Yamaha 01_24ver2 If Not Then DM2000V2 Brochure 052605

User Manual: Yamaha If not then Manual: ://www.yamaha.com/yamahavgn/s/ProAudio/DM2000V2_brochure_052605

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D I G I T A L

P R O D U C T I O N

Dedicated DSP LSIs Deliver
Unprecedented 24-bit,
96 kHz Performance
Unlike equipment that achieves operation in 96K mode with
reduced number of tracks, the DM2000 imposes no such limitations —
whether running at 44.1kHz, 48kHz, 88.2kHz or 96kHz. In the DM2000,
96kHz with 32-bit internal processing is the standard. To achieve this, no
fewer than 14 newly-developed YAMAHA DSP7 LSIs are utilized in the mixer
section, and eight DSP6 LSIs for effects, achieving performance that stretches
the limits of the most advanced technology currently available. By way of
comparison, the Yamaha 02R – the digital mixing console that almost singlehandedly started the digital production revolution, and rapidly became the
industry standard – uses six DSP3 chips in it’s mixer section. A single DSP7
chip has more than four times the processing power of a DSP3. The DM2000
provides more than 9 times the processing power of the 02R. We’re talking
about 96 channels of super-clean, super-dynamic, noise-free 24-bit/ 96 kHz
audio, plus all the additional effects and processing you’ll ever need for most
applications. At 44.1 or 48 kHz the DM2000 is barely idling.

THE FIRST CHOICE FOR
DIGITAL AUDIO PRODUCTION JUST GOT BETTER
It wasn’t that long ago that Yamaha’s groundbreaking DM2000 Digital Mixing Console took the professional audio world by storm,
establishing digital mixing and the 24-bit/96-kHz format as the industry’s standards.
In the same way that the Yamaha DMC1000, 02R and then the PM1D revolutionized the fledgling field of digital mixing
as it grew in rapidly increasing leaps and bounds throughout the last decade,
the Yamaha DM2000 Digital Production Console has defined the industry standard.
Much more than simply a high-performance digital mixer, the DM2000 is a total production tool that also offers 96 kHz effects,
advanced surround production facilities, extensive integrated DAW and machine control,
computer and memory-card based data management, an extraordinarily flexible bus system with digital patching, inserts.
Moreover, the “smaller brothers” in the new range, DM1000, 02R96 and 01V96 follow the common user interface of the DM2000,
and mix data is interchangeable using the supplied Studio Manager Application software.
These consoles can be linked and cascaded interactively within a multi-complex studio, or a tour engineer can do a basic console setup
on his laptop computer anywhere, and then simply load the settings into the console at the venue.
Now the DM2000 Version 2 offers, in addition to the significant overall performance enhancements, a range of new features
that add advanced capabilities for audio production, broadcast, and live applications.
But there’s more. You also get the capability to install the new optional ADD-ON EFFECTS,
providing a range of state-of-the-art effect programs in addition to the current internal effect list.
Experience another step into the future with the DM2000 Version 2.

Musikmesse International Press Award

2002-03 Best Mixing Desk - High End
2003 Best Mixing Desk - Live
19th Annual Technical Excellence & Creativity (TEC) Award
Sound Reinforcement Console Technology

Internal Effects Fully Support
96 kHz Processing
What’s the point of having 24 bit/96 kHz audio if you have to convert down to
a lower sampling rate for effect processing? The point may seem obvious, but
that’s exactly what’s happening if you’re using hardware or software
processors that don’t offer 24 bit/96 kHz performance anywhere in your
signal chain. That’s why Yamaha included a comprehensive range of 96 kHz
compatible stereo effects in the DM2000 – plus several designed specifically
for surround. And you can use as many as eight individual effect processors
simultaneously.

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these remarkable mic preamps. A new range
of Mini-YGDAI digital and analog I/O
cards also provide full 24 bit/96
kHz capability.

Comprehensive Automation
and Scene Control
Automation and Scene Memory recall capability are essential elements of
modern digital mixing consoles. With the DM2000, Yamaha takes these
functions to an even higher level of precision and ease-of-use. While
providing full automation of virtually all console parameters, DM2000
features smooth and quiet touch-sensitive, 100mm motorized faders that
make writing and updating automated mixes faster and more intuitive than
ever. And all automation data is recorded at 1/4-frame accuracy to ensure
excellent precision. Global Fade Time and Global Recall Safe are in addition
to independent fade time and recall safe
settings for each scene, you can set
global fade time and recall safe settings
that apply to all scenes.
This ability can dramatically reduce setup
time when you will be using multiple
INPUT FADE TIME
scenes with the same settings.

Complete Surround
Solution
The DM2000 provides everything required for a complete surround solution.
All the facilities you need for surround processing, panning and monitoring
— including joystick — are provided as standard equipment. The joystick is
the perfect (and generally preferred) tool for smooth, continuous positioning
of 5.1 or 6.1 surround sound for DVDs or other surround media. And since
accurate monitoring is so essential to surround production, extra care was
taken to ensure that the DM2000 offers the ideal mixing environment — it
includes a downmix matrix which can deliver 3-1 (LCRS) and stereo mixes
while you are burning a surround mix to DVD, bass management, and
speaker alignment facilities for optimum speaker system tuning. The DM2000
will even handle multiple surround stem mixes with ease.

Finest Mic-Preamps with Onboard
24bit/96kHz AD/DA Conversion
Taking the preceding discussion a step further, what about analog-to-digital
and digital-to-analog conversion? The same applies: if you don’t have all 24
bits at the full 96 kHz in top-quality converters, you’re definitely going to be
missing something (i.e. part of your sound). Once again, the DM2000
imposes no limitations. All onboard A/D and D/A conversion makes use of
top-performance 24 bit/96 kHz converters. This is particularly important in
the DM2000 because it features some of the finest analog mic preamps
available in any console, anywhere. The on-board converters ensure that you
get an excellent digital representation of the warm, transparent output from

Intuitive Interface Designed for
Maximum Productivity
Anyone who is familiar with the 02R will immediately feel comfortable with
the DM2000. While the comprehensive, efficient display format of the 02R has
been inherited by the DM2000, the control surface and user interface system
has been greatly expanded and enhanced to allow analog-style hands-on
operation with minimum need to refer to the LCD. The motto: mix with your
ears, not with your eyes. 16 user-defined keys which can be assigned the
functions of your choice are also provided.

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D I G I T A L

96 Channels in 4 Layers

Channel Name and FL Display

One of the advantages of working with digital is that it allows maximum
power and flexibility to be packed into minimum space. The DM2000’s
24 precision 100-millimeter motorized channel faders, for example, can be
instantaneously layer-switched to control any of 96 channels. So you have
96 channels in the space of 24, and switching between layers with the
channels right in front of you can be a lot faster and easier than trying to
locate a desired channel on a massive spread-out console. More importantly,
all operations can be carried out without having to move away from the
monitoring “sweet spot”. Encoder mode now features an assignable function,
Alternative Layer, which enables you to control the channel level for all 48
channels without switching between layers.

A much-appreciated feature of Yamaha’s ground-breaking PM1D digital
sound reinforcement console is individual channel name displays. The
DM2000 has inherited this feature so you can identify channels at a glance
— a particular advantage when switching between mixing layers. In addition
to the default 4-character channel name display, you can hold down the SEL
key for any channel to see a long name of
up to 16 characters displayed across the
8-channel section. Version 2 adds fader
level and port name display functions.
With graphic FL display, you can see the
status of the channel at a glance.

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15
8 -3
5

PREFERENCES2

3
6

Extraordinary Patching Flexibility
All available inputs, outputs, effects, and channel inserts can be assigned to
any of the console’s channels or outputs via the DM2000’s remarkably
versatile, easy-to-use digital patching system. For example, any of the 8 effect
processors can be assigned to an auxiliary buss for send-type operation, or
inserted directly into any input channel as required. A direct out function also
allows the signal from any of the 96 input channels to be routed directly to
any digital or analog output in the system. Further, a 22 by 8 (4-stereo)
matrix mix system in the DM2000 can be used to provide cue monitor mixes,
downmix monitoring for surround production, or zone level control for
sound reinforcement applications. The fully flexible patching system makes 22
of DM2000’s busses (eight record/subgroup busses, 12 auxiliary sends, L/R
stereo buss) and four stereo matrixes — to be assigned to any available
output connector.

I/O Expandability and Plug-in Capability
The DM2000’s real I/O versatility comes in the form of six Mini-YGDAI
expansion slots. The expansion slots are 24 bit/96 kHz compatible, so you can
select I/O and processing cards to provide the input/output configuration and
processing capabilities that are perfect for your needs. Whether you need
digital I/O in ADAT, TASCAM, or AES/EBU format, CobraNet connectivity, or
extra analog I/O capability, the appropriate Mini-YGDAI cards are available.

7
Standard Display

8 -2

8 -1
Long Name Display

Integrated DAW Control
The DM2000 has been designed to integrate tightly
with leading digital audio workstations to create a
complete production and mixing environment. Extensive support for
Digidesign’s Pro Tools® system provides full control of mixing and
processing parameters, as well as transport/track-arming control and access
to editing functions, directly from the DM2000 control surface. The new
Advanced DAW Control Protocol, initiated by Yamaha and Steinberg, enables
you to control DAW software such as Nuendo® and Cubase SX® by using
DM2000’s SELECTED CHANNEL section. (Controllable functions vary
depending on the DAW software and version you are using.)

Extraordinary Power &
Flexibility In an Intuitive Interface
Advanced features and functions are only of real value if they are easily accessible, easy to use, and make sense
within the context of the production process. The Yamaha DM2000 has been designed on the strength of past successes plus invaluable feedback from
leading engineers and artists worldwide. It is the latest step in an ongoing evolution that makes more production power,
creative potential, and operational efficiency available than ever before. Version 2 further builds on experience gained from

Studio Manager Version 2
Software Supplied

the original DM2000, taking takes interface ease-of-use and versatility to unprecedented levels.

Control from a personal computer? Of course! And Yamaha even supplies the
software. The DM2000 comes with the Studio manager application for both
Macintosh® and Windows® platforms, allowing total control and
management of all DM2000 parameters via a comprehensive graphic
interface. Studio Manager Version 2 offers even more advanced networking
potential than the original version, functioning as a complete central
management system for digital mixing.

14
* Rear panel shown with optional expansion boards installed.

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8-3. Track Arming

11. Data Entry

24 track arming (record on/off) buttons can be used directly for up 24
tracks on a single recorder, or to control track arming on three separate
8-track recorders. Additionally, up to four complete track-arming setups can
be memorized and recalled via TRACK ARMING GROUP keys A through D.

When it does become necessary to get into detailed numeric parameter
editing, the DM2000 makes the task as easy as possible. Large cursor,
INC/DEC, and enter keys are complemented by a data entry dial that lets you
spin in values quickly and easily. The data entry
dial also doubles as a shuttle/scrub dial for
recorder or DAW control. A
PC-compatible computer
keyboard can also be
directly connected to the
rear-panel keyboard
connector for extra data
entry ease and convenience.

TRACK ARMING GROUP

9. Channel Strips

12. Analog Input Section

The 24 channel strips on the DM2000 panel provide access to the
most essential operations for the corresponding channels.
Depending on the currently selected layer, the channel strips will
control channels 1 through 24, 25 through 48, 49 through 72,
or 73 through 96. Also the channel faders and encoders will
function according to the settings in the FADER MODE and
ENCODER MODE sections. In addition to a fader and rotary
encoder, each
channel strip
includes a channel
ON/OFF key, a SOLO
key, and AUTO key
to turn mix
automation on or
off for that channel,
and a SEL key which assigns the channel as the console’s
“Selected Channel”. Detailed control for the currently selected
channel — dynamics, EQ, buss assignment, panning and
surround positioning, aux/matrix sends,
delay, and phase/insert — is available via
the SELECTED CHANNEL controls.

No digital console is completely free of analog circuitry, and any analog that
does exist must be of the highest quality so as not to negate the performance
potential of the digital system. The DM2000 features 24 high-performance
head amplifiers for microphone or line input that deliver a pristine signal to
the console’s precision 24 bit/96 kHz A/D converters. These head amplifiers
are the result of extensive development and field testing, and deliver
transparent performance that rivals – and in many cases exceeds –that of the
most expensive component microphone preamplifiers. 48-volt phantom
power for condenser microphones is individually switchable for
each input, trim controls and pad switches facilitate optimum
level matching with the source, and switchable inserts make
it easy switch external analog processing gear into or out
of the pre-A/D signal path.

10. Master & Layer Section
In addition to the master stereo fader with its own ON, SEL
and AUTO keys, the master section includes keys for input
channel layer selection (Master Layer 1-24, 25-48, 49-72,
73-96) as well as selectors for four remote control layers.
Using the “User Assignable Layer” feature you can create a
custom layer to which any channels can be assigned in a
preferred layout, and the setups can be stored in any of
four banks. This system means that you have a total of 96
channels and buses right
in front of you in the
space of 24.

13. Meter Bridge
The MB2000 Peak Meter Bridge is a complete level-monitoring station for
the DM2000. 48 12-segment level meters can be used individually or in
pairs to display pre-EQ, pre-fader, or post-fader input channel signal levels.
The same meters can also display levels on the console’ s eight buses, 12
auxiliary sends, and four stereo matrix buses. A separate 32-segment stereo
meter is provided for the main stereo program. The MB2000 also features a
time-code display for complete, centralized visual monitoring.

14. Rear Panel

A quick look at the rear panel should tell you that the DM2000 is designed
for serious production. Balanced XLR and TRS connectors are provided for
all 24 inputs, and rather than the common single TRS jacks for unbalanced
USER ASSIGNABLE LAYER

D I G I T A L

P R O D U C T I O N

insert send and return, each input channel features independent balanced
send and return jacks (insert switches are provided on the console). Then
there are balanced analog studio, stereo, control room, and monitor outputs
as well as eight balanced “omni” bus outputs. Two analog 2-track inputs are
also provided — one balanced and one unbalanced. Other connectors. Digital
I/O is provided via digital 2-track inputs and outputs featuring both AES/EBU
and coaxial connectors. On-board sample rate conversion allows CD players
and other digital sources connected to the digital input to be monitored or
routed to an input channel without having to be synchronized to the system
clock. A wide range of synchronization and control options are available via
word clock inputs and outputs, SMPTE and MTC time code inputs, MIDI
connectors, a keyboard connector, and both serial and USB “to host”
connectors. Cascade in and output connectors allow two DM2000 consoles to
be cascaded to provide up to 192 channels. Even the cooling fan is specially
designed for ultra-quiet operation so that machine noise doesn’t interfere with
critical monitoring or recording operations.
The CONTROL port provides a General Purpose Interface (GPI) that you can
configure to output or receive trigger signals to which you can assign
various functions. In the DM2000 Version 2, the GPI Setup page has been
completely renovated.

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The following are some examples of how you might utilize GPI functionality:
• You could use a fader to send a signal to start a CD player.
• A producer could have his own remote talkback switch in the control
room to communicate with the musicians in the studio.
• You could control from the console a “Recording” warning light located
outside the studio.
• You could control the console’s dimmer function using an outside switch.

15. Memory Card Data Storage
Automix and scene recall capability are important features that can
dramatically streamline the production process, but data portability via
compact SmartMedia™ memory cards takes this convenience to a new level.
All automix and scene data can be saved to memory cards and transferred
and simply archived or transferred to another DM2000. A mix you make in
one studio can, for example, be instantly
replicated in another so you don’t have to
spend time manually setting up parameters to
achieve the same results.
* SmartMedia™ is a registered trademark of the Toshiba Corporation.

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D I G I T A L

An Awesome Performer
on the Inside, Too

Up to 6.1 Surround Monitoring & Processing

The DM2000 offers as much “below the surface” as it does directly via its physical interface.
In fact, many of this remarkable console’s greatest strengths are not visible from the outside.
Precision 32 bit/96 kHz processing throughout is just one example. Here are a few others:

Expandable Data Libraries
Setting up EQ, compression, and other parameters for a mix from scratch can
be a daunting task, so Yamaha has provided an extensive selection of presets
in a range of “libraries” that can simply be selected and used unmodified,
or edited to suit specific requirements. Libraries are provided for effects,
compression, gating, EQ, I/O patching, and more. Of course, your own setups
can be added to the libraries for instant recall whenever they are needed.

channel delay goes beyond the norm, with a maximum delay of 453
milliseconds. Version 2 even features comp/gate gain reduction metering on
the meter display.

32 bit/96 kHz Effects

The DM2000 has eight independent internal 32 bit/96 kHz
multi-effect processors that can be patched into any of the
console’s input, stereo, mix, or matrix channels, and
returned to any channel. An extensive range of detailed effect parameters are
adjustable via easy-to-use graphic on-screen controls. A comprehensive
selection of reverb, delay, modulation, combination effects, and range of
newly developed effects including multiband dynamics are provided so that
unless a mix calls for a specific external effects processor, you won’t need any
external processing Effect at all. And, like most other parameter groups, an
extensive preset “library” is provided for fast, easy setup. Of course, you can
add your own setups to the library for instant recall whenever needed. In
addition to stereo effects, the DM2000
features a number of preset effects
specifically designed for surround
applications. Up to eight stereo or
surround effects can be used
simultaneously (Note: Some surround
effects use as many as four processors).
EFFECT

Channel Compression,
Gating, EQ and Delay
All 96 input channels on the DM2000
feature flexible, independent compression
and gating/ducking processors for
dynamics control . The 4-band parameter
channel equalizers also offer extra
versatility with switchable “type I” or
“type II” EQ algorithms to deliver the type
of EQ response you prefer. Even the

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COMP

6 Graphic Equalizers
The DM2000 provides six 31-band
graphic equalizers that can be patched
into any of the eight busses, 12 aux sends,
four stereo matrixes or the main left and
right output busses. The graphic
equalizers will be particularly valuable for
SR applications. Each equalizer features
GEQ
both a graphic slider and response graph display. For the most intuitive GEQ
operation possible, Version 2 allows the GEQ bands to be directly controlled
via the console’s faders in two groups: Low (20.0 Hz ~ 4.0 kHz) and High
(100 Hz ~ 20.0 kHz).

Patching
Several patch displays allow the system’s
inputs, inserts, and outputs to be patched
to appropriate built-in inputs and outputs
as well as I/O added via the rear-panel
expansion slots. You can also assign
channel names for easy identification.
Centralized control means you’ll never
have to run around to physically re-patch
cables whenever you need to reconfigure
the system, and patch setups you might
want to use again can be stored in the
patch library for instant recall at any time.

IN PATCH

In surround mode the DM2000 will
comfortably handle 3-1 (LCRS) 5.1,
or 6.1 surround monitoring without
any external equipment or the need to reassign
channels for surround use. In addition to
graphic monitor configuration displays, the
DM2000 also provides multi-channel surround
pan/position displays so you can see where
multiple channels sit in the surround mix at a
glance. The joystick provided for surround
panning in the console’s SELECTED CHANNEL
SURROUND PAN
control section has high 128 x 128 step
resolution for exceptionally smooth control,
and a divergence parameter can be used to
adjust the hard/phantom center ratio for each
channel. Matrix mixing and bus-to-stereo
functions can be used to provide 6.1 to 5.1, 5.1
to 3-1 (LCRS) downmix or 3-1 to stereo
MONITOR MATRIX
downmix while you are working on the 5.1
mix. Furthermore, the 3-1 (LCRS) output can
be fed to a 2-track master recorder via a Dolby
Surround® encoder, and then back to the
console via a decoder to allow instant real-time
comparison between the pre-encode and postdecode sound. In Version 2 it has become
SURROUND MONITOR ALIGHMENT
possible to freely reassign surround busses as
required, so you can precisely match your
work environment to your surround mixing
needs. You can even simultaneously monitor
multiple specified surround sources assigned
to the bus outs and assign keys. Surround pan
can be turned on or off so that specified
BASS MANAGEMENT
sources can be directly fed to a surround bus
so that, for example, dialog can be fed directly to the center bus without the need
for any pan adjustment. Additional facilities provided by the monitor processing
section include individual bus (speaker) muting and attenuation, overall level
control for all monitor outputs, stem mix monitoring via independent source
selection capability for each expansion slot, advanced bass management with
precision control for subwoofer delivery, and independent delays for precision
speaker alignments. And if you’re mixing to THX™ standards, you can use a
short-cut key to set levels instantly and precisely to the theater-standard of 85dB
SPL. In fact, the DM2000 is the world’s first console to receive THX pm3™ approval,
so by combining it with Yamaha’s MSP10 STUDIO powered monitor speakers –
also pm3-approved – you have a state-of-the-art production studio that is capable
of turning out sound of the highest quality – just like a THX Certified Studio.

Integrated DAW Control

GATE
OUT PATCH

When you purchase a DM2000, you also get a
sophisticated DAW control surface in the bargain!
The DM2000 has actually been designed to provide seamless control of
computer-based digital audio workstation software such as Digidesign’s

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Pro Tools®. In addition to a number of controllers specifically included for this
purpose, the DM2000 faders, channel switches, encoders, and other controls
can be used to directly control the corresponding DAW parameters. You also
have extensive control over plug-in effects. Total transport and automation
control are provided as well. The new Advanced DAW Control Protocol,
initiated by Yamaha and Steinberg, enables you to control DAW software such
as Nuendo® and Cubase SX by using DM2000’s SELECTED CHANNEL section
(Controllable functions vary depending on the DAW software and version you
are using). When used with Nuendo 2.0, for
example, the software’s mixer channel EQ
and surround pan functions can be accessed
directly from the DM2000 selected channel
controls. If Pro Tools® is your DAW of
choice you have direct control of Pro Tools®
surround panning via the DM2000 joystick.
REMOTE (Pro Tools)

Add-On Effects
The DM2000 Version 2 is compatible with Yamaha’s
outstanding Add-On Effects series (sold separately).
According to your signal-processing needs you could add
the Channel Strip package with high-performance EQ and compression
capability, or the Master Strip Package for extraordinarily accurate sonic
reproductions of some of the finest tape decks of audio’s “golden age”. There’s
also a Reverb Package featuring the latest REV-X reverb algorithms used in
Yamaha’s outstanding SPX2000, and other effect packages that can contribute
to your production arsenal in a big way.

More...
Any parameter that can be controlled via the DM2000’s physical interface can
also be controlled via the LCD panel. But there are many features and
functions that are only accessible via the LCD. Most of these are the set-it-andforget-it type, so you can do all actual mixing from the control surface. Some
examples would be word clock or MIDI setup. There are also a number of
convenient functions that you might use
more often, such as an oscillator with sine
as well as pink noise and burst noise output
that can also simultaneously output 1 kHz
and 400 Hz signals for L/R channel checks,
or channel pairing and fader grouping.
There’s even a password-protected
DUAL OSCILLATOR
operation lock feature that can be used to
“lock” specified functions and parameters.
The point is that it’s all there. Whatever you
need for the most advanced, highest quality
sound production, the DM2000 has it, or can
be expanded to provide it.
PASSWORD

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Studio Manager Version 2
Yamaha Digital consoles DM2000V2, DM1000V2 & 02R96V2 are the worlds first digital
consoles equipped with complete surround monitoring facilities built-in, eliminating the
need to connect and feed the signal to external monitoring equipment and offer perfect
solution used in combination with the Powered Monitor Speaker MSP10 STUDIO.

The DM2000 Studio Manager application has undergone a significant evolution and has been reborn as Studio Manager Version 2.
The hybrid Windows®/Macintosh® Studio Manager application has been rewritten as a host application

pm3™

Known worldwide for high quality entertainment sound and picture, the THX
(Professional
Multi-Channel Mixing & Monitoring) Studio Certification Program addresses the need for reliable,
translatable, and superior performance in professional multi-channel mixing and monitoring studios
worldwide. THX has created a performance standard that focuses on the listening and viewing
environment, selection of audio and video equipment, layout of the working area, and calibration.
DM2000V2, DM1000V2 & 02R96V2 are included in the THX pm3™ Approved Equipment list as Studio
Monitoring Systems, and Powered Monitor Speaker MSP10 STUDIO as Front & Surround speakers.

which hosts the DM2000 Editor which actually controls the DM2000 console, and which can be used simultaneously
with other editors for professional digital audio gear such as the 02R96 Version 2 digital mixer or the SPX2000 professional multi-effect processor.
Simply connect the console to a computer via its TO HOST port (combined USB/serial), and the computer functions
as comprehensive control center for the entire system. You can even open and close Studio Manager Version 2 windows

Yamaha Digital Consoles have the following surround functions built-in.

from the DM2000 console controls, for seamless system integration and optimum operation efficiency in any application.

Surround production functions
• Fully compatible with 3-1, 5.1 and 6.1 surround processing,
panning and monitoring

The STUDIO MANAGER Version 2 also integrates the GUI for ADD-ON EFFECTS.

• Flexible surround bus set up
• Built-in Joy stick
• Graphical user interface and parameters to assist accurate
surround PAN positioning and efficient moves of sound image.
• Built-in surround effects including “Reverb 5.1”, “Comp 5.1”,
“Expand 5.1” etc.

SURROUND PAN POSITIONING
GEQ Editor Window

THX pm3™ Approved surround monitoring functions
Studio Manager V2 Host Window

• Downmix monitoring matrix
• Bass Management: comprehensive filter and attenuator setting
and THX pm3™ presets

Library Window

• Monitor Alignment functions
(Attenuator and delay for individual speakers)
• Build-in Oscillator
• “Snap to 85dB SPL” function

Meter Window
SURROUND MONITOR SETUP
(THX pm3™ MONITOR FLOW)

Surround Editor Window

THX Bass Management Presets:
The following presets have been approved by THX™ Ltd. for use in THX pm3™ Certified Studios*. They are designed to provide
dedicated parameters for the proper playback of multi-channel audio content in bass managed systems and to be compatible
with subwoofer-satellite type consumer systems.

Patch Editor Window
Layer Window
Patch Editor-Effect Window

* Use of a THX preset does not permit a studio to use the designation THX pm3™ Certified Studio. The THX pm3™ Studio Certification Program uses performance and
design specifications to create calibrated environments for optimum sound and picture presentation. For more information, visit the THX website at http://www.thx.com

Master Window

[THXD] THX DVD

This preset is configured for DVD-Video production. Use this preset when mixing and/or monitoring
audio content not from a theatrical film source. The parameters cannot be changed.

DM2000 Editor

[THXF] THX Film

This preset is configured for Film pre-production. Use this preset when mixing and/or monitoring
theatrical film-based content (such as a pre-mix for film). The parameters cannot be changed.

The DM2000 Editor runs under the Studio Manager Version 2 host application, and offers features and functionality

[THXM] THX Music

This preset is configured for DVD-Music production. Use this preset when mixing and/or monitoring
multi-channel music content (including DVD-Audio and SACD). Only one parameter can be changed.
The LFE gain (AMP) can be set to +10dB (default) or 0dB. Select the level that complies with the
standards of the target media. Please note: The LFE output gain on some DVD players, receivers, and/or
decoders may already be set to +10dB. Select the 0dB setting only if the destination environment (home
theatre, etc.) has the LFE gain set to 0dB. Otherwise, use the default setting.

that have been refined and updated for professional-level control. Some of the most significant updates include:
■ Master Fader Window provides independent master fader display and control.
■ Meter Window shows levels on all 96 channels.
■ A new Automix tab has been added to the library windows.
■ Layer Window allows selection and display of effects and other sources above the panel pan controls.
■ Selected Channel Window adds graphic gate displays and long-stroke channel metering.

The THX pm3™ logo is a trademark of THX Ltd. which may be registered in some jurisdictions. All rights reserved.
For more information on THX pm3™, please visit THX website at http://www.thx.com.
Visit Yamaha website at http://www.yamahaproaudio.com/ to find DM2000/1000, 02R96 surround set up manual, Quick Guide and Surround Tutorial Booklet.

■ Patch Edit Window is now resizable, and displays effect block inputs and outputs.
■ Effect Editor Window adds Add-On Effects interface and fine control.

Selected Channel Window

SPX 2000 Editor (REV-X)

D I G I T A L

P R O D U C T I O N

C O N S O L E

D M 2 0 0 0

Nuendo® Setting
(24tr 96 kHz Recording)

Mini-YGDAI Cards
MY16-AE x 2 or MY16-AT x 2

Steinberg’s Nuendo® software is designed to handle 96
kHz audio, so it is an ideal companion for the DM2000.
While the DM2000 functions as a basic controller for
the Nuendo® software in this 24 track, 96 kHz system
(full Nuendo® support is currently under development),
it also handles extra mixing and processing of the
outputs from high-end audio cards.

Signal

Hi-End Multi Channel
Audio Card(s)

DM2000

Macintosh or PC

High-capacity Sound Reinforcement With Remote Head Amp Control

Sample
Applications

Using Yamaha’s AD8HR highest quality 8-channel AD converter it is possible to put together a 48 mic/line input system with digital
signal transfer at 48-kHz/24-bit resolution. The AD8HR head amps can be remotely controlled from the DM2000 via the REMOTE
terminal, so the head amps themselves can be located right on stage. Up to 48 channels of high-resolution digital (AES/EBU) audio
can then be transferred to the console over distances of up to 200 meters without loss or degradation. If you also use the DM2000’s
24 built-in microphone inputs you have a total of 72 inputs available – on a par with large live-sound systems, but with relatively
simple setup and operation. In the system example a second DM2000 is used for monitoring as well as live recording.

The DM2000 with Pro Tools®
In this system the Yamaha DM2000 and a Digidesign Pro Tools® HD2 Accel setup are combined in a powerful recording and production
system that provides as many as 64 input channels with up to 192 tracks at 48 kHz or up to 96 tracks at 96 kHz. While the DM2000
functions as an advanced control surface for the Pro Tools®, it can also handle critical audio processing tasks as well as monitoring.

Mini-YGDAI Cards
MY16-AE x 3 (for AD8HR)

AD8HR
*Operation up to 96-kHz.

Audio Interface(s)
HD Core card
with I/O Unit

Signal

Mini-YGDAI Cards
MY8-AE (up to 6)

Mics
HA remote

192 I/O*

Guitars etc.

HD Accel card
with I/O Unit

Mics
&
Lines

HA remote
HA remote

F.O.H

Mini-YGDAI Cards
MY16-AE x 1 (up to 3) (for DA824)

DA824 (up to 6)

HA remote

Signal
HA remote

Signal

HA remote

Mini-YGDAI Cards
MY16-AE x 2

For Stage

DM2000

Synthesizer
Word Clock
USB

Macintosh or PC

Mini-YGDAI Cards
MY16-AE x 3 (for AD8HR)

Tone Generator
DM2000

48tr HD Recorder with
ADAT I/O (24 bit/48-kHz)

Signal

MX-2424

Mini-YGDAI Cards
MY16-AT x 3 (for Recorder)

Connection with 96-kHz recorders
Although the DM2000 handles 96-kHz audio as standard, most of the currently available digital recorders can handle 96-kHz audio
only in double channel mode (using 2 tracks to make one). In this configuration, the DM2000 uses one channel for one (96-kHz)
track, but twice the number of I/O connections must be used. MY8-AT/TD/AE cards work in double channel mode to handle 96-kHz
audio. The MY16-AT/TD/AE cards can handle 16 channels of 44.1 / 48-kHz audio or up to 8 channels of 96-kHz audio in double
channel mode. With the latest equipment that handles 96-kHz audio as standard (in double speed mode like the DM2000) you can
make standard connections using the MY8-AE96 card. MY8-AE96 card can work either in double speed or double channel mode.

Word Clock

For Monitor

DM2000

HDR24/96

D I G I T A L

P R O D U C T I O N

C O N S O L E

D M 2 0 0 0

DVD Authoring
(6.1 Surround Monitoring)

Effect List

Both the DM2000 and Yamaha’s MSP10 STUDIO powered monitor
speakers have been officially approved for use in THX pm3™ Certified
Studios, and are thus ideal choices for the most advanced DVD
authoring applications. In the system shown here the 6.1 program is
monitored via powered monitors and a subwoofer connected to the
console’s OMNI outputs (the DM2000 also includes bass management
facilities for full-range playback). At the same time surround encoders
and decoders can be inserted in the system to burn a stereo mix as
well as the surround mix to Lt/Rt Master.

The DM2000 effect library includes a total 52 superb effects — 44 stereo and 8 surround.

MSP10
STUDIO
L

Surround Decoder

Insert

MSP10
STUDIO

(Powered SP)

TASCAM DA Series etc...

Mini-YGDAI Cards
MY8-AE (96)
(AES / EBU)
etc...

Mini-YGDAI Cards
MY8-TD
(TASCAM Signals)

EFFECT

TYPE

Input

Output

DSP

EFFECT

TYPE

Input

Output

DSP

SW10

Reverb Hall

Hall simulation reverb with gate

Rev->Pan

Series combination of reverb and auto-pan

(Sub Woofer)

Reverb Room

Room simulation reverb with gate

Delay+Er

Parallel combination of delay and early reflections

Reverb Stage

Reverb for vocals with gate

Delay->Er

Series combination of delay and early reflections

Reverb Plate

Plate simulation reverb with gate

Delay+Rev

Parallel combination of delay and reverb

Early Ref.

Early reflections

Delay->Rev

Series combination of delay and reverb

Gate Reverb

Gate reverb setting of early reflections

Dist->Delay

Series combination of distortion and modulation delay

Reverse Gate

Reverse gate setting of early reflections

Multi Filter

Three-band parallel filter (24 dB/oct.)

Mono Delay

Very simple repeat delay

Freeze

A simple sampler.

Stereo Delay

Simple stereo delay

St Reverb

Stereo reverb.

Mod.delay

Simple repeat delay with modulation

Reverb 5.1*

Reverb with surround positioning.

Delay Lcr

3 taps ( left, center, right) delay

Octa Reverb*

8-channel reverb.

Echo

Stereo delay with cross feedback loop

Auto Pan 5.1*

LFO-controlled 5.1 surround pan.

Chorus

Chorus effect

Chorus 5.1*

5.1 surround chorus.

Flange

Flange effect

Flange 5.1*

5.1 surround flange.

Symphonic

Symphonic effect

Sympho. 5.1*

5.1 surround symphonic.

Phaser

16 stage phase sifter.

M.Band Dyna.

Multi-band dynamics processor.

Auto Pan

Auto-pan

Comp 5.1*

5.1 surround multi-band compressor.

Tremolo

Tremolo effect

Compand 5.1*

5.1 surround multi-band compander.

Hq.Pitch

High quality pitch change effect

Comp276

Channel Strip Package of ADD-ON EFFECTS

Dual Pitch

2 voice pitch change

Comp276S

Channel Strip Package of ADD-ON EFFECTS

Rotary

Rotary speaker simulation

Comp260

Channel Strip Package of ADD-ON EFFECTS

Ring Mod.

Ring modulator

Comp260S

Channel Strip Package of ADD-ON EFFECTS

Mod.Filter

LFO modulation type filter

Equalizer601

Channel Strip Package of ADD-ON EFFECTS

Distortion

OpenDeck

Master Strip Package of ADD-ON EFFECTS

Amp Simulate

Guitar amp simulator

REV-X Hall

Reverb Package of ADD-ON EFFECTS

Dyna.Filter

A filter controlled by input dynamics

REV-X Room

Reverb Package of ADD-ON EFFECTS

Dyna.Flange

Flange effect controlled by input dynamics

REV-X Plate

Reverb Package of ADD-ON EFFECTS

Dyna.Phaser

Phase sifter controlled by input dynamics.

*Effects marked with an asterisk (*) can only be recalled for the EFFECT 1 and EFFECT 2 processors.

Rev+Chorus

Parallel combination of reverb and chorus

Rev->Chorus

Series combination of reverb and chorus

Rev+Flange

Parallel combination of reverb and flange

Rev->Flange

Series combination of reverb and flange

Rev+Sympho.

Parallel combination of reverb and symphonic

Rev->Sympho

Series combination of reverb and symphonic

135

OMNI Out

Down
Mix
RS

Lt/Rt Master

EFFECT TYPE LIST

(Powered SP)

LFE

Discrete Master Recording

Surround Encorder

All feature full 24 bit/96 kHz processing for unprecedented resolution and quality with any type of program material.

MSP10
STUDIO

(Powered SP)

MSP10
STUDIO
(Powered SP)

Stem Mix Monitoring
With the DM2000 monitoring stem mixes for film or video is easy. Even if
your dialog, sound effects, music, and Foley sources are all in the form of
6.1 mixes, they can be combined and processed via the DM2000 without
the need for any extra monitoring facilities.

MSP10
STUDIO
L

MSP10
STUDIO

(Powered SP)

LFE

Mini-YGDAI Cards
MY16-TD x 2 (TASCAM Signals)

TASCAM DA Series etc...

SW10
(Sub Woofer)

GATE

Bass Drum 1

A.G.Stroke 2

COMP

Ducking

DUCKING

Bass Drum 2

A.G.Arpeg. 1

Strings3

COMP

A.Dr.BD

GATE

Snare Drum 1

A.G.Arpeg. 2

BrassSection

COMP

A.Dr.SN

GATE

Snare Drum 2

Brass Sec.

COMP

Syn.Pad

COMP24

Tom-tom 1

Male Vocal 1

A.Dr.BD

COMPAND-H

SamplingPerc

COMPAND-S

Cymbal

Male Vocal 2

A.Dr.SN

COMP

Sampling BD

COMP

High Hat

Female Vo. 1

A.Dr.SN

EXPAND

Sampling SN

COMP

Percussion

Female Vo. 2

A.Dr.SN

COMPAND-S

Hip Comp

COMPAND-S

E.Bass 1

Chorus&Harmo

A.Dr.Tom

EXPAND

Solo Vocal1

COMP

E.Bass 2

Total EQ 1

A.Dr.OverTop

COMPAND-S

Solo Vocal2

COMP

Syn.Bass 1

Total EQ 2

E.B.Finger

COMP

Chorus

COMP

Syn.Bass 2

Total EQ 3

E.B.Slap

COMP

Click Erase

EXPAND

Piano 1

Bass Drum 3

MSP10
STUDIO

Syn.Bass

COMP

Announcer

COMPAND-H

Piano 2

Snare Drum 3

Piano1

COMP

Limiter1

COMPAND-S

E.G.Clean

Tom-tom 2

(Powered SP)

Piano2

COMP

Limiter2

COMP

E.G.Crunch 1

Piano 3

E.Guitar

COMP

Total Comp1

COMP

E.G.Crunch 2

Piano Low

A.Guitar

COMP

Total Comp2

COMP

E.G.Dist. 1

Piano High

E.G.Dist. 2

Fine-EQ Cass

A.G.Stroke 1

Narrator

Sound
Editing

TASCAM DA Series etc...

Music
6.1 Discrete Master Playback
TASCAM DA Series etc...

MSP10
STUDIO

Foley
6.1 Discrete Master Playback

(Powered SP)

Macintosh or PC
BS

MSP10
STUDIO
(Powered SP)

TYPE

Comp

COMP

Expand

TITLE

Gate

TASCAM DA Series etc...

TITLE

EQ LIBRARY

MY16-AE x 2 (AES/EBU) etc.

6.1 Discrete Master Playback

GATE LIBRARY
TYPE

Dialog

*Effects 53 ~ 61 are optional Add-On Effects.These effects become fully available after installation and authorization. Prior to
installation effects 53 ~ 61 function in demo mode only.

TITLE

OMNI Out
6.1 Discrete Master Recording

COMP LIBRARY

*If an effect which uses 4 DSP processors is used the total number of effects that can be used simultaneously is reduced by
three. For example, if REVERB 5.1 is selected for EFFECT 1 and DYNAMICS 5.1 is selected for EFFECT 2, EFFECT 3 through
EFFECT 8 cannot be used.

TITLE

TYPE

Strings1

COMP

EXPAND

Strings2

Compander(H)

COMPAND-H

Compander(S)

COMPAND-S

A.Dr.BD

TITLE

D I G I T A L

P R O D U C T I O N

C O N S O L E

D I G I T A L

D M 2 0 0 0

P R O D U C T I O N

C O N S O L E

D M 2 0 0 0

Software packages are available for adding unique and valuable effect programs to the DM2000 internal

Options

effect programs. You can edit, store and recall ADD-ON EFFECTS on the console in the usual way.
The DM2000’s real I/O versatility comes in the form of six mini-YGDAI expansion slots. The expansion slots are 24 bit/96 kHz compatible, so you can

In addition, a special GUI is available in the DM2000 editor to manage these effects.

select mini YGDAI plug-in cards to create the input/output configuration that’s perfect for your needs. Whether you need digital I/O in ADAT, TASCAM, or
AES/EBU format, Ethernet or CobraNet connectivity, extra analog I/O capability, or other functions, the appropriate cards are available.

16 I/O Series
MY16-C CobraNet™ Expansion Card
The MY16-C CobraNet™ expansion card allows transmission and reception of 16 in/16 out of uncompressed digital audio data. CobraNet™ is

CHANNEL STRIP PACKAGE

(AE-011)

This Package includes 5 models
that employ VCM (Virtual
Circuitry Modeling) technology to
recreate the sound and characteristics of several classic
compression and EQ units from the 70’s.

an audio networking system developed by Peak Audio (a division of Cirrus Logic, Inc.) that allows real-time transmission and reception of
• Includes five models that employ VCM technology to recreate the
sound and characteristics of classic compression and EQ units
from the 70’s.

multiple channels of uncompressed digital audio signals via a Fast Ethernet (100 megabits/sec.) network.

MY16-C
CobraNet™ I/O

• Fine-tuned by leading engineers, and featuring carefully selected
parameters in a simple interface.
• Compressor 276 (mono)/Compressor 276S (stereo):
Recreate the fast response, frequency characteristics, and tubeamp saturation of the most in-demand analog compressors for
studio use.

MY16-AT

MY16-AE

MY16-TD

MY16-mLAN

16 channel ADAT format I/O

16 channel AES/EBU format I/O

16 channel TDIF format I/O

mLAN format I/O

• Compressor 260 (mono)/Compressor 260S (stereo):
Features faithful modeling of the solid-state VCA and RMS
detection circuitry of the late 70’s for live sound reinforcement
applications.

96-kHz Series

MASTER STRIP PACKAGE (AE-021)

REVERB PACKAGE (AE-031)

The Master Strip
Package Open Deck
employs Virtual Circuitry
Modeling technology to recreate both the analog
circuitry and tape characteristics that shaped the
sound of open-reel tape recorders.

The REV-X programs feature the
richest reverberation and
smoothest decay available, based
on years of dedicated research and
development.

• Employs VCM technology to recreate both the analog
circuitry and tape characteristics that shaped the
sound of open-reel tape recorders.
• The Open Deck provides models of four machine
types: Swiss ’70, Swiss ’78, Swiss ’85, and American
’70. You can even combine different record and
playback decks for a wider range of variation.
• You also have a choice of “old” and “new” tape types,
tape speed, bias, and EQ settings that can vary the
“focus” of the sound, distortion, and saturation
characteristics.

• Reverb ADD-ON EFFECTS employing the latest
REV-X algorithms first introduced in Yamaha’s
SPX2000 Professional Multi Effect Processor.
• The REV-X programs feature the richest
reverberation and smoothest decay available,
based on years of dedicated research and
development.
• Hall, Room, and Plate programs are provided.
• The Hall and Room programs have a very open
sound, while Plate delivers a brighter tonality
that is ideal for vocals.
REV-X HALL

• Equalizer 601: Delivers the unique characteristics of 70’s
analog EQ circuitry, featuring graphical editing capability on
both the console and PC displays.
Compressor 276 (mono)
Compressor 276S

MY8-AD96

MY8-DA96

MY8-AE96

MY8-AE96S

8 channel Analog Input Card

8 channel Analog Output Card

8 channel AES/EBU format I/O

8 channel AES/EBU format I/O
(w/Sample rate converter)

American ’70 with New
EQ601

Swiss ’85 with New

Standard Series

REV-X ROOM

Compressor 260(mono)/Compressor 260S

Swiss ’70 with New
REV-X PLATE

MY8-AE

MY8-AT

MY8-TD

MY8-AD24

8 channel AES/EBU format I/O

8 channel ADAT format I/O

8 channel TDIF format I/O

8 channel Analog Input Card (24 bit)

MY4-AD

MY4-DA

4 channel Analog Input Card (24 bit)

4 channel Analog Output Card (20 bit)

SURROUND POST PACKAGE (AE-041)

The Surround Post Package uses Yamaha’s Interactive Spatial Sound
Processing technology that takes full advantage of the 96-kHz audio DSP
power of the Yamaha digital consoles. The AE-041 will include three
effect programs: Room ER, Auto Doppler and Field Rotation. These unique effect
programs not only can vastly simplify the complex operation in Post-Production
requirements, but also can be used creatively in the musical context.

Plug-in DSP card
VINTAGE STOMP PACKAGE (AE-051)

Developed, Manufactured & Supported by:

The Y96K contains many of Waves “greatest hits”, including Waves Renaissance
Compressor and EQ, TrueVerb reverb, L1 Ultramaximizer, SuperTap delay, and
DeEsser. These processors are all available in addition to your on-board effects.

www.waves.com
Exclusively distributed worldwide by:

Y96K
Waves Effects and ADAT I/O

Coming Soon

For details, go to Y96K product page at
www.yamahaproaudio.com

MB2000

LA5000

Peak Meter Bridge

Gooseneck Lamp

Side Pad

SP2000

Coming Soon

In this package Virtual Circuitry Modeling technology
delivers faithful models of classic much-in-demand stomp
boxes from the 70’s that helped shape the sound of music
history. The AE-051 package will include three phaser models: the MAX100, Vintage
Phaser, and Dual Phase. Although the vintage equipments are hard to come by, they are
in considerable demand for both live performance and studio production. All models
feature graphical user interfaces that reflect the image of the times.

What is ISSP?
ISSP stands for “Interactive Spatial Sound Processing,” and is a
new sound effect system created originally by Yamaha. Designed
through comprehensive and extensive research, this technology
offers unparalleled reality, operability and originality. It delivers
unprecedented soundfield positioning and highly realistic sound source
movement effects, with simple operation that allows simulations.

What is VCM technology?
VCM (Virtual Circuitry Modeling) technology actually
models the characteristics of analog circuitry – right
down to the last resistor and capacitor. VCM technology goes well beyond
simply analyzing and modeling electronic components and emulating the
sound of old equipment. It’s capable of capturing subtleties that simple digital
simulations cannot even approach, while actually creating ideal examples of
sought-after vintage gear.

The names of programs or menus incorporated in ADD-ON EFFECTS are for descriptive purposes only. Reference to product names, trademarks, artists and songs is made for the sole
purpose of identifying products and sounds studied for modeling and describing the sound nuances Yamaha attempted to create through use of its proprietary technology. Such reference
does not constitute representations that they physically possess equal qualities, and does not imply any cooperation or endorsement by such manufacturers or artists. The products,
trademarks are the property of their respective owners.

D I G I T A L

P R O D U C T I O N

C O N S O L E

D I G I T A L

D M 2 0 0 0

Output Terminals

GENERAL SPECIFICATIONS
32-bit (Accumulator 58-bit)

Sampling Frequency

Internal
External

Signal Delay

44.1 kHz,48 kHz,88.2 kHz,96 kHz
Normal rate 44.1 kHz-10% to 48 kHz+6%
Double rate 88.2 kHz-10% to 96 kHz+6%

Less than 2.3 ms CH INPUT to STEREO OUT
(@Sampling frequency = 48 kHz)
Less than 1.2 ms CH INPUT to STEREO OUT
(@Sampling frequency = 96 kHz)

80dB adjacent input channels (CH1-24)
80dB input to output.

Power Requirements

U/C
H
B

120V
230V
230V

300W
300W
300W

Dimensions

Height
Depth
Width

257mm (including LCD)
821mm
906mm

Fader

motorized, touch sensitive: 100mm x 25

Net Weight

Total Harmonic Distortion
CH INPUT to STEREO OUT
Input Gain = Min.

Less than 0.05% 20Hz to 20 kHz @+14dB into 600 Ω
Less than 0.01% 1 kHz @+18dB into 600 Ω
(@Sampling frequency = 48kHz)
Less than 0.05% 20Hz to 40 kHz @+14dB into 600 Ω
Less than 0.01% 1 kHz @+18dB into 600 Ω
(@Sampling frequency = 96kHz)

Operating free-air temperature range

10~35°C

Storage temperature range

-20~60°C

Frequency Response
CH INPUT to STEREO OUT

0.5,-1.5dB 20Hz - 20 kHz @+4dB into 600 Ω
(@Sampling frequency = 48 kHz)
0.5,-1.5dB 20Hz - 40 kHz @+4dB into 600 Ω
(@Sampling frequency = 96 kHz)

Dynamic Range
(maximum level to noise level)

110 dB typ. DA Converter (STEREO OUT)
108 dB typ. AD+DA (to STEREO OUT) @ fs=48 kHz
106 dB typ. AD+DA (to STEREO OUT) @ fs=96 kHz

Hum & Noise*
(20Hz~20 kHz)
Rs =150W
Input Gain = Max.
Input Pad = 0dB
Input Sensitivity = -60dB

-92dB residual output noise. STEREO OUT
STEREO OUT off.
-92dB (96dB S/N) STEREO OUT
STEREO fader at nominal level and
all CH INPUT faders at minimum level
-64dB (68dB S/N) STEREO OUTPUT
STEREO fader at nominal level and
one CH INPUT fader at nominal level

Maximum Voltage Gain

600 Ω

10k Ω Lines

-10dBV (0.316V) +4dBV (1.58V)

RCA Pin Jack
(Unbalanced)

150 Ω

600 Ω Lines

+4dB (1.23 V)

+18dB (6.16 V)

XLR-3-32 type
(Balanced) *1

60Hz
50Hz
50Hz

STUDIO
MONITOR OUT [L,R]

150 Ω

10k Ω Lines

+4dB (1.23 V)

+18dB (6.16 V)

Phone Jack
(TRS) (Balanced) *2

C-R MONITOR OUT
LARGE [L,R]

150 Ω

600 Ω Lines

+4dB (1.23 V)

+18dB (6.16 V)

XLR-3-32 type
(Balanced) *1

C-R MONITOR OUT
SMALL [L,R]

150 Ω

600 Ω Lines

+4dB (1.23 V)

type
+18dB (6.16 V) XLR-3-32
(Balanced) *1

43kg

74dB CH INPUT (CH1-24) to STEREO OUT / OMNI (BUS) OUT
74dB CH INPUT (CH1-24) to OMNI (AUX) OUT (via pre input fader)
74dB CH INPUT (CH1-24) to CONTROL ROOM MONITOR OUT
(via STEREO bus)

10k Ω Lines

INSERT OUT 1-24

150 Ω

10k Ω Lines

+4dB (1.23 V)

+18dB (6.16 V)

PHONES

100 Ω

8 Ω Lines
40 Ω Lines

4mW

25mW

12mW

75mW