eff)
00hhhhhh L1
bus1 24bit coefficient
00hhmmmm L2
bus1
00mmmmll L3
bus1
00llllll L4
bus1
00hhhhhh L1
bus2 24bit coefficient
00hhmmmm L2
bus2
00mmmmll L3
00llllll L4
bus2
00hhhhhh L1
bus3 24bit coefficient
00hhmmmm L2
bus3
00mmmmll L3
bus3
00llllll L4
bus3
00hhhhhh L1
bus4 24bit coefficient
00hhmmmm L2
bus4
00mmmmll L3
bus4
00llllll L4
bus4
00hhhhhh L1
bus5 24bit coefficient
00hhmmmm L2
bus5
00mmmmll L3
bus5
00llllll L4
bus5
00hhhhhh L1
bus6 24bit coefficient
00hhmmmm L2
bus6
00mmmmll L3
bus6
00llllll L4
bus6
00hhhhhh L1
bus7 24bit coefficient
00hhmmmm L2
bus7
00mmmmll L3
bus7
00llllll L4
bus7
00hhhhhh L1
bus8 24bit coefficient
00hhmmmm L2
bus8
00mmmmll L3
bus8
02R
User’s Guide
270
Appendix: MIDI
bus send level control ( receive only)
EOX
00llllll L4
bus8
11110111 F7
End Of Exclusive
surround x,y ( receive only)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
00011001 1A
fader remote (type number)
DATA
0ddddddd dd
32 (surround x, y)
0xxxxxxx XX
0-127
0yyyyyyy YY
0-127
0eeeeeee EE
edit( grab, ch)
11110111 F7
End Of Exclusive
EOX
multiple O2Rs link
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0001nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
MODEL ID
00111101 3d
MODEL ID (02R)
PARAM TYPE
00011011 1B
multiple link (type number)
DATA
0mmfffff mf
data format
mm(status)
= 0 : event command
4 : setup memory change
fffff(contents)
if(mm==0) {
switch(fffff) {
case 0x00: scene memory recall
case 0x01: scene memory store(with title)
case 0x10: automix memory recall
case 0x11: automix memory store(with title)
case 0x14: automix new
case 0x15: automix undo
case 0x18: automix transport - AUTO-RECORD
case 0x19: automix transport - RECORD
case 0x1A: automix transport - PLAY
case 0x1B: automix transport - STOP
02R
User’s Guide
Appendix: MIDI
271
multiple O2Rs link
case 0x1C: automix transport - ABORT
}
} else if(mm==4) {
switch(fffff) {
case 0x00: setup memory change(byte)
case 0x08: setup memory change(bit)
}
}
0ddddddd dd0
data #0
0ddddddd dd1
data #1
:
EOX
:
11110111 F7
End Of Exclusive
** Scene Memory recall **
DATA
00000000 00
scene memory recall
0mmmmmmm mm
mm=0-96(Scene Memory No.0-96,0x7e)
00000001 01
scene memory store
0mmmmmmm mm
mm=0-96(Scene Memory No.0-96,0x7e)
0ttttttt tt0
memory title #0
** Scene Memory store **
DATA
0ttttttt tt1
:
#1
:
#16
:
0ttttttt tt16
** Automix Memory recall **
DATA
00010000 10
automix memory recall
0mmmmmmm mm
mm=0-15(automix Memory No.1-16)
00010001 11
automix memory store
0mmmmmmm mm
mm=0-15(automix Memory No.1-16)
0ttttttt tt0
memory title #0(H)
** Automix Memory store **
DATA
0ttttttt tt1
:
#0(L)
0ttttttt tt1
:
#1(H)
:
#16(L)
:
0ttttttt tt16
02R
User’s Guide
272
Appendix: MIDI
** Automix new **
DATA
00010100 14
automix new
00010101 15
automix undo
** Automix undo **
DATA
** automix transport - AUTO-RECORD **
DATA
00011000 18
automix transport(AUTO-RECORD)
** automix transport - RECORD **
DATA
00011001 19
automix transport(RECORD)
00011010 1A
automix transport(PLAY)
00011011 1B
automix transport(STOP)
00011100 1C
automix transport(ABORT)
01000000 40
data format
0ddddddd dd0
address ( H) high 7 bits of 14 bits address
0ddddddd dd1
address ( L) low 7 bits of 14 bits address
0ddddddd dd2
data ( H) high 4 bits of 8 bits data (
0ddddddd dd3
data ( L) low 4 bits of 8 bits data ( 0000dddd)
** automix transport - PLAY **
DATA
** automix transport - STOP **
DATA
** automix transport - ABORT **
DATA
** setup data format **
DATA
0000dddd)
:
TX FORMAT
02R
User’s Guide
40 1B aa aa
Appendix: MIDI
273
Bulk Dump and Request Format
Appendix: MIDI
The data format is as following. For example, Internal data: ds,d1,d2,...dx,...de( dx is 1byte data).
dxH = (dx / 16) AND 0Fh, dxL = dx AND 0Fh
To calculate the check sum: add the data from BYTE COUNT(LOW) to just before the CHECK SUM,
multiplying –1( 2's complement), resetting MSB( bit7).
check sum = ( –sum) & 0x7F
Scene Memory Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
BYTE COUNT
(HIGH/LOW)
00011111 1F
DATA NAME
01101010 6A
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01001101 4D
'M'
0mmmmmmm mm
m=0–96,127(Scene Memory No.0–96,current)
0iiiiiii ii
id 1
:
:
:
0iiiiiii ii
id 16
0ttttttt tt
title1
:
DATA
4074(2016x2+32+10)bytes
:
0ttttttt tt
:
title16
0ddddddd dsH
0ddddddd dsL
:
:
Scene Memory(2016x2bytes)
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Scene memory receive is effective for programs 1–96 only.
02R User’s Guide
274
Appendix: MIDI
Scene Memory(Extended Data)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
FORMAT NO.
01111110 7E
Universal Bulk Dump
BYTE COUNT(H)
00001100 0C
Total 1546(768*2+10)
BYTE COUNT(L)
00001010 0A
DATA NAME
DATA
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01001110 4E
'N'
0mmmmmmm mm
mm=0-96,127(Scene Memory No.0-96,Current)
0ddddddd dsH
Scene Extended Memory(768*2 byte)
0ddddddd dsL
:
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Control Change Assign Table
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
FORMAT NO.
01111110 7E
Universal Bulk Dump
BYTE COUNT(H)
00000100 03
Total 466(228*2+10)
BYTE COUNT(L)
01001010 52
02R User’s Guide
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
Appendix: MIDI
275
Control Change Assign Table
DATA NAME
00110110 36
'6'
00110111 37
'7'
01000011 43
'C'
00100000 20
DATA
0ddddddd dsH
Control Change Assign Table(228*2 byte)
0ddddddd dsL
:
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Scene Memory (compact)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
FORMAT NO.
01111110 7E
Universal Bulk Dump
BYTE COUNT(H)
0hhhhhhh hh
Total size is variable(SIZE+10)
BYTE COUNT(L)
0lllllll ll
DATA NAME
DATA
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01101101 6D
'm'
0mmmmmmm mm
mm=0-96,127(Scene Memory No.0-96,Current)
0ddddddd dsH
Scene Memory-compact(SIZE byte)
0ddddddd dsL
(contain Extend Memory)
:
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
02R User’s Guide
276
Appendix: MIDI
Scene Memory Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01001101 4D
'M'
0mmmmmmm mm
m=0–96,127(Scene Memory No.0–96,current)
11110111 F7
End Of Exclusive
DATA NAME
EOX
Scene memory transmission from the 02R is possible for programs 1–96 only.
Program Change Assignment Table Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
BYTE COUNT
(HIGH/LOW)
00000010 02
DATA NAME
02R User’s Guide
00001010 0A
266(128x2+10)bytes
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01010000 50
'P'
00100000 20
''
Appendix: MIDI
277
Program Change Assignment Table Bulk Dump Format
0ddddddd dsH
0ddddddd dsL
DATA
:
:
Program Change Table(128x2bytes)
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Program Change Assignment Table Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01010000 50
'P'
00100000 20
''
11110111 F7
End Of Exclusive
DATA NAME
EOX
Setup Memory Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
BYTE COUNT
(HIGH/LOW)
00000000 00
01101010 6A
266(128x2+10)bytes
02R User’s Guide
278
Appendix: MIDI
Setup Memory Bulk Dump Format
DATA NAME
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01010011 53
'S'
00100000 20
''
0ddddddd dsH
0ddddddd dsL
DATA
:
Setup Memory(128x2bytes)
:
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Setup Memory (Extended Data)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
FORMAT NO.
01111110 7E
Universal Bulk Dump
BYTE COUNT(H)
00000001 01
Total 138(64*2+10)
BYTE COUNT(L)
00001010 0A
DATA NAME
DATA
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01010100 54
'T'
00100000 20
''
0ddddddd dsH
Setup Extended Memory(64*2 byte)
0ddddddd dsL
:
02R User’s Guide
Appendix: MIDI
279
Setup Memory (Extended Data)
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Setup Memory Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01010011 53
'S'
00100000 20
''
11110111 F7
End Of Exclusive
DATA NAME
EOX
02R User’s Guide
280
Appendix: MIDI
Effect Library Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
BYTE COUNT
(HIGH/LOW)
00000000 00
DATA NAME
01001000 48
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01000101 45
'E'
0mmmmmmm mm
m=0–127(Effect Library No.1–128)
0ttttttt tt
title1
:
:
0ttttttt tt
DATA
72(23x2+16+10)bytes
title16
0ddddddd dsH
0ddddddd dsL
:
:
Effect Library Memory(23x2bytes)
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Effect library receive is effective for programs 41–128 only.
Effect Library Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
02R User’s Guide
Appendix: MIDI
281
Effect Library Bulk Dump Request Format
DATA NAME
EOX
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01000101 45
'E'
0mmmmmmm mm
m=0–127(Effect Library No.1–128)
11110111 F7
End Of Exclusive
Effect library transmission from the 02R is possible for programs 41–128 only.
Equalizer Library Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
BYTE COUNT
(HIGH/LOW)
00000000 00
DATA NAME
00111110 3e
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01010001 51
'Q'
0mmmmmmm mm
m=0–127(Equalizer Library No.1–128)
0ttttttt tt
title1
:
:
0ttttttt tt
DATA
62(18x2+16+10)bytes
title16
0ddddddd dsH
0ddddddd dsL
:
:
Equalizer Library Memory(18x2bytes)
0ddddddd deH
0ddddddd deL
02R User’s Guide
282
Appendix: MIDI
Equalizer Library Bulk Dump Format
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Equalizer library receive is effective for programs 33–128 only.
Equalizer Library Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01010001 51
'Q'
0mmmmmmm mm
m=0–127(Equalizer Library No.1–128)
11110111 F7
End Of Exclusive
DATA NAME
EOX
Equalizer library transmission from the 02R is possible for programs 33–128 only.
Dynamics Library Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
BYTE COUNT
(HIGH/LOW)
00000000 00
02R User’s Guide
00101100 2c
44(9x2+16+10)bytes
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
Appendix: MIDI
283
Dynamics Library Bulk Dump Format
DATA NAME
01011001 59
'Y'
0mmmmmmm mm
m=0–127(Dynamics Library No.1–128)
0ttttttt tt
title1
:
:
0ttttttt tt
DATA
title16
0ddddddd dsH
0ddddddd dsL
:
:
Dynamics Library Memory(9x2bytes)
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Dynamics library receive is effective for programs 41–128 only.
Dynamics Library Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01011001 59
'Y'
0mmmmmmm mm
m=0–127(Dynamics Library No.1–128)
11110111 F7
End Of Exclusive
DATA NAME
EOX
Dynamics library transmission from the 02R is possible for programs 41–128 only.
Channel Library Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
02R User’s Guide
284
Appendix: MIDI
Channel Library Bulk Dump Format
BYTE COUNT
(HIGH/LOW)
DATA NAME
00000000 00
01111010 7A
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01001000 48
'H'
0mmmmmmm mm
m=0–63(Channel Library No.1–64)
0ttttttt tt
title1
:
:
0ttttttt tt
DATA
122(48x2+16+10)bytes
:
title16
0ddddddd dsH
0ddddddd dsL
:
:
Channel Library Memory(48x2bytes)
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Channel Library(Extended Data)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
FORMAT NO.
01111110 7E
Universal Bulk Dump
BYTE COUNT(H)
00000000 00
Total 38(14*2+10)
BYTE COUNT(L)
00100110 26
02R
User’s Guide
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
Appendix: MIDI
285
Channel Library(Extended Data)
DATA NAME
DATA
01001001 49
'I'
0mmmmmmm mm
mm=0-63(Channel Library No.1-64)
0ddddddd dsH
Channel Library Extended Memory(14*2 byte)
0ddddddd dsL
:
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Channel Library Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01001000 48
'H'
0mmmmmmm mm
m=0–63(Channel Library No.1–64)
11110111 F7
End Of Exclusive
DATA NAME
EOX
Automix Bulk Dump Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 0n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
BYTE COUNT
(HIGH/LOW)
00010000 10
00011110 1e
2078(1024x2+20+10)bytes
02R
User’s Guide
286
Appendix: MIDI
Automix Bulk Dump Format
DATA NAME
DATA
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01000001 41
'A'
0000mmmm 0m
m=0–15(Automix No.1–16)
0xxxxxxx xx
block count( High)
0xxxxxxx xx
block count( Low) [ 0~size]
0yyyyyyy yy
total size( High)
0yyyyyyy yy
total size( Low)[ size–1]
0ttttttt tt
title1
:
:
0ttttttt tt
:
title16
0ddddddd dsH
0ddddddd dsL
:
:
Automix Memory(1024x2bytes)
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+dsH+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Automix (compact)
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID No.(YAMAHA)
SUB STATUS
0000nnnn 1n
n=0-15(Tx/Rx Channel No.1-16)
FORMAT NO.
01111110 7E
Universal Bulk Dump
BYTE COUNT(H)
00010000 10
Total 2078(1024*2+20+10)
BYTE COUNT(L)
00011110 1E
02R
User’s Guide
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
Appendix: MIDI
287
Automix (compact)
DATA NAME
DATA
00110110 36
'6'
00110111 37
'7'
01100001 61
'a'
0mmmmmmm mm
mm=0-15(Automix No.1-16)
0ddddddd dsH
Automix Memory-compact(1024*2 byte)
0ddddddd dsL
:
0ddddddd deH
0ddddddd deL
CHECK SUM
0eeeeeee ee
ee=(INVERT('L'+'M'+...+deL)+1) AND 7Fh
EOX
11110111 F7
End Of Exclusive
Automix Bulk Dump Request Format
STATUS
11110000 F0
System Exclusive Message
ID No.
01000011 43
Manufacturer's ID (YAMAHA)
SUB STATUS
0010nnnn 2n
n=0–15(Tx/Rx Channel No.1–16)
FORMAT No.
01111110 7E
Universal Bulk Dump
01001100 4C
'L'
01001101 4D
'M'
00100000 20
''
00100000 20
''
00111000 38
'8'
01000001 41
'A'
00110110 36
'6'
00110111 37
'7'
01000001 41
'A'
0000mmmm 0m
m=0–15(Automix No.1–16)
11110111 F7
End Of Exclusive
DATA NAME
EOX
02R
User’s Guide
Glossary
16
289
Glossary
A/D converter—The conversion of analog signals into digital signals. The
analog signal is sampled every few milliseconds and its level is quantized
into a digital word. The larger the digital word, the more accurate the
representation of the analog value. See Quantization and Sampling frequency.
The 02R uses 20-bit linear analog-to-digital converters for most of its analog
inputs.
Aliasing—A form of distortion which can occur during the conversion of
analog signals into digital. If the input signal is more than one half the
sampling rate, only portions of the signal will be present when the system
samples the waveform. A false image of the waveform, based on the
components that were actually sampled, is created.
A system which samples at 48 kHz can correctly process signals of up to
24 kHz. To remove signals above the Nyquist frequency (see Nyquist
Sampling Theorem), all A/D converters employ anti-aliasing filters. The 02R
employs over-sampling A/D converters to allow the anti-aliasing filter to
be performed in the digital domain. See over-sampling.
Attenuation—After the signal has been converted to digital, the 02R can
apply numerous forms of signal processing, such as equalization or effects.
Some of these processes may boost the signal to digital clipping. The 02R
allows you to attenuate the digital signal to reduce the chances of clipping.
Automix system—The 02R has an on-board Automix system that
memorizes fader positions, switches individual channels on or off, adjusts
the equalization or pan positions, and changes the auxiliary sends—all
based on timecode. It can recall scene memories and programs from the
EQ, effects, dynamics, and channel libraries, also determined by the
recorded timecode. You can record an entire mixing session, and then edit
the individual channel settings in multiple passes. You can punch-in to fine
tune a specific parameter or you can use one of the event editors to adjust
the timecode position of channel settings or scene and library changes.
Automix Memory—The Automix system records each parameter change
and the associated time as an event. The parameters that are recorded
include fader movements, channel status and EQ changes, and library
recalls. The more complicated the mix, the more memory it consumes. The
02R has a default of 480 kbytes of Automix memory.
Auxiliary send—The auxiliary sends are used to feed signals from the
input or tape return channels to external effects processors, amplifiers, or
multitrack recording equipment. The 02R has eight auxiliary sends. Two of
the sends feed the internal effects processors. See Internal Effects.
02R User’s Guide
16
290
Glossary
Bit—A single unit of digital data. It can have a value of 1 or 0.
Bulk Dump—A MIDI function that allow the transfer of system specific
data, such as sample files or mixer settings, between MIDI capable devices.
The data are transmitted as MIDI System Exclusive messages.
Bus—A circuit that connects the input or tape and effect return signals with
the output connectors. The 02R has eight output buses plus the stereo
output.
Channel Library—An area in 02R memory used to access and store
channel settings—stored as programs. There are 96 user programs for you
to store your channel settings.
Compander—A compander is a compressor/expander—a combination of
signal compression and expansion. The compander attenuates the input
signal above the threshold as well as the level below the width. For very
dynamic material, this program allows you to retain the dynamic range
without having to be concerned with excessive output signal levels and
clipping. See Dynamics Processor.
Compressor—A compressor provides a form of automatic level control. It
attenuates high levels, thus effectively reducing the dynamic range,
making 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 the signal-to-noise performance. Limiting is an
extreme form of compression, where the output signal is sharply
attenuated so that it cannot exceed a particular level. See Dynamics
Processor.
Confidence monitoring—Listening directly from a recording medium to
ensure the program material is being recorded correctly. Most analog
recorders have a playback head trailing the record head, allowing you to
hear the material directly after it has been recorded. Professional DAT
recorders usually have four heads for confidence monitoring, as do a
number of the modular digital multitrack recorders. Hard disk recorders
offer their own form of confidence monitoring.
D/A converter—The conversion of a digital data stream into analog
signals. The digital word is buffered and then converted into an analog
signal. After conversion, the analog signal is usually processed through a
smoothing filter which removes the step transitions between the digital
words. The 02R uses 20-bit linear digital-to-analog converters for most of
its analog outputs
DAT cassette—Metal chrome cassette tape (thickness 13µm, width 8.8mm).
Delay—A delay applied to the input signals processed by the 02R to
compensate for signal processing delays, for example caused by the gap
between the record and playback heads of a multitrack recorder.
02R User’s Guide
Glossary
291
Dither—Dithering is a mathematical process where a random noise is
added to the least significant bit of a digital word. With very low level
signals, the quantization error becomes correlated to the signal level. This
creates a measurable amount of distortion. By adding dither, the correlation
between the signal level and the quantization error is cancelled, allowing
the digital system to encode amplitudes smaller than the least significant
bit. If you change the word size as a signal passes from one digital system
to another, being able to add dither allows you to maintain a high quality
signal.
Digital Signal Processor (DSP)—A specialized circuit, usually a chip, that
is designed to manipulate large quantities of data in real-time. YAMAHA
has developed world renowned expertise in proprietary musical
application specific digital signal processing.
Ducking—Ducking is used to automatically reduce signal levels when the
level of a source signal exceeds a specified threshold. It is used for
voice-over applications where, for example, level of background music is
automatically reduced, allowing an announcer to be heard clearly. See
Dynamics Processor.
Dynamic range—The difference between the loudest (maximum output
level) and quietest (residual noise floor) sounds produced in an audio
system. The dynamic range in a digital system is determined by the data
resolution, about 6dB per digital bit. A 20-bit system has a theoretical
dynamic range of 120 dB. The 02R has a specified dynamic range of 105 dB.
Dynamics Library—An area in 02R memory used to access and store
dynamics settings—stored as programs. There are 40 preset programs (1 to
40) for you to recall and 88 user programs (41 to 128) for you to store your
own dynamics settings.
Dynamics Processor—Dynamics processors are used to correct or control
signal levels. The 02R features comprehensive dynamics processors for all
the input channels, tape returns, and the bus and stereo outputs. These
processors allow you to compress, expand, compress-expand (compand),
gate, or duck the signals passing through the mixer. See Compander,
Compressor, Ducking, Expander, and Gate.
Edit Buffer—The Edit Buffer is the current mix settings. When a scene
memory is recalled, the mix settings of the selected scene memory are
written to the Edit Buffer. When a scene memory is stored, the mix settings
in the Edit Buffer are written to the selected scene memory.
EQ—The 02R is equipped with a four-band, fully parametric EQ, with
variable bandwidth (Q), center frequency (F), gain (G), and ON/OFF
parameters. equalization can be applied to the input channels, the tape and
effect return channels, and the stereo output. For stereo channels, the
equalization curve is applied equally to both channels.
EQ Library—An area in 02R memory used to access and store EQ
settings—stored as programs. There are 40 preset programs (1 to 40) for
you to recall and 88 user programs (41 to 128) for you to store your own EQ
settings.
02R User’s Guide
292
Glossary
Expander—An expander is another form of automatic level control. By
attenuating the signal below the threshold, the expander reduces low-level
noise or expands the dynamic range of the recorded material. See Dynamics
Processor
F (frequency)—The center frequency of an EQ band. See EQ.
Fader calibration—The motorized faders occasionally require
re-calibration in order to maintain the highest performance possible.
G (gain)—The signal gain of an EQ band. See EQ.
Gain and 20dB (pad)—The analog input pre-amplifier controls. These
controls are used to optimize the signal from the input connectors. The pad
switch is used to reduce the channel gain for line level signals.
Gate—A gate, or noise gate is an audio switch used to mute signals below a
set threshold level. It can be used to suppress background noise and hiss
from valve (tube) amps, effects pedals, and microphones. See Dynamics
Processor.
IEC958 Part-2 (Consumer)—A digital interface protocol that is used to
transfer digital audio data between consumer-type digital audio
equipment such as CD players and DAT , DCC, and Mini Disc recorders.
Two channels of digital audio (left/right) are carried on a single line. A
coaxial phono/RCA jack connection is typical, but some systems use
optical interconnects.
IEC958 Part-3 (AES/EBU—Professional)—A digital interface protocol that
is used to transfer digital audio data between professional digital audio
equipment such as PCM and DAT mastering recorders, modular
multitrack recorders and other equipment. Two channels of digital audio
are carried on a single line. An XLR-type connector and a shielded cable is
typically used.
Internal Effects—The 02R is equipped with two internal multi-effects
stereo processors. These processors have a startling range of special effects
available to apply to your mix—shimmering reverbs, clean, precise delays,
flanging and chorus, and a myriad of other effects are available.
Metering—The 02R features comprehensive signal level metering. The
mono and stereo input channels, the tape and effect returns, and the
auxiliary sends and buses are all metered using the METER display
function. The control room output is metered using the dedicated
21-segment LED meters. Peak hold is available for all meters.
MIDI implementation—MIDI is an acronym for Musical Instrument
Digital Interface. It is an international standard that allows electronic
musical instruments to communicate with each other. Because of the
complexity of the 02R, it only recognizes MIDI Program Change, Parameter
Change, and System Exclusive messages. It uses System Exclusive
messages to provide bulk data transfers as well as controller changes. It
also reads MTC (MIDI timecode). See Timecode.
02R User’s Guide
Glossary
293
Modulation—Using a low frequency oscillator (LFO) to control a signal’s
frequency (pitch) or amplitude (level). The internal effects programs use
modulation for a number of their programs. See Internal Effects.
Nyquist Sampling Theorem—This theorem defines the process of
sampling audio with a digital system. Amongst other things, it states that
the sampling frequency of a digital audio system must be at least twice that
of the highest audio frequency, otherwise aliasing will occur. The Nyquist
theorem was developed at Bell Labs by C. Shannon and H. Nyquist. See
Aliasing.
over-sampling—The input analog signal is sampled at a much higher rate
than the normal sampling rate. Using the high sample rate, the digital data
may be processed with a very steep slope digital filter. As the filter is in the
digital domain, unpleasant side-effects, such as phase effects are
eliminated. The 02R uses 64-times over-sampling for most of its analog
inputs and 8-times over-sampling for most of its analog outputs.
PCM—Pulse Code Modulation. A scheme for encoding audio data as a
series of pulses. Each pulse defines a transition from binary one to binary
zero.
Peaking—An EQ circuit that is used to cut and boost a signal, centered
about a specific frequency. Using the bandwidth (Q) parameter, you can
widen or narrow the effect of the circuit.
Phase—Phase is the frequency coherence of a signal. If two signals are out
of phase, the trough of the first waveform corresponds with the peak of the
second, resulting in cancellation. The 02R can reverse the phase of the input
signals, which allows you to compensate for incorrectly wired conductors
and so forth.
Program Change—A MIDI message that is used to recall programs. On the
02R they recall scene memories.
Q (bandwidth)—The bandwidth of an EQ band. For high values the
bandwidth is narrow. For low values, it is wide. See EQ .
Quantization—The encoding process when the analog input is
approximated (quantized) to the nearest binary value available. In the
20-bit system of the 02R, pulses are approximated to one of 1,048,576 binary
values. These approximations are not an exact duplication of the analog
waveform and are therefore contain quantization errors (noise). However,
this noise is reduced by over-sampling.
RAM (Random Access Memory)—A memory chip that stores data that
can be edited and changed. It requires a continuous electrical charge. The
02R scenes memories and other libraries are stored in RAM. An internal
backup battery provides the continuous charge. Contrast with ROM.
ROM (Read Only Memory)—A memory chip that stores data that cannot
be edited. The 02R operating system is stored in ROM. Contrast with RAM.
02R User’s Guide
294
Glossary
Routing—The process of assigning input or tape and effect returns to the
output buses or the stereo bus.
Sampling frequency—The rate at which measurements of an audio signal
are taken during A/D and D/A conversion. Once in the digital domain, the
data usually remains at the same sampling frequency. The measure is
samples per second.
Scene Memory—The 02R scene memories are a memory location used to
store a snapshot of virtually all the digital parameters of the mixer. Settings
that are not stored consist mainly of monitor controls, analog controls, and
switches. The 02R has 96 mix scene memory locations. Each can be named
for easy identification.
Shelving—An EQ circuit that is used to cut and boost a signal above or
below a specified frequency. High and low band EQs are usually shelving
type. The 02R EQ can be configured as shelving or peaking.
Signal to Noise ratio (S/N)—The difference between the nominal signal
level and the residual noise floor, usually expressed in decibels.
System Exclusive—A MIDI message that is used to transmit data between
MIDI devices that is exclusive to those devices. Bulk dump data can be sent
from any device to a MIDI data filer. Controller events are transmitted
between 02Rs using System Exclusive messages. See also Bulk Dump.
Talkback System—A system that allows the engineer in the control room
to talk to the musicians in the studio.
Timecode –Timecode is a signal that contains a chronological record of the
absolute time in a recording. It is used for synchronizing different
recorders. It can be used for electronic editing. Timecode was initially
invented for the motion picture business, as a method of synchronizing the
pictures recorded in the frames of a camera to the sound recorded on tape
recorder.
The 02R supports three types of timecode, SMPTE timecode, MTC (MIDI
timecode), and Internal timecode
White noise—A random noise that contains an equal amount of energy per
frequency band. That is, 100–200, 800–900, and 3000–3100. Pink noise has
an equal amount of energy per octave. The bands 100–200, 800–1600, and
3000–6000 all contain the same amount of energy.
Word—One sample of audio data. In the 02R, a word is 20-bits.
Wordclock—Wordclock is a sync pulse which allows devices to determine
where the start of each digital word is. When multiple digital devices are
connected together, it is vital that each device knows where a digital word
starts and stops. Otherwise dropout or distortion may result. Although
most digital interconnect protocols are self-clocking, it is more reliable to
use a dedicated line for your wordclock signal. This is especially important
in a multitrack environment where up to eight channels of digital data may
be multiplexed on one cable.
02R User’s Guide
Glossary
295
References and Further Reading
•
Introducing Digital Audio, Ian R Sinclair, second edition, PC Publishing,
1992.
•
Practical Recording Techniques, Bruce and Jenny Bartlett, Sams, 1992.
•
Principles of Digital Audio, Ken C. Pohlmann, Howard W.Sams & Co,
1989.
•
The Art of Digital Audio, John Watkinson, Focal Press (Butterworth
Group), 1990.
•
The MIDI Ins, Outs & Thrus, Jeff Rona, Hal Leonard Publishing, 1992.
•
Yamaha Sound Reinforcement Handbook, Gary Davis and Ralph Jones,
second edition, Hal Leonard Publishing Corporation, 1990.
02R User’s Guide
297
Index
+48V switches 26
02R
block diagram 15
dimensions 248
front panel 2
initializing 215
MIDI remote 171
options 218
rear panel 11
03D
MIDI remote 173
parameter to control change
assign 164
2+2 surround pan 65
20dB pad switches 27
24-bit recording 204
2TR IN ANALOG connectors 12
2TR IN DIGITAL connectors 14
3+1 surround pan 66
3+2+1 surround pan 66
A
ABORT icon, automix 147
AC-3 Dolby 66
ADAT I/O card installation 227
Adding I/O cards 221
AES/EBU
2TR IN DIGITAL connectors 14
channel status monitor 211
emphasis monitor 210
I/O card installation 225
STEREO OUT DIGITAL
connectors 13
Analog I/O card installation 224
Analog input controls 3
Analog inputs 26
Analog outputs 29
ATT 1/1 page 33
Attenuation 32
Auto AUTOMIX Display 198
Auto EQ Display 198
Auto EQ Edit In 201
Auto Inc. TC Capture 202
Automix
about 138
absolute fader edits 152
bulk dump 161
enable 145
END mode 152
event copy 153
making new 150
memory capacity 139
MOTOR ON 151
offset 145
overwrite 146
recalling 148
relative fader edits 151
RET mode 152
storing 148
titling 148
transport controls 147
undo 146
what’s stored 138
AUTOMIX 1/7 page 144
AUTOMIX 2/7 page 148
AUTOMIX 3/7 page 151
AUTOMIX 4/7 page 153
AUTOMIX 5/7 page 155
AUTOMIX 6/7 page 156
Automix Store Undo 202
Auto PAN Display 198
AUTO REC icon, automix 147
Auto ROUTING Display 198
Auto SOLO Display 198
Auto WORD CLOCK Display 198
AUX 1/1 page 100
Aux 7/8 pages 106
AUX 7 1/3 page 107
AUX 7 2/3 page 108
AUX 7 3/3 page 109
AUX buttons 19
AUX controls 23
AUX SEND connectors 11
Aux sends
about 98
cascade assign 192
DISPLAY ACCESS buttons 98
on/off 101
output select 203
pairing 184
pre/post fader 101
SELECTED CHANNEL controls
98
stereo input channels 101
using 99
B
Backlight 20
Balance 36
Battery check 213
Block diagram 15
BNC connectors 13
Bulk dump
data format 262
using 161
Bus
analog aux outputs 203
pairing 184
C
Calibrating the faders 215
Capture 155, 156
Cascade
aux bus assign 192
CD8-CS kit 229
configuration 191
ID setting 192
input attenuator 192
MIDI link 232
settings 231
solo 233
CD8-AD analog card 224
CD8-AE AES/EBU card 225
CD8-AE-S AES/EBU card 225
CD8-AT ADAT card 227
CD8-CS cascade kit installation 229
CD8-TDII ADAT card 234
Channel pairs 184
Channel programs
recalling 48
storing 48
titling 48
Channel status monitor 211
CMP, compressor 77
COAXIAL
2TR IN DIGITAL connectors 14
channel status monitor 211
emphasis monitor 210
STEREO OUT DIGITAL
connectors 13
Communication speed 214
Compact Automix Bulk 202
Compact Scene Bulk 202
Compander 80
02R User’s Guide
298
Compressor 77
Condenser mics 26
CONFIGURATION buttons 18
Connectors
2TR IN ANALOG 12
2TR IN DIGITAL 14
AUX SEND 11
C-R MONITOR OUT 12
input specifications 246
INSERT 12
METER 13
output specifications 247
STEREO OUT ANALOG 12
STEREO OUT DIGITAL 13
STUDIO MONITOR OUT 11
TIME CODE INPUT 13
TO HOST 13
WORD CLOCK 13
Consumer format See COAXIAL.
CONTRAST control 6
Control change
parameter assign 164
receive enable 159
CONTROL ROOM buttons 29
Copying events 153
CPH, compander 80
CPS, compander 80
C-R LEVEL control 30
CR Level to MB02 199
C-R MONITOR OUT connectors 12
CSR, surround pan 73
CURSOR buttons 21
D
DELAY 1/1 page 34
DIGITAL I/O 1/5 page 188
DIGITAL I/O 2/5 page 190
DIGITAL I/O 3/5 page 194
DIGITAL I/O 4/5 page 193
DIGITAL I/O 5/5 page 191
Dimensions 248
DIO Warning OFF 199
Direct outputs 39
Display 20
DISPLAY ACCESS buttons 18
Display functions 22
Dither 193
Dolby AC-3 66
Dolby Surround 66
02R User’s Guide
Double slot cards 218
Ducking 81
DUK, ducking 81
Dynamics
about 76
curve 85
KEY IN 86
library 87
LINK 86
meters 85
patching 84
programs 76, 90
recalling 87
storing 87
titling 87
DYNAMICS 1/2 page 83
DYNAMICS 2/2 page 87
E
Echo, MIDI 159
Edit buffer 129
Editing
automix events 153
dynamics 83
effects 108
library recalls 155
on/off, pan, faders 156
scene recalls 155
Effects
about 104
editing 108
library 109
programs 105, 112
recalling 109
sends 106
storing 109
titling 109
Emphasis monitor 210
Enable automix 145
Encoder wheel 21
END mode 152
ENTER button 21
EQ
library 55
parameters 52
programs 54, 58
recalling 55
resetting 53
resetting the gain 53
storing 55
titling 55
using 51
EQ 1/2 page 51
EQ 2/2 page 55
EQUALIZER controls 24
Error messages 251
EXP, expander 79
Expander 79
Extracting events 153
F
Fader Flip Recall Safe 201
Faders
about 28
absolute edits 152
automix edit 151
calibrating 215
fader start 163
fade time 136
grouping 182
MOTOR ON 151
off-line event edit 156
relative edits 151
scene recall safe 135
status indicators 99
Fader Start 200
Fade time 136
Fast Meter Fall Time 199
Fitting I/O cards 221
FLIP button 28
Force SUB Boot 200
Front panel 2
G
GAIN controls 27
GAT, gate 81
Gate 81
GM tone generator 175
GROUP 1/2 page 182
GROUP 2/2 page 183
Grouping
faders 182
mutes 183
H
High-resolution recording 204
299
I
I/O cards 218
ADAT 227
AES/EBU cards 225
analog card 224
Tascam 234
ID setting, cascade 192
Initial data 129
Initial Data Nominal 200
Initializing the 02R 215
Input channel delay 34
Input patching 206
Input signal select 190
INSERT connectors 12
Insert Tx Bulk Wait 199
Installing I/O cards 221
Internal wordclock 188
K
KEY IN, dynamics 86
L
LCD 20
Library
bulk dump 161
channel 48
dynamics 87
editing recall events 155
effects 109
EQ 55
LINK, dynamics 86
Link Surround Master 202
M
MB02 meter bridge installation 236
Memory expansion kit, installing 223
Merging events 153
METER 1/2 page 41
METER 2/2 page 41
METER 3/3 page 42
Meter bridge
installing 223
using 236
METER connector 13
Metering 41
MIDI
bulk dump 161
cascade link 232
connectors 13
control change assign 164
data format 262
echo 159
fader start 163
MIDI Clock 142
MIDI remote 165
MMC 168
MTC 141
omni 159
program change assign 160
receive channel 159
supported messages 158
transmit channel 159
MIDI 1/5 page 159
MIDI 2/5 page 160
MIDI 3/5 page 161
MIDI 4/5 page 164
MIDI 5/5 page 166
MIDI Clock
counter 145
using 142
MIDI remote
02R 171
03D 173
about 165
configuring 166
connections 165
GM tone generator 175
MMC 168
Programmable Mixer 01 169
ProR3 178
Pro Tools 180
REV500 178
XG tone generator 176
MIDI Warning OFF 200
MIXING buttons 19
MIX Update Confirmation 201
Mono channel inputs 12
MOTOR ON 151
Moving events 153
MS decoding 186
MTC
counter 145
frame rate 145
input connector 13
offset 145
using 141
Mute buttons 28
Mute grouping 183
N
Naming See Titling.
Noise gate 81
Note on/off, fader start 163
O
Omni, MIDI 159
ON buttons 28
Options 224, 225
about 218
ADAT card 227
cascade kit 229
I/O cards 218
meter bridge 236
specifications 249
Tascam card 234
Oscillator 209
Overwrite mode, automix 146
P
Pad switches 27
Pages
ATT 1/1 33
AUTOMIX 1/7 144
AUTOMIX 2/7 148
AUTOMIX 3/7 151
AUTOMIX 4/7 153
AUTOMIX 5/7 155
AUTOMIX 6/7 156
AUX 1/1 100
AUX 7 1/3 107
AUX 7 2/3 108
AUX 7 3/3 109
DELAY 1/1 34
DIGITAL I/O 1/5 188
DIGITAL I/O 2/5 190
DIGITAL I/O 3/5 194
DIGITAL I/O 4/5 193
DIGITAL I/O 5/5 191
DYNAMICS 1/2 83
DYNAMICS 2/2 87
EQ 1/2 51
EQ 2/2 55
GROUP 1/2 182
GROUP 2/2 183
02R User’s Guide
300
METER 1/2 41
METER 2/2 41
METER 3/3 42
MIDI 1/5 159
MIDI 2/5 160
MIDI 3/5 161
MIDI 4/5 164
MIDI 5/5 166
PAIR 1/2 184
PAIR 2/2 185
PAN 1/1 36
PHASE 1/1 33
ROUTING 1/2 39
ROUTING 2/2 65
ROUTING 3/4 67
ROUTING 4/4 69
SCENE 1/5 131
SCENE 2/5 135
SCENE 3/5 136
SCENE 4/5 206
SCENE 5/5 204
SETUP 1/4 196
SETUP 2/4 203
SETUP 3/4 198
SETUP 4/4 201
UTILITY 1/4 209
UTILITY 2/4 210
UTILITY 3/4 211
UTILITY 4/4 213, 214
VIEW 1/2 44
VIEW 2/2 48
PAIR 1/2 page 184
PAIR 2/2 page 185
Pairing channels 184
Pan
controls 24, 38
gang 37
using 36
PAN 1/1 page 36
Parameter change
data format 262
receive enable 159
transmit enable 159
Peak hold 42
PEAK indicators 27
Phantom power 26
Phase 32
PHASE 1/1 page 33
PHONES LEVEL control 30
PLAY icon, automix 147
02R User’s Guide
POWER switch 13
Pre EQ Direct Out 199
Pre Fader Direct Out 199
Preferences 198
Presets
dynamics programs 90
effects programs 105, 112
EQ programs 58
Program change
assign to scene memories 160
data format 262
receive enable 159
transmit enable 159
Programmable Mixer 01
MIDI remote 169
parameter to control change
assign 164
Programs
bulk dump 161
channel 48
dynamics 76, 90
effects 105, 112
EQ 54, 58
ProR3, MIDI remote 178
Protecting scene memories 134
Pro Tools, MIDI remote 180
R
Read-only scene memories 129
Rear panel 11
Recall Confirmation 199
Recalling
automixes 148
channel programs 48
dynamics programs 87
effects programs 109
EQ programs 55
scene memories 134
Receive channel, MIDI 159
REC icon, automix 147
REC Recall Safe Faders 201
Remote Talkback (C3) 199
Restore Last Edit Ch 201
RET mode 152
REV500, MIDI remote 178
Reversing signal phase 32
Rotary encoders 28
Routing 39
ROUTING 1/2 page 39
ROUTING 2/2 page 65
ROUTING 3/4 page 67
ROUTING 4/4 page 69
ROUTING buttons 23
Rx 02R Link Message 202
S
S/PDIF See COAXIAL.
Safe, scene recalls 135
SCENE 1/5 page 131
SCENE 2/5 page 135
SCENE 3/5 page 136
SCENE 4/5 page 206
SCENE 5/5 page 204
Scene memories
bulk dump 161
edit buffer 129
editing recall events 155
fader recall safe 135
fade time 136
initial data 129
program change assignments
160
protecting 134
recalling 134
storing 130
titling 131
what’s stored 129
SCENE MEMORY buttons 21
SEL buttons 27
SETUP 1/4 page 196
SETUP 2/4 page 203
SETUP 3/4 page 198
SETUP 4/4 page 201
Show Compact Size 202
SIGNAL indicators 27
Single slot cards 218
Slate Tone 199
Slot output select 194
SMPTE
counter 145
frame rate 145
input connector 13
offset 145
using 140
Solo 196
SOLO button 30
Specifications
digital inputs and outputs 247
301
general 240
input connections 246
inputs 241
libraries 245
options 249
output channels 244
output connections 247
Stereo channel inputs 12
STEREO OUT ANALOG connectors
12
STEREO OUT DIGITAL connectors
13
Stereo width 37
ST LINK 72
STOP icon, automix 147
Store Confirmation 198
Storing
automixes 148
channel programs 48
dynamics programs 87
effects programs 109
EQ programs 55
scene memories 130
STUDIO buttons 29
STUDIO LEVEL control 30
STUDIO MONITOR OUT connectors
11
Subwoofer 66
Surround CSR Edit 201
Surround pan
2+2 mode 65
3+1 mode 66
3+2+1 mode 66
about 64
CSR 73
linking channels 72
notes 73
output assignments 64
panning sounds freely 67
selecting modes 65
trajectory panning 69
Surround SWF Edit 202
Surround X, Y Edit 201
T
T/B LEVEL control 30
TALKBACK buttons 30
Tascam I/O card installation 234
TC Drop Warning OFF 199
Timecode
about 140
counter 145
offset 145
TIME CODE INPUT connectors 13
Titling
automixes 148
channel programs 48
dynamics programs 87
effects programs 109
EQ programs 55
scene memories 131
TO HOST connector 13
Touch Sense Edit 201
Touch Sense Select 201
Trajectories, surround pan 70
Transmit channel, MIDI 159
Transmit Key Remote 199
Transport controls, automix 147
Trimming events 153
Troubleshooting 250
Tx 02R Link Message 202
WORD CLOCK connectors 13
Wordlength 193
X
XG tone generator 176
XLR inputs 12
U
Undo
automix 146
automix recalls 150
channel program recalls 49
dynamics program recalls 89
effects program recalls 111
EQ program recalls 57
program change assign 160
scene memory 129
User interface 18
UTILITY 1/4 page 209
UTILITY 2/4 page 210
UTILITY 3/4 page 211
UTILITY 4/4 page 213, 214
V
View 44
VIEW 1/2 page 44
VIEW 2/2 page 48
W
Wooden side panels, installing 223
Wordclock 188
02R User’s Guide
YAMAHA
[Digital Recording Console]
Model: 02R
MIDI Implementation Chart
Function...
Transmitted
Recognized
Basic
Channel
Default
Changed
Mode
Default
Messages
Altered
Note
Number
: True voice
Velocity
After
Touch
1–16
1–16
1–16
1–16
x
OMNI off/OMNI on
x
x
**************
x
0
37–44
x
x
Note ON
Note OFF
x
x
x
x
Key’s
Ch’s
x
x
x
x
Pitch Bend
x
x
Control
Change
x
Prog
Change
Memorized
Memorized
Fader Start
0–95
102–119
: True #
System Exclusive
o
0–127
**************
o
o
0–127
0–967
o
o
Common
: Song Pos
: Song Sel
: Tune
x
x
x
x
x
x
System
Real Time
: Clock
: Commands
x
x
x
x
Aux
Messages
: Local ON/OFF
: All Notes OFF
: Active Sense
: Reset
x
x
o
x
x
x
x
x
Notes
Date: 20-June-1997
Version: 2.0
Remarks
*1
*2
MTC quarter frame message is recognized (MTC IN & MIDI IN)
*1 : For program 1–128, memory #0 –#96 is selected.
*2 : Bulk Dump/Request and Parameter Change/Request
Mode 1:OMNI ON,POLY
Mode 3:OMNI OFF,POLY
Mode 2:OMNI ON,MONO
Mode 4:OMNI OFF,MONO
o:Yes
x:No
TRACK
TRACK
INST.
GAIN
INST.
GAIN
A/B
20dB
PROJECT
ON
OFF
1
1
17
B
1
A
2
2
2
18
OFF
A
ON
B
3
3
3
19
OFF
A
ON
B
4
ON
B
5
OFF
A
4
4
5
5
LINE
20
21
OFF
A
DATE
ON
B
6
6
6
22
OFF
A
ON
B
7
7
7
23
OFF
A
ON
B
8
8
ON
ON
OFF
ON
9
10
10
RETURN TO
SEND TO
OFF
TAPE
9
24
OFF
10
11
11
1
OFF
11
ON
12
12
2
OFF
12
ON
13
13
3
OFF
14
14
4
OFF
AUX
ON
14
13
B
MIC/LINE
8
9
A
AUTOMIX
SCENE
ON
15
15
5
OFF
15
ON
16
16
6
OFF
16
ON
User Setting Sheet
YAMAHA CORPORATION
01 02 2000 AP Printed in Japan
Pro Audio & Digital Musical Instrument Division
P.O. Box 3, Hamamatsu, 430-8651, Japan
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