Yamaha 01V96 Version2 Version 2 Owner's Manual 01v96v2 Om En F0

User Manual: Yamaha 01V96 Version 2 Owner's Manual

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Owner’s Manual
Keep This Manual For Future Reference. EN
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions con-
tained 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 reason-
able level of assurance that your use of this product in a residential
environment will not result in harmful interference with other elec-
tronic 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
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)
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 elimi-
nate 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 co-axial 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 con-
tact Yamaha Corporation of America, Electronic Service Division,
6600 Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.
FCC INFORMATION (U.S.A.)
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING:
THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance
with the following code:
GREEN-AND-YELLOW : EARTH
BLUE : NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus may not
correspond with the coloured markings identifying the terminals in
your plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be connected
to the terminal in the plug which is marked by the letter E or by the
safety earth symbol or colored GREEN or GREEN-and-YELLOW.
The wire which is coloured BLUE must be connected to the terminal
which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the termi-
nal which is marked with the letter L or coloured RED.
• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (3 wires)
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.
(lithium caution)
NEDERLAND / THE NETHERLANDS
• Dit apparaat bevat een lithium batterij voor geheugen back-up.
• This apparatus contains a lithium battery for memory back-up.
•Raadpleeg uw leverancier over de verwijdering van de batterij op het
moment dat u het apparaat ann het einde van de levensduur of
gelieve dan contact op te nemen met de vertegenwoordiging van
Yamaha in uw land.
•For the removal of the battery at the moment of the disposal at the
end of life please consult your retailer or Yamaha representative
office in your country.
• 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.
(lithium disposal)
This product contains a battery that contains perchlorate material.
Perchlorate Material—special handling may apply,
See www.dtsc.ca.gov/hazardouswaste/perchlorate.
* This applies only to products distributed by
YAMAHA CORPORATION OF AMERICA.
COMPLIANCE INFORMATION STATEMENT
(DECLARATION OF CONFORMITY PROCEDURE)
Responsible Party : Yamaha Corporation of America
Address : 6600 Orangethorpe Ave., Buena Park, Calif.
90620
Telephone : 714-522-9011
Type of Equipment : Digital Mixing Console
Model Name : 01V96
This device complies with Part 15 of the FCC Rules.
Operation is subject to the following two conditions:
1) this device may not cause harmful interference, and
2) this device must accept any interference received including interfer-
ence that may cause undesired operation.
See user manual instructions if interference to radio reception is sus-
pected.
(FCC DoC)
* This applies only to products distributed by
YAMAHA CORPORATION OF AMERICA.
(Perchlorate)
The above warning is located on the rear
of the unit
• Explanation of Graphical Symbols
The lightning flash with arrowhead symbol
within an equilateral triangle is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and mainte-
nance (servicing) instructions in the literature
accompanying the product.
IMPORTANT SAFETY INSTRUCTIONS
1 Read these instructions.
2Keep these instructions.
3 Heed all warnings.
4 Follow all instructions.
5 Do not use this apparatus near water.
6 Clean only with dry cloth.
7Do not block any ventilation openings. Install in
accordance with the manufacturer’s instruc-
tions.
8 Do not install near any heat sources such as
radiators, heat registers, stoves, or other appa-
ratus (including amplifiers) that produce heat.
9 Do not defeat the safety purpose of the polar-
ized or grounding-type plug. A polarized plug
has two blades with one wider than the other. A
grounding type plug has two blades and a third
grounding prong. The wide blade or the third
prong are provided for your safety. If the pro-
vided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete
outlet.
10 Protect the power cord from being walked on or
pinched particularly at plugs, convenience
receptacles, and the point where they exit from
the apparatus.
11 Only use attachments/accessories specified by
the manufacturer.
12 Use only with the cart, stand,
tripod, bracket, or table spec-
ified by the manufacturer, or
sold with the apparatus.
When a cart is used, use cau-
tion when moving the cart/
apparatus combination to
avoid injury from tip-over.
13 Unplug this apparatus during lightning storms
or when unused for long periods of time.
14 Refer all servicing to qualified service person-
nel. Servicing is required when the apparatus
has been damaged in any way, such as power-
supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or mois-
ture, does not operate normally, or has been
dropped.
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
(5)-1
1/2
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• Only use the voltage specified as correct for the device. The required voltage is
printed on the name plate of the device.
• Use only the specified power code.
•Do not place the power cord near heat sources such as heaters or radiators, and
do not excessively bend or otherwise damage the cord, place heavy objects on
it, or place it in a position where anyone could walk on, trip over, or roll anything
over it.
• Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.
• Do not open the device or attempt to disassemble the internal parts or modify
them in any way. The device contains no user-serviceable parts. If it should
appear to be malfunctioning, discontinue use immediately and have it inspected
by qualified Yamaha service personnel.
•Do not expose the device to rain, use it near water or in damp or wet conditions,
or place containers on it containing liquids which might spill into any openings.
• Never insert or remove an electric plug with wet hands.
• If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the device, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off the power switch,
disconnect the electric plug from the outlet, and have the device inspected by
qualified Yamaha service personnel.
• If this device should be dropped or damaged, immediately turn off the power
switch, disconnect the electric plug from the outlet, and have the device
inspected by qualified Yamaha service personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the device or other property. These precautions include, but are not limited to, the following:
• Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.
• When removing the electric plug from the device or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
• Before moving the device, remove all connected cables.
• When setting up the product, make sure that the AC outlet you are using is
easily accessible. If some trouble or malfunction occurs, immediately turn off
the power switch and disconnect the plug from the outlet. Even when the power
switch is turned off, electricity is still flowing to the product at the minimum
level. When you are not using the product for a long time, make sure to unplug
the power cord from the wall AC outlet.
•Avoid setting all equalizer controls and faders to their maximum. Depending on
the condition of the connected devices, doing so may cause feedback and may
damage the speakers.
•Do not expose the device to excessive dust or vibrations, or extreme cold or heat
(such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.
• Do not place the device in an unstable position where it might accidentally fall
over.
• Do not block the vents. This device has ventilation holes at the top/front/rear/
sides to prevent the internal temperature from rising too high. In particular, do
not place the device on its side or upside down, or place it in any poorly-
ventilated location, such as a bookcase or closet.
• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Otherwise, the device, TV, or radio may
generate noise.
•Before connecting the device to other devices, turn off the power for all devices.
Before turning the power on or off for all devices, set all volume levels to
minimum.
• Be sure to connect to a properly grounded power source. A ground screw
terminal is provided on the rear panel for safely grounding the device and
preventing electrical shock.
Power supply/Power cord
Do not open
Water warning
If you notice any abnormality
Power supply/Power cord
Location Connections
(5)-1
2/2
•Do not insert your fingers or hand in any gaps or openings on the device (vents,
etc.).
•Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any
gaps or openings on the device (vents, etc.) If this happens, turn off the power
immediately and unplug the power cord from the AC outlet. Then have the
device inspected by qualified Yamaha service personnel.
• Do not use headphones for a long period of time at a high or uncomfortable
volume level, since this can cause permanent hearing loss. If you experience
any hearing loss or ringing in the ears, consult a physician.
• Do not apply oil, grease, or contact cleaner to the faders. Doing so may cause
problems with electrical contact or fader motion.
•Do not rest your weight on the device or place heavy objects on it, and avoid use
excessive force on the buttons, switches or connectors.
• This device has a rear-panel slot for installing mini-YGDAI cards. For technical
reasons, certain card combinations are not supported. Before installing any
cards, check the Yamaha web site (see page 6) to see whether your card is
compatible.
Installing cards that are not endorsed by Yamaha may cause electrical shock,
fire, or damage to the unit.
•This device has a built-in backup battery. When you unplug the power cord from
the AC outlet, the internal data is retained. However, if the backup battery fully
discharges, this data will be lost. If the backup battery is running low, when you
turn on the device the display indicates “WARNING Low Battery!.” In this case,
immediately save the data to an external media using MIDI Bulk Dump, then
have qualified Yamaha service personnel replace the backup battery.
• Using a mobile telephone near this unit may induce noise. If noise occurs, use the telephone away from the unit.
• The digital circuits of this unit may induce a slight noise into nearby radios and TVs. If noise occurs, relocate the affected equipment.
• When you change the wordclock settings on any device in your digital audio system, some devices may output noise, so turn down your power amps beforehand,
otherwise your speakers may be damaged.
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-).
Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the device, or data that is lost or destroyed.
Always turn the power off when the device is not in use.
The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualified Yamaha service
personnel about replacing defective components.
* The illustrations and screen displays as shown in this Owner’s Manual are for instructional purposes only, and may be different from the ones on your device.
* The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.
Handling caution Backup battery
6
Yamaha Pro Audio global website
01V96 Version 2—Owner’s Manual
Yamaha Pro Audio global website
http://www.yamahaproaudio.com/
Package Contents
•01V96 Digital Mixing Console
•CD-ROM
•Power cord
•This manual
•Studio Manager Installation Guide
Optional Extras
•RK1 Rack Mount Kit
•mini YGDAI I/O cards
About this Owner’s Manual
This
Owner’s Manual
explains how to operate the 01V96 Digital Mixing Console.
The Table of Contents can help you to familiarize yourself with the manual’s organization
and to locate tasks and topics. The index can help you locate specific information.
Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on
page 27.
Each chapter in this manual discusses a specific section or function of the 01V96. The Input
and Output Channels are explained in the following chapters: “Input Channels,” “Bus
Outs,” and “Aux Outs.” Where possible, these chapters have been organized in order of sig-
nal flow, from input to output.
Conventions Used in this Manual
The 01V96 features two types of buttons: physical buttons that you can press (e.g., ENTER
and DISPLAY) and buttons that appear on the display pages. References to physical buttons
are enclosed in square brackets, for example, “press the [ENTER] button.”
References to display page buttons are not emphasized, for example, “move the cursor to the
ON button.”
You can select display pages by using the [DISPLAY] buttons or the Left Tab Scroll, Right
Tab Scroll, and F1–4 buttons below the display. In order to simplify explanations, the pro-
cedures reference only the [DISPLAY] button method.
See “Selecting Display Pages” on page 28 for details on all the ways in which you can select
pages.
New Functions in 01V96 Version 2 7
01V96 Version 2—Owner’s Manual
New Functions in 01V96 Version 2
The following functions have been added to the 01V96 as part of the upgrade of the firm-
ware from version 1.0 to version 2.0.
Aux Sends
•If an Aux Send is set to pre-fader, you can set the Pre point before or after channel mute.
→ page 114
Monitor
•You can select whether the Input Channel’s Pan setting is used when the Input Channel Solo
signal is set to Pre Fader. → page 132
•Raising the channel faders for soloed Channels from –∞ can unsolo the Channels.
→ page 132
Surround Pan
•The on/off status of the Follow Pan button is reflected in the pan and Surround Pan
settings. → page 135
Group/Link
•The Fader Group Master function enables you to control the overall level of the Fader group
channels simultaneously while maintaining the relative level balance of each channel.
→ page 152
•The Mute Group Master function enables you to mute all channels in a Mute group
simultaneously. → page 153
Internal Effects
•You can add optional Add-On Effects to the preset effects. → page 162
Scene Memory
•Any channel or parameter settings in the current scene can be copied and pasted into other
scenes. → page 173
•You can select additional parameters for the Recall Safe function. → page 172
Remote Control
•Cubase SX has been added as a target of the Remote layer. → page 189
•Yamaha’s proprietary Advanced DAW protocol has been added to Nuendo, Cubase SX, and
General DAW. This enables you to control these devices using the 01V96’s SELECTED
CHANNEL section. (Controllable functions vary depending on the DAW software and ver-
sion you are using.)
Other Functions
•You can set the Routing ST Pair Link so that the routing from paired channels to the Stereo
Bus is linked. → page 232
•You can assign the selected channels to a Fader or Mute group using the USER DEFINED
KEYS. → page 247
•You can switch the windows of the included Studio Manager software application using the
USER DEFINED KEYS. → page 247
8
Contents
01V96 Version 2—Owner’s Manual
Contents
1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . . . . . . . . 13
Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Installing an Optional Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
3 Operating Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
About the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Selecting Display Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Display Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Selecting Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Selecting Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
4 Connections and Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Wordclock Connections and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Input and Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5 Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Connections and Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Initial Track Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Overdubbing to Other Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Mixing Recorded Tracks into Stereo (Mixdown) . . . . . . . . . . . . . . . . . . . . . . . . . 63
6 Analog I/O & Digital I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Analog Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Digital Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Converting Sampling Rates of Signals Received at I/O Card Inputs . . . . . . . . . . 72
Monitoring Digital Input Channel Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Dithering Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Setting the Transfer Format for Higher Sampling Rates . . . . . . . . . . . . . . . . . . . . 75
7 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
About Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Setting the Input Channels from the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Setting the Input Channels from the Control Surface . . . . . . . . . . . . . . . . . . . . . . 90
Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Naming Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
8 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
About Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Bus Out 1–8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Setting the Stereo Out and Bus Out 1–8 from the Display . . . . . . . . . . . . . . . . . . 99
Setting the Stereo Out and Bus Out 1–8 from the Control Surface . . . . . . . . . . . 104
Pairing Buses or Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Attenuating Output Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Naming the Stereo Out and Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
9 Aux Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Aux Out 1–8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Setting Aux Out 1–8 from the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Viewing Aux Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Setting Aux Out 1–8 from the Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Contents
9
01V96 Version 2—Owner’s Manual
Setting Aux Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Viewing Aux Send Settings for Multiple Channels . . . . . . . . . . . . . . . . . . . . . . . . 117
Panning Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Copying Channel Fader Positions to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . 120
10 Input & Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Patching Direct Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Insert Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
11 Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Monitor and Solo Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Using the Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Using the Solo Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
12 Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
About Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Setting Up and Selecting Surround Pan Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
13 Grouping Channels & Linking Parameters . . . . . . . . . . . . . 149
Grouping & Linking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Using Fader Groups and Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Using Fader Group Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Using Mute Group Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Linking EQ and Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
14 Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
About the Internal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Using Effects Processors via Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Inserting the Internal Effects into Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
About Add-On Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
About Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
15 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
What is Stored in a Scene? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
About Scene Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Storing and Recalling Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Auto Scene Memory Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Fading Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Recalling Scenes Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Sorting Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Copying and Pasting a Scene (Global Paste) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
16 Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
About the Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
General Library Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Using Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
17 Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
About Remote Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Pro Tools Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Nuendo/Cubase SX Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Other DAW Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
MIDI Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Machine Control Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
10
Contents
01V96 Version 2—Owner’s Manual
18 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
MIDI & the 01V96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Assigning Scenes to Program Changes for Remote Recall . . . . . . . . . . . . . . . . . . 219
Assigning Parameters to Control Changes for Real-time Control . . . . . . . . . . . . 220
Controlling Parameters by Using Parameter Changes . . . . . . . . . . . . . . . . . . . . . 225
Transmitting Parameter Settings via MIDI (Bulk Dump) . . . . . . . . . . . . . . . . . . 226
19 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Changing the Input and Output Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . 229
Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Creating a Custom Layer by Combining Channels (User Assignable Layer) . . . 233
Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Using the User Defined Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Using Operation Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Cascading Consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Checking the Battery and the System Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Initializing the 01V96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Calibrating the Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Appendix A: Parameter Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
USER DEFINED KEYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
USER DEFINED KEYS Initial Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Input Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Initial Input Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Output Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Initial Output Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
User Defined Remote Layer Initial Bank Settings . . . . . . . . . . . . . . . . . . . . . . . . . 256
Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Effects and tempo synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Preset EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Preset Gate Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Preset Compressor Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Dynamics Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
General Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Analog Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Analog Output Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Digital Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Digital Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
I/O SLOT Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
CONTROL I/O Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Initial Parameter to Control Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Appendix D: Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . End of Manual
01V96 Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . End of Manual
01V96 Level Diagram . . . . . . . . . . . . . . . . . . . . . . . . . End of Manual
Welcome
11
01V96 Version 2—Owner’s Manual
1
Welcome
1 Welcome
Thank you for choosing the Yamaha 01V96 Digital Mixing Console.
The compact 01V96 Digital Console features 24-bit/96 kHz digital audio processing with-
out compromise, as well as 40-channel simultaneous mixing. The 01V96 covers a broad
range of needs and applications, including multi-track recording, 2-channel mixdown, and
cutting-edge surround sound production. This integrated, comprehensive audio system
features remote control function for DAWs (Digital Audio Workstations) as popularized by
the DM2000 and 02R96 Digital Mixing Consoles.
The 01V96 offers the following features:
■
Hardware Features
•100-mm motorized faders x 17
•Faders can set levels for Input Channels, Aux send levels, and Bus Outs.
•Four selectable software layers determine the function of channel faders.
•320 x 240 dot LCD display
•Buttons and controls in the SELECTED CHANNEL section enable direct editing of
channel EQ parameters.
•8 USER-DEFINED KEYS enable you to assign functions to control 01V96 internal
parameters.
•ADAT optical connectors
•Expansion slot for optional digital I/O, AD, and DA cards.
■
Sonic Specifications
•Linear 24-bit, 128-times oversampling A/D converters
•Linear 24-bit, 128-times oversampling D/A converters
•20 Hz through 40 kHz frequency response at 96 kHz sampling rate.
•106 dB typical dynamic range
•32-bit internal signal processing (58-bit accumulator)
■
Inputs and Outputs
•12 mic/line inputs with switchable +48 V phantom power and 4 line inputs
•12 analog inserts
•Any Bus Outs or Channel Inserts can be routed to four Omni Outs.
•Individual outputs for Stereo Out and Monitor Out
•Analog 2TR In and Out for use with Tape In and Out signals
•An optional card installed in the slot permits a maximum of 16 inputs/outputs.
•Digital 2TR In and Out for consumer-format digital audio signals
•Double Channel support for recording and playing at 88.2/96 kHz on 44.1/48 kHz leg-
acy multi-track digital recorders.
•You can cascade two 01V96s while remaining in the digital domain.
•Input patches enable assignment of input signals to desired signal paths.
•Output patches enable assignment of Bus Out signals and Input Channel Direct Outs to
desired output jacks.
12
Chapter 1—Welcome
01V96 Version 2—Owner’s Manual
■
Channel Configuration
•32 Input Channels and four ST IN channels can be mixed at a time. Group multiple
channels and pair channels for stereo.
•Eight Bus Outs and eight Aux Sends. Bus Outs 1-8 can be routed to Stereo Buses for use
as Group Buses.
•Channel library for storing and recalling the channel settings for each Input Channel
and Output Channel
•Four-band EQ on each channel
•Dynamics processors on all channels (excluding ST IN channels)
•Dynamics processor settings and EQ settings can be stored in libraries and recalled.
■
Effects
•Four high-quality multi-channel effects (Apply effects via Aux Sends or Channel
Inserts)
•Effect library for storing and recalling effect settings.
•Optional Add-On Effects packages for adding effects that utilize a variety of new algo-
rithms.
■Scene Memory
•Scene memories for storing and recalling mix settings as Scenes
■Surround Sound
•Supports 3-1, 5.1, and 6.1 channel surround sound production
•Surround channel outputs can be assigned to suit connected devices.
■Remote Control
•Control and manage your 01V96 from your Mac or PC using bundled Studio Manager
software.
•Remote Layer for remote control of Pro Tools, Nuendo, Cubase SX, and other DAWs
that support the Pro Tools protocol
•Control an external recorder via MMC commands.
■MIDI
•Equipped with MIDI ports and a USB port for computer connection
•Scene recall and mix parameter changes via MIDI
Control Surface & Rear Panel 13
01V96 Version 2—Owner’s Manual
2
Control Surface & Rear Panel
2 Control Surface & Rear Panel
Control Surface
Note: Screw holes for attaching a cover are located at both sides of the AD input section of the
01V96. (Size M3, horizontal spacing 417 mm, vertical spacing 36 mm.) You may wish to fab-
ricate your own cover and attach it to the front panel to prevent the controls from being oper-
ated inadvertently. Yamaha does not sell such a cover. If you fabricate and attach your own
cover, make sure that the mounting screws do not extend more than 10 mm into the front panel.
You will need to allow approximately 15–20 mm between the top panel and the cover in order
to clear the control knobs and buttons.
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR/
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
16
1513
121110987643215
14
INSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
OINSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUT IN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
1010
10
1515
15
2020
20
303030
30
4040
40
5050
50
6060
7070
20
30
40
40
50
50
60
70
00
5
10
15
20
0
0
5
+10
5
10
15
30
20
30
40
40
50
50
60
70
20
30
40
40
50
50
60
70
20
30
40
40
50
50
60
70
20
30
40
40
50
50
60
70
20
30
40
40
50
50
60
70
15
0
5
10
15
20
0
5
+10
5
10
0
30
15
5
10
15
20
0
5
+10
5
10
0
30
15
5
10
15
20
0
5
+10
5
10
0
30
15
5
10
15
20
0
5
+10
5
10
0
30
15
20
30
40
40
50
50
60
70
30
15
20
30
40
40
20
30
40
20
30
40
20
30
40
50
50505050
20
30
40
50
20
30
40
50
60
70
40
50
60
70
40
50
60
70
40
50
60
70
40
50
60
70
40
50
60
70
40
50
60
70
40
50
60
70
30
15
5
10
15
20
0
5
+10
5
10
0
5
10
15
20
0
5
+10
5
10
0
5
10
15
20
0
30
5
10
15
20
0
30
5
10
15
20
0
30
5
10
15
20
0
30
5
10
15
20
0
303030
5
10
15
20
0
5
10
15
20
0
5
10
15
20
0
5
+10
5
10
0
15
5
+10
5
10
0
15
5
+10
5
10
0
15
5
+10
5
10
0
15
20
30
40
50
15 15
20
30
40
50
15
5
+10
5
10
0
5
+10
5
10
0
5
+10
5
10
0
5
+10
5
10
0
123456
123456
7891011 12
7891011 12
13 14 15 16
13 14 15 16
32313029282726252423222120191817 STEREO
13 14 15 16
OVER
0
-3
-6
-9
-12
-15
-18
-24
-30
-36
-48
AD Input Section (p. 14)
SELECTED
CHANNEL
Section (p. 20)
Monitor Out
& Head-
phones Sec-
tion (p. 15)
SOLO Section
(p. 22)
Channel Strip Section (p. 16) STEREO Section (p. 16) USER DEFINED KEYS
Section (p. 21)
Data Entry
Section (p. 22)
LAYER Section
(p. 19)
SCENE MEMORY Section (p. 21)
Display Section
(p. 19)
DISPLAY ACCESS
Section (p. 18)
ST IN Section
(p. 17)
FADER MODE
Section (p. 17)
14 Chapter 2—Control Surface & Rear Panel
01V96 Version 2—Owner’s Manual
AD Input Section
AINPUT connectors A/B
INPUT A connectors are balanced XLR-3-31-type connectors that accept line-level and
microphone signals. Each of the phantom [+48V] switches on the rear panel turns on or off
the +48V phantom power feed to the corresponding input. INPUT B connectors are bal-
anced TRS phone-type connectors that accept line-level and microphone signals. The nom-
inal signal level of both types of connectors ranges from –60 dB to +4 dB. Phantom power
is not supplied to these connectors.
If you connect cables to INPUT A and INPUT B connectors of the same number, only the
signal from INPUT B is effective.
BINPUT connectors 13–16
These balanced TRS phone-type connectors accept line-level signals. The nominal signal
level ranges from –26 dB to +4 dB. INPUT 15 & 16 connectors are available only when the
AD 15/16 button is turned off (page 15).
CINSERT I/O connectors
These unbalanced TRS phone-type connectors are used for channel insert ins and outs. Use
a split cable to insert an external effects processor to AD input channels.
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
CH15
/
16
2TR IN
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
16
1513
121110943215
14
INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O
CH1-4
INPUT
(BAL)
INSERT
OUT IN
(UNBAL)
13 14 15 16
8
12
3
4
5
6
7
1/4" TRS phone plug Ring (cold)
Sleeve (ground)
Tip (hot)
Male XLR plug 1 (ground)
2 (hot)
3 (cold)
1/4" phone plug
1/4" phone plug
Sleeve
(ground)
Tip (send)
Sleeve (ground)
Connect to INSERT jack
Tip (return)
1/4" phone plug
Tip (send)
Ring (return)
Sleeve (ground)
From processor’s output
To processor’s input
Control Surface 15
01V96 Version 2—Owner’s Manual
2
Control Surface & Rear Panel
DPAD switches
These switches turn on or off the 20 dB pad (attenuator) for each AD Input.
EGAIN controls
These controls adjust input sensitivity for each AD Input. Input sensitivity is –16 dB to
–60 dB when the Pad is off, and +4 dB to –40 dB when the Pad is on.
FPEAK indicators
These indicators light up when the input signal level is 3 dB below clipping. Adjust the Pad
switch and GAIN control so that the indicator rarely lights up at signal peak.
GSIGNAL indicators
These indicators light up when the input signal level exceeds –34 dB.
HAD15/16 selector
This button selects AD Input Channel 15 and 16 signals. When the button is turned on
(pushed in), the 2TR IN signals (page 24) are selected. When the button is turned off
(raised), the INPUT 15 and 16 signals are selected.
Monitor Out & Headphones Section
A2TR IN/OUT connectors
These unbalanced RCA phono connectors input and output line-level signals, and are typ-
ically used to connect a master recorder.
When the AD15/16 selector in the AD Input section (8) is turned on (pushed in), the sig-
nals input at the 2TR IN connectors are routed to AD Input Channels 15 and 16. When the
Monitor Source selector (2) is turned on (pushed in), you can monitor the 2TR IN signals
from the MONITOR OUT connectors.
The 2TR OUT signals are always the same as the STEREO OUT signals.
BMonitor Source selector
This button selects the signals output from the MONITOR OUT connectors on the rear
panel. When this button is turned on (pushed in), you can monitor the signals input from
the 2TR IN connectors. When the button is turned off (raised), you can monitor the Stereo
Out signals or soloed channel signals.
CMONITOR LEVEL control
This control adjusts the monitoring level of the signals output from the MONITOR OUT
connectors.
DPHONES LEVEL control
This control sets the level of the PHONES. (See page 131 for more information on moni-
toring through the headphones.)
EPHONES jack
You can connect a set of stereo headphones to this stereo phone jack. The signals output
from the MONITOR OUT connectors are also output from this jack.
PHONES
MONITOR
OUT
MONITOR
2TR IN
LEVEL
PHONES
LEVEL 010
010
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8
1
2
34
5
16 Chapter 2—Control Surface & Rear Panel
01V96 Version 2—Owner’s Manual
Channel Strip Section
A[SEL] buttons
These buttons enable you to select desired channels. The [SEL] button indicator for the cur-
rently-selected channel lights up. The channel selected by each [SEL] button depends on the
layer selected in the LAYER section (see page 19).
These buttons also allow you to create or cancel channel pairs, and add channels to (or
remove them from) Fader, Mute, EQ, and Compressor groups.
B[SOLO] buttons
These buttons solo the selected channels. The [SOLO] button indicator of the cur-
rently-soloed channel lights up.
C[ON] buttons
These buttons turn the selected channels on or off. The [ON] button indicators for On
channels light up.
DChannel faders
Depending on the button selected in the FADER MODE section (see page 17), these faders
adjust the selected channel input levels or the Bus Out or Aux Out levels.
STEREO Section
A[SEL] button
Selects the Stereo Out.
B[ON] button
Turns the Stereo Out on or off.
C[STEREO] fader
This 100mm motorized fader adjusts the final output level of the Stereo Out.
SOLO
ON
SEL
AUX 1
40
50
60
70
30
5
10
15
20
0
20
30
40
50
15
5
+10
5
10
0
1
1
17
1
2
3
4
ON
SEL
5
10
15
20
30
40
50
60
70
0
STEREO
1
2
3
Control Surface 17
01V96 Version 2—Owner’s Manual
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Control Surface & Rear Panel
ST IN Section
A[ST IN] button
This button selects an ST IN channel pair (ST IN Channels 1 & 2 or 3 & 4) which you can
control using the buttons and controls in the ST IN section. The indicators to the right of
the button indicate the available ST IN channels.
B[SEL] buttons
These buttons select the ST IN channel you want to control.
C[SOLO] buttons
These buttons solo the selected ST IN channels.
D[ON] buttons
These buttons turn the ST IN channels on or off.
ELevel controls
These controls adjust the ST IN channel levels.
FADER MODE Section
A[AUX 1]–[AUX 8] buttons
These buttons enable you to select the Aux Send you wish to control. Pressing one of these
buttons switches the Fader mode (see page 33), and displays the corresponding Aux page.
(The selected button’s indicator lights up.)
You can now adjust the send level of signals routed from Input Channels to the correspond-
ing Aux buses by using the faders.
B[HOME] button
This button recalls Meter pages that display Input Channel levels or Output Channel (Bus
Out, Aux Out, Stereo Out) levels (see page 34).
SOLO
ON
SOLO
ON
SEL SEL
ST IN
ST IN 1 ST IN 2
1
2
3
4
5
FADER MODE
AUX 1AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
1
2
18 Chapter 2—Control Surface & Rear Panel
01V96 Version 2—Owner’s Manual
DISPLAY ACCESS Section
A[SCENE] button
This button displays a Scene page, enabling you to store and recall Scenes (see page 165).
B[DIO/SETUP] button
This button displays a DIO/Setup page, enabling you to set up the 01V96, including digital
input and output setup and remote control setup (see pgaes 72, 192).
C[MIDI] button
This button displays a MIDI page, enabling you to make MIDI settings (see page 219).
D[UTILITY] button
This button displays a Utility page, enabling you to use the internal oscillators and view
information about installed optional cards.
E[/INSERT/DELAY] button
This button displays a /INS/DLY page, enabling you to switch the signal phase, set the
signal to be inserted, or set the delay parameters (see pages 79, 127).
F[PAN/ROUTING] button
This button displays a Pan/Route page, enabling you to select a Bus to which the selected
channel signal is routed, adjust the selected channel pan settings, adjust the level of signals
routed from Buses 1–8 to the Stereo Bus, and adjust the stereo or surround pan settings (see
pages 85, 135).
G[PAIR/GROUP] button
This button displays a Pair/Grup page, enabling you to create or cancel channel pairs and
group multiple channel faders or [ON] buttons (see pages 93, 149).
H[PATCH] button
This button displays a Patch page, enabling you to patch input signals and Bus Out signals
to Input channels, or patch signals to the desired output connectors (see page 121).
I[DYNAMICS] button
This button displays a Dynamics page, enabling you to control channel gates and compres-
sors (see page 81).
J[EQ] button
This button displays an EQ page, enabling you to set the equalizer and attenuator of the
selected channel (see page 84).
K[EFFECT] button
This button displays an Effect page, enabling you to edit the internal effects processors and
use optional plug-in cards (see page 161).
L[VIEW] button
This button displays a View page, enabling you to view and set mix parameters for a specific
channel (see page 87).
DISPLAY ACCESS
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR/
GROUP
1 2 3
9J K L
4
5
6
8
7
UTILITYMIDISCENE
DIO/SETUP
Control Surface 19
01V96 Version 2—Owner’s Manual
2
Control Surface & Rear Panel
LAYER Section
A[1–16]/[17–32] buttons
These buttons select an Input Channel layer as the layer controlled in the Channel Strip sec-
tion. When the [1–16] button is turned on, you can control Channels 1–16. When the
[17–32] button is turned on, you can control Channels 17–32. (See page 31 for more infor-
mation on the Input Channel layers.)
B[MASTER] button
This button selects the Master Layer as the layer controlled in the Channel Strip section. You
can use this layer to control Bus Outs and AUX Sends. (See page 31 for more information
on the Master layer.)
C[REMOTE] button
This button selects the Remote Layer as the layer controlled in the Channel Strip section.
You can use this layer to control external MIDI devices or computer-based DAWs. (See
page 189 for more information on the Remote layer.)
Display Section
ADisplay
This is a 320 x 240 dot LCD display with a backlight.
BStereo meters
These 12-segment level meters display the final output level of the Stereo Bus.
CContrast control
This control adjusts the display contrast.
D[F1]–[F4] buttons
These buttons select a page from a multi-page screen. Selecting a tab at the bottom of the
screen using one of these buttons displays the corresponding page. (See page 28 for more
information on displaying a page.)
Tip: The ST IN section is not affected by the layer settings.
1-16 17-32 MASTER REMOTE
LAYER
1 2 3
STEREO
OVER
0
-3
-6
-9
-12
-15
-18
-24
-30
-36
-48
4
1
5
2
3
6
20 Chapter 2—Control Surface & Rear Panel
01V96 Version 2—Owner’s Manual
ELeft Tab Scroll [ ] button
FRight Tab Scroll [ ] button
If there are more pages available than the four whose tabs are currently displayed, use these
buttons to display the additional tabs. These buttons are available only when the left or right
Tab Scroll arrow appears.
SELECTED CHANNEL Section
A[PAN] control
This control adjusts the pan of the channel selected by the [SEL] button.
B[HIGH] button
C[HIGH-MID] button
D[LOW-MID] button
E[LOW] button
These buttons select the EQ band (HIGH, HIGH-MID, LOW-MID, LOW) of the channel
selected by the [SEL] button. The corresponding button indicator of the currently-selected
band lights up.
F[Q] control
This control adjusts the currently-selected band Q.
G[FREQUENCY] control
This control adjusts the currently-selected band frequency.
H[GAIN] control
This control adjusts the currently-selected band gain.
Tab Scroll arrow
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
SELECTED CHANNEL
PAN 1
2
3
4
5
6
7
8
Control Surface 21
01V96 Version 2—Owner’s Manual
2
Control Surface & Rear Panel
SCENE MEMORY Section
A[STORE] button
This button enables you to store the current mix settings. (See page 165 for more informa-
tion on Scene Memories.)
BScene Up [ ] / Down [ ] buttons
These buttons select a Scene to store or recall. Pressing the Scene Up [ ] button increments
the selection; pressing the Scene Down [ ] button decrements the selection. Holding down
either key increments or decrements the selection continuously.
C[RECALL] button
This button recalls the Scene memory selected by the Scene Up [ ] / Down [ ] buttons.
USER DEFINED KEYS Section
A[1]–[8] buttons
You can assign any of the 167 functions to these User Defined buttons.
RECALL
STORE
SCENE MEMORY
2
1 3
USER DEFINED
KEYS
12
34
56
78
1
22 Chapter 2—Control Surface & Rear Panel
01V96 Version 2—Owner’s Manual
Data Entry Section
AParameter wheel
This control adjusts the parameter values shown on the display. Turning it clockwise
increases the value; turning it counterclockwise decreases the value. This wheel also enables
you to scroll a displayed list and select a character for entry (see page 30).
B[ENTER] button
This button activates a selected (highlighted) button on the display, and confirms the edited
parameter values.
C[DEC] & [INC] buttons
These buttons increment or decrement a parameter value by one. Pressing the [INC] but-
ton increments the value; pressing the [DEC] button decrements the value. Holding down
either key increments or decrements the value continuously.
DLeft, Right, Up, Down ([ ]/[ ]/[ ]/[ ]) cursor buttons
These buttons move the cursor around the display pages, or select parameters and options.
Holding down a cursor button moves the cursor continuously in the corresponding direc-
tion.
SOLO Section
A[SOLO] indicator
This indicator flashes when single or multiple channels are soloed.
B[CLEAR] button
This button “unsolos” all soloed Channels.
ENTER
DEC INC
2
1
3
4
SOLO CLEAR
12
Rear Panel 23
01V96 Version 2—Owner’s Manual
2
Control Surface & Rear Panel
Rear Panel
PHANTOM +48V
ACH1–4 ON/OFF switch
BCH5–8 ON/OFF switch
CCH9–12 ON/OFF switch
Each of these switches turns on or off the +48V phantom power feed to four corresponding
inputs. When the switches are on, +48V phantom power is supplied to the INPUT A con-
nectors.
AD Output Section
AMONITOR OUT connectors L/R
These balanced TRS phone-type con-
nectors output monitoring signals or
2TR IN signals. The nominal signal
level is +4 dB.
You can select signals using the Mon-
itor Source selector.
PHANTOM +48V (p. 23)
Power Section (p. 25)
AD Output Section
(p. 23)
SLOT Section (p. 25)
MIDI/Control Section
(p. 25)
Digital I/O Section
(p. 24)
3 2 1
321
1/4" TRS phone plug
Ring
(cold)
Sleeve (ground)
Tip (hot)
24 Chapter 2—Control Surface & Rear Panel
01V96 Version 2—Owner’s Manual
BOMNI OUT connectors 1–4
These balanced TRS phone-type con-
nectors output any Bus signals or
channel Direct Out signals. The nom-
inal signal level is +4 dB.
CSTEREO OUT connectors L/R
These balanced XLR-3-32-type con-
nectors output the Stereo Out signals.
The nominal signal level is +4 dB.
Digital I/O Section
AWORD CLOCK OUT connector
This BNC connector outputs a wordclock signal from the 01V96 to a connected external
device.
BWORD CLOCK IN connector
This BNC connector inputs a wordclock signal from a connected external device to the
01V96.
CADAT IN/OUT connectors
These optical TOSLINK connectors input and output ADAT digital audio signals.
D2TR OUT DIGITAL COAXIAL
This RCA phono connector outputs consumer format (IEC-60958) digital audio. The con-
nector is typically used to connect the digital stereo input (consumer format) of a DAT
recorder, MD recorder, or CD recorder.
E2TR IN DIGITAL COAXIAL
This RCA phono connector accepts consumer format (IEC-60958) digital audio. The con-
nector is typically used to connect the digital stereo output (consumer format) of a DAT
recorder, MD recorder, or CD recorder.
1/4" TRS phone plug
Ring
(cold)
Sleeve (ground)
Tip (hot)
Female XLR plug
1 (ground)
2 (hot)
3 (cold)
421 53
Rear Panel 25
01V96 Version 2—Owner’s Manual
2
Control Surface & Rear Panel
MIDI/Control Section
AMIDI IN/THRU/OUT ports
These standard MIDI IN, OUT and THRU ports enable you to connect the 01V96 to other
MIDI equipment.
BTO HOST USB port
This USB port enables you to connect a computer equipped with a USB port.
SLOT Section
ASLOT
You can insert optional mini-YGDAI cards into this slot. (See page 26 for information on
installing these cards.)
Power Section
APOWER ON/OFF switch
This switch turns the power to the 01V96 on or off.
BAC IN connector
This connector enables you to connect the 01V96 to an AC outlet via the supplied power
cord.
Note: To prevent loud clicks and thumps in your speakers, turn on your audio equipment in
the following order (reverse this order when turning the equipment off)—sound sources, mul-
titrack and master recorders, 01V96, monitoring power amplifiers.
21
1
21
26 Chapter 2—Control Surface & Rear Panel
01V96 Version 2—Owner’s Manual
Installing an Optional Card
Visit the following Yamaha Pro Audio web site to ensure that the card you are installing is
supported by the 01V96.
<http://www.yamahaproaudio.com/>.
Follow the steps below to install an optional mini-YGDAI card.
1 Make sure that the power to the 01V96 is turned off.
2 Undo the two fixing screws and remove the slot cover, as shown below.
Keep the cover and fixing screws in a safe place for future use.
3Insert the card between the guide rails and slide it all the way into the slot,
as shown below.
You may have to push firmly to fully insert the card into the internal connector.
4 Secure the card using the attached thumbscrews.
Tighten the screws firmly to secure the card. Otherwise, the card may not be grounded cor-
rectly.
Operating Basics 27
01V96 Version 2—Owner’s Manual
3
Operating Basics
3 Operating Basics
This chapter describes basic operations on the 01V96, including how to use the display and
operate the controls on the top panel.
About the Display
The top panel display indicates various parameters that you must set before you can operate
the 01V96. The display indicates the following items:
ASelected DISPLAY
This section indicates the currently-selected display page group.
BSelected channel
This section indicates the Input or Output Channel currently selected by its correspond-
ing [SEL] button. The first four characters are the Channel ID (e.g., CH1–CH32,
BUS1–BUS8, AUX1–AUX8, ST-L, ST-R). The second four characters are the channel’s
Short name. You can edit the channel’s Short name if you desire (see page 229).
CCurrent Scene
This section indicates the number and title of the currently-selected Scene memory (see
page 166). If the selected Scene is write-protected, a padlock icon ( ) appears.
DEDIT indicator
This indicator appears when the current mix settings no longer match those of the Scene
that was most-currently recalled.
EMIDI indicator
This indicator appears when the 01V96 is receiving MIDI data via the MIDI IN port,
USB port, or an installed MY8-mLAN card.
FSurround mode indicator
This indicator identifies the currently-selected Surround mode (ST=stereo, 3-1, 5.1, or
6.1) (see page 135).
1Selected
DISPLAY
2Selected
channel
9Page title
MTab Scroll arrowsLPage tabs
JChannel name
KPage area
3Current Scene
4EDIT indicator
5MIDI indicator
6Surround mode indicator
7Sampling rate indicator
8ST IN channel
levels
28 Chapter 3—Operating Basics
01V96 Version 2—Owner’s Manual
GSampling rate indicator
This indicator identifies the 01V96’s current sampling rate: 44.1 kHz (44k), 48 kHz
(48k), 88.2 kHz (88k), or 96 kHz (96k).
HST IN channel levels
These level controls indicate the level of ST IN channels 1–4.
IPage title
This section indicates the title of the current page.
JChannel name
On certain pages, this area displays the Long name of the currently-selected channel.
KPage area
This page area displays various page contents.
LPage tabs
These tabs enable you to select a display page.
MTab Scroll arrows
These arrows indicate that more pages are available.
Selecting Display Pages
To select a display page:
1Press the corresponding button on the top panel to select the desired page
group.
Display pages are grouped by function. To select a page group, press the desired button in
the DISPLAY ACCESS section.
2You can select pages that have currently-displayed tabs by pressing the
[F1]–[F4] buttons.
If the selected display page group contains multiple pages, press the [F1]–[F4] buttons
below the corresponding tab to select a specific page.
3To select a page for which a tab is not currently displayed, press either the
Left or Right [ ]/[ ] Tab Scroll button (depending on where the page is
located) to display the page tab, then press the corresponding [F1]–[F4] but-
ton.
If display page groups contain more than four pages, either the left or right arrow appears.
To display the currently-hidden tabs, press the Right or Left [ ]/[ ] Tab Scroll button.
You can also select a page from a page group as follows:
•Selecting the next page in a page group:
Press the button you selected in Step 1 repeatedly. This enables you to select a page that has
a hidden tab.
•To select the previous page in a page group:
Press and hold down the button you selected in Step 1. The screen steps back through the
pages one by one. Release the button when the desired page is displayed. This enables you
to select a page that has a hidden tab.
•To select the first page in the group:
Double-click the button you selected in Step 1.
Display Interface 29
01V96 Version 2—Owner’s Manual
3
Operating Basics
4 Press the cursor buttons to move the cursor (a bold frame) to a button,
parameter box, rotary control, or fader so that you can change the value.
Display Interface
This section describes how to use the display interface.
Rotary Controls & Faders
The rotary controls and faders enable you to adjust the contin-
uously variable parameter values, including Input Channel lev-
els and effects parameters. Press the cursor buttons to move the
cursor to a rotary control or fader you want to adjust, then
rotate the Parameter wheel or press the [INC]/[DEC] buttons
to modify the value.
Buttons
The buttons enable you to turn certain functions on
(enabled) or off (disabled). Move the cursor to the appropri-
ate button, then press the [ENTER] button to turn the func-
tion on (highlighted) or off. The buttons also enable you to
select one of two options or to execute certain functions.
Parameter Boxes
The parameter boxes enable you to select one of multiple
options. Press the cursor buttons to move the cursor to a
parameter box, then rotate the Parameter wheel or press the
[INC]/[DEC] buttons to select the setting.
You may need to press the [ENTER] button to confirm a
change in certain parameter boxes. If you edit a value in this
type of parameter box, the value flashes. Press the [ENTER]
button to confirm the change, and the flashing stops. If you
move the cursor to other parameters while the edited value is
flashing, the edit is cancelled.
Tip: The 01V96 remembers the current page and parameter when you select a new page group.
If you return to the previous page group, the 01V96 displays the correct page, with the same
parameter selected. You can also select a page by using the controls or buttons on the top panel
(see page 230).
30 Chapter 3—Operating Basics
01V96 Version 2—Owner’s Manual
Confirmation Messages
For certain functions, the 01V96 prompts you for confirmation before executing the func-
tions, as shown here.
Move the cursor to YES and press [ENTER] to execute the function, or move the cursor to
NO and press [ENTER] to cancel.
If you take no action for awhile, the confirmation window closes automatically and the
function is not executed.
Title Edit Window
The Title Edit window enables you to enter titles for Scene and library memories. You can
enter 4, 12, or 16 characters, depending on the item.
The figure on the left shows uppercase characters and various punctuation marks. The fig-
ure on the right shows lowercase characters and numbers.
Use the cursor buttons to select characters, and press the [ENTER] button to enter them
into the title. The cursor moves to the right automatically as each character is entered. Use
the Parameter wheel to move the cursor within the title.
Use the SHIFT LOCK button to select uppercase or lowercase characters, and use the SPC
button to enter a space.
To insert a space at the cursor position and move subsequent characters to the right, move
the cursor to the INS button and press [ENTER].
To delete the character at the cursor position and move subsequent characters to the left,
move the cursor to the DEL button and press [ENTER].
When you have finished, move the cursor to the OK button, then press [ENTER] to confirm
the title. To cancel the title entry, move the cursor to the CANCEL button, then press
[ENTER].
Selecting Layers 31
01V96 Version 2—Owner’s Manual
3
Operating Basics
Selecting Layers
Input Channels and Output Channels (Bus Outs & Aux Outs) are arranged into layers, as
illustrated below. There are four layers altogether.
The currently-selected layer determines the function of
the channel strip, [SEL] buttons, [SOLO] buttons,
[ON] buttons, and faders. Use the LAYER buttons to
select a layer you wish to edit using the channel strip
controls.
The following table shows the layers that you can access using the LAYER buttons, and the
parameters you can control using the channel strips on each layer.
LAYER buttons Layers Channel Strips
1–8 9–16
[1–16] button Input Channel Layer 1–16 Input Channels 1–16
[17–32] button Input Channel Layer 17–32 Input Channels 17–32
[REMOTE] button Remote Layer Operation depends on the selected
target (see page 189).
[MASTER] button Master Layer Aux Send masters
1–8
Bus Out masters
1–8
Tip:
•The function of each channel strip fader depends on the currently-selected Fader mode (see
page 33).
•The STEREO [SEL] button, [ON] button, and [STEREO] fader always control the Stereo
Out signal, regardless of the Layer settings.
•The ST IN [SEL] buttons, [SOLO] buttons, [ON] buttons, and level control knobs always
adjust the ST IN channels selected via the [ST IN] button regardless of the Layer settings.
Input Channel Layer 1–16
Input Channel Layer 17–32
Master Layer
Remote Layer
1-16 17-32 MASTER REMOTE
LAYER
32 Chapter 3—Operating Basics
01V96 Version 2—Owner’s Manual
Selecting Channels
To select a channel on the 01V96, press the corresponding [SEL]
button. To adjust the Pan and EQ settings, use the rotary controls
in the SELECTED CHANNEL section. To select a channel on pages
that cover multiple channels, press the corresponding [SEL] but-
ton.
1Press the corresponding LAYER button to select a layer
that includes the desired channel (see page 31).
To select ST IN channels, press the ST IN [ST IN] button.
2Use the corresponding [SEL] button to select the desired
channel.
The channel is selected and the [SEL] button indicator lights up.
The Channel’s ID and Short name appear in the upper-left corner
of the display. If the currently-displayed page contains a relevant
channel parameter, the cursor moves to that parameter automati-
cally. If the currently-displayed page contains no such parameter, a
page that does contain such a parameter is selected automatically.
3To select the Stereo Out, press the STEREO [SEL] button.
Repeatedly pressing the STEREO [SEL] button toggles between the Stereo Out left and Ste-
reo Out right channels.
If the currently-displayed page contains a relevant Stereo Out parameter, the cursor moves
to that parameter automatically. If the currently-displayed page contains no such parame-
ter, a page that does contain such a parameter is selected automatically.
Tip: For paired Input or Output Channels, the channel for which you pressed the [SEL] button
is selected, and its indicator lights up. The [SEL] button indicator of the paired partner flashes.
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
SELECTED CHANNEL
PAN
Selecting Fader Modes 33
01V96 Version 2—Owner’s Manual
3
Operating Basics
Selecting Fader Modes
The function of channel faders (1–16) depends on the selected Layer and Fader mode.
1Select a layer that includes the desired channel (see page 31).
2Press the FADER MODE buttons to select a Fader
mode.
The button indicators identify the following Fader modes:
•When the [HOME] button indicator lights up:
You can use channel faders to control Input Channels
and ST IN Channel levels or Output Channels (Aux
Out 1–8, Bus Out 1–8) master levels.
•When one of the [AUX1]–[AUX8] button indicators
light up:
You can use channel faders to control the correspond-
ing Aux Send level.
The following table shows the channel fader functions for each Layer and Fader mode.
LAYER buttons Fader Mode Channel Strip Fader
1–8 9–16
[1–16] button [HOME] button Input Channel 1–16 level
[AUX1]–[AUX8] buttons Input Channel 1–16 Aux Send level
[17–32] button [HOME] button Input Channel 17–32 level
[AUX1]–[AUX8] buttons Input Channel 17–32 Aux Send level
[REMOTE] button [HOME] button Operation depends on the selected target (see
page 189).
[AUX1]–[AUX8] buttons
[MASTER] button [HOME] button Aux Send master 1–8
output level
Bus Out master1–8
output level
[AUX1]–[AUX8] buttons No operation
Note: You cannot select the [AUX1]–[AUX8] buttons while the Master layer is selected. If you
switch to the Master layer while one of the [AUX1]–[AUX8] button indicators is lit, the indi-
cator automatically turns off and the [HOME] button indicator lights up.
FADER MODE
AUX 1AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
34 Chapter 3—Operating Basics
01V96 Version 2—Owner’s Manual
Metering
This section describes how to check Input and Output Channel levels using the Meter
pages.
1Press the FADER MODE [HOME] button repeatedly until the Meter | Position
page appears.
This page enables you to set the metering position for Input and Output Channels.
AINPUT section
This section enables you to select the metering position for Input Channel and ST IN
Channel signals.
BOUTPUT section
This section enables you to select the metering position for Output Channel (Aux Out
1–8, Bus Out 1–8, Stereo Out) signals.
2Move the cursor to the desired parameter button in the INPUT or OUTPUT
section, then press [ENTER].
You can select one of the following three positions in each section.
•PRE EQ.......................... Immediately before EQ.
•PRE FADER .................. Immediately before the fader.
•POST FADER ...............Immediately after the fader.
3 Press the FADER MODE [HOME] button repeatedly until the page listed
below that contains the desired channels appears.
-CH1-32 page
This page displays the Input Channel 1–32 levels respectively.
1
2
Metering 35
01V96 Version 2—Owner’s Manual
3
Operating Basics
-ST IN page
This page displays the left and right ST IN Channel 1–4 levels separately.
-Master page
This section displays the Output Channel (Aux Out 1–8, Bus Out 1–8, Stereo Out) levels
altogether.
-Effect page
This page displays the internal effects processor 1–4 input and output levels altogether.
36 Chapter 3—Operating Basics
01V96 Version 2—Owner’s Manual
-Stereo page
This page displays the Stereo Out output level.
If you selected the CH1-32 page or the Master page, use the MASTER MODE parameter to
select one of the following three metering signal types:
•GATE GR....................... The amount of gain reduction for the gate (only for CH1-32)
•COMP GR..................... The amount of gain reduction for the compressor
•LEVEL ........................... Input Channel input level, or Output Channel output level
4To activate the Peak Hold function, move the cursor to the PEAK HOLD but-
ton, then press [ENTER].
The PEAK HOLD button turns on, and the peak level is held on the meters on the page. To
cancel the Peak Hold function, turn the PEAK HOLD button off.
Tip: These pages also allow you to change the metering position using the POSITION param-
eter. This parameter setting operates in unison with the Meter | Position page setting.
Connections and Setup 37
01V96 Version 2—Owner’s Manual
Connections and Setup
4
4 Connections and Setup
This chapter explains how to connect and set up your 01V96.
Connections
The following section explains three typical ways to connect the 01V96 to external equip-
ment, although there are numerous others.
■Configuring an analog 24-channel mixing system
In this system, the 01V96, with an optional AD card (MY8-AD, MY8-AD96, etc.) installed
in the slot, is used as a keyboard mixer or sound re-enforcement mixer. Up to 24 analog
channels, including Inputs 1–16 and slot channels, are available for mixing.
Tip: You can adjust the gain of the AD card channels by setting the DIP switches on the card.
For more information, see your AD card documentation.
REC
SONG SCENE
MUSICPRODUCTION SYNTHESIZER
IntegratedSamplingSequencer
Real-timeExternalControlSur face
ModularSynthesis Plug-in System
REC
SONG SCENE
MUSICPRODUCTION SYNTHESIZER
IntegratedSamplingSequencer
Real-timeExternalControlSur face
ModularSynthesis Plug-in System
88
VOL VOL
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR /
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
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A
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A
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A
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/
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/
O INSERT I
/
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/
O INSERT I
/
O INSERT I
/
OINSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
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0
123456
123456
7891011 12
7891011 12
13 14 15 16
13 14 15 16
32313029282726252423222120191817 STEREO
13 14 15 16
OVER
0
-3
-6
-9
-12
-15
-18
-24
-30
-36
-48
Synthesizer Synthesizer
Effects processor
Master recorder
Monitoring system
Guitar
SLOT
INPUT connector
OMNI OUT connector
2TR IN connector
2TR OUT connector
MONITOR OUT
connectors
PHONES jack
INPUT connector
INPUT connector
MY8-AD96
etc.
38 Chapter 4—Connections and Setup
01V96 Version 2—Owner’s Manual
■Configuring a recording system with a hard disk recorder
In this system, the 01V96 is one component in a system that includes a digital MTR, such
as a hard disk recorder, that is connected to the 01V96 via the ADAT IN and OUT connec-
tors on the rear panel and via an optional I/O card (MY8-AT, MY16-AT, MY8-TD, etc.)
installed in the slot. This system will support track recording, overdubbing, track bouncing,
and mixdown. You can also control the hard disk recorder’s transport section by sending
MMC commands from the 01V96 to the recorder.
REC
SONG SCENE
MUSICPRODUCTION SYNTHESIZER
IntegratedSamplingSequencer
Real-timeExternalControlSur face
ModularSynthesis Plug-in System
88
VOL VOL
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR /
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
16
1513
121110987643215
14
INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
OINSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
1010
10
1515
15
2020
20
303030
30
4040
40
5050
50
6060
7070
20
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123456
123456
7891011 12
7891011 12
13 14 15 16
13 14 15 16
32313029282726252423222120191817 STEREO
13 14 15 16
OVER
0
-3
-6
-9
-12
-15
-18
-24
-30
-36
-48
Synthesizer
Computer
Effects processor
HDR (Hard Disk Recorder)
MIDI IN
MIDI OUT
WORD CLOCK OUT
TO HOST USB port
MIDI OUT
MIDI IN
WORD CLOCK IN connector
INOUT INOUT
Monitoring system
Master recorder
SLOT
INPUT connector
OMNI OUT connector
2TR IN connector
2TR OUT connector
MONITOR OUT
connectors
PHONES jack
INPUT connector
INPUT connector
MY8-AT
etc.
ADAT OUT
ADAT IN
Connections 39
01V96 Version 2—Owner’s Manual
Connections and Setup
4
■Configuring a recording system that uses a DAW (Digital Audio
Workstation)
In this system, the 01V96, with an optional I/O card (MY8-AT, MY16-AT, MY8-AE, etc.)
installed in the slot, is connected to a computer-based DAW (Digital Audio Workstation).
The 01V96 can provide audio input and output for the DAW. If you connect the 01V96 and
the computer via USB, the 01V96’s Remote function enables you to control the DAW’s
locate and transport functions and change the parameters.
REC
SONG SCENE
MUSICPRODUCTION SYNTHESIZER
IntegratedSamplingSequencer
Real-timeExternalControlSur face
ModularSynthesis Plug-in System
88
VOL VOL
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR /
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
16
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/
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/
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/
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/
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/
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/
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/
OINSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
OINSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
1010
10
1515
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20
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30
4040
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7070
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123456
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OVER
0
-3
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-9
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Synthesizer
Computer
Effects processor
Audio interface
MIDI IN
MIDI OUT
WORD CLOCK OUT
MIDI interface
Monitoring system
INOUT INOUT
Master recorder
SLOT
INPUT connector
OMNI OUT connector
2TR IN connector
2TR OUT connector
MONITOR OUT
connectors
PHONES jack
INPUT connector
INPUT connector
TO HOST USB port
MIDI OUT
MIDI IN
WORD CLOCK IN connector
MY-16AT
etc.
ADAT OUT
ADAT IN
40 Chapter 4—Connections and Setup
01V96 Version 2—Owner’s Manual
Wordclock Connections and Settings
About Wordclock
Digital audio equipment must be synchronized when digital audio signals are transferred
from one device to another. Even if both devices use identical sampling rates, digital signals
may not transfer correctly, or audible noise or unwanted clicks may occur if the digital
audio processing circuits inside each digital audio device are not synchronized with each
other.
Wordclocks are signals that enable digital audio processing circuits to synchronize with each
other. In a typical digital audio system, one device operates as the wordclock master, trans-
mitting wordclock signals, and the other devices operate as wordclock slaves, synchronizing
to the wordclock master.
If you are digitally connecting the 01V96 to other equipment, you must decide which device
to use as the wordclock master and which devices to use as slaves, then set up all the devices
accordingly. The 01V96 can be used as the wordclock master running at either 44.1 kHz, 48
kHz, 88.2 kHz, or 96 kHz, or slaved to an external wordclock source.
Wordclock Connections
To establish wordclock synchronization between the 01V96 and external devices, you can
distribute wordclock signals independently via dedicated cables, or you can use clock infor-
mation derived from digital audio connections.
The WORD CLOCK IN and OUT connectors transmit and receive wordclock signals inde-
pendently on the 01V96. The following examples show two ways in which wordclock sig-
nals can be distributed and received via the WORD CLOCK IN and OUT connectors.
•Daisy Chain Distribution
In this example, the wordclock signal is distributed in a “daisy-chain” fashion, with each
device feeding the wordclock signal from the wordclock out connector on to the wordclock
in connector of the next device. This method of distribution is not recommended for larger
systems.
•Star Distribution
In this example, a dedicated wordclock distribution box is used to supply wordclock signals
from the wordclock master to each wordclock slave individually.
WC IN
(BNC)
WC OUT
(BNC)
WC OUT (BNC)
WC IN
(BNC)
WC IN
(BNC)
WC OUT
(BNC)
Wordclock
master
Device A
Wordclock slave
Device B
Wordclock slave
Device C
Wordclock slave
WC OUT
(BNC)
WC IN (BNC) WC IN (BNC) WC IN (BNC) WC IN (BNC)
Wordclock
master
Device A
Wordclock slave
Device B
Wordclock slave
Device D
Wordclock slave
Device C
Wordclock slave
Wordclock
distribution box
Wordclock Connections and Settings 41
01V96 Version 2—Owner’s Manual
Connections and Setup
4
If the external devices do not have wordclock in and out connectors, you can use the clock
information included in the digital audio signals. In this case, digital audio signals and
wordclock signals are transferred via the 2TR OUT DIGITAL and 2TR IN DIGITAL jacks
or via the digital I/O card installed in the rear panel slot.
Specifying the Wordclock Source
To digitally connect the 01V96 to external devices, you must specify the wordclock source
for the system. Follow the steps below.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Word Clock page appears.
On this page, you can view the current synchronization status of input signals at each slot
and connector.
Note: When you change the wordclock settings on any device in your digital audio system,
some devices may output noise due to being out of synchronization. Be sure to turn down your
monitoring device before changing wordclock settings.
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR/
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
16
1513
121110987643215
14
INSERT I
/
O INSERT I
/
O INSERT I
/
OINSERT I
/
OINSERT I
/
O INSERT I
/
OINSERT I
/
O INSERT I
/
OINSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
1010
10
1515
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123456
123456
7891011 12
7891011 12
13 14 15 16
13 14 15 16
32313029282726252423222120191817 STEREO
13 14 15 16
OVER
0
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Digital I/O
card
External device
Digital audio signal
+
Wordclock signal
42 Chapter 4—Connections and Setup
01V96 Version 2—Owner’s Manual
The source select button indicators are explained below:
A usable wordclock signal is present at this input, and it is in sync with the current
01V96 internal clock.
No wordclock signal is present at this input.
A usable wordclock signal is present at this input, but it is out of sync with the current
01V96 internal clock.
This input is the currently-selected wordclock source.
This input was selected as the wordclock source, but no usable signal was received.
Either this input is not receiving wordclock, or else it cannot be used with the cur-
rently-installed I/O card.
2 Use the cursor buttons to move the cursor to a source, then press [ENTER].
The following are possible wordclock sources:
•SLOT.............................. These buttons select the inputs from the digital I/O card
installed in the slot as the wordclock source. Inputs are selected
in pairs (odd and even numbers in this order). The SLOT TYPE
column displays the names of any installed I/O card. The num-
ber of pairs depends on the type of I/O card installed.
•adat ................................ These buttons select the inputs from the ADAT IN connector
on the rear panel. Inputs are selected in pairs (odd and even
numbers in this order).
•WC IN............................ This button selects the wordclock signal input at the WORD
CLOCK IN connector on the rear panel.
•2TRD ............................. This button selects the 2TR IN DIGITAL input as the word-
clock source.
• INT 44.1k, INT 48k
INT 88.2k, INT 96k ..... These buttons select the internal clock generator as the word-
clock source. The 01V96 will function as the wordclock master.
Tip:
•The FS box displays the sampling frequency at which the 01V96 is currently operating.
•The SLOT TYPE column displays the names of any installed I/O card.
•The IN and OUT columns indicate the number of input and output channels available for
each installed I/O card.
Note: To transfer data at higher sampling frequencies (88.2 kHz or 96 kHz) between the
01V96 and connected external devices, you need to set the data transfer format. For more infor-
mation, see page 72.
Tip: If wordclock transfer is interrupted while the 01V96 (being used as a slave unit) is receiv-
ing the clock signal, the unit will automatically switch to an internal clock (INT 44.1k/ INT
48k/INT 88.2k/INT 96k) that is closest to the interrupted clock.
Input and Output Patching 43
01V96 Version 2—Owner’s Manual
Connections and Setup
4
Input and Output Patching
The 01V96 is designed to enable you to patch (assign) signals to Inputs and Outputs. This
section explains how to view the signals patched to Inputs and Outputs and change the
assignment.
Patching Input Channels
By default, the Input Channels are patched as follows:
•INPUT connectors 1–16.................... Input Channels 1–16
•ADAT IN channels 1–8....................... Input Channels 17–24
•Slot channels 1–8 ................................ Input Channels 25–32
•Outputs 1–2 of Internal Effects
Processor 1–4 ...................................... ST IN Channels 1–4
Follow the steps below to view or change the patching.
1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the following
page appears.
Inputs and Slot channels that are currently assigned to Input Channels are shown in the
parameter boxes (1) beneath the channel numbers. The parameter indicators are
explained below:
•- ......................................No assignment
•AD1–AD16....................INPUT connectors 1–16
•ADAT1–ADAT8............ADAT IN channels 1–8
•SL-01–SL-16..................Slot channels 1–16
•FX1-1–FX1-2 ................Outputs 1–2 of Internal Effects Processor 1
•FX2-1–FX2-2 ................Outputs 1–2 of Internal Effects Processor 2
•FX3-1–FX3-2 ................Outputs 1–2 of Internal Effects Processor 3
•FX4-1–FX4-2 ................Outputs 1–2 of Internal Effects Processor 4
•2TD-L/R ........................2TR IN DIGITAL L/R connectors
Follow the steps below to view or change the patching.
2 Use the cursor buttons to move the cursor to a patch parameter (1) for
which you want to change the assignment, and rotate the Parameter wheel
or press the [INC]/[DEC] buttons to modify the patching.
Tip: If the data from a connected instrument fails to be input, or if you are unable to monitor
the signal at the desired output, check the I/O patching, as explained below:
1
44 Chapter 4—Connections and Setup
01V96 Version 2—Owner’s Manual
3 Press [ENTER] to confirm the change.
Patching Omni Outs
By default, the output connectors are patched as follows:
•OMNI OUT connectors 1–4 ..............Aux Out 1–4
•ADAT OUT channels 1–8...................Bus Out 1–8
•Slot channels 1–8.................................Bus Out 1–8
•Slot channels 9–16...............................Bus Out 1–8
•2TR DIGITAL connectors..................Stereo Out L & R
Follow the steps below to view or change the patching.
1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the following
page appears.
Signals that are currently assigned to the output connectors are shown in the parameter
boxes (1) underneath the connector numbers. The parameter indicators are explained
below:
•- ..............................................................No assignment
•BUS1–BUS8..........................................Bus Out 1–8 signals
•AUX1–AUX8 ........................................Aux Out 1–8 Signals
•ST L/R....................................................Stereo Out signals
•INS CH1–INS CH32 ...........................Input Channels 1–32 Insert Outs
•INS BUS1–INS BUS8 ..........................Bus Out 1–8 Insert Outs
•INS AUX1–INS AUX8.........................Aux Out 1–8 Insert Outs
•INS ST-L/ST-R......................................Stereo Out Insert Outs
•CAS BUS1–BUS8.................................Bus Out 1–8 Cascade Outs
•CAS AUX1–AUX8................................Aux Out 1–8 Cascade Outs
•CAS ST-L/ST-R.....................................Stereo Out Cascade Outs
•CASSOLOL/CASSOLOR....................Solo Channel Cascade Outs
Tip: To restore the default patching, recall Input Patch memory #00 (see page 178).
Tip:
•The STEREO OUT connectors always output the Stereo Bus signals.
•The MONITOR OUT connectors output monitor signals or the 2TR IN signals, depending
on the Monitor Source selector setting.
1
Input and Output Patching 45
01V96 Version 2—Owner’s Manual
Connections and Setup
4
2 Use the cursor buttons to move the cursor to a patch parameter (1) you
wish to change, and rotate the Parameter wheel or press the [INC]/[DEC]
buttons to modify the patching.
3 Press [ENTER] to confirm the change.
Tip: To restore the default patching, recall Output Patch memory #00 (see page 179).
46 Chapter 4—Connections and Setup
01V96 Version 2—Owner’s Manual
Tutorial 47
01V96 Version 2—Owner’s Manual
5
Tutorial
5 Tutorial
This chapter describes how to use the 01V96 for multitrack recording and mixdown, using
an example in which the 01V96 is connected to a digital multitrack recorder. A rhythm
machine, guitar, bass, and keyboard are recorded.
Connections and Setup
1Connect a digital MTR, musical instruments and a microphone to the 01V96.
In this example, a 16-track hard disk recorder is connected to the ADAT IN and OUT con-
nectors on the rear panel, and the ADAT IN and OUT connectors on an installed MY8-AT
card. (See page 38 for connection details.)
2 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Word Clock page appears. On this page, specify the wordclock
source.
The best wordclock source depends on the system and environment.
In the following example, a hard disk recorder operating at a sampling frequency of
44.1kHz is used as the wordclock master. The wordclock source is derived from the signal
input at the ADAT IN Channels 1 and 2.
REC
SONG SCENE
MUSICPRODUCTION SYNTHESIZER
IntegratedSamplingSequencer
Real-timeExternalControlSur face
ModularSynthesis Plug-in System
VOL VOL
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR /
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
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INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
OINSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
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+10
5
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20
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123456
123456
7891011 12
7891011 12
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13 14 15 16
32313029282726252423222120191817 STEREO
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OVER
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-30
-36
-48
Synthesizer or rhythm machine
MY8-AT
Monitoring system
INOUT INOUT
Headphone amplifier
SLOT
INPUT connector
MONITOR OUT
connectors
PHONES jack
INPUT connector
INPUT connector
ADAT OUT
connector
ADAT IN connector
Hard disk recorder
Track
1–8
Track
9–16
Guitar or
bass
Microphone
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3 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | In
Patch page appears. On this page, make sure that the Input Patch settings
remain set to default values, as shown below.
By default (as shown in this example), the signals input at INPUT connectors 1–16 are
routed to Input Channels 1–16.
The signals input at the ADAT IN connector (the Track 1–8 signals from the hard disk
recorder in this example) are routed to Input Channels 17–24, and the signals input from
the slot (the Track 9–16 signals from the hard disk recorder) are routed to Input Channels
25–32.
If the Input Patch settings have been changed from the default settings, recall Input Patch
memory #00 from the Input Patch library (page 175).
Tip:
•See page 40 for more information on wordclock.
•See page 75 for more information on 01V96s running at higher sampling frequencies
(88.2 kHz or 96 kHz).
Note:
•You can select the 01V96 internal clock as the wordclock source. In this case, you must set
the hard disk recorder so that it will synchronize to an external clock.
•If the 01V96 and a connected device are not synching to each other, the 01V96 displays the
message “Sync Error!” If this happens, check the ADAT IN and OUT connections, digital
I/O card connection, and the sampling frequency setting on each device.
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4 Press the [PATCH] button repeatedly until the Patch | Out Patch page
appears. On this page, make sure that the Output Patch settings remain set
to default values, as shown below.
By default (as shown in this example), the signals output from Bus Outs 1–8 are routed to
the ADAT OUT connector (Tracks 1–8 of the hard disk recorder in this example), and to the
slot output channels (Tracks 9–16 of the hard disk recorder in this example).
If the Output Patch settings have been changed from the default settings, recall Output
Patch memory #00 from the Output Patch library (page 175).
Initial Track Recording
This section explains how to make an initial recording to the hard disk recorder’s tracks of
a rhythm machine, synthesizer, bass, guitar, and microphone that are connected to INPUT
connectors 1–12.
Setting the Input Levels
1Cue the musicians to play the musical instru-
ments connected to INPUT connectors 1–12
while adjusting the corresponding [PAD]
switches and [GAIN] controls so that the
[PEAK] indicators temporarily flash at the
highest volumes.
2 Press the LAYER [1–16] button.
Input Channel Layer 1–16 is now available for control from the channel strip section.
3Press the FADER MODE [HOME] button, then press the [F1] button to display
the Meter | CH1-32 page.
Meter pages are the start point for mixing and recording. They display channel input and
output levels, and compressor and gate gain reduction amounts.
Tip: The [GAIN] controls adjust the analog input sensitivity. To make a high-quality record-
ing with a wide dynamic range and little noise, set the [GAIN] controls as high as possible
while avoiding clipping.
Tip: Since the fader and [ON] button positions of each layer are memorized, those positions
for the corresponding layer are restored when you switch to that layer.
20dB
GAIN
-16 -60
PAD
PEAK
[PAD] switch
[GAIN] control
[PEAK] indicator
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01V96 Version 2—Owner’s Manual
The CH1-32 page enables you to view Input Channel 1–32 levels and compressor and gate
gain reduction amounts.
4Make sure that the LEVEL button (1) is turned on in the METER MODE sec-
tion.
The METER MODE section enables you to select the type of signals displayed on the
meters. If any button other than the LEVEL button is turned on, move the cursor to the
LEVEL button, then press [ENTER].
5 Move the cursor to the POSITION parameter box (2) to the right of the
LEVEL button, rotate the Parameter wheel or press the [INC]/[DEC] buttons
to select “POST FADER,” then press [ENTER].
The POSITION parameter indicates the metering position. When “POST FADER” is
selected, the meters indicate the post-fader signal levels.
6Make sure that [ON] button indicators 1–12 are lit, then raise faders 1–12 to
0dB.
7While the musicians play the musical instruments, check the input channel
levels using the level meters on the display.
Pairing Channels
On the 01V96, you can pair adjacent odd-even channels for stereo operation. Faders and
most mix parameters of paired channels (excluding the Input Patch, phase, routing, and
pan parameters) are linked. Pairing Input Channels is useful when you are connecting ste-
reo sources, such as a rhythm machine or synthesizer.
1To pair adjacent odd-even Input Channels, press and hold the [SEL] button
for one of the channels you wish to pair, and press the [SEL] button for the
adjacent channel.
The corresponding two channels are paired, and the settings (such as faders, channel on/off,
etc.) of the first channel are copied to the second channel. Subsequently, adjusting the
linked parameters of one of the paired channels will adjust the parameters of its partner in
the same way.
Tip: If you set the POSITION parameter to “PRE EQ,” the pre-EQ input levels are metered.
If you set the parameter to “PRE FADER,” the post-EQ and pre-fader input levels are metered.
Tip: If the meters reach the “OVER” level, make sure that the faders are set to 0dB, then lower
the corresponding [GAIN] controls.
1
2
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2To cancel a pair, press and hold the [SEL] button for one of the paired chan-
nels, and press the [SEL] button for the other channel.
Routing Signals
To record the 01V96 input signals to an external digital multitrack recorder, you must spec-
ify the destination of the signals for each Input Channel. This process is called “routing.”
There are two routing methods.
•Using Bus Outs 1–8
Input Channel signals are first routed to Buses 1–8, then through Bus Outs 1–8 to the out-
put connectors or channels. Use this method to mix multiple Input Channel signals and
record them to the MTR’s tracks. If you desire, you can process the signals using the Bus Out
1–8 compressors and EQs.
In the following example, Input Channel signals are routed through Bus Outs 1 and 2 to
ADAT OUT connectors 1 and 2.
Tip:
•You can still select one of the paired channels for control by pressing the corresponding [SEL]
button. When you select the channel, the [SEL] button indicator lights up, and the [SEL]
button for the paired partner flashes.
•You can also determine how to copy the parameter settings to the paired partner by using a
special window (see page 230).
•You can create or cancel pairs on the Pair/Grup pages (see page 93).
•You can also group the faders, [ON] buttons, EQs, or compressors of multiple channels (see
page 149).
Note: If you want to operate the faders of paired channels, make sure you operate only one
fader for the pair. If you try to operate the faders for both channels in the pair, an excessive
load will be applied to the fader motor, causing malfunction.
SEL SEL SEL SEL SEL SEL
Parameters are copied.
INPUT connector 1 Input Channels 1
CH 1
ADAT OUT
connector
Bus Out 1
INPUT connector 2 Input Channels 2 Bus Out 2
INPUT connector 3 Input Channels 3 Bus Out 3
INPUT connector 4 Input Channels 4 Bus Out 4
INPUT connector 5 Input Channels 5 Bus Out 5
CH 2
Input
Patch
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•Using Direct Outs
Each Input Channel signal is directly routed to and output from the specified output con-
nectors and channels. Use this method to patch each Input Channel directly to each MTR
track.
The following example illustrates the signals directly output from ADAT OUT channels
1–5.
This section describes how to route signals by combining the above two routing methods.
1Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly to display the
Pan/Route | Rout1-16 page.
This page enables you to select a Bus Out as the signal destination for each channel.
This page contains the following buttons:
A1–8 buttons
These buttons route Input Channel signals to Buses 1–8. You can select multiple but-
tons.
BS button
This button routes Input Channel signals to the Stereo Bus.
CD button
This button routes Input Channel signals to the specified output connectors and chan-
nels directly.
CH 1
CH 2
CH 3
CH 4
CH 5
Input
Patch
INPUT connector 1
INPUT connector 2
INPUT connector 3
INPUT connector 4
INPUT connector 5
ADAT OUT
connector
Input Channels 1
Input Channels 2
Input Channels 3
Input Channels 4
Input Channels 5
3
1
2
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2 Move the cursor to the S button for the Input Channel to
which the musical instrument or microphone is connected,
then press [ENTER] to turn it off.
By default, each Input Channel is routed to the Stereo Bus, which enables
you to monitor the signals from the MONITOR OUT connectors and the
PHONES jack.
However, during multitrack recording you may usually want to monitor
the signals returned from the connected digital MTR, rather than moni-
toring the Input Channel signals. To do so, you must turn off the S button so that the par-
ticular Input Channel signals will not be routed to the Stereo Bus.
3To route Input Channel signals to the connected digital MTR via Buses 1–8,
use the 1–8 buttons to specify a Bus Out as the destination for each of the
Input Channels to which the musical instruments and microphone are con-
nected.
In this example, Input Channels 1–4 are assigned to Buses 1 and 2, and Input Channels
5–8 are assigned to Buses 3 and 4.
4Press the [PAN/ROUTING] button repeatedly to display the Pan/Route | Pan
page.
This page enables you to set the panpots for signals routed from the Input Channels to the
Stereo Bus, and for signals routed from the Input Channels to the odd-even buses.
5Move the cursor to the PAN parameter controls for the Input Channels that
are assigned to the odd-even buses, then rotate the Parameter wheel or
press the [INC]/[DEC] buttons to set the pan.
6To route Input Channel signals to Direct Outs, press the DISPLAY ACCESS
[PATCH] button repeatedly until the Patch | Direct Out page appears.
The Direct Out page enables you to specify the output connectors or channels to which each
Input Channel is directly patched.
7Move the cursor to the parameter box for the Input Channels you want to
route to Direct Outs, then specify the output connectors or channels.
Tip: You can also use the [SEL] buttons to select Input Channels, and the SELECTED CHAN-
NEL [PAN] control to adjust the pan setting.
Cursor on the
PAN parameter
control
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In this example, Input Channel 9–12 signals are routed to ADAT OUT channels 5–8.
8 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
Pan/Route | Rout1-16 page appears.
9Move the cursor to the D button for the Input Channels you want to route
to Direct Outs, then press [ENTER].
The Input Channels for which the D buttons are turned on
are directly patched to the output connectors or channels
specified in Step 7.
Adjusting the Monitoring Level
You can monitor the recording signals by placing the digital MTR in record ready mode,
routing the signals sent to Tracks 1–8 of the digital MTR back to the 01V96’s Input Channels
17–24, then patching them to the MONITOR OUT connectors and the PHONES jack.
1 Arm the connected digital MTR’s tracks for recording.
At this time, set the monitor mode on the digital MTR accordingly so that you can monitor
the input signals on the armed tracks. (Refer to the owner’s manual for the digital MTR for
more information.) In this way, signals sent to Tracks 1–8 of the digital MTR are returned
to the 01V96’s Input Channels 17–24.
2 Press the LAYER [17–32] button.
Input Channel Layer 17–32 is now available for control from the channel strip section.
3 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
Pan/Route | Rout17-STI page appears.
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4 Make sure that the S buttons for Input Channels 17–24 are turned on and
the 1–8 buttons are turned off, then use the PAN control to pan the moni-
toring signal.
5Press the DISPLAY ACCESS [HOME] button, then press the [F1] button to dis-
play the Meter | CH1-32 page.
6Make sure that [ON] button indicators 1–8 are steadily lit, then raise the [STE-
REO] fader to 0 dB.
7While the musicians play the musical instruments, adjust faders 1–8, [MON-
ITOR OUT] control, and [PHONES] control to set the appropriate monitoring
level.
Now you can monitor via the monitoring system and headphones the signals sent from
Input Channels 17–24 to the Stereo Bus.
Tip: Controlling Input Channel 17–32 Pan settings, faders, and the [ON] buttons will affect
the monitoring signal, but will not affect the signal recorded to the digital MTR.
Note: If the L & R level meters reach the “OVER” position, lower the [STEREO] fader.
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EQ’ing the Input Signals
The 01V96’s Input Channels feature 4-band full parametric EQ. This section describes how
to apply EQ to the signals before they are recorded to the tracks.
1 Press the LAYER [1–16] button.
Input Channel Layer 1–16 is now available for control from the channel strip section.
2Press the [SEL] button for the Input Channel to which you want to apply EQ.
3Press the [EQ] button, then the [F1] button to display the EQ | EQ Edit page.
The EQ Edit page enables you to adjust the EQ parameters for the currently-selected chan-
nel.
4 Make sure that the EQ ON button (in the upper-left corner) is turned ON.
The EQ ON/OFF button turns the currently-selected Input Channel’s EQ on or off. If the
button is off, press the [ENTER] button to turn it on.
5 While a musician plays the musical instrument, adjust the EQ parameters.
To do so, move the cursor to the parameters in the lower half of the page, then rotate the
Parameter wheel to change the values. You can adjust the following parameters for the
LOW, L-MID, H-MID, and HIGH bands individually.
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•Q
This parameter control specifies the Q (slope) for cut/boost of the center frequency set via
the F parameter control. The setting range is between 10 and 0.10. The higher the value, the
steeper the slope becomes. This parameter control also selects the type of EQ for the LOW
and HIGH band.
•F (Frequency)
This parameter control specifies the center frequency for cut/boost, with a setting range of
21.2 Hz to 20.0 kHz.
•G (Gain)
This parameter control specifies the cut/boost amount in the range of –18.0 dB to +18.0 dB.
The LOW and HIGH GAIN controls function as filter on/off controls when Q is set to HPF
and LPF respectively.
You can also press the buttons ([HIGH], [HIGH-MID],
[LOW-MID], [LOW]) in the SELECTED CHANNEL section to
select the desired band and use the rotary controls ([Q], [FRE-
QUENCY], [GAIN]) to directly edit the Q, F, and G parameters.
6 In the same way, adjust the EQ for the other channels.
Compressing the Input Signals
The 01V96’s Input Channels 1–32 feature individual channel compressors. This section
describes how to compress the signals before they are recorded to the tracks.
1 Press the LAYER [1–16] button.
Input Channel Layer 1–16 is now available for control from the channel strip section.
2Press the [SEL] button of the Input Channel to which you want to apply com-
pression.
Tip:
•Turn the Q parameter control for the LOW band clockwise all the
way to set the LOW-band EQ to “L. SHELF” (low-shelving), and
counter-clockwise all the way to set it to “HPF” (high-pass filter).
•Turn the Q parameter control for the HIGH band clockwise all
the way to set the HIGH-band EQ to “H. SHELF” (high-shelv-
ing), and counter-clockwise all the way to set it to “LPF” (low-pass
filter).
•By default, the LOW band is set to “L. SHELF,” and the HIGH
band is set to “H. SHELF.”
Tip:
•The meters in the upper-right corner of the page indicate the post-EQ signal levels of the
currently-selected Input Channel. If these meters reach the “OVER” position, lower the
pre-EQ signal level using the ATT. parameter control located in the upper-left on the page.
•You can also apply EQ to the Input Channel signals returned from the recorder. In this way,
you can process only the monitoring signals, without affecting the signals being recorded to
the recorder.
•You can use the EQ settings (programs) in the provided EQ library for various applications
and instruments.
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
SELECTED CHANNEL
PAN
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3 Press the [DYNAMICS] button, then press the [F4] button.
The Dynamics | Comp Lib page appears. This page enables you to store compressor settings
(programs) to the Compressor library, and recall compressor programs from the library.
This example uses one of the compressor programs 1–36 from the Compressor library.
4 Rotate the Parameter wheel to scroll the library title list, and select a pro-
gram that you want to recall.
The selected program appears inside
the dotted box.
5Move the cursor to the RECALL button located to the left of the library title
list, then press [ENTER].
The selected program is recalled.
6 Press the [F3] button.
The 01V96 displays the Dynamics | Comp Edit page, which enables you to adjust compres-
sor parameters.
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7 Press the [ENTER] button to turn on the ON/OFF button located in the
lower-left corner of the page.
The ON/OFF button turns the currently-selected Input Channel’s compressor on or off.
8 While a musician plays the musical instrument, adjust the compressor
parameters.
To do so, move the cursor to the desired parameter in the PARAMETER section on the page,
then rotate the Parameter wheel or press the [INC]/[DEC] buttons.
Input Channels 1–32 feature a gate that can be used independently of the compressor. To
use the gate, first press the [DYNAMICS] button, then the [F2] button to access the Gate
library. After you recall a gate program, press the [Dynamics] button, then the [F1] button
to display the Gate Edit page, which enables you to adjust gate parameters.
Recording
When you finish setting up each channel, you can start recording on the digital MTR as fol-
lows:
1 Start recording on the digital MTR, and cue the musicians to start playing
the musical instruments.
During recording, press the [HOME] button to display the Meter | CH1-32 page or the
Master page, and check to confirm that the Input Channel levels and Bus 1–8 output levels
are not clipping.
2 When you finish playing, stop the digital MTR.
3To check the recording, play the digital MTR from the beginning.
4If you are satisfied with the recording, stop the playback and disarm Tracks
1–8 on the recorder.
Tip:
•The 01V96 features four types of dynamics processors: COMP (Compressor), EXPAND
(Expander), COMP. (S) (Compander Soft), and COMP. (H) (Compander Hard). These
processors feature different parameters. (See page 272 for the parameters for each compres-
sor type.)
•You cannot change the compressor type on the Comp Edit page. To change the compressor
type, recall a program that uses the desired compressor type from the Compressor library,
then adjust the parameters as desired.
Tip: If the digital MTR supports MMC (MIDI Machine Control) commands, you can use
the 01V96’s Machine Control function to select tracks or locate a position on the recorder from
the 01V96 (see page 212).
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Overdubbing to Other Tracks
This section describes how to overdub the musical instruments or microphone connected
to the INPUT connectors 1 and 2 to the digital MTR’s Tracks 9 and 10, while listening to the
performance recorded on Tracks 1–8.
Setting the Input Levels
1 Connect the musical instruments to INPUT
connectors 1 and 2, and adjust the corre-
sponding [PAD] switches and [GAIN] con-
trols so that the [PEAK] indicators
temporarily flash at the highest volumes.
2 Press the LAYER [1–16] button.
Input Channel Layer 1–16 is now available for control from the channel strip section.
3Press the DISPLAY ACCESS [HOME] button, then press the [F1] button to dis-
play the Meter | CH1-32 page.
4Make sure that [ON] button indicators for the channels to which the instru-
ments or microphone are connected are lit, then raise the corresponding
faders to 0dB.
Turn off the [ON] buttons for the channels not in use.
5While the musicians play the musical instruments, check the input channel
levels using the level meters on the display.
20dB
GAIN
-16 -60
PAD
PEAK
[PAD] switch
[GAIN] control
[PEAK] indicator
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Routing Signals
Follow the steps below to route the Input Channel 1 and 2 signals to Slot Channels 1 and 2
directly so that the signals will be recorded to Tracks 9 and 10 on the digital MTR.
1Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Direct
Out page appears.
2Move the cursor to the parameter box for the Input Channels you want to
route to Direct Outs, then specify the output connectors or channels.
In this example, Input Channel 1 and 2 signals are patched to Slot output channels 1 and 2.
3 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
Pan/Route | Rout1-16 page appears.
4Move the cursor to the D buttons for Input Channels 1 and 2,
then press [ENTER]. Turn off the S buttons and 1–8 buttons.
The Input Channel 1 and 2 signals are now routed to Slot output channels
1 and 2, then output to Tracks 9 and 10 on the digital MTR.
Adjusting the Monitoring Level
Follow the steps below to place the digital MTR in record ready mode and monitor the sig-
nals (that are sent from Tracks 9 and 10 of the digital MTR back to the 01V96’s Input Chan-
nels 25 and 26) through the MONITOR OUT connectors and the PHONES jack.
1 Arm the connected digital MTR’s Tracks 9 and 10.
At this time, set the monitor mode on the digital MTR accordingly so that you can monitor
the input signals on the armed tracks, and monitor playback signals from the other tracks.
(Refer to the owner’s manual for the digital MTR for more information.)
2 Press the LAYER [17–32] button.
Input Channel Layer 17–32 is now available for control from the channel strip section.
3 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
Pan/Route | Rout17–STI page appears.
4 Make sure that the S buttons for Input Channels 25 and 26 are turned on
and the 1–8 buttons are turned off.
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5Press the [F1] button to display the Pan/Route | Pan page, then use the PAN
parameter controls on the page to pan channel signals.
6Press the DISPLAY ACCESS [HOME] button, then press the [F1] button to dis-
play the Meter | CH1-32 page.
7 Make sure that [ON] button indicators 9 and 10 are steadily lit.
8 While the musicians play the musical instruments, raise faders 9 and 10 to
set the appropriate monitoring level.
If necessary, play back the recording on the digital MTR and adjust the volume balance
between the recorded and recording signals.
Recording
1 Start recording on the digital MTR, and cue the musicians to start playing
the musical instruments while monitoring the recorded tracks.
During recording, display the Meter | CH1-32 page, and confirm that the Input Channel
levels are not clipping.
2 When the musicians finish playing, stop the digital MTR.
3To check the recording, play the digital MTR from the beginning.
4If you are satisfied with the recording, stop the playback and disarm Tracks
9 and 10 on the recorder.
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Mixing Recorded Tracks into Stereo (Mixdown)
“Mixdown” is the process of mixing recorded tracks into stereo and recording the stereo sig-
nal to an external master recorder. This section describes how to mix signals recorded on
Tracks 1–16 into a stereo signal, then apply the 01V96’s internal effects to the signal, then
record it to an external master recorder.
Connecting and Setting Up the Master Recorder
Follow the steps below to connect a DAT recorder, MD recorder, CD recorder or other mas-
ter recorder to the 01V96. Change the 01V96’s internal patch so that you can monitor the
playback signal on the master recorder through ST IN Channel 2.
1 Connect a master recorder to the 01V96.
In the following example, the 01V96 2TR OUT DIGITAL connector is connected to the
master recorder’s digital input, and the 01V96 2TR IN DIGITAL connector is connected to
the master recorder’s digital output.
2 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | In
Patch page appears.
Tip: To monitor the master recorder’s playback signals, you can also connect the analog output
of the master recorder to the 01V96 2TR IN connector. In this way, you can quickly switch the
monitoring signal using the Monitor Source selector in the MONITOR OUT section.
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR/
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
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A
B
16
1513
121110987643215
14
INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
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/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O
L
R
IN OUT
2TR
-10dBV
(UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
1010
10
1515
15
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123456
123456
7891011 12
7891011 12
13 14 15 16
13 14 15 16
32313029282726252423222120191817 STEREO
13 14 15 16
OVER
0
-3
-6
-9
-12
-15
-18
-24
-30
-36
-48
2TR IN DIGITAL
connector
2TR OUT DIGITAL
connector
DIGITAL
IN
connector
DIGITAL
OUT
connector
Master recorder
64 Chapter 5—Tutorial
01V96 Version 2—Owner’s Manual
3 Move the cursor to the 2L parameter box in the STEREO INPUT section,
rotate the Parameter wheel or press the [INC]/[DEC] buttons to select “2TD
L,” then press [ENTER].
4 In the same way, move the cursor to the 2R parameter box in the STEREO
INPUT section, then select “2TD R.”
The signals input at the 2TR IN DIGITAL connector are now routed to ST IN Channel 2 L
and R.
5 Use the ST IN [ST IN] button to select ST IN Channels 1 and 2.
The ST IN [ST IN] button selects an ST IN channel pair (ST
IN Channels 1 and 2 or 3 and 4) which you can control using
the buttons and controls in the ST IN section. The indicators
to the right of the button indicate which ST IN channels are
currently selected.
6Turn off the [ON] button for ST IN Channel 2.
The button indicator turns off.
This [ON] button should be turned on only when you monitor the playback signal of the
master recorder.
Adjusting the Track Mix Balance
Follow the steps below to adjust the mix balance among Tracks 1–16 and process the signals
using the EQ, compressor and gate.
1 Make sure that Tracks 1–16 on the digital MTR are all disarmed and the
recorder is in a mode that enables you to monitor the track playback signals.
2 Press the LAYER [1–16] button, then turn off the [ON] buttons for Input
Channels 1–16.
3 Press the LAYER [17–32] button and make sure that the [ON] buttons for
Input Channels 17–32 are turned on.
4 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
Pan/Route | Rout17–STI page appears. On this page, make sure that the S
buttons for Input Channels 17–32 are turned on, and the 1–8 buttons are
turned off.
ST IN
Lights up.
Mixing Recorded Tracks into Stereo (Mixdown) 65
01V96 Version 2—Owner’s Manual
5
Tutorial
Input Channel 17–32 signals input from Tracks 1–16 of the digital MTR are now routed
through the Stereo Bus, to the STEREO OUT and 2TR OUT DIGITAL connectors.
5 Use the PAN parameter controls for Input Channels 17–32 on the page to
adjust the panpot for each track.
6 Raise the [STEREO] fader to 0 dB.
7 While playing back the recording on the digital MTR from the beginning,
operate faders 1–16 to adjust the mix balance among the tracks.
•EQ’ing the track signals
Select the desired channel by pressing the corresponding [SEL] button, press the [EQ] but-
ton, then press the [F1] button to display the EQ Edit page (see page 84). Alternatively,
adjust the EQ parameters using the buttons and controls in the SELECTED CHANNEL sec-
tion.
•Compressing the track signals
Select the desired channel by pressing the corresponding [SEL] button, press the [DYNAM-
ICS] button, then press the [F4] button to display the Dynamics | Comp Lib page and recall
the desired compressor program (see page 82). Press the [DYNAMICS] button, then press
the [F3] button to display the Comp Edit page, then edit the compressor parameters.
•Gating the track signals
Select the desired channel by pressing the corresponding [SEL] button, press the [DYNAM-
ICS] button, then press the [F2] button to display the Dynamics | Gate Lib page. Then, recall
the desired gate program. Press the [DYNAMICS] button, then press the [F1] button to dis-
play the Gate Edit page, then edit the gate parameters.
Tip: Alternatively, you can adjust the pan settings by selecting the Input Channels via the cor-
responding [SEL] button, then rotating the SELECTED CHANNEL [PAN] control.
66 Chapter 5—Tutorial
01V96 Version 2—Owner’s Manual
Using the Internal Effects
The 01V96 features four internal multi-effects processors that can be used via Aux Sends
and Returns or by inserting them into specific channels. This section describes how to use
internal Effects processor 1 via Aux Send 1, and apply reverb to the track signals.
1Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Effect
page appears.
This page enables you to patch the inputs and outputs of Effects processors 1–4. By default,
Aux Send 1 is patched to the input of Effects processor 1, and the output of Effects processor
1 is patched to ST IN Channel 1 L and R, as shown in the diagram above.
2Make sure that the [ON] button for ST IN Channel 1 in the ST IN section is
turned on.
3Press the DISPLAY ACCESS [EFFECT] button repeatedly until the Effect | FX1
Lib page appears.
The Effect | FX1 Lib page enables you to recall effect programs to be used by Effects proces-
sor 1 from the Effects library, and store the current effects settings of Effects processor 1 to
the Effects library.
Select from the list in the center column a program memory to which you wish to store the
effects settings, or a program memory that you wish to recall. The selected program appears
inside the dotted box.
Tip: If the patch for internal Effects processor 1 is different from the above, use the Parameter
wheel or [INC]/[DEC] buttons, and the [ENTER] button to change the patch.
Mixing Recorded Tracks into Stereo (Mixdown) 67
01V96 Version 2—Owner’s Manual
5
Tutorial
4 Rotate the Parameter wheel and select “2. Reverb Room”
For purposes of this tutorial, select this room reverb program.
5 Move the cursor to the RECALL button located to the left of the list, then
press [ENTER].
Effect program “Reverb Room” is loaded into Effects processor 1.
6 Press the LAYER [17–32] button.
Input Channel Layer 17–32 is selected for control from the channel
strip section.
7 Press the FADER MODE [AUX1] button.
The button indicator lights up.
While the [AUX 1]–[AUX 8] button indicators are lit, faders 1–16 control the Aux 1–8 send
levels.
In this example, the faders control the send level of the signals routed from Input Channels
17–32 to Aux 1 (Effects processor 1 input).
8 While playing back the recording on the digital MTR from the beginning,
operate faders 1–16 to adjust the send level of the signals routed from Input
Channels to Effects processor 1.
9To adjust the effect return level, use the rotary level control located on the
left side of the ST IN section on the top panel.
You can view the current level in the upper-right corner of the display.
Tip: To edit the effect parameters, press the [EFFECT] button
repeatedly until the Effect | FX1 Edit page appears (see page 161).
Tip: To reset the fader 1–16 function to normal mode, press the FADER MODE [HOME]
button.
68 Chapter 5—Tutorial
01V96 Version 2—Owner’s Manual
Recording to the Master Recorder
Follow the steps below to record the mixed stereo signal from the 01V96 to the connected
master recorder.
1Start recording on the master recorder, then start playing back on the digital
MTR.
During recording, observe the stereo meter on the right of the display and confirm that the
stereo output level is not clipping.
2When the playback is finished, stop the master recorder, then stop the digital
MTR.
3Turn on the [ON] button for ST IN Channel 2 in the ST IN section. The button
indicator lights up.
4 Play back the recording on the master recorder.
The playback signal is input at the 01V96’s 2TR IN DIGITAL connector, then routed
through ST IN Channel 2 to the Stereo bus.
When the master recorder finishes playing back, turn off the [ON] button for ST IN Chan-
nel 2.
Note: Most consumer-type DAT recorders and MD recorders are unable to synchronize to
external wordclock during playback (that is, they cannot be wordclock slaves). If this type of
master recorder is connected to the 01V96’s 2TR IN DIGITAL connector, access the DIO/Setup
| Word Clock page and select “2TRD” (2TR IN DIGITAL) as the wordclock source.
Tip: If you desire, you can store the current mix settings to memory as a Scene (see page 165).
Analog I/O & Digital I/O 69
01V96 Version 2—Owner’s Manual
Analog I/O & Digital I/O
6
6 Analog I/O & Digital I/O
This chapter describes the 01V96’s analog and digital input/output connectors as well as the
basic operations involving the digital I/Os.
Analog Inputs & Outputs
Input Section
The 01V96’s top panel features input connectors, which enable you to connect microphone
and line-level sources.
•INPUT connectors A 1–12
These balanced TRS-type phone connectors accept line-level and
microphone signals. The nominal input range is –60 dB through
+4 dB. The phantom [+48V] switches on the rear panel turn on or
off the +48V phantom power feed to these inputs.
•INPUT connectors B 1–12
These balanced TRS-type connectors accept line-level and micro-
phone signals. The nominal input range is –60 dB through +4 dB.
You cannot use same-numbered INPUT A and INPUT B connectors
simultaneously. (For example, you cannot use INPUT A-2 and
INPUT B-2 at the same time.) If you connect cables to A and B con-
nectors of the same number, only the signal from INPUT B is effec-
tive (e.g., B-2 takes priority over A-2).
•INPUT connectors 13–16
These balanced TRS-type phone connectors accept line-level signals.
When the AD 15/16 source selector is turned on (pushed in), signals
from INPUT 15 and 16 are ignored. Instead, signals from the 2TR IN
connector will be routed to AD Input Channels 15 and 16.
•INSERT I/O connectors
These TRS-type phone connectors are used to insert external
devices, such as effects processors, into AD Input Channels.
•Phantom Power
Inputs 1 through 12 feature switchable +48V phantom
powering for use with condenser-type microphones
and direct boxes. The phantom [+48V] switches on
the rear panel turn on or off the +48V phantom power
feed to the corresponding inputs.
•PAD switches
Inputs 1 through 12 feature pad switches, which attenuate input sig-
nals by 20 dB. These switches are effective on both INPUT A and B
signals.
Tip: You can patch signals input from the INPUT connectors to any Input Channels. (See
page 121 for information on patching input signals to Input Channels.)
AA
21
A
B
A
B
INPUT
(BAL)
16
1513
14
INSERT I
/
O INSERT I
/
O
INSERT
OUT IN
(UNBAL)
20dB
PAD
70 Chapter 6—Analog I/O & Digital I/O
01V96 Version 2—Owner’s Manual
•GAIN controls
Inputs 1 through 16 feature rotary gain controls that adjust input
sensitivity. Input sensitivity for INPUT connectors 1–12 ranges from
–16 dB to –60 dB when the Pad is off, and from +4 dB to –40 dB
when the Pad is on. Input sensitivity for INPUT connectors 13–16
ranges from +4 dB to –26 dB.
•PEAK & SIGNAL Indicators
The SIGNAL indicator lights up when the input signal level at
INPUTs 1–16 exceeds –34 dB. The PEAK indicator lights up when
the input signal level is 3 dB below clipping.
•2TR IN connectors
These unbalanced RCA phono connectors accept line-level signals
from master recorders.
When the AD 15/16 source selector is turned on (pushed in), signals
input at these conductors are routed to AD Inputs 15 and 16. When
the Monitor source selector is turned on (pushed in), you can mon-
itor these signals from the MONITOR OUT connectors.
Output Section
The 01V96 top and rear panels feature output connectors that enable you to connect a mon-
itoring system, master recorder, effects processors and other line-level devices.
•MONITOR OUT connectors L/R
These balanced TRS-type phone connectors output monitoring sig-
nals or input signals routed from the 2TR IN connectors. The nom-
inal output level is +4 dB.
Use the Monitor source selector in the AD Input section to select the
signal output from these connectors.
•OMNI OUT connectors 1–4
These balanced TRS-type phone connectors output any
Bus Outs or Input Channel Direct Outs. The nominal out-
put level is +4 dB.
•STEREO OUT connectors L/R
These balanced XLR-3-32-type connectors output the Stereo Out
signals. The nominal output level is +4 dB.
•2TR OUT connectors
These unbalanced RCA phono connectors output line-level signals
to a connected master recorder or other external device. These
connectors always output the Stereo Out signals.
Tip: Any signal path can be patched to the OMNI OUT connectors. (See page 124 for more
information on patching signals to the OMNI OUT connectors.)
PEAK
SIGNAL
GAIN
-16 -60
PEAK
SIGNAL
GAIN
L
R
IN OUT
2TR
-10dBV (UNBAL)
L
R
IN OUT
2TR
-10dBV (UNBAL)
Digital Inputs & Outputs 71
01V96 Version 2—Owner’s Manual
Analog I/O & Digital I/O
6
Digital Inputs & Outputs
The 01V96 rear panel features digital input and output connectors that enable you to con-
nect external digital devices. Any signal path can be patched to these digital inputs and out-
puts.
You can also add analog and digital I/Os by installing an optional I/O card in the slot.
Digital I/O Connectors
•2TR IN DIGITAL connector
2TR IN DIGITAL is an RCA phono connector and accepts consumer
format (IEC-60958) digital audio. You can patch digital signals input
at this connector to any Input Channel (page 121).
•2TR OUT DIGITAL connector
This RCA phono connector outputs consumer format (IEC-60958)
digital audio. You can patch any Bus outs or Input channel Direct
Outs to this output (page 125).
•ADAT IN connector
This TOSLINK connector accepts 8-channel ADAT optical format signals, which can be
patched to any Input Channel (page 121).
•ADAT OUT connector
This TOSLINK connector outputs an 8-channel ADAT optical format signal. You can patch
any Bus Outs or Input Channel Direct outs to this output (page 123).
SLOT
This slot allows you to install an optional mini-YGDAI (Yamaha General Digital Audio
Interface) I/O card. This card offers AD/DA conversion, and various analog I/O options and
digital I/O interfaces in all the popular digital audio interconnect formats, including
AES/EBU, ADAT, and Tascam. You can patch signals input at these card connectors to any
Input Channels or Insert Ins (see page 122).
You can patch the card outputs to Bus Outs or Input Channel Direct Outs (see page 125).
The following mini-YGDAI I/O cards are currently available.
Card Format In Out Resolution/Sampling Rate Connectors
MY8-AD
Analog in
8
—
20-bit, 44.1/48 kHz
Phone jack (balanced) x8
MY8-AD241
24-bit, 44.1/48 kHz
MY4-AD 4 XLR-3-31 type (balanced) x4
MY8-AD96 8 24-bit, 44.1/48/88.2/96 kHz D-sub 25-pin
MY4-DA
Analog out — 4 20-bit, 44.1/48 kHz XLR-3-32 type (balanced) x4
MY8-DA96 8
24-bit, 44.1/48/88.2/96 kHz
D-sub 25-pin
MY8-ADDA96
Analog
in/out 88 Euroblock x4
MY8-AE2
AES/EBU I/O
88
24-bit, 44.1/48 kHz D-sub 25-pin
MY16-AE216 16
MY8-AEB 88 BNC connector x8
72 Chapter 6—Analog I/O & Digital I/O
01V96 Version 2—Owner’s Manual
See the Yamaha Professional Audio Web site at the following URL for up-to-date news on
I/O cards:
<http://www.yamahaproaudio.com/>.
Converting Sampling Rates of Signals Received at I/O
Card Inputs
An optional MY8-AE96S Digital I/O card features sampling rate converters, so you can eas-
ily convert the sampling frequency of digital inputs to the current 01V96 sampling rate.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Format page appears.
Use the buttons in the SRC sections to turn the sampling rate converters on and off. You can
turn the sampling rate converters of the digital I/O card on or off in pairs (odd & even chan-
nels, in this order).
MY8-AE96
AES/EBU I/O 8 8 24-bit, 44.1/48/88.2/96 kHz D-sub 25-pin
MY8-AE96S3
MY8-AT2
ADAT I/O
88
24-bit, 44.1/48 kHz
Optical x2
MY16-AT216 16 Optical x4
MY8-TD2
Tascam
88 D-sub 25-pin
BNC wordclock output
MY16-TD216 16 D-sub 25-pin
MY8-mLAN2
IEEE1394
88
6-pin 1394 connector x2
MY16-mLAN
2
16 16
WAVES Y56K
ADAT 8 8 24-bit, 44.1/48 kHz Optical x2
WAVES Y96K 24-bit, 44.1/48/88.2/96 kHz
1. This card is a substitution for a 20-bit MY8-AD card.
2. These cards support 24-bit/96 kHz in Double Channel mode. (Separate 96 kHz wordclock required.)
3. This card is identical to the MY8-AE96, except that it features a sampling rate converter.
Tip: The FS box on the Word Clock page displays the sampling frequency at which the 01V96
is currently operating.
Note: The sampling rate converter is available only on the Yamaha MY8-AE96S Digital I/O
card. If you have installed another type of I/O card in the slot, or if no card is installed in the
01V96, the buttons in the SRC sections are disabled.
Card Format In Out Resolution/Sampling Rate Connectors
Monitoring Digital Input Channel Status 73
01V96 Version 2—Owner’s Manual
Analog I/O & Digital I/O
6
2Use the cursor buttons to move the cursor to any two-channel button in the
SRC sections, then press [ENTER].
The sampling rate converter for the selected 2-channel input turns on or off. When on, the
sampling rate of the received digital audio is converted to the 01V96’s current sampling rate.
Monitoring Digital Input Channel Status
You can view and monitor the Channel Status (sampling rate, emphasis, etc.) of digital
audio signals connected to the 2TR Digital Inputs and Slot Inputs as follows.
1 Press the DISPLAY ACCESS [UTILITY] button, then press the [F2] button.
The Utility / CH Status page appears.
On this page, use the following buttons to select a slot or connector for which you want to
view the channel status.
A2TR IN
This button enables you to view the Channel Status of input signals connected to the
2TR Digital Inputs.
BSLOT
These buttons enable you to view the Channel Status of each two adjacent (odd and
even, in this order) channel signals connected to the digital I/O card installed in the slot.
2 Move the cursor to the desired input or slot button, then press [ENTER].
Channel Status information for the selected input is displayed. However, if a mini-YGDAI
I/O card other than AES/EBU format is installed, Channel Status information will be grayed
out. Channel Status information includes the following items:
CFS
Indicates the sampling rate. If no signal is being input, or if the incoming wordclock is
not synching to the internal clock, “Unlock” appears.
DEMPHASIS
Indicates the Emphasis on/off status.
ECATEGORY
Indicates the status of “Category Code Bit” included in the IEC958 Part 2 (S/PDIF-Con-
sumer) format. This parameter can display the following values:
Parameter value Description
General Temporarily used
Laser Optical Laser optical device
D/D Conv Digital - Digital converter and signal processing device
1
2
3
4
5
6
74 Chapter 6—Analog I/O & Digital I/O
01V96 Version 2—Owner’s Manual
FCOPY
Indicates the status of copy protection information included in the IEC958 Part2
(S/PDIF-Consumer) format signals. “OK” appears if copying is allowed. “Prohibit”
appears if copy-protected.
3 If you select the SLOT button for a slot that has an
MY16-AE card installed, use the 01–08 and 09–16 but-
tons located in the lower-right corner of the screen
to select a channel group you wish to display.
Dithering Digital Outputs
When digital audio is transferred to lower-resolution systems, truncated bits may generate
unpleasant noise. To cancel the audible effect of this noise, a small complement of noise is
intentionally added to the digital outputs. This process is called “dithering.”
On the 01V96, you can dither the 2TR Digital Outputs and Slot Outputs. For example, you
can apply dithering to the 01V96 stereo mix data and record to a 16-bit DAT recorder.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Format page appears.
The dithering settings are displayed at the bottom of the page.
Magnetic Magnetic tape device and magnetic disk device
D.Broadcast Digital broadcast reception
Instruments Musical instrument, microphone, and sources that
generate string signals
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: “AES/EBU” appears in the Category row when you are monitoring IEC958 Part 3
(AES/EBU-Professional) format signals (that do not include Category Code Bit).
Parameter value Description
Setting the Transfer Format for Higher Sampling Rates 75
01V96 Version 2—Owner’s Manual
Analog I/O & Digital I/O
6
2Move the cursor to the output or channel to which you want to apply dith-
ering, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to
select the value that matches the resolution of the receiving device.
Setting the Transfer Format for Higher Sampling Rates
To operate the 01V96 at higher sampling frequencies (88.2 kHz or 96 kHz) and transfer dig-
ital audio signals to and from connected external devices, you must set the data transfer for-
mat in accordance with the sampling frequencies supported by the external devices.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Word Clock page appears.
2 Select INT88.2k or INT96k as the wordclock source.
3 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Format page appears.
4 Use the cursor buttons to move the cursor to an IN/OUT parameter field
(1), then rotate the Parameter wheel or press the [INC]/[DEC] buttons to
set the data transfer format.
The IN/OUT parameters are used to set one of the following data transfer formats for each
slot input and output.
Note:
•You cannot apply dithering to outputs or channels that are set to “OFF.”
•Dithering is effective only when the resolution of the receiving device is lower than that of
the 01V96.
Tip: To copy the currently-selected setting to all channels, double-click the [ENTER] button.
The copy confirmation window is displayed.
Note: When the 01V96 operates at a high sampling rate (88.2 kHz or 96 kHz), only two inter-
nal effects processors are available.
1
76 Chapter 6—Analog I/O & Digital I/O
01V96 Version 2—Owner’s Manual
•DOUBLE CHANNEL
In Double Channel mode, digital audio data is received and transmitted as mono signals at
a sampling rate that is exactly half (44.1/48 kHz) the current higher sampling rate. Data is
handled by two channels. This is useful when you wish to transfer data between the 01V96
running at a higher sampling rate and legacy 44.1/48 kHz digital MTRs or HDRs.
•DOUBLE SPEED
In Double Speed mode, digital audio data is received and transmitted at the current high
sampling rate (i.e., 88.2 kHz or 96 kHz). Select this mode if the devices that support the
higher sampling rates transmit or receive data.
•SINGLE
In Single mode, digital audio data is received and transmitted at a sampling rate that is half
(44.1/48 kHz) the current higher sampling rate of the 01V96. For example, this is useful
when you wish to send 44.1 kHz digital signals from an external HDR to the 01V96 running
at 88.2 kHz.
Note: Double Channel mode reduces the total number of inputs or outputs on the correspond-
ing slot. The even-numbered channels are disabled.
Note: You can select this setting only for slots in which a digital I/O card that inputs/outputs
double-speed digital audio data (e.g., MY8-AE96, MY8-AE96S) is installed.
Note: You cannot select this setting for slots in which a digital I/O card that inputs/outputs
double-speed digital audio data (e.g., MY8-AE96, MY8-AE96S) is installed.
Tip: The parameter fields display “–” if the slot contains no I/O card or if an AD/DA card or
other I/O card that does not allow you to set the transfer format has been installed.
Input Channels 77
01V96 Version 2—Owner’s Manual
Input Channels
7
7 Input Channels
This chapter describes how to adjust the 01V96’s Input Channel parameters.
About Input Channels
The input Channel section enables you to adjust the level and tone of the signals input to
the 01V96 (and the signals output from the internal Effects processors 1–4), and route the
signals to Buses 1–8, the Stereo Bus, and Aux Sends 1–8. There are two types of Input Chan-
nels, each featuring slightly different functions: monaural Input Channels 1–32 and stereo
ST IN Channels 1–4.
Input Channels 1–32
Each of these monaural Input Channels features a phase effect, gate, compressor, attenua-
tor, and EQ for signal processing. The following diagram illustrates the Input Channel 1–32
signal flow.
Input Channels 1–32 feature the following parameters:
• (Phase)
This section switches the phase of input signals.
•GATE
This dynamics processor can be used as a gate or for ducking.
•COMP (Compressor)
This dynamics processor can be used as compressor, expander or limiter. The compressor
can be pre-EQ, pre-fader, or post-fader.
•ATT (Attenuator)
This section enables you to attenuate or amplify the level of signals that will be input to the
EQ. The attenuator enables you to prevent post-EQ signals from clipping and to correct sig-
nal levels that are too low.
•4 BAND EQ (4-band equalizer)
This parametric EQ features four bands (high, high-mid, low-mid, and low).
•INPUT DELAY (Input delay)
This section enables you to delay input signals. You can use this delay to fine-tune the timing
between channels, or as a delay effect with feedback.
INPUT PATCH
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•ON (On/Off)
This section enables you to turn the channel on or off. The channel is muted with the Off
setting.
•LEVEL
This section enables you to adjust the input level of the Input Channel signal.
•PAN
This section enables you to adjust the pan setting of the signals routed from the Input Chan-
nels to the Stereo Bus. You can also apply the pan setting to a pair of Bus channels.
•AUX (Aux Send level)
This section enables you to adjust the level of signals routed to Aux Sends 1–8. The signals
can be routed to Aux Sends from either the pre-fader or post-fader position.
•INSERT
This section enables you to patch input signals to external devices via the on-board I/O con-
nectors or I/O card, or insert the internal effect processors. You can patch any inputs, out-
puts, or I/O card channels. (Note that this is different from the INSERT I/O connectors in
the AD Input section.)
•METER
This section enables you to switch the metering position of the signal levels that are dis-
played in the Meter page. (See page 34 for more information on selecting the metering posi-
tion.)
ST IN Channels 1–4
These stereo channels enable you to process stereo signals using the phase effect, attenuator,
and EQ. The following diagram illustrates the ST IN Channel 1–4 signal flow.
ST IN Channels 1–4 feature the following parameters:
• (Phase)
•ATT (Attenuator)
•4 BAND EQ (4-band equalizer)
•ON (On/Off)
•LEVEL
•PAN
•AUX (Aux Send level)
•METER
INPUT PATCH
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Refer to the description of Input Channels for more information on these parameters
(page 77).
Setting the Input Channels from the Display
To set the Input Channel parameters, you can either move the cursor to the desired param-
eter on the display and change the value, or operate the desired button or control on the top
panel to directly change the setting.
This section explains how to set the parameters via the display.
Switching the Signal Phase
To switch the phase of each Input Channel, press the [ /INSERT/DELAY] button repeat-
edly until the following /INS/DLY | Phase page appears.
Move the cursor to the NOR/REV button of the channel for which you want to change the
phase, then press the [ENTER] or [INC]/[DEC] buttons to change the setting.
ANOR/REV
These buttons switch the corresponding Input Channel phase. NOR buttons indicate
normal phase, and REV buttons indicate reversed phase.
BGLOBAL
The GLOBAL NOR/REV buttons allow you to set the phase for all Input Channels
simultaneously.
Tip: You can store these channel parameter settings in the Channel library. You can also store
the Gate, Compressor, and EQ parameter settings to the corresponding libraries.
Tip:
•The name of the currently-selected channel is indicated in the upper-right corner of the
screen.
•You can set the phase separately for each of the ST IN Channels or for each channel in a
channel pair. If you selected the desired ST IN Channel using the corresponding [SEL] but-
ton, pressing the same [SEL] button repeatedly will toggle between channels L and R.
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Delaying Input Channels
To set the delay for each channel, press the [ /INSERT/DELAY] button repeatedly until
the page listed below that contains the desired channels appears.
-DLY 1-16 page
This page enables you to set the Delay function for Input Channels 1–16.
-DLY 17-32 page
This page enables you to set the Delay function for Input Channels 17–32.
The parameters on these two pages (and the procedure for setting them) are the same.
ADELAY SCALE
The following buttons determine the units of the delay value shown below the msec
value.
•meter .............................Units are set to meters.
•feet ................................. Units are set to feet.
•sample ........................... Units are set to samples.
•beat ................................ Units are set to beats.
•frame ............................. Units are set to timecode frames.
BGANG button
When this button is turned on (highlighted), the delay time for each channel in a chan-
nel pair can be set simultaneously. When this option is turned off, the delay time can be
set for each channel in a channel pair individually.
CChannel section
You can set individual delay parameters here. The delay parameters include the follow-
ing items:
•ON/OFF ........................ This button switches the corresponding channel delay on or
off.
•msec............................... This parameter sets the delay time in milliseconds.
•meter/feet/sample/
beat/frame .................... The delay time can be set using units of meters, feet, samples,
beats, or frames, which you select by using the DELAY SCALE
buttons.
•MIX................................ This parameter sets the mix balance of dry (Input Channel)
and wet (delayed) signals.
•FB.GAIN .......................This parameter sets the amount of delay feedback.
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Gating Input Channels
To set the Input Channel gates, use the [SEL] buttons to select the desired Input Channel,
then press the DISPLAY ACCESS [DYNAMICS] button, then press the [F1] button. The
Dynamics | Gate Edit page appears.
AKEYIN SOURCE
Select one of the following buttons to determine the trigger source for the cur-
rently-selected Input Channel’s gate.
•SELF...............................The selected channel’s own input signal is the trigger source.
•CHANNEL ....................Another Channel’s input signal is the trigger source. Select the
desired channel in the parameter box below the CHANNEL
button.
•AUX................................An Aux Send signal is the trigger source. Select the desired bus
in the parameter box below the AUX button.
BSTEREO LINK
This parameter’s ON/OFF button enables you to pair gates for stereo operation even
when the Input Channels are not paired.
CCURVE
This area displays the current gate curve.
DTYPE
This area displays the current gate type (GATE or DUCKING).
Tip:
•This function is unavailable for the ST IN Channels.
•The delay time range depends on the sampling rate at which the 01V96 is operating. (For
example, at 44.1 kHz, the range is 0 through 984.1 msec.)
•If you select the DELAY SCALE meter or feet button, the distance value can be converted to
the delay time based on sonic speeds (about 340 m/sec at 15 degrees Celsius). This option is
useful if you wish to correct the timing difference between two sound sources that are far
apart.
•If you select the DELAY SCALE beat button, a parameter box for setting a note that repre-
sents the beat and a parameter box for a tempo (BPM) setting appear below the DELAY
SCALE parameter. Setting the note and BPM settings in these parameter boxes enables you
to set a delay time that synchronizes to the song tempo.
Note: You cannot change the gate type on this page. To change the gate type, recall a program
that uses the desired gate type from the Gate library.
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EMeters
These meters indicate the levels of the post-gate signals and the amount of gain reduc-
tion.
FON/OFF
The ON/OFF button turns the currently-selected Input Channel’s gate on or off.
GPARAMETER
These controls enable you to set the gate parameters. (See page 272 for more informa-
tion on the parameters.)
Compressing Input Channels
To set the Input Channel compressors, use the [SEL] buttons to select the desired Input
Channel, then press the DISPLAY ACCESS [DYNAMICS] button, then press the [F3] but-
ton to display the Dynamics | Comp Edit page.
APOSITION
Use the Parameter wheel, or the [INC]/[DEC] buttons to select the position of the com-
pressor within the channel from the following options:
•PRE EQ.......................... Immediately before EQ (default)
•PRE FADER .................. Immediately before the fader
•POST FADER ...............Immediately after the fader
BSTEREO LINK
This ON/OFF button enables you to pair compressors for stereo operation even when
channels are not paired.
CCURVE
This area displays the current compressor curve.
DTYPE
This field indicates the compressor type used by the currently-selected channel’s com-
pressor (COMP/EXPAND/COMP (H)/COMP (S)).
Tip:
•This function is unavailable for the ST IN Channels.
•You can store the gate settings in the Gate library, which features preset programs that can
be used for various applications (see page 183).
Note: You cannot change the Compressor type on this page. To change the compressor type,
recall a program that uses the desired compressor type from the compressor library.
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EMeters
These meters indicate the levels of the post-compressor signals and the amount of gain
reduction.
FON/OFF
The ON/OFF button turns the currently-selected Input Channel’s compressor on or off.
GPARAMETER section
These controls enable you to set the compressor parameters. (See page 273 for more
information on the parameters of each compressor type.)
Attenuating Input Channels
To set the attenuator for each Input Channel, press the DISPLAY ACCESS [EQ] button,
then press the [F3] button to display the EQ | In Att page.
Move the cursor to the knob for the desired Input Channel, then rotate the Parameter wheel
to set the amount of attenuation in the range of –96 dB to +12 dB.
Tip:
•This function is unavailable for the ST IN Channels.
•You can store the compressor settings in the compressor library, which features preset pro-
grams that can be used for various applications (see page 185).
Tip: You can also set the attenuation amount (in dB) for the currently-selected channel on
the EQ | EQ Edit page.
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EQ’ing Input Channels
The 01V96’s Input Channels feature 4-band (LOW, LOW-MID, HIGH-MID, HIGH) para-
metric EQ. The LOW-MID and HIGH-MID bands are a peaking type of EQ. The LOW and
HIGH bands can be set to shelving, peaking, or HPF and LPF respectively.
1 Press the [SEL] button of the channel for which you want to adjust EQ.
2 Press the DISPLAY ACCEESS [EQ] button, then press the [F1] button to dis-
play the EQ | EQ Edit page.
The parameters on this page are described below:
AEQ ON
The ON/OFF button turns the currently-selected Input Channel’s EQ on or off. You can
press the [ENTER] button to turn the EQ on or off as long as the cursor is located on
any parameter other than TYPE.
BTYPE
Selects the type of EQ. TYPE I is the EQ type used on legacy Yamaha 02R series digital
mixing consoles. TYPE II is a newly developed algorithm.
CATT
Determines the amount of pre-EQ signal attenuation in dB. It is the same Attenuator
parameter that appears on the EQ | ATT In page.
DCURVE
This area displays the current EQ curve.
EMeters
These meters indicate the post-EQ signal levels of the currently-selected Input Channel
and its available pair partner.
FLOW, L-MID, H-MID, HIGH sections
These sections contain the Q, Frequency (F), and Gain (G) parameters for the four
bands. These parameter values range as follows:
Parameter LOW LOW-MID HIGH-MID HIGH
QHPF, 10.0 to 0.10
(41 steps), L.SHELF 10.0 to 0.10 (41 steps) LPF, 10.0 to 0.10
(41 steps), H.SHELF
Frequency 21.2 Hz to 20.0 kHz (120 steps per 1/12 octave)
Gain –18.0 dB to +18.0 dB (0.1 dB steps)1
1. The LOW and HIGH GAIN controls function as filter on/off controls when Q is set to HPF or LPF
respectively.
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3Move the cursor to the desired parameter, then rotate the Parameter wheel
to change the value.
Panning Input Channels
Input Channels can be panned in the range of L63 through CENTER to R63. To pan each
channel, press the [PAN/ROUTING] button repeatedly until the Pan/Route | Pan page
appears.
Move the cursor to the desired Pan control, then rotate the Parameter wheel to set the value.
APan controls
These knobs adjust the channel pan settings.
Press the [ENTER] button to reset the currently-selected Pan control to center.
BMODE
The MODE parameter determines how paired Input Channels are panned. There are
three Pan modes as follows:
•INDIVIDUAL...............In Individual mode, paired Input Channel
pan controls operate independently.
•GANG ............................In Gang mode, paired Input Channel pan
controls operate in unison, maintaining the
current pan range.
•INV GANG....................In Inverse Gang mode, paired Input Channel
pan controls operate in unison but move in
opposite directions.
Tip:
•The LOW-band EQ functions as a high-pass filter when the Q parameter in the LOW section
is set to HPF. It functions as a shelving-type EQ when the Q parameter is set to L.SHELF.
•The HIGH-band EQ functions as a low-pass filter when the Q parameter in the HIGH sec-
tion is set to LPF. It functions as a shelving-type EQ when the Q parameter is set to H.SHELF.
Tip:
•The EQ settings for the ST IN Channels L & R are linked to each other.
•You can also press the buttons in the SELECTED CHANNEL section to select the desired
band and use the rotary controls to directly edit the Q, F, and G parameters (see page 91).
•You can store the EQ settings in the EQ library, which features preset programs that can be
used for various applications (see page 271).
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Routing Input Channels
You can route each Input Channel to the Stereo Bus, Bus 1–8, or its own Direct Out. With
the default setting, signals are routed only to the Stereo Bus. However, you can patch signals
to a single or multiple destinations, if necessary.
1 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
page listed below that contains the desired channels appears.
-ROUT1-16 page
This page enables you to change the routing for Input Channels 1–16.
-ROUT17-ST1 page
This page enables you to change the routing for Input Channels 17–32 and ST IN Chan-
nels 1-4.
The parameters on these two pages (and the procedure for setting them) are the same.
APAN buttons
These buttons determine whether the channel’s Pan setting is applied to the Bus outs. In
surround mode, they also determine whether the Surround Pan setting is applied to the
Bus Outs.
BBus buttons 1–8
These buttons route the currently-selected Input Channel to the Bus Outs. If the 01V96
is in Surround mode, the button indicators change as follows, depending on the selected
Surround mode:
L=Left, R=Right, C=Center, S=Surround, Ls=Left Surround
Rs=Right Surround, E=Low Frequency Effect, Bs=Back Surround
The above table shows the default assignment. The actual assignment may vary, depend-
ing on the settings on the DIO/Setup | Surround Bus Setup page.
Tip:
•You can adjust the pan setting for the ST IN Channels L & R separately.
•You can also adjust the pan setting for the Input Channels using the PAN control in the
SELECTED CHANNEL section.
•Surround Pan is available when the 01V96 is in Surround mode. Refer to Chapter 12 for
more information on Surround Pan.
Bus buttons 12345678
Surround mode: 3-1 LRCS 5678
Surround mode: 5.1 LRLsRs C E 7 8
Surround mode: 6.1 LRLsRs C Bs E 8
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CS
When this button is turned on, the currently-selected Input Channel is routed to the
Stereo Bus.
DD
When this button is turned on, the currently-selected Input Channel is routed to its
Direct Out. See page 125 for more information on the Direct Out.
EALL STEREO
This button turns on the S button for all channels on the page.
FALL BUS
This button turns on the Bus buttons 1–8 for all channels on the page.
GALL CLEAR
This button clears all routing assignments on the page.
HSURROUND MODE
This field displays the current Surround mode.
Viewing Input Channel Settings
You can view and adjust parameter settings for the currently-selected Input Channel on the
View | Parameter or Fader pages.
■Viewing the Gate, Compressor, and EQ Settings
To display the View | Parameter page for a specific Input Channel, use the corresponding
[SEL] button to select the desired channel, then press the DISPLAY ACCESS [VIEW] but-
ton repeatedly.
Move the cursor to a parameter you wish to change, then rotate the Parameter wheel or
press the [INC]/[DEC] buttons or [ENTER] button to modify the setting.
The following parameters are available (sections marked with an asterisk (*) are unavailable
for the ST IN Channels).
AGATE section (*)
This section enables you to turn the gate-type dynamics processor on or off and set the
parameters. (See page 81 for more information.)
Tip: The routings of the ST IN Channels L & R are linked. The D button is unavailable for
the ST IN Channels.
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BCOMP section (*)
This section enables you to turn the compressor-type dynamics processor on or off and
set the parameters. (See page 82 for more information.)
CINSERT section (*)
This section enables you to turn the Insert on or off and patch the Insert In and Out.
(See page 127 for more information.)
DEQ section
This section enables you to set various EQ parameters. (See page 84 for more informa-
tion.)
EMeters
These meters indicate the signal levels of the currently-selected Input Channel and its
available pair partner.
F (Phase) section
You can reverse the signal phase of the currently-selected Input Channel. (See page 79
for more information.)
GDELAY section (*)
This section enables you to set the currently-selected channel’s Delay function. (See
page 80 for more information.)
HPAIR section (*)
This section indicates whether or not channels are paired. The heart icon ( ) is in one
piece when channels are paired. The heart icon is broken ( ) when channels are not
paired. (See page 92 for more information.)
■Viewing the Pan, Fader, and Aux Send Level Settings
To display the View | Fader page of a certain Input Channel, use the corresponding [SEL]
button to select the desired channel, then press the DISPLAY ACCESS [VIEW] button
repeatedly.
Move the cursor to a parameter you wish to change, then rotate the Parameter wheel or
press the [INC]/[DEC] buttons to modify the setting.
APAN/ON/Fader section
•PAN control.................. This control adjusts the currently-selected Input Channel’s Pan
parameter.
Press the [ENTER] button to reset the Pan control to Center.
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•ON/OFF button ...........This button turns on or off the currently-selected Input Chan-
nel.
•Fader ..............................This parameter sets the fader position of the currently-selected
Input Channel. The fader knob is highlighted when the fader is
set to 0.0 dB.
Press the [ENTER] button to reset the Fader to 0.0 dB.
BSURROUND PAN section
•SURROUND PAN........The Surround pan parameters for the currently-selected Input
Channel are displayed only when a Surround mode is selected.
See page 135 for more information on Surround pan.
CBUS ROUTING/FOLLOW PAN section
•BUS ROUTING ............This section enables you to select a destination Bus for the
selected channel. When the D button is turned on, the channel
signal is patched to the Direct Out selected in the parameter
box below the button. (The D button is unavailable for the ST
IN Channels.)
•FOLLOW PAN..............This button determines whether the Input Channel’s Pan set-
ting is applied to the paired Bus Outs (Follow Pan function).
When the button is turned off, the Follow Pan function is dis-
abled and an identical signal is sent to the paired Bus Outs. In
surround mode, it also determines whether the Surround Pan
setting is applied to the Bus Outs.
DAUX section
•AUX................................These controls set the currently-selected Input Channel’s Aux
Send 1–8 levels and positions. (See page 109 for more informa-
tion on Aux Sends.)
EMeter section
•Meters ............................These meters indicate the levels of the currently-selected Input
Channel.
•PRE EQ/PRE FADER/POST FADER ...........The metering position is displayed below
the meters.
FGROUP section
•FADER/MUTE/EQ/COMP ............... These buttons indicate which Fader, Mute, EQ,
or Comp group, if any, the currently-selected
Input Channel is in. If the channel is in a group,
the group number appears. If the channel is not
in a group, “—” appears. (The compressor is
unavailable for the ST IN Channels.)
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Setting the Input Channels from the Control Surface
You can use the faders, [SEL] buttons, and various buttons and controls in the SELECTED
CHANNEL section on the top panel to directly control most parameters for Input Chan-
nels.
Setting Input Channel Levels and Panning the Channels
■Input Channels 1–32
1 Press the LAYER [1–16] or [17–32] button to select a layer.
2Press the [SEL] button of the channel for which you want to adjust the input
level and/or pan settings.
3 Use the faders to set the Input Channel levels.
4 Rotate the SELECTED CHANNEL [PAN] control to adjust the pan settings.
When you rotate the [PAN] control, the Pan/Route | Pan page is displayed automatically.
■ST IN Channels 1–4
1 Use the ST IN [ST IN] button to select the desired ST IN Channels.
The indicators next to the [ST IN] button display the ST IN Channels currently selected for
control by the ST IN section.
2Press the [SEL] button for the channel for which you want to adjust the level
and/or pan settings.
3 Rotate the level control of the desired channel to set the level.
You can always view the current channel level at the top of the display.
4 Rotate the SELECTED CHANNEL [PAN] control to adjust the pan setting.
The pan setting can be applied to either ST IN channel L or R. To switch between channels
L and R for the pan setting, press the same [SEL] button repeatedly. (The channel currently
being controlled is indicated in the upper-left corner of the display.)
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EQ’ing Input Channels
1Press the [SEL] button or move the fader for the channel you wish to control.
2To control EQ for the currently-selected channel, press one of the following
buttons to select the band you wish to adjust:
•[HIGH] button.............HIGH band
•[H-MID] button...........HIGH-MID band
•[L-MID] button............LOW-MID band
•[LOW] button ..............LOW band
3 Use the SELECTED CHANNEL [Q], [FREQUENCY], and [GAIN] controls to
adjust the Q, frequency, and gain of the band selected in Step 2.
When the Auto EQUALIZER Display (page 231) check box is on, the 01V96 displays the
EQ/EQ Edit page.
If the check box is off, the parameter value currently being adjusted pops up.
See page 84 for more information on EQ.
Tip:
•Pressing and holding down the button selected in Step 2 resets the corresponding band gain.
•Pressing the SELECTED CHANNEL [HIGH] and [LOW] buttons simultaneously resets the
Q, frequency and gain for each band.
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Pairing Input Channels
On the 01V96, you can pair adjacent odd-even Input Channels or counterpart channels on
Layer 1 and Layer 2 that share the same physical fader. Faders and most parameters of paired
channels are linked for stereo operation. Paired channels’ linked parameters and non-linked
parameters (that are available for independent control) are listed below:
*You can set this parameter for each channel independent-
ly if the GANG button is turned off on the /INS/DLY |
DLY page.
** You can set this parameter for each channel independent-
ly on the EQ | ATT page, but the paired channel settings
are linked on the EQ | Edit and View pages.
To pair channels, or to cancel channel pairs, you can use the [SEL] buttons on the top panel
or access the Pair/Grup pages.
■Pairing Channels by Using the [SEL] Buttons
1While pressing and holding down the [SEL] button for one of the channels
you wish to pair, press the [SEL] button for the adjacent channel. (The paired
channel numbers should be odd and even in this order).
When the Pair Confirmation check box is on, the Channel Pairing window appears.
Linked parameters
[SEL] buttons
Faders
Channel on/off
Insert on/off
Solo on/off
Solo Safe
Aux on/off
Aux Send level
Aux Sends as Pre or Post
Gate
Comp settings
EQ settings
Fader group
Mute group
Fade time
Recall Safe
Non-linked parameters
Input patches
Insert patches
Output patches
Comp insert position
Phase
Delay on/off
Delay time*
Delay feedback
Delay mix
Routing
Pan, Follow Pan
Surround pan
Aux Send pan
Balance
Attenuators**
Note: You cannot pair an ST IN channel 1–4 with an Input Channel.
Note: You can pair only channels that are adjacent, odd-even (in this order) channels. Pressing
the [SEL] button for a non-adjacent channel will be ignored. You cannot create or cancel a
pair of vertical partners.
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2Move the cursor to the desired button in the Channel Pairing window, then
press [ENTER].
The following buttons are available in this window:
•CANCEL
Cancels the operation.
•CH x ➔ y
Copies the odd channel parameter values to the even channel.
•CH y ➔ x
Copies the even channel parameter values to the odd channel.
•RESET BOTH
Resets both channel parameters to the default settings (same as when Channel memory #01
is recalled).
Move the cursor to the desired button, then press [ENTER] to confirm the pair.
■Pairing Input Channels Using the Display
1Press the [PAIR/GROUP] button repeatedly until the Pair/Grup | Input page
appears.
The parameters on this page are described below:
APAIR MODE
Determines how channels are paired.
BSTEREO/MONO x2 buttons
These buttons turn pairs on or off.
2 Move the cursor to the PAIR MODE parameter field (1), then select the
HORIZONTAL or VERTICAL button.
The function of each mode is described below:
•HORIZONTAL.............This button pairs adjacent odd-even channels (default).
•VERTICAL....................This button pairs counterpart channels on Layer 1 and Layer 2
that share the same physical fader (e.g., CH1 & CH17, CH16 &
CH32, etc.). This mode is useful when you wish to use one
fader to control both stereo channels.
Tip: Pressing and holding down the first [SEL] button of the paired channels and pressing
the second [SEL] button cancels the pair.
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When you switch the Pair Mode, the combinations of channel numbers displayed on the
page also change.
3Move the cursor to the desired channel’s MONOx2 button (2), then press
[ENTER].
The channels are paired.
4To cancel a pair, move the cursor to the desired channel’s STEREO button,
then press [ENTER].
Naming Input Channels
By default, Input Channels are named CH1, CH2, etc. You can change these names if
desired. For example, it may be helpful for mixdown if you name a particular Input Chan-
nel with the type of musical instrument connected to the corresponding input jack.
1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | IN
Name page appears.
You can specify Short names in the center column (1) and Long (full) names in the right
column (2).
When the Name Input Auto Copy check box (3) is on, the first four characters of a
newly-entered Long name are automatically copied to the Short name. On the other hand,
a newly-entered Short name is automatically added to the beginning of the Long name.
You can reset all channel names to their default names by moving the cursor to the INI-
TIALIZE button, then pressing [ENTER].
Note:
•When Pair mode is switched, only the channel numbers change. The mix parameters of the
paired partners do not change.
•For example, if you change Pair mode from Horizontal to Vertical, the Input Channel “2”
indication changes to Input Channel “17.” However, its parameters do not change. (If Chan-
nels 1 and 2 have been paired, switching the mode will pair Channels 1 and 17.)
Tip: You can also create or cancel a pair of Output Channels in the same way on the Pair/Grup
| Output page (see page 105).
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2 Move the cursor to a name you wish to change, then press [ENTER].
The Title Edit window appears, enabling you to enter a name.
3 Edit the name, move the cursor to the OK button, then press [ENTER].
The new name is now effective.
Tip: The edited name is stored in the Input Patch library.
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8 Bus Outs
This chapter describes how to adjust the 01V96’s Stereo Out and Bus Out 1–8 parameters.
About Stereo Out
The Stereo Out section receives Input Channel and Bus Out 1–8 signals, mixes them into
two channels, processes them using on-board EQ, compressor, etc., then routes them to the
STEREO OUT and 2TR OUT connectors. The following diagram illustrates the Stereo Out
signal flow.
•INSERT
This section enables you to route the Stereo Out signals to external devices via the on-board
connectors or I/O card, or insert internal effects processors.
•ATT (Attenuator)
This section enables you to attenuate or amplify the level of signals to be input to the EQ.
The attenuator prevents post-EQ signals from clipping or corrects signal levels that are too
low.
•4 BAND EQ (4-band equalizer)
This parametric EQ features four bands (HIGH, HIGH-MID, LOW-MID, and LOW).
•COMP (Compressor)
This dynamics processor can be used as compressor, expander, or limiter. The processor can
be located pre-EQ, pre-[STEREO] fader, or post-[STEREO] fader.
•ON (On/Off)
This button turns the Stereo Out on or off.
•LEVEL
The [STEREO] fader adjusts the Stereo Out output levels.
•Balance
This section enables you to adjust the level balance between the L and R channels of the Ste-
reo Out.
•OUTPUT DELAY (Output delay)
This section delays the output signals. It is mainly used to fine-tune the signal timing.
OUTPUT PATCH
OUTPUT
DELAY
METER
ATT 4BAND
EQ
INSERT INSERT LEVEL
ON
COMP
METER
(Gain Reduction)
BAL
INSERT
Same as stereo master L
METER
METER
(Out Meter)
STEREO L
STEREO R
[STEREO OUT]
L
R
(+4dBu)
L
R
(-10dBV)
DA
DA
[2TR OUT]
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•METER
This section enables you to switch the metering position of signal levels that are displayed
on the Meter page or by the stereo meter to the right of the screen. (See page 34 for more
information on selecting the metering position.)
Bus Out 1–8
The Bus Out 1–8 section mixes signals routed from Input Channels to the specified buses,
processes them using on-board EQ, compressor, etc., then routes them to the specified out-
put connectors or I/O card.
The following diagram illustrates the Bus Out signal flow.
•INSERT
•ATT (Attenuator)
•4 BAND EQ (4-band equalizer)
•COMP (Compressor)
•ON (On/Off)
•LEVEL
•OUTPUT DELAY (Output delay)
•METER
The parameters and sections listed above are identical to those for the Stereo Out. For more
information, refer to the explanation of the Stereo Out (see page 97).
•Bus to Stereo
Bus Out 1–8 signals are also routed to the Stereo Bus. In addition to the ON, LEVEL, and
other parameters, you can also set the Send Level, On/Off, Pan, and other parameters.
Note: You can also patch the Stereo Out signals to other output connectors or the I/O card by
using the Patch | Out Patch pages.
Tip:
•You can also pair adjacent odd-even buses for stereo operation (see page 105).
•By default, Slot channels 1–8 and 9–16 and ADAT OUT channels 1–8 are patched to the
Bus Out 1–8 outputs. However, you can change this patching on the Patch | Out Patch page
(see page 123).
OUTPUT PATCH
OUTPUT
DELAY
METER
ATT 4BAND
EQ
INSERT INSERT LEVEL
ON
COMP
METER
(Gain Reduction)
INSERT
METER
METER
(Out Meter)
STEREO L
STEREO R
BUS1
BUS2
BUS3
BUS4
BUS5
BUS6
BUS7
BUS8
PA N BUS to STEREO
LEVEL
ON
BUS 1(...8)
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Setting the Stereo Out and Bus Out 1–8 from the Display
To set the Stereo Out and Bus Out 1–8 parameters, you can either move the cursor to the
desired parameter on the display and change the value, or operate the desired button or
control on the top panel.
This section explains how to set the parameters on the display.
Attenuating the Stereo Out and Bus Out
To attenuate the Stereo Out and Bus Out signals, press the DISPLAY ACCESS [EQ] button,
then press the [F4] button to display the EQ | Out Att page. On this page, you can attenuate
the Bus Out 1–8, Aux Out 1–8, and Stereo Out signals.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels (see page 83).
Delaying the Stereo Out and Bus Outs
To delay the Stereo Out and Bus Out 1–8 signals, press the [ /INSERT/DELAY] button
repeatedly until the /INS/DLY | Out Dly page appears.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels, except that this page does not include the MIX/FB.GAIN parameters (see
page 80).
Tip: Refer to Chapter 10 “Input & Output Patching” on page 121 for more information on
how to set inserts.
Tip: You can also display the Out Dly page by pressing the [ /INSERT/DELAY] button once,
then press the [SEL] button to select the Stereo Out or Bus Out 1–8.
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Compressing the Stereo Out and Bus Outs
To set the Stereo Out and Bus Out 1–8 compressors, press the [DYNAMICS] button, then
the [F3] button to display the Dynamics | Comp Edit page, and use the [SEL] buttons to
select the Stereo Out or Bus Out 1–8.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels (see page 82).
EQ’ing the Stereo Out and Bus Outs
To set the EQ for the Stereo Out and Bus Out 1–8 EQ, press the DISPLAY ACCESS [EQ]
button, then press the [F1] button to display the EQ | EQ Edit page, and use the [SEL] but-
tons to select the Stereo Out or Bus Out 1–8.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels (see page 84). Note that the Stereo Out does not feature the STEREO LINK
parameter.
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Routing Bus Out 1–8 Signals to the Stereo Bus.
You can patch Bus Out 1–8 signals to Outputs and Slots 1/2, as well as to the Stereo Bus. You
can adjust the level and pan settings of the signals routed to the Stereo Bus for each bus. This
is convenient when you wish to use Bus Outs (1–8) as a Group Bus.
To patch the Bus Out 1–8 signals to the Stereo Bus, press the DISPLAY ACCESS
[PAN/ROUTING] button repeatedly to display the Pan/Route | Bus to St page.
Move the cursor to the desired parameter you wish to change, then rotate the Parameter
wheel or press the [INC]/[DEC] buttons to modify the setting.
ATO ST PAN
These controls pan the Bus Out 1–8 signals between the left and right Stereo Out buses.
BTO ST ON/OFF
These buttons turn on and off the Bus Out 1–8 to the Stereo Bus routing.
CTO ST Faders
These faders set the Bus Out 1–8 to Stereo Bus levels.
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Viewing the Stereo Out and Bus Out Settings
You can view and adjust parameter settings for the currently-selected Stereo Out or Bus Out
on the View | Parameter and Fader pages.
■Viewing the Compressor and EQ Settings
To display the View | Parameter page, use the corresponding [SEL] button to select the
desired bus, then press the DISPLAY ACCESS [VIEW] button, then press the [F1] button.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels, except for the following items:
•The Stereo Out and Bus Out 1–8 Parameter pages do not contain the Gate and Phase
parameters.
•The Stereo Out Parameter page does not contain the Pair parameter.
■Viewing Faders and Other Parameters
To display the View | Fader page, use the corresponding [SEL] button to select the desired
bus, then press the DISPLAY ACCESS [VIEW] button, then press the [F2] button.
The Fader page layouts for Stereo Out and Bus Out 1–8 are slightly different.
•Stereo Out Fader page
ABAL
This control adjusts the level balance between the L and R channels of the Stereo Out.
BON/OFF
This button turns the Stereo Out on or off, and links with the [ON] button in the STE-
REO section.
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CFader
This fader adjusts the Stereo Out output levels, and links with the [STEREO] fader. The
fader knob is highlighted when the fader is set to 0.0 dB.
•Bus Out (1–8) Fader page
AON/OFF
This button turns the currently-selected Bus Out (1–8) on or off, and links with the
[ON] (9–16) button in the Master layer.
BFader
This fader sets the currently-selected Bus Out (1–8) level, and links with the fader (9–16)
in the Master layer. The fader knob is highlighted when the fader is set to 0.0 dB.
CTO ST PAN
This control sets the Bus Out to Stereo Out Pan position for the currently-selected Bus
Out (1–8).
DTO ST ON/OFF
This button turns on or off the Bus Out to Stereo Out signal for the currently-selected
Bus Out (1–8).
ETO ST Fader
This fader sets the Bus Out to Stereo Out signal level for the currently-selected Bus Out
(1–8).
Tip: The TO ST PAN, ON/OFF, and TO ST Fader parameters also appear on the Pan/Route
| Bus to St page.
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Setting the Stereo Out and Bus Out 1–8 from the
Control Surface
You can use the faders, [SEL] buttons, and various buttons and controls in the SELECTED
CHANNEL section on the top panel to directly control certain parameters for the Stereo
Out and Bus Out 1–8.
Setting the Levels
Move the [STEREO] fader to adjust the Stereo Out levels. Press the [ON] button in the STE-
REO section to turn the Stereo Out on or off.
To set Bus Out 1–8 levels, press the [MASTER] button in the LAYER section to select the
Master layer, then move faders 9–16. At this time, you can turn Bus Out 1–8 on or off using
the [ON] 9–16 buttons.
EQ’ing and Balancing the Stereo Out and Bus Outs
1Press the [SEL] button of the bus to which you want to apply EQ or set the
level balance.
2To adjust the EQ of the currently-selected bus, select the desired band by
pressing one of the following buttons in the SELECTED CHANNEL section:
•[HIGH] button ............ HIGH band
•[H-MID] button ..........HIGH-MID band
•[L-MID] button ...........LOW-MID band
•[LOW] button ..............LOW band
3Use the [Q], [FREQUENCY], and [GAIN] controls to adjust the Q, frequency,
and gain of the band selected in Step 2.
See page 84 for more information on EQ.
4To adjust the Stereo Out Balance parameter, use the [PAN] control in the
SELECTED CHANNEL section.
Note: If you select Aux Out 1–8 or Bus Out 1–8, the [PAN] control is disabled.
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Pairing Buses or Aux Sends
You can pair adjacent odd-even (in this order) buses or Aux Sends for stereo operation.
Paired bus and Aux Send linked parameters and non-linked parameters (that are available
for independent controls) are listed below:
** You can set this parameter for each channel independent-
ly if the GANG button is turned off on the /INS/DLY |
DLY page.
*** You can set this parameter for each channel independent-
ly on the EQ | ATT page, but the paired channel settings
are linked on the EQ | Edit and View pages.
Parameters marked with an asterisk * are available only for Bus Outs.
1 Press the DISPLAY ACCESS [PAIR/GROUP] button repeatedly until the
Pair/Grup | Output page appears.
The parameters on this page are described below.
ASTEREO/MONOx2
These buttons turn Bus or Aux Send pairs on or off.
BF.S
This button determines whether Aux Sends follow the Input Channel Surround Pan
when the 01V96 is in any Surround mode other than “Stereo.” When this button is
turned on, Aux Sends follow the Input Channel Surround Pan. This is useful for feeding
Surround signals to external Surround effects processors.
2 Move the cursor to the MONOx2 button for the desired Bus or Aux Send,
then press [ENTER].
The buses or Aux Sends are paired.
3To cancel a pair, move the cursor to the STEREO button for the desired Bus
or Aux Send, then press [ENTER].
Linked parameters
[SEL] buttons
Fader
Channel on/off
Insert on/off
Solo on/off
Comp settings
Comp insert position
EQ settings
Fader group
Mute group
Fade time
Recall safe
Bus to Stereo on/off*
Bus to Stereo fader*
Non-linked parameters
Output Patching
Insert Patching
Delay on/off
Delay time**
Bus to Stereo Pan*
Attenuators***
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Attenuating Output Signals
To attenuate the 01V96’s output signals, display the EQ | Out Att page and adjust the Stereo
Out and Bus Out 1–8 attenuators individually.
If necessary, you can also select Output and I/O card channels and specify the amount of
attenuation. This technique is convenient when you want to attenuate output signals
quickly, regardless of the source signal patching.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Output Att page appears.
2Move the cursor in the left column (1), then scroll the list up or down using
the Parameter wheel to select the desired output or slot channel for which
you want to adjust attenuation.
The following outputs and slot channels can be selected:
•STEREO OUT L/R ...............................STEREO OUT L & R channels
•MONITOR OUT L/R ..........................MONITOR OUT L & R channels
•OMNI OUT 1–4...................................OMNI OUT connectors 1–4
•SLOT OUT 1–1 through 1–16 ...........Slot channels 1–16
•ADAT OUT 1–8....................................ADAT OUT channels 1–8
•2TR OUT DIGITAL L/R .....................2TR OUT DIGITAL L & R channels
3Move the cursor to the parameter value in the right column (2), then rotate
the Parameter wheel or press the [INC]/[DEC] buttons to set the amount of
attenuation.
The amount of attenuation can be set from 0 dB to –9 dB.
Tip: To reset the attenuation amount of all Output Channels to 0 dB, move the cursor to the
INITIALIZE button, then press [ENTER].
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Naming the Stereo Out and Bus Outs
You can change the default Bus names (BUS1, AUX4, STEREO, etc.). It may be convenient
to name the buses “Monitor Out” or “Effect Send,” for example, so that you can easily iden-
tify the signal type.
1Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Out
Name page appears.
You can specify Short names in the center column (1) and Long (full) names in the right
column (2).
When the Name Input Auto Copy check box (3) is on, the first four characters of a
newly-entered Long name are automatically copied to the Short name. On the other hand,
a newly-entered Short name is automatically added to the beginning of the Long name.
You can reset all bus names to their default names by moving the cursor to the INITIALIZE
button, then pressing [ENTER].
2 Move the cursor to a name you wish to change, then press [ENTER].
The Title Edit window appears, which enables you to edit the name.
3 Edit the name, move the cursor to the OK button, then press [ENTER].
The new name is now effective.
Tip: The edited name is stored in the Output Patch library.
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9 Aux Outs
This chapter describes how to control Aux Out 1–8.
Aux Out 1–8
The Aux Out 1–8 section mixes signals routed from the Input Channels to the correspond-
ing Aux Sends, processes them using on-board EQ, compressor, etc., then routes them to
the specified internal effects processors, output connectors or I/O card connectors.
The 01V96 features eight Aux Sends, which can be used to send signals to the internal and
external effects processors and monitors.
The following diagram illustrates the Aux Out 1–8 signal flow.
•INSERT
•ATT (Attenuator)
•4 BAND EQ (4-band equalizer)
•COMP (Compressor)
•ON (On/Off)
•LEVEL
•OUTPUT DELAY (Output delay)
•METER
These parameters are the same as the Stereo Out and Bus Out 1–8 (see page 97).
Tip: You can also pair adjacent odd-even Aux Sends (in this order) for stereo Aux operation.
Note: With the default setting, Aux Out 1–4 are patched to OMNI OUT connectors 1–4 and
to internal Effects processors 1–4. However, you can change this patching on the Patch | Output
page.
OUTPUT PATCH
OUTPUT
DELAY
METER
ATT 4BAND
EQ
INSERT INSERT LEVEL
ON
COMP
METER
(Gain Reduction)
INSERT
METER
METER
(Out Meter)
AUX 1(...8)
AUX 1
AUX 8
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Setting Aux Out 1–8 from the Display
To set Aux Out 1–8 parameters, you can either move the cursor to the desired parameter on
the screen and change the value, or operate the desired button or control on the top panel.
This section explains how to set the parameters on the screen.
Attenuating Aux Outs
To attenuate Aux Out 1–8 signals, press the [EQ] button, then press the [F4] button to dis-
play the EQ | Out Att page.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels (see page 83).
Delaying Aux Outs
To delay Aux Out 1–8 signals, press the DISPLAY ACCESS [ /INSERT/DELAY] button
repeatedly until the /INS/DLY | Out Dly page appears.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels, except that this page does not include the MIX/FB.GAIN parameters (see
page 80).
Tip: Refer to Chapter 10 “Input & Output Patching” on page 121 for more information on
how to set inserts.
Tip: You can also display the Out Dly page if you select the desired Aux Out (1–8) by pressing
the corresponding [SEL] button while the DLY-related parameters are indicated on the page.
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Comp settings
To set the Aux Out 1–8 compressors, press the DISPLAY ACCESS [DYNAMICS] button,
then press the [F3] button to display the Dynamics | Comp Edit page, then select the desired
Aux Out 1–8 by using the corresponding [SEL] buttons.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels (see page 82).
EQ settings
To set the EQ for Aux Out 1–8, press the DISPLAY ACCESS [EQ] button, then press the [F1]
button to display the EQ | EQ Edit page, then use the [SEL] buttons to select Aux Out 1–8.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels (see page 84).
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Viewing Aux Out Settings
You can view and adjust the parameter settings for the currently-selected Aux Out on the
View | Parameter and Fader pages.
■Viewing the Compressor and EQ Settings
To display the View | Parameter page, use the corresponding [SEL] button to select the
desired Aux Out (1–8), then press the DISPLAY ACCESS [VIEW] button, then press the
[F1] button.
The parameters on this page (and the procedure for setting them) are the same as for Input
Channels, except that this page does not include the Gate and Phase parameters (see
page 87).
■Viewing Faders and On/Off Parameters
To display the View | Fader page, use the corresponding [SEL] button to select the desired
Aux Out (1–8), then press the DISPLAY ACCESS [VIEW] button, then press the [F2] but-
ton.
•ON/OFF ........................ This button turns the currently-selected Aux Out (1–8) on or
off. It links with the corresponding [ON] (1–8) button in the
Master layer.
•Fader.............................. This fader sets the currently-selected Aux Out (1–8) level. It
links with the corresponding fader (1–8) in the Master layer.
The fader knob is highlighted when the fader is set to 0.0 dB.
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Setting Aux Out 1–8 from the Control Surface
You can use the faders, [SEL] buttons, and various buttons and controls in the SELECTED
CHANNEL section on the top panel to directly control certain parameters for Aux Out 1–8.
Setting Levels
To set Aux Out 1–8 levels, press the [MASTER] button in the LAYER section to select the
Master layer, then move faders 1–8. At this time, you can turn Aux Out 1–8 on or off using
the corresponding [ON] 1–8 buttons.
EQ settings
To control Aux Out 1–8 EQ parameters, select the desired Aux Out (1–8) using the corre-
sponding [SEL] button or fader, then use the buttons and controls in the SELECTED
CHANNEL section. The parameters on this page (and the procedure for setting them) are
the same as for Input Channels (see page 83).
Setting Aux Send Levels
You can adjust the level of signals routed from Input Channels to the corresponding Aux
Out (1–8).
Setting Send Levels from the Display
You can view multiple channels’ Aux Send levels on the screen and adjust them individually.
1 Press the FADER MODE [AUX 1]–[AUX 8] buttons to select the Aux.
2 Make sure that the 01V96 displays the Aux | Send page.
This page enables you to adjust the level of the signals routed from each Input Channel to
the Aux selected in Step 1.
If the Send page is not displayed, repeatedly press the button that you pressed in Step 1 until
the Send page appears.
•Aux Send rotary controls
These controls adjust the Aux Send level of the Input Channels. The current numeric levels
appear below the rotary controls.
•PRE/POST
These buttons enable you to specify the Aux signal source points. The PRE buttons send
pre-fader signals, and the POST buttons send post-fader signals.
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•MODE
Aux Sends have two operating modes that determine how signals are sent: Fixed (Aux Send
levels are fixed); and Variable (Aux Send levels are variable).
•GLOBAL
The GLOBAL PRE and POST buttons enable you to set all Input Channels for the selected
Aux to pre-fader or post-fader simultaneously.
•PRE POINT
The PRE POINT PRE ON and POST ON buttons enable you to set the pre-fader channels
to pre-on (before the [ON] button) or post-on (after the [ON] button).
3Move the cursor to the FIXED or VARIABLE button in the MODE section for
the currently-selected Aux Send to select a mode.
•Fixed Mode
In this mode, Aux Send levels are fixed at nominal (0.0 dB). Also, channel ON/OFF buttons
appear instead of the Send level rotary controls and PRE/POST buttons.
Note: In Fixed mode, Aux Send ON/OFF buttons appear instead of the Aux Send rotary con-
trols, PRE/POST buttons, GLOBAL PRE/POST buttons, and PRE POINT PRE ON/POST
ON. These ON/OFF buttons turn on or off each Input Channel for the currently-selected Aux
Send.
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•Variable Mode
In this mode, Aux Send levels are variable and the signal source point can be either pre-fader
or post-fader. Channel Send level rotary controls and PRE/POST buttons appear on the
screen.
4If you switched to Fixed mode in Step 3, the ON/OFF buttons turn each Input
Channel on or off for the currently-selected Aux Send.
Tip: You can select Variable or Fixed mode individually for each of the eight Aux.
Note:
•In Fixed mode, all ON/OFF buttons are turned OFF.
•When you switch to Variable mode, the signal source points are set to post-fader (PRE/POST
buttons are set to POST), and Send level rotary controls are reset to –∞.
Note: In Fixed mode, the Aux On/Off parameters for paired Input Channels are not linked
to each other.
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5If you switched to Variable mode in Step 3, the PRE/POST buttons and Send
level rotary controls enable you to adjust the signal source points and Send
levels.
You can turn each Input Channel on or off for the currently-selected Aux Send even in Vari-
able mode. To do this, move the cursor to the desired Send level control, then press
[ENTER]. (The rotary controls for Off channels are grayed out.)
Tip:
•In Variable mode, Aux Send levels, Aux On/Off, and Pre/Post parameters for paired Input
Channels are linked to each other.
•GLOBAL PRE/POST buttons enable you to set all Input Channels simultaneously (includ-
ing those not displayed on the current page) to pre-fader or post-fader.
Note:
•Do not raise the level of the Aux Sends (patched to the effects processor) on the effects return
channels.
•For example, by default, Aux 1 is routed to the input of the internal Effects processor 1, and
L and R of ST IN Channel 1 are patched to the processor's output. Under these conditions,
if you raise the level of the send signals from ST IN Channel 1 to Aux 1, the signals are
returned to ST IN Channel 1, creating a signal loop and possibly damaging your speakers.
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Viewing Aux Send Settings for Multiple Channels
You can view and set parameters for all Aux Send 1–8, including setting levels and Pre/Post
parameters.
This is convenient when you wish to visually check all Aux Send settings or simultaneously
adjust the levels of certain channels routed to Aux 1–8.
1Press one of the FADER MODE [AUX 1]–[AUX 8] buttons repeatedly until the
page listed below that contains the desired channels appears.
-View1-16 page
This page displays the Aux Send levels of Input Channels 1–16.
-View17-STI page
This page displays the Aux Send levels of Input Channels 17–32 and ST IN Channels
1–4.
These pages display the source Input channels and the corresponding Aux Sends in a
matrix. The parameters on these two pages (and the procedure for setting them) are the
same.
ADISPLAY
Use the following buttons to display the desired parameters.
•LEVEL............................Select the LEVEL button to display Send level bar graphs for
Input Channels routed to Aux 1–8.
•PRE/POST.....................Select the PRE/POST button to display signal source points for
Input Channels routed to Aux 1–8.
BFIX/VARI
These buttons indicate the Aux mode (Fixed or Variable) for Aux Out 1–8 and are only
for display purposes.
CLEVEL
This field displays in dB the level of the Aux Send currently-selected by the cursor.
2Move the cursor to either the DISPLAY LEVEL or PRE/POST button, then press
[ENTER] to display the Level or Pre/Post parameters.
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3
2
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3If you selected the PRE/POST button in Step 2, move the cursor to the desired
Input Channel and Aux intersection, then press the [ENTER] button to
change the signal source point.
4 If you selected the LEVEL button in Step 2, move the cursor to the desired
Input Channel and Aux intersection, then edit the Send level or turn the cur-
rently-selected AUX Send on or off.
Rotate the Parameter wheel or press the [INC]/[DEC] buttons to set the Send level, then
press the [ENTER] button to turn the currently-selected Aux Send on or off.
One of the following indicators appears, depending on the current Aux mode.
•Aux Sends in Fixed mode...................A “FIX” indicator appears for On Aux Sends, and
a dot “ . ” appears for Off Aux Sends.
•Aux Sends in Variable mode..............The current Send levels are displayed by the bar
graphs. If the level is set to nominal (0.0 dB), “N”
appears in the bar. The bars for Aux Sends that
are turned off are highlighted.
Note: You can switch between Pre and Post only for Aux Sends that are set to Variable mode.
The “FIX” indication appears for Aux Sends that are set to Fixed mode, and you cannot switch
Pre/Post.
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9
Panning Aux Sends
You can pair adjacent odd-even (in this order) Aux Sends for stereo operation. This enables
you to pan signals from Input Channels to paired Aux Sends.
1Pair the desired two Aux Sends. (See page 105 for more information on pair-
ing channels.)
2Use the FADER MODE [AUX 1]–[AUX 8] buttons to select one of the paired
Aux Sends.
3Repeatedly press the button you pressed in Step 2 to display the Aux | Pan
page.
AAux pan controls
These controls adjust the pan setting of signals routed from Input Channels to paired
Aux buses.
BMODE
The MODE parameter determines how paired Input Channels are panned.
CINPUT PAN LINK
When this parameter is turned on, Aux Sends follow the Input Channel Pan.
4 Move the cursor to the Aux pan control of the desired Input Channel, the
rotate the Parameter wheel to set the pan value.
5If necessary, move the cursor to the MODE parameter box, then rotate the
Parameter wheel to select INDIVIDUAL, GANG, or INV GANG, then press
[ENTER].
If the INPUT PAN LINK ON/OFF button is turned off, this Mode setting is independent of
the Mode parameter on the Pan page. (See page 85 for more information on Mode
options.)
6To link the Input Channel Pan setting with the Aux Send Pan setting, move
the cursor to the INPUT PAN LINK ON/OFF button, then press [ENTER].
The pan positions on the Pan page are copied to the Aux pan setting, and the pan controls
on both pages are linked.
Tip:
•If paired Aux Sends are in Variable mode, the Aux Send levels, Aux On/Off, and Pre/Post
parameters for paired Input Channels are linked to each other.
•If paired Aux Sends are in Fixed mode, the Aux On/Off parameters for paired Input Chan-
nels are not linked to each other.
3
2
1
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Copying Channel Fader Positions to Aux Sends
While Aux Sends are in Variable mode, you can copy all Input Channel fader positions on
one layer to the corresponding Aux Sends.
This is convenient when you wish to send to the musicians monitor signals that have the
same balance setting as the Stereo Out signals.
1Press and hold down the copy source layer (LAYER [1–16] or [17–32]) button.
2Press one of the FADER MODE [AUX 1]–[AUX 8] buttons to select the desired
Aux Send copy destination.
The confirmation window for the Copy operation appears.
3To execute the Copy operation, move the cursor to the YES button, then
press [ENTER].
To cancel the Copy operation, move the cursor to the NO button, then press [ENTER].
Note: If you release the button in the LAYER section before you proceed to Step 2, you will be
unable to complete the Copy operation.
Tip: If the copy destination Input Channel has been paired with a vertical partner in another
Layer, the fader position will be copied to the partner’s Aux Send.
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10
10 Input & Output Patching
This chapter describes how to patch (assign) signal paths within the 01V96 to its inputs,
outputs, and slot channels
Input Patching
Signals input at INPUT connectors 1–16, ADAT IN connector, 2TR IN DIGITAL connec-
tors, and Slot I/O card are patched to Input Channels for use.
Patch example:
By default, the Input Channels are patched as follows:
You can change these patches, if you desire.
Input Channels Input connectors and Slot channels
1–16 INPUT connectors 1–16
17–24 ADAT IN Input Channels 1–8
25–32 Slot Channels 1–8
ST IN Channels 1–4 Internal Effects Processor 1–4 Outputs 1–2
Input Patching
INPUT connector 1
INPUT connector 2
INPUT connector 3
INPUT connector 4
INPUT connector 5
INPUT connector 6
INPUT connector 7
INPUT connector 8
Input Channel 1
Input Channel 2
Input Channel 3
Input Channel 4
Input Channel 5
Input Channel 6
Input Channel 7
Input Channel 8
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Input Patching
Follow the steps below to change the Input Patch.
1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | In
Patch page appears.
Inputs, ADAT IN channels, and slot channels that are currently assigned to Input Channels
are shown in the parameter boxes (1) below the channel numbers. The parameter indica-
tors are explained below:
2 Move the cursor to an input patch parameter you wish to change, then
rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the
patching.
The long name of the currently-selected channel is
indicated in the upper-right corner of the screen (1).
Below the channel name is the long name of the
selected input channel (2). (See page 94 and 229 for
information on changing channel names.)
3 Press [ENTER] to confirm the change.
Parameter value Description
–No assignment
AD1–AD16 INPUT connectors 1–16
ADAT1–ADAT8 ADAT IN Input Channels 1–8
SL-01–SL-16 Slot Channels 1–16
FX1-1 & FX1-2 Outputs 1 & 2 of Internal Effects Processor 1
FX2-1 & FX2-2 Outputs 1 & 2 of Internal Effects Processor 2
FX3-1 & FX3-2 Outputs 1 & 2 of Internal Effects Processor 3
FX4-1 & FX4-2 Outputs 1 & 2 of Internal Effects Processor 4
2TD-L & 2TD-R 2TR DIGITAL IN (L/R)
Tip:
•You can patch an input signal to multiple Input Channels.
•You can store the Input Patch settings to the Input Patch library. Refer to Chapter 16 for more
information.
1
1
2
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10
Output Patching
The 01V96’s Stereo Out, Bus Out 1–8, Aux Out 1–8 signals can be patched to any outputs,
ADAT OUT output channels, and slot output channels.
Patch example:
By default, the following signal paths are patched to outputs, ADAT OUT output channels,
and slot output channels:
You can change these patches, if you desire. The procedure for patching signals to output
varies depending on the output connectors and slots.
Output connectors and slot channels Signal flow
ADAT OUT output channels 1–8 Bus Outs 1–8
Slot Channels 1–8 Bus Outs 1–8
Slot Channels 9–16 Bus Outs 1–8
OMNI OUT connectors 1–4 Aux Outs 1–4
2TR OUT DIGITAL (L) Stereo Out L
2TR OUT DIGITAL (R) Stereo Out R
Tip:
•You can patch a signal to multiple outputs.
•You can store the Output Patch settings to the Output Patch library. Refer to Chapter 16 for
more information.
Output Patching
Aux Out 1
Aux Out 2
Aux Out 3
Aux Out 4
Aux Out 5
Aux Out 6
Aux Out 7
Aux Out 8
OMNI Out connector 1
OMNI Out connector 2
OMNI Out connector 3
OMNI Out connector 4
OMNI Out connector 1
OMNI Out connector 2
OMNI Out connector 3
OMNI Out connector 4
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Changing the Signal Path to the ADAT OUT Connector, Slot,
or OMNI OUT connectors
Follow the steps below to change the signal path patched to the ADAT OUT connector, the
optional mini-YGDAI card installed in the slot, or the OMNI OUT connectors.
1Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Out
Patch page appears.
Each parameter box displays the currently-patched signal path.
ASLOT 1-16
These parameter boxes set the routing of Slot Channel 1-16 signals.
BADAT 1-8
These parameter boxes set the routing of ADAT OUT connector output channel 1-8 sig-
nals.
COMNI 1-4
These parameter boxes set the routing of OMNI OUT connector 1-4 signals.
The parameter indicators are explained below:
2Move the cursor to a patch parameter you wish to change, then rotate the
Parameter wheel or press the [INC]/[DEC] buttons to modify the patching.
3Press [ENTER] to confirm the change.
Parameter value Description
–No assignment
BUS1–BUS8 Bus Out 1–8 signal
AUX1–AUX8 Aux Out 1–8 signal
ST L/R Stereo Out signal
INS CH1–INS CH32 Input Channel 1–32 Insert Out
INS BUS1–INS BUS8 Bus Out 1–8 Insert Out
INS AUX1–INS AUX8 Aux Out 1–8 Insert Out
INS ST-L/ST-R Stereo Out Insert Out
CAS BUS1–BUS8 Bus 1–8 Cascade Outs
CAS AUX1–AUX8 Aux Bus 1–8 Cascade Outs
CAS ST-L/ST-R Stereo Bus Cascade Outs
CASSOLOL/CASSOLOR Solo Bus Cascade Outs
Tip: You can store the Output Patch settings to the Output Patch library. Refer to Chapter 16
for more information.
1
2
3
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10
Patching the 2TR Digital Outputs
Follow the steps below to change the signal path patched to the 2TR OUT DIGITAL con-
nector.
1Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | 2TR
Out page appears.
Signals assigned on the Out Patch page can also be assigned on this page.
2Move the cursor to a patch parameter you wish to change, then rotate the
Parameter wheel or press the [INC]/[DEC] buttons to modify the patching.
3 Press [ENTER] to confirm the change.
Patching Direct Outs
Input Channel 1–32 signals can be directly patched to any outputs or slot outputs, as well
as Bus Out 1–8 and Stereo Out. This patching is convenient when you wish to record each
Input Channel signal to an individual track on a connected recorder.
1Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Direct
Out page appears.
The parameters on this page are described below.
A1–32
These boxes indicate the Direct Out destination (outputs, ADAT OUT output channels,
and slot output channels) for Input Channels 1–32.
BDIRECT OUT
Determines the Direct Out signal source position from the following three options:
1
2
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•PRE EQ.......................... Immediately before Input Channel EQ
•PRE FADER .................. Immediately before Input Channel fader
•POST FADER ...............Immediately after Input Channel fader
2 Move the cursor to a patch parameter (1–32) you want to change, then
rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the
destination.
If necessary, specify the signal source position using the DIRECT OUT parameter.
3 Press [ENTER] to confirm the change.
4Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until one of
the following pages containing the channels you want to patch to the Direct
Out appears.
•Rout1-16 page .............. This page enables you to change the Input Channel 1–16 rout-
ings.
•Rout17-STI page.......... This page enables you to change the Input Channels 17–32 and
ST IN Channel 1–4 routings.
5 Move the cursor to the D button for the channel you want to patch to the
Direct Out, then press [ENTER].
The Direct Out patching is now effective, and the signals are routed to the assigned outputs,
ADAT OUT channels, or slot output channels.
Note: If you select a destination that is already used by an Output Patch setting and turn on
the Direct Out, the Output Patch setting will be disabled. To restore the Output Patch setting,
select another Direct Out destination or turn off the Direct Out.
Tip: Refer to page 86 for more information on these pages.
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10
Insert Patching
The 01V96’s Input Channels and Output Channels (Stereo Out, Bus Out 1–8, Aux Out 1–8)
feature independent Insert Ins and Outs. Inputs, outputs, ADAT connector channels, slot
channels, and internal effects processor inputs and outputs can be patched to the Output
Channel Insert Ins and Outs. In this way, you can send the signals to external effects proces-
sors for processing, or insert internal effects.
Individual Insert Patching
You can patch the 01V96’s inputs, outputs, ADAT connector channels, slot channels, and
effects processor inputs and outputs to the Insert Ins and Outs. The same procedure applies
to both Input Channels and Output Channels.
1 Press the [SEL] button of an Input Channel or Output Channel for Insert
patching.
2Press the [ /INSERT/DELAY] button repeatedly until the /INS/DLY | Insert
page appears.
This page contains the following parameters:
APOSITION
This parameter determines the insert position of the Insert patch or compressor. The
insert position is indicated by highlighted COMP or INSERT buttons.
Effects
Input Output
Output connector Input connector
Insert Out Insert In
Channel
3
1
2
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BINSERT section
•ON/OFF ........................ This button turns the Insert on or off.
•OUT............................... This parameter enables you to select outputs, ADAT OUT
channels, slot output channels, or internal effects inputs as the
Insert Out destination.
•IN ................................... This parameter enables you to select inputs, ADAT IN chan-
nels, slot input channels, or internal effects outputs as the Insert
In source.
CCOMP section
•ON/OFF ........................ This button turns the compressor on or off.
•ORDER.......................... This parameter determines the order of Insert patch and com-
pressor when they are inserted at the same signal path point.
With the “COMP → INS” setting, signals pass through the
compressor first, then the Insert. With the “INS → COMP” set-
ting, signals pass through the Insert first, then the compressor.
3Move the cursor to the OUT parameter box, then rotate the Parameter wheel
or press the [INC]/[DEC] buttons to select the desired outputs, slot channels,
or internal effects inputs to be patched to Insert Out.
The parameter indicators are explained below:
4 Press [ENTER] to confirm the change.
If you move the cursor to another parameter box or display another page before you press
the [ENTER] button, all settings on this page will be cancelled.
5Move the cursor to the desired IN parameter box, then rotate the Parameter
wheel or press the [INC]/[DEC] buttons to select the inputs, ADAT IN chan-
nels, or slot input channels to be patched to the Insert In.
Refer to the explanation regarding the Input Patch for more information on the parameter
values (see page 122).
6 Press [ENTER] to confirm the change.
7To enable the specified Insert patch, move the cursor to the ON/OFF button
in the INSERT section, and press [ENTER] to turn it on or off.
Parameter values Description
–No assignment
ADAT 1–ADAT 8 ADAT OUT Output Channels 1–8
SL-01–SL-16 Slot Channels 1–16
OMNI1–OMNI4 OMNI OUT connectors 1–4
2TD-L/2TD-R 2TR OUT DIGITAL (L/R)
FX1-1/FX1-2 Inputs 1 & 2 of Internal Effects Processor 1
FX2-1/FX2-2 Inputs 1 & 2 of Internal Effects Processor 2
FX3-1/FX3-2 Inputs 1 & 2 of Internal Effects Processor 3
FX4-1/FX4-2 Inputs 1 & 2 of Internal Effects Processor 4
Tip: Move the cursor to an empty OUT or IN parameter box and press the [ENTER] button.
The Patch Select window appears. Rotate the Parameter wheel or press the cursor buttons to
select an item to be patched, then press [ENTER]. Move the cursor to the YES button, then
press [ENTER]. The selected item is now patched.
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10
Viewing and Changing Insert In Patch
You can view and also change the items patched to the Insert Ins of all Input Channels (or
all Output Channels). This is useful when you wish to find out if multiple channels have the
same patch.
1To view the Input Channels’ Insert Ins, press the [PATCH] button repeatedly
until the Patch | Input Ins page appears.
This page displays Input Channels 1–32 Insert In Patches.
2Move the cursor to a channel patch parameter box you wish to change, then
rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the
patching.
3 Press [ENTER] to confirm the change.
4To view the Output Channels’ Insert Ins, press the [PATCH] button repeatedly
until the Patch | Output Ins page appears.
5Move the cursor to a channel patch parameter box you wish to change, then
rotate the Parameter wheel or press the [INC]/[DEC] buttons to modify the
patching.
6 Press [ENTER] to confirm the change.
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Monitoring
11
11 Monitoring
This chapter explains how to set up monitoring and use the Solo function on the 01V96.
Monitor
The 01V96 features the stereo signal path to feed the monitors. The monitoring signal
source is patched to MONITOR OUT connectors L & R and the PHONES connector.
The following diagram illustrates the monitoring signal flow.
•SOLO bus
This special bus routes soloed Input Channels to the Monitor outputs, bypassing Bus 1–8
and the Stereo Bus.
•OUTPUT SOLO
This section routes soloed Output Channels (Aux Out 1–8, Bus Out 1–8) to the Monitor
outputs.
•MONITOR TRIM
This section adjusts the monitoring signal level in the digital domain.
•MONITOR OUT LEVEL
Use the MONITOR [MONITOR OUT] control on the top panel to adjust the monitoring
signal level in the analog domain.
•MONITOR/2TR IN
As a monitoring signal, you can select either the 01V96 internal signals or 2TR IN digital
inputs.
•PHONES
The Monitor signal is also fed to the PHONES jack. You can set the level independently.
Note: Input and Output Channels cannot be solo-monitored simultaneously. The solo func-
tion for the most-recently soloed channels is enabled.
SOLO LOGIC
MONO
BUS1-8
AUX1-8
8
8
OUTPUT SOLO
SOLO TRIM
SOLO R
SOLO L
SOLO L
SOLO R
STEREO L
STEREO R
MONITOR TRIM
[PHONES]
PHONES
LEVEL
[MONITOR OUT]
L
R
MONITOR OUT
LEVEL
DA
DA
[2TR IN]
RCA
L
R
MONITOR
/2TR IN
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Monitor and Solo Setup
For monitoring and solo setup, press the DISPLAY ACCESS [DIO/SETUP] button repeat-
edly until the DIO/Setup | Monitor page appears.
This page contains the following parameters:
ASOLO
This parameter turns the Solo function on or off. By default, it is set to Enabled.
BMODE
This parameter determines how the Solo function works. There are two options. The
setting affects only Input Channels.
•RECORDING............... In Recording Solo mode, soloed Input Channel signals are fed
to the Solo bus and output via the Monitor outputs. Other
buses (Stereo bus and Bus 1–8) are unaffected by this mode.
•MIXDOWN.................. In Mixdown Solo mode, soloed Input Channel signals are fed
to the Stereo bus and output via the Monitor outputs. Unso-
loed Input Channels are not fed to the Stereo bus while the Solo
function is enabled.
CSEL MODE
This parameter determines how the Input Channels will be soloed when you press the
[SOLO] button of each Channel. There are two options.
•MIX SOLO.................... In Mix Solo mode, any number of channels can be soloed
simultaneously.
•LAST SOLO .................. In Last Solo mode, only one channel can be soloed at a time by
pressing the [SOLO] button. The Solo function that was previ-
ously enabled for channels is automatically cancelled.
DLISTEN
This parameter determines the source of the Input Channel Solo signal: Pre Fader or
Post Pan. When Pre Fader is selected, turning on the PAN button below the Pre Fader
option will solo the channel with the pan position specified by the Pan setting even if the
source precedes the fader. This parameter is effective only in Recording Solo mode.
Tip:
•Recording Solo mode is convenient when you wish to monitor certain Input Channels while
recording, since the Stereo bus and Bus 1–8 signals are unaffected.
•Mixdown Solo mode is useful when you wish to mute unsoloed Input Channels and feed
soloed Input Channel signals to the Stereo bus during mixdown.
7
8
9
6
1
5
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ESOLO TRIM
This parameter enables you to trim the level of the Solo signal in the range of –96 dB to
+12 dB.
FFADER/SOLO RELEASE
If this check box is checked, you can unsolo the channels by raising the channel faders
that were at the level of –∞ when the Solo function was turned on. If the faders were set
to higher than –∞, the channels cannot be soloed. This setting is not effective in Mix-
down Solo mode and for Output Channels.
GSOLO SAFE CHANNEL
For Mixdown Solo mode, Input Channels can be configured individually so that they
are not muted when other Input Channels are soloed (Solo Safe function). Signals from
Input Channels with the SOLO SAFE CHANNEL button turned on are always fed to the
Stereo bus, regardless of the channels’ Solo function status. You can clear all Solo Safe
settings by turning on the ALL CLEAR button.
HMONITOR TRIM
This parameter enables you to trim the level of the monitoring signal in the range of
–96 dB to +12 dB.
IMONO
This button switches the Monitor signal into mono.
Using the Monitor
1 Connect a monitoring system to the MONITOR OUT connectors.
To monitor the signal via headphones, connect headphones to the PHONES jack.
2Press the Monitor Source selector in the MONITOR section to select the mon-
itoring signal source.
To monitor the 01V96’s internal signals, turn off the selector (the button should be raised).
To monitor the signals at the 2TR IN connectors, turn on the selector (the button should be
pushed in).
3Adjust the monitoring level using the MONITOR [MONITOR LEVEL] control
while playing the sound sources.
To adjust the level of the monitoring signal via headphones, turn the [PHONES LEVEL]
control.
Note: When you check the FADER/SOLO RELEASE check box, the Solo setting is tem-
porarily cancelled.
Tip: For example, if you set the internal effects processor’s return signal to Solo Safe, you
can monitor the soloed “processed (or wet)” signals.
PHONES
MONITOR
OUT
MONITOR
2TR IN
LEVEL
PHONES
LEVEL 010
010
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Using the Solo Function
You can solo and monitor Input Channels, Aux Out 1–8, and Bus Out 1–8 using the
[SOLO] buttons on the top panel.
1Press the [DIO/SETUP] button repeatedly until the DIO/Setup | Monitor page
appears.
2 Set the SOLO parameter to On.
Set other parameters on the page, if necessary.
3To solo and monitor Input Channels, press the corresponding LAYER button
to select a Layer that contains the desired channels, then press the channel
[SOLO] buttons.
The channel [SOLO] button indicators and the SOLO [SOLO] indicator light up. Only the
soloed Input Channel signals are fed to the Monitor outputs.
4To solo and monitor Output Channels, press the LAYER [MASTER] button,
then press the channel [SOLO] buttons.
Input and Output Channels (Aux Out 1–8, Bus Out 1–8) cannot be solo-monitored simul-
taneously. For example, if you solo an Input Channel, then solo an Output Channel, the
first solo channel is cancelled.
If you solo an Output Channel first, then solo an Input Channel, canceling the Input Chan-
nel’s solo will activate the Output Channel’s solo.
5You can unsolo all soloed channels by pressing all illuminated channel
[SOLO] buttons.
The button indicators turn off. You can also unsolo all soloed channels by pressing the
SOLO [CLEAR] button.
Tip: If the SEL MODE parameter is set to Mix Solo on the DIO/Setup | Monitor page, you
can solo multiple Channels simultaneously.
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12
12 Surround Pan
This chapter describes surround panning, which determines how Input Channel signals are
panned within and across the stereo field.
About Surround Pan
The Surround Pan function places a sound image within a two-dimensional field using a
multi-channel playback system, and pans the image to the front, rear, left, and right in rela-
tion to the listening position. To pan the stereo image, you can use the Parameter wheel, or
[INC]/[DEC] buttons.
If each channel’s follow pan (see page 89) is turned off, you can route the signals to the cor-
responding Bus Outs regardless of the Surround Pan setting. This is convenient when you
wish to assign the surround source or surround effect returns to the Buses.
If “Nominal Pan” (see page 231) in the Prefer1 page is checked, the level of the Input Chan-
nels that are panned hard left or right will be used as the nominal level. If the check box is
not checked, the nominal level will be +3dB.
You can also store the surround pan settings in a Scene. In addition to a normal Stereo
mode, the 01V96 features the following three Surround modes:
•3-1
This mode uses four channels that include front
left, front right, front center, and rear.
•5.1
This mode uses six channels that include front left,
front right, rear left, rear right, front center, and
subwoofer.
Note: If you save a scene with the Follow Pan function turned off while using a 01V96 that
runs firmware older than Version 2.0, the surround settings of the scene may not be played
back correctly.
Front L Front RCenter
Surround
Subwoofer
Rear L Rear R
Front L Front RCenter
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•6.1
This mode uses seven channels that include six
channels of 5.1 mode plus rear center.
When you select one of these Surround modes,
each surround channel signal is output as the Bus Out signal specified on the DIO/Setup |
Surr Bus page (see page 139).
The following table shows the factory-default Surround Channel to Bus Out assignment in
each Surround mode.
Setting Up and Selecting Surround Pan Modes
To configure the surround environment, select 3-1, 5.1, or 6.1 Surround mode on the
01V96 and connect a digital MTR or multi-channel monitoring system to the 01V96.
1 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
Pan/Route | Surr Mode page appears.
Surround
Mode BUS1 BUS2 BUS3 BUS4 BUS5 BUS6 BUS7
3-1 LRCS
———
Front left Front right Center Surround
5.1 LRLsRs C LFE —
Front left Front right Rear left Rear right Center Subwoofer
6.1 LRLsRs C Bs LFE
Front left Front right Rear left Rear right Center Rear center Subwoofer
Tip: You can set the surround pan either independently of normal panpots or in unison with
them.
Subwoofer
Rear L Rear RRear center
Front L Front RCenter
2
3
1
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12
ASURROUND MODE
This parameter enables you to select a Surround mode by using the following buttons.
The button that is turned on (highlighted) indicates the currently-selected Surround
mode.
•STEREO.........................The 01V96 uses normal stereo mode (default).
•3-1...................................Selects 3-1 Surround mode.
•5.1...................................Selects 5.1 Surround mode.
•6.1...................................Selects 6.1 Surround mode.
BPAN/SURR LINK
When this button is turned on, Input Channel panpots and stereo surround panning are
linked.
C
Press this button to display the Surr/Bus Setup page, which enables you to change the
Surround Channel to Bus Out assignment.
2 Move the cursor to the Surround mode button you want to use.
When you move the cursor to one of these buttons, speaker icons appear, indicating a typ-
ical listening position and the Surround Channel to Bus Out configuration.
•3-1 Surround
•5.1 Surround
•6.1 Surround
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3 Press the [ENTER] button.
The confirmation window for changing the Surround mode appears.
4 Move the cursor to the YES button, then press [ENTER].
The 01V96 enters the selected Surround mode.
5To link the Input Channel Pan setting with the stereo surround panning,
move the cursor to the PAN/SURR LINK button, then press [ENTER].
When the PAN/SURR LINK button is turned on, adjusting the Input Channel pan settings
will also change the stereo surround panning accordingly, and vice versa.
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12
6To change the Surround Channel to Bus Out assignment, move the cursor
to the SURR/BUS SETUP button, then press [ENTER].
The DIO/Setup | Surr Bus page appears.
ABUS1–BUS8
These parameters select channels to be assigned to the Bus Outs in 3-1, 5.1, and 6.1 Sur-
round modes.
BINIT
These buttons reset the channel assignment to the default setting.
CSurround LR to Stereo
When this check box is on, the left and right front signals of the surround channels are out-
put from the STEREO L & R connectors.
7To change the assignment, move the cursor to the desired Bus parameter,
rotate the Parameter wheel to select a channel, then press [ENTER].
The channels are swapped between the selected Bus and the Bus to which the channel
assigned to the selected Bus was assigned previously.
8 Depending on the selected Surround mode or applications, patch the Bus
Out signals to the outputs, ADAT OUT channels, or slot output channels.
Connect a playback device or MTR to the output connectors.
Tip:
•Pressing the DISPLAY ACCESS [SETUP] button repeatedly also displays the Surr Bus page.
•Available Bus Outs vary depending on the Surround mode. For example, in 3-1 Surround
mode, Bus Outs 1–4 are available. In 5.1 Surround mode, Bus Outs 1–6 are available, and
in 6.1 Surround mode, Bus Outs 1–7 are available.
2
1
3
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■Surround Pan Recording
To record surround pan movement to a digital MTR, route the Bus Outs to the ADAT OUT
channels or slot output channels that are connected to the digital MTR.
The following diagram illustrates an example of recording 5.1 Surround mode signals to a
digital MTR.
BUS1 (L)
BUS2 (R)
BUS3 (Ls)
BUS4 (Rs)
BUS5 (C)
BUS6 (LFE)
SURROUND
PA N
LFE LEVEL
SURROUND
PA N
LFE LEVEL
SURROUND
PA N
LFE LEVEL
8-TRACK DIGITAL
01V96
Input Channel 2
Digital MTR
Slot
Channel 1
Channel 2
Channel 3
Channel 4
Channel 5
Channel 6
MY8-TD etc.
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Input Channel 1
Input Channel 3
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■Surround Pan Monitoring
To monitor surround pan movement, patch the Bus Outs to the analog outputs, to which a
monitoring system is connected.
The following diagram illustrates an example in which Bus Out 1 & 2 (left and right front
channel) signals are output from the STEREO OUT L & R connectors and Bus Out 3-6 sig-
nals are output from the OMNI OUT 1-4 connectors in 5.1 Surround mode.
Tip: To output left and right front signals of the surround channels from the STEREO OUT
L & R connectors, turn on the Surround LR to Stereo checkbox on the Surr Bus page.
BUS1 (L)
BUS2 (R)
BUS3 (Ls)
BUS4 (Rs)
BUS5 (C)
BUS6 (LFE)
SURROUND
PA N
LFE LEVEL
SURROUND
PA N
LFE LEVEL
SURROUND
PA N
LFE LEVEL
STEREO OUT L
Front L Front R
Rear L Rear R
Center
Subwoofer
01V96
STEREO OUT R
OMNI OUT 1
OMNI OUT 2
OMNI OUT 3
OMNI OUT 4
Multi-channel
amplifier
Front L
Front R
Rear L
Rear R
Center
Subwoofer
Input Channel 2
Input Channel 1
Input Channel 3
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Surround Panning
You can set the surround pan parameters for each Input Channel.
1Make sure that the 01V96 is in any Surround mode except Stereo, then press
the [SEL] button of the channel for which you want to set surround pan.
2 Press the DISPLAY ACCESS [PAN/ROUTING] button repeatedly until the
Pan/Route | Ch Edit page appears.
The Ch Edit page displays the selected Input Channel, and its surround pan setting and
available pair partner.
The following display page is an example in 6.1 Surround mode.
The following parameters are available on this page:
ASurround pan graph
This graph indicates the pan positions in a two-dimensional field, with the listening
position in the center. A small diamond ( ) indicates the current surround pan posi-
tion. You can move the current surround pan position ( ) directly to one of the
speaker icons by selecting its icon, then pressing [ENTER].
BTrajectory patterns
These buttons represent seven trajectory patterns that determine how the surround pan
moves when you operate the Parameter wheel or the [INC]/[DEC] buttons.
CFAST
Turning on this button increases the speed of sound images panned via the Parameter
wheel.
DTrajectory pattern parameters
These parameters fine-tune the surround pan trajectory pattern.
•WIDTH ................... This parameter sets the left-to-right width of the selected tra-
jectory pattern.
•DEPTH .................... This parameter sets the front-to-rear width of the selected tra-
jectory pattern.
•OFFSET ................... This parameter offsets the left-to-right direction of the selected
trajectory pattern.
•OFFSET ................... This parameter offsets the front-to-rear direction of the
selected trajectory pattern.
2
1
3
4
5 6 97 8
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ELFE
This parameter control sets the level of the LFE (Low Frequency Effects) Channel signal
routed to the subwoofer, and appears only in 5.1 and 6.1 Surround modes.
FF/R
In 6.1 Surround mode, F and R parameter controls appear. The F parameter control
determines how the Front Center signal is fed to the Left and Right channels, and the R
parameter control determines how the rear surround signal is fed to the Left and Right
surround channels.
6DIV
This parameter control, instead of the F/R parameter control, appears in 3-1 or 5.1 Sur-
round mode, and determines how the Center signal is fed to the Left, Right, and Center
channels. It is expressed as a percentage ranging from 0 to 100%. When you set the
parameter to 100, the Center signal is fed to only the Center channel. When you set the
parameter to 0, the Center signal is fed to only the Left and Right channels. When you
set the parameter to 50, the Center signal is fed equally to the Left, Right, and Center
channels.
GLINK
This button is available only in 6.1 Surround mode. When you turn on this button, the
F and R controls are set to the same value, and linked together.
HST LINK
Turning on this button links the surround pan parameters of two Input Channels that
are currently displayed on the page (Stereo Link function). You can link the surround
pan parameters of two channels regardless of whether they are paired.
IPATTERN
When Input Channels are linked by the Stereo Link function, the seven patterns select-
able here determine how the linked surround pan moves via the Parameter wheel and
the [INC]/[DEC] buttons.
3Select one of seven trajectory patterns by turning on the corresponding tra-
jectory pattern button.
The following patterns are available:
•...................... The sound image moves between left and right.
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•...................... The sound image moves between front and rear.
•...................... The sound image moves from front left to rear right. With this pattern,
you can also fine-tune the trajectory by using the WIDTH, DEPTH,
OFFSET ( ), and OFFSET ( ) parameters.
•...................... The sound image moves from front right to rear left. With this pattern,
you can also fine-tune the trajectory using the WIDTH, DEPTH,
OFFSET ( ), and OFFSET ( ) parameters.
•...................... The sound image moves between left and right while tracing an arc.
With this pattern, you can also fine-tune the radius and shape of the
arc using the WIDTH, DEPTH, OFFSET ( ), and OFFSET ( )
parameters.
40 5636 40
36 36 36 12 8 8 44 16 20 16
36 36 36 12 8 8 44 16 20 16
40 48 44 44 20 32 28 56 32 24
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•...................... The sound image moves between front and rear while tracing an arc.
With this pattern, you can also fine-tune the radius and shape of the
arc using the WIDTH, DEPTH, OFFSET ( ), and OFFSET ( )
parameters.
•...................... The sound image moves while tracing a circle or oval. With this pat-
tern, you can also fine-tune the radius and shape of the circle or oval
using the WIDTH, DEPTH, OFFSET ( ), and OFFSET ( ) param-
eters.
4If necessary, fine-tune the trajectory by editing the WIDTH, DEPTH, OFFSET
( ), and OFFSET ( ) parameter values.
5To move the sound image, move the cursor to anywhere outside the param-
eter boxes, then rotate the Parameter wheel.
The sound image of the selected channel moves along the selected trajectory pattern.
6To link the surround pan settings of two channels displayed on the page,
turn on the ST LINK button.
Use the PATTERN parameter box below the ST LINK button to specify how you want the
linked surround pan to move.
Tip: You can also adjust the front and rear or left and right movement, the trajectory pattern
and other parameters from an external MIDI device by assigning the surround parameters
to MIDI Control Changes (see page 220).
40 48 44 44 20 32 28 56 32 24
44 48 32 24 24 24 60 40 52 40
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The following table shows how the sound images on two linked channels move when dif-
ferent trajectory patterns and stereo link patterns are combined. A solid line indicates the
movement of the selected channel, and a dotted line indicates the movement of the
linked partner.
7To list multiple-channel surround pan settings, press the [PAN/ROUTING]
button repeatedly until the Pan/Route | Surr1-16, Surr17-32, or Surr ST IN
page appears.
These pages display and enable you to edit the surround pan settings for 16 channels.
ASurround pan graphs
These graphs display the trajectory patterns and the current pan positions for the Input
Channels.
Trajectory
Pattern
1
3
2
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B parameter box
This parameter box enables you to move the surround pan setting of the selected chan-
nel left and right.
C parameter box
This parameter box enables you to move the surround pan setting of the selected chan-
nel front and rear.
8To move the sound image of each channel on these pages, move the cursor
to the desired channel, then rotate the Parameter wheel.
The pan setting of the channel changes along the trajectory pattern. Press [ENTER] to dis-
play the currently-selected channel’s CH Edit page.
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13
13 Grouping Channels & Linking
Parameters
This chapter describes how to group faders or [ON] buttons for multiple channels and link
the EQ or compressor parameters for simultaneous operation.
Grouping & Linking
On the 01V96, you can group faders or [ON] buttons for multiple Input Channels (Input
Channels 1–32, ST IN Channels 1–4) or multiple Output Channels (Bus Outs 1–8, Aux
Outs 1–8, Stereo Out) and link the EQ or compressor parameters.
The following elements can be grouped or linked within Input Channels or Output Chan-
nels.
•Fader group
Input Channel or Output Channel faders (or level controls) can be grouped. There are eight
Input Channel Fader groups and four Output Channel Fader groups. When channel faders
or level controls are grouped, operating any one of them enables you to control the level of
the other grouped faders or level controls while maintaining the relative level differences.
Also, the 01V96 features a Fader Group Master function that enables you to control the level
of all grouped channels using the Group Master level while maintaining the relative level
balance between channels.
•Mute group
Input Channel or Output Channel [ON] buttons can be grouped. There are eight Input
Channel mute groups and four Output Channel mute groups. When channel [ON] buttons
are grouped, pressing any one of them turns the [ON] buttons for all the grouped channels
on or off. A mute group can include On channels and Off channels at the same time, which
turn off or on respectively when you press any one of the grouped [ON] buttons.
Also, the 01V96 features a Mute Group Master function that enables you to mute grouped
channels using the Master Mute buttons.
•EQ Link
Input or Output Channel EQ parameters can be linked. There are four EQ links for Input
Channels and Output Channels respectively.
All channels in an EQ link share the same EQ parameter settings. When you change an EQ
parameter value for one of the linked channels, the change is applied to all other linked
channels.
•Compressor Link
Input or Output Channel compressor parameters can be linked. There are four compressor
links for Input Channels and Output Channels respectively.
All channels in a compressor link share the same compressor parameter settings. When you
change a compressor parameter value for one of the linked channels, the change is applied
to all other linked channels.
Tip: Compressor Link is not available for the ST IN Channels, since they do not feature com-
pressors.
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Using Fader Groups and Mute Groups
Follow the steps below to group faders or [ON] buttons for Input Channels or Output
Channels.
1Press the DISPLAY ACCESS [PAIR/GROUP] button repeatedly until one of the
pages that contains the desired group and channels appears.
-In Fader page
This page enables you to set Fader groups (A–H) for Input Channels 1–32 and ST IN
Channels 1–4.
-Out Fader page
This page enables you to set Fader groups (Q–T) for Bus Outs (1–8), Aux Outs (1–8)
and Stereo Out.
-In Mute page
This page enables you to set Mute groups (I–P) for Input Channels 1–32 and ST IN
Channels 1–4 respectively.
-Out Mute page
This page enables you to set Mute groups (U–X) for Bus Outs (1–8), Aux Outs (1–8) and
Stereo Out.
• In Fader page
• In Mute page
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2 Press the up ( ) or down ( ) button to select a group.
3 Press the [SEL] button for a channel you wish to add to the group.
The selected channel is marked with “ ” and the channel is added to the group.
4In the same way, press the [SEL] button for other channels you wish to add
to the group.
The relative level of the faders for the grouped channels is determined by the position of the
faders when the channels were added to the group.
The On/Off status of the grouped channels is determined by the [ON] button status when
the channels were added to the group.
5To turn a group on or off, move the corresponding button in the ENABLE
column, then press [ENTER].
When the group Enable button is turned off, the corresponding group is temporarily can-
celled.
6To use a fader group, operate one of the faders or level controls for the
grouped channels.
7To use a mute group, press one of the [ON] buttons for the grouped chan-
nels.
All channels in the group switch their on/off status.
Tip:
•If you add one channel from a pair to a group, the pair partner is automatically added to
the group.
•You can also select a channel on another layer by switching layers.
Note:
•If you wish to change the relative level balance between the grouped channels while this page
is displayed, first turn off the Enable button or remove the channels for which you want to
change the level from the group.
•If other pages are displayed, press and hold down the [SEL] button for the desired channels
to temporarily remove them from the group, then change the level balance.
Note:
•While a mute group is enabled, you cannot turn a subset of the grouped channels on or off.
•If you wish to turn a subset of the grouped channels on or off, first turn off the Enable button,
or remove the channels you wish to turn on or off from the group.
Example: Input Channels 1–4, 7, 8, and 15, 16 have been
added to Fader group C.
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Using Fader Group Master
The 01V96 features a Fader Group Master function that enables you to control the level of all
channels using the Group Master level while maintaining the relative balance between chan-
nels, much like a VCA group on an analog mixing console. While this function is enabled,
channel fader operation does not affect channel levels in the corresponding Fader group.
1 After you perform Step 5 in “Using Fader Groups and Mute Groups” on
page 150, use the cursor buttons to select the INPUT FADER MASTER check
box or the OUTPUT FADER MASTER check box, then press [ENTER] to turn
on the Fader Group Master function.
2When the Fader Master check box is checked, you can set channel levels of
the Fader groups in the Master column.
When the Master column is selected, repeatedly pressing the [ENTER] button turns the
Fader group on and off.
You can also make these settings in the In Master page or Out Master page, as shown below.
3Press the DISPLAY ACCESS [GROUP] button repeatedly until the Group | In
Master or Group | Out Master page appears.
4Use the cursor buttons to select parameters, then use the Parameter wheel,
INC/DEC buttons, or [ENTER] button to set the parameters.
•INPUT/OUTPUT FADER MASTER ... When this check box is checked, you can set the
master levels for the Fader groups. The result-
ant Channel level equals the corresponding
Channel fader level plus the Group Master
level.
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•ALL NOMINAL............This button resets the master levels for all Fader groups to nom-
inal.
•ON/OFF.........................This turns each Input Fader group on or off. This function
works like a VCA mute on an analog mixing console.
•Faders ............................These faders adjust the master levels of the Fader groups. Fader
knobs are highlighted when faders are set to 0.0 dB. Press the
[ENTER] button to set the currently-selected fader to 0.0 dB.
You can also control the parameters from the channel strips on the control surface as
described below by using the User Assignable Layer of the Remote Layers. See page 233for
information on the User Assignable Layer.
•[SEL] buttons ...............These buttons move the cursor on the In Master page or Out
Master page.
•[SOLO] buttons ...........These buttons turn the Solo function of each Fader group on
and off. You can monitor all the channels in each Fader group.
•Channel Faders ............The channel faders enable you to set the master level for each
Fader group.
Using Mute Group Master
In addition to the Mute Group function that links the operation of channel [ON] buttons,
the 01V96 features a Mute Group Master function that enables you to mute grouped chan-
nels using the Master Mute buttons in a manner similar to using a mute group on an analog
mixing console. While this function is enabled, the [ON] buttons for grouped channels will
not be linked.
1 After you perform Step 5 in “Using Fader Groups and Mute Groups” on
page 150, use the cursor buttons to select the INPUT MUTE MASTER check
box or OUTPUT MUTE MASTER check box, then press [ENTER] to turn on
the Mute Group Master function.
2When the Mute Master check box is checked, use the group MASTER MUTE
buttons to mute or unmute the groups.
If channels are muted via the Mute Master function, the channel [ON] button indicators
flash. It is useful if you assign the MASTER MUTE buttons to USER DEFINED KEYS but-
tons.
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Linking EQ and Compressor Parameters
Follow the steps below to link EQ or compressor parameters for Input Channels or Output
Channels. This function enables you to set EQ or compressor parameters for multiple chan-
nels to the same values simultaneously.
1Press the DISPLAY ACCESS [PAIR/GROUP] button repeatedly until one of the
following pages appears.
-In EQ page
This page enables you to set EQ links (a–d) for Input Channels 1–32 and ST IN Chan-
nels 1–4.
-Out EQ page
This page enables you to set EQ links (e–h) for Bus Outs (1–8), Aux Outs (1–8) and Ste-
reo Out.
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-In Comp page
This page enables you to set Compressor links (i–l) for Input Channels 1–32.
-Out Comp page
This page enables you to set Compressor links (m–p) for Bus Outs (1–8), Aux Outs
(1–8) and Stereo Out.
2Press the up ( ) or down ( ) cursor button to select a link to which you want
to add channels.
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3Press the [SEL] button for a channel you wish to add to the EQ or Compressor
link.
The selected channel is marked with “ ” and the channel is added to the link.
4In the same way, press the [SEL] button for other channels you wish to add
to the link.
The EQ or compressor settings for the first channel added to the link are applied to all sub-
sequently-added channels.
5After all desired channels are added to the link, edit the EQ or compressor
parameters for one of the linked channels.
The edits for the EQ or compressor parameters are applied to the rest of the linked channels.
Tip:
•If you add one channel from a pair to a link, the pair partner is automatically added to the
link.
•You can also select a channel on another layer by switching layers.
Example: Input Channels 1–4, 7, 8, 12 and 14 have been
added to EQ link b.
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14 Internal Effects
This chapter describes how to use the 01V96’s internal effects processors.
About the Internal Effects
The 01V96 features four internal multi-effects processors. These effects processors offer
numerous types of effects, including reverbs, delays, modulation-based effects, and com-
bination effects designed especially for use with surround sound.
Processor inputs and outputs can be patched to various sources. For example, effects pro-
cessor inputs can be fed from the Aux Sends and output to ST IN Channels (effects
send/return). Effects processors can also be inserted into Input Channels, Bus Outs, Aux
Outs, or the Stereo Out.
Effects processors 1 through 4 create 1-in/2-out or 2-in/2-out effects.
The 01V96 also features the Effects library, which contains 53 preset programs (including
Add-On Effects) and 75 user programs.
Note: When the 01V96 operates at a high sampling frequency (88.2 kHz or 96 kHz), you can
use only Effects processors 1 and 2.
INPUT PATCH
AUX1-8
INSERT OUT
FX1 SEND
1-2
FX2 SEND
1-2
FX3 SEND
1-2
FX4 SEND
1-2
EFFECT 1
INPUT
OUTPUT
1
2
1
2
EFFECT 2
INPUT
OUTPUT
1
2
1
2
EFFECT 3
INPUT
OUTPUT
1
2
1
2
EFFECT 4
INPUT
OUTPUT
1
2
1
2
SELECT
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Using Effects Processors via Aux Sends
You can use effects processors via Aux Sends by patching effects processor inputs to Aux
Outs, and effects processor outputs to ST IN Channels.
1 Recall an effect program you wish to use.
Refer to page 179 for more information on recalling effect programs.
2Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch | Effect
page appears.
This page enables you to patch all inputs and outputs of Effects processors 1–4.
This page contains the following parameters:
AIN
These parameter boxes select the signals to be fed to the effects processors.
BOUT
These parameter boxes select the destination of the signals output from the effects pro-
cessors.
Cbutton
This button recalls the FX1 Edit–FX4 Edit pages, which enable you to adjust the effect
parameters.
3To select a signal to be input to the effects processor, move the cursor to
the desired In parameter box, select a signal from the following options,
then press [ENTER].
•– ..................................... No assignment
•AUX1–8......................... Aux Sends 1–8
•INS CH1–32 ................. Input Channel 1–32 Insert Out
•INS BUS1–8.................. Bus 1–8 Insert Out
•INS AUX1–8 ................. Aux Send 1–8 Insert Out
•INS ST-L/R....................Stereo Out Insert Out
To use the internal effects processors via Aux Sends, select Aux 1–8 (in most cases).
You can patch a different signal to the other input of 2-in/2-out effect programs.
1 3 2
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4To patch a signal output from the effects processor, move the cursor to the
desired OUT parameter box, select the signal destination from the following
options, then press [ENTER].
•– .....................................No assignment
•CH1–32 .........................Input Channels 1–32
•ST IN 1L–ST IN 4R ......ST IN Channels 1L–4R
•INS CH1–32..................Input Channel Insert In
•INS BUS1–8 ..................Bus 1–8 Insert In
•INS AUX1–8..................Aux 1–8 Insert In
•INS ST-L & INS ST-R...Stereo Bus Insert In
To use the internal effects processors via Aux Sends, select CH 1–32 or ST IN 1–4 (in most
cases). The channels you assign here will become the effects return channels.
You can patch a different channel to the other output of a 1-in/2-out or 2-in/2-out effect
program to create stereo effects.
5 Adjust the level of Aux Sends patched to the effects processor.
Refer to “9 Aux Outs” on page 109 for information on setting the Aux Sends.
6 Adjust the level, pan, and EQ of the Input Channels patched to the effect
outputs.
Tip:
•You can patch a signal to multiple effect inputs.
•Move the cursor to an IN parameter box and press the [ENTER] button. The Patch Select
window appears. This window enables you to select the input source quickly.
Tip:
•If you select an ST IN Channel as the destination, you can patch the L and R channel signals
separately.
•You can also use the Patch Select window to set the OUT parameter boxes, as explained in
Step 3.
•The number of inputs available for each effect varies depending on the type of effect programs
initially recalled.
Note: You cannot select a channel as the destination of multiple effect signals. If you select a
channel that is already selected in another OUT parameter box, that OUT parameter box
switches its indicator to “–” (not assigned).
Note: Do not raise the level of the Aux Sends (patched to the effects processor’s input) on the
effects return channels. Otherwise, the signal will return to the same channel, creating a signal
loop and possibly damaging your speakers.
Tip: Use the Master layer fader to adjust the final Aux Send output level. At this time, you
can view the level on the Meter | Master page (see page 35).
Tip: To mix the effects sound returned via the Aux sends with the original dry sound, set the
effect’s MIX BALANCE parameter to 100% (only the effects sound will be output).
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Inserting the Internal Effects into Channels
You can insert the internal effects into certain Input Channels or Output Channels (Bus
1–8, Aux Bus 1–8, or the Stereo Bus).
1Select an internal Effects processor (1–4), then recall the desired effect pro-
grams.
2 Press the [SEL] button of the Input Channel or Output Channel into which
you want to insert the selected effects.
3Press the DISPLAY ACCESS [ /INSERT/DELAY] button repeatedly until the
/Ins/Dly | Insert page appears.
4Select the effect insertion position using the INSERT button in the POSITION
section.
5Move the cursor to the OUT parameter box in the INSERT section, then select
the inputs of the effects processor selected in Step 1.
•FX1-1 & FX1-2 ............. Inputs 1 & 2 of Internal Effects Processor 1
•FX2-1 & FX2-2 ............. Inputs 1 & 2 of Internal Effects Processor 2
•FX3-1 & FX3-2 ............. Inputs 1 & 2 of Internal Effects Processor 3
•FX4-1 & FX4-2 ............. Inputs 1 & 2 of Internal Effects Processor 4
6 Press [ENTER] to confirm the setting.
7 Move the cursor to the IN parameter box in the INSERT section, select the
outputs of the effects processor selected in Step 1, then press [ENTER] to
confirm the setting.
8 Move the cursor to the ON/OFF button in the INSERT section, then press
[ENTER] to turn on the button.
Effect insertion is now enabled.
Note:
•You cannot use Insert In and Out for ST IN Channels.
•If effects are inserted in channels, you cannot use those effects via Aux Sends or insert them
into other channels.
Tip: Repeatedly pressing the STEREO [SEL] button toggles between the left and right Stereo
Bus channels.
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Editing Effects
To edit effect programs recalled to the internal Effects processors 1–4, press the DISPLAY
ACCESS [EFFECT] button repeatedly until the Edit page for the effects processor you wish
to edit appears.
Effects processors 1–4 correspond to the following pages:
•Effects Processor 1.......FX1 Edit page
•Effects Processor 2.......FX2 Edit page
•Effects Processor 3.......FX3 Edit page
•Effects Processor 4.......FX4 Edit page
These Edit pages contain the following effect parameters.
AEFFECT NAME
This parameter displays the name of the effect program currently used by the effects
processor.
BTYPE
This parameter displays the type of effect program currently used by the effects proces-
sor. The I/O configuration of the effect program is displayed below this parameter.
Cbutton
Move the cursor to this parameter, then press [ENTER] to display the Library page for
the selected effects processor.
Dbutton
Move the cursor to this button, then press [ENTER] to display the Patch | Effect page,
which enables you to assign signals to the inputs and outputs of Effects processors 1–4.
EMIX BALANCE
This parameter knob enables you to set the balance between wet and dry signals. When
the parameter is set to 0%, only the dry signal is heard. When set to 100%, only the wet
signal is heard. Turn on the BYPASS button to bypass the currently-selected effects pro-
cessor.
Tip:
•After inserting effects to channels, adjust the MIX BALANCE parameter for the effects,
according to the purpose and effects type.
•Move the cursor to an empty IN or OUT parameter box and press the [ENTER] button.
The Patch Select window appears, which enables you to quickly select available signal paths.
1
2
5
4
3
7
6
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FTEMPO
This section enables you to set the tempo and interval of the selected effects, and displays
certain parameters only when certain effect types are selected. Use the parameter control
on the left side of this section to adjust the value between 25BPM and 300BPM. When
the MIDI CLK button is on, the 01V96 updates the TEMPO data (BPM) based on the
MIDI Clock information received at the MIDI IN port. You can also specify the tempo
by moving the cursor to the TAP TEMPO button and double-clicking the [ENTER]
button. The 01V96 calculates the tempo based on the time interval between your two
taps (clicks) on the [ENTER] button.
GMeters
These meters indicate the input or output levels of the currently-selected effects proces-
sor. Select the IN button or OUT button to display the input levels or output levels
respectively.
Move the cursor to a parameter you wish to change, and rotate the Parameter wheel or
press the [INC]/[DEC] buttons to adjust the setting. You can store the edited settings as
a new program in the Effects library (see page 179).
About Add-On Effects
Installing optional Add-On Effects packages enables you to expand your effects selection
beyond the internal effects. Add-On Effects will be stored in and recalled from preset #45
and the subsequent preset programs. You can also store edited effects in user program #54
and the subsequent user programs. For more information on Add-On Effects, refer to the
installation guide that is included in your Add-On Effects packages.
Tip: If the Freeze effect is selected, the TEMPO section displays the record and playback
buttons for using the effect, the recording data condition, and a progress bar that indicates
the current status.
Tip: You can also view the input and output levels of the effects processors on the Meter |
Effect 1–4 pages (see page 34).
Note: You cannot change the effects type on this page. To change the effects type, recall a
program that uses the desired effects type from the Effects library.
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About Plug-Ins
If you installed a mini-YGDAI card that supports the Effects function into Slot, you can use
plug-in effects in addition to the internal effects processors.
You can patch Bus signals or channel insert outs to the plug-in input. The plug-in output
can be patched to Input Channels or channel insert ins.
To use the plug-in effects, press the [EFFECT] button repeatedly until the Effect | P-In Edit
page appears.
For details on using plug-ins, refer to the owner’s manual that came with the plug-in card.
As of July 2004, the 01V96 supports the following plug-in cards. Visit the Yamaha web site
(http://www.yamahaproaudio.com/) for the latest information on compatible plug-in
cards.
•Waves .............................Y56K
The Y56K card setting is stored in memory in the card when you store scenes, and is recalled
at the time of scene recall. The setting is not stored in a scene memory on the 01V96. There-
fore, the setting does not support the scene memory’s Global Paste, Sort, and Auto Update
functions.
Note: The Y56K card supports scenes #1-96. If you store or recall a scene # 97 or subsequent
scenes, the Y56K card setting will not respond. (In this case, a warning message appears.)
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15 Scene Memories
This chapter describes Scene memories, which store 01V96 mix and effects settings.
About Scene Memories
Scene memories enable you to store a snapshot of 01V96 channel mix settings and internal
effects processor settings as a “Scene” in a special memory area.
There are 99 Scene memories, and you can recall any Scene using the display pages or the
controls on the top panel.
What is Stored in a Scene?
The following parameter settings are stored in a Scene:
Tip:
•You can recall Scenes by transmitting Program Changes from external MIDI devices (see
page 219).
•You can back up Scene memories to external MIDI devices by using MIDI Bulk Dump (see
page 226).
Scene Parameters
Mix parameters
All channel faders (and level controls)
Channel to Aux Out 1–8 Send levels
Aux Out 1–8 & Bus Out 1–8 levels
All channel [ON] button settings
All channel Phase settings
All channel Attenuator settings
All channel Delay settings (excluding ST IN Channels)
All channel Compressor settings (excluding ST IN Channels)
Input channel Gate settings (excluding ST IN Channels)
All channel EQ settings
All channel Pan settings
All channel routings
Fader groups, Mute groups, Fader group Masters, Mute group Masters, EQ
links, and Compressor links
All channel pair settings
Effects parameters Effect programs recalled for Effects processors 1–4 and their parameter set-
tings
Remote Layer Fader and [ON] button status (only when Remote Control Target is set to
USER DEFINED)
Scene settings Scene titles and Fade Time settings
Input Patching Currently-selected Input Patch library number
Output Patching Currently-selected Output Patch library number
Note:
•Scenes take a snapshot of Input and Output Patch library numbers that are in use at the
time the Scene is stored, but exclude current (edited) Input and Output patching.
•If you do not store the edited Input and Output patching to the libraries, recalling a Scene
may change the current patching.
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About Scene Numbers
Scene memories are numbered with #U or from #00 through #99. You can store Scenes in
Scene memories #01–99. When you recall a Scene, the Scene memory number appears at
the top of the display page.
Scene memory #00 is a special read-only memory that contains the default settings of
all mix parameters. To reset all mix parameters on the 01V96 to their initial or default
values, recall Scene memory #0.
Also, the Initial Data Nominal check box on the Setup | Prefer1 page (see page 230) enables
you to specify whether Input Channel faders are set to either 0 dB or –∞ dB when Scene
memory #0 is recalled.
Scene memory “Ud” is a special read-only memory that contains the mix settings in
effect immediately before the most recently recalled or stored Scene. To undo or redo
Scene memory recall and store operations, recall Scene memory #U.
When you adjust parameters after recalling a Scene, the Edit indicators appear (“EDIT” at
the top of the display), indicating that the mix settings no longer match those of the Scene
that was most recently recalled. The contents of the Edit Buffer (where the current mix set-
tings are stored) are retained while the 01V96 is turned off. This allows the 01V96 to restore
the edited mix settings when you turn on the power.
The contents of recalled Scene memory
#2 match the current settings on the
01V96, and the Edit indicator remains off.
The parameters of recalled Scene memory #2
were edited. Therefore, the Edit indicators
appear, indicating that the current settings on
the 01V96 do not match Scene memory #2.
Display
Edit indicator
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Storing and Recalling Scenes
You can store and recall Scenes by pressing the buttons on the top panel or using the dedi-
cated Scene memory page on the display.
Storing and Recalling Scenes Using the SCENE MEMORY
Buttons
You can use the SCENE MEMORY buttons to store and recall Scenes.
1Adjust the mix parameters on the 01V96 to the conditions you wish to store
as a Scene.
2 Press the SCENE MEMORY Up [ ] or Down [ ] buttons to select a Scene
memory number.
If you select a Scene memory other than the currently-recalled Scene, its number flashes at
the to of the display.
Scene memories #U (“Ud”) and #0 (“00”) are special read-only memories, to which you
cannot store Scenes. Also, you cannot store Scenes to write-protected Scene memories (see
page 168).
3 Press the SCENE MEMORY [STORE] button.
The Title Edit window appears, which enables you to name the Scene to be stored.
4 Enter the title, move the cursor to the OK button, then press [ENTER].
The Title Edit window closes and the current Scene is stored to the selected Scene memory.
5To recall a Scene, press the SCENE MEMORY Up [ ] or Down [ ] buttons to
select a Scene memory number, then press the SCENE MEMORY [RECALL]
button.
Note:
•When you store Scenes, make sure that there are no settings in the Edit Buffer that you do
not want to store. Make sure that no settings, especially faders, have been adjusted uninten-
tionally.
•If you are not sure of the Edit Buffer’s contents, recall the last Scene, make the adjustments
you want, then store the Scene. You may wish to store the current Scene to an unused Scene
memory, just in case.
Tip: You can disable this window by turning the Store Confirmation parameter to Off on the
DIO/Setup | Prefer1 page (see page 230). In this case, the stored Scene will hve the same name
as the one recalled most-recently.
Tip: If you turn the Recall Confirmation parameter to On on the DIO/Setup | Prefer1 page,
a Scene recall confirmation window for Scene recalls appears before the Scene is recalled (see
page 230).
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Storing and Recalling Scenes Using the Scene Memory Page
On the Scene Memory page, you can store, recall, write-protect, delete, and edit the titles of
Scenes.
1Adjust the mix parameters on the 01V96 to the conditions you wish to store
as a Scene.
2Press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Scene
page appears.
3 Rotate the Parameter wheel or press the [INC]/[DEC] buttons to select a
Scene memory, move the cursor to one of the following buttons, then press
[ENTER].
ATITLE EDIT
Select this button to display the Title Edit window, which enables you to edit a selected
Scene title.
BRECALL
This button recalls the contents of the selected Scene memory.
CSTORE
This button stores the current Scene to the selected Scene memory. By default, a confir-
mation window appears before you store the Scene.
DCLEAR
This button deletes the contents of the selected Scene memory.
EPROTECT ON/OFF
This button switches on and off the write-protection of the contents of the selected
Scene memory. A padlock icon ( ) appears next to the title of a Scene memory that is
write-protected.
FLibrary list
Scene memories 01–99 are listed in the library memory title list. The titles of stored
Scenes are indicated in the title column. The message “No Data!” appears in the title col-
umn of empty library memories. The selected memory appears inside the dotted box
between the and marks.
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GPATCH LINK INPUT
This indicates the Input Patch library number that is linked to each scene. When you
store a scene, the number of the input patch that was most recently recalled or stored
will automatically be linked with that scene. When you recall that scene, this library
number will also be automatically recalled. You can also move the cursor to the param-
eter boxes and change the library numbers.
HPATCH LINK OUTPUT
This indicates the Output Patch library number that is linked to each scene. When you
store a scene, the number of the output patch that was most recently recalled or stored
will automatically be linked with that scene. When you recall that scene, this library
number will also be automatically recalled. You can also move the cursor to the param-
eter boxes and change the library numbers.
Auto Scene Memory Update
If the Scene MEM Auto Update check box on the Setup | Prefer1 page (see page 230) is
turned on, parameter edits are stored automatically in a Shadow memory, which is avail-
able for each Scene. This is called the Auto Update function.
If the Auto Update function is enabled, parameter edits made after the Scene was recalled
are stored in the Scene’s Shadow memory. When you again recall the Scene, the contents of
the Original and Shadow memories are recalled alternately.
Therefore, even after you recall the Original Scene memory, you can recall the edited
version from Shadow memory to restore the most recent edits.
If the “EDIT” indicator appears at the top of the display, the edited version from Shadow
memory has been recalled.
If a Shadow memory is recalled, the edited version is stored when you store the Scene. (The
contents of the Original and Shadow memories then become identical.)
Display
Edit indicator
Original Scene Shadow memory
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Fading Scenes
You can specify the time it takes the Input and Output Channel faders (or level controls) to
move to their new positions when a Scene is recalled. This is called Fade Time, and it can be
set for each channel in the range of 00.0 through 30.0 seconds (in 0.1 second steps). You can
set the Fade Time for each Scene individually or for all Scenes globally.
Fading Input Channels
To set the Fade Time for Input Channels 1–32 and ST IN Channels 1–4, press the DISPLAY
ACCESS [SCENE] button repeatedly until the Scene | In Fade page appears. Move the cur-
sor to the desired channel parameter box, then rotate the Parameter wheel or press the
[INC]/[DEC] buttons to modify the Fade Time setting.
AGlobal Fade Time
When this check box is checked, a Scene is recalled using the currently-specified Fade
Time. (The Fade Time setting stored in the recalled Scene is temporarily ignored.) This
check box setting works in unison with the Out Fade page.
BALL INPUT CLEAR
This button resets all channel Fade Times on the page to 00.0 second.
CINPUT CH1–32/ST IN 1–4
These parameters enable you to set the Fade Time for each Input Channel in the range
of 00.0 through 30.0 seconds. The Fade Time setting for one channel in a pair works in
unison with its partner.
Tip:
•If you operate a fader while fading channels, the fader’s Fade Time setting is temporarily
ignored.
•You can copy the currently-selected Input Channel Fade Time to all Input Channels by dou-
ble-clicking the [ENTER] button to display a window for copying. This is convenient when
you wish to set the Fade Time for all channels simultaneously.
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Fading Output Channels
To set the Fade Time for the Output Channels (Stereo Out, Bus Outs 1–8, Aux Outs 1–8),
press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Out Fade page
appears.
The basic operation is the same as on the In Fade page.
ABUS1–8
These parameters enable you to set the Fade Time for each Bus Out (1–8) in the range
of 00.0 through 30.0 seconds.
BAUX1–8
These parameters enable you to set the Fade Time for Aux Outs 1–8.
CSTEREO
This parameter enables you to set the Fade Time for the Stereo Out.
DINPUT MASTER A–H
These parameters enable you to set the Fade Time for Input Fader Group Master A–H.
EOUTPUT MASTER Q–T
These parameters enable you to set the Fade Time for Output Fader Group Master Q–T.
Tip: You can copy the currently-selected Output Channel Fade Time setting to all Output
Channels by double-clicking the [ENTER] button.
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Recalling Scenes Safely
When a Scene is recalled, all mix parameters are set accordingly. However, in some situa-
tions, you can retain the current settings of certain parameters on certain channels by
using the Recall Safe function. You can set the Recall Safe function parameters for each
Scene individually or for all Scenes globally.
To set the Recall Safe function, press the DISPLAY ACCESS [SCENE] button repeatedly
until the Scene | Rcl Safe page appears.
AGlobal Recall Safe
When this check box is checked, Recall Safe settings stored in Scene memories are
ignored and the current settings are retained.
BSAFE
This parameter enables or disables the Recall Safe function.
CMODE
The following MODE buttons determine which Safe channel parameters will remain
unaffected by Scene recalls. The MODE buttons correspond to the following parame-
ters:
•ALL ................................ All parameters
•FADER........................... Channel faders (or level controls)
•ON.................................. Channel On/Off parameters
•PAN ................................ Channel Pan parameters, Stereo Out balance
•EQ .................................. Channel EQ parameters
•COMP............................ Channel Comp parameters
•GATE ............................. Channel Gate parameters
•AUX ............................... Channel Aux Send levels, Pre/Post
•AUX ON ........................ Aux Send On/Off parameters
•DELAY........................... Channel Delay parameters
•ROUTING ....................Channel Routing parameters
DRECALL SAFE CHANNEL section
This section enables you to select which channels will remain unaffected by Scene
recalls, including Input Channels 1–32, ST IN Channels 1–4, Bus Outs 1–8, Aux Outs
1–8, Stereo Out, internal effects, USER DEFINED Remote layers, and plug-in effects.
The Recall Safe function is effective on channels and functions for which the buttons are
turned on.
Tip: The ALL button is mutually exclusive of the other buttons.
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Sorting Scenes
You can sort Scenes in Scene memories.
1Press the DISPLAY ACCESS [SCENE] button repeatedly until the Scene | Sort
page appears.
2Move the cursor to the SOURCE list (1) in the left column, then rotate the
Parameter wheel or press the [INC]/[DEC] buttons to select the Scene mem-
ory you wish to move.
3 Move the cursor to the DESTINATION list (2) in the right column, then
rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the
position to which you want to move the source Scene memory.
4 Press [ENTER] to move the source Scene memory to the specified destina-
tion.
The Scene memory numbers are updated accordingly.
Copying and Pasting a Scene (Global Paste)
Any channel or parameter settings for the current scene can be copied and pasted into one
or more scenes. This function is useful when you want to apply edited parameter settings in
the current scene to other scenes.
1 Press the DISPLAY ACCESS [SCENE] button repeatedly until the Paste SRC
page appears.
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2Use the cursor buttons, [SEL] buttons, or Parameter wheel to select the chan-
nel category, then use the [ENTER] button or the INC/DEC buttons to select
the copy source channel.
The number of the source channel is highlighted.
You can also select Group Masters, internal Effects, and a User Defined Remote layer as copy
sources.
3Use the cursor buttons or Parameter wheel to select the copy source param-
eter, then press the [ENTER] button.
4 Press the DISPLAY ACCESS [SCENE] button repeatedly until the Paste DST
page appears.
5 Use the Parameter wheel or INC/DEC buttons to select the destination
scene(s).
Scenes specified between FROM and TO (inclusive) become the paste destination. You can
paste up to 10 scenes at a time.
6Use the cursor buttons to select the PASTE button, then use the [ENTER] but-
ton to paste the settings.
You cannot paste the settings to write-protected scenes.
To restore the previous settings that existed before the paste operation, click the UNDO
button, then press [Enter]. However, if the settings in the scene are changed after the paste
operation (such as by saving, clearing, or sorting the scene, or receiving scene data via MIDI
Bulk Dump), the UNDO function is disabled. Also, note that you will not be able to undo
the operation after you turn off the power to the console.
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16 Libraries
This chapter describes the 01V96’s various libraries.
About the Libraries
The 01V96 features seven libraries that enable you to store Channel, Input Patch, Output
Patch, Effects, and other data. You can also quickly recall this data from the libraries to
restore previous parameter values.
The 01V96 offers the following libraries:
•Channel Library
•Input Patch Library
•Output Patch Library
•Effects Library
•Gate Library
•Compressor Library
•EQ Library
General Library Operation
Most library functions are the same for each library.
1 Use the buttons on the top panel to locate the desired library pages.
The procedure for locating library pages varies depending on the library. Refer to the latter
part of this chapter for more information on how to display the desired library page.
The example below assumes you have located the Input Patch library page.
The library memory title list is displayed in the middle of the page. The message “No Data!”
appears in the title column of empty library memories.
An “” icon is displayed next to the name of read-only preset memories. You cannot store,
clear, or edit the titles of these memories.
Memories #0 and #U are special read-only memories. Recall memory #0 to reset the param-
eter settings to their initial values. Recall #U to undo memory recall and store operations.
Tip:
•You can store library data to a computer hard disk using the included Studio Manager soft-
ware. Be sure to back up your important data.
•You can also store library data to an external MIDI device, such as a MIDI data filer, by
using MIDI Bulk Dump (see page 226).
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2Rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the
desired memory.
The selected memory appears inside the dotted box.
3 Move the cursor to one of the following function buttons, then press
[ENTER].
ATITLE EDIT
This button displays the Title Edit window, which enables you to edit the title of the
selected memory. Move the cursor to the OK button, then press [ENTER] to confirm
the edited title. Refer to page 30 for more information on entering characters.
BRECALL
This button recalls the contents of the selected library memory. If you turn on the Recall
Confirmation parameter on the DIO/Setup | Prefer1 page, the 01V96 displays a memory
recall confirmation window.
CSTORE
This button stores the settings to the selected memory. Before you store the settings, you
can enter or edit the title using the Title Edit window. Refer to page 30 for more infor-
mation on entering characters.
You can disable the Title Edit window by turning off the Store Confirmation parameter
on the DIO/Setup | Prefer1 page. If you bypass the Edit Title window, the name “New
Data” will be used as a title for the Scene memory.
DCLEAR
This button deletes the contents of the selected memory. After you press [ENTER], the
01V96 displays a confirmation window. To execute the delete operation, move the cur-
sor to the YES button in the confirmation window, then press [ENTER].
Note: If you select a memory that already contains settings and execute the delete operation,
the settings will be lost. Make sure that you do not accidentally delete important settings.
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Using Libraries
Channel Library
Channel library enables you to store and recall Input Channel and Output Channel param-
eter settings. The library contains two preset memories and 127 user (readable & writable)
memories.
You can recall only the settings for the currently-selected channels from the Channel library.
For example, you cannot recall Input Channel 1–32 settings to ST IN Channels 1–4, Bus
Outs 1–8, Aux Outs 1–8, or Stereo Out, with the exception that memories #0 and #1 can be
recalled to any channels.
Follow the steps below to use the Channel library.
1Press the DISPLAY ACCESS [VIEW] button repeatedly until the View | Library
page appears.
ASEL CH
This parameter indicates the currently-selected channel.
BCURRENT CONFIGURATION section
If the currently-selected channel is an Input Channel (1–32) or ST IN Channels (1–4),
its Surround mode and Aux configuration information is displayed here.
CLevel meters
These meters indicate the levels of the currently-selected channel and the available part-
ner.
DSTORED FROM
This parameter indicates the channel for which the settings were originally stored in the
selected library memory. If the currently-selected library memory contains Input Chan-
nel 1–32 and ST IN Channels 1–4 settings, its Surround mode and Aux pairing infor-
mation are also displayed below this parameter.
2Use the LAYER buttons to select layers, then press the [SEL] buttons to select
channels.
For details on the Store and Recall functions, see “General Library Operation” on page 175.
If the selected memory’s channel type does not match the type of the destination channel,
an alarm mark ( ) and the word “CONFLICT” appear next to the STORED FROM
parameter. These alarms indicate that you tried to recall unrecallable channel settings to the
currently-selected channel.
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The alarm indicators also appear when the Surround mode, Aux pair, and other non-chan-
nel parameter settings originally stored in the memory do not match those for the destina-
tion channel. However, if the channel type of the memory and that of the destination
channel match, you can recall the settings even with the alarm indicators displayed. (For
unmatched parameter settings, the 01V96 will use the settings in the memory that is to be
recalled.)
The following preset memories are available for the Channel library.
Input Patch Library
The Input Patch library enables you to store and recall all Input Patch settings. The library
contains one preset memory and 32 user (readable & writable) memories.
To access the Input Patch library, press the DISPLAY ACCESS [PATCH] button repeatedly
until the Patch | IN LIB page appears. For details on storing and recalling memories, see
“General Library Operation” on page 175.
Input Patch preset memory #0 contains the following settings:
No. Preset Name Description
0Reset (–∞ dB) This preset memory resets all parameters of the currently-selected channel
to their initial values and sets the channel fader level to (–∞ dB).
1 Reset (0 dB) This preset memory resets all parameters of the currently-selected channel
to their initial values and sets the channel fader level to 0 dB (i.e., nominal).
Input Channels 1–16 INPUT connectors 1–16
Input Channels 17–24 ADAT IN Channels 1–8
Input Channels 25–32 Slot Channels 1–8
ST IN Channels 1–4 Internal Effects Processor 1–4 Outputs 1 & 2
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Output Patch Library
The Output Patch library enables you to store and recall all Output Patch settings. The
library contains one preset memory and 32 user (readable & writable) memories.
To access the Output Patch library, press the DISPLAY ACCESS [PATCH] button repeatedly
until the Patch | Out LIB page appears.
For details on storing and recalling memories, see “General Library Operation” on
page 175.
The Output Patch preset memory #0 contains the following settings:
Effects Library
The Effects library enables you to store and recall Effects processor 1–4 programs. The
library contains 53 preset programs (including Add-On Effects) and 75 user (readable &
writable) programs.
To store and recall settings to and from the library, you must locate the corresponding
Effects processor’s page.
To access the Effects library, press the DISPLAY ACCESS [EFFECT] button repeatedly until
the library page for the desired Effects processor appears.
Each Effects processor features the library pages listed below:
•Internal Effects Processor 1 Library............ FX1 Lib page
•Internal Effects Processor 2 Library............ FX2 Lib page
•Internal Effects Processor 3 Library............ FX3 Lib page
•Internal Effects Processor 4 Library............ FX4 Lib page
Slot output channels 1–8 Bus Outs 1–8
Slot output channels 9–16 Bus Outs 1–8
ADAT OUT channels 1–8 Bus Outs 1–8
OMNI OUT connectors 1–4 Aux Outs 1–4
Note: The Effects library is shared by Effects processors 1–4. However, only Effects processors
1 and 2 enable the recall of Effect 19 “HQ Pitch” and Effect 42 “Freeze.”
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AEFFECT NAME
This parameter displays the name of the Effects program currently selected by the
Effects processor.
BTYPE
This parameter displays the effects type currently used by the Effects processor. The
number of input and output channels for the currently-used effects appears below the
TYPE parameter.
C
Move the cursor to this button, then press [ENTER] to display the Effect | FX1 Edit, FX2
Edit, FX3 Edit, or FX4 Edit page to adjust the Effects parameters.
D
Move the cursor to this button, then press [ENTER] to display the In Patch | Effect page
to assign the input and output signals of Effects processors 1–4.
ELevel meters
These meters indicate the input or output levels of the currently-selected Effects proces-
sor. Select the IN button or OUT button to display the input levels or output levels
respectively.
For details on storing and recalling programs, see “General Library Operation” on page 175.
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The following tables list the preset effects programs in the Effects library:
•Reverbs
•Delays
•Modulation-based Effects
•Guitar Effects
•Dynamic Effects
No. Preset Name Type Description
1Reverb Hall REVERB HALL Concert hall reverberation simulation with gate
2Reverb Room REVERB ROOM Room reverberation simulation with gate
3Reverb Stage REVERB STAGE Reverb designed for vocals, with gate
4Reverb Plate REVERB PLATE Plate reverb simulation with gate
5Early Ref. EARLY REF. Early reflections without the subsequent reverb
6Gate Reverb GATE REVERB Gated early reflections
7Reverse Gate REVERSE GATE Gated reverse early reflections
No. Preset Name Type Description
8Mono Delay MONO DELAY Simple mono delay
9Stereo Delay STEREO DELAY Simple stereo delay
10 Mod.delay MOD.DELAY Simple repeat delay with modulation
11 Delay LCR DELAY LCR 3-tap (left, center, right) delay
12 Echo ECHO Stereo delay with crossed left/right feedback
No. Preset Name Type Description
13 Chorus CHORUS Chorus
14 Flange FLANGE Flanger
15 Symphonic SYMPHONIC Proprietary Yamaha effect that produces a richer and
more complex modulation than normal chorus
16 Phaser PHASER 16-stage stereo phase shifter
17 Auto Pan AUTO PAN Auto-panner
18 TREMOLO TREMOLO Tremolo
19 HQ.Pitch HQ.PITCH Mono pitch shifter, producing stable results (Available
for internal effects 1 and 2.)
20 Dual Pitch DUAL PITCH Stereo pitch shifter
21 Rotary ROTARY Rotary speaker simulation
22 Ring Mod. RING MOD. Ring modulator
23 Mod.Filter MOD.FILTER Modulated filter
No. Preset Name Type Description
24 Distortion DISTORTION Distortion
25 Amp Simulate AMP SIMULATE Guitar amp simulation
No. Preset Name Type Description
26 Dyna.Filter DYNA.FILTER Dynamically controlled filter
27 Dyna.Flange DYNA.FLANGE Dynamically controlled flanger
28 Dyna.Phaser DYNA.PHASER Dynamically controlled phase shifter
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•Combination Effects
•Others
•Add-On Effects
No. Preset Name Type Description
29 Rev+Chorus REV+CHORUS Reverb and chorus in parallel
30 Rev->Chorus REV->CHORUS Reverb and chorus in series
31 Rev+Flange REV+FLANGE Reverb and flanger in parallel
32 Rev->Flange REV->FLANGE Reverb and flanger in series
33 Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel
34 Rev->Sympho. REV->SYMPHO. Reverb and symphonic in series
35 Rev->Pan REV->PAN Reverb and auto-pan in series
36 Delay+ER. DELAY+ER. Delay and early reflections in parallel
37 Delay->ER. DELAY->ER. Delay and early reflections in series
38 Delay+Rev DELAY+REV Delay and reverb in parallel
39 Delay->Rev DELAY->REV Delay and reverb in series
40 Dist->Delay DIST->DELAY Distortion and delay in series
No. Preset Name Type Description
41 Multi.Filter MULTI.FILTER 3-band parallel filter (24 dB/octave)
42 Freeze FREEZE Simple sampler (Available for internal effects 1 and 2.)
43 Stereo Reverb ST REVERB Stereo reverb
44 M.Band Dyna. M.BAND DYNA. 3-band dynamics processor
No. Preset Name Type Description
451
1. These preset programs are dedicated to Add-On Effects. The numbers of effects programs that do not
have Add-On Effects installed are grayed out and cannot be used. For more information on Add-On
Effects, refer to “About Add-On Effects” on page 162.
Comp276 COMP276
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461Comp276S COMP276S
471Comp260 COMP260
481Comp260S COMP260S
491Equalizer601 EQUALIZER601
501OpenDeck OPENDECK
511REV-X Hall REV-X HALL
521REV-X Room REV-X ROOM
531REV-X Plate REV-X PLATE
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Gate Library
The Gate library enables you to store and recall Input Channel gate settings. The library
contains four preset memories and 124 user (readable & writable) memories.
Follow the steps below to use the Gate library.
1Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F2] button.
The Dynamics | Gate Lib page appears.
ACURRENT TYPE
This parameter displays the currently-selected channel gate type (Gate or Ducking).
BCURRENT CURVE
This graph displays the current channel gate curve.
CGR meters
These meters indicate the amount of gain reduction being applied by the gate, and the
post-gate levels of the currently-selected channel and its available pair partner.
DType & Curve section
The type (Gate or Ducking) and curve of the currently-selected memory is displayed
here.
2Use the LAYER buttons to select layers, then press the [SEL] buttons to select
channels.
You can now store the selected channel gate settings or recall the gate library memories to
channels. For details on storing and recalling memories, see “General Library Operation”
on page 175.
The following table lists the preset memories in the Gate library:
Tip: If you selected an ST IN Channel (1–4), Aux Out (1–8), Bus Out (1–8), or Stereo Out
that does not feature a gate, the 01V96 indicates “XXX has no Gate!” (in which XXX represents
a channel name).
No. Preset Name Type Description
1Gate GATE Gate template
2Ducking DUCKING Ducking template
3A. Dr. BD GATE Gate preset for use with acoustic bass drums
4A. Dr. SN GATE Gate preset for use with acoustic snare drums
3
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Compressor Library
This library enables you to store and recall settings for the compressors on Input Channels,
Bus Outs 1–8, Aux Outs 1–8, and Stereo Out. The library contains 36 preset memories and
92 user (readable & writable) memories.
Follow the steps below to use the Compressor library.
1Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F4] button.
The Dynamics | Comp Lib page appears.
ACURRENT TYPE
This parameter displays the currently-selected channel comp type (Compressor,
Expander, Compander Soft, Compander Hard).
BCURRENT CURVE
This graph displays the current compressor curve.
CGR meters
These meters indicate the amount of gain reduction being applied by the compressor,
and the post-comp levels of the currently-selected channel and its available pair partner.
DType & Curve section
The type and curve of the currently-selected memory is displayed here.
2Use the LAYER buttons to select layers, then press the [SEL] buttons to select
channels.
You can now store the selected channel comp settings and recall the compressor library
memories to channels. For details on storing and recalling memories, see “General Library
Operation” on page 175. Since ST IN Channels do not feature compressors, if you select an
ST IN Channel, the message “Stereo in has no Comp!” appears on the display.
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The following table lists the preset memories in the Compressor library:
No. Preset Name Type Description
1Comp COMP
Compressor for reducing the overall volume level. Use
it on the stereo output during mixdown, or with paired
Input or Output Channels.
2Expand EXPAND Expander template.
3Compander (H) COMPAND-H Hard-kneed compressor template.
4Compander (S) COMPAND-S Soft-kneed compressor template.
5A. Dr. BD COMP Compressor for use with acoustic bass drum.
6A. Dr. BD COMPAND-H Hard-kneed compander for use with acoustic bass
drum.
7A. Dr. SN COMP Compressor for use with acoustic snare drum.
8A. Dr. SN EXPAND Expander for use with acoustic snare drum.
9A. Dr. SN COMPAND-S Soft-kneed compander for use with acoustic snare
drum.
10 A. Dr. Tom EXPAND
Expander for use with acoustic tom toms, which auto-
matically reduces the volume when the tom toms are
not played, improving mic separation.
11 A. Dr. OverTop COMPAND-S
Soft-kneed compander for emphasizing the attack and
ambience of cymbals recorded with overhead mics. It
automatically reduces the volume when the cymbals
are not played, improving mic separation.
12 E. B. Finger COMP Compressor for leveling the attack and volume of a fin-
ger-picked electric bass guitar.
13 E. B. Slap COMP Compressor for leveling the attack and volume of a
slapped electric bass guitar.
14 Syn. Bass COMP Compressor for controlling or emphasizing the level of
a synth bass.
15 Piano1 COMP Compressor for brightening the tonal color of a piano.
16 Piano2 COMP A variation on preset 15, using a deep threshold to
change the overall attack and level.
17 E. Guitar COMP
Compressor for electric guitar “cutting” or arpeg-
gio-style backing. The sound color can be varied by
playing different styles.
18 A. Guitar COMP Compressor for acoustic guitar “stroke” or arpeg-
gio-style backing.
19 Strings1 COMP Compressor for use with strings.
20 Strings2 COMP A variation on preset 19, intended for violas or cellos.
21 Strings3 COMP
A variation on preset 20, intended for string instru-
ments with a very low range, such as cellos or contra-
bass.
22 BrassSection COMP Compressor for brass sounds with a fast and strong
attack.
23 Syn. Pad COMP
Compressor for musical instruments that feature gentle
sounds which, depending on the tones, could diffuse,
such as synth pad. Intended to prevent diffusion of the
sound.
24 SamplingPerc COMPAND-S Compressor for making sampled percussion sound like
real acoustic percussion.
25 Sampling BD COMP A variation on preset 24, intended for sampled bass
drum sounds.
26 Sampling SN COMP A variation on preset 25, intended for sampled snare
drum sounds.
27 Hip Comp COMPAND-S A variation on preset 26, intended for sampled loops
and phrases.
28 Solo Vocal1 COMP Compressor for use with main vocals.
29 Solo Vocal2 COMP A variation on preset 28.
30 Chorus COMP A variation on preset 28, intended for choruses.
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01V96 Version 2—Owner’s Manual
EQ Library
This library enables you to store and recall EQ settings for Input Channels, Bus Outs 1–8,
Aux Outs 1–8, and Stereo Out. The library contains 40 preset memories and 160 user (read-
able & writable) memories.
Follow the steps below to use the EQ library.
1 Press the DISPLAY ACCESS [EQ] button, then press the [F2] button.
The EQ | EQ Library page appears.
ACURRENT TYPE
This parameter displays the currently-selected channel EQ type (TYPE I or II).
BCURRENT CURVE
This graph displays the current EQ curve.
CLevel meters
These meters indicate the post-EQ levels of the currently-selected channel and its avail-
able pair partner.
DType & Curve section
The type and curve of the currently-selected EQ program are displayed here.
2Use the LAYER buttons to select layers, then press the [SEL] buttons to select
channels.
You can now store the selected channel EQ settings or recall the EQ library memories to
channels. For details on storing and recalling memories, see “General Library Operation”
on page 175.
31 Click Erase EXPAND Expander for removing a click track that may bleed
through from a musician’s headphones.
32 Announcer COMPAND-H Hard-kneed compander for reducing the level of the
music when an announcer speaks.
33 Limiter1 COMPAND-S A soft-kneed compander with a slow release.
34 Limiter2 COMP A “peak-stop” compressor.
35 Total Comp1 COMP
Compressor for reducing the overall volume level. Use
it on the stereo output during mixdown, or with paired
Input or Output Channels.
36 Total Comp2 COMP A variation on preset 35, but with more compression.
No. Preset Name Type Description
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The following table lists the preset memories in the EQ library:
No. Preset Name Description
1Bass Drum 1 Emphasizes the low range of a bass drum and the attack created by the
beater.
2Bass Drum 2 Creates a peak around 80 Hz, producing a tight, stiff sound.
3Snare Drum 1 Emphasizes “snappy” and rimshot sounds.
4Snare Drum 2 Emphasizes various ranges for that classic rock snare drum sound.
5Tom-tom 1 Emphasizes the attack of tom-toms, and creates a long, “leathery” decay.
6Cymbal Emphasizes the attack of crash cymbals, extending the “sparkling” decay.
7High Hat Use on a tight high-hat, emphasizing the mid to high range.
8Percussion Emphasizes attack and adds clarity to the high-range of instruments, such
as shakers, cabasas, and congas.
9E. Bass 1 Produces a tight electric bass sound by cutting very low frequencies.
10 E. Bass 2 Unlike preset 9, this preset emphasizes the low range of an electric bass.
11 Syn. Bass 1 Use on a synth bass with emphasized low range.
12 Syn. Bass 2 Emphasizes the attack that is peculiar to synth bass.
13 Piano 1 Makes pianos sound brighter.
14 Piano 2 Used in conjunction with a compressor, this preset emphasizes the attack
and low range of pianos.
15 E. G. Clean Use for line-level recording of an electric or semi-acoustic guitar to get a
slightly harder sound.
16 E. G. Crunch 1 Adjusts the tonal quality of a slightly distorted guitar sound.
17 E. G. Crunch 2 A variation on preset 16.
18 E. G. Dist. 1 Makes a heavily distorted guitar sound clearer.
19 E. G. Dist. 2 A variation on preset 18.
20 A. G. Stroke 1 Emphasizes the bright tones of acoustic guitars.
21 A. G. Stroke 2 A variation on preset 20. You can also use it with an acoustic-electric nylon
string guitar.
22 A. G. Arpeg. 1 Ideal for arpeggio playing on acoustic guitars.
23 A. G. Arpeg. 2 A variation on preset 22.
24 Brass Sec. Use with trumpets, trombones, or saxes. When used with a single instru-
ment, try adjusting the HIGH or HIGH-MID frequency.
25 Male Vocal 1 An EQ template for male vocals. Try adjusting the HIGH or HIGH-MID
parameters according to the voice quality.
26 Male Vocal 2 A variation on preset 25.
27 Female Vo. 1 An EQ template for female vocals. Try adjusting the HIGH or HIGH-MID
parameters according to the voice quality.
28 Female Vo. 2 A variation on preset 27.
29 Chorus&Harmo An EQ template for brightening choruses.
30 Total EQ 1 Use on a stereo mix during mixdown. Sounds even better when used with a
compressor.
31 Total EQ 2 A variation on preset 30.
32 Total EQ 3 A variation on preset 30. Can also be used with paired Input or Output
Channels.
33 Bass Drum 3 A variation on preset 1, with low and mid range reduced.
34 Snare Drum 3 A variation on preset 3, creating a thicker sound.
35 Tom-tom 2 A variation on preset 5, emphasizing the mid and high ranges.
36 Piano 3 A variation on preset 13.
37 Piano Low Emphasizes the low range of pianos recorded in stereo.
38 Piano High Emphasizes the high range of pianos recorded in stereo.
39 Fine-EQ Cass Add clarity when recording to or from cassette tape.
40 Narrator Ideal for recording narration.
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Remote Control 189
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Remote Control
17
17 Remote Control
This chapter describes the Remote function, which enables you to control external equip-
ment directly from the 01V96 top panel.
About Remote Function
The 01V96’s Remote function enables you to control external DAW (Digital Audio Work-
station) equipment, MIDI devices, recorders, etc.
There are two types of Remote functions (Remote and Machine Control):
■REMOTE (Remote Layer)
To use these types of Remote functions, you must connect the 01V96 to a target device via
USB or an optional MY8-mLAN card installed in the slot, and operate the faders and [ON]
buttons on the top panel to control the external device remotely.
You can specify a target device and parameter values on the DIO/Setup | Remote page. This
layer is enabled when you turn on the LAYER [REMOTE] button. During Remote opera-
tion, the controls on the top panel enable you to control the external device. (You cannot
adjust the 01V96’s parameters unless you select a different layer.)
You can assign functions of a target device to the controls on the top panel of the 01V96 by
using Remote layer. The following targets are available for remote control:
•ProTools ........................You can remotely control Digidesign Pro Tools.
•Nuendo ..........................You can remotely control Steinberg Nuendo.
•Cubase SX .....................You can remotely control Steinberg Cubase SX.
•General DAW................You can remotely control DAW software that supports the pro-
tocol used by Pro Tools.
•User Defined.................You can also assign MIDI messages to the faders or [ON] but-
tons to remotely control a connected MIDI device, such as a
synthesizer.
•User Assignable Layer.......You can combine the 01V96 channels to create a custom
layer. (See page 233 for more information on this function.)
■Machine Control
By using MIDI Machine Control commands and the DIO/Setup | Machine page, you can
control an external recording machine that is connected to the 01V96 MIDI port, USB port,
or optional MY8-mLAN card installed in the slot.
Tip: To control external devices from the 01V96, you can also use the User Defined buttons.
Refer to “19 Other Functions” for more information.
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Pro Tools Remote Layer
The 01V96 features Remote Layer target especially designed for controlling Pro Tools.
Connections and Configuring Pro Tools
Follow the steps below to connect the 01V96 to your computer via the USB port so that you
can control Pro Tools from the 01V96.
■Configuring Windows Computers
1Connect the 01V96 TO HOST USB port to a USB port on your PC using a USB
cable.
2 Install the necessary USB drivers included on the 01V96 CD-ROM.
See the Studio Manager Installation Guide for more information on installing the drivers.
■Configuring Macintosh Computers
1 Connect the 01V96 TO HOST USB port to a USB port on your Mac using a
USB cable.
2 Install the required USB driver included on the 01V96 CD-ROM.
See the Studio Manager Installation Guide for more information on installing the driver.
3 If you are using Mac OS versions 8.6 through 9.2.2, install OMS.
The 01V96 communicates with Pro Tools via OMS (Open Music System) software.
If you have not installed OMS on your Mac, use the OMS installer included on the 01V96
CD-ROM to install OMS.
4 Launch Pro Tools.
Note: You cannot control Pro Tools via MIDI connections. Be sure to connect your computer
via the USB or an optional MY8-mLAN card installed in the 01V96 slot.
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5If you are using Mac OS versions 8.6 through 9.2.2, choose OMS Studio Setup
from the Setups menu, and configure OMS as necessary.
Refer to the documentation
that came with OMS for more
information on configuring
the OMS Studio Setup menu.
OMS recognizes the 01V96 as
a USB MIDI interface that fea-
tures eight ports.
6Choose Peripherals from the Setups menu to open the Peripherals window.
7Double-click the MIDI Controllers tab.
8Refer to the screen below to set the Type, Receive From, Send To, and #Ch’s
parameters.
The 01V96 can emulate up to two MIDI controllers.
9 When you finish setting the parameters, close the window.
Tip: To control Pro Tools remotely, you need one port for every eight audio channels.
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Configuring the 01V96
Follow the steps below to set up the 01V96 so that you can remotely control Pro Tools from
the 01V96 Remote Layer.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears.
2Move the cursor to the first DAW parameter box in the SPECIAL FUNCTIONS
section, then rotate the Parameter wheel to select USB as the port.
3 Press [ENTER] to confirm the setting.
4 Move the cursor to the adjacent
parameter box (on the right), then
rotate the Parameter wheel to spec-
ify the port ID.
5 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Remote page appears.
6Select ProTools (as the target device) for the Target parameter (1) located
in the upper-right corner of the page.
By default, the Remote layer target is set to ProTools. If another target has been selected,
rotate the Parameter wheel to select ProTools.
Note: If you select an incorrect port, you will be unable to use the Remote function. Be sure
to match the port ID with that specified in the Peripherals window in Pro Tools.
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7 Press the LAYER [REMOTE] button.
The Remote Layer is now available for control, enabling you to remotely control Pro Tools.
Display
While the Pro Tools layer is selected, you can use the [F2]–[F4] buttons as well as the left
and right [ ]/[ ] Tab Scroll buttons to select display modes. You can select the follow-
ing display modes using these buttons:
■Insert Display mode ( [F2] button)
Press the [F2] button to select Insert Display mode. In this mode, you can assign and edit
plug-ins.
ATARGET
This parameter enables you to select the remote control target device.
BCOUNTER
This counter indicates the current position. This counter works in unison with the time-
code counter on Pro Tools. The display format of the counter is specified in Pro Tools.
The following three check boxes in the COUNTER section indicate the cur-
rently-selected format.
•TIME CODE: ................Pro Tools timecode format is set to “Time Code.”
•FEET: .............................Pro Tools timecode format is set to “Feet:Frames.”
•BEATS:...........................Pro Tools timecode format is set to “Bars:Beats.”
Note: When the Pro Tools Remote layer is selected, the 01V96’s top panel faders and other
channel buttons are available for remote control. To control the 01V96, you need to select an
Input Channel Layer or the Master Layer.
3
4
5
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•If no check boxes are selected:...........Pro Tools timecode format is set to “Min-
utes:Seconds” or “Samples.”
CSELECT ASSIGN
This parameter indicates the current parameter, which can be adjusted via the parame-
ter controls on the page. For example, Pan, PanR, SndA, SndB, SndC, SndD, or SndE
(see page 196).
DP.WHEEL MODE
This parameter indicates the function currently assigned to the Parameter wheel (see
page 197).
EINSERT ASSIGN/EDIT section
This section enables you to insert plug-ins into Pro Tools channels and adjust plug-in
settings. Use the left and right [ ]/[ ] Tab Scroll buttons to change the parameters
displayed in this section.
•ASSIGN ......................... Turn on this button to insert plug-ins into Pro Tools channels.
(If you are using the TDM system, you can also assign outboard
effects processors.)
•COMPARE.................... You can compare your edits with the original settings by turn-
ing on this button. This button works in unison with the Com-
pare button in the Pro Tools Inserts and Sends windows.
•BYPASS ......................... Turning on this button bypasses the plug-ins (see page 204).
•INSERT/PARAM.......... Switching this button to INSERT enables you to assign plug-ins
using four rotary controls on the page. Switching this button to
PARAM enables you to adjust the plug-in parameters using the
four rotary controls (see page 203).
•Information box.......... This box displays plug-in parameter names, values, alarm mes-
sages from Pro Tools, etc.
•Rotary controls 1–4..... These controls enable you to select plug-ins or adjust the
selected plug-in parameters.
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■Channel Display mode ( [F3] button)
Press the [F3] button to select this display mode, in which the parameter controls for tracks
1–16 are displayed.
•Parameter controls 1–16 ................... Channel parameter controls, such as channel
1–16 panpots, Send A–E send levels, etc. are dis-
played.
■Meter Display mode ( [F4] button)
Press the [F4] button to select this display mode, in which the level meters for tracks 1–16
are displayed.
•Channels 1–16..............The channel 1–16 levels or Send levels are displayed.
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Control Surface Operation
When the Pro Tools Remote layer is selected, the 01V96 controls on the top panel engage
the following functions:
■Channel Strip section
•[SEL] buttons
These buttons select Pro Tools channels, inserts, and Automation mode.
•[SOLO] buttons
These buttons solo Pro Tools channels. The button indicators for the soloed channels light
up.
•[ON] buttons
These buttons mute Pro Tools channels.
•Faders
The faders set Pro Tools channel levels, including the audio tracks, MIDI tracks, master
fader, Aux Ins, etc. If 16 or fewer channels are displayed in Pro Tools, faders are assigned
starting from the left-most channel.
■FADER MODE Section
•[AUX 1]–[AUX 5] buttons
These buttons select Sends A–E so that you can adjust the corresponding Pro Tools channel
send level.
•[AUX 6] button
Press and hold down this button and press the desired [SEL] button to reset the correspond-
ing channel fader level.
Move the cursor to the parameter control on the display, then press and hold down this but-
ton and press [ENTER] to reset the corresponding channel panpot to center. While you are
holding down the [AUX 6] button, the SELECT ASSIGN parameter indicates “DFLT.”
•[AUX 7] button
When this button is turned on, you can adjust the selected channel panpot using the
SELECTED CHANNEL [PAN] control. If you turn on this button while a Channel Display
mode page is selected, you can adjust each channel panpot using parameter controls 1–16.
To adjust the stereo channel panpots, press this button repeatedly to toggle between L and
R channels.
•[AUX 8] button
Use this button along with the desired [SEL] button to assign a plug-in to the corresponding
Pro Tools channel (see page 202).
•[HOME] button
This button turns Flip mode (see page 201) on or off. Flip mode enables you to adjust the
Aux Send parameters using the faders, [ON] buttons, and the [PAN] control.
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■DISPLAY ACCESS section
•[PAIR/GROUP] button
Press this button while a Channel Display mode or Meter Display mode page is selected to
display a Group ID to which each channel belongs.
•[EFFECT] button
Press this button to display or hide the Insert window in Pro Tools.
■Display section
•[F1] button
Press this button to reset the Clipping and Peak Hold indicators on Meter Display mode
pages.
•Tab Scroll buttons ([ ]/[ ])
These buttons switch the INSERT ASSIGN/EDIT parameter settings on Insert Display
mode pages.
■Data Entry section
•[ENTER] button
This button switches the on/off status of the buttons on the display.
•Left, Right, Up, Down ([ ]/[ ]/[ ]/[ ]) cursor buttons
These buttons move the cursor on the display.
•[INC] & [DEC] buttons
The [INC] button works the same as the Enter key on your computer keyboard. The [DEC]
button works the same as the Esc key on your computer keyboard.
•Parameter wheel
The Parameter wheel enables you to adjust the currently-selected parameter, or execute the
shuttle and scrub operation. By default, it adjusts the value of the currently-selected param-
eter (The P.WHEEL MODE parameter indicates “Prm.”).
■USER DEFINED KEYS section
•[1]–[8] buttons
You can assign one of 194 parameters to each of these buttons. In particular, if you assign
any of 54 Remote Control parameters to these buttons, you can operate the transport sec-
tion and select various Pro Tools modes from the 01V96 top panel. See page 235 for more
information on assigning the parameters to the buttons.
Parameter Function
DAW REC Places Pro Tools in Record Enabled mode. The button indicator flashes while
the transport section is stopped. The indicator lights up when recording starts.
DAW PLAY Starts playback from the current cursor position.
DAW STOP Stops playback and recording.
DAW FF Fast forwards the cursor position.
DAW REW Fast rewinds the cursor position.
DAW SHUTTLE Switches the Wheel mode to Shuttle.
DAW SCRUB Switches the Wheel mode to Scrub (Jog).
DAW AUDITION
You can audition the pre-roll, post-roll, in-point area, or out-point area by
holding down the button to which this function is assigned and pressing a
button to which DAW PRE, DAW POST, DAW IN, or DAW OUT is assigned.
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DAW PRE Plays back from the pre-roll point up to the beginning of the selected area.
DAW IN Plays back from the beginning of the selected area for a duration specified as
the pre-roll.
DAW OUT Plays back to the end of the selected area for a duration specified as the
post-roll.
DAW POST Plays back from the end of the selected area for a duration specified as the
post-roll.
DAW RTZ Moves the playback cursor to the beginning of the session.
DAW END Moves the playback cursor to the end of the session.
DAW ONLINE Toggles between on-line and off-line.
DAW LOOP Toggles Loop Playback on and off.
DAW QUICKPUNCH Toggles QuickPunch on and off.
DAW AUTO FADER
Correspond to the Automation Overwrite (Auto Enable) functions.
DAW AUTO MUTE
DAW AUTO PAN
DAW AUTO SEND
DAW AUTO PLUGIN
DAW AUTO SENDMUTE
DAW AUTO READ
Select Automation modes.
DAW AUTO TOUCH
DAW AUTO LATCH
DAW AUTO WRITE
DAW AUTO TRIM
DAW AUTO OFF
DAW AUTO SUSPEND
Cancels Automation recording and playback for all channels. When Automa-
tion is interrupted, the LED flashes, and channel strip controls maintain the
current settings.
DAW AUTO STATUS
Displays the channel Automation mode (Read, Tch, Ltch, Wrt, or Off). The
mode setting appears at the bottom of each channel on a Channel or Meter
Display page when you press and hold the button to which this function is
assigned.
DAW GROUP STATUS
Displays a Group ID (to which each channel belongs) below each channel
number on a Channel or Meter Display page (in all caps for a main group and
in lowercase letters for a sub-group).
DAW MONI STATUS Pressing the key (to which this function is assigned) enables you to view the
current monitoring mode and the channel strip type.
DAW CREATE GROUP Pressing the key (to which this function is assigned) enables you to execute
the function specified in the menu of the Pro Tools Group list.
DAW SUSPEND GROUP Suspends all mix groups temporarily. Press the button again to undo suspen-
sion.
DAW WIN TRANSPORT Shows or hides the Transport window.
DAW WIN INSERT Shows or hides the Insert window.
DAW WIN MIX/EDIT Toggles between the Mix window and Edit window. (Both windows are not
displayed at the same time.)
DAW WIN MEM-LOC Shows or hides the Memory Locations window.
DAW WIN STATUS Shows or hides the Status window.
DAW UNDO Executes the Edit menu’s Undo/Redo command.
DAW SAVE Executes the Edit menu’s Save command.
DAW EDIT MODE Pressing the button (to which this function is assigned) repeatedly selects
Shuffle, Slip, Spot, or Grid edit mode in this order.
DAW EDIT TOOL
Pressing the button (to which this function is assigned) repeatedly selects one
of seven edit tools (Zoomer, Trimmer, Selector, Grabber, Smart Tool, Scrubber,
and Pencil, in this order).
Parameter Function
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Selecting Channels
To select a single Pro Tools channel, press the [SEL] button that corresponds to the desired
channel.
To select multiple Pro Tools channels simultaneously, while holding down one [SEL] but-
ton, press the [SEL] buttons of the other channels you wish to add. Press the [SEL] buttons
again to cancel the selection.
Setting Channel Levels
1 Make sure that the FADER MODE [HOME] button indicator is lit steadily.
If the indicator is flashing, press the [HOME] button to turn on the button indicator.
2 Operate the faders to set channel levels.
Press and hold down the [AUX 6] button and press the desired [SEL] button to reset the
corresponding channel fader level.
DAW SHIFT/ADD Functions in the same way as Macintosh keyboard keys (Shift, Option, Con-
trol, and Alt). Pressing one of the buttons (to which these functions are
assigned) along with another button enables you to execute various com-
mands.
DAW OPTION/ALL
DAW CTRL/CLUCH
DAW ALT/FINE
DAW BANK + Executes the Bank Swap operation. Pressing the button (to which this function
is assigned) switches the entire 16-channel bank.
DAW BANK –
DAW Channel + Executes the Channel Scroll operation. Pressing the buttons (to which these
functions are assigned) enables you to scroll channels horizontally.
DAW Channel –
DAW REC/RDY 1
Pressing the buttons (to which these functions are assigned) places the corre-
sponding channel strips in Record Ready mode. At this time, the indicator of
the button you pressed flashes. It lights up when recording starts.
DAW REC/RDY 2
DAW REC/RDY 3
DAW REC/RDY 4
DAW REC/RDY 5
DAW REC/RDY 6
DAW REC/RDY 7
DAW REC/RDY 8
DAW REC/RDY 9
DAW REC/RDY 10
DAW REC/RDY 11
DAW REC/RDY 12
DAW REC/RDY 13
DAW REC/RDY 14
DAW REC/RDY 15
DAW REC/RDY 16
DAW REC/RDY ALL
If no channel strips are in Record Enabled mode, pressing the button (to
which this function is assigned) places all channel strips in Record Enabled
mode. The button indicator flashes if any channel strip in any bank is in
Record Enabled mode. Pressing the button while the button indicator is flash-
ing cancels Record Enabled mode for all channel strips.
Parameter Function
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Muting Channels
To mute Pro Tools channels, press the [ON] buttons. The [ON] button indicators of muted
channels turn off. Grouped channels are muted together.
Press the [ON] buttons again to unmute channels. The [ON] button indicators of unmuted
channels light up.
There are two mute modes in Pro Tools: Implicit mute and Explicit mute. You can check the
mute mode by viewing the [ON] button indicators.
•Implicit mute ............... This is a forced mute mode in which the channels are muted
because other channels are soloed. In this mode, the [ON] but-
ton indicators flash.
•Explicit mute................ In this mode, the channels are turned off manually. In this
mode, the [ON] button indicators turn off.
Panning Channels
You can adjust the Pro Tools channel pan settings.
1 Press the FADER MODE [AUX 7] button.
The button indicator lights up.
2 Press the [F3] button to select Channel Display mode.
On a Channel Display mode page, parameter controls 1–16 indicate the pan settings.
3Press the [SEL] button of the channel for which you want to adjust the pan
setting.
To adjust the stereo channel panpots, press the STEREO [SEL] button, then press the [AUX
7] button to select the L or R channel. Pressing the [AUX 7] button repeatedly toggles
between the left and right channels. When the left channel is selected, the [AUX 7] button
indicator lights up and the SELECT ASSIGN parameter on the display indicates “Pan.”
When the right channel is selected, the [AUX 7] button indicator flashes and the SELECT
ASSIGN parameter indicates “PanR.”
4 Adjust the selected channel panpot using the SELECTED CHANNEL [PAN]
control.
5To reset the corresponding channel panpot to center, move the cursor to
the parameter control on the display, then press and hold down the [AUX
6] button and press [ENTER].
You can reset the pan settings only when the [AUX 7] button indicator is lit steadily.
Soloing Channels
To solo Pro Tools channels, press the [SOLO] buttons of the desired channels. Grouped
channels are soloed together, and other channels are muted.
Press the [SOLO] buttons again to unsolo the channels.
Configuring Sends A–E as Pre or Post
You can set Pro Tools channels for the selected Sends (A–E) to pre or post.
1 Press the [F3] button to select Channel Display mode.
Note: Before you adjust monaural channel panpots, first be sure the [AUX 7] button indicator
is illuminated steadily. If the indicator is flashing, operating the [PAN] control will be inef-
fective.
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2Press the FADER MODE [AUX 1]–[AUX 5] buttons to select the desired Sends
(A–E).
3To toggle between pre and post, move the cursor to the parameter control
on the display, then press [ENTER].
Pressing [ENTER] repeatedly toggles between pre and post.
Setting Send Levels
You can adjust Pro Tools Send (A–E) send levels as follows.
1 Press the [F3] button to select Channel Display mode.
2Press the AUX SELECT [AUX 1]–[AUX 5] buttons to select the desired Sends
(A–E).
3Move the cursor to the parameter control of the channel for which you want
to adjust the Send level, then rotate the Parameter wheel.
You can set Send levels by operating the faders if faders, [ON] buttons, and the [PAN] con-
trol are in Flip mode. Refer to “Flip Mode” for more information.
Muting Sends A–E
You can mute Sends by pressing the [ON] buttons if faders, [ON] buttons, and the [PAN]
control are in Flip mode. Refer to “Flip Mode” for more information.
Panning Sends A–E
You can pan channel signals sent to stereo Aux Sends by rotating the SELECTED CHAN-
NEL [PAN] control if faders, [ON] buttons, and the [PAN] control are in Flip mode. Refer
to the next section for more information.
Flip Mode
In Flip mode, you can use the faders, [ON] buttons, and the [PAN] control to control send
levels, pre/post positions, and mute settings as shown in the following table.
1 Press the FADER MODE [HOME] button repeatedly so that the button indi-
cator flashes.
The SELECT ASSIGN parameter on the display indicates “FLIP.”
2 Press the FADER MODE [AUX 1]–[AUX 5] buttons to select the desired Aux
Sends (A–E).
The button indicator of the selected send lights up.
3 Use the faders, [ON] buttons, and the [PAN] control to control the cur-
rently-selected Aux send.
For stereo Aux input channels, you can set the left and right panpots individually. To do this,
press the FADER MODE [AUX 7] button repeatedly. When the button indicator is lit con-
tinuously, you can set the left panpot. When the button indicator is flashing, you can set the
right panpot.
Control Normal mode Flip Mode
Faders Channel level AUX Send level
[ON] buttons Channel mute AUX Send mute
[PAN] control Channel pan AUX Send pan
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Assigning Plug-ins to Pro Tools Channels
You can assign plug-ins to five inserts available for Pro Tools channel strips as follows.
1 Press the [F2] button to select Insert Display mode.
2 Press the FADER MODE [AUX 8] button.
The [AUX 8] button indicator flashes. You can now select a channel to which you want to
insert plug-ins.
3 Press the [SEL] button of each desired channel.
4 Make sure that the INSERT/PARAM button (1) is selected in the INSERT
ASSIGN/EDIT section.
If the PARAM button is selected instead, move the cursor to the button, then press
[ENTER] to select INSERT.
5Move the cursor to the ASSIGN button (2), then press [ENTER] to turn on
the button.
You can now select plug-ins. If you press another channel’s [SEL] button after you turn on
the ASSIGN button, the button turns off. If you wish to assign plug-ins to other channels,
turn on the ASSIGN button again.
6 Move the cursor to one of the four parameter controls, then rotate the
Parameter wheel to select a plug-in.
By default, the parameter controls enable you to select plug-ins to be assigned to channel
inserts #1–#4. To assign a plug-in to insert #5, press the Tab Scroll button [ ] to change
the indication in the INSERT ASSIGN/EDIT section.
If you are using the TDM system, you can also assign outboard effects processors.
7 Press [ENTER] to confirm the assignment.
Repeat Steps 6 and 7 to assign more plug-ins to other insert positions in the channel strip.
1
2
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8 In the same way, assign plug-ins to other channels.
9 When you finish assigning plug-ins, press the [AUX 8] button.
The button indicator turns off.
Editing Plug-ins
You can edit plug-ins inserted in the channel strips as follows:
1 Press the [F2] button to select Insert Display mode.
2Press the corresponding [SEL] button to select the channel that was assigned
the plug-in you want to edit.
3In the INSERT ASSIGN/EDIT section, move the cursor to the parameter con-
trol (Insert 1–4) that was assigned the parameter you want to edit.
4 Press [ENTER] to display the parameters.
In the INSERT ASSIGN/EDIT section, the PARAM button is automatically selected and the
Information box indicates the selected plug-in parameters.
You can now use parameter controls 1–4 and the [ENTER] button to adjust the parameters.
5 Use the Tab Scroll buttons to display the parameter value you wish to
change.
Most plug-ins feature five or more parameters. To edit the fifth or subsequent parameters,
use the Tab Scroll buttons to display the desired parameters and their values in the INSERT
ASSIGN/EDIT section. The current page number and the plug-in name appear for a
moment immediately after you press the Tab Scroll buttons.
Note: To adjust a plug-in assigned to insert #5, press the Tab Scroll button [ ] to change
the parameter indication in the INSERT ASSIGN/EDIT section, then select a parameter con-
trol.
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6 Move the cursor to a parameter control, then rotate the Parameter wheel
or press the [ENTER] button to adjust the value.
One or two parameters are assigned to a single parameter control. To turn the parameter
setting on or off, press [ENTER]. To modify the parameter variable, rotate the Parameter
wheel.
7 When you finish adjusting the parameters, move the cursor to the
INSERT/PARAM button, then press [ENTER] to switch it to INSERT.
Bypassing Plug-ins
You can bypass plug-ins assigned to Pro Tools channels.
Before bypassing plug-ins, you must press the corresponding [SEL] button to select a chan-
nel to which the plug-ins have been assigned, then press the [F2] button to select Insert Dis-
play mode.
To bypass plug-ins, display the parameters of the plug-in you wish to bypass in the INSERT
ASSIGN/EDIT section, then turn on the BYPASS button.
Scrub & Shuttle
By assigning the DAW SCRUB parameter to one of the User Defined buttons [1]–[8], you
can scrub Pro Tools tracks back and forth by turning the Parameter wheel. By assigning the
DAW SHUTTLE parameter to one of the User Defined buttons [1]–[8], you can shuttle
back and forth by turning the Parameter wheel.
1 Assign the DAW SCRUB or DAW SHUTTLE parameter to one of the User
Defined buttons [1]–[8].
Before assigning parameters to these buttons, you must switch layers to cancel the Remote
function. See page 235 for more information on assigning the parameters to the User
Defined buttons.
2 Press the LAYER [REMOTE] button to enable remote control of Pro Tools.
3 Make sure that Pro Tools is stopped.
4 Press the User Defined button to which you assigned the DAW SCRUB or
DAW SHUTTLE parameter in Step 1.
You can now use the Scrub or Shuttle function.
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5 Rotate the Parameter wheel.
Rotate the Parameter wheel clockwise to scrub or shuttle forwards. Turn it counterclock-
wise to scrub or shuttle backwards.
The minimum scrub playback step varies depending on the zoom setting in the Pro Tools
Edit window.
6To cancel the Scrub or Shuttle function, press the User Defined button or
DAW SHUTTLE to which you assigned the DAW SCRUB parameter in Step 1.
Alternatively, you can cancel the Scrub or Shuttle function by pressing the User Defined
button to which the DAW STOP parameter is assigned. The Scrub function is automatically
cancelled if you commence playback or fast forward.
Automation
If you assign a parameter that controls Pro Tools Automation mode (such as DAW Auto
Read, DAW Auto Touch, etc.) to one of the User Defined buttons, you can control the Auto-
mation settings for each channel by using that User Defined button. See page 235 for more
information on assigning parameters to User Defined buttons.
Press the STEREO OUT channel [SEL] button. The button indicator lights up, and the
Channel 1–16 [SEL] buttons become available for the Automation mode setting.
Press the desired channel [SEL] buttons while pressing the programmed User Defined but-
ton to switch the corresponding channels’ Automation settings.
While the channel [SEL] buttons are available for the Automation mode setting, pressing
the [SEL] buttons will cause the Fader Touch or Untouch command to be transmitted to
Pro Tools. This is useful for Automation punch in and out recording.
Depending on the currently-selected Automation mode, the channel [SEL] button indica-
tors operate as follows:
Note: The Scrub/Shuttle operation might be stopped unexpectedly by Pro Tools. Therefore,
whenever you use the Scrub or Shuttle function, make sure that the P.WHEEL MODE param-
eter indicates “SCRUB” or “SHUTTLE.” You can check the Scrub/Shuttle function status by
viewing the corresponding User Defined button indicator.
Note: Operating a fader also causes the Fader Touch command to be transmitted. Also, when-
ever the transport mode changes (such as Play and Stop), the Fader Untouch command is
transmitted.
User Defined Keys
Function
Pro Tools Automation
Mode [SEL] Button Indicators
DAW AUTO WRITE Auto write
Flashing red (Record Ready)
Red (Recording)
DAW AUTO TOUTCH Auto touch
DAW AUTO LATCH Auto latch
DAW AUTO READ Auto read Illuminated steadily
DAW AUTO OFF Auto off Off
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Nuendo/Cubase SX Remote Layer
You can remotely control Nuendo and Cubase SX using the Remote Layer.
■Configuring Computers
1 Connect the 01V96 to your computer using a USB cable, and install the
required USB driver included on the 01V96 CD-ROM.
Refer to the Studio Manager installation guide for more information on installing the
driver.
2 Launch Nuendo/Cubase SX, select the Device Setup menu, and set up
Nuendo/Cubase SX so that the 01V96 can communicate with the software.
Refer to the Nuendo/Cubase SX User’s Manual for more information on setting up the soft-
ware.
■Configuring the 01V96
1 Refer to page 192 to configure the DIO/Setup | MIDI/HOST page.
2 Press the LAYER [REMOTE] button to set the TARGET parameter to
Nuendo/Cubase SX.
You can now remotely control Nuendo/Cubase SX using the Remote Layer.
Other DAW Remote Layer
You can remotely control DAW software that supports the Pro Tools protocol.
■Configuring Computers
1 Connect the 01V96 to your computer using a USB cable, and install the
required USB driver included on the 01V96 CD-ROM.
Refer to the Studio Manager installation guide for more information on installing the
driver.
2Launch and set up the DAW software so that the 01V96 communicates with
the software.
Refer to the DAW software’s user’s manual for more information on setting up the software.
■Configuring the 01V96
1 Refer to page 192 to configure the DIO/Setup | MIDI/HOST page.
2Press the LAYER [REMOTE] button to set the TARGET parameter to General
DAW.
You can now remotely control the DAW software using the Remote Layer.
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MIDI Remote Layer
If you select USER DEFINED as the target for the Remote Layer, you can remotely control
the parameters of external MIDI devices (such as synthesizers and tone generators) by oper-
ating the channel [ON] buttons, and faders to output various MIDI messages. (This is
called MIDI Remote function.)
You can store MIDI messages assigned to the channel controls in four banks. When the
01V96 is shipped from the factory, it includes MIDI settings in these banks, which you can
quickly recall to use the MIDI Remote function.
If necessary, you can also assign other MIDI messages to the faders or [ON] buttons to
remotely control the parameters of a connected MIDI device.
Using the MIDI Remote Function
This section describes how to recall and use the factory-preset MIDI Remote settings stored
in the banks.
By default, the 01V96’s four MIDI Remote banks (Banks 1–4) contain the following MIDI
messages.
1Connect the 01V96’s MIDI OUT port to the MIDI IN port of the MIDI device.
Bank Usage Control Function
[ON] buttons Faders
1 Panning and setting GM sound levels — Volume
2 Setting GM sound effect send levels — Effect Send
3 Setting XG sound levels — Volume
4 Adjusting mute, and levels for Cubase series mixer Mute Volume
REC
SONG SCENE
MUSICPRODUCTION SYNTHESIZER
IntegratedSamplingSequencer
Real-timeExternalControlSur face
ModularSynthesis Plug-in System
SOLO SOLO
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1-16 17-32 MASTER REMOTE
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PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
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USER DEFINED
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MIDI OUT
Synthesizer
MIDI IN
208 Chapter 17—Remote Control
01V96 Version 2—Owner’s Manual
2 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears.
3 Move the cursor to the REMOTE parameter box (1) in the SPECIAL FUNC-
TIONS section, rotate the Parameter wheel to select MIDI, then press
[ENTER].
If the MIDI port is already in use, a window confirming the assignment change appears.
Move the cursor to the YES button, then press [ENTER].
4 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Remote page appears.
5Move the cursor to the TARGET parameter box, rotate the Parameter wheel
to select USER DEFINED, then press [ENTER].
The confirmation window for changing the setting appears. Move the cursor to the YES
button, then press [ENTER]. The display changes as follows:
ATRANSMIT ENABLE/DISABLE
This button switches the MIDI Remote function between enable and disable.
BINITIALIZE
This button resets the settings stored in the bank selected by the BANK parameter their
default settings.
CBANK
This parameter enables you to select one of four banks.
Tip: If the REMOTE parameter box is grayed out, proceed to Steps 4 and 5 to set the TARGET
parameter, then return to Steps 2 and 3.
1
2
3
5
6
1
4
MIDI Remote Layer 209
01V96 Version 2—Owner’s Manual
Remote Control
17
DID, SHORT, LONG
These parameters display the channel names. The ID parameter displays the channel ID
(RM01–RM16) for the currently-controlled MIDI device.
EON section
This section displays the type of MIDI messages (in hexadecimal or alphabet) assigned
to the [ON] buttons for the currently-selected channels (RM01–RM16).
•LATCH/UNLATCH......This button toggles between Latch and Unlatch for [ON] but-
ton operation.
•LEARN...........................When you turn on this button, MIDI messages received at the
MIDI IN port are assigned to the DATA parameter boxes.
•DATA parameter boxes ...................... These boxes display the type of MIDI messages
(in hexadecimal or alphabets) assigned to the
[ON] button).
FFADER section
This section displays the type of MIDI messages (in hexadecimal or alphabet) assigned
to the faders for the currently-selected channels (RM01–RM16).
6Move the cursor to the desired bank button (BANK parameter buttons 1–4),
then press [ENTER].
7 Press the LAYER [REMOTE] button to select Remote layer.
You can now use the MIDI Remote function.
8 Use the faders and [ON] buttons to control the MIDI device.
Assigning MIDI Messages to Channel Controls
You can quickly use the MIDI Remote function if you use the factory presets in the banks.
However, you can also assign the desired MIDI messages to the faders or [ON] buttons.
This section describes how to assign MIDI messages to the channel controls, using the
example of assigning Hold On/Off messages (Control Change #64; Values 127 & 0) to the
Channel 1 [ON] button.
1Connect the 01V96’s MIDI IN port to the MIDI OUT port of a MIDI keyboard
to which a Hold On/Off controllable foot switch is connected. Enable the
MIDI Remote function on the 01V96.
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
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ON
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PEAK
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SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
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PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR/
GROUP
A
B
A
B
A
B
A
B
A
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O
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IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
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MIDI OUT
MIDI keyboard
MIDI INMIDI OUTMIDI IN
Foot switch
210 Chapter 17—Remote Control
01V96 Version 2—Owner’s Manual
2 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Remote page appears, then set the TARGET parameter to USER
DEFINED.
You can now use the MIDI Remote function. Refer to the previous section for more infor-
mation on using the MIDI Remote function.
3Move the cursor to the desired bank button (BANK parameter buttons 1–4),
then press [ENTER].
4 Press the [SEL] buttons for the desired channels.
Currently-assigned MIDI messages appear in the ON and FADER sections.
5Move the cursor to the LEARN button in the ON section, then press [ENTER].
MIDI messages received at the MIDI IN port of the 01V96 will be assigned to the DATA
parameter boxes in the ON section.
6 Press and hold down the MIDI keyboard foot switch.
The MIDI Hold On message is assigned in the DATA parameter box.
MIDI messages are described below:
•00–7F ............................. MIDI messages are expressed in hexadecimal.
•END ............................... This message indicates the end of MIDI messages. Subsequent
messages assigned in the DATA parameter boxes will be
ignored.
•–...................................... This message indicates that no messages are assigned to the
DATA parameter boxes.
7While continuing to hold down the foot switch, turn off the LEARN button.
8 Move the cursor to the third parameter box (“7F” in this example), then
rotate the Parameter wheel to change the value to SW.
“SW” is a variable that changes depending on the [ON] button’s on/off status. You can use
the following variables in MIDI messages.
•SW.................................. This variable is selectable only in the DATA parameter boxes of
the ON section. When the [ON] buttons are turned on, “7F”
(127 in decimal) is output. When the [ON] buttons are turned
off, “00” (0 in decimal) is output.
•FAD ................................ This variable is selectable only in the DATA parameter boxes of
the FADER section. When you operate the faders, continuously
Tip: You can also choose the desired channels using the ID, SHORT, and LONG parameters.
Tip: When you click the LEARN button to assign MIDI messages, the 01V96 automatically
recognizes the end of the messages and assigns END and “–.”
MIDI Remote Layer 211
01V96 Version 2—Owner’s Manual
Remote Control
17
changing values in the range of 00 to 7F (0–127 in decimal) are
output.
9 Move the cursor to the LATCH/UNLATCH button, then press [ENTER] to
select LATCH or UNLATCH depending on how you want the [ON] buttons
to function.
•LATCH...........................Pressing the [ON] buttons repeatedly transmits alternating On
and Off messages.
•UNLATCH ....................Pressing and holding down the [ON] buttons transmits On
messages, and releasing the [ON] buttons transmits Off mes-
sages.
■When “SW” is assigned:
-LATCH
-UNLATCH
■When “SW” is not assigned:
-UNLATCH
Tip: If “SW” is not assigned in the DATA parameter boxes of the ON section, the current MIDI
messages are output.
Note: Be sure to set one of the DATA parameter boxes of the FADER section to “FAD.” If no
“FAD” is assigned, fader operation is ignored.
Tip: Refer to the diagrams below for information on how the [ON] buttons behave when Latch
or Unlatch is selected.
Tip: In most situations, select Unlatch if SW is not assigned.
Off Illuminated Off
MIDI data transmission
(SW=7F)
MIDI data transmission
(SW=00)
Off Off
MIDI data transmission
(SW=7F)
MIDI data transmission
(SW=00)
Illuminated
MIDI data transmission
Off OffIlluminated
212 Chapter 17—Remote Control
01V96 Version 2—Owner’s Manual
10 To change the channel name, move the cursor to the ID LONG parameter
box, then press [ENTER] to display the Title Edit window.
Refer to page 30 for more information on editing names.
Machine Control Function
The 01V96 can control the transport functions and select tracks on external recording
machines that support MMC by transmitting commands via the MIDI OUT port or USB
port.
1Refer to the diagram below for information on connecting the 01V96 to an
external device.
2 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears.
Tip:
•Move the cursor to the INITIALIZE button, then press [ENTER]. A window is displayed
that enables you to reset the parameter settings in the currently-selected bank.
•You can also assign MIDI messages to the parameter boxes manually without using the
LEARN button.
Note: Controllable parameters vary depending on the connected devices. Refer to the User’s
Manual for the external device for more information on controllable parameters.
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
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GAIN
-16 -60
GAIN
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GAIN
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GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR/
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
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INSERT I
/
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/
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/
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/
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/
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/
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/
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/
OINSERT I
/
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/
OINSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
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+10
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1010
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MIDI OUT
MMC-supported
machine
MIDI INMIDI IN MIDI OUT
1
Machine Control Function 213
01V96 Version 2—Owner’s Manual
Remote Control
17
3Move the cursor to the PORT parameter box in the MACHINE CONTROL sec-
tion (1), then rotate the Parameter wheel to select the MMC destination.
The following ports and slot are available as the MMC destination.
•MIDI ..............................MIDI port
•USB ................................USB port
•SLOT ..............................Slot with an MY8-mLAN (mLAN card) installed
If USB is selected, move the cursor to the adjacent parameter box (on the right), and select
one of eight ports.
4Move the cursor to the DEVICE ID parameter box, then rotate the Parameter
wheel to set the 01V96 MMC Device ID to the same ID number as the exter-
nal device.
MMC commands are effective on devices that use the same Device ID. Therefore, the
01V96’s MMC Device ID needs to match the ID of the devices you wish to control.
5To start remote control, press the DISPLAY ACCESS [DIO/SETUP] button
repeatedly until the DIO/Setup | Machine page appears.
This page contains the following parameters:
ALOCATE/TIME section
This section enables you to set the locate points.
•LOCATE 1–8 .................These buttons locate the positions (specified by the TIME val-
ues) on external machines.
•RTZ ................................This Return To Zero button locates the zero timecode position
on external machines.
•TIME..............................Locate points are specified in hour/minute/second/frame for-
mat.
•CAPTURE .....................These buttons capture the current position on external
machines and import the information into the TIME column.
BTRACK ARMING section
This section controls the tracks on external machines.
•1–24 buttons.................These buttons turn external tracks 1–24 on or off, and set or
cancel their Record Ready mode.
•ALL CLEAR...................Turning on this button switches all buttons (1–24) simulta-
neously.
1
2
3
4
214 Chapter 17—Remote Control
01V96 Version 2—Owner’s Manual
CTRANSPORT section
This section enables you to control the transport functions on external machines.
•REW............................... This button starts rewind on external machines.
•FF ................................... This button starts fast forward on external machines.
•STOP.............................. This button stops external machines.
•PLAY.............................. This button starts playback on external machines.
•REC................................ This button is used in conjunction with the PLAY button to
start recording on external machines.
DFRAMES
This parameter selects the timecode frame rate from 24, 25, 30D (drop frame), and 30.
6To control the transport functions, move the cursor to the desired button in
the TRANSPORT section, then press [ENTER].
7 If you desire, move the cursor to the buttons and parameters in the
LOCATE/TIME section and the TRACK ARMING section, then press the
[ENTER] button or rotate the Parameter wheel to control the transport func-
tions on external machines.
Tip: You can also use the programmed User Defined buttons to control Machine Control func-
tions. (See page 235 for information on assigning functions to the User Defined buttons.)
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18 MIDI
This chapter describes the 01V96’s MIDI-related functions.
MIDI & the 01V96
Using Control Changes, Program Changes, and other MIDI messages enables you to recall
Scenes and edit parameters on the 01V96, and store 01V96 internal data on external MIDI
devices.
The 01V96 supports the following MIDI messages. Each of these MIDI messages can be
individually turned on or off for transmission and reception.
•Program Changes
If you assign the 01V96’s Scenes to Program Change numbers, the 01V96 transmits Pro-
gram Changes when it recalls Scenes. Also, the 01V96 will switch Scenes when it receives
Program Changes.
•Control Changes
If you assign the 01V96’s parameters to Control Change numbers, the 01V96 transmits the
assigned Control Changes when the parameter values change. Also, the 01V96 changes cer-
tain parameter values when it receives the corresponding Control Changes.
•System Exclusive Messages
The 01V96 transmits System Exclusive Parameter Changes in real-time when the parameter
values change. Also, the 01V96 notifies certain parameter values when it receives assigned
Parameter Changes.
•MMC (MIDI Machine Control)
MMC is used for external machine control.
•MIDI Note On/Off
These messages are used to adjust the Freeze effect.
•Bulk Dump Messages
These messages enable you to store the 01V96’s internal data to a sequencer or MIDI filer.
When the 01V96 receives these messages, they overwrite the 01V96 data
The 01V96 features the following interface for transmitting and receiving MIDI data.
•MIDI IN/THRU/OUT ports
These ports transmit and receive MIDI data to and from standard MIDI devices. Each port
is a single port interface that transmits and receives single-port data (16 channels x 1 ports).
The MIDI THRU port outputs MIDI messages received at the MIDI IN port without mod-
ification (as is).
•USB port
This port is used to connect a computer and transfer MIDI messages. This is a multiport
interface that transmits and receives up to eight-port data (16 channels x 8 ports). If you
connect a computer to the USB port, you must install the appropriate driver software on
the computer. See the Studio Manager Installation Guide for more information on install-
ing drivers.
Note: If the computer is turned on but the USB MIDI application has not been launched,
01V96 performance may be slow. In this case, cancel the assignment of the USB port as the
MIDI message transmission port.
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•SLOT
If an optional “MY8-mLAN” I/O card is installed in the slot, MIDI data transfer to and from
an external MIDI device is available via the MY8-mLAN card.
MIDI Port Setup
Selecting a Port for MIDI Message Transfer
To configure MIDI ports for MIDI message transfer, press the DISPLAY ACCESS
[DIO/SETUP] button repeatedly until the DIO/Setup | MIDI/Host page appears. This page
enables you to set MIDI message input and output.
The following parameters are available on this page:
AGENERAL section
This section enables you to select ports that transmit and receive MIDI messages, such
as Program Changes and Control Changes.
•Rx PORT ....................... This parameter specifies a port for general MIDI data recep-
tion. In the left parameter box, select MIDI, USB, or SLOT. If
you select USB or SLOT, specify the port number (1–8) in the
right parameter box.
•Tx PORT .......................This parameter specifies a port for general MIDI data transmis-
sion. The available ports are the same as for the Rx PORT
parameter.
BMIDI THRU section
These parameters enable you to route incoming MIDI data from one port or slot to
another without changes. Select a port for reception in the first parameter box, and
select a port for transmission in the next parameter box (located to the right of the
arrow). If you select USB or SLOT, specify the port number in the small parameter box
adjacent to the port parameter box.
CMACHINE CONTROL section
This section enables you to select a remote control method and a remote control port to
control external devices that support MMC, such as a hard disk recorder.
•PORT............................. Select MIDI, USB, or SLOT for MMC command transfer. If
you select USB or SLOT, specify the port number in the right
parameter box.
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•DEVICE ID ...................Specify the 01V96’s MMC Device ID. MMC Device IDs iden-
tify connected devices, enabling recognition during MMC
transmission and reception.
DSPECIAL FUNCTIONS section
This section enables you to specify ports for various special functions.
•Studio Manager............In the left parameter box, select MIDI, USB or SLOT as the port
used by the included Studio Manager software. In the two small
parameter boxes on the right, specify a port number (if you
selected USB), and an ID number.
•DAW...............................Select USB or SLOT as a port for use with a DAW. Specify in the
right parameter box a port number pair (1–2, 3–4, 5–6, 7–8).
•REMOTE ......................This parameter indicates the target currently selected for
Remote Layer. If the target is set to “USER DEFINED,” you can
select a MIDI message destination port.
•CASCADE LINK ..........This parameter determines whether MIDI messages are trans-
mitted between two cascaded 01V96s. If you select MIDI, MIDI
messages will be transferred between two cascaded units. If you
select “–,” no MIDI messages are transferred.
The TRANSMIT and REQUEST buttons are used to synchro-
nize all parameters that are cascade-linked. The TRANSMIT
button synchronizes the connected 01V96’s parameters to your
primary 01V96’s parameters. The REQUEST button synchro-
nizes your 01V96 parameters to the connected 01V96’s param-
eters.
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Selecting MIDI Messages for Transmission and Reception
You can select MIDI messages to be transmitted or received at a specified port.
To do so, press the DISPLAY ACCESS [MIDI] button, then press the [F1] button to display
the MIDI | Setup page.
Select MIDI channels for transmission and reception in the CHANNEL row, and turn the
transmission and reception of each MIDI message on or off using the buttons in the param-
eter rows from PROGRAM CHANGE to OTHER COMMANDS.
ACHANNEL
This parameter row enables you to specify MIDI Channels for MIDI message transmis-
sion and reception. The following parameters are available in this row:
•Tx ................................... This parameter box specifies a MIDI Transmit Channel.
•Rx ................................... This parameter box specifies a MIDI Receive Channel.
BPROGRAM CHANGE
This parameter row enables or disables transmission and reception of Program
Changes.
•Tx ON/OFF................... Transmission of Program Change messages is enabled or dis-
abled.
•Rx ON/OFF................... Reception of Program Change messages is enabled or disabled.
•OMNI ON/OFF............ When this button is turned on, Program Changes on all MIDI
Channels are received regardless of the CHANNEL row set-
tings.
•ECHO ON/OFF ........... This button determines whether Program Change messages
received at the MIDI IN port are echoed through to the MIDI
OUT port.
CCONTROL CHANGE
This parameter row enables or disables transmission and reception of Control Changes.
•Tx ON/OFF................... Transmission of Control Change messages is enabled or dis-
abled.
•Rx ON/OFF................... Reception of Control Change messages is enabled or disabled.
•ECHO ON/OFF ........... This button determines whether Control Change messages
received at the MIDI IN port are echoed through to the MIDI
OUT port.
DPARAMETER CHANGE
This parameter row enables or disables transmission and reception of Parameter
Changes.
1
2
3
4
5
6
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•Tx ON/OFF...................Transmission of Parameter Change messages is enabled or dis-
abled.
•Rx ON/OFF
................... Reception of Parameter Change messages is enabled or disabled.
•ECHO ON/OFF............This button determines whether Parameter Change messages
received at the MIDI IN port are echoed through to the MIDI
OUT port.
EBULK
This parameter row enables or disables reception of Bulk Dump data.
•Rx ON/OFF...................Reception of Bulk Dump data is enabled or disabled.
FOTHER COMMANDS
•ECHO ON/OFF............This button determines whether other MIDI messages received
at the MIDI IN port are echoed through to the MIDI OUT
port.
GFader Resolution
This parameter specifies the resolution of the value output when you operate the
01V96’s faders. To transfer fader value data between two cascaded 01V96s, or to record
the 01V96 operation to or play it back from a sequencer, select the HIGH button. When
the LOW button is selected, the fader resolution switches to 256 steps.
Assigning Scenes to Program Changes for Remote Recall
You can assign 01V96 Scenes to MIDI Program Changes for remote recall. When you recall
a Scene on the 01V96, the unit transmits the assigned Program Change to the connected
MIDI device. When the 01V96 receives a Program Change, the assigned Scene is recalled.
Initially, Scenes 1 through 99 are assigned sequentially to Program Changes 1 through 99,
and Scene #0 is assigned to Program Change #100, although you can change these assign-
ments.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears, then specify ports for transmission
and reception of MIDI messages (see page 216).
2Make connections using the ports selected in Step 1 so that the 01V96 can
transfer MIDI messages to and from the external device.
3 Press the DISPLAY ACCESS [MIDI] button, then press the [F2] button.
The MIDI | Pgm Asgn page appears.
Tip: You can store a Scene to Program Change assignment table to an external device by using
MIDI Bulk Dump or the included Studio Manager software.
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4 Move the cursor to a parameter box in the PGM CHG column, and rotate
the Parameter wheel or press the [INC]/[DEC] buttons to select the Program
Change numbers to which you want to assign Scenes.
5Press the cursor button [ ] to move the cursor to a parameter box in the
SCENE NO./TITLE column, then rotate the Parameter wheel or press the
[INC]/[DEC] buttons to select Scenes.
6Press the DISPLAY ACCESS [MIDI] button, then press the [F1] button to dis-
play the MIDI | Setup page, then specify the MIDI Transmit and Receive
Channels.
7Turn on the PROGRAM CHANGE Tx ON/OFF and Rx ON/OFF buttons.
Now, when the 01V96 receives the Program Changes on the specified MIDI Channels, the
corresponding Scenes are recalled. Also, when you switch Scenes on the 01V96, the 01V96
transmits the Program Changes on the specified MIDI Channels.
Assigning Parameters to Control Changes for Real-time
Control
You can assign 01V96 parameters to MIDI Control Changes for real-time control. When
the 01V96 receives a Control Change, the assigned 01V96 parameter is set accordingly. Also,
when you adjust a parameter on the 01V96, the 01V96 transmits the assigned Control
Change message.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears, then specify ports for transmission
and reception of MIDI messages (see page 216).
2Make connections using the ports selected in Step 1 so that the 01V96 can
transfer MIDI messages to and from the external device.
3 Press the DISPLAY ACCESS [MIDI] button, then press the [F3] button.
The MIDI | Ctl Asgn page appears. This page enables you to assign 01V96 parameters to
Control Changes.
Tip:
•If you assign a Scene to multiple Program Changes, the Program Change with the lowest
number becomes effective.
•You can initialize the Scene to Program Change assignment table by moving the cursor to
the INITIALIZE button, then pressing [ENTER].
Tip: You can store a Parameter to Control Change assignment table to an external device by
using MIDI Bulk Dump or the included Studio Manager software.
1
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4 Move the cursor to the MODE parameter’s TABLE button (1), then press
[ENTER].
The MODE parameter determines which MIDI messages are transmitted when 01V96
parameters are adjusted. The following options are available for the MODE parameter:
•TABLE............................MIDI Control Change messages are transmitted in accordance
with the assignments on this page.
•NRPN.............................The assignments on the Ctl Asgn page are ignored, and pre-
defined NRPNs (Non Registered Parameter Numbers) are
transmitted for remote control.
5If you turned on the TABLE button in Step 4, move the cursor to a parameter
box in the No. (CH) column, then rotate the Parameter wheel or press the
[INC]/[DEC] buttons to select the MIDI channels and Control Changes to
which you want to assign parameters.
You can assign parameters to up to 16-channel Control Changes on the Ctl Asgn page,
regardless of the MIDI Channels currently selected for transmission and reception.
Skip Steps 5 and 6 if you turned on the NRPN button in Step 4.
6Select parameters in the parameter boxes in the three PARAMETER columns.
Select a parameter group in the parameter box in the first PARAMETER column, and spec-
ify the desired values in the parameter boxes in the second and third PARAMETER col-
umns.
The following parameters and values are available:
Tip: See page 290 for information on the default Parameter to Control Change assignments.
Tip: NRPNs are special MIDI messages that combine three different Control Changes. They
enable you to control many parameters on a single MIDI Channel.
HIGH MID LOW
NO ASSIGN ——
FADER H
CHANNEL INPUT1–32/ST IN1–4
MASTER BUS1–8/AUX1–8/STEREO
AUX1 SEND
INPUT1–32/ST IN1–4
AUX2 SEND
AUX3 SEND
AUX4 SEND
AUX5 SEND
AUX6 SEND
AUX7 SEND
AUX8 SEND
BUS TO ST BUS1–8
FADER L
CHANNEL INPUT1–32/ST IN1–4
MASTER BUS1–8/AUX1–8/STEREO
AUX1 SEND
INPUT1–32/ST IN1–4
AUX2 SEND
AUX3 SEND
AUX4 SEND
AUX5 SEND
AUX6 SEND
AUX7 SEND
AUX8 SEND
BUS TO ST BUS1–8
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ON
CHANNEL INPUT1–32/ST IN1–4
MASTER BUS1–8/AUX1–8/STEREO
AUX1 SEND
INPUT1–32/ST IN1–4
AUX2 SEND
AUX3 SEND
AUX4 SEND
AUX5 SEND
AUX6 SEND
AUX7 SEND
AUX8 SEND
BUS TO ST BUS1–8
PHASE CHANNEL INPUT1–32/ST IN1L–4R
INSERT ON CHANNEL INPUT1–32
MASTER BUS1–8/AUX1–8/STEREO
PRE/POST
AUX1 SEND
INPUT1–32/ST IN1–4
AUX2 SEND
AUX3 SEND
AUX4 SEND
AUX5 SEND
AUX6 SEND
AUX7 SEND
AUX8 SEND
IN DELAY
ON
INPUT1–32
TIME HIGH
TIME MID
TIME LOW
MIX HIGH
MIX LOW
FB GAIN H
FB GAIN L
OUT DELAY
ON
BUS1–8/AUX1–8/STEREO L,R
TIME HIGH
TIME MID
TIME LOW
HIGH MID LOW
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EQ
ON
INPUT1–32/ST IN 1–4/BUS1–8/AUX1–8/STEREO
Q LOW
F LOW
G LOW H
G LOW L
Q LO-MID
F LO-MID
G LO-MID H
G LO-MID L
Q HI-MID
F HI-MID
G HI-MID H
G HI-MID L
Q HIGH
F HIGH
G HIGH H
G HIGH L
ATT H
ATT L
HPF ON
LPF ON
GATE
ON
INPUT1–32
ATTACK
THRESH H
THRESH L
RANGE
HOLD H
HOLD L
DECAY H
DECAY L
COMP
ON
INPUT1–32/BUS1–8/AUX1–8/STEREO
ATTACK
THRESH H
THRESH L
RELEASE H
RELEASE L
RATIO
GAIN H
GAIN L
KNEE
PAN
CHANNEL
INPUT1–32/ST IN1L–4R
AUX1–2
AUX3–4
AUX5–6
AUX7–8
BUS TO ST BUS1–8
BALANCE MASTER STEREO
HIGH MID LOW
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Parameters that feature a setting range of more than 128 steps (such as Fader and Delay
Time parameters) require two or more Control Change messages to specify the values.
For example, if you wish to control Fader parameters on certain channels using Control
Changes, you must assign the same channel to two Control Change numbers, and select
“FADER H” and “FADER L” for the Control Changes in the parameter boxes in the first
PARAMETER column.
If you wish to control Delay Time parameters on certain channels using Control Changes,
you must assign the same channel Delay parameter to three Control Change numbers, and
select “TIME LOW,” “TIME MID,” and “TIME HIGH” for the Control Changes in the
parameter boxes in the second (middle) PARAMETER column.
7Press the DISPLAY ACCESS [MIDI] button, then press the [F1] button to dis-
play the MIDI | Setup page, then specify MIDI Transmit and Receive Chan-
nels.
8Turn on the CONTROL CHANGE Tx ON/OFF and Rx ON/OFF buttons.
01V96 parameters will now be set accordingly when the 01V96 receives corresponding
Control Changes. Also, when you adjust parameters on the 01V96, the 01V96 will transmit
corresponding Control Changes.
SURROUND
LFE H
INPUT1–32/ST IN1L–4R
LFE L
DIV (F)
DIV R
LR
FR
WIDTH
DEPTH
OFS LR
OFS FR
EFFECT
BYPASS
EFFECT1–4
MIX
PARAM1 H
PARAM1 L
:
PARAM32 H
PARAM32 L
Note: Parameters that feature a setting range in excess of 128 steps require an appropriate
combination of range parameters for successful MIDI Control Change.
Tip: You can initialize the Parameter to Control Change assignment table by moving the cur-
sor to the INITIALIZE button, then pressing [ENTER].
Note: Before controlling parameters using Control Changes, make sure that both Tx and Rx
ON/OFF buttons in the PARAMETER CHANGE row on the MIDI | Setup page are turned off.
HIGH MID LOW
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Controlling Parameters by Using Parameter Changes
You can control 01V96 parameters in real time by using Parameter Change messages that
are System Exclusive messages, instead of using MIDI Control Changes.
See “MIDI Data Format” at the end of this Manual for detailed information on available
Parameter Changes.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears, then specify ports for transmission
and reception of MIDI messages (see page 216).
2Make connections using the ports selected in Step 1 so that the 01V96 can
transmit and receive MIDI messages to and from the external device.
3Press the DISPLAY ACCESS [MIDI] button, then press the [F1] button to dis-
play the MIDI | Setup page, then turn off the Tx and Rx ON/OFF buttons in
the PARAMETER CHANGE row.
The 01V96 will now set certain parameter values when it receives corresponding Parameter
Changes. Also, when you adjust certain parameters on the 01V96, it transmits correspond-
ing Parameter Changes.
Note: Before controlling parameters using Parameter Changes, make sure that both Tx and
Rx ON/OFF buttons in the CONTROL CHANGE row are turned off.
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Transmitting Parameter Settings via MIDI (Bulk Dump)
You can back up data stored in the 01V96, such as libraries and Scenes, to an external MIDI
device by using MIDI Bulk Dump. In this way, you can later restore previous 01V96 settings
by transmitting this MIDI data back to the 01V96.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears, then specify ports for transmission
and reception of MIDI messages (see page 216).
2Make connections using the ports selected in Step 1 so that the 01V96 can
transmit and receive MIDI messages to and from the external device.
3 Press the DISPLAY ACCESS [MIDI] button, then press the [F4] button.
The MIDI | Bulk page appears.
The page includes the following parameters:
ACATEGORY section
This section enables you to select data for transmission and reception.
BREQUEST
Move the cursor to this button, then press [ENTER] to transmit messages from the
01V96 that request a second 01V96 (connected to the first 01V96) to transmit the data
specified in the CATEGORY section. This button is used primarily when two 01V96s are
connected in cascade.
CTRANSMIT
Move the cursor to this button, then press [ENTER] to transmit data specified in the
CATEGORY section to an external MIDI device.
DINTERVAL
This parameter specifies the interval between data packets during bulk transmission in
50 millisecond steps. If the external device drops part of the bulk data, increase this
parameter value.
4 In the CATEGORY section, move the cursor to the button of the data type
you want to transmit, then press [ENTER].
Note: Some of the data transmitted from the 01V96 to the sequence software may occasionally
drop out during Bulk Dump transmission. To avoid this, we recommend that you use the
included Studio Manager software to store 01V96 data to an external device.
2
3
4
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The following options are available:
•ALL.................................This button selects all data available for bulk dump. When this
button is turned on, all other buttons in this section are turned
off.
•SCENEMEM .................This button selects Scene memories. You can select Scenes you
wish to transmit in the parameter box next to the button.
•LIBRARY.......................This button selects libraries. You can select the type of library in
the TYPE parameter box (next to the button), then specify the
library number in the parameter box on the right.
•BANK.............................This parameter enables you to select the User Defined Key
banks (KEYS UDEF), User Defined Remote Layer banks (RMT
UDEF), or User Assignable Layer banks (USR LAYER) for bulk
dump. You can select one of these three types in the parameter
box next to the button, and select the banks in the parameter
box on the right.
•SETUPMEM .................This button selects the 01V96 setup data (i.e., system settings).
•PGM TABLE .................This button selects the MIDI | Pgm Asgn page settings.
•CTL TABLE...................This button selects the MIDI | Ctl Asgn page settings.
•PLUG-IN .......................This button selects the settings of an optional Y56K card
installed in the slot. You can select Y56K card programs in the
parameter box next to the button..
5If necessary, move the cursor to the parameter box next to the selected but-
ton, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to
select the desired bulk dump data.
6To start transmitting bulk data, move the cursor to the TRANSMIT button,
then press [ENTER].
Bulk Dump is executed. During the operation, the Bulk Dump window appears, indicating
the current bulk dump status. To abort the bulk dump operation, move the cursor to the
CANCEL button in the window, then press [ENTER].
7To receive bulk data, press the DISPLAY ACCESS [MIDI] button again to dis-
play the MIDI | Setup page, then turn on the Rx ON/OFF button in the BULK
row.
Now, when the 01V96 receives bulk data, the corresponding internal data is updated.
Note: Data selected by the SETUPMEM button includes MIDI transmission and reception
port settings and message settings. After you store to an external device bulk dump data that
has its reception disabled, if the 01V96 later starts to receive this particular data, 01V96 bulk
dump reception will be turned off immediately, and the 01V96 will be unable to receive sub-
sequent data. Therefore, before you store the data selected by the SETUPMEM button using
Bulk Dump, be sure to enable bulk data transmission and reception.
Tip: If you selected [ALL] in the parameter box, all data selected by the corresponding button
is transmitted as bulk dump data.
Tip: To transmit bulk dump request messages, move the cursor to the REQUEST button, then
press [ENTER]. If you set up the 01V96 so that it will transmit and receive MIDI messages to
and from another 01V96, the other 01V96 will respond to the bulk dump request and transmit
the bulk dump data to the 01V96 you are operating.
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19 Other Functions
This chapter describes the 01V96’s miscellaneous functions.
Changing the Input and Output Channel Names
You can change the default name of the input channels (Input Channels 1–32, ST IN Chan-
nels 1–4) and output channels (Aux Outs 1–8, Bus Outs 1–8, Stereo Out), if you desire.
Changing the Input Channel Names
1 Press the DISPLAY ACCESS [PATCH] button repeatedly until the Patch| In
Name page appears.
Channel IDs, Short names, and Long names are listed from left to right on the page. You
can specify Short names in the parameter boxes (1) in the center column, and Long names
in the parameter boxes (2) in the right column.
2Move the cursor to the desired parameter box, then use the Parameter wheel
or the [INC]/[DEC] buttons to select a port for which you want to change
the name.
3 Press [ENTER].
The Title Edit window appears, which enables you to edit the name.
4 Edit the name, move the cursor to the OK button, then press [ENTER].
The new name is now effective.
Tip: The edited name is stored in the Input Patch library.
3
12
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When the Name Input Auto Copy check box (3) is on, the first four characters of a
newly-entered Long name are automatically copied to the Short name. On the other hand,
a newly-entered Short name is automatically added to the beginning of the Long name.
You can reset all port names to their default names by moving the cursor to the INITIALIZE
button, then pressing [ENTER].
Changing the Output Channel Names
To c hange output channel names, press the DISPLAY ACCESS [PATCH] button repeatedly
until the Patch| Out Name page appears.
The procedure for editing the names and using the Name Input Auto Copy check box and
the INITIALIZE button is the same as on the In Name page.
Setting Preferences
You can change the default settings and environmental settings of the 01V96 by using the
DIO/Setup | Prefer1 and Prefer2 pages. To locate one of the Preferences page, press the DIS-
PLAY ACCESS [DIO/SETUP] button repeatedly.
Prefer1 page
This page enables you to set the 01V96 so that when you press a button on the top panel,
the 01V96 displays the corresponding display page, and shows or hides confirmation and
alarm messages.
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This page contains the following parameters. (These parameters are explained in the order
from the top of the left column to the bottom of the right column.)
•Auto PAN Display
If this check box is on, the Pan/Route pages appear automatically when you operate the
[PAN] control in the SELECTED CHANNEL section. In Stereo Surround mode, operating
the [PAN] control enables you to adjust the left and right Pan setting. Otherwise, it enables
you to adjust the Surround Pan settings.
•Auto EQUALIZER Display
If this check box is on, the EQ | EQ Edit page appears automatically when you press an
EQ-related button in the SELECTED CHANNEL section.
•Auto SOLO Display
If this check box is on, the DIO/Setup | Monitor page appears automatically when you solo
an Input Channel.
•Auto WORD CLOCK Display
If this check box is on, the DIO/Setup | Word Clock page appears automatically if the cur-
rently-selected external wordclock source fails.
•Auto Channel Select
If this check box is on, you can select a channel by moving the corresponding fader, or by
turning on the corresponding channel [SOLO] or [ON] button.
•Store Confirmation
If this check box is on, the Title Edit window to input a Scene or library memory name
appears when you store a Scene or library memory.
•Recall Confirmation
If this check box is on, a confirmation window appears when you recall a Scene or library
memory.
•Patch Confirmation
If this check box is on, a confirmation message appears when you edit the Input and Output
Patches.
•Pair Confirmation
If this check box is on, a confirmation message appears when you create or cancel a pair.
•Nominal Pan
If this check box is checked, and when Input Channel signals are panned hard left or hard
right, the signals on the left/odd channels and right/even channels will be at the nominal
level. If this check box is not checked, these signals will be boosted by 3 dB. (When the sig-
nals are panned to center, they will be at the nominal level.) In Surround mode, the same
thing applies when any Surroound pan channel is panned hard left or right.
•Fast Meter Fall Time
If this check box is on, the level meters fall more quickly.
•DIO Warning
If this check box is on, a warning message appears when any errors are detected in digital
audio signals received at the Slot or 2TR Digital Inputs.
•MIDI Warning
If this check box is on, a warning message appears when any errors are detected in the
incoming MIDI messages.
232 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
•Initial Data Nominal
If this check box is on, Input Channel faders and ST IN Channel level controls are set to
nominal (0 dB) when you recall Scene #0. (If this check box is off, they are set to –∞.)
•Scene MEM Auto Update
If this check box is on, you can use the Scene Memory Auto Update function (see page 169).
•Cascade COMM Link
If this check box is on, various functions and parameters are linked between cascaded
01V96s (See page 238 for more information on cascade connection). When the check box
is off, only the Solo function is linked.
•Auto Direct Out On
If this check box is on and you change the channel Direct Out destination from “–” to any
other output, the channel Direct Out is automatically enabled. If you change the channel
Direct Out destination from an output to “–,” the channel Direct Out is automatically dis-
abled.
•Routing ST Pair Link
When this check box is checked, paired channels’ routing to the Stereo Bus will be linked.
Prefer2 page
The Prefer2 page enables you to name the channel indicated on the display, and adjust the
display brightness.
This page contains the following parameters:
AChannel ID/Channel
This parameter selects a style for the displayed channel. If the Channel ID check box is
selected, the Channel ID appears (e.g., CH1, CH16, AUX1). If the Channel Short Name
check box is on, the Channel Short name appears (see page 229).
BChannel Copy Parameter
This parameter selects the channel parameters to be copied when you assign the Chan-
nel Copy function to one of the User Defined buttons (see page 235). You can select
multiple options.
•ALL ................................ This button selects all parameters that can be copied. When you
turn on this button, all other options are cancelled.
•FADER........................... Copies the fader values.
•ON.................................. Copies the on/off status of the [ON] buttons.
•PAN ................................ Copies the pan settings.
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Creating a Custom Layer by Combining Channels (User Assignable Layer) 233
01V96 Version 2—Owner’s Manual
Other Functions
19
•SURR .............................Copies the surround pan settings.
•AUX................................Copies the Aux Send levels.
•AUX ON ........................Copies the on/off status of the Channel to Aux signals.
•EQ...................................Copies the EQ parameter values.
CDisplay Brightness
This parameter sets the brightness of the LED indicators in the range of 1 through 4.
Creating a Custom Layer by Combining Channels (User
Assignable Layer)
If you set the Remote Layer target to “USER ASSIGNABLE,” you can create a custom layer
by combining any 01V96 channels (excluding the Stereo Out). This custom layer is called
“User Assignable layer.”
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup| Remote page appears.
2 Set the TARGET parameter to USER ASSIGNABLE, then press [ENTER].
A confirmation window appears.
3 Move the cursor to the YES button, then press [ENTER].
The 01V96 displays the page shown below.
4Select the channels you wish to assign to the User Assignable layer using the
1–16 parameter boxes (1).
You can store up to four 16-channel setups in four banks by switching Banks 1–4 via the
BANK 1–4 buttons. If you press[ENTER] before selecting the channels to assign, you will
still be able to select the channels you wish to assign in the User CH Select window.
5Use the LAYER [REMOTE] button to assign or recall the User Assignable layer.
You can use the faders and [ON] buttons to control the assigned channels.
Tip: You can reset the assignment to default by moving the cursor to the CLEAR button and
pressing [ENTER].
1
234 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
Using the Oscillator
The 01V96 features an Oscillator you can use for sound checks. Follow the steps below to
use the Oscillator:
1 Press the DISPLAY ACCESS [UTILITY] button repeatedly until the Utility |
Oscillator page appears.
This page contains the following parameters:
AOSCILLATOR ON
This parameter button turns the Oscillator on or off.
BWAVEFORM
These parameter buttons select the Oscillator waveforms.
CLEVEL section
The parameter control in this section sets the Oscillator output level.
DASSIGN section
The buttons in this section select the Oscillator output.
2 Move the cursor to the button for the Oscillator output channel in the
ASSIGN section, then press [ENTER] (you can select multiple channels).
3 Move the cursor to one of the WAVEFORM parameter buttons, then press
[ENTER].
You can select the following waveforms:
•SINE 100Hz .................. 100 Hz sinewave
•SINE 1kHz .................... 1 kHz sinewave
•SINE 10kHz..................10 kHz sinewave
•PINK NOISE ................ Pink noise
•BURST NOISE ............. Burst noise (200 msec pink noise pulses at four second inter-
vals)
4Move the cursor to the parameter control in the LEVEL section, then rotate
the Parameter wheel to set the Oscillator level to minimum.
5Move the cursor to the OSCILLATOR ON/OFF button, then press the [ENTER]
or [INC]/[DEC] buttons to turn on the Oscillator.
The Oscillator signal is now routed to the channels selected in the ASSIGN section.
Note: Sinewave and pink noise create unusually high sound pressure. Oscillator levels that
are too high can damage the speakers. When you use the Oscillator, be sure to set the level to
minimum, then raise the level gradually.
3
4
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Using the User Defined Keys 235
01V96 Version 2—Owner’s Manual
Other Functions
19
6Move the cursor to the parameter control in the LEVEL section, then rotate
the Parameter wheel to raise the Oscillator level.
You can view the current Oscillator level on the LEVEL meter.
Using the User Defined Keys
You can assign any of more than 160 functions to the USER DEFINED KEYS [1]–[8]
buttons.
If you assign to one of the buttons (or “keys”) a function that is usually executed on the dis-
play pages, you can use the assigned button as a shortcut.
The Function to User Defined Keys assignments are stored in banks. Each bank accommo-
dates an assignment of all eight buttons. (See page 249 for more information on the initial
bank settings.) The 01V96 provides eight banks (Banks A–H). Switching banks enables you
to change the assignment quickly.
Follow the steps below to assign functions to the USER DEFINED KEYS.
1Press the USER ACCESS [UTILITY] button to locate the Utility | User Def page.
This page contains the following parameters:
AINITIALIZE
This button resets the contents of all banks to their initial settings.
BBANK
These buttons select the desired banks.
CTITILE
This parameter displays the name of the bank selected by the BANK parameter button.
Move the cursor to the TITLE parameter box, then press [ENTER]. The Title Edit win-
dow appears, enabling you to enter a name.
D1–8
These parameter boxes enable you to assign functions to USER DEFINED KEYS
[1]–[8].
2Move the cursor to the desired BANK parameter button, then press [ENTER].
The corresponding bank is selected, and the functions assigned to the User Defined buttons
in that bank are displayed in the 1–12 parameter boxes.
Tip: When you select a function that is executed based on specified numbers (for example, a
function that recalls a specific Scene or library memory or transmits MIDI messages), an extra
parameter box appears on the right, in which you must specify the number.
USER DEFINED
KEYS
12
34
56
78
2
1
3
4
236 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
3 Move the cursor to one of the 1–8 parameter boxes, then press [ENTER].
The 01V96 displays the User Define Select window, which enables you to assign functions
to the selected buttons.
4Move the cursor to the left column, then rotate the Parameter wheel or press
the [INC]/[DEC] buttons to select a function you wish to assign.
A function is selected when it appears inside the dotted box. See page 247 for a complete list
of assignable functions.
5 In the same way, set the center and right column.
The items that appear in the center and right columns vary depending on the function
selected in Step 4.
6To close the window, move the cursor to the YES button, then press [ENTER].
When the window closes, the specified function is assigned to the selected User Defined
button.
To cancel the assignment, move the cursor to the CANCEL button, then press [ENTER].
7If you assigned functions that require numbers (such as recalling a Scene or
library memory), move the cursor to the extra parameter box shown on the
right and specify the number.
Tip:
•You can store User Defined Keys banks to a computer hard disk using the included Studio
Manager software. Be sure to back up important data.
•You can also store the assignment data to an external device, such as a MIDI data filer, by
using MIDI Bulk Dump (see page 226).
Using Operation Lock 237
01V96 Version 2—Owner’s Manual
Other Functions
19
Using Operation Lock
The 01V96 features an Operation Lock function that prevents unintentional edits and
restricts access to panel operation with a password.
To use the Operation Lock function, press the [UTILITY] button repeatedly to display the
Utility | Lock page.
This page contains the following parameters:
AOPERATION LOCK
This button enables or cancels Operation Lock. When you turn on this button, the Pass-
word window appears.
Enter a four-letter password using the Channel 1–10 [SEL] buttons (Channel 10 [SEL]
button enters “0”). (The password characters are represented by asterisks.) Move the
cursor to the OK button, then press [ENTER] to enable Operation Lock. The factory
default password is “1234.”
To cancel Operation Lock, press [ENTER]. The Password window appears again. Enter
the password and select the OK button. Operation Lock is cancelled.
BOPERATION LOCK SAFE section
This section enables you to select certain controls on the panel to exclude from Opera-
tion Lock. To cancel all “safe” buttons simultaneously, move the cursor to the CLEAR
ALL button, then press [ENTER].
Note: If you forget the password, you cannot cancel Operation Lock. Be sure to write down
the password.
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238 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
CPASSWORD
This button enables you to change the current password. Move the cursor to the PASS-
WORD button, then press [ENTER]. The Set Password window appears, enabling you
to change the password.
Enter the current password in the PASSWORD field, and a new password in the NEW
PASSWORD field. The factory default password is “1234.” Enter the new password again
in the REENTRY field located below the NEW PASSWORD field. Move the cursor to the
OK button, then press [ENTER] to change the password.
Cascading Consoles
The 01V96 features a Cascade Bus that enables cascade connection. You can connect two
01V96s in cascade using the digital inputs and outputs, or the OMNI IN and OMNI OUT
connectors. In this way, two consoles work just like one big console, integrating each unit’s
Buses 1–8, Aux Sends 1–8, Stereo Bus, and Solo Bus.
The following functions are linked between two cascaded 01V96s via the MIDI IN and
OUT ports.
•Display page selection
•Aux selection
•Solo function
•Fader Mode
•Metering Position
•Peak Hold On/Off
•Meter Fast Fall on/off
•Scene Store, Recall, and Title Edit
Tip: To clear the registered password, move the cursor to the CLEAR button, then press
[ENTER]. If you forget the password, initialize the password setting (see page 243).
Tip:
•To link functions and parameters (excluding the Solo function), turn on the Cascade
COMM Link check box on the Setup | Prefer1 page (see page 230).
•The Solo function is always linked regardless of the status of the Cascade COMM Link check
box.
•The Fader Mode will not be linked if the Master layer is selected.
Cascading Consoles 239
01V96 Version 2—Owner’s Manual
Other Functions
19
The following paragraphs explain how to make a cascade connection using two 01V96s and
the inputs and outputs of the digital I/O card installed in the slot of each 01V96.
1 Install digital I/O cards into the slot on each of two 01V96s.
2 Connect two 01V96s as follows:
•Connect the digital I/O card output on the transmitting 01V96 (slave) to the digital I/O
card input on the receiving 01V96 (master).
•Connect the ADAT IN connector on the master unit to the ADAT OUT connector on
the slave unit.
•Connect the MIDI IN port on the master unit to the MIDI OUT port on the slave unit
using a MIDI cable.
•Connect the MIDI OUT port on the master unit to the MIDI IN port on the slave unit
using a MIDI cable.
3 On the slave unit, press the DISPLAY ACCESS [PATCH] button repeatedly
until the Patch | Out Patch page appears.
4Assign the Bus signals to the channels that are used for the cascade connec-
tion.
The following signals are available:
Options Description
CAS BUS1–BUS8 Bus 1–8 Cascade Outs
CAS AUX1–AUX8 Aux Bus 1–8 Cascade Outs
CAS ST-L, CAS ST-R Stereo Bus L & R Cascade Outs
CASSOLOL, CASSOLOR Solo Bus L & R Cascade Outs
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR /
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
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INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
1010
10
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0
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15
0
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+10
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0
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303030
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+10
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0
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+10
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0
5
+10
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0
123456
123456
7891011 12
7891011 12
13 14 15 16
13 14 15 16
32313029282726252423222120191817 STEREO
13 14 15 16
OVER
0
-3
-6
-9
-12
-15
-18
-24
-30
-36
-48
SOLO SOLO
ON ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ON
SOLO
ONON
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1-16 17-32 MASTER REMOTE
LAYER
SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SELSEL
ST IN
ENTER
EQUALIZER
HIGH
HIGH-MID
LOW-MID
LOW
Q
FREQUENCY
GAIN
STEREO
SELECTED CHANNEL
PAN DEC INC
SOLO CLEAR
RECALL
STORE
SCENE MEMORY
PHONES
MONITOR
OUT
MONITOR
2TR IN
CH15
/
16
2TR IN
LEVEL
PHONES
LEVEL 010
010
+4 -26
GAIN
+4 -26
GAIN
+4 -26
GAIN
GAIN
+4 -26
GAIN
20dB
-16 -60
GAIN
20dB
-16 -60
GAIN
20dB20dB20dB20dB20dB20dB20dB20dB20dB20dB
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
GAIN
-16 -60
PAD
FADER MODE
DISPLAY ACCESS
AUX 1
AUX 1AUX 2AUX 3AUX 4AUX 5AUX 6AUX 7AUX 8BUS 1BUS 2BUS 3BUS 4BUS 5BUS 6BUS 7BUS 8
AUX 2AUX 3AUX 4
AUX 8AUX 7AUX 6AUX 5
HOME (METER)
DYNAMICS EQ EFFECT VIEW
PATCH
UTILITYMIDISCENE
DIO/SETUP
/ INSERT/
DELAY PAN/
ROUTING PAIR/
GROUP
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
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INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
O INSERT I
/
OINSERT I
/
O INSERT I
/
O INSERT I
/
OINSERT I
/
O INSERT I
/
O INSERT I
/
O
L
R
IN OUT
2TR
-10dBV (UNBAL)
PHANTOM +48V
CH9-12CH5-8CH1-4
INPUT
(BAL)
INSERT
OUTIN
(UNBAL)
ST IN 1 ST IN 2
USER DEFINED
KEYS
12
34
56
78
55
5
+10
5
1010
10
1515
15
2020
20
303030
30
4040
40
5050
50
6060
7070
20
30
40
40
50
50
60
70
00
5
10
15
20
0
0
5
+10
5
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20
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15
0
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+10
5
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0
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303030
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123456
123456
7891011 12
7891011 12
13 14 15 16
13 14 15 16
32313029282726252423222120191817 STEREO
13 14 15 16
OVER
0
-3
-6
-9
-12
-15
-18
-24
-30
-36
-48
MY8-AT
etc.
SLOT
MY8-AT
etc.
SLOT
01V96 (Slave) 01V96 (Master)
OUT IN
ADAT OUT
connector
MIDI
IN/OUT
connector
ADAT IN
connector
MIDI
IN/OUT
connector
240 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
The following display page is an example of integrating Bus 1–8, Aux Send 1–4, Stereo Bus,
and Solo Bus signals via the ADAT IN and OUT connectors and two 8-channel digital I/O
cards (such as MY8-AT).
5On the master unit, press the DISPLAY ACCESS [PATCH] button repeatedly
until the Patch | Cascade In page appears.
6 Select the Input Channels on the master unit to which the Bus signals are
input from the Slave unit.
The following display page is an example of receiving the slave unit’s Bus 1–8, Aux Send 1–4,
Stereo Bus, and Solo Bus signals via the ADAT IN and OUT connectors and two 8-channel
digital I/O cards (such as MY8-AT).
7On the master unit, press the DISPLAY ACCESS [DIO/SETUP] button repeat-
edly until the DIO/Setup | Cascade page appears, then adjust the Attenua-
tors using the parameter controls.
The DIO/Setup | Cascade page enables you to adjust the level of signals input to the Cascade
Bus using the dedicated attenuators. You can also turn the Cascade Buses on or off using the
buttons below the parameter controls.
Tip: Patching may vary depending on the type and number of buses used for the cascade con-
nection.
Note: Since the number of channels available on the digital I/O card is limited, only Aux Sends
1–4 are cascaded in this example. Using a 16-channel digital I/O card (such as MY16-AT)
enables you to cascade all buses.
Note: Be sure to patch the slave Bus signals to the same Buses on the master unit. Incorrect
patching will result in an incorrect cascade connection.
Cascading Consoles 241
01V96 Version 2—Owner’s Manual
Other Functions
19
8 Press the DISPLAY ACCESS [DIO/SETUP]
button repeatedly to display the DIO/Setup
| MIDI/Host page, then set the Cascade Link
parameter to “MIDI.”
9 Repeat Step 8 for the master unit.
After Steps 8 and 9, the slave unit will be able to transmit and receive MIDI messages.
10 To match the parameters of both 01V96s,
locate the DIO/Setup | MIDI/Host page on
the copy source unit.
Move the cursor to the TRANSMIT button
for the SYNC parameter, then press
[ENTER].
Parameters for cascade link (page 238) will be copied
to the other 01V96 via the REMOTE connector. If
you select the REQUEST button instead of the
TRANSMIT button for the SYNC parameter, you
can reverse the copy direction.
At this point, Bus 1–8, Aux 1–4, and the Stereo Bus on both 01V96s are integrated, and the
data is output via Bus Outs 1–8, Aux Outs 1–4, and the Stereo Out on the master unit. If
you solo channels on one of the 01V96s, you can monitor the soloed signals via the Monitor
outputs.
242 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
Checking the Battery and the System Version
The Utility | Battery page enables you to check the condition of the internal mem-
ory-backup battery and the system version number. To locate this page, press the DISPLAY
ACCESS [UTILITY] button repeatedly.
AStatus
If the Status is “Okay,” the battery has sufficient voltage for operation. If the Status is
“Voltage Low!,” ask your Yamaha dealer or authorized Yamaha service center to replace
the battery as soon as possible. Failure to replace a low battery may result in data loss.
BVer X.XX (X.XX represents the version number.)
This indicator identifies the system version number. Check the current system version
number before you update the firmware.
Visit the following website to check the latest system version number:
http://www.yamahaproaudio.com/
Note: Do not attempt to replace the battery yourself as a malfunction may occur.
2
1
Initializing the 01V96 243
01V96 Version 2—Owner’s Manual
Other Functions
19
Initializing the 01V96
You can delete all currently-recorded settings and restore the factory-preset values, and reset
the Operation Lock password to its initial setting. Follow the steps below.
1 Make sure that the power to the 01V96 is turned off.
2 While holding down the SCENE MEMORY [STORE] button, turn on the
POWER ON/OFF switch.
After a moment, the 01V96 displays the following confirmation window.
3To reset the 01V96 to factory default settings, move the cursor to the INI-
TIALIZE button, then press [ENTER].
To cancel the initialization operation, move the cursor to the CANCEL button, then press
[ENTER].
When the internal data is thoroughly overwritten, the 01V96 restarts using the factory set-
tings.
4To reset the Operation Lock password to its initial setting, in Step 2, move
the cursor to the PASSWORD button, then press [ENTER].
The password is reset to “1234”.
If you do not take any action after the confirmation window appears, the window automat-
ically closes and the 01V96 restarts without being initialized.
Note:
•If you initialize the 01V96 to the factory-preset values, all Scene, library and other data you
stored previously will be erased. Proceed with caution.
•If you want to keep the current internal data, be sure to first back up the data using the
included Studio Manager software.
Tip:
•You can also store the data to an external MIDI device, such as a MIDI data filer, by using
MIDI Bulk Dump (see page 226).
244 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
Calibrating the Faders
The 01V96 motorized fader positions may shift over time depending on the operating con-
ditions and environment. You can correct the shifted faders using the Calibration function.
1 Make sure that the power to the 01V96 is turned off.
2Press and hold down the [ENTER] button, then turn on the POWER ON/OFF
switch.
After a while, the following calibration window appears.
3Make sure that “1 FADER MOVE & FADER POSITION” is selected, then press
[ENTER].
To adjust only the motor fader movement, use the cursor buttons to select “2 FADER
MOVE ONLY,” then press [ENTER].
To adjust only the fader position, use the cursor buttons to select “3 FADER POSITION
ONLY,” then press [ENTER]. Proceed to Step 5.
To cancel the calibration operation, use the cursor buttons to select “4 QUIT,” then press
[ENTER]. The 01V96 starts in normal mode.
4The calibration operation begins, adjusting the motor fader movement, and
the 01V96 displays a message that indicates the calibration operation is in
progress.
The calibration operation takes about two minutes. DO NOT touch the faders during the
operation.
Calibrating the Faders 245
01V96 Version 2—Owner’s Manual
Other Functions
19
5 When the calibration operation is complete, the 01V96 displays a window
in which you can select faders for position adjustment.
If you selected “2 FADER MOVE ONLY” in Step 3, the fader adjustment is complete. The
01V96 starts in normal mode.
6Use the channel [SEL] buttons to select faders for which you wish to calibrate
the position, then press [ENTER].
The selected channel [SEL] button indicators flash. (When you press [ENTER], they light
up steadily.) At the beginning, all [SEL] buttons are flashing. However, if an error occurs
and the unit is trying calibration again, only the [SEL] button indicator of a problematic
fader flashes.
7Follow the instruction in the window to set the position of the selected faders
to –∞, then press [ENTER].
8Set the position of the selected faders to the level instructed in the window,
then press [ENTER]. Set faders 1-16 to –15, and Stereo fader to –30.
9Set the position of the selected faders to the level instructed in the window,
then press [ENTER]. Set faders 1-16 to 0, and Stereo fader to any position.
10 Set the position of the selected faders to the level instructed in the window,
then press [ENTER]. Set faders 1-16 to +10, and Stereo fader to 0.
If there is no problem with the calibration result, this concludes the calibration operation.
The 01V96 will start in normal mode.
246 Chapter 19—Other Functions
01V96 Version 2—Owner’s Manual
11 If there is any problem with the calibration result, the 01V96 displays the
following window.
Also, the channel [SEL] button indicator of a problematic fader flashes.
Use the cursor buttons to select one of the following three options, then press[ENTER].
•CONTINUE..........................................While the [SEL] button indicator of a problem-
atic fader is flashing, the calibration process
returns to Step 5.
•START FROM THE BEGINNING ....The calibration process returns to Step 2.
•QUIT ANYWAY ...................................The 01V96 cancels the calibration operation and
starts in normal mode. The standard setting will
be applied to problematic faders.
If this window appears after you try the calibration process several times, consult your near-
est Yamaha dealer.
If the calibration data has some problems, the 01V96 displays the following window when
it starts up. In this case, calibrate the position of the faders specified in the window.
USER DEFINED KEYS 247
01V96 Version 2—Owner’s Manual
Appendix
Appendix A: Parameter Lists
USER DEFINED KEYS
# Function Display
0 No Assign No Assign
1 Scene MEM. Recall +1 Scene +1 Recall
2 Scene MEM. Recall –1 Scene –1 Recall
3 Scene MEM. Recall No. XX Scene XX Recall
4 Effect-1 Lib. Recall +1 Fx1 Lib+1 Recall
5 Effect-1 Lib. Recall –1 Fx1 Lib–1 Recall
6 Effect-1 Lib. Recall No.XX Fx1 LibXXX RCL.
7 Effect-2 Lib. Recall +1 Fx2 Lib+1 Recall
8 Effect-2 Lib. Recall –1 Fx2 Lib–1 Recall
9 Effect-2 Lib. Recall No.XX Fx2 LibXXX RCL.
10 Effect-3 Lib. Recall +1 Fx3 Lib+1 Recall
11 Effect-3 Lib. Recall –1 Fx3 Lib–1 Recall
12 Effect-3 Lib. Recall No.XX Fx3 LibXXX RCL.
13 Effect-4 Lib. Recall +1 Fx4 Lib+1 Recall
14 Effect-4 Lib. Recall –1 Fx4 Lib–1 Recall
15 Effect-4 Lib. Recall No.XX Fx4 LibXXX RCL.
16 Effect-1 Bypass On/Off Fx1 Bypass
17 Effect-2 Bypass On/Off Fx2 Bypass
18 Effect-3 Bypass On/Off Fx3 Bypass
19 Effect-4 Bypass On/Off Fx4 Bypass
20 Channel Lib. Recall +1 CH Lib+1 Recall
21 Channel Lib. Recall –1 CH Lib–1 Recall
22 Channel Lib. Recall No. XX CH LibXXX Recall
23 GATE Lib. Recall +1 Gate Lib+1 RCL.
24 GATE Lib. Recall –1 Gate Lib–1 RCL.
25 GATE Lib. Recall No. XX Gate LibXXX RCL.
26 COMP Lib. Recall +1 Comp Lib+1 RCL.
27 COMP Lib. Recall –1 Comp Lib–1 RCL.
28 COMP Lib. Recall No. XX Comp LibXXX RCL.
29 EQ Lib. Recall +1 EQ Lib+1 Recall
30 EQ Lib. Recall –1 EQ Lib–1 Recall
31 EQ Lib. Recall No. XX EQ LibXXX Recall
32 Input Patch Lib. Recall +1 IN Patch Lib+1
33 Input Patch Lib. Recall –1 IN Patch Lib–1
34 Input Patch Lib. Recall No. XX IN Patch LibXX
35 Output Patch Lib. Recall +1 Out Patch Lib+1
36 Output Patch Lib. Recall –1 Out Patch Lib–1
37 Output Patch Lib. Recall No. XX Out Patch LibXX
38 Input Fader Group Enable A IN Fader Group A
39 Input Fader Group Enable B IN Fader Group B
40 Input Fader Group Enable C IN Fader Group C
41 Input Fader Group Enable D IN Fader Group D
42 Input Fader Group Enable E IN Fader Group E
43 Input Fader Group Enable F IN Fader Group F
44 Input Fader Group EnableG IN Fader Group G
45 Input Fader Group Enable H IN Fader Group H
46 Input MUTE Group Enable I IN Mute Group I
47 Input MUTE Group Enable J IN Mute Group J
48 Input MUTE Group Enable K IN Mute Group K
49 Input MUTE Group Enable L IN Mute Group L
50 Input MUTE Group Enable M IN Mute Group M
51 Input MUTE Group Enable N IN Mute Group N
52 Input MUTE Group Enable O IN Mute Group O
53 Input MUTE Group Enable P IN Mute Group P
54 Output Fader Group Enable Q OutFader Group Q
55 Output Fader Group Enable R OutFader Group R
56 Output Fader Group Enable S OutFader Group S
57 Output Fader Group Enable T OutFader Group T
58 Output MUTE Group Enable U Out Mute Group U
59 Output MUTE Group Enable V Out Mute Group V
60 Output MUTE Group Enable W Out Mute Group W
61 Output MUTE Group Enable X Out Mute Group X
62 Input Fader Group Assign X IN Fader Assign X
63 Input Mute Group Assign X IN Mute Assign X
64 Input EQ Group Assign X IN EQ Assign x
65 Input COMP Group Assign X IN COMP Assign x
66 Output Fader Group Assign X OutFader Assign X
67 Output Mute Group Assign X Out Mute Assign X
68 Output EQ Group Assign X Out EQ Assign x
69 Output COMP Group Assign X Out COMP Assign x
70 Input Mute Group Master X In Mute Master X
71 Output MUTE Group Master X Out Mute Master X
72 PEAK HOLD On/Off Peak Hold
73 OSCILLATOR On/Off OSC ON/OFF
74 SOLO Enable SOLO ENABLE
75 FADER/SOLO RELEASE Mode
On/Off FaderSolo RELEASE
76 Control Room Monitor MONO C-R MONO
77 Pan / Surround Link PAN/SURR LINK
78 Channel Name ID/Short CH ID/Short
79 Channel Copy Channel Copy
80 Channel Paste Channel Paste
81 Display Back Display Back
82 Display Forward Display Forward
83 UDEF KEYS BANK +1 UDEF KEYS BANK+1
84 UDEF KEYS BANK –1 UDEF KEYS BANK–1
85 UDEF KEYS BANK X UDEF KEYS BANK x
86 REMOTE USER DEFINE BANK +1 RMT UDEF BANK+1
87 REMOTE USER DEFINE BANK -1 RMT UDEF BANK-1
88 REMOTE USER DEFINE BANK X RMT UDEF BANK X
89 REMOTE USER ASS LAYER BANK +1 USR LAYER BANK+1
90 REMOTE USER ASS LAYER BANK -1 USR LAYER BANK-1
91 REMOTE USER ASS LAYER BANK X USR LAYER BANK X
92 MIDI NOTE No.XX MIDI NOTE XXX
93 MIDI Program change No.XX MIDI PGM XXX
94 MIDI Control Change No.XX MIDI CC XXX
95 Machine REC Machine REC
96 Machine PLAY Machine PLAY
97 Machine STOP Machine STOP
98 Machine FF Machine FF
99 Machine REW Machine REW
100 Machine SHUTTLE Machine SHUTTLE
101 Machine SCRUB Machine SCRUB
102 Machine LOCATE X Machine LOCATE X
103 Machine Set LOCATE X Machine Capture X
104 Machine RTZ Machine RTZ
105 Machine Set RTZ Machine Set RTZ
# Function Display
248 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
106 Track Arming 1 Track Arming 1
107 Track Arming 2 Track Arming 2
108 Track Arming 3 Track Arming 3
109 Track Arming 4 Track Arming 4
110 Track Arming 5 Track Arming 5
111 Track Arming 6 Track Arming 6
112 Track Arming 7 Track Arming 7
113 Track Arming 8 Track Arming 8
114 Track Arming 9 Track Arming 9
115 Track Arming 10 Track Arming 10
116 Track Arming 11 Track Arming 11
117 Track Arming 12 Track Arming 12
118 Track Arming 13 Track Arming 13
119 Track Arming 14 Track Arming 14
120 Track Arming 15 Track Arming 15
121 Track Arming 16 Track Arming 16
122 Track Arming 17 Track Arming 17
123 Track Arming 18 Track Arming 18
124 Track Arming 19 Track Arming 19
125 Track Arming 20 Track Arming 20
126 Track Arming 21 Track Arming 21
127 Track Arming 22 Track Arming 22
128 Track Arming 23 Track Arming 23
129 Track Arming 24 Track Arming 24
130 Track Arming All Clear Track Arming CLR
131 DAW REC DAW REC
132 DAW PLAY DAW PLAY
133 DAW STOP DAW STOP
134 DAW FF DAW FF
135 DAW REW DAW REW
136 DAW SHUTTLE DAW SHUTTLE
137 DAW SCRUB DAW SCRUB
138 DAW AUDITION DAW AUDITION
139 DAW PRE DAW PRE
140 DAW IN DAW IN
141 DAW OUT DAW OUT
142 DAW POST DAW POST
143 DAW RTZ DAW RTZ
144 DAW END DAW END
145 DAW ONLINE DAW ONLINE
146 DAW LOOP DAW LOOP
147 DAW QUICKPUNCH DAW QUICKPUNCH
148 DAW GROUP STATUS DAW GROUP STATUS
149 DAW AUTO FADER DAW AUTO FADER
150 DAW AUTO MUTE DAW AUTO MUTE
151 DAW AUTO PAN DAW AUTO PAN
152 DAW AUTO SEND DAW AUTO SEND
153 DAW AUTO PLUGIN DAW AUTO PLUGIN
154 DAW AUTO SEND MUTE DAW AUTO SENDMUTE
155 DAW AUTO READ DAW AUTO READ
156 DAW AUTO TOUCH DAW AUTO TOUCH
157 DAW AUTO LATCH DAW AUTO LATCH
158 DAW AUTO WRITE DAW AUTO WRITE
159 DAW AUTO TRIM DAW AUTO TRIM
160 DAW AUTO OFF DAW AUTO OFF
161 DAW AUTO SUSPEND DAW AUTO SUSPEND
162 DAW AUTO STATUS DAW AUTO STATUS
163 DAW MONITOR STATUS DAW MONI STATUS
164 DAW CREATE GROUP DAW CREATE GROUP
# Function Display
165 DAW SUSPEND GROUP DAW SUSPEND GRP
166 DAW WINDOW TRANSPORT DAW WIN TRANSPORT
167 DAW WINDOW INSERT DAW WIN INSERT
168 DAW WINDOW MIX/EDIT DAW WIN MIX/EDIT
169 DAW WINDOW MEM-LOC DAW WIN MEM-LOC
170 DAW WINDOW STATUS DAW WIN STATUS
171 DAW Shortcut UNDO DAW UNDO
172 DAW Shortcut SAVE DAW SAVE
173 DAW Shortcut EDIT MODE DAW EDIT MODE
174 DAW Shortcut EDIT TOOL DAW EDIT TOOL
175 DAW Shortcut SHIFT/ADD DAW SHIFT/ADD
176 DAW Shortcut OPTION/ALL DAW OPTION/ALL
177 DAW Shortcut CTRL/CLUCH DAW CTRL/CLUCH
178 DAW Shortcut ALT/FINE DAW ALT/FINE
179 DAW BANK + DAW BANK +
180 DAW BANK – DAW BANK –
181 DAW Channel + DAW Channel +
182 DAW Channel – DAW Channel –
183 DAW REC/RDY X DAW REC/RDY X
184 DAW REC/RDY ALL DAW REC/RDY ALL
185 Studio Manager Window Control
Close SM CTRL Close
186 Studio Manager Window Control
Close All SM CTRL Close All
187 Studio Manager Window Control
Selected Channel SM CTRL Sel Ch
188 Studio Manager Window Control
Library SM CTRL Library
189 Studio Manager Window Control
Patch Editor SM CTRL Patch
190 Studio Manager Window Control
Surround Editor SM CTRL Surround
191 Studio Manager Window Control
Effect Editor SM CTRL Effect
192 Studio Manager Window Control
Meter SM CTRL Meter
193 Studio Manager Window Control
Layer SM CTRL Layer
194 Studio Manager Window Control
Master SM CTRL Master
# Function Display
USER DEFINED KEYS Initial Assignments 249
01V96 Version 2—Owner’s Manual
Appendix
USER DEFINED KEYS Initial Assignments
Input Patch Parameters
BANK A BANK B BANK C BANK D BANK E BANK F BANK G BANK H
TITLE Scene Recall Group
Enable DAW 1 DAW 2 Machine
Control
Program
Change
Special
Function No Assign
1Scene 1 Recall IN Fader
Group A UDEF BANK D UDEF BANK C Machine
SHUTTLE MIDI PGM 1 Display Back No Assign
2Scene 2 Recall IN Mute
Group I
DAW WIN
MIX/EDIT
DAW
OPTION/ALL
Machine
SCRUB MIDI PGM 2 Display
Forward No Assign
3Scene 3 Recall IN Fader
Group B DAW BANK – DAW AUTO
READ Machine RTZ MIDI PGM 3 Channel
Copy No Assign
4Scene 4 Recall IN Mute
Group J DAW BANK + DAW AUTO
TOUCH Machine REC MIDI PGM 4 Channel
Paste No Assign
5Scene 5 Recall IN Fader
Group C
DAW
SHUTTLE
DAW AUTO
LATCH
Machine
STOP MIDI PGM 5 No Assign No Assign
6Scene 6 Recall IN Mute
Group K DAW SCRUB DAW AUTO
WRITE
Machine
PLAY MIDI PGM 6 No Assign No Assign
7Scene 7 Recall IN Fader
Group D DAW STOP DAW AUTO
TRIM
Machine
REW MIDI PGM 7 No Assign No Assign
8Scene 8 Recall IN Mute
Group L DAW PLAY DAW AUTO
OFF Machine FF MIDI PGM 8 No Assign No Assign
INPUT INSERT IN EFFECT IN CASCADE
Port ID Description Port ID Description Port ID Description Port ID Description
– NONE – NONE – NONE – NONE
AD1 AD IN 1 AD1 AD IN 1 AUX1 AUX1 ADAT1 ADAT1 IN
AD2 AD IN 2 AD2 AD IN 2 AUX2 AUX2 ADAT2 ADAT2 IN
AD3 AD IN 3 AD3 AD IN 3 AUX3 AUX3 ADAT3 ADAT3 IN
AD4 AD IN 4 AD4 AD IN 4 AUX4 AUX4 ADAT4 ADAT4 IN
AD5 AD IN 5 AD5 AD IN 5 AUX5 AUX5 ADAT5 ADAT5 IN
AD6 AD IN 6 AD6 AD IN 6 AUX6 AUX6 ADAT6 ADAT6 IN
AD7 AD IN 7 AD7 AD IN 7 AUX7 AUX7 ADAT7 ADAT7 IN
AD8 AD IN 8 AD8 AD IN 8 AUX8 AUX8 ADAT8 ADAT8 IN
AD9 AD IN 9 AD9 AD IN 9 INS CH1 InsertOut-CH1 SL-01 Slot CH1 IN
AD10 AD IN 10 AD10 AD IN 10 INS CH2 InsertOut-CH2 SL-02 Slot CH2 IN
AD11 AD IN 11 AD11 AD IN 11 INS CH3 InsertOut-CH3 SL-03 Slot CH3 IN
AD12 AD IN 12 AD12 AD IN 12 INS CH4 InsertOut-CH4 SL-04 Slot CH4 IN
AD13 AD IN 13 AD13 AD IN 13 INS CH5 InsertOut-CH5 SL-05 Slot CH5 IN
AD14 AD IN 14 AD14 AD IN 14 INS CH6 InsertOut-CH6 SL-06 Slot CH6 IN
AD15 AD IN 15 AD15 AD IN 15 INS CH7 InsertOut-CH7 SL-07 Slot CH7 IN
AD16 AD IN 16 AD16 AD IN 16 INS CH8 InsertOut-CH8 SL-08 Slot CH8 IN
ADAT1 ADAT1 IN ADAT1 ADAT1 IN INS CH9 InsertOut-CH9 SL-09 Slot CH9 IN
ADAT2 ADAT2 IN ADAT2 ADAT2 IN INS CH10 InsertOut-CH10 SL-10 Slot CH10 IN
ADAT3 ADAT3 IN ADAT3 ADAT3 IN INS CH11 InsertOut-CH11 SL-11 Slot CH11 IN
ADAT4 ADAT4 IN ADAT4 ADAT4 IN INS CH12 InsertOut-CH12 SL-12 Slot CH12 IN
ADAT5 ADAT5 IN ADAT5 ADAT5 IN INS CH13 InsertOut-CH13 SL-13 Slot CH13 IN
ADAT6 ADAT6 IN ADAT6 ADAT6 IN INS CH14 InsertOut-CH14 SL-14 Slot CH14 IN
ADAT7 ADAT7 IN ADAT7 ADAT7 IN INS CH15 InsertOut-CH15 SL-15 Slot CH15 IN
ADAT8 ADAT8 IN ADAT8 ADAT8 IN INS CH16 InsertOut-CH16 SL-16 Slot CH16 IN
SL-01 Slot CH1 IN SL-01 Slot CH1 IN INS CH17 InsertOut-CH17 AD1 AD IN 1
SL-02 Slot CH2 IN SL-02 Slot CH2 IN INS CH18 InsertOut-CH18 AD2 AD IN 2
SL-03 Slot CH3 IN SL-03 Slot CH3 IN INS CH19 InsertOut-CH19 AD3 AD IN 3
SL-04 Slot CH4 IN SL-04 Slot CH4 IN INS CH20 InsertOut-CH20 AD4 AD IN 4
SL-05 Slot CH5 IN SL-05 Slot CH5 IN INS CH21 InsertOut-CH21 AD5 AD IN 5
SL-06 Slot CH6 IN SL-06 Slot CH6 IN INS CH22 InsertOut-CH22 AD6 AD IN 6
250 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
SL-07 Slot CH7 IN SL-07 Slot CH7 IN INS CH23 InsertOut-CH23 AD7 AD IN 7
SL-08 Slot CH8 IN SL-08 Slot CH8 IN INS CH24 InsertOut-CH24 AD8 AD IN 8
SL-09 Slot CH9 IN SL-09 Slot CH9 IN INS CH25 InsertOut-CH25 AD9 AD IN 9
SL-10 Slot CH10 IN SL-10 Slot CH10 IN INS CH26 InsertOut-CH26 AD10 AD IN 10
SL-11 Slot CH11 IN SL-11 Slot CH11 IN INS CH27 InsertOut-CH27 AD11 AD IN 11
SL-12 Slot CH12 IN SL-12 Slot CH12 IN INS CH28 InsertOut-CH28 AD12 AD IN 12
SL-13 Slot CH13 IN SL-13 Slot CH13 IN INS CH29 InsertOut-CH29 AD13 AD IN 13
SL-14 Slot CH14 IN SL-14 Slot CH14 IN INS CH30 InsertOut-CH30 AD14 AD IN 14
SL-15 Slot CH15 IN SL-15 Slot CH15 IN INS CH31 InsertOut-CH31 AD15 AD IN 15
SL-16 Slot CH16 IN SL-16 Slot CH16 IN INS CH32 InsertOut-CH32 AD16 AD IN 16
FX1-1 Effect1 OUT 1 FX1-1 Effect1 OUT 1 INS BUS1 InsertOut-BUS1 2TD-L 2TR IN Dig. L
FX1-2 Effect1 OUT 2 FX1-2 Effect1 OUT 2 INS BUS2 InsertOut-BUS2 2TD-R 2TR IN Dig. R
FX2-1 Effect2 OUT 1 FX2-1 Effect2 OUT 1 INS BUS3 InsertOut-BUS3
FX2-2 Effect2 OUT 2 FX2-2 Effect2 OUT 2 INS BUS4 InsertOut-BUS4
FX3-1 Effect3 OUT 1 FX3-1 Effect3 OUT 1 INS BUS5 InsertOut-BUS5
FX3-2 Effect3 OUT 2 FX3-2 Effect3 OUT 2 INS BUS6 InsertOut-BUS6
FX4-1 Effect4 OUT 1 FX4-1 Effect4 OUT 1 INS BUS7 InsertOut-BUS7
FX4-2 Effect4 OUT 2 FX4-2 Effect4 OUT 2 INS BUS8 InsertOut-BUS8
2TD-L 2TR IN Dig. L 2TD-L 2TR IN Dig. L INS AUX1 InsertOut-AUX1
2TD-R 2TR IN Dig. R 2TD-R 2TR IN Dig. R INS AUX2 InsertOut-AUX2
INS AUX3 InsertOut-AUX3
INS AUX4 InsertOut-AUX4
INS AUX5 InsertOut-AUX5
INS AUX6 InsertOut-AUX6
INS AUX7 InsertOut-AUX7
INS AUX8 InsertOut-AUX8
INS ST-L InsertOut-ST-L
INS ST-R InsertOut-ST-R
INPUT INSERT IN EFFECT IN CASCADE
Port ID Description Port ID Description Port ID Description Port ID Description
Initial Input Patch Settings 251
01V96 Version 2—Owner’s Manual
Appendix
Initial Input Patch Settings
CHANNEL EFFECT IN PATCH
CASCADE IN PATCH
EFFECT TYPE
1 AD1
2 AD2
3 AD3
4 AD4
5 AD5
6 AD6
7 AD7
8 AD8
9 AD9
10 AD10
11 AD11
12 AD12
13 AD13
14 AD14
15 AD15
16 AD16
17 ADAT1
18 ADAT2
19 ADAT3
20 ADAT4
21 ADAT5
22 ADAT6
23 ADAT7
24 ADAT8
25 S-1
26 S-2
27 S-3
28 S-4
29 S-5
30 S-6
31 S-7
32 S-8
STI1L FX1-1
STI1R FX1-2
STI2L FX2-1
STI2R FX2-2
STI3L FX3-1
STI3R FX3-2
STI4L FX4-1
STI4R FX4-2
1-1 AUX1
1-2 NONE
2-1 AUX2
2-2 NONE
3-1 AUX3
3-2 NONE
4-1 AUX4
4-2 NONE
BUS1 NONE
BUS2 NONE
BUS3 NONE
BUS4 NONE
BUS5 NONE
BUS6 NONE
BUS7 NONE
BUS8 NONE
AUX1 NONE
AUX2 NONE
AUX3 NONE
AUX4 NONE
AUX5 NONE
AUX6 NONE
AUX7 NONE
AUX8 NONE
ST L NONE
ST R NONE
SOLO L NONE
SOLO R NONE
EFFECT1 REVERB HALL
EFFECT2 REVERB ROOM
EFFECT3 REVERB STAGE
EFFECT4 REVERB PLATE
(mono input)
252 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
CHANNEL NAME
CHANNEL ID SHORT LONG
CH1 CH1 CH1 CH1
CH2 CH2 CH2 CH2
CH3 CH3 CH3 CH3
CH4 CH4 CH4 CH4
CH5 CH5 CH5 CH5
CH6 CH6 CH6 CH6
CH7 CH7 CH7 CH7
CH8 CH8 CH8 CH8
CH9 CH9 CH9 CH9
CH10 CH10 CH10 CH10
CH11 CH11 CH11 CH11
CH12 CH12 CH12 CH12
CH13 CH13 CH13 CH13
CH14 CH14 CH14 CH14
CH15 CH15 CH15 CH15
CH16 CH16 CH16 CH16
CH17 CH17 CH17 CH17
CH18 CH18 CH18 CH18
CH19 CH19 CH19 CH19
CH20 CH20 CH20 CH20
CH21 CH21 CH21 CH21
CH22 CH22 CH22 CH22
CH23 CH23 CH23 CH23
CH24 CH24 CH24 CH24
CH25 CH25 CH25 CH25
CH26 CH26 CH26 CH26
CH27 CH27 CH27 CH27
CH28 CH28 CH28 CH28
CH29 CH29 CH29 CH29
CH30 CH30 CH30 CH30
CH31 CH31 CH31 CH31
CH32 CH32 CH32 CH32
ST IN1 STI1 STI1 STEREO IN1
ST IN2 STI2 STI2 STEREO IN2
ST IN3 STI3 STI3 STEREO IN3
ST IN4 STI4 STI4 STEREO IN4
Output Patch Parameters 253
01V96 Version 2—Owner’s Manual
Appendix
Output Patch Parameters
SLOT, ADAT, OMNI INSERT IN DIRECT OUT 2TR OUT Digital
Source Description Source Description Source Description Source Description
– NONE – NONE – NONE – NONE
BUS1 BUS1 AD1 AD IN 1 ADAT1 ADAT1 OUT BUS1 BUS1
BUS2 BUS2 AD2 AD IN 2 ADAT2 ADAT2 OUT BUS2 BUS2
BUS3 BUS3 AD3 AD IN 3 ADAT3 ADAT3 OUT BUS3 BUS3
BUS4 BUS4 AD4 AD IN 4 ADAT4 ADAT4 OUT BUS4 BUS4
BUS5 BUS5 AD5 AD IN 5 ADAT5 ADAT5 OUT BUS5 BUS5
BUS6 BUS6 AD6 AD IN 6 ADAT6 ADAT6 OUT BUS6 BUS6
BUS7 BUS7 AD7 AD IN 7 ADAT7 ADAT7 OUT BUS7 BUS7
BUS8 BUS8 AD8 AD IN 8 ADAT8 ADAT8 OUT BUS8 BUS8
AUX1 AUX1 AD9 AD IN 9 SL-01 Slot CH1 IN AUX1 AUX1
AUX2 AUX2 AD10 AD IN 10 SL-02 Slot CH2 IN AUX2 AUX2
AUX3 AUX3 AD11 AD IN 11 SL-03 Slot CH3 IN AUX3 AUX3
AUX4 AUX4 AD12 AD IN 12 SL-04 Slot CH4 IN AUX4 AUX4
AUX5 AUX5 AD13 AD IN 13 SL-05 Slot CH5 IN AUX5 AUX5
AUX6 AUX6 AD14 AD IN 14 SL-06 Slot CH6 IN AUX6 AUX6
AUX7 AUX7 AD15 AD IN 15 SL-07 Slot CH7 IN AUX7 AUX7
AUX8 AUX8 AD16 AD IN 16 SL-08 Slot CH8 IN AUX8 AUX8
ST L STEREO L ADAT1 ADAT1 IN SL-09 Slot CH9 IN ST L STEREO L
ST R STEREO R ADAT2 ADAT2 IN SL-10 Slot CH10 IN ST R STEREO R
INS CH1 InsertOut-CH1 ADAT3 ADAT3 IN SL-11 Slot CH11 IN INS CH1 InsertOut-CH1
INS CH2 InsertOut-CH2 ADAT4 ADAT4 IN SL-12 Slot CH12 IN INS CH2 InsertOut-CH2
INS CH3 InsertOut-CH3 ADAT5 ADAT5 IN SL-13 Slot CH13 IN INS CH3 InsertOut-CH3
INS CH4 InsertOut-CH4 ADAT6 ADAT6 IN SL-14 Slot CH14 IN INS CH4 InsertOut-CH4
INS CH5 InsertOut-CH5 ADAT7 ADAT7 IN SL-15 Slot CH15 IN INS CH5 InsertOut-CH5
INS CH6 InsertOut-CH6 ADAT8 ADAT8 IN SL-16 Slot CH16 IN INS CH6 InsertOut-CH6
INS CH7 InsertOut-CH7 SL-01 Slot CH1 IN OMNI1 OMNI OUT 1 INS CH7 InsertOut-CH7
INS CH8 InsertOut-CH8 SL-02 Slot CH2 IN OMNI2 OMNI OUT 2 INS CH8 InsertOut-CH8
INS CH9 InsertOut-CH9 SL-03 Slot CH3 IN OMNI3 OMNI OUT 3 INS CH9 InsertOut-CH9
INS CH10 InsertOut-CH10 SL-04 Slot CH4 IN OMNI4 OMNI OUT 4 INS CH10 InsertOut-CH10
INS CH11 InsertOut-CH11 SL-05 Slot CH5 IN 2TD-L 2TR OUT Dig. L INS CH11 InsertOut-CH11
INS CH12 InsertOut-CH12 SL-06 Slot CH6 IN 2TD-R 2TR OUT Dig. R INS CH12 InsertOut-CH12
INS CH13 InsertOut-CH13 SL-07 Slot CH7 IN — — INS CH13 InsertOut-CH13
INS CH14 InsertOut-CH14 SL-08 Slot CH8 IN — — INS CH14 InsertOut-CH14
INS CH15 InsertOut-CH15 SL-09 Slot CH9 IN — — INS CH15 InsertOut-CH15
INS CH16 InsertOut-CH16 SL-10 Slot CH10 IN — — INS CH16 InsertOut-CH16
INS CH17 InsertOut-CH17 SL-11 Slot CH11 IN — — INS CH17 InsertOut-CH17
INS CH18 InsertOut-CH18 SL-12 Slot CH12 IN — — INS CH18 InsertOut-CH18
INS CH19 InsertOut-CH19 SL-13 Slot CH13 IN — — INS CH19 InsertOut-CH19
INS CH20 InsertOut-CH20 SL-14 Slot CH14 IN — — INS CH20 InsertOut-CH20
INS CH21 InsertOut-CH21 SL-15 Slot CH15 IN — — INS CH21 InsertOut-CH21
INS CH22 InsertOut-CH22 SL-16 Slot CH16 IN — — INS CH22 InsertOut-CH22
INS CH23 InsertOut-CH23 FX1-1 Effect1 OUT 1 — — INS CH23 InsertOut-CH23
INS CH24 InsertOut-CH24 FX1-2 Effect1 OUT 2 — — INS CH24 InsertOut-CH24
INS CH25 InsertOut-CH25 FX2-1 Effect2 OUT 1 — — INS CH25 InsertOut-CH25
INS CH26 InsertOut-CH26 FX2-2 Effect2 OUT 2 — — INS CH26 InsertOut-CH26
INS CH27 InsertOut-CH27 FX3-1 Effect3 OUT 1 — — INS CH27 InsertOut-CH27
INS CH28 InsertOut-CH28 FX3-2 Effect3 OUT 2 — — INS CH28 InsertOut-CH28
INS CH29 InsertOut-CH29 FX4-1 Effect4 OUT 1 — — INS CH29 InsertOut-CH29
INS CH30 InsertOut-CH30 FX4-2 Effect4 OUT 2 — — INS CH30 InsertOut-CH30
INS CH31 InsertOut-CH31 2TD-L 2TR IN Dig. L — — INS CH31 InsertOut-CH31
INS CH32 InsertOut-CH32 2TD-R 2TR IN Dig. R — — INS CH32 InsertOut-CH32
254 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
INS BUS1 InsertOut-BUS1 ————INS BUS1 InsertOut-BUS1
INS BUS2 InsertOut-BUS2 ————INS BUS2 InsertOut-BUS2
INS BUS3 InsertOut-BUS3 ————INS BUS3 InsertOut-BUS3
INS BUS4 InsertOut-BUS4 ————INS BUS4 InsertOut-BUS4
INS BUS5 InsertOut-BUS5 ————INS BUS5 InsertOut-BUS5
INS BUS6 InsertOut-BUS6 ————INS BUS6 InsertOut-BUS6
INS BUS7 InsertOut-BUS7 ————INS BUS7 InsertOut-BUS7
INS BUS8 InsertOut-BUS8 ————INS BUS8 InsertOut-BUS8
INS AUX1 InsertOut-AUX1 ————INS AUX1 InsertOut-AUX1
INS AUX2 InsertOut-AUX2 ————INS AUX2 InsertOut-AUX2
INS AUX3 InsertOut-AUX3 ————INS AUX3 InsertOut-AUX3
INS AUX4 InsertOut-AUX4 ————INS AUX4 InsertOut-AUX4
INS AUX5 InsertOut-AUX5 ————INS AUX5 InsertOut-AUX5
INS AUX6 InsertOut-AUX6 ————INS AUX6 InsertOut-AUX6
INS AUX7 InsertOut-AUX7 ————INS AUX7 InsertOut-AUX7
INS AUX8 InsertOut-AUX8 ————INS AUX8 InsertOut-AUX8
INS ST-L InsertOut-STL ————INS ST-L InsertOut-ST-L
INS ST-R InsertOut-STR ————INS ST-R InsertOut-ST-R
CAS BUS1 Cascade Out Bus1 ————CAS BUS1 Cascade Out Bus1
CAS BUS2 Cascade Out Bus2 ————CAS BUS2 Cascade Out Bus2
CAS BUS3 Cascade Out Bus3 ————CAS BUS3 Cascade Out Bus3
CAS BUS4 Cascade Out Bus4 ————CAS BUS4 Cascade Out Bus4
CAS BUS5 Cascade Out Bus5 ————CAS BUS5 Cascade Out Bus5
CAS BUS6 Cascade Out Bus6 ————CAS BUS6 Cascade Out Bus6
CAS BUS7 Cascade Out Bus7 ————CAS BUS7 Cascade Out Bus7
CAS BUS8 Cascade Out Bus8 ————CAS BUS8 Cascade Out Bus8
CAS AUX1 Cascade Out Aux1 ————CAS AUX1 Cascade Out Aux1
CAS AUX2 Cascade Out Aux2 ————CAS AUX2 Cascade Out Aux2
CAS AUX3 Cascade Out Aux3 ————CAS AUX3 Cascade Out Aux3
CAS AUX4 Cascade Out Aux4 ————CAS AUX4 Cascade Out Aux4
CAS AUX5 Cascade Out Aux5 ————CAS AUX5 Cascade Out Aux5
CAS AUX6 Cascade Out Aux6 ————CAS AUX6 Cascade Out Aux6
CAS AUX7 Cascade Out Aux7 ————CAS AUX7 Cascade Out Aux7
CAS AUX8 Cascade Out Aux8 ————CAS AUX8 Cascade Out Aux8
CAS ST-L Cascade STEREO-L ————CAS ST-L Cascade STEREO-L
CAS ST-R Cascade STEREO-R ————CAS ST-R Cascade STEREO-R
CASSOLOL Cascade SOLO L ————CASSOLOL Cascade SOLO L
CASSOLOR
Cascade SOLO R ————
CASSOLOR
Cascade SOLO R
SLOT, ADAT, OMNI INSERT IN DIRECT OUT 2TR OUT Digital
Source Description Source Description Source Description Source Description
Initial Output Patch Settings 255
01V96 Version 2—Owner’s Manual
Appendix
Initial Output Patch Settings
SLOT
ADAT OUT
OMNI OUT
DIRECT OUT
2TR OUT Digital
CHANNEL NAME
SLOT1-1 BUS1
SLOT1-2 BUS2
SLOT1-3 BUS3
SLOT1-4 BUS4
SLOT1-5 BUS5
SLOT1-6 BUS6
SLOT1-7 BUS7
SLOT1-8 BUS8
SLOT1-9 BUS1
SLOT1-10 BUS2
SLOT1-11 BUS3
SLOT1-12 BUS4
SLOT1-13 BUS5
SLOT1-14 BUS6
SLOT1-15 BUS7
SLOT1-16 BUS8
1 BUS1
2 BUS2
3 BUS3
4 BUS4
5 BUS5
6 BUS6
7 BUS7
8 BUS8
1 AUX1
2 AUX2
3 AUX3
4 AUX4
1 ADAT1
2 ADAT2
3 ADAT3
4 ADAT4
5 ADAT5
6 ADAT6
7 ADAT7
8 ADAT8
9 SLOT-1
10 SLOT-2
11 SLOT-3
12 SLOT-4
13 SLOT-5
14 SLOT-6
15 SLOT-7
16 SLOT-8
17 NONE
18 NONE
19 NONE
20 NONE
21 NONE
22 NONE
23 NONE
24 NONE
25 NONE
26 NONE
27 NONE
28 NONE
29 NONE
30 NONE
31 NONE
32 NONE
1L ST L
1R ST R
CHANNEL ID SHORT LONG
AUX1 AUX1 AUX1 AUX1
AUX2 AUX2 AUX2 AUX2
AUX3 AUX3 AUX3 AUX3
AUX4 AUX4 AUX4 AUX4
AUX5 AUX5 AUX5 AUX5
AUX6 AUX6 AUX6 AUX6
AUX7 AUX7 AUX7 AUX7
AUX8 AUX8 AUX8 AUX8
BUS1 BUS1 BUS1 BUS1
BUS2 BUS2 BUS2 BUS2
BUS3 BUS3 BUS3 BUS3
BUS4 BUS4 BUS4 BUS4
BUS5 BUS5 BUS5 BUS5
BUS6 BUS6 BUS6 BUS6
BUS7 BUS7 BUS7 BUS7
BUS8 BUS8 BUS8 BUS8
STEREO ST ST STEREO
256 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
User Defined Remote Layer Initial Bank Settings
Bank 1 (GM Vol & Pan)
ID Name Controller Data Format
Short Long 12345678910111213141516
RM01 GM01 GM-CH01 VOL&PAN ON END –––––––––––––––
FADER B0 07 FAD END ––––––––––––
RM02 GM02 GM-CH02 VOL&PAN ON END –––––––––––––––
FADER B1 07 FAD END ––––––––––––
RM03 GM03 GM-CH03 VOL&PAN ON END –––––––––––––––
FADER B2 07 FAD END ––––––––––––
RM04 GM04 GM-CH04 VOL&PAN ON END –––––––––––––––
FADER B3 07 FAD END ––––––––––––
RM05 GM05 GM-CH05 VOL&PAN ON END –––––––––––––––
FADER B4 07 FAD END ––––––––––––
RM06 GM06 GM-CH06 VOL&PAN ON END –––––––––––––––
FADER B5 07 FAD END ––––––––––––
RM07 GM07 GM-CH07 VOL&PAN ON END –––––––––––––––
FADER B6 07 FAD END ––––––––––––
RM08 GM08 GM-CH08 VOL&PAN ON END –––––––––––––––
FADER B7 07 FAD END ––––––––––––
RM09 GM09 GM-CH09 VOL&PAN ON END –––––––––––––––
FADER B8 07 FAD END ––––––––––––
RM10 GM10 GM-CH10 VOL&PAN ON END –––––––––––––––
FADER B9 07 FAD END ––––––––––––
RM11 GM11 GM-CH11 VOL&PAN ON END –––––––––––––––
FADER BA 07 FAD END ––––––––––––
RM12 GM12 GM-CH12 VOL&PAN ON END –––––––––––––––
FADER BB 07 FAD END ––––––––––––
RM13 GM13 GM-CH13 VOL&PAN ON END –––––––––––––––
FADER BC 07 FAD END ––––––––––––
RM14 GM14 GM-CH14 VOL&PAN ON END –––––––––––––––
FADER BD 07 FAD END ––––––––––––
RM15 GM15 GM-CH15 VOL&PAN ON END –––––––––––––––
FADER BE 07 FAD END ––––––––––––
RM16 GM16 GM-CH16 VOL&PAN ON END –––––––––––––––
FADER BF 07 FAD END ––––––––––––
User Defined Remote Layer Initial Bank Settings 257
01V96 Version 2—Owner’s Manual
Appendix
Bank 2 (GM Vol & Effect 1)
ID Name Controller Data Format
Short Long 12345678910111213141516
RM01 GM01 GM-CH01 VOL&EFF1 ON END –––––––––––––––
FADER B0 07 FAD END ––––––––––––
RM02 GM02 GM-CH02 VOL&EFF1 ON END –––––––––––––––
FADER B1 07 FAD END ––––––––––––
RM03 GM03 GM-CH03 VOL&EFF1 ON END –––––––––––––––
FADER B2 07 FAD END ––––––––––––
RM04 GM04 GM-CH04 VOL&EFF1 ON END –––––––––––––––
FADER B3 07 FAD END ––––––––––––
RM05 GM05 GM-CH05 VOL&EFF1 ON END –––––––––––––––
FADER B4 07 FAD END ––––––––––––
RM06 GM06 GM-CH06 VOL&EFF1 ON END –––––––––––––––
FADER B5 07 FAD END ––––––––––––
RM07 GM07 GM-CH07 VOL&EFF1 ON END –––––––––––––––
FADER B6 07 FAD END ––––––––––––
RM08 GM08 GM-CH08 VOL&EFF1 ON END –––––––––––––––
FADER B7 07 FAD END ––––––––––––
RM09 GM09 GM-CH09 VOL&EFF1 ON END –––––––––––––––
FADER B8 07 FAD END ––––––––––––
RM10 GM10 GM-CH10 VOL&EFF1 ON END –––––––––––––––
FADER B9 07 FAD END ––––––––––––
RM11 GM11 GM-CH11 VOL&EFF1 ON END –––––––––––––––
FADER BA 07 FAD END ––––––––––––
RM12 GM12 GM-CH12 VOL&EFF1 ON END –––––––––––––––
FADER BB 07 FAD END ––––––––––––
RM13 GM13 GM-CH13 VOL&EFF1 ON END –––––––––––––––
FADER BC 07 FAD END ––––––––––––
RM14 GM14 GM-CH14 VOL&EFF1 ON END –––––––––––––––
FADER BD 07 FAD END ––––––––––––
RM15 GM15 GM-CH15 VOL&EFF1 ON END –––––––––––––––
FADER BE 07 FAD END ––––––––––––
RM16 GM16 GM-CH16 VOL&EFF1 ON END –––––––––––––––
FADER BF 07 FAD END ––––––––––––
258 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
Bank 3 (XG Vol & Pan)
ID Name Controller Data Format
Short Long 12345678910111213141516
RM01 XG01 XG-CH01 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 00 0B FAD F7 END ––––––
RM02 XG02 XG-CH02 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 01 0B FAD F7 END ––––––
RM03 XG03 XG-CH03 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 02 0B FAD F7 END ––––––
RM04 XG04 XG-CH04 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 03 0B FAD F7 END ––––––
RM05 XG05 XG-CH05 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 04 0B FAD F7 END ––––––
RM06 XG06 XG-CH06 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 05 0B FAD F7 END ––––––
RM07 XG07 XG-CH07 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 06 0B FAD F7 END ––––––
RM08 XG08 XG-CH08 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 07 0B FAD F7 END ––––––
RM09 XG09 XG-CH09 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 08 0B FAD F7 END ––––––
RM10 XG10 XG-CH10 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 09 0B FAD F7 END ––––––
RM11 XG11 XG-CH11 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 0A 0B FAD F7 END ––––––
RM12 XG12 XG-CH12 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 0B 0B FAD F7 END ––––––
RM13 XG13 XG-CH13 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 0C 0B FAD F7 END ––––––
RM14 XG14 XG-CH14 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 0D 0B FAD F7 END ––––––
RM15 XG15 XG-CH15 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 0E 0B FAD F7 END ––––––
RM16 XG16 XG-CH16 VOL&PAN ON END –––––––––––––––
FADER F0 43 10 4C 08 0F 0B FAD F7 END ––––––
User Defined Remote Layer Initial Bank Settings 259
01V96 Version 2—Owner’s Manual
Appendix
Bank 4 (Nuendo VST Mixer)
ID Name Controller Data Format
Short Long 12345678910111213141516
RM01 CH1 VST MIXER CH1 ON B0 40 SW END ––––––––––––
FADER B0 07 FAD END ––––––––––––
RM02 CH2 VST MIXER CH2 ON B1 40 SW END ––––––––––––
FADER B1 07 FAD END ––––––––––––
RM03 CH3 VST MIXER CH3 ON B2 40 SW END ––––––––––––
FADER B2 07 FAD END ––––––––––––
RM04 CH4 VST MIXER CH4 ON B3 40 SW END ––––––––––––
FADER B3 07 FAD END ––––––––––––
RM05 CH5 VST MIXER CH5 ON B4 40 SW END ––––––––––––
FADER B4 07 FAD END ––––––––––––
RM06 CH6 VST MIXER CH6 ON B5 40 SW END ––––––––––––
FADER B5 07 FAD END ––––––––––––
RM07 CH7 VST MIXER CH7 ON B6 40 SW END ––––––––––––
FADER B6 07 FAD END ––––––––––––
RM08 CH8 VST MIXER CH8 ON B7 40 SW END ––––––––––––
FADER B7 07 FAD END ––––––––––––
RM09 CH9 VST MIXER CH9 ON B8 40 SW END ––––––––––––
FADER B8 07 FAD END ––––––––––––
RM10 CH10 VST MIXER CH10 ON B9 40 SW END ––––––––––––
FADER B9 07 FAD END ––––––––––––
RM11 CH11 VST MIXER CH11 ON BA 40 SW END ––––––––––––
FADER BA 07 FAD END ––––––––––––
RM12 CH12 VST MIXER CH12 ON BB 40 SW END ––––––––––––
FADER BB 07 FAD END ––––––––––––
RM13 CH13 VST MIXER CH13 ON BC 40 SW END ––––––––––––
FADER BC 07 FAD END ––––––––––––
RM14 CH14 VST MIXER CH14 ON BD 40 SW END ––––––––––––
FADER BD 07 FAD END ––––––––––––
RM15 CH15 VST MIXER CH15 ON BE 40 SW END ––––––––––––
FADER BE 07 FAD END ––––––––––––
RM16 CH16 VST MIXER CH16 ON BF 40 SW END ––––––––––––
FADER BF 07 FAD END ––––––––––––
260 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
Effects Parameters
REVERB HALL, REVERB ROOM,
REVERB STAGE, REVERB PLATE
One input, two output hall, room, stage, and plate
reverb simulations, all with gates.
EARLY REF.
One input, two output early reflections.
GATE REVERB, REVERSE GATE
One input, two output early reflections with gate,
and early reflections with reverse gate.
MONO DELAY
One input, two output basic repeat delay.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
LO. RATIO 0.1–2.4 Low-frequency reverb time ratio
DIFF. 0–10 Reverb diffusion (left–right
reverb spread)
DENSITY 0–100% Reverb density
E/R DLY 0.0–100.0 ms Delay between early reflections
and reverb
E/R BAL. 0–100%
Balance of early reflections and
reverb (0% = all reverb, 100% =
all early reflections)
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
GATE LVL OFF, –60 to 0 dB Level at which gate kicks in
ATTACK 0–120 ms Gate opening speed
HOLD 1
1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz),
0.01 ms–1.06 s (fs=88.2 kHz), 0.01 ms–981 ms (fs=96 kHz)
Gate open time
DECAY 2
2. 6 ms–46.0 s (fs=44.1 kHz), 5 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s
(fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)
Gate closing speed
Parameter Range Description
TYPE
S-Hall, L-Hall, Ran-
dom, Revers, Plate,
Spring
Type of early reflection simula-
tion
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay character-
istics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0–10 Reflection diffusion (left–right
reflection spread)
DENSITY 0–100% Reflection density
ER NUM. 1–19 Number of early reflections
FB.GAIN –99 to +99% Feedback gain
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
Parameter Range Description
TYPE Type-A, Type-B Type of early reflection simula-
tion
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay character-
istics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0–10 Reflection diffusion (left–right
reflection spread)
DENSITY 0–100% Reflection density
HI. RATIO 0.1–1.0 High-frequency feedback ratio
ER NUM. 1–19 Number of early reflections
FB.GAIN –99 to +99% Feedback gain
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
Parameter Range Description
DELAY 0.0–2730.0 ms Delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1. (
Max. value depends on tempo setting)
Used in conjunction with
TEMPO to determine DELAY
Effects Parameters 261
01V96 Version 2—Owner’s Manual
Appendix
STEREO DELAY
Two input, two output basic stereo delay.
MOD. DELAY
One input, two output basic repeat delay with mod-
ulation.
DELAY LCR
One input, two output 3-tap delay (left, center,
right).
Parameter Range Description
DELAY L 0.0–1350.0 ms Left channel delay time
DELAY R 0.0–1350.0 ms Right channel delay time
FB. G L –99 to +99%
Left channel feedback (plus val-
ues for normal-phase feedback,
minus values for reverse-phase
feedback)
FB. G R –99 to +99%
Right channel feedback (plus val-
ues for normal-phase feedback,
minus values for reverse-phase
feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF, ON Tempo parameter sync on/off
NOTE L 1
1.
(Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine left chan-
nel DELAY
NOTE R 1
Used in conjunction with
TEMPO to determine right chan-
nel DELAY
Parameter Range Description
DELAY 0.0–2725.0 ms Delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
WAVE Sine, Tri Modulation waveform
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF, ON Tempo parameter sync on/off
DLY.NOTE 1
1. (
Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine DELAY
MOD.NOTE 2
2.
Used in conjunction with
TEMPO to determine FREQ
Parameter Range Description
DELAY L 0.0–2730.0 ms Left channel delay time
DELAY C 0.0–2730.0 ms Center channel delay time
DELAY R 0.0–2730.0 ms Right channel delay time
FB. DLY 0.0–2730.0 ms Feedback delay time
LEVEL L –100 to +100% Left channel delay level
LEVEL C –100 to +100% Center channel delay level
LEVEL R –100 to +100% Right channel delay level
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF, ON Tempo parameter sync on/off
NOTE L 1
1. (
Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine DELAY L
NOTE C 1Used in conjunction with
TEMPO to determine DELAY C
NOTE R 1Used in conjunction with
TEMPO to determine DELAY R
NOTE FB 1Used in conjunction with
TEMPO to determine FB. DLY
262 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
ECHO
Two input, two output stereo delay with crossed
feedback loop.
CHORUS
Two input, two output chorus effect.
FLANGE
Two input, two output flange effect.
SYMPHONIC
Two input, two output symphonic effect.
Parameter Range Description
DELAY L 0.0–1350.0 ms Left channel delay time
DELAY R 0.0–1350.0 ms Right channel delay time
FB.DLY L 0.0–1350.0 ms Left channel feedback delay time
FB.DLY R 0.0–1350.0 ms Right channel feedback delay
time
FB. G L –99 to +99%
Left channel feedback gain (plus
values for normal-phase feed-
back, minus values for
reverse-phase feedback)
FB. G R –99 to +99%
Right channel feedback gain
(plus values for normal-phase
feedback, minus values for
reverse-phase feedback)
L->R FBG –99 to +99%
Left to right channel feedback
gain (plus values for nor-
mal-phase feedback, minus val-
ues for reverse-phase feedback)
R->L FBG –99 to +99%
Right to left channel feedback
gain (plus values for nor-
mal-phase feedback, minus val-
ues for reverse-phase feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF, ON Tempo parameter sync on/off
NOTE L 1
1.
(Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine DELAY L
NOTE R 1Used in conjunction with
TEMPO to determine DELAY R
NOTE FBL 1Used in conjunction with
TEMPO to determine FB.DLY L
NOTE FBR 1Used in conjunction with
TEMPO to determine FB.DLY R
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
AM DEPTH 0–100% Amplitude modulation depth
PM DEPTH 0–100% Pitch modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
WAVE Sine, Tri Modulation waveform
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Effects Parameters 263
01V96 Version 2—Owner’s Manual
Appendix
PHASER
Two input, two output 16-stage phaser.
AUTO PAN
Two input, two output autopanner.
TREMOLO
Two input, two output tremolo effect.
HQ. PITCH
One input, two output high-quality pitch shifter
(Available for internal effects 1 and 2.).
DUAL PITCH
Two input, two output pitch shifter.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
OFFSET 0–100 Lowest phase-shifted frequency
offset
PHASE 0.00–354.38
degrees
Left and right modulation phase
balance
STAGE 2, 4, 6, 8, 10, 12,
14, 16 Number of phase shift stages
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
DIR. 1
1. L<->R, L—>R, L<—R, Turn L, Turn R
Panning direction
WAVE Sine, Tri, Square Modulation waveform
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
SYNC OFF, ON Tempo parameter sync on/off
NOTE 2
2.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
WAVE Sine, Tri, Square Modulation waveform
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
PITCH –12 to +12 semi-
tones Pitch shift
FINE –50 to +50 cents Pitch shift fine
DELAY 0.0–1000.0 ms Delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
MODE 1–10 Pitch shift precision
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
(Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine DELAY
Parameter Range Description
PITCH 1 –24 to +24 semi-
tones Channel #1 pitch shift
FINE 1 –50 to +50 cents Channel #1 pitch shift fine
LEVEL 1 –100 to +100%
Channel #1 level (plus values for
normal phase, minus values for
reverse phase)
PAN 1 L63 to R63 Channel #1 pan
DELAY 1 0.0–1000.0 ms Channel #1 delay time
FB. G 1 –99 to +99%
Channel #1 feedback gain (plus
values for normal-phase feed-
back, minus values for
reverse-phase feedback)
PITCH 2 –24 to +24 semi-
tones Channel #2 pitch shift
FINE 2 –50 to +50 cents Channel #2 pitch shift fine
LEVEL 2 –100 to +100%
Channel #2 level (plus values for
normal phase, minus values for
reverse phase)
PAN 2 L63 to R63 Channel #2 pan
DELAY 2 0.0–1000.0 ms Channel #2 delay time
FB. G 2 –99 to +99%
Channel #2 feedback gain (plus
values for normal-phase feed-
back, minus values for
reverse-phase feedback)
MODE 1–10 Pitch shift precision
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1 1
1.
(Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine Channel
#1 delay
NOTE 2 1
Used in conjunction with
TEMPO to determine Channel
#2 delay
264 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
ROTARY
One input, two output rotary speaker simulator.
RING MOD.
Two input, two output ring modulator.
MOD. FILTER
Two input, two output modulation filter.
DISTORTION
One input, two output distortion effect.
AMP SIMULATE
One input, two output guitar amp simulator.
DYNA. FILTER
Two input, two output dynamically controlled filter.
DYNA. FLANGE
Two input, two output dynamically controlled
flanger.
Parameter Range Description
ROTATE STOP, START Rotation stop, start
SPEED SLOW, FAST Rotation speed (see SLOW and
FAST parameters)
SLOW 0.05–10.00 Hz SLOW rotation speed
FAST 0.05–10.00 Hz FAST rotation speed
DRIVE 0–100 Overdrive level
ACCEL 0–10 Acceleration at speed changes
LOW 0–100 Low-frequency filter
HIGH 0–100 High-frequency filter
Parameter Range Description
SOURCE OSC, SELF Modulation source: oscillator or
input signal
OSC FREQ 0.0–5000.0 Hz Oscillator frequency
FM FREQ. 0.05–40.00 Hz Oscillator frequency modulation
speed
FM DEPTH 0–100% Oscillator frequency modulation
depth
SYNC OFF, ON Tempo parameter sync on/off
NOTE FM 1
1.
Used in conjunction with
TEMPO to determine FM FREQ
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
PHASE 0.00–354.38
degrees
Left-channel modulation and
right-channel modulation phase
difference
TYPE LPF, HPF, BPF Filter type: low pass, high pass,
band pass
OFFSET 0–100 Filter frequency offset
RESO. 0–20 Filter resonance
LEVEL 0–100 Output level
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ
Parameter Range Description
DST TYPE
DST1, DST2,
OVD1, OVD2,
CRUNCH
Distortion type (DST = distor-
tion, OVD = overdrive)
DRIVE 0–100 Distortion drive
MASTER 0–100 Master volume
TONE –10 to +10 Tone
N. GATE 0–20 Noise reduction
Parameter Range Description
AMP TYPE 1
1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR,
CMB-DX, CMB-TW, MINI, FLAT
Guitar amp simulation type
DST TYPE
DST1, DST2,
OVD1, OVD2,
CRUNCH
Distortion type (DST = distor-
tion, OVD = overdrive)
DRIVE 0–100 Distortion drive
MASTER 0–100 Master volume
BASS 0–100 Bass tone control
MIDDLE 0–100 Middle tone control
TREBLE 0–100 High tone control
CAB DEP 0–100% Speaker cabinet simulation
depth
EQ F 100–8.00 kHz Parametric equalizer frequency
EQ G –12.0 to +12.0 dB Parametric equalizer gain
EQ Q 10.0–0.10 Parametric equalizer bandwidth
N. GATE 0–20 Noise reduction
Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or
MIDI Note On velocity
SENSE 0–100 Sensitivity
DIR. UP, DOWN Upward or downward fre-
quency change
DECAY 1
1. 6 ms–46.0 s (fs=44.1 kHz), 5 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s
(fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)
Filter frequency change decay
speed
TYPE LPF, HPF, BPF Filter type
OFFSET 0–100 Filter frequency offset
RESO. 0–20 Filter resonance
LEVEL 0–100 Output Level
Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or
MIDI Note On velocity
SENSE 0–100 Sensitivity
DIR. UP, DOWN Upward or downward fre-
quency change
DECAY 1
1. 6 ms–46.0 s (fs=44.1 kHz), 5 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s
(fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)
Decay speed
OFFSET 0–100 Delay time offset
FB.GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
Effects Parameters 265
01V96 Version 2—Owner’s Manual
Appendix
DYNA. PHASER
Two input, two output dynamically controlled
phaser.
REV+CHORUS
One input, two output reverb and chorus effects in
parallel.
REV->CHORUS
One input, two output reverb and chorus effects in
series.
REV+FLANGE
One input, two output reverb and flanger effects in
parallel.
Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or
MIDI Note On velocity
SENSE 0–100 Sensitivity
DIR. UP, DOWN Upward or downward fre-
quency change
DECAY 1
1. 6 ms–46.0 s (fs=44.1 kHz), 5 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s
(fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)
Decay speed
OFFSET 0–100 Lowest phase-shifted frequency
offset
FB.GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
STAGE 2, 4, 6, 8, 10, 12,
14, 16 Number of phase shift stages
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV/CHO 0–100% Reverb and chorus balance (0%
= all reverb, 100% = all chorus)
FREQ. 0.05–40.00 Hz Modulation speed
AM DEPTH 0–100% Amplitude modulation depth
PM DEPTH 0–100% Pitch modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV.BAL 0–100%
Reverb and chorused reverb bal-
ance (0% = all chorused reverb,
100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
AM DEPTH 0–100% Amplitude modulation depth
PM DEPTH 0–100% Pitch modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV/FLG 0–100% Reverb and flange balance (0% =
all reverb, 100% = all flange)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
WAVE Sine, Tri Modulation waveform
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
266 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
REV->FLANGE
One input, two output reverb and flanger effects in
series.
REV+SYMPHO.
One input, two output reverb and symphonic effects
in parallel.
REV->SYMPHO.
One input, two output reverb and symphonic effects
in series.
REV->PAN
One input, two output reverb and autopan effects in
parallel.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV.BAL 0–100%
Reverb and flanged reverb bal-
ance (0% = all flanged reverb,
100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
WAVE Sine, Tri Modulation waveform
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV/SYM 0–100%
Reverb and symphonic balance
(0% = all reverb, 100% = all
symphonic)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV.BAL 0–100%
Reverb and symphonic reverb
balance (0% = all symphonic
reverb, 100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
SYNC OFF, ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV.BAL 0–100%
Reverb and panned reverb bal-
ance (0% = all panned reverb,
100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
DIR. 1
1. L<–>R, L–>R, L<–R, Turn L, Turn R
Panning direction
WAVE Sine, Tri, Square Modulation waveform
SYNC OFF, ON Tempo parameter sync on/off
NOTE 2
2.
Used in conjunction with
TEMPO to determine FREQ.
Effects Parameters 267
01V96 Version 2—Owner’s Manual
Appendix
DELAY+ER.
One input, two output delay and early reflections
effects in parallel.
DELAY->ER.
One input, two output delay and early reflections
effects in series.
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY/ER 0–100%
Delay and early reflections bal-
ance (0% = all delay, 100% = all
early reflections)
TYPE
S-Hall, L-Hall, Ran-
dom, Revers, Plate,
Spring
Type of early reflection simula-
tion
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay character-
istics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
ER NUM. 1–19 Number of early reflections
SYNC OFF, ON Tempo parameter sync on/off
NOTE L 1
1.
(Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine left chan-
nel DELAY L
NOTE R 1
Used in conjunction with
TEMPO to determine right chan-
nel DELAY R
NOTE FB 1Used in conjunction with
TEMPO to determine FB. DLY
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY.BAL 0–100%
Delay and early reflected delay
balance (0% = all early reflected
delay, 100% = all delay)
TYPE
S-Hall, L-Hall, Ran-
dom, Revers, Plate,
Spring
Type of early reflection simula-
tion
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay character-
istics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
ER NUM. 1–19 Number of early reflections
SYNC OFF, ON Tempo parameter sync on/off
NOTE L 1
1.
(Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine left chan-
nel DELAY L
NOTE R 1
Used in conjunction with
TEMPO to determine right chan-
nel DELAY R
NOTE FB 1Used in conjunction with
TEMPO to determine FB. DLY
268 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
DELAY+REV
One input, two output delay and reverb effects in
parallel.
DELAY->REV
One input, two output delay and reverb effects in
series.
DIST->DELAY
One input, two output distortion and delay effects in
series.
MULTI FILTER
Two input, two output 3-band multi-filter (24
dB/octave).
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
DELAY HI 0.1–1.0 Delay high-frequency feedback
ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY.BAL 0–100% Delay and reverb balance (0% =
all delay, 100% = all reverb)
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV HI 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
SYNC OFF, ON Tempo parameter sync on/off
NOTE L 1
1.
(Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine left chan-
nel DELAY L
NOTE R 1
Used in conjunction with
TEMPO to determine right chan-
nel DELAY R
NOTE FB 1Used in conjunction with
TEMPO to determine FB. DLY
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
DELAY HI 0.1–1.0 Delay high-frequency feedback
ratio
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY.BAL 0–100%
Delay and delayed reverb bal-
ance (0% = all delayed reverb,
100% = all delay)
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV HI 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
SYNC OFF, ON Tempo parameter sync on/off
NOTE L 1
Used in conjunction with
TEMPO to determine left chan-
nel DELAY L
NOTE R *1
Used in conjunction with
TEMPO to determine right chan-
nel DELAY R
NOTE FB *1 Used in conjunction with
TEMPO to determine FB. DLY
1.
(Maximum value depends on the tempo setting)
Parameter Range Description
DST TYPE
DST1, DST2,
OVD1, OVD2,
CRUNCH
Distortion type (DST = distor-
tion, OVD = overdrive)
DRIVE 0–100 Distortion drive
MASTER 0–100 Master volume
TONE –10 to +10 Tone control
N. GATE 0–20 Noise reduction
DELAY 0.0–2725.0 ms Delay time
FB. GAIN –99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
DLY.BAL 0–100%
Distortion and delay balance
(0% = all distortion, 100% = all
delayed distortion)
SYNC OFF, ON Tempo parameter sync on/off
DLY.NOTE 1
1. (
Maximum value depends on the tempo setting)
Used in conjunction with
TEMPO to determine DELAY
MOD.NOT
E2
2.
Used in conjunction with
TEMPO to determine FREQ.
Parameter Range Description
TYPE 1 HPF, LPF, BPF Filter 1 type: high pass, low pass,
band pass
TYPE 2 HPF, LPF, BPF Filter 2 type: high pass, low pass,
band pass
TYPE 3 HPF, LPF, BPF Filter 3 type: high pass, low pass,
band pass
FREQ. 1 28.0 Hz–16.0 kHz Filter 1 frequency
FREQ. 2 28.0 Hz–16.0 kHz Filter 2 frequency
FREQ. 3 28.0 Hz–16.0 kHz Filter 3 frequency
LEVEL 1 0–100 Filter 1 level
LEVEL 2 0–100 Filter 2 level
LEVEL 3 0–100 Filter 3 level
RESO. 1 0–20 Filter 1 resonance
RESO. 2 0–20 Filter 2 resonance
RESO. 3 0–20 Filter 3 resonance
Parameter Range Description
Effects Parameters 269
01V96 Version 2—Owner’s Manual
Appendix
FREEZE
One input, one output basic sampler (Available for
internal effects 1 and 2.).
ST REVERB
Two input, two output stereo reverb.
M.BAND DYNA.
Two input, two output 3-band dynamics processor,
with individual solo and gain reduction metering for
each band.
Other preset effects (COMP276, COMP276S,
COMP260, COMP260S, EQUALIZER601, OPEN-
DECK, REV-X HALL, REV-X ROOM, REV-X
PLATE) are optional Add-On Effects. For more
information on these effects, refer to the Owner’s
Manual that came with the Add-On Effects pack-
ages.
Parameter Range Description
REC MODE MANUAL, INPUT
In MANUAL mode, recording is
started by pressing the REC and
PLAY buttons. In INPUT mode,
Record-Ready mode is engaged
by pressing the REC button, and
actual recording is triggered by
the input signal.
REC DLY –1000 to +1000
ms
Recording delay. For plus values,
recording starts after the trigger
is received. For minus values,
recording starts before the trig-
ger is received.
TRG LVL –60 to 0 dB
Input trigger level (i.e., the sig-
nal level required to trigger
recording or playback)
TRG MASK 0–1000 ms
Once playback has been trig-
gered, subsequent triggers are
ignored for the duration of the
TRG MASK time.
PLY MODE MOMENT,
CONTI., INPUT
In MOMENT mode, the sample
plays only while the that the
PLAY button is pressed. In CONT
mode, playback continues once
the PLAY button has been
pressed. The number of times
the sample plays is set using the
LOOP NUM parameter. In INPUT
mode, playback is triggered by
the input signal.
START 1
1. 0.0~2970.5 ms (fs=44.1 kHz), 0.0~2729.2 ms (fs=48 kHz),
0.0~2970.5 ms (fs=88.2 kHz), 0.0~2729.2 ms (fs=96 kHz)
Playback start point in millisec-
onds
END 1Playback end point in millisec-
onds
LOOP 1Loop start point in milliseconds
LOOP
NUM 0–100 Number of times the sample
plays
START
[SAMPLE] 2
2. 0~131000 (fs=44.1 kHz, 48 kHz), 0~262000 (fs=88.2 kHz,
96 kHz)
Playback start point in samples
END
[SAMPLE] 2Playback end point in samples
LOOP
[SAMPLE] 2Loop start point in samples
PITCH –12 to +12 semi-
tones Playback pitch shift
FINE –50 to +50 cents Playback pitch shift fine
MIDI TRG OFF, C1–C6, ALL
PLAY button can be triggered by
using MIDI Note on/off mes-
sages.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
REV TYPE Hall, Room, Stage,
Plate Reverb type
INI. DLY 0.0–100.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
LO. RATIO 0.1–2.4 Low-frequency reverb time ratio
DIFF. 0–10 Reverb diffusion (left–right
reverb spread)
DENSITY 0–100% Reverb density
E/R BAL. 0–100%
Balance of early reflections and
reverb (0% = all reverb, 100% =
all early reflections)
HPF THRU,
21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
Parameter Range Description
LOW GAIN –96.0 to +12.0 dB Low band level
MID GAIN –96.0 to +12.0 dB Mid band level
HI. GAIN –96.0 to +12.0 dB High band level
PRESENCE –10 to +10
For positive values, the threshold
of the high band is lowered and
the threshold of the low band is
increased. For negative values,
the opposite will occur. When
set to 0, all three bands are
affected the same.
CMP. THRE 24.0 to 0.0 dB Compressor threshold
CMP. RAT 1:1 to 20:1 Compressor ratio
CMP. ATK 0–120 ms Compressor attack
CMP. REL 1Compressor release time
CMP. KNEE 0–5 Compressor knee
LOOKUP 0.0–100.0 ms Lookup delay
CMP. BYP OFF, ON Compressor bypass
L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency
M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency
SLOPE –6 to –12 dB Filter slope
CEILING –6.0 to 0.0 dB,
OFF
Specifies the maximum output
level
EXP. THRE –54.0 to –24.0 dB Expander threshold
EXP. RAT 1:1 to ∞:1 Expander ratio
EXP. REL 1
1. 6 ms–46.0 s (fs=44.1 kHz), 5 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s
(fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)
Expander release time
EXP. BYP OFF, ON Expander bypass
LIM. THRE –12.0 to 0.0 dB Limiter threshold
LIM. ATK 0–120 ms Limiter attack
LIM. REL 1Limiter release time
LIM. BYP OFF, ON Limiter bypass
LIM. KNEE 0–5 Limiter knee
SOLO LOW OFF, ON If this is on, only the low-fre-
quency band will be output.
SOLO MID OFF, ON If this is on, only the mid-fre-
quency band will be output.
SOLO
HIGH OFF, ON If this is on, only the high-fre-
quency band will be output.
Parameter Range Description
270 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
Effects and tempo synchronization
Some of the 01V96’s effects allow you to synchronize the effect with the tempo. There are two such types of effect; delay-type effects
and modulation-type effects. For delay-type effects, the delay time will change according to the tempo. For modulation-type effects,
the frequency of the modulation signal will change according to the tempo.
•Parameters related to tempo synchronization
The following five parameters are related to tempo synchronization.
1) SYNC 2) NOTE 3) TEMPO 4) DELAY 5) FREQ.
SYNC:.............................This is the on/off switch for tempo synchronization.
NOTE and TEMPO: .....These are the basic parameters for tempo synchronization.
DELAY and FREQ.:.......DELAY is the delay time, and FREQ. is the frequency of the modulation signal. These directly affect
the way in which the effect sound will change. DELAY is relevant only for delay-type effects, and
FREQ. is relevant only for modulation-type effects.
•How the parameters are related
Tempo synchronization uses TEMPO and NOTE to calculate a value that will be the basis for the tempo, and continues making
adjustments so that this tempo basis stays essentially the same as the DELAY (or FREQ.). This means that when TEMPO, NOTE,
and DELAY (or FREQ.) are synchronized, and you change any of these values, the other parameters will be re-set in order to
maintain the correct relationship. The parameters that are re-set and the calculation method(*a) used are as follows.
If you turn SYNC on → NOTE will be set
If you edit DELAY (or FREQ.) → NOTE will be set
In this case, the NOTE value is calculated as follows.
NOTE = DELAY (or FREQ.)/(4 x (60/TEMPO))
If you edit NOTE → DELAY (or FREQ.) will be set
In this case, the DELAY (or FREQ.) value is calculated as follows.
DELAY (or FREQ.) = NOTE x 4 x (60/TEMPO)
If you edit TEMPO → DELAY (or FREQ.) will be set
In this case, the DELAY (or FREQ.) value is calculated as follows.
DELAY (or FREQ.) = original DELAY (or FREQ.) x (previous TEMPO/new TEMPO)
Example 1: When SYNC=ON, DELAY=250 ms, TEMPO=120, you change NOTE from 8th note to quarter note
DELAY= new NOTE x 4 x (60/TEMPO)
= (1/4) x 4 x (60/120)
= 0.5 (sec)
= 500 ms
Thus, the DELAY will change from 250 ms to 500 ms.
Example 2: When SYNC=ON, DELAY=250 ms, NOTE=8th note, you change TEMPO from 120 to 121
DELAY= original DELAY x (previous TEMPO/new TEMPO)
= 250 x (120/121)
= 247.9 (ms)
Thus, the TEMPO will change from 250 ms to 247.9 ms.
*a Rounded values are used for the calculation results.
•Ranges of the NOTE and TEMPO values
The ranges of the NOTE and TEMPO values are limited by the ranges of the DELAY or FREQ. values. You cannot set NOTE or
TEMPO values that would cause DELAY or FREQ. to exceed their maximum possible values when synchronized to tempo. This
limitation also applies even when SYNC is OFF.
•Special characteristics of the TEMPO parameter
The TEMPO parameter has the following characteristics that are unlike other parameters.
•It is a common value shared by all effects
•You cannot stored it to or recall it from the Effects Library. (You can store it to and recall it from a Scene.)
This means that the TEMPO value may not necessarily be the same when an effect is recalled as when that effect was stored. Here
is an example.
Store the effect: TEMPO=120 → Change TEMPO to 60 → Recall the effect: TEMPO=60
Normally when you change the TEMPO, the DELAY (or FREQ.) will be re-set accordingly. However if the DELAY (or FREQ.)
were changed, the effect would sound differently when recalled than when it was stored. To prevent the effect from changing in
this way between store and recall, the 01V96 does not update the DELAY (or FREQ.) value when an effect is recalled, even if the
TEMPO is no longer the same as when that effect was stored.
* The NOTE parameter is calculated based on the following values.
= 1/48
= 2/1
= 1/16= 1/24 = 1/12
= 3/4= 3/16 = 1/2
= 3/32 = 1/6
= 1/4
= 1/8
= 1/1= 3/8
Preset EQ Parameters 271
01V96 Version 2—Owner’s Manual
Appendix
Preset EQ Parameters
#Title Parameter
LOW L-MID H-MID HIGH
01 Bass Drum
1
PEAKING PEAKING PEAKING H.SHELF
G+3.5 dB –3.5 dB 0.0 dB +4.0 dB
F100 Hz 265 Hz 1.06 kHz 5.30 kHz
Q1.2 10 0.9 —
02 Bass Drum
2
PEAKING PEAKING PEAKING LPF
G+8.0 dB –7.0 dB +6.0 dB ON
F80 Hz 400 Hz 2.50 kHz 12.5 kHz
Q1.4 4.5 2.2 —
03 Snare
Drum 1
PEAKING PEAKING PEAKING H.SHELF
G–0.5 dB 0.0 dB +3.0 dB +4.5 dB
F132 Hz 1.00 kHz 3.15 kHz 5.00 kHz
Q1.2 4.5 0.11 —
04 Snare
Drum 2
L.SHELF PEAKING PEAKING PEAKING
G+1.5 dB –8.5 dB +2.5 dB +4.0 dB
F180 Hz 335 Hz 2.36 kHz 4.00 kHz
Q—100.7 0.1
05 Tom-tom 1
PEAKING PEAKING PEAKING PEAKING
G+2.0 dB –7.5 dB +2.0 dB +1.0 dB
F212 Hz 670 Hz 4.50 kHz 6.30 kHz
Q1.4 10 1.2 0.28
06 Cymbal
L.SHELF PEAKING PEAKING H.SHELF
G–2.0 dB 0.0 dB 0.0 dB +3.0 dB
F106 Hz 425 Hz 1.06 kHz 13.2 kHz
Q—80.9 —
07 High Hat
L.SHELF PEAKING PEAKING H.SHELF
G–4.0 dB –2.5 dB +1.0 dB +0.5 dB
F95 Hz 425 Hz 2.80 kHz 7.50 kHz
Q— 0.5 1 —
08 Percussion
L.SHELF PEAKING PEAKING H.SHELF
G–4.5 dB 0.0 dB +2.0 dB 0.0 dB
F100 Hz 400 Hz 2.80 kHz 17.0 kHz
Q— 4.5 0.56 —
09 E. Bass 1
L.SHELF PEAKING PEAKING H.SHELF
G–7.5 dB +4.5 dB +2.5 dB 0.0 dB
F35.5 Hz 112 Hz 2.00 kHz 4.00 kHz
Q—54.5 —
10 E. Bass 2
PEAKING PEAKING PEAKING H.SHELF
G+3.0 dB 0.0 dB +2.5 dB +0.5 dB
F112 Hz 112 Hz 2.24 kHz 4.00 kHz
Q0.1 5 6.3 —
11 Syn. Bass 1
PEAKING PEAKING PEAKING H.SHELF
G+3.5 dB +8.5 dB 0.0 dB 0.0 dB
F85 Hz 950 Hz 4.00 kHz 12.5 kHz
Q0.1 8 4.5 —
12 Syn. Bass 2
PEAKING PEAKING PEAKING H.SHELF
G+2.5 dB 0.0 dB +1.5 dB 0.0 dB
F125 Hz 180 Hz 1.12 kHz 12.5 kHz
Q1.6 8 2.2 —
13 Piano 1
L.SHELF PEAKING PEAKING H.SHELF
G–6.0 dB 0.0 dB +2.0 dB +4.0 dB
F95 Hz 950 Hz 3.15 kHz 7.50 kHz
Q—80.9 —
14 Piano 2
PEAKING PEAKING PEAKING H.SHELF
G+3.5 dB –8.5 dB +1.5 dB +3.0 dB
F224 Hz 600 Hz 3.15 kHz 5.30 kHz
Q5.6 10 0.7 —
15 E. G. Clean
PEAKING PEAKING PEAKING H.SHELF
G+2.0 dB –5.5 dB +0.5 dB +2.5 dB
F265 Hz 400 Hz 1.32 kHz 4.50 kHz
Q0.18 10 6.3 —
16 E. G.
Crunch 1
PEAKING PEAKING PEAKING PEAKING
G+4.5 dB 0.0 dB +4.0 dB +2.0 dB
F140 Hz 1.00 kHz 1.90 kHz 5.60 kHz
Q8 4.5 0.63 9
17 E. G.
Crunch 2
PEAKING PEAKING PEAKING H.SHELF
G+2.5 dB +1.5 dB +2.5 dB 0.0 dB
F125 Hz 450 Hz 3.35 kHz 19.0 kHz
Q8 0.4 0.16 —
18 E. G. Dist. 1
L.SHELF PEAKING PEAKING H.SHELF
G+5.0 dB 0.0 dB +3.5 dB 0.0 dB
F355 Hz 950 Hz 3.35 kHz 12.5 kHz
Q—910—
19 E. G. Dist. 2
L.SHELF PEAKING PEAKING H.SHELF
G+6.0 dB –8.5 dB +4.5 dB +4.0 dB
F315 Hz 1.06 kHz 4.25 kHz 12.5 kHz
Q—10 4 —
20 A. G.
Stroke 1
PEAKING PEAKING PEAKING H.SHELF
G–2.0 dB 0.0 dB +1.0 dB +4.0 dB
F106 Hz 1.00 kHz 1.90 kHz 5.30 kHz
Q0.9 4.5 3.5 —
21 A. G.
Stroke 2
L.SHELF PEAKING PEAKING H.SHELF
G–3.5 dB –2.0 dB 0.0 dB +2.0 dB
F300 Hz 750 Hz 2.00 kHz 3.55 kHz
Q—94.5 —
22 A. G.
Arpeg. 1
L.SHELF PEAKING PEAKING PEAKING
G–0.5 dB 0.0 dB 0.0 dB +2.0 dB
F224 Hz 1.00 kHz 4.00 kHz 6.70 kHz
Q— 4.5 4.5 0.12
23 A. G.
Arpeg. 2
L.SHELF PEAKING PEAKING H.SHELF
G0.0 dB –5.5 dB 0.0 dB +4.0 dB
F180 Hz 355 Hz 4.00 kHz 4.25 kHz
Q—74.5 —
24 Brass Sec.
PEAKING PEAKING PEAKING PEAKING
G–2.0 dB –1.0 dB +1.5 dB +3.0 dB
F90 Hz 850 Hz 2.12 kHz 4.50 kHz
Q2.8 2 0.7 7
25 Male Vocal
1
PEAKING PEAKING PEAKING PEAKING
G–0.5 dB 0.0 dB +2.0 dB +3.5 dB
F190 Hz 1.00 kHz 2.00 kHz 6.70 kHz
Q0.11 4.5 0.56 0.11
26 Male Vocal
2
PEAKING PEAKING PEAKING H.SHELF
G+2.0 dB –5.0 dB –2.5 dB +4.0 dB
F170 Hz 236 Hz 2.65 kHz 6.70 kHz
Q0.11 10 5.6 —
#Title Parameter
LOW L-MID H-MID HIGH
272 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
Preset Gate Parameters
(fs = 44.1 kHz)
27 Female Vo.
1
PEAKING PEAKING PEAKING PEAKING
G–1.0 dB +1.0 dB +1.5 dB +2.0 dB
F118 Hz 400 Hz 2.65 kHz 6.00 kHz
Q0.18 0.45 0.56 0.14
28 Female Vo.
2
L.SHELF PEAKING PEAKING H.SHELF
G–7.0 dB +1.5 dB +1.5 dB +2.5 dB
F112 Hz 335 Hz 2.00 kHz 6.70 kHz
Q— 0.16 0.2 —
29 Chorus &
Harmo
PEAKING PEAKING PEAKING PEAKING
G–2.0 dB –1.0 dB +1.5 dB +3.0 dB
F90 Hz 850 Hz 2.12 kHz 4.50 kHz
Q2.8 2 0.7 7
30 Total EQ 1
PEAKING PEAKING PEAKING H.SHELF
G–0.5 dB 0.0 dB +3.0 dB +6.5 dB
F95 Hz 950 Hz 2.12 kHz 16.0 kHz
Q7 2.2 5.6 —
31 Total EQ 2
PEAKING PEAKING PEAKING H.SHELF
G+4.0 dB +1.5 dB +2.0 dB +6.0 dB
F95 Hz 750 Hz 1.80 kHz 18.0 kHz
Q7 2.8 5.6 —
32 Total EQ 3
L.SHELF PEAKING PEAKING H.SHELF
G+1.5 dB +0.5 dB +2.0 dB +4.0 dB
F67 Hz 850 Hz 1.90 kHz 15.0 kHz
Q— 0.28 0.7 —
33 Bass Drum
3
PEAKING PEAKING PEAKING PEAKING
G+3.5 dB –10.0 dB +3.5 dB 0.0 dB
F118 Hz 315 Hz 4.25 kHz 20.0 kHz
Q2100.4 0.4
34 Snare
Drum 3
L.SHELF PEAKING PEAKING PEAKING
G0.0 dB +2.0 dB +3.5 dB 0.0 dB
F224 Hz 560 Hz 4.25 kHz 4.00 kHz
Q— 4.5 2.8 0.1
35 Tom-tom 2
L.SHELF PEAKING PEAKING H.SHELF
G–9.0 dB +1.5 dB +2.0 dB 0.0 dB
F90 Hz 212 Hz 5.30 kHz 17.0 kHz
Q— 4.5 1.2 —
36 Piano 3
PEAKING PEAKING PEAKING H.SHELF
G+4.5 dB –13.0 dB +4.5 dB +2.5 dB
F100 Hz 475 Hz 2.36 kHz 10.0 kHz
Q8109—
37 Piano Low
PEAKING PEAKING PEAKING H.SHELF
G–5.5 dB +1.5 dB +6.0 dB 0.0 dB
F190 Hz 400 Hz 6.70 kHz 12.5 kHz
Q10 6.3 2.2 —
38 Piano High
PEAKING PEAKING PEAKING PEAKING
G–5.5 dB +1.5 dB +5.0 dB +3.0 dB
F190 Hz 400 Hz 6.70 kHz 5.60 kHz
Q10 6.3 2.2 0.1
39 Fine-EQ
Cass
L.SHELF PEAKING PEAKING H.SHELF
G–1.5 dB 0.0 dB +1.0 dB +3.0 dB
F75 Hz 1.00 kHz 4.00 kHz 12.5 kHz
Q— 4.5 1.8 —
40 Narrator
PEAKING PEAKING PEAKING H.SHELF
G–4.0 dB –1.0 dB +2.0 dB 0.0 dB
F106 Hz 710 Hz 2.50 kHz 10.0 kHz
Q470.63 —
#Title Parameter
LOW L-MID H-MID HIGH
#Title Type Parameter Value
1Gate GATE
Threshold (dB) –26
Range (dB) –56
Attack (ms) 0
Hold (ms) 2.56
Decay (ms) 331
2Ducking DUCKING
Threshold (dB) –19
Range (dB) –22
Attack (ms) 93
Hold (ms) 1.20 S
Decay (ms) 6.32 S
3A. Dr. BD GATE
Threshold (dB) –11
Range (dB) –53
Attack (ms) 0
Hold (ms) 1.93
Decay (ms) 400
4A. Dr. SN GATE
Threshold (dB) –8
Range (dB) –23
Attack (ms) 1
Hold (ms) 0.63
Decay (ms) 238
Preset Compressor Parameters (fs = 44.1 kHz) 273
01V96 Version 2—Owner’s Manual
Appendix
Preset Compressor Parameters (fs = 44.1 kHz)
#Title Type Parameter Value
1Comp COMP
Threshold (dB) –8
Ratio ( :1) 2.5
Attack (ms) 60
Out gain (dB) 0.0
Knee 2
Release (ms) 250
2Expand EXPAND
Threshold (dB) –23
Ratio ( :1) 1.7
Attack (ms) 1
Out gain (dB) 3.5
Knee 2
Release (ms) 70
3Compander
(H) COMPAND-H
Threshold (dB) –10
Ratio ( :1) 3.5
Attack (ms) 1
Out gain (dB) 0.0
Width (dB) 6
Release (ms) 250
4Compander
(S) COMPAND-S
Threshold (dB) –8
Ratio ( :1) 4
Attack (ms) 25
Out gain (dB) 0.0
Width (dB) 24
Release (ms) 180
5A. Dr. BD COMP
Threshold (dB) –24
Ratio ( :1) 3
Attack (ms) 9
Out gain (dB) 5.5
Knee 2
Release (ms) 58
6A. Dr. BD COMPAND-H
Threshold (dB) –11
Ratio ( :1) 3.5
Attack (ms) 1
Out gain (dB) –1.5
Width (dB) 7
Release (ms) 192
7A. Dr. SN COMP
Threshold (dB) –17
Ratio ( :1) 2.5
Attack (ms) 8
Out gain (dB) 3.5
Knee 2
Release (ms) 12
8A. Dr. SN EXPAND
Threshold (dB) –23
Ratio ( :1) 2
Attack (ms) 0
Out gain (dB) 0.5
Knee 2
Release (ms) 151
9A. Dr. SN COMPAND-S
Threshold (dB) –8
Ratio ( :1) 1.7
Attack (ms) 11
Out gain (dB) 0.0
Width (dB) 10
Release (ms) 128
10 A. Dr. Tom EXPAND
Threshold (dB) –20
Ratio ( :1) 2
Attack (ms) 2
Out gain (dB) 5.0
Knee 2
Release (ms) 749
11 A. Dr.
OverTop COMPAND-S
Threshold (dB) –24
Ratio ( :1) 2
Attack (ms) 38
Out gain (dB) –3.5
Width (dB) 54
Release (ms) 842
12 E. B. Finger COMP
Threshold (dB) –12
Ratio ( :1) 2
Attack (ms) 15
Out gain (dB) 4.5
Knee 2
Release (ms) 470
13 E. B. Slap COMP
Threshold (dB) –12
Ratio ( :1) 1.7
Attack (ms) 6
Out gain (dB) 4.0
Knee hard
Release (ms) 133
14 Syn. Bass COMP
Threshold (dB) –10
Ratio ( :1) 3.5
Attack (ms) 9
Out gain (dB) 3.0
Knee hard
Release (ms) 250
15 Piano1 COMP
Threshold (dB) –9
Ratio ( :1) 2.5
Attack (ms) 17
Out gain (dB) 1.0
Knee hard
Release (ms) 238
16 Piano2 COMP
Threshold (dB) –18
Ratio ( :1) 3.5
Attack (ms) 7
Out gain (dB) 6.0
Knee 2
Release (ms) 174
17 E. Guitar COMP
Threshold (dB) –8
Ratio ( :1) 3.5
Attack (ms) 7
Out gain (dB) 2.5
Knee 4
Release (ms) 261
18 A. Guitar COMP
Threshold (dB) –10
Ratio ( :1) 2.5
Attack (ms) 5
Out gain (dB) 1.5
Knee 2
Release (ms) 238
19 Strings1 COMP
Threshold (dB) –11
Ratio ( :1) 2
Attack (ms) 33
Out gain (dB) 1.5
Knee 2
Release (ms) 749
20 Strings2 COMP
Threshold (dB) –12
Ratio ( :1) 1.5
Attack (ms) 93
Out gain (dB) 1.5
Knee 4
Release (ms) 1.35 S
#Title Type Parameter Value
274 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
21 Strings3 COMP
Threshold (dB) –17
Ratio ( :1) 1.5
Attack (ms) 76
Out gain (dB) 2.5
Knee 2
Release (ms) 186
22 BrassSection COMP
Threshold (dB) –18
Ratio ( :1) 1.7
Attack (ms) 18
Out gain (dB) 4.0
Knee 1
Release (ms) 226
23 Syn. Pad COMP
Threshold (dB) –13
Ratio ( :1) 2
Attack (ms) 58
Out gain (dB) 2.0
Knee 1
Release (ms) 238
24 SamplingPerc COMPAND-S
Threshold (dB) –18
Ratio ( :1) 1.7
Attack (ms) 8
Out gain (dB) –2.5
Width (dB) 18
Release (ms) 238
25 Sampling BD COMP
Threshold (dB) –14
Ratio ( :1) 2
Attack (ms) 2
Out gain (dB) 3.5
Knee 4
Release (ms) 35
26 Sampling SN COMP
Threshold (dB) –18
Ratio ( :1) 4
Attack (ms) 8
Out gain (dB) 8.0
Knee hard
Release (ms) 354
27 Hip Comp COMPAND-S
Threshold (dB) –23
Ratio ( :1) 20
Attack (ms) 15
Out gain (dB) 0.0
Width (dB) 15
Release (ms) 163
28 Solo Vocal1 COMP
Threshold (dB) –20
Ratio ( :1) 2.5
Attack (ms) 31
Out gain (dB) 2.0
Knee 1
Release (ms) 342
29 Solo Vocal2 COMP
Threshold (dB) –8
Ratio ( :1) 2.5
Attack (ms) 26
Out gain (dB) 1.5
Knee 3
Release (ms) 331
30 Chorus COMP
Threshold (dB) –9
Ratio ( :1) 1.7
Attack (ms) 39
Out gain (dB) 2.5
Knee 2
Release (ms) 226
#Title Type Parameter Value
31 Click Erase EXPAND
Threshold (dB) –33
Ratio ( :1) 2
Attack (ms) 1
Out gain (dB) 2.0
Knee 2
Release (ms) 284
32 Announcer COMPAND-H
Threshold (dB) –14
Ratio ( :1) 2.5
Attack (ms) 1
Out gain (dB) –2.5
Width (dB) 18
Release (ms) 180
33 Limiter1 COMPAND-S
Threshold (dB) –9
Ratio ( :1) 3
Attack (ms) 20
Out gain (dB) –3.0
Width (dB) 90
Release (ms) 3.90 s
34 Limiter2 COMP
Threshold (dB) 0
Ratio ( :1) ∞
Attack (ms) 0
Out gain (dB) 0.0
Knee hard
Release (ms) 319
35 Total Comp1 COMP
Threshold (dB) –18
Ratio ( :1) 3.5
Attack (ms) 94
Out gain (dB) 2.5
Knee hard
Release (ms) 447
36 Total Comp2 COMP
Threshold (dB) –16
Ratio ( :1) 6
Attack (ms) 11
Out gain (dB) 6.0
Knee 1
Release (ms) 180
#Title Type Parameter Value
Dynamics Parameters 275
01V96 Version 2—Owner’s Manual
Appendix
Dynamics Parameters
The dynamics effects for each channel strip include a Gate section (only for Input Chan-
nels) and a Comp section. The Gate section includes Gate and Ducking types. The Comp
section includes Compressor, Expander, Compander Hard (COMP. (H)), and Compander
Soft (COMP. (S)) types.
GATE Section (Only for Input Channels)
GATE
A gate attenuates signals below a set THRESHOLD level by a specified amount (RANGE).
Parameter Range Description
THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level at which the gate effect
is applied.
RANGE (dB) –70 to 0 (71 points) This determines the amount of attenuation when
the gate closes.
ATTACK (ms) 0–120 (121 points) This determines how fast the gate opens when the
signal exceeds the threshold level.
HOLD (ms)
44.1kHz: 0.02 ms – 2.13 sec
48kHz: 0.02 ms – 1.96 sec
88.2kHz: 0.01 ms – 1.06 sec
96kHz: 0.01 ms – 981 ms
(160 points)
This determines how long the gate stays open
once the trigger signal has fallen below the thresh-
old.
DECAY (ms)
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec
88.2kHz: 3 ms – 23.0 sec
96kHz: 3 ms – 21.1 sec
(160 points)
This determines how fast the gate closes once the
hold time has expired. The value is expressed as
the duration required for the level to change by
6 dB.
Input Level Time Time
Output Level
Input Level
Output Level
I/O Characteristics Time Series Analysis
RANGE
THRESHOLD
THRESHOLD
RANGE
Input Signal Output Signal
ATTACK DECAY
HOLD
276 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
DUCKING
Ducking is commonly used for voice-over applications in which the background music
level is reduced automatically when an announcer speaks. When the KEY IN source signal
level exceeds the specified THRESHOLD, the output level is attenuated by a specified
amount (RANGE).
Parameter Range Description
THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of trigger signal (KEY IN)
required to activate ducking.
RANGE (dB) –70 to 0 (71 points) This determines the amount of attenuation when
ducking is activated.
ATTACK (ms) 0–120 (121 points) This determines how soon the signal is ducked
once the ducker has been triggered.
HOLD (ms)
44.1kHz: 0.02 ms – 2.13 sec
48kHz: 0.02 ms – 1.96 sec
88.2kHz: 0.01 ms – 1.06 sec
96kHz: 0.01 ms – 981 ms
(160 points)
This determines how long ducking remains active
once the trigger signal has fallen below the
THRESHOLD level.
DECAY (ms)
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec
88.2kHz: 3 ms – 23.0 sec
96kHz: 3 ms – 21.1 sec
(160 points)
This determines how soon the ducker returns to its
normal gain once the trigger signal level drops
below the threshold. The value is expressed as the
duration required for the level to change by 6 dB.
Input Level Time Time
Output Level
Input Level
Output Level
I/O Characteristics Time Series Analysis
RANGE
THRESHOLD
THRESHOLD
RANGE
Input Signal Output Signal
ATTACK DECAY
HOLD
Dynamics Parameters 277
01V96 Version 2—Owner’s Manual
Appendix
COMP Section
COMP
The COMP processor attenuates signals above a specified THRESHOLD by a specified
RATIO. The COMP processor can also be used as a limiter, which, with a RATIO of ∞:1,
reduces the level to the threshold. This means that the limiter’s output level never actually
exceeds the threshold.
Parameter Range Description
THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of input signal required to
trigger the compressor.
RATIO
1.0:1, 1.1:1, 1.3:1, 1.5:1,
1.7:1, 2.0:1, 2.5:1, 3.0:1,
3.5:1, 4.0:1, 5.0:1, 6.0:1,
8.0:1, 10:1, 20:1, ∞:1
(16 points)
This determines the amount of compression, that
is, the change in output signal level relative to
change in input signal level.
ATTACK (ms) 0–120 (121 points) This determines how soon the signal will be com-
pressed once the compressor has been triggered.
RELEASE (ms)
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec
88.2kHz: 3 ms – 23.0 sec
96kHz: 3 ms – 21.1 sec
(160 points)
This determines how soon the compressor returns
to its normal gain once the trigger signal level
drops below the threshold. The value is expressed
as the duration required for the level to change by
6 dB.
OUT GAIN (dB) 0.0 to +18.0 (180 points) This sets the compressor's output signal level.
KNEE Hard, 1–5 (6 points)
This determines how compression is applied at the
threshold. For higher knee settings, compression is
applied gradually as the signal exceeds the speci-
fied threshold, creating a more natural sound.
Input Level Time Time
Output Level
Input Level
Output Level
Time Series Analysis (RATIO=∞:1)
RATIO
THRESHOLD
THRESHOLD
Input signal Output Signal
ATTACK RELEASE
I/O Characteristics
(KNEE=hard, OUT GAIN=0.0dB)
278 Appendix A: Parameter Lists
01V96 Version 2—Owner’s Manual
EXPAND
An expander attenuates signals below a specified THRESHOLD by a specified RATIO.
Parameter Range Description
THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of input signal required to
trigger the expander.
RATIO
1.0:1, 1.1:1, 1.3:1, 1.5:1,
1.7:1, 2.0:1, 2.5:1, 3.0:1,
3.5:1, 4.0:1, 5.0:1, 6.0:1,
8.0:1, 10:1, 20:1, ∞:1
(16 points)
This determines the amount of expansion.
ATTACK (ms) 0–120 (121 points)
This determines how soon the expander returns to
its normal gain once the trigger signal level exceeds
the threshold.
RELEASE (ms)
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec
88.2kHz: 3 ms – 23.0 sec
96kHz: 3 ms – 21.1 sec
(160 points)
This determines how soon the signal is expanded
once the signal level drops below the threshold.
The value is expressed as the duration required for
the level to change by 6 dB.
OUT GAIN (dB) 0.0 to +18.0 (180 points) This sets the expander's output signal level.
KNEE Hard, 1–5 (6 points)
This determines how expansion is applied at the
threshold. For higher knee settings, expansion is
applied gradually as the signal falls below the spec-
ified threshold, creating a more natural sound.
Input Level Time Time
Output Level
Input Level
Output Level
I/O Characteristics
(KNEE=hard, OUT GAIN=0.0dB)
Time Series Analysis (RATIO=∞:1)
RATIO
THRESHOLD
THRESHOLD
Input Signal Output Signal
ATTACK RELEASE
Dynamics Parameters 279
01V96 Version 2—Owner’s Manual
Appendix
COMPANDER HARD (H)
COMPANDER SOFT (S)
The hard and soft companders combine the effects of the compressor, expander and limiter.
The companders function differently at the following levels:
1 0 dB and higher .................................... Functions as a limiter.
2 Exceeding the threshold....................... Functions as a compressor.
3 Below the threshold and width ........... Functions as an expander.
The hard compander has an expansion ratio of 5:1, while the soft compander has an expan-
sion ratio of 1.5:1. The expander is essentially turned off when the width is set to maximum.
The compressor has a fixed knee setting of 2.
*The gain is automatically adjusted according to the ratio and threshold values, and can
be increased by up to 18 dB.
*The OUT GAIN parameter enables you to compensate for the overall level change
caused by the compression and expansion processes.
Parameter Range Description
THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level at which compression is
applied.
RATIO
1.0:1, 1.1:1, 1.3:1, 1.5:1,
1.7:1, 2.0:1, 2.5:1, 3.0:1,
3.5:1, 4.0:1, 5.0:1, 6.0:1,
8.0:1, 10:1, 20:1, (15 points)
This determines the amount of compression.
ATTACK (ms) 0–120 (121 points)
This determines how soon the signal is com-
pressed or expanded once the compander has
been triggered.
RELEASE (ms)
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec
88.2kHz: 3 ms – 23.0 sec
96kHz: 3 ms – 21.1 sec
(160 points)
This determines how soon the compressor or
expander returns to the normal gain once the
trigger signal level drops below or exceeds the
threshold respectively. The value is expressed as
the duration required for the level to change by
6 dB.
OUT GAIN (dB) –18.0 to 0.0 (180 points) This sets the compander's output signal level.
WIDTH (dB) 0–90 (91 points)
This determines how far below the threshold
expansion will be applied. The expander is acti-
vated when the level drops below the threshold
and width.
0dB Input Level
Output Level
THRESHOLD
WIDTH
280 Appendix B: Specifications
01V96 Version 2—Owner’s Manual
Appendix B: Specifications
General Spec
Number of scene memories 99
Sampling Frequency
Internal 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz
External Normal rate: 44.1 kHz–10% to 48 kHz+6%
Double rate: 88.2 kHz–10% to 96 kHz+6%
Signal Delay fs=48 kHz Less than 1.6 ms CH INPUT to STEREO OUT
fs=96 kHz Less than 0.8 ms CH INPUT to STEREO OUT
Fader 100 mm motorized × 17
Fader Resolution +10 to –138, –∞ dB input faders
0 to –138, –∞ dB master faders, stereo fader
Total Harmonic Distortion1
(CH INPUT to STEREO OUT)
(Input Gain=Min.)
fs=48 kHz Less than 0.05% 20 Hz–20 kHz @ +14 dB into 600 Ω
Less than 0.01% 1 kHz @ +24 dB into 600 Ω
fs=96 kHz Less than 0.05% 20 Hz–40 kHz @ +14 dB into 600 Ω
Less than 0.01% 1 kHz @ +24 dB into 600 Ω
Frequency Response
(CH INPUT to STEREO OUT)
fs=48 kHz 20 Hz–20 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω
fs=96 kHz 20 Hz–40 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω
Dynamic Range
(maximum level to noise level)
110 dB typ. DA Converter (STEREO OUT)
105 dB typ. AD+DA (to STEREO OUT) @ fs=48 kHz
105 dB typ. AD+DA (to STEREO OUT) @ fs=96 kHz
Hum & Noise2
(20 Hz–20 kHz)
Rs=150 Ω
–128 dB Equivalent Input Noise
–86 dB residual output noise. STEREO OUT (STEREO OUT off)
Input Gain=Max.
Input Pad =0 dB
–86 dB (90 dB S/N) STEREO OUT
(STEREO fader at nominal level and all CH INPUT faders at minimum level)
Input Pad =0 dB
Input Sensitivity
=–60 dB
–64 dB (68 dB S/N) STEREO OUT
(STEREO fader at nominal level and one CH INPUT fader at nominal level)
Maximum Voltage Gain
74 dB CH INPUT (CH1–12) to STEREO OUT/OMNI (BUS) OUT
40 dB CH INPUT (CH13–16) to STEREO OUT
74 dB CH INPUT (CH1–12) to OMNI (AUX) OUT (via pre input fader)
74 dB CH INPUT (CH1–12) to MONITOR OUT (via STEREO BUS)
Crosstalk
(@ 1 kHz)
Input Gain=Min.
80 dB adjacent input channels (CH1–12)
80 dB adjacent input channels (CH13–16)
80 dB input to output
AD Input (1–12)
Phantom switch +48 V DC (each 4ch)
Pad switch 0/20 dB attenuation
Gain control 44 dB (–60 to –16), detented
Peak indicator LED (red) turns on when post HA level reaches 3 dB below clipping at dig-
ital domain
Signal indicator LED (green) turns on when post HA level reaches 20 dB below nominal at
digital domain
AD converter 24-bit linear, 128-times oversampling (fs=44.1, 48 kHz), 64-times over-
sampling (fs=88.2, 96 kHz)
AD Input (13–16)
Gain control 30 dB (–26 to +4), detented
Peak indicator LED (red) turns on when post HA level reaches 3 dB below clipping at dig-
ital domain
Signal indicator LED (green) turns on when post HA level reaches 20 dB below nominal at
digital domain
AD converter 24-bit linear, 128-times oversampling (fs=44.1, 48 kHz), 64-times over-
sampling (fs=88.2, 96 kHz)
Input selector CH15/16/2TR IN for CH15/16
General Spec 281
01V96 Version 2—Owner’s Manual
Appendix
Digital Input
(2TR IN DIGITAL, ADAT input)
Option Input (SLOT) Available cards Optional digital interface cards (MY16, MY8, MY4 series)
Input Channel CH1–32
Input patch —
Phase Normal/reverse
Gate-type3On/off
Key in: 12 ch Group (1–12, 13–24, 25–32)/AUX1–8
Comp-type4
On/off
Key in: self /Stereo Link
Pre EQ/pre fader/post fader
Attenuator –96.0 to +12.0 dB (0.1 dB step)
EQ 4-band PEQ (TYPE1)5
On/off
Delay 0–43400 samples
On/off —
Fader 100 mm motorized (INPUT/AUX1–8)
Aux send On/off
AUX1–8; pre fader/post fader
Solo On/off
Pre fader/after pan
Pan 127 positions (Left= 1–63, Center, Right= 1–63)
Surround pan 127 × 127 positions
([Left= 1–63, Center, Right= 1–63] x [Front= 1–63, Center, Rear= 1–63])
LFE level –∞, –96 dB to +10 dB (256 step)
Routing STEREO, BUS1–8, DIRECT OUT
Direct out Pre EQ/pre fader/post fader
Metering Displayed on LCD
Peak hold on/off
Stereo Input Channel CH1–4
Input patch (L/R) —
Phase (L/R) Normal/reverse
Attenuator (L/R) –96.0 to +12.0 dB (0.1 dB step)
Equalizer 4band PEQ (TYPE1)5
On/off —
Fader 100 mm motorized
INPUT/AUX1–8 send
Aux send On/off
AUX1–8; pre fader/post fader
Solo On/off
Pre fader/after pan
Pan (L/R) 127 positions (Left= 1–63, Center, Right= 1–63)
Surround pan
(L/R)
127 × 127 positions
([Left= 1–63, Center, Right= 1–63] x [Front= 1–63, Center, Rear= 1–63])
LFE level (L/R) –∞, –96 dB to +10 dB (256 step)
Routing STEREO, BUS1–8, DIRECT OUT
Metering Displayed on LCD
Peak hold on/off
OSCILLATOR
Level 0 to –96 dB (1 dB step)
On/off —
Waveform Sine 100 Hz, sine 1 kHz, sine 10 kHz, pink noise, burst noise
Routing BUS1–8, AUX1–8, STEREO L/R
STEREO OUT DA converter 24-bit linear, 128-times oversampling (@fs=44.1, 48 kHz), 64-times over-
sampling (@fs=88.2, 96 kHz)
282 Appendix B: Specifications
01V96 Version 2—Owner’s Manual
MONITOR OUT DA converter 24-bit linear, 128-times oversampling (@fs=44.1, 48 kHz), 64-times over-
sampling (@fs=88.2, 96 kHz)
OMNI OUT 1–4
Output patch
STEREO, BUS1–8, AUX1–8, DIRECT OUT 1–32, INSERT OUT (CH1–32,
BUS1–8, AUX1–8, STEREO), CASCADE OUT (BUS1–8, AUX 1–8, STEREO,
SOLO)
DA converter 24-bit linear, 128-times oversampling (@fs=44.1, 48 kHz), 64-times over-
sampling (@fs=88.2, 96 kHz)
2TR OUT DIGITAL
Dither On/off
Word length 16, 20, 24-bit
Output patch
STEREO, BUS1–8, AUX 1–8, DIRECT OUT 1–32, INSERT OUT (CH 1–32,
BUS 1–8, AUX 1–8, STEREO), CASCADE OUT (BUS 1–8, AUX 1–8, STEREO,
SOLO)
ADAT Output
Dither On/off
Word length 16, 20, 24-bit
Output patch
STEREO, BUS1–8, AUX 1–8, DIRECT OUT 1–32, INSERT OUT (CH 1–32,
BUS 1–8, AUX 1–8, STEREO), CASCADE OUT (BUS 1–8, AUX 1–8, STEREO,
SOLO)
Option Output (SLOT)
Available card Optional digital interface card (MY16, MY8, MY4 series)
Dither On/off
Word length 16/20/24-bit
Output patch
STEREO, BUS1–8, AUX 1–8, DIRECT OUT 1–32, INSERT OUT (CH 1–32,
BUS 1–8, AUX 1–8, STEREO), CASCADE OUT (BUS 1–8, AUX 1–8, STEREO,
SOLO)
STEREO
Comp-type4On/off
Pre EQ/pre fader/post fader
Attenuator –96.0 to +12.0 dB (0.1 dB step)
EQ 4-band PEQ5
On/off
On/off —
Fader 100 mm motorized
Balance 127 positions (Left=1–63, Center, Right=1–63)
Delay 0–29100 samples
Metering
Displayed on LCD
Peak hold on/off
12-elements x2 LED meters
BUS1–8
Comp-type4On/off
Pre EQ/pre fader/post fader
Attenuator –96.0 to +12.0 dB (0.1 dB step)
EQ 4-band PEQ5
On/off
On/off —
Fader 100 mm motorized
Delay 0–29100 samples
Bus to stereo
Level (–∞, –138 dB–0 dB)
On/off
Pan: 127 positions (Left=1–63, Center, Right=1–63)
Metering Displayed on LCD
Peak hold on/off
General Spec 283
01V96 Version 2—Owner’s Manual
Appendix
EQ Parameters
AUX1–8
Comp-type4On/off
Pre EQ/pre fader/post fader
Attenuator –96.0 to +12.0 dB (0.1 dB step)
EQ 4-band PEQ5
On/off
On/off —
Fader 100 mm motorized
Delay 0–29100 samples
Metering Displayed on LCD
Peak hold on/off
INTERNAL EFFECTS
(EFFECT 1–4)
Number of
effects
4@44.1kHz, 48kHz
2@88.2kHz, 96kHz
Bypass On/off
In/out 2-in, 2-out
Effect-in from AUX1–8/INSERT OUT
Effect-out to Input patch
Power Requirements U.S./Canada 120 V, 60 Hz 90 W
Other 220–240 V, 50/60 Hz 90 W
Dimensions (H x D x W) 150 x 548 x 436 mm
Net weight 15 kg
Operating free-air temperature range 10–35°C
Storage temperature range –20–60°C
Supplied Accessories
AC Cable
CD-ROM (Studio Manager)
Owner’s Manual
Studio Manager Installation Guide
Options Digital interface card (MY16, MY8, MY4 series)
RACK MOUNT KIT: RK1
1. Total harmonic distortion is measured with a 6 dB/octave filter @ 80 kHz.
2. Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave
attenuation.
3. See “Gate Parameters” on page 284.
4. See “Comp Parameters” on page 284.
5. See “EQ Parameters” on page 283.
LOW/HPF L-MID H-MID HIGH /LPF
Q
0.1–10.0
(41 points)
low shelving
HPF
0.1–10.0
(41 points)
0.1–10.0
(41 points)
high shelving
LPF
F21.2 Hz–20.0 kHz (1/12 oct step)
G
±18 dB
(0.1 dB step)
HPF: on/off
±18 dB
(0.1 dB step)
±18 dB
(0.1 dB step)
LPF: on/off
284 Appendix B: Specifications
01V96 Version 2—Owner’s Manual
Gate Parameters
Comp Parameters
Gate
Threshold –54 dB–0 dB (0.1 dB step)
Range –70 dB–0 dB (1 dB step)
Attack 0 ms–120 ms (1 ms step)
Hold
0.02 ms–1.96 s (216 points) @ 48 kHz
0.02 ms–2.13 s (216 points) @ 44.1 kHz
0.01 ms–981 ms (216 points) @ 96 kHz
0.01 ms–1.06 s (216 points) @ 88.2 kHz
Decay
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Ducking
Threshold –54 dB–0 dB (0.1 dB step)
Range –70 dB–0 dB (1 dB step)
Attack 0 ms–120 ms (1 ms step)
Hold
0.02 ms–1.96 s (216 points) @ 48 kHz
0.02 ms–2.13 s (216 points) @ 44.1 kHz
0.01 ms–981 ms (216 points) @ 96 kHz
0.01 ms–1.06 s (216 points) @ 88.2 kHz
Decay
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Compressor
Threshold –54 dB–0 dB (0.1 dB step)
Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points)
Out gain 0 dB to +18 dB (0.1 dB step)
Knee Hard, 1, 2, 3, 4, 5 (6 step)
Attack 0 ms–120 ms (1 ms step)
Release
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Expander
Threshold –54 dB to 0 dB (0.1 dB step)
Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points)
Out gain 0 dB to +18 dB (0.1 dB step)
Knee Hard, 1, 2, 3, 4, 5 (6 points)
Attack 0 ms–120 ms (1 ms step)
Release
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Libraries 285
01V96 Version 2—Owner’s Manual
Appendix
Libraries
Compander H
Threshold –54 dB to 0 dB (0.1 dB step)
Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20 (15 points)
Out gain –18 dB to 0 dB (0.1 dB step)
Width 1 dB–90 dB (1 dB step)
Attack 0 ms–120 ms (1 ms step)
Release
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Compander S
Threshold –54 dB to 0 dB (0.1 dB step)
Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20 (15 points)
Out gain –18 dB to 0 dB (0.1 dB step)
Width 1 dB–90 dB (1 dB step)
Attack 0 ms–120 ms (1 ms step)
Release
5 ms–42.3 s (160 points) @ 48 kHz
6 ms–46.0 s (160 points) @ 44.1 kHz
3 ms–21.1 s (160 points) @ 96 kHz
3 ms–23.0 s (160 points) @ 88.2 kHz
Effect library (EFFECT 1–4) Presets 53
User memories 75
Compressor library Presets 36
User memories 92
Gate library Presets 4
User memories 124
EQ library Presets 40
User memories 160
Channel library Presets 2
User memories 127
Input patch library Presets 1
User memories 32
Output patch library Presets 1
User memories 32
286
Appendix B: Specifications
01V96 Version 2—Owner’s Manual
Analog Input Spec
In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
For 2TR IN levels, 0 dBV is referenced to 1.00 Vrms.
All input AD converters (CH INPUT 1–16) are 24-bit linear, 128-times oversampling. (@fs=44.1, 48 kHz)
+48 V DC (phantom power) is supplied to CH INPUT (1–12) XLR type connectors.
Three PHANTOM +48V switches CH1–4, 5–8, 9–12 turn on the phantom power for inputs 1–4, 5–8, 9–12 respectively.
Analog Output Specs
In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
2TR OUT [L, R] levels, 0 dBV is referenced to 1.00 Vrms.
All output DA converters are 24-bit, 128-times oversampling. (@fs=44.1, 48 kHz)
Input PAD GAIN Actual Load
Impedance
For Use With
Nominal
Input level
Connector
Sensitivity
1
1. Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V) or the nominal output level when the unit
is set to maximum gain. (All faders and level controls are maximum position.)
Nominal Max.
before clip
INPUT A/B
1–12
0
–60 dB
3k
Ω
50–600
Ω
Mics & 600
Ω
Lines
–70 dB
(0.245 mV)
–60 dB
(0.775 mV)
–40 dB
(7.75 mV) A: XLR-3-31 type
(Balanced)
2
B: Phone jack
(TRS) (Balanced)
3
2. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).
–16 dB
–26 dB
(38.8 mV)
–16 dB
(123 mV)
+4 dB
(1.23 V)
20 –6 dB
(338 mV)
+4 dB
(1.23 V)
+24 dB
(12.28 V)
INPUT 13–16
—
–26 dB
10k
Ω
600
Ω
Lines
–36 dB
(12.3 mV)
–26 dB
(38.8 mV)
–6 dB
(388 mV) Phone jack (TRS)
(Balanced)
3
+4 dB –6 dB
(388 mV)
+4 dB
(1.23 V)
+24 dB
(12.28 V)
CH INSERT IN
1–12
— 10k
Ω
600
Ω
Lines –12 dB
(195 mV)
–2 dB
(616 mV)
+18 dB
(6.16 V)
Phone jack (TRS)
(Unbalanced)
4
4. CH INSERT IN/OUT phone jacks are unbalanced. (Tip=OUTPUT, Ring=INPUT, Sleeve=GND).
2TR IN [L, R]
— 10k
Ω
600
Ω
Lines –10 dBV
(316 mV)
–10 dBV
(316 mV)
+10 dBV
(3.16 V)
RCA pin jack
(Unbalanced)
Output
Actual
Source
Impedance
For Use With
Nominal
Output level
Connector
Nominal Max.
before clip
STEREO OUT [L, R]
75
Ω
600
Ω
Lines +4 dB
(1.23 V)
+24 dB
(12.28 V) XLR-3-32 type (Balanced)
1
1. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
OMNI OUT 1–4
150
Ω
10k
Ω
Lines +4 dB
(1.23 V)
+24 dB
(12.28 V) Phone jack (TRS) (Balanced)
2
2. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).
MONITOR OUT [L, R]
150
Ω
10k
Ω
Lines +4 dB
(1.23 V)
+24 dB
(12.28 V) Phone jack (TRS) (Balanced)
2
CH INSERT OUT 1–12
600
Ω
10k
Ω
Lines –2 dB
(616 mV)
+18 dB
(6.16 V)
Phone jack (TRS) (Unbal-
anced)
3
3. CH INSERT IN/OUT phone jacks are unbalanced. (Tip=OUTPUT, Ring=INPUT, Sleeve=GND).
2TR OUT [L, R]
600
Ω
10k
Ω
Lines –10 dBV
(316 mV)
+10 dBV
(3.16 V) RCA Pin Jack (Unbalanced)
PHONES
100
Ω
8
Ω
Phones 4 mW 25 mW Stereo Phone Jack (TRS)
(Unbalanced)
4
4. PHONES stereo phone jack is unbalanced (Tip=LEFT, Ring=RIGHT, Sleeve=GND).
40
Ω
Phones 12 mW 75 mW
Digital Input Spec 287
01V96 Version 2—Owner’s Manual
Appendix
Digital Input Spec
Digital Output Spec
I/O SLOT Spec
Each I/O SLOT accepts a Digital interface card. SLOT1 has a serial interface.
Input Format Data length Level Connector
2TR IN DIGITAL IEC-60958 24-bit 0.5 Vpp/75 ΩRCA pin jack
ADAT IN ADAT1
1. ALESIS proprietary multichannel optical digital interface format
24-bit — OPTICAL
Output Format Data length Level Connector
2TR OUT DIGITAL IEC-609581
Consumer use
1. Channel status of 2TR OUT DIGITAL
Type: linear PCM
Category code: Digital signal mixer
Copy prohibit: NO
Emphasis: NO
Clock accuracy: Level II (1000 ppm)
Sampling rate: depends on the internal configuration
24-bit30.5V pp/75 ΩRCA pin jack
ADAT OUT ADAT2
2. ALESIS proprietary multichannel optical digital interface format
24-bit3
3. Dither: word length 16/20/24 bit
— OPTICAL
Maker Model Function INPUT OUTPUT
1
1. Selectable from STEREO/BUS/AUX/DIRECT/OUT/INSERT OUT/CASCADE OUT (STEREO, BUS1~8, AUX1~8, SOLO).
Details depend on each interface card.
Format Resolution Frequency
The
number of
Available
cards
Note
Yamaha
MY8-AT
Digital I/O
88
ADAT
24 bit
44.1/48 kHz
1
Can handle
24 bit/96 kHz by
double channel mode
MY16-AT 16 16
MY8-TD 8 8 TASCAM
MY16-TD 16 16
MY8-AE 88
AES/EBU
MY8-AEB
MY16-AE 16 16
MY8-AE96S 88 44.1/48/88.2/96 kHz
Sampling Rate Con-
verter for input
MY8-AE96
MY4-AD
ANALOG IN
4
—
—
24 bit
44.1/48 kHzMY8-AD
8
20 bit
MY8-AD24 24 bit
MY8-AD96 44.1/48/88.2/96 kHz
MY4-DA ANALOG OUT — 4 20 bit 44.1/48 kHz
MY8-DA96 8
24 bit 44.1/48/88.2/96 kHz
MY8-
ADDA96 ANALOG I/O 8 8
MY8-mLAN
mLAN Interface
88
IEEE1394 24 bit 44.1/48 kHz Maximum 5 nodes
MY16-
mLAN 16 16
Waves Y56K Effect & I/O 8 8 ADAT 24 bit 44.1/48 kHz
Y96K 44.1/48/88.2/96 kHz
Apogee AP8AD ANALOG IN 8 — — 24 bit 44.1/48/88.2/96 kHz 4ch @fs=88.2, 96 kHz
AP8DA ANALOG OUT — 8
288 Appendix B: Specifications
01V96 Version 2—Owner’s Manual
CONTROL I/O Spec
Dimensions
Unit: mm
Specifications and descriptions in this owner’s manual are for information purposes only.
Yamaha Corp. reserves the right to change or modify products or specifications at any time
without prior notice. Since specifications, equipment or options may not be the same in
every locale, please check with your Yamaha dealer.
European Models
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: 20 A
Conforms to Environments: E1, E2, E3 and E4
I/O Port Format Level Connector in Console
TO HOST USB USB 0 V–3.3 V B type USB connector
MIDI
IN1
1. MIDI IN can use as TIME CODE IN MTC.
MIDI — DIN Connector 5P
OUT MIDI — DIN Connector 5P
THRU MIDI — DIN Connector 5P
WORD CLOCK IN — TTL/75 ΩBNC Connector
OUT — TTL/75 ΩBNC Connector
430 (Not included Screw Heads)
436 (Included Screw Heads)
150
540
350101
548
350
Scene Memory to Program Change Table 289
01V96 Version 2—Owner’s Manual
Appendix
Appendix C: MIDI
Scene Memory to Program Change Table
Program
Change #
Initial
Scene #
User
Scene #
Program
Change #
Initial
Scene #
User
Scene #
Program
Change#
Initial
Scene #
User
Scene #
101 44448787
202 45458888
303 46468989
404 47479090
505 48489191
606 49499292
707 50509393
808 51519494
909 52529595
10 10 53 53 96 96
11 11 54 54 97 97
12 12 55 55 98 98
13 13 56 56 99 99
14 14 57 57 100 00
15 15 58 58 101 —
16 16 59 59 102 —
17 17 60 60 103 —
18 18 61 61 104 —
19 19 62 62 105 —
20 20 63 63 106 —
21 21 64 64 107 —
22 22 65 65 108 —
23 23 66 66 109 —
24 24 67 67 110 —
25 25 68 68 111 —
26 26 69 69 112 —
27 27 70 70 113 —
28 28 71 71 114 —
29 29 72 72 115 —
30 30 73 73 116 —
31 31 74 74 117 —
32 32 75 75 118 —
33 33 76 76 119 —
34 34 77 77 120 —
35 35 78 78 121 —
36 36 79 79 122 —
37 37 80 80 123 —
38 38 81 81 124 —
39 39 82 82 125 —
40 40 83 83 126 —
41 41 84 84 127 —
42 42 85 85 128 —
43 43 86 86
290 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
Initial Parameter to Control Change Table
CHANNEL1
# High Mid Low
0 NO ASSIGN
1FADER H CHANNEL INPUT1
2FADER H CHANNEL INPUT2
3FADER H CHANNEL INPUT3
4FADER H CHANNEL INPUT4
5FADER H CHANNEL INPUT5
6FADER H CHANNEL INPUT6
7FADER H CHANNEL INPUT7
8FADER H CHANNEL INPUT8
9FADER H CHANNEL INPUT9
10 FADER H CHANNEL INPUT10
11 FADER H CHANNEL INPUT11
12 FADER H CHANNEL INPUT12
13 FADER H CHANNEL INPUT13
14 FADER H CHANNEL INPUT14
15 FADER H CHANNEL INPUT15
16 FADER H CHANNEL INPUT16
17 FADER H CHANNEL INPUT17
18 FADER H CHANNEL INPUT18
19 FADER H CHANNEL INPUT19
20 FADER H CHANNEL INPUT20
21 FADER H CHANNEL INPUT21
22 FADER H CHANNEL INPUT22
23 FADER H CHANNEL INPUT23
24 FADER H CHANNEL INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 FADER H MASTER STEREO
31 NO ASSIGN
32 NO ASSIGN
33 FADER L CHANNEL INPUT1
34 FADER L CHANNEL INPUT2
35 FADER L CHANNEL INPUT3
36 FADER L CHANNEL INPUT4
37 FADER L CHANNEL INPUT5
38 FADER L CHANNEL INPUT6
39 FADER L CHANNEL INPUT7
40 FADER L CHANNEL INPUT8
41 FADER L CHANNEL INPUT9
42 FADER L CHANNEL INPUT10
43 FADER L CHANNEL INPUT11
44 FADER L CHANNEL INPUT12
45 FADER L CHANNEL INPUT13
46 FADER L CHANNEL INPUT14
47 FADER L CHANNEL INPUT15
48 FADER L CHANNEL INPUT16
49 FADER L CHANNEL INPUT17
50 FADER L CHANNEL INPUT18
51 FADER L CHANNEL INPUT19
52 FADER L CHANNEL INPUT20
53 FADER L CHANNEL INPUT21
54 FADER L CHANNEL INPUT22
55 FADER L CHANNEL INPUT23
56 FADER L CHANNEL INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 FADER L MASTER STEREO
63 NO ASSIGN
64 ON CHANNEL INPUT1
65 ON CHANNEL INPUT2
66 ON CHANNEL INPUT3
67 ON CHANNEL INPUT4
68 ON CHANNEL INPUT5
69 ON CHANNEL INPUT6
70 ON CHANNEL INPUT7
71 ON CHANNEL INPUT8
72 ON CHANNEL INPUT9
73 ON CHANNEL INPUT10
74 ON CHANNEL INPUT11
75 ON CHANNEL INPUT12
76 ON CHANNEL INPUT13
77 ON CHANNEL INPUT14
78 ON CHANNEL INPUT15
79 ON CHANNEL INPUT16
80 ON CHANNEL INPUT17
81 ON CHANNEL INPUT18
82 ON CHANNEL INPUT19
83 ON CHANNEL INPUT20
84 ON CHANNEL INPUT21
85 ON CHANNEL INPUT22
86 ON CHANNEL INPUT23
87 ON CHANNEL INPUT24
88 NO ASSIGN
89 PAN CHANNEL INPUT1
90 PAN CHANNEL INPUT2
91 PAN CHANNEL INPUT3
92 PAN CHANNEL INPUT4
93 PAN CHANNEL INPUT5
94 PAN CHANNEL INPUT6
95 PAN CHANNEL INPUT7
102 PAN CHANNEL INPUT8
103 PAN CHANNEL INPUT9
104 PAN CHANNEL INPUT10
105 PAN CHANNEL INPUT11
106 PAN CHANNEL INPUT12
107 PAN CHANNEL INPUT13
108 PAN CHANNEL INPUT14
109 PAN CHANNEL INPUT15
110 PAN CHANNEL INPUT16
111 PAN CHANNEL INPUT17
112 PAN CHANNEL INPUT18
113 PAN CHANNEL INPUT19
114 PAN CHANNEL INPUT20
115 PAN CHANNEL INPUT21
116 PAN CHANNEL INPUT22
117 PAN CHANNEL INPUT23
118 PAN CHANNEL INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 291
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL2
# High Mid Low
0 NO ASSIGN
1FADER H CHANNEL INPUT25
2FADER H CHANNEL INPUT26
3FADER H CHANNEL INPUT27
4FADER H CHANNEL INPUT28
5FADER H CHANNEL INPUT29
6FADER H CHANNEL INPUT30
7FADER H CHANNEL INPUT31
8FADER H CHANNEL INPUT32
9FADER H CHANNEL ST-IN1
10 FADER H CHANNEL ST-IN2
11 FADER H CHANNEL ST-IN3
12 FADER H CHANNEL ST-IN4
13 FADER H MASTER BUS1
14 FADER H MASTER BUS2
15 FADER H MASTER BUS3
16 FADER H MASTER BUS4
17 FADER H MASTER BUS5
18 FADER H MASTER BUS6
19 FADER H MASTER BUS7
20 FADER H MASTER BUS8
21 FADER H MASTER AUX1
22 FADER H MASTER AUX2
23 FADER H MASTER AUX3
24 FADER H MASTER AUX4
25 FADER H MASTER AUX5
26 FADER H MASTER AUX6
27 FADER H MASTER AUX7
28 FADER H MASTER AUX8
29 NO ASSIGN
30 ON MASTER STEREO
31 NO ASSIGN
32 NO ASSIGN
33 FADER L CHANNEL INPUT25
34 FADER L CHANNEL INPUT26
35 FADER L CHANNEL INPUT27
36 FADER L CHANNEL INPUT28
37 FADER L CHANNEL INPUT29
38 FADER L CHANNEL INPUT30
39 FADER L CHANNEL INPUT31
40 FADER L CHANNEL INPUT32
41 FADER L CHANNEL ST-IN1
42 FADER L CHANNEL ST-IN2
43 FADER L CHANNEL ST-IN3
44 FADER L CHANNEL ST-IN4
45 FADER L MASTER BUS1
46 FADER L MASTER BUS2
47 FADER L MASTER BUS3
48 FADER L MASTER BUS4
49 FADER L MASTER BUS5
50 FADER L MASTER BUS6
51 FADER L MASTER BUS7
52 FADER L MASTER BUS8
53 FADER L MASTER AUX1
54 FADER L MASTER AUX2
55 FADER L MASTER AUX3
56 FADER L MASTER AUX4
57 FADER L MASTER AUX5
58 FADER L MASTER AUX6
59 FADER L MASTER AUX7
60 FADER L MASTER AUX8
61 NO ASSIGN
62 BALANCE MASTER STEREO
63 NO ASSIGN
64 ON CHANNEL INPUT25
65 ON CHANNEL INPUT26
66 ON CHANNEL INPUT27
67 ON CHANNEL INPUT28
68 ON CHANNEL INPUT29
69 ON CHANNEL INPUT30
70 ON CHANNEL INPUT31
71 ON CHANNEL INPUT32
72 ON CHANNEL ST-IN1
73 ON CHANNEL ST-IN2
74 ON CHANNEL ST-IN3
75 ON CHANNEL ST-IN4
76 ON MASTER BUS1
77 ON MASTER BUS2
78 ON MASTER BUS3
79 ON MASTER BUS4
80 ON MASTER BUS5
81 ON MASTER BUS6
82 ON MASTER BUS7
83 ON MASTER BUS8
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 PAN CHANNEL INPUT25
90 PAN CHANNEL INPUT26
91 PAN CHANNEL INPUT27
92 PAN CHANNEL INPUT28
93 PAN CHANNEL INPUT29
94 PAN CHANNEL INPUT30
95 PAN CHANNEL INPUT31
102 PAN CHANNEL INPUT32
103 PAN CHANNEL ST-IN1L
104 PAN CHANNEL ST-IN1R
105 PAN CHANNEL ST-IN2L
106 PAN CHANNEL ST-IN2R
107 PAN CHANNEL ST-IN3L
108 PAN CHANNEL ST-IN3R
109 PAN CHANNEL ST-IN4L
110 PAN CHANNEL ST-IN4R
111 ON MASTER AUX1
112 ON MASTER AUX2
113 ON MASTER AUX3
114 ON MASTER AUX4
115 ON MASTER AUX5
116 ON MASTER AUX6
117 ON MASTER AUX7
118 ON MASTER AUX8
119 NO ASSIGN
# High Mid Low
292 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
CHANNEL3
# High Mid Low
0 NO ASSIGN
1EQG LOW H INPUT1
2EQG LOW H INPUT2
3EQG LOW H INPUT3
4EQG LOW H INPUT4
5EQG LOW H INPUT5
6EQG LOW H INPUT6
7EQG LOW H INPUT7
8EQG LOW H INPUT8
9EQG LOW H INPUT9
10 EQ G LOW H INPUT10
11 EQ G LOW H INPUT11
12 EQ G LOW H INPUT12
13 EQ G LOW H INPUT13
14 EQ G LOW H INPUT14
15 EQ G LOW H INPUT15
16 EQ G LOW H INPUT16
17 EQ G LOW H INPUT17
18 EQ G LOW H INPUT18
19 EQ G LOW H INPUT19
20 EQ G LOW H INPUT20
21 EQ G LOW H INPUT21
22 EQ G LOW H INPUT22
23 EQ G LOW H INPUT23
24 EQ G LOW H INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G LOW L INPUT1
34 EQ G LOW L INPUT2
35 EQ G LOW L INPUT3
36 EQ G LOW L INPUT4
37 EQ G LOW L INPUT5
38 EQ G LOW L INPUT6
39 EQ G LOW L INPUT7
40 EQ G LOW L INPUT8
41 EQ G LOW L INPUT9
42 EQ G LOW L INPUT10
43 EQ G LOW L INPUT11
44 EQ G LOW L INPUT12
45 EQ G LOW L INPUT13
46 EQ G LOW L INPUT14
47 EQ G LOW L INPUT15
48 EQ G LOW L INPUT16
49 EQ G LOW L INPUT17
50 EQ G LOW L INPUT18
51 EQ G LOW L INPUT19
52 EQ G LOW L INPUT20
53 EQ G LOW L INPUT21
54 EQ G LOW L INPUT22
55 EQ G LOW L INPUT23
56 EQ G LOW L INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F LOW INPUT1
65 EQ F LOW INPUT2
66 EQ F LOW INPUT3
67 EQ F LOW INPUT4
68 EQ F LOW INPUT5
69 EQ F LOW INPUT6
70 EQ F LOW INPUT7
71 EQ F LOW INPUT8
72 EQ F LOW INPUT9
73 EQ F LOW INPUT10
74 EQ F LOW INPUT11
75 EQ F LOW INPUT12
76 EQ F LOW INPUT13
77 EQ F LOW INPUT14
78 EQ F LOW INPUT15
79 EQ F LOW INPUT16
80 EQ F LOW INPUT17
81 EQ F LOW INPUT18
82 EQ F LOW INPUT19
83 EQ F LOW INPUT20
84 EQ F LOW INPUT21
85 EQ F LOW INPUT22
86 EQ F LOW INPUT23
87 EQ F LOW INPUT24
88 NO ASSIGN
89 EQ Q LOW INPUT1
90 EQ Q LOW INPUT2
91 EQ Q LOW INPUT3
92 EQ Q LOW INPUT4
93 EQ Q LOW INPUT5
94 EQ Q LOW INPUT6
95 EQ Q LOW INPUT7
102 EQ Q LOW INPUT8
103 EQ Q LOW INPUT9
104 EQ Q LOW INPUT10
105 EQ Q LOW INPUT11
106 EQ Q LOW INPUT12
107 EQ Q LOW INPUT13
108 EQ Q LOW INPUT14
109 EQ Q LOW INPUT15
110 EQ Q LOW INPUT16
111 EQ Q LOW INPUT17
112 EQ Q LOW INPUT18
113 EQ Q LOW INPUT19
114 EQ Q LOW INPUT20
115 EQ Q LOW INPUT21
116 EQ Q LOW INPUT22
117 EQ Q LOW INPUT23
118 EQ Q LOW INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 293
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL4
# High Mid Low
0 NO ASSIGN
1EQG LOW H INPUT25
2EQG LOW H INPUT26
3EQG LOW H INPUT27
4EQG LOW H INPUT28
5EQG LOW H INPUT29
6EQG LOW H INPUT30
7EQG LOW H INPUT31
8EQG LOW H INPUT32
9EQG LOW H ST-IN1
10 EQ G LOW H ST-IN2
11 EQ G LOW H ST-IN3
12 EQ G LOW H ST-IN4
13 NO ASSIGN
14 NO ASSIGN
15 NO ASSIGN
16 NO ASSIGN
17 NO ASSIGN
18 NO ASSIGN
19 NO ASSIGN
20 NO ASSIGN
21 NO ASSIGN
22 NO ASSIGN
23 NO ASSIGN
24 NO ASSIGN
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G LOW L INPUT25
34 EQ G LOW L INPUT26
35 EQ G LOW L INPUT27
36 EQ G LOW L INPUT28
37 EQ G LOW L INPUT29
38 EQ G LOW L INPUT30
39 EQ G LOW L INPUT31
40 EQ G LOW L INPUT32
41 EQ G LOW L ST-IN1
42 EQ G LOW L ST-IN2
43 EQ G LOW L ST-IN3
44 EQ G LOW L ST-IN4
45 NO ASSIGN
46 NO ASSIGN
47 NO ASSIGN
48 NO ASSIGN
49 NO ASSIGN
50 NO ASSIGN
51 NO ASSIGN
52 NO ASSIGN
53 NO ASSIGN
54 NO ASSIGN
55 NO ASSIGN
56 NO ASSIGN
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F LOW INPUT25
65 EQ F LOW INPUT26
66 EQ F LOW INPUT27
67 EQ F LOW INPUT28
68 EQ F LOW INPUT29
69 EQ F LOW INPUT30
70 EQ F LOW INPUT31
71 EQ F LOW INPUT32
72 EQ F LOW ST-IN1
73 EQ F LOW ST-IN2
74 EQ F LOW ST-IN3
75 EQ F LOW ST-IN4
76 NO ASSIGN
77 NO ASSIGN
78 NO ASSIGN
79 NO ASSIGN
80 NO ASSIGN
81 NO ASSIGN
82 NO ASSIGN
83 NO ASSIGN
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 EQ Q LOW INPUT25
90 EQ Q LOW INPUT26
91 EQ Q LOW INPUT27
92 EQ Q LOW INPUT28
93 EQ Q LOW INPUT29
94 EQ Q LOW INPUT30
95 EQ Q LOW INPUT31
102 EQ Q LOW INPUT32
103 EQ Q LOW ST-IN1
104 EQ Q LOW ST-IN2
105 EQ Q LOW ST-IN3
106 EQ Q LOW ST-IN4
107 NO ASSIGN
108 NO ASSIGN
109 NO ASSIGN
110 NO ASSIGN
111 NO ASSIGN
112 NO ASSIGN
113 NO ASSIGN
114 NO ASSIGN
115 NO ASSIGN
116 NO ASSIGN
117 NO ASSIGN
118 NO ASSIGN
119 NO ASSIGN
# High Mid Low
294 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
CHANNEL5
# High Mid Low
0 NO ASSIGN
1EQG LO-MID H INPUT1
2EQG LO-MID H INPUT2
3EQG LO-MID H INPUT3
4EQG LO-MID H INPUT4
5EQG LO-MID H INPUT5
6EQG LO-MID H INPUT6
7EQG LO-MID H INPUT7
8EQG LO-MID H INPUT8
9EQG LO-MID H INPUT9
10 EQ G LO-MID H INPUT10
11 EQ G LO-MID H INPUT11
12 EQ G LO-MID H INPUT12
13 EQ G LO-MID H INPUT13
14 EQ G LO-MID H INPUT14
15 EQ G LO-MID H INPUT15
16 EQ G LO-MID H INPUT16
17 EQ G LO-MID H INPUT17
18 EQ G LO-MID H INPUT18
19 EQ G LO-MID H INPUT19
20 EQ G LO-MID H INPUT20
21 EQ G LO-MID H INPUT21
22 EQ G LO-MID H INPUT22
23 EQ G LO-MID H INPUT23
24 EQ G LO-MID H INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G LO-MID L INPUT1
34 EQ G LO-MID L INPUT2
35 EQ G LO-MID L INPUT3
36 EQ G LO-MID L INPUT4
37 EQ G LO-MID L INPUT5
38 EQ G LO-MID L INPUT6
39 EQ G LO-MID L INPUT7
40 EQ G LO-MID L INPUT8
41 EQ G LO-MID L INPUT9
42 EQ G LO-MID L INPUT10
43 EQ G LO-MID L INPUT11
44 EQ G LO-MID L INPUT12
45 EQ G LO-MID L INPUT13
46 EQ G LO-MID L INPUT14
47 EQ G LO-MID L INPUT15
48 EQ G LO-MID L INPUT16
49 EQ G LO-MID L INPUT17
50 EQ G LO-MID L INPUT18
51 EQ G LO-MID L INPUT19
52 EQ G LO-MID L INPUT20
53 EQ G LO-MID L INPUT21
54 EQ G LO-MID L INPUT22
55 EQ G LO-MID L INPUT23
56 EQ G LO-MID L INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F LO-MID INPUT1
65 EQ F LO-MID INPUT2
66 EQ F LO-MID INPUT3
67 EQ F LO-MID INPUT4
68 EQ F LO-MID INPUT5
69 EQ F LO-MID INPUT6
70 EQ F LO-MID INPUT7
71 EQ F LO-MID INPUT8
72 EQ F LO-MID INPUT9
73 EQ F LO-MID INPUT10
74 EQ F LO-MID INPUT11
75 EQ F LO-MID INPUT12
76 EQ F LO-MID INPUT13
77 EQ F LO-MID INPUT14
78 EQ F LO-MID INPUT15
79 EQ F LO-MID INPUT16
80 EQ F LO-MID INPUT17
81 EQ F LO-MID INPUT18
82 EQ F LO-MID INPUT19
83 EQ F LO-MID INPUT20
84 EQ F LO-MID INPUT21
85 EQ F LO-MID INPUT22
86 EQ F LO-MID INPUT23
87 EQ F LO-MID INPUT24
88 NO ASSIGN
89 EQ Q LO-MID INPUT1
90 EQ Q LO-MID INPUT2
91 EQ Q LO-MID INPUT3
92 EQ Q LO-MID INPUT4
93 EQ Q LO-MID INPUT5
94 EQ Q LO-MID INPUT6
95 EQ Q LO-MID INPUT7
102 EQ Q LO-MID INPUT8
103 EQ Q LO-MID INPUT9
104 EQ Q LO-MID INPUT10
105 EQ Q LO-MID INPUT11
106 EQ Q LO-MID INPUT12
107 EQ Q LO-MID INPUT13
108 EQ Q LO-MID INPUT14
109 EQ Q LO-MID INPUT15
110 EQ Q LO-MID INPUT16
111 EQ Q LO-MID INPUT17
112 EQ Q LO-MID INPUT18
113 EQ Q LO-MID INPUT19
114 EQ Q LO-MID INPUT20
115 EQ Q LO-MID INPUT21
116 EQ Q LO-MID INPUT22
117 EQ Q LO-MID INPUT23
118 EQ Q LO-MID INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 295
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL6
# High Mid Low
0 NO ASSIGN
1EQG LO-MID H INPUT25
2EQG LO-MID H INPUT26
3EQG LO-MID H INPUT27
4EQG LO-MID H INPUT28
5EQG LO-MID H INPUT29
6EQG LO-MID H INPUT30
7EQG LO-MID H INPUT31
8EQG LO-MID H INPUT32
9EQG LO-MID H ST-IN1
10 EQ G LO-MID H ST-IN2
11 EQ G LO-MID H ST-IN3
12 EQ G LO-MID H ST-IN4
13 NO ASSIGN
14 NO ASSIGN
15 NO ASSIGN
16 NO ASSIGN
17 NO ASSIGN
18 NO ASSIGN
19 NO ASSIGN
20 NO ASSIGN
21 NO ASSIGN
22 NO ASSIGN
23 NO ASSIGN
24 NO ASSIGN
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G LO-MID L INPUT25
34 EQ G LO-MID L INPUT26
35 EQ G LO-MID L INPUT27
36 EQ G LO-MID L INPUT28
37 EQ G LO-MID L INPUT29
38 EQ G LO-MID L INPUT30
39 EQ G LO-MID L INPUT31
40 EQ G LO-MID L INPUT32
41 EQ G LO-MID L ST-IN1
42 EQ G LO-MID L ST-IN2
43 EQ G LO-MID L ST-IN3
44 EQ G LO-MID L ST-IN4
45 NO ASSIGN
46 NO ASSIGN
47 NO ASSIGN
48 NO ASSIGN
49 NO ASSIGN
50 NO ASSIGN
51 NO ASSIGN
52 NO ASSIGN
53 NO ASSIGN
54 NO ASSIGN
55 NO ASSIGN
56 NO ASSIGN
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F LO-MID INPUT25
65 EQ F LO-MID INPUT26
66 EQ F LO-MID INPUT27
67 EQ F LO-MID INPUT28
68 EQ F LO-MID INPUT29
69 EQ F LO-MID INPUT30
70 EQ F LO-MID INPUT31
71 EQ F LO-MID INPUT32
72 EQ F LO-MID ST-IN1
73 EQ F LO-MID ST-IN2
74 EQ F LO-MID ST-IN3
75 EQ F LO-MID ST-IN4
76 NO ASSIGN
77 NO ASSIGN
78 NO ASSIGN
79 NO ASSIGN
80 NO ASSIGN
81 NO ASSIGN
82 NO ASSIGN
83 NO ASSIGN
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 EQ Q LO-MID INPUT25
90 EQ Q LO-MID INPUT26
91 EQ Q LO-MID INPUT27
92 EQ Q LO-MID INPUT28
93 EQ Q LO-MID INPUT29
94 EQ Q LO-MID INPUT30
95 EQ Q LO-MID INPUT31
102 EQ Q LO-MID INPUT32
103 EQ Q LO-MID ST-IN1
104 EQ Q LO-MID ST-IN2
105 EQ Q LO-MID ST-IN3
106 EQ Q LO-MID ST-IN4
107 NO ASSIGN
108 NO ASSIGN
109 NO ASSIGN
110 NO ASSIGN
111 NO ASSIGN
112 NO ASSIGN
113 NO ASSIGN
114 NO ASSIGN
115 NO ASSIGN
116 NO ASSIGN
117 NO ASSIGN
118 NO ASSIGN
119 NO ASSIGN
# High Mid Low
296 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
CHANNEL7
# High Mid Low
0 NO ASSIGN
1EQG HI-MID H INPUT1
2EQG HI-MID H INPUT2
3EQG HI-MID H INPUT3
4EQG HI-MID H INPUT4
5EQG HI-MID H INPUT5
6EQG HI-MID H INPUT6
7EQG HI-MID H INPUT7
8EQG HI-MID H INPUT8
9EQG HI-MID H INPUT9
10 EQ G HI-MID H INPUT10
11 EQ G HI-MID H INPUT11
12 EQ G HI-MID H INPUT12
13 EQ G HI-MID H INPUT13
14 EQ G HI-MID H INPUT14
15 EQ G HI-MID H INPUT15
16 EQ G HI-MID H INPUT16
17 EQ G HI-MID H INPUT17
18 EQ G HI-MID H INPUT18
19 EQ G HI-MID H INPUT19
20 EQ G HI-MID H INPUT20
21 EQ G HI-MID H INPUT21
22 EQ G HI-MID H INPUT22
23 EQ G HI-MID H INPUT23
24 EQ G HI-MID H INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G HI-MID L INPUT1
34 EQ G HI-MID L INPUT2
35 EQ G HI-MID L INPUT3
36 EQ G HI-MID L INPUT4
37 EQ G HI-MID L INPUT5
38 EQ G HI-MID L INPUT6
39 EQ G HI-MID L INPUT7
40 EQ G HI-MID L INPUT8
41 EQ G HI-MID L INPUT9
42 EQ G HI-MID L INPUT10
43 EQ G HI-MID L INPUT11
44 EQ G HI-MID L INPUT12
45 EQ G HI-MID L INPUT13
46 EQ G HI-MID L INPUT14
47 EQ G HI-MID L INPUT15
48 EQ G HI-MID L INPUT16
49 EQ G HI-MID L INPUT17
50 EQ G HI-MID L INPUT18
51 EQ G HI-MID L INPUT19
52 EQ G HI-MID L INPUT20
53 EQ G HI-MID L INPUT21
54 EQ G HI-MID L INPUT22
55 EQ G HI-MID L INPUT23
56 EQ G HI-MID L INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F HI-MID INPUT1
65 EQ F HI-MID INPUT2
66 EQ F HI-MID INPUT3
67 EQ F HI-MID INPUT4
68 EQ F HI-MID INPUT5
69 EQ F HI-MID INPUT6
70 EQ F HI-MID INPUT7
71 EQ F HI-MID INPUT8
72 EQ F HI-MID INPUT9
73 EQ F HI-MID INPUT10
74 EQ F HI-MID INPUT11
75 EQ F HI-MID INPUT12
76 EQ F HI-MID INPUT13
77 EQ F HI-MID INPUT14
78 EQ F HI-MID INPUT15
79 EQ F HI-MID INPUT16
80 EQ F HI-MID INPUT17
81 EQ F HI-MID INPUT18
82 EQ F HI-MID INPUT19
83 EQ F HI-MID INPUT20
84 EQ F HI-MID INPUT21
85 EQ F HI-MID INPUT22
86 EQ F HI-MID INPUT23
87 EQ F HI-MID INPUT24
88 NO ASSIGN
89 EQ Q HI-MID INPUT1
90 EQ Q HI-MID INPUT2
91 EQ Q HI-MID INPUT3
92 EQ Q HI-MID INPUT4
93 EQ Q HI-MID INPUT5
94 EQ Q HI-MID INPUT6
95 EQ Q HI-MID INPUT7
102 EQ Q HI-MID INPUT8
103 EQ Q HI-MID INPUT9
104 EQ Q HI-MID INPUT10
105 EQ Q HI-MID INPUT11
106 EQ Q HI-MID INPUT12
107 EQ Q HI-MID INPUT13
108 EQ Q HI-MID INPUT14
109 EQ Q HI-MID INPUT15
110 EQ Q HI-MID INPUT16
111 EQ Q HI-MID INPUT17
112 EQ Q HI-MID INPUT18
113 EQ Q HI-MID INPUT19
114 EQ Q HI-MID INPUT20
115 EQ Q HI-MID INPUT21
116 EQ Q HI-MID INPUT22
117 EQ Q HI-MID INPUT23
118 EQ Q HI-MID INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 297
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL8
# High Mid Low
0 NO ASSIGN
1EQG HI-MID H INPUT25
2EQG HI-MID H INPUT26
3EQG HI-MID H INPUT27
4EQG HI-MID H INPUT28
5EQG HI-MID H INPUT29
6EQG HI-MID H INPUT30
7EQG HI-MID H INPUT31
8EQG HI-MID H INPUT32
9EQG HI-MID H ST-IN1
10 EQ G HI-MID H ST-IN2
11 EQ G HI-MID H ST-IN3
12 EQ G HI-MID H ST-IN4
13 NO ASSIGN
14 NO ASSIGN
15 NO ASSIGN
16 NO ASSIGN
17 NO ASSIGN
18 NO ASSIGN
19 NO ASSIGN
20 NO ASSIGN
21 NO ASSIGN
22 NO ASSIGN
23 NO ASSIGN
24 NO ASSIGN
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G HI-MID L INPUT25
34 EQ G HI-MID L INPUT26
35 EQ G HI-MID L INPUT27
36 EQ G HI-MID L INPUT28
37 EQ G HI-MID L INPUT29
38 EQ G HI-MID L INPUT30
39 EQ G HI-MID L INPUT31
40 EQ G HI-MID L INPUT32
41 EQ G HI-MID L ST-IN1
42 EQ G HI-MID L ST-IN2
43 EQ G HI-MID L ST-IN3
44 EQ G HI-MID L ST-IN4
45 NO ASSIGN
46 NO ASSIGN
47 NO ASSIGN
48 NO ASSIGN
49 NO ASSIGN
50 NO ASSIGN
51 NO ASSIGN
52 NO ASSIGN
53 NO ASSIGN
54 NO ASSIGN
55 NO ASSIGN
56 NO ASSIGN
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F HI-MID INPUT25
65 EQ F HI-MID INPUT26
66 EQ F HI-MID INPUT27
67 EQ F HI-MID INPUT28
68 EQ F HI-MID INPUT29
69 EQ F HI-MID INPUT30
70 EQ F HI-MID INPUT31
71 EQ F HI-MID INPUT32
72 EQ F HI-MID ST-IN1
73 EQ F HI-MID ST-IN2
74 EQ F HI-MID ST-IN3
75 EQ F HI-MID ST-IN4
76 NO ASSIGN
77 NO ASSIGN
78 NO ASSIGN
79 NO ASSIGN
80 NO ASSIGN
81 NO ASSIGN
82 NO ASSIGN
83 NO ASSIGN
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 EQ Q HI-MID INPUT25
90 EQ Q HI-MID INPUT26
91 EQ Q HI-MID INPUT27
92 EQ Q HI-MID INPUT28
93 EQ Q HI-MID INPUT29
94 EQ Q HI-MID INPUT30
95 EQ Q HI-MID INPUT31
102 EQ Q HI-MID INPUT32
103 EQ Q HI-MID ST-IN1
104 EQ Q HI-MID ST-IN2
105 EQ Q HI-MID ST-IN3
106 EQ Q HI-MID ST-IN4
107 NO ASSIGN
108 NO ASSIGN
109 NO ASSIGN
110 NO ASSIGN
111 NO ASSIGN
112 NO ASSIGN
113 NO ASSIGN
114 NO ASSIGN
115 NO ASSIGN
116 NO ASSIGN
117 NO ASSIGN
118 NO ASSIGN
119 NO ASSIGN
# High Mid Low
298 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
CHANNEL9
# High Mid Low
0 NO ASSIGN
1EQG HIGH H INPUT1
2EQG HIGH H INPUT2
3EQG HIGH H INPUT3
4EQG HIGH H INPUT4
5EQG HIGH H INPUT5
6EQG HIGH H INPUT6
7EQG HIGH H INPUT7
8EQG HIGH H INPUT8
9EQG HIGH H INPUT9
10 EQ G HIGH H INPUT10
11 EQ G HIGH H INPUT11
12 EQ G HIGH H INPUT12
13 EQ G HIGH H INPUT13
14 EQ G HIGH H INPUT14
15 EQ G HIGH H INPUT15
16 EQ G HIGH H INPUT16
17 EQ G HIGH H INPUT17
18 EQ G HIGH H INPUT18
19 EQ G HIGH H INPUT19
20 EQ G HIGH H INPUT20
21 EQ G HIGH H INPUT21
22 EQ G HIGH H INPUT22
23 EQ G HIGH H INPUT23
24 EQ G HIGH H INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G HIGH L INPUT1
34 EQ G HIGH L INPUT2
35 EQ G HIGH L INPUT3
36 EQ G HIGH L INPUT4
37 EQ G HIGH L INPUT5
38 EQ G HIGH L INPUT6
39 EQ G HIGH L INPUT7
40 EQ G HIGH L INPUT8
41 EQ G HIGH L INPUT9
42 EQ G HIGH L INPUT10
43 EQ G HIGH L INPUT11
44 EQ G HIGH L INPUT12
45 EQ G HIGH L INPUT13
46 EQ G HIGH L INPUT14
47 EQ G HIGH L INPUT15
48 EQ G HIGH L INPUT16
49 EQ G HIGH L INPUT17
50 EQ G HIGH L INPUT18
51 EQ G HIGH L INPUT19
52 EQ G HIGH L INPUT20
53 EQ G HIGH L INPUT21
54 EQ G HIGH L INPUT22
55 EQ G HIGH L INPUT23
56 EQ G HIGH L INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F HIGH INPUT1
65 EQ F HIGH INPUT2
66 EQ F HIGH INPUT3
67 EQ F HIGH INPUT4
68 EQ F HIGH INPUT5
69 EQ F HIGH INPUT6
70 EQ F HIGH INPUT7
71 EQ F HIGH INPUT8
72 EQ F HIGH INPUT9
73 EQ F HIGH INPUT10
74 EQ F HIGH INPUT11
75 EQ F HIGH INPUT12
76 EQ F HIGH INPUT13
77 EQ F HIGH INPUT14
78 EQ F HIGH INPUT15
79 EQ F HIGH INPUT16
80 EQ F HIGH INPUT17
81 EQ F HIGH INPUT18
82 EQ F HIGH INPUT19
83 EQ F HIGH INPUT20
84 EQ F HIGH INPUT21
85 EQ F HIGH INPUT22
86 EQ F HIGH INPUT23
87 EQ F HIGH INPUT24
88 NO ASSIGN
89 EQ Q HIGH INPUT1
90 EQ Q HIGH INPUT2
91 EQ Q HIGH INPUT3
92 EQ Q HIGH INPUT4
93 EQ Q HIGH INPUT5
94 EQ Q HIGH INPUT6
95 EQ Q HIGH INPUT7
102 EQ Q HIGH INPUT8
103 EQ Q HIGH INPUT9
104 EQ Q HIGH INPUT10
105 EQ Q HIGH INPUT11
106 EQ Q HIGH INPUT12
107 EQ Q HIGH INPUT13
108 EQ Q HIGH INPUT14
109 EQ Q HIGH INPUT15
110 EQ Q HIGH INPUT16
111 EQ Q HIGH INPUT17
112 EQ Q HIGH INPUT18
113 EQ Q HIGH INPUT19
114 EQ Q HIGH INPUT20
115 EQ Q HIGH INPUT21
116 EQ Q HIGH INPUT22
117 EQ Q HIGH INPUT23
118 EQ Q HIGH INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 299
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL10
# High Mid Low
0 NO ASSIGN
1EQG HIGH H INPUT25
2EQG HIGH H INPUT26
3EQG HIGH H INPUT27
4EQG HIGH H INPUT28
5EQG HIGH H INPUT29
6EQG HIGH H INPUT30
7EQG HIGH H INPUT31
8EQG HIGH H INPUT32
9EQG HIGH H ST-IN1
10 EQ G HIGH H ST-IN2
11 EQ G HIGH H ST-IN3
12 EQ G HIGH H ST-IN4
13 NO ASSIGN
14 NO ASSIGN
15 NO ASSIGN
16 NO ASSIGN
17 NO ASSIGN
18 NO ASSIGN
19 NO ASSIGN
20 NO ASSIGN
21 NO ASSIGN
22 NO ASSIGN
23 NO ASSIGN
24 NO ASSIGN
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ G HIGH L INPUT25
34 EQ G HIGH L INPUT26
35 EQ G HIGH L INPUT27
36 EQ G HIGH L INPUT28
37 EQ G HIGH L INPUT29
38 EQ G HIGH L INPUT30
39 EQ G HIGH L INPUT31
40 EQ G HIGH L INPUT32
41 EQ G HIGH L ST-IN1
42 EQ G HIGH L ST-IN2
43 EQ G HIGH L ST-IN3
44 EQ G HIGH L ST-IN4
45 NO ASSIGN
46 NO ASSIGN
47 NO ASSIGN
48 NO ASSIGN
49 NO ASSIGN
50 NO ASSIGN
51 NO ASSIGN
52 NO ASSIGN
53 NO ASSIGN
54 NO ASSIGN
55 NO ASSIGN
56 NO ASSIGN
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ F HIGH INPUT25
65 EQ F HIGH INPUT26
66 EQ F HIGH INPUT27
67 EQ F HIGH INPUT28
68 EQ F HIGH INPUT29
69 EQ F HIGH INPUT30
70 EQ F HIGH INPUT31
71 EQ F HIGH INPUT32
72 EQ F HIGH ST-IN1
73 EQ F HIGH ST-IN2
74 EQ F HIGH ST-IN3
75 EQ F HIGH ST-IN4
76 NO ASSIGN
77 NO ASSIGN
78 NO ASSIGN
79 NO ASSIGN
80 NO ASSIGN
81 NO ASSIGN
82 NO ASSIGN
83 NO ASSIGN
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 EQ Q HIGH INPUT25
90 EQ Q HIGH INPUT26
91 EQ Q HIGH INPUT27
92 EQ Q HIGH INPUT28
93 EQ Q HIGH INPUT29
94 EQ Q HIGH INPUT30
95 EQ Q HIGH INPUT31
102 EQ Q HIGH INPUT32
103 EQ Q HIGH ST-IN1
104 EQ Q HIGH ST-IN2
105 EQ Q HIGH ST-IN3
106 EQ Q HIGH ST-IN4
107 NO ASSIGN
108 NO ASSIGN
109 NO ASSIGN
110 NO ASSIGN
111 NO ASSIGN
112 NO ASSIGN
113 NO ASSIGN
114 NO ASSIGN
115 NO ASSIGN
116 NO ASSIGN
117 NO ASSIGN
118 NO ASSIGN
119 NO ASSIGN
# High Mid Low
300 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
CHANNEL11
# High Mid Low
0 NO ASSIGN
1EQATT H INPUT1
2EQATT H INPUT2
3EQATT H INPUT3
4EQATT H INPUT4
5EQATT H INPUT5
6EQATT H INPUT6
7EQATT H INPUT7
8EQATT H INPUT8
9EQATT H INPUT9
10 EQ ATT H INPUT10
11 EQ ATT H INPUT11
12 EQ ATT H INPUT12
13 EQ ATT H INPUT13
14 EQ ATT H INPUT14
15 EQ ATT H INPUT15
16 EQ ATT H INPUT16
17 EQ ATT H INPUT17
18 EQ ATT H INPUT18
19 EQ ATT H INPUT19
20 EQ ATT H INPUT20
21 EQ ATT H INPUT21
22 EQ ATT H INPUT22
23 EQ ATT H INPUT23
24 EQ ATT H INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ ATT L INPUT1
34 EQ ATT L INPUT2
35 EQ ATT L INPUT3
36 EQ ATT L INPUT4
37 EQ ATT L INPUT5
38 EQ ATT L INPUT6
39 EQ ATT L INPUT7
40 EQ ATT L INPUT8
41 EQ ATT L INPUT9
42 EQ ATT L INPUT10
43 EQ ATT L INPUT11
44 EQ ATT L INPUT12
45 EQ ATT L INPUT13
46 EQ ATT L INPUT14
47 EQ ATT L INPUT15
48 EQ ATT L INPUT16
49 EQ ATT L INPUT17
50 EQ ATT L INPUT18
51 EQ ATT L INPUT19
52 EQ ATT L INPUT20
53 EQ ATT L INPUT21
54 EQ ATT L INPUT22
55 EQ ATT L INPUT23
56 EQ ATT L INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ HPF ON INPUT1
65 EQ HPF ON INPUT2
66 EQ HPF ON INPUT3
67 EQ HPF ON INPUT4
68 EQ HPF ON INPUT5
69 EQ HPF ON INPUT6
70 EQ HPF ON INPUT7
71 EQ HPF ON INPUT8
72 EQ HPF ON INPUT9
73 EQ HPF ON INPUT10
74 EQ HPF ON INPUT11
75 EQ HPF ON INPUT12
76 EQ HPF ON INPUT13
77 EQ HPF ON INPUT14
78 EQ HPF ON INPUT15
79 EQ HPF ON INPUT16
80 EQ HPF ON INPUT17
81 EQ HPF ON INPUT18
82 EQ HPF ON INPUT19
83 EQ HPF ON INPUT20
84 EQ HPF ON INPUT21
85 EQ HPF ON INPUT22
86 EQ HPF ON INPUT23
87 EQ HPF ON INPUT24
88 NO ASSIGN
89 EQ LPF ON INPUT1
90 EQ LPF ON INPUT2
91 EQ LPF ON INPUT3
92 EQ LPF ON INPUT4
93 EQ LPF ON INPUT5
94 EQ LPF ON INPUT6
95 EQ LPF ON INPUT7
102 EQ LPF ON INPUT8
103 EQ LPF ON INPUT9
104 EQ LPF ON INPUT10
105 EQ LPF ON INPUT11
106 EQ LPF ON INPUT12
107 EQ LPF ON INPUT13
108 EQ LPF ON INPUT14
109 EQ LPF ON INPUT15
110 EQ LPF ON INPUT16
111 EQ LPF ON INPUT17
112 EQ LPF ON INPUT18
113 EQ LPF ON INPUT19
114 EQ LPF ON INPUT20
115 EQ LPF ON INPUT21
116 EQ LPF ON INPUT22
117 EQ LPF ON INPUT23
118 EQ LPF ON INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 301
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL12
# High Mid Low
0 NO ASSIGN
1EQATT H INPUT25
2EQATT H INPUT26
3EQATT H INPUT27
4EQATT H INPUT28
5EQATT H INPUT29
6EQATT H INPUT30
7EQATT H INPUT31
8EQATT H INPUT32
9EQATT H ST-IN1L
10 EQ ATT H ST-IN1R
11 EQ ATT H ST-IN2L
12 EQ ATT H ST-IN2R
13 EQ ATT H ST-IN3L
14 EQ ATT H ST-IN3R
15 EQ ATT H ST-IN4L
16 EQ ATT H ST-IN4R
17 NO ASSIGN
18 NO ASSIGN
19 NO ASSIGN
20 NO ASSIGN
21 NO ASSIGN
22 NO ASSIGN
23 NO ASSIGN
24 NO ASSIGN
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 EQ ATT L INPUT25
34 EQ ATT L INPUT26
35 EQ ATT L INPUT27
36 EQ ATT L INPUT28
37 EQ ATT L INPUT29
38 EQ ATT L INPUT30
39 EQ ATT L INPUT31
40 EQ ATT L INPUT32
41 EQ ATT L ST-IN1L
42 EQ ATT L ST-IN1R
43 EQ ATT L ST-IN2L
44 EQ ATT L ST-IN2R
45 EQ ATT L ST-IN3L
46 EQ ATT L ST-IN3R
47 EQ ATT L ST-IN4L
48 EQ ATT L ST-IN4R
49 NO ASSIGN
50 NO ASSIGN
51 NO ASSIGN
52 NO ASSIGN
53 NO ASSIGN
54 NO ASSIGN
55 NO ASSIGN
56 NO ASSIGN
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 EQ HPF ON INPUT25
65 EQ HPF ON INPUT26
66 EQ HPF ON INPUT27
67 EQ HPF ON INPUT28
68 EQ HPF ON INPUT29
69 EQ HPF ON INPUT30
70 EQ HPF ON INPUT31
71 EQ HPF ON INPUT32
72 EQ HPF ON ST-IN1
73 EQ HPF ON ST-IN2
74 EQ HPF ON ST-IN3
75 EQ HPF ON ST-IN4
76 NO ASSIGN
77 NO ASSIGN
78 NO ASSIGN
79 NO ASSIGN
80 NO ASSIGN
81 NO ASSIGN
82 NO ASSIGN
83 NO ASSIGN
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 EQ LPF ON INPUT25
90 EQ LPF ON INPUT26
91 EQ LPF ON INPUT27
92 EQ LPF ON INPUT28
93 EQ LPF ON INPUT29
94 EQ LPF ON INPUT30
95 EQ LPF ON INPUT31
102 EQ LPF ON INPUT32
103 EQ LPF ON ST-IN1
104 EQ LPF ON ST-IN2
105 EQ LPF ON ST-IN3
106 EQ LPF ON ST-IN4
107 NO ASSIGN
108 NO ASSIGN
109 NO ASSIGN
110 NO ASSIGN
111 NO ASSIGN
112 NO ASSIGN
113 NO ASSIGN
114 NO ASSIGN
115 NO ASSIGN
116 NO ASSIGN
117 NO ASSIGN
118 NO ASSIGN
119 NO ASSIGN
# High Mid Low
302 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
CHANNEL13
# High Mid Low
0 NO ASSIGN
1 SURROUND LFE H INPUT1
2 SURROUND LFE H INPUT2
3 SURROUND LFE H INPUT3
4 SURROUND LFE H INPUT4
5 SURROUND LFE H INPUT5
6 SURROUND LFE H INPUT6
7 SURROUND LFE H INPUT7
8 SURROUND LFE H INPUT8
9 SURROUND LFE H INPUT9
10 SURROUND LFE H INPUT10
11 SURROUND LFE H INPUT11
12 SURROUND LFE H INPUT12
13 SURROUND LFE H INPUT13
14 SURROUND LFE H INPUT14
15 SURROUND LFE H INPUT15
16 SURROUND LFE H INPUT16
17 SURROUND LFE H INPUT17
18 SURROUND LFE H INPUT18
19 SURROUND LFE H INPUT19
20 SURROUND LFE H INPUT20
21 SURROUND LFE H INPUT21
22 SURROUND LFE H INPUT22
23 SURROUND LFE H INPUT23
24 SURROUND LFE H INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 SURROUND LFE L INPUT1
34 SURROUND LFE L INPUT2
35 SURROUND LFE L INPUT3
36 SURROUND LFE L INPUT4
37 SURROUND LFE L INPUT5
38 SURROUND LFE L INPUT6
39 SURROUND LFE L INPUT7
40 SURROUND LFE L INPUT8
41 SURROUND LFE L INPUT9
42 SURROUND LFE L INPUT10
43 SURROUND LFE L INPUT11
44 SURROUND LFE L INPUT12
45 SURROUND LFE L INPUT13
46 SURROUND LFE L INPUT14
47 SURROUND LFE L INPUT15
48 SURROUND LFE L INPUT16
49 SURROUND LFE L INPUT17
50 SURROUND LFE L INPUT18
51 SURROUND LFE L INPUT19
52 SURROUND LFE L INPUT20
53 SURROUND LFE L INPUT21
54 SURROUND LFE L INPUT22
55 SURROUND LFE L INPUT23
56 SURROUND LFE L INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 SURROUND DIV F INPUT1
65 SURROUND DIV F INPUT2
66 SURROUND DIV F INPUT3
67 SURROUND DIV F INPUT4
68 SURROUND DIV F INPUT5
69 SURROUND DIV F INPUT6
70 SURROUND DIV F INPUT7
71 SURROUND DIV F INPUT8
72 SURROUND DIV F INPUT9
73 SURROUND DIV F INPUT10
74 SURROUND DIV F INPUT11
75 SURROUND DIV F INPUT12
76 SURROUND DIV F INPUT13
77 SURROUND DIV F INPUT14
78 SURROUND DIV F INPUT15
79 SURROUND DIV F INPUT16
80 SURROUND DIV F INPUT17
81 SURROUND DIV F INPUT18
82 SURROUND DIV F INPUT19
83 SURROUND DIV F INPUT20
84 SURROUND DIV F INPUT21
85 SURROUND DIV F INPUT22
86 SURROUND DIV F INPUT23
87 SURROUND DIV F INPUT24
88 NO ASSIGN
89 EQ ON INPUT1
90 EQ ON INPUT2
91 EQ ON INPUT3
92 EQ ON INPUT4
93 EQ ON INPUT5
94 EQ ON INPUT6
95 EQ ON INPUT7
102 EQ ON INPUT8
103 EQ ON INPUT9
104 EQ ON INPUT10
105 EQ ON INPUT11
106 EQ ON INPUT12
107 EQ ON INPUT13
108 EQ ON INPUT14
109 EQ ON INPUT15
110 EQ ON INPUT16
111 EQ ON INPUT17
112 EQ ON INPUT18
113 EQ ON INPUT19
114 EQ ON INPUT20
115 EQ ON INPUT21
116 EQ ON INPUT22
117 EQ ON INPUT23
118 EQ ON INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 303
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL14
# High Mid Low
0 NO ASSIGN
1 SURROUND LFE H INPUT25
2 SURROUND LFE H INPUT26
3 SURROUND LFE H INPUT27
4 SURROUND LFE H INPUT28
5 SURROUND LFE H INPUT29
6 SURROUND LFE H INPUT30
7 SURROUND LFE H INPUT31
8 SURROUND LFE H INPUT32
9 SURROUND LFE H ST-IN1L
10 SURROUND LFE H ST-IN1R
11 SURROUND LFE H ST-IN2L
12 SURROUND LFE H ST-IN2R
13 SURROUND LFE H ST-IN3L
14 SURROUND LFE H ST-IN3R
15 SURROUND LFE H ST-IN4L
16 SURROUND LFE H ST-IN4R
17 NO ASSIGN
18 NO ASSIGN
19 NO ASSIGN
20 NO ASSIGN
21 NO ASSIGN
22 NO ASSIGN
23 NO ASSIGN
24 NO ASSIGN
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 SURROUND LFE L INPUT25
34 SURROUND LFE L INPUT26
35 SURROUND LFE L INPUT27
36 SURROUND LFE L INPUT28
37 SURROUND LFE L INPUT29
38 SURROUND LFE L INPUT30
39 SURROUND LFE L INPUT31
40 SURROUND LFE L INPUT32
41 SURROUND LFE L ST-IN1L
42 SURROUND LFE L ST-IN1R
43 SURROUND LFE L ST-IN2L
44 SURROUND LFE L ST-IN2R
45 SURROUND LFE L ST-IN3L
46 SURROUND LFE L ST-IN3R
47 SURROUND LFE L ST-IN4L
48 SURROUND LFE L ST-IN4R
49 NO ASSIGN
50 NO ASSIGN
51 NO ASSIGN
52 NO ASSIGN
53 NO ASSIGN
54 NO ASSIGN
55 NO ASSIGN
56 NO ASSIGN
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 SURROUND DIV F INPUT25
65 SURROUND DIV F INPUT26
66 SURROUND DIV F INPUT27
67 SURROUND DIV F INPUT28
68 SURROUND DIV F INPUT29
69 SURROUND DIV F INPUT30
70 SURROUND DIV F INPUT31
71 SURROUND DIV F INPUT32
72 SURROUND DIV F ST-IN1L
73 SURROUND DIV F ST-IN1R
74 SURROUND DIV F ST-IN2L
75 SURROUND DIV F ST-IN2R
76 SURROUND DIV F ST-IN3L
77 SURROUND DIV F ST-IN3R
78 SURROUND DIV F ST-IN4L
79 SURROUND DIV F ST-IN4R
80 NO ASSIGN
81 NO ASSIGN
82 NO ASSIGN
83 NO ASSIGN
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 EQ ON INPUT25
90 EQ ON INPUT26
91 EQ ON INPUT27
92 EQ ON INPUT28
93 EQ ON INPUT29
94 EQ ON INPUT30
95 EQ ON INPUT31
102 EQ ON INPUT32
103 EQ ON ST-IN1
104 EQ ON ST-IN2
105 EQ ON ST-IN3
106 EQ ON ST-IN4
107 NO ASSIGN
108 NO ASSIGN
109 NO ASSIGN
110 NO ASSIGN
111 NO ASSIGN
112 NO ASSIGN
113 NO ASSIGN
114 NO ASSIGN
115 NO ASSIGN
116 NO ASSIGN
117 NO ASSIGN
118 NO ASSIGN
119 NO ASSIGN
# High Mid Low
304 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
CHANNEL15
# High Mid Low
0 NO ASSIGN
1 SURROUND LR INPUT1
2 SURROUND LR INPUT2
3 SURROUND LR INPUT3
4 SURROUND LR INPUT4
5 SURROUND LR INPUT5
6 SURROUND LR INPUT6
7 SURROUND LR INPUT7
8 SURROUND LR INPUT8
9 SURROUND LR INPUT9
10 SURROUND LR INPUT10
11 SURROUND LR INPUT11
12 SURROUND LR INPUT12
13 SURROUND LR INPUT13
14 SURROUND LR INPUT14
15 SURROUND LR INPUT15
16 SURROUND LR INPUT16
17 SURROUND LR INPUT17
18 SURROUND LR INPUT18
19 SURROUND LR INPUT19
20 SURROUND LR INPUT20
21 SURROUND LR INPUT21
22 SURROUND LR INPUT22
23 SURROUND LR INPUT23
24 SURROUND LR INPUT24
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 SURROUND FR INPUT1
34 SURROUND FR INPUT2
35 SURROUND FR INPUT3
36 SURROUND FR INPUT4
37 SURROUND FR INPUT5
38 SURROUND FR INPUT6
39 SURROUND FR INPUT7
40 SURROUND FR INPUT8
41 SURROUND FR INPUT9
42 SURROUND FR INPUT10
43 SURROUND FR INPUT11
44 SURROUND FR INPUT12
45 SURROUND FR INPUT13
46 SURROUND FR INPUT14
47 SURROUND FR INPUT15
48 SURROUND FR INPUT16
49 SURROUND FR INPUT17
50 SURROUND FR INPUT18
51 SURROUND FR INPUT19
52 SURROUND FR INPUT20
53 SURROUND FR INPUT21
54 SURROUND FR INPUT22
55 SURROUND FR INPUT23
56 SURROUND FR INPUT24
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 SURROUND WIDTH INPUT1
65 SURROUND WIDTH INPUT2
66 SURROUND WIDTH INPUT3
67 SURROUND WIDTH INPUT4
68 SURROUND WIDTH INPUT5
69 SURROUND WIDTH INPUT6
70 SURROUND WIDTH INPUT7
71 SURROUND WIDTH INPUT8
72 SURROUND WIDTH INPUT9
73 SURROUND WIDTH INPUT10
74 SURROUND WIDTH INPUT11
75 SURROUND WIDTH INPUT12
76 SURROUND WIDTH INPUT13
77 SURROUND WIDTH INPUT14
78 SURROUND WIDTH INPUT15
79 SURROUND WIDTH INPUT16
80 SURROUND WIDTH INPUT17
81 SURROUND WIDTH INPUT18
82 SURROUND WIDTH INPUT19
83 SURROUND WIDTH INPUT20
84 SURROUND WIDTH INPUT21
85 SURROUND WIDTH INPUT22
86 SURROUND WIDTH INPUT23
87 SURROUND WIDTH INPUT24
88 NO ASSIGN
89 SURROUND DEPTH INPUT1
90 SURROUND DEPTH INPUT2
91 SURROUND DEPTH INPUT3
92 SURROUND DEPTH INPUT4
93 SURROUND DEPTH INPUT5
94 SURROUND DEPTH INPUT6
95 SURROUND DEPTH INPUT7
102 SURROUND DEPTH INPUT8
103 SURROUND DEPTH INPUT9
104 SURROUND DEPTH INPUT10
105 SURROUND DEPTH INPUT11
106 SURROUND DEPTH INPUT12
107 SURROUND DEPTH INPUT13
108 SURROUND DEPTH INPUT14
109 SURROUND DEPTH INPUT15
110 SURROUND DEPTH INPUT16
111 SURROUND DEPTH INPUT17
112 SURROUND DEPTH INPUT18
113 SURROUND DEPTH INPUT19
114 SURROUND DEPTH INPUT20
115 SURROUND DEPTH INPUT21
116 SURROUND DEPTH INPUT22
117 SURROUND DEPTH INPUT23
118 SURROUND DEPTH INPUT24
119 NO ASSIGN
# High Mid Low
Initial Parameter to Control Change Table 305
01V96 Version 2—Owner’s Manual
Appendix
CHANNEL16
# High Mid Low
0 NO ASSIGN
1 SURROUND LR INPUT25
2 SURROUND LR INPUT26
3 SURROUND LR INPUT27
4 SURROUND LR INPUT28
5 SURROUND LR INPUT29
6 SURROUND LR INPUT30
7 SURROUND LR INPUT31
8 SURROUND LR INPUT32
9 SURROUND LR ST-IN1L
10 SURROUND LR ST-IN1R
11 SURROUND LR ST-IN2L
12 SURROUND LR ST-IN2R
13 SURROUND LR ST-IN3L
14 SURROUND LR ST-IN3R
15 SURROUND LR ST-IN4L
16 SURROUND LR ST-IN4R
17 NO ASSIGN
18 NO ASSIGN
19 NO ASSIGN
20 NO ASSIGN
21 NO ASSIGN
22 NO ASSIGN
23 NO ASSIGN
24 NO ASSIGN
25 NO ASSIGN
26 NO ASSIGN
27 NO ASSIGN
28 NO ASSIGN
29 NO ASSIGN
30 NO ASSIGN
31 NO ASSIGN
32 NO ASSIGN
33 SURROUND FR INPUT25
34 SURROUND FR INPUT26
35 SURROUND FR INPUT27
36 SURROUND FR INPUT28
37 SURROUND FR INPUT29
38 SURROUND FR INPUT30
39 SURROUND FR INPUT31
40 SURROUND FR INPUT32
41 SURROUND FR ST-IN1L
42 SURROUND FR ST-IN1R
43 SURROUND FR ST-IN2L
44 SURROUND FR ST-IN2R
45 SURROUND FR ST-IN3L
46 SURROUND FR ST-IN3R
47 SURROUND FR ST-IN4L
48 SURROUND FR ST-IN4R
49 NO ASSIGN
50 NO ASSIGN
51 NO ASSIGN
52 NO ASSIGN
53 NO ASSIGN
54 NO ASSIGN
55 NO ASSIGN
56 NO ASSIGN
57 NO ASSIGN
58 NO ASSIGN
59 NO ASSIGN
60 NO ASSIGN
61 NO ASSIGN
62 NO ASSIGN
63 NO ASSIGN
64 SURROUND WIDTH INPUT25
65 SURROUND WIDTH INPUT26
66 SURROUND WIDTH INPUT27
67 SURROUND WIDTH INPUT28
68 SURROUND WIDTH INPUT29
69 SURROUND WIDTH INPUT30
70 SURROUND WIDTH INPUT31
71 SURROUND WIDTH INPUT32
72 SURROUND WIDTH ST-IN1L
73 SURROUND WIDTH ST-IN1R
74 SURROUND WIDTH ST-IN2L
75 SURROUND WIDTH ST-IN2R
76 SURROUND WIDTH ST-IN3L
77 SURROUND WIDTH ST-IN3R
78 SURROUND WIDTH ST-IN4L
79 SURROUND WIDTH ST-IN4R
80 NO ASSIGN
81 NO ASSIGN
82 NO ASSIGN
83 NO ASSIGN
84 NO ASSIGN
85 NO ASSIGN
86 NO ASSIGN
87 NO ASSIGN
88 NO ASSIGN
89 SURROUND DEPTH INPUT25
90 SURROUND DEPTH INPUT26
91 SURROUND DEPTH INPUT27
92 SURROUND DEPTH INPUT28
93 SURROUND DEPTH INPUT29
94 SURROUND DEPTH INPUT30
95 SURROUND DEPTH INPUT31
102 SURROUND DEPTH INPUT32
103 SURROUND DEPTH ST-IN1L
104 SURROUND DEPTH ST-IN1R
105 SURROUND DEPTH ST-IN2L
106 SURROUND DEPTH ST-IN2R
107 SURROUND DEPTH ST-IN3L
108 SURROUND DEPTH ST-IN3R
109 SURROUND DEPTH ST-IN4L
110 SURROUND DEPTH ST-IN4R
111 NO ASSIGN
112 NO ASSIGN
113 NO ASSIGN
114 NO ASSIGN
115 NO ASSIGN
116 NO ASSIGN
117 NO ASSIGN
118 NO ASSIGN
119 NO ASSIGN
# High Mid Low
306 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
MIDI Data Format
1. DATA FORMAT
1.1 CHANNEL MESSAGE
1.2 SYSTEM COMMON MESSAGE
1.3 SYSTEM REALTIME MESSAGE
1.4 EXCLUSIVE MESSAGE
1.4.1 Real Time System Exclusive
1.4.2 System Exclusive Message
1.4.2.1 Bulk Dump
The following data types of bulk dump are used on the 01V96.
1.4.2.2 PARAMTER CHANGE
The following data types of parameter change are used by the 01V96.
* ‘tx’ indicates that the data can be transmitted from the 01V96, and
‘rx’ indicates that the data can be received by the 01V96.
2. Format Details
2.1 NOTE OFF (8n)
Reception
If [OTHER ECHO] is ON, these message are echoed from MIDI OUT.
If the [Rx CH] matches, these messages are received and used to control effects.
2.2 NOTE ON (9n)
Reception
If [OTHER ECHO] is ON, these messages are echoed from MIDI OUT.
If the [Rx CH] matches, these messages are received and used to control effects.
2.3 CONTROL CHANGE (Bn)
Reception
If [Control Change ECHO] is ON, these messages are echoed from MIDI OUT.
If [TABLE] is selected, these message are received if [Control Change Rx] is ON,
and will control parameters according to the [Control assign table] settings.
The parameters that can be set are defined in the Control Change Assign Pa-
rameter List.
If [NRPN] is selected, these messages are received if [Control Change Rx] is ON
and the [Rx CH] matches, and will control the parameter that is specified by the
four messages NRPN control number (62h, 63h) and Data Entry control num-
ber (06h, 26h). Parameter settings are defined in the Control Change Assign Pa-
rameter List.
Transmission
If [TABLE] is selected, operating a parameter specified in the [Control assign ta-
ble] will cause these messages to be transmitted if [Control Change Tx] is ON.
The parameters that can be specified are defined in the Control Change Assign
Parameter List.
If [NRPN] is selected, operating a specified parameter will cause data to be
transmitted on the [Tx CH] if [Control Change Tx] is ON, using the four mes-
sages NRPN control number (62h, 63h) and Data Entry control number (06h,
26h). Parameter settings are defined in the Control Change Assign Parameter
List.
This data cannot be transmitted via control change to Studio Manager since
there is no guarantee that the contents of the tables will match. (Parameter
Change messages will always be used.)
Command rx/tx function
8n NOTE OFF rx Control the internal effects
9n NOTE ON rx Control the internal effects
Bn CONTROL CHANGE rx/tx Control parameters
Cn PROGRAM CHANGE rx/tx Switch scene memories
Command rx/tx function
F1 MIDI TIME CODE QUARTER
FRAME
rx MTC
Command rx/tx function
F8 TIMING CLOCK rx MIDI clock
FE ACTIVE SENSING rx Check MIDI cable connections
FF RESET rx Clear running status
Command rx/tx function
F0 7F dd 06 … F7 MMC
COMMAND
tx MMC command
F0 7F dd 07 … F7 MMC RESPONSE rx MMC response
F0 7F dd 01 … F7 MIDI TIME CODE rx MTC full message
Command rx/tx function
F0 43 0n 7E … F7 BULK DUMP
DATA
rx/tx
BULK DUMP DATA
F0 43 2n 7E … F7 BULK DUMP
REQUEST
rx/tx
BULK DUMP REQUEST
Data name tx/rx function
‘m’ tx/rx Scene Memory & Request
(compressed data)
‘S’ tx/rx Setup Memory & Request
‘L’ tx/rx User defined MIDI remote &
Request
‘V’ tx/rx User defined keys & Request
‘U’ tx/rx User assignable layer & Request
‘C’ tx/rx Control change table & Request
‘P’ tx/rx Program change table & Request
‘Q’ tx/rx Equalizer library & Request
‘Y’ tx/rx Compressor library & Request
‘G’ tx/rx Gate library & Request
‘E’ tx/rx Effect library & Request
‘H’ tx/rx Channel library & Request
‘R’ tx/rx Input patch library & Request
‘O’ tx/rx Output patch library & Request
‘N’ tx/rx Plug-in Effect Card Data & Request
Command rx/tx function
F0 43 1n 3E 0D … F7 RARAMETER
CHANGE
rx/tx 01V96-specific parameter change
F0 43 3n 3E 0D … F7 PARAMETER
REQUEST
rx/tx 01V96-specific parameter change
F0 43 1n 3E 7F … F7 PARAMETER
CHANGE
rx/tx General purpose digital mixer
parameter change
F0 43 3n 3E 7F … F7 PARAMETER
REQUEST
rx/tx General purpose digital mixer
parameter request
Type (HEX) tx/rx function
1 (01) tx/rx Edit buffer
2 (02) tx/rx Patch data
3 (03) tx/rx Setup data
4 (04) tx/rx Backup data
16 (10) tx/rx Function (recall, store, title, clear)
17 (11) rx Function (pair, copy)
18 (12) rx Function (effect)
19 (13) tx/rx Sort table
20 (14) tx/rx Function (attribute, link)
32 (20) rx Key remote
33 (21) tx/rx Remote meter
34 (22) tx/rx Remote time counter
STATUS 1000nnnn 8n Note off message
DATA 0nnnnnnn nn Note number
0vvvvvvv vv Velocity(ignored)
STATUS 1001nnnn 9n Note on message
DATA 0nnnnnnn nn Note number
0vvvvvvv vv Velocity(1-127:on, 0:off)
MIDI Data Format 307
01V96 Version 2—Owner’s Manual
Appendix
If [TABLE] is selected
If [NRPN] is selected
*1) The second and subsequent STATUS need not be added during
transmission. Reception must be implemented so that reception oc-
curs whether or not STATUS is present.
2.4 PROGRAM CHANGE (Cn)
Reception
If [Program Change ECHO] is ON, these messages are echoed from MIDI
OUT.
If [Program Change RX] is ON and the [Rx CH] matches, these messages will
be received. However if [OMNI] is ON, they will be received regardless of the
channel. When a message is received, a Scene Memory will be recalled according
to the settings of the [Program Change Table].
Transmission
If [Program Change TX] is ON, this message is transmitted according to the set-
tings of the [Program Change Table] on the [Tx CH] channel when a scene
memory is recalled.
If the recalled scene has been assigned to more than one program number, the
lowest-numbered program number will be transmitted. Transmission to Studio
Manager using Program Change messages will not be performed since there is
no guarantee that the contents of the tables will match. (Parameter Changes will
always be used.)
2.5 TIMING CLOCK (F8)
Reception
It is used to control effects. This message is transmitted 24 times per quarter
note.
2.6 ACTIVE SENSING (FE)
Reception
Once this message has been received, the failure to receive any message for an
interval of 400 ms or longer will cause MIDI transmission to be initialized, such
as by clearing the Running Status.
2.7 SYSTEM RESET (FF)
Reception
When this message is received, MIDI communications will be cleared, e.g., by
clearing the Running Status.
2.8 SYSTEM EXCLUSIVE MESSAGE (F0)
2.8.1 MIDI MACHINE CONTROL (MMC)
These messages are transmitted when the Machine Control section of the 01V96
is operated. For details, refer to the MMC specification.
2.8.2 BULK DUMP
This message sends or receives the contents of various memories stored within
the 01V96.
The basic format is as follows.
For DUMP DATA
F0 43 0n 7E cc cc <Model ID> tt mm mm [Data …] cs F7
For DUMP REQUEST
F0 43 2n 7E <Model ID> tt mm mm F7
A unique header (Model ID) is used to determine whether the device is a 01V96.
CHECK SUM is obtained by adding the bytes that follow BYTE COUNT
(LOW) and end before CHECK SUM, taking the binary compliment of this
sum, and then setting bit 7 to 0.
CHECK SUM = (-sum)&0x7F
Reception
This message is received if [Bulk RX] is ON and the [Rx CH] matches the device
number included in the SUB STATUS.
When a bulk dump is received, it is immediately written into the specified
memory.
When a bulk dump request is received, a bulk dump is immediately transmit-
ted.
Transmission
This message is transmitted on the [Tx CH] by key operations in the [MI-
DI]-[BULK DUMP] screen.
A bulk dump is transmitted on the [Rx CH] in response to a bulk dump request.
The data area is handled by converting seven words of 8-bit data into eight
words of 7-bit data.
Conversion from actual data into bulk data
d[0~6]: actual data
b[0~7]: bulk data
b[0] = 0;
for( I=0; I<7; I++){
if( d[I]&0x80){
b[0] |= 1<<(6-I);
}
b[I+1] = d[I]&0x7F;
}
Restoration from bulk data into actual data
d[0~6]: actual data
b[0~7]: bulk data
for( I=0; I<7; I++){
b[0] <<= 1;
d[I] = b[I+1]+(0x80&b[0]);
}
2.8.2.1 Scene memory bulk dump format (compress)
The 01V96 can transmit and receive scene memories in compressed form.
STATUS 1011nnnn Bn Control change
DATA 0nnnnnnn nn Control number (0-95, 102-119)
0vvvvvvv vv Control Value (0-127)
STATUS 1011nnnn Bn Control change
DATA 01100010 62 NRPN LSB
0vvvvvvv vv LSB of parameter number
STATUS 1011nnnn Bn Control change *1
DATA 01100011 63 NRPN MSB
0vvvvvvv vv MSB of parameter number
STATUS 1011nnnn Bn Control change *1
DATA 00000110 06 MSB of data entry
0vvvvvvv vv MSB of parameter data
STATUS 1011nnnn Bn Control change *1
DATA 00100110 26 LSB of data entry
0vvvvvvv vv LSB of parameter data
STATUS 1100nnnn Cn Program change
DATA 0nnnnnnn nn Program number (0-127)
STATUS 11111000 F8 Timing clock
STATUS 11111110 FE Active sensing
STATUS 11111111 FF System reset
nDevice Number
cc cc DATA COUNT (the number of bytes that
follow this, ending before the checksum)
4C 4D 20 20 38 43 39 33 Model ID
tt DATA TYPE
mm mm DATA NUMBER
cs CHECK SUM
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01101101 6D ‘m’
0mmmmmmm mh m=0-99, 256, 8192(Scene0-99, EDIT
BUFFER, UNDO)
0mmmmmmm ml Receive is effective 1-99, 256, 8192
308 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
2.8.2.2 Scene memory bulk dump request format
(compress)
The second and third bytes of the DATA NAME indicate the scene number that
is being requested. If this is 256, the data of the Edit Buffer will be bulk-dumped.
If this is 8192, the data of the Undo Buffer will be bulk-dumped.
2.8.2.3 Setup memory bulk dump format
Of the setup memory of the 01V96, this bulk-dumps data other than the User
Define MIDI Remote, User Defined Keys, User Assignable Layer, Control
Change Table, and Program Change Table.
2.8.2.4 Setup memory bulk dump request format
2.8.2.5 User Defined MIDI Remote bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
2.8.2.6 User Defined MIDI Remote bulk dump request
format
The second and third bytes of the DATA NAME indicate the bank number.
2.8.2.7 User Defined Keys bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Scene data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01101101 6D ‘m’
0mmmmmmm mh m=0-99, 256, 8192(Scene0-99, EDIT
BUFFER, UNDO)
0mmmmmmm ml
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010011 53 ‘S’
00000010 02
00000000 00 No.256 = Current
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Setup data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010011 53 ‘S’
00000010 02
00000000 00 No.256 = Current
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001100 4C ‘L’
00000000 00
0bbbbbbb bb b=0-3(bank no.1-4)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds User define layer data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001100 4C ‘L’
00000000 00
0bbbbbbb bb b=0-3(bank no.1-4)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
MIDI Data Format 309
01V96 Version 2—Owner’s Manual
Appendix
2.8.2.8 User Defined Keys bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number.
2.8.2.9 User Assignable Layer bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
2.8.2.10 User Assignable Layer bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number.
2.8.2.11 Control change table bulk dump format
2.8.2.12 Control change table bulk dump request format
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010110 56 ‘V’
00000000 00
0bbbbbbb bb b=0-7(bank no.A-H)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds User define key data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010110 56 ‘V’
00000000 00
0bbbbbbb bb b=0-7(bank no.A-H)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010101 55 ‘U’
00000000 00
0bbbbbbb bb b=0-3(bank no.1-4)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds User assignable layer data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010101 55 ‘U’
00000000 00
0bbbbbbb bb b=0-3(bank no.1-4)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01000011 43 ‘C’
00000010 02
00000000 00 No.256 = Current
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Control change table data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01000011 43 ‘C’
00000010 02
00000000 00 No.256 = Current
EOX 11110111 F7 End of exclusive
310 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
2.8.2.13 Program change table bulk dump format
2.8.2.14 Program change table bulk dump request format
2.8.2.15 Equalizer library bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.1 – 199:Library no.200,
256:CH1 – 287:CH32, 288:STEREO 1L – 295:STEREO 4R, 384:BUS1 –
391:BUS8, 512:AUX1 – 519:AUX8, 768:STEREO, 8192:UNDO
256 and following are data for the corresponding channel of the edit buffer.
For reception by the 01V96, only the user area is valid. (40-199, 256-)
2.8.2.16 Equalizer library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number. (See
above)
2.8.2.17 Compressor library bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.1 – 127:Library no.128,
256:CH1 – 287:CH32, 384:BUS1 – 391:BUS8, 512:AUX1 – 519:AUX8, 768:STE-
REO, 8192:UNDO
256 and following are data for the corresponding channel of the edit buffer.
For reception by the 01V96, only the user area is valid. (36-127, 256-)
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010000 50 ‘P’
00000010 02
00000000 00 No.256 = Current
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Program change table data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010000 50 ‘P’
00000010 02
00000000 00 No.256 = Current
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010001 51 ‘Q’
0mmmmmmm mh 0-199(EQ Library no.1-200),
0mmmmmmm ml 256-(Channel current data)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds EQ Library data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010001 51 ‘Q’
0mmmmmmm mh 0-199(EQ Library no.1-200),
0mmmmmmm ml 256-(Channel current data)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01011001 59 ‘Y’
0mmmmmmm mh 0-127(COMP Library no.1-128),
0mmmmmmm ml 256-(Channel current data)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds COMP Library data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
MIDI Data Format 311
01V96 Version 2—Owner’s Manual
Appendix
2.8.2.18 Compressor library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number. (See
above)
2.8.2.19 Gate library bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.1 – 127:Library no.128, 256:CH1 – 287:CH32, 8192:UNDO
256 and following are data for the corresponding channel of the edit buffer.
For reception by the 01V96, only the user area is valid. (4-127, 256-)
2.8.2.20 Gate library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number. (See
above)
2.8.2.21 Effect library bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.1 – 127:Library no.128, 256:EFFECT1 – 259:EFFECT4, 8192:UN-
DO
256-259 are the data for the corresponding area of the edit buffer.
For reception by the 01V96, only the user area is valid. (xx-127, 256-259, 8192)
(xx varies with the firmware version.)
2.8.2.22 Effect library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number. (See
above)
2.8.2.23 Channel library bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.0 – 128:Library no.128,
256:CH1 – 287:CH32, 288:STEREO 1L – 295:STEREO 4R, 384:BUS1 –
391:BUS8, 512:AUX1 – 519:AUX8, 768:STEREO, 8192:UNDO
256 and following are data for the corresponding channel of the edit buffer.
For reception by the 01V96, only the user area is valid. (2-128, 256-)
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01011001 59 ‘Y’
0mmmmmmm mh 0-127(COMP Library no.1-128),
0mmmmmmm ml 256-(Channel current data)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01000111 47 ‘G’
0mmmmmmm mh 0-127(GATE Library no.1-128),
0mmmmmmm ml 256-351(Channel current data)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds GATE Library data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01000111 47 ‘G’
0mmmmmmm mh 0-127(GATE Library no.1-128),
0mmmmmmm ml 256-351(Channel current data)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01000101 45 ‘E’
0mmmmmmm mh 0-127(Effect Library no.1-128),
0mmmmmmm ml 256-259(Effect1-4 current)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Effect Library data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01000101 45 ‘E’
0mmmmmmm mh 0-127(Effect Library no.1-128),
0mmmmmmm ml 256-259(Effect1-4 current)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
312 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
2.8.2.24 Channel library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number. (See
above)
2.8.2.25 Input patch library bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.0 – 32:Library no.32, 256:current input patch data, 8192:UNDO
For reception by the 01V96, only the user area is valid. (1-32, 256, 8192)
2.8.2.26 Input patch library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number. (See
above)
2.8.2.27 Output patch library bulk dump format
The second and third bytes of the DATA NAME indicate the bank number.
0:Library no.0 – 32:Library no.32, 256:current output patch data, 8192:UNDO
For reception by the 01V96, only the user area is valid. (1-32, 256)
2.8.2.28 Output patch library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank number. (See
above)
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001000 48 ‘H’
0mmmmmmm mh 0-128(Channel Library no.0-128),
0mmmmmmm ml 256-(Current data)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Channel Library data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001000 48 ‘H’
0mmmmmmm mh 0-128(Channel Library no.0-128),
0mmmmmmm ml 256-(Current data)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010010 52 ‘R’
0mmmmmmm mh 0-32(Input patch Library no.0-32),
0mmmmmmm ml 256(Current data)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Input patch Library data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01010010 52 ‘R’
0mmmmmmm mh 0-32(Input patch Library no.0-32),
0mmmmmmm ml 256(Current data)
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001111 4F ‘O’
0mmmmmmm mh 0-32(Output patch Library no.0-32),
0mmmmmmm ml 256(Current data)
BLOCK INFO. 0ttttttt tt total block number(minimum number is 0)
0bbbbbbb bb current block number(0-total block number)
DATA 0ddddddd ds Output patch Library data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001111 4F ‘O’
0mmmmmmm mh 0-32(Output patch Library no.0-32),
0mmmmmmm ml 256(Current data)
EOX 11110111 F7 End of exclusive
MIDI Data Format 313
01V96 Version 2—Owner’s Manual
Appendix
2.8.2.29 Plug-in effect card bulk dump format
The second byte of the DATA NAME indicates the slot number.
0:SLOT 1
The data is not received if the Developer ID and Product ID are different than
the card that is installed in the slot.
The data is not transmitted if a valid plug-in effect card is not installed.
2.8.2.30 Plug-in effect card bulk dump request format
The second and third bytes of the DATA NAME indicate the slot number. (See
above)
2.8.3 PARAMETER CHANGE
2.8.3.1 Basic behavior
Reception
If [Parameter change ECHO] is ON, these messages are echoed.
If [Parameter change RX] is ON and the [Rx CH] matches the Device Number
included in the SUB STATUS, these messages are received. A specific parameter
is controlled when a Parameter Change is received. When a Parameter Request
is received, the current value of the specified parameter will be transmitted as a
Parameter Change with the Device Number set to [Rx CH].
Transmission
If [Parameter change TX] is ON and you operate a parameter for which Control
Change transmission is not enabled, a parameter change will be transmitted
with [Tx CH] as the Device Number.
As a response to a Parameter Request, a parameter change will be transmitted
with [Rx CH] as the Device Number.
2.8.3.1.1 Parameter change basic format
*) For parameters with a data size of 2 or more, data for that size will be
transmitted.
2.8.3.1.2 Parameter Change basic format (Universal
format)
*) For parameters with a data size of 2 or more, data for that size will be
transmitted.
2.8.3.1.3 Parameter request basic format
2.8.3.1.4 Parameter request basic format (Universal
format)
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
COUNT HIGH 0ccccccc ch data count = ch * 128 + cl
COUNT LOW 0ccccccc cl
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001110 4E ‘N’
0mmmmmmm mh m=0(SLOT 1)
0mmmmmmm ml
BLOCK INFO. 0bbbbbbb bh current block number(0-total block number)
0bbbbbbb bl
0ttttttt th total block number(minimum number is 0)
0ttttttt tl
0000iiii 0i Developer id (High)
0000iiii 0i Developer id (Low)
0000jjjj 0j Product id (High)
0000jjjj 0j Product id (Low)
DATA 0ddddddd ds Plug-in Effect card memory data of block[bb]
::
0ddddddd de
CHECK SUM 0eeeeeee ee ee=(Invert(‘L’+…+de)+1)&0x7F
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0010nnnn 2n n=0-15 (Device number=MIDI Channel)
FORMAT No. 01111110 7E Universal bulk dump
01001100 4C ‘L’
01001101 4D ‘M’
00100000 20 ‘ ’
00100000 20 ‘ ’
00111000 38 ‘8’
01000011 43 ‘C’
00111001 39 ‘9’
00110011 33 ‘3’
DATA NAME 01001110 4E ‘N’
0mmmmmmm mh m=0(SLOT 1)
0mmmmmmm ml
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 0ttttttt tt Data type
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
DATA *) 0ddddddd dd data
::
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 0ttttttt tt Data type
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
DATA *) 0ddddddd dd data
::
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 0ttttttt tt Data type
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 0ttttttt tt Data type
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
EOX 11110111 F7 End of exclusive
314 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
2.8.3.1.5 Parameter Address
Consult your dealer for parameter address details.
2.8.3.2 Parameter change (Edit buffer)
2.8.3.3 Parameter request (Edit buffer)
2.8.3.4 Parameter change (Patch data)
2.8.3.5 Parameter request (Patch data)
2.8.3.6 Parameter change (Setup memory)
2.8.3.7 Parameter request (Setup memory)
2.8.3.8 Parameter change (Backup memory)
2.8.3.9 Parameter request (Backup memory)
2.8.3.10 Parameter change (Function call: Library store /
recall)
Reception
When this is received, the specified memory/library will be stored/recalled. If
this is received from Studio Manager or Cascade Link, the operation will be ex-
ecuted, and then the result of execution will be transmitted as a Parameter Re-
sponse.
Transmission
If [Parameter change Tx] is ON, and you store or recall a memory/library for
which Program Change transmission is not valid, this message will be transmit-
ted with the Device Number set to the [Tx CH].
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00000001 01 Edit Buffer
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
DATA 0ddddddd dd data
::
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00000001 01 Edit Buffer
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00000010 02 Patch data
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
DATA 0ddddddd dd data
::
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00000010 02 Patch data
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00000011 03 Setup data
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
DATA 0ddddddd dd data
::
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00000011 03 Setup data
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00000100 04 Backup data
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
DATA 0ddddddd dd data
::
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00000100 04 Backup data
0eeeeeee ee Element no.
(If ‘ee’ is 0, ‘ee’ is expanded to two bytes)
0ppppppp pp Parameter no.
0ccccccc cc Channel no.
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010000 10 Function call
00ffffff ff function
0mmmmmmm mh number High
0mmmmmmm ml number Low
DATA 0ccccccc ch channel High
0ccccccc cl channel Low
EOX 11110111 F7 End of exclusive
MIDI Data Format 315
01V96 Version 2—Owner’s Manual
Appendix
*1) 0:CH1 – 31:CH32, 32:ST-IN1L - 39:ST-IN4R, 128:BUS1 – 135:BUS8,
256:AUX1 – 263:AUX8, 512:STEREO
Use 256 if the recall destination or store source is a single data item.
Effect is 0:Effect 1–3:Effect 4
If the store destination is 16383 (0x3FFF), this indicates that the li-
brary data has been changed by a external cause (such as bulk re-
ception)
(only transmitted by the 01V96)
*2) Varies with the firmware version.
2.8.3.11 Parameter change (Function call: title)
Reception
When this is received, the title of the specified memory/library will be changed.
If this is received from Studio Manager or Cascade Link, the operation will be
executed, and then the result of execution will be transmitted as a parameter re-
sponse.
Transmission
In response to a request, this is transmitted with the device number set to the
[Tx CH].
When the title is changed on the 01V96, this message will be transmitted with
the device number set to [Tx CH].
*1) Varies with the firmware version.
2.8.3.12 Parameter request (Function call: title)
Reception
When this is received, a parameter change will be transmitted with the device
number set to [Rx CH].
Refer to the above table for the Functions and Numbers.
2.8.3.13 Parameter change (Function call: Scene/Library
Clear)
Reception
When this is received, the specified memory/library will be cleared. If this is re-
ceived from Studio Manager or Cascade Link, the operation will be executed,
and then the result of execution will be transmitted as a parameter response.
Transmission
When a memory or library is cleared on the 01V96, this message will be trans-
mitted with the device number set to [Tx CH].
*1) Varies with the firmware version.
2.8.3.14 Parameter change (Function call: attribute)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS. This is echoed if [Parameter
change ECHO] is ON.
When this is received, the attribute of the specified memory/library will be
changed.
Transmission
In response to a request, a Parameter Change message will be transmitted on the
[Rx CH].
If [Parameter change ECHO] is ON, this message will be retransmitted without
change.
2.8.3.15 Parameter request (Function call: attribute)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS. This is echoed if [Parameter
change ECHO] is ON.
When this is received, a Parameter Change message will be transmitted on the
[Rx CH].
function number channel*1) tx/rx
SCENE RECALL 0x00 0-99, 8192 256 tx/rx
EQ LIB RECALL 0x01 1-200, 8192 0-513 tx/rx
GATE LIB RECALL 0x02 1-128, 8192 0-95 tx/rx
COMP LIB RECALL 0x03 1-128, 8192 0-513 tx/rx
EFF LIB RECALL 0x04 1-128, 8192 0-3 tx/rx
CHANNEL LIB RECALL 0x06 0-128, 8192 0-513 tx/rx
INPATCH LIB RECALL 0x07 0-32, 8192 256 tx/rx
OUTPATCH LIB RECALL 0x08 0-32, 8192 256 tx/rx
SCENE STORE 0x20 1-99 256, 16383 tx/rx
EQ LIB STORE 0x21 41-200 0-513, 16383 tx/rx
GATE LIB STORE 0x22 5-128 0-31, 16383 tx/rx
COMP LIB STORE 0x23 37-128 0-513, 16383 tx/rx
EFF LIB STORE 0x24 xx(*2)-128 0-3, 16383 tx/rx
CHANNEL LIB STORE 0x26 1-128 0-513, 16383 tx/rx
INPATCH LIB STORE 0x27 1-32 256, 16383 tx/rx
OUTPATCH LIB STORE 0x28 1-32 256, 16383 tx/rx
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010000 10 Function call
0100ffff 4f title
0mmmmmmm mh number High
0mmmmmmm ml number Low
DATA 0ddddddd dd title 1
::
:
0ddddddd dd title x(depend on the library)
EOX 11110111 F7 End of exclusive
function number size
SCENE LIB TITLE 0x40 0-99,256(0:response only) 16
EQ LIB TITLE 0x41 1-200(1-40:response only) 16
GATE LIB TITLE 0x42 1-128(1-4:response only) 16
COMP LIB TITLE 0x43 1-128(1-36:response only) 16
EFF LIB TITLE 0x44 1-128(1-xx(*1):response only) 16
CHANNEL LIB TITLE 0x46 0-128(0:response only) 16
INPATCH LIB TITLE 0x47 0-32(0:response only) 16
OUTPATCH LIB TITLE 0x48 0-32(0:response only) 16
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010000 10 Function call
0100ffff 4f title
0mmmmmmm mh number High
0mmmmmmm ml number Low
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010000 10 Function call
0110ffff 6f clear function
0mmmmmmm mh number High
0mmmmmmm ml number Low
EOX 11110111 F7 End of exclusive
function number
SCENE LIB CLEAR 0x60 1-99
EQ LIB CLEAR 0x61 41-200
GATE LIB CLEAR 0x62 5-128
COMP LIB CLEAR 0x63 37-128
EFF LIB CLEAR 0x64 xx-128 (*1)
CHANNEL LIB CLEAR 0x66 1-128
INPATCH LIB CLEAR 0x67 1-32
OUTPATCH LIB CLEAR 0x68 1-32
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010100 14 Function call
0000ffff 0f attribute
0mmmmmmm mh number High
0mmmmmmm ml number Low
DATA 0ttttttt tt attribute(protect:0x0001, normal:0x0000)
0ttttttt tt
EOX 11110111 F7 End of exclusive
function number
SCENE LIB ATTRIBUTE 0x00 0-99(0:response only)
316 Appendix C: MIDI
01V96 Version 2—Owner’s Manual
Refer to the above table for the Functions and Numbers.
2.8.3.16 Parameter change (Function call: link)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS. This is echoed if [Parameter
change ECHO] is ON.
When this is received, the patch link data of the specified scene will be modified.
Transmission
In response to a request, a Parameter Change message will be transmitted on the
[Rx CH].
If [Parameter change ECHO] is ON, this message will be retransmitted without
change.
2.8.3.17 Parameter request (Function call: link)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS. This is echoed if [Parameter
change ECHO] is ON.
When this is received, a Parameter Change message will be transmitted on the
[Rx CH].
Refer to the above table for the Functions and Numbers.
2.8.3.18 Parameter change (Function call: pair, copy)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS. This is echoed if [Parameter
change ECHO] is ON.
When this is received, pairing will be enabled/disabled for the specified channel.
*1) 0:CH1 – 31:CH32, 128:BUS1 – 135:BUS8, 256:AUX1 – 263:AUX8,
512:STEREO
Effect is 0:Effect 1–3:Effect 4
•In the case of PAIR, you must specify channels for which pairing is pos-
sible.
•In the case of PAIR ON with COPY, you must specify Source Channel
as the copy source, and Destination Channel as the copy destination.
2.8.3.19 Parameter change (Function call Event: Effect )
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the corresponding effect’s function activates (depending
on the effect type).
•This does not activate when the effect type is different.
2.8.3.20 Parameter change (Sort Table)
When scene memory sort is executed on the 01V96, the memory sort table will
be transmitted to Studio Manager.
Studio Manager will sort the memories according to this data.
If Studio Manager performs a scene memory sort, it will transmit this data to
the 01V96.
8-7 conversion is performed on the data area in the same way as for bulk.
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010100 14 Function call
0000ffff 0f attribute
0mmmmmmm mh number High
0mmmmmmm ml number Low
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010100 14 Function call
0010ffff 2f link
0mmmmmmm mh number High
0mmmmmmm ml number Low
DATA 0iiiiiii ih inpatch
0iiiiiii il
0ooooooo oh outpatch
0ooooooo ol
EOX 11110111 F7 End of exclusive
function number
SCENE LIB LINK 0x20 0-99(0:response only)
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010100 14 Function call
0010ffff 2f link
0mmmmmmm mh number High
0mmmmmmm ml number Low
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010001 11 Function call Pair
0000ffff 0f function
0sssssss sh Source channel H
0sssssss sl Source channel L
DATA 0ddddddd dh Destination channel H
0ddddddd dl Destination channel L
EOX 11110111 F7 End of exclusive
function channel
PAIR ON with COPY 0x00 *1)
PAIR ON with RESET BOTH 0x01 *1)
PAIR OFF 0x02 *1)
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 01111111 7F Universal
ADDRESS 00010010 12 Function call Effect Event
0000ffff 0f function
00000000 00
0ppppppp pp Release:0, Press:1
DATA 00000000 00
0eeeeeee ee Effect number (0:Effect1 - 3:Effect4)
EOX 11110111 F7 End of exclusive
function channel
Freeze Play button 0x00 0:Effect1-3:Effect4
Freeze Record button 0x01 0:Effect1-3:Effect4
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00010011 13 Library sort table
0000ffff 0f Library type
DATA 0ddddddd ds Data
::
0ddddddd de Data
EOX 11110111 F7 End of exclusive
MIDI Data Format 317
01V96 Version 2—Owner’s Manual
Appendix
2.8.3.21 Parameter request (Sort Table)
When the 01V96 receives this data, it will transmit Sort Table Data.
2.8.3.22 Parameter change (Key remote)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the same processing that is executed when the key speci-
fied by Address is pressed (released).
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
2.8.3.23 Parameter change (Remote Meter)
When transmission is enabled by receiving a Request of Remote meter, the
specified meter information is transmitted every 50 msec for 10 seconds. When
you want to transmit meter information continuously, a Request must be trans-
mitted continuously within every 10 seconds.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When transmission has been enabled by a Request, the parameter specified by
Address will be transmitted on the [Rx CH] channel at 50 msec intervals for a
duration of 10 seconds.
Transmission will be disabled if the power is turned off and on again, or if the
PORT setting is changed.
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
* Meter data uses the unmodified DECAY value of the DSP. The inter-
pretation of the data will depend on the parameter.
2.8.3.24 Parameter request (Remote Meter)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS. This is echoed if [Parameter
change ECHO] is ON.
When this is received, data of the specified address is transmitted on the [Rx
CH] at intervals of 50 msec as a rule (although this may not be the case if the
port is being used by other communication), for a period of 10 seconds.
If Address UL= 0x7F is received, transmission of all meter data will be halted
immediately. (disable)
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
2.8.3.25 Parameter change (Remote Time Counter)
When transmission is enabled by receiving a Request of Remote Time Counter,
the Time Counter data is transmitted every 50 msec for 10 seconds. When you
want to transmit Counter information continuously, a Request must be trans-
mitted within every 10 seconds.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When transmission is enabled by receiving a Request, the Time Counter infor-
mation is transmitted on [RxCH] channel every 50 msec for 10 seconds.
Transmission will be disabled if the power is turned off and on again, or if the
PORT setting is changed.
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
2.8.3.26 Parameter request (Remote Time Counter)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches the
device number included in the SUB STATUS. This is echoed if [Parameter
change ECHO] is ON.
When this is received, the Time Counter information is transmitted on the [Rx
CH] channel every 50 msec for 10 seconds.
When the second byte of Address is received on 0x7F, data transmission will be
halted immediately. (disable)
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00010011 13 Library sort table
0000ffff 0f Library type
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00100000 20 Key remote
0kkkkkkk kk Key address H
0kkkkkkk kk Key address M
0kkkkkkk kk Key address L
DATA 0ppppppp pp Release:0, Press:1
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00100001 21 Remote meter
0mmmmmmm mm ADDRESS UL
0mmmmmmm mm ADDRESS LU
0mmmmmmm mm ADDRESS LL
DATA 0ddddddd dd Data1 H
0ddddddd dd Data1 L
::
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00100001 21 Remote meter
0mmmmmmm mm ADDRESS UL
0mmmmmmm mm ADDRESS LU
0mmmmmmm mm ADDRESS LL
0ccccccc ch Count H
0ccccccc cl Count L
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00100010 22 Remote Time counter
0000tttt 0t 0:Time code, 1:Measure.Beat.Clock
0ddddddd dd Hour / Measure H
0ddddddd dd Minute / Measure L
DATA 0ddddddd dd Second / Beat
0ddddddd dd Frame / Clock
EOX 11110111 F7 End of exclusive
STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
GROUP ID 00111110 3E MODEL ID (digital mixer)
MODEL ID 00001101 0D 01V96
ADDRESS 00100010 22 Remote Time counter
0ddddddd dd 0:Transmission request,
0x7F:Transmission stop request
EOX 11110111 F7 End of exclusive
318 Appendix D: Options
01V96 Version 2—Owner’s Manual
Appendix D: Options
Rack Mounting the 01V96 Using RK1 Rack Mount Kit
You can rack mount the 01V96 using an optional RK1 Rack Mount Kit.
1Hold one of the brackets against one side of the 01V96 so that the bracket
ear projects to the side, and align three holes on the bracket with the holes
on the side of the 01V96, as shown in the illustration below.
2Affix the bracket using three screws included in the RK1 package.
3Attach the other bracket to the other side of the 01V96 in the same way.
Index 319
01V96 Version 2—Owner’s Manual
Index
Symbols
ø/INS/DLY | DLY 1-16 page ...............80
ø/INS/DLY | DLY 17-32 page .............80
ø/INS/DLY | Insert page ...........127, 160
ø/INS/DLY | Out Dly page .........99, 110
ø/INS/DLY | Phase page .....................79
ø/INSERT/DELAY button ..................18
+48V ON/OFF switches .....................23
Numerics
1–16/17–32 buttons ............................19
1–8 buttons ..........................................21
2TR IN connectors ........................15, 70
2TR IN DIGITAL COAXIAL .............24
2TR IN DIGITAL connector ..............71
2TRD .............................................42
2TR OUT connectors ....................15, 70
2TR OUT DIGITAL COAXIAL .........24
2TR OUT DIGITAL connector ..........71
2TRD ....................................................42
A
About the display ................................27
AC IN connector .................................25
AD input ..............................................14
AD output section ...............................23
AD15/16 selector .................................15
adat .......................................................42
ADAT I/O card ....................................72
ADAT IN/OUT connector ...........24, 71
AES/EBU I/O card ...............................71
AMP SIMULATE ..............................264
Analog inputs & outputs ....................69
Assigne
Control changes ..........................220
MIDI messages ...........................209
Program changes ........................219
Remote Layer ..............................189
USER DEFINED KEYS ..............197
Attenuator ............................. 83, 99, 110
Output signals .............................106
Auto Channel Select preference .......231
Auto Direct Out On preference .......232
Auto EQUALIZER Display preference
................................................231
AUTO PAN .......................................263
Auto PAN Display preference ..........231
Auto SOLO Display preference ........231
Auto update function ........................169
Auto WORD CLOCK Display
preference .............................231
AUX 1–AUX 8 buttons .......................17
Aux outs .............................................109
Aux send mode ..........................114, 118
Aux sends ...........................................113
Attenuating .................................110
Comp settings .............................111
Copying channel fader positions
........................................120
Delaying ...................................... 110
EQ settings ..........................111, 113
Fixed mode ................................. 114
Panning ....................................... 119
Setting from the control surface
........................................ 113
Setting from the display .....110, 113
Setting levels ............................... 113
Variable mode ............................ 115
Viewing settings ......................... 112
Viewing settings for multiple
channels ......................... 117
Aux1 | View1-16 page ....................... 117
Aux1 | View17-STI page ................... 117
AUX1–AUX8 button indicators ........ 33
B
Balancing ........................................... 104
Battery ................................................ 242
Bulk dump ......................................... 226
Messages ...................................... 215
Bus out ................................................. 97
Attenuating ................................... 99
Compressing ............................... 100
Delaying ........................................ 99
EQ’ing ......................................... 100
EQ’ing and Balancing ................ 104
Naming ....................................... 107
Pairing ......................................... 105
Routing signals to the stereo bus
........................................ 101
Setting from the control surface
........................................ 104
Setting from the display ............... 99
Setting the levels ......................... 104
Viewing the settings ................... 102
BUS1–BUS8 ....................................... 139
Buttons ................................................. 29
C
Cascade COMM Link preference .... 232
Cascading consoles ........................... 238
Cascade page ............................... 240
SYNC parameter ........................ 241
CATEGORY ........................................ 73
CH1–4 ON/OFF switch ...................... 23
CH5–8 ON/OFF switch ...................... 23
CH9–12 ON/OFF switch .................... 23
Changing names ................................ 229
Channel Copy Parameter preference
............................................... 232
Channel faders ..................................... 16
Channel ID/Channel preference ...... 232
Channel library ................................. 177
Channel strip section .......................... 16
CHORUS ........................................... 262
CLEAR button ..................................... 22
Compressor library ........................... 184
Preset ........................................... 185
Compressors ........................82, 100, 111
Compressor link ......................... 149
Linking ........................................ 154
parameter table ........................... 284
Confirmation messages .......................30
Connections .........................................37
Configuring a recording system that
uses a DAW .....................39
Configuring a recording system with
a hard disk recorder ........38
Configuring an analog 24-channel
mixing system ..................37
Contrast control ...................................19
Control changes ........................ 215, 220
Control surface ....................................13
AD input section ...........................14
Channel strip section ....................16
Data entry section .........................22
DISPLAY ACCESS section ...........18
Display section ..............................19
FADER MODE section ................17
LAYER section ..............................19
Monitor out & Headphones section
..........................................15
SCENE MEMORY section ...........21
SELECTED CHANNEL section ..20
SOLO section ................................22
ST IN section .................................17
STEREO section ............................16
USER DEFINED KEYS section ...21
COPY ....................................................74
Cursor buttons .....................................22
D
Daisy chain distribution ......................40
Data entry section ................................22
DAW ...................................................206
Nuendo/Cubase SX ....................206
Other ............................................206
Pro tools .......................................190
Recording system ..........................39
Remote .........................................189
DEC & INC buttons ............................22
DEL button ..........................................30
Delay ...................................... 80, 99, 110
DELAY SCALE ..............................80
FB.GAIN ........................................80
DELAY LCR .......................................261
DELAY SCALE .....................................80
DELAY+ER. .......................................267
DELAY+REV .....................................268
DELAY->ER. ......................................267
DELAY->REV ....................................268
Digital I/O section ...............................24
Digital inputs & outputs .....................71
Dimensions ........................................288
DIO Warning preference ..................231
DIO/Setup | Cascade page ................241
DIO/Setup | Format page ............. 74, 75
DIO/Setup | Insert page ....................193
DIO/Setup | Machine page ...............213
DIO/Setup | Meter page ....................195
DIO/Setup | MIDI/Host page
.......................192, 212, 216, 241
DIO/Setup | Monitor page ................132
DIO/Setup | Output Att page ...........106
DIO/Setup | Prefer1 page ..................230
320 Index
01V96 Version 2—Owner’s Manual
DIO/Setup | Prefer2 page ................. 230
DIO/Setup | Remote page 192, 208, 233
DIO/Setup | Surr Bus page ............... 139
DIO/Setup | Word Clock page ..... 41, 72
DIO/SETUP button ............................ 18
Direct outs ......................................... 125
Display ................................................. 19
DISPLAY ACCESS section ................. 18
Display Brightness preference .......... 233
Display section .................................... 19
DIST->DELAY .................................. 268
DISTORTION ................................... 264
Dithering .............................................. 74
DIV ..................................................... 143
DOUBLE CHANNEL ......................... 75
DOUBLE SPEED ................................ 75
DUAL PITCH ................................... 263
DYNA. FILTER ................................. 264
DYNA. FLANGE ............................... 264
DYNA. PHASER ............................... 265
Dynamics | Comp Edit page
.................................82, 100, 111
Dynamics | Comp Lib page .............. 184
Dynamics | Gate Edit page ................. 81
Dynamics | Gate Lib page ................. 183
DYNAMICS button ............................ 18
E
EARLY REF. ...................................... 260
ECHO ................................................ 262
EDIT indicator .................................... 27
Effect | FX1 Edit page ........................ 161
Effect | FX1 Lib page ......................... 179
Effect | FX2 Edit page ........................ 161
Effect | FX2 Lib page ......................... 179
Effect | FX3 Edit page ........................ 161
Effect | FX3 Lib page ......................... 179
Effect | FX4 Edit page ........................ 161
Effect | FX4 Lib page ......................... 179
Effect | P-In Edit page ....................... 163
EFFECT button ................................... 18
Effects
Bypass .......................................... 161
Internal effects ............................ 157
parameter tables ......................... 260
Plug-ins ....................................... 163
Effects library ..................................... 179
Preset ........................................... 181
programs ..................................... 181
EMPHASIS .......................................... 73
ENTER button .................................... 22
Enter titles
Title edit window ......................... 30
EQ ........................ 84, 100, 104, 111, 113
frequency ...................................... 84
gain ................................................ 84
Q .................................................... 84
EQ | EQ Edit page ...............84, 100, 111
EQ | EQ Library page ........................ 186
EQ | Out Att page ........................99, 110
EQ button ............................................ 18
EQ library .......................................... 186
Preset ........................................... 187
EQ link ................................................149
F
F/R .......................................................143
F1–F4 buttons ......................................19
Fader groups ............................. 149, 150
FADER MODE section .......................17
Fading .................................................170
ALL CLEAR .................................170
AUX1–8 .......................................171
BUS1–8 ........................................171
Global fade time ..........................170
INPUT CH1–32 ..........................170
ST IN 1–4 .....................................170
STEREO .......................................171
FAST ...................................................142
Fast Meter Fall Time preference .......231
FB.GAIN ...............................................80
Features .................................................11
Channel configuration .................12
Effects .............................................12
Hardware .......................................11
Inputs and Outputs ......................11
MIDI ..............................................12
Remote control .............................12
Scene memory ...............................12
Sonic specifications .......................11
Surround sound ............................12
Fixed mode ................................ 114, 118
FLANGE .............................................262
FREQUENCY control .........................20
FS ...........................................................73
G
GAIN controls ......................... 15, 20, 70
Gain of the AD card .............................37
GANG ...................................................85
Gate library .........................................183
GATE REVERB ..................................260
Gates .....................................................81
KEYIN SOURCE ..........................81
parameter table ...........................284
Global Paste ........................................173
Group .................................................149
Fader groups ................................150
Mute groups ................................150
H
Hard disk
Recording system ..........................38
HIGH button .......................................20
Higher sampling rates .........................75
HIGH-MID button .............................20
HOME button ............................... 17, 34
HOME button indicator .....................33
HORIZONTAL ....................................93
HQ. PITCH ........................................263
I
I/O card ................................................71
Installing ........................................26
IEEE1394 ..............................................72
INDIVIDUAL ......................................85
INIT ....................................................139
Initial Data Nominal preference ......232
Initial Track Recording .......................49
Initializing the 01V96 ........................243
Input channels .....................................77
Attenuating ...................................83
Compressing .................................82
Delaying .........................................80
EQ ..................................................91
EQ’ing ............................................84
Gating ............................................81
Levels .............................................90
Naming ..........................................94
Pairing ...........................................92
Panning ...................................85, 90
Routing ..........................................86
Setting from the control surface ..90
Setting from the display ...............79
Switching the signal phase ...........79
Viewing the settings ......................87
INPUT connectors ........................14, 69
Input patch ........................................121
Initial settings ..............................251
Parameters ...................................249
Input patch library ............................178
Input section ........................................69
Input sensitivity
GAIN controls ..............................15
INS button ...........................................30
INSERT I/O connectors ................14, 69
Insert in ..............................................129
Insert patching ...................................127
Installing a card ...................................26
INT 44.1k, INT 48k, INT 88.2, INT 96k
.................................................42
Internal effects
Aux sends ....................................158
Editing .........................................161
Effects processors 1–4 ................157
Inserting into channels ...............160
Meters ..........................................162
MIX BALANCE ..........................161
TEMPO .......................................162
Internet, yamaha web site ...................72
INV GANG ..........................................85
K
KEYIN SOURCE .................................81
L
LAST SOLO .......................................132
LATCH ...............................................211
LAYER section .....................................19
Layers ....................................................31
Initial bank settings ....................256
LEARN button ...................................210
Level controls .......................................17
Levels ..........................................104, 113
LFE ......................................................143
Libraries ..............................................175
Channel library ...........................177
Compressor library .....................184
Index 321
01V96 Version 2—Owner’s Manual
Effects library ..............................179
EQ library ....................................186
Gate library .................................183
General operation .......................175
Input patch library .....................178
Output patch library ..................179
specifications ...............................285
Link .....................................................149
Compressors ...............................154
EQ ................................................154
LOW button ........................................20
LOW-MID button ..............................20
M
M.BAND DYNA. ..............................269
Machine control ................................212
MASTER button ..................................19
MASTER MODE .................................36
Meter | CH1-32 page ...........................34
Meter | Effect page ...............................35
Meter | Master page .............................35
Meter | Position page ..........................34
Meter | ST IN page ..............................35
Meter | Stereo page ..............................36
Metering ...............................................34
Meters
Stereo meters ................................19
MIDI ...........................................191, 215
Bulk dump ..................................226
Bulk dump messages ..................215
Control changes ..........................220
Data format .................................306
FADER H/L .................................224
Initial parameter to control change
table ................................290
MIDI IN/THRU/OUT ports 25, 215
MIDI indicator .............................27
MIDI note on/off ........................215
Parameter changes ......................225
Parameters ..................................221
Program changes ........................219
Scene memory to program change
table ................................289
Setup ............................................216
SLOT ...........................................216
System exclusive messages .........215
Transmission and Reception .....218
USB port ......................................215
MIDI | Bulk page ...............................226
MIDI | Ctl Asgn page ........................220
MIDI | Pgm Asgn page ......................219
MIDI | Setup page .............................218
MIDI button ........................................18
MIDI IN/THRU/OUT ports ..............25
MIDI interface ...................................191
MIDI machine control ......................215
MIDI remote .....................................207
Banks ...........................................207
LATCH ........................................211
LEARN button ............................210
MIDI messages ...........................209
TARGET parameter ...................208
UNLATCH ..................................211
MIDI Warning preference ............... 231
MIDI/Control Section ........................ 25
mini-YGDAI I/O cards ....................... 71
MIX SOLO ........................................ 132
MIXDOWN ....................................... 132
Mixdown ............................................. 47
mLAN I/O card ................................... 72
MMC ..........................................212, 215
MOD. DELAY ................................... 261
MOD. FILTER .................................. 264
MONITOR LEVEL control ................ 15
Monitor out & Headphones section
................................................ 15
MONITOR OUT connectors ...... 23, 70
Monitor Source selector ..................... 15
Monitoring ........................................ 131
Digital input channel status ........ 73
LAST SOLO ................................ 132
MIX SOLO .................................. 132
MIXDOWN ................................ 132
MONO ........................................ 133
RECORDING ............................. 132
Solo function .............................. 134
Solo safe function ....................... 133
Solo setup .................................... 132
MONO ............................................... 133
MONO DELAY ................................. 260
MULTI FILTER ................................ 268
Multitrack recording .......................... 47
Mute groups ..............................149, 150
Muting ............................................... 200
N
Naming ........................................94, 107
Nominal Pan preference ................... 231
Nuendo .............................................. 189
Nuendo/Cubase SX .......................... 206
O
OMNI OUT connectors .........24, 44, 70
OMS ................................................... 191
ON buttons .................................... 16, 17
Operating basics .................................. 27
About the display ......................... 27
AUX1–AUX8 button indicators .33
Buttons .......................................... 29
Channel name .............................. 28
Confirmation messages ............... 30
HOME button indicator .............. 33
Metering ........................................ 34
Page area ....................................... 28
Page tabs ....................................... 28
Page title ........................................ 28
Parameter boxes ........................... 29
Rotary controls & faders .............. 29
Sampling rate indicator ............... 28
Selecting channels ........................ 32
Selecting display pages ................. 28
Selecting fader modes .................. 33
Selecting layers .............................. 31
Tab scroll arrows .......................... 28
Title edit window ......................... 30
OPERATION LOCK ........................ 237
Operation lock ...................................237
Optional card .......................................26
Installing ........................................26
Options .......................................... 6, 318
I/O card ..........................................71
RK1 ..............................................318
Oscillator ............................................234
Other functions ..................................229
Preferences ..................................230
Output patch ......................................123
Initial settings ..............................255
Parameters ...................................253
Output patch library ..........................179
Output section .....................................70
P
Package contents ....................................6
PAD switches ................................ 15, 69
Pair Confirmation preference ...........231
PAIR/GROUP button .........................18
Pair/Grup | In Comp page ................155
Pair/Grup | In EQ page .....................154
Pair/Grup | In Fader page .................150
Pair/Grup | In Mute page ..................150
Pair/Grup | Input page ........................93
Pair/Grup | Out Comp page .............155
Pair/Grup | Out EQ page ..................154
Pair/Grup | Out Fader page ..............150
Pair/Grup | Out Mute page ...............150
Pair/Grup | Output page ...................105
Pairing ......................................... 92, 105
HORIZONTAL .............................93
Using the display ...........................93
Using the SEL buttons ..................92
VERTICAL ....................................93
PAN control .........................................20
Pan/Route | Bus To St page ...............101
Pan/Route | Ch Edit page ..................142
Pan/Route | Pan page ..........................90
Pan/Route | ROUT1-16 page ..............86
Pan/Route | ROUT17-ST1 page .........86
Pan/Route | Surr ST IN page ............146
Pan/Route | Surr1-16 page ................146
Pan/Route | Surr17-32 page ..............146
PAN/ROUTING button .....................18
Pan/Surr | Surr Mode page ...............136
PAN/SURR LINK ..............................137
Panning ....................................... 85, 119
F.S .................................................105
FOLLOW PAN .............................89
GANG ............................................85
INDIVIDUAL ...............................85
INV GANG ....................................85
PAN buttons ..................................86
Parameter boxes ...................................29
Parameter changes .............................225
Parameter lists ....................................247
Parameter wheel ..................................22
Patch | 2TR Out page ........................125
Patch | Cascade In page .....................240
Patch | Direct Out page .....................125
Patch | Effect page ....................... 66, 158
Patch | IN LIB page ............................178
322 Index
01V96 Version 2—Owner’s Manual
Patch | IN Name page ......................... 94
Patch | In Name page ........................ 229
Patch | In Patch page ..................43, 122
Patch | Insert In page ........................ 129
Patch | Out LIB page ......................... 179
Patch | Out Name page .............107, 230
Patch | Out Patch page .......44, 124, 239
PATCH button ............................18, 122
Patch Confirmation preference ....... 231
Patching ............................................. 121
2TR digital outputs .................... 125
ADAT OUT connector .............. 124
Direct outs .................................. 125
Input and Output ......................... 43
Input channels .............................. 43
Input patching ....................121, 122
Insert in ....................................... 129
Insert patching ............................ 127
OMNI OUT connector .............. 124
Omni outs ..................................... 44
Output patching ......................... 123
PATCH button ............................. 43
PEAK indicators ............................ 15, 70
Peak level ............................................. 36
PHANTOM +48V .............................. 23
Phantom Power .................................. 69
CH1–4 ON/OFF switch ............... 23
CH5–8 ON/OFF switch ............... 23
CH9–12 ON/OFF switch ............. 23
Phase .................................................... 79
PHASER ............................................. 263
PHONES jack ..............................15, 131
PHONES LEVEL control ................... 15
PLUG-IN ........................................... 227
Plug-ins .............................................. 202
Y56K ............................................ 163
POWER ON/OFF switch ................... 25
Power section ...................................... 25
Prefer1 page ....................................... 230
Prefer2 page ....................................... 232
Preferences ......................................... 230
Pro tools .............................189, 190, 200
Automation ................................ 205
Channel display mode ............... 195
Channel levels ............................. 199
Control surface operation ......... 196
Explicit mute .............................. 200
Flip mode .................................... 201
Implicit mute .............................. 200
Insert display mode .................... 193
Meter display mode ................... 195
MIDI ........................................... 191
Muting ........................................ 201
OMS ............................................ 191
Panning ...............................200, 201
Plug-ins ....................................... 202
Pre or Post .................................. 200
Scrub & Shuttle .......................... 204
Selecting ...................................... 199
Send levels ................................... 201
Soloing ........................................ 200
Program changes .......................215, 219
PROTECT button ............................. 168
Q
Q control ..............................................20
Q, EQ ....................................................84
R
Rear Panel
PHANTOM +48V ........................23
Rear panel .............................................23
AD output section ........................23
Digital I/O section .........................24
MIDI/Control Section ..................25
Power section ................................25
SLOT section .................................25
RECALL button ...................................21
Recall Confirmation preference .......231
Recall safe function ............................172
RECORDING ....................................132
Remote ................................................189
FRAMES ......................................214
Insert display mode ....................193
LOCATE/TIME section .............213
Machine control ................. 189, 212
MACHINE CONTROL section
........................................213
MIDI messages ............................209
MIDI remote ...............................207
Nuendo ........................................189
ProTools ......................................189
REMOTE .....................................189
Target parameter ........................192
TRACK ARMING section ..........213
TRANSPORT section .................214
REMOTE button ........................ 19, 189
Remote Layer
Nuendo/Cubase SX ....................206
Pro tools .......................................190
RESET BOTH ......................................93
REV+CHORUS .................................265
REV+FLANGE ..................................265
REV+SYMPHO. ................................266
REV->CHORUS ................................265
REV->FLANGE .................................266
REV->PAN ........................................266
REV->SYMPHO. ..............................266
REVERB HALL ..................................260
REVERB PLATE ................................260
REVERB ROOM ................................260
REVERB STAGE ................................260
REVERSE GATE ................................260
RING MOD. ......................................264
RK1 rack mount kit ...........................318
ROTARY ............................................264
Rotary controls & faders .....................29
Routing .................................................86
Routing ST Pair Link preference ......232
S
Sampling rates ............................... 72, 73
DOUBLE CHANNEL ...................75
DOUBLE SPEED ..........................75
Sampling rate indicator ................28
Setting the higher sampling rates
..........................................75
SINGLE .........................................76
SRC sections ..................................72
Scene | In Fade page ..........................170
Scene | Out Fade page .......................171
Scene | Rcl Safe page ..........................172
Scene | Scene page .............................168
Scene | Sort page ................................173
SCENE button .....................................18
Scene MEM Auto Update preference
................................................232
Scene memories .................................165
Auto update function .................169
Edit indicators .............................166
Fading ..........................................170
PROTECT button ......................168
Recall safe function .....................172
Scene numbers ............................166
Shadow memory .........................169
Sorting .........................................173
Storing & Recalling .....................167
Using the Scene Memory Page ..168
What is stored .............................165
Scene memory #00 ............................166
Scene memory #Ud ...........................166
SCENE MEMORY section .................21
Scene numbers ...................................166
Scene up/down buttons ......................21
SEL buttons ....................................16, 17
SELECTED CHANNEL section .........20
Selecting channels ................................32
Selecting display pages ........................28
Selecting fader modes ..........................33
Setting levels .......................................113
Setup .....................................................37
Shadow memory ...............................169
SHIFT LOCK button ..........................30
SIGNAL indicators ........................15, 70
SINGLE ................................................76
SLOT ............................... 25, 42, 71, 216
SLOT section .......................................25
Solo .....................................................132
LAST SOLO ................................132
LISTEN ........................................132
MIX SOLO ..................................132
MIXDOWN ................................132
RECORDING .............................132
SOLO ...........................................132
Solo function ...............................134
SOLO SAFE CHANNEL ............133
Solo safe function .......................133
SOLO TRIM ...............................133
SOLO buttons ................................16, 17
SOLO indicator ...................................22
SOLO section .......................................22
Specifications .....................................280
SRC sections ........................................72
ST IN button ........................................17
ST IN section .......................................17
Star distribution ...................................40
STEREO DELAY ...............................261
STEREO fader ......................................16
Index 323
01V96 Version 2—Owner’s Manual
Stereo meters .......................................19
Stereo out .............................................97
Attenuating ...................................99
Compressing ...............................100
Delaying ........................................99
EQ’ing ..........................................100
EQ’ing and Balancing .................104
Naming ........................................107
Pairing .........................................105
Setting from the control surface
........................................104
Setting from the display ...............99
Setting the levels .........................104
Viewing the settings ...................102
STEREO OUT connectors ............24, 70
STEREO section ..................................16
STORE button .....................................21
Store Confirmation preference ........231
Storing and Recalling ........................167
Surround ............................................135
BUS1–BUS8 ................................139
DIV ..............................................143
F.S ................................................105
F/R ...............................................143
FAST ............................................142
INIT .............................................139
LFE ...............................................143
LINK ............................................143
Pan graph ....................................142
PAN/SURR LINK .......................137
Panning .......................................142
PATTERN ...................................143
Setting up and Selecting .............136
ST LINK ......................................143
SURROUND MODE ...........87, 137
Surround mode indicator ............27
Trajectory patterns .....................142
SURROUND MODE ........................137
Surround mode indicator ...................27
Surround modes ........................135, 136
Factory-default ...........................136
SYMPHONIC ....................................262
SYNC parameter ...............................241
System exclusive messages ................215
System version ...................................242
T
Tab scroll arrows .................................28
Tab scroll buttons ................................20
Target parameter ...............................192
Tascam I/O card ..................................72
Title edit window .................................30
TO HOST USB port ............................25
Trajectory patterns ............................143
TREMOLO ........................................263
Tutorial ................................................47
Compressing .................................57
EQ’ing ............................................56
Initial Track Recording ................49
Internal Effects ..............................66
Master Recorder ...........................68
Mixdown .......................................63
Monitoring Level ....................54, 61
Overdubbing ................................ 60
Pairing ........................................... 50
Recording ................................ 59, 62
Routing ......................................... 51
Setting the Input Levels ............... 49
U
UNLATCH ........................................ 211
USB ...................................................... 25
OMS ............................................ 191
USB port ..................................... 215
User assignable layer ......................... 233
USER DEFINED KEYS ...................... 21
Initial assignments ..................... 249
User defined keys .............................. 235
Utility | Battery page ......................... 242
Utility | CH Status page ...................... 73
Utility | Lock page ............................. 237
Utility | Oscillator page ..................... 234
Utility | User Def page ...................... 235
UTILITY button .................................. 18
V
Variable mode ...........................115, 118
VERTICAL .......................................... 93
View | Fader page ................88, 102, 112
View | Library page ........................... 177
View | Parameter page ........87, 102, 112
VIEW button ....................................... 18
W
WC IN .................................................. 42
Web site ............................................... 72
Website .................................................. 6
Welcome .............................................. 11
Window
Changing the surround mode ... 138
Channel Pairing ............................ 92
Copy operation ........................... 120
Password ..................................... 237
Set Password ............................... 238
User Define Select ...................... 236
WORD CLOCK IN connector .......... 24
WORD CLOCK OUT connector ...... 24
Wordclock ........................................... 40
About wordclock .......................... 40
Connections .................................. 40
Daisy chain distribution .............. 40
Source ............................................ 42
Specifying source .......................... 41
Star distribution ........................... 40
WC IN ........................................... 42
Y
Y56K ................................................... 163
Yamaha web site .................................. 72
Yamaha website ..................................... 6
YAMAHA [Digital Mixing Console-Internal Parameters] Date: 26 Aug. 2002
Model: 01V96
MIDI Implementation Chart
Version: 1.0
Function... Transmitted Recognized Remarks
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16 Memorized
Mode
Default
Messages
Altered
X
X
**************
OMNI off/OMNI on
X
X
Memorized
Note
Number True Voice X
**************
0–127
X
Velocity Note On
Note Off
X
X
O
OEffect Control
After Key’s
Ch’s
X
X
X
X
Pitch Bend X X
Control
Change 0-95,102-119 O O Assignable
Prog
Change :True#
0–127
**************
0–127
0–99 Assignable
System Exclusive O O *1
System
Common
:Song Pos
:Song Sel
:Tune
X
X
X
X
X
X
System
Real Time
:Clock
:Commands
X
X
O
XEffect Control
Aux
Messages
:Local ON/OFF
:All Notes OFF
:Active Sense
:Reset
X
X
X
X
X
X
O
O
Notes
MTC quarter frame message is recognized.
*1: Bulk Dump/Request, Parameter Change/Request, and MMC.
For MIDI Remote, ALL messages can be transmitted.
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
O: Yes
X: No
01V96 Block Diagram
01V96 Level Diagram
DA
DSP Noise Floor
PHASE GATEAD
dBu
Analog
CASCADE IN CASCADE OUT Digital Clipping Level
Max. Output
Nominal Output
[+18dBu]
[+24dBu]
[+4dBu]
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
Digital
Bit
34
35
36
0
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
–110
–120
–130
–140
–150
–160
–170
–190
–200
–210
GAIN
dBu
Analog
dBFS
–180
[0dBu = 0.775Vrms]
[0dBFS = Full Scale]
+20
+10
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
–110
–120
–130
–140
–150
–160
+24
+4
–170
–180
–190
Input [+24dBu]
Max.
[+4dBu]
[-60dBu]
[-40dBu]
Nominal
Input
Nominal
Input
PAD INSERT
DigitalAnalog
GAIN MAX.,
PAD OFF
GAIN MIN.,
PAD ON
Input
Max.
Digital Analog
ATT. EQINSERT LEVELONCOMP DELAY PAN DELAY
BUS
Adder ATT. EQ COMP MASTER
LEVELON
MASTER
INSERT INSERT INSERT INSERT INSERT BAL OUTPUT
PATCH
INPUT
PATCH
+20
+10
0
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
–110
–120
–130
–140
–150
–160
+24
+4
–170
–180
–190
STEREO OUT
MONITOR OUT
OMNI OUT
–2 [-2dBu]
0
For details of products, please contact your nearest Yamaha
representative or the authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
MEXICO
Yamaha de México S.A. de C.V.
Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
C.P. 09300, México, D.F., México
Tel: 55-5804-0600
BRAZIL
Yamaha Musical do Brasil Ltda.
Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,
CEP 04534-013 Sao Paulo, SP. BRAZIL
Tel: 011-3704-1377
ARGENTINA
Yamaha Music Latin America, S.A.
Sucursal de Argentina
Olga Cossettini 1553, Piso 4 Norte
Madero Este-C1107CEK
Buenos Aires, Argentina
Tel: 011-4119-7000
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: +507-269-5311
THE UNITED KINGDOM
Yamaha Music U.K. Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
GERMANY
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Europe GmbH
Branch Switzerland in Zürich
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
CZECH REPUBLIC/SLOVAKIA/
HUNGARY/SLOVENIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-602039025
POLAND
Yamaha Music Europe GmbH
Branch Sp.z o.o. Oddzial w Polsce
ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland
Tel: 022-868-07-57
THE NETHERLANDS/
BELGIUM/LUXEMBOURG
Yamaha Music Europe Branch Benelux
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
FRANCE
Yamaha Musique France
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha Música Ibérica, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1, Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
DENMARK
YS Copenhagen Liaison Office
Generatorvej 6A, DK-2730 Herlev, Denmark
Tel: 44 92 49 00
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1, N-1345 Østerås, Norway
Tel: 67 16 77 70
RUSSIA
Yamaha Music (Russia)
Room 37, bld. 7, Kievskaya street, Moscow,
121059, Russia
Tel: 495 626 5005
OTHER EUROPEAN COUNTRIES
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
Yamaha Corporation,
Asia-Pacific Sales & Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2303
TURKEY/CYPRUS
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
LOB 16-513, P.O.Box 17328, Jubel Ali,
Dubai, United Arab Emirates
Tel: +971-4-881-5868
THE PEOPLE’S REPUBLIC OF CHINA
Yamaha Music & Electronics (China) Co.,Ltd.
2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,
Shanghai, China
Tel: 021-6247-2211
INDIA
Yamaha Music India Pvt. Ltd.
5F Ambience Corporate Tower Ambience Mall Complex
Ambience Island, NH-8, Gurgaon-122001, Haryana, India
Tel: 0124-466-5551
INDONESIA
PT. Yamaha Musik Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 021-520-2577
KOREA
Yamaha Music Korea Ltd.
8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,
Kangnam-Gu, Seoul, Korea
Tel: 02-3467-3300
MALAYSIA
Yamaha Music (Malaysia) Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 03-78030900
SINGAPORE
Yamaha Music (Asia) Pte., Ltd.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: 6747-4374
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
Tel: 02-2511-8688
THAILAND
Siam Music Yamaha Co., Ltd.
4, 6, 15 and 16
th
floor, Siam Motors Building,
891/1 Rama 1 Road, Wangmai,
Pathumwan, Bangkok 10330, Thailand
Tel: 02-215-2622
OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Sales & Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2303
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: 3-9693-5111
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Sales & Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2303
NORTH AMERICA
CENTRAL & SOUTH AMERICA
EUROPE
AFRICA
MIDDLE EAST
ASIA
OCEANIA
HEAD OFFICE
Yamaha Corporation, Pro Audio Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA27
010IPTO-F0
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
Yamaha Pro Audio Global Web Site
http://www.yamahaproaudio.com/
© 2006-2010 Yamaha Corporation
U.R.G., Pro Audio Division
Printed in Japan
WE05050

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