Yamaha 02R96 Owners Manual 02R96_E O/M

02R96 Owner's Manual 02R96E1

02R96 to the manual 1cdcf50a-211c-44a4-9ed0-522c39d5e6b0

2015-01-15

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E
DIGITAL MIXING CONSOLE
Owner’s ManualOwner’s Manual
Owner’s Manual
Keep This Manual For Future Reference.
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT
THE WIRES IN THIS MAINS LEAD ARE COLOURED IN
ACCORDANCE WITH THE FOLLOWING CODE:
GREEN-AND-YELLOW : EARTH
BLUE : NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus may
not correspond with the coloured markings identifying the terminals in
your plug, proceed as follows:
The wire which is coloured GREEN and YELLOW must be
connected to the terminal in the plug which is marked by the letter E
or by the safety earth symbol or coloured GREEN and YELLOW.
The wire which is coloured BLUE must be connected to the terminal
which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the
terminal which is marked with the letter L or coloured RED.
* This applies only to products distributed by YAMAHA KEMBLE
MUSIC (U.K.) LTD.
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC
requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST
be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with
these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with
other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may
cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all
installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the
problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on
different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in
is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer
authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service
Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
NEDERLAND THE NETHERLANDS
● Dit apparaat bevat een lithium batterij voor geheugen
back-up.
● Raadpleeg uw leverancier over de verwijdering van de
batterij op het moment dat u het apparaat ann het einde
van de levensduur afdankt of de volgende Yamaha Service
Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
● Gooi de batterij niet weg, maar lever hem in als KCA.
● This apparatus contains a lithium battery for memory
back-up.
● For the removal of the battery at the moment of the
disposal at the end of the service life please consult your
retailer or Yamaha Service Center as follows:
Yamaha Music Nederland Service Center
Address: Kanaalweg 18-G, 3526 KL
UTRECHT
Tel: 030-2828425
● Do not throw away the battery. Instead, hand it in as small
chemical waste.
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.
• 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 magni-
tude to constitute a risk of electric shock to
persons.
The exclamation point within an equilat-
eral triangle is intended to alert the user to
the presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
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
The above warning is located on the
side of the unit.
i
02R96—Owner’s Manual
Important Information
Warnings
• Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Man-
ual or as marked on the unit. Failure to do so is a fire and electrical shock hazard.
• Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock
may result.
• Do not place heavy objects, including this unit, on top of the power cord. A damaged power
cord is a fire and electrical shock hazard. In particular, be careful not to place heavy objects
on a power cord covered by a carpet.
• Do not place a container with liquid or small metal objects on top of this unit. Liquid or
metal objects inside this unit are a fire and electrical shock hazard.
• This unit is equipped with a dedicated ground connection to prevent electrical shock.
Before connecting the power plug to an AC outlet, be sure to ground the unit. If the power
cord has a three-pin plug, it will provide sufficient grounding so long as the AC outlet is
grounded correctly.
• Do not scratch, bend, twist, pull, or heat the power cord. A damaged power cord is a fire
and electrical shock hazard.
• Do not remove the unit’s cover. You could receive an electrical shock. If you think internal
inspection, maintenance, or repair is necessary, contact your dealer.
• Do not modify the unit. Doing so is a fire and electrical shock hazard.
• If lightning begins to occur, turn off the power switch of the unit as soon as possible, and
unplug the power cable plug from the electrical outlet.
• If there is a possibility of lightning, do not touch the power cable plug if it is still connected.
Doing so may be an electrical shock hazard.
• Use only the included power cord for this unit. Using other types may be a fire and electrical
shock hazard.
• The 02R96 has four rear-panel slots for installing mini-YGDAI cards. For technical reasons,
certain card combinations are not supported. Before installing any cards, check the Yamaha
web site to if your card is compatible. Installing cards that are not endorsed by Yamaha may
cause electrical shock, fire, or damage to the unit.
• If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a
replacement. Using the unit with a damaged power cord is a fire and electrical shock hazard.
• If you notice any abnormality, such as smoke, odor, or noise, or if a foreign object or liquid
gets inside the unit, turn it off immediately. Remove the power cord from the AC outlet.
Consult your dealer for repair. Using the unit in this condition is a fire and electrical shock
hazard.
• Should this unit be dropped or the cabinet be damaged, turn the power switch off, remove
the power plug from the AC outlet, and contact your dealer. If you continue using the unit
without heeding this instruction, fire or electrical shock may result.
Cautions
• Keep this unit away from the following locations:
— Locations exposed to oil splashes or steam, such as near cooking stoves, humidifiers, etc.
— Unstable surfaces, such as a wobbly table or slope.
— Locations exposed to excessive heat, such as inside a car with all the windows closed, or
places that receive direct sunlight.
— Locations subject to excessive humidity or dust accumulation.
• Hold the power cord plug when disconnecting it from an AC outlet. Never pull the cord. A
damaged power cord is a potential fire and electrical shock hazard.
• Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard.
ii
02R96—Owner’s Manual
• This unit has ventilation holes along the front underside and at the rear to prevent the inter-
nal temperature from rising too high. Do not block them. Blocked ventilation holes are a
fire hazard. In particular, do not operate the unit while it’s on its side, is upside down, or
while it’s covered with a cloth or dust sheet.
• If you are using the optional MB02R96 Peak Meter Bridge, do not hold only the MB02R96
when moving the 02R96. Otherwise, the meter brackets may be damaged, the main unit
may malfunction, or you may be injured if the unit falls.
• This unit is heavy. Use two or more people to carry it.
• When you transport or move the 02R96 with the MB02R96 attached, do not permit impact
or stress on the cable connector that connects the MB02R96 to the 02R96. Otherwise, mal-
function may occur.
• To relocate the unit, turn the power switch off, remove the power plug from the AC outlet,
and remove all connecting cables. Damaged cables may cause fire or electrical shock.
• If you know you will not use this unit for a long period of time, such as when going on vaca-
tion, remove the power plug from the AC outlet. Leaving it connected is a potential fire haz-
ard.
• The inside of the unit should be cleaned periodically. Dust accumulation inside the unit
may cause malfunction and is a potential fire hazard. Consult your dealer for information
about cleaning.
• To prevent electrical shock when cleaning the unit, remove the power plug from the AC out-
let.
Operating Notes
• XLR-type connectors are wired as follows: pin 1–ground, pin 2–hot (+), and pin 3–cold (–).
• Insert TRS phone jacks are wired as follows: sleeve–ground, tip–send, and ring–return.
• The performance of components with moving contacts, such switches, rotary controls, fad-
ers, and connectors, deteriorates over time. The rate of deterioration depends on the oper-
ating environment and is unavoidable. Consult your dealer about replacing defective
components.
• Using a mobile telephone near this unit may induce noise. If noise occurs, use the telephone
away from the unit.
• If the message “WARNING Low Battery!” appears when you turn on this unit, contact your
dealer as soon as possible about replacing the internal data backup battery. The unit will still
operate correctly, but data other than the presets will be lost.
• Before replacing the batteries, back up your data to a memory card, or another unit by using
MIDI Bulk Dump.
• The digital circuits of this unit may induce a slight noise into nearby radios and TVs. If noise
occurs, relocate the affected equipment.
• When connecting D-sub cables, be sure to tighten the screws on both sides of the connector
securely. To disconnect the cable, loosen the screws completely, then remove the cable by
holding the connector part. Do not remove the plug by pulling the cable while the screws
are still attached. Otherwise, the connector may be damaged, leading to malfunction.
• When you change the wordclock settings on any device in your digital audio system, some
devices may output noise, so turn down your power amps beforehand, otherwise your
speakers may be damaged.
Interference
The 02R96 uses high-frequency digital circuits that may cause interference on radio and
television equipment located nearby. If interference is a problem, relocate the affected
equipment. Using a mobile telephone near the unit may induce noise. In this case use the
telephone away from the unit.
iii
02R96—Owner’s Manual
02R96 Exclusion of Certain Responsibility
Manufacturer, importer, or dealer shall not be liable for any incidental damages including
personal injury or any other damages caused by improper use or operation of the 02R96.
Trademarks
ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are reg-
istered trademarks of Alesis Corporation. Apogee is a trademark of Apogee Electronics, Inc.
Apple, Mac, and Power Macintosh are registered trademarks and Mac OS is a trademark of
Apple Corporation, Inc. HUI is a trademark of Mackie Designs, Inc. Intel and Pentium are
registered trademarks of Intel Corporation. Nuendo is a registered trademark of Steinberg
Media Technologies AG. Pro Tools is a trademark or registered trademark of Digidesign
and/or Avid Technology, Inc. Tascam Digital Interface is a trademark and Tascam and Teac
are registered trademarks of Teac Corporation. Microsoft and Windows are registered
trademarks of Microsoft Corporation, Inc. Waves is a trademark of Waves, Inc. Yamaha is a
trademark of Yamaha Corporation. All other trademarks are the property of their respective
holders and are hereby acknowledged.
Copyright
No part of the 02R96, its software, or this
Owner’s Manual
may be reproduced or distrib-
uted in any form or by any means without the prior written authorization of Yamaha Cor-
poration.
© 2002 Yamaha Corporation. All rights reserved.
Yamaha Web Site
Further information about the 02R96, related products, and other Yamaha professional
audio equipment is available on the Yamaha Professional Audio Web site at:
<http://www.yamaha.co.jp/product/proaudio/homeenglish/>.
Package Contents
• 02R96 Digital Mixing Console
• CD-ROM
•Power cord
• This manual
Optional Extras
• MB02R96 Peak Meter Bridge
• SP02R96 Wooden Side Panels
• mini YGDAI I/O cards
About this Owner’s Manual
This
Owner’s Manual
covers the 02R96 Digital Mixing Console.
All the information you need in order to operate the 02R96 Digital Mixing Console is con-
tained in this manual. Use the table of contents to familiarize yourself with the manual’s
organization and to locate tasks and topics, and use the index to locate specific information.
Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on
page 29.
Each chapter of this manual discusses a specific section or function of the 02R96. The Input
and Output Channels are explained in the following chapters: “Input Channels,” “Bus
Outs,” “Aux Sends,” and “Stereo Out.” Where possible, these chapters have been organized
in order of signal flow, from input through to output.
Functions such as EQ and Delay are common to all channels. Rather than repeat the same
information over and over, these functions are explained once in the “Common Channel
Functions” chapter, which starts on page 87. The Input Channels, Bus Outs, Aux Sends, and
iv
02R96—Owner’s Manual
Stereo Out chapters contain cross-references to the relevant sections of the “Common
Channel Functions” chapter.
Conventions Used in this Manual
The 02R96 features two types of button: physical buttons that you can press (e.g., ENTER
and DISPLAY) and buttons that appear on the display pages. References to physical buttons
are enclosed in square brackets, for example, “press the [ENTER] button.” References to dis-
play page buttons are not emphasized, for example, “press the ENTER button.”
Display pages can be selected by using the [DISPLAY] buttons or the Left Tab Scroll, Right
Tab Scroll, and F1–4 buttons below the display. In order to simplify explanations, only the
[DISPLAY] button method is mentioned in the procedures. See “Selecting Display Pages”
on page 31 for details on all the ways in which pages can be selected.
Installing the 02R96
The 02R96 should be placed on a strong and stable surface, somewhere that complies with
the warnings and cautions listed in the previous sections.
v
02R96—Owner’s Manual
Contents
1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . . 4
Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
3 Operating Basics . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Turning On & Off the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
About the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Selecting Display Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Display Parameter Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Parameter Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Confirmation Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Title Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Selecting Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Selecting Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Selecting Encoder Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Assigning Parameters to the ENCODER MODE Assign Buttons . . . . . . . . . . . . . 37
4 Analog I/O & the AD Input Section . . . . . . . . . . . 39
AD Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Control Room Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Studio Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2TR Analog INs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
5 Digital I/O & Cascading . . . . . . . . . . . . . . . . . . . . 41
Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
2TR Digital Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
2TR Digital Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
2TR In Sampling Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Slot I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Dithering Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Monitoring Digital Input Channel Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Cascading Consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
6 Input & Output Patching . . . . . . . . . . . . . . . . . . . 52
Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Naming Input & Output Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Patch Select Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Patching with the Encoders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
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02R96—Owner’s Manual
7 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Patching Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Reversing the Signal Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Gating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Attenuating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
EQ’ing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Grouping Input Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Input Channel Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Compressing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Grouping Input Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Delaying Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Muting Input Channels (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Grouping Input Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Grouping Input Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Using Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Sending Input Channels to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Soloing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Direct Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Using MS Decoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Naming Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
8 Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Stereo Out Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Patching the Stereo Out to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Routing Input Channels to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Metering the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Monitoring the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Attenuating the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
EQ’ing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Stereo Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Compressing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Muting the Stereo Out (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Setting the Stereo Out Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Balancing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Delaying the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Viewing Stereo Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Naming the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
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02R96—Owner’s Manual
9 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Patching Bus Outs to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Routing Input Channels to Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Attenuating Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
EQ’ing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Bus Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Compressing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Muting Bus Outs (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Setting Bus Out Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Delaying Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Soloing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Pairing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Viewing Bus Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Naming Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
10 Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Patching Aux Send Masters to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Setting the Aux Send Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Pre-Fader or Post-Fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Setting Aux Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Aux Send Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Panning Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Metering Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Monitoring Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Attenuating Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
EQ’ing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Aux Send Master Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Compressing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Muting Aux Send Masters (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Settings Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Delaying Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Soloing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Viewing Aux Send Master Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Naming Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
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02R96—Owner’s Manual
11 Common Channel Functions . . . . . . . . . . . . . . . . . 87
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Attenuating Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Using EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Grouping Output Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Using Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Compressing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Grouping Output Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Pairing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Grouping Output Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Grouping Output Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Viewing Channel Parameter Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Viewing Channel Fader Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Naming Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
12 Monitoring & Talkback . . . . . . . . . . . . . . . . . . . . . 114
Control Room Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Studio Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Surround Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Using Talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
13 Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
About the Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
General Library Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Channel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Input Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Output Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Bus to Stereo Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Gate Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Comp Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Automix Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Surround Monitor Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
14 Internal Effects & Plug-Ins . . . . . . . . . . . . . . . . . . 131
About the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Patching Effects Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Preset Effects & Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
About Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Configuring Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Editing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
15 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . 138
About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Auto Scene Memory Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Storing & Recalling Scenes with the SCENE MEMORY Buttons . . . . . . . . . . . . . 140
Using the Scene Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Fading Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Recalling Scenes Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Sorting Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
ix
02R96—Owner’s Manual
16 Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
About Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
What’s Recorded in an Automix? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Automix Main Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Channel Strip [AUTO] Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Automix Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Fader Edit Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Selecting the Timecode Source & Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Creating a Time Signature Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Recording an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Rerecording Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Parameter Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Punching In & Out Individual Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Playing Back an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Editing Events Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
17 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI & the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
MIDI Channel Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Assigning Scenes to Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Assigning Parameters to Control Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Controlling Parameters by Using Parameter Changes . . . . . . . . . . . . . . . . . . . . . 167
Using Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
18 Pro Tools Remote Layer . . . . . . . . . . . . . . . . . . . . 169
Configuring Windows Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Configuring Macintosh Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Configuring the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Configuring Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Control Surface Operation with the Pro Tools Remote Layer . . . . . . . . . . . . . . . 171
Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Setting Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Muting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Panning Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Viewing Send Destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Configuring Sends as Pre or Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Setting Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Muting Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Panning Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Flip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Assigning Inserts/Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Editing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Bypassing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Resetting Faders, Sends, & Panpots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Navigating the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Making Fine Adjustments to the Selected Region . . . . . . . . . . . . . . . . . . . . . . . . . 185
Scrub & Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
x
02R96—Owner’s Manual
19 Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . 189
About the Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Assigning a Target to the Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Configuring the User Defined Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Using the User Defined Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
About Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Configuring Machines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Transport Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Using Shuttle & Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Using the Locator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Setting the Locate Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
GPI (General Purpose Interface) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
20 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Using the User Defined Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Checking the Battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Initializing the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Appendix A: Parameter Lists . . . . . . . . . . . . . . . . . . . 202
USER DEFINED KEYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
USER DEFINED KEYS Initial Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Input Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Initial Input Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Output Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Initial Output Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Initial Input Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Initial Output Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Initial Input Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Initial Output Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
GPI Trigger Source List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
User Defined Remote Layer Initial Bank Settings . . . . . . . . . . . . . . . . . . . . . . . . . 219
Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Preset EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Preset Gate Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Preset Compressor Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 260
General Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Analog Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Analog Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Digital Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Digital Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
I/O Slot Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Control I/O Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Connector Pin Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
xi
02R96—Owner’s Manual
Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Initial Parameter to Control Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Format Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Appendix D: Options . . . . . . . . . . . . . . . . . . . . . . . . . . 288
MB02R96 Peak Meter Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
SP02R96 Wooden Side Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Welcome
1
02R96—Owner’s Manual
1 Welcome
Thank you for choosing the Yamaha 02R96 Digital Mixing Console.
The 02R96 Digital Mixing Console offers 24-bit/96 kHz digital audio processing without
compromise, comprehensive surround mixing and monitoring, including bass manage-
ment, and hands-on control of popular DAW (Digital Audio Workstation) systems.
Sonic Spec
• Linear 24-bit, 128-times oversampling A/D converters
• Linear 24-bit, 128-times oversampling D/A converters
• 20 Hz–40 kHz (0.5, –1.5 dB) frequency response at 96 kHz sampling rate
• 105 dB typical dynamic range (AD Input to Stereo Out)
• 32-bit internal signal processing (58-bit accumulator)
Channel Architecture
• 56 Input Channels, with Direct Outs
• 8 Bus Outs, with to Stereo Out routing for subgrouping
• 8 Aux Sends
• Stereo Out
• Channels can be named for easy identification
• Channel library with 127 user memories
I/O Architecture
• 16 analog mic inputs on balanced XLRs (plus 48 V phantom) 24 analog line inputs on bal-
anced phone jacks
• 16 analog inserts
• 32 inputs, 32 outputs via four mini-YGDAI slots and optional I/O cards, which offer a vari-
ety of analog and digital I/O options, with support for all the popular digital audio
interconnect formats, including AES/EBU, ADAT, Tascam TDIF-1, and mLAN.
• 8 assignable Omni outputs
• 1 AES/EBU, 2 Coaxial 2-track digital input, with sampling rate converters for connecting
44.1/48 kHz legacy digital audio equipment
• 1 AES/EBU, 2 Coaxial 2-track digital output
• 2 analog 2-track inputs
• XLR and phono connector stereo outputs
• Control room monitor outputs
• Dedicated studio monitor outputs
• Double channel digital I/O for use with legacy 44.1/48 kHz multitrack recorders
• Cascade ports for cascading up to four 02R96s (i.e., 224 Input Channels)
2
Chapter 1—Welcome
02R96—Owner’s Manual
I/O Patching
• Any available input port can be patched to the Input Channels, Insert Ins, or Effects inputs
• Direct Outs, Insert Outs, Bus Outs, Aux Sends, and the Stereo Out can be patched to any
output port
• Input and output ports can be named for easy identification
• Patches can be stored in the Input and Output Patch libraries
EQ
• 4-band parametric EQ on all Input and Output Channels
• EQ library with 40 presets, 160 user memories
Groups & Pairs
• Horizontal and vertical pairing of Input Channels
• Horizontal pairing of Bus Outs, Aux Sends, and Surround Pan
• 8 Input Channel, 4 Output Channel Fader groups
• 8 Input Channel, 4 Output Channel Mute groups
• 4 Input Channel, 4 Output Channel EQ groups
• 4 Input Channel, 4 Output Channel Compressor groups
Effects
• 4 internal effects processors
• Effects library with 52 presets, 76 user memories
• Multichannel effects for surround sound processing
• Joystick control of early reflections and reverb with the Reverb 5.1 effect
• Optional Waves 56K effects plug-in cards
• User defined plug-ins for external effects control via MIDI, with Learn function
Dynamics
• Gates on all 56 Input Channels
• Gate library with 4 presets, 124 user memories
• Compressors on all Input Channels and Out Channels (74 in total)
• Compressor library with 36 presets, 92 user memories
Automation
• Dynamic automation of virtually all mix parameters, with 1/4-frame accuracy
• Automix library with 16 memories
• Snapshot style automation with 99 Scene memories, recallable via MIDI or Automix
• Individual fade time settings for all Input and Output faders
• Scene and library recalls
• Punch in/out entire channels with dedicated [AUTO] buttons, or individual parameters
• Editing fader moves with Fader Return, Fader Takeover, Absolute/Relative modes
• Offline event editing includes, erase, copy, move/merge, trim, duplicate, delete, and insert
Welcome
3
02R96—Owner’s Manual
Surround Sound
• 3-1 and 5.1 Surround modes
• Joystick control
• Bass management
• Monitor matrix
• Surround monitor speaker alignment functions
• Surround monitor library with 32 user memories
Remote Control
• Control and manage your 02R96 from your Mac or PC by using the bundled Studio Man-
ager software
• Remote Layers for external equipment control, including predefined targets for controlling
DAW systems, and user defined targets for controlling MIDI equipment, with Learn func-
tion
• Comprehensive machine control via MMC, including transport, track arming, jog/shuttle,
and built-in locator with eight Locate memories
• Assignable GPI (General Purpose Interface) port for external control and “Recording” light
MIDI
• Standard MIDI ports, USB TO HOST port, SERIAL TO HOST port, or mLAN MIDI I/O
• USB, SERIAL, and mLAN option offer multiport operation
• Scene recall, mix parameter control, Bulk Dump, MTC and MIDI Clock for Automix syn-
chronization, MMC for external machine control
Control Surface
• 25 touch-sensitive 100-mm motorized faders (touch sense used to select channels or punch
faders in/out during Automix recording)
• Use the faders to set channel levels or Aux Send levels
• Use the 24 Encoders to control Pan, Aux Send levels, or user assigned parameters
• Channels arranged into two Input Layers, Master Layer, and Remote Layer
• 320 x 240 dot LCD display with fluorescent backlight
• Complete hands-on control of all channel functions via the SELECTED CHANNEL section
• 2-digit Scene memory display
• 4 EQ displays for frequency, gain, and Q
• 16 user-definable buttons make light work of repetitive tasks
4
Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
2 Control Surface & Rear Panel
Control Surface
25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
49 50 51 52 53 54 55 56 AUX 1AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 BUS 1 BUS 2 BUS 3 BUS 4 BUS 5 BUS 6 BUS 7 BUS 8
PHONES
LEVEL
010
010
010
TALKBACK LEVEL
STUDIO
LEVEL
PHONES
23
24
21
22
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
20
19
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1 9 10 11 12 13 14 15 16
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
2
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
3
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
4
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
5
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
6
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
7
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
8
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
DISPLAY
STUDIO
AUX7 AUX8
SOLO
CONTROL
ROOM STEREO
BUS SLOT
CONTROL ROOM
2TR D1 2TR A1
2TR D2 2TR A2
2TR D3 STEREO
ASSIGN1ASSIGN2
SURROUND
CLEAR
DIMMER
CONTROL ROOM LEVEL
100
100
TALKBACK
SURROUND MONITOR LEVEL
EQUALIZER
EQ ON
LOW
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
DISPLAY
GAIN
LOW MID
GAIN
HIGH MID
GAIN
HIGH
GAIN
GATE ON COMP ON GATE
COMP
RANGE
RATIO
ATTACK
ATTACKTHRESHOLD
THRESHOLD
DYNAMICS
DISPLAY
GATE / COMP DECAY
RELEASE
HOLD
GAIN
SELECTED CHANNEL
LINK GRAB EFFECT
LEVEN
R
LR
PAN / SURROUND
DISPLAY
ODD
DISPLAY ACCESS
PHASE /
INSERT DELAY
12
34
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
SCENE MEMORY
DISPLAY
STORE RECALL
USER DEFINED KEYS
12345678
9 10111213141516
DISPLAY
REC
REW FF
STOP PLAY
SET
DISPLAY
MACHINE CONTROL
LOCATE MEMORY
1234
5678
INCDEC
ENTER
SHUTTLE
SCRUB
ON
SEL
AUTO
70
60
50
40
30
20
15
10
5
0
STEREO
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
ON
SOLO
SEL
AUTO
AUTOMIX DIO SETUP UTILIT Y
MIDI REMOTE METER VIEW
PAIR GROUP INPUT
PATCH OUTPUT
PATC H
DISPLAY ACCESS
AUX 2AUX 1AUX 3AUX 4
AUX 6AUX 5AUX 7AUX 8
AUX SELECT
DISPLAY
AUXPAN ASSIGN 2ASSIGN 1
ENCODER MODE
DISPLAY
AUXFADER
FADER MODE
EFFECTS / PLUG INS
INTERNAL
EFFECTS CHANNEL
INSERTS
PLUG INS
1234
DISPLAY
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
STEREO
12345678 9101112131415161718192021222324
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
17 18
18
17
19 20 21 22 23 24
MONITOR
DIGITAL MIXING CONSOLE
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
PAD
125 1.00 4.00 10.0
MASTER25 48
REMOTE1 24
LAYER
00
AD Input Section (p. 5)
Channel strips (p. 5)
MACHINE CONTROL (p. 17)
AUX SELECT (p. 6)
FADER MODE (p. 7)
ENCODER MODE (p. 6)
DISPLAY ACCESS (p. 7)
EFFECTS/PLUG-INS (p. 9)
Display Section (p. 10) SELECTED CHANNEL Section (p. 11)
LAYER (p. 15) STEREO (p. 15)
Data Entry & Transport
(p. 18)
Monitor, Phones & Talkback
Section (p. 19)
MONITOR Section (p. 20)
SCENE MEMORY (p. 16)
USER DEFINED KEYS (p. 16)
Control Surface
5
02R96—Owner’s Manual
AD Input Section
AD Input #1 is shown at the top; AD Inputs #17 and #18 below.
A
+48V ON/OFF switches (AD 1–16)
These switches turn on and off the +48 V phantom power feed to each INPUT A
(XLR-type connector). Phantom power is typically used to power condenser-type
microphones or direct boxes. See “Phantom Power (AD 1–16)” on page 39 for more
information.
B
PAD switches (AD 1–16)
These switches turn on and off the 26 dB pad (attenuator) for each AD Input. See “Pad
(AD 1–16)” on page 39 for more information.
C
GAIN controls
These controls adjust the gain of the AD Input Head Amps. They have an input sensi-
tivity of –16 dB to –60 dB or +10 dB to –34 dB when Pad is on. AD Inputs 17 to 24 have
an input sensitivity of +10 dB to –34 dB. See “Gain” on page 39 for more information.
D
PEAK indicators
These indicators light up when the input signal level is 3 dB below clipping. See “PEAK
& SIGNAL Indicators” on page 39 for more information.
E
SIGNAL indicators
These indicators light up when the input signal level is 20 dB below nominal. See
“PEAK & SIGNAL Indicators” on page 39 for more information.
F
INSERT ON/OFF switches (AD 1–16)
These switches are for turning on and off the AD Input inserts. See “AD Inserts (AD
1–16)” on page 40 for more information.
Channel strips
Channel strip #1 is shown here.
The function of each channel strip depends on the currently selected Layer. See
“Selecting Layers” on page 33 for more information.
A
Encoders
These controls are used to edit Input and Output Channel parameters. Their exact
operation depends on the currently selected Encoder mode and Layer. There are two
preset Encoder modes, Pan and Aux, and two assignable modes, with over 40 param-
eters to choose from. See “Selecting Encoder Modes” on page 36 for more informa-
tion.
The Encoders feature push switches that are used to punch the parameter currently
assigned to the Encoders in and out during Automix recording. See “Punching In &
Out Individual Parameters” on page 156 for more information.
B AUTO buttons
These buttons are used to set Automix recording and playback for each channel.
Their exact operation depends on the currently selected Layer. Their indicators light
up orange in Record-Ready mode, red while recording, and green during playback.
See “Channel Strip [AUTO] Buttons” on page 149 for more information.
C SEL buttons
These buttons are used to select Input and Output Channels for editing with the
SELECTED CHANNEL section. Their exact operation depends on the currently
selected Layer. The [SEL] button indicator of the currently selected channel lights up.
See “Selecting Channels” on page 34 for more information. The [SEL] buttons can
also be used to pair channels, and to add and remove channels to and from the EQ,
Comp, Fader, and Mute groups.
1
2
3
4
5
61
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
PAD
3
4
5
GAIN 34
10
+
GAIN 34
10
+
PEAK
SIGNAL
17 18
18
17
25
49
1
1
50
40
30
20
15
10
10
5
0
5
ON
SOLO
SEL
AUTO
1
2
3
4
5
6
6Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
D SOLO buttons
These buttons are used to solo Channels. The [SOLO] button indicators of channels that
are soloed light up. See “Soloing Channels” on page 102 for more information.
E ON buttons
These buttons are used to mute Input and Output Channels. Their exact operation depends
on the currently selected Layer. The [ON] button indicators of channels that are on light up.
F Channel faders
These 100 mm touch-sensitive motorized faders are used to set the levels of Input Channels,
Bus Outs, and Aux Sends. Their exact operation depends on the currently selected Fader
mode and Layer. See “Selecting Fader Modes” on page 35 for more information. Faders can
be grouped for simultaneous operation. See “Grouping Input Channel Faders” on page 65
and “Grouping Output Channel Faders” on page 106 for more information.
Faders can also be used to select Input and Output Channels. See “Auto Channel Select &
Touch Sense Select” on page 34 for more information. They can also be used to punch chan-
nels in and out during Automix recording. See “Punching In & Out Individual Parameters”
on page 156 for more information.
AUX SELECT
A AUX SELECT DISPLAY button
This button is used to select the following pages: Aux Send, Aux Send Pan, and Input Chan-
nel Aux View. See “Aux Sends” on page 79 for more information.
B AUX 1–8 buttons
These buttons are used to select Aux Sends when sending Input Channel signals to Aux
Sends. The button indicator of the currently selected Aux Send lights up. If the currently
selected Aux Send is paired, the indicator of its partner flashes. See “Aux Sends” on page 79
for more information. These buttons can also be used to pair Aux Sends. See “Pairing Chan-
nels” on page 104 for more information.
ENCODER MODE
A ENCODER MODE DISPLAY button
This button is used to select the Encoder Mode Assign page. See “Selecting Encoder Modes”
on page 36 for more information.
B PAN button
This button is used to select the Pan Encoder mode. Its indicator lights up when this mode
is selected. In this mode, the Encoders function as Pan controls while an Input Channel
Layer is selected. While the Master Layer is selected, Encoders 1–8 function as Input Chan-
nel 49–56 Pan controls, and Encoders 9–24 are inactive. See “Selecting Encoder Modes” on
page 36 for more information.
2
AUX 2AUX 1AUX 3AUX 4
AUX 6AUX 5AUX 7AUX 8
AUX SELECT
DISPLAY
1
4
AUXPAN ASSIGN 2ASSIGN 1
ENCODER MODE
DISPLAY
23
1
Control Surface 7
02R96—Owner’s Manual
C AUX button
This button is used to select the Aux Encoder mode. Its indicator lights up when this mode
is selected. In this mode, the Encoders function as Aux Send level controls when an Input
Channel Layer is selected. While the Master Layer is selected, Encoders 1–8 function as
Input Channel 49–56 Aux Send controls, and Encoders 9–24 are inactive. See “Selecting
Encoder Modes” on page 36.
D ASSIGN 1 & 2 buttons
These buttons are used to select the assignable Encoder modes. The button indicator for the
currently selected mode lights up. When an assignable mode is selected, the function of the
Encoders depends on the assigned parameter. Up to two parameters, from a list of over 40,
can be assigned to these two buttons. See “Assigning Parameters to the ENCODER MODE
Assign Buttons” on page 37 for more information.
FADER MODE
A FADER button
This button selects Fader mode, in which the faders control Input or Output Channel levels,
depending on the currently selected Layer. Its indicator lights up when this mode is selected.
See “Selecting Fader Modes” on page 35 for more information.
B AUX button
This button selects the Aux Fader mode, in which the faders control Aux Send levels. Its
indicator lights up when this mode is selected. See “Selecting Fader Modes” on page 35 for
more information.
DISPLAY ACCESS
A AUTOMIX button
This button is used to select the following Automix pages: Automix Main, Automix Mem-
ory, Fader Edit, Event Copy, and Event Edit. See “Automix” on page 145 for more informa-
tion.
B DIO button
This button is used to select the following pages: Word Clock Select, Dither, Cascade In,
Cascade Out, Sampling Rate Converter, and Higher Sample Rate Data Format. See “Digital
I/O & Cascading” on page 41 for more information.
C SETUP button
This button is used to select the following pages: Preferences 1, Preferences 2, Preferences 3,
MIDI/TO HOST Setup, GPI Setup, Input Port Name, Output Port Name, Time Reference,
and Time Signature.
1 2
AUXFADER
FADER MODE
AUTOMIX DIO SETUP UTILITY
MIDI REMOTE METER VIEW
PAIR GROUP INPUT
PATCH OUTPUT
PATCH
DISPLAY ACCESS
9
6
5
8
7
1 2 3 4
J K L
8Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
D UTILITY button
This button is used to select the following pages: Oscillator, Channel Status Monitor, and
Battery Check.
E REMOTE button
This button is used to select the Remote page. See “About the Remote Layer” on page 189
for more information.
F MIDI button
This button is used to select the following pages: MIDI Setup, Program Change Assign
Table, Control Change Assign Table, and Bulk Dump. See “MIDI” on page 163 for more
information.
G METER button
This button is used to select the following pages: Input Channel Meter, Master Meter, Effect
1-4, Stereo Meter, and Metering Position. See “Metering” on page 87 for more information.
H VIEW button
This button is used to select the following pages: Parameter View, Fader View, and Channel
Library. See “Viewing Channel Parameter Settings” on page 108, “Viewing Channel Fader
Settings” on page 109, and “Channel Library” on page 123 for more information.
I PAIR button
This button is used to select the Input and Output Pair pages. See “Pairing Channels” on
page 104 for more information.
J GROUP button
This button is used to select the following pages: Input Channel Fader Group, Input Chan-
nel Mute Group, Output Fader Group, Output Mute Group, Input Equalizer Link, Output
Equalizer Link, Input Comp Link, and the Output Comp Link.
K INPUT PATCH button
This button is used to select the following pages: Input Channel Patch, Input Channel Insert
In Patch, Effects 1–4 Input Patch, Input Channel Name, and Input Patch Library. See “Input
Patching” on page 52 for more information.
L OUTPUT PATCH button
This button is used to select the following pages: Slot Output Patch, Omni Out Patch, Out-
put Insert In Patch, Input Channel Direct Out Destination, 2TR Out Digital, Output Chan-
nel Name, and Output Patch Library. See “Output Patching” on page 54 for more
information.
Control Surface 9
02R96—Owner’s Manual
EFFECTS/PLUG-INS
A EFFECTS/PLUG-INS DISPLAY button
This button is used to select the following pages: Effects Edit, Effects Library, Plug-In Setup,
and Plug-In Edit. See “Internal Effects & Plug-Ins” on page 131 for more information.
B INTERNAL EFFECTS button
This button is used to select the internal effects processors in conjunction with the
EFFECTS/PLUG-INS [1–4] buttons. Its indicator lights up when it’s pressed. See “Editing
Effects” on page 133 for more information.
C PLUG-INS button
This button is used to select the Plug-Ins in conjunction with the EFFECTS/PLUG-INS
[1–4] buttons. Its indicator lights up when it’s pressed. See “Editing Plug-Ins” on page 136
for more information.
D CHANNEL INSERTS button
If an internal effects processor or Y56K card effect is inserted in the currently selected chan-
nel, the relevant Effects Edit or Plug-In Edit page appears when this button is pressed, and
its indicator lights up. In addition, the corresponding EFFECTS/PLUG-INS [1–4] button
indicator flashes. If it’s a Y56K that is inserted, the [PLUG-INS] button indicator also
flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS] button indicator
flashes. A warning message appears if there’s nothing inserted in the currently selected
channel. See “Editing Effects” on page 133 and “Editing Plug-Ins” on page 136 for more
information.
E EFFECTS/PLUG-INS 1–4 buttons
These buttons are used to select the internal effects processors and Plug-Ins in conjunction
with the EFFECTS/PLUG-INS [INTERNAL EFFECTS] and [PLUG-INS] buttons. The but-
ton indicator of the currently selected internal effects processor or Plug-In lights up. While
the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is lit, all of these buttons
are inactive.
F Parameter Up/Down buttons
These buttons are used to select the rows of internal effects processor and Plug-In parame-
ters for editing with Parameter controls 1–4. The parameters in the currently selected row
appear highlighted. Up to 16 parameters can be displayed at a time. If more are available,
an up or down arrow is displayed. See “Editing Effects” on page 133 and “Editing Plug-Ins”
on page 136 for more information.
G Parameter controls 1–4
These are rotary controls and push switches. The rotary controls are used to edit the param-
eters of the currently selected internal effects processor or Plug-In. When the Effects Edit
page is selected, they control the currently selected row of parameters, rows being selected
by the Parameter Up/Down buttons. See “Editing Effects” on page 133 and “Editing
Plug-Ins” on page 136 for more information.
The push switches are used to punch the Effects or Plug-In parameters currently being con-
trolled by the rotary controls in and out during Automix recording. See “Punching In & Out
Individual Parameters” on page 156 for more information.
1
6
EFFECTS / PLUG INS
INTERNAL
EFFECTS CHANNEL
INSERTS
PLUG INS
1234
DISPLAY
2 3 4
57
10 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
Display Section
A Display
This 320 x 240 dot display with fluorescent backlight displays pages, information on the
currently selected Scene and channel, the sampling rate, and more. See “About the Display”
on page 29 for more information.
B Contrast control
This control is used to adjust the contrast of the display.
C F1–F4 buttons
These buttons are used to select the pages whose tabs are currently visible. See “Selecting
Display Pages” on page 31 for more information.
D Left Tab Scroll button
This button, which is active only when the left Tab Scroll arrow is displayed, is used to dis-
play the tabs of pages available to the left of the currently selected page. See “Selecting Dis-
play Pages” on page 31 for more information.
E Right Tab Scroll button
This button, which is active only when the right Tab Scroll arrow is displayed, is used to dis-
play the tabs of pages available to the right of the currently selected page. See “Selecting Dis-
play Pages” on page 31 for more information.
1
4
3
2
5
Control Surface 11
02R96—Owner’s Manual
SELECTED CHANNEL Section
The subsections of the SELECTED CHANNEL section are explained below.
ROUTING
A ROUTING DISPLAY button
This button is used to select the following pages: Input Channel Routing, Bus to Stereo, and
Bus to Stereo Library. See “Routing Input Channels” on page 66 and “Sending Bus Outs to
the Stereo Out” on page 78 for more information.
B FOLLOW PAN button
This button determines whether or not the currently selected Input Channel’s pan setting
is applied to the Bus Outs. Its indicator lights up when it’s pressed. See “Routing Input
Channels” on page 66 for more information.
C STEREO button
This button is used to route the currently selected Input Channel to the Stereo Out. Its indi-
cator lights up when it’s pressed. See “Routing Input Channels” on page 66 for more infor-
mation.
D DIRECT button
This button is used to route the currently selected Input Channel to its Direct Out. Its indi-
cator lights up when it’s pressed. See “Routing Input Channels” on page 66 for more infor-
mation.
E ROUTING 1–8 buttons
These buttons are used to route the currently selected Input Channel to the Bus Outs. The
button indicators of Bus Outs to which the Input Channel is routed light up. See “Routing
Input Channels” on page 66 for more information.
EQUALIZER
EQ ON
LOW
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
DISPLAY
GAIN
LOW MID
GAIN
HIGH MID
GAIN
HIGH
GAIN
GATE ON COMP ON GATE
COMP
RANGE
RATIO
ATTACK
ATTACKTHRESHOLD
THRESHOLD
DYNAMICS
DISPLAY
GATE / COMP DECAY
RELEASE
HOLD
GAIN
SELECTED CHANNEL
LINK GRAB EFFECT
LEVEN
R
LR
PAN / SURROUND
DISPLAY
ODD
DISPLAY ACCESS
PHASE /
INSERT DELAY
12
34
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
125 1.00 4.00 10.0
12
34
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
1
2
3 4
5
12 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
DISPLAY ACCESS
A PHASE/INSERT button
This button is used to select the Input Channel Phase and Insert pages. See “Reversing the
Signal Phase” on page 59 and “Using Inserts” on page 95 for more information.
B DELAY button
This button is used to select the Delay pages. See “Delaying Channel Signals” on page 101
for more information.
DYNAMICS
A DYNAMICS DISPLAY button
This button is used to select the following pages: Gate Edit, Gate Library, Comp Edit, and
Comp Library. See “Gating Input Channels” on page 60 and “Compressing Channels” on
page 97 for more information.
B GATE ON button
This button is used to turn the currently selected Input Channel’s Gate on and off. Its indi-
cator lights up when the Gate is on. See “Gating Input Channels” on page 60 for more infor-
mation.
C COMP ON button
This button is used to turn the currently selected channel’s Compressor on and off. Its indi-
cator lights up when the Compressor is on. See “Compressing Channels” on page 97 for
more information.
D GATE/COMP button
This button is used to set the rotary controls for either Gate or Compressor operation.
When an Output Channel is selected, Compressor is selected automatically and cannot be
changed. See “Gating Input Channels” on page 60 and “Compressing Channels” on page 97
for more information.
E THRESHOLD, RANGE, ATTACK, DECAY, HOLD (THRESHOLD, RATIO, ATTACK,
RELEASE, GAIN) controls
When the GATE/COMP button is set to GATE, these controls set the Threshold, Range,
Attack, Decay, and Hold parameters of the currently selected Input Channel’s Gate. When
it’s set to COMP, they set the Threshold, Ratio, Attack, Release, and Gain parameters of the
currently selected channel’s Compressor. See “Gating Input Channels” on page 60 and
“Compressing Channels” on page 97 for more information.
F GATE/COMP indicators
These indicators show whether the rotary controls are set to control a Gate or Compressor.
The GATE indicator lights up when they’re set to control a Gate; the COMP indicator, when
DISPLAY ACCESS
PHASE /
INSERT DELAY
1 2
6
2
GATE ON COMP ON GATE
COMP
RANGE
RATIO
ATTACK
ATTACKTHRESHOLD
THRESHOLD
DYNAMICS
DISPLAY
GATE / COMP DECAY
RELEASE
HOLD
GAIN
1
3 4 5
Control Surface 13
02R96—Owner’s Manual
they’re set to control a Compressor. See “Gating Input Channels” on page 60 and “Com-
pressing Channels” on page 97 for more information.
PAN/SURROUND
A PAN/SURROUND DISPLAY button
This button is used to select the Input Channel Pan pages, the Surround Mode page, and
the Surround Edit pages. See “Panning Input Channels” on page 67 and “Using Surround
Pan” on page 69.
B L & R buttons
These buttons can be used to select horizontally or vertically partnered Input or Output
Channels. They can be used to select the left and right channels when the Stereo Out is
selected. For Input Channels, in Individual Pan mode, the [L] button indicator lights up
when an odd/left channel is selected; the [R] button indicator, when an even/right channel
is selected. In Gang or Inverse Gang Pan mode, the button indicator of the other channel in
the pair flashes while its partner is selected.
C PAN display
This 10-segment display indicates the pan position of the currently selected Input Channel.
When pan is set to center, the center two segments light up. When the Stereo Out is selected,
it displays the balance.
D PAN control
This rotary control is used to pan the currently selected Input Channel. When the Stereo
Out is selected, it is used to set the balance. For Input Channels in Gang or Inverse Gang
Pan mode, horizontally or vertically paired Input Channels are panned simultaneously. See
“Panning Input Channels” on page 67 and “Balancing the Stereo Out” on page 75.
E LINK button
This button, which is enabled only when a Surround mode other than Stereo is selected, is
used to link the PAN control and the Joystick so that either control can be used for normal
and surround panning. It’s a global setting that applies to all Input Channels. Its indicator
lights up when the PAN control and Joystick are linked. If the Joystick is set to control effects
(i.e., the [EFFECT] button indicator is lit), this button is disabled. See “Panning Input
Channels” on page 67 and “Using Surround Pan” on page 69 for more information.
F GRAB button
This button, which is enabled only when a Surround mode other than Stereo is selected, is
used to turn on and off Joystick control for the currently selected Input Channel. Its indi-
cator lights up when Grab is on. When Grab is on, the Joystick can be used to control the
currently selected Input Channel’s surround pan position. When turned off, the Joystick
does not control surround pan. If the PAN control and the Joystick are linked (i.e., the
[LINK] button indicator is lit), Grab is turned off if the PAN control is adjusted. If the Joy-
stick is set to control effects (i.e., the [EFFECT] button indicator is lit), this button is dis-
abled.
LINK GRAB EFFECT
LEVEN
R
LR
PAN / SURROUND
DISPLAY
ODD
1
234567
8
14 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
G EFFECT button
This button is used to select the Joystick for parameter control of the Reverb 5.1 effect. Its
indicator lights up when Reverb 5.1 effect control is on, and the Joystick cannot be used for
surround panning. See “REVERB 5.1” on page 245 for more information.
H Joystick
This control can be used for surround panning, normal panning, or parameter control of
the Reverb 5.1 effect. When the [EFFECT] button indicator is lit, the Joystick controls the
Reverb 5.1 effect. See “REVERB 5.1” on page 245 for more information. When the
[EFFECT] button indicator is off and the [GRAB] button indicator is on, the Joystick con-
trols surround panning of the currently selected Input Channel. When the [EFFECT] but-
ton and [GRAB] button indicators are both off, the Joystick can still be used for surround
panning if the Auto Grab preference is on. See “Using Surround Pan” on page 69 for more
information. When the [EFFECT] button indicator is off but the [GRAB] button and
[LINK] button indicators are both on, the Joystick can be used for normal panning in uni-
son with the PAN control. See “Panning Input Channels” on page 67 for more information.
EQUALIZER
A EQUALIZER DISPLAY button
This button is used to select the following pages: Equalizer Edit, Equalizer Library, Input
Channel Attenuator/Shifter, and Output Attenuator.
B FREQUENCY/Q controls
These are rotary controls and push switches. The push switches are used to select either fre-
quency or Q. The current setting is shown by the FREQUENCY/Q indicators. The rotary
controls are used to set the frequency or Q, as selected by the push switches. See “Using EQ”
on page 91 for more information.
C EQ GAIN controls
These controls are used to set the gain of each EQ band. See “Using EQ” on page 91 for more
information.
D EQ ON button
This button is used to turn the EQ of the currently selected channel on and off. Its indicator
lights up when the EQ is on. See “Using EQ” on page 91 for more information.
E FREQUENCY/Q indicators
These indicators show whether each FREQUENCY/Q control is set to control frequency or
Q. The FREQUENCY indicator lights up when it’s set to control frequency; the Q indicator,
when it’s set to control Q. See “Using EQ” on page 91 for more information.
F EQ displays
Normally these displays show the frequency of each band. When the GAIN is adjusted, the
gain value is displayed. When the Q is adjusted, the Q value is displayed. If the gain or Q is
not adjusted for two seconds, the frequency value reappears. See “Using EQ” on page 91 for
more information.
LOW
EQUALIZER
1
2 3
EQ ON
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
DISPLAY
GAIN
LOW MID
GAIN
HIGH MID
GAIN
HIGH
GAIN
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
125 1.00 4.00 10.0
4 65
Control Surface 15
02R96—Owner’s Manual
LAYER
A 1–24 & 25–48 buttons
These buttons select the Input Channel Layers, which determine which Input Channels are
controlled by the channel strips. The LAYER button indicator for the currently selected
Layer lights up. See “Selecting Layers” on page 33 for more information.
B REMOTE button
This button selects the Remote Layer, which can be used to control external devices, includ-
ing DAWs. See “About the Remote Layer” on page 189 for more information. Its button
indicator lights up when the Remote Layer is selected. See “Selecting Layers” on page 33 for
more information.
C MASTER button
This button selects the Master Layer, from which the channel strips control Input Channels
49–56, Bus Outs, and Aux Sends. Its indicator lights up when the Master Layer is selected.
See “Selecting Layers” on page 33 for more information.
STEREO
A AUTO button
This button is used exclusively to set Automix recording and playback for the Stereo
Out. Its indicator lights up orange in Record-Ready mode, red while recording, and
green during playback. See “Channel Strip [AUTO] Buttons” on page 149 for more
information.
B SEL button
The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing with
the SELECTED CHANNEL section. Its indicator lights up when the Stereo Out is
selected. Each time it’s pressed, the selection toggles between the Stereo Out’s left and
right channels. See “Selecting Channels” on page 34 for more information. It can also
be used to add and remove the Stereo Out to and from EQ, Comp, Fader, and Mute
groups.
C ON button
This button is used exclusively to mute the Stereo Out. Its indicator lights up when the
Stereo Out is on. See “Muting the Stereo Out (ON/OFF)” on page 74 for more informa-
tion.
D Fader
This 100 mm touch-sensitive motorized fader is used exclusively to adjust the level of
the Stereo Out. See “Setting the Stereo Out Level” on page 74 for more information. It
can be grouped with other Output Channel faders for simultaneous operation. See
“Grouping Output Channel Faders” on page 106 for more information. It can also be
used to select the Stereo Out, see “Auto Channel Select & Touch Sense Select” on
page 34, or to punch the Stereo Out in and out during Automix recording. See “Punch-
ing In & Out Individual Parameters” on page 156 for more information.
MASTER25 48
REMOTE1 24
LAYER
2
3
1
ON
SEL
AUTO
70
60
50
40
30
20
15
10
5
0
STEREO
STEREO
3
2
1
4
16 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
SCENE MEMORY
A SCENE MEMORY DISPLAY button
This button is used to select the following pages: Scene Memory, Input Channel Fade Time,
Output Fade Time, Recall Safe, and Scene Memory Sort. See “Scene Memories” on page 138
for more information.
B Scene memory display
This displays the number of the currently selected Scene memory. See “Scene Memories” on
page 138 for more information.
C Edit indicator
This indicates that the current mix settings no longer match those of the Scene that was
recalled last. See “Edit Buffer & Edit Indicator” on page 138 for more information.
D STORE button
This button is used to store the current Scene to the selected Scene memory. See “Storing &
Recalling Scenes with the SCENE MEMORY Buttons” on page 140.
E Scene Up/Down buttons
These buttons are used to select Scene memories. Pressing the Scene Up [ ] button incre-
ments the selection; pressing the Scene Down [ ] button decrements the selection. Holding
down a button causes the selection to increment/decrement continuously. See “Storing &
Recalling Scenes with the SCENE MEMORY Buttons” on page 140.
F RECALL button
This button is used to recall the selected Scene memory. See “Storing & Recalling Scenes
with the SCENE MEMORY Buttons” on page 140.
USER DEFINED KEYS
A USER DEFINED KEYS DISPLAY button
This button is used to select the User Defined Key Assign page. See “Using the User Defined
Keys” on page 196 for more information.
B USER DEFINED KEYS 1–16 buttons
Up to 16 functions, from a list of over 150, can be assigned to these buttons. See “Using the
User Defined Keys” on page 196 for more information. These buttons have specific func-
tions when the DAW Remote Layer is selected. See “About the Remote Layer” on page 189
for more information.
SCENE MEMORY
DISPLAY
STORE RECALL
00
1
23 4 65
USER DEFINED KEYS
12345678
9 10111213141516
DISPLAY
1
2
Control Surface 17
02R96—Owner’s Manual
MACHINE CONTROL
A MACHINE CONTROL DISPLAY button
This button is used to select the Locate Memory and Machine Configuration pages. See
“Setting the Locate Memories” on page 194 and “Configuring Machines” on page 192
respectively for more information.
B LOCATE MEMORY 1–8 buttons
Pressing these buttons transmits Locate commands to the target machine (DAW, MMC) in
order to locate the Locate memory points. Their indicators light up momentarily when
they’re pressed. See “Using the Locator” on page 194 for more information.
C SET button
This button is used when specifying the eight Locate points. Its indicator lights up while it’s
pressed. See “Using the Locator” on page 194 for more information.
D REW button
This button starts rewind on the target machine (DAW, MMC). Its indicator lights up while
rewinding is in progress. See “Transport Buttons” on page 193.
E FF button
This button starts fast forward on the target machine (DAW, MMC). Its indicator lights up
while fast forwarding is in progress. See “Transport Buttons” on page 193.
F STOP button
This button stops the target machine (DAW, MMC). Its indicator lights up momentarily
when it’s pressed. See “Transport Buttons” on page 193.
G PLAY button
This button starts playback on the target machine (DAW, MMC). Its indicator lights up
while playback is in progress. See “Transport Buttons” on page 193.
H REC button
This button is used in conjunction with the [PLAY] button to start recording on the target
machine (DAW, MMC). Its indicator lights up while recording is in progress. See “Trans-
port Buttons” on page 193.
REC
REW FF
STOP PLAY
SET
DISPLAY
MACHINE CONTROL
LOCATE MEMORY
1234
5678
1
3
4
6 7 8
5
2
18 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
Data Entry & Transport
A SHUTTLE button
This button is used to set the Parameter wheel to Shuttle mode for machine control (DAW,
MMC). Its indicator lights up when Shuttle mode is on. See “Using Shuttle & Scrub” on
page 193 for more information.
B SCRUB button
This button is used to set the Parameter wheel to Scrub mode for machine control (DAW,
MMC). Its indicator lights up when Scrub mode is on. See “Using Shuttle & Scrub” on page
193 for more information.
C Parameter wheel
The Parameter wheel is used to edit parameter values, scroll through Scene and library lists,
and to position the cursor when titling Scenes, Effects, and so on. Its detented action gives
it a positive feel, allowing quick and accurate parameter editing. Turning it clockwise
increases parameter values; turning it counterclockwise decreases them. Turning it fast
allows quick parameter editing.
The Parameter wheel is also used with the Shuttle and Scroll functions. See “Using Shuttle
& Scrub” on page 193 for more information.
D ENTER button
This button is used to select and finalize parameter settings, to set on/off-type parameters,
such as EQ ON/OFF, and to enter characters when titling Scenes, Effects, and so on. When
a Pan control is selected on a Pan display page, pressing this button resets the pan position
to center. For certain parameters, the [ENTER] button supports double clicking (i.e., two
quick presses).
E DEC & INC buttons
These buttons are used to adjust parameter values. Pressing the [INC] button increases the
value of the currently selected parameter by one. Pressing the [DEC] decreases it. Pressing
and holding either button causes the parameter value to change continuously.
These buttons can also be used to set on/off-type parameters, such as EQ ON/OFF. When
such a parameter is selected, pressing the [DEC] button turns the function off, pressing the
[INC] button turns it on.
These buttons can also used to scroll through Scene and library lists.
F Cursor buttons
These buttons are used to move the cursor around the display pages, selecting parameters
and options. The cursor appears as a flashing box, making it easy to see which parameter or
option is currently selected. Holding down a cursor button moves the cursor continuously
in the respective direction.
INCDEC
ENTER
SHUTTLE
SCRUB
16
5
2
3
4
Control Surface 19
02R96—Owner’s Manual
Monitor, Phones & Talkback Section
A STUDIO LEVEL control
This control is used to set the level of the STUDIO MONITOR OUT. See “Studio Monitor-
ing” on page 115 for more information.
B PHONES LEVEL control
This control is used to set the level of the PHONES. See “Control Room Monitoring” on
page 114 for more information.
C PHONES jack
This stereo TRS phone jack outputs the Con-
trol room signal for monitoring via a pair of
stereo headphones.
D Talkback mic
This built-in microphone is used for talkback. See “Using Talkback” on page 121 for more
information.
E TALKBACK LEVEL control
This control is used to set the level of the built-in talkback microphone. See “Using Talk-
back” on page 121 for more information.
PHONES
LEVEL
010
010
010
TALKBACK LEVEL
STUDIO
LEVEL
PHONES
3
5
4
1 2
1/4" TRS phone plug
Tip (left)
Ring (right)
Sleeve (ground)
20 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
MONITOR Section
The various subsections of the MONITOR section are explained below.
STUDIO
A MONITOR DISPLAY button
This button is used to select the following pages: Solo Setting, Control Room Setup, and
Talkback Setup. See “Configuring Solo” on page 102, “Control Room Monitoring” on
page 114, and “Using Talkback” on page 121 respectively for more information. When a
Surround Pan mode is selected, the following pages can also be selected: Surround Monitor,
Surround Monitor Setup, Surround Monitor Patch, and Surround Monitor Library. See
“Surround Monitoring” on page 116 for more information.
B CONTROL ROOM button
This button selects the Control Room Monitor signal as the Studio Monitor signal source.
Its indicator lights up when this source is selected. See “Studio Monitoring” on page 115 for
more information.
C STEREO button
This button selects the Stereo Out signal as the Studio Monitor signal source. Its indicator
lights up when this source is selected. See “Studio Monitoring” on page 115 for more infor-
mation.
D AUX 7 button
This button selects Aux Send #7 as the Studio Monitor signal source. Its indicator lights up
when this source is selected. See “Studio Monitoring” on page 115 for more information.
E AUX 8 button
This button selects Aux Send #8 as the Studio Monitor signal source. Its indicator lights up
when this source is selected. See “Studio Monitoring” on page 115 for more information.
SOLO
A SOLO indicator
This indicator flashes when one or more Channels are soloed, indicating that the Solo func-
tion is active. See “Soloing Channels” on page 102 for more information.
B CLEAR button
This button can be used to unsolo all soloed Channels. See “Soloing Channels” on page 102
for more information.
DISPLAY
STUDIO
AUX7 AUX8
SOLO
CONTROL
ROOM STEREO
BUS SLOT
CONTROL ROOM
2TR D1 2TR A1
2TR D2 2TR A2
2TR D3 STEREO
ASSIGN1ASSIGN2
SURROUND
CLEAR
DIMMER
CONTROL ROOM LEVEL
100
100
TALKBACK
SURROUND MONITOR LEVEL
MONITOR
DISPLAY
STUDIO
AUX7 AUX8
CONTROL
ROOM STEREO
MONITOR
1
2
4
3
5
SOLO
CLEAR
1
2
Control Surface 21
02R96—Owner’s Manual
CONTROL ROOM
A STEREO 2TR D1 button
This button selects the 2TR IN DIGITAL AES/EBU 1 as the Control Room
Monitor signal source. Its indicator lights up when this source is selected. See
“Control Room Monitoring” on page 114 for more information.
B STEREO 2TR D2 button
This button selects the 2TR IN DIGITAL COAXIAL 2 as the Control Room
Monitor signal source. Its indicator lights up when this source is selected. See
“Control Room Monitoring” on page 114 for more information.
C STEREO 2TR D3 button
This button selects the 2TR IN DIGITAL COAXIAL 3 as the Control Room
Monitor signal source. Its indicator lights up when this source is selected. See
“Control Room Monitoring” on page 114 for more information.
D STEREO 2TR A1 button
This button selects the 2TR IN ANALOG 1 as the Control Room Monitor signal
source. Its indicator lights up when this source is selected. See “Control Room
Monitoring” on page 114 for more information.
E STEREO 2TR A2 button
This button selects the 2TR IN ANALOG 2 as the Control Room Monitor signal source. Its
indicator lights up when this source is selected. See “Control Room Monitoring” on page
114 for more information.
F STEREO button
This button selects the Stereo Out as the Control Room Monitor signal source. Its indicator
lights up when this source is selected. See “Control Room Monitoring” on page 114 for
more information.
G STEREO ASSIGN 1 button
This button is used to select the assigned Output Channel as the Control Room Monitor
signal source. Its indicator lights up when this source is selected. See “Control Room Setup”
on page 115 for more information.
H STEREO ASSIGN 2 button
This button is used to select the assigned Output Channel as the Control Room Monitor
signal source. Its indicator lights up when this source is selected. See “Control Room Setup”
on page 115 for more information.
I SURROUND BUS button
This button is used to select the Bus Outs as the Surround Monitor signal source. Its indi-
cator lights up when this source is selected. See “Surround Monitoring” on page 116 for
more information.
J SURROUND SLOT button
This button is used to select the assigned Slot’s Inputs as the Surround Monitor signal
source. Its indicator lights up when this source is selected. See “Surround Monitoring” on
page 116 for more information.
K SURROUND MONITOR LEVEL control
This control is used to adjust the level of the Surround Monitor signals. See “Surround
Monitoring” on page 116 for more information.
L CONTROL ROOM LEVEL control
This control is used to adjust the level of the Control Room Monitor signal. See “Control
Room Monitoring” on page 114 for more information.
BUS SLOT
CONTROL ROOM
2TR D1 2TR A1
2TR D2 2TR A2
2TR D3 STEREO
ASSIGN1ASSIGN2
SURROUND
DIMMER
CONTROL ROOM LEVEL
100
100
TALKBACK
SURROUND MONITOR LEVEL
1 4
2 5
3 6
7
9
8
K
L
MN
J
22 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
M DIMMER button
This button is used to dim the Control Room Monitor and Surround Monitor signals. Its
indicator lights up when these signals are dimmed. See “Control Room Monitoring” on
page 114 for more information.
N TALKBACK button
This button turns on the Talkback function, which distributes the Talkback mic signal to the
Studio Monitor Outs and any Slot or Omni Outputs specified on the Talkback Setup page.
See “Using Talkback” on page 121 for more information.
Rear Panel 23
02R96—Owner’s Manual
Rear Panel
AD Input Section (p. 24)
SLOT Section (p. 28)
Analog Master I/O Section (p. 24)
OMNI OUTs, Digital I/O & Control Section (p. 26)Power Section (p. 28)
24 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
AD Input Section
AD Input #1 is shown at the top; AD Inputs #17 and #18 below
A INPUT A & B (BAL) connectors
AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and balanced 1/4-inch
phone jacks, both with a nominal input range of –60 dB to +10 dB. Phantom powering
(+48 V) is supplied to the XLR-type connectors, with individual ON/OFF switches on each
input. The phone jacks, which can also be used with unbalanced phone plugs, have priority
over the XLR-type connectors, so when a phone plug is inserted, the XLR-type connector
is disconnected. AD Inputs 17–24 feature balanced 1/4-inch phone jacks. AD Inputs can be
patched individually to the Input Channels or Insert Ins. See “AD Input Section” on page
39 for more information.
B INSERT I/O +4dB (UNBAL) connectors (AD 1–16)
These unbalanced 1/4-inch TRS phone jacks are used to insert external signal processors,
etc., into AD Inputs 1 through 16. They are wired: sleeve–ground, ring–return, tip–send.
The nominal signal level is +4 dB. Inserts can be turned on and off individually by using the
INSERT ON/OFF switches. See “AD Input Section” on page 39 for more information.
Analog Master I/O Section
A STUDIO MONITOR OUT +4 dB (BAL)
These balanced 1/4-inch TRS phone jacks, nominal output
level +4 dB, output the analog Studio Monitor signal for
monitoring in the actual studio. The source, which is
selected by using the STUDIO buttons in the MONITOR
section, can be Aux Send #7, Aux Send #8, the Stereo Out, or Control Room. The output
2
1
1
Male XLR plug 1 (ground)
3 (cold)
2 (hot)
1/4" TRS phone plug
Tip (hot)
Ring (cold)
Sleeve (ground)
1/4" phone plug
1/4" phone plug
1/4" TRS phone plug To processor's input
From processor's output
Connect to INSERT jack
Tip (send)
Tip (send)
Ring (return)
Sleeve (ground)
Sleeve (ground)
Tip (return)
Sleeve (ground)
21 3
4 5 6
1/4" TRS phone plug
Tip (hot)
Ring (cold)
Sleeve (ground)
Rear Panel 25
02R96—Owner’s Manual
level is controlled by the STUDIO LEVEL control. See “Studio Monitoring” on page 115 for
more information.
B STEREO OUT +4 dB (BAL)
These balanced XLR-3-32-type connectors, nominal
output level +4 dB, output the analog Stereo Out signal
and are typically connected the stereo inputs of a
2-track recorder. They are wired pin 1–ground, pin
2–hot (+), and pin 3–cold (–). See “Stereo Out Connectors” on page 73.
C 2TR IN ANALOG 1 +4 dB (BAL)
These balanced 1/4-inch TRS phone jacks, nominal input
level +4 dB, are typically used to connect the analog stereo
outputs of a 2-track recorder. Signals connected here can
be monitored via the CONTROL ROOM MONITOR
OUT by pressing the CONTROL ROOM [2TR A1] button. In addition, these inputs can be
patched to Input Channels or Insert Ins. See “2TR Analog INs” on page 40.
D CONTROL ROOM MONITOR OUT +4 dB (BAL)
These balanced 1/4-inch TRS phone jacks, nominal output
level +4 dB, output the analog Control Room Monitor sig-
nal and are typically used to feed the control room’s main
monitors. See “Control Room Monitoring” on page 114
for more information.
E STEREO OUT –10 dBV (UNBAL)
These unbalanced phono connectors, nominal output level
–10 dBV, output the analog Stereo Out signal and are typically con-
nected to the stereo inputs of a 2-track recorder. See “Stereo Out
Connectors” on page 73.
F 2TR IN ANALOG 2 –10 dBV (UNBAL)
These unbalanced phono connectors, nominal input level
–10 dBV, are typically used to connect the analog stereo outputs of
a 2-track recorder. Signals connected here can be monitored via the
CONTROL ROOM MONITOR OUTs by pressing the CONTROL
ROOM [2TR A2] button. In addition, these inputs can be patched to Input Channels or
Insert Ins. See “2TR Analog INs” on page 40.
Female XLR plug
1 (ground)
3 (cold)
2 (hot)
1/4" TRS phone plug
Tip (hot)
Ring (cold)
Sleeve (ground)
1/4" TRS phone plug
Tip (hot)
Ring (cold)
Sleeve (ground)
Phono plug Tip (hot)
Sleeve (ground)
Phono plug Tip (hot)
Sleeve (ground)
26 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
OMNI OUTs, Digital I/O & Control Section
A OMNI OUT +4dB (BAL)
These balanced 1/4-inch TRS phone jacks, nominal output
level +4 dB, provide eight analog outputs that can be
patched to the following: Bus Outs, Aux Sends, the Stereo
Out, Insert Outs, Direct Outs, or Surround Monitor Chan-
nels. See “Omni Outs” on page 40.
B SMPTE TIME CODE INPUT connector
This balanced XLR-3-31-type connector is used to input SMPTE timecode for synchroniz-
ing the Automix function. See “Selecting the Timecode Source & Frame Rate” on page 152.
C MTC TIME CODE INPUT connector
This 5-pin DIN connector is used to input MTC for synchronizing the Automix function.
See “Selecting the Timecode Source & Frame Rate” on page 152.
D USB TO HOST port
This USB port is for MIDI communication between the 02R96 and a host computer with a
USB port. See “MIDI I/O” on page 163 for more information.
E SERIAL TO HOST port
This 8-pin mini DIN port is for MIDI communication between the 02R96 and a host com-
puter with a serial port. See “MIDI I/O” on page 163 for more information.
F 2TR OUT DIGITAL COAXIAL 2 & 3
These phono connectors output consumer format (IEC-60958) digital audio, and are typ-
ically connected to the digital stereo inputs of 2-track recorders. The following signals can
be patched to these outputs: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and
Control Room. Dither can be applied for digital audio transfer to lower-resolution systems.
See “2TR Digital Outs” on page 43 for more information.
G 2TR OUT DIGITAL AES/EBU 1
This XLR-3-32-type connector outputs AES/EBU format digital audio, and is typically con-
nected to the digital stereo input of a 2-track recorder. The following signals can be patched
to this output: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and Control
Room. Dither can be applied for digital audio transfer to lower-resolution systems. See
“2TR Digital Outs” on page 43 for more information.
N PO
2 3 4 5 6 7 8 9 J L
M
1
K
1/4" TRS phone plug
Tip (hot)
Ring (cold)
Sleeve (ground)
Rear Panel 27
02R96—Owner’s Manual
H 2TR IN DIGITAL COAXIAL 2 & 3
These phono connectors accept consumer format (IEC-60958) digital audio, and are typi-
cally used to connect the digital stereo outputs of 2-track recorders. Signals connected here
can be monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL
ROOM [2TR D2] or [2TR D3] button. In addition, these inputs can be patched to Input
Channels or Insert Ins. Unsynchronized digital audio signals can be converted by the inter-
nal sampling rate converters. See “2TR Digital Ins” on page 44 for more information.
I 2TR IN DIGITAL AES/EBU 1
This XLR-3-31-type connector accepts AES/EBU format digital audio, and is typically used
to connect the digital stereo output of a 2-track recorder. Signals connected here can be
monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL
ROOM [2TR D1] button. In addition, this input can be patched to Input Channels or
Insert Ins. Unsynchronized digital audio signals can be converted by the internal sampling
rate converters. See “2TR Digital Ins” on page 44 for more information.
J WORD CLOCK OUT connector
This BNC connector outputs a wordclock signal at the same clock rate as the 02R96. See
“Wordclock Connections” on page 41 for more information.
K WORD CLOCK 75Ω ON/OFF termination switch
This switch applies 75Ω termination to the WORD CLOCK IN. See “Terminating External
Wordclocks” on page 43 for more information.
L WORD CLOCK IN connector
This BNC connector is for connecting an external wordclock signal. See “Selecting the
Wordclock Source” on page 42 for more information.
M CONTROL port
This 25-pin D-sub connector provides access to the GPI (General Purpose Interface)
through which external equipment can be triggered when specified 02R96 faders or USER
DEFINE KEYS are operated. It can also be used to control a “RECORDING” light outside
of a studio, to trigger the Solo function of an 02R Digital Recording Console, or to turn on
Talkback from an external device. See “GPI (General Purpose Interface)” on page 195 for
more information.
N METER port
This 15-pin D-sub connector is for connecting the optional MB02R96 Peak Meter Bridge.
O MIDI IN, OUT & THRU ports
These standard MIDI IN, OUT, and THRU ports are used to connect the 02R96 to other
MIDI equipment. Supported MIDI messages include Program Changes for Scene recall,
Control Changes and Parameter Changes for real-time parameter control, Bulk Dump for
data storage, MIDI Clock, MTC, and MMC. See “MIDI I/O” on page 163 for more infor-
mation.
P CASCADE IN & OUT ports
These 64-pin connectors can be used to cascade up to four 02R96s to create a multiple-unit
mixing system. The 02R96 can also be cascaded with an 02R Digital Recording Console. See
“Cascading Consoles” on page 49 for more information.
28 Chapter 2—Control Surface & Rear Panel
02R96—Owner’s Manual
Power Section
A POWER ON/OFF switch
This switch is used to turn on the power to the 02R96. See “Turning On & Off the 02R96”
on page 29 for more information.
B Grounding screw
For electrical safety reasons, and correct operation of the touch-sensitive faders, it’s impor-
tant that the 02R96 is grounded properly. The supplied power cord has a three-pin plug,
and if the ground terminal of the AC outlet is grounded, then the unit will be grounded suf-
ficiently through the power cord. If the AC outlet does not provide a suitable ground, this
screw must be connected to a suitable ground point. Grounding is also an effective method
for eliminating hum, interference, and other noise.
C AC IN connector
This connector is used to connect the 02R96 to an AC outlet via the supplied power cord.
See “Connecting the Power Cord” on page 29 for more information.
D Cooling fan
The cooling fan expels air out through this outlet. If the airflow is restricted, the 02R96 may
overheat, so make sure this outlet is not blocked.
SLOT Section
A SLOT 1–4
These four slots are for use with optional mini YGDAI cards, which offer a variety of analog
and digital I/O options. See “Slot I/O” on page 45 for more information. Slot inputs can be
patched to Input Channels or Insert Ins. See “Input Patching” on page 52 for more infor-
mation. The following signals can be patched to the Slot Outputs: Bus Outs, Aux Sends, Ste-
reo Out, Insert Outs, Direct Outs, and Surround Monitor Channels. See “Output Patching”
on page 54 for more information.
1
2
4
3
1
Operating Basics 29
02R96—Owner’s Manual
3 Operating Basics
Connecting the Power Cord
Connect the socket-end of the supplied power cord to the AC IN
on the rear panel of the 02R96. Connect the plug-end to a suitable
AC wall outlet, one that conforms to the power supply require-
ments stated on the 02R96’s rear panel.
Turning On & Off the 02R96
To prevent loud clicks and thumps in your speakers, turn on your
audio equipment in the following order (reverse this order when turn-
ing off)—sound sources, multitrack and master recorders, 02R96,
monitoring power amplifiers.
1To turn on the 02R96, press the [POWER] switch.
The startup page appears for a while, and then the last selected display
page appears.
2To turn off the 02R96, press the [POWER] switch again.
About the Display
All 02R96 mix parameters can be edited on the various display pages.
Current Scene: The number and title of the currently selected Scene memory are dis-
played here. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page
140 for more information. If the selected Scene is write-protected, a padlock icon appears.
See “Using the Scene Memory Page” on page 141 for more information.
MIDI indicator: This indicator appears when the 02R96 is receiving MIDI data via the
MIDI IN port, USB TO HOST port, or SERIAL TO HOST port.
Warning: Turn off all equipment connected to the 02R96 before making any power connec-
tions.
Current Scene
EDIT indicator
MIDI indicator
Sampling rate
Page title
Page area
Page tabs
Page tab scroll arrow
Page #
Channel name
Selected
DISPLAY Selected channel
30 Chapter 3—Operating Basics
02R96—Owner’s Manual
EDIT indicator: This indicator appears when the current mix settings no longer match
those of the Scene that was recalled last. It works in unison with the Edit indicator dot on
the SCENE MEMORY display. See “Edit Buffer & Edit Indicator” on page 138 for more
information.
Selected DISPLAY: This indicates the currently selected display page group, for example,
AUX, EQ, or AUTOMIX. Display page groups are selected by using the [DISPLAY] buttons.
Sampling rate: This indicates the current sampling rate—44.1 kHz (44k), 48 kHz (48k),
88.2 kHz (88k), or 96 kHz (96k).
Selected channel: The Input or Output Channel currently selected by the [SEL] buttons
is indicated here. See “Selecting Channels” on page 34. The first four characters are the
Channel ID (e.g., CH1–CH56, BUS1–BUS8, AUX1–AUX8, ST-L, ST-R. The second four,
are the channel’s Short name. See “Naming Channels” on page 112. If the Channel ID pref-
erence is on, only the Channel ID is displayed. See “Channel ID/Channel” on page 198 for
more information.
Channel name: Depending on the currently selected page, this is the Long name of
either the currently selected channel or the channel selected by the cursor buttons. On some
pages, the Aux Send pages, for example, it’s possible to edit Aux Send levels without having
to select each Input Channel. Instead, Input Channel Aux Sends can be selected by using the
cursor buttons. In this case, the name displayed here is different to the name displayed in
the upper-right corner of the display.
Page title: This is the title of the currently selected page.
Page #: Depending on the group of pages currently selected, page numbers are displayed
here. For example, although you can view only one Input Channel 1–24 Aux Send page at
a time, there are in fact eight Input Channel 1–24 Aux Send pages, one for each of the eight
Aux Sends. Page numbers are also displayed when the Effects page group is selected.
Page area: This area of the display is where the various display pages appear.
Page tabs: These tabs are used when selecting pages. Up to four tabs are visible at a time.
See “Selecting Display Pages” on page 31 for more information.
Page tab scroll arrows: These arrows indicate that there are more pages available. See
“Selecting Display Pages” on page 31 for more information.
Selecting Display Pages 31
02R96—Owner’s Manual
Selecting Display Pages
Display pages are grouped by function, and each group of pages can be selected by
using the following [DISPLAY] buttons: AUX SELECT, ENCODER MODE,
EFFECTS/PLUG-INS, ROUTING, DYNAMICS, PAN/SURROUND, EQUAL-
IZER, SCENE MEMORY, USER DEFINED KEYS, MACHINE CONTROL, MON-
ITOR. Further page groups can be selected by using the DISPLAY ACCESS buttons.
• The next page in the group can be selected by pressing the [DISPLAY] button.
• Previous pages can be selected by pressing and holding down the [DISPLAY] button.
• The first page in the group can be selected by double-clicking the [DISPLAY] button.
• Pages whose tabs are currently displayed can be
selected by using the F1–F4 buttons.
If there are more pages available than the four whose
tabs are currently displayed, depending on whether they
are located to the left or right, either the left or right Tab
Scroll arrow appears. Pressing either the Left or Right
Tab Scroll button displays the tabs of these pages, which
can then be selected by using the F1–F4 buttons.
When parameters are divided among several pages, for example, the Input Channel Atten-
uators, which are divided among three pages, the page containing the parameter for the cur-
rently selected channel is selected automatically when channels on different Layers are
selected. For example, if the Input Channel 1–24 Attenuator page is currently selected, and
then you select, say, Input Channel #25 by using the LAYER [25–48] button and [SEL] but-
ton #1, the Input Channel 25–48 Attenuator page is selected automatically.
The currently selected page in a group, and the parameter selected on that page, are remem-
bered when you select another group of pages, so when you return to that group, by press-
ing its [DISPLAY] button, that page is displayed with the same parameter selected.
The Auto Display preferences can be set so that certain pages appear automatically when a
corresponding control is adjusted. For example, if the “Auto EQUALIZER Display” prefer-
ence is on, the EQ page appears automatically when a SELECTED CHANNEL EQUAL-
IZER control is operated. See page 197 for information on the Auto Display preferences.
Display Parameter Boxes
Operation of the various buttons, rotary controls, and faders that
appear on the display pages is straightforward. The only items that
require a special mention are the parameter boxes, such as the
INSERT POSITION, OUT, and IN parameter boxes shown here.
Operation of these boxes consists of two steps. First you select a value,
typically by using the Parameter wheel or INC/DEC buttons. Second
you confirm your selection, while the value is flashing, by pressing the
[ENTER] button. If you select another parameter while the value is
still flashing, it remains unchanged.
Parameter Windows
When a rotary control in the SELECTED CHANNEL section is operated, if the
corresponding parameter does not appear on the currently selected page, a
parameter window like the one shown here is displayed while the control is
adjusted. If the control is not adjusted for awhile, the window closes automat-
ically. If the Auto Display preference for the adjusted parameter is on, the page containing
that parameter appears instead of this parameter window.
DISPLAY
F1F2F3F4
Tab Scroll arrows
Tab scroll buttons
32 Chapter 3—Operating Basics
02R96—Owner’s Manual
Confirmation Messages
For certain functions, the 02R96 prompts you for
confirmation before executing them, as shown here.
Press YES to execute the function, or press NO to can-
cel. If no action is taken for awhile, the confirmation
window closes automatically and the function is not
executed.
Title Edit Window
The Title Edit window is used to enter titles for Scene and library memories, automixes, and
so on. Depending on the item being titled, the number of characters that can be entered is
either 4, 12, or 16. The following screen shots show the available characters. The one on the
left shows uppercase characters and various punctuation marks. That on the right, lower-
case characters and numbers.
Use the cursor buttons to select characters, and the [ENTER] button to enter them into the
title. The cursor moves to the right automatically as each character is entered. The Param-
eter wheel or the arrow buttons can be used to move the cursor within the title.
Use the SHIFT LOCK button to select uppercase and lowercase characters, and use the SPC
button to enter a space. To insert a space at the cursor position and move subsequent char-
acters to the right, press the INS button. To delete the character at the cursor position, press
the DEL button.
When you’ve finished, press the OK button to enter the title, or press CANCEL to cancel
title entry.
Selecting Layers 33
02R96—Owner’s Manual
Selecting Layers
Input and Output Channels are arranged into Layers, as illustrated below. There are four
Layers altogether: two Input Channel Layers, a Master Layer (or Output Layer), and a
Remote Layer.
To select Input and Output Channels for editing with the channel strip
controls, you use the LAYER buttons to select a Layer.
The LAYER button indicator for the currently selected Layer lights up.
The currently selected Layer determines the function of the channel
strip Encoders, [AUTO] buttons, [SEL] buttons, [SOLO] buttons,
[ON] buttons, and faders. For example, when Layer 1–24 is selected,
[SEL] button #1 controls Input Channel #1. When Layer 25–48 is
selected, it controls Input Channel #25. And when the Master Layer is
selected, it controls Input Channel #49.
The following table shows which Input and Output Channels are controlled by the channel
strips on each Layer.
The exact function of each channel strip fader and Encoder also depends on the currently
selected Fader mode and Encoder mode respectively. See “Selecting Fader Modes” on
page 35 and “Selecting Encoder Modes” on page 36 for more information.
Layers Channel Strips
1–89–16 17–24
1-24 Input Channels 1–24
25–48 Input Channels 25–48
MASTER Input Channels 49–56 Aux Send masters 1–8 Bus Out masters 1–8
REMOTE Operation depends on the selected target. See “About the Remote Layer” on page
189 for more information.
87654321 9 10111213141516 1718192021222324
87654321 9 10111213141516 1718192021222324
87654321 9 10111213141516 1718192021222324
87654321 9 10111213141516 1718192021222324
Input Channels [1–24]
Input Channels [25–48]
Input Channels 49–56, Aux Sends, Bus Outs [MASTER]
[REMOTE]
MASTER25 48
REMOTE1 24
LAYER
34 Chapter 3—Operating Basics
02R96—Owner’s Manual
Selecting Channels
To select Input and Output Channels for editing with the SELECTED CHANNEL controls,
you use the LAYER buttons to select a Layer, and the [SEL] buttons to select a channel on
that Layer.
1Select a Layer, as explained on page 33.
2Use the [SEL] buttons to select an Input or Output Channel.
The [SEL] button indicator for the currently selected channel lights up. In addi-
tion, the Channel’s ID and Short name appear in the upper right corner of the dis-
play (see page 30).
The exact channel selected by each [SEL] button depends on the currently selected Layer.
For example, when Layer 1–24 is selected, [SEL] button #1 selects Input Channel #1. When
Layer 25–48 is selected, it selects Input Channel #25. And when the Master Layer is selected,
it selects Input Channel #49, as shown in the following table.
For paired Input or Output channels, the channel whose [SEL] button you press is selected,
and its indicator lights up. The [SEL] button indicator of the other channel flashes.
Vertical and horizontal Input and Output channel partners can also be selected by using the
SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons, which can also be used to
select left and right channels when the Stereo Out is selected.
If the currently displayed page contains a relevant parameter, when a channel’s [SEL] but-
ton is pressed, the cursor moves to that parameter automatically. If the currently displayed
page contains no such parameter, the page that does contain such a parameter is selected
automatically. For example, if a Delay page for the Output Channels is selected when an
Input Channel [SEL] button is pressed, the Delay page showing the relevant Input Channel
Delay parameter is selected automatically.
Stereo Out [SEL] Button
The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing with the
SELECTED CHANNEL controls. Its indicator lights up when the Stereo Out is selected.
Each time it’s pressed, the selection toggles between the Stereo Out’s left and right channels.
The SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons can also be used to
select the left and right channels.
If the currently displayed page contains a Stereo Out parameter, that parameter is selected
automatically when the Stereo Out [SEL] button is pressed. If the currently selected page
contain no such parameter, the page that does contain such a parameter is selected auto-
matically. For example, if a Delay page for the Input Channels is currently selected when the
Stereo Out [SEL] button is pressed, the Delay page showing the Stereo Out Delay parameter
is selected automatically.
Auto Channel Select & Touch Sense Select
While the Auto Channel Select preference is on (see page 197), channels can be selected by
moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO],
[SOLO], or [ON] button. While the Touch Sense Select preference is on (see page 199),
channels can be selected simply by touching the fader knobs.
Layer [SEL] Button
1–89–16 17–24
1-24 Input Channels 1–24
25–48 Input Channels 25–48
MASTER Input Channels 49–56 Aux Sends 1–8 Bus Outs 1–8
REMOTE Operation depends on the selected target. See “About the Remote Layer” on page
189 for more information.
SEL
Selecting Fader Modes 35
02R96—Owner’s Manual
Selecting Fader Modes
The exact function of each fader depends on the selected Layer and Fader mode.
1Select a Layer, as explained on page 33.
2Use the FADER MODE buttons to select a Fader mode.
[FADER]: Channel faders control Input Channel levels or Output Channel master levels,
depending on the selected Layer.
[AUX]: Channel faders control Aux Send levels, depending on the selected Layer.
The indicator of the currently selected FADER MODE button lights up.
The following table shows the channel fader functions for each Layer and Fader mode.
Layer Fader
Mode
Fader
1–89–16 17–24
1-24 Fader Input Channels 1–24 level
Aux Input Channels 1–24 Aux Send level
25–48 Fader Input Channels 25–48 level
Aux Input Channels 25–48 Aux Send level
Master
Fader Input Channels 49–56
level
Aux Sends 1–8 master
level
Bus Outs 1–8 master
level
Aux Input Channels 49–56
Aux Send level No operation: faders fixed at –∞
Remote Fader Operation depends on the selected target. See “About the Remote Layer”
on page 189 for more information.
Aux
AUXFADER
FADER MODE
36 Chapter 3—Operating Basics
02R96—Owner’s Manual
Selecting Encoder Modes
The exact function of each Encoder depends on the selected Layer and Encoder
mode. There are two preset Encoder modes, Pan and Aux, and two assignable
modes, for which you can choose from over 40 parameters.
1Select a Layer, as explained in page 33.
2Use the ENCODER MODE buttons to select an Encoder mode.
[PAN]: Encoders function as Pan controls.
[AUX]: Encoders control Aux Send levels, depending on the selected Layer.
[ASSIGN 1/2]: Encoders control the parameters assigned to the ASSIGN buttons. See
“Assigning Parameters to the ENCODER MODE Assign Buttons” on page 37 for more
information.
The indicator of the currently selected ENCODER MODE button lights up.
The following table shows the exact Encoder functions for each Layer and Encoder mode.
Layer Encoder
Mode
Encoder
1–89–16 17–24
1-24
Pan Input Channels 1–24 pan
Aux Input Channels 1–24 Aux Send level
Assign 1/2 Input Channels 1–24 assigned parameter
25–48
Pan Input Channels 25–48 pan
Aux Input Channels 25–48 Aux Send level
Assign 1/2 Input Channels 25–48 assigned parameter
Master
Pan Input Channels 49–56
pan No operation
Aux Input Channels 49–56
Aux Send level No operation
Assign 1/2 Input Channels 49–56
assigned parameter
Aux Sends 1–8
assigned parameter
Bus Outs 1–8 assigned
parameter
Remote
Pan
Operation depends on the selected target. See “About the Remote Layer”
on page 189 for more information.
Aux
Assign 1/2
AUXPAN ASSIGN 2ASSIGN 1
ENCODER MODE
DISPLAY
Assigning Parameters to the ENCODER MODE Assign Buttons 37
02R96—Owner’s Manual
Assigning Parameters to the ENCODER MODE Assign Buttons
Up to two parameters can be assigned to the two ENCODER MODE ASSIGN buttons.
Initially, the following parameters are assigned to the ASSIGN buttons:
[ASSIGN 1]: Input Patch
[ASSIGN 2]: Direct Out
1Use the ENCODER MODE [DISPLAY] button to select the Encoder Mode
Assign page.
The names of the parameters currently assigned to each ASSIGN button are displayed in the
left-hand box. The parameter currently assigned to the selected ASSIGN button appears
highlighted in the right-hand box.
2Press an ASSIGN button, or use the Up/Down cursor buttons, to select an
ASSIGN button.
3Use the Parameter wheel, or the INC/DEC buttons to select a parameter.
A parameter is selected when it appears inside the dotted box.
See the “Assignable Encoder Mode Parameter List” on page 38 for a complete list of assign-
able parameters.
4Press the [ENTER] button to assign your choice.
Once assigned, the selected parameter appears highlighted in the right-hand box.
When channels that do not feature the currently assigned parameter are selected, the
Encoders are inactive. For example, if the assigned Encoder parameter is “Phase,” and the
Master Layer is selected, Encoders 9–24 are inactive, because the Aux Sends and Bus Outs
do not feature Phase parameters.
38 Chapter 3—Operating Basics
02R96—Owner’s Manual
Assignable Encoder Mode Parameter List
#Parameter Encoder Operation Push Switch Operation
1No Assign ——
2Attenuator Attenuator —
3Input Patch Input Channel patch Confirm patch selection
4Insert In Patch Insert In patch Confirm patch selection
5Insert Out Patch Insert Out patch Confirm patch selection
6Direct Out Direct Out patch Confirm patch selection
7Phase Phase: normal/reverse —
8Insert On Insert on/off —
9Aux pre/post Aux pre/post —
10 Delay On Delay on/off —
11 Delay Time Delay Time —
12 Delay FB.Gain Delay FB.Gain —
13 Delay Mix Delay Mix —
14 EQ On EQ on/off —
15 EQ Type EQ Type —
16 EQ Low Q EQ Low Q —
17 EQ Low F EQ Low Frequency —
18 EQ Low G EQ Low Gain —
19 EQ Low-Mid Q EQ Low-Mid Q —
20 EQ Low-Mid F EQ Low-Mid Frequency —
21 EQ Low-Mid G EQ Low-Mid Gain —
22 EQ High-Mid Q EQ High-Mid Q —
23 EQ High-Mid F EQ High-Mid Frequency —
24 EQ High-Mid G EQ High-Mid Gain —
25 EQ High Q EQ High Q —
26 EQ High F EQ High Frequency —
27 EQ High G EQ High Gain —
28 Gate On Gate on/off —
29 Gate Threshold Gate Threshold —
30 Gate Range Gate Range —
31 Gate Attack Gate Attack —
32 Gate Decay Gate Decay —
33 Gate Hold Gate Hold —
34 Comp On Comp on/off —
35 Comp Threshold Comp Threshold —
36 Comp Ratio Comp Ratio —
37 Comp Attack Comp Attack —
38 Comp Release Comp Release —
39 Comp Out Gain Comp Out Gain —
40 Comp Knee/Width Comp Knee/Width —
41 Surr. LFE Level Surround LFE level —
42 Surr. Pan Wheel Surround Pan Wheel —
43 Scene Fade Time Scene Fade Time —
Analog I/O & the AD Input Section 39
02R96—Owner’s Manual
4 Analog I/O & the AD Input Section
AD Input Section
The 02R96 features 24 AD Inputs for connecting microphone and line-level sources.
AD Inputs can be patched to Input Channels or Input Channel Insert Ins (see page 52).
They can also be patched to Output Channel Insert Ins (see page 55).
AD Input Connectors (AD 1–16)
AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and bal-
anced 1/4-inch phone jacks, both with a nominal input range of –60 dB to
+10 dB. The phone jacks, which can also be used with unbalanced phone
plugs, have priority over the XLR-type connectors, so when a phone plug is
inserted, the XLR-type connector is disconnected.
AD Input Connectors (AD 17–24)
AD Inputs 17 through 24 feature balanced 1/4-inch phone jacks, with a nom-
inal input range of –34 dB to +10 dB. They can also be used with unbalanced
phone plugs.
Phantom Power (AD 1–16)
AD Inputs 1 through 16 feature switchable +48 V phantom powering for use
with condenser-type microphones and direct boxes. Phantom power is sup-
plied to the balanced XLR-3-31-type connector, and can be switched individ-
ually for each AD Input.
Pad (AD 1–16)
AD Inputs 1 through 16 feature pad switches, which attenuate input signals by
26 dB, allowing the Head Amps to work with high-level signals. Pad is typi-
cally used to attenuate “hot” signals from bass or snare drum microphones, or
“hot” line-level signals.
Gain
AD Inputs feature detented rotary gain controls with an input sensitivity of
–16 dB to –60 dB, or +10 dB to –34 dB when the Pad is on (+10 dB to –34 dB
for AD Inputs 17–24). The GAIN controls adjust the gain of the Head Amps,
allowing you to optimize input signal levels for the best signal-to-noise perfor-
mance. Ideally, the GAIN control should be set so that the signal level is rela-
tively high, and it’s okay for the PEAK indicator to light up occasionally. If the
PEAK indicator lights up often, however, you should back off the GAIN con-
trol a little, otherwise, signal clipping may occur. If the GAIN is set too low, the
signal-to-noise performance will suffer.
PEAK & SIGNAL Indicators
These indicators are used in conjunction with the GAIN controls and PAD
switches to optimize signal levels. The SIGNAL indicator lights up when the
input signal level is 20 dB below nominal. The PEAK indicator lights up when
the input signal level is 3 dB below clipping.
ON
OFF
+48V
26dB
GAIN 34
10
+
-16 -60
GAIN
AD Inputs 1–16
AD Inputs 17–24
PEAK
SIGNAL
40 Chapter 4—Analog I/O & the AD Input Section
02R96—Owner’s Manual
AD Inserts (AD 1–16)
AD Inputs 1 through 16 feature switchable analog inserts on 1/4-inch TRS
phone jacks for the send and return signals. They are wired: sleeve–ground,
ring–return, tip–send. The nominal signal level is +4 dB.
AD Input inserts can be turned on and off individually by using the INSERT
ON/OFF switches, so you don’t have to disconnect your external equipment in
order to remove an insert.
Stereo Out
See page 73 for information on the Stereo Out outputs.
Control Room Monitor Out
See page 114 for information on the Control Room Monitor output.
Studio Monitor Out
See page 115 for information on the Studio Monitor output.
Omni Outs
The 02R96 features assignable Omni Outs on balanced 1/4-inch TRS phone jacks. Omni
Outs can be patched to Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel
Insert Outs, or Surround Monitor Channels (see page 55). In addition, Input Channel
Direct Outs can be patched to the Omni Outs (see page 56).
The maximum output level of each OMNI OUT can be set internally to either +4 dB
(–10 dB operating level) or +18 dB (+4 dB operating level). Contact your dealer for further
details.
2TR Analog INs
The 02R96 features two sets of 2-track analog inputs: 2TR IN ANALOG 1
+4 dB (BAL) uses balanced 1/4-inch TRS phone jacks. 2TR IN ANALOG 2
–10 dBV (UNBAL) uses unbalanced phono connectors. These inputs can be
monitored via the Control Room monitors by pressing the CONTROL
ROOM [2TR A1] and [2TR A2] buttons. They can be patched to Input
Channels (see page 52), Input Channel Insert Ins (see page 53), or Output
Channel Insert Ins (see page 55).
OFF
ON
INSERT
Digital I/O & Cascading 41
02R96—Owner’s Manual
5 Digital I/O & Cascading
Wordclocks
Unlike analog audio equipment, digital audio equipment must be synchronized when dig-
ital audio signals are transferred from one device to another, otherwise, signals may not be
received correctly and audible noise, glitches, or clicks may occur. Synchronization is
achieved using what’s called a wordclock, which is a clock signal for synchronizing all the
digital audio signals in a system. Note that wordclocks are not the same as SMPTE/EBU or
MTC timecode, which is typically used to synchronize tape machines, MIDI sequencers,
and so on. Wordclock synchronization refers to the synchronization of the digital audio
processing circuits inside each digital audio device.
In a typical digital audio system, one device operates as the wordclock master, and the other
devices operate as wordclock slaves, synchronizing to the wordclock master. Wordclock sig-
nals can be distributed via dedicated cables, typically BNC cables, or derived from digital
audio connections, including AES/EBU, ADAT, and Tascam formats.
If you’re connecting to the 02R96 using only analog inputs and outputs, no special word-
clock settings are required, and the 02R96 can be set to use its own internally generated
wordclock. If you’re connecting other equipment digitally, however, you must decide which
device to use as the wordclock master and which devices to use as slaves.
The 02R96 can be used as the wordclock master running at either 44.1 kHz, 48 kHz,
88.2 kHz, or 96 kHz, or slaved to an external wordclock source. External wordclock signals
can be received via the Slot Inputs, 2TR Digital Inputs, the CASCADE IN port, or the ded-
icated BNC WORD CLOCK IN connector.
In a system where all devices share a common wordclock, it’s important that all devices be
turned on even if they’re not being used. Turn on the wordclock master first, and then the
slaves. When shutting down the system, turn off the slaves first, and then the master. Before
use, make sure that the wordclock slaves are correctly locked to the wordclock master. Most
devices have front panel indicators to indicate this. Refer to the relevant owner’s manuals
for more information.
Wordclock Connections
The 02R96 features a BNC wordclock input and a BNC wordclock
output. External wordclock signals can be connected to the WORD
CLOCK IN connector, and terminated by using the 75Ω ON/OFF
switch (see page 43). The WORD CLOCK OUT outputs a word-
clock signal at the same clock rate as the 02R96.
42 Chapter 5—Digital I/O & Cascading
02R96—Owner’s Manual
Selecting the Wordclock Source
The wordclock source can be selected as follows.
1Use the DISPLAY ACCESS [DIO] button to locate the Word Clock Select page.
2Use the cursor buttons to select the sources, and press [ENTER] to set.
The SLOT TYPE column displays the names of any installed I/O Cards. The IN and OUT
columns indicate the number of inputs and outputs available for each installed I/O Card.
The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz,
88.2kHz, 96kHz, or Unlock.
The following are possible wordclock sources:
SLOT1–4 (1/2–15/16): These buttons select the Slot Inputs as the wordclock source.
Inputs are selected in pairs, the number of pairs depending on the type of I/O Card
installed.
WC IN: This button selects the WORDCLOCK IN connector as the wordclock source.
CAS. IN: This button selects the CASCADE IN port as the wordclock source.
2TRD1, 2TRD2, 2TRD3: These buttons select the 2TR Digital Inputs as the wordclock
source.
INT44.1k, INT48k, INT88.2k, INT96k: These buttons select the internal wordclock
generator as the wordclock source.
The source select buttons have the following indications:
A usable wordclock signal is present at this input.
No wordclock signal is present at this input.
A wordclock signal is present, but it’s out of sync with the current 02R96 clock.
This is the currently selected wordclock source.
This input was selected as the wordclock source, but no usable signal was received.
This cannot be selected as the wordclock source because a wordclock signal cannot be
sourced from this input on this type of I/O Card, or no I/O Card is installed.
If an external wordclock source fails for some reason, the 02R96 automatically switches to
its internal wordclock generator at the closest frequency.
Note: When you change the wordclock settings on any device in your digital audio system, some
devices may output noise, so turn down your power amps beforehand, otherwise your speakers
may be damaged.
2TR Digital Outs 43
02R96—Owner’s Manual
Terminating External Wordclocks
Wordclock signals distributed via BNC cables must be terminated correctly, otherwise, jitter
and synchronization errors may result. Ideally, you should make a separate wordclock con-
nection to each device and terminate it. The following examples show two ways in which
wordclock signals can be distributed and how termination should be applied in each case.
Normally the WORD CLOCK 75Ω ON/OFF switch should be set to ON. The OFF setting
provides support for wordclock source devices with special specifications.
Star Distribution
In this example a dedicated wordclock distribution box is used to supply wordclock signals
to each device individually. Termination is applied at each device.
Daisy Chain Distribution
In this example the wordclock signal is distributed in a “daisy-chain” fashion, with each
device feeding the wordclock signal on to the next. This method of distribution is not rec-
ommended for larger systems.
2TR Digital Outs
The 02R96 features three sets of 2-track digital outputs: 2TR OUT
DIGITAL AES/EBU 1 uses an XLR-3-32-type connector and outputs
AES/EBU format digital audio. 2TR OUT DIGITAL COAXIAL 2 and 3
use phono connectors and output consumer format (IEC-60958) dig-
ital audio. These outputs can be patched to the Bus Outs, Aux Sends,
the Stereo Out, Input or Output Channel Insert Outs, or the Control Room signal (see
page 56). They can also be patched to Direct Outs (see page 56). Digital output signals can
be dithered for transfer to lower-resolution systems (see page 48).
Device-A
Termination = ON
Device-B Device-C Device-D
Termination = ON Termination = ON Termination = ON
WC OUT
(BNC)
Wordclock
master Wordclock
distribution box
Wordclock slave Wordclock slave Wordclock slave Wordclock slave
WC IN (BNC) WC IN (BNC) WC IN (BNC) WC IN (BNC)
Device-A
Termination = ON
Device-B Device-C
Termination = ON Termination = ON
Wordclock
master
Wordclock slave Wordclock slave Wordclock slave
WC IN
(BNC)
WC OUT
(BNC)
WC OUT (BNC)
WC IN
(BNC)
WC IN
(BNC)
WC OUT
(BNC)
44 Chapter 5—Digital I/O & Cascading
02R96—Owner’s Manual
2TR Digital Ins
The 02R96 features three sets of 2-track digital inputs: 2TR IN DIGI-
TAL AES/EBU 1 uses an XLR-3-31-type connector and accepts
AES/EBU format digital audio. 2TR IN DIGITAL COAXIAL 2 and 3
use phono connectors and accept consumer format (IEC-60958) digi-
tal audio. These inputs can be monitored via the Control Room mon-
itors by using the CONTROL ROOM [2TR D1], [2TR D2], and [2TR D3] buttons. They
can be patched to Input Channels (see page 52), Input Channel Insert Ins (see page 53), or
Output Channel Insert Ins (see page 55). Digital audio signals received at sampling rates
other than the current 02R96 rate can be converted by the internal sampling rate converters
(see page 44). You can monitor the Channel Status of digital signals present at these inputs
on the Channel Status Monitor page (see page 48).
2TR In Sampling Rate Conversion
The 02R96’s 2TR Digital Inputs feature sampling rate converters so you can easily connect
your legacy 44.1/48 kHz digital audio equipment.
1Use the DISPLAY ACCESS [DIO] button to locate the Sampling Rate Con-
verter page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz,
88.2kHz, 96kHz, or Unlock.
2TR IN D1–3: These buttons are used to turn on and off the sampling rate converter for
each 2TR Digital Input. When on, the sampling rate of the received digital audio is con-
verted to the 02R96’s current sampling rate. The original sampling rate is displayed.
Slot I/O 45
02R96—Owner’s Manual
Slot I/O
The 02R96 features four Slots for installing optional mini-YGDAI (Yamaha General Digital
Audio Interface) I/O Cards, which offer various analog I/O options and digital I/O inter-
faces in all the popular digital audio interconnect formats, including AES/EBU, ADAT, and
Tascam.
Slot Inputs can be assigned to Input Channels or Input Channel Insert Ins (see page 52), or
to Output Channel Insert Ins (see page 55). Slot Outputs can be assigned to Bus Outs, Aux
Sends, the Stereo Out, Insert Outs, or the Surround Monitor Channels (see page 54), or
Direct Outs (see page 56).
Slot outputs can be dithered for digital audio transfer to lower-resolution systems (see
page 48).
Available Cards
The following mini-YGDAI I/O Cards are currently available. See the Yamaha Professional
Audio Web site at the following URL for up-to-date news on I/O Cards:
<http://www.yamaha.co.jp/product/proaudio/homeenglish/>.
Card Combination Restrictions
For technical reasons, certain I/O Card combinations are not supported. If you use an
unsupported combination, you run the risk of damaging the 02R96, in which case Yamaha
will not take responsibility for any such damage. See the Yamaha Professional Audio Web
site at the following URL for more details: <http://www.yamaha.co.jp/product/proau-
dio/homeenglish/>.
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
1. This card supersedes the 20-bit MY8-AD card.
8—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 25-pin D-sub
MY4-DA
Analog out —4 24-bit, 44.1/48 kHz XLR-3-32 type (balanced) x4
MY8-DA96 —8 24-bit, 44.1/48/88.2/96 kHz
25-pin D-sub
MY8-AE2
2. Can handle 24-bit/96 kHz in Double Channel mode.
AES/EBU I/O
88
24-bit, 44.1/48 kHz
MY8-AE96
24-bit, 44.1/48/88.2/96 kHz
MY8-AE96S3
3. Same as MY8-AE96 except for onboard sampling rate converters.
MY8-AT2ADAT I/O
24-bit, 44.1/48 kHz
Optical x2
MY8-TD2Tascam 25-pin D-sub
BNC wordclock output
MY8-mLAN IEEE1394 6-pin 1394 connector x2
46 Chapter 5—Digital I/O & Cascading
02R96—Owner’s Manual
Installing I/O Cards
This section explains how to install I/O Cards.
1Turn off the 02R96.
2Undo 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 plug the card into the inter-
nal connector.
4Secure the card using the attached thumbscrews. Do not leave them loose,
as the card will not be grounded correctly, which may cause the 02R96 to
malfunction.
You can check which I/O Cards are installed on the Word Clock Select page (see page 42).
Slot I/O 47
02R96—Owner’s Manual
Setting the Transfer Format for Higher Sampling Rates
The data transfer format for the higher sampling rates can be set as follows.
1Use the DISPLAY ACCESS [DIO] button to locate the Higher Sample Rate Data
Transfer Format page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
The SLOT TYPE column displays the names of any installed I/O Cards.
IN/OUT: These parameters are used to set the input and output data transfer format of I/O
Cards when running at the higher sampling rates (i.e., 88.2 kHz or 96 kHz) to either Double
Channel or Double Speed. In Double Speed mode, digital audio data is received and trans-
mitted at the current higher sampling rate (i.e., 88.2 kHz or 96 kHz). In Double Channel
mode, digital audio data is received and transmitted at a sampling rate that is exactly half
the current higher sampling rate and data is handled by two channels, thereby reducing the
total number of inputs or outputs for an eight channel I/O Card to four. In Double Channel
mode, the even-numbered channels are disabled. Double Channel mode allows you to
record 96 kHz audio to legacy 44.1/48 kHz digital multitrack recorders.
The IN and OUT parameters are only available when a higher sampling rate (i.e., 88.2 kHz
or 96 kHz) is selected. When the sampling rate is 44.1 kHz or 48 kHz, all parameters on this
page are unavailable. As are individual parameters for Slots with analog I/O Cards installed,
or no I/O Card installed. When a digital I/O card that does not support 88.2/96 kHz is
installed, such as the MY8-AE, MY8-AT, or MY8-TD, its IN and OUT formats are fixed at
Double Channel mode.
SRC: These parameters are used to turn on and off the sampling rate converter for each
pair of Slot Inputs. When on, the sampling rate of the received digital audio is converted to
the 02R96’s current sampling rate. The original sampling rate is displayed. These parame-
ters are available only when an I/O Card with onboard sampling rate converters is installed,
such as the MY8-AE96S.
48 Chapter 5—Digital I/O & Cascading
02R96—Owner’s Manual
Dithering Digital Outputs
For digital audio transfer to lower-resolution systems, the 2TR Digital Outputs and Slot
Outputs can be dithered to 16-bit, 20-bit, or 24-bit.
1Use the DISPLAY ACCESS [DIO] button to locate the Dither page.
2Use the cursor buttons to select the Dither parameters, and use the Param-
eter wheel or INC/DEC buttons to set them.
The SLOT column displays the names of any installed I/O Cards.
You can copy the currently selected setting to all Dither parameters by double-clicking the
[ENTER] button.
Monitoring Digital Input Channel Status
You can monitor the Channel Status of digital audio signals connected to the 2TR Digital
Inputs and Slot Inputs as follows.
1Use the DISPLAY ACCESS [UTILITY] button to locate the Channel Status Mon-
itor page.
2Use the cursor buttons to select the SLOT 1–4 and 2TR IN buttons, and the
press [ENTER].
Displayed Channel Status information includes sampling rate (FS), emphasis, category, and
copy protection.
Cascading Consoles 49
02R96—Owner’s Manual
Cascading Consoles
Up to four 02R96s can be cascaded, offering a maximum of 224 Input Channels. Several
functions are linked between all cascaded consoles, including Solo, Scene Recall and Store,
so that all consoles work just like one big console. A single Yamaha 02R Digital Recording
Console can be included in the cascade system.
The CASCADE IN and CASCADE OUT
ports are used to transmit and receive
Cascade and control signals. Only use
the optional dedicated Cascade cables for
connecting.
Linked Functions
The following 02R96 functions are linked via the cascade ports:
• AUX SELECT
• Display page selection
• Solo function
• FADER MODE
• ENCODER MODE
• Metering position setting
• Peak Hold On/Off
• Meter Fast Fall on/off
• Scene Store, Recall, and Title Edit
When a Scene is recalled on the master console, that scene is recalled on all cascaded con-
soles.
• The following Automix functions: Make New Automix, Store, Recall, Undo, Title Edit,
Transport (AutoREC, REC, PLAY, STOP, ABORT).
• The following Automix parameters: Automix Enable/Disable, Internal Start Time, Offset
Time, Frame Rate, Overwrite (FADER, ON, PAN, SURR, AUX, AUX ON, EQ), Motor
ON/OFF, Edit Out Mode OFF/RETURN/TAKEOVER, Return Time, Update To End
On/Off, ABSOLUTE/RELATIVE Fader Edit Mode, Touch Sense Edit In On/Off, Touch
Sense Edit Out On/Off.
Function and parameter linking can be turned on or off by using the Cascade COMM Link
preference (see page 198). The Solo function is always linked regardless of this preference.
When the 02R96 is cascaded with a Yamaha DM2000 Digital Production Console, display
page selection is not linked, and Matrix Send select actions, and Aux Send 9–12 select
actions performed on the DM2000 are ignored by the 02R96.
Note: When the Cascade COMM Link preference is on, do not make any MIDI connections
between cascaded 02R96s. If two 02R96s are cascaded and connected via MIDI, and the Cas-
cade COMM Link preference is on, when a store operation is performed on the master console,
a loop will be created, causing both consoles to execute endless store operations.
50 Chapter 5—Digital I/O & Cascading
02R96—Owner’s Manual
Cascade Hookup Examples
Cascading Two 02R96s
Cascading Three or More 02R96s
Cascading an 02R Digital Recording Console
02R96 #1 02R96 #2
CASCADE IN
CASCADE OUT
CASCADE OUT
Master: Off
Bi-directional: -
Master: On
Bi-directional: On
CASCADE IN
Final signals
can be output by the
Slot Outputs or Omni Outs.
Final signals
can be output by the
Slot Outputs or Omni Outs.
02R96 #1 02R96 #2/3 02R96 #4
CASCADE IN
CASCADE OUT
Master: Off
Bi-directional: -
Master: Off
Bi-directional: -
Master: On
Bi-directional: On
CASCADE IN
CASCADE OUT CASCADE OUT
CASCADE IN
Final signals
can be output by the
Slot Outputs or Omni Outs.
Final signals
can be output by the
Slot Outputs or Omni Outs.
02R 02R96 #1/2 02R96 #3
CASCADE IN
CASCADE OUT
Master: Off
Bi-directional: -
Cascade In from: 02R
Master: On
Bi-directional: Off
CASCADE IN
CASCADE OUT
Final signals
can be output by the
Slot Outputs or Omni Outs.
Cascading Consoles 51
02R96—Owner’s Manual
Attenuating Cascade Inputs
Cascade Inputs can be attenuated, and the Cascade mode and Cascade source can be spec-
ified on the Cascade In page.
1Use the DISPLAY ACCESS [DIO] button to locate the Cascade In page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
CASCADE MODE: When you want to output the same signals from two 02R96s, turn on
the BI-DIRECTIONAL button. In this case, the Cascade connections are looped. Turn on
the CASCADE MASTER option on the last 02R96 to make it the master console.
CASCADE IN FROM: This is used to specify the type of device connected to the CAS-
CADE IN port, either 02R96 or 02R. When a 02R96 is connected to the CASCADE IN port,
02R96 is specified automatically.
CASCADE IN ATTENUATOR: These controls are used to attenuate Cascade Input sig-
nals. The AUX9–AUX12 controls attenuate the corresponding signals only when the 02R96
is cascaded between two Yamaha DM2000 Digital Production Consoles, they have no effect
on the 02R96 itself. You can copy the currently selected setting to all Attenuator parameters
by double-clicking the [ENTER] button.
Turning On & Off Cascade Outputs
Individual Cascade Outputs can be turned on or off as follows.
1Use the DISPLAY ACCESS [DIO] button to locate the Cascade Out page.
2Use the cursor buttons to select the ON/OFF buttons, and use the [ENTER]
button to set them.
52 Chapter 6—Input & Output Patching
02R96—Owner’s Manual
6 Input & Output Patching
Input Patching
Signal sources for the Input Channels, Input Channel Insert Ins, and internal effects pro-
cessors are selected on the Input Patch pages, which are selected by using the DISPLAY
ACCESS [INPUT PATCH] button. Use the cursor buttons to select the patch parameters,
use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set.
Patch parameters display Short Port names. The Long Port name of the currently selected
patch parameter is displayed in the upper-right corner of each page.
Patching can also be done by using the Patch Select Window (see page 57). Input Channel
Inputs, Insert Ins, and Insert Outs can also be patched by using the Encoders (see page 58).
See page 204 for a complete list of input patch sources. See page 207 for a list of initial input
patches.
Input Patch settings can be stored in the Input Patch library, which contains 1 preset mem-
ory and 32 user memories. See “Input Patch Library” on page 124 for more information.
Patching Input Channels
AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs,
Bus Outs, or Aux Sends can be patched to the Input Channel Inputs.
The Input Channel Patch parameters for the 56 Input Channels are divided between two
pages. The Input Channel 1–48 Patch page is shown below. The layout of the other page is
the same. When Vertical Input Channel pairing mode is selected, patch parameters for ver-
tical partners are displayed, for example, CH1, CH25, CH2, CH26, and so on.
In addition to using the cursor buttons, Patch parameters can also be selected by using the
LAYER and [SEL] buttons.
Input Patching 53
02R96—Owner’s Manual
Patching Input Channel Insert Ins
AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs can
be patched to the Input Channel Insert Ins.
The Input Channel Insert In Patch parameters for the 56 Input Channels are divided
between two pages. The Input Channel 1–48 Insert In Patch page is shown below. The lay-
out of the other page is the same. When Vertical Input Channel pairing mode is selected,
patch parameters for vertical partners are displayed, for example, CH1, CH25, CH2, CH26,
and so on.
In addition to using the cursor buttons, Patch parameters can also be selected by using the
LAYER and [SEL] buttons.
Patching Effects Inputs
Aux Sends, internal effects processor outputs, or Output Channel Insert Outs can be
patched to the internal effects processor inputs on the Effect 1–4 Input Patch page.
54 Chapter 6—Input & Output Patching
02R96—Owner’s Manual
Output Patching
Signal sources for the Slot Outputs, Omni Outs, Output Channel Inserts Ins, Direct Outs,
and 2TR Digital Outputs are selected on the Output Patch pages, which are selected by
using the DISPLAY ACCESS [OUTPUT PATCH] button. Use the cursor buttons to select
the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and
press [ENTER] to set.
Depending on the patch page, patch parameters display either Short Channel or Short Port
names. The Long Channel or Port name of the currently selected patch parameter is dis-
played in the upper-right corner of each page.
Signal sources can also be selected by using the Patch Select Window (see page 57). Insert
Ins, Insert Outs, and Direct Outs can also be patched by using the Encoders (see page 58).
See page 208 for a complete list of output patch sources. See page 213 for a list of initial out-
put patches.
Output Patch settings can be stored in the Output Patch library, which contains 1 preset
memory and 32 user memories. See “Output Patch Library” on page 124 for more informa-
tion.
Patching Slot Outputs
Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround
Monitor Channels can be patched to the Slot Outputs. Slot Outputs can be patched to
Direct Outs on the Direct Out Destination pages (see page 56).
The Slot Output Patch parameters for the four Slots are arranged into two pages. The Slot
1–2 Output Patch page is shown below. The layout of the other page is the same.
When a Slot Output is patched to a Direct Out (see page 56), and that Direct Out is assigned
on an Input Channel Routing page, the Slot Output patch cannot be changed here.
Output Patching 55
02R96—Owner’s Manual
Patching Omni Outs
Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround
Monitor Channels can be patched to the Omni Outs. Omni Outs can be patched to Direct
Outs on the Direct Out Destination pages (see page 56).
When an Omni Out is patched to a Direct out (see page 56), and that Direct Out is assigned
on an Input Channel Routing page, the Omni Out patch cannot be changed here.
Output Channel Inserts Ins
AD Inputs, Slot Inputs, internal effects processor outputs, or Digital or Analog 2TR Inputs
can be patched to the Output Channel Insert Ins. The left and right channels of the Stereo
Out can be patched individually.
In addition to using the cursor buttons, Patch parameters can also be selected by using
[SEL] buttons 9–24 and the STEREO [SEL] button while the Master Layer is selected.
56 Chapter 6—Input & Output Patching
02R96—Owner’s Manual
Patching Direct Outs
Direct Outs can be patched to the Slot Outputs, Omni Outs, or 2TR Digital Outputs.
The Direct Out Destination parameters for the 56 Input Channels are divided between two
pages. The Input Channel 1–48 Direct Out Destination page is shown below. The layout of
the other page is the same.
In addition to using the cursor buttons, Patch parameters can also be selected by using the
LAYER and [SEL] buttons.
Patching the 2TR Digital Outputs
Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or the Control
Room signal can be patched to the 2TR Digital Outputs. 2TR Digital Outputs can be
patched to Direct Outs on the Direct Out Destination pages (see page 56). The left and right
channels of each Digital Output can be patched individually.
When a 2TR Digital Output is patched to a Direct out (see page 56), and that Direct Out is
assigned on an Input Channel Routing page, the 2TR Digital Output patch cannot be
changed here.
Naming Input & Output Ports 57
02R96—Owner’s Manual
Naming Input & Output Ports
You can specify Long and Short names for the Input and Output Ports as follows. These
names appear on the Input and Output Patch pages.
See page 215 for a list of the initial Input Port names; page 216 for Output Port names.
1Use the DISPLAY ACCESS [SETUP] button to locate the Input Port or Output
Port Name page.
2Use the Parameter wheel or INC/DEC buttons to select the ports.
3Use the cursor buttons to select the Long or Short name, and then press
[ENTER].
When the Title Edit window appears, edit the port name, and press OK when you’ve fin-
ished. See “Title Edit Window” on page 32 for more information.
When the Name Input Auto Copy option is on, the first four characters of a newly entered
Long name are automatically copied to the Short name and vice versa.
You can reset all port names back to their initial values by pressing the INITIALIZE button.
Patch Select Window
Input and Output patches can be made by using the Patch Select window, shown below,
which appears when the [ENTER] button is pressed while a patch parameter is selected.
Available input and output sources and destinations are displayed in a hierarchical format
in three panes. The existing source or destination is displayed in the upper-right corner of
the window. Use the cursor buttons to move the cursor to the pane on the left, and use the
Parameter wheel or INC/DEC buttons to select the top level item. Then move the cursor to
the center pane, and select an item at the next level. Select an item in the right pane, if avail-
able, and then select the YES button and press [ENTER].
58 Chapter 6—Input & Output Patching
02R96—Owner’s Manual
Patching with the Encoders
The following patches can be made by using the Encoders: Input Channel Inputs, Insert
Outs, Insert Ins, and Direct Outs.
1Assign one of the above parameters to an Encoder ASSIGN button, as
explained on page 37.
2Press the ASSIGN button to which you assigned the patch parameter.
3Use the Encoders to select ports, and press the Encoder push switches to set
them.
The coresponding Patch page appears when an Encoder is operated. If you operate another
Encoder, the selection is cancelled and the patch is left unchanged.
Input Channels 59
02R96—Owner’s Manual
7 Input Channels
Patching Input Channels
AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs,
Bus Outs, or Aux Sends can be patched to the Input Channel Inputs. See “Patching Input
Channels” on page 52 for more information.
Metering Input Channels
Input Channel signal levels can be metered on the Meter pages. See “Metering” on page 87
for more information.
Reversing the Signal Phase
The signal phase of each Input Channel can be reversed as follows.
1Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to
select the Phase pages.
The Phase parameters for the 56 Input Channels are divided between two pages. The Input
Channel 1–48 Phase page is shown below. The layout of the other page is the same.
2Use the cursor buttons or Parameter wheel to select the NOR/REV buttons,
and the [ENTER] button and INC/DEC buttons to set them.
The NOR/REV buttons can also be selected by using the LAYER and [SEL] buttons.
GLOBAL NOR/REV: These buttons allow you to set the phase of all Input Channels
simultaneously.
60 Chapter 7—Input Channels
02R96—Owner’s Manual
Gating Input Channels
Each Input Channel features a noise Gate for automatically shutting out unwanted noise.
Gate settings can be stored in the Gate library, which contains 4 preset memories and 88
user memories. See “Gate Library” on page 127 for more information.
Preset Gates & Types
The following table lists the preset Gates and types. See page 255 for detailed parameter
information.
Using the SELECTED CHANNEL DYNAMICS Controls
1Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
Input Channels.
2Use the [GATE ON] button to turn the currently selected Input Channel’s
Gate on or off.
3Use the [GATE/COMP] button to set the DYNAMICS controls to GATE (GATE
indicator lit), and use the THRESHOLD, RANGE, ATTACK, DECAY, and HOLD
controls to set the Gate.
Gate Edit Page
Gate settings can be viewed and set on the Gate Edit page. If the Auto DYNAMICS Display
preference is on, this page appears automatically when a gate control in the SELECTED
CHANNEL DYNAMICS section is operated.
1Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
Input Channels.
2Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Gate Library page, and then recall a Gate preset that contains the gate type
that you want.
See “Gate Library” on page 127 for more information.
# 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
GATE ON COMP ON GATE
COMP
RANGE
RATIO
ATTACK
ATTACKTHRESHOLD
THRESHOLD
DYNAMICS
DISPLAY
GATE / COMP DECAY
RELEASE
HOLD
GAIN
Attenuating Input Channels 61
02R96—Owner’s Manual
3Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Gate Edit page.
4Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
KEYIN SOURCE: This determines the trigger source for the currently selected Input
Channel’s Gate. Trigger sources include SELF (the Gate’s own input signal), CHANNEL
(another Input Channel), or AUX (an Aux Send from 1–8). Input Channel trigger sources
are selectable in blocks of 12 channels. For example, if Input Channel #1 is currently
selected, an Input Channel from 1–12 can be selected as the trigger source. However, if
Input Channel #13 is currently selected, an Input Channel from 13–24 can be selected.
STEREO LINK: This allows you to pair Gates for stereo operation even when Input Chan-
nels are not paired. Input Channel Gates are paired either horizontally or vertically depend-
ing on the Pair mode setting for the currently selected Input Channel. See “Pairing
Channels” on page 104 for more information on horizontal and vertical pairing. When
Input Channels are paired, this parameter is turned on automatically and cannot be
changed.
CURVE: This displays the gate curve (i.e., input level vs. output level).
TYPE: This is the gate type used by the currently selected Input Channel’s Gate.
Meters: These meters indicate the levels of the currently selected Input Channel and its
horizontal or vertical partner. The GR meter indicates the amount of gain reduction being
applied by the currently selected Input Channel’s Gate.
ON/OFF: This turns the currently selected Input Channel’s Gate on and off. It works in
unison with the SELECTED CHANNEL DYNAMICS [GATE ON] button.
PARAMETER: These controls are used to set the Threshold, Range, Attack, Decay, and
Hold parameters.
Attenuating Input Channels
Input Channels signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for
more information.
EQ’ing Input Channels
Each Input Channel features 4-band parametric EQ. See “Using EQ” on page 91 for more
information.
62 Chapter 7—Input Channels
02R96—Owner’s Manual
Grouping Input Channel EQs
Input Channel EQs can be grouped, allowing you to control the EQ of several Input Chan-
nels simultaneously. There are four Input Channel EQ groups: a, b, c, and d.
1Use the DISPLAY ACCESS [GROUP] button to locate the Input Equalizer Link
page.
2Use the LAYER buttons to select the Layers.
The corresponding group row is selected as each Layer is selected.
3Use the Up/Down cursor buttons to select EQ groups a–d.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove Input Channels to and from the
selected group.
The EQ settings of the first Input Channel added to the group are applied to all subse-
quently added Input Channels.
When an Input Channel is added to a group, its [SEL] button indicator lights up.
Input Channel Inserts
Internal effects processors and external signal processors can be patched into the Input
Channels by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing Input Channels
Each Input Channel features a Compressor. See “Compressing Channels” on page 97 for
more information.
Grouping Input Channel Compressors 63
02R96—Owner’s Manual
Grouping Input Channel Compressors
Input Channel Compressors can be grouped, allowing you to control the compression of
several Input Channels simultaneously by operating any Compressor control in the group.
There are four Input Channel Compressor groups: i, j, k, and l.
1Use the DISPLAY ACCESS [GROUP] button to locate the Input Comp Link
page.
2Use the LAYER buttons to select the Layers.
The corresponding group row is selected as each Layer is selected.
3Use the Up/Down cursor buttons to select Comp groups i–l.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove Input Channels to and from the
selected group.
The Compressor settings of the first Input Channel added to the group are applied to all
subsequently added Input Channels.
When an Input Channel is added to a group, its [SEL] button indicator lights up.
If an Input Channel Compressor’s Stereo Link option is on, it’s turned off when that Input
Channel is added to a Comp group.
Delaying Input Channels
Each Input Channel features a Delay function. See “Delaying Channel Signals” on page 101
for more information.
Muting Input Channels (ON/OFF)
Input Channels can be muted as follows.
1Use the LAYER buttons to select the Layers.
2Use the [ON] buttons to mute the Input Channels.
The [ON] button indicators of channels that are on are lit.
ON
64 Chapter 7—Input Channels
02R96—Owner’s Manual
Grouping Input Channel Mutes (ON/OFF)
Input Channel Mutes can be grouped, allowing you to mute several Input Channels simul-
taneously. There are eight Input Channel Mute groups: I, J, K, L, M, N, O, and P.
1Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Mute
Group pages.
The Mute group parameters for the 56 Input Channels are divided between two pages. The
Input Channel 1–48 Mute Group page is shown below. The layout of the other page is the
same.
2Use the LAYER buttons to select the Layers.
The corresponding Mute Group page and group row is selected as each Layer is selected.
3Use the Up/Down cursor buttons to select Mute groups I–P.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove mutes to and from the selected
group.
When an Input Channel is added to a Mute group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
Mute groups may contain a combination of channels that are on and channels that are off.
Setting Input Channel Levels 65
02R96—Owner’s Manual
Setting Input Channel Levels
Input Channel levels can be set as follows.
1Use the LAYER buttons to select the Layers.
2Press the FADER MODE [FADER] button to select Fader mode.
3Use the faders to set the Input Channel levels.
Refer to the legend on the left side of the faders when setting Input Channel levels.
Fader positions can be viewed on the Fader View pages. See “Viewing Channel
Fader Settings” on page 109 for more information.
Grouping Input Channel Faders
Input Channel faders can be grouped, allowing you to control the level of several Input
Channels simultaneously. There are eight Input Channel Fader groups: A, B, C, D, E, F, G,
and H.
1Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Fader
Group pages.
The Fader Group parameters for the 56 Input Channels are divided between two pages. The
Input Channel 1–48 Fader Group page is shown below. The layout of the other page is the
same.
2Use the LAYER buttons to select the Layers.
The corresponding Fader Group page and group row is selected as each Layer is selected.
3Use the Up/Down cursor buttons to select Fader groups A–H.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove faders to and from the selected
group.
When an Input Channel is added to a group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
You can temporarily disable a Fader group in order to make adjustments to individual fad-
ers by touching two or more faders in the group, or by operating the fader while holding
down its [SEL] button.
Fader groups are active only in Fader mode (i.e., when the FADER MODE [FADER] button
indicator is on). See “Selecting Fader Modes” on page 35 for more information.
25
49
1
50
40
30
20
15
10
10
5
0
5
66 Chapter 7—Input Channels
02R96—Owner’s Manual
Routing Input Channels
Each Input Channel can be routed to the Bus Outs, Stereo Out, or its own Direct Out.
Using the SELECTED CHANNEL ROUTING Controls
1Use the LAYER buttons to select the Layers, and use the
[SEL] buttons to select the Input Channels.
2Use the [1–8], [STEREO], and [DIRECT] buttons to route the
currently selected Input Channel.
[1–8]: These buttons route the currently selected Input Channel to the
Bus Outs.
[STEREO]: This button routes the currently selected Input Channel to
the Stereo Out.
DIRECT: This button routes the currently selected Input Channel to its Direct Out.
[FOLLOW PAN]: This determines whether the Input Channel’s Pan control setting is
applied to the Bus Outs. When off, the levels of the signals fed to the odd and even Bus Outs
is the same. When on, the levels of the signals fed to the odd and even Bus Outs follows the
Pan control.
Routing Pages
Input Channel routing settings can be viewed and set on the Routing pages. If the Auto
ROUTING Display preference is on, these pages appear automatically when a button in the
SELECTED CHANNEL ROUTING section is pressed. See “Auto ROUTING Display” on
page 197.
1Use the SELECTED CHANNEL ROUTING [DISPLAY] button to select the Rout-
ing pages.
The Routing parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Routing page is shown below. The layout of the other two pages is the
same.
2Use the cursor buttons and Parameter wheel to select the parameters, and
use the [ENTER] button or INC/DEC buttons to set them.
Channels can also be selected by using the LAYER buttons and [SEL] buttons.
ALL STEREO: This button assigns all Input Channels to the Stereo Out.
ALL BUS: This button assigns all Input Channels to all Bus Outs
ALL CLEAR: This button clears all routing assignments.
12
34
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
Panning Input Channels 67
02R96—Owner’s Manual
The currently selected Surround mode is displayed in the lower-left corner. When Stereo
mode is selected, the Bus Out routing buttons display numbers from 1 through 8. When a
Surround Pan mode is selected, they display abbreviations of the Surround Channel names,
as shown in the following table. See “Using Surround Pan” on page 69 for more informa-
tion.
Panning Input Channels
Input Channels can be panned between the left and right channels of the Stereo Out.
Using the Encoders
1Use the LAYER buttons to select the Layers.
2Press the ENCODER MODE [PAN] button to select the Pan Encoder
mode.
3Use the Encoders to pan the input channels.
Using the SELECTED CHANNEL PAN/SURROUND Controls
1Use the LAYER buttons to select the Layers, and use the [SEL] buttons to
select the Input Channels.
2Use the Pan control to pan the currently selected Input Channel.
The pan display indicates the pan position of the currently selected Input Channel. When
pan is set to center, the center two segments light up. You can use the [L] and [R] buttons
to select horizontal or vertical Input Channel partners.
The [LINK] button, which is enabled only when a Surround mode other than Stereo is
selected, is used to link the Pan control and the Joystick so that either control can be used
for panning. It’s a global setting that applies to all Input Channels. For this to work, the
[EFFECT] button indicator must be off and the [GRAB] and [LINK] button indicators
must be on.
Surround Mode Bus Outs
12345678
Stereo 12345678
3-1 LRCS5678
5.1 L R Ls Rs C E1
1. Short for LFE (Low frequency Effects).
78
LINK GRAB EFFECT
LEVEN
R
LR
PAN / SURROUND
DISPLAY
ODD
68 Chapter 7—Input Channels
02R96—Owner’s Manual
Pan Pages
Pan settings can be viewed and set on the Pan pages. If the Auto PAN/SURROUND Display
preference is on, these pages appear automatically when a control in the SELECTED
CHANNEL PAN/SURROUND section is operated. If both the [LINK] and [GRAB] button
indicators are on, these pages will also appear when the Joystick is operated. See “Auto
PAN/SURROUND Display” on page 197.
1Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Input Channel Pan pages.
The Pan parameters for the 56 Input Channels are arranged into three pages. The Input
Channel 1–24 Pan page is shown below. The layout of the other two pages is the same.
2Use the cursor buttons to select the Pan controls, and use the Parameter
wheel and INC/DEC buttons to set them.
Pan parameters can also be selected by using the LAYER buttons and [SEL] buttons.
The currently selected Pan control can be set to center by pressing [ENTER].
MODE: There are three Pan modes that determine how horizontally and vertically paired
Input Channels are panned: Individual, Gang, and Inverse Gang. This is a global setting that
applies to all paired Input Channels.
In individual mode, paired Input Channel pan controls operate independently.
In Gang mode, paired Input Channel pan controls operate in unison.
In Inverse Gang mode, paired Input Channel pan controls operate in unison but
move in opposite directions.
Aux Send Pan controls can be linked to Input Channel Pan controls so that operating an
Input Channel Pan control also operates the corresponding Aux Send Pan control, and vice
versa (see page 84). While linked, the Pan mode can be set on the Aux Pan page or the Input
Channel Pan page.
Using Surround Pan 69
02R96—Owner’s Manual
Using Surround Pan
The 02R96 supports 3-1 and 5.1 Surround modes. Surround pan is independent of normal
panning. Normal panning determines how an Input Channel signal is panned between the
left and right channels of the Stereo out, whereas surround panning determines how an
Input Channel signal is panned among the Surround channels (i.e., the Bus Outs). The fol-
lowing table shows how Surround channels are handled by the Bus Outs.
See page 116 for information on surround monitoring.
Selecting Surround Pan Modes
The Surround mode can be selected as follows.
1Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Surround Mode page.
2Use the cursor buttons to select the surround mode buttons, and press
[ENTER] to activate the selected mode.
The 3-1 Surround mode page is shown on the left; the 5.1 page on the right. The diagram
on each page shows the typical sound image placement and the Surround channel to Bus
Out configuration.
Surround Mode Bus Outs
123456
3-1 Left Right Center Surround ——
5.1 Left Right Left
Surround
Right
Surround Center LFE
70 Chapter 7—Input Channels
02R96—Owner’s Manual
Using the Joystick
1Use the LAYER buttons to select the Layers, and use the [SEL] buttons to
select the Input Channels.
2Press the [GRAB] button to grab the current Joystick position, and then use
the Joystick to set the surround pan.
The [GRAB] button, which is enabled only when a Surround mode other than Stereo is
selected, is used to turn on and off Joystick surround pan control for the currently selected
Input Channel. While Grab is on, the Joystick can be used to set the surround pan position
of the currently selected Input Channel. If the Joystick is set to control effects (i.e., the
[EFFECT] button indicator is lit), the [GRAB] button is disabled.
Selected Channel Surround Edit Page
Surround pan settings can be viewed and set on the Input Channel Surround Edit page. If
the Auto PAN/SURROUND Display preference is on, and a Surround Pan mode other than
Stereo is selected, this page appears automatically when a PAN/SURROUND control other
than the [EFFECT] button is operated. See “Auto PAN/SURROUND Display” on page 197.
1Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Surround Edit page.
2Use the LAYER buttons to select the Layers, and use the [SEL] buttons to
select the Input Channels.
The Surround Edit page displays surround pan parameters for the currently selected Input
Channel and its horizontal or vertical partner. The current surround pan position of each
Input Channel is indicated by a small circle. It’s also indicated numerically next to each
Input Channel number, for example, “CH1 (L9, R10).”
The graph of the currently selected Input Channel displays a small square, which indicates
the current position of the Joystick. If the Auto Grab preference is on (see page 198), when
the Joystick is moved to the current surround pan position, the Joystick kicks in as surround
pan control and the small square disappears.
The number of speaker icons and meters around the surround graph depends on the cur-
rently selected Surround mode. The meters indicate Bus Out signal levels.
LINK GRAB EFFECT
LEVEN
R
LR
PAN / SURROUND
DISPLAY
ODD
Using Surround Pan 71
02R96—Owner’s Manual
You can move the surround pan directly to one of the speaker icons, including the box icons
without speakers, by selecting its icon, and then pressing [ENTER].
3Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
LFE: This sets the level of the LFE (Low Frequency Effects) Channel (5.1 mode only).
DIV (divergence): This determines how the Center signal is fed to the Left, Right, and
Center channels. When set to 0, the Center signal is fed only to the Left and Right channels
(i.e., Phantom Center). When set to 50, the Center signal is fed equally to the Left, Right,
and Center channels. When set to 100, it’s fed to only the Center channel (i.e., Real Center).
Patterns: These buttons are used to select the seven patterns that determine how the sur-
round pan moves by the Parameter wheel and INC/DEC buttons.
FAST: This sets the speed of surround pan control when using the Parameter wheel and
INC/DEC buttons.
WIDTH: This sets the left-to-right width of the selected pattern.
DEPTH: This sets the front-to-rear depth of the selected pattern.
WIDTH OFFSET: This can be used to offset the left-to-right direction of the selected pat-
tern.
DEPTH OFFSET: This can be used to offset the front-to-rear direction of the selected pat-
tern.
ST LINK: This can be used to link the surround pan parameters of the currently selected
Input Channel and its horizontal or vertical partner regardless of whether they are paired.
PATTERN: When Input Channels are linked, the seven patterns selectable here determine
how the linked surround pan moves by the Parameter wheel and INC/DEC buttons.
Input Channel Surround Pages
Surround pan positions can be viewed and set on the Surround pages.
1Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select
the Input Channel Surround pages.
The Surround parameters for the 56 Input Channels are arranged into three pages. The
Input Channel 1–24 Surround page is shown below. The layout of the other two pages is the
same.
2Use the cursor buttons to select the Surround parameters, and use the
Parameter wheel and INC/DEC buttons to set them.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. The
graph for the currently selected Input Channel displays a small square, which indicates the
current position of the Joystick.
72 Chapter 7—Input Channels
02R96—Owner’s Manual
L/R: These parameters are used to set the left/right surround position. While selected, they
can quickly be set to center by pressing [ENTER].
F/R: These parameters are used to set the front/rear surround position. While selected, they
can quickly be set to center by pressing [ENTER].
You can jump to the more detailed Surround Edit page by pressing [ENTER] while an Input
Channel’s surround graph is selected.
Sending Input Channels to Aux Sends
Input Channel signals can be sent to Aux Sends 1–8. See “Setting Aux Send Levels” on
page 80 and “Pre-Fader or Post-Fader Aux Sends” on page 79.
Soloing Input Channels
Input Channels can be soloed. See page 102 for more information.
Direct Outs
Each Input Channel features a Direct Out, which can be patched to the Slot Outputs, Omni
Outs, or the 2TR Digital Outputs. Direct Out signals can be sourced pre-EQ, pre-fader, or
post-fader. See “Patching Direct Outs” on page 56 and “Routing Input Channels” on
page 66 for more information.
Pairing Input Channels
Horizontal or vertical Input Channel partners can be paired for stereo operation. See “Pair-
ing Channels” on page 104 for more information.
Using MS Decoding
When Input Channels are paired, MS Decoding can be used to decode signals from micro-
phones arranged as MS pairs. MS Decoding is set on the Input Channel Pair pages. See
“Pairing Channels” on page 104 for more information.
Viewing Input Channel Settings
Parameter and fader settings for each Input Channel can be viewed on the View pages. See
“Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader Settings”
on page 109 for more information.
Naming Input Channels
Input Channels can be named for easy identification. See “Naming Channels” on page 112
for more information.
Stereo Out 73
02R96—Owner’s Manual
8 Stereo Out
Stereo Out Connectors
The Stereo Out is output by the STEREO OUT +4 dB (BAL) balanced
XLR-3-32-type connectors and the STEREO OUT –10 dBV (UNBAL)
unbalanced phono connectors.
Patching the Stereo Out to Outputs
The left and right channels of the Stereo Out can be patched to the Slot Outputs, Omni
Outs, or the 2TR Digital Outputs. See “Output Patching” on page 54 for more information.
Routing Input Channels to the Stereo Out
Input Channels can be routed and panned to the Stereo Out. See “Routing Input Channels”
on page 66 for more information.
Sending Bus Outs to the Stereo Out
Bus Out signals can be sent to the Stereo Out. See “Sending Bus Outs to the Stereo Out” on
page 78 for more information.
Metering the Stereo Out
Stereo Out signal levels can be metered on the Meter pages. See “Metering” on page 87 for
more information.
Monitoring the Stereo Out
The Stereo Out can be monitored via the CONTROL ROOM MONITOR OUTs and the
PHONES (see page 114) or the STUDIO MONITOR OUT (see page 115).
Attenuating the Stereo Out
Stereo Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for more
information.
EQ’ing the Stereo Out
The Stereo Out features 4-band parametric EQ. See “Using EQ” on page 91 for more infor-
mation.
Grouping Master EQs
The Stereo Out EQ can be grouped with the EQs of other Output Channels. See “Grouping
Output Channel EQs” on page 94 for more information.
74 Chapter 8—Stereo Out
02R96—Owner’s Manual
Stereo Out Inserts
Internal effects processors and external signal processors can be patched into the Stereo Out
by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing the Stereo Out
Signal dynamics can be controlled by using the Stereo Out Compressor. See “Compressing
Channels” on page 97 for more information.
Grouping Master Compressors
The Stereo Out Compressor can be grouped with the Compressors of other Output Chan-
nels. See “Grouping Output Channel Compressors” on page 100 for more information.
Muting the Stereo Out (ON/OFF)
The Stereo Out can be muted by using the STEREO [ON] button, which is used
exclusively for this task and is not affected by the Layers. Its indicator lights up
when the Stereo Out is on.
Grouping Master Mutes (ON/OFF)
The Stereo Out Mute can be grouped with the Mutes of other Output Channels. See
“Grouping Output Channel Mutes (ON/OFF)” on page 107 for more information.
Setting the Stereo Out Level
The Stereo Out level is set by using the STEREO fader, which is used exclu-
sively for this task and is not affected by the Layers or Fader modes.
Grouping Master Faders
The Stereo Out fader can be grouped with the faders of other Output Channels. See
“Grouping Output Channel Faders” on page 106 for more information.
ON
70
60
50
40
30
20
15
10
5
0
STEREO
Balancing the Stereo Out 75
02R96—Owner’s Manual
Balancing the Stereo Out
The left and right channels of the Stereo Out can be balanced as follows.
1Press the STEREO [SEL] button to select the Stereo Out.
2Use the Pan control to set the balance.
The pan display indicates the balance. When the balance is set to center, the center two seg-
ments light up. The balance can be set to center by pressing [ENTER].
The Stereo Out balance can also be set on the Stereo Fader View page. See “Viewing Channel
Fader Settings” on page 109 for more information.
Delaying the Stereo Out
The left and right channels of the Stereo Out can be delayed independently by using the Ste-
reo Out Delay. See “Delaying Channel Signals” on page 101 for more information.
Viewing Stereo Out Settings
Parameter and fader settings for the Stereo Out can be viewed and set on the View pages.
See “Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader Set-
tings” on page 109 for more information.
Naming the Stereo Out
The Stereo Out can be named for easy identification. See “Naming Channels” on page 112
for more information.
LEVEN
R
LR
PAN / SURROUND
DISPLAY
ODD
76 Chapter 9—Bus Outs
02R96—Owner’s Manual
9 Bus Outs
Patching Bus Outs to Outputs
Bus Outs can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See
“Output Patching” on page 54 for more information.
Routing Input Channels to Bus Outs
Input Channels can be routed to the Bus Outs. See “Routing Input Channels” on page 66
for more information.
Metering Bus Outs
Bus Out signal levels can be metered on the Meter pages. See “Metering” on page 87 for
more information.
Monitoring Bus Outs
Bus Outs can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2] button for
monitoring. See “Control Room Monitoring” on page 114 for more information.
Attenuating Bus Outs
Bus Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for more
information.
EQ’ing Bus Outs
Each Bus Out features 4-band parametric EQ. See “Using EQ” on page 91 for more infor-
mation.
Grouping Master EQs
Bus Out EQs can be grouped with the EQs of other Output Channels. See “Grouping Out-
put Channel EQs” on page 94 for more information.
Bus Out Inserts
Internal effects processors and external signal processors can be patched into the Bus Outs
by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing Bus Outs
Signal dynamics can be controlled by using the Bus Out Compressors. See “Compressing
Channels” on page 97 for more information.
Grouping Master Compressors
Bus Out Compressors can be grouped with the Compressors of other Output Channels. See
“Grouping Output Channel Compressors” on page 100 for more information.
Muting Bus Outs (ON/OFF) 77
02R96—Owner’s Manual
Muting Bus Outs (ON/OFF)
Bus Outs can be muted by using the channel strip [ON] buttons.
1Press the LAYER [MASTER] button to select the Master Layer.
2Use channel strip [ON] buttons 17–24 to mute the Bus Outs.
The [ON] button indicators of Bus Outs that are on light up.
Grouping Master Mutes (ON/OFF)
Bus Out Mutes can be grouped with the Mutes of other Output Channels. See “Grouping
Output Channel Mutes (ON/OFF)” on page 107 for more information.
Setting Bus Out Levels
Bus Out levels can be set as follows.
1Press the LAYER [MASTER] button to select the Master Layer.
2Press the FADER MODE [FADER] button to select Fader mode.
3Use faders 17–24 to set the Bus Out levels.
Refer to the legend on the right side of the faders when setting Bus Out levels.
Grouping Master Faders
Bus Out faders can be grouped with the faders of other Output Channels. See “Grouping
Output Channel Faders” on page 106 for more information.
Delaying Bus Outs
Each Bus Out features a Delay function. See “Delaying Channel Signals” on page 101 for
more information.
Soloing Bus Outs
Bus Outs can be soloed. See page 102 for more information.
Pairing Bus Outs
Bus Outs can be paired for stereo operation. See “Pairing Channels” on page 104 for more
information.
ON
41
BUS 1
17
50
40
30
20
15
10
10
5
0
5
78 Chapter 9—Bus Outs
02R96—Owner’s Manual
Sending Bus Outs to the Stereo Out
Bus Outs can be routed to the Stereo Out buses as follows. Bus Out to Stereo Out settings
can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user
memories. See “Bus to Stereo Library” on page 126 for more information.
1Use the SELECTED CHANNEL ROUTING [DISPLAY] button to locate the Bus
to Stereo page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
PAN: These controls are used to pan the Bus Out signals between the left and right Stereo
Out buses. The currently selected Pan control can be set to center by pressing [ENTER].
ON/OFF: These buttons are used to turn on and off the Bus Out to Stereo Out routing.
Faders: These faders are used to set the Bus Out to Stereo Out levels. Fader knobs appear
highlighted when faders are set to 0.0 dB.
Viewing Bus Out Settings
Parameter and fader settings for each Bus Out can be viewed and set on the View pages. See
“Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader Settings”
on page 109 for more information.
Naming Bus Outs
Bus Outs can be named for easy identification. See “Naming Channels” on page 112 for
more information.
Aux Sends 79
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10 Aux Sends
Patching Aux Send Masters to Outputs
Aux Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Out-
puts. See “Output Patching” on page 54 for more information.
Setting the Aux Send Mode
Aux Sends have two operating modes—Variable and Fixed—which can be set individually
for each of the eight Aux Sends. In Variable mode, Aux Send levels are variable and the signal
source point can be either pre-fader or post-fader. In Fixed mode, Aux Send levels are fixed
at nominal and the signal source point is fixed to post-fader.
1Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.
The Aux Send parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux Send page is shown below: Variable mode on the left, Fixed mode
on the right. The layout of the other two pages is the same.
On the Fixed mode page, “GLOBAL POST” is displayed in the lower-right corner, indicat-
ing that the Aux Send Pre/Post parameter is fixed at Post.
2Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
3Use the cursor buttons to select the FIXED and VARIABLE buttons, and press
[ENTER] to select a mode.
When the Aux mode is changed, the parameters of the selected Aux Send are set as follows.
Pre-Fader or Post-Fader Aux Sends
Aux Sends can be configured individually as either pre-fader or post-fader on the Aux Send
pages (see page 80) or the Aux View pages (see page 83).
Parameters Change from Variable to Fixed Change from Fixed to Variable
Level All set to nominal All set to –∞
Pre/Post All set to Post
On/Off All turned off All turned on
80 Chapter 10—Aux Sends
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Setting Aux Send Levels
Aux Send levels can be set by using the faders or Encoders.
Using the Faders
1Use the LAYER buttons to select the Layers.
2Press the FADER MODE [AUX] button to select the Aux Fader mode.
3Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
4Use the faders to set the Aux Send levels.
Refer to the legend on the left side of the faders when setting Aux Send levels.
Using the Encoders
1Use the LAYER buttons to select the Layers.
2Press the ENCODER MODE [AUX] button to select the Aux Encoder mode.
3Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
4Use the Encoders to set the Aux Send levels.
Aux Send Pages
You can view and set the Aux Send parameters of all Input Channels on the Aux Send pages.
Operation of the Aux Send pages in Variable and Fixed mode is explained separately.
Variable Mode
See page 79 for information on how to select Variable Aux mode.
1Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.
The Aux Send parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux Send page in Variable mode is shown below. The layout of the
other two pages is the same.
2Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
3Use the cursor buttons to select the Input Channel Aux Send controls.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.
25
49
1
50
40
30
20
15
10
10
5
0
5
Aux Send Pages 81
02R96—Owner’s Manual
4To turn Aux Sends on and off, select the rotary controls, and press [ENTER].
The rotary controls of Aux Sends that are turned off, appear gray, and “OFF” appears in
place of the level value. Aux Send levels can still be changed even when they’re off.
5To set Aux Send levels, select the rotary controls, and use the Parameter
wheel or INC/DEC buttons.
6To set the Pre/Post parameters, select the PRE/POST buttons, and use the
[ENTER] button or INC/DEC buttons.
7To set all Input Channels for the selected Aux Send to pre-fader or post-fader
simultaneously, select the GLOBAL PRE or POST button, and then press
[ENTER].
The PRE or POST button appears highlighted, and remains highlighted until the Pre/Post
setting of one or more channels is changed, so you can quickly see if all Input Channels are
set to either pre-fader or post-fader.
Fixed Mode
See page 79 for information on how to select Fixed Aux mode.
1Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.
The Input Channel 1–24 Aux Send page in Fixed mode is shown below. The layout of the
other two Aux Send pages in Fixed mode is the same.
2Use the AUX SELECT [1–8] buttons to select Aux Sends 1–8.
3Use the cursor buttons or Parameter wheel to select the Aux Send buttons.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.
4Use the [ENTER] button or INC/DEC buttons to turn Aux Sends on and off.
If the Fader mode is set to Aux, the faders provide a visual indication of the On/Off status
of each Input Channel for the currently selected Aux Send. For Aux Sends that are on, faders
move to the nominal position. Aux Sends that are off, they move to the –∞ position. On/Off
settings cannot be changed by using the faders.
82 Chapter 10—Aux Sends
02R96—Owner’s Manual
Viewing Aux Send Settings
You can view and set settings of all Aux Sends on the Aux View pages. Level and Pre/Post
parameters are displayed separately.
Level Parameters
In Level mode, the Aux View pages display Aux Send Level and On/Off parameters. Fixed
mode Aux Sends can be turned on and off only.
1Use the AUX SELECT [DISPLAY] button to select the Aux View pages.
2Select the DISPLAY LEVEL button, and press [ENTER].
The Aux View parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux View page is shown below in Level mode. The layout of the other
two pages is the same.
3Use the cursor buttons to select the Input Channel Aux Sends.
Input Channels can also be selected by using the Input Channel Layer buttons and [SEL]
buttons. Aux Sends can also be selected by using the AUX SELECT [1–8] buttons.
4Use the Parameter wheel or INC/DEC buttons to set the Aux Send levels.
5Use the [ENTER] button to turn on and off the selected Aux Send.
The various Aux View page indicators are as follows:
Send level set to –∞, or Fixed mode Aux Send set to off.
Send level bar.
Send set to off.
Send level set to nominal.
Send off, level set to nominal.
Fixed mode Aux Send set to on.
In Variable Aux mode, the Level and On/Off parameter values for the selected Aux Send are
displayed in the lower-right corner of the page, for example, “LEVEL: –2.0 dB ON/OFF:
ON.”
In Fixed Aux mode, the On/Off parameter values for the selected Aux Send are displayed in
the lower-right corner of the page, for example, “LEVEL: FIXED ON/OFF: ON.”
Viewing Aux Send Settings 83
02R96—Owner’s Manual
Pre/Post Parameters
In Pre/Post mode, the Aux View pages display Aux Send Pre/Post parameters. Fixed mode
Aux Sends can be turned on and off only.
1Use the AUX SELECT [DISPLAY] button to select the Aux View pages.
2Select the DISPLAY PRE/POST button, and press [ENTER].
The Input Channel 1–24 Aux View page is shown below in Pre/Post mode. The layout of the
other two Aux View pages in Pre/Post mode is the same.
3Use the cursor buttons or Parameter wheel to select the Input Channel Aux
Sends.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. Aux
Sends can also be selected by using the AUX SELECT [1–8] buttons.
4Use the [ENTER] button or INC/DEC buttons to set the selected Aux Send to
either pre-fader or post-fader.
The various Aux View page indicators are as follows:
Aux Send configured pre-fader.
Aux Send configured post-fader.
Fixed mode Aux Send.
Fixed mode Aux Sends can be turned on and off by using the [ENTER] or INC/DEC but-
tons.
84 Chapter 10—Aux Sends
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Panning Aux Sends
When Aux Sends are paired, Aux Sends can be panned between the paired Aux buses. See
“Pairing Channels” on page 104 for more information. If the selected Aux Send is not
paired, the message “AUXx–x are not paired” appears.
If the currently selected pair of Aux Send Masters is set to Follow Surround on the Output
Pair page, Aux Sends follow the Input Channel Surround Pan settings and cannot be set
here, in which case the message “Now AUXx-x PAN Following Surround” appears. See
“Pairing Aux Sends” on page 86 for more information.
1Use the AUX SELECT [DISPLAY] button to select the Aux Pan pages.
The Aux Pan parameters for the 56 Input Channels are divided among three pages. The
Input Channel 1–24 Aux Pan page is shown below. The layout of the other two pages is the
same.
2Use the AUX SELECT [1–8] buttons to select the Aux Sends 1–8.
3Use the cursor buttons to select Input Channel Aux Send pan controls, and
use the Parameter wheel or INC/DEC buttons to set them.
Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.
The currently selected Pan control can be set to center by pressing [ENTER].
MODE: There are three Pan modes that determine how paired Aux Sends are panned:
Individual, Gang, and Inverse Gang. This is a global setting that applies to all paired Aux
Send Masters.
In individual mode, Aux Send pan controls operate independently.
In Gang mode, the Aux Send pan controls of paired Input Channels operate in
unison.
In Inverse Gang mode, the Aux Send pan controls of paired Input Channels
operate in unison but move in opposite directions.
INPUT PAN LINK: This is used to link Aux Send Pan controls to Input Channel Pan con-
trols so that operating an Input Channel Pan control also operates the corresponding Aux
Send Pan control, and vice versa. This can be set individually for each pair of Aux Send Mas-
ters. When a link is established, the pan positions and Pan mode of the Input Channels are
copied to the Aux Sends. While linked, the Pan mode can be set from either the Aux Pan
page or the Input Channel Pan page (see page 67).
Metering Aux Send Masters 85
02R96—Owner’s Manual
Metering Aux Send Masters
Aux Send Master levels can be metered on the Meter pages. See “Metering” on page 87 for
more information.
Monitoring Aux Send Masters
Aux Send Masters can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2]
button for monitoring. See “Control Room Monitoring” on page 114 for more informa-
tion. Aux 11 and Aux 12 can be monitored via the STUDIO MONITOR OUT (see
page 115).
Attenuating Aux Send Masters
Aux Send Master signals can be attenuated pre-EQ. See “Attenuating Signals” on page 90 for
more information.
EQ’ing Aux Send Masters
Each Aux Send Master features 4-band parametric EQ. See “Using EQ” on page 91 for more
information.
Grouping Master EQs
Aux Send Master EQs can be grouped with the EQs of other Output Channels. See “Group-
ing Output Channel EQs” on page 94 for more information.
Aux Send Master Inserts
Internal effects processors and external signal processors can be patched into the Aux Send
Masters by using the Inserts. See “Using Inserts” on page 95 for more information.
Compressing Aux Send Masters
Signal dynamics can be controlled by using the Aux Send Master Compressors. See “Com-
pressing Channels” on page 97 for more information.
Grouping Master Compressors
Aux Send Master Compressors can be grouped with the Compressors of other Output
Channels. See “Grouping Output Channel Compressors” on page 100 for more informa-
tion.
Muting Aux Send Masters (ON/OFF)
Aux Send Masters can be muted as follows.
1Press the LAYER [MASTER] button to select the Master Layer.
2Use channel strip [ON] buttons 9–16 to mute the Aux Send Masters.
The [ON] button indicators of Aux Send Masters that are on light up.
Grouping Master Mutes (ON/OFF)
Aux Send Master Mutes can be grouped with the Mutes of other Output Channels. See
“Grouping Output Channel Mutes (ON/OFF)” on page 107 for more information.
ON
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Settings Aux Send Master Levels
Aux Send Master levels can be set as follows.
1Press the LAYER [MASTER] button to select the Master Layer.
2Press the FADER MODE [FADER] button to select the Fader mode.
3Use faders 9–16 to set the Aux Send Master levels.
Refer to the legend on the right side of the faders when setting Aux Send Master
levels.
Grouping Master Faders
Aux Send Master faders can be grouped with the faders of other Output Channels. See
“Grouping Output Channel Faders” on page 106 for more information.
Delaying Aux Send Masters
Each Aux Send Master features a Delay function. See “Delaying Channel Signals” on page
101 for more information.
Soloing Aux Sends
Aux Sends can be soloed. See page 102 for more information.
Pairing Aux Sends
Aux Sends can be paired for stereo operation. See “Pairing Channels” on page 104 for more
information.
Viewing Aux Send Master Settings
Parameter and fader settings for each Aux Send Master can be viewed and set on the View
pages. See “Viewing Channel Parameter Settings” on page 108 and “Viewing Channel Fader
Settings” on page 109 for more information.
Naming Aux Send Masters
Aux Send Masters can be named for easy identification. See “Naming Channels” on page
112 for more information.
33
AUX 1
9
50
40
30
20
15
10
10
5
0
5
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11 Common Channel Functions
Metering
Input Channels, Bus Outs, Aux Sends, the Stereo Out, and the effects processors can be
metered on the various Meter pages, which are located by using the DISPLAY ACCESS
[METER] button.
Input and Output Channel Meter pages also display fader positions numerically. The Peak
Hold function, which applies to all level meters, can be turned on or off on any of the Meter
pages.
Setting the Metering Position
Input and Output Channels can be metered pre-EQ, pre-fader, or post-fader. This setting,
which can be set independently for the Input and Output Channels, can be set on the
Metering Position page shown below, or any of the Input and Output Channel Meter pages.
PRE EQ: Channels are metered pre-EQ.
PRE FADER: Channels are metered pre-fader.
POST FADER: Channels are metered post-fader.
Metering Input Channels
There are two types of Input Channel Meter page: 24-channel and 48-channel.
There are three 24-channel Meter pages. The Input Channel 1–24 Meter page is shown
below. The layout of the other two pages is the same. These pages feature two level meters
for each Input Channel. When Input Channels are vertically paired, both meters operate.
When Input Channels are horizontally paired, only the left-hand meter operates.
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02R96—Owner’s Manual
There are two 48-channel Meter pages. The Input Channel 1–48 Meter page is shown below.
The layout of the other page is the same.
Metering Output Channels
Bus Outs, Aux Sends, and the Stereo Out can all be metered on the Master Meter page.
Metering Effects
Effects inputs and outputs are metered on the Effect 1–4 page. There are eight input and
output meters for effect #1, and 2 input and output meters for effects 2 through 4.
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02R96—Owner’s Manual
Metering the Stereo out
The Stereo Out can be metered on the Stereo Meter page. Peak signal levels for the left and
right channels are displayed numerically.
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Attenuating Signals
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature pre-EQ attenuation,
which is useful for attenuating “hot” signals before EQ’ing.
1Use the EQUALIZER [DISPLAY] button to select the Attenuator pages.
The Attenuator parameters for the 56 Input Channels are arranged into three pages. The
Input Channel 1–24 Attenuator/Shifter page is shown below. The layout of the other two
pages is the same.
The attenuator parameters for the Output Channels appear on the Output Attenuator page.
2Use the cursor buttons to select the channels, and use the Parameter wheel
or INC/DEC buttons to set the amount of attenuation.
Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.
You can copy the currently selected Input or Output Channel attenuation setting to all
Input or Output Channels respectively by double-clicking the [ENTER] button.
For Input Channels, you can also set the amount of attenuation in bits from +2 bits to –24
bits. Use the cursor buttons to select the bit shift parameters, and use the Parameter wheel
or INC/DEC buttons to set them. The rotary attenuators and the bit shift parameters can
be set independently.
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Using EQ
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature 4-band parametric EQ.
The LOW-MID and HIGH-MID bands are peaking type. The LOW and HIGH bands can
be set to shelving, peaking, or HPF and LPF respectively. EQ settings can be stored in the
EQ library, which contains 40 preset memories and 160 user memories. See “EQ Library”
on page 129 for more information.
Preset EQs
The following table lists the preset EQs. See page 251 for detailed parameter information.
# Preset Name Description
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 gutsy guitar sounds.
22 A. G. Arpeg. 1 Ideal for arpeggio playing on acoustic guitars.
23 A. G. Arpeg. 2 A variation on preset 22.
24 Brass Sec. Use with trumpets, trombones, or saxes. When used with a single instrument,
try adjusting the HIGH or HIGH-MID frequency.
25 Male Vocal 1 An EQ template for male vocals. Try adjusting the HIGH or HIGH-MID parame-
ters 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 param-
eters 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 Chan-
nels.
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Using the SELECTED CHANNEL EQUALIZER Controls
1Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
2Use the [EQ ON] button to turn the EQ on or off.
3Use the GAIN controls to set the gain of each band.
When a GAIN control is adjusted, the gain in dB is displayed on the corresponding EQ dis-
play. If the GAIN control is not adjusted for two seconds, the EQ display returns to display-
ing the frequency.
4To set the frequency, press a FREQUENCY/Q control so that the FREQUENCY
indicator lights up, and use the FREQUENCY/Q control to set the frequency.
The frequency is displayed by the corresponding EQ display.
5To set the Q, press a FREQUENCY/Q control so that the Q indicator lights
up, and use the FREQUENCY/Q control to set the Q.
The Q value is displayed by the corresponding EQ display. If the Q control is not adjusted
for two seconds, the EQ display returns to displaying the frequency.
To reset an individual gain control, hold down the corresponding FREQUENCY/Q control.
To reset all gain controls, press the LOW and HIGH FREQUENCY/Q controls.
The EQ parameter ranges are as follows.
The initial EQ parameter settings are as follows.
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.
Parameter LOW LOW-MID HIGH-MID HIGH
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.
Frequency 21.1 Hz to 20.0 kHz (120 steps per 1/12 octave)
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
Parameter LOW LOW-MID HIGH-MID HIGH
Gain 0 dB
Frequency 125 Hz 1.00 kHz 4.00 kHz 10.0 kHz
QL.SHELF 0.70 H.SHELF
# Preset Name Description
LOW
EQUALIZER
EQ ON
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
DISPLAY
GAIN
LOW MID
GAIN
HIGH MID
GAIN
HIGH
GAIN
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
125 1.00 4.00 10.0
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EQ Edit Pages
EQ parameters can also be set on the EQ Edit page. If the Auto EQUALIZER Display pref-
erence is on, this page appears automatically when a control in the SELECTED CHANNEL
EQUALIZER section is operated. See “Auto EQUALIZER Display” on page 197.
1Use the EQUALIZER [DISPLAY] button to select the EQ Edit page.
2Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3Use the cursor buttons to select the parameters, and use the Parameter
wheel and INC/DEC buttons to set them.
EQ ON: This turns the EQ on and off. While this page is selected, the [ENTER] button can
be used to turn the EQ on and off so long as any parameter other than TYPE is selected.
TYPE: This selects the type of EQ: TYPE I (the EQ type used on legacy Yamaha digital mix-
ing consoles) or TYPE II (a newly developed algorithm).
ATT: This can be used to attenuate signals pre-EQ. It’s the same Attenuator parameter that
appears on the Attenuator pages. See “Attenuating Signals” on page 90 for more informa-
tion.
CURVE: This displays the EQ curve of the currently selected Input Channel.
Level meters: These meters indicate the levels of the currently selected Input Channel
and its horizontal or vertical partner.
LOW, L-MID, H-MID, HIGH: These are the Q, Frequency (F), and Gain (G) parameters
for the four bands.
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Grouping Output Channel EQs
The Bus Out, Aux Send, and Stereo Out EQs can be grouped, allowing you to control the
EQ of several Output Channels simultaneously. There are four Output Channel EQ groups:
e, f, g, and h.
1Use the DISPLAY ACCESS [GROUP] button to locate the Output Equalizer
Link page.
2Press the LAYER [MASTER] button.
3Use the Up/Down cursor buttons to select EQ groups e–h.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove Output Channels to and from the
selected group.
The EQ settings of the first Output Channel added to the group are applied to all subse-
quently added Output Channels.
When an Output Channel is added to a group, its [SEL] button indicator lights up.
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Using Inserts
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature assignable Inserts.
1Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to
select the Insert page.
The Insert page for Input Channels is shown below.
The Insert page for Bus Outs, Aux Sends, and the Stereo out is shown below.
2Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
INSERT ON/OFF: This turns the currently selected channel’s Insert on and off.
INSERT POSITION: This determines the position of the Insert within the channel, and
can be set to pre-EQ, pre-fader, or post-fader.
INSERT OUT: This selects the destination for the Insert Out, which can be a Slot Output,
Omni Out, 2TR Digital Output, or the input to an internal effects processor. See page 204
and page 208 for Input and Output patch parameter lists. The Port ID of the currently
selected destination is displayed below the currently selected channel’s Long name in the
upper-right corner of the page. The destination port can also be selected by using the Patch
Select window (see page 57), which is accessed by pressing [ENTER] while this parameter
is selected. Insert Outs can also be patched on the Output Patch pages. See “Output Patch-
ing” on page 54 for more information.
INSERT IN: This selects the source for the Insert In, which can be an AD Input, Slot Input,
2TR Digital or Analog Input, or the output of an internal effects processor. See page 204 for
a list of Input Channel Insert In sources; page 208 for a list of Output Channel Insert In
sources. The Port ID of the currently selected source is displayed below the currently
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02R96—Owner’s Manual
selected channel’s Long name in the upper-right corner of the page. The source port can
also be selected by using the Patch Select window (see page 57), which is accessed by press-
ing [ENTER] while this parameter is selected. Insert Ins can also be patched on the Input
Channel Insert In Patch pages. See “Patching Input Channel Insert Ins” on page 53 for more
information.
COMP ON/OFF: This turns the currently selected channel’s Compressor on and off. It
works in unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button, and
the ON/OFF button on the Comp Edit page. See “Compressing Channels” on page 97 for
more information.
COMP POSITION: This determines the position of the Compressor within the channel,
and can be set to pre-EQ, pre-fader, or post-fader. It works in unison with the POSITION
parameter on the Comp Edit page. See “Compressing Channels” on page 97 for more infor-
mation.
COMP ORDER: If the Insert and Compressor are set to the same position in the channel
(i.e., INSERT POSITION and COMP POSITION are the same), you can use this parameter
to set the order of the Insert and Compressor to either Comp->Ins or Ins->Comp.
When a Y56K card effect, or an internal effects processor is inserted in the currently selected
channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the cor-
responding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding
Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] but-
ton indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]
button indicator also flashes. This applies only to effects that are inserted into channels. If
there’s nothing inserted in the currently selected channel, a message appears.
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Compressing Channels
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature a Compressor. Settings
can be stored in the Comp library, which contains 36 preset memories and 88 user memo-
ries. See “Comp Library” on page 128 for more information.
Preset Comps & Types
The following table lists the preset Comps and types. See page 255 for detailed parameter
information.
# Preset Name Type Description
1Comp COMP
Compressor intended to reduce 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 automati-
cally 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 arpeggio-style
backing. The sound color can be varied by playing differ-
ent styles.
18 A. Guitar COMP Compressor for acoustic guitar “stroke” or arpeggio-style
backing.
19 Strings1 COMP Compressor for use with strings.
20 Strings2 COMP A variation on preset 19, intended for violas or cellos.
21 Strings3 COMP A variation on preset 20, intended for string instruments
with a very low range, such as cellos or contrabass.
22 BrassSection COMP Compressor for brass sounds with a fast and strong attack.
23 Syn. Pad COMP Compressor for synth pad, intended to prevent diffusion of
the sound.
24 SamplingPerc COMPAND-S Compressor for making sampled percussion sound like real
acoustic percussion.
25 Sampling BD COMP A variation on preset 24, intended for sampled bass drum
sounds.
26 Sampling SN COMP A variation on preset 25, intended for sampled snare drum
sounds.
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Using the SELECTED CHANNEL DYNAMICS Controls
1Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
2Use the SELECTED CHANNEL DYNAMICS [COMP ON] button to turn the cur-
rently selected channel’s Compressor on or off.
3Use the SELECTED CHANNEL DYNAMICS [GATE/COMP] button to set the
DYNAMICS controls to COMP (COMP indicator lit), and use the THRESH-
OLD, RATIO, ATTACK, RELEASE, and GAIN controls to set the Compressor.
While an output Channel is selected, the [GATE/COMP] button is fixed at COMP.
Comp Edit Page
Compressor settings can be viewed and set on the Comp Edit page. If the Auto DYNAMICS
Display preference is on, this page appears automatically when a Compressor control in the
SELECTED CHANNEL DYNAMICS section is operated. See “Auto DYNAMICS Display”
on page 197.
1Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
2Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Comp Library page, and recall a preset Compressor that contains the comp
type that you want.
See “Comp Library” on page 128 for more information.
27 Hip Comp COMPAND-S A variation on preset 26, intended for sampled loops and
phrases.
28 Solo Vocal1 COMP Compressor for use with main vocals.
29 Solo Vocal2 COMP A variation on preset 28.
30 Chorus COMP A variation on preset 28, intended for choruses.
31 Click Erase EXPAND Expander for removing a click track that may bleed
through from a musicians headphones.
32 Announcer COMPAND-H Hard-kneed compander for reducing the level of the music
when an announcer speaks.
33 Limiter1 COMPAND-S A soft-kneed compander with a slow release.
34 Limiter2 COMP A “peak-stop” compressor.
35 Total Comp1 COMP
Compressor for reducing the overall volume level. Use it on
the stereo output during mixdown, or with paired Input or
Output Channels.
36 Total Comp2 COMP A variation on preset 35, but with more compression.
# Preset Name Type Description
GATE ON COMP ON GATE
COMP
RANGE
RATIO
ATTACK
ATTACKTHRESHOLD
THRESHOLD
DYNAMICS
DISPLAY
GATE / COMP DECAY
RELEASE
HOLD
GAIN
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3Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the
Comp Edit page.
4Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
POSITION: This determines the position of the Compressor within the channel, and can
be set to pre-EQ, pre-fader, or post-fader. It works in unison with the COMP POSITION
parameter on the Insert page. See “Using Inserts” on page 95 for more information.
STEREO LINK: This allows you to pair Comps for stereo operation even when channels
are not paired. Input Channel Comps are paired either horizontally or vertically depending
on the Pair mode setting for the currently selected Input Channel. See “Pairing Channels”
on page 104 for more information on horizontal and vertical pairing. When channels are
paired, this parameter is turned on automatically and cannot be changed.
CURVE: This displays the Compressor curve (i.e., input level vs. output level).
TYPE: This is the comp type used by the currently selected channel’s Compressor.
Meters: These meters indicate the levels of the currently selected Input Channel and its
horizontal or vertical partner. The GR meter indicates the amount of gain reduction being
applied by the currently selected channel’s Compressor.
ON/OFF: This turns the currently selected channel’s Compressor on and off. It works in
unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button.
PARAMETER: These controls are used to set the Threshold, Ratio, Attack, Release, Out
Gain, and Knee parameters.
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Grouping Output Channel Compressors
The Bus Out, Aux Send, and Stereo Out Compressors can be grouped, allowing you to con-
trol the compression of several Output Channels simultaneously. There are four Output
Channel Compressor groups: m, n, o, and p.
1Use the DISPLAY ACCESS [GROUP] button to locate the Output Comp Link
page.
2Press the LAYER [MASTER] button.
3Use the Up/Down cursor buttons to select Comp groups m–p.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove Output Channels to and from the
selected group.
The Compressor settings of the first Output Channel added to the group are applied to all
subsequently added Output Channels.
When an Output Channel is added to a group, its [SEL] button indicator lights up.
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Delaying Channel Signals
Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature independent Delay
functions. Input Channel Delays feature feedback, with independent Mix and Gain param-
eters.
1Use the SELECTED CHANNEL DISPLAY ACCESS [DELAY] button to select the
Delay pages.
The Delay parameters for the 56 Input Channels are arranged into three pages. The Input
Channel 1–24 Delay page is shown below. The layout of the other two pages is the same.
The Delay parameters for the Bus Outs, Aux Sends, and the Stereo Out appear on the Out-
put Delay page.
2Use the cursor buttons to select the Delay parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.
DELAY SCALE: These buttons determine the units of the delay value shown below the
msec value. Units can be set to meters, feet, samples, beats, or timecode frames.
GANG: When this option is turned on, the delay time for paired channels can be set simul-
taneously. Ganging is relative, so any delay time difference between the two channels is
maintained when this is turned on.
ON/OFF: These buttons turn the individual Delay functions on and off. The [ENTER]
button can be used to turn a Delay on and off regardless of which parameter is selected.
msec: This sets the delay time in milliseconds. The delay time can also be set by using the
parameter below, which is the delay time in the units selected by the DELAY SCALE but-
tons. You can copy the currently selected Input or Output Channel delay setting to all Input
or Output Channels respectively by double-clicking the [ENTER] button.
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MIX: This parameter, available only on the Input Channel Delay pages, sets the mix of dry
and wet signals.
FB.GAIN: This parameter, available only on the Input Channel Delay pages, sets the
amount of feedback.
Soloing Channels
Input Channels, Bus Outs, and Aux Sends can be soloed as follows.
1Use the LAYER buttons to select the Input Channel Layers if you want to solo
Input Channels, or select the Master Layer if you want to solo Output Chan-
nels.
Input and Output Channels cannot be soloed simultaneously. Soled Input Channels will be
unsoled when an Output Channel is soloed, and vice versa.
2Use the [SOLO] buttons to solo the channels on the selected Layer.
The [SOLO] button indicators of channels that are soloed light up.
The SOLO indicator in the MONITOR section flashes when the Solo
function is active. You can unsolo all soloed channels by pressing the
SOLO [CLEAR] button.
Configuring Solo
The Solo function is configured on the Solo Setup page. If the Auto SOLO Display prefer-
ence is on, this page appears automatically when a channel is soloed. See “Auto SOLO Dis-
play” on page 197.
1Use the MONITOR [DISPLAY] button to locate the Solo Setup page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
SOLO: This is used to enable and disable the Solo function.
STATUS: This determines the Solo mode: Recording or Mixdown. It affects only Input
Channels.
In Recording Solo mode, soloed Input Channel signals are fed to the Solo bus and output
via the Control Room Outputs. Other buses are unaffected by this mode. If the Listen
parameter is set to AFTER PAN, the signal source for Input Channels that are off, is pre
fader.
In Mixdown Solo mode, soloed Input Channel signals are fed to the Stereo bus and output
via the Stereo Out and Control Room Outputs. Unsoloed Input Channels are muted and
their [ON] button indicators flash (unless they are Solo Safe enabled). Only Input Channels
SOLO
SOLO
CLEAR
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that are routed to the Stereo Out can be soloed in this mode. Input Channels that are off are
temporarily turned on when they are soloed.
SEL MODE: This determines the Solo Select mode: Mix Solo or Last Solo. In Mix Solo
mode, any number of channels can be soloed simultaneously. In Last Solo mode, only one
channel can be soloed at a time.
LISTEN: This determines the source of the Input Channel Solo signal: Pre Fader or After
Pan. It does not affect Mixdown Solo mode. Output Channels are fixed at After Pan.
SOLO TRIM: This is used to trim the level of the Solo signal. This parameter does not
affect Mixdown Solo mode.
SOLO SAFE CHANNEL: For Mixdown Solo mode, Input Channels can be configured
individually so that they are not muted when other Input Channels are soloed. Use the
[SEL] buttons, cursor buttons, or Parameter wheel to select the SOLO SAFE CHANNEL
buttons. Use the [ENTER] or INC/DEC buttons to set Solo Safe for each Input Channel.
These settings do not affect Recording Solo mode. You can clear all Solo Safe settings by
selecting the ALL CLEAR button and pressing [ENTER].
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Pairing Channels
Input Channels, Bus Outs, and Aux Sends can be paired for stereo operation. Input Chan-
nels can be paired either horizontally, that is, adjacent odd-even channels on the same Layer
(e.g., 1-2, 3-4, 5-6, etc) or vertically, that is, counterpart channels on adjacent Layers (e.g.,
1-25, 2-26, 49-73, 50-74, etc). Bus Outs and Aux Sends can be paired only horizontally.
Pairing Channels by Using the [SEL] Buttons
Only horizontal pairing can be set by using the [SEL] buttons.
1Use the LAYER buttons to select the Layer containing the channels that you
want to pair.
2While holding down the [SEL] button of the first channel, press the [SEL] but-
ton of the second channel.
The settings of the first channel are copied to the second channel and the channels are
paired. The [SEL] button indicator of the currently selected channel lights up, while the
[SEL] button indicator of the other channel flashes.
Aux Sends can also be paired by using the AUX SELECT buttons.
To cancel a pair, while holding down the [SEL] button of the first channel, press the [SEL]
button of the second channel.
The following channel parameters are copied, and controlled together, when channels are
paired: Fader, On/Off, Insert On/Off, Aux On/Off, Aux Send Level, Aux Pre/Post, Gate
parameters, Compressor parameters, EQ parameters, Fader group, Mute group, EQ group,
Comp group, Solo, Solo Safe, [AUTO] button, Fade Time, Recall Safe, Bus to Stereo On/Off,
Bus to Stereo Level.
The following channel parameters are not copied, or controlled together, when channels are
paired: Input Patch, Insert Patch, Output Patch, Comp Position, Phase, Delay On/Off,
Delay Time, Delay Feedback, Delay Mix, Routing, Pan, Follow Pan, Surround Pan, Bus to
Stereo Pan, Aux Send Pan, Balance, Attenuator.
Pairing Channels by Using the Pair Pages
Both horizontal and vertical pairing can be set on the Pair pages.
1Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages.
The Pair parameters for the 56 Input Channels are divided between two pages. The Input
Channel 1–48 Pair page is shown below. The layout of the other page is the same.
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02R96—Owner’s Manual
2To set the pair mode, select the PAIR MODE HORIZONTAL or VERTICAL but-
tons, and press [ENTER].
The Pair mode can be set independently for Input Channels 1–48 and Input Channels
49–56. The Input Channel 1–48 Pair page in Vertical mode is shown below.
Pair parameters for the Bus Outs and Aux Sends appear on the Output Pair page.
3Use the cursor buttons or Parameter wheel to select the channel pair but-
tons, and press [ENTER] to make or break pairs.
Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.
A dialog box appears with options for copying the settings of the first channel to the second
channel, the second channel to the first channel, and for resetting both channels to their ini-
tial settings. Choose the option required, and then press [ENTER].
On other display pages, paired channels have a heart icon, or a dash between their channel
numbers.
When Input Channels are paired, MS Decoding can be used to decode signals from micro-
phones arranged as MS pairs. MS Decoding is set on the Input Channel Pair pages. This can
be turned on and off for each pair of channels by using the MS buttons.
The Output Pair page displays the currently selected Surround mode (i.e., Stereo, 3-1, or
5.1), which can be set on the Surround Mode page (see page 69). When a Surround mode
other than Stereo is selected, the names of the Surround channels are shown below the Bus
Out and Aux Send pair buttons, as shown in the following table.
Surround Mode Bus Out/Aux Send
123456
3-1 LRCS——
5.1 L R Ls Rs C LFE
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When a Surround mode other than Stereo is selected, Aux Sends can be set to follow the
same Input Channel Surround Pan that applies to the Bus Outs, which is useful for feeding
Surround channel signals to external effects processors. This is turned on and off by using
the F.S buttons that appear below the Aux Send Pair buttons. When a pair of Aux Sends are
set to follow Surround Pan, their Aux Send Pair button is unavailable, and their Aux Pan
parameters (see page 84) are unavailable.
Grouping Output Channel Faders
The Bus Out, Aux Send, and Stereo Out faders can be grouped, allowing you to control the
level of several Output Channels simultaneously. There are four Output Channel Fader
groups: Q, R, S, and T.
1Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group
page.
2Press the LAYER [MASTER] button.
3Use the Up/Down cursor buttons to select Fader groups Q–T.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove Output Channel faders to and from
the selected group.
When an Output Channel is added to a group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
You can temporarily disable a Fader group in order to make adjustments to individual fad-
ers by touching two or more faders in the group, or by operating the fader while holding
down its [SEL] button.
Fader groups are active only in Fader mode. See “Selecting Fader Modes” on page 35 for
more information.
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Grouping Output Channel Mutes (ON/OFF)
The Bus Out, Aux Send, and Stereo Out mutes can be grouped, allowing you to mute several
Output Channels simultaneously. There are four Output Channel Mute groups: U, V, W,
and X.
1Use the DISPLAY ACCESS [GROUP] button to locate the Output Mute Group
page.
2Press the LAYER [MASTER] button.
3Use the Up/Down cursor buttons to select Mute groups U–X.
The selected group is highlighted by a flashing cursor box.
4Use the [SEL] buttons to add and remove Output Channels to and from the
selected group.
When an Output Channel is added to a Mute group, its [SEL] button indicator lights up.
ENABLE: These buttons are used to enable and disable the groups.
Mute groups may contain a combination of channels that are on and channels that are off.
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Viewing Channel Parameter Settings
The parameter setting of the currently selected Input Channel, Bus Out, Aux Send, or the
Stereo Out can be viewed and set on the Parameter View pages.
1Use the DISPLAY ACCESS [VIEW] button to select the Parameter View page.
2Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] buttons to set them.
Input Channels
This is the Parameter View page for the Input Channels.
GATE: The following Gate parameters for the currently selected Input Channel can be set:
Gate On/Off, Threshold, Range, Attack, Decay, and Hold. The GR meter indicates the
amount of gain reduction being applied by the Gate. Also displayed are the gate curve and
gate type. See “Gating Input Channels” on page 60 for more information.
COMP: The following Compressor parameters for the currently selected channel can be
set: Comp On/Off, Threshold, Ratio, Attack, Release, Gain, and Knee. The GR meter indi-
cates the amount of gain reduction being applied by the Compressor. Also displayed are the
comp curve and comp type. See “Compressing Channels” on page 97 for more information.
INSERT: The currently selected channel’s Insert can be turned on and off and patched. See
“Using Inserts” on page 95 for more information.
EQ: The currently selected channel’s EQ and Attenuator can be set. Also displayed is the EQ
curve of the currently selected Input Channel. See “Using EQ” on page 91 for more infor-
mation.
Meters: These meters indicate the levels of the currently selected channel and its horizon-
tal or vertical partner.
Phase: The signal phase of the currently selected Input Channel can be reversed. See
“Reversing the Signal Phase” on page 59 for more information.
DELAY: The currently selected channel’s Delay function can be set. See “Delaying Channel
Signals” on page 101 for more information.
PAIR: This heart icon indicates whether or not channels are paired. See “Pairing Channels”
on page 104 for more information.
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02R96—Owner’s Manual
Output Channels
This is the Parameter View page for the Bus Outs, Aux Sends, and the Stereo Out. Parame-
ters are the same as for the Input Channel Parameter View page, minus the GATE and Phase
sections and the DELAY MIX and FB GAIN parameters. The parameter settings of the left
and right channels of the Stereo Out can be viewed individually. Use the [SEL] buttons to
toggle between the left and right channels.
Viewing Channel Fader Settings
The fader-related settings of the currently selected Input Channel, Bus Out, Aux Send, or
the Stereo Out can be viewed and set on the Fader View pages.
1Use the DISPLAY ACCESS [VIEW] button to select the Fader View page.
2Use the LAYER buttons to select Layers, and use the [SEL] buttons to select
channels.
3Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] buttons to set them.
Pan and Balance controls can be set to center by pressing [ENTER] while they’re selected.
Input Channels
This is the Fader View page for the Input Channels.
PAN: This is the currently selected Input Channel’s Pan parameter. See “Panning Input
Channels” on page 67 for more information.
ON/OFF: This is the On/Off parameter of the currently selected Input Channel. See “Mut-
ing Input Channels (ON/OFF)” on page 63 for more information.
Fader: This indicates the fader position of the currently selected Input Channel. The fader
knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed
110 Chapter 11—Common Channel Functions
02R96—Owner’s Manual
numerically below the fader. See “Setting Input Channel Levels” on page 65 for more infor-
mation.
SURROUND PAN: The Surround pan parameters for the currently selected Input Chan-
nel are displayed only when a Surround mode other than Stereo is selected. See “Using Sur-
round Pan” on page 69 for more information.
BUS ROUTING: This section contains Routing and Follow Pan buttons for the currently
selected Input Channel. See “Routing Input Channels” on page 66 for more information.
The Direct Out output patch can also be set. See “Patching Direct Outs” on page 56 for more
information.
AUX: These are the currently selected Input Channel’s Aux Send Level, On/Off, and
Pre/Post parameters. While a rotary control is selected, the Aux Send can be turned on and
off by pressing [ENTER]. See “Aux Sends” on page 79 for more information.
Meters: These meters indicate the levels of the currently selected Input Channel and its
horizontal or vertical partner. The metering position is displayed below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the cur-
rently selected Input Channel is in.
Bus Outs
This is the Fader View page for the Bus Outs.
ON/OFF: This is the On/Off parameter of the currently selected Bus Out. See “Muting Bus
Outs (ON/OFF)” on page 77 for more information.
Fader: This indicates the fader position of the currently selected Bus Out. The fader knob
appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numer-
ically below the fader. See “Setting Bus Out Levels” on page 77 for more information.
TO ST PAN, ON/OFF & Fader: These are the Bus Out to Stereo Out Pan, On/Off, and
Fader parameters for the currently selected Bus Out. The fader knob appears highlighted
when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader.
See “Sending Bus Outs to the Stereo Out” on page 78 for more information.
Meters: These meters indicate the levels of the currently selected Bus Out and its partner.
The metering position is displayed below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the cur-
rently selected Bus Out is in.
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02R96—Owner’s Manual
Aux Sends
Below is the Fader View page for the Aux Sends.
ON/OFF: This is the On/Off parameter of the currently selected Aux Send. See “Aux Send
Pages” on page 80 for more information.
Fader: This indicates the fader position of the currently selected Aux Send. The fader knob
appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numer-
ically below the fader. See “Settings Aux Send Master Levels” on page 86.
Meters: These meters indicate the levels of the currently selected Aux Send and its partner.
The metering position is displayed below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the cur-
rently selected Aux Send is in.
Stereo Out
Below is the Fader View page for the Stereo Out. The settings of the left and right channels
of the Stereo Out can be viewed individually. Use the STEREO [SEL] button to toggle
between the left and right channels.
BAL: This is the Balance parameter for the Stereo Out. See “Balancing the Stereo Out” on
page 75 for more information.
ON/OFF: This is the On/Off parameter of the Stereo Out. See “Muting the Stereo Out
(ON/OFF)” on page 74 for more information.
Fader: This indicates the fader position of the Stereo Out. The fader knob appears high-
lighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the
fader. See “Setting the Stereo Out Level” on page 74 for more information.
Meters: These meters indicate the levels of the Stereo Out. The metering position is dis-
played below them.
GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the Stereo
Out is in.
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02R96—Owner’s Manual
Naming Channels
You can specify Long and Short names for the Input Channels, Bus Outs, Aux Sends, and
the Stereo Out as follows.
See page 214 for a list of initial Input Channel names; page 214 for Output Channel names.
Input Channels
1Use the DISPLAY ACCESS [INPUT PATCH] button to locate the Input Channel
Name page.
2Use the Parameter wheel, INC/DEC buttons, or the LAYER and [SEL] buttons
to select the Input Channels.
When Vertical Input Channel pairing mode is selected, Input Channels are listed in order
of vertical partners, for example, CH1, CH25, CH2, CH26, and so on.
3Use the cursor buttons to select the Input Channel’s Long or Short name,
and then press [ENTER].
When the Title Edit window appears, edit the Input Channel name, and press OK when
you’ve finished. See “Title Edit Window” on page 32 for more information.
You can reset all Input Channel names back to their initial values by pressing the INITIAL-
IZE button.
Output Channels
1Use the DISPLAY ACCESS [OUTPUT PATCH] button to locate the Output
Channel Name page
Naming Channels 113
02R96—Owner’s Manual
2Use the Parameter wheel, INC/DEC buttons, or the Master Layer and [SEL]
buttons to select the Output Channels.
3Use the cursor buttons to select the Output Channel’s Long or Short name,
and then press [ENTER].
When the Title Edit window appears, edit the Output Channel name, and press OK when
you’ve finished. See “Title Edit Window” on page 32 for more information.
You can reset all Output Channel names back to their initial values by pressing the INI-
TIALIZE button.
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12 Monitoring & Talkback
Control Room Monitoring
The CONTROL ROOM MONITOR OUT uses balanced 1/4-inch
phone jacks, nominal level +4 dB. Typically it’s used to feed the control
room’s main monitors.
The Control Room Monitor signal source is selected by using the CON-
TROL ROOM buttons.
[2TR D1]: Selects the 2TR IN DIGITAL AES/EBU 1.
[2TR D2]: Selects the 2TR IN DIGITAL COAXIAL 2.
[2TR D3]: Selects the 2TR IN DIGITAL COAXIAL 3.
[2TR A1]: Selects the 2TR IN ANALOG 1.
[2TR A2]: Selects the 2TR IN ANALOG 2.
[STEREO]: Selects the Stereo Out.
[ASSIGN 1]: Selects the Output Channel assigned to this button on the Control Room
Setup page. See “Control Room Setup” on page 115.
[ASSIGN 2]: Selects the Output Channel assigned to this button on the Control Room
Setup page. See “Control Room Setup” on page 115.
The level of the Control Room Monitor signal can be set by using the
CONTROL ROOM LEVEL control. The [DIMMER] button activates
the Dimmer function, which dims the Control Room Monitor and Sur-
round Monitor signals by the amount specified on the Control Room
Setup page (page 115). The Dimmer function is activated automatically
when the Talkback or Oscillator function is active.
The Control Room Monitor signal is also fed to the PHONES jack, the level of
which is set by using the PHONES LEVEL control.
CONTROL ROOM
2TR D1 2TR A1
2TR D2 2TR A2
2TR D3 STEREO
ASSIGN1ASSIGN2
DIMMER
CONTROL ROOM LEVEL
100
TALKBACK
PHONES
LEVEL
010
PHONES
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Control Room Setup
Control room monitoring is configured on the Control Room Setup page.
1Use the MONITOR [DISPLAY] button to locate the Control Room Setup page.
2Use the cursor buttons to select the ASSIGN buttons in the left-hand box,
and use the Parameter wheel to select an Output Channel in the right-hand
box.
Bus Outs or Aux Sends can be assigned to the [ASSIGN 1] and [ASSIGN 2] buttons.
3Press [ENTER] to assign the selected Output Channel.
Once assigned, the selected Output Channel appears highlighted in the right-hand box.
The other parameters on this page are as follows.
CONTROL ROOM DIMMER LEVEL: This determines the amount of attenuation
applied to the Control Room Monitor and Surround Monitor signals by the Dimmer func-
tion. Use the cursor buttons to select it, and use the Parameter wheel or INC/DEC buttons
to set it from.
MONO: This button is be used to switch the Control Room Monitor signal into mono.
Studio Monitoring
The STUDIO MONITOR OUT uses balanced 1/4-inch phone jacks,
nominal level +4 dB. Typically it’s used to feed monitoring systems in the
actual studio.
The Studio Monitor signal source is selected by using the STUDIO but-
tons.
[CONTROL ROOM]: Selects the Control Room Monitor.
[STEREO]: Selects the Stereo Out.
[AUX 7]: Selects Aux Send #7.
[AUX 8]: Selects Aux Send #8.
The level of the Studio Monitor signal can be set by using the STUDIO LEVEL
control.
STUDIO
AUX7 AUX8
CONTROL
ROOM STEREO
STUDIO
LEVEL
010
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Surround Monitoring
The 02R96 features comprehensive surround monitoring functions, including a pink noise
generator for speaker setup, Bass Management, and down mixing.
The Surround pages explained in this section are available only when a Surround mode
other than Stereo is selected (see page 69).
The Surround Monitor signal source is selected by using the SUR-
ROUND buttons. The [BUS] button selects the Bus Outs as the source.
The [SLOT] button selects the Inputs of the Slots specified on the Sur-
round Monitor page as the source. Surround mixes from up to four mul-
titrack recorders can be monitored by patching Slot Inputs to Surround
Monitor Channels (see page 120) and selecting with the [SLOT] button.
The level of the Surround Monitor can be set by using the SURROUND
MONITOR LEVEL control.
Surround monitor speakers can be aligned by using the individual Attenuator and Delay
parameters on each Surround Monitor Channel. In addition to the standard Ls and Rs
speakers, the 02R96 supports Ls2 and Rs2 speakers, with independent Attenuator and Delay
parameters, for a more diffused surround monitoring environment. See “Configuring Sur-
round Monitoring” on page 117 for more information.
Surround Monitor Channels can be patched to Slot Outputs or Omni Outputs. See “Output
Patching” on page 54 for more information.
Surround Monitor settings can be stored in the Surround Monitor library, which contains
1 preset memory and 32 user memories. See “Surround Monitor Library” on page 130 for
more information.
General surround monitoring is performed on the Surround Monitor page.
1Use the MONITOR [DISPLAY] button to locate the Surround Monitor page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
The number of speaker icons and meters shown on the Surround Monitor page depends on
the currently selected Surround mode. The meters indicate Bus Out signal levels.
MUTE/SOLO: These parameters are used to mute and solo Surround Channels. A Sur-
round Channel is on when its speaker icon is highlighted. Speaker icons can be selected by
using the cursor buttons. When SOLO is on, Surround Channels can be soloed by selecting
speaker icons and pressing [ENTER].
SETTING: These buttons are used to select which Slot’s Inputs are monitored when the
SURROUND [SLOT] button is pressed. Up to four Slots can be assigned, and the signals
from each Slot are mixed. Individual Slot Inputs can be patched to Surround Monitor
Channels on the Surround Monitor Patch page (see page 120).
BUS SLOT
SURROUND
100
SURROUND MONITOR LEVEL
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02R96—Owner’s Manual
When the MONITOR L/R to C-R button is on, the Left and Right Surround Monitor Chan-
nels are fed to the Control Room Monitors. This is useful when you want to use the same
speakers for Left and Right Surround Monitors and Control Room Monitors.
STATUS: SURROUND MODE indicates the currently selected Surround mode, which is
set on the Surround Mode page (see page 69). MONITOR LEVEL indicates the volume set-
ting of the SURROUND MONITOR LEVEL control, which can be calibrated to 85 dB SPL,
the cinema standard for setting up Surround Channel Monitor speakers. To do this, output
pink noise from the built-in Oscillator (see page 117), set the SURROUND MONITOR
LEVEL control and the level controls on the Surround Monitor speaker amps so that the
total output is 85 dB SPL, then press the SET SPL85 button. The MONITOR LEVEL indi-
cation will then display the volume setting relative to 85 dB SPL. Press the SET SPL85 but-
ton again to return to the normal volume indication.
Configuring Surround Monitoring
Surround monitoring, including speaker setup, monitor matrix, Bass Management, and
monitor alignment, is configured on the Surround Monitor Setup page.
1Use the MONITOR [DISPLAY] button to locate the Surround Monitor Setup
page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
SPEAKER SETUP: These parameters are for setting the volume balance of the surround
monitor speakers. Select the OSC (Oscillator) parameter and choose from PINK NOISE,
500-2K (pink noise through a 500 Hz to 2 kHz BPF), 1K (1 kHz sinewave), or 50 Hz (50 Hz
sinewave). Use the ON/OFF button to turn the Oscillator on and off. When on, the Oscil-
lator outputs a signal at –20 dB to the Surround Channels whose icons are highlighted. You
can turn on and off Oscillator output for speakers individually. Speaker icons can be
selected by using the cursor buttons or the Bus Out [SEL] buttons on the Master Layer. The
signal phase of the LFE Channel can be reversed by using the SW Phase button. When
ROTATE is on, the Oscillator signal is output by each speaker in turn in a clockwise direc-
tion (3 second signal, 2 second pause).
SURR. MODE: This indicates the currently selected Surround mode, which is set on the
Surround Mode page (see page 69).
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MONITOR MATRIX: This is used to select the Surround Monitor Matrix. In 5.1 Sur-
round mode, you can select 5.1, 3-1, or ST. In 3-1 Surround mode, you can select 3-1 or ST.
The ATT parameters can be used to attenuate individual Surround Channel signals. The
following diagrams, which show the Monitor Matrixes available in each Surround mode,
are displayed when this parameter is selected.
BASS MANAGE: This parameter is used to select the five preset Bass Management
modes. Use the ON/OFF button to turn Bass Management on and off. The following table
lists the Bass Management preset parameter values (“w/BS” means with Bass Manage-
ment). SMALL speakers are assumed for the presets.
If you are using the 3-1 monitor matrix, even with film sources, use presets 1 and 2, as pre-
sets 3 and 4 may not provide correct monitoring.
Bass Management parameters can be set as follows.
“80-12” means a cutoff frequency of 80 Hz and a filter response of –12 dB/octave. “L” means
Linkwitz filter. Other filters are Butterworth.
Presets Parameters
# Title HPF LPF1 LPF2 ATT AMP
1DVD Mix w/BS 80-12 80-24 80-24 0 10
2DVD Author w/BS 80-12 120-42 80-24 0 10
3Film Mix w/BS 80-12 80-24 80-24 –310
4Film Author w/BS 80-12 120-42 80-24 –310
5Bypass THRU THRU MUTE 0 0
Parameter Range
HPF THRU, 80-12, 80-12L, 80-24, 80-24L
LPF1 THRU, 80-24, 80-24L, 120-42
LPF2 THRU, 80–24, 80-24L, MUTE
ATT 0 to –12 dB (1 dB steps)
AMP 0 to +12 dB (1 dB steps)
3-1 to 3-1 3-1 to ST
5.1 to 5.1 5.1 to 3-1 5.1 to ST
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02R96—Owner’s Manual
The following diagrams show the Bass Management configuration for each monitor matrix
setting, with Bass Management turned on and off.
MONITOR ALIGNMENT ATT & DLY ON/OFF:
These buttons are used to turn on and off the Monitor
Alignment Attenuator and Delay parameters of all Sur-
round speakers. The MONITOR ALIGNMENT diagram
and Surround Channel Attenuator and Delay parameters,
which are displayed when either of these buttons are
selected, allow you to align the surround monitor speak-
ers by attenuating and delaying Surround Channels as
necessary. The Attenuator parameters can be set from
–12 dB to +12 dB in 0.1 dB steps. The Delay parameters
can be set from 0.0 to 30.0 msec in 0.02 msec steps.
5.1 ON 3-1 ON ST ON
5.1 OFF 3-1 OFF ST OFF
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Patching Slot Inputs to Surround Channels
Individual Slot Inputs can be patched to Surround Monitor Channels as follows.
1Use the MONITOR [DISPLAY] button to locate the Surround Monitor Patch
page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
SLOT/CH: This patching matrix is used to patch Inputs 1–8 from each of the four Slots to
Surround Monitor Channels 1–8. Each Slot Input can be patched to only one Surround
Monitor Channel.
LEVEL: These parameters are used to set the monitor level of each Slot.
Using Talkback 121
02R96—Owner’s Manual
Using Talkback
The Talkback function distributes the Talkback mic signal to the Studio Monitor Outs and
any Slot or Omni Outputs specified on the Talkback Setup page.
The TALKBACK LEVEL control sets the level of the built-in talkback micro-
phone.
The [TALKBACK] button has two modes of operation: If it’s pressed once (i.e.,
for less than 300 ms), the Talkback function is turned on and remains on when
the button is released. This is Latched mode (this mode can be disabled on the
Talkback Setup page). If it’s pressed and held for longer, the Talkback function is
turned on, but turns off when the button is released. This is Unlatched mode.
The [TALKBACK] button indicator flashes while the Talkback function is active.
Talkback Setup
1Use the MONITOR [DISPLAY] button to locate the Talkback Setup page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
OUTPUT ASSIGN: These buttons are used to assign the Talkback mic signal to Slot and
Omni Outputs.
TALKBACK DIMMER LEVEL: When the Talkback function is active, this determines the
amount of attenuation applied to sound sources assigned to the Studio Monitors and
selected for Talkback.
USE AD IN x AS TALKBACK: This allows you to select an AD Input as the Talkback sig-
nal source. Use the check box to turn this option on and off, and use the number parameter
to specify the number of the AD Input. The signal from the specified AD Input is mixed
with the Talkback mic signal. Turn down the TALKBACK LEVEL if you do not want to use
the Talkback mic.
NEVER LATCH TALKBACK: This options allows you to disable latching for the Talkback
function.
010
TALKBACK LEVEL
TALKBACK
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13 Libraries
About the Libraries
The 02R96 features 10 libraries for storing Automix, Effects, Channel, Input Patch, Output
Patch, Bus to Stereo, Gate, Comp, EQ, and Surround Monitor data.
Library data can be stored to an external MIDI device, such as a MIDI data filer, by using
MIDI Bulk Dump (see page 168).
General Library Operation
Since most library functions are the same for each library, rather than explain them several
times, they’re explained only here for conciseness.
1Locate the various library pages as explained in the following sections.
The Input Patch Library page shown below is used here for explanation purposes.
2Use the Parameter wheel or INC/DEC buttons to select the memories.
A memory is selected when it appears inside the dotted box.
3Use the cursor buttons to select the following page buttons.
TITLE EDIT: To edit the title of the selected memory, select this and press [ENTER]. When
the Title Edit window appears, edit the title, and press OK when you’ve finished. See “Title
Edit Window” on page 32 for more information.
RECALL: To recall the contents of the selected memory, select this and press [ENTER]. If
the Recall Confirmation preference is on, a confirmation window appears before the con-
tents are recalled.
STORE: To store settings to the selected memory, select this and press [ENTER]. When the
Title Edit window appears, enter a title, and press OK. See “Title Edit Window” on page 32
for more information. You can stop the Title Edit window from appearing by turning off
the Store Confirmation preference on page 197.
CLEAR: To delete the contents and title of the selected memory, select this and press
[ENTER]. A confirmation window appears before the memory is cleared.
Read-only preset memories have an “R” icon next to their name. You cannot store, clear, or
edit the title of these memories. Empty memories have the title “No Data!” Memory #0 is a
read-only memory that you can recall to reset settings to their initial values.
Memory #U is a special read-only memory that allows you to undo and redo memory recall
and store operations. After recalling a memory, you can revert to the previously recalled
memory by recalling memory #U. After storing a memory, you can revert it to its previous
contents by recalling memory #U. You can redo either of these undo operations by recalling
memory #U again.
Channel Library 123
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Channel Library
Input Channel, Bus Out, Aux Send, and Stereo Out channel settings can be stored in the
Channel library, which contains 2 preset memories and 127 user memories.
1Use the DISPLAY ACCESS [VIEW] button to select the Channel Library page.
2Use the LAYER buttons to select Layers, and the [SEL] buttons to select chan-
nels.
When storing, the settings of the currently selected channel are stored to the selected mem-
ory. When recalling, the settings in the selected memory are applied to the currently selected
channel.
Only memories whose contents correspond to the currently selected channel can be
recalled. For example, you can recall Input Channel settings to Input Channels, but not to
Aux Sends. When the selected memory and currently selected channel don’t correspond, a
warning triangle and the word “CONFLICT” appear in the STORED FROM box.
Preset memory #0, “Reset(–∞dB),” resets all parameters of the currently selected channel to
their initial values and sets the channel level to –∞ dB. Preset memory #1, “Reset (0dB),”
also resets all parameters, but sets the channel level to 0 dB (i.e., nominal).
SEL CH: This indicates the currently selected channel.
CURRENT CONFIGURATION: If the currently selected channel is an Input Channel,
Surround mode and Aux configuration information is displayed here.
Level meters: These meters indicate the levels of the currently selected Input Channel
and its horizontal or vertical partner.
STORED FROM: This indicates the channel whose settings were originally stored in the
selected memory. If the currently selected channel is an Input channel, Pan mode and Aux
pairing information is also displayed.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
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02R96—Owner’s Manual
Input Patch Library
Input Patch settings can be stored in the Input Patch library, which contains 1 preset mem-
ory and 32 user memories. See page 52 for information on Input Patch settings.
1Use the DISPLAY ACCESS [INPUT PATCH] button to select the Input Patch
Library page.
When storing, the current Input Patch settings are stored to the selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
Output Patch Library
Output Patch settings can be stored in the Output Patch library, which contains 1 preset
memory and 32 user memories. See page 54 for information on Output Patch settings.
1Use the DISPLAY ACCESS [OUTPUT PATCH] button to select the Output Patch
Library page.
When storing, the current Output Patch settings are stored to the selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
Effects Library 125
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Effects Library
Effects settings can be stored in the Effects library, which contains 52 preset memories and
76 user memories. See page 131 for information on using the Effects.
1Use the EFFECTS/PLUG-INS [DISPLAY] button to select the Effect Library
page.
2Press the EFFECTS/PLUG-INS [INTERNAL EFFECTS] button, and use the
EFFECTS/PLUG-INS [1–4] buttons to select the internal effects processors.
When storing, the settings of the currently selected internal effects processor, indicated in
the upper-left corner, are stored to the selected memory.
EFFECT NAME: This is the name of the previously recalled Effects memory.
TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O con-
figuration is shown below this.
Level meters: These meters indicate the output levels of the currently selected Effects
processor. There are eight output meters for Effects processor #1, and two output meters for
Effects processors #2 through #4.
EFFECT TYPE: This is the effects type in the selected memory. Its I/O configuration is
shown below this.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
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02R96—Owner’s Manual
Bus to Stereo Library
Bus to Stereo settings can be stored in the Bus to Stereo library, which contains 1 preset
memory and 32 user memories. See page 78 for information on Bus to Stereo routing.
1Use the ROUTING [DISPLAY] button to select the Bus to Stereo Library page.
When storing, the current Bus Out to Stereo Out settings are stored to the selected memory.
CURRENT CONFIGURATION: Bus Out pairing information for the current configura-
tion is displayed here.
LIBRARY CONFIGURATION: Bus Out pairing information for the configuration stored
in the currently selected memory is displayed here.
Only memories whose Bus Out pairing configuration matches the current configuration
can be recalled. When the current configuration and the selected memory don’t match, the
word “CONFLICT” appear in the LIBRARY CONFIGURATION box.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
Gate Library 127
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Gate Library
Input Channel Gate settings can be stored in the Gate library, which contains 4 preset mem-
ories and 124 user memories. See page 60 for information on gating Input Channels.
1Use the DYNAMICS [DISPLAY] button to select the Gate Library page.
2Use the LAYER buttons to select the Layers, and the [SEL] buttons to select
Input Channels.
When storing, the Gate settings of the currently selected Input Channel, indicated in the
upper-right corner, are stored to the selected memory. When recalling, the Gate settings in
the selected memory are applied to the currently selected Input Channel.
CURRENT TYPE: This indicates the current Gate type of the currently selected channel.
CURRENT CURVE: This is the Gate curve of the currently selected channel.
GR meters: These meters indicate the amount of gain reduction being applied by the
Gate, and the levels of the currently selected channel and its adjacent channel. If Pair mode
for the currently selected channel is set to Vertical, the level of its counterpart on the adja-
cent Layer is displayed.
The type (Gate or Ducking) and curve of the currently selected memory is displayed to the
right of the memory list.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
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02R96—Owner’s Manual
Comp Library
Comp settings can be stored in the Comp library, which contains 36 preset memories and
92 user memories. See page 97 for information on the Comps.
1Use the DYNAMICS [DISPLAY] button to select the Comp Library page.
2Use the LAYER buttons to select Layers, and the [SEL] buttons to select chan-
nels.
When storing, the Comp settings of the currently selected channel, indicated in the
upper-right corner, are stored to the selected memory. When recalling, the Comp settings
in the selected memory are applied to the currently selected channel.
CURRENT TYPE: This indicates the current Comp type of the currently selected channel.
CURRENT CURVE: This is the Comp curve of the currently selected channel.
GR meters: These meters indicate the amount of gain reduction being applied by the
Comp, and the levels of the currently selected channel and its adjacent channel. If Pair mode
for the currently selected channel is set to Vertical, the level of its counterpart on the adja-
cent Layer is displayed.
The type (Comp, Expand, Comp Soft, Comp Hard) and curve of the currently selected
memory is displayed to the right of the memory list.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
EQ Library 129
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EQ Library
Input Channel, Bus Out, Aux Send, and Stereo Out EQ settings can be stored in the EQ
library, which contains 40 preset memories and 160 user memories. See page 91 for infor-
mation on EQ’ing.
1Use the EQUALIZER [DISPLAY] button to select the EQ Library page.
2Use the LAYER buttons to select Layers, and the [SEL] buttons to select chan-
nels.
When storing, the EQ settings of the currently selected channel, indicated in the upper-left
and right corners, are stored to the selected memory. When recalling, the EQ settings in the
selected memory are applied to the currently selected channel.
CURRENT TYPE: This indicates the current EQ type (TYPE I or TYPE II) for the cur-
rently selected channel.
CURRENT CURVE: This is the EQ curve of the currently selected channel.
Level meters: These meters indicate the levels of the currently selected Input Channel
and its horizontal or vertical partner.
CURVE: This displays the EQ curve in the currently selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
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Automix Library
Up to 16 Automixes can be stored in the Automix library. See page 145 for information on
using Automix.
1Use the AUTOMIX [DISPLAY] button to select the Automix Memory page.
When storing, the current Automix is stored to the selected memory.
TITLE: This is the title of the current Automix.
CURRENT: This is the size of the current Automix.
FREE: This is the amount of free memory for storing the current Automix.
SIZE: This is the size of the selected Automix memory.
PROTECT: To protect the contents of the selected memory, select this and press [ENTER].
A padlock icon appears next to the titles of memories that are write-protected. Automixes
cannot be stored to write-protected memories.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
Surround Monitor Library
Surround Monitor settings can be stored in the Surround Monitor library, which contains
1 preset memory and 32 user memories. See page 116 for information on Surround Moni-
toring.
1Use the MONITOR [DISPLAY] button to select the Surround Monitor Library
page.
When storing, the current Surround Monitor settings are stored to the selected memory.
For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-
ation” on page 122.
Internal Effects & Plug-Ins 131
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14 Internal Effects & Plug-Ins
About the Effects
The 02R96 features four internal multi-effects processors, offering a whole host of effects
types, including reverbs, delays, modulation-based effects, combination effects, and multi-
channel effects designed especially for use with surround sound.
Effects processors 2–4 feature assignable stereo inputs and outputs. Processor #1, which is
intended for use with the multichannel surround effects, features eight assignable inputs
and outputs. Processor inputs and outputs can be patched to various sources, including the
inputs and outputs of other effects processors, allowing you to chain processors together in
series.
The output signal levels of the currently selected effects processor can be metered on the
Effects Edit page. The input and output signal levels of all effects processors can be metered
on the Meter pages. See “Metering” on page 87 for more information.
Effects settings can be stored in the Effects library, which contains 52 preset memories and
76 user memories. See “Effects Library” on page 125 for more information.
Patching Effects Processors
Effects processor inputs can be fed from the Aux Sends, Input and Output Channel Insert
Outs, or the outputs of another effects processor. See “Patching Effects Inputs” on page 53
for more information.
Effects processor outputs can be patched to the Input Channels, Input and Output Channel
Insert Ins, or the inputs of another effects processor. See “Output Patching” on page 54 for
more information.
Preset Effects & Types
The following tables list the preset effects and types. See page 223 for detailed parameter
information.
Reverbs
Delays
# 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
# 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
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Modulation-based Effects
Guitar Effects
Dynamic Effects
Combination Effects
# Preset Name Type Description
13 Chorus CHORUS Chorus
14 Flange FLANGE Flanger
15 Symphonic SYMPHONIC Proprietary Yamaha effect that produces a richer and more
complex modulation than normal chorus
16 Phaser PHASER 16-stage stereo phase shifter
17 Auto Pan AUTO PAN Auto-panner
18 Tremolo TREMOLO Tremolo
19 HQ.Pitch HQ.PITCH Mono pitch shifter, producing stable results
20 Dual Pitch DUAL PITCH Stereo pitch shifter
21 Rotary ROTARY Rotary speaker simulation
22 Ring Mod. RING MOD. Ring modulator
23 Mod.Filter MOD.FILTER Modulated filter
# Preset Name Type Description
24 Distortion DISTORTION Distortion
25 Amp Simulate AMP SIMULATE Guitar amp simulation
# 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
# Preset Name Type Description
29 Rev+Chorus REV+CHORUS Reverb and chorus in parallel
30 Rev->Chorus REV->CHORUS Reverb and chorus in series
31 Rev+Flange REV+FLANGE Reverb and flanger in parallel
32 Rev->Flange REV->FLANGE Reverb and flanger in series
33 Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel
34 Rev->Sympho. REV->SYMPHO. Reverb and symphonic in series
35 Rev->Pan REV->PAN Reverb and auto-pan in series
36 Delay+ER. DELAY+ER. Delay and early reflections in parallel
37 Delay->ER. DELAY->ER. Delay and early reflections in series
38 Delay+Rev DELAY+REV Delay and reverb in parallel
39 Delay->Rev DELAY->REV Delay and reverb in series
40 Dist->Delay DIST->DELAY Distortion and delay in series
Editing Effects 133
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Others
Editing Effects
The internal effects processors can be edited as follows.
1Press the EFFECTS/PLUG INS [INTERNAL EFFECTS] button.
2Use the EFFECTS/PLUG INS [1–4] buttons to select the internal effects pro-
cessors.
3Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Library
page, and recall a preset effects memory that contains the effects type that
you want.
See “Effects Library” on page 125 for more information.
4Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Edit page.
The available effects parameters depends on the effects type currently selected. See page 131
for detailed parameter information.
5Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
EFFECT NAME: This is the name of the previously recalled Effects memory.
# Preset Name Type Description
41 Multi.Filter MULTI.FILTER 3-band parallel filter (24 dB/octave)
42 Freeze FREEZE Simple sampler
43 Stereo Reverb ST REVERB Stereo reverb
441
1. These effects can be recalled only to effects processor #1.
Reverb 5.1 REVERB 5.12
2. Since these effects types require four DSPs, the total number of effects processors is reduced by
three when one of these types is used. For example, if REVERB 5.1 is used with effects processor #1,
processors 2–4 are unavailable.
6-channel reverb for 5.1 surround
451Octa Reverb OCTA REVERB28-channel reverb for 7.1 surround
461Auto Pan 5.1 AUTO PAN 5.1 6-channel auto pan for 5.1 surround
471Chorus 5.1 CHORUS 5.1 6-channel chorus for 5.1 surround
481Flange 5.1 FLANGE 5.1 6-channel flanger for 5.1 surround
491Sympho. 5.1 SYMPHO. 5.1 6-channel symphonic effect for 5.1 surround
50 M. Band Dyna. M. BAND DYNA. Multi-band dynamics processor
511Comp 5.1 COMP 5.12Multi-band compressor for 5.1 surround
521Compand 5.1 COMPAND 5.12Multi-band compander for 5.1 surround
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TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O con-
figuration is shown below this.
MIX BALANCE: This is used to set the balance between the wet and dry signals. When set
to 0%, only the dry signal is heard. When set to 100%, only the wet signal is heard.
BYPASS: This button is used to bypass the currently selected effects processor.
TEMPO: These parameters, which appear only when an effects type with a delay parame-
ter, or a modulation-based effects type with a Frequency parameter is selected, are used to
automatically calculate and set the delay time, or modulation frequency relative to the spec-
ified tempo and note length. Use the Note parameter to specify the note length, and use the
BPM control to specify the tempo. You can also specify the tempo by tapping the TAP
TEMPO button, which calculates the tempo based on the time interval between two taps.
When the MIDI CLK button is on, the tempo is derived from the MIDI Clock information
received at the specified MIDI Rx port. See “MIDI I/O” on page 163.
Meters: These are output meters for the currently selected effects processor. There are
eight meters when processor #1 is selected; two when processors 2–4 are selected.
Effects parameters can also be adjusted by using Parameter controls 1–4. Use the Parameter
Up/Down buttons to select the rows of parameters. The parameters in the currently selected
row appear highlighted. Up to 16 parameters can be displayed at a time, and if more are
available, an up or down arrow is displayed.
When a Y56K card effect, or an internal effects processor is inserted in the currently selected
channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the cor-
responding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding
Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] but-
ton indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]
button indicator also flashes. This applies only to effects that are inserted into channels. If
there’s nothing inserted in the currently selected channel, a message appears.
Parameter controls 1–4
Parameter Up/Down
About Plug-Ins 135
02R96—Owner’s Manual
About Plug-Ins
There are two types of Plug-Ins: Waves Plug-Ins and User Defined Plug-Ins. Waves Plug-Ins
are available on Y56K cards, which need to be installed in the 02R96’s mini YGDAI Slots
(Slots 3 and 4 only). See your Yamaha dealer for details. User Defined Plug-Ins can be used
to control up to 32 user definable parameters via MIDI Control Change or Parameter
Change messages on an external MIDI device, such as an external effects processor. Plug-In
parameters can be controlled by using the four Parameter controls below the display.
Plug-In parameter settings are stored in Scenes, for snapshot-style automation.
When installing Y56K cards, mini YGDAI Slots 3 and 4 correspond to Plug-Ins 3 and 4, so
if you install, for example, a Y56K card in Slot #4, it’s automatically configured as Plug-In
#4. 02R96 signals are patched through to the Y56K card’s effect chains just like any other sig-
nal is patched through to a Slot Input or Output. Slot Outputs (i.e., effect chain inputs) can
be fed from the Bus Outs, Aux Sends, Stereo Out, or the Input and Output Channel Insert
Outs. Slot Inputs (i.e., effect chain outputs) can be fed to the Input Channels, or the Input
and Output Channel Insert Ins. See “Input & Output Patching” on page 52.
Configuring Plug-Ins
Plug-Ins can be configured as follows.
If you’ve installed a Y56K card into one of the Slots, the 02R96 configures itself automati-
cally and no further configuration settings are required.
1Press the EFFECTS/PLUG INS [PLUG-INS] button.
2Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Setup
page.
3Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TARGET: These are used to assign a target to each of the four Plug-Ins. Parameters for the
specified target appear on the Plug-In Edit page when that Plug-In is selected by using the
EFFECTS PLUG-INS [1–4] buttons. In addition to using the cursor buttons, Plug-Ins can
also be selected on this page by using the EFFECTS PLUG-INS [1–4] buttons.
TITLE: If a Y56K card is installed, its name is displayed here. If the target is set to USER
DEFINED, the specified title of the bank currently selected on the Plug-In Edit page is dis-
played.
PORT: If a Y56K card is installed, its Slot number is displayed here. If the target is set to
USER DEFINED, you can specify the Plug-Ins MIDI port as MIDI, SERIAL 1–8, USB 1–8,
or SLOT1 1–8. Plug-In MIDI Ports can also be set on the MIDI/To Host Setup page. See
“MIDI I/O” on page 163 for more information.
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Editing Plug-Ins
Plug-Ins can be edited as follows. The settings of Waves Plug-Ins and User Defined Plug-In
banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI
Bulk Dump (see page 168).
If you’ve installed a Y56K card into one of the Slots, display pages especially for the Waves
card are displayed when the corresponding Plug-In is selected. See the Waves documenta-
tion for more information. The following explanation applies only to User Defined
Plug-Ins.
1Press the EFFECTS/PLUG INS [PLUG-INS] button.
2Use the EFFECTS/PLUG INS [1–4] buttons to select the Plug-Ins.
3Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Edit page.
4Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TRANSMIT: This enables and disables MIDI data transmission for the currently selected
Plug-In.
INITIALIZE: This initializes the settings of the currently selected bank.
BANK: These buttons are used to select the parameter banks of the currently selected
Plug-In. Up to four parameter settings can be stored in each bank, making a total of 32
parameters per Plug-In.
TITLE: This is used to enter a title (up to 16 characters long) for each bank. To enter a title
for the currently selected bank, select this and press [ENTER]. When the Title Edit window
appears, enter a title, and press OK when you’ve finished. See “Title Edit Window” on page
32 for more information.
PARAMETER ID/NAME: This is used to select the four rotary controls at the bottom of
the Plug-In Edit page for editing, and to enter a name (up to 16 characters long) for each
control. Use the Parameter wheel or INC/DEC buttons to select a Parameter ID from 1–4,
and then press [ENTER]. When the Title Edit window appears, enter a title, and press OK
when you’ve finished. See “Title Edit Window” on page 32 for more information.
DATA: This is used to specify the MIDI message (up to 16 bytes) to be transmitted when
each parameter control is adjusted. Use the PARAMETER ID/NAME parameter to select a
Parameter ID from 1–4, and then edit as necessary. Data values can be set in hex from 00 to
FF. The VAL setting is the value of the parameter control. The END setting specifies the end
of the data. NOP means no data is transmitted.
LEARN: This button is used to turn on and off the Learn function, which can be used to
learn what MIDI messages are transmitted by external MIDI devices when their controls or
parameters are adjusted. When on, received MIDI messages are displayed by the DATA
parameter. Only the first 16 bytes of data, starting with a Status bit, are displayed.
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MIN/MAX: These parameters determine the minimum and maximum values of the
MIDI data transmitted when each parameter control is adjusted. Use the PARAMETER
ID/NAME parameter to select a Parameter ID from 1–4, and then edit as necessary.
VAL: This is used to select the format for converting parameter control values to the DATA
parameter’s VAL setting. It applies to the currently selected bank. The available options are
listed in the following table.
When the controls at the bottom of the Plug-In Edit page are operated, the specified MIDI
data, along with the value of the parameter control, is transmitted.
Plug-In parameters can also be adjusted by using Parameter controls 1–4, which corre-
spond to the four parameters shown at the bottom of the Plug-In Edit page.
When a Y56K card effect, or an internal effects processor is inserted in the currently selected
channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the cor-
responding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding
Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] but-
ton indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]
button indicator also flashes. This applies only to effects that are inserted into channels. If
there’s nothing inserted in the currently selected channel, a message appears.
The parameter settings, and the target and bank for each Plug-In are stored in Scenes. When
a Scene is recalled, if the Plug-In’s Target is the same as when the Scene was stored, the
parameters are set accordingly and the corresponding MIDI data is transmitted (so long as
the REMOTE parameter is set to ENABLED). If the Target is not the same, the parameters
are set accordingly but no MIDI data is transmitted.
VAL Description VAL count
One byte Transmit the lower 7 bits of the parameter value as 1 word Up to one VAL
MSB/LSB Transmit the lower 14 bits of the parameter value in 7-bit units
starting from the upper byte Up to two VAL’s
LSB/MSB Transmit the lower 14 bits of the parameter value in 7-bit units
starting from the lower byte Up to two VAL’s
2 Nibbles M Transmit the lower 8 bits of the parameter value in 4-bit units,
consecutively from the highest data Up to two VAL’s
3 Nibbles M Transmit the lower 12 bits of the parameter value in 4-bit units,
consecutively from the highest data Up to three VAL’s
4 Nibbles M Transmit the parameter value in 4 bit units, consecutively from
the highest data Up to four VAL’s
2 Nibbles L Transmit the lower 8 bits of the parameter value in 4-bit units,
consecutively from the lowest data Up to two VAL’s
3 Nibbles L Transmit the lower 12 bits of the parameter value in 4-bit units,
consecutively from the lowest data Up to three VAL’s
4 Nibbles L Transmit the parameter value in 4-bit units, consecutively from
the lowest data Up to four VAL’s
Parameter controls 1–4
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15 Scene Memories
About Scene Memories
Scene memories allow you to store a snapshot of virtually every 02R96 mix setting in a
Scene. There are 99 Scene memories, and they can be titled for easy identification. Scenes
can be linked to Input and Output Patch library memories, so that input and output
patches are recalled along with Scenes. A fade time of up to 30 seconds can be set individu-
ally for each Input and Output Channel fader. Recall Safe can be used to exclude individual
Input and Output Channels and certain parameters from Scene recalls. Stored Scenes can
be sorted as necessary.
Scenes can be stored and recalled by using the SCENE MEMORY [STORE] and [RECALL]
buttons, or by using the Scene Memory page. Scenes can be assigned MIDI Program
Change numbers and recalled remotely. See “Assigning Scenes to Program Changes” on
page 166 for more information. When a Scene is recalled on the 02R96, the Program
Change number assigned to that Scene is transmitted, which can be used to recall programs,
effects, etc., on other MIDI equipment. In addition, manual Scene recalls can be recorded
on-the-fly in an Automix. When that Automix is replayed, the Scenes are recalled automat-
ically. See “Automix” on page 145 for more information.
Scene memories can be stored to external MIDI device, such as a MIDI data filer, by using
MIDI Bulk Dump (see page 168).
What’s Stored in a Scene?
The following items are stored in Scenes: Input and Output Channel settings, Effects set-
tings, Group and Pair settings, Fade Time settings, and Scene title.
Edit Buffer & Edit Indicator
The Edit Buffer is where the current mix settings (i.e., the current Scene) are stored. When
a Scene is stored, the mix settings in the Edit Buffer are written to the selected Scene mem-
ory. When a Scene is recalled, the contents of the selected Scene memory are copied to the
Edit Buffer, making them the current mix settings.
When a parameter is adjusted after a Scene has been recalled, the Edit indicators—the dot
on the SCENE MEMORY display and “EDIT” on the display—appear, indicating that the
current mix settings (i.e., those in the Edit Buffer) no longer match those of the Scene that
was recalled last, as illustrated below.
The contents of the Edit Buffer are retained while the 02R96 is turned off.
Scene #2 has just been recalled, so the
contents of the Edit Buffer match those of
Scene #2 and the Edit indicators are off.
A parameter has been adjusted since Scene #2
was recalled, so the Edit indicators appear,
indicating that the contents of the Edit Buffer
no longer match those of Scene #2.
02 02
SCENE MEMORY display
Display
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Scene Memories #0 & #U
Scene memory #0 is a special read-only memory that contains the initial settings of all mix
parameters. It can be recalled, but not stored. When you want to reset all mix parameters to
their initial, or default values, recall Scene memory #0. Input Channel faders are set to either
–∞dB or nominal, depending on the Initial Data Nominal preference (see page 198).
Scene memory #U is a special read-only memory that allows you to undo and redo Scene
memory recall and store operations. After recalling a Scene memory, you can revert to the
previously recalled Scene memory by recalling Scene memory #U. After storing a Scene
memory, you can revert it to its previous contents by recalling Scene memory #U. You can
redo either of these undo operations by recalling Scene memory #U again.
Auto Scene Memory Update
Normally, when a Scene is recalled and then edited, that Scene must be stored again in order
to save the edits. If the Scene MEM Auto Update preference on page 198 is on, however,
those edits are stored automatically in a Shadow memory. There’s one Shadow memory for
each Original Scene memory. The contents of the Original and Shadow memories can be
recalled alternately, which is useful for doing A/B comparisons.
When a Scene is recalled, the current mix settings are automatically stored in the Shadow
memory of the Scene memory that was recalled last. When you return to that Scene, you
can recall the Shadow or Original memory alternately.
While the Scene MEM Auto Update preference is on, Shadow memories, not Original
memories are recalled initially. To recall an Original memory, recall its Shadow memory
first, and while the Edit indicators are both off, recall again. This time the Original memory
is recalled.
When recalling Original and Shadow memories, you can easily tell which is currently active
by the Edit indicators, which are off when an Original memory is active, and on when a
Shadow memory is active. Note that when a Scene is stored, the contents of the Original and
Shadow memories will be the same and the Edit indicators will be off regardless of which
memory is active.
When recalling Scenes in an Automix, only the Original memories can be recalled. When
recalling Scenes via MIDI Program Change messages, Original and Shadow memories can
be recalled, and operation is the same as for recalling Scenes by using the 02R96’s SCENE
MEMORY buttons or the Scene Memory page.
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Storing & Recalling Scenes with the SCENE MEMORY Buttons
As each Scene memory is selected, its number flashes on the SCENE MEMORY display, and
its number and title flash in the Scene memory section of the display. These stop flashing
when the selected Scene memory is either stored or recalled. Empty Scene memories have
the title “No Data!” and cannot be recalled. You cannot store to Scene memories that are
write-protected.
Storing Scenes
1Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene
memories.
2Press the [STORE] button.
The Title Edit window appears. This window can be disabled by the Store Confirmation
preference on page 197.
3Enter a title.
See “Title Edit Window” on page 32 for more information.
4Press OK on the Title Edit window.
The current Scene is stored to the selected Scene memory.
You can undo Scene stores, reverting to the previous mix settings, by recalling Scene mem-
ory #U (“Ud” on the SCENE MEMORY display).
Recalling Scenes
1Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene
memories.
2Press the [RECALL] button.
The contents of the selected Scene memory are recalled and all mix parameters are set
accordingly. If the Recall Confirmation preference is on, a confirmation window appears
before a Scene is recalled.
You can undo Scene recalls, reverting to the previous mix settings, by recalling Scene mem-
ory #U (“Ud” on the SCENE MEMORY display).
Warning: When storing Scenes, make sure that there are no settings in the Edit Buffer that
you do not want to store. Perhaps some settings have been adjusted accidentally, or by someone
else. If you are not sure of the Edit Buffer’s exact contents, recall the last Scene, make the adjust-
ments that you really want, and then store the Scene. You may want to store the current Scene
to an unused Scene memory just in case.
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Using the Scene Memory Page
On the Scene Memory page you can store, recall, write-protect, delete, and edit the titles of
Scenes.
1Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory
page.
2Use the Parameter wheel or INC/DEC buttons to select the Scene memories.
A Scene memory is selected when it appears inside the dotted box.
3Use the cursor buttons to select the following buttons.
TITLE EDIT: To edit the title of the selected Scene memory, select this and press [ENTER].
When the Title Edit window appears, edit the title, and press OK when you’ve finished. See
“Title Edit Window” on page 32 for more information.
RECALL: To recall the contents of the selected Scene memory, select this and press
[ENTER]. The contents of the selected Scene memory are recalled, all parameters are set
accordingly, the Scene memory’s number and title stop flashing, and the Edit indicators go
off. If the Recall Confirmation preference is on, a confirmation window appears before a
Scene is recalled.
STORE: To store the current Scene to the selected Scene memory, select this and press
[ENTER]. When the Title Edit window appears, enter a title, and press OK. See “Title Edit
Window” on page 32 for more information. When a Scene is stored, the Scene memory’s
number and title stop flashing, and the Edit indicators go off. You can stop the Title Edit
window from appearing by turning off the Store Confirmation preference on page 197. The
“Free: 100%” value indicates the amount of free memory available for storing Scenes.
CLEAR: To delete the contents and title of the selected Scene memory, select this, press
[ENTER], and the press YES when the confirmation window appears.
PROTECT: To protect the contents of the selected Scene memory, select this and press
[ENTER]. A padlock icon appears next to the titles of Scene memories that are write-pro-
tected. Scenes cannot be stored to write-protected Scene memories. While the PROTECT
button is selected, the selected Scene memory can be protected and unprotected by using
the INC/DEC buttons.
PATCH LINK: These INPUT and OUTPUT parameters allow you to link Scene memories
to Input and Output Patch library memories, so that when a Scene is recalled, the linked
input and output patches are recalled as well. If the linked Input or Output Patch library
memory contains no data, only the specified Scene is recalled, the input and output patch-
ing remains the same.
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Fading Scenes
Fade times can be specified for individual Input Channels, Bus Outs, Aux Sends, and the
Stereo Out. The fade time determines the time it takes the Input and Output Channel faders
to move to their new positions when a Scene is recalled. You must store these settings in a
Scene beforehand in order for them to take effect. Fade time settings can be specified for
each Scene individually.
1Use the SCENE MEMORY [DISPLAY] button to locate a Fade Time page.
The Fade Time parameters for the 56 Input Channels are divided between two pages. The
Input Channel 1–48 Fade time page is shown below. The layout of the other page is the
same.
The Fade Time parameters for the Output Channels appear on the Output Fade Time page.
2Use the cursor buttons or [SEL] buttons to select the individual Fade Time
parameters, and use the Parameter wheel or INC/DEC buttons to set them.
You can copy the currently selected Input or Output Channel Fade Time setting to all Input
or Output Channels respectively by double-clicking the [ENTER] button.
The Long name of the channel whose Fade Time parameter is currently selected appears in
the upper-right corner of the page. When a channel is selected by using the [SEL] buttons,
its Long name also appears in the upper-right corner of the display.
The Fade Time can be set from 0 to 30 seconds in 0.1 second steps.
You can reset all Fade Time parameters to zero by selecting the ALL CLEAR button, and
then pressing [ENTER].
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Recalling Scenes Safely
When a Scene is recalled, all mix parameters are set accordingly. In some situations, you
may want to retain the settings of certain parameters on certain channels, and this can be
achieved by using the Recall Safe function. Recall Safe can be set individually for Input
Channels, Bus Outs, Aux Sends, and the Stereo Out.
1Use the SCENE MEMORY [DISPLAY] button to locate the Recall Safe page.
2Select the SAFE ENABLED/DISABLED button, and use the [ENTER] button or
the INC/DEC buttons to enable or disable the Recall Safe function.
3Use the cursor buttons, [SEL] buttons, or Parameter wheel to select channels,
and use the [ENTER] button or the INC/DEC buttons to set them as Safe chan-
nels.
When a channel is selected by using the [SEL] buttons, its Long name appears in the
upper-right corner of the display. When a channel is Safe, its number appears highlighted.
4Use the cursor buttons or Parameter wheel to select the MODE parameters,
and the [ENTER] button to set them.
The MODE buttons determine which Safe channel parameters are unaffected by Scene
recalls. ALL (all parameters. This option is mutually exclusive with the following options),
FADER (faders), ON (On/Off parameters), PAN (Pan parameters), EQ (EQ parameters),
COMP (Comp parameters), GATE (Gate parameters), AUX (Aux Send levels), AUX ON
(Aux Send On/Off parameters).
The EFFECT button operates independently of the MODE buttons and can be used to
make the effects Safe.
Recall safe settings are stored in Scenes memories.
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Sorting Scenes
Scene can be sorted by using the Scene Memory Sort function.
1Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory Sort
page.
2Use the cursor button to the select the SOURCE list, and use the Parameter
wheel or the INC/DEC buttons to select the Scene memory you want to
move.
3Use the cursor button to the select the DESTINATION list, and use the Param-
eter wheel or the INC/DEC buttons to select the position to which you want
to move the source Scene memory.
4Press [ENTER] to move the source Scene memory to the specified destina-
tion.
The [ENTER] button executes the Sort function regardless of its position.
Automix 145
02R96—Owner’s Manual
16 Automix
About Automix
The 02R96’s Automix function allows dynamic automation of virtually all mix parameters,
including Levels, Mutes, Pan, Surround Pan, Aux Sends, Aux Send Mutes, EQ, effects, and
Plug-Ins. You can specify which of these parameters will be recorded, and punch channels
in and out of recording on-the-fly. User Defined Remote Layer operations, and scene and
library recall operations can also be automated, combining snap shot and dynamic mix
automation. Events are recorded in real time and can be edited either offline, with 1/4 frame
accuracy, or by rerecording with punch in/out. Automix can be synchronized to an external
timecode source or to the internal timecode generator.
Up to 16 Automixes can be stored in the Automix library. See “Automix Library” on page
130 for more information. They can also be stored to an external MIDI device, such as a
MIDI data filer, by using MIDI Bulk Dump (see page 168).
What’s Recorded in an Automix?
The following parameters can be recorded in an Automix.
Parameter Input
Channels
Bus Out
Masters
Aux Send
Masters Stereo Out
Channel Levels (faders) OOOO
Channel Mutes (ON/OFF) OOOO
Pan O ———
Surround Pan O ———
EQ (F, Q, G, On/Off) OOOO
Aux Send 1–8 levels O ———
Aux Send 1–8 mutes O ———
Scene recalls
EQ, Gate, Comp, Effects, Channel library recalls
Effect parameters (certain parameters)
User Defined Plug-Ins (parameters 1–4)
User Defined Remote Layers (faders, [ON],
Encoders)
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Automix Main Page
This section explains the Automix Main page.
1Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main
page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TITLE: This is the title of the current Automix.
DISABLED/ENABLED: This button is used to enable and disable the Automix function.
TIME CODE: This counter displays the current timecode position.
FREE: The amount of free Automix memory remaining is displayed here in kilobytes, per-
cent, and graphically by a bargraph.
SIZE: The size of the current Automix and the size of any Automix data in the undo buffer
are displayed here in kilobytes.
OFFSET: This parameter can be used to specify an offset relative to the external timecode
source in hours, minutes, seconds, frames, and subframes. Specify a “+” value to move
events forward relative to the incoming timecode. Specify a “–” value to move events back-
wards relative to the incoming timecode. Press the [ENTER] button to reset the currently
selected digits to “00.”
INT START TIME: This parameter is used to set the start time of the internal timecode
generator in hours, minutes, seconds, frames, and subframes. Press the [ENTER] button to
reset the currently selected digits to “00.” The internal timecode generator is selected on the
Time Reference page (see page 152).
UPDATE: This button determines the fate of events that exist beyond the point at which
rerecording is stopped. When TO END is on, all events that exist beyond the point at which
rerecording is stopped for parameters that have been edited during the current pass are
erased. This function is useful when you want parameters to remain the same right through
to the end of the Automix. Events are erased only when the current pass is actually stopped,
not when a punch out occurs. When TO END is off, existing events are left as they are.
When TO END is on, the way in which Fader events are processed depends on the currently
selected Fader Edit mode and Edit Out mode. In the following table, the Fader Edit mode
is set to Absolute. If the Fader Edit mode is set to Relative, and the Edit Out mode is set to
either Takeover or Off, the fader will remain at a position relative to the position at which
recording is stopped.
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02R96—Owner’s Manual
EDIT OUT: These buttons are used to set the Edit Out mode: Off, Takeover, or Return. The
Edit Out mode determines how rerecorded fader moves align with existing fader data at the
punch out point. Fader data includes Input Channel levels, Bus Out master levels, Aux Send
master levels, the Stereo Out level, and User Defined Remote Layer faders. The Edit Out
modes are explained in the following table. The Return Time is specified on the Fader Edit
page (see page 151).
TO END Return Takeover or Off
OFF
At the point at which recording is stopped, the fader
returns to the position specified by the existing fader
data, at the speed specified by the Time parameter on
the Fader Edit pages.
At the point at which recording is stopped, the fader
remains at the same position until the next Fader
event in the existing data occurs.
ON
At the point at which recording is stopped, the fader
returns to the position specified by the existing fader
data, at the speed specified by the Time parameter,
and all subsequent events are erased so that the fader
remains at that position right through to the end of
the Automix.
At the point at which recording is stopped, all subse-
quent events are erased so that the fader remains at
that position right through to the end of the Automix.
Off Return Takeover
At the punch out point, the fader
remains at the same position until the
next Fader event in the existing data
occurs.
At the punch out point, the fader returns
to the position specified by the existing
fader data, at the speed specified by the
Time parameter on the Fader Edit pages.
At the punch out point, recording con-
tinues until the fader position intersects
the existing fader data. If you are still
touching the fader knob at the actual
punch out point, the fader is disabled
until you release it.
In this example, punch out was per-
formed by pressing the [AUTO] button,
and the fader was moved manually
between the punch out and actual
punch out points.
Return time
Stop recording
Time
Existing data
Punch in
Fader edit
Stop recording
Time
Existing data
Punch in
Fader edit
Return time
Stop recording
Time
Existing data
Punch in
Fader edit
Stop recording
Time
Existing data
Punch in
Fader edit
Punch out
Time
Existing data
Punch in
Fader edit
Return time
Punch out
Time
Existing data
Punch in
Fader edit
Time
Punch out
Existing data
Actual punch out
Punch in
Fader edit
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FADER EDIT: These buttons are used to set the Fader Edit mode: Absolute or Relative. The
Fader Edit mode determines how fader moves are rerecorded. It has no effect during the
first recording pass. In Absolute mode, fader moves are rerecorded as absolute values and
existing fader data is erased. In Relative mode, fader moves are rerecorded relative to the
existing fader data.
Fader data includes Input Channel levels, Bus Out master levels, Aux Send master levels,
Stereo Out level, and User Defined Remote Layer faders.
The following table explains Fader Edit mode operation (TO END: off. Edit Out: off)
TIME REFERENCE: This section displays the current timecode source and frame rate. If
you select this item and then press the [ENTER] button, you can jump directly to the Time
Reference page (see page 152).
OVERWRITE: These buttons determine which parameters can be recorded on the first
pass, and rerecorded (i.e., overwritten) on subsequent passes. They can be set while record-
ing is in progress. Parameters for which the corresponding OVERWRITE button is not set,
cannot be edited while recording is in progress.
Scene and library recalls, and internal effects processors and Plug-Ins parameters can be
recorded regardless of the OVERWRITE settings.
NEW: This button is used to create a new Automix. When a new Automix is created, a
Scene recall event to recall the current Scene (i.e., the last Scene recalled) is automatically
inserted at the start of the Automix. You can edit this event so that another Scene is recalled.
This initial Scene is important because it sets all the mix parameters how you’d like them at
the beginning of the Automix. Without it, mix parameters would remain the same as when
Automix playback was stopped.
UNDO: This button is used to undo various Automix operations. During each recording
pass, when a new Automix is created, when an Automix is recalled, when an offline edit is
performed, or when the Undo function is used, the current Automix data is copied to the
Undo buffer, from which it can be retrieved by pressing UNDO while Automix is stopped.
The Undo buffer is cleared when the 02R96 is turned off. If you want to save the contents
of the Undo buffer, perform the undo, and then store the Automix (see page 130).
Absolute Relative
Fader edits are recorded as absolute values and
existing fader data between the punch in and out
points is erased.
Fader edits are rerecorded relative to the existing
fader data.
Parameter button Description
FADER Channel faders (Inputs Channels, Bus Out masters, Aux Send masters, the Ste-
reo Out, and User Defined Layer faders)
ON Channel Mutes (ON/OFF), User Defined Layer [ON] buttons
PAN Input Channel Pan, User Defined Layer Encoders
SURR Input Channel Surround pan, LFE level, DIV parameter
AUX Aux Send 1–8 levels
AUX ON Aux Send 1–8 mutes
EQ EQ (F, Q, G, On/Off)
Punch out
Time
Existing data
Punch in
Fader edit
Punch out
Time
Existing data
Punch in
Fader edit
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02R96—Owner’s Manual
AUTO REC: This button works the same as the REC button except that it remains on when
Automix recording is stopped. It appears highlighted while Auto Record mode is on.
REC: This button is used to engage Record-Ready mode, in which Automix recording starts
automatically as soon as the specified timecode source starts. Unlike the AUTO REC button,
however, it’s turned off when recording is stopped. It flashes in Record-Ready mode, and is
highlighted during recording. This button can also be used to engage Automix recording
during playback. To do this, while the PLAY button is highlighted (i.e., during playback),
press the REC button (it flashes in Record-Ready mode). Then press the PLAY button to
start recording. This button can also be used to stop recording.
PLAY: This button is used to start Automix recording and playback when the timecode
source is set to internal. When an external timecode source is selected, while the external
timecode is being received, recording and playback are started, and this button is turned on
automatically. If Automix is stopped by pressing the STOP or ABORT button, recording or
playback can be restarted by pressing this button so long as timecode is still being received.
This button can also be used in conjunction with the REC button to punch in recording
during Automix playback.
STOP: This button is used to stop Automix playback and recording. It appears highlighted
while Automix is stopped.
ABORT: This button is used to abort the current recording without updating the existing
Automix data.
Channel Strip [AUTO] Buttons
The channel strip [AUTO] buttons are used to arm channels in Record-Ready
mode, and to punch channels in and out during recording.
The [AUTO] button indicators operate as follows:
• Off: Automix playback disabled
• Green: Automix stopped or playing
• Orange: Record-Ready mode
• Red: Recording (even for individual parameters, see page 156)
• Flashing red: Takeover in progress
• Flashing green: indicates that a fader is inactive, for example, when you continue touching
a fader after actual punch out has occurred when using the Takeover Edit Out mode.
AUTO
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Automix Memory Page
Automixes can be stored and recalled on the Automix Memory page. The lower half of this
page is identical to the Automix Main page.
1Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Memory
page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
The Automix library functions are explained in “Automix Library” on page 130. The
remaining items are the same as on the Main page and are explained on page 146.
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Fader Edit Pages
During playback, fader positions are displayed graphically as black bars on the Fader Edit
page, of which there are two. The Fader Edit 1 page displays Faders positions for Input
Channel 1 through 56, the Bus Outs, and Stereo Out. The Fader Edit 2 page displays faders
positions for Input Channel 1 through 56, the Bus Outs, and Aux Sends. When the Fader
mode is set to Fader, Input and Output Channel levels are displayed. When it’s set to Aux
mode, Aux Send levels are displayed.
During rerecording, arrows are displayed next to each fader bar. A downward arrow indi-
cates that the current fader position is higher than that specified by the existing fader data.
An upward arrow indicates that the current fader position is lower than that specified by the
existing fader data.
1Use the DISPLAY ACCESS [AUTOMIX] button to locate the Fader Edit pages.
The Fader Edit 1 page is shown here.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
The counter in the upper-left corner displays the current timecode position.
Edit Safe buttons: The numbered buttons below each fader bar are Channel Safe but-
tons, which can be used to prohibit automix recording on certain channels. A channel is set
to safe when its button appears highlighted. You can make all channels safe by selecting one
button and then double-clicking the [ENTER] button. A confirmation message appears
and you can elect to make one channel safe or all channels. During recording, events cannot
be recorded, or rerecorded on safe channels, although existing events are played back and
faders, Encoders, [ON] buttons, and so on can still be used, which is useful for rehearsing
mix moves. Channel safe settings cannot be changed during recording.
ABSOLUTE & RELATIVE: These buttons are the same as those on the Main and Memory
pages. See “Automix Main Page” on page 146 for more information.
MOTOR: This button is used to turn the fader motors are on and off for Automix play-
back. The button appears highlighted when the motors are on. The motors cannot be
turned off during recording, and are automatically turned on when recording starts.
TOUCH SENSE: Touch sense allows you to punch faders in and out during recording
simply by touching fader knobs. Touch sense IN and touch sense OUT can be turned on
and off independently.
UPDATE: This button is the same as that on the Main and Memory pages. See “Automix
Main Page” on page 146 for more information.
EDIT OUT: The TAKEOVER and RETURN buttons are the same as those on the Main and
Memory pages. See “Automix Main Page” on page 146 for more information. The TIME
parameter determines the time it takes faders to return to levels specified by the existing
Automix data when the Edit Out mode is set to Return. It can be set from 0.0 to 30.0 seconds
in 0.1 second steps.
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Selecting the Timecode Source & Frame Rate
The timecode source and frame rate for Automix can be set as follows.
1Use the DISPLAY ACCESS [SETUP] button to select the Time Reference page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TIME REFERENCE: The following timecode sources can be selected.
For the USB, SERIAL, and SLOT1 sources, you must specify a port from 1–8.
FRAMES: The frame rate can be set to: 30, 30D, 29.97, 29.97D, 25, or 24. An Automix will
playback correctly even if the frame rate is different to that which was used when the Auto-
mix was originally recorded.
The MIDI CLOCK source supports Song position Pointers, F8 TIMING CLOCK (timing
info), FA START (starts Automix from beginning), FB CONTINUE (starts Automix from
current position), and FC STOP (stops Automix).
Source Description
INTERNAL Internally generated timecode
SMPTE SMPTE timecode received via the SMPTE TIME CODE INPUT
MIDI CLOCK MIDI Clock received via the MIDI IN port
MTC MTC received via the MTC TIME CODE INPUT
USB MTC received via the USB TO HOST port
SERIAL MTC received via the SERIAL TO HOST port
SLOT1 MTC received via Slot #1 (for use with an optional mLAN I/O Card installed in Slot #1)
MIDI MTC received via the MIDI IN port
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Creating a Time Signature Map
When using the MIDI CLOCK timecode source, you’ll also need to specify the initial time
signature and any time signature changes that follow.
1Use the DISPLAY ACCESS [SETUP] button to select the Time Signature page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel or INC/DEC buttons to specify the measure and time signature.
To insert a time signature change, use the cursor buttons to select the next available entry,
and press [ENTER], or turn the Parameter wheel.
To delete a time signature change, select it, and then press [ENTER]. The initial time signa-
ture entry at measure #1 cannot be deleted.
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Recording an Automix
This section provides a general procedure for Automix recording.
1Connect a timecode source.
2Select the timecode source and frame rate.
See “Selecting the Timecode Source & Frame Rate” on page 152 for more information.
3Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main
page.
4On the Automix Main page, use the ENABLED/DISABLED button to enable
the Automix function.
5On the Automix Main page, use the OVERWRITE buttons to select which
parameters you want to record.
The corresponding OVERWRITE buttons pages appear highlighted.
6On the Automix Main page, press the REC button.
The REC button flashes.
Alternatively, you could press the AUTO REC button so that Automix recording starts auto-
matically when timecode is received. The main difference between REC and AUTO REC is
that the AUTO REC functions remains on when recording is stopped, whereas REC must
be pressed each and every time you want to start recording. Initially however, REC may be
the safer option.
7Use the [AUTO] buttons to arm channels for Automix recording.
The [AUTO] button indicators of armed channels light up orange.
8Start the timecode source.
The REC and PLAY buttons appear highlighted.
9Adjust the faders and other controls as necessary.
Use the SELECTED CHANNEL section to edit the currently selected channel. Channels are
selected automatically when the [AUTO] buttons are pressed. You can punch channels out
of recording by using the [AUTO] buttons.
10 To stop Automix recording, stop the timecode source, or press the STOP but-
ton on the Automix Main or Memory page.
A confirmation message appears asking if you want to update the existing Automix data
(i.e., keep the edits just recorded).
Rerecording Events
Events can be rerecorded as many times as you like. Remember, however, that unlike the
first pass, on subsequent passes existing events for the currently punched in parameter are
overwritten, so use the OVERWRITE buttons and [AUTO] buttons with care. Instead of
using the [AUTO] buttons to punch in an entire channel, you can reduce the risk of over-
writing important data by punching in and out individual parameters (see page 156). Use
the Update To End option to determine how existing events are handled when rerecording
is stopped (see page 146). Use the Edit Out (see page 147) and Fader Edit (see page 148)
options to determine how Fader events are rerecorded.
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Parameter Recording
The following table summarizes parameter recording operation for each parameter. Param-
eter adjustments made on the respective display pages are also recorded.
Parameter Channel OVER
WRITE Operation Pair/Group
Channel Levels
(faders)
Input
FADER
Set Layer to input, Fader mode to
Fader, use faders Faders of paired channels and
grouped faders are recorded
together
Bus Out, Aux Send Set Layer to Master, Fader mode to
Fader, use faders
Stereo Out Use Stereo Out fader
Channel Mutes
(ON/OFF)
Input
ON
Set Layer to input, use [ON] buttons [ON] buttons of paired chan-
nels and grouped mutes are
recorded together
Bus Out, Aux Send Set Layer to Master, use [ON] buttons
Stereo Out Use Stereo Out [ON] button
Pan Input PAN
Set Layer to input, Encoder mode to
Pan, use Encoders (Also use SELECTED
CHANNEL section PAN control, or
Joystick if [LINK] is on)
If Pan mode is Gang or
Inverse-Gang, paired channels
are recorded together.
Surround Pan Input SURR
Use Joystick (If [LINK] is on, also use
SELECTED CHANNEL section PAN
control) (If a surround parameter is
assigned to the Encoders, also use
Encoders)
If ST LINK button on Surround
Edit page is on, adjacent chan-
nels are recorded together.
EQ (F, Q, G, On/Off) Input, Bus Out, Aux
Send, Stereo Out EQ
Use SELECTED CHANNEL EQUALIZER
section (If EQ parameter assigned to
an Encoder, also use Encoders)
EQ of paired channels, and
grouped EQs recorded
together
Aux send 1–8 levels Input AUX
If Fader mode is Aux, use faders. If
Encoder mode is Aux, use Encoders
(also use Aux Send or Aux view pages)
Aux send levels of paired chan-
nels recorded together. (If the
selected Aux Send is paired,
the send level to both Aux
Sends is recorded.)
Aux send 1–8 mutes Input AUX
ON Use Aux Send or Aux view pages
Aux send mutes of paired
channels recorded together (If
the selected Aux Send is
paired, mutes for both Aux
Sends recorded.)
Scene recalls ——
Use SCENE MEMORY section or Scene
Memory page —
Library recalls EQ, Gate, Comp,
Effects, Channel —Use corresponding library page —
Effect parameters
(certain parameters)
Effects processors
1–4—Use Parameter controls 1–4 (push to
punch in/out) —
User Defined Plug-Ins
(parameters 1–4) Plug-Ins 1–4—Use Parameter controls 1–4 (push to
punch in/out) —
User Defined Remote
Layers
Faders FADER Select User Defined Remote Layer, use
faders —
[ON] buttons ON Select User Defined Remote Layer, use
[ON] buttons —
Encoders PAN Select User Defined Remote Layer, use
Encoder —
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Punching In & Out Individual Parameters
During Automix rerecording, channels can be punched in and out by pressing the channel
strip [AUTO] buttons. Individual parameters can be punched in and out as follows.
If during Automix recording you punch in an individual parameter by using the controls
listed in the above table, even if some OVERWRITE buttons are on, only the existing data
of that particular parameter will be overwritten. Likewise, when you punch out an individ-
ual parameter by using the controls listed above, only that particular parameter will be
punched out.
If during Automix recording you press an [AUTO] button to punch in a channel, the exist-
ing data of all parameters for which the corresponding OVERWRITE buttons are on will be
overwritten. When you press the [AUTO] button to punch out of recording, all of those
parameters will be punched out.
When faders are grouped, if the OVERWRITE FADER button is on, pressing an [AUTO]
button, or touching the fader knob of any fader in the group (if TOUCH SENSE on the
Fader Edit page is on) puts all the corresponding channels into Record mode and all the
[AUTO] button indicators light up red. The same applies to Mute (OVERWRITE ON but-
ton) and EQ (OVERWRITE EQ button) groups.
Parameter Channel OVER
WRITE Operation Punch In Punch Out
Channel Levels
(faders)
Input
FADER
Set Layer to input, Fader mode to
Fader Touch fader
knob and
adjust1
1. TOUCH SENSE IN on Fader Edit page must be on.
Release fader
knob2
2. TOUCH SENSE OUT on Fader Edit page must be on.
Bus Out, Aux Send Set Layer to Master, Fader mode to
fader
Stereo Out Stereo Out fader
Pan Input PAN
Set Layer to input, Encoder mode
to Pan (Also use SELECTED CHAN-
NEL section PAN control, or Joy-
stick if [LINK] is on)
Press Encoder
and adjust Press Encoder
Surround Pan Input SURR
Select Input Layer and assign Sur-
round LFE Level or Surround Pan
Wheel to the Encoders
Press Encoder
and adjust Press Encoder
EQ (F, Q, G)
All channels EQ
Turn on Auto EQ Edit In preference
(see page 199). Use SELECTED
CHANNEL EQUALIZER section (If
EQ parameter assigned to an
Encoder, also use Encoders)
Adjust control Press [AUTO]
button
EQ On/Off Press EQ [ON]
button
Press [AUTO]
button
Aux send 1–8 levels Input AUX
Set Layer to input, Fader mode to
Aux
Touch fader
knob and
adjust1
Release fader
knob2
Set Layer to input, Encoder mode
to Aux
Press Encoder
and adjust Press Encoder
Effect parameters
(certain parameters)
Effects processors
1–4—Select internal effects processors Push Parame-
ter 1–4 control
Push Parame-
ter 1–4 control
User Defined Plug-Ins
(parameters 1–4) Plug-Ins 1–4—Select Plug-Ins Push Parame-
ter 1–4 control
Push Parame-
ter 1–4 control
User Defined Remote
Layers
Faders FADER Select User Defined Remote Layer
Touch fader
knob and
adjust1
Release fader
knob2
Encoders PAN Select User Defined Remote Layer Press Encoder
and adjust Press Encoder
Playing Back an Automix 157
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Playing Back an Automix
So long as the Automix function is enabled, the Automix function will chase the incoming
timecode and play and stop the current Automix accordingly. Playback stops automatically
when the end of the Automix data is reached. Playback can be stopped manually by pressing
the STOP or ABORT button on the Automix Main or Memory page. Playback will stop
automatically if no timecode is received for a while, for example, if the timecode source is
disconnected or turned off.
If the timecode source is set to internal, use the PLAY button on the Automix Main or Mem-
ory page to start Automix playback, and the STOP button to stop it.
You can disable Automix playback on individual channels by using the channel strip
[AUTO] buttons. During playback, the [AUTO] button indicators appear green. When
Automix playback for an individual channel is disabled, its [AUTO] button indicator goes
out.
During playback, faders move in accordance with recorded Fader events (so long as the cor-
responding Layer and Fader mode is selected). Fader movement can be disabled by turning
off the fader motors (see page 151). Fader events can be viewed on the Fader Edit pages (see
page 151).
Other events are displayed by the display pages and button indicators. Recorded events of
the currently selected channel are displayed by the SELECTED CHANNEL section controls
and displays.
If the effects type is different to that which was used when the effects parameter edits were
recorded, the parameter edits will not be played back. However, they are not deleted. When
you rerecord effects parameter edits, it’s recommended that you delete the existing effects
events offline. See “Editing Events Offline” on page 158 for more information.
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Editing Events Offline
Automix events can be edited offline on the Event Copy and Event Edit pages. Offline edit-
ing can be performed only while the Automix function is stopped.
Event Copy Page
On the Event Copy page, specified events on specified channels between specified in and
out points can be erased, copied, moved/merged, or trimmed.
1Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Copy page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
Channel buttons: These buttons are used to specify the Input and Output Channels
whose Automix data you want to erase, copy, move/merge, or trim. In other words, the
source data. A channel is specified when its button appears highlighted. Multiple channels
can be specified. Channel buttons can be selected by using the Parameter wheel or the cur-
sor buttons. You can specify all channels by double-clicking any channel button. A confir-
mation message appears and you can select one or all channels. It’s not necessary to select
source channels when editing library or Scene recall events or effects or Plug-Ins events.
SOURCE: These parameters are used to select the source Automix for copying and mov-
ing/merging. You can select CURRENT, i.e., the current Automix, or MEM and any Auto-
mix from 1 to 16. When MEM is selected, the MOVE button changes to MERGE. The Erase
and Trim functions work only with the current Automix and ignore these settings.
TIME SETTING: The IN and OUT parameters are used to specify the region of Automix
data to be erased, copied, moved/merged, or trimmed. The IN and OUT points can be set
on-the-fly by pressing the [ENTER] button while the IN or OUT button is selected. The
captured timecode values can be edited by using the Parameter wheel or the INC/DEC but-
tons. Press the [ENTER] button to reset the currently selected digits to “00.” Up to eight IN
and OUT timecode values can be captured and stored in the eight Capture memories. Use
the cursor buttons to select the Capture memory number, and use the Parameter wheel or
the INC/DEC buttons to select the Capture memories.
The TO parameter is used to specify the point to which the specified data will be copied or
moved/merged. The TO point can be set on-the-fly by pressing the [ENTER] button while
the TO button is selected. The captured timecode value can be edited by using the Param-
eter wheel or the INC/DEC buttons. Press the [ENTER] button to reset the currently
selected digits to “00.”
The DESTINATION parameter is used to specify the channel to which the specified data
will be copied or moved/merged. The number of destination channels depends on the
number of source channels specified. For example, if Input Channels 1 though 8 are speci-
fied as the source, then the number of destination channels will be eight. Destination chan-
nels are contiguous and only the first channel in the range can be specified.
Editing Events Offline 159
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TRIM EDIT: These parameters are used to specify the TRIM IN and TRIM OUT times and
the trim level, which can be set in 0.5 dB steps. The TRIM IN parameter determines the
time in which the fader level must achieve the specified trim amount. The TIME SETTING
IN point determines the point at which trimming starts.
The TRIM OUT time determines the time from which the Fader level can start returning to
the previous level. The TIME SETTING OUT point determines the point at which trim-
ming ends.
PARAM: Pressing this button opens the
PARAMETERS window, which is used to specify
which parameters will be erased, copied,
moved/merged, or trimmed. A parameter is
selected when its button appears highlighted.
Multiple parameters can be specified. You can
select all parameters by double-clicking any
parameter button. A confirmation message
appears and you can select one or all parameters.
ERASE button: This button is used to erase the specified Automix data. Use the channel
buttons to select the source channels. Use the IN and OUT parameters to specify the region
to be erased. Use the PARAMETERS window to specify which Automix events are to be
erased. Then select the ERASE button and press [ENTER].
Button Events
FADER Channel Fader events (Inputs Channels, Bus Out masters, Aux Send masters,
and the Stereo Out)
ON Channel Mute events
PAN Input Channel pan events
SURR Input Channel surround pan, LFE level, and DIV parameter events
EQ Channel EQ events
LIB
CH Channel library recall events
GATE Gate library recall events
COMP Comp library recall events
EQ EQ library recall events
SCENE Scene recall events
FX LIB 1–4Effects library recall events of each internal effects processor
AUX 1–8Level events of each Aux Send
ON 1–8Mute events of each Aux Send
REMOTE 1 User Defined Remote Layer events
EFFECT 1–4Parameter events for each internal effects processor
PLUG-IN 1–4Parameter events for each Plug-In
TRIM IN TRIM OUT Time
Existing data
Tr im: –
x
dB
IN OUT
Trimmed data
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COPY button: This button is used to copy the specified Automix data. Use the channel
buttons to select the source channels. Use the IN and OUT parameters to specify the region
to be copied. Use the TO parameter to specify the point to which the specified data is to be
copied. Use the DESTINATION parameter to specify the channels to which the specified
data is to be copied. Use the PARAMETERS window to specify which Automix events are
to be copied. Then select the COPY button and press [ENTER]. Duplicate events at the
specified destination will be erased.
MOVE/MERGE button: This button is used to move/merge the specified Automix data.
To move events, set the SOURCE to CURRENT. Use the channel buttons to select the
source channels. Use the IN and OUT parameters to specify the region to be moved. Use
the TO parameter to specify the point to which the specified data it to be moved. Use the
DESTINATION parameter to specify the channels to which the specified data is to be
moved. Use the PARAMETERS window to specify which Automix events are to be moved.
Then select the MOVE button and press [ENTER].
To merge events from another Automix, select the SOURCE MEM option and specify the
source Automix. Use the channel buttons to select the source channels. Use the IN and OUT
parameters to specify the region to be merged. Use the TO parameter to specify the point to
which the specified data it to be merged. Use the DESTINATION parameter to specify the
channels to which the specified data is to be merged. Use the PARAMETERS window to
specify which Automix events are to be merged. Then select the MERGE button and press
[ENTER].
TRIM button: This button is used to trim the specified Automix data. Use the channel
buttons to select the source channels. Use the IN and OUT parameters to specify the region
to be trimmed. Use the TRIM EDIT IN and OUT parameters to specify the TRIM IN and
OUT times, and set the trim amount. Use the PARAMETERS window to specify which
Automix events are to be trimmed (see below). Then select the TRIM button and press
[ENTER].
For trimming, you can select the following Fader events on the PARAMETERS window:
FADER (i.e., Inputs Channels, Bus Out masters, Aux Send masters, and the Stereo Out),
AUX 1–8 (i.e., Aux Send levels 1–8).
UNDO button: This button works the same as the UNDO button on the Automix Main
page. See “UNDO” on page 148 for more information.
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Event Edit Page
On the Event Edit page, you can edit, duplicate, delete, and insert new events.
1Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Edit page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
Event list: Automix events are listed in chronological order. The type of events listed
depends on the Event select buttons. Use the cursor buttons to select event parameters.
While the cursor is on the DUPLICATE, DELETE, SELECTED CH, Event select, or SYNC
buttons, you can use the Parameter wheel or the INC/DEC buttons to scroll the list. While
the cursor is inside the event list, you can use these controls to edit event parameters. The
triangular cursor at the left side of the list indicates the currently selected event. When an
event’s timecode value is edited, the list is resorted automatically.
DUPLICATE button: This button is used to duplicate events. Use the Parameter wheel to
select an event, select the DUPLICATE button, and then press [ENTER]. A duplicate event
is inserted below the currently selected event. If there are no events in the list, you can use
this button to insert a new event of the type specified by the Event select buttons.
DELETE button: This button is used to delete events. Use the Parameter wheel to select
an event, select the DELETE button, and then press [ENTER].
SELECTED CH: When this option is on, only events of the currently selected channel are
displayed. All Scene recall and effects library recall events are displayed regardless of this
option. For paired channels, only events of the currently selected channel are displayed.
Event select buttons: These buttons are used to select the type of events to be displayed
in the event list.
SYNC button: This button is used to synchronize the list to the current timecode posi-
tion. When pressed, events closest to the current timecode position are displayed. This
function can be used during Automix playback.
Timecode counter: This counter displays the current timecode position.
Button Events Listed List Format
SCENE/LIB Library and Scene recall events TIME CODE, CH, SCENE/LIB
FADER Channel faders (Inputs Channels, Bus Out masters,
Aux Send masters, and the Stereo Out) TIME CODE, CH, dB, SEC
ON Channel Mutes (ON/OFF) TIME CODE, CH, ON/OFF
PAN Pan TIME CODE, CH, L-C-R
SURR Surround pan TIME CODE, CH, SURR
AUX Aux Send 1–8 levels TIME CODE, CH, AUX, dB
AUX ON Aux Send 1–8 mutes TIME CODE, CH, AUX, ON/OFF
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CAPTURE button: This button is used to capture the current timecode position. Up to
eight timecode values can be captured and stored in the eight Capture memories. Use the
cursor buttons to select the Capture memory number, and use the Parameter wheel or the
INC/DEC buttons to select the Capture memories. Capture memories can be selected even
while the CAPTURE, LOCATE, or INSERT button is selected.
If the Auto Inc TC capture preference is on (see page 199), Capture memories increment
automatically each time a timecode position is captured.
If the Link Capture & Locate Memory preference is on (see page 199), the eight Capture
memories are linked to the eight Locate memories so that, for example, edits made to Cap-
ture memory #1 are reflected on Locate memory #1, and vice versa.
Capture memory display: This displays the captured timecode position. The captured
timecode values can be edited by using the Parameter wheel or the INC/DEC buttons. Press
the [ENTER] button to reset the currently selected digits to “00.”
LOCATE button: This button is used to locate events at the Capture memory display
position.
INSERT button: This button is used to insert new events. Use the Event select buttons to
select the type of event that you want to insert. Use the Captured timecode counter to spec-
ify the point at which you want to insert the new event. Select the INSERT button, and then
press [ENTER].
MIDI 163
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17 MIDI
MIDI & the 02R96
The 02R96 supports the following MIDI messages:
• Program Changes for recalling Scenes (see page 166)
• Control Changes for real-time parameter control (see page 167)
• System Exclusive Parameter Changes for real-time parameter control (see page 167)
• MIDI Note On/Off for Freeze effect (see page 244)
• Bulk Dump for transmitting Scene, library, and setup data (see page 168)
• MTC and MIDI Clock for Automix synchronization (see page 152)
• MMC for external machine control (see page 192)
• User Defined Plug-Ins transmit user-specified MIDI data when Parameter controls 1–4 are
operated (see page 135)
• User Defined Remote Layer transmits user-specified MIDI data when the channel strip fad-
ers, Encoders, and [ON] buttons are operated (see page 189)
• Predefined Remote Layers for controlling popular DAWs (Digital Audio Workstations),
including Pro Tools (see page 169)
MIDI I/O
The 02R96 features four types of interface for transmitting and receiving MIDI data:
• Standard MIDI ports
• TO HOST USB port
• TO HOST SERIAL port
• SLOT1 (for use with an optional mLAN I/O Card installed in Slot #1)
TO HOST SERIAL, TO HOST USB, and SLOT1 are multiport interfaces, with eight ports
each.
When the 02R96 receives MIDI data via any of these interfaces, the MIDI indicator appears
on the display (see page 29).
If you are connecting a Windows computer to the TO HOST USB or TO HOST SERIAL
port, you must install and use the YAMAHA CBX Driver for Windows and the YAMAHA
USB Driver for Windows, which are included on the supplied CD-ROM.
If you are connecting a Macintosh computer to the TO HOST USB or TO HOST SERIAL
port, you must install and use the YAMAHA USB Driver for Macintosh and OMS 2.3.8,
which are included on the supplied CD-ROM.
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MIDI Port Setup
MIDI ports are configured as follows.
1Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup
page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TO HOST SERIAL: These buttons are used to configure the TO HOST SERIAL port for
use with either a Mac or PC.
GENERAL: These parameters are used to select ports for general MIDI data transmission
and reception, including Program Changes for recalling Scenes, Control Changes for
real-time parameter control, and Note On/Off for use with the Freeze effect. Available ports
include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1 1–8.
MIDI THRU: These parameters allow you to route the incoming MIDI data from one port
through to another port. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1
1–8.
REMOTE1: This parameter is used to select a port for the Remote Layer. Available ports
include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1 1–8. If Pro Tools is selected as the target
for a Remote Layer, “Pro Tools” is displayed here and no settings can be made.
Studio Manager: These parameters are used to select a port for use with the Studio
Manager software and to assign the 02R96 an ID from 1 to 8. Available ports include: MIDI,
SERIAL 1–8, USB 1–8, and SLOT1 1–8. See the Studio Manager documentation for more
information.
DAW: These parameters are used to select ports for use with DAWs. Since three ports are
required to control DAWs, ports are selected in groups of three, as follows: 1–3, 2–4, 3–5,
4–6, 5–7, 6–8. Available ports include: SERIAL, USB, and SLOT1.
PLUG-IN1–4: These parameters are used to select ports for use with the Plug-Ins. If a
Waves Plug-In card is installed in a Slot, the number of that Slot is displayed and no settings
can be made. If the Plug-In target is set to USER DEFINED, you can select a port from
MIDI, SERIAL 1–8, USB 1–8, or SLOT1 1–8. Ports for User Defined Plug-Ins can also be set
on the Plug-In Setup page (see page 135).
Caution: When a PC is connected to the TO HOST SERIAL port, do not set this to Mac
because your PC may crash.
Note: Some functions cannot share ports. If you try to assign a port that’s already assigned to
such a function, the message “Change Port?” appears. If you select YES, the port will be assigned
to the selected function and the previously assigned function will be set to “NO ASSIGN.”
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MIDI Channel Setup
MIDI Channels for reception and transmission are specified as follows.
1Use the DISPLAY ACCESS [MIDI] button to locate the MIDI Setup page.
2Use the cursor buttons or Parameter wheel to select the parameters, and use
the INC/DEC buttons or [ENTER] button to set them.
RECEIVE: The Channel buttons are used to select a MIDI Channel for MIDI message
reception. The Enable buttons are used to turn on and off reception of Program Change,
Parameter Change, and Control Change messages.
TRANSMIT: The Channel buttons are used to select a MIDI Channel for MIDI message
transmission. The Enable buttons are used to turn on and off transmission of Program
Change, Parameter Change, and Control Change messages.
OMNI: These buttons determine whether the 02R96 responds to Program Change and
Control Change messages only on the specified MIDI Receive Channel or on all Channels.
ECHO: These buttons determine whether Program Change, Parameter Change, Control
Change, and Other Commands received at the MIDI IN port are echoed through to the
MIDI OUT port.
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Assigning Scenes to Program Changes
02R96 Scenes can be assigned to MIDI Program Changes for remote recall. When a Scene
is recalled on the 02R96, the assigned Program Change number is transmitted. If that Scene
is assigned to more than one Program Change, the lowest Program Change is transmitted.
Likewise, when a Program Change message is received, the assigned Scene is recalled. You
must set the MIDI Setup parameters in order to transmit and receive Program Change mes-
sages (see page 165).
Initially, Scenes 1 through 99 are assigned sequentially to Program Changes 1 through
99. Scene #0 is assigned to Program Changes #100. A Scene to Program Change assign-
ment table, listing initial assignments and with space to note user assignments, is provided
on page 273. This table can be stored to an external MIDI device, such as a MIDI data filer,
by using MIDI Bulk Dump (see page 168).
1Use the DISPLAY ACCESS [MIDI] button to locate the Program Change
Assign Table page.
2Use the cursor buttons to select the PGM CHG. column, and use the Param-
eter wheel or INC/DEC buttons to select the Program Changes.
3Use the cursor buttons to select the SCENE No/TITLE column, and use the
Parameter wheel or INC/DEC buttons to select Scenes.
You can initialize the Scene to Program Change assignment table by selecting the INITIAL-
IZE button, and then pressing [ENTER].
Assigning Parameters to Control Changes 167
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Assigning Parameters to Control Changes
02R96 parameters can be assigned to MIDI Control Changes for real-time control. When a
parameter is adjusted on the 02R96, the assigned Control Change message is transmitted.
Likewise, when a Control Change message is received, the assigned 02R96 parameter is set.
You must set the MIDI Setup parameters in order to transmit and receive Control Change
messages (see page 165).
A Parameter to Control Change assignment table, listing the initial assignments, is provided
on page 274. This table can be stored to an external MIDI device, such as a MIDI data filer,
by using MIDI Bulk Dump (see page 168).
1Use the DISPLAY ACCESS [MIDI] button to locate the Control Change Assign
Table page.
2Use the cursor buttons to select the MODE TABLE button, and press [ENTER].
In TABLE mode, when 02R96 parameters are adjusted, MIDI Control Change messages are
transmitted in accordance with the assignments on this page. In NRPN mode, when 02R96
parameters are adjusted, predefined NRPNs (Non Registered Parameter Number) are
transmitted.
3Use the cursor buttons to select the CTL CHG. column, and use the Parameter
wheel or INC/DEC buttons to select the Control Changes.
4Use the cursor buttons to select the three PARAMETER columns, and use the
Parameter wheel or INC/DEC buttons to select the parameters.
Parameters with more than 128 steps require two or more Control Change messages for
MIDI transmission and reception. Certain Delay parameters and the faders are divided into
L and H parameters. Delay Time parameters are divided into LOW, MID, and HIGH
parameters. For accurate transmission, all parameters (e.g., both L and H for faders) must
be assigned to individual Control Changes.
You can initialize the Parameter to Control Change assignment table by selecting the INI-
TIALIZE button, and then pressing [ENTER].
Controlling Parameters by Using Parameter Changes
02R96 parameters can be controlled in real time by using Parameter Change messages,
which are System Exclusive messages. When a parameter is adjusted on the 02R96, a Param-
eter Change message is transmitted. Likewise, when a Parameter Change message is
received, a 02R96 parameter is adjusted. See “MIDI Data Format” on page 275 for detailed
information. You must set the MIDI Setup parameters in order to transmit and receive
Parameter Change messages (see page 165).
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Using Bulk Dump
02R96 data can be stored to an external MIDI device, such as a MIDI data filer, by using
MIDI Bulk Dump.
1Use the DISPLAY ACCESS [MIDI] button to locate the Bulk Dump page.
2To transmit data, use the CATEGORY parameters to select the type of data
you want to transmit, select the TRANSMIT button, and then press [ENTER].
3To receive data, use the CATEGORY parameters to select the type of data
you want to receive, select the REQUEST button, and then press [ENTER].
The INTERVAL parameter sets the interval between data packets during transmission.
The CATEGORY parameters can be set as follows:
ALL: All data.
SCENE MEM: ALL Scenes, individual Scenes, or current (i.e., the Edit buffer).
AUTOMIX: ALL Automixes, individual Automixes, or the current Automix.
LIBRARY: The following libraries: EQ, Gate, Comp, Channel, Effects, Bus to Stereo, Input
Patch, Output Patch, Surround Monitor. For each library you can specify ALL user memo-
ries, individual user memories, and for the Bus to Stereo, Input Patch, Output Patch, Sur-
round Monitor libraries you can also specify the current settings.
BANK: User Defined Remote Layer banks, User Defined Plug-Ins banks, or the User
Defined Keys banks. For each item you can specify ALL or individual banks.
SETUP MEM: 02R96 setup data (i.e., system settings).
PGM TABLE: Scene to MIDI Program Change table. See “Assigning Scenes to Program
Changes” on page 166.
CTL TABLE: Parameter to MIDI Control Change table. See “Assigning Parameters to Con-
trol Changes” on page 167.
PLUG-IN: The settings of any installed Y56K cards. You can specify ALL Slots or Slot 3 or 4.
Pro Tools Remote Layer 169
02R96—Owner’s Manual
18 Pro Tools Remote Layer
The 02R96 features a Remote Layer target especially designed for controlling Pro Tools.
If an optional MB02R96 Peak Meter Bridge is installed, Pro Tools channel levels are dis-
played on its meters.
Configuring Windows Computers
1Connect your PC.
The 02R96 can be connected to your Windows PC by connecting the TO HOST SERIAL
port to a suitable RS232 serial port on your PC, or by connecting the TO HOST USB port
to a USB port on your PC. If you use the TO HOST SERIAL port, make sure that the TO
HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to PC-2 (see page 164).
2Install the necessary drivers.
Once your PC is connected, you’ll need to install the TO HOST SERIAL or TO HOST USB
drivers included on the 02R96 CD-ROM.
Configuring Macintosh Computers
1Connect your Mac.
The 02R96 can be connected to your Mac by connecting the TO HOST SERIAL port to
either the Printer or Modem port on your Mac, or by connecting the TO HOST USB port
to a USB port on your Mac. If you use the TO HOST SERIAL port, make sure that the TO
HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to Mac (see page 164).
2Install OMS.
The 02R96 communicates with Pro Tools via OMS (Open Music System) software. If you
already have OMS installed on your Mac, there’s no need to install it again and you can
move on to the next section. If you don’t already have OMS installed, it’s included on the
02R96 CD-ROM. Refer to the OMS documentation included on the 02R96 CD-ROM for
more information on installing.
3Install Yamaha USB MIDI driver 1.04 or later.
If you are using the TO HOST USB port, you must also install the Yamaha USB MIDI driver
included on the 02R96 CD-ROM. See the included documentation for more information.
Configuring the 02R96
1Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup
page, and use the DAW parameter to specify the port to which Pro Tools is
connected.
See “MIDI Port Setup” on page 164 for more information.
2Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page, and
set the target to Pro Tools.
See “Assigning a Target to the Remote Layer” on page 189 for more information.
3Use the LAYER [REMOTE] button to select the Remote Layer.
When the Pro Tools Remote Layer is selected, the 02R96’s control surface controls Pro
Tools, not the 02R96. In order to control the 02R96, you need to select an Input Channel
Layer or the Master Layer. Audio mixing on the other Layers and Automix continues while
the Pro Tools Layer is selected.
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Configuring Pro Tools
Pro Tools needs to be configured as follows. For more information, see your Pro Tools doc-
umentation.
1Launch Pro Tools.
2Choose OMS Studio Setup from the Setups menu, and configure OMS as nec-
essary.
This screen shot shows the Yamaha USB MIDI
driver with eight ports. An OMS-compatible
device profile for the 02R96 is included on the
02R96 CD-ROM. See the included documen-
tation for more information.
3Choose Peripherals from the Setups menu.
4When the Peripherals window appears, click the MIDI Controllers button.
5Select HUI as the Type of controller.
6Select the Receive From and Send To ports, and then click OK.
The 02R96 can emulate up to three typical 8-channel Pro Tools MIDI controllers. A single
MIDI port is required for every eight channels. So you must configure MIDI Controller #2
to use channels 9 through 16, and configure MIDI Controller #3 to use channels 17 through
24.
Control Surface Operation with the Pro Tools Remote Layer 171
02R96—Owner’s Manual
Control Surface Operation with the Pro Tools Remote Layer
This section explains the operation of the 02R96 control surface when the Pro Tools Remote
Layer is selected. 02R96 buttons and controls are referred to by the names printed on the
02R96 with the name of the corresponding Pro Tools function in parenthesis. For example,
“Press the AUX SELECT [AUX 1] (SEND A) button.”
Display
This is the Pro Tools Remote Layer page, the various sections of which are explained below.
F2 (INSERT), F3 (CHANNEL), F4 (METER) buttons
These buttons are used to select the following display modes:
• [F2]—Insert Assign/Edit Display mode (see page 172)
• [F3]—Channel Display mode (see page 172)
• [F4]—Meter Display mode (see page 173)
TARGET
This parameter cannot be changed here. To change the target for this Layer, you must first
select another Layer, and then press the DISPLAY ACCESS [REMOTE] button. See “Assign-
ing a Target to the Remote Layer” on page 189 for more information.
COUNTER
This counter works in unison with the timecode counter
in Pro Tools. The display format is specified in Pro Tools.
The three check boxes indicate the currently selected for-
mat, as follows:
TIME CODE: Pro Tools timecode format set to “Time Code.”
FEET: Pro Tools timecode format set to “Feet:Frames.”
BEATS: Pro Tools timecode format set to “Bars:Beats.”
When the Pro Tools timecode format is set to “Minutes:Seconds” or “Samples,” no check
boxes are selected.
CURSOR MODE
The currently selected Cursor mode is displayed here: NAVIGA-
TION, ZOOM, or SELECT. Cursor modes are selected by using the
[INC] (CURSOR MODE) button.
SELECT ASSIGN
This indicates the current function of the Encoders. For example,
Pan (PanR), SndA, SndB, SndC, SndD, or SndE.
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02R96—Owner’s Manual
INSERT ASSIGN/EDIT Display Mode
Press the [F2] button to select this mode.
ASSIGN: This indicator flashes when the EFFECTS/PLUG-INS [1] (ASSIGN) button is
pressed. See “Assigning Inserts/Plug-ins” on page 182 for more information.
COMPARE: This indicator appears highlighted when the EFFECTS/PLUG-INS [2]
(COMPARE) button is pressed. See “Editing Plug-ins” on page 183 for more information.
BYPASS: This indicator appears highlighted when the EFFECTS/PLUG-INS [3]
(BYPASS) button is pressed. See “Editing Plug-ins” on page 183 and “Bypassing Plug-ins”
on page 184 for more information.
INSERT: This indicator appears highlighted when the EFFECTS/PLUG-INS [4]
(INSERT/ASSIGN) button is pressed. See “Editing Plug-ins” on page 183 for more infor-
mation.
INSERT/PARAM Display
This section displays mainly insert and plug-in-related information, although other mes-
sages are also displayed here.
Encoder Display
This section displays information about the Parameter controls 1–4. The SEL indicators
show the on/off status of the Parameter control push-switches. The rotary control indica-
tors show the positions of the Parameter controls. The “O” symbol below each Parameter
control shows the automation status for each Parameter control.
Channel Display Mode
Press the [F3] button to select this display mode.
In this display mode, controls for the parameters currently assigned to the Encoders are dis-
played (e.g., pan or aux send). When displaying panpots, the small circles inside the
Encoder icons are highlighted when pan is at center. The name of each channel is displayed
below the Encoder icons. Automation mode settings, aux send destinations, and aux send
pre/post settings can also be displayed here. See “Viewing the Automation Mode” on
page 187, “Viewing Send Destinations” on page 180, and “Configuring Sends as Pre or
Post” on page 180 respectively for more information.
Control Surface Operation with the Pro Tools Remote Layer 173
02R96—Owner’s Manual
Meter Display Mode
Press the [F4] button to select this display mode.
In this display mode, stereo meters for each channel are displayed. The name of each chan-
nel is displayed below the meters. Automation mode settings, aux send destinations, and
aux send pre/post settings can also be displayed here. See “Viewing the Automation Mode”
on page 187, “Viewing Send Destinations” on page 180, and “Configuring Sends as Pre or
Post” on page 180 respectively for more information.
Channel Strips
02R96 channel strips correspond to Pro Tools channels from left to right, with the
leftmost Pro Tools channel being handled by 02R96 channel strip #1. You can
change the order of channel strips by dragging the channel select buttons in Pro
Tools, in which case the 02R96 automatically reorders its channel strips. By using
the USER DEFINED KEYS, Pro Tools channels can be scrolled in banks of 24 (see
page 176).
Encoders & Push-Switches
The Encoders are used to set pan and send levels. The Encoder push-switches are used to
reset send levels and panpots and to set sends to pre or post fader. Their exact operation
depends on the currently selected Encoder mode, as shown in the following table.
[AUTO] buttons
These buttons are used in conjunction with USER DEFINED KEYS [3–8] to set the Auto-
mation mode of each channel. See “Setting the Automation Mode” on page 187 for more
information.
[SEL] buttons
These buttons are used to select channels (see page 179) and to select inserts (see page 183).
[SOLO] buttons
These buttons are used to solo channels. See “Soloing Channels” on page 179 for more
information.
[ON] buttons
These buttons are used to mute channels. See “Muting Channels” on page 179 for more
information.
Encoder Mode Encoder Push-switches
[PAN] Pan (see page 179) Reset pan (see page 184)
[SEND LEVEL] Send levels (see page 180) Send pre/post (see page 180)
Reset send levels (see page 184)
ON
SOLO
SEL
AUTO
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02R96—Owner’s Manual
Faders
The faders are used to set channel levels (see page 179), or to set send levels in Flip
mode (see page 181).
AUX SELECT Section
AUX SELECT [AUX 1–5] buttons are used to select sends A–E. The button indicator of the
currently selected send lights up.
ENCODER MODE Section
[PAN] (PAN) button
When this button is pressed, the Encoders work as channel panpots. Its indicator lights up
when it’s pressed. See “Panning Channels” on page 179 for more information.
[AUX] (SEND LEVEL) button
When this button is pressed, the Encoders work as send level controls. Its indicator lights
up when it’s pressed, and send A is selected automatically. If the Encoders are currently set
to control pan, its indicator lights automatically when one of the AUX SELECT [AUX 1–5]
(SEND A–E) buttons is pressed.
FADER MODE Section
[FADER] & [AUX] buttons
These buttons are used to select Flip mode, in which faders, Encoders, and [ON] buttons
can be used to control sends. See “Flip Mode” on page 181 for more information.
50
40
30
20
15
10
10
5
0
5
(SEND B)(SEND A) (SEND C) (SEND D)
(SEND E)
AUX 2AUX 1AUX 3AUX 4
AUX 5
AUX SELECT
DISPLAY
PAN SEND LEVEL
AUXPAN
ENCODER MODE
DISPLAY
AUXFADER
FADER MODE
Control Surface Operation with the Pro Tools Remote Layer 175
02R96—Owner’s Manual
EFFECTS/PLUG-INS Section
[DISPLAY] (SHOW INSERT) button
This button is used to open and close plug-in windows.
[PLUG-INS] (DEFAULT) button
This button is used in conjunction with other controls to reset faders, panpots, and sends
to their default values. See “Resetting Faders, Sends, & Panpots” on page 184 for more infor-
mation.
[CHANNEL INSERTS]
This button determines the operation of the [SEL] buttons. When its indicator is off (Chan-
nel Select mode), [SEL] buttons select channels (see page 179). When its indicator is on
(Insert Select mode), they select inserts/plug-ins (see page 183).
[1] (ASSIGN) button
This button is used in conjunction with other controls to assign inserts/plug-ins to chan-
nels. See “Assigning Inserts/Plug-ins” on page 182 for more information.
[2] (COMPARE) button
This button is used to compare plug-in edits before and after. See “Editing Plug-ins” on page
183 for more information.
[3] (BYPASS) button
This button is used to bypass plug-ins. See “Editing Plug-ins” on page 183 and “Bypassing
Plug-ins” on page 184 for more information.
[4] (INSERT/PARAM) button
This button is used in conjunction with other controls when editing plug-ins. See “Editing
Plug-ins” on page 183 for more information.
Parameter Up ( SCROLL) & Parameter Down (SCROLL ) buttons
These buttons are used to scroll parameters when assigning inserts and editing plug-ins. See
“Assigning Inserts/Plug-ins” on page 182 and “Editing Plug-ins” on page 183 for more
information.
(COMPARE)(ASSIGN) (BYPASS)
(DEFAULT)
(INSERT/PARAM)
( SCROLL)
(SCROLL )
(SHOW
INSERT)
EFFECTS / PLUG INS
CHANNEL
INSERTS
PLUG INS
1234
DISPLAY
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02R96—Owner’s Manual
USER DEFINED KEYS Section
[DISPLAY] (AUTO STATUS) button
This button is used to display the Automation mode settings of all channels. See “Viewing
the Automation Mode” on page 187 for more information.
[1] (MIX/EDIT)
This button is used to toggle between the Mix and Edit windows.
[2] (SUSPEND) button
This button is used to temporarily suspend all automation recording and playback. Its indi-
cator flashes while automation is suspended.
[3] (WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), [8] (OFF)
buttons
These buttons are used in conjunction with the channel strip [AUTO] buttons to set the
Automation mode of each channel strip. See “Setting the Automation Mode” on page 187
for more information.
[9] ( BANK) & [10] (BANK ) buttons
These buttons are used to swap channel banks 24 channels at a time.
[11] (FADER), [12] (MUTE), [13] (PAN), [14] (SEND), [15] (SEND MUTE),
[16] (PLUG-IN) buttons
These buttons are used to select parameters for automation recording and playback. See
“Arming Parameters for Automation” on page 188 for more information.
(AUTO
STATUS)
( BANK) (BANK )
(MIX/EDIT) (SUSPEND) (WRITE) (TOUCH) (LATCH) (READ) (TRIM) (OFF)
(FADER) (MUTE) (PAN) (SEND) (SEND MUTE)(PLUG-IN)
USER DEFINED KEYS
12345678
9 10111213141516
DISPLAY
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02R96—Owner’s Manual
MACHINE CONTROL Section
[DISPLAY] (MEM-LOC) button
This button is used to open and close the Memory Locations window.
LOCATE MEMORY [1–8] buttons
These buttons perform the same transport-related functions as the 1–8 number keys on a
Macintosh keyboard. If you set the Numeric keypad Mode in Pro Tools to “Classic” (Setups
menu, Preferences), these buttons can be used to directly locate markers 1–8.
[REW] button
This button rewinds from the current cursor position (it’s non-latching).
[FF] button
This button fast forwards from the current cursor position (it’s non-latching).
[STOP] button
This button stops playback and recording.
[PLAY] button
This button starts playback from the current cursor position.
[REC] button
This button arms Pro Tools for recording ([REC] button indicator flashing), recording is
started by pressing the [PLAY] button ([REC] button indicator lit continuously).
Normally the MACHINE CONTROL section can be used to control Pro Tools only while
the Pro Tools Remote Layer is selected. By turning on the DAW CONTROL option on either
the Locate Memory page (see page 194) or the Machine Configuration page (see page 192),
the MACHINE CONTROL section can be used to control Pro Tools regardless of which
Layer is currently selected.
(MEM-LOC)
REC
REW FF
STOP PLAY
SET
DISPLAY
MACHINE CONTROL
LOCATE MEMORY
1234
5678
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02R96—Owner’s Manual
Data Entry Section
Parameter Wheel
The Parameter wheel is used for shuttling and scrubbing (see page 186). It’s also used for
making fine adjustments to the selected region (see page 185).
[SHUTTLE] & [SCRUB] buttons
These buttons are used to select the Shuttle and Scrub modes. See “Scrub & Shuttle” on page
186 for more information.
[ENTER] button
This button works the same as the Enter key on your computer keyboard. Pressing it opens
the New Memory Location dialog box. While a dialog box is open, pressing it performs the
same action as clicking the OK button.
[DEC] (ESC) button
For the most part, this button works the same as the Esc key on your computer keyboard.
While a dialog box is open, pressing it performs the same action as clicking the Cancel but-
ton.
[INC] (CURSOR MODE) button
This button is used to select the following cursor modes: Navigation (see page 184), Zoom
(see page 185), and Select (see page 185).
Cursor buttons
These buttons can be used to navigate the Edit window (see page 184), zoom waveforms
(see page 185), and to make fine adjustments to the selected region (see page 185). Their
exact operation depends on the currently selected cursor mode.
(CURSOR MODE)(ESC) INCDEC
ENTER
SHUTTLE
SCRUB
Selecting Channels 179
02R96—Owner’s Manual
Selecting Channels
Channels can be selected as follows.
(Make sure the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is not lit
before proceeding.)
1Use the [SEL] buttons to select channels.
The [SEL] button indicators of selected channels light up.
2To select multiple channels in each eight-channel block (e.g., 1–8, 9–16, or
17–24), while holding down one [SEL] button, use the [SEL] buttons of the
other channels in the same block to add and remove channels.
Setting Channel Levels
Channel levels can be set as follows.
(Make sure the FADER MODE [FADER] and [AUX] button indicators are not flashing
before proceeding.)
1Use the faders to set channels levels.
Faders in a mix group are controlled together.
Muting Channels
Channels can be muted as follows.
1Use the [ON] buttons to mute channels.
The [ON] button indicators of muted channels go out.
2Press the [ON] buttons again to unmute channels.
The [ON] button indicators of unmuted channels are lit.
Grouped channels are muted together.
Panning Channels
Channels can be panned as follows.
1Press the ENCODER MODE [PAN] (PAN) button.
Its indicator lights up.
2Use the Encoders to pan the channels.
Pan positions are displayed in Channel Display mode. See “Channel Display Mode” on page
172 for more information.
For stereo aux input channels (i.e., channels with two panpots), use the ENCODER MODE
[PAN] (PAN) button to toggle between the left and right panpots, and pan with the
Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indi-
cator is lit continuously and the SELECT ASSIGN section of the display shows “Pan.” When
the right panpot is active, the ENCODER MODE [PAN] (PAN) button indicator flashes
and the SELECT ASSIGN section of the display shows “PanR.”
Soloing Channels
Channels can be soloed as follows.
1Use the [SOLO] buttons to solo channels.
The [SOLO] button indicators of soloed channels light up and the [ON] button indicators
of unsoloed channels flash.
2Press the [SOLO] buttons again to unsolo channels.
Grouped channels are soloed together.
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Viewing Send Destinations
Send destinations can be viewed in Channel Display mode [F3] or Meter Display mode [F4]
(see page 172) by pressing the holding the AUX SELECT [AUX 1–5] (SEND A–E) buttons.
Configuring Sends as Pre or Post
Sends can be configured as either pre or post as follows.
(Make sure the ENCODER MODE [PAN] (PAN) button indicator is not lit before proceed-
ing.)
1Use the AUX SELECT [AUX 1–5] (SEND A–E) buttons to select the sends.
The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the but-
ton indicator of the selected send.
2Use the Encoder push-switches to toggle between pre and post.
Sends can also be set as pre or post fader by using the Encoder push-switches in Flip mode.
See “Flip Mode” on page 181 for more information.
Send pre/post status can be viewed in Channel Display mode [F3] or Meter Display mode
[F4] (see page 172) by pressing the holding the Encoder push-switches.
Setting Send Levels
Send levels can be set as follows.
1Use the AUX SELECT [AUX 1–5] (SEND A–E) buttons to select the sends.
The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the but-
ton indicator of the selected send.
The levels for the selected send are displayed in Channel Display mode. See “Channel Dis-
play Mode” on page 172 for more information.
2Use the Encoders to set the send levels.
Send levels can also be set by using the faders in Flip mode. See “Flip Mode” on page 181 for
more information.
Muting Sends
Sends can be muted by using the [ON] buttons in Flip mode. See “Flip Mode” on page 181
for more information.
Panning Sends
Only sends assigned to stereo destinations can be panned. Sends can be panned by using the
Encoders in Flip mode. See “Flip Mode” on page 181 for more information.
Flip Mode 181
02R96—Owner’s Manual
Flip Mode
In Flip mode, the faders, Encoders, and [ON] buttons can be used to control sends, as
shown in the following table.
1Press the FADER MODE [FADER] or [AUX] button.
The FADER MODE [FADER] and [AUX] button indicators flash alternately, and both the
ENCODER MODE [PAN] (PAN) and [AUX] (SEND LEVEL) button indicators light up.
The SELECT ASSIGN section of the display shows “FLIP.”
2Use the AUX SELECT [AUX 1–5] (SEND A–E) buttons to select the sends.
The button indicator of the selected send lights up.
3Use the faders, Encoders, and [ON] buttons to control the currently selected
send.
For stereo aux input channels (i.e., channels with two send panpots), use the ENCODER
MODE [PAN] (PAN) button to toggle between the left and right panpots, and pan with the
Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indi-
cator is lit continuously. When the right panpot is active, the ENCODER MODE [PAN]
(PAN) button indicator flashes.
Control Normal mode Flip mode
Fader Channel level Send level
Encoder Channel pan/send level Send pan
Encoder push-switches Encoder mode is Pan, inactive
Encoder mode is Send level, Send pre/post Send pre/post
[ON] button Channel mute Send mute
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Assigning Inserts/Plug-ins
Inserts can be assigned to channels as follows. The Pro Tools transport must be stopped in
order to make these assignments.
1Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.
Its indicator lights up and the [SEL] buttons are set to Insert Select mode.
2Use the [SEL] buttons to select channels for insert assignment.
The name of the selected channel appears in the INSERT/PARAM section of the display.
The border of the corresponding channel name in the Pro Tools Mix window is highlighted
red.
3Press the EFFECTS/PLUG-INS [1] (ASSIGN) button.
Its indicator flashes, as does the ASSIGN indicator on the display.
4Use Parameter controls 1–4 to select inserts/plug-ins.
The names of the inserts/plug-ins appear on the display in abbreviated form. When you
select an insert/plug-in other than the current, the corresponding SEL button flashes on the
display.
5To confirm your selection, press the relevant Parameter control’s
push-switch.
The SEL button stops flashing.
While the EFFECTS/PLUG-INS [1] (ASSIGN) button indicator is still flashing, you can
assign more inserts/plug-ins to the same channel. To set insert #5, press the Parameter
Down (SCROLL >) button. Press the Parameter Up (< SCROLL) button to view inserts 1–4
again.
To assign inserts/plug-ins to other channels, use the [SEL] buttons to select them. You’ll
need to press the EFFECTS/PLUG-INS [1] (ASSIGN) button each time you select another
channel.
You can cancel this function by pressing the [DEC] (ESC) button.
Editing Plug-ins 183
02R96—Owner’s Manual
Editing Plug-ins
Plug-ins can be edited as follows.
1Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.
Its indicator lights up and the [SEL] buttons are set to Insert Select mode.
2Use the [SEL] buttons to select the channel whose plug-in you want to edit.
That channel’s [SEL] button indicator lights up, and the border of the corresponding chan-
nel name in the Pro Tools Mix window is highlighted red. The names of the Plug-ins
inserted in the channel are displayed in the INSERT ASSIGN/EDIT section of the display.
3Use the Parameter control 1–4 push-switches to select the plug-in that you
want to edit.
Plug-in Edit mode is set and the plug-in’s parameters are displayed in the INSERT
ASSIGN/EDIT section of the display. The EFFECTS/PLUG-INS [4] (INSERT/PARAM)
button indicator lights up and the PARAM indicator on the display appears highlighted.
4Use Parameter controls 1–4 and their push-switches to edit the displayed
parameters.
Parameters displayed on the top row can be edited by using the push-switches. Parameters
displayed on the bottom row can be edited by using the Parameter controls.
5Use the Parameter Down (SCROLL >) button and Parameter Up (< SCROLL)
button to select the parameter pages.
When a parameter page is first selected, the number of the current parameter page and the
total number of parameter pages is displayed momentarily. For example, “1/2” indicates
that the first page of two is currently selected. While “3/4” indicates that the third page of
four is currently selected. The title of the plug-in is also displayed.
While editing a plug-in you can bypass it by pressing the EFFECTS/PLUG-INS [3]
(BYPASS) button. In which case, the BYPASS indicator on the display appears highlighted.
As soon as you begin editing a plug-in, the COMPARE indicator on the display appears
highlighted. You can compare your edits with the original settings by pressing the
EFFECTS/PLUG-INS [2] (COMPARE) button. The COMPARE indicator on the display
appears highlighted while the original settings are active, and unhighlighted while your
edits are active.
6To edit another plug-in, press the EFFECTS/PLUG-INS [4] (INSERT/PARAM)
button (its indicator goes out), use the [SEL] buttons to select the channel
(same as step #2), and use the Parameter control 1–4 push-switches to select
the plug-in (same as step #3).
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Bypassing Plug-ins
Plug-ins can be bypassed as follows.
(Make sure the EFFECTS/PLUG-INS [4] (INSERT/PARAM) button indicator is not lit
before proceeding.)
1Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.
Its indicator lights up and the [SEL] buttons are set to Insert Select mode.
2Use the [SEL] buttons to select plug-ins.
3While holding down the EFFECTS/PLUG-INS [3] (BYPASS) button, use
Parameter control 1–4 push switches to bypass the plug-ins.
To bypass plug-in #5, press the Parameter Down (SCROLL >) button, and then perform
step 3. Press the Parameter Up (< SCROLL) button to view plug-ins 1–4 again.
The titles of bypassed plug-ins are displayed in uppercase characters. For example, the title
of the plug in “D-Verb” appears as “d-verb” when it’s not bypassed, and appears as
“D-VERB” when it is bypassed.
Resetting Faders, Sends, & Panpots
Faders, panpots, and sends can be reset to their default values as follows. For faders and send
controls, this is “0.” For panpots, it’s center.
Make sure that the EFFECTS PLUG-INS [CHANNEL INSERTS] button indicator is off
before proceeding with these shortcuts.
While the EFFECTS PLUG-INS [PLUG-INS] (DEFAULT) button is being pressed, its indi-
cator flashes and “DFLT” appears in the SELECT ASSIGN section of the display.
Grouped channels are reset together.
Navigating the Edit Window
The cursor buttons can be used to navigate the Edit window as follows.
1Use the [INC] (CURSOR MODE) button to select Navigation cursor mode.
The CURSOR MODE section of the display shows “NAVIGATION.”
2To move the edit cursor to the previous region boundary, or to the previous
marker, press the Left cursor button.
3To move the edit cursor to the next region boundary, or to the next marker,
press the Right cursor button.
4To select the track above, press the Up cursor button.
5To select the track below, press the Down cursor button.
To do this... Do this!
Reset a channel fader EFFECTS PLUG-INS [PLUG-INS]+[SEL]
Reset a channel panpot [PAN], EFFECTS PLUG-INS [PLUG-INS]+[ENCODER push]
Reset a channel send level AUX SELECT [AUX1–5], EFFECTS PLUG-INS
[PLUG-INS]+[ENCODER push]
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Zooming
The cursor buttons can be used to zoom the Edit window as follows.
1Use the [INC] (CURSOR MODE) button to select Zoom cursor mode.
The CURSOR MODE section of the display shows “ZOOM.”
In Zoom cursor mode, the cursor buttons work as follows:
• Left cursor button: Zoom out horizontally.
• Right cursor button: Zoom in horizontally.
• Up cursor button: Zoom in vertically.
• Down cursor button: Zoom out vertically.
Making Fine Adjustments to the Selected Region
The cursor buttons can be used in conjunction with the Parameter wheel to make fine
adjustments to the selected region.
1Use the [INC] (CURSOR MODE) button to select Select cursor mode.
The CURSOR MODE section of the display shows “SELECT.”
2While holding down the left cursor button, turn the Parameter wheel to
make fine adjustments to the in point of the selected region.
3While holding down the right cursor button, turn the Parameter wheel to
make fine adjustments to the out point of the selected region.
4To select the track above, press the Up cursor button.
5To select the track below, press the Down cursor button.
6To move the cursor to the in point of the selected region, double-click the
Left cursor button.
7To move the cursor to the out point of the selected region, double-click the
Right cursor button.
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Scrub & Shuttle
The Parameter wheel can be used to scrub and shuttle as follows.
1Make sure that Pro Tools is stopped.
2Press the [SCRUB] button if you want to scrub, press the [SHUTTLE] button
if you want to shuttle.
The corresponding button indicator lights up. The [REW] and [FF] button indicators also
light up, and the cursor mode is set to Navigation (the CURSOR MODE section of the dis-
play shows “NAVIGATION”).
3Turn the Parameter wheel clockwise to scrub/shuttle forwards. Turn it coun-
terclockwise to scrub/shuttle backwards.
Scrub/shuttle starts at the in point of the selected region. If no region is selected, the edit
cursor position is used. Note that if the Edit Insertion Follows Scrub/Shuttle preference is
turned on in Pro Tools (Setups menu, Preferences command, Operation page), the cur-
rently selected region will be cancelled when the [SCRUB] or [SHUTTLE] button is
pressed.
Press the left cursor button to move to the in point. Press the right cursor button, to move
to the out point.
You can toggle between scrub and shuttle by pressing the [SCRUB] and [SHUTTLE] but-
tons, in which case scrub or shuttle continues from the current position.
4To stop scrub/shuttle, press the [SCRUB] or [SHUTTLE] button again, or press
the [STOP] button.
If you press the [REW], [FF], or [PLAY] button, scrub/shuttle operation is stopped before
rewind, fast forward, or playback commences.
While scrub/ shuttle is active, only the following Pro Tools/02R96 controls can be used:
[SCRUB] and [SHUTTLE] buttons, Parameter wheel, transport buttons, faders, [ON] but-
tons, and [SOLO] buttons. The current position can be stored as a marker by pressing the
[ENTER] button.
The scrub resolution depends on the current zoom setting, the more zoomed in you are, the
higher the resolution.
Automation 187
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Automation
Viewing the Automation Mode
The Automation mode setting of each channel can be viewed as follows.
1Press either the [F3] or [F4] button.
Channel Display mode or Meter Display mode is selected.
2Press and hold a channel’s [AUTO] button.
The channel’s Automation mode is displayed while the [AUTO] button is pressed.
For MIDI tracks, “—” appears on the display.
The Automation mode settings of all channels can be viewed as follows.
3Press and hold the USER DEFINED [DISPLAY] (AUTO STATUS) button.
The Automation modes of all channels are displayed while the USER DEFINED [DISPLAY]
(AUTO STATUS) button is pressed.
Setting the Automation Mode
The Automation mode can be set as follows.
1While holding down a channel’s [AUTO] button, press the USER DEFINED [3]
(WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), or [8] (OFF) but-
ton.
If Channel Display mode or Meter Display mode is currently selected, the channel’s Auto-
mation mode is displayed while the [AUTO] button is pressed.
Grouped channels are set together.
Pro Tools Display [AUTO] Button Indicators
Auto write Wrt
Flashing red (Record Ready)
Red (Recording)
Auto touch Tch
Auto latch Ltch
Auto read Read Green
Auto off Off Off
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Trim Mode
Trim mode can be set as follows.
1While holding down a channel’s [AUTO] button, press the USER DEFINED
KEYS [7] (TRIM) button.
If channel Display mode [F3] or Meter Display mode [F4] is currently selected, the chan-
nel’s Automation mode is displayed while its [AUTO] button is pressed.
You can display the Automation mode settings of all channels by pressing and holding the
USER DEFINED KEYS [DISPLAY] (AUTO STATUS) button.
Grouped channels are set together.
Arming Parameters for Automation
Parameters can be selected for automation recording as follows.
1Use the following USER DEFINED KEYS to arm parameters.
The button indicators for armed parameters light up.
Pro Tools Display [AUTO] Button Indicators
Auto trim/write TWrt
Flashing red/orange (Record Ready)
Orange (Recording)
Auto trim/touch TTch
Auto trim/latch TLch
Auto trim/read TRd Flashing green/orange
USER DEFINED KEYS Pro Tools
[11] (FADER) Volume
[12] (MUTE) Mute
[13] (PAN) Pan
[14] (SEND) Send level
[15] (SEND MUTE) Send mute
[16] (PLUG-IN) Plug-in
Remote Control 189
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19 Remote Control
About the Remote Layer
The 02R96’s Remote Layer allows you to control external MIDI equipment directly from
the 02R96. The type of device to be controlled (i.e., the target) is specified on the Remote
page. There are three types of target: User Defined, Nuendo, and Pro Tools. The User
Defined target allows you to specify the MIDI data that will be transmitted when the 24
channel strip faders, Encoders, and [ON] buttons are operated. These settings are stored in
Scenes, for snapshot-style automation. The Nuendo and Pro Tools targets have been espe-
cially designed for controlling Nuendo and Pro Tools.
Assigning a Target to the Remote Layer
Targets are assigned to the Remote Layer as follows.
1Use the DISPLAY ACCESS [REMOTE] button to locate the Remote 1–4 pages.
2Use the cursor buttons to select the TARGET parameter, use the Parameter
wheel or INC/DEC buttons to select a target, and then press [ENTER].
TARGET: This can be set to NO ASSIGN, USER DEFINED, Nuendo, or Pro Tools. See
page 190 for more information on the User Defined target. See page 169 for more informa-
tion on the Pro Tools target.
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Configuring the User Defined Remote Layer
The User Defined Remote Layer can be configured as follows.
1Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
TARGET: This is used to select the target (only the User Defined target is explained in this
section).
TRANSMIT: This enables and disables MIDI data transmission for the Remote Layer.
INITIALIZE: This initializes the settings of the currently selected bank.
BANK: These buttons are used to select banks 1, 2, 3, and 4. Each bank can contain MIDI
settings for the 24 faders, Encoders, and [ON] buttons. Banks can be stored to an external
MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 168). See “User
Defined Remote Layer Initial Bank Settings” on page 219 for a list of initial bank settings.
ID/SHORT/LONG: On the Remote Layer, channel strips 1–24 are identified by the fixed
IDs RM01–RM24. You can enter a Short and Long name for each Remote channel strip. To
enter a name, use the cursor buttons to select the SHORT or LONG name, use the [SEL]
buttons, Parameter wheel, or INC/DEC buttons to select the channel strips, and then press
[ENTER]. When the Title Edit window appears, enter a name, and press OK when you’ve
finished. See “Title Edit Window” on page 32 for more information.
ON: These parameters are used to specify the MIDI message (up to 16 bytes) to be trans-
mitted when an [ON] button is pressed. Use the [SEL] buttons to select the channel strips,
and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted
when an [ON] button is pressed. For the SW setting, data value 7F is transmitted when an
[ON] button is turned on, and data value 00 is transmitted when an [ON] button is turned
off. The END setting specifies the end of the data. NOP means no data is transmitted.
UNLATCH/LATCH: This parameter determines the operation of the [ON] buttons:
Latching or Non-latching. When set to UNLATCH, an ON value is transmitted when an
buttons is pressed, and an OFF value is transmitted when it’s released. When set to LATCH,
an ON value is transmitted when the button is pressed and that value is maintained when
the button is released. The next time you press that button, the OFF value is transmitted.
LEARN: This button is used to turn on and off the Learn function, which can be used to
learn what MIDI messages are being transmitted by external MIDI devices when their con-
trols or parameters are adjusted. When on, received MIDI messages are displayed in the
DATA area. Only the first 16 bytes of data, starting with a Status bit, are displayed.
ENCODER: These parameters are used to specify the MIDI message (up to 16 bytes) to be
transmitted when an Encoder is operated. Use the [SEL] buttons to select the channel strips,
and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted
Using the User Defined Remote Layer 191
02R96—Owner’s Manual
when an Encoder is adjusted. For the ENC setting, the Encoder’s current value from 0–127
is transmitted when it’s adjusted. The END setting specifies the end of the data. NOP means
no data is transmitted.
LEARN: This works the same as the [ON] button Learn function above, except the received
MIDI messages are displayed in the ENCODER DATA area. Only one Learn function can
be used at a time.
FADER: These parameters are used to specify the MIDI message (up to 16 bytes) to be
transmitted when a fader is operated. Use the [SEL] buttons to select the channel strips, and
then edit as necessary. When a value from 00 to FF is specified, that value is transmitted
when a fader is adjusted. For the FAD setting, a fader’s current value from 0–127 is trans-
mitted when it’s adjusted. The END setting specifies the end of the data. NOP means no
data is transmitted.
LEARN: This works the same as the [ON] button Learn function above, except the received
MIDI messages are displayed in the FADER DATA area. Only one Learn function can be
used at a time.
Using the User Defined Remote Layer
Once configured, the User Defined Remote Layer can be used as follows.
1Use the LAYER [REMOTE] button to select the User Defined Remote Layer.
While the User Defined Remote Layer is selected, operating the channel strip faders, Encod-
ers, and [ON] buttons causes the specified MIDI data to be transmitted.
When the User Defined Remote Layer is selected, the Remote page appears. Since this is the
same page as that selected by the DISPLAY ACCESS [REMOTE] button, the User Defined
Remote Layer can be configured here as well, even the target can be changed.
The settings of the channel strip faders, Encoders, and [ON] buttons, and the current target
and bank setting for the Remote Layer are stored in Scenes. When a Scene is recalled, if the
Remote Layer’s target is the same as when the Scene was stored, the faders, Encoders, and
[ON] buttons are set accordingly and the corresponding MIDI data is transmitted (so long
as the TRANSMIT parameter is set to ENABLED). If the target is not the same, the faders,
Encoders, and [ON] buttons are set accordingly, but no MIDI data is transmitted.
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About Machine Control
The 02R96 can control the transport and locate functions of up to eight external recording
machines that support MMC (MIDI Machine Control).
Machines that support MMC can be controlled by connecting them to the 02R96’s MIDI,
SERIAL, USB, or SLOT1 (with optional mLAN I/O Card installed in Slot #1).
MMC support varies from machine to machine. Some machines may not operate exactly
as explained in this section.
Configuring Machines
Up to eight machines can be configured as follows.
1Use the MACHINE CONTROL [DISPLAY] button to locate the Machine Con-
figuration page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
MACHINE CONTROL/DAW CONTROL: When the MACHINE CONTROL option is
on, the MACHINE CONTROL section controls external MMC machines, except when a
DAW Remote layer is selected, in which case it controls the DAW. When the DAW CON-
TROl option is on, the MACHINE CONTROL section controls the DAW regardless of
which Layer is currently selected. These settings also appear on the Locate Memory page
(see page 194).
TYPE: This is used to specify the type of machine: MMC or NONE.
PORT: When the machine TYPE is MMC, use this parameter to specify the port for MMC
communications. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1 1–8.
DEVICE ID: When the machine TYPE is MMC, use this parameter to specify the device ID
from 1 to 127 or ALL. The target machine must be set to the same ID. The same ID cannot
be assigned to more than one SERIAL, USB, or SLOT1 port.
TRANSPORT CONTROL: This parameter determines which machine is controlled by
the 02R96’s transport buttons. Only one machine can be controlled at a time.
Transport Buttons 193
02R96—Owner’s Manual
Transport Buttons
The 02R96’s transport can be used to control external machines. The machine that is to be
controlled can be selected on the Machine Configuration page (see page 192).
[REW] button
This button starts rewind on the external machines.
[FF] button
This button starts fast forward on the external machines.
[STOP] button
This button stops the external machines.
[PLAY] button
This button starts playback on the external machines. It’s also used to punch out of record-
ing.
[REC] button
This button is used in conjunction with the [PLAY] button to start recording on the external
machines. Pressing the [REC] button on its own has no effect.
Using Shuttle & Scrub
The Parameter wheel can be used to shuttle and scrub the external machines.
When the [SHUTTLE] button indicator is lit, the Parameter wheel can be used to shuttle.
When the [SCRUB] button indicator is lit, the Parameter wheel can be used to scrub. Turn
the Parameter wheel clockwise to shuttle/scrub forwards. Turn it counterclockwise to shut-
tle/scrub backwards.
REC
REW FF
STOP PLAY
SHUTTLE
SCRUB
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Using the Locator
LOCATE MEMORY [1–8] buttons
These buttons are used to set and to locate to the eight Locate memories. Locate memories
can be set on the Locate Memory page (see page 194). To set a locate memory on-the-fly,
while holding down the [SET] button, press a LOCATE MEMORY [1–8] button. The
02R96 must be receiving timecode in order to do this. Once set, the stored position can be
located by pressing the corresponding button. If the button is pressed while the machine is
stopped, the stored position is located. If the button is pressed while the machine is playing,
the stored position is located and then playback continues from that position.
[SET] button
This button is used in conjunction with the LOCATE MEMORY [1–8], [IN], [OUT], and
[RETURN TO ZERO] buttons to set the locate points.
Setting the Locate Memories
The locate points can be set as follows.
1Use the MACHINE CONTROL [DISPLAY] button to locate the Locate Memory
page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC buttons, and [ENTER] button to set them.
MACHINE CONTROL/DAW CONTROL: When the MACHINE CONTROL option is
on, the MACHINE CONTROL section controls external MMC machines, except when a
DAW Remote layer is selected, in which case it controls the DAW. When the DAW CON-
TROl option is on, the MACHINE CONTROL section controls the DAW regardless of
which Layer is currently selected.
LOCATE MEMORY 1–8: These time values determine the points that will be located
when the LOCATe MEMORY [1–8] buttons are pressed. They can only be set while the
MACHINE CONTROL option is on. Locate points can be specified in hours, minutes, sec-
onds, and frames, the frame range being dependent on the frame rate setting on the Time
Reference page (see page 152).
(MEM-LOC)
SET
DISPLAY
MACHINE CONTROL
LOCATE MEMORY
1234
5678
GPI (General Purpose Interface) 195
02R96—Owner’s Manual
GPI (General Purpose Interface)
The 02R96’s CONTROL port (25-pin D-sub connector) provides a
GPI (General Purpose Interface) for controlling external equip-
ment. Pinouts are provided on page 271. The eight GPI outputs can
be configured so that they output trigger signals when faders or
USER DEFINED KEYS are operated. The GPI can also be used to
control a “RECORDING” warning light outside a studio, or to trig-
ger the Solo function of a Yamaha 02R Digital Recording Console.
1Use the DISPLAY ACCESS [SETUP] button to select the GPI page.
The names of the parameters currently assigned to each GPI Output are displayed in the
left-hand box. The parameter currently assigned to the selected GPI Output appears high-
lighted in the right-hand box.
2Use the Up/Down cursor buttons to select a GPI Output.
3Use the Parameter wheel or the INC/DEC buttons to select a function.
A function is selected when it appears inside the dotted box.
See the “GPI Trigger Source List” on page 217 for a complete list of assignable functions.
4Press the [ENTER] button to assign your choice.
Once assigned, the selected function appears highlighted in the right-hand box.
Faders: Faders can be used to control external equipment. A FADER ON event occurs
when a fader is moved up from –∞. A FADER OFF event occurs when a fader is moved
down to –∞. When such an event occurs, the assigned GPI Output goes High (+5 V) for
approximately 250 msec.
USER DEFINED KEYS: These buttons can be used as general-purpose triggers. For
UNLATCH, when a USER DEFINED KEY is pressed, the assigned GPI Output goes High
(+5 V) for approximately 250 msec. For LATCH, when a USER DEFINED KEY is pressed,
the assigned GPI Output goes High (+5 V) and remains High until the USER DEFINED
KEY is pressed again.
REC LAMP: This source can be used to control a “RECORDING” warning light outside a
studio. When the [REC] button indicator is lit, the assigned GPI Output goes High (+5 V).
POWER ON: While the 02R96 is powered up, the assigned GPI output is High (+5 V).
The 02R96 also features two fixed GPI inputs for use with talkback and dimmer. Each time
the GPI0 input goes Low (ground), the TALKBACK button is turned on or off. Each time
the GPI1 input goes Low (ground), the DIMMER button is turned on or off.
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20 Other Functions
Using the User Defined Keys
Up to 16 functions from a list of over 150 can be
assigned to the USER DEFINED KEYS, and up to
four assignment setups can be stored in banks A, B,
C, and D. See page 202 for a list of initial bank
assignments.
1Use the USER DEFINED KEYS [DISPLAY] but-
ton to locate the User defined Key Assigned page.
2Use the cursor buttons to select the BANK buttons, A, B, C, and D, and press
[ENTER] to select a bank.
3Use the cursor buttons to select the Assign buttons in the left-hand box, and
use the Parameter wheel or INC/DEC buttons to select a function.
A function is selected when it appears inside the dotted box.
See page 202 for a complete list of assignable functions.
4Press [ENTER] to activate your selection.
When you select a function that recalls a specific Scene or library memory, you need to spec-
ify the number of the memory that you want recalled when the USER DEFINED KEY is
pressed. To do this, in the left-hand box, select the number parameter next to the Assign
button, and use the Parameter wheel or INC/DEC buttons to specify the number.
You can initialize the assignments of the currently selected bank by selecting the INITIAL-
IZE button, and pressing [ENTER].
User Defined Keys banks can be stored to an external MIDI device, such as a MIDI data filer,
by using MIDI Bulk Dump (see page 168).
USER DEFINED KEYS
12345678
9 10111213141516
DISPLAY
Setting Preferences 197
02R96—Owner’s Manual
Setting Preferences
You can customize the operation of the 02R96 by using the preferences pages.
Preferences 1
1Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 1 page.
2Use the cursor buttons or Parameter wheel to select the preferences, and
use the INC/DEC buttons or [ENTER] button to set them.
Auto ROUTING Display: When this preference is on, the Routing pages appear auto-
matically when a button in the SELECTED CHANNEL ROUTING section is pressed (see
page 66).
Auto DYNAMICS Display: When this preference is on, the Gate Edit page appears auto-
matically when a gate control in the SELECTED CHANNEL DYNAMICS section is oper-
ated (see page 60), and the Comp Edit page appears automatically when a Compressor
control in the SELECTED CHANNEL DYNAMICS section is operated (see page 97).
Auto PAN/SURROUND Display: When this preference is on, the Pan pages appears
automatically when a control in the SELECTED CHANNEL PAN/SURROUND section is
operated (see page 68). Similarly, when a Surround Pan mode other than Stereo is selected,
the Input Channel Surround Edit page appears automatically when the Joystick is operated
(see page 70).
Auto EQUALIZER Display: When this preference is on, the EQ Edit page appears auto-
matically when a control in the SELECTED CHANNEL EQUALIZER section is operated
(see page 93).
Auto SOLO Display: When this option is on, the Solo Setup page appears automatically
when an channel is soloed (see page 102).
Auto WORD CLOCK Display: When this preference is on, the Word Clock Select page
appears automatically if the currently selected external wordclock source fails (see page 42).
Auto Channel Select: When this preference is on, channels can be selected by moving
the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO],
or [ON] button.
Store Confirmation: When this preference is on, the Title Edit window appears when
you store a Scene (page 140) or library memory (page 122).
Recall Confirmation: When this preference is on, a confirmation message appears when
you recall a Scene (page 140) or library memory (page 122).
Patch Confirmation: When this preference is on, a confirmation message appears when
you edit the Input and Output Patches (see page 52).
L/R Nominal Pan: When this preference is on, left/odd and right/even signals will be at
nominal level when Input Channels are panned hard left or hard right, and at –3 dB when
panned center. When this preference is off, signals panned hard left or hard right will be at
3 dB, and at nominal level when panned center.
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02R96—Owner’s Manual
Fast Meter Fall Time: When this preference is on, the level meters fall quicker.
TC Drop Warning: When this preference is on, a warning message appears if a dropout
is detected in the incoming timecode.
DIO Warning: When this preference is on, a warning message appears if any errors are
detected in digital audio signals received by the Slot Inputs or 2TR Digital Inputs.
MIDI Warning: When this preference is on, a warning message appears if any errors are
detected in the incoming MIDI messages.
Initial Data Nominal: When this preference is on, Input Channel faders are set to nom-
inal when Scene #0 is recalled.
Meter Follow Layer: When this preference is on, the optional MB02R96 Peak Meter
Bridge automatically follows the Layer selection on the 02R96.
Scene MEM Auto Update: When this preference is on, the Shadow Scene memories
can be used (see page 139).
Joystick Auto Grab: When this preference is on, the Joystick automatically kicks in as the
surround pan control when it’s moved to the current surround pan position (see page 70).
Cascade COMM Link: When this preference is on, various functions are linked between
cascaded 02R96s (see page 49). When this preference is off, only digital audio signals are
distributed among the cascaded 02R96s.
Preferences 2
1Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 2 page.
2Use the cursor buttons to select the preferences, and use the Parameter
wheel, INC/DEC buttons, or [ENTER] button to set them.
Channel ID/Channel: When the Channel ID preference is on, the Channel ID appears
in the upper-right corner of the display pages (e.g., CH1-CH1). When the Channel Short
Name preference is on, the Channel ID and Channel Short name appear (e.g.,
CH1-NAME).
Port ID/Port: When the Port ID preference is on, patch pages show Port IDs. When the
Port Short Name preference is on, they display Short Port names. See “Patching with the
Encoders” on page 58.
Display Brightness: This preference is used to set the brightness of the LED displays and
indicators.
Fader Touch Sensitivity: This determines the touch sensitivity of the fader knobs when
they are used for selecting channels. If you’re having trouble selecting channels because the
fader knobs are not sensitive enough, try increasing this value. If they are too sensitive, try
reducing it. It’s important that the 02R96 is grounded properly for Touch Select to work
correctly. See “Grounding screw” on page 28 for more information.
Setting Preferences 199
02R96—Owner’s Manual
Preferences 3
1Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 3 page.
2Use the cursor buttons or Parameter wheel to select the preferences, and
use the INC/DEC buttons or [ENTER] button to set them.
Mix Update Confirmation: When this preference is on, a confirmation message asking
if you want to update the current Automix with the latest edits appears when Automix
recording is stopped.
Auto EQ Edit In: When this preference is on, EQ is automatically punched into Automix
recording when an EQ control is adjusted.
Auto Inc TC Capture: When this preference is on, the Timecode Capture memory is
incremented automatically each time a timecode address is captured on the Automix Event
Edit page (see page 158).
Link Capture & Locate Memory: When this preference is on, the eight Capture mem-
ories on the Automix Event Edit page are linked to the eight Locate memories so that, for
example, edits made to Capture memory #1 are reflected on Locate memory #1, and vice
versa.
Show Compact Size: Automix data, except that in the Undo buffer, is compressed while
recording. When this preference is on, the compressed size of the Automix is displayed on
the Automix Main and Memory pages. When this preference is off, the uncompressed size
is displayed.
Automix Store Undo: When this preference is on, Automix Store operations can be
undone by using the Undo function.
Copy Initial Fader: When this preference is on, when Fader events are copied or moved
on the Automix Event Copy page, the fader value at the specified IN point is copied to the
specified TO point. This eliminates fader position matching problems when no fader event
exists at the specified TO point.
Touch Sense Control: When this preference is on, fader movements are ineffective
when the touch sensors are not triggered (i.e., when fader knobs are moved by an insulated
item, such as a fingernail, instead of a fingertip), allowing “cut-in” style operation. When
this preference is off, fader movements are always recognized.
Touch Sense Select: When this preference is on, channels can be selected simply by
touching the fader knobs.
Receive Full Frame Message: When this preference is on, MTC full frame messages
are recognized and Automix follows them.
Clear Edit Channel after REC: When this preference is on, when using Auto Rec,
channels are automatically unarmed (i.e., [AUTO] buttons are turned off) when Automix
recording stops. When this preference is off, channels remain armed when recording stops.
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02R96—Owner’s Manual
Using the Oscillator
The 02R96 features an oscillator that can be used for calibration or diagnostic purposes.
1Use the DISPLAY ACCESS [UTILITY] button to locate the Oscillator page.
2Use the cursor buttons to select the parameters, and use the Parameter
wheel, INC/DEC button, or [ENTER] button to set them.
OSCILLATOR ON: This turns the Oscillator on or off. While the LEVEL parameter is
selected, the [ENTER] button can be used to turn on and off the Oscillator.
LEVEL: This sets the Oscillator output level, which is displayed by the adjacent meter. This
parameter can be set by using the Parameter wheel regardless of which parameter is cur-
rently selected.
WAVEFORM: These buttons are used to select the waveforms: SINE 100Hz, SINE 1kHz,
SINE 10kHz, PINK NOISE, or BURST NOISE, which is 200 msec pink noise pulses at four
second intervals.
ASSIGN: These buttons are used to assign the Oscillator output to Bus Outs, Aux Sends,
and the Stereo Out.
Checking the Battery
The condition of the internal memory-backup battery can be checked as follows.
1Use the DISPLAY ACCESS [UTILITY] button to locate the Battery Check page.
If the Status is “Okay,” the battery is okay. If the Status is “Getting Low,” ask your Yamaha
dealer to replace the battery as soon as possible. Do not attempt to replace the battery your-
self. Failure to replace a low battery may result in data loss.
Note: To prevent any sudden tone burst surprises in your monitors or headphones, you may
want to set the LEVEL parameter to minimum before turning on the oscillator.
Initializing the 02R96 201
02R96—Owner’s Manual
Initializing the 02R96
The 02R96 can be initialized as follows.
1Turn off the 02R96.
2While holding down the SCENE MEMORY [STORE] button, turn on the
02R96.
3When the confirmation message appears, release the SCENE MEMORY
[STORE] button, select YES, and press [ENTER].
The following message is displayed while initialization is in progress: “Loading Factory Pre-
sets & Calibrating the Faders... Do Not Touch the Faders!”
It’s important that you do not touch the faders while this message is displayed, as the faders
may not be calibrated correctly.
The display returns to normal when initialization is complete.
Warning: This procedure will clear all user memories and reset all settings to their initial val-
ues. You may want to back up any important data beforehand via MIDI Bulk Dump (see
page 168). If you want to reset just the mix settings, recall scene memory #0 instead (see
page 139).
202 Appendix A: Parameter Lists
02R96—Owner’s Manual
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 SURR. MONI MUTE Mute L
On/Off Surr.Mon L Mute
33 SURR. MONI MUTE Mute R
On/Off Surr.Mon R Mute
34 SURR. MONI MUTE Mute Ls
On/Off Surr.Mon Ls Mute
35 SURR. MONI MUTE Mute Rs
On/Off Surr.Mon Rs Mute
36 SURR. MONI MUTE Mute C
On/Off Surr.Mon C Mute
37 SURR. MONI MUTE Mute LFE
On/Off Surr.Mon LFEMute
38 SURR. MONI SLOT1 ON/OFF Surr.SLOT1 ON
39 SURR. MONI SLOT2 ON/OFF Surr.SLOT2 ON
40 SURR. MONI SLOT3 ON/OFF Surr.SLOT3 ON
41 SURR. MONI SLOT4 ON/OFF Surr.SLOT4 ON
42 SURR. MONI BASS MANAGE
ON/OFF Bass Manage ON
43 Input Fader Group Enable A IN Fader Group A
44 Input Fader Group Enable B IN Fader Group B
45 Input Fader Group Enable C IN Fader Group C
46 Input Fader Group Enable D IN Fader Group D
47 Input Fader Group Enable E IN Fader Group E
48 Input Fader Group Enable F IN Fader Group F
49 Input Fader Group Enable G IN Fader Group G
50 Input Fader Group Enable H IN Fader Group H
51 Input MUTE Group Enable I IN Mute Group I
52 Input MUTE Group Enable J IN Mute Group J
53 Input MUTE Group Enable K IN Mute Group K
54 Input MUTE Group Enable L IN Mute Group L
55 Input MUTE Group Enable M IN Mute Group M
56 Input MUTE Group Enable N IN Mute Group N
57 Input MUTE Group Enable O IN Mute Group O
58 Input MUTE Group Enable P IN Mute Group P
59 Output Fader Group Enable Q OutFader Group Q
60 Output Fader Group Enable R OutFader Group R
61 Output Fader Group Enable S OutFader Group S
62 Output Fader Group Enable T OutFader Group T
63 Output MUTE Group Enable U Out Mute Group U
64 Output MUTE Group Enable V Out Mute Group V
65 Output MUTE Group Enable W Out Mute Group W
66 Output MUTE Group Enable X Out Mute Group X
67 PEAK HOLD On/Off Peak Hold
68 OSCILLATOR On/Off OSC. ON/OFF
69 SOLO Enable SOLO ENABLE
70 Input Patch Lib. Recall +1 IN Patch Lib+1
71 Input Patch Lib. Recall –1 IN Patch Lib–1
72 Input Patch Lib. Recall No. XX IN Patch LibXX
73 Output Patch Lib. Recall +1 Out Patch Lib+1
74 Output Patch Lib. Recall –1 Out Patch Lib–1
75 Output Patch Lib. Recall No.
XX Out Patch LibXX
76 Channel Name ID/Short CH Name ID/Short
77 Port Name ID/Short PortNameID/Short
78 Automix REC Automix REC
79 Automix PLAY Automix PLAY
80 Automix STOP Automix STOP
81 Automix ABORT Automix ABORT
82 Automix AUTO REC Automix AUTOREC
83 Automix ENABLE Automix ENABLE
84 Automix RETURN Automix RETURN
85 Automix TAKEOVER Automix TAKEOVER
86 Automix RELATIVE Automix RELATIVE
87 Automix TOUCH SENSE Automix T.SENSE
88 Overwrite FADER Overwrite FADER
89 Overwrite ON Overwrite ON
90 Overwrite PAN Overwrite PAN
91 Overwrite SURROUND Overwrite SURR.
# Function Display
USER DEFINED KEYS 203
02R96—Owner’s Manual
92 Overwrite EQ Overwrite EQ
93 Overwrite AUX Overwrite AUX
94 Overwrite AUX ON Overwrite AUX ON
95 Track Arming 1 ON/OFF Track Arming 1
96 Track Arming 2 ON/OFF Track Arming 2
97 Track Arming 3 ON/OFF Track Arming 3
98 Track Arming 4 ON/OFF Track Arming 4
99 Track Arming 5 ON/OFF Track Arming 5
100 Track Arming 6 ON/OFF Track Arming 6
101 Track Arming 7 ON/OFF Track Arming 7
102 Track Arming 8 ON/OFF Track Arming 8
103 Track Arming 9 ON/OFF Track Arming 9
104 Track Arming 10 ON/OFF Track Arming 10
105 Track Arming 11 ON/OFF Track Arming 11
106 Track Arming 12 ON/OFF Track Arming 12
107 Track Arming 13 ON/OFF Track Arming 13
108 Track Arming 14 ON/OFF Track Arming 14
109 Track Arming 15 ON/OFF Track Arming 15
110 Track Arming 16 ON/OFF Track Arming 16
111 Track Arming 17 ON/OFF Track Arming 17
112 Track Arming 18 ON/OFF Track Arming 18
113 Track Arming 19 ON/OFF Track Arming 19
114 Track Arming 20 ON/OFF Track Arming 20
115 Track Arming 21 ON/OFF Track Arming 21
116 Track Arming 22 ON/OFF Track Arming 22
117 Track Arming 23 ON/OFF Track Arming 23
118 Track Arming 24 ON/OFF Track Arming 24
119 Surr Lib. Recall +1 Surr Lib+1 RCL
120 Surr Lib. Recall –1 Surr Lib–1 RCL
121 Surr Lib. Recall No. XX Surr LibXX RCL
122 CH Copy Channel Copy
123 CH Paste Channel Paste
124 Display Back Display Back
125 Display Forward Display Forward
# Function Display
204 Appendix A: Parameter Lists
02R96—Owner’s Manual
USER DEFINED KEYS Initial Assignments
Input Patch Parameters
# Bank A Bank B Bank C Bank D
1Surr Lib 0 Recall Scene 1 Recall IN Fader Group A Automix ENABLE
2Surr Lib –1 Recall Scene 2 Recall IN Fader Group B Automix REC
3Surr Lib +1 Recall Scene 3 Recall IN Fader Group C Automix ABORT
4No Assign Scene 4 Recall IN Fader Group D Automix AUTOREC
5No Assign Scene 5 Recall IN Fader Group E Automix RETURN
6Surr.Mon L Mute Scene 6 Recall IN Fader Group F Automix RELATIVE
7Surr.Mon C Mute Scene 7 Recall IN Fader Group G Automix T. SENSE
8Surr.Mon R Mute Scene +1 Recall IN Fader Group H Automix TAKEOVER
9Bass Manage ON Scene 8 Recall IN Mute Group I Overwrite FADER
10 No Assign Scene 9 Recall IN Mute Group J Overwrite ON
11 No Assign Scene 10 Recall IN Mute Group K Overwrite PAN
12 No Assign Scene 11 Recall IN Mute Group L Overwrite SURR
13 No Assign Scene 12 Recall IN Mute Group M Overwrite AUX
14 Surr.Mon Ls Mute Scene 13 Recall IN Mute Group N Overwrite AUX ON
15 Surr.Mon LFEMute Scene 14 Recall IN Mute Group O Overwrite EQ
16 Surr.Mon Rs Mute Scene –1 Recall IN Mute Group P Automix STOP
Input Channel Inputs Input Channel insert Ins Internal Effects Processor Inputs
Port ID Description Port ID Description Port ID Description
NONE NONE NONE NONE NONE NONE
AD1 AD IN 1 AD1 AD IN 1 AUX1 AUX1
AD2 AD IN 2 AD2 AD IN 2 AUX2 AUX2
AD3 AD IN 3 AD3 AD IN 3 AUX3 AUX3
AD4 AD IN 4 AD4 AD IN 4 AUX4 AUX4
AD5 AD IN 5 AD5 AD IN 5 AUX5 AUX5
AD6 AD IN 6 AD6 AD IN 6 AUX6 AUX6
AD7 AD IN 7 AD7 AD IN 7 AUX7 AUX7
AD8 AD IN 8 AD8 AD IN 8 AUX8 AUX8
AD9 AD IN 9 AD9 AD IN 9 INSCH1 InsertOut-CH1
AD10 AD IN 10 AD10 AD IN 10 INSCH2 InsertOut-CH2
AD11 AD IN 11 AD11 AD IN 11 INSCH3 InsertOut-CH3
AD12 AD IN 12 AD12 AD IN 12 INSCH4 InsertOut-CH4
AD13 AD IN 13 AD13 AD IN 13 INSCH5 InsertOut-CH5
AD14 AD IN 14 AD14 AD IN 14 INSCH6 InsertOut-CH6
AD15 AD IN 15 AD15 AD IN 15 INSCH7 InsertOut-CH7
AD16 AD IN 16 AD16 AD IN 16 INSCH8 InsertOut-CH8
AD17 AD IN 17 AD17 AD IN 17 INSCH9 InsertOut-CH9
AD18 AD IN 18 AD18 AD IN 18 INSCH10 InsertOut-CH10
AD19 AD IN 19 AD19 AD IN 19 INSCH11 InsertOut-CH11
AD20 AD IN 20 AD20 AD IN 20 INSCH12 InsertOut-CH12
AD21 AD IN 21 AD21 AD IN 21 INSCH13 InsertOut-CH13
AD22 AD IN 22 AD22 AD IN 22 INSCH14 InsertOut-CH14
AD23 AD IN 23 AD23 AD IN 23 INSCH15 InsertOut-CH15
AD24 AD IN 24 AD24 AD IN 24 INSCH16 InsertOut-CH16
S1-1 Slot1 CH1 IN S1-1 Slot1 CH1 IN INSCH17 InsertOut-CH17
S1-2 Slot1 CH2 IN S1-2 Slot1 CH2 IN INSCH18 InsertOut-CH18
S1-3 Slot1 CH3 IN S1-3 Slot1 CH3 IN INSCH19 InsertOut-CH19
Input Patch Parameters 205
02R96—Owner’s Manual
S1-4 Slot1 CH4 IN S1-4 Slot1 CH4 IN INSCH20 InsertOut-CH20
S1-5 Slot1 CH5 IN S1-5 Slot1 CH5 IN INSCH21 InsertOut-CH21
S1-6 Slot1 CH6 IN S1-6 Slot1 CH6 IN INSCH22 InsertOut-CH22
S1-7 Slot1 CH7 IN S1-7 Slot1 CH7 IN INSCH23 InsertOut-CH23
S1-8 Slot1 CH8 IN S1-8 Slot1 CH8 IN INSCH24 InsertOut-CH24
S1-9 Slot1 CH9 IN S1-9 Slot1 CH9 IN INSCH25 InsertOut-CH25
S1-10 Slot1 CH10 IN S1-10 Slot1 CH10 IN INSCH26 InsertOut-CH26
S1-11 Slot1 CH11 IN S1-11 Slot1 CH11 IN INSCH27 InsertOut-CH27
S1-12 Slot1 CH12 IN S1-12 Slot1 CH12 IN INSCH28 InsertOut-CH28
S1-13 Slot1 CH13 IN S1-13 Slot1 CH13 IN INSCH29 InsertOut-CH29
S1-14 Slot1 CH14 IN S1-14 Slot1 CH14 IN INSCH30 InsertOut-CH30
S1-15 Slot1 CH15 IN S1-15 Slot1 CH15 IN INSCH31 InsertOut-CH31
S1-16 Slot1 CH16 IN S1-16 Slot1 CH16 IN INSCH32 InsertOut-CH32
S2-1 Slot2 CH1 IN S2-1 Slot2 CH1 IN INSCH33 InsertOut-CH33
S2-2 Slot2 CH2 IN S2-2 Slot2 CH2 IN INSCH34 InsertOut-CH34
S2-3 Slot2 CH3 IN S2-3 Slot2 CH3 IN INSCH35 InsertOut-CH35
S2-4 Slot2 CH4 IN S2-4 Slot2 CH4 IN INSCH36 InsertOut-CH36
S2-5 Slot2 CH5 IN S2-5 Slot2 CH5 IN INSCH37 InsertOut-CH37
S2-6 Slot2 CH6 IN S2-6 Slot2 CH6 IN INSCH38 InsertOut-CH38
S2-7 Slot2 CH7 IN S2-7 Slot2 CH7 IN INSCH39 InsertOut-CH39
S2-8 Slot2 CH8 IN S2-8 Slot2 CH8 IN INSCH40 InsertOut-CH40
S2-9 Slot2 CH9 IN S2-9 Slot2 CH9 IN INSCH41 InsertOut-CH41
S2-10 Slot2 CH10 IN S2-10 Slot2 CH10 IN INSCH42 InsertOut-CH42
S2-11 Slot2 CH11 IN S2-11 Slot2 CH11 IN INSCH43 InsertOut-CH43
S2-12 Slot2 CH12 IN S2-12 Slot2 CH12 IN INSCH44 InsertOut-CH44
S2-13 Slot2 CH13 IN S2-13 Slot2 CH13 IN INSCH45 InsertOut-CH45
S2-14 Slot2 CH14 IN S2-14 Slot2 CH14 IN INSCH46 InsertOut-CH46
S2-15 Slot2 CH15 IN S2-15 Slot2 CH15 IN INSCH47 InsertOut-CH47
S2-16 Slot2 CH16 IN S2-16 Slot2 CH16 IN INSCH48 InsertOut-CH48
S3-1 Slot3 CH1 IN S3-1 Slot3 CH1 IN INSCH49 InsertOut-CH49
S3-2 Slot3 CH2 IN S3-2 Slot3 CH2 IN INSCH50 InsertOut-CH50
S3-3 Slot3 CH3 IN S3-3 Slot3 CH3 IN INSCH51 InsertOut-CH51
S3-4 Slot3 CH4 IN S3-4 Slot3 CH4 IN INSCH52 InsertOut-CH52
S3-5 Slot3 CH5 IN S3-5 Slot3 CH5 IN INSCH53 InsertOut-CH53
S3-6 Slot3 CH6 IN S3-6 Slot3 CH6 IN INSCH54 InsertOut-CH54
S3-7 Slot3 CH7 IN S3-7 Slot3 CH7 IN INSCH55 InsertOut-CH55
S3-8 Slot3 CH8 IN S3-8 Slot3 CH8 IN INSCH56 InsertOut-CH56
S3-9 Slot3 CH9 IN S3-9 Slot3 CH9 IN INSBUS1 InsertOut-BUS1
S3-10 Slot3 CH10 IN S3-10 Slot3 CH10 IN INSBUS2 InsertOut-BUS2
S3-11 Slot3 CH11 IN S3-11 Slot3 CH11 IN INSBUS3 InsertOut-BUS3
S3-12 Slot3 CH12 IN S3-12 Slot3 CH12 IN INSBUS4 InsertOut-BUS4
S3-13 Slot3 CH13 IN S3-13 Slot3 CH13 IN INSBUS5 InsertOut-BUS5
S3-14 Slot3 CH14 IN S3-14 Slot3 CH14 IN INSBUS6 InsertOut-BUS6
S3-15 Slot3 CH15 IN S3-15 Slot3 CH15 IN INSBUS7 InsertOut-BUS7
S3-16 Slot3 CH16 IN S3-16 Slot3 CH16 IN INSBUS8 InsertOut-BUS8
S4-1 Slot4 CH1 IN S4-1 Slot4 CH1 IN INSAUX1 InsertOut-AUX1
S4-2 Slot4 CH2 IN S4-2 Slot4 CH2 IN INSAUX2 InsertOut-AUX2
S4-3 Slot4 CH3 IN S4-3 Slot4 CH3 IN INSAUX3 InsertOut-AUX3
S4-4 Slot4 CH4 IN S4-4 Slot4 CH4 IN INSAUX4 InsertOut-AUX4
S4-5 Slot4 CH5 IN S4-5 Slot4 CH5 IN INSAUX5 InsertOut-AUX5
S4-6 Slot4 CH6 IN S4-6 Slot4 CH6 IN INSAUX6 InsertOut-AUX6
Input Channel Inputs Input Channel insert Ins Internal Effects Processor Inputs
Port ID Description Port ID Description Port ID Description
206 Appendix A: Parameter Lists
02R96—Owner’s Manual
S4-7 Slot4 CH7 IN S4-7 Slot4 CH7 IN INSAUX7 InsertOut-AUX7
S4-8 Slot4 CH8 IN S4-8 Slot4 CH8 IN INSAUX8 InsertOut-AUX8
S4-9 Slot4 CH9 IN S4-9 Slot4 CH9 IN INSSTL InsertOut-STL
S4-10 Slot4 CH10 IN S4-10 Slot4 CH10 IN INSSTR InsertOut-STR
S4-11 Slot4 CH11 IN S4-11 Slot4 CH11 IN FX1-1 Effect1 OUT 1
S4-12 Slot4 CH12 IN S4-12 Slot4 CH12 IN FX1-2 Effect1 OUT 2
S4-13 Slot4 CH13 IN S4-13 Slot4 CH13 IN FX2-1 Effect2 OUT 1
S4-14 Slot4 CH14 IN S4-14 Slot4 CH14 IN FX2-2 Effect2 OUT 2
S4-15 Slot4 CH15 IN S4-15 Slot4 CH15 IN FX3-1 Effect3 OUT 1
S4-16 Slot4 CH16 IN S4-16 Slot4 CH16 IN FX3-2 Effect3 OUT 2
FX1-1 Effect1 OUT 1 FX1-1 Effect1 OUT 1 FX4-1 Effect4 OUT 1
FX1-2 Effect1 OUT 2 FX1-2 Effect1 OUT 2 FX4-2 Effect4 OUT 2
FX1-3 Effect1 OUT 3 FX1-3 Effect1 OUT 3
FX1-4 Effect1 OUT 4 FX1-4 Effect1 OUT 4
FX1-5 Effect1 OUT 5 FX1-5 Effect1 OUT 5
FX1-6 Effect1 OUT 6 FX1-6 Effect1 OUT 6
FX1-7 Effect1 OUT 7 FX1-7 Effect1 OUT 7
FX1-8 Effect1 OUT 8 FX1-8 Effect1 OUT 8
FX2-1 Effect2 OUT 1 FX2-1 Effect2 OUT 1
FX2-2 Effect2 OUT 2 FX2-2 Effect2 OUT 2
FX3-1 Effect3 OUT 1 FX3-1 Effect3 OUT 1
FX3-2 Effect3 OUT 2 FX3-2 Effect3 OUT 2
FX4-1 Effect4 OUT 1 FX4-1 Effect4 OUT 1
FX4-2 Effect4 OUT 2 FX4-2 Effect4 OUT 2
2TD1L 2TR IN Dig.1 L 2TD1L 2TR IN Dig.1 L
2TD1R 2TR IN Dig.1 R 2TD1R 2TR IN Dig.1 R
2TD2L 2TR IN Dig.2 L 2TD2L 2TR IN Dig.2 L
2TD2R 2TR IN Dig.2 R 2TD2R 2TR IN Dig.2 R
2TD3L 2TR IN Dig.3 L 2TD3L 2TR IN Dig.3 L
2TD3R 2TR IN Dig.3 R 2TD3R 2TR IN Dig.3 R
2TA1L 2TR IN Analog1 L 2TA1L 2TR IN Analog1 L
2TA1R 2TR IN Analog1 R 2TA1R 2TR IN Analog1 R
2TA2L 2TR IN Analog2 L 2TA2L 2TR IN Analog2 L
2TA2R 2TR IN Analog2 R 2TA2R 2TR IN Analog2 R
BUS1 BUS1
BUS2 BUS2
BUS3 BUS3
BUS4 BUS4
BUS5 BUS5
BUS6 BUS6
BUS7 BUS7
BUS8 BUS8
AUX1 AUX1
AUX2 AUX2
AUX3 AUX3
AUX4 AUX4
AUX5 AUX5
AUX6 AUX6
AUX7 AUX7
AUX8 AUX8
Input Channel Inputs Input Channel insert Ins Internal Effects Processor Inputs
Port ID Description Port ID Description Port ID Description
Initial Input Patch Settings 207
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Initial Input Patch Settings
Input channel Inputs
Effects Processors Inputs
# Source # Source
1 AD01 29 S1-05
2 AD02 30 S1-06
3 AD03 31 S1-07
4 AD04 32 S1-08
5 AD05 33 S2-01
6 AD06 34 S2-02
7 AD07 35 S2-03
8 AD08 36 S2-04
9 AD09 37 S2-05
10 AD10 38 S2-06
11 AD11 39 S2-07
12 AD12 40 S2-08
13 AD13 41 S3-01
14 AD14 42 S3-02
15 AD15 43 S3-03
16 AD16 44 S3-04
17 AD17 45 S3-05
18 AD18 46 S3-06
19 AD19 47 S3-07
20 AD20 48 S3-08
21 AD21 49 S4-01
22 AD22 50 S4-02
23 AD23 51 S4-03
24 AD24 52 S4-04
25 S1-01 53 S4-05
26 S1-02 54 S4-06
27 S1-03 55 S4-07
28 S1-04 56 S4-08
# Source
1-1 AUX1
1-2 NONE
1-3 NONE
1-4 NONE
1-5 NONE
1-6 NONE
1-7 NONE
1-8 NONE
2-1 AUX2
2-2 NONE
3-1 AUX3
3-2 NONE
4-1 AUX4
4-2 NONE
208 Appendix A: Parameter Lists
02R96—Owner’s Manual
Output Patch Parameters
Output patch parameters are split into two tables. The first table contains parameters for
the Slot Outputs, Omni Outs, and Output Channel Insert Ins. The second table, Direct
Outs and, 2TR Digital Outputs.
Output Patch Table 1
Slot Outputs Omni Outs Output Channel Insert Ins
Source Description Source Description Source Description
NONE NONE NONE NONE NONE NONE
BUS1 BUS1 BUS1 BUS1 AD1 AD IN 1
BUS2 BUS2 BUS2 BUS2 AD2 AD IN 2
BUS3 BUS3 BUS3 BUS3 AD3 AD IN 3
BUS4 BUS4 BUS4 BUS4 AD4 AD IN 4
BUS5 BUS5 BUS5 BUS5 AD5 AD IN 5
BUS6 BUS6 BUS6 BUS6 AD6 AD IN 6
BUS7 BUS7 BUS7 BUS7 AD7 AD IN 7
BUS8 BUS8 BUS8 BUS8 AD8 AD IN 8
AUX1 AUX1 AUX1 AUX1 AD9 AD IN 9
AUX2 AUX2 AUX2 AUX2 AD10 AD IN 10
AUX3 AUX3 AUX3 AUX3 AD11 AD IN 11
AUX4 AUX4 AUX4 AUX4 AD12 AD IN 12
AUX5 AUX5 AUX5 AUX5 AD13 AD IN 13
AUX6 AUX6 AUX6 AUX6 AD14 AD IN 14
AUX7 AUX7 AUX7 AUX7 AD15 AD IN 15
AUX8 AUX8 AUX8 AUX8 AD16 AD IN 16
STEREO-L STEREO L STEREO-L STEREO L AD17 AD IN 17
STEREO-R STEREO R STEREO-R STEREO R AD18 AD IN 18
INSCH1 InsertOut-CH1 INSCH1 InsertOut-CH1 AD19 AD IN 19
INSCH2 InsertOut-CH2 INSCH2 InsertOut-CH2 AD20 AD IN 20
INSCH3 InsertOut-CH3 INSCH3 InsertOut-CH3 AD21 AD IN 21
INSCH4 InsertOut-CH4 INSCH4 InsertOut-CH4 AD22 AD IN 22
INSCH5 InsertOut-CH5 INSCH5 InsertOut-CH5 AD23 AD IN 23
INSCH6 InsertOut-CH6 INSCH6 InsertOut-CH6 AD24 AD IN 24
INSCH7 InsertOut-CH7 INSCH7 InsertOut-CH7 S1-1 Slot1 CH1 IN
INSCH8 InsertOut-CH8 INSCH8 InsertOut-CH8 S1-2 Slot1 CH2 IN
INSCH9 InsertOut-CH9 INSCH9 InsertOut-CH9 S1-3 Slot1 CH3 IN
INSCH10 InsertOut-CH10 INSCH10 InsertOut-CH10 S1-4 Slot1 CH4 IN
INSCH11 InsertOut-CH11 INSCH11 InsertOut-CH11 S1-5 Slot1 CH5 IN
INSCH12 InsertOut-CH12 INSCH12 InsertOut-CH12 S1-6 Slot1 CH6 IN
INSCH13 InsertOut-CH13 INSCH13 InsertOut-CH13 S1-7 Slot1 CH7 IN
INSCH14 InsertOut-CH14 INSCH14 InsertOut-CH14 S1-8 Slot1 CH8 IN
INSCH15 InsertOut-CH15 INSCH15 InsertOut-CH15 S1-9 Slot1 CH9 IN
INSCH16 InsertOut-CH16 INSCH16 InsertOut-CH16 S1-10 Slot1 CH10 IN
INSCH17 InsertOut-CH17 INSCH17 InsertOut-CH17 S1-11 Slot1 CH11 IN
INSCH18 InsertOut-CH18 INSCH18 InsertOut-CH18 S1-12 Slot1 CH12 IN
INSCH19 InsertOut-CH19 INSCH19 InsertOut-CH19 S1-13 Slot1 CH13 IN
INSCH20 InsertOut-CH20 INSCH20 InsertOut-CH20 S1-14 Slot1 CH14 IN
INSCH21 InsertOut-CH21 INSCH21 InsertOut-CH21 S1-15 Slot1 CH15 IN
INSCH22 InsertOut-CH22 INSCH22 InsertOut-CH22 S1-16 Slot1 CH16 IN
INSCH23 InsertOut-CH23 INSCH23 InsertOut-CH23 S2-1 Slot2 CH1 IN
INSCH24 InsertOut-CH24 INSCH24 InsertOut-CH24 S2-2 Slot2 CH2 IN
INSCH25 InsertOut-CH25 INSCH25 InsertOut-CH25 S2-3 Slot2 CH3 IN
Output Patch Parameters 209
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INSCH26 InsertOut-CH26 INSCH26 InsertOut-CH26 S2-4 Slot2 CH4 IN
INSCH27 InsertOut-CH27 INSCH27 InsertOut-CH27 S2-5 Slot2 CH5 IN
INSCH28 InsertOut-CH28 INSCH28 InsertOut-CH28 S2-6 Slot2 CH6 IN
INSCH29 InsertOut-CH29 INSCH29 InsertOut-CH29 S2-7 Slot2 CH7 IN
INSCH30 InsertOut-CH30 INSCH30 InsertOut-CH30 S2-8 Slot2 CH8 IN
INSCH31 InsertOut-CH31 INSCH31 InsertOut-CH31 S2-9 Slot2 CH9 IN
INSCH32 InsertOut-CH32 INSCH32 InsertOut-CH32 S2-10 Slot2 CH10 IN
INSCH33 InsertOut-CH33 INSCH33 InsertOut-CH33 S2-11 Slot2 CH11 IN
INSCH34 InsertOut-CH34 INSCH34 InsertOut-CH34 S2-12 Slot2 CH12 IN
INSCH35 InsertOut-CH35 INSCH35 InsertOut-CH35 S2-13 Slot2 CH13 IN
INSCH36 InsertOut-CH36 INSCH36 InsertOut-CH36 S2-14 Slot2 CH14 IN
INSCH37 InsertOut-CH37 INSCH37 InsertOut-CH37 S2-15 Slot2 CH15 IN
INSCH38 InsertOut-CH38 INSCH38 InsertOut-CH38 S2-16 Slot2 CH16 IN
INSCH39 InsertOut-CH39 INSCH39 InsertOut-CH39 S3-1 Slot3 CH1 IN
INSCH40 InsertOut-CH40 INSCH40 InsertOut-CH40 S3-2 Slot3 CH2 IN
INSCH41 InsertOut-CH41 INSCH41 InsertOut-CH41 S3-3 Slot3 CH3 IN
INSCH42 InsertOut-CH42 INSCH42 InsertOut-CH42 S3-4 Slot3 CH4 IN
INSCH43 InsertOut-CH43 INSCH43 InsertOut-CH43 S3-5 Slot3 CH5 IN
INSCH44 InsertOut-CH44 INSCH44 InsertOut-CH44 S3-6 Slot3 CH6 IN
INSCH45 InsertOut-CH45 INSCH45 InsertOut-CH45 S3-7 Slot3 CH7 IN
INSCH46 InsertOut-CH46 INSCH46 InsertOut-CH46 S3-8 Slot3 CH8 IN
INSCH47 InsertOut-CH47 INSCH47 InsertOut-CH47 S3-9 Slot3 CH9 IN
INSCH48 InsertOut-CH48 INSCH48 InsertOut-CH48 S3-10 Slot3 CH10 IN
INSCH49 InsertOut-CH49 INSCH49 InsertOut-CH49 S3-11 Slot3 CH11 IN
INSCH50 InsertOut-CH50 INSCH50 InsertOut-CH50 S3-12 Slot3 CH12 IN
INSCH51 InsertOut-CH51 INSCH51 InsertOut-CH51 S3-13 Slot3 CH13 IN
INSCH52 InsertOut-CH52 INSCH52 InsertOut-CH52 S3-14 Slot3 CH14 IN
INSCH53 InsertOut-CH53 INSCH53 InsertOut-CH53 S3-15 Slot3 CH15 IN
INSCH54 InsertOut-CH54 INSCH54 InsertOut-CH54 S3-16 Slot3 CH16 IN
INSCH55 InsertOut-CH55 INSCH55 InsertOut-CH55 S4-1 Slot4 CH1 IN
INSCH56 InsertOut-CH56 INSCH56 InsertOut-CH56 S4-2 Slot4 CH2 IN
INSBUS1 InsertOut-BUS1 INSBUS1 InsertOut-BUS1 S4-3 Slot4 CH3 IN
INSBUS2 InsertOut-BUS2 INSBUS2 InsertOut-BUS2 S4-4 Slot4 CH4 IN
INSBUS3 InsertOut-BUS3 INSBUS3 InsertOut-BUS3 S4-5 Slot4 CH5 IN
INSBUS4 InsertOut-BUS4 INSBUS4 InsertOut-BUS4 S4-6 Slot4 CH6 IN
INSBUS5 InsertOut-BUS5 INSBUS5 InsertOut-BUS5 S4-7 Slot4 CH7 IN
INSBUS6 InsertOut-BUS6 INSBUS6 InsertOut-BUS6 S4-8 Slot4 CH8 IN
INSBUS7 InsertOut-BUS7 INSBUS7 InsertOut-BUS7 S4-9 Slot4 CH9 IN
INSBUS8 InsertOut-BUS8 INSBUS8 InsertOut-BUS8 S4-10 Slot4 CH10 IN
INSAUX1 InsertOut-AUX1 INSAUX1 InsertOut-AUX1 S4-11 Slot4 CH11 IN
INSAUX2 InsertOut-AUX2 INSAUX2 InsertOut-AUX2 S4-12 Slot4 CH12 IN
INSAUX3 InsertOut-AUX3 INSAUX3 InsertOut-AUX3 S4-13 Slot4 CH13 IN
INSAUX4 InsertOut-AUX4 INSAUX4 InsertOut-AUX4 S4-14 Slot4 CH14 IN
INSAUX5 InsertOut-AUX5 INSAUX5 InsertOut-AUX5 S4-15 Slot4 CH15 IN
INSAUX6 InsertOut-AUX6 INSAUX6 InsertOut-AUX6 S4-16 Slot4 CH16 IN
INSAUX7 InsertOut-AUX7 INSAUX7 InsertOut-AUX7 FX1-1 Effect1 OUT 1
INSAUX8 InsertOut-AUX8 INSAUX8 InsertOut-AUX8 FX1-2 Effect1 OUT 2
INSSTL InsertOut-STL INSSTL InsertOut-STL FX1-3 Effect1 OUT 3
INSSTR InsertOut-STR INSSTR InsertOut-STR FX1-4 Effect1 OUT 4
Surr L Surround Monitor L Surr L Surround Monitor L FX1-5 Effect1 OUT 5
Surr R Surround Monitor R Surr R Surround Monitor R FX1-6 Effect1 OUT 6
Slot Outputs Omni Outs Output Channel Insert Ins
Source Description Source Description Source Description
210 Appendix A: Parameter Lists
02R96—Owner’s Manual
Surr Ls Surround Monitor Ls Surr Ls Surround Monitor Ls FX1-7 Effect1 OUT 7
Surr Rs Surround Monitor Rs Surr Rs Surround Monitor Rs FX1-8 Effect1 OUT 8
Surr C Surround Monitor C Surr C Surround Monitor C FX2-1 Effect2 OUT 1
Surr LFE Surround Monitor LFE Surr LFE Surround Monitor LFE FX2-2 Effect2 OUT 2
Surr Ls2 Surround Monitor Ls2 Surr Ls2 Surround Monitor Ls2 2TD1L 2TR IN Dig.1 L
Surr Rs2 Surround Monitor Rs2 Surr Rs2 Surround Monitor Rs2 2TD1R 2TR IN Dig.1 R
2TD2L 2TR IN Dig.2 L
2TD2R 2TR IN Dig.2 R
2TD3L 2TR IN Dig.3 L
2TD3R 2TR IN Dig.3 R
2TA1L 2TR IN Analog1 L
2TA1R 2TR IN Analog1 R
2TA2L 2TR IN Analog2 L
2TA2R 2TR IN Analog2 R
Slot Outputs Omni Outs Output Channel Insert Ins
Source Description Source Description Source Description
Output Patch Parameters 211
02R96—Owner’s Manual
Output Patch Table 2
Direct Outs 2TR Digital Outs
Source Description Source Description
NONE NONE NONE NONE
S1-1 Slot1 CH1 OUT BUS1 BUS1
S1-2 Slot1 CH2 OUT BUS2 BUS2
S1-3 Slot1 CH3 OUT BUS3 BUS3
S1-4 Slot1 CH4 OUT BUS4 BUS4
S1-5 Slot1 CH5 OUT BUS5 BUS5
S1-6 Slot1 CH6 OUT BUS6 BUS6
S1-7 Slot1 CH7 OUT BUS7 BUS7
S1-8 Slot1 CH8 OUT BUS8 BUS8
S1-9 Slot1 CH9 OUT AUX1 AUX1
S1-10 Slot1 CH10 OUT AUX2 AUX2
S1-11 Slot1 CH11 OUT AUX3 AUX3
S1-12 Slot1 CH12 OUT AUX4 AUX4
S1-13 Slot1 CH13 OUT AUX5 AUX5
S1-14 Slot1 CH14 OUT AUX6 AUX6
S1-15 Slot1 CH15 OUT AUX7 AUX7
S1-16 Slot1 CH16 OUT AUX8 AUX8
S2-1 Slot2 CH1 OUT STEREO-L STEREO L
S2-2 Slot2 CH2 OUT STEREO-R STEREO R
S2-3 Slot2 CH3 OUT INSCH1 InsertOut-CH1
S2-4 Slot2 CH4 OUT INSCH2 InsertOut-CH2
S2-5 Slot2 CH5 OUT INSCH3 InsertOut-CH3
S2-6 Slot2 CH6 OUT INSCH4 InsertOut-CH4
S2-7 Slot2 CH7 OUT INSCH5 InsertOut-CH5
S2-8 Slot2 CH8 OUT INSCH6 InsertOut-CH6
S2-9 Slot2 CH9 OUT INSCH7 InsertOut-CH7
S2-10 Slot2 CH10 OUT INSCH8 InsertOut-CH8
S2-11 Slot2 CH11 OUT INSCH9 InsertOut-CH9
S2-12 Slot2 CH12 OUT INSCH10 InsertOut-CH10
S2-13 Slot2 CH13 OUT INSCH11 InsertOut-CH11
S2-14 Slot2 CH14 OUT INSCH12 InsertOut-CH12
S2-15 Slot2 CH15 OUT INSCH13 InsertOut-CH13
S2-16 Slot2 CH16 OUT INSCH14 InsertOut-CH14
S3-1 Slot3 CH1 OUT INSCH15 InsertOut-CH15
S3-2 Slot3 CH2 OUT INSCH16 InsertOut-CH16
S3-3 Slot3 CH3 OUT INSCH17 InsertOut-CH17
S3-4 Slot3 CH4 OUT INSCH18 InsertOut-CH18
S3-5 Slot3 CH5 OUT INSCH19 InsertOut-CH19
S3-6 Slot3 CH6 OUT INSCH20 InsertOut-CH20
S3-7 Slot3 CH7 OUT INSCH21 InsertOut-CH21
S3-8 Slot3 CH8 OUT INSCH22 InsertOut-CH22
S3-9 Slot3 CH9 OUT INSCH23 InsertOut-CH23
S3-10 Slot3 CH10 OUT INSCH24 InsertOut-CH24
S3-11 Slot3 CH11 OUT INSCH25 InsertOut-CH25
S3-12 Slot3 CH12 OUT INSCH26 InsertOut-CH26
S3-13 Slot3 CH13 OUT INSCH27 InsertOut-CH27
S3-14 Slot3 CH14 OUT INSCH28 InsertOut-CH28
S3-15 Slot3 CH15 OUT INSCH29 InsertOut-CH29
S3-16 Slot3 CH16 OUT INSCH30 InsertOut-CH30
S4-1 Slot4 CH1 OUT INSCH31 InsertOut-CH31
212 Appendix A: Parameter Lists
02R96—Owner’s Manual
S4-2 Slot4 CH2 OUT INSCH32 InsertOut-CH32
S4-3 Slot4 CH3 OUT INSCH33 InsertOut-CH33
S4-4 Slot4 CH4 OUT INSCH34 InsertOut-CH34
S4-5 Slot4 CH5 OUT INSCH35 InsertOut-CH35
S4-6 Slot4 CH6 OUT INSCH36 InsertOut-CH36
S4-7 Slot4 CH7 OUT INSCH37 InsertOut-CH37
S4-8 Slot4 CH8 OUT INSCH38 InsertOut-CH38
S4-9 Slot4 CH9 OUT INSCH39 InsertOut-CH39
S4-10 Slot4 CH10 OUT INSCH40 InsertOut-CH40
S4-11 Slot4 CH11 OUT INSCH41 InsertOut-CH41
S4-12 Slot4 CH12 OUT INSCH42 InsertOut-CH42
S4-13 Slot4 CH13 OUT INSCH43 InsertOut-CH43
S4-14 Slot4 CH14 OUT INSCH44 InsertOut-CH44
S4-15 Slot4 CH15 OUT INSCH45 InsertOut-CH45
S4-16 Slot4 CH16 OUT INSCH46 InsertOut-CH46
OMNI1 OMNI OUT 1 INSCH47 InsertOut-CH47
OMNI2 OMNI OUT 2 INSCH48 InsertOut-CH48
OMNI3 OMNI OUT 3 INSCH49 InsertOut-CH49
OMNI4 OMNI OUT 4 INSCH50 InsertOut-CH50
OMNI5 OMNI OUT 5 INSCH51 InsertOut-CH51
OMNI6 OMNI OUT 6 INSCH52 InsertOut-CH52
OMNI7 OMNI OUT 7 INSCH53 InsertOut-CH53
OMNI8 OMNI OUT 8 INSCH54 InsertOut-CH54
2TD1L 2TR OUT Dig.1 L INSCH55 InsertOut-CH55
2TD1R 2TR OUT Dig.1 R INSCH56 InsertOut-CH56
2TD2L 2TR OUT Dig.2 L INSBUS1 InsertOut-BUS1
2TD2R 2TR OUT Dig.2 R INSBUS2 InsertOut-BUS2
2TD3L 2TR OUT Dig.3 L INSBUS3 InsertOut-BUS3
2TD3R 2TR OUT Dig.3 R INSBUS4 InsertOut-BUS4
INSBUS5 InsertOut-BUS5
INSBUS6 InsertOut-BUS6
INSBUS7 InsertOut-BUS7
INSBUS8 InsertOut-BUS8
INSAUX1 InsertOut-AUX1
INSAUX2 InsertOut-AUX2
INSAUX3 InsertOut-AUX3
INSAUX4 InsertOut-AUX4
INSAUX5 InsertOut-AUX5
INSAUX6 InsertOut-AUX6
INSAUX7 InsertOut-AUX7
INSAUX8 InsertOut-AUX8
INSSTL InsertOut-STL
INSSTR InsertOut-STR
CR-L Control Room L
CR-R Control Room R
Direct Outs 2TR Digital Outs
Source Description Source Description
Initial Output Patch Settings 213
02R96—Owner’s Manual
Initial Output Patch Settings
Slot Outputs
Omni Outs
Direct Outs
# Source
SLOT1-01 BUS1
SLOT1-02 BUS2
SLOT1-03 BUS3
SLOT1-04 BUS4
SLOT1-05 BUS5
SLOT1-06 BUS6
SLOT1-07 BUS7
SLOT1-08 BUS8
SLOT1-09 BUS1
SLOT1-10 BUS2
SLOT1-11 BUS3
SLOT1-12 BUS4
SLOT1-13 BUS5
SLOT1-14 BUS6
SLOT1-15 BUS7
SLOT1-16 BUS8
SLOT2-01 BUS1
SLOT2-02 BUS2
SLOT2-03 BUS3
SLOT2-04 BUS4
SLOT2-05 BUS5
SLOT2-06 BUS6
SLOT2-07 BUS7
SLOT2-08 BUS8
SLOT2-09 BUS1
SLOT2-10 BUS2
SLOT2-11 BUS3
SLOT2-12 BUS4
SLOT2-13 BUS5
SLOT2-14 BUS6
SLOT2-15 BUS7
SLOT2-16 BUS8
SLOT3-01 BUS1
SLOT3-02 BUS2
SLOT3-03 BUS3
SLOT3-04 BUS4
SLOT3-05 BUS5
SLOT3-06 BUS6
SLOT3-07 BUS7
SLOT3-08 BUS8
SLOT3-09 BUS1
SLOT3-10 BUS2
SLOT3-11 BUS3
SLOT3-12 BUS4
SLOT3-13 BUS5
SLOT3-14 BUS6
SLOT3-15 BUS7
SLOT3-16 BUS8
SLOT4-01 BUS1
SLOT4-02 BUS2
SLOT4-03 BUS3
SLOT4-04 BUS4
SLOT4-05 BUS5
SLOT4-06 BUS6
SLOT4-07 BUS7
SLOT4-08 BUS8
SLOT4-09 BUS1
SLOT4-10 BUS2
SLOT4-11 BUS3
SLOT4-12 BUS4
SLOT4-13 BUS5
SLOT4-14 BUS6
SLOT4-15 BUS7
SLOT4-16 BUS8
# Source
1 AUX1
2 AUX2
3 AUX3
4 AUX4
5 AUX5
6 AUX6
7 AUX7
8 AUX8
# Destination
1 SLOT1-01
2 SLOT1-02
3 SLOT1-03
4 SLOT1-04
5 SLOT1-05
6 SLOT1-06
7 SLOT1-07
8 SLOT1-08
9 SLOT2-01
10 SLOT2-02
11 SLOT2-03
12 SLOT2-04
13 SLOT2-05
14 SLOT2-06
15 SLOT2-07
16 SLOT2-08
17 SLOT3-01
18 SLOT3-02
19 SLOT3-03
20 SLOT3-04
21 SLOT3-05
22 SLOT3-06
# Source
214 Appendix A: Parameter Lists
02R96—Owner’s Manual
Initial Input Channel Names
Initial Output Channel
Names
23 SLOT3-07
24 SLOT3-08
25 SLOT4-01
26 SLOT4-02
27 SLOT4-03
28 SLOT4-04
29 SLOT4-05
30 SLOT4-06
31 SLOT4-07
32 SLOT4-08
33 NONE
34 NONE
35 NONE
36 NONE
37 NONE
38 NONE
39 NONE
40 NONE
41 NONE
42 NONE
43 NONE
44 NONE
45 NONE
46 NONE
47 NONE
48 NONE
49 NONE
50 NONE
51 NONE
52 NONE
53 NONE
54 NONE
55 NONE
56 NONE
Input
Channel ID Short Name Long Name
CH01 CH01 CH01
CH02 CH02 CH02
CH03 CH03 CH03
CH04 CH04 CH04
CH05 CH05 CH05
CH06 CH06 CH06
CH07 CH07 CH07
CH08 CH08 CH08
CH09 CH09 CH09
CH10 CH10 CH10
CH11 CH11 CH11
CH12 CH12 CH12
CH13 CH13 CH13
CH14 CH14 CH14
# Destination
CH15 CH15 CH15
CH16 CH16 CH16
CH17 CH17 CH17
CH18 CH18 CH18
CH19 CH19 CH19
CH20 CH20 CH20
CH21 CH21 CH21
CH22 CH22 CH22
CH23 CH23 CH23
CH24 CH24 CH24
CH25 CH25 CH25
CH26 CH26 CH26
CH27 CH27 CH27
CH28 CH28 CH28
CH29 CH29 CH29
CH30 CH30 CH30
CH31 CH31 CH31
CH32 CH32 CH32
CH33 CH33 CH33
CH34 CH34 CH34
CH35 CH35 CH35
CH36 CH36 CH36
CH37 CH37 CH37
CH38 CH38 CH38
CH39 CH39 CH39
CH40 CH40 CH40
CH41 CH41 CH41
CH42 CH42 CH42
CH43 CH43 CH43
CH44 CH44 CH44
CH45 CH45 CH45
CH46 CH46 CH46
CH47 CH47 CH47
CH48 CH48 CH48
CH49 CH49 CH49
CH50 CH50 CH50
CH51 CH51 CH51
CH52 CH52 CH52
CH53 CH53 CH53
CH54 CH54 CH54
CH55 CH55 CH55
CH56 CH56 CH56
Output
Channel ID Short Name Long Name
BUS1 BUS1 BUS1
BUS2 BUS2 BUS2
BUS3 BUS3 BUS3
BUS4 BUS4 BUS4
BUS5 BUS5 BUS5
Input
Channel ID Short Name Long Name
Initial Input Port Names 215
02R96—Owner’s Manual
Initial Input Port Names
BUS6 BUS6 BUS6
BUS7 BUS7 BUS7
BUS8 BUS8 BUS8
AUX1 AUX1 AUX1
AUX2 AUX2 AUX2
AUX3 AUX3 AUX3
AUX4 AUX4 AUX4
AUX5 AUX5 AUX5
AUX6 AUX6 AUX6
AUX7 AUX7 AUX7
AUX8 AUX8 AUX8
ST ST STEREO
Port PORT ID Short
Name Long Name
AD1 AD01 AD01 AD IN 1
AD2 AD02 AD02 AD IN 2
AD3 AD03 AD03 AD IN 3
AD4 AD04 AD04 AD IN 4
AD5 AD05 AD05 AD IN 5
AD6 AD06 AD06 AD IN 6
AD7 AD07 AD07 AD IN 7
AD8 AD08 AD08 AD IN 8
AD9 AD09 AD09 AD IN 9
AD10 AD10 AD10 AD IN 10
AD11 AD11 AD11 AD IN 11
AD12 AD12 AD12 AD IN 12
AD13 AD13 AD13 AD IN 13
AD14 AD14 AD14 AD IN 14
AD15 AD15 AD15 AD IN 15
AD16 AD16 AD16 AD IN 16
AD17 AD17 AD17 AD IN 17
AD18 AD18 AD18 AD IN 18
AD19 AD19 AD19 AD IN 19
AD20 AD20 AD20 AD IN 20
AD21 AD21 AD21 AD IN 21
AD22 AD22 AD22 AD IN 22
AD23 AD23 AD23 AD IN 23
AD24 AD24 AD24 AD IN 24
SLOT1-01 S1-01 S101 Slot1 CH1 IN
SLOT1-02 S1-02 S102 Slot1 CH2 IN
SLOT1-03 S1-03 S103 Slot1 CH3 IN
SLOT1-04 S1-04 S104 Slot1 CH4 IN
SLOT1-05 S1-05 S105 Slot1 CH5 IN
SLOT1-06 S1-06 S106 Slot1 CH6 IN
SLOT1-07 S1-07 S107 Slot1 CH7 IN
SLOT1-08 S1-08 S108 Slot1 CH8 IN
SLOT1-09 S1-09 S109 Slot1 CH9 IN
SLOT1-10 S1-10 S110 Slot1 CH10 IN
SLOT1-11 S1-11 S111 Slot1 CH11 IN
Output
Channel ID Short Name Long Name
SLOT1-12 S1-12 S112 Slot1 CH12 IN
SLOT1-13 S1-13 S113 Slot1 CH13 IN
SLOT1-14 S1-14 S114 Slot1 CH14 IN
SLOT1-15 S1-15 S115 Slot1 CH15 IN
SLOT1-16 S1-16 S116 Slot1 CH16 IN
SLOT2-01 S2-01 S201 Slot2 CH1 IN
SLOT2-02 S2-02 S202 Slot2 CH2 IN
SLOT2-03 S2-03 S203 Slot2 CH3 IN
SLOT2-04 S2-04 S204 Slot2 CH4 IN
SLOT2-05 S2-05 S205 Slot2 CH5 IN
SLOT2-06 S2-06 S206 Slot2 CH6 IN
SLOT2-07 S2-07 S207 Slot2 CH7 IN
SLOT2-08 S2-08 S208 Slot2 CH8 IN
SLOT2-09 S2-09 S209 Slot2 CH9 IN
SLOT2-10 S2-10 S210 Slot2 CH10 IN
SLOT2-11 S2-11 S211 Slot2 CH11 IN
SLOT2-12 S2-12 S212 Slot2 CH12 IN
SLOT2-13 S2-13 S213 Slot2 CH13 IN
SLOT2-14 S2-14 S214 Slot2 CH14 IN
SLOT2-15 S2-15 S215 Slot2 CH15 IN
SLOT2-16 S2-16 S216 Slot2 CH16 IN
SLOT3-01 S3-01 S301 Slot3 CH1 IN
SLOT3-02 S3-02 S302 Slot3 CH2 IN
SLOT3-03 S3-03 S303 Slot3 CH3 IN
SLOT3-04 S3-04 S304 Slot3 CH4 IN
SLOT3-05 S3-05 S305 Slot3 CH5 IN
SLOT3-06 S3-06 S306 Slot3 CH6 IN
SLOT3-07 S3-07 S307 Slot3 CH7 IN
SLOT3-08 S3-08 S308 Slot3 CH8 IN
SLOT3-09 S3-09 S309 Slot3 CH9 IN
SLOT3-10 S3-10 S310 Slot3 CH10 IN
SLOT3-11 S3-11 S311 Slot3 CH11 IN
SLOT3-12 S3-12 S312 Slot3 CH12 IN
SLOT3-13 S3-13 S313 Slot3 CH13 IN
SLOT3-14 S3-14 S314 Slot3 CH14 IN
SLOT3-15 S3-15 S315 Slot3 CH15 IN
SLOT3-16 S3-16 S316 Slot3 CH16 IN
SLOT4-01 S4-01 S401 Slot4 CH1 IN
SLOT4-02 S4-02 S402 Slot4 CH2 IN
SLOT4-03 S4-03 S403 Slot4 CH3 IN
SLOT4-04 S4-04 S404 Slot4 CH4 IN
SLOT4-05 S4-05 S405 Slot4 CH5 IN
SLOT4-06 S4-06 S406 Slot4 CH6 IN
SLOT4-07 S4-07 S407 Slot4 CH7 IN
SLOT4-08 S4-08 S408 Slot4 CH8 IN
SLOT4-09 S4-09 S409 Slot4 CH9 IN
SLOT4-10 S4-10 S410 Slot4 CH10 IN
SLOT4-11 S4-11 S411 Slot4 CH11 IN
SLOT4-12 S4-12 S412 Slot4 CH12 IN
SLOT4-13 S4-13 S413 Slot4 CH13 IN
SLOT4-14 S4-14 S414 Slot4 CH14 IN
Port PORT ID Short
Name Long Name
216 Appendix A: Parameter Lists
02R96—Owner’s Manual
Initial Output Port Names
SLOT4-15 S4-15 S415 Slot4 CH15 IN
SLOT4-16 S4-16 S416 Slot4 CH16 IN
2TD1L 2TD1L 2D1L 2TR IN Dig.1 L
2TD1R 2TD1R 2D1R 2TR IN Dig.1 R
2TD2L 2TD2L 2D2L 2TR IN Dig.2 L
2TD2R 2TD2R 2D2R 2TR IN Dig.2 R
2TD3L 2TD3L 2D3L 2TR IN Dig.3 L
2TD3R 2TD3R 2D3R 2TR IN Dig.3 R
2TA1L 2TA1L 2A1L 2TR IN Analog1 L
2TA1R 2TA1R 2A1R 2TR IN Analog1 R
2TA2L 2TA2L 2A2L 2TR IN Analog2 L
2TA2R 2TA2R 2A2R 2TR IN Analog2 R
Port Port ID Short
Name Long Name
SLOT1-01 S1-01 S101 Slot1 CH1 OUT
SLOT1-02 S1-02 S102 Slot1 CH2 OUT
SLOT1-03 S1-03 S103 Slot1 CH3 OUT
SLOT1-04 S1-04 S104 Slot1 CH4 OUT
SLOT1-05 S1-05 S105 Slot1 CH5 OUT
SLOT1-06 S1-06 S106 Slot1 CH6 OUT
SLOT1-07 S1-07 S107 Slot1 CH7 OUT
SLOT1-08 S1-08 S108 Slot1 CH8 OUT
SLOT1-09 S1-09 S109 Slot1 CH9 OUT
SLOT1-10 S1-10 S110 Slot1 CH10 OUT
SLOT1-11 S1-11 S111 Slot1 CH11 OUT
SLOT1-12 S1-12 S112 Slot1 CH12 OUT
SLOT1-13 S1-13 S113 Slot1 CH13 OUT
SLOT1-14 S1-14 S114 Slot1 CH14 OUT
SLOT1-15 S1-15 S115 Slot1 CH15 OUT
SLOT1-16 S1-16 S116 Slot1 CH16 OUT
SLOT2-01 S2-01 S201 Slot2 CH1 OUT
SLOT2-02 S2-02 S202 Slot2 CH2 OUT
SLOT2-03 S2-03 S203 Slot2 CH3 OUT
SLOT2-04 S2-04 S204 Slot2 CH4 OUT
SLOT2-05 S2-05 S205 Slot2 CH5 OUT
SLOT2-06 S2-06 S206 Slot2 CH6 OUT
SLOT2-07 S2-07 S207 Slot2 CH7 OUT
SLOT2-08 S2-08 S208 Slot2 CH8 OUT
SLOT2-09 S2-09 S209 Slot2 CH9 OUT
SLOT2-10 S2-10 S210 Slot2 CH10 OUT
SLOT2-11 S2-11 S211 Slot2 CH11 OUT
SLOT2-12 S2-12 S212 Slot2 CH12 OUT
SLOT2-13 S2-13 S213 Slot2 CH13 OUT
SLOT2-14 S2-14 S214 Slot2 CH14 OUT
SLOT2-15 S2-15 S215 Slot2 CH15 OUT
Port PORT ID Short
Name Long Name
SLOT2-16 S2-16 S216 Slot2 CH16 OUT
SLOT3-01 S3-01 S301 Slot3 CH1 OUT
SLOT3-02 S3-02 S302 Slot3 CH2 OUT
SLOT3-03 S3-03 S303 Slot3 CH3 OUT
SLOT3-04 S3-04 S304 Slot3 CH4 OUT
SLOT3-05 S3-05 S305 Slot3 CH5 OUT
SLOT3-06 S3-06 S306 Slot3 CH6 OUT
SLOT3-07 S3-07 S307 Slot3 CH7 OUT
SLOT3-08 S3-08 S308 Slot3 CH8 OUT
SLOT3-09 S3-09 S309 Slot3 CH9 OUT
SLOT3-10 S3-10 S310 Slot3 CH10 OUT
SLOT3-11 S3-11 S311 Slot3 CH11 OUT
SLOT3-12 S3-12 S312 Slot3 CH12 OUT
SLOT3-13 S3-13 S313 Slot3 CH13 OUT
SLOT3-14 S3-14 S314 Slot3 CH14 OUT
SLOT3-15 S3-15 S315 Slot3 CH15 OUT
SLOT3-16 S3-16 S316 Slot3 CH16 OUT
SLOT4-01 S4-01 S401 Slot4 CH1 OUT
SLOT4-02 S4-02 S402 Slot4 CH2 OUT
SLOT4-03 S4-03 S403 Slot4 CH3 OUT
SLOT4-04 S4-04 S404 Slot4 CH4 OUT
SLOT4-05 S4-05 S405 Slot4 CH5 OUT
SLOT4-06 S4-06 S406 Slot4 CH6 OUT
SLOT4-07 S4-07 S407 Slot4 CH7 OUT
SLOT4-08 S4-08 S408 Slot4 CH8 OUT
SLOT4-09 S4-09 S409 Slot4 CH9 OUT
SLOT4-10 S4-10 S410 Slot4 CH10 OUT
SLOT4-11 S4-11 S411 Slot4 CH11 OUT
SLOT4-12 S4-12 S412 Slot4 CH12 OUT
SLOT4-13 S4-13 S413 Slot4 CH13 OUT
SLOT4-14 S4-14 S414 Slot4 CH14 OUT
SLOT4-15 S4-15 S415 Slot4 CH15 OUT
SLOT4-16 S4-16 S416 Slot4 CH16 OUT
OMNI1 OMNI1 OMN1 OMNI OUT 1
OMNI2 OMNI2 OMN2 OMNI OUT 2
OMNI3 OMNI3 OMN3 OMNI OUT 3
OMNI4 OMNI4 OMN4 OMNI OUT 4
OMNI5 OMNI5 OMN5 OMNI OUT 5
OMNI6 OMNI6 OMN6 OMNI OUT 6
OMNI7 OMNI7 OMN7 OMNI OUT 7
OMNI8 OMNI8 OMN8 OMNI OUT 8
2TD1L 2TD1L 2D1L 2TR OUT Dig. 1L
2TD1R 2TD1R 2D1R 2TR OUT Dig. 1R
2TD2L 2TD2L 2D2L 2TR OUT Dig. 2L
2TD2R 2TD2R 2D2R 2TR OUT Dig. 2R
2TD3L 2TD3L 2D3L 2TR OUT Dig. 3L
2TD3R 2TD3R 2D3R 2TR OUT Dig. 3R
Port Port ID Short
Name Long Name
GPI Trigger Source List 217
02R96—Owner’s Manual
GPI Trigger Source List
# Source
0 NO ASSIGN
1 CH1 FADER ON
2 CH2 FADER ON
3 CH3 FADER ON
4 CH4 FADER ON
5 CH5 FADER ON
6 CH6 FADER ON
7 CH7 FADER ON
8 CH8 FADER ON
9 CH9 FADER ON
10 CH10 FADER ON
11 CH11 FADER ON
12 CH12 FADER ON
13 CH13 FADER ON
14 CH14 FADER ON
15 CH15 FADER ON
16 CH16 FADER ON
17 CH17 FADER ON
18 CH18 FADER ON
19 CH19 FADER ON
20 CH20 FADER ON
21 CH21 FADER ON
22 CH22 FADER ON
23 CH23 FADER ON
24 CH24 FADER ON
25 CH25 FADER ON
26 CH26 FADER ON
27 CH27 FADER ON
28 CH28 FADER ON
29 CH29 FADER ON
30 CH30 FADER ON
31 CH31 FADER ON
32 CH32 FADER ON
33 CH33 FADER ON
34 CH34 FADER ON
35 CH35 FADER ON
36 CH36 FADER ON
37 CH37 FADER ON
38 CH38 FADER ON
39 CH39 FADER ON
40 CH40 FADER ON
41 CH41 FADER ON
42 CH42 FADER ON
43 CH43 FADER ON
44 CH44 FADER ON
45 CH45 FADER ON
46 CH46 FADER ON
47 CH47 FADER ON
48 CH48 FADER ON
49 CH49 FADER ON
50 CH50 FADER ON
51 CH51 FADER ON
52 CH52 FADER ON
53 CH53 FADER ON
54 CH54 FADER ON
55 CH55 FADER ON
56 CH56 FADER ON
57 BUS1 FADER ON
58 BUS2 FADER ON
59 BUS3 FADER ON
60 BUS4 FADER ON
61 BUS5 FADER ON
62 BUS6 FADER ON
63 BUS7 FADER ON
64 BUS8 FADER ON
65 AUX1 FADER ON
66 AUX2 FADER ON
67 AUX3 FADER ON
68 AUX4 FADER ON
69 AUX5 FADER ON
70 AUX6 FADER ON
71 AUX7 FADER ON
72 AUX8 FADER ON
73 STEREO FADER ON
74 CH1 FADER OFF
75 CH2 FADER OFF
76 CH3 FADER OFF
77 CH4 FADER OFF
78 CH5 FADER OFF
79 CH6 FADER OFF
80 CH7 FADER OFF
81 CH8 FADER OFF
82 CH9 FADER OFF
83 CH10 FADER OFF
84 CH11 FADER OFF
85 CH12 FADER OFF
86 CH13 FADER OFF
87 CH14 FADER OFF
88 CH15 FADER OFF
89 CH16 FADER OFF
90 CH17 FADER OFF
91 CH18 FADER OFF
92 CH19 FADER OFF
93 CH20 FADER OFF
94 CH21 FADER OFF
95 CH22 FADER OFF
96 CH23 FADER OFF
97 CH24 FADER OFF
98 CH25 FADER OFF
99 CH26 FADER OFF
100 CH27 FADER OFF
101 CH28 FADER OFF
102 CH29 FADER OFF
103 CH30 FADER OFF
104 CH31 FADER OFF
105 CH32 FADER OFF
106 CH33 FADER OFF
107 CH34 FADER OFF
# Source
218 Appendix A: Parameter Lists
02R96—Owner’s Manual
108 CH35 FADER OFF
109 CH36 FADER OFF
110 CH37 FADER OFF
111 CH38 FADER OFF
112 CH39 FADER OFF
113 CH40 FADER OFF
114 CH41 FADER OFF
115 CH42 FADER OFF
116 CH43 FADER OFF
117 CH44 FADER OFF
118 CH45 FADER OFF
119 CH46 FADER OFF
120 CH47 FADER OFF
121 CH48 FADER OFF
122 CH49 FADER OFF
123 CH50 FADER OFF
124 CH51 FADER OFF
125 CH52 FADER OFF
126 CH53 FADER OFF
127 CH54 FADER OFF
128 CH55 FADER OFF
129 CH56 FADER OFF
130 BUS1 FADER OFF
131 BUS2 FADER OFF
132 BUS3 FADER OFF
133 BUS4 FADER OFF
134 BUS5 FADER OFF
135 BUS6 FADER OFF
136 BUS7 FADER OFF
137 BUS8 FADER OFF
138 AUX1 FADER OFF
139 AUX2 FADER OFF
140 AUX3 FADER OFF
141 AUX4 FADER OFF
142 AUX5 FADER OFF
143 AUX6 FADER OFF
144 AUX7 FADER OFF
145 AUX8 FADER OFF
146 STEREO FADER OFF
147 UDEF1 LATCH
148 UDEF2 LATCH
149 UDEF3 LATCH
150 UDEF4 LATCH
151 UDEF5 LATCH
152 UDEF6 LATCH
153 UDEF7 LATCH
154 UDEF8 LATCH
155 UDEF9 LATCH
156 UDEF10 LATCH
157 UDEF11 LATCH
158 UDEF12 LATCH
159 UDEF13 LATCH
160 UDEF14 LATCH
161 UDEF15 LATCH
162 UDEF16 LATCH
# Source
163 UDEF1 UNLATCH
164 UDEF2 UNLATCH
165 UDEF3 UNLATCH
166 UDEF4 UNLATCH
167 UDEF5 UNLATCH
168 UDEF6 UNLATCH
169 UDEF7 UNLATCH
170 UDEF8 UNLATCH
171 UDEF9 UNLATCH
172 UDEF10 UNLATCH
173 UDEF11 UNLATCH
174 UDEF12 UNLATCH
175 UDEF13 UNLATCH
176 UDEF14 UNLATCH
177 UDEF15 UNLATCH
178 UDEF16 UNLATCH
179 REC LAMP
180 POWER ON
# Source
User Defined Remote Layer Initial Bank Settings 219
02R96—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 NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B0 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B0 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM02 GM02 GM-CH02 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B1 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B1 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM03 GM03 GM-CH03 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B2 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B2 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM04 GM04 GM-CH04 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B3 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B3 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM05 GM05 GM-CH05 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B4 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B4 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM06 GM06 GM-CH06 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B5 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B5 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM07 GM07 GM-CH07 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B6 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B6 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM08 GM08 GM-CH08 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B7 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B7 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM09 GM09 GM-CH09 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B8 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B8 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM10 GM10 GM-CH10 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B9 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B9 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM11 GM11 GM-CH11 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BA 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BA 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM12 GM12 GM-CH12 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BB 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BB 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM13 GM13 GM-CH13 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BC 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BC 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM14 GM14 GM-CH14 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BD 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BD 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM15 GM15 GM-CH15 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BE 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BE 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM16 GM16 GM-CH16 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BF 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BF 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM17 GM17 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM18 GM18 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM19 GM19 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM20 GM20 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM21 GM21 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM22 GM22 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM23 GM23 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM24 GM24 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
220 Appendix A: Parameter Lists
02R96—Owner’s Manual
Bank 2 (GM Vol & Effect 1)
ID Name Controller Data Format
Short Long 12345678910111213141516
RM01 GM01 GM-CH01 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B0 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B0 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM02 GM02 GM-CH02 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B1 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B1 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM03 GM03 GM-CH03 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B2 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B2 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM04 GM04 GM-CH04 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B3 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B3 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM05 GM05 GM-CH05 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B4 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B4 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM06 GM06 GM-CH06 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B5 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B5 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM07 GM07 GM-CH07 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B6 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B6 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM08 GM08 GM-CH08 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B7 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B7 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM09 GM09 GM-CH09 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B8 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B8 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM10 GM10 GM-CH10 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B9 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B9 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM11 GM11 GM-CH11 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BA 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BA 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM12 GM12 GM-CH12 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BB 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BB 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM13 GM13 GM-CH13 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BC 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BC 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM14 GM14 GM-CH14 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BD 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BD 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM15 GM15 GM-CH15 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BE 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BE 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM16 GM16 GM-CH16 VOL&EFF1
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BF 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BF 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM17 GM17 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM18 GM18 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM19 GM19 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM20 GM20 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM21 GM21 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM22 GM22 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM23 GM23 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM24 GM24 NO ASSIGN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
User Defined Remote Layer Initial Bank Settings 221
02R96—Owner’s Manual
Bank 3 (XG Vol & Pan)
ID Name Controller Data Format
Short Long 12345678910111213141516
RM01 XG01 XG-CH01 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 00 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 00 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM02 XG02 XG-CH02 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 01 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 01 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM03 XG03 XG-CH03 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 02 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 02 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM04 XG04 XG-CH04 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 03 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 03 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM05 XG05 XG-CH05 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 04 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 04 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM06 XG06 XG-CH06 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 05 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 05 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM07 XG07 XG-CH07 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 06 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 06 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM08 XG08 XG-CH08 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 07 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 07 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM09 XG09 XG-CH09 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 08 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 08 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM10 XG10 XG-CH10 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 09 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 09 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM11 XG11 XG-CH11 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 0A 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 0A 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM12 XG12 XG-CH12 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 0B 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 0B 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM13 XG13 XG-CH13 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 0C 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 0C 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM14 XG14 XG-CH14 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 0D 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 0D 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM15 XG15 XG-CH15 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 0E 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 0E 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM16 XG16 XG-CH16 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 0F 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 0F 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM17 XG17 XG-CH17 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 10 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 10 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM18 XG18 XG-CH18 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 11 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 11 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM19 XG19 XG-CH19 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 12 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 12 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM20 XG20 XG-CH20 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 13 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 13 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM21 XG21 XG-CH21 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 14 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 14 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM22 XG22 XG-CH22 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 15 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 15 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM23 XG23 XG-CH23 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 16 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 16 0B FAD F7 END NOP NOP NOP NOP NOP NOP
RM24 XG24 XG-CH24 VOL&PAN
ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER F0 43 10 4C 08 17 0E ENC F7 END NOP NOP NOP NOP NOP NOP
FADER F0 43 10 4C 08 17 0B FAD F7 END NOP NOP NOP NOP NOP NOP
222 Appendix A: Parameter Lists
02R96—Owner’s Manual
Bank 4 (Nuendo VST Mixer)
ID Name Controller Data Format
Short Long 12345678910111213141516
RM01 CH1 VST MIXER CH1
ON B0 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B0 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B0 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM02 CH2 VST MIXER CH2
ON B1 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B1 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B1 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM03 CH3 VST MIXER CH3
ON B2 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B2 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B2 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM04 CH4 VST MIXER CH4
ON B3 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B3 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B3 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM05 CH5 VST MIXER CH5
ON B4 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B4 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B4 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM06 CH6 VST MIXER CH6
ON B5 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B5 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B5 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM07 CH7 VST MIXER CH7
ON B6 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B6 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B6 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM08 CH8 VST MIXER CH8
ON B7 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B7 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B7 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM09 CH9 VST MIXER CH9
ON B8 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B8 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B8 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM10 CH10 VST MIXER CH10
ON B9 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B9 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B9 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM11 CH11 VST MIXER CH11
ON BA 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BA 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BA 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM12 CH12 VST MIXER CH12
ON BB 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BB 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BB 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM13 CH13 VST MIXER CH13
ON BC 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BC 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BC 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM14 CH14 VST MIXER CH14
ON BD 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BD 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BD 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM15 CH15 VST MIXER CH15
ON BE 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BE 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BE 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM16 CH16 VST MIXER CH16
ON BF 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER BF 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER BF 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM17 CH17 VST MIXER CH17
ON B0 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B0 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B0 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM18 CH18 VST MIXER CH18
ON B1 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B1 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B1 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM19 CH19 VST MIXER CH19
ON B2 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B2 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B2 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM20 CH20 VST MIXER CH20
ON B3 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B3 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B3 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM21 CH21 VST MIXER CH21
ON B4 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B4 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B4 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM22 CH22 VST MIXER CH22
ON B5 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B5 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B5 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM23 CH23 VST MIXER CH23
ON B6 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B6 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B6 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
RM24 CH24 VST MIXER CH24
ON B7 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
ENCODER B7 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
FADER B7 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP
Effects Parameters 223
02R96—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.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
LO. RATIO 0.1–2.4 Low-frequency reverb time ratio
DIFF. 0.0–1.0 Reverb diffusion (left–right reverb spread)
DENSITY 0–100% Reverb density
E/R DLY 0.0–100.0 ms Delay between early reflections and reverb
E/R BAL. 0–100% Balance of early reflections and reverb
(0% = all reverb, 100% = all early reflections)
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
GATE LVL OFF, –60 to 0 dB Level at which gate kicks in
ATTACK 0–120 ms Gate opening speed
HOLD 1
1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz), 0.01 ms–1.07 s (fs=88.2 kHz),
0.01 ms–980 ms (fs=96 kHz)
Gate open time
DECAY 2
2. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
Gate closing speed
Parameter Range Description
TYPE S-Hall, L-Hall, Random,
Revers, Plate, Spring Type of early reflection simulation
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0.0–1.0 Reflection diffusion (left–right reflection spread)
DENSITY 0–100% Reflection density
ER NUM. 1–19 Number of early reflections
FB GAIN –100 to +100% Feedback gain
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
224 Appendix A: Parameter Lists
02R96—Owner’s Manual
GATE REVERB, REVERSE GATE
One input, two output early reflections with gate, and early reflections with reverse gate.
MONO DELAY
One input, one output basic repeat delay.
Parameter Range Description
TYPE Type-A, Type-B Type of early reflection simulation
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0–10 Reflection diffusion (left–right reflection spread)
DENSITY 0–100% Reflection density
HI. RATIO 0.1–1.0 High-frequency feedback ratio
ER NUM. 1–19 Number of early reflections
FB GAIN –100 to +100% Feedback gain
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
Parameter Range Description
DELAY 0.0–2730.0 ms Delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1. (Max. value depends on tempo
setting)
Used in conjunction with TEMPO to determine DELAY
Effects Parameters 225
02R96—Owner’s Manual
STEREO DELAY
Two input, two output basic stereo delay.
MOD. DELAY
One input, two output basic repeat delay with modulation.
Parameter Range Description
DELAY L 0.0–1350.0 ms Left channel delay time
DELAY R 0.0–1350.0 ms Right channel delay time
FB. G L –99 to +99% Left channel feedback (plus values for normal-phase feed-
back, minus values for reverse-phase feedback)
FB. G R –99 to +99% Right channel feedback (plus values for normal-phase feed-
back, 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 channel
DELAY
NOTE R 1Used 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 feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
WAVE Sine/Tri Modulation waveform
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
DLY NOTE 1
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
226 Appendix A: Parameter Lists
02R96—Owner’s Manual
DELAY LCR
One input, two output 3-tap delay (left, center, right).
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 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 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
Effects Parameters 227
02R96—Owner’s Manual
ECHO
Two input, two output stereo delay with crossed feedback loop.
CHORUS
Two input, two output chorus 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. D L 0.0–1350.0 ms Left channel feedback delay time
FB. D R 0.0–1350.0 ms Right channel feedback delay time
FB. G L –99 to +99% Left channel feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
FB. G R –99 to +99% Right channel feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
L->R FB. G –99 to +99%
Left to right channel feedback gain (plus values for nor-
mal-phase feedback, minus values for reverse-phase feed-
back)
R->L FB. G –99 to +99%
Right to left channel feedback gain (plus values for nor-
mal-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 R 1Used in conjunction with TEMPO to determine DELAY R
NOTE FBL 1Used in conjunction with TEMPO to determine FB. D L
NOTE FBR 1Used in conjunction with TEMPO to determine FB. D 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 to +12 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12 to +12 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
228 Appendix A: Parameter Lists
02R96—Owner’s Manual
FLANGE
Two input, two output flange effect.
SYMPHONIC
Two input, two output symphonic effect.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE Sine, Tri Modulation waveform
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12 to +12 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12 to +12 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
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 to +12 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12 to +12 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
SYNC OFF/ON Tempo parameter sync on/off
Effects Parameters 229
02R96—Owner’s Manual
PHASER
Two input, two output 16-stage phaser.
AUTOPAN
Two input, two output autopanner.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
OFFSET 0–100 Lowest phase-shifted frequency offset
PHASE 0.00–354.38 degrees Left and right modulation phase balance
STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12 to +12 dB Low shelving filter gain
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
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 to +12 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12 to +12 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
SYNC OFF/ON Tempo parameter sync on/off
NOTE 2
2.
Used in conjunction with TEMPO to determine FREQ.
230 Appendix A: Parameter Lists
02R96—Owner’s Manual
TREMOLO
Two input, two output tremolo effect.
HQ. PITCH
One input, two output high-quality pitch shifter.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
WAVE Sine, Tri, Square Modulation waveform
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12 to +12 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12 to +12 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
Parameter Range Description
PITCH –12 to +12 semitones Pitch shift
FINE –50 to +50 cents Pitch shift fine
DELAY 0.0–1000.0 ms Delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
MODE 1–10 Pitch shift precision
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1. (Maximum value depends on the
tempo setting)
Used in conjunction with TEMPO to determine DELAY
Effects Parameters 231
02R96—Owner’s Manual
DUAL PITCH
Two input, two output pitch shifter.
ROTARY
One input, two output rotary speaker simulator.
Parameter Range Description
PITCH 1 –24 to +24 semitones Channel #1 pitch shift
FINE 1 –50 to +50 cents Channel #1 pitch shift fine
LEVEL 1 –100 to +100% Channel #1 level (plus values for normal phase, minus values
for reverse phase)
PAN 1 L63 to R63 Channel #1 pan
DELAY 1 0.0–1000.0 ms Channel #1 delay time
FB. G 1 –99 to +99% Channel #1 feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
PITCH 2 –24 to +24 semitones Channel #2 pitch shift
FINE 2 –50 to +50 cents Channel #2 pitch shift fine
LEVEL 2 –100 to +100% Channel #2 level (plus values for normal phase, minus values
for reverse phase)
PAN 2 L63 to R63 Channel #2 pan
DELAY 2 0.0–1000.0 ms Channel #2 delay time
FB. G 2 –99 to +99% Channel #2 feedback gain (plus values for normal-phase
feedback, minus values for reverse-phase feedback)
MODE 1–10 Pitch shift precision
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1 1
1. (Maximum value depends on the
tempo setting)
Used in conjunction with TEMPO to determine Channel #1
delay
NOTE 2 1Used in conjunction with TEMPO to determine Channel #2
delay
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
232 Appendix A: Parameter Lists
02R96—Owner’s Manual
RING MOD.
Two input, two output ring modulator.
MOD. FILTER
Two input, two output modulation filter.
DISTORTION
One input, two output distortion effect.
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°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 = distortion, OVD = overdrive)
DRIVE 0–100 Distortion drive
MASTER 0–100 Master volume
TONE –10 to +10 Tone
N. GATE 0–20 Noise reduction
Effects Parameters 233
02R96—Owner’s Manual
AMP SIMULATE
One input, two output guitar amp simulator.
DYNA. FILTER
Two input, two output dynamically controlled filter.
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 = distortion, OVD = overdrive)
DRIVE 0–100 Distortion drive
MASTER 0–100 Master volume
BASS 0–100 Bass tone control
MIDDLE 0–100 Middle tone control
TREBLE 0–100 High tone control
CAB DEP 0–100% Speaker cabinet simulation depth
EQ F 99–8.0 kHz Parametric equalizer frequency
EQ G –12 to +12 dB Parametric equalizer gain
EQ Q 10.0–0.10 Parametric equalizer bandwidth
N. GATE 0–20 Noise reduction
Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity
SENSE 0–100 Sensitivity
DIR. UP, DOWN Upward or downward frequency change
DECAY 1
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
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
234 Appendix A: Parameter Lists
02R96—Owner’s Manual
DYNA. FLANGE
Two input, two output dynamically controlled flanger.
DYNA. PHASER
Two input, two output dynamically controlled phaser.
Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity
SENSE 0–100 Sensitivity
DIR. UP, DOWN Upward or downward frequency change
DECAY 1
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
Decay speed
OFFSET 0–100 Delay time offset
FB GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12 to +12 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12 to +12 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity
SENSE 0–100 Sensitivity
DIR. UP, DOWN Upward or downward frequency change
DECAY 1
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
Decay speed
OFFSET 0–100 Lowest phase-shifted frequency offset
FB GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
STAGE 2, 4, 8, 10, 12, 14, 16 Number of phase shift stages
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12 to +12 dB Low shelving filter gain
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12 to +12 dB High shelving filter gain
Effects Parameters 235
02R96—Owner’s Manual
REV+CHORUS
One input, two output reverb and chorus effects in parallel.
REV->CHORUS
One input, two output reverb and chorus effects in series.
Parameter Range Description
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV/CHO 0–100% Reverb and chorus balance (0% = all reverb, 100% = all cho-
rus)
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
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV BAL. 0–100% Reverb and chorused reverb balance (0% = all chorused
reverb, 100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
AM DEPTH 0–100% Amplitude modulation depth
PM DEPTH 0–100% Pitch modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
236 Appendix A: Parameter Lists
02R96—Owner’s Manual
REV+FLANGE
One input, two output reverb and flanger effects in parallel.
REV->FLANGE
One input, two output reverb and flanger effects in series.
Parameter Range Description
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV/FLG 0–100% Reverb and flange balance (0% = all reverb, 100% = all
flange)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE Sine, Tri Modulation waveform
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
Parameter Range Description
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV BAL. 0–100% Reverb and flanged reverb balance (0% = all flanged reverb,
100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE Sine, Tri Modulation waveform
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
Effects Parameters 237
02R96—Owner’s Manual
REV+SYMPHO.
One input, two output reverb and symphonic effects in parallel.
REV->SYMPHO.
One input, two output reverb and symphonic effects in series.
Parameter Range Description
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV/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
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV BAL. 0–100% Reverb and symphonic reverb balance (0% = all symphonic
reverb, 100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
238 Appendix A: Parameter Lists
02R96—Owner’s Manual
REV->PAN
One input, two output reverb and autopan effects in parallel.
Parameter Range Description
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
REV BAL. 0–100% Reverb and panned reverb balance (0% = all panned reverb,
100% = all reverb)
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
DIR. 1
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 239
02R96—Owner’s Manual
DELAY+ER.
One input, two output delay and early reflections effects in parallel.
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY/ER 0–100% Delay and early reflections balance (0% = all delay, 100% =
all early reflections)
TYPE S-Hall, L-Hall, Random,
Revers, Plate, Spring Type of early reflection simulation
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
ER NUM. 1–19 Number of early reflections
SYNC OFF/ON Tempo parameter sync on/off
NOTE L 1
1. (Maximum value depends on
the tempo setting)
Used in conjunction with TEMPO to determine left channel
DELAY L
NOTE R 1Used in conjunction with TEMPO to determine right chan-
nel DELAY R
NOTE FB 1Used in conjunction with TEMPO to determine FB. DLY
240 Appendix A: Parameter Lists
02R96—Owner’s Manual
DELAY->ER.
One input, two output delay and early reflections effects in series.
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY BAL. 0–100% Delay and early reflected delay balance (0% = all early
reflected delay, 100% = all delay)
TYPE S-Hall, L-Hall, Random,
Revers, Plate, Spring Type of early reflection simulation
ROOMSIZE 0.1–20.0 Reflection spacing
LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
ER NUM. 1–19 Number of early reflections
SYNC OFF/ON Tempo parameter sync on/off
NOTE L 1
1. (Maximum value depends on the
tempo setting)
Used in conjunction with TEMPO to determine left channel
DELAY L
NOTE R 1Used in conjunction with TEMPO to determine right chan-
nel DELAY R
NOTE FB 1Used in conjunction with TEMPO to determine FB. DLY
Effects Parameters 241
02R96—Owner’s Manual
DELAY+REV
One input, two output delay and reverb effects in parallel.
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
DELAY HI 0.1–1.0 Delay high-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY/REV 0–100% Delay and reverb balance (0% = all delay, 100% = all reverb)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
REV HI 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
SYNC OFF/ON Tempo parameter sync on/off
NOTE L 1
1. (Maximum value depends on the
tempo setting)
Used in conjunction with TEMPO to determine left channel
DELAY L
NOTE R 1Used in conjunction with TEMPO to determine right chan-
nel DELAY R
NOTE FB 1Used in conjunction with TEMPO to determine FB. DLY
242 Appendix A: Parameter Lists
02R96—Owner’s Manual
DELAY->REV
One input, two output delay and reverb effects in series.
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
DELAY HI 0.1–1.0 Delay high-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DLY BAL 0–100% Delay and delayed reverb balance (0% = all delayed reverb,
100% = all delay)
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV TIME 0.3–99.0 s Reverb time
REV HI 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.1–1.0 Spread
DENSITY 0–100% Reverb density
SYNC OFF/ON Tempo parameter sync on/off
NOTE L 1
1. (Maximum value depends on the
tempo setting)
Used in conjunction with TEMPO to determine left channel
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
Effects Parameters 243
02R96—Owner’s Manual
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
DST TYPE DST1, DST2, OVD1,
OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive)
DRIVE 0–100 Distortion drive
MASTER 0–100 Master volume
TONE –10 to +10 Tone control
N. GATE 0–20 Noise reduction
DELAY 0.0–2725.0 ms Delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
DLY BAL 0–100% Distortion and delay balance (0% = all distortion, 100% = all
delayed distortion)
SYNC OFF/ON Tempo parameter sync on/off
DLY NOTE 1
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
TYPE 1 HPF, LPF, BPF Filter 1 type: high pass, low pass, band pass
TYPE 2 HPF, LPF, BPF Filter 2 type: high pass, low pass, band pass
TYPE 3 HPF, LPF, BPF Filter 3 type: high pass, low pass, band pass
FREQ. 1 28 Hz–16.0 kHz Filter 1 frequency
FREQ. 2 28 Hz–16.0 kHz Filter 2 frequency
FREQ. 3 28 Hz–16.0 kHz Filter 3 frequency
LEVEL 1 0–100 Filter 1 level
LEVEL 2 0–100 Filter 2 level
LEVEL 3 0–100 Filter 3 level
RESO. 1 0–20 Filter 1 resonance
RESO. 2 0–20 Filter 2 resonance
RESO. 3 0–20 Filter 3 resonance
244 Appendix A: Parameter Lists
02R96—Owner’s Manual
FREEZE
One input, one output basic sampler.
ST REVERB
Two input, two output stereo reverb.
Parameter Range Description
REC MODE MANUAL, INPUT
In MANUAL mode, recording is started by pressing the REC
and PLAY buttons. In INPUT mode, Record-Ready mode is
engaged by pressing the REC button, and actual recording is
triggered by the input signal.
REC DLY –1000 to +1000 ms
Recording delay. For plus values, recording starts after the
trigger is received. For minus values, recording starts before
the trigger is received.
TRG LVL –60 to 0 dB Input trigger level (i.e., the signal level required to trigger
recording or playback)
TRG MASK 0–1000 ms Once playback has been triggered, subsequent triggers are
ignored for the duration of the TRG MASK time.
PLAY
MODE
MOMENT, CONT.,
INPUT
In MOMENT mode, the sample plays only while the that the
PLAY button is pressed. In CONT mode, playback continues
once the PLAY button has been pressed. The number of
times the sample plays is set using the LOOP NUM parame-
ter. In INPUT mode, playback is triggered by the input signal.
START 1
1. 0.0–5941.0 ms (fs=44.1 kHz), 0.0 ms–5458.3 ms (fs=48 kHz), 0.0–2970.5 ms (fs=88.2 kHz),
0.0 ms–2729.1 ms (fs=96 kHz)
Playback start point in milliseconds
END 1Playback end point in milliseconds
LOOP 1Loop start point in milliseconds
LOOP NUM 0–100 Number of times the sample plays
START
[SAMPLE] 0–262000 Playback start point in samples
END
[SAMPLE] 0–262000 Playback end point in samples
LOOP
[SAMPLE] 0–262000 Loop start point in samples
PITCH –12 to +12 semitones Playback pitch shift
FINE –50 to +50 cents Playback pitch shift fine
MIDI TRG OFF, C1–C6, ALL PLAY button can be triggered by using MIDI Note on/off
messages.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
REV TYPE Hall, Room, Stage, Plate Reverb type
INI. DLY 0.0–100.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
LO. RATIO 0.1–2.4 Low-frequency reverb time ratio
DIFF. 0.0–1.0 Reverb diffusion (left–right reverb spread)
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
E/R BAL. 0–100% Balance of early reflections and reverb
(0% = all reverb, 100% = all early reflections)
Effects Parameters 245
02R96—Owner’s Manual
REVERB 5.1
One input, six output reverb for 5.1 surround, with surround panning.
OCTA REVERB
Eight input, eight output reverb.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
REV TYPE Hall, Room, Stage, Plate Reverb type
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0.0–1.0 Reverb diffusion (left–right reverb spread)
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
DIV. 0–100%
Divergence determines how the front center signal is fed to
the Left, Right, and Center channels. When set to 0%, it’s
fed only to the Left and Right channels (i.e., Phantom Cen-
ter). When set to 50%, it’s fed equally to the Left, Right, and
Center channels. When set to 100%, it’s fed to only the
Center channel (i.e., Real Center).
ROOMSIZE 0.1–20.0 Size of simulated room’s reverb
POS L/R L63–R63 Left/right listening position
POS F/R F63–R63 Front/rear listening position
POS CTRL OFF, NOR, INV 1
1. When set to NOR, the position can be set by using the Joystick so long as the SELECTED CHANNEL
PAN/SURROUND [EFFECT] button’s indicator is on. When set to INV, the Joystick will work inverse-
ly. When set to OFF, Joystick control is off.
ER L/R L63–R63 Left/right early reflections position
ER F/R F63–R63 Front/rear early reflections position
ER LVL 0–100 Early reflections level
ER CTRL OFF, NOR, INV 1
REV L/R L63–R63 Left/right reverb position
REV F/R F63–R63 Front/rear reverb position
REV LVL 0–100 Reverb level
REV CTRL OFF, NOR, INV 1
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
REV TYPE Hall, Room, Stage, Plate Reverb type
INI. DLY 0.0–100.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
LO. RATIO 0.1–2.4 Low-frequency reverb time ratio
DIFF. 0.0–1.0 Reverb diffusion (left–right reverb spread)
DENSITY 0–100% Reverb density
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
E/R BAL. 0–100% Balance of early reflections and reverb
(0% = all reverb, 100% = all early reflections)
246 Appendix A: Parameter Lists
02R96—Owner’s Manual
AUTO PAN 5.1
Six input, six output autopanner for 5.1 surround. You can reset to the pan position speci-
fied by the OFFSET parameter by pressing the RESET button.
CHORUS 5.1
Six input, six output chorus for 5.1 surround.
Parameter Range Description
SOURCE OFF, HOLD, INPUT,
MIDI
When set to OFF, the TRIGGER button is used to start auto-
pan. When set to HOLD, autopan runs continuously. When
set to INPUT, the input signal triggers autopan. When set to
MIDI, a MIDI Note On message can be used to trigger auto-
pan.
TRIG. LVL –60 to 0 dB Input trigger level (i.e., the signal level required to trigger
panning when SOURCE set to INPUT)
TIME 0.1 s–10.0 s The time after which autopan starts once it’s been triggered
SPEED 0.05 Hz–40.00 Hz Autopan speed
DIR. Turn L, Turn R Autopan direction
OFFSET –180 to +180 degrees Pan offset
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
AM DEPTH 0–100% Amplitude modulation depth
PM DEPTH 0–100% Pitch modulation depth
MOD. DLY 0.0–400.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
Effects Parameters 247
02R96—Owner’s Manual
FLANGE 5.1
Six input, six output flanger for 5.1 surround.
SYMPHO 5.1
Six input, six output symphonic effect for 5.1 surround.
Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth
MOD. DLY 0.0–400.0 ms Modulation delay time
FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback,
minus values for reverse-phase feedback)
WAVE Sine, Tri Modulation waveform
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
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 0.0–400.0 ms Modulation delay time
WAVE Sine, Tri Modulation waveform
HPF THRU, 21.2 Hz–8.00
kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz,
THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
NOTE 1
1.
Used in conjunction with TEMPO to determine FREQ.
248 Appendix A: Parameter Lists
02R96—Owner’s Manual
M. BAND DYNA.
Two input, two output 3-band dynamics processor, with individual solo and gain reduction
metering for each band.
Parameter Range Description
LOW GAIN –96.0 to +12.0 dB Low band level
MID GAIN –96.0 to +12.0 dB Mid band level
HI. GAIN –96.0 to +12.0 dB High band level
PRESENCE –10 to +10
For positive values, the threshold of the high band is low-
ered and the threshold of the low band is increased. For
negative values, the opposite will occur. When set to 0, all
three bands are affected the same.
EXP. THRE –54.0 dB to –24.0 dB Expander threshold
EXP. RAT 1:1 to ∞:1 Expander ratio
EXP. REL 1
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
Expander release time
EXP. BYP ON/OFF Expander bypass
CMP. THRE –24.0 dB to 0.0 dB Compressor threshold
CMP. RAT 1:1 to 20:1 Compressor ratio
CMP. REL 1Compressor release time
CMP. ATK 0–120 ms Compressor attack
CMP. KNEE 0–5 Compressor knee
CMP. BYP ON/OFF Compressor bypass
LIM. THRE –12.0 dB to 0.0 dB Limiter threshold
LIM. REL 1Limiter release time
LIM. ATK 0–120 ms Limiter attack
LIM. KNEE 0–5 Limiter knee
LIM. BYP ON/OFF Limiter bypass
LOOKUP 0.0–100.0 ms Lookup delay
L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency
M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency
SLOPE –6 dB to –12 dB Filter slope
CEILING –6.0 dB to 0.0 dB, OFF Specifies the maximum output level
Effects Parameters 249
02R96—Owner’s Manual
COMP 5.1
Six input, six output compressor for 5.1 surround, with individual solo for each band, and
gain reduction metering of left and right (L+R), left surround and right surround (LS+RS),
center (C), or LFE channels.
Parameter Range Description
LOW GAIN –96.0 to +12.0 dB Low band level
MID GAIN –96.0 to +12.0 dB Mid band level
HI. GAIN –96.0 to +12.0 dB High band level
PRESENCE –10 to +10
For positive values, the threshold of the high band is low-
ered and the threshold of the low band is increased. For
negative values, the opposite will occur. When set to 0, all
three bands are affected the same.
THRE –24.0 dB to 0.0 dB Compressor threshold
RATIO 1:1 to ∞:1 Compressor ratio
ATTACK 0–120 ms Compressor attack
RELEASE 1
1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s
(fs=96 kHz)
Expander release time
KNEE 0–5 Compressor knee
LOOKUP 0.0–100.0 ms Lookup delay
CEILING –6.0 dB to 0.0 dB, OFF Specifies the maximum output level
L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency
M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency
SLOPE –6 dB to –12 dB Filter slope
KEY LINK 2
2. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is indepen-
dent). 3+2: key-in of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are
linked, and LS and RS are linked.
Key-in linking
250 Appendix A: Parameter Lists
02R96—Owner’s Manual
COMPAND 5.1
Six input, six output compander for 5.1 surround, with individual solo for each band, and
gain reduction metering of left and right (L+R), left surround and right surround (LS+RS),
center (C), or LFE channels.
Parameter Range Description
LOW GAIN –96.0 to +12.0 dB Low band level
MID GAIN –96.0 to +12.0 dB Mid band level
HI. GAIN –96.0 to +12.0 dB High band level
PRESENCE –10 to +10
For positive values, the threshold of the high band is low-
ered and the threshold of the low band is increased. For
negative values, the opposite will occur. When set to 0, all
three bands are affected the same.
THRE –24.0 dB to 0.0 dB Compressor threshold
RATIO 1:1 to 20:1 Compressor ratio
ATTACK 0–120 ms Compressor attack
WIDTH 1–90 dB Width before the expander operates
TYPE Soft, Hard Compander type
LOOKUP 0.0–100.0 ms Lookup delay
CEILING –6.0 dB to 0.0 dB, OFF Specifies the maximum output level
L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency
M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency
SLOPE –6 dB to –12 dB Filter slope
KEY LINK 1
1. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is indepen-
dent). 3+2: key-in of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are
linked, and LS and RS are linked.
Key-in linking
Preset EQ Parameters 251
02R96—Owner’s Manual
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—10 0.7 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—8 0.9 —
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—5 4.5 —
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 —
252 Appendix A: Parameter Lists
02R96—Owner’s Manual
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—8 0.9 —
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—9 4.5 —
# Title Parameter
LOW L-MID H-MID HIGH
Preset EQ Parameters 253
02R96—Owner’s Manual
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—7 4.5 —
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 —
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 —
# Title Parameter
LOW L-MID H-MID HIGH
254 Appendix A: Parameter Lists
02R96—Owner’s Manual
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
Q2 10 0.4 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
Q4 7 0.63 —
# Title Parameter
LOW L-MID H-MID HIGH
Preset Gate Parameters (fs = 44.1 kHz) 255
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Preset Gate Parameters (fs = 44.1 kHz)
Preset Compressor Parameters (fs = 44.1 kHz)
# Title Type Parameter Value
1 Gate GATE
Threshold (dB) –26
Range (dB) –56
Attack (ms) 0
Hold (ms) 2.56
Decay (ms) 331
2 Ducking DUCKING
Threshold (dB) –19
Range (dB) –22
Attack (ms) 93
Hold (ms) 1.20 S
Decay (ms) 6.32 S
3 A. Dr. BD GATE
Threshold (dB) –11
Range (dB) –53
Attack (ms) 0
Hold (ms) 1.93
Decay (ms) 400
4 A. Dr. SN GATE
Threshold (dB) –8
Range (dB) –23
Attack (ms) 1
Hold (ms) 0.63
Decay (ms) 238
# Title Type Parameter Value
1 Comp COMP
Threshold (dB) –8
Ratio ( :1) 2.5
Attack (ms) 60
Out gain (dB) 0.0
Knee 2
Release (ms) 250
2 Expand EXPAND
Threshold (dB) –23
Ratio ( :1) 1.7
Attack (ms) 1
Out gain (dB) 3.5
Knee 2
Release (ms) 70
3 Compander (H) COMPAND-H
Threshold (dB) –10
Ratio ( :1) 3.5
Attack (ms) 1
Out gain (dB) 0.0
Width (dB) 6
Release (ms) 250
4 Compander (S) COMPAND-S
Threshold (dB) –8
Ratio ( :1) 4
Attack (ms) 25
Out gain (dB) 0.0
Width (dB) 24
Release (ms) 180
256 Appendix A: Parameter Lists
02R96—Owner’s Manual
5 A. Dr. BD COMP
Threshold (dB) –24
Ratio ( :1) 3
Attack (ms) 9
Out gain (dB) 5.5
Knee 2
Release (ms) 58
6 A. 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
7 A. Dr. SN COMP
Threshold (dB) –17
Ratio ( :1) 2.5
Attack (ms) 8
Out gain (dB) 3.5
Knee 2
Release (ms) 12
8 A. Dr. SN EXPAND
Threshold (dB) –23
Ratio ( :1) 2
Attack (ms) 0
Out gain (dB) 0.5
Knee 2
Release (ms) 151
9 A. 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
# Title Type Parameter Value
Preset Compressor Parameters (fs = 44.1 kHz) 257
02R96—Owner’s Manual
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
258 Appendix A: Parameter Lists
02R96—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
# Title Type Parameter Value
Preset Compressor Parameters (fs = 44.1 kHz) 259
02R96—Owner’s Manual
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
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
260 Appendix B: Specifications
02R96—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 Less than 2.0 ms CH INPUT to STEREO OUT (fs=48 kHz)
Less than 1.1 ms CH INPUT to STEREO OUT (fs=96 kHz)
Fader 100 mm motorized with touch sense × 25
Fader Resolution +10 to –96, –∞ dB (256 steps/100 mm) input faders
0 to –130, –∞ dB (256 steps/100 mm) master faders, stereo fader
Total Harmonic Distortion1
(CH INPUT to STEREO OUT)
(Input Gain=Min.)
fs=48 kHz Less than 0.05% 20 Hz to 20 kHz @ +14 dB into 600 Ω
Less than 0.01% 1 kHz @ +18 dB into 600 Ω
fs=96 kHz Less than 0.05% 20 Hz to 40 kHz @ +14 dB into 600 Ω
Less than 0.01% 1 kHz @ +18 dB into 600 Ω
Frequency Response
(CH INPUT to STEREO OUT)
20 Hz–20 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω (fs=48 kHz)
20 Hz–40 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω (fs=96 kHz)
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
Input Gain=Max.
Input Pad =0 dB
–128 dB Equivalent Input Noise
–92 dB residual output noise. STEREO OUT (STEREO OUT off)
–92 dB (96 dB S/N) STEREO OUT (STEREO fader at nominal level and
all CH INPUT faders at minimum level)
–64 dB (68 dB S/N) STEREO OUTPUT (STEREO fader at nominal level
and one CH INPUT fader at nominal level)
Maximum Voltage Gain
74 dB CH INPUT (CH1–24) to STEREO OUT/OMNI (BUS) OUT
74 dB CH INPUT (CH1–24) to OMNI (AUX) OUT (via pre input fader)
74 dB CH INPUT (CH1–24) to CONTROL ROOM MONITOR OUT (via
STEREO bus)
Crosstalk
(@ 1 kHz)
Input Gain=Min.
–80 dB adjacent input channels (CH1–24)
–80 dB input to output
AD Input (1–16: A/B)
Phantom switch +48 V DC is supplied to A (XLR-3-31 type) input
Pad switch 0/26 dB attenuation
Gain control 44 dB (–60 to –16), detented
Peak indicator LED (red) turns on when post HA level reaches 3 dB below clipping
Signal indicator LED (green) turns on when post HA level reaches 20 dB below nomi-
nal
Insert I/O (pre AD converter)
Insert switch on/off
AD converter 24-bit linear, 128-times oversampling (fs=48 kHz)
AD Input (17–24)
Gain control 44 dB (–34 to +10), detented
Peak indicator LED (red) turns on when post HA level reaches 3 dB below clipping
Signal indicator LED (green) turns on when post HA level reaches 20 dB below nomi-
nal
AD converter 24-bit linear, 128-times oversampling (fs=48 kHz)
Analog Input
(2TR IN ANALOG 1, 2) AD converter 24-bit linear, 128-times oversampling (fs=48 kHz)
General Spec 261
02R96—Owner’s Manual
Option Input (SLOT 1–4) Available cards Optional digital interface cards (MY8, MY4 series)
Digital Input
(2TR IN DIGITAL 1–3) SRC On/off (1:3 and 3:1 maximum input to output sample rate ratio)
Input Channel CH1–56
Input patch —
Phase Normal/reverse
Gate-type3On/off
Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48, 49–56)/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 PEQ5
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
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
TALKBACK
Level control Analog rotary potentiometer
AD converter 24-bit linear, 128-times oversampling
Talkback select Built-in microphone/AD IN 1–16
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
OMNI OUT 1–8Output patch SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT
1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO)
DA converter 24-bit linear, 128-times oversampling
CONTROL ROOM MONITOR
OUT
Monitor select STEREO, 2TR IN DIGITAL 1, 2TR IN DIGITAL 2, 2TR IN DIGITAL 3, 2TR
I N ANALOG 1, 2TR IN ANALOG 2, ASSIGN 1, 2 (BUS 1–8/AUX 1–8)
Mono On/off
Dimmer On/off
DA converter 24-bit linear, 128-times oversampling
Level control Analog rotary potentiometer
Phones level Analog rotary potentiometer
STUDIO MONITOR OUT
Monitor select CONTROL ROOM, STEREO, AUX 7, AUX 8, TALKBACK
DA converter 24-bit linear, 128-times oversampling
Level control Analog rotary potentiometer
262 Appendix B: Specifications
02R96—Owner’s Manual
2TR OUT DIGITAL 1–3
Dither On/off
Word length 16, 20, 24-bit
Output patch STEREO, BUS1–8, AUX 1–8, DIRECT OUT 1–56, INSERT OUT, CON-
TROL ROOM
Option Output (SLOT 1–4)
Available card Optional digital interface card (MY8, MY4 series)
Output patch SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT
1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO)
Dither On/off
Word length 16/20/24-bit
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 0–43400 samples
Metering Displayed on LCD
Peak hold on/off
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 0–43400 samples
Bus to stereo
Level (–∞, –130 dB to 0 dB)
On/off
Pan: 127 positions (Left=1–63, Center, Right=1–63)
Metering Displayed on LCD
Peak hold on/off
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 0–43400 samples
Metering Displayed on LCD
Peak hold on/off
General Spec 263
02R96—Owner’s Manual
EQ Parameters
SURROUND MONITOR
Mute On/off
Solo On/off
Source BUS1–8, SLOT 1–4
Monitor to C-R On/off
Oscillator Pink noise/500–2 kHz/1 kHz/50 Hz
Monitor matrix 5.1→5.1, 5.1→3-1, 5.1→ST, 3.1→3.1, 3.1→ST
Bass
management 5 presets
Monitor
alignment
ATT (–12.0 dB to 12 dB 0.1 dB step), Delay (0–30.0 msec 0.02 msec
step)
INTERNAL EFFECTS
(EFFECT 1–4)
Bypass On/off
In/out 8-in, 8-out (EFFECT1): depends on effects type
2-in, 2-out (EFFECT2–4): depends on effects type
Effect-in from AUX1–8/INSERT OUT/effect-out
Effect-out to Input patch/effect-in
Power Requirements U.S./Canada 120 V, 60 Hz 200 W
Other 220–240 V, 50/60 Hz 200 W
Dimensions (H x D x W) 239 x 697 x 667 mm (9.4" x 27.4" x 26.3")
Net weight 34 kg (75 lbs)
Operating free-air temperature range 10–35°C (50–95°F)
Storage temperature range –20 to 60°C (–4 to 140°F)
Supplied Accessories AC Cable
CD-ROM (Studio Manager)
Options
Digital interface card (MY8, MY4 series)
PEAK METER BRIDGE: MB02R96
SIDE PANEL: SP02R96
1. Total harmonic distortion is measured with a 6 dB/octave filter @ 80 kHz.
2. Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave
attenuation.
3. See “Gate Parameters” on page 264.
4. See “Comp Parameters” on page 264.
5. See “EQ Parameters” on page 263.
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 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
264 Appendix B: Specifications
02R96—Owner’s Manual
Gate Parameters
Comp Parameters
Gate
Threshold –54 dB to 0 dB (0.1 dB step)
Range –70 dB to 0 dB (1 dB step)
Attack 0 ms–120 ms (1 ms step)
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 to 0 dB (0.1 dB step)
Range –70 dB to 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 to 0 dB (0.1 dB step)
Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points)
Out gain 0 dB to +18 dB (0.1 dB step)
Knee Hard, 1, 2, 3, 4, 5 (6 step)
Attack 0 ms–120 ms (1 ms step)
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
Controls 265
02R96—Owner’s Manual
Controls
Analog Section
Digital Section
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
INPUT 1–16
+48 V switch ON/OFF
PAD switch 0/26 dB
GAIN control –16 to –60 dB
INSERT switch ON/OFF
INPUT 17–24 GAIN control +10 to –34 dB
TALKBACK TALKBACK LEVEL control
STUDIO MONITOR OUT STUDIO LEVEL control
CONTROL ROOM MONITOR OUT CONTROL ROOM LEVEL control
PHONES PHONES LEVEL control
FADER MODE Section
AUX SELECT
DISPLAY button
AUX 1, AUX 2, AUX 3, AUX 4, AUX 5, AUX 6, AUX 7, AUX 8
buttons (w/LED)
FADER MODE FADER, AUX button (w/LED)
ENCODER MODE DISPLAY button
PAN, AUX, ASSIGN 1, ASSIGN 2 buttons (w/LED)
DISPLAY CONTROL Section
DISPLAY ACCESS
buttons
AUTOMIX, DIO, SETUP, UTILITY, MIDI, REMOTE, METER,
VIEW, PAIR, GROUP, INPUT PATCH, OUTPUT PATCH
EFFECTS/PLUG-INS
DISPLAY access, π, †
INTERNAL EFFECTS, PLUG-INS, CHANNEL INSERTS, 1, 2, 3, 4
Parameter control: 1, 2, 3, 4
Others √, F1, F2, F3, F4, ® buttons
LCD contrast control
266 Appendix B: Specifications
02R96—Owner’s Manual
SELECTED CHANNEL Section
ROUTING
DISPLAY button
1, 2, 3, 4, 5, 6, 7, 8, STEREO, DIRECT, FOLLOW PAN buttons
(w/LED)
DISPLAY ACCESS PHASE/INSERT, DELAY buttons
DYNAMICS
DISPLAY, GATE /COMP buttons
GATE ON, COMP ON buttons (w/LED)
Parameter control x 5
PAN/SURROUND
DISPLAY button
L, R, LINK, GRAB, EFFECT buttons (w/LED)
Pan control
Joystick (Sound image position control)
EQUALIZER
DISPLAY button
EQ ON button (w/LED)
GAIN controls: LOW, LOW-MID, HIGH-MID, HIGH
FREQUENCY/Q controls: LOW, LOW-MID, HIGH-MID, HIGH
controls (w/SW)
MONITOR Section
MONITOR DISPLAY button
STUDIO CONTROL ROOM, STEREO, AUX 7, AUX 8 buttons (w/LED)
SOLO CLEAR button
CONTROL ROOM 2TR D1, 2TR D2, 2TR D3, 2TR A1, 2TR A2, STEREO, ASSIGN
1, ASSIGN 2 buttons (w/LED)
SURROUND BUS, SLOT buttons (w/LED)
SURROUND MONITOR LEVEL control
Others TALKBACK, DIMMER buttons (w/LED)
CONTROL ROOM LEVEL control
SCENE MEMORY and USER
DEFINED KEYS section
SCENE MEMORY DISPLAY button
π, †, STORE, RECALL buttons
USER DEFINED KEYS
DISPLAY button
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16 buttons
(w/LED)
MACHINE CONTROL Section
LOCATOR DISPLAY button
LOCATE MEMORY: 1, 2, 3, 4, 5, 6, 7, 8, SET buttons (w/LED)
TRANSPORT
CONTROL REW, FF, STOP, PLAY, REC, SHUTTLE, SCRUB (w/LED)
CHANNEL STRIP Section
Encoders x 24 (1–24)
Buttons AUTO x 24 (1–24), SEL x 24 (1–24), SOLO x 24 (1–24), ON x
24 (1–24)
Faders (w/ touch
sense) x 24 (1–24)
MASTER Section
LAYER 1–24, 25–48, MASTER, REMOTE buttons (w/LED)
STEREO AUTO, SEL, ON buttons (w/LED)
Fader (w/touch sense) x 1
DATA ENTRY Section Buttons INC, DEC, π, †, √, ®, ENTER buttons
Encoder Parameter wheel
Indicators 267
02R96—Owner’s Manual
Indicators
Analog Section
Digital Section
Libraries
PEAK LED x24 INPUT 1–24
SIGNAL LED x24 INPUT 1–24
DISPLAY CONTROL Section DISPLAY 320 × 240 dot graphic LCD (w/contrast control potentiometer)
SELECTED CHANNEL Section
DYNAMICS GATE, COMP LEDs x2
PAN/SURROUND Pan position LEDs x10
EQUALIZER
FREQUENCY, Q LEDs 2 × 4
dB, Hz, kHz 3 × 4
3-digit numeric LEDs x4 (parameter value)
MONITOR Section SOLO LED x1
SCENE MEMORY section Scene memory number 2-digit numeric LED x1
Effect library (EFFECT 1–4) Presets 52 (EFFECT 2–4: 44)
User memories 76
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
Surround Monitor library Presets 1
User memories 32
Input patch library Presets 1
User memories 32
Output patch library Presets 1
User memories 32
Bus to Stereo library Presets 1
User memories 32
268 Appendix B: Specifications
02R96—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 ANALOG 2 levels, 0 dBV is referenced to 1.00 Vrms.
All input AD converters (except INSERT I/O 1–16) are 24-bit linear, 128-times oversampling.
+48 V DC (phantom power) is supplied to CH INPUT (1–16) XLR type connectors via individual switches.
Analog Output Spec
STEREO OUT [L, R], 0 dBV is referenced to 1.00 Vrms.
In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.
All output DA converters (except INSERT OUT 1–16) are 24-bit, 128-times oversampling.
Input PAD GAIN Actual Load
Impedance
For Use
With
Nominal
Input level
Connector
Sensitivity1
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 1–16
0
–60
dB
3k Ω
50–600 Ω
Mics &
600 Ω
Lines
–70 dB
(0.245 mV)
–60 dB
(0.775 mV)
–46 dB
(3.88 mV)
A: XLR-3-31 type (Bal-
anced)2
2. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
–16
dB
–26 dB
(38.8 mV)
–16 dB
(0.123 V)
–2 dB
(616 mV)
B: Phone jack (TRS)
(Balanced)3
3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).
26 0 dB
(775 mV)
+10 dB
(2.45 V)
+24 dB
(12.28 V)
INPUT 17–24 —
–34
dB 4K Ω600 Ω
Lines
–44 dB
(4.89 mV)
–34 dB
(15.5 mV)
–20 dB
(77.5 mV) Phone jack (TRS) (Bal-
anced)3
+10
dB
0 dB
(775 mV)
+10 dB
(2.45 V)
+24 dB
(12.28 V)
INSERT IN 1–16 —10K Ω600 Ω
Lines
–6 dB
(388 mV)
+4 dB
(1.23 V)
+18 dB
(6.16 V) Phone jack (TRS)4
4. Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND
2TR IN ANALOG
1 [L, R] —10K Ω600 Ω
Lines
+4 dB
(1.23 V)
+4 dB
(1.23 V)
+18 dB
(6.16 V)
Phone jack (TRS) (Bal-
anced)3
2TR IN ANALOG
2 [L, R] —10K Ω600 Ω
Lines
–10 dBV
(0.316 V)
–10 dBV
(0.316 V)
+4 dBV
(1.58 V) Phono (Unbalanced)
Output Actual Source
Impedance
For Use
With
Nominal
GAIN SW1
1. The maximum output level of each OMNI OUT can be set internally.
Output level
Connector
Nominal Max. before
clip
STEREO OUT [L, R]
600 Ω10k Ω Lines —–10 dBV
(0.316 V)
+4 dBV
(1.58 V) Phono (Unbalanced)
150 Ω600 Ω Lines —+4 dB
(1.23 V)
+18 dB
(6.16 V)
XLR-3-32 type (Bal-
anced)2
2. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
STUDIO MONITOR OUT
[L, R] 150 Ω10k Ω Lines —+4 dB
(1.23 V)
+18 dB
(6.16 V)
Phone Jack (TRS) (Bal-
anced)3
3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).
C-R MONITOR OUT [L, R] 150 Ω10k Ω Lines —+4 dB
(1.23 V)
+18 dB
(6.16 V)
Phone Jack (TRS) (Bal-
anced)3
OMNI OUT 1–8150 Ω10k Ω Lines
+18 dB
(default)
+4 dB
(1.23 V)
+18 dB
(6.16 V) Phone Jack (TRS) (Bal-
anced)3
+4 dB –10 dB
(0.245 V)
+4 dB
(1.23 V)
INSERT OUT 1–16 600 Ω10k Ω Lines —+4 dB
(1.23 V)
+18 dB
(6.16 V) Phone Jack (TRS)4
4. Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND
PHONES 100 Ω8 Ω Phones —4 mW 25 mW Stereo Phone Jack (TRS)
(Unbalanced)5
5. PHONES stereo phone jack is unbalanced (Tip=LEFT, Ring=RIGHT, Sleeve=GND).
40 Ω Phones
—12 mW 75 mW
Digital Input Spec 269
02R96—Owner’s Manual
Digital Input Spec
Digital Output Spec
Input Format Data length Level Connector
2TR IN DIGITAL
1AES/EBU 24-bit RS422 XLR-3-31 type (Balanced)1
1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
2IEC-60958 24-bit 0.5 Vpp/75 ΩPhono
3IEC-60958 24-bit 0.5 Vpp/75 ΩPhono
CASCADE IN ——RS422 D-SUB Half Pitch Connector 68P
(Female)
Output Format Data length Level Connector
2TR OUT DIGITAL
1AES/EBU1
Professional use
1. Channel status of 2TR OUT DIGITAL 1
Type: 2 audio channels
Emphasis: NO
Sampling rate: depends on the internal configuration
24-bit2
2. Dither: word length 16/20/24 bit
RS422 XLR-3-32 type (Balanced)3
3. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
2IEC-609584
Consumer use 24-bit20.5V pp/75 ΩPhono
3IEC-609584
Consumer use
4. Channel status of 2TR OUT DIGITAL 2, 3
Type: 2 audio channels
Category code: 2 channel PCM encoder/decoder
Copy prohibit: NO
Emphasis: NO
Clock accuracy: Level II (1000 ppm)
Sampling rate: depends on the internal configuration
24-bit20.5V pp/75 ΩPhono
CASCADE OUT ——RS422 D-SUB Half Pitch Connec-
tor 68P (Female)
270 Appendix B: Specifications
02R96—Owner’s Manual
I/O Slot Spec (1–4)
Each I/O SLOT accepts a digital interface card. Only SLOT #1 has a serial interface.
Control I/O Spec
Card Name Function Accept Input Output Number of
available cards
MY8-AT ADAT YES 8 IN 8 OUT (depends on output
patch)1
1. See the Digital I/O chapter.
Details depend on each interface card.
4
MY8-TD TASCAM YES 8 IN 8 OUT (depends on output
patch)14
MY8-AE AES/EBU YES 8 IN 8 OUT (depends on output
patch)14
MY4-AD ANALOG IN YES 4 IN —4
MY8-AD ANALOG IN YES 8 IN —4
MY4-DA ANALOG OUT YES —4 OUT (depends on output
patch)14
MY8-AD24 ANALOG IN YES 8 IN —4
MY8-AD96 ANALOG IN YES 8 IN —4
MY8-DA96 ANALOG OUT YES —8 OUT (depends on output
patch)14
MY8-AE96S AES/EBU YES 8 IN 8 OUT (depends on output
patch)12
MY8-AE96 AES/EBU YES 8 IN 8 OUT (depends on output
patch)14
I/O Port Format Level Connector in Console
TO HOST Serial —RS422 Mini DIN Connector 8P
USB USB 1.1 0 V–3.3 V B type USB connector
MIDI
IN MIDI —DIN Connector 5P
OUT MIDI —DIN Connector 5P
THRU MIDI —DIN Connector 5P
TIME CODE IN MTC MIDI —DIN Connector 5P
SMPTE SMPTE Nominal –10 dB/10k ΩXLR-3-31 type (Balanced)1
1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
WORD CLOCK IN —TTL/75 Ω (ON/OFF)2
2. This switch is on the rear panel.
BNC Connector
OUT —TTL/75 ΩBNC Connector
CONTROL ——D-SUB Connector 25P (Female)
METER —RS422 D-SUB Connector 15P (Female)
Connector Pin Assignments 271
02R96—Owner’s Manual
Connector Pin Assignments
CASCADE IN CASCADE OUT
CONTROL Port
Pin Signal Pin Signal Pin Signal Pin Signal
1 GND 35 GND 1 GND 35 GND
2 INPUT 1-2(+) 36 INPUT 1-2(–) 2 OUTPUT 1-2(+) 36 OUTPUT 1-2(–)
3 INPUT 3-4(+) 37 INPUT 3-4(–) 3 OUTPUT 3-4(+) 37 OUTPUT 3-4(–)
4 INPUT 5-6(+) 38 INPUT 5-6(–) 4 OUTPUT 5-6(+) 38 OUTPUT 5-6(–)
5 INPUT 7-8(+) 39 INPUT 7-8(–) 5 OUTPUT 7-8(+) 39 OUTPUT 7-8(–)
6 INPUT 9-10(+) 40 INPUT 9-10(–) 6 OUTPUT 9-10(+) 40 OUTPUT 9-10(–)
7 INPUT 11-12(+) 41 INPUT 11-12(–) 7 OUTPUT 11-12(+) 41 OUTPUT 11-12(–)
8 INPUT 13-14(+) 42 INPUT 13-14(–) 8 OUTPUT 13-14(+) 42 OUTPUT 13-14(–)
9 INPUT 15-16(+) 43 INPUT 15-16(–) 9 OUTPUT 15-16(+) 43 OUTPUT 15-16(–)
10 DTR IN(+) 44 DTR IN(–) 10 DTR OUT(+) 44 DTR OUT(–)
11 RTS OUT(+) 45 RTS OUT(–) 11 RTS IN(+) 45 RTS IN(–)
12 GND 46 GND 12 GND 46 GND
13 WORD CLOCK IN(+) 47 WORD CLOCK IN(–) 13 WORD CLOCK OUT(+) 47 WORD CLOCK OUT(–)
14 WORD CLOCK OUT(+) 48 WORD CLOCK OUT(–) 14 WORD CLOCK IN(+) 48 WORD CLOCK IN(–)
15 CONTROL IN(+) 49 CONTROL IN(–) 15 CONTROL OUT(+) 49 CONTROL OUT(–)
16 CONTROL OUT(+) 50 CONTROL OUT(–) 16 CONTROL IN(+) 50 CONTROL IN(–)
17 GND 51 ID6 IN 17 GND 51 ID6 OUT
18 GND 52 ID6 OUT 18 GND 52 ID6 IN
19 INPUT 17-18(+) 53 INPUT 17-18(–) 19 OUTPUT 17-18(+) 53 OUTPUT 17-18(–)
20 INPUT 19-20(+) 54 INPUT 19-20(–) 20 OUTPUT 19-20(+) 54 OUTPUT 19-20(–)
21 INPUT 21-22(+) 55 INPUT 21-22(–) 21 OUTPUT 21-22(+) 55 OUTPUT 21-22(–)
22 INPUT 23-24(+) 56 INPUT 23-24(–) 22 OUTPUT 23-24(+) 56 OUTPUT 23-24(–)
23 RESERVED 57 RESERVED 23 RESERVED 57 RESERVED
24 RESERVED 58 RESERVED 24 RESERVED 58 RESERVED
25 RESERVED 59 RESERVED 25 RESERVED 59 RESERVED
26 RESERVED 60 RESERVED 26 RESERVED 60 RESERVED
27 ID0 IN 61 ID1 IN 27 ID0 OUT 61 ID1 OUT
28 ID2 IN 62 ID3 IN 28 ID2 OUT 62 ID3 OUT
29 ID4 IN 63 ID5 IN 29 ID4 OUT 63 ID5 OUT
30 ID0 OUT 64 ID1 OUT 30 ID0 IN 64 ID1 IN
31 ID2 OUT 65 ID3 OUT 31 ID2 IN 65 ID3 IN
32 ID4 OUT 66 ID5 OUT 32 ID4 IN 66 ID5 IN
33 MSB IN 67 2CH/LINE IN 33 MSB OUT 67 2CH/LINE OUT
34 FG 68 FG 34 FG 68 FG
Pin Signal Pin Signal
1 GPO0 14 GPO1
2 GPO2 15 GPO3
3 GPO4 16 GPO5
4 GPO6 17 GPO7
5 GND 18 GND
6 GND 19 GND
7 GND 20 GND
8 GND 21 +5V
9 +5V 22 GPI0
10 GPI1 23 N.C.
11 N.C. 24 SOLO1
12 SMODE1
1. For 02R SOLO control.
25 MAS/SLV1
13 SPARE1
272 Appendix B: Specifications
02R96—Owner’s Manual
Dimensions
Specifications and external appearance subject to change without notice.
For European Model
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: 70 A
Conformed Environment: E1, E2, E3 and E4
697 mm
667 mm
239 mm
25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
49 50 51 52 53 54 55 56 AUX 1AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 BUS 1 BUS 2 BUS 3 BUS 4 BUS 5 BUS 6 BUS 7 BUS 8
PHONES
LEVEL
010
010
STUDIO
LEVEL
PHONES
23
24
21
22
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
GAIN 34
10
+
20
19
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
1 9 10 11 12 13 14 15 16
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
2
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
3
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
4
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
5
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
6
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
7
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
8
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
ON
OFF
OFF
ON
26dB
-16 -60
GAIN
PEAK
SIGNAL
INSERT
+48V
DISPLAY
STUDIO
AUX7 AUX8
SOLO
CONTROL
ROOM STEREO
BUS SLOT
CONTROL ROOM
2TR D1 2TR A 1
2TR D2 2TR A2
2TR D3 STEREO
ASSIGN1ASSIGN2
SURROUND
CLEAR
DIMMER
CONTROL ROOM LEVEL
100
100
TALKBACK
SURROUND MONITOR LEVEL
EQUALIZER
EQ ON
LOW
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
DISPLAY
GAIN
LOW MID
GAIN
HIGH MID
GAIN
HIGH
GAIN
GATE ON COMP ON GATE
COMP
RANGE
RATIO
ATTA CK
ATTA CKTHRESHOLD
THRESHOLD
DYNAMICS
DISPLAY
GATE / COMP DECAY
RELEASE
HOLD
GAIN
SELECTED CHANNEL
LINK GRAB EFFECT
LEVEN
R
LR
PAN / SURROUND
DISPLAY
ODD
DISPLAY ACCESS
PHASE /
INSERT DELAY
12
34
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
SCENE MEMORY
DISPLAY
STORE RECALL
USER DEFINED KEYS
12345678
910111213141516
DISPLAY
REC
REW FF
STOP PLAY
SET
DISPLAY
MACHINE CONTROL
LOCATE MEMORY
1234
5678
INCDEC
ENTER
SHUTTLE
SCRUB
ON
SEL
AUTO
70
60
50
40
30
20
15
10
5
0
STEREO
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
ON
SOLO
SEL
AUTO
AUTOMIX DIO SETUP UTILITY
MIDI REMOTE METER VIEW
PAIR GROUP INPUT
PATCH OUTPUT
PATCH
DISPLAY ACCESS
AUX 2AUX 1AUX 3AUX 4
AUX 6AUX 5AUX 7AUX 8
AUX SELECT
DISPLAY
AUXPAN ASSIGN 2ASSIGN1
ENCODER MODE
DISPLAY
AUXFADER
FADER MODE
EFFECTS / PLUG INS
INTERNAL
EFFECTS CHANNEL
INSERTS
PLUG INS
1234
DISPLAY
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
STEREO
12345678 9101112131415161718192021222324
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
17 18
18
17
19 20 21 22 23 24
MONITOR
DIGITAL MIXING CONSOLE
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
PAD
125 1.00 4.00 10.0
MASTER25 48
REMOTE1 24
LAYER
00
010
TALKBACKLEVEL
Scene Memory to Program Change Table 273
02R96—Owner’s Manual
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 #
10144448787
20245458888
30346468989
40447479090
50548489191
60649499292
70750509393
80851519494
90952529595
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
274 Appendix C: MIDI
02R96—Owner’s Manual
Initial Parameter to Control Change Table
# High Mid Low
0 NO ASSIGN
1 FADER H CHANNEL INPUT1
2 FADER H CHANNEL INPUT2
3 FADER H CHANNEL INPUT3
4 FADER H CHANNEL INPUT4
5 FADER H CHANNEL INPUT5
6 FADER H CHANNEL INPUT6
7 FADER H CHANNEL INPUT7
8 FADER H CHANNEL INPUT8
9 FADER 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 FADER H CHANNEL INPUT25
26 FADER H CHANNEL INPUT26
27 FADER H CHANNEL INPUT27
28 FADER H CHANNEL INPUT28
29 FADER H CHANNEL INPUT29
30 FADER H CHANNEL INPUT30
31 FADER H CHANNEL INPUT31
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 FADER L CHANNEL INPUT25
58 FADER L CHANNEL INPUT26
59 FADER L CHANNEL INPUT27
60 FADER L CHANNEL INPUT28
61 FADER L CHANNEL INPUT29
62 FADER L CHANNEL INPUT30
63 FADER L CHANNEL INPUT31
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 ON CHANNEL INPUT25
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
96 PAN CHANNEL INPUT8
97 PAN CHANNEL INPUT9
98 PAN CHANNEL INPUT10
99 PAN CHANNEL INPUT11
100 PAN CHANNEL INPUT12
101 PAN CHANNEL INPUT13
102 PAN CHANNEL INPUT14
103 PAN CHANNEL INPUT15
104 PAN CHANNEL INPUT16
105 PAN CHANNEL INPUT17
106 PAN CHANNEL INPUT18
107 PAN CHANNEL INPUT19
108 PAN CHANNEL INPUT20
109 PAN CHANNEL INPUT21
110 PAN CHANNEL INPUT22
111 PAN CHANNEL INPUT23
112 PAN CHANNEL INPUT24
113 PAN CHANNEL INPUT25
114 PAN CHANNEL INPUT1
115 PAN CHANNEL INPUT2
116 PAN CHANNEL INPUT3
117 PAN CHANNEL INPUT4
118 PAN CHANNEL INPUT5
119 PAN CHANNEL INPUT6
# High Mid Low
MIDI Data Format 275
02R96—Owner’s Manual
MIDI Data Format
1. CHANNEL MESSAGE
2. SYSTEM COMMON MESSAGE
3. SYSTEM REALTIME MESSAGE
Received only when the Automix TIME REFERENCE setting is
MIDI CLOCK.
4. EXCLUSIVE MESSAGE
4.1 Real Time System Exclusive
4.2 System Exclusive Message
4.2.1 Bulk Dump
The following data types of bulk dump are used on the 02R96.
4.2.2 PARAMETER CHANGE
The following data types of parameter change are used by the 02R96.
** tx means that the data can be transmitted from the 02R96. rx means that
the data can be received by the 02R96.
Format Details
1. NOTE OFF (8n)
Reception
Received when the [Rx CH] matches.
Used to control effects.
2. NOTE ON (9n)
Reception
Received when the [Rx CH] matches.
Used to control effects.
3. CONTROL CHANGE (Bn)
Reception
Received when [Control Change Rx] is ON and the [Rx CH] matches.
However if [OMNI] is ON, this is received regardless of the channel. If
[Control Change ECHO] is ON, these messages are echoed to MIDI OUT.
If [TABLE] is selected, parameters will be controlled according to the set-
tings of the [Control assign table]. The parameters that can be set are de-
fined in the CONTROL CHANGE ASSIGN PARAMETER LIST. If
[NRPN] is selected, four messages are used to control the defined param-
eter: NRPN control numbers (62h, 63h) and DATA ENTRY control num-
bers (06h, 26h). Parameter settings are defined in the CONTROL
CHANGE ASSIGN PARAMETER LIST.
Transmission
If [TABLE] is selected, operating the parameters specified in the [Control
assign table] will cause these messages to be transmitted on the [Tx CH] if
[Control Change TX] is ON. The parameters that can be specified are de-
fined in the CONTROL CHANGE ASSIGN PARAMETER LIST.
If [NRPN] is selected, operating the specified parameters will cause data to
be transmitted on the [Tx CH] if [Control Change TX] is ON, using four
messages: NRPN control numbers (62h, 63h) and DATA ENTRY control
numbers (06h, 26h). Parameter settings are defined in the CONTROL
CHANGE ASSIGN PARAMETER LIST.
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 Used when TIME REFERENCE is
MIDI CLOCK.
F2 SONG POSITION POINTER rx Used when TIME REFERENCE is
MIDI CLOCK.
Command rx/tx function
F8 TIMING CLOCK rx MIDI clock
FA START rx* Start automix (from the
beginning)
FB CONTINUE rx* Start automix (from the
middle)
FC STOP rx* Stop automix
FE ACTIVE SENSING rx Check MIDI cable connections
FF RESET rx Clear running status
Command rx/tx function
F0 7F dd 06 MMC COMMAND tx MMC command (refer to
MMC specification)
F0 7F dd 07 MMC RESPONSE rx MMC response (refer to MMC
specification)
F0 7F dd 01 MIDI TIME CODE rx Used when TIME REFERENCE is
MTC.
Command rx/tx function
F0 43 0n 7E BULK DUMP DATA rx/tx BULK DUMP DATA
F0 43 2n 7E BULK DUMP REQUEST rx/tx BULK DUMP REQUEST
Data name tx/rx function
'm' tx/rx Scene Memory & Request
'S' tx/rx Setup Memory & Request
'a' tx/rx Automix data & Request
'R' tx/rx Input patch library & Request
'O' tx/rx Output patch library & Request
'H' tx/rx Channel library & Request
'G' tx/rx Gate library & Request
'Y' tx/rx Compressor library & Request
'Q' tx/rx Equalizer library & Request
'E' tx/rx Effect library & Request
'J' tx/rx Bus to Stereo library & Request
'K' tx/rx Surround Monitor library & Request
'P' tx/rx Program change table & Request
'C' tx/rx Control change table & Request
'L' tx/rx User define layer & Request
'I' tx/rx Plug-in User define & Request
'V' tx/rx User define key & Request
'N' tx/rx Plug-in Effect Card Data & Request
Command rx/tx function
F0 43 1n 3E 0B PARAMETER
CHANGE
rx/tx 02R96-specific parameter
change
F0 43 3n 3E 0B PARAMETER
REQUEST
rx/tx 02R96-specific parameter
request
F0 43 1n 3E 7F PARAMETER
CHANGE
rx/tx General purpose digital mixer
parameter change
F0 43 3n 3E 7F PARAMETER
REQUEST
rx/tx General purpose digital mixer
parameter request
Type tx/rx function
1 tx/rx Edit buffer
2 tx/rx Patch data
3 tx/rx Setup data
4 tx/rx Backup data
16 tx/rx Function (recall, store, title)
17 rx Function (pair)
18 rx Function (event)
32 rx Key remote
33 tx/rx remote meter
34 tx/rx remote 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)
276 Appendix C: MIDI
02R96—Owner’s Manual
If [TABLE] is selected
If [NRPN] is selected
*1) There is no particular need to add the 2nd, 3rd, and 4th status
for transmission. However if these are present during recep-
tion, they should be received.
*2) Does not need to be transmitted if the parameter data fits
within 7 bits.
4. PROGRAM CHANGE (Cn)
Reception
This message is received if [Program Change RX] is ON and [Rx CH]
matches. However if [OMNI] is ON, this is received regardless of the chan-
nel.
A scene memory will be recalled according to the settings of the [Program
Change Table].
This message will be echoed if [Program Change ECHO] is ON.
Transmission
If [Program Change TX] is ON, this message is transmitted according to
the settings of the [Program Change Table] on the [Tx CH] channel when
a scene memory is recalled.
If the recalled scene has been assigned to more than one program number,
the lowest-numbered program number will be transmitted. Transmission
to Studio Manager using Program Change messages will not be performed
since there is no guarantee that the contents of the tables will match. (Pa-
rameter Changes will always be used.)
5. SONG POSITION POINTER (F2)
Reception
If this is received when the automix TIME REFERENCE setting is MIDI
CLOCK, the automix will move to the song position that was received.
6. TIMING CLOCK (F8)
Reception
If the automix TIME REFERENCE setting is MIDI CLOCK, this message
is used to synchronize automix. It is also used to control effects. This mes-
sage is transmitted 24 times per quarter note.
7. START (FA)
Reception
This message is received if the automix TIME REFERENCE setting is MIDI
CLOCK, and will start the automix. In actuality, automix will start when
the next TIMING CLOCK is received after receiving the START message.
8. CONTINUE (FB)
Reception
This message is received if the automix TIME REFERENCE setting is MIDI
CLOCK, and will cause automix to start from the current song position. In
actuality, automix will start when the next TIMING CLOCK is received af-
ter receiving the CONTINUE message.
9. STOP (FC)
Reception
This message is received if the automix TIME REFERENCE setting is MIDI
CLOCK, and will cause automix to stop.
10. ACTIVE SENSING (FE)
Reception
Once this message has been received, the failure to receive any message for
an interval of 400 ms or longer will cause MIDI transmission to be initial-
ized, such as by clearing the Running Status.
11. SYSTEM RESET (FF)
Reception
When this message is received, MIDI communications will be cleared, e.g.,
by clearing the Running Status.
12. SYSTEM EXCLUSIVE MESSAGE (F0)
12.1 MIDI MACHINE CONTROL (MMC)
These messages are transmitted when the Machine Control section of the
02R96 is operated. For details, refer to the MMC specification.
12.2 BULK DUMP
This message sends or receives the contents of various memories stored
within the 02R96.
The basic format is as follows.
For DUMP DATA
For DUMP REQUEST
A unique header (Model ID) is used to determine whether the device is a
02R96.
CHECK SUM is obtained by adding the bytes that follow BYTE COUNT
(LOW) and end before CHECK SUM, taking the binary compliment of
this sum, and then setting bit 7 to 0.
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 trans-
mitted.
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
STATUS 1011nnnn Bn Control change
DATA 0ccccccc cc 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 00100110 26 LSB of data entry
0vvvvvvv vv LSB of parameter data
STATUS 1011nnnn Bn Control change *1, *2
DATA 00000110 06 MSB of data entry *2
0vvvvvvv vv MSB of parameter data *2
STATUS 1100nnnn Cn Program change
DATA 0nnnnnnn nn Program number (0-127)
STATUS 11110010 F2 Song position pointer
DATA 0vvvvvvv vv Song position LSB
0vvvvvvv vv Song position MSB
STATUS 11111000 F8 Timing clock
STATUS 11111010 FA Start
STATUS 11111011 FB Continue
STATUS 11111100 FC Stop
STATUS 11111101 FE Active sensing
STATUS 11111111 FF System reset
F0 43 0n 7E cc cc <Model ID> tt mm mm [Data ...]
cs F7
F0 43 2n 7E <Model ID> tt mm mm F7
nDevice Number
cc cc DATA COUNT (the number of bytes that follow this, ending
before the checksum)
<Model ID> Model ID (for the 02R96, this is 4C 4D 20 20 38 43 35 34)
tt DATA TYPE
mm mm DATA NUMBER
cs CHECK SUM
CHECK SUM = (-sum)&0x7F
Format Details 277
02R96—Owner’s Manual
request.
The data area is handled by converting seven words of 8-bit data into eight
words of 7-bit data.
[Conversion from actual data into bulk data]
d[0~6]: actual data
b[0~7]: bulk data
b[0] = 0;
for( I=0; I<7; I++){
if( d[I]&0x80){
b[0] |= 1<<(6-I);
}
b[I+1] = d[I]&0x7F;
}
[Restoration from bulk data into actual data]
d[0~6]: actual data
b[0~7]: bulk data
for( I=0; I<7; I++){
b[0] <<= 1;
d[I] = b[I+1]+(0x80&b[0]);
}
12.2.1 Scene memory bulk dump format
The 02R96 can transmit and receive scene memories in compressed form.
12.2.2 Scene memory bulk dump request format
The second and third bytes of the DATA NAME indicate the scene number
that is being requested. If this is 256, the data of the edit buffer will be
bulk-dumped.
12.2.3 Setup memory bulk dump format
Of the setup memory of the 02R96, this bulk-dumps data other than the
User define layer, User define plug-in, User define keys, Control change ta-
ble, and Program change table.
12.2.4 Setup memory bulk dump request format
12.2.5 User define layer bulk dump format
The second and third bytes of the DATA NAME indicate the bank num-
ber.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01101101 6D 'm'
0mmmmmmm mh m=0-99, 256(Scene0-99, EDIT BUFFER)
0mmmmmmm ml Receive is effective 1-99, 256
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[mm]
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01101101 6D 'm'
0mmmmmmm mh m=0-99, 256(Scene0-99, EDIT BUFFER)
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'
00110101 35 '5'
00110100 34 '4'
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 memory data
::
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'
00110101 35 '5'
00110100 34 '4'
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001100 4C 'L'
00000000 00
278 Appendix C: MIDI
02R96—Owner’s Manual
12.2.6 User define layer bulk dump request format
The second and third bytes of the DATA NAME indicate the bank num-
ber.
12.2.7 User define plug-in bulk dump format
The second and third bytes of the DATA NAME indicate the bank num-
ber.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
12.2.8 User define plug-in bulk dump request format
The second and third bytes of the DATA NAME indicate the bank num-
ber.
12.2.9 User Define Key bulk dump format
The second and third bytes of the DATA NAME indicate the bank num-
ber.
Be aware that the state of the transmission destination will (in some cases)
change if the same bank is being used.
12.2.10 User Define Key bulk dump request format
The second and third bytes of the DATA NAME indicate the bank num-
ber.
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
::
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'
00110101 35 '5'
00110100 34 '4'
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 ' '
00100000 20 ' '
00111000 38 '8'
01000011 43 'C'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001001 49 'I'
00000000 00
0bbbbbbb bb b=0-7(bank no.1-8)
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 plug-in data
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001001 49 'I'
00000000 00
0bbbbbbb bb b=0-7(bank no.1-8)
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 cccccccc ch data count = ch * 128 + cl
COUNT LOW cccccccc cl
01001100 4C 'L'
01001101 4D 'M'
00100000 20 ' '
00100000 20 ' '
00111000 38 '8'
01000011 43 'C'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010110 56 'V'
00000000 00
0bbbbbbb bb b=0-3(bank no.A-D)
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
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010110 56 'V'
BANK No. 00000000 00
0bbbbbbb bb b=0-3(bank no.A-D)
EOX 11110111 F7 End of exclusive
Format Details 279
02R96—Owner’s Manual
12.2.11 Control change table bulk dump format
12.2.12 Control change table bulk dump request
format
12.2.13 Program change table bulk dump format
12.2.14 Program change table bulk dump request
format
12.2.15 Equalizer library bulk dump format
The second and third bytes of the DATA NAME indicate the bank num-
ber.
0:Library no.1 - 199:Library no.200, 256:CH1 - 311:CH56, 384:BUS1 -
391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R
256 and following are data for the corresponding channel of the edit buff-
er.
For reception by the 02R96, only the user area is valid. (40-199, 256-)
12.2.16 Equalizer library bulk dump request format
The second and third bytes of the DATA NAME indicate the bank num-
ber. (See above)
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 00000011 ch data count = ch * 128 + cl
COUNT LOW 00010010 cl
01001100 4C 'L'
01001101 4D 'M'
00100000 20 ' '
00100000 20 ' '
00111000 38 '8'
01000011 43 'C'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01000011 43 'C'
00000000 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
::
(342/7)*8+(342%7)+1=391bytes→
unfixed
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01000011 43 'C'
00000000 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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010000 50 'P'
00000000 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
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010000 50 'P'
00000000 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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010001 51 'Q'
LIB. No. H 0bbbbbbb bb 0-199(EQ Library no.1-200),
256-(channel current data)
LIB. No. L 0bbbbbbb bb
BLOCK INFO. 0ttttttt tt total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
DATA 0ddddddd ds EQ Library data
::
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 ' '
280 Appendix C: MIDI
02R96—Owner’s Manual
12.2.17 Compressor library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.1 - 199:Library no.200, 256:CH1 - 311:CH56, 384:BUS1 -
391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R
256 and following are data for the corresponding channel of the edit buff-
er.
For reception by the 02R96, only the user area is valid. (36-127, 256-)
12.2.18 Compressor library bulk dump request format
The second and third bytes of the DATA NAME indicate the library num-
ber. (See above)
12.2.19 Gate library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.1 - 127:Library no.128, 256:CH1 - 311:CH56
256 and following are data for the corresponding channel of the edit buff-
er.
For reception by the 02R96, only the user area is valid. (4-127, 256-)
12.2.20 Gate library bulk dump request format
The second and third bytes of the DATA NAME indicate the library num-
ber. (See above)
12.2.21 Effect library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.1 - 127:Library no.128, 256:EFFECT1 - 259:EFFECT8
256-259 are the data for the corresponding area of the edit buffer.
For reception by the 02R96, only the user area is valid. (52-127, 256-259)
00111000 38 '8'
01000011 43 'C'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010001 51 'Q'
LIB. No. H 0bbbbbbb bb 0-199(EQ Library no.1-200),
256-(channel current data)
LIB. No. L 0bbbbbbb bb
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01011001 59 'Y'
LIB. No. H 0bbbbbbb bb 0-127(COMP Library no.1-128),
256-(channel current data)
LIB. No. L 0bbbbbbb bb
BLOCK INFO. 0ttttttt tt total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
DATA 0ddddddd ds COMP Library data
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01011001 59 'Y'
LIB. No. H 0bbbbbbb bb 0-127(COMP Library no.1-128),
256-(channel current data)
LIB. No. L 0bbbbbbb bb
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01000111 47 'G'
LIB. No. H 0bbbbbbb bh 0-127(GATE Library no.1-128),
256-351(channel current data)
LIB. No. L 0bbbbbbb bl
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
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01000111 47 'G'
LIB. No. H 0bbbbbbb bh 0-127(GATE Library no.1-128),
256-351(channel current data)
LIB. No. L 0bbbbbbb bl
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'
00110101 35 '5'
Format Details 281
02R96—Owner’s Manual
12.2.22 Effect library bulk dump request format
The second and third bytes of the DATA NAME indicate the library num-
ber. (See above)
12.2.25 Channel library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 128:Library no.128,
256:CH1 - 311:CH56, 384:BUS1 - 391:BUS8, 512:AUX1 - 519:AUX8,
768:STEREO L - 769:STEREO R
256 and following are the data for the corresponding channel of the edit
buffer.
For reception by the 02R96, only the user area is valid. (2-128, 256-)
12.2.26 Channel library bulk dump request format
The second and third bytes of the DATA NAME indicate the library num-
ber. (See above)
12.2.27 Input patch library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current input patch data
For reception by the 02R96, only the user area is valid. (1-32, 256)
12.2.28 Input patch library bulk dump request format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current input patch data
00110100 34 '4'
DATA NAME 01000100 45 'E'
LIB. No. H 0bbbbbbb bh 0-127(Effect Library no.1-128),
256-259(Effect1-4 current)
LIB. No. L 0bbbbbbb bl
BLOCK INFO. 0ttttttt tt total block number(minimum number
is 0)
0bbbbbbb bb current block number(0-total block
number)
DATA 0ddddddd ds Effect Library data
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01000100 45 'E'
LIB. No. H 0bbbbbbb bh 0-127(Effect Library no.1-128),
256-259(Effect1-4 current)
LIB. No. L 0bbbbbbb bl
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001000 48 'H'
LIB. No. H 0bbbbbbb bh 0-128(Channel Library no.0-128),
256-(current)
LIB. No. L 0bbbbbbb bl
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
::
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'
00110001 31 '1'
00110010 32 '2'
DATA NAME 01001000 48 'H'
LIB. No. H 0bbbbbbb bh 0-128(Channel Library no.0-128),
256-(current)
LIB. No. L 0bbbbbbb bl
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010010 52 'R'
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
0bbbbbbb bl
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
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01010010 52 'R'
282 Appendix C: MIDI
02R96—Owner’s Manual
12.2.29 Output patch library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current output patch data
For reception by the 02R96, only the user area is valid. (1-32, 256)
12.2.30 Output patch library bulk dump request format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current output patch data
12.2.31 Bus to Stereo library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current data
For reception by the 02R96, only the user area is valid.
12.2.32 Bus to Stereo library bulk dump request format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current data
12.2.33 Surround Monitor library bulk dump format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current data
For reception by the 02R96, only the user area is valid. (1-32, 256)
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
0bbbbbbb bl
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001111 4F 'O'
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
00100000 bl
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
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001111 4F 'O'
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
0bbbbbbb bl
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001010 4A 'J'
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
0bbbbbbb bl
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
::
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001010 4A 'J'
0bbbbbbb bh 0-32 (Library no.0-32), 256 (Current
data)
0bbbbbbb bl
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001011 4B 'K'
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
0bbbbbbb bl
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
::
Format Details 283
02R96—Owner’s Manual
12.2.34 Surround Monitor library bulk dump request
format
The second and third bytes of the DATA NAME indicate the library num-
ber.
0:Library no.0 - 32:Library no.32, 256:current data
12.2.35 Plug-in effect card bulk dump format
The second byte of the DATA NAME indicates the slot number.
0:SLOT 1 - 3:SLOT 4
The data is not received if the Developer ID and Product ID are different
than the card that is installed in the slot.
The data is not transmitted if a valid plug-in effect card is not installed.
12.2.36 Plug-in effect card bulk dump request format
The second byte of the DATA NAME indicates the library number.
0:SLOT 1 - 3:SLOT 4
12.3 PARAMETER CHANGE
12.3.1 Parameter change basic format
For parameters with a data size of 2 or more, data for that size
will be transmitted.
12.3.2 Parameter Change basic format (Universal
format)
For parameters with a data size of 2 or more, data for that size
will be transmitted.
12.3.3 Parameter request basic format
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001011 4B 'K'
0bbbbbbb bh 0-32(Library no.0-32), 256(Current
data)
0bbbbbbb bl
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01001110 4E 'N'
0mmmmmmm mh 0-3 (SLOT1-4)
0mmmmmmm ml
DATA 0xxxxxxx xh block count (High)
0xxxxxxx xl block count (Low)
0yyyyyyy yh total size (High)
0yyyyyyy yl total size (Low)
0000iiii Developer id (High)
0000iiii Developer id (Low)
0000jjjj Product id (High)
0000jjjj Product id (Low)
0ddddddd ds Plug-in Effect card memory data
::
(1024/7)*8+(1024%7)+1=1171bytes
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'
00110101 35 '5'
00110100 34 '4'
DATA NAME 01000001 41 'A'
0mmmmmmm mm 0-3 (SLOT1-4)
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 00001011 0B 02R96
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 00001011 0B 02R96
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
284 Appendix C: MIDI
02R96—Owner’s Manual
12.3.4 Parameter request basic format (Universal
format)
12.3.5 Parameter Address
Consult your dealer for parameter address details.
12.3.6 Parameter change (Edit buffer)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified parameter will be controlled.
Transmission
If [Parameter change TX] is ON and a parameter not specified in the
[Control assign table] is modified, this message will be transmitted with
the device number specified by the [Tx CH].
12.3.7 Parameter request (Edit buffer)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmit-
ted as a Parameter Change.
12.3.8 Parameter change (Patch data)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified parameter will be controlled.
12.3.9 Parameter request (Patch data)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmit-
ted as a Parameter Change.
12.3.10 Parameter change (Setup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be con-
trolled.
12.3.11 Parameter request (Setup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmit-
ted as a Parameter 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 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
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 00001011 0B 02R96
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 00001011 0B 02R96
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 00001011 0B 02R96
ADDRESS 00000011 03 Setup memory
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 00001011 0B 02R96
ADDRESS 00000011 03 Setup memory
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
Format Details 285
02R96—Owner’s Manual
12.3.12 Parameter change (Backup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be con-
trolled.
12.3.13 Parameter request (Backup memory)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the value of the specified parameter will be transmit-
ted as a Parameter Change.
12.3.14 Parameter change (Function call Library:
store/recall)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified memory/library will be stored/recalled.
Transmission
If [Parameter change ECHO] is ON, this message will be retransmitted
without change.
*1) 0:CH1 - 55:CH56, 128:BUS1 - 135:BUS8, 256:AUX1 -
263:AUX5, 512:STEREO L - 513:STEREO R
Use 256 if the recall destination or store source is a single data
item.
Effect is 0:Effect 1–3:Effect 4
If the store destination is 16383 (0x3FFF), this indicates that
the library data has been changed by a external cause
(only transmitted by the 02R96)
*2) This is also transmitted when a program that has not been
assigned to the [Program change table] is recalled.
(Normally this would be transmitted as a program change
message.)
12.3.15 Parameter change (Function call: title)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the title of the specified memory/library will be
changed
Transmission
In response to a request, a Parameter Change message will be transmitted
on the [Rx CH].
If [Parameter change ECHO] is ON, this message will be retransmitted
without change.
12.3.16 Parameter request (Function call: title)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, a Parameter Change message will be transmitted on
the [Rx CH].
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 00001011 0B 02R96
ADDRESS 00000100 04 Backup memory
0aaaaaaa ee Element No.
0aaaaaaa 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 00001011 0B 02R96
ADDRESS 00000100 04 Backup memory
0aaaaaaa ee Element No.
0aaaaaaa 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 00000110 7F Universal
ADDRESS 00010000 10 Address UU
00ffffff ff Address UL (function)
0aaaaaaa aa Address LU (number H)
0aaaaaaa aa Address LL (number L)
DATA 0ddddddd dd channel High
0ddddddd dd channel Low
EOX 11110111 F7 End of exclusive
function number channel*1) tx/rx
SCENE RECALL 0x00 0-99 256 tx*2)/r
x
EQ LIB RECALL 0x01 1-200 0-513 tx/rx
GATE LIB RECALL 0x02 1-128 0-95 tx/rx
COMP LIB RECALL 0x03 1-128 0-513 tx/rx
EFF LIB RECALL 0x04 1-128 0-7 tx/rx
CHANNEL LIB RECALL 0x06 0-128 0-513 tx/rx
INPATCH LIB RECALL 0x07 0-32 256 tx/rx
OUTPATCH LIB RECALL 0x08 0-32 256 tx/rx
Bus to Stereo LIB RECALL 0x09 0-32 256 tx/rx
Surround Monitor LIB RECALL 0x0A 0-32 256 tx/rx
AUTOMIX LIB RECALL 0x0B 1-16 256 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 0-56, 16383 tx/rx
COMP LIB STORE 0x23 37-128 0-513, 16383 tx/rx
EFF LIB STORE 0x24 53-128 0-7, 16383 tx/rx
CHANNEL LIB STORE 0x26 3-128 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
Bus to Stereo LIB STORE 0x29 1-32 256, 16383 tx/rx
Surround Monitor LIB STORE 0x2A 1-32 256, 16383 tx/rx
AUTOMIX LIB STORE 0x2B 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 00000110 7F Universal
ADDRESS 00010000 10 Function call Library
0100aaaa 4a Address UL (function)
0nnnnnnn nn Address LU (number H)
0nnnnnnn nn Address LL (number L)
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(1-52:response only) 16
CHANNEL LIB TITLE 0x46 0-128(0-1:response only) 16
INPATCH LIB TITLE 0x47 0-32(0:response only) 16
OUTPATCH LIB TITLE 0x48 0-32(0:response only) 16
Bus to Stereo LIB TITLE 0x49 0-32(0:response only) 16
Surround Monitor LIB TITLE 0x4A 0-32(0:response only) 16
AUTOMIX LIB TITLE 0x4B 1-16 16
function number channel*1) tx/rx
286 Appendix C: MIDI
02R96—Owner’s Manual
Refer to the above table for the Functions and Numbers.
12.3.17 Parameter change (Function call: Scene/Library
Clear)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the specified memory/library will be stored/recalled.
Transmission
If [Parameter change ECHO] is ON, this message will be retransmitted
without change.
12.3.18 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 [Param-
eter change ECHO] is ON.
When this is received, pairing will be enabled/disabled for the specified
channel. (Items other than PAIR are reserved for future use.)
*1)0:CH1 - 55:CH56, 128:BUS1 - 135:BUS8, 256:AUX1 -
263:AUX8, 512:STEREO L - 513:STEREO R
Effect is 0:Effect 1–3:Effect 4
In the case of PAIR, you must specify channels for which pair-
ing is possible.
In the case of PAIR ON with COPY, you must specify Source
Channel as the copy source, and Destination Channel as the
copy destination.
12.3.19 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 (de-
pending on the effect type).
• This does not activate when the effect type is different.
12.3.20 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
specified by Address is pressed (released). (Refer to the PARAMETER
CHANGE PARAMETER NUMBER LIST.)
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
12.3.21 Parameter change (Remote Meter)
When transmission is enabled by receiving a Request of Remote meter, the
specified meter information is transmitted every 50 msec for 10 seconds.
When you want to transmit meter information continuously, a Request
must be transmitted continuously within every 10 seconds.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When transmission has been enabled by a Request, the parameter specified
by Address (see PARAMETER CHANGE PARAMETER NUMBER LIST)
will be transmitted on the [Rx CH] channel at 50 msec intervals for a du-
ration 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
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 00000110 7F Universal
ADDRESS 00010000 10 Function call Library
0100aaaa 4a Address UL (function)
0nnnnnnn nn Address LU (number H)
0nnnnnnn nn Address LL (number 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 00000110 7F Universal
ADDRESS 00010000 10 Function call Library
0110aaaa 6a Address UL (function)
0nnnnnnn nn Address LU (number H)
0nnnnnnn nn Address LL (number L)
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 1-128
CHANNEL LIB CLEAR 0x66 2-128
INPATCH LIB CLEAR 0x67 0-32
OUTPATCH LIB CLEAR 0x68 0-32
Bus to Stereo LIB CLEAR 0x69 0-32
Surround Monitor LIB CLEAR 0x6A 0-32
AUTOMIX LIB CLEAR 0x6B 1-16
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 00000110 7F Universal
ADDRESS 00010001 11 Function call Pair
0000aaaa 0a Function
DATA 0ddddddd dd Source channel number H
0ddddddd dd Source channel number L
0ddddddd dd Destination channel number H
0ddddddd dd Destination channel number 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 00000110 7F Universal
ADDRESS 00010010 12 Function call Event
0000aaaa 0a Function
DATA 00000000 00 -
0ddddddd dd Release:0, Press:1
00000000 00 -
0ddddddd dd Destination Effect Number 0 - 7
EOX 11110111 F7 End of exclusive
function Channel
Freeze Play button 0x00 0:Effect1-3:Effect4
Freeze Record button 0x01 0:Effect1-3:Effect4
Auto Pan 5.1 Trigger Button 0x02 0:Effect1
Auto Pan 5.1 Reset Button 0x03 0:Effect1
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 00001011 0B 02R96
ADDRESS 00100000 20 Address UU
0aaaaaaa aa Address UL
0aaaaaaa aa Address LU
0aaaaaaa aa Address LL
DATA 0ddddddd dd 0:press, 1:release
EOX 11110111 F7 End of exclusive
Format Details 287
02R96—Owner’s Manual
change.
Meter data uses the unmodified DECAY value of the DSP. For the inter-
pretation of the value, refer to the PARAMETER CHANGE PARAMETER
NUMBER LIST.
12.3.22 Parameter request (Remote Meter)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the parameter specified by Address (refer to PA-
RAMETER CHANGE PARAMETER NUMBER LIST) will be transmitted
on the [Rx CH] at 50 msec intervals for a duration of 10 seconds.
If Address UL= 0x7F is received, transmission of all meter data will be halt-
ed immediately. (disable)
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
12.3.23 Parameter change (Remote Time Counter)
When transmission is enabled by receiving a Request of Remote Time
Counter, the Time Counter data is transmitted every 50 msec for 10 sec-
onds. When you want to transmit Counter information continuously, a
Request must be transmitted within every 10 seconds.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When transmission is enabled by receiving a Request, the Time Counter
information is transmitted on [RxCH] channel every 50 msec for 10 sec-
onds.
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.
12.3.24 Parameter request (Remote Time Counter)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When this is received, the Time Counter information is transmitted on the
[Rx CH] channel every 50 msec for 10 seconds.
When the second byte of Address is received on 0x7F, data transmission
will be halted immediately.
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
12.3.25 Parameter change (Automix Status)
When transmission is enabled by receiving a Request of Automix status,
the Automix Status data is transmitted every second for 10 seconds. When
you want to transmit the Automix Status information continuously, the
Request must be transmitted continuously minimum within 10 seconds
interval. The data is transmitted continuously while the transmission is en-
abled, even when the Automix Status on the 02R96 has been changed.
Reception
This is echoed if [Parameter change ECHO] is ON.
Transmission
When the transmission is set to enable by receiving a Request. The Auto-
mix Status data is transmitted on the [Rx CH] channel every second for 10
seconds. The data is transmitted continuously while the transmission is
enabled, even when the Automix Status on the 02R96 has been changed.
Transmission will be disabled if the power is turned off and on again, or if
the PORT setting is changed.
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
12.3.26 Parameter request (Automix Status)
Reception
This is received if [Parameter change RX] is ON and the [Rx CH] matches
the device number included in the SUB STATUS.
This is echoed if [Parameter change ECHO] is ON.
When the data is received, the Automix Status data is transmitted on the
[Rx CH] every second for 10 seconds.
When the second byte of Address is received on 0x7F, data transmission
will be halted immediately (disable).
Transmission
If [Parameter Change ECHO] is ON, this message is retransmitted without
change.
STATUS 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 00001011 0B 02R96
ADDRESS 00100001 21 Address UU
0aaaaaaa aa Address UL
0aaaaaaa aa Address LU
0aaaaaaa aa 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 00001011 0B 02R96
ADDRESS 00100001 21 Address UU
0aaaaaaa aa Address UL
0aaaaaaa aa Address LU
0aaaaaaa aa Address LL
DATA 0cccccccccc Count H
0ccccccccCc 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 00001011 0B 02R96
ADDRESS 00100001 22 Remote Time Counter
0000tttt 0t 0:Time Code, 1: Measure, Beat, Clock
DATA 0ddddddd dd Hour / Measure H
0ddddddd dd Min / Measure L
0ddddddd dd Sec / 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 00001011 0B 02R96
ADDRESS 00100001 22 Remote Time Counter
0aaaaaaa aa 0:Transmission request,
0x7F:Transmission stop request
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 00001011 0B 02R96
ADDRESS 00100011 23 Automix Status
00000000 00
DATA 0000dddd 0d Automix Status H
0000dddd 0d Automix Status 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 00001011 0B 02R96
ADDRESS 00100011 23 Automix Status
0aaaaaaa aa 0:Transmission request,
0x7F:Transmission stop request
EOX 11110111 F7 End of exclusive
288 Appendix D: Options
02R96—Owner’s Manual
Appendix D: Options
MB02R96 Peak Meter Bridge
Installation
1Unscrew the four fixing screws 1 on the 02R96 rear panel to which the
meter bridge will be attached.
2Using the four supplied 8 mm screws B, attach the brackets to the meter
bridge, as shown below.
3Align the meter bridge with the 02R96, and, using two of the supplied
12 mm screws C, screw in the top two fixing screws, but don’t tighten them
fully.
4Screw in the bottom two screws C and tighten them fully.
5Fully tighten the top two screws C.
6Connect the meter bridge cable to the 02R96’s METER port.
1 1
2
2
3
3
MB02R96 Peak Meter Bridge 289
02R96—Owner’s Manual
Meter Bridge Controls
A Channel indicators
These indicators show which channels are currently being
metered: Input Channels 1–24, 25–48, or 49–56 and Aux Sends
1–8 and Bus Outs 1–8.
B INPUT METERING POSITION button & indicators
This button is used to set the metering position for Input Channels
to pre-EQ, pre-fader, or post-fader. It works in unison with the
PRE EQ, PRE FADER, and POST FADER buttons for Input
Channels on the Meter pages. The indicators show the current set-
ting.
C PEAK HOLD button
This button is used to turn the Peak Hold function on and off. Its
indicator lights up when Peak Hold is on. It works in unison with
the PEAK HOLD buttons on the Meter pages.
D LAYER buttons
These button are used to select Layers for metering. The button
indicator for the currently selected Layer lights up. If the Meter
Follow Layer preference is on (see page 198), these Layers are
selected automatically when the LAYER buttons on the 02R96 are
pressed.
E OUTPUT METERING POSITION button & indicators
This button is used to set the metering position for Output Chan-
nels to pre-EQ, pre-fader, or post-fader. It works in unison with
the PRE EQ, PRE FADER, and POST FADER buttons for Output
Channels on the Meter pages. The indicators show the current set-
ting.
F Meters
These 12-segment LED meters display the signals levels of the
channels on the currently selected Layer.
G STEREO meters
These 32-segment meters display the signal levels of the Stereo
Out.
H CONTROL ROOM button
This button is used to display the level of the Control Room signal
on the STEREO meters. Its indicator lights up when the STEREO
meters are displaying Control Room levels.
I BUS meters
These 12-segment LED meters display Bus Out signal levels.
56
OVER
1
3
4
7
6
8
2
5
9
290 Appendix D: Options
02R96—Owner’s Manual
SP02R96 Wooden Side Panels
Attach the side panels as shown below.
291
02R96—Owner’s Manual
Index
Symbols
+48V ON/OFF switches 5
Numerics
1–24 button 15
25–48 button 15
2TR I/O
channel status 48
dithering outputs 48
patching digital outputs 56
patching direct outs 56
patching inputs 52
sampling rate conversion 44
2TR IN ANALOG 1 +4 dB (BAL) 25
2TR IN ANALOG 2 –10 dBV (UNBAL)
25
2TR IN DIGITAL AES/EBU 1 27
2TR IN DIGITAL COAXIAL 2 & 3 27
2TR OUT DIGITAL AES/EBU 1 26
2TR OUT DIGITAL COAXIAL 2 & 3 26
2TR OUT DIGITAL OUT PATCH page
56
3-1 surround mode 69
5.1 surround mode 69
96 kHz, 88.2 kHz, 48 kHz, 44.1 kHz,
selecting 42
A
Absolute mode, automix 148
AC IN connector 28
AD inputs
connectors 24
in detail 39
patching 52
patching output channel insert ins
55
summary 5
talkback 121
Adat I/O card 45
AES/EBU I/O card 45
AMP SIMULATE 233
Analog I/O & the AD input section
chapter 39
Architecture
channels 1
I/O 1
ASSIGN 1 & 2 buttons, control room 21
ASSIGN 1 & 2 buttons, encoder mode 7
Assigning
control changes 167
parameters to encoders 37
program changes 166
see also Routing
targets to the remote layer 189
user defined keys 196
ATTACK control 12
Attenuating
cascade inputs 51
channel signals 90
AUTO buttons
about 5
in detail 149
Pro Tools 173
STEREO 15
using 154
Auto channel select 34
Auto Channel Select preference 197
Auto DYNAMICS Display preference
197
Auto EQ Edit In preference 199
Auto EQUALIZER Display preference
197
Auto Inc TC Capture preference 199
AUTO PAN 5.1 246
Auto PAN/SURROUND Display
preference 197
Auto ROUTING Display preference 197
Auto scene memory update 139
Auto SOLO Display preference 197
Auto WORD CLOCK Display
preference 197
Automix
about 145
absolute mode 148
AUTO buttons 149
cascading consoles 49
copying events 158
deleting events 161
duplicating events 161
erasing events 158
EVENT COPY page 158
EVENT EDIT page 161
event list 161
FADER EDIT pages 151
features 2
inserting events 161
library 130
MAIN page 146
MEMORY page 150
merging events 158
motors on/off 151
moving events 158
offline editing 158
overwrite parameters 148
parameter recording 155
playback 157
protecting memories 130
punching individual parameters 156
recording 154
relative mode 148
rerecording 154
return mode 147
storing via bulk dump 168
takeover mode 147
time signature map 153
timecode offset 146
timecode source 152
touch sense in/out 151
trim edit 159
undo 148
update to end 146
what’s recorded 145
AUTOMIX button 7
Automix chapter 145
AUTOMIX MAIN page 146
AUTOMIX MEMORY page 150
AUTOMIX page 130
Automix Store Undo preference 199
AUTOPAN 229
AUX 1–8 buttons 6
AUX 7 button, studio 20
AUX 8 button, studio 20
AUX button, encoder mode 7
AUX FADER VIEW page 111
AUX PAN CH pages 84
AUX SELECT section
about 6
Pro Tools 174
using 79
AUX SEND CH pages 80
Aux sends
attenuating 90
automix 145
channel library 123
compressors 97
delay 101
EQ 91
fixed mode 79
follow surround pan 105
grouping faders 106
grouping mutes 107
inserts 95
link pan to input channels 84
master level setting 86
metering 88
muting 85
naming 112
pairing 104
pan modes 84
panning 84
patching to 2TR digital outputs 56
patching to effects 53
patching to input channels 52
patching to omni outs 55
patching to slot outputs 54
pre/post fader 79
scene recall safe 143
setting levels 80
soloing 102
variable mode 79
viewing fader settings 109
viewing parameter settings 108
viewing settings 82
Aux sends chapter 79
AUX, fader mode 7
B
Balance, stereo out 75
Bars, time signature map 153
BASS MANAGE 118
Battery check 200
BATTERY CHECK page 200
BI-DIRECTIONAL, cascade setting 51
Bulk dump 168
BULK DUMP page 168
292
02R96—Owner’s Manual
BUS button 21
BUS FADER VIEW page 110
Bus outs
attenuating 90
automix 145
bus to stereo library 126
channel library 123
compressors 97
delay 101
EQ 91
grouping faders 106
grouping mutes 107
inserts 95
level setting 77
metering 88
muting 77
naming 112
pairing 104
patching to 2TR digital outputs 56
patching to input channels 52
patching to omni outs 55
patching to slot outputs 54
routing to 66
routing to stereo out 78
scene recall safe 143
soloing 102
viewing fader settings 109
viewing parameter settings 108
Bus outs chapter 76
BUS TO STEREO LIBRARY page 126
BUS TO STEREO page 78
Bypassing effects 134
C
Cascade COMM Link preference 198
CASCADE IN page 51
CASCADE IN port 27
CASCADE IN port pin assignments 271
CASCADE OUT page 51
CASCADE OUT port 27
CASCADE OUT port pin assignments
271
Cascading consoles
about 49
attenuating cascade inputs 51
hookup examples 50
linked functions 49
master setting 51
turning off cascade outputs 51
Category, channel status 48
CH DIRECT OUT DESTINATION
pages 56
CH EQUALIZER LIBRARY page 129
CH FADER EDIT pages 151
CH FADER VIEW page 109
CH GATE EDIT page 60
CH PARAMETER VIEW page 108
CH SURROUND EDIT page 70
Channel display mode, Pro Tools 172
Channel ID/Channel preference 198
CHANNEL INSERTS button 9
CHANNEL LIBRARY page 123
Channel names, assigning 112
Channel status monitor 48
CHANNEL STATUS MONITOR page
48
Channel strips
about 5
Pro Tools 173
selecting layers 33
user defined remote layer 190
CHORUS 227
CHORUS 5.1 246
CLEAR button 20
Clear Edit Channel after REC preference
199
Clearing library memories 122
Clearing scene memories 141
Combination effects 132
Common channel functions chapter 87
COMP 5.1 249
COMP EDIT page 98
COMP indicator 12
COMP LIBRARY page 128
COMP ON button 12
COMPAND 5.1 250
Compander 97
Compressors
grouping input channels 63
grouping output channels 100
library 128
order 96
parameter table 264
presets 97
using 97
Confirmation messages 32
Contrast control 10
CONTROL CHANGE ASSIGN TABLE
page 167
Control changes
assignments 167
echoing 165
omni 165
receive enable 165
storing assignments via bulk dump
168
transmit enable 165
CONTROL port 27
CONTROL port pin assignments 271
Control room
dimmer level 115
monitoring 114
patching to 2TR digital outputs 56
setup 115
CONTROL ROOM button 20
CONTROL ROOM LEVEL control 21
CONTROL ROOM MONITOR OUT
+4 dB (BAL) 25
CONTROL ROOM SETUP page 115
Control surface
features 3
illustration 4
Control surface & rear panel chapter 4
Cooling fan 28
Copy Initial Fader preference 199
Copy, channel status 48
Copying automix events 158
Current scene display 29
Currently selected channel
display 30
name display 30
selecting 34
Currently selected page
page number display 30
selecting 31
title display 30
Cursor buttons 18
D
Data entry section
about 18
Pro Tools 178
DAW
MIDI port setup 164
see alsoPro Tools
DEC button 18
DECAY control 12
DEL, title edit window 32
DELAY button 12
Delay effects 131
DELAY LCR 226
DELAY SCALE 101
DELAY+ER. 239
DELAY+REV 241
DELAY->ER. 240
DELAY->REV 242
Delaying channel signals 101
Deleting automix events 161
Digital I/O & cascading chapter 41
Dimensions 272
DIMMER button 22
Dimmer level, control room 115
Dimmer level, talkback 121
DIO button 7
DIO Warning preference 198
DIRECT button 11
Direct outs
patching 56
routing to 66
Display
about 10
confirmation messages 32
in detail 29
parameter boxes 31
parameter windows 31
Pro Tools 171
DISPLAY ACCESS section 7
DISPLAY ACCESS section, SELECTED
CHANNEL section 12
Display Brightness preference 198
DISPLAY buttons
AUX SELECT 6
DYNAMICS 12
EFFECTS/PLUG-INS 9
ENCODER MODE 6
EQUALIZER 14
MACHINE CONTROL 17
MONITOR 20
PAN/SURROUND 13
293
02R96—Owner’s Manual
ROUTING 11
SCENE MEMORY 16
USER DEFINED KEYS 16
DIST->DELAY 243
DISTORTION 232
DITHER page 48
Dithering digital outputs 48
DIV (divergence) 71
Double channel 47
Double speed 47
DUAL PITCH 231
Ducking, input channels 60
Duplicating automix events 161
DYNA. FILTER 233
DYNA. FLANGE 234
DYNA. PHASER 234
Dynamic effects 132
DYNAMICS section
about 12
compressors 98
gates 60
Dynamics. See Gates and Compressors
E
EARLY REF. 223
ECHO 227
Edit buffer 138
Edit indicators
display 30
SCENE MEMORY section 138
Editing
automix events 158
compressors 97
effects 133
gates 60
library memory titles 122
plug-ins 136
scene memory titles 141
EFFECT 1–4 INPUT/OUTPUT METER
page 88
EFFECT button 14
EFFECT EDIT page 133
EFFECT INPUT PATCH pages 53
EFFECT LIBRARY page 125
Effects
about 131
automix 145
bypassing 134
editing 133
features 2
library 125
metering 88
parameter tables 223
patching inputs 53
patching output channel insert ins
55
patching outputs 52
presets 131
tempo 134
EFFECTS/PLUG-INS 1–4 buttons 9
EFFECTS/PLUG-INS section
about 9
editing effects 133
editing plug-ins 136
Pro Tools 175
Emphasis, channel status 48
ENCODER MODE ASSIGN page 37
ENCODER MODE section
about 6
Pro Tools 174
using 36
Encoder modes, selecting 36
Encoders
about 5
assignable parameter list 38
assigning parameters 37
automix punch in/out 156
panning input channels 67
patching inputs & outputs 58
Pro Tools 173
selecting encoder modes 36
setting aux send levels 80
user defined remote layer 190
ENTER button 18
EQ
automix 145
EQUALIZER EDIT page 93
features 2
frequency 92
gain 92
grouping input channels 62
grouping output channels 94
library 129
presets 91
Q 92
using 91
EQ displays 14
EQ GAIN controls 14
EQ ON button 14
EQUALIZER EDIT page 93
EQUALIZER section
about 14
using 92
Erasing automix events 158
EVENT COPY page 158
EVENT EDIT page 161
Event editing 158
Event list, automix 161
Expander 97
F
F1–F4 buttons
about 10
editing effects 134
editing plug-ins 137
Pro Tools 171
FADER button 7
Fader edit mode 148
FADER MODE section
about 7
Pro Tools 174
using 35
Fader Touch Sensitivity preference 198
Faders
about 6
auto channel select 34
automix punch in/out 156
aux send master levels 86
bus out levels 77
fader edit mode 148
grouping input channels 65
grouping output channels 106
input channel levels 65
motors on/off 151
Pro Tools 174
selecting fader modes 35
setting aux send levels 80
STEREO 15
stereo out level 74
touch sense in/out, automix 151
touch sense select 34
user defined remote layer 190
Fading scenes 142
Fast Meter Fall Time preference 198
Features 1
FF button 17
Fixed mode, aux sends 79
FLANGE 228
FLANGE 5.1 247
FOLLOW PAN button 11
Follow surround pan, aux sends 105
Frame rate, automix 152
FREQUENCY controls 14
FREQUENCY indicators 14
FX 131
G
GAIN control, dynamics 12
GAIN controls, AD inputs 5
Gang mode
aux send pan 84
input channel pan 68
GATE indicator 12
GATE LIBRARY page 127
GATE ON button 12
GATE REVERB 224
GATE/COMP button 12
Gates
library 127
parameter table 264
presets 60
using 60
GPI 195
GPI SETUP page 195
GR meters
compressors 99
gates 61
GRAB button 13
Grounding screw 28
GROUP button 8
Grouping
features 2
input channel compressors 63
input channel EQs 62
input channel faders 65
input channel mutes 64
output channel compressors 100
output channel EQs 94
output channel faders 106
294
02R96—Owner’s Manual
output channel mutes 107
Guitar effects 132
H
HIGH EQ 91
HIGHER SAMPLE RATE DATA
TRANSFER FORMAT page 47
HIGH-MID EQ 91
HOLD control 12
Horizontal pairing 104
HQ. PITCH 230
I
IEEE1394 45
INC button 18
Individual mode
aux send pan 84
input channel pan 68
Initial Data Nominal preference 198
Initializing the 02R96 201
Input & output patching chapter 52
INPUT A & B (BAL) connectors 24
INPUT CH AUX VIEW pages 82
INPUT CH DELAY pages 101
INPUT CH FADE TIME pages 142
INPUT CH FADER GROUP page 65
INPUT CH INSERT IN PATCH pages
53
INPUT CH METER page 87
INPUT CH MUTE GROUP page 64
INPUT CH PAIR pages 104
INPUT CH PAN pages 68
INPUT CH ROUTING pages 66
INPUT CH SURROUND pages 71
INPUT CHANNEL NAME page 112
Input channels
attenuating 90
automix 145
channel library 123
compressors 97
delay 101
EQ 91
gating 60
grouping compressors 63
grouping EQs 62
grouping faders 65
grouping mutes 64
inserts 95
level setting 65
metering 87
muting 63
naming 112
pairing 104
panning 67
patching 52
reversing phase 59
selecting layers 33
soloing 102
viewing fader settings 109
viewing parameter settings 108
Input channels chapter 59
INPUT COMP LINK page 63
INPUT EQUALIZER LINK page 62
INPUT PATCH button 8
INPUT PATCH LIBRARY page 124
INPUT PATCH pages 52
Input patching 52
INPUT PORT NAME page 57
Input port naming 57
INS, title edit window 32
Insert assign/edit display mode, Pro
Tools 172
INSERT I/O +4dB (UNBAL) connectors
24
INSERT ON/OFF switches 5
Inserting automix events 161
Inserts
AD insert on/off switches 5
order 96
patching input channel insert ins 53
patching insert outs to effects inputs
53
patching insert outs to omni outs 55
patching insert outs to slot outputs
54
patching output channel insert ins
55
patching outs to 2TR digital outputs
56
using 95
Installing I/O cards 46
Internal effects & plug-ins chapter 131
INTERNAL EFFECTS button 9
Internal timecode source 152
Internet, yamaha web site iii
Inverse gang mode
aux send pan 84
input channel pan 68
Inverting input channel phase 59
J
Joystick
about 14
panning input channels 67
reverb 5.1 effect 245
surround pan 70
Joystick Auto Grab preference 198
K
Keyin source 61
L
L button 13
L/R Nominal Pan preference 197
Last solo mode 103
LAYER section
about 15
selecting layers 33
Layers
encoder modes 36
fader modes 35
selecting 33
selecting channels 34
Learn function
user defined plug-ins 136
user defined remote layer 190
Left Tab Scroll button 10
LFE 71
Libraries
about 122
automix 130, 145
bus to stereo 126
channel 123
compressor 128
effects 125
EQ 129
gate 127
input patch 124
output patch 124
specifications 267
storing via bulk dump 168
surround monitor 130
using 122
Libraries chapter 122
LINK button 13
Link Capture & Locate Memory
preference 199
LISTEN, solo 103
LOCATE MEMORY 1–8 buttons 17
LOCATE MEMORY page 194
Long channel names, assigning 112
Long port names 57
LOW EQ 91
LOW-MID EQ 91
M
M. BAND DYNA. 248
MACHINE CONFIGURATION page
192
Machine control
about 192
locator 194
machine configuration 192
scrub & shuttle 193
setting locate memories 194
transport buttons 193
MACHINE CONTROL section
about 17
LOCATE MEMORY 194
Pro Tools 177
Macintosh
configuring for Pro Tools 169
MIDI port setup 164
USB driver 163
MASTER button 15
Master layer, selecting 33
MASTER METER page 88
MASTER PARAMETER VIEW page 109
MB02R96 peak meter bridge 288
Measures, time signature map 153
Merging automix events 158
METER button 8
Meter display mode, Pro tools 173
Meter Follow Layer preference 198
METER port 27
Meter, time signature map 153
Metering
effects 88
input channels 87
295
02R96—Owner’s Manual
metering position 87
output channels 88
stereo out 89
METERING POSITION page 87
MIDI
bulk dump 168
control change messages 167
data format 275
features 3
I/O ports 163
MIDI SETUP page 165
parameter change messages 167
port setup 164
ports 27
program change messages 166
supported messages 163
MIDI button 8
MIDI chapter 163
MIDI clock
automix timecode source 152
Tap tempo, effects 134
MIDI SETUP page 165
MIDI Warning preference 198
MIDI/TO HOST SETUP page 164
mini YGDAI. See Slots
Mix solo mode 103
Mix Update Confirmation preference
199
Mixdown, solo status 102
mLAN I/O card 45
MMC. See Machine control
MOD. DELAY 225
MOD. FILTER 232
Modulation-based effects 132
MONITOR ALIGNMENT 119
MONITOR MATRIX 118
MONITOR section 20
Monitoring
configuring surround monitoring
117
control room 114
control room setup 115
studio 115
surround 116
Monitoring & talkback chapter 114
MONO DELAY 224
Motors on/off 151
Moving automix events 158
MS decoding 105
MTC TIME CODE INPUT connector
26
MTC, timecode source 152
MULTI FILTER 243
Multi-effects 131
Muting
automix 145
aux sends 85
bus outs 77
grouping input channels 64
grouping output channels 107
input channels 63
stereo out 74
N
Naming channels 112
Naming library memories 122
Naming scene memories 140
NEVER LATCH TALKBACK 121
O
OCTA REVERB 245
Offline editing 158
Offsetting automix timecode 146
OMNI OUT +4dB (BAL) 26
OMNI OUT PATCH page 55
Omni outs
about 40
patching 55
patching direct outs 56
Omni, MIDI 165
OMS
configuring for Pro Tools 170
installing for Pro Tools 169
ON buttons
channel strips 6
Pro Tools 173
see also Grouping
see also Muting
STEREO 15
user defined remote layer 190
Operating basics chapter 29
Options iii
Order, inserts/compressors 96
Oscillator 200
OSCILLATOR page 200
Other functions chapter 196
OUTPUT CHANNEL NAME page 112
Output channels
attenuating 90
compressors 97
delay 101
EQ 91
grouping compressors 100
grouping EQs 94
grouping faders 106
grouping mutes 107
inserts 95
library 123
metering 88
naming 112
pairing 104
selecting master layer 33
soloing 102
viewing fader settings 109
viewing parameter settings 108
OUTPUT COMP LINK page 100
OUTPUT DELAY page 101
OUTPUT EQUALIZER LINK page 94
OUTPUT FADE TIME page 142
OUTPUT FADER GROUP page 106
OUTPUT INSERT IN PATCH page 55
OUTPUT MUTE GROUP page 107
OUTPUT PAIR page 104
OUTPUT PATCH button 8
OUTPUT PATCH LIBRARY page 124
Output patching 54
OUTPUT PORT NAME page 57
Output port naming 57
Overwrite parameters 148
P
Package contents iii
PAD switches 5
Pages
page number display 30
page tab scroll arrows 30
selecting 31
tabs 30
title display 30
PAIR button 8
Pairing channels
features 2
pan modes 68
using 104
PAN button 6
PAN control 13
PAN display 13
PAN/SURROUND section
about 13
joystick and surround pan 70
panning input channels 67
Panning
automix 145
aux sends 84
input channels 67
modes 68
Parameter boxes 31
Parameter change messages 167
Parameter controls 1–4 9
Parameter Up/Down buttons 9
Parameter wheel 18
Parameter windows 31
Patch Confirmation preference 197
Patch link 141
Patch select window 57
Patching
2TR digital outputs 56
direct outs 56
effects inputs 53
features 2
input channel insert ins 53
input channels 52
input library 124
inputs 52
omni outs 55
output channel insert ins 55
output library 124
outputs 54
patch select window 57
scene memory links 141
slot outputs 54
surround monitor 120
with the encoders 58
Patterns 71
PC
configuring for Pro Tools 169
MIDI port setup 164
USB driver 163
Peak hold 87
296
02R96—Owner’s Manual
PEAK indicators 5
Phantom power switches 5
Phase, input channel phase reverse 59
PHASE/INSERT button
about 12
reversing phase 59
PHASER 229
Phone jacks 23
PHONES jack 19
PHONES LEVEL control 19
Phono connectors 23
Picture of control surface 4
PLAY button 17
PLAY button, automix 149
Playing back an automix 157
PLUG-IN EDIT page 136
PLUG-IN SETUP page 135
Plug-ins
about 135
configuring 135
editing 136
MIDI port setup 164
storing via bulk dump 168
PLUG-INS button 9
Port ID/Port preference 198
Port IDs 57
Port names 57
Position, compressors 96, 99
Position, inserts 95
Post/pre. See Pre/post
Power cord 29
POWER switch 28
Powering up the 02R96 29
Pre/post
aux sends 79
metering 87
solo 103
PREFERENCES1 page 197
PREFERENCES2 page 198
PREFERENCES3 page 199
Presets
compressors 97
effects 131
EQ 91
gates 60
Pro tools
arming parameters for automation
188
assigning inserts/plug-ins 182
automation 187
AUX SELECT section 174
bypassing plug-ins 184
channel display mode 172
channel strips 173
configuring 170
configuring Macintosh computers
169
configuring sends as pre or post 180
configuring the 02R96 169
configuring Windows computers
169
control surface operation 171
data entry section 178
display 171
editing plug-ins 183
EFFECTS/PLUG-INS section 175
ENCODER MODE section 174
FADER MODE section 174
flip mode 181
insert assign/edit display mode 172
MACHINE CONTROL section 177
making fine adjustments to the
selected region 185
meter display mode 173
muting channels 179
muting sends 180
navigating the edit window 184
OMS 169
panning channels 179
panning sends 180
resetting faders, sends, & panpots
184
scrub & shuttle 186
selecting channels 179
setting channel levels 179
setting send levels 180
setting the automation mode 187
soloing channels 179
trim mode 188
USER DEFINED KEYS section 176
viewing send destinations 180
zooming 185
Pro tools remote layer chapter 169
PROGRAM CHANGE ASSIGN TABLE
page 166
Program changes
assignments 166
echoing 165
omni 165
receive enable 165
storing assignments via bulk dump
168
transmit enable 165
Protecting automix memories 130
Protecting scene memories 141
Punch in/out, individual parameters 156
Q
Q controls 14
Q indicators 14
Q, EQ 92
R
R button 13
RANGE control 12
RATIO control 12
RCA connectors 23
Read-only memories 122
Rear panel 23
REC button 17
RECALL button 16
Recall Confirmation preference 197
RECALL SAFE page 143
Recalling
library memories 122
scene memories 140
Receive channel 165
Receive Full Frame Message preference
199
Recording an automix 154
Recording, solo status 102
Relative mode, automix 148
RELEASE control 12
REMOTE button, DISPLAY ACCESS 8
REMOTE button, LAYER 15
Remote control chapter 189
Remote layer
about 189
assigning targets 189
MIDI port setup 164
Pro Tools 169
selecting 33
REMOTE page 189
REMOTE page, Pro Tools 171
REMOTE page, user defined 190, 191
Requesting bulk dump 168
Rerecording an automix 154
Return mode, automix 147
REV+CHORUS 235
REV+FLANGE 236
REV+SYMPHO. 237
REV->CHORUS 235
REV->FLANGE 236
REV->PAN 238
REV->SYMPHO. 237
REVERB 5.1 245
Reverb effects 131
REVERB HALL 223
REVERB PLATE 223
REVERB ROOM 223
REVERB STAGE 223
REVERSE GATE 224
Reversing input channel phase 59
REW button 17
Right Tab Scroll button 10
RING MOD. 232
ROTARY 231
ROUTING 1–8 buttons 11
Routing input channels 66
ROUTING section
about 11
using 66
S
Safe channels, automix 151
Safe channels, scene memories 143
Safe channels, solo 102
Sampling rate
2TR IN SRC 44
display 30
setting 42
slot SRC 47
SAMPLING RATE CONVERTER page
44
Scene down button 16
Scene MEM Auto Update preference 198
Scene memories
about 138
auto scene memory update 139
297
02R96—Owner’s Manual
automix 145
cascading consoles 49
current scene display 29
edit buffer 138
edit indicator 138
fading scenes 142
memory #0 139
MIDI program changes 166
protecting 141
recalling 140
safe channels 143
sorting 144
storing 140
storing via bulk dump 168
undo memory 139
what’s stored 138
Scene memories chapter 138
SCENE MEMORY page 141
SCENE MEMORY section
about 16
display 16
using 140
SCENE MEMORY SORT page 144
Scene up button 16
Scroll arrows, pages 30
SCRUB button 18
SEL buttons
input channels 5
pairing channels 104
Pro Tools 173
selecting channels 34
STEREO 34
SEL MODE, solo 103
SELECTED CHANNEL section 11
Selecting
auto channel select 34
channels 34
encoder modes 36
fader modes 35
layers 33
pages 31
touch sense select 34
SERIAL TO HOST port 26
MIDI 163
timecode source 152
SET button 17
SET SPL85 117
Setting levels
aux send masters 86
aux sends 80
bus outs 77
input channels 65
stereo out 74
SETUP button 7
Shadow memories 139
SHIFT LOCK, title edit window 32
Short channel names 112
Short port names 57
Show Compact Size preference 199
SHUTTLE button 18
SIGNAL indicators 5
SLOT button 21
SLOT OUTPUT PATCH pages 54
Slots
about 28, 45
available cards 45
card restrictions 45
channel status 48
dithering outputs 48
double channel 47
double speed 47
installing cards 46
MIDI 163
patching direct outs 56
patching inputs 52
patching output channel insert ins
55
patching outputs 54
timecode source 152
SMPTE TIME CODE INPUT connector
26
Solo
cascading consoles 49
configuring 102
safe channels 103
sel mode 103
status 102
trim 103
using 102
SOLO buttons
about 6
Pro Tools 173
using 102
SOLO indicator 20
SOLO SETUP page 102
SOLO TRIM 103
Soloing channels 102
Sonic Spec 1
Sorting scene memories 144
SP02R96 wooden side panels 290
SPEAKER SETUP 117
Specifications 260
SRC. See Sampling rate
STATUS, solo 102
STEREO 2TR A1 button 21
STEREO 2TR A2 button 21
STEREO 2TR D1 button 21
STEREO 2TR D2 button 21
STEREO 2TR D3 button 21
STEREO button, control room 21
STEREO button, routing 11
STEREO button, studio 20
STEREO DELAY 225
STEREO fader 15
STEREO FADER VIEW page 111
Stereo link, compressors 99
Stereo link, gates 61
Stereo link, surround pan 71
STEREO METER page 89
Stereo out
attenuating 90
automix 145
balance 75
channel library 123
compressors 97
delay 101
EQ 91
grouping faders 106
grouping mutes 107
inserts 95
level setting 74
metering 88, 89
muting 74
naming 112
patching to 2TR digital outputs 56
patching to omni outs 55
patching to slot outputs 54
routing to 66
scene recall safe 143
viewing fader settings 109
viewing parameter settings 108
STEREO OUT +4 dB (BAL) 25
STEREO OUT –10 dBV (UNBAL) 25
Stereo out chapter 73
STEREO section 15
STOP button 17
STOP button, automix 149
STORE button 16
Store Confirmation preference 197
Storing
library memories 122
scene memories 140
STUDIO LEVEL control 19
Studio manager port setup 164
STUDIO MONITOR OUT +4 dB (BAL)
24
Studio monitoring 115
SURROUND MODE SELECT page 69
SURROUND MONITOR LEVEL
control 21
SURROUND MONITOR LIBRARY 130
SURROUND MONITOR page 116
SURROUND MONITOR PATCH page
120
SURROUND MONITOR SETUP page
117
Surround monitoring 116
configuring 117
library 130
patching slot inputs 120
patching to omni outs 55
patching to slot outputs 54
Surround pan
automix 145
aux send pan 105
channel page 71
edit page 70
features 3
joystick 70
selecting modes 69
using 69
Switching on the 02R96 29
SYMPHO 5.1 247
SYMPHONIC 228
T
Tabs, pages 30
Takeover mode, automix 147
Talkback
298
02R96—Owner’s Manual
AD inputs 121
dimmer level 121
mic 19
setup 121
using 121
TALKBACK button 22
TALKBACK LEVEL control 19
TALKBACK SETUP page 121
Tascam I/O card 45
TC Drop Warning preference 198
Tempo, effects 134
Terminating wordclocks 43
THRESHOLD control 12
TIME REFERENCE page 152
Time signature map, automix 153
TIME SIGNATURE page 153
Timecode
automix source 152
capturing, automix 161
capturing, locate memories 194
capturing, setting memories 194
display 146
offset 146
Title edit window 32
Titling library memories 122
Titling scene memories 140
TO END 146
Touch Sense Control preference 199
Touch sense in/out, automix 151
Touch sense select 34
Touch Sense Select preference 199
Transmit channel 165
Transmitting bulk dump 168
Transport. See Data entry section
TREMOLO 230
Trimming automix events 159
Turning channels on or off. See Muting
Turning on the 02R96 29
Type I/II EQ 93
U
Undo automix 148
Undo scene memory 139
UPDATE 146
USB TO HOST port 26
drivers 163
MIDI 163
timecode source 152
USER DEFINED KEY ASSIGN page 196
USER DEFINED KEYS 1–16 16
USER DEFINED KEYS section
about 16
Pro Tools 176
using 196
User defined layer
automix 145
configuring 190
storing via bulk dump 168
using 191
User defined plug-ins
about 135
automix 145
configuring 135
editing 136
storing via bulk dump 168
UTILITY button 8
V
Variable mode, aux sends 79
Vertical pairing 104
VIEW button 8
Viewing channel fader settings
input channels 109
output channels 109
Viewing channel parameter settings
input channels 108
output channels 108
W
Waves Y56K plug-ins effects card 135
Web site iii
Welcome chapter 1
Windows
configuring for Pro Tools 169
MIDI port setup 164
USB driver 163
WORD CLOCK 75Ω ON/OFF
termination switch 27
WORD CLOCK IN connector 27
WORD CLOCK OUT connector 27
WORD CLOCK SELECT page 42
Wordclocks
about 41
connections 41
selecting the source 42
terminating 43
X
XLR connectors 23
Y
Y56K plug-ins effects card 135
Yamaha web site iii
YGDAI. See Slots
02R96 Block Diagram
2
2
2
2
2
2
PHONES
LEVEL
16
16
16
16
STEREO L
STEREO R
SOLO L
SOLO R
AUX 1
AUX 8
SLOT1
SLOT2
SLOT3
SLOT4
16
16
16
16
BUS1
(L)
BUS2
(R)
BUS3
(L/C/Ls)
BUS4
(R/S/Rs)
BUS5
(L/C)
BUS6
(R/LFE)
BUS7
BUS8
CASCADE OUT
Mono in x 56
OUTPUT
DELAY
METER
ATT 4BAND
EQ
INSERT INSERT LEVEL
STEREO L
INPUT 1(...56)
ATT 4BAND
EQ
INPUT
DELAY
METER
LFE
SOLO
PRE/POST ON
DIRECT OUT 1(...56)
Keyin
12ch Group(1-12,13-24....)
AUX 1-8
INSERT
PAN
PAN
GATE
AD
x 16
x 8
INPUT
(1-16)
ON
AUX
Same as above AUX1(...8)
COMP
METER
(Gain Reduction)
INSERT
ON LEVEL
COMP
METER
(Gain Reduction)
BAL
INSERT
+48V
PHANTOM
Keyin
Self or Stereo Link
INSERT I/O
(1-16)
INPUT
(17-24)
SLOT IN
(1-4)
TO SURROUND MONITOR
64
TO TALKBACK SELECT
SIGNAL
PEAK
SIGNAL
PEAK
GAIN
INSERT
PAD
AD Input
1-16
SLOT1 Input
1-16
SLOT2 Input
1-16
SLOT3 Input
1-16
SLOT4 Input
1-16
INPUT PATCH
AD IN 1( ...16)
AD Input
17-24
AD IN 17( ..24)
METER
(Out Meter)
(Gain Reduction)
(Out Meter)
METER
METER
Same as stereo master L STEREO R
METER
METER
(Out Meter)
OUTPUT
DELAY
METER
ATT 4BAND
EQ
INSERT INSERT LEVEL
ON
COMP
METER
(Gain Reduction)
INSERT
METER
METER
(Out Meter)
BUS 1(...8)
TO INPUT PATCH
PAN BUS to STEREO
LEVEL
ON
TO INPUT PATCH
METER
SOLO R
AUX1(...8)
BUS 1(...8)
STEREO OUT
L
R
L
R
(-10dBV)
(+4dB)
DA
DA
CONTROL ROOM
2
STEREO
2TR OUT DIGITAL PATCH
2
8
56
74
AUX1-8
BUS1-8
DIRECTOUT1-56
INSERT OUT
2TR OUT DIGITAL 1
2TR OUT DIGITAL 2
2TR OUT DIGITAL 3
2
8
8
56
74
STEREO
AUX1-8
BUS1-8
DIRECT OUT 1-56
INSERT OUT
OUTPUT PATCH
OMNI OUT
1
2
3
4
5
6
7
8
SLOT1
SLOT2
SLOT3
SLOT4
TALKBACK DIMM
DA
DA
DA
DA
DA
DA
DA
DA
8
FX1-4
Sur1
EFFECT
AUX1-8
INSERT OUT
8
74
16
FX1 SEND 1-8
FX2 SEND 1-2
FX3 SEND 1-2
FX4 SEND 1-2
2TR IN ANALOG 1 AD
2TR IN DIGITAL 1
2
SRC
2TR IN DIGITAL 2 SRC
2TR IN DIGITAL 3 SRC
2TR IN ANALOG 2 AD
AES/EBU
TRS
RCA
AUX1-8 8
BUS1-8 8
TO MONITOR SELECT
10
COAXIAL
2TRD1 L/R
2TRD2 L/R
2TRD3 L/R
2TRA1 L/R
2TRA2 L/R
AUX1-8
BUS1-8
Sur1 Return 1-8
FX1 Return 1-2
FX2 Return 1-2
FX3 Return 1-2
FX4 Return 1-2
SINE 100Hz
SINE 1kHz
SINE 10kHz
Pink Noise
Burst Noise
LEVEL ON
CASCADE IN
isolate
off
To CASCADE OUTPUT
TB
AD
TALK BACK
AD IN 1-16
PHONES
SOLO LOGIC
TB
DIMM
DIMM
STUDIO
LEVEL
STUDIO MONITOR OUT
L
R
CONTROL ROOM MONITOR OUT
L
R
C-R
LEVEL
CONTROL
ROOM
STEREO
AUX8 AUX8
AUX7
AUX7
DA
DA
STEREO
2TR D1
2TR D2
2TR D3
2TR A1
2TR A2
MONITOR SELECT
BUS1-8
AUX1-8
8
8
ASSIGN1
SOLO L
8
8
ASSIGN2
8
SURROUND MONITOR
L
R
Ls/S
Rs
C
LFE
SURROUND MONITOR
LEVEL
TO OUTPUT PATCH
SURROUND MONITOR to C-R
8
BUS1-8 8BUS
DIMM
SLOT3 Input 1-8 88
SLOT4 Input 1-8 88
SLOT2 Input 1-8 88
SLOT
8x8
Patch
SLOT1 Input 1-8 88
ATT
USE AD IN (1-16)
AS TALKBACK
2
SELECT
METER
STEREO 2
L
R
2
2
0
26
OFF
ON
OFF
ON
+18dB
+4dB for each OMNI OUT
L
R
L
R
A
B
STEREO L
STEREO R
OSCILLATOR
DITHER
DITHER
DELAY
DELAY
DELAY
DELAY
DELAY
DELAY
DELAY
DELAY
HPF
HPF
HPF
HPF
HPF
LPF1
LPF2
PINK NOISE
500-2kHz
BPF
1kHz, 50Hz
MONO
DITHER
DITHER
DITHER
DITHER
OMNI 1
OMNI 2
OMNI 3
OMNI 4
OMNI 5
OMNI 6
OMNI 7
OMNI 8
SLOT1
SLOT2
SLOT3
SLOT4
DA
DA
DA
DA
STEREO L
STEREO R
COAXIAL
2
AD
2
DITHER
AES/EBU
COAXIAL
COAXIAL
SLOT IN
(1-4)
02R96 Level Diagram
DA
DSP Noise Floor
PHASE GATEAD
dBu
Analog
CASCADE IN CASCADE OUT Digital Clipping Level Max. Output
Nominal Output
[+18dBu]
[+4dBu]
[+18dBu]
[+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
0
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
–110
–120
–130
–140
–150
–160
+24
+4
–170
–180
–190
Input
Max. [+24dBu]
[+10dBu]
[–60dBu]
[–46dBu]
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
CONTROL ROOM MONITOR OUT
STEREO OUT
STUDIO MONITOR OUT
OMNI OUT (default setting:18dB)
OMNI OUT (4dB)
YAMAHA [Digital Mixing Console-Internal Parameters] Date: 20 Mar. 2002
Model: 02R96
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
O
X
X
Automix
System
Real Time
:Clock
:Commands
X
X
O
O
Automix,
Effect Control
Aux
Messages
:Local ON/OFF
:All Notes OFF
:Active Sense
:Reset
X
X
X
X
X
X
O
O
Notes
MTC quarter frame message is recognized (MTC IN & MIDI IN).
*1: Bulk Dump/Request, Parameter Change/Request, and MMC.
For MIDI Remote, ALL messages can be transmitted.
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
O: Yes
X: No
Owner’s ManualOwner’s Manual
V868730 R0 1 IP 320
02 04 830 AP Printed in Japan
YAMAHA CORPORATION
Pro Audio & Digital Musical Instrument Division
P.O. Box 3, Hamamatsu, 430-8651, Japan

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