Operating Precautions & Notes i Operating Precautions & Notes Please read through the following information before operating the DMC1000. Safety Information Make sure the DMC1000 power cord is not located in a position where it is likely to be walked on and/or pinched by other equipment placed near to it. Make sure that the DMC1000 is grounded (earthed) correctly. For a 3-core power cable make sure that the AC receptacle’s earth terminal is actually grounded (earthed).
Operating Precautions & Notes Installation Do not obstruct the ventilation slots in the top and bottom panels by placing objects on top of the DMC100D or by siting the DMC1000 5o that the bottom panel is in direct contact with the supporting surface, & ® Disk Drive The DMC1000 is shipped with a dummy disk in the floppy disk drive to prevent head damage during transit. Make sure that this dummy disk is removed before attempting to use the floppy disk functions.
Items Supplied with the DMC1000 it S T —— —— Items Supplied with the DMC1000 + DDK crossed 25-pin D-sub cable. + JAE straight 25-pin D-sub cable. * YDC 8-pin DIN cable. * Operating system disk. « Blank 3.5 inch floppy disk. + Dummy disk (head protector). * MDC64 RAM card, e — DMCI000 V3.
< Operating Precautions & Notes Stems Supplied with the Introduction Welcome to the DMC1000. What is the DMC1000? Features Applications .. Notes about This Manual DMC1000 Terminology Chapter 1: Touring the DMC1000 The Console . Chapter 4: Monitor Channel. Setting the Input Format.. 8886655855822 The Rear Panel.. 2; Chapter 2: Getting Started . 47 Power up, Power off [SOLO] key 48 Real-Time Clock. 17 Auxiliary Send: 48 Selecting Channel 18 Aux Send Pan..
vi Chapter 7: Stereo Output. Digital Output Connections.. CD/DAT Copy Prohibit Stereo Insert Phones Output Connection: C-R Monitor [EXT, [CUE}, & [ST] keys [MONO] key . Chapter 9: Studio & Cue Monitors. Output Connections CUE [MON] key CUE LEVEL Control CUE [ON] STUDIO MONITOR LEVEL control STUDIO MONITOR [ON] key Metering Chapter 10: Auxiliary Master Sends Auxiliary Output Connections AUX SEND [ON] AUX SEND LEVEL control. Monitoring Aux Sends. Metering ...
Auto Record Mode. Record Start for Internal Sync Record Start for MIDI Clock Synge Record Start for Internal Time code Sync . Record Start for TC IN & MIDI TC Sync Aborting a Recording; Stopping Recording Undoing the Last Recording; Recording Scene Memories On-the-Fly Playback . Automation Absolute Update Mode (Waders Only, Absolute & Relative Modes (Waders Only; Replace & Insert Modes Insert Mode, Waders, & Take Over Time Keep Touch Mode .. Wader Out of Range.
1 Introduction Introduction Welcome to the DMC1000 Thank you for purchasing a DMC1000 Digital Mixing Console. The DMC1000 is the first affordable all-digital mixing console with total automation. In fact, it is the only mixing console that offers total, that is, 100% mix automation.
Notes about This Manual 2 Notes about This Manual This manual is organized into sections that relate to the various sections of the DMC1000, for example, “Input Channel”, “Effects”, “Automation”, etc. So if you want to know something about the Stereo channel’s Balance function, look in the “Stereo Channel” section.
The Console 4 (@ Channel ROUTING section [1], [2], [31, [4], (5], [6], (7], [8], IST] keys These keys are used to route the Input channel and Monitor channel to the Bus and Stereo buses. When the [MON] key is off, Input channels are routed. When the [MON] key is on, Monitor channels are routed. ION] key ‘This key determines whether the above ROUTING keys route the Input channel or Monitor channel to the Bus and Stereo buses. When the [MON] key is off, Input channels are routed.
5 Chapter 1: Touring the DMC1000 LEVEL control This control adjusts the level of the Monitor channel. @ Channel [SEL] key These keys select the channel to be controlled by the EQUALIZER controls, PAD control, key, [LPF] and [HPF] keys, and rotary PAN control. ® Channel [FLIP] key This key flips the INPUT [ON], [EQ], [SOLO] keys and fared to work with the Mani tor channel signal. The Input channel signal is then controlled by the MONITOR [ON], [EQ], [SOLO] keys and LEVEL control.
The Console ‘When the FARED STATUS [BUS MS TR] key is on, these fades control the Bus autistic levels and the BUS LED (top right of channel fared 8) lights up, The red print legend on the right-hand side of the fades should be used. If a [FLIP] key is pressed, the fared and MONITOR LEVEL control] effectively swap jobs. BUS LED This LED lights up when the FARED STATUS [BUS MS TR] key is on, and indicates that the channel fades are controlling the Bus outputs.
7 Chapter 1: Touring the DMC1000 ® [LPF] & [HPF] keys These keys switch the LP and HP filters of the currently selected channel on and off. The roll-off frequency for both filters is set using the [Equalize] LCD function. EQUALIZER section Q Controls These controls adjust the Q of the respective EQ band. f controls These controls adjust the frequency of the respective EQ band. GAIN controls These controls adjust the boost and cut of the respective EQ band.
The Console 8 [AUTO] key This key is used to select the following L.CD functions: Automation —3 [REC Prm] — Wader Edit [Edit Sw] — [Mediated] — [Antedated] ~> [Auto Copy] [S/R Pr] — {Time Code] [Disk]. If you double click on the [AUTO] key, the Automation LCD function will appear. [REC] key Press once to engage Record Ready mode. Press twice to engage Auto Record mode. [PLAY] key This key is used to start automation playback and start recording in Record Ready mode.
9 Chapter 1: Touring the DMC1000 @ @ PARAMETER SELECT keys These keys are used to select parameters on the LCD functions. PARAMETER ADJUST controls key This key is used to decrement a parameter value by one, turn a parameter off, or to say no to an Are You Sure ? message. key This key is used to increment a parameter value by one, turn a parameter on, or to say yes to an Are You Sure ? message. Data entry wheel The data entry wheel is used to increase and decrease parameters values.
The Console 10 (1], 121, & [31 keys These keys select which auxiliary send is to be affected by the LEVEL control. If the “Auto Effect Screen™ parameter on the [Con fig] LCD function is set to “on”, the [Effect 1] and [Effect 2] LCD functions appear automatically when the [1] and [2] keys are pressed respectively. SOLO section AFL LEVEL control In AFL mode, this control adjusts the level of the Solo bus that is fed to the C-R monitor, [AFL] key This key is used to select the solo mode: AFL or SOLO.
11 Chapter 1: Touring the DMC1000 [ON] key This key turns the STUDIO MONITOR OUT (ANALOG) outputs on and off, DIM section LEVEL control This control adjusts the signal level of the dimmed C-R monitor signal. [DIM] key ‘When this key is pressed, the C-R monitor signal is dimmed to the level set using the above LEVEL control. The Dim function is engaged automatically when the TALK BACK [ON] or [ALL] key is pressed.
The Console 12 @ Floppy disk drive The floppy disk drive accepts 3.5 inch 2DD type floppy disks, which can be used to store DMC1000 data such as scene memories, automation data, and setup data. See “Floppy Disk Q Operations” on page 89, @ Meter Banks These meter banks contain 12-segment LED bar graphs that can be used to monitor signal levels from the following: Input channels, Monitor channels, Stereo channels, Bus outputs, Aux sends, Cue monitor, and C-R monitor. See “Meter Banks I, II, & III” on page 73.
The Rear Panel 14 e @ ® POWER switch Used to power the DMC1000 on and off. LCD CONTRAST control Adjust this control so that the LCD is easy to read. When the LCD is viewed from a different height or angle, you may need to readjust this control. @ MIDI THRU Outputs the MIDI data that is received at the MIDI IN connector. @ MIDI OUT Outputs MIDI data such as Controllers, Program Change, System Exclusive, etc. & MIDI IN Receives MIDI data.
15 Chapter 1: Touring the DMC1000 ® ® STEREO INSERT Y2 JOUSTING Two 8-pin DIN connectors make up the stereo insert point for the Stereo output. The input and output format is Yamaha Y2. See “Stereo Insert” on page 58. AUX SEND 1, 2, 31/R Three 8-pin DIN connectors that output the auxiliary send signals in Yamaha Y2 format. Auxiliary send signals are also output as analog signals. STEREO OUT Y2, SDI, AESCHYLUS, CD/DAT An 8-pin DIN connector that outputs the master Stereo signal in Yamaha Y2 format.
The Rear Panel 16 @ MONITOR CHANNEL DIGITAL /O A 25-pin D-sub connector for inputting signals to the Monitor channels. It also outputs the eight Bus signals. The signal format is Yamaha Y2. See “Sensing the Input Format” on page 44, @ MONITOR CHANNEL INPUT A 25-pin D-sub connector for inputting signals to the Monitor channels, The input format can be set to Yamaha Y1, Yamaha Y2, SDI, or M.
17 Chapter 2: Getting Started Chapter 2: Getting Started Power up, Power off If the DMC1000 is set up to use an external word clock source, the device supping the external word clock should be powered on before the DMC1000. Use the rear panel POWER switch to power the DMC1000 on and off. If the DMC1000 is powered off, wait at least 5 seconds before powering on again. Real-Time Clock The [Clock] LCD function displays a real-time digital clock.
Selecting Channels 18 —— Timer The [Time Date] LCD function also contains a useful timer with start, stop, and reset functions. This could be used for timing sessions, etc. Use the PARAMETER SELECT keys to select a timer function and the key to execute it. The timer will continue counting even while other LCD functions are displayed.
19 Chapter 2: Getting Started The individual Stereo channels still have to be selected using the [SEL A], [SEL B), and [SEL C)keys. Similarly, the EQUALIZER [MON] key must be lit to select Monitor channels, Getting Around the LCD Functions [PERV] & [NEXT] keys LCD functions can be selected using the LCD CONTROL [PERV] and [NEXT] keys. If you keep pressing either key you will eventually cycle through all the available LCD functions. LCD function names appear in groups of four along the bottom of the LCD.
Customizing the [Function] LCD Function Auto Parameter Screen 20 The [Function] LCD function can be customized so that, for example, LCD functions that you use a lot are placed together at the top of the menu. Use the PARAMETER SELECT keys to position the cursor next to the menu cell that you want to change, then use the PARAMETER ADJUST keys or data entry wheel to st the LCD function. To reset the [Function] LCD function to its initial setup, press the [F3] key (INNIT.
21 Chapter 2: Getting Started Setting LCD Function Parameter Values To adjust and set variable parameters use the PARAMETER ADJUST keys or the data entry wheel, Operator Level To suit the requirements of different users, four operator levels are available: Expert, Intermediate, Basic, and Locked. The Expert level allows access to all DMC1000 parameters, while the Basic level allows access to basic mixing parameters such as fades, mutes, solo, and scene memory recall.
Operator Level 22 e Input Module Parameter Love Parameter Laval Bus Assign 2 Monitor EQ On/Off 2 Sterno Assign 2 Monitor On/Oft 1 Bus INP/MON Select 1 Monitor Solo t Aux Lave! Encoder 2 Channel Select 1 Aux INP/MON Select 1 Flip 1 Aux 100 2 Pan pot 2 Aux 2 On 2 Pan Select INP 1 Aux 3 On 2 Pan Select MON 1 Aux 1 Select 1 Pan Select AUX 1 Aux 2 Select 1 input EQ On/Oft 2z Aux 3 Select 1 input On/OH 1 Mani tor Laval Encoder 1 input Solo 1 Bus To Monitor 2 Linear Wader 1 Stereo Input Module Parameter Laval Para
23 Chapter 2: Getting Started Parameter Love Parameter Laval Pad Encoder 2 On 1 Phase 2 Cue Laval 1 LPF 2 Cue Monitor To Cus 1 HPF 2 Cue On/Off 1 Pan pot Encoder 2 Studio Level 1 Pan INP Elect 1 Studio Ov/Off 1 Pan MON Select 1 Diem Level 1 Pan AUX Select 1 Dim Nonfood 1 Gloat 1 Mono (C-R Mono} 1 EQ Encoders 2 Small Level 1 EQ Shelving 2 Large Level 1 EQ Besot 2 Marseillaise Select T EQ Monitor Select 1 Monitor Ext 2 Aux Master Encoder 2 Monitor Cue 2 Aux Master 1 On 2 Monitor ST 2 Aux Master 2 On 2 Stereo
Initial Settings 24 SDI SDI connections use BNC connecting cables (note that SDI format data is also input and output via some of the 25-pin D-sub connections). Word clock ‘Word clock only connections typically use BNC or XLR type connectors. Ordinary XLR type audio cables can be used for the XLR word clock connections and standard BNC connecting cables for BNC word clock connections, TIMIDITY For MIDI and MTC connections, use duality MIDI cables that do not exceed 15 meters (50 ft.) in length.
25 Chapter 2: Getting Started Set the word clock frequency (sampling frequency) on the master device only. Usually, the word clock frequency settings on a slave device that is synchronized to an external forelock are ignored. Some digital audio connections require a separate connection just for the word clock signal. The following table shows how word clock signals are handled by each digital audio format.
Word clock Setup 26 Input: this parameter sets the word clock format for the BNC and XOR-3-31 type WORD CLK IN connections. If the external word clock is sourced from WORD CLINK connection, this parameter should be set to the external word clock format (YAMAHA/SDIF2 or M). Output: this parameter sets the word clock format for the BNC and XOR-3-31 type WORD CLK OUT connections: YAMAHA/SDIF2 or M.
Rec & Mix Modes 28 Rec & Mix Modes The CONSOLE STATUS [REC] and [MIX] keys are used to select the Rec and Mix modes. Rec mode should be used when recording to multi track (tracking) and Mix mode should be used for final mix down. Essentially, the [MIX] key activates the {FLIP] key on all channels. ‘While the [REC] key deactivates all [FLIP] keys. In either mode, all Input channels and Monitor channels can be routed to the buses.
29 Chapter 2: Getting Started Data Organization Fig 2-1 shows how various DMC1000 data can be stored to floppy disk. All data shown in the “DMC1000 RAM Memory” box is retained while the DMC1000 is powered off.
Data Organization 30 RAM Card Scene Memories Up to 64 scene memories can be stored to an external RAM card: 32 in bank A (33~64), and 32 in bank B (65~96). So in combination with the 32 internal scene memories, up to 96 scene memories are available at once. Floppy Disk All the above data types can be saved to floppy disk, even scene memories from the RAM card. By saving all the above data types you can keep all DMC1000 data that relates to a particular mixing session for easy recall in the future.
31 Chapter 3: Input Channel e A — Chapter 3: Input Channel This explanation of the Input channels is in Rec mode. In Mix mode, when the ROUTING [MON] key is on, or when the [FLIP] key is on, controls marked with a double dagger symbol are fed the Monitor channel signal.
Setting the Direct Output 32 e Setting the Direct Output The [O.Format] LCD function shown below is used to set the format for the INPUT CHANNEL DIRECT QUT connection (INPUT Direct). st Initial Dat = Teuton Format Select bk BIS L WE pil UNFIT Direct 1 HE M MONITOR Direct Input Direct. Y1 ME PEDIGREE ¥ O.Format F3 F4 Use the PARAMETER SELECT keys to select a format on the “INPUT Direct” row, then press the key to select it. The selected format will flash on the LCD.
33 Chapter 3: Input Channel Pad The [Pad} L.CD function allows you to set a signal pad from 0.0 dB t0 -95.2dB. When a System Reset is performed, see “System Initialize” on page 126, or scene memory 0 is recalled, all pad settings are set to —6 dB. This is because digital audio signals are usually at a relatively high level, so during mixing you would soon run out of headroom. wad Initial Data skt Pad Setting (~dE} wooer ~F.
Q34 — EQUALIZER Controls To adjust a channel’s EQ, select the channel, then use the EQUALIZER controls explained below. Q controls: adjust the Q of each band from 8.16 to 0.1. Q control is not available for all types of EQ filter. f controls: set the frequency of each band from kHz. For Band and Peak type filters, this will be the band’s center frequency. For LPF, HPF, etc., it will be the -3 dB roll-off point.
35 Chapter 3: Input Channel Gain: -18dB 0 +18 dB Type: Type Description Type Description Peak Peaking LP 2nd order 12 Doctor low pass fighter Ls hi Low frequency shelf HP 2nd order 12 Doctor high pass fighter Highs #igh frequency shelf LP 1t order 6 Doctor fow pass filter Band Band pass HP 15t order & Doctor high pass filter HELPFUL: HPF: on/off, kHz. LPF: on/off, 1.0 kHz to 20 kHz. Both 12 Doctor.
Insert 36 e Insert On/Off Setting Unlike normalizing inserts, the DMCI000’s inserts have to turned on for use, and must be turned off when not is use. Insert on/off settings are made on the [Ins. On} LCD function shown below. Data Ak == Inert INF off off off off off off off off MON off off off off off off off off ST, A off 5TH off =T.0 off =T MASTER of f Emphasis |l ins.
37 Chapter 3: Input Channel Delay The [Delay) LCD function can be used to compensate delays caused by microphone placements at various distances from a sound source, or as just a delay. The delay time can be set from 0.00t0 371,47 sec, and you can set the delay in sec, meters, yards, or samples. The delay also has a feedback control with a ~99% to +99% range. week Initial Data sewer D2 lzg Ti fie meme— [Neut, Ho 13 S Time! .
Phase 38 Position the cursor next to “Input Channel”, and use the PARAMETER ADJUST keys or data entry wheel to select “Monitor Channel”, “Stereo Input Channel™, or, of course, “Input Channel”. Position the cursor next to and use the PARAMETER ADJUST keys or data entry wheel to select the delay units: sec, meters, yards, or samples. To set the delay for all channels simultaneously, position the cursor over the Global parameter and use the PARAMETER ADJUST keys or data entry wheel.
39 Chapter 3: Input Channel e Alternatively, select the Input channel, make sure that the [BUS] key below the rotary PAN control is on, and use that rotary PAN control. Input channel pan settings can be displayed and set on the {Pan pot] LCD function (BUS). wart Initial Eats sks Farrow Sating BUS MOM 3232 nominal Centerboard Pan pot Use the PARAMETER SELECT keys to select an Input channel (1~8 on the “BUS” row) and the PARAMETER ADJUST keys or data entry wheel 10 adjust the pan position.
[SOLO) key # 40 Although intended for automation fared editing, the Wader Edit LCD function can be used to graphically display the fared positions. BESMEAR) dog loves; {SOLO] key # To solo an Input channel, press an INPUT [SOLO] key. See also “SOLO [AFL] key” on page 62 for details about the SOLO and AFL modes. The AFL mode signal source can be set to “After Wader Listen”, “Pre Switch Listen™, or After Pan pot Listen” on the [Routing] LCD function (AFLAME.
41 Chapter 3: Input Channel e A Aux 3 Send Pan The Aux 3 bus is stereo, so Input channel signals sent to the Aux 3 bus can be panned. Initially, the Input channel’'s AUX 3 pan controls are set to center. To pan an Input channel signal across the stereo Aux 3 bus, make sure that the PAN [AUX) key is on, then use the PAN and keys. Alternatively, select the Input channel, make sure that the [AUX] key below the rotary PAN control is on, and use that rotary PAN control.
Channels as Stereo Pairs 42 Channels as Stereo Pairs Input channels 1&2, 3&4, 5&6, and 7&8, and Monitor channels 1&2, 3&4, 5&6. and 7&8 can be configured as stereo pairs using the [ST Pair] LCD function shown below, 3t4 SEE T THP HOH aff configure a stereo pair, select a channel pair and press the key. To cancel a stereo pair, select the channel pair and press the key.
43 Chapter 3: Input Channel MS Decoder The MS decode function allows you to decode signals recorded using MS microphone techniques. This eliminates the need for external MS decoder equipment. Only channels configured as & stereo pair can use this function.
Monitor Channel 44 Chapter 4: Monitor Channel This explanation of the Monitor channels is in Rec mode. In Mix mode, when the ROUTING [MON] key is on, or when the [FLIP] key is on, controls marked with a double dagger symbol are fed the Input channel signal, See “Rec & Mix Modes” on page 28.
45 Chapter 4: Monitor Channel Setting the Direct Output Pad The [O.Format) LCD function shown below is used to set the format for the MONITOR CHANNEL DIRECT OUT connection (MONITOR Direct). sk Initial Eats hared — Brut. Format Select--e-— BUS w1 FUT Direct Rt MONITOR Direct %1 ST Neut Direct 241 DIFFER > DIFFUSE M PEDIGREE M PEDIGREE H I Format 3 F4 Use the PARAMETER SELECT keys 1o select a format on the “MONITOR Direct” row, then press the key to select it, The selected format will flash on the LCD.
LPF & HPF 46 Monitor channel pad settings are displayed on the second row of the [Pad] LCD function Use the PARAMETER SELECT keys to select a Monitor channel and the PARAMETER ADJUST keys or data entry wheel to set the pad level. Alternatively, select the Monitor channel, then use the rotary PAD control. To set the pad for all channels simultaneously, position the cursor over the parameter at the bottom-right and use the PARAMETER ADJUST keys or data entry wheel.
47 Chapter 4: Monitor Channel Pan 'To pan the Monitor channel signal between odd and even buses and the Stereo bus, make sure that the PAN (MON] key is on, then use the PAN and keys. Pressing both keys simultaneously will set the pan to center. To pan the Monitor channel signal, make sure that the PAN [MON] key is on, then use the PAN and keys. Pressing both keys simultaneously will set the pan to center.
SOLO key 48 Although intended for automation fared editing, the Wader Edit LCD function can be used to graphically display the fared positions. [SOLO] key * To solo a Monitor channel, press a MONITOR [SOLO)] key. See also “SOLO [AFL] key” on page 62 for details about the SOLO and AFL modes. The AFL mode signal source can be set to “After Wader Listen”, “Pre Switch Listen”, or After Pan pot Listen” on the [Routing] LCD function. See “[SOLO] key $” on page 40.
49 Chapter 4: Monitor Channel Auxiliary Send Ducking If the “AUX Send Ducking” parameter on the {Con fig] LCD function is set to “on”, per-fade Aux send signals will be shut off when the fared is at its minimum position. This parameter affects Input channel sends, Monitor channel sends, and Stereo channel sends.
Stereo Channel 50 Chapter 5: Stereo Channel Stereo Channel Connections Conn action Connector Format Notes ST INPUT (ANALOG) A, B, C X331 type “Analog All stereo Inputs FUSTINESS A,B,C Y2 -pin DN vz ST INPUT AC INSERT 1O 25-pin D-Sb Y2 ST INPUT A-C DIRECT OUT 25-pin D-sub 502, 0 | Se@ Meting the Direct Output” Selecting the Input The [DIO Se] LCD function is used to select the input source, analog or Yamaha Y2 digital, for the Stereo channels.
51 Chapter 5: Stereo Channel Setting the Direct Output Pad The [O.Format] LCD function shown below is used to set the format for the ST INPUT A-C DIRECT OUT connection (ST Input Direct). trod Initial Eats sk = Output. Format Select-— BUS P W PEDIGREE »h THRU Direct w1 W FIFE M MONITOR Direct 91 ST Input Direct COWBOY EDIFY > EDIFICE ] O.Format Use the PARAMETER SELECT keys to select a format on the “ST Input Direct” row, then press the key to select it. The selected format will flash on the LCD.
LPF & HPF 52 Stereo channel pad settings are displayed on the bottom row of the [Pad] LCD function (A, B, C). Use the PARAMETER SELECT keys to select a Stereo channel and the PARAMETER Adjuster data entry wheel to settee pad level.
53 Chapter 5: Stereo Channel A Pan/Width The left signal of a Stereo channel is initially panned to the left (odd Bus outputs) and the right signal is panned to the right (even Bus outputs). To change the initial pan setting, select the Stereo channel, select the left or right signal using the PAN [L] and [R] keys, then use the PAN and keys. Pressing both keys simultaneously will set the pan to center.
Wader 54 Wader Used to adjust the level of the Stereo channel signals that are fed to the Stereo bus, Bus outputs, and post-fade auxiliaries. Refer to the black print legend on left-hand side of the fared. When a fared is positioned at the unity gain position (0), the red LED on the left of the fared lights up. The ST INPUT A-C channel’s fared is effectively three fades in one. Use the [SEL A), (SEL B], and [SEL C] keys to select the Stereo channel that is to be controlled by the fared.
55 Chapter 6: Bus Out (Group Quits) Chapter 6: Bus Out (Group Outputs) Digital Output Connections The eight Bus signals are output simultaneously to the following outputs. Connection Connector Format BUS OUT 1-8 25-pin D-sub Y1, Y2, DIFF, or M BUS QUT AESCHYLUS XOR-3-32 type AESCHYLUS INPUT CHANNEL DIGITAL /O 25-pin D-sub ¥1, Y2, SOIREE, or M MONITOR CHANNEL DIGITAL VO 25-pin D-sub Y1, Y2, S0IF2, or M Data from each output can be bit shifted independently.
Setting the Bus Output Levels 56 Setting the Bus Output Levels To set the Bus output levels, press the FARED STATUS [BUS MS TR] key. The BUS LED located at the top of channel 8 fared will light up, and the channel fades will control the Bus output levels. Refer to the red print legend on right-hand side of the fades. The Bus fared positions can be monitored on the [Master] LCD function shown below. Initial Dana wise By % = ity — Hast BUS oIn ¥ # .
57 Chapter 6: Bus Out (Group Outputs) Monitoring the Bus Outputs Bus output signals can be monitored as folios. 1. Press the MONITOR [BUS] key on the Monitor channel that corresponds with the Bus output, for example, channel 1 for Bus 1. The [BUS] key will light up. 2. Make sure that the MONITOR [ON] key is on, 3. Set the monitor level using the MONITOR LEVEL control. In Mix mode, a Bus output cannot be monitored if the corresponding Monitor channel is routed to that particular Bus output.
Stereo Output 58 Chapter 7: Stereo Output Digital Output Connections The Stereo signal is sent to the following outputs simultaneously. Connection Connector Format STEREO OUT ¥2 B-pin DIN ‘Yamaha Y2 STEED OUT SDI (XLR} XOR-3-32 type SDI STEREO OUT SDI (BNC) BNC T STEREO OUT ABUSIVE XOR-3-32 type AESCHYLUS STEREO OUT CD/DAT Cacophonous CO/DAT Data from each output can be bit shifted independently. See “Bit Shifting Digital Output Signals” on page 123.
59 Chapter 7: Stereo Output Wader The STEREO fared adjusts the Stereo output level. The STEREO fared position can be monitored on the [Master] LCD function shown below (STEREO), Ak Initial Data i == Master Level # = unite BUS 15 276 347 48 STEED AFL Master can also be monitored on the {Input] LCD function.
Noise shaping 6D Noise Shaping "The DMC1000 internally processes digital audio at a 28-bit resolution. If the Ste rec output signal is sent 20-bit DAT or DTR, the extra bits will just be chopped off, greatly reducing the audio quality. Therefore, the DMC1000 uses a technique known as noise shaping to produce and 20-bit data from 28-bit data. There are two noise shaping parameters on the [Con fig] LCD function: “Noise Shaping” {on/off) and “Noise Shaping bit No.” (16~26).
61 Chapter 8: C-R, Small/Large Monitors & Phones Chapter 8: C-R, Small/Large Monitors & Phones Apart from independent level controls, the following monitor outputs are controlled by the same monitor functions and all are fed from the same delectable monitor source. Output Connections MONITOR OUT (ANALOG) Connector Format SMALL LR XOR-3-32 type ANALOG LARGE LR XOR-3-32 type.
MONO] key 62 1ST] key This key selects the Stereo bus. The source can be set to “Pre Wader Listen” (Stereo bus) or “After Wader Listen”, This setting is made on the [Routing] LCD function shown below (C-R Monitor sheikh Initial Data st signal Pouting —e-o Input B INT Sterne Neutrino INT R Motorist] After Wader Listen Hf tee Wader Listen Direct out After Wader Listen Routing [MONO] key Press the (MONO] key to mono the monitor signal.
63 Chapter 8: C-R, Small/Large Monitors & Phones e Safe Channels A Safe channel is one that will not be muted when another channel’s [SOLO] key is pressed in SOLO mode. Safe channels are set on the [SOLO] LCD function shown below. # safe channel « will be muted in SOLO mode sonata Grit izl Eats s L Recording »Coded AFL 24T 6T g aec Input Input. Moderate SOLO Rec mode, the Input channels and Sterno channels are set as Safe channels automatically.
Balance 64 Balance The balance between the left and right monitor signals can be set on the [Balance] LCD function shown below (Monitor Master). 0 =left (+3 dB), 16 = center, 32 = right (+3 dB). sk [atrial Data s Balance —mmmSET. H 16 SET.RB 1E »BTU 16 Sheree Master 16 M Monitor Master 16 Balance F2 Metering The monitor signal level can be monitored on meter bank I Use the METER SELECT [IH] key to select CUE/CR. SMALL LEVEL control This control sets the level of SMALL MONITOR outputs.
65 Chapter 9: Studio & Cue Mani tars e e Chapter 9: Studio & Cue Monitors Output Connections MONITOR OUT (ANALOG) Connector Format CUE XOR-3-32 type ANALOG STUDIO XOR-3-32 type ANALOG CUE [MON] key Selects the cue/studio monitor source. ‘When the key is unlit, the source is set to the Aux buses.
Auxiliary Master Sends 66 Chapter 10: Auxiliary Master Sends Auxiliary Output Connections The auxiliary send signals are output via the following connections.
67 Chapter 10: Auxiliary Master Sends e A —— A Monitoring Aux Sends To monitor an auxiliary send via the following monitor outputs. SMALL MONITOR OUT LARGE MONITOR OUT C-R MONITOR QUT PHONES 1. Press the C-R MONITOR [CUE] key. 2, Use the [CUE Sel] LCD function shown below to select an aux send. The selected aux send flashes on the LCD, deed Initial Dana ddx CIE buz Select Merme—w—YHUAL PR SHE monitor an auxiliary send via the following monitor outputs. CUE MONITOR OUT STUDIO MONITOR OUT 1.
2TR Monitor Inputs 58 Chapter 11: 2TR Monitor Inputs The following inputs are provided for connecting a 2-track master recorder. 2TR MONITOR INPUT (CH-B) Connector Format Y2 8-pin DIN Yamaha Y2 SDI BNC I AESCHYLUS XOR-3-31 type AESCHYLUS CD/DAT1 Phonograph COMA COMBAT Cacophony CODA For details about the AESCHYLUS and CD/DAT input’s channel status and user bits, see “AESCHYLUS Channel Status & User Bits” on page 121.
69 Chapter 11: 2TR Monitor Inputs sk It e Eternal Soweto STRUT AES LISZT CO-DATE STRUT GRIEF VERT VY FETE ACCOMMODATE CUE Sel Time Date Clock monitor a 2TR monitor input via the following monitor outputs, CUE MONITOR OUT STUDIO MONITOR OUT 1. Press the C-R MONITOR [EXT] key. 2. Use the [I.Format] or [EXT Mon] LCD function to select a 2TR monitor input. Both LCD functions are shown below. Use the PARAMETER SELECT keys to select a 2-Track input, then press the key.
Talk back & Slate 70 Chapter 12: Talk back & Slate ‘The DMC1000 is fitted with an internal condenser microphone {(MIC) for talk back operation. The talk back microphone level can be set using the TALK BACK LEVEL control, There are three talk back modes: [ON], [ALL], and [SLATE]. The following table shows how each output is affected in each of the three modes.
71 Chapter 12: Talk back & Slate Talk back & Slate Bus Assign The BUS ASSIGN parameters for the Stereo output and Bus outputs are set using the [Talk back] LCD function shown below, sy Initial Data sk Talk back HOED: of £ BUS ASSIGN Tailback Use the PARAMETER SELECT keys to select a Bus and the PARAMETER ADJUST keys or data entry wheel to make a setting. . talk back and slate will not be sent to a Bus (see note below). * talk back and slate will be sent to a Bus.
Slate Oscillator Setup 72 Slate Oscillator Setup The SLATE oscillator is set up using the [OSC] LCD function. stk it isl Data sk e OSCILLATOR = ¥ Oscillator af f b Frequency 1.8kHz > Reformatory ~Z8dE A0 Offset Calibration [kHz] Oscillator: when the “Oscillator” parameter is set to on, the oscillator is sent to all outputs except the Bus outputs. When the [SLATE] key is pressed, this parameter indicates that the oscillator is on. Frequency: the oscillator frequency range is from kHz.
73 Chapter 13: Metering Chapter 13: Metering L STEREO R Meters These 32-segment LED bar graphs indicate the Stereo output levels, Meter Banks Meter banks 1, II, and III can be set to monitor various signals within the DMC1000. The meter sources can be set using the METER SELECT (1}, [II], and [III] keys or the [Meter] LCD function. The {Meter] LCD function can also be used to select pre EQ, post BQ, or post fared metering for the Input channels, Monitor channels, and Stereo inputs.
Peak Hold 74 Meter Bank It Doter 2 Source Source Options. Notes Pre EQ Motorman (MON) | Monitor channels 1-8 | Post €Q Cannot be selected whom mater bark is sat Post Wader Bus (BUS) Bus outputs 1-8 Meter Bank 1 Master 3 Source Source Options Notes Aux Send (AUX) | Aux sends 1,2,3 Cue/C-R Monitor (CUE CR} CUE, CR Peak Hold Press the METER SELECT [HOLD] key to turn on the peak hold function. The peak hold function affects all the bar graph meters. The peak hold time can be set on the [Meter] LCD function.
75 Chapter 14: Effects Chapter 14: Effects Internal Effects . The DMC1000 contains two digital stereo effects processors that utilize the same technology as the Yamaha SPX1000 digital malt-effect processor. Both internal processors have the same range of effects available, although, each can be set up independently. Effect 1 is always fed from the Aux 1 bus, after the AUX SEND 1 level control. Effect 2 is always fed from the Aux 2 bus, after the AUX SEND 2 level control.
Using the Internal Effects 76 Fig 14-1 shows how the aux 1 and 2 signals are routed to the internal effects, and how Stereo channels A and B can be used as internal effect returns or external effects returns. Note that the stereo Aux 3 send is not shown, sinusitis not connected with the internal effects. However, Aux 3 send can be used as a stereo external effects send. STEREO INPUT A STEREO INPUT A {ANALOG) RASPUTIN (Y2 DIGITAL STEREO i Input B STEREO INPUT B.
77 Chapter 14: Effects e INT. This setting can also be made on the [Routing] LCD function. ot unitize Data s == D10 Select > INFLATE in > 5T Ruthie B Digital P INT > 5T Impute B Digital P INT » BT Subprime € Digital DIO Sel. 4 4. Setup Stereo channel that you can mentor the effect return signal, 5. Locate the [Effect 1] or [Effect 2] LCD function as required. [Effect 1] is shown below. ok Initial Daley done we-Effect | Setting > REU I HALL A 1 Rey Time s Effect Recall .6 [(SECS Z High 8.
Internal Effects Parameters 78 O the “ST Input A” or “ST Input B” to EXT. Also set the “ST Input” to either “Analog” or “Digital”, depending on the type of input connection you are using. et Initial Data s -~ D10 Select IHF?PAE in INPUT T Ir put. B Digital > PINT ¥ 57 Ir Put B Digital > IHT “ 5T Reuther © Dis ital [Retie Y [OASIS T DIO Sel. The input signal level can be monitored on meter bank I. Use the METER SELECT [I] key to select ST IN.
79 Chapter 14: Effects FLANGE Parameter Range Description ! Mod Frq 0.05 ~ 40.00 Hz Modulation frequency Mod Depth 1 0~ 100% Modulator 1 depth Mod Daisy 1 0.1~ 100.0ms Modulator 1 delay Mod Depth 2 0~ 100% Modulator 2 depth Mod Delay 2 0.1 -100.0ms Modulator 2 daisy Phase ~180 ~ 180 degrades Phase difference between modulators Gain 0~ 100% Feedback gain: the amount of flanges signal fad back into the flange HPF Frg off ~ 1.0kHz Clanger high pass filter LPF Frg 1.
Internal Effects Parameters 80 EARLY REF. 1 Parameter Range Description 8-HALL Small tall L-HALL Large halt RANDOM Randomly generated reflection pattern e REVERSE Reverse reverb PLATE Plate ravaged SPRING Bering fine revere Roam Size 0.5~ 250 Ron size attests the time intervals between the early reflections Liven ass 0-10 Liveliness: 0 = dead room, 10 = vary reflective room surfaces Contusion 0~ 10 Reverb complexity: O = basic roam, 10 = complex room shapes Initial Dty 0.
81 Chapter 14 Effects GATE REVERB, REVERSE GATE Parameter Range Description TYPE-A Algorithm A ve TYPE-B Algorithm B Room Size 0.1 ~250 Room size affects the time intervals between the early reflations Vileness 0~ 10 Liveliness: 0 = dead room, 10 = very reflective rem surfaces Diffusion 0-10 Reverb complexity: O = basic room. 10 = complex room shapes Initial Diy 0.1 ~400.0ms initial delay between the direct sound and the early reverb reflections LPF Frg 1.0 kMz ~ oft Reverb low pass fighter FB Dolly 0.
Internal Effects Parameters 82 PITCH CHANGE 1 Parameter Range Description Pith Pitch sifter 1: pitch shift in semitones Fine 1 ~100 ~ 100 Pitch sifter 1: fine tune in cents. Delay 1 0.1~ 650.0 ms Pitch sifter 1: delay bears the pinch shifted sound is output Pitch shutter 1: amount of pitch shifted signal fed back into tha effect Laval 1 0~ 100% Pitch sifter 1: level Pate 2 24 ~ 424 Pitch sifter 2: pitch shift in semitones Fine 2 ~100 ~ 100 Pitch sifter 2: fine tune in cents. Delay 2 0.
83 Chapter 14: Effects e e e PAN POT Parameter Range Description | [ Auto pan from lef 10 right Le R Auto pan from right to left Tye Les R Alta pan from insist to right to left, etc. L-TUB An auto pan with & degree of front and mfir‘deplh that appears to rotate the sound in an anticlockwise circular motion (30 for sound) R-TURN As L-TURN, but in a clockwise circular motion Speed 0,05 ~40.
Trouping, Linking, & the [GLOBAL] key 84 Chapter 15: Grouping, Linking, & the [GLOBAL] key Grouping Waders Channel fades 1~8 and the ST INPUT A-C fared can be grouped together so that a number of fades can be controlled by moving just one fared. Two fared groups are available: G1 and G2. There are two ways in which you can add and remove fades to and from a fared group: using the CH SELECT keys or the [Grouping] LCD function, The G1 and G2 fared groups are common to Input channels and Monitor channels.
85 Chapter 15: Grouping, Linking, & the [GLOBAL] key The Disable/Enable parameter works in parallel with the GROUP [ENABLE] key. ik Initial Eats ek wee Grouping Information 12345678 BEC Grouper Grow Sizable » Wader Calibration Grouping The [Grouping] LCD function can also be used to monitor fared group settings made using the CH SELECT keys.
Linking Channels 86 Linking Channels A combination of Input channels and Monitor channels can be linked so that channel parameters can controlled from one channel. Two link groups are available: LINK 1 and LINK 2. The first channel selected for a link group becomes the master, and subsequent selected channels are slaves. As slaves are added to a link group, their channel parameters are set to match those of the master channel.
87 Chapter 15: Grouping, Linking, & the [GLOBAL) key 3. Use the CH SELECT keys to select the master channel. The key pressed will flash to indicate the master channel. 4. Use the CH SELECT keys to add slave channels to the link group. As each slave channel is selected, its parameters will set to match those of the master channel. 5. Press the LINK [ENABLE] key. Parameter adjustments carried out on the master channel or a slave channel! will now affect all channels in the link group. 6.
The [Glob All key 88 Storing Link Group Setups Link group setup data can be stored in scene memories or with the setup data. Use the Link “Parameter Memory” parameter on the [Con fig] LCD function to select either “Scene™ or “Setup”. e Suzette cons abjuration Irk Forbearance Emperors Setup e Confirmation of f Recall Confirmation of Title Store Prohibit of'f ¥ Store Res. IN Prohibit off Con fig.
89 Chapter 16: Floppy Disk Operations Chapter 16: Floppy Disk Operations Disk Handling Precautions * Do not touch the surface of a disk, + Underexpose disks to extremes of temperature or humidity. The working temperature range for floppy disks is between 4°C and 52°C * Do not store or place disks near to a television, radio, loudspeaker, or any other device that generates a magnetic field.
Disk Formatting 90 Disk Compatibility DMC1000 formatted disks can be read in MS-DOS based PC computers. So disks can be formatted, copied, etc., and files can be examined, copied, and deleted. However, DMC1000 files cannot be edited. Any attempt at editing will damage the file, making it unusable. Disk Formatting Before a new disk can be used to store DMC1000 data it must be formatted. 1. Insertions distinguished drive label side up, shutter first. Push it in until it clicks into place. 2.
91 Chapter 16: Floppy Disk Operations the file. The names of files of the selected type will be shown in the name box. 3. Position the cursor next to “Load”, then press the key. The message “Are You Sure 7" will appear. 4. Press the key to load the file, or the key to cancel the operation. Loading Automation Data 1. Position the cursor next to “File Type” and use the PARAMETER ADJUST keys or data entry wheel to select “Automation Data”, 2.
Scene Memories 92 Chapter 17: Scene Memories What Are Scene Memories? At any time during a mix session, the current console settings can be stored in a scene memory, sometimes called maxi scene, or mix snapshot. Scene memories can then be recalled in one of three ways: + Manually using the MEMORY [RECALL] key. See “Recalling Scene Memories” on page 95. + Automatically from the [At.
93 Chapter 17: Scene Memories Working with RAM Cards Write Protect Data saved on the RAM card can be protected by setting the WRITE PROTECT switch to ON, just like a floppy disk. In this case, new data cannot be saved, existing data cannot be deleted, and the card cannot accidentally be formatted. To save data to the RAM card, set the WRITE PROTECT switch to OFF. RAM Card Battery Because RAM type memory requires a small electrical charge to store data, a small battery is installed inside the RAM card.
Storing Scene Memories 94 A mitt Load: loads the 32 RAM card scene memories of the currently selected bank into the 32 internal scene memories. Any data in the 32 internal scene memories will be overwritten. Save: saves the 32 internal scene memories into the currently selected RAM card bank, Any data in the currently selected RAM card bank will be overwritten. Swap: swaps the 32 internal scene memories with the 32 RAM card scene memories of the currently selected bank.
95 Chapter 17: Scene Memories Recalling Scene Memories Manually 1. Use the MEMORY [A] and [V] keys to select a scene memory. 2. Press the [RECALL] key to recall the selected scene memory. With Automation Scene memories can be recalled automatically during an automated mix down from the [At. Me Med] Memory Sequence Edit list, which is like an EDL (Edit Decision List) of mix scenes that can be synchronized to time code, MTC, or MIDI Clock. See “Recording Scene Memories On-the-Fly” on page 109.
Titling Scene Memories 96 Titling Scene Memories Although scene memories can be identified by number, you may want to title thees, for example, “Chorus” or “Door Opening”, etc. The [Title.ed] LCD function shown below can be used to title scene memories. wk Initial Data sews Mamore Title Enif, sk Mopers Ho, 10 sees » UPPER x LOWER ‘Titles can characters in length, and all scene memories have the initial title Memory No, xx You don’t have to recall a scene memory to title it.
97 Chapter 17: Scene Memories Store & Recall of Only Certain Parameters The [S/R Pr} LCD function shown below allows you select which parameters are stored and recalled with scene memories. When the DMC1000 is powered on, this function is set to disable so that all parameters are stored and recalled. When editing scene memories, this function allows you to selectively update certain scene memory parameters, and to selectively copy data from one scene memory to another.
Storing [S/R Pr] in Scene Memories 98 T A Use the PARAMETER SELECT keys to select a parameter and the PARAMETER ADJUST keys or data entry wheel to set it. The following parameter groups can be enabled or disabled. Parameter Parameter No. 1. | Wader 0-27 2. | Cut 96~114, 151 3. | Pan pot 28~59, 990~997 4. | Aux 60~85, 115~150, 251307, 998~1069 5. |EQ 343~741 8 | Pad 742-863 7 | Others All other scan memory parameters.
99 Chapter 17: Scene Memories Setting the Fade Time A Fade Time parameter can be set for each fared allowing a gradual fared change when a scene memory is recalled. The fade time settings must be set, then stored in the scene memory that you want to be affected. The [Fade Time] LCD function is used to set the fade time for each fared.
Automation 100 Chapter 18: Automation What is Automation? The DMC1000 has two types of mix automation: scene memories for mix snapshots and automation for continuous {(dynamic) control, Both types can be used together or independently. All DMC1000 parameter adjustments can be recorded as automation data, Automation data is recorded using a 4-track data recorder, and you can decide which DMC1000 parameters are recorded into each track.
101 Chapter 18: Automation e Automation & Synchronization Automation can be synchronized to any one of the five sources shown in Fig 18-1. Settings mads on the Automation LCD function Settings made on the ] {Time Code] LCD function 1) internal I 2) MIDI clk 3) TC INPUT Time Code 4} MIDI TC 5) INT. GEN Figure 18-1 Automation synchronization sources The Internal, MIDI clk, and Time Code source settings are made on the Automation LCD function shown below (Sync).
Automation & Synchronization 102 Time Code: there are three time code sources available. The time code source setting is made on the [Time Code] LCD function shown below. Initial Eats s Tire Cod > Beard. Time G@: G850, 60 > Frame Tees 38 ran door b Sauce TC INPUT Time Code Start Time: specify the time at which automation recording/playback starts. Recorded automation data can be shifted in time by editing this value. This value can also be set on the [Mediated] and [Antedated] LCD functions.
103 Chapter 18: Automation Clearing All Tracks Before recording new automation data you must clear any existing data from the four tracks. This is done on the [Trk. Exit] LCD function shown below. The [Trk. Edit] LCD function does not appear in the [Function] menu, however, when the Automation or Wader Edit LCD function is displayed, it can be accessed by pressing the [F1} key. unitize Data s Track Edit ¥oOIH Foreseeing. a0 FOOT omen an.
The First Scene Memory 104 The First Scene Memory ‘You must start an automated mix by recalling a scene memory. This scene memory should contain the console settings that you want at the start the automated mix. If you do not start by recalling a scene memory, the automation data will have no reference point to start from during playback. So automation playback will start with the console settings as they were when automation recording or playback was last stopped.
105 Chapter 18: Automation Track Setup Four tracks are available for automation recording, and you can decide which parameters are recorded in each. Parameters are divided into the following groups. Parameter Parameter No. 1. | Wader 0~27 2. | Cut 96-114, 151 3. | Pan pot 28~59, 990-897 4. | Aux 80-95, 115-150, 251307, 990~1069 5 1EQ 343741 6 | Flip 785-792 7 | Others Ali other scene memory parameters. Parameters are assigned to wracks using the {[REC Prm] LCD function shown below. # assigned to track .
What is Recorded? 106 Setup 2 . | Aux EQ Flip . | Others Cut setup 2, all parameters are assigned to each track. Tracks will be recorded one at a time, each differentiate mix. During playback we can listen teach mix individually, by pressing the corresponding [TRK] key, and decide which one to use. This is useful for trying out different mixes. What is Recorded? ‘While recording, all parameter adjustments are recorded.
107 Chapter 18: Automation Record Ready Mode Before engaging Record Ready mode, use the [TRK] keys to select which tracks you want to playback while recording. Normally, all recorded tracks will playback, however, you can turn off recorded tracks. This is useful when you want to re-record a mix, but don’t want to overwrite the previous track data, just in case you decide to use it. Press the [REC] key. The {REC] key will flash and the selected recording track key will light up to indicate Record Ready mode.
Record Start for TC IN & MIDI TC Sync 108 Record Start for TC IN & MIDI TC Sync Automation recording will start when the correct time code is received for more than 1 second. If the external time code is already running, pressing the [PLAY] key will start automation recording. If, however, the external time code is not running, the message No Time Code ! will appear. Aborting a Recording If you make a mistake during automation recording, or decide that you do not want to keep the recording: 1.
109 Chapter 18: Automation Recording Scene Memories On-the-Fly During automation recording, if you recall a scene memory using the [RECALL] key, that recall will be entered automatically into the Memory Sequence Edit, LCD function shown below.
On-Line Editing 110 ‘When playback is started with the motors turned off, the Wader Edit LCD function will appear automatically, indicating the current fared positions. On-Line Editing Distinguished automation data on-line, youngster Record mode, Parameter adjustments made during automation playback will not be kept. If you are using Input channels and Monitor channels in your automated mix, make sure that the channel fared (linear fared) is actually set to the required channel type while editing on-line.
111 Chapter 18: Automation Replace & Insert Modes Ont he Automation and Wader Edit LCD functions the recording mode can be toggled between Replace and Insert when the automation is neither playing nor recording by pressing the [F3]key. Initially, when all tracks are cleared, the recording mode is set to Replace, however, for editing, the Insert mode is useful for recording new data onto an the existing track.
Keep Touch Mode 112 If the “Auto Wader Edit Screen” parameter on the {Con fig] LCD function is set to “on”, the Wader Edit LCD function shown above appears automatically when automation playback or recording is started. v Wader edit with \ / Take Over Tums e e D Take Var Time Wader edit with Take * Over Time. Take Over \ Time interrupted by ake Over Tim P Ko change in existing data » < f Time T Wader audit with NO RET 4 st.
113 Chapter 18: Automation Insert Mode for Other Parameters Before Insert mode can be used to edit other parameters, the existing parameter data must be extracted, See “Track Edit Functions™ on page 116, The Extract function allows you to specify the parameter to be extracted and the extract start and end times, Once the data has been extracted, start recording, then adjust the parameter as required at the appropriate point in the mix.
Punch If Out 114 Punch In/Out ‘The “Auto Punch JOUSTING” parameter on the [Auto Copy] LCD function shown below allows you to set automation record punch-in and punch-out times, and to select a parameter to be extracted between the punch-in and punch-out times, This function should be used for editing parameters other than the fades, From? Tt Tri 50~ G fut Punch > Marsala GO 430009, 83 > EXTRACT off 3 Neut 1 Lemuel [ Taste] Position the cursor next to “Manual”, and press the key to select “Auto”.
115 Chapter 18: Automation Tt specify the automation recording/playback start time. Recorded automation data can be shifted in time by editing this value. This parameter can also be set on the [Time Code] and {Antedated] LCD functions. Memory: specify the scene memory to be recalled. [INSERT]: insert a new scene memory entry with the same settings as the one at the cursor _ position. [DELETE]: delete the scene memory entry at the cursor position.
Track Edit Functions 116 Track Edit Functions The [Trk. Edit] LCD function shown below can be used to edit track data, bk [initial Data sk e Track Enif > IN Vape: a0, 6n T POUT aaraaren.as ¥ EXTRACT Trd Incubate & Coleus ¥ SRR Tl and Tri » MERGE Trl and Tri to Trl * CLEAR Tri ¥ ALL CLEAR Trk. Edit G Insert Gator OUT: specify the in and out times for the EXTRACT function. EXTRACT: specify the track, the parameter (adjust or switch the corresponding console control), and set the in and out times.
117 Chapter 18: Automation e A Copying Track Data The [Auto Copy] LCD function shown below allows you to copy data within a specified time range from one track to another, sk Initial Data dusk == Automation Data Copy ¢ Insert) —Fromm Trl 00 Tal Trl QB:06:80, 80 EXEC »UNDO e Quito Punch ¥ Manual A0, 65 > EXTRACT oft » Neut 1 Level RS [levity] [PEER (Insert): indicates the currently selected recording mode: Replace or Insert. These modes affect the Auto Copy function.
Automation & MIDI 118 e o Automation & MIDI MIDI Controllers Recording 1f the “MIDI In —>Auto REC” parameter on the [Con fig] LCD function is set to “on”, MIDI Controller messages received at the MIDI IN connection can be recorded as part of the automation. See “Basic Setup™ on page 129 and “Assigning MIDI Controllers” on page 131. Playback If the “Auto.PLAY —MIDI Out” parameter on the [Con fig] LCD function is set to “on”, the automation data will be cutout as MIDI data to the MIDI OUT connection.
119 Chapter 19: Other Functions Chapter 19: Other Functions Emphasis Input Emphasis Monitor The [Emp. mon] LCD function monitors the incoming digital audio’s emphasis status. .. no emphasis # emphasis #ddd Initial Data wees mew Emphasis Information [temple 128345678 Irk LR Cascade INP Ins. MO Ire. Be Ti Ins. Emp. mon Ft F2 Output Emphasis ‘The [Emphasis} LCD function is used to set the emphasis status for all digital outputs.
Emphasis 120 Yamaha 8-pin DIN Format Emphasis Because emphasis cannot be detected automatically for Yamaha 8-pin DIN format digital signals, you must set the emphasis input status for this format. If these settings are wrong, there will be noticeable boost or cut of frequencies above 3.5 kHz. The emphasis status for the Yamaha 8-pin DIN format inputs can be set on the {Emphasis) LCD function. ikt Trivial Date sk Emphasize Setting Snarling Fray 44, kHz 440313 > Truth Emphasize of f 2 ELH Input off ¥ 5L.
121 Chapter 19: Other Functions AESCHYLUS Channel Status & User Bits Output Channel Status (Hex) The [AES Tx] LCD function displays the channel status or user bits of the AESCHYLUS or CD/DAT digital output signals. All values are displayed in hexadecimal. This information may prove to be useful when troubleshooting. Although values can be changed, it is recommended that unless you have a very good understanding of channel status information, etc., you do not change any values.
AESCHYLUS Channel Status & User Bits 122 Input Channel Status (ASCII) The [AES stat] LCD function displays channel status information of an AESCHYLUS INPUT CHANNEL (172, 3/4, 5/6, 7/8), CD/DATT input, CD/DAT?2 input, or the AESCHYLUS 2TR MONITOR INPUT. The input to be monitored must be set as the word clock source. If it isn’t, the error message “Wrong WORD-CLOCK” will be shown.
123 Chapter 19: Other Functions e Bit Shifting Digital Output Signals Digital signals sent from the following digital outputs can be bit shifted from 0.00 bits to 63.75 bits, in 0.25 bit steps.
Bit Shifting Digital Output Signals 124 The relationship between word clock and digital audio word for the Yamaha Y1, Yamaha Y2, Sony, and Mitsubishi digital audio formats can be seen more clearly in “Digital Audio Formats” on page 165. There are various factors that affect data delays including data cable length, the number of devices that a signal is passed through, the processing performance ability of the devices, and the system word clock setup.
125 Chapter 19: Other Functions Loading the System Software from Disk To load the system software from floppy disk, insert the system software disk into the disk drive and power on the DMC1000, or follow the procedure below. 1. With the DMC1000 already powered up, insert the system software disk into the disk drive. 2. Locate the [Boot] LCD function shown below.
System Initialize 126 3. Use the PARAMETER SELECT keys to select “EXECUTE”. 4. Press the key. The message “Are you sure ?” will appear. §. Press the key to execute or the key to cancel the operation. System Initialize To reset all the setup data parameters to their initial settings, clear all internal scene memories, and perform a fared calibration, follow the procedure below.
127 Chapter 19: Other Functions A/D Converter Offset Calibration ‘When the DMC1000 is powered on, the A/D Offset Calibration function measures the A/D converter’s DC offset voltage, and then cancels it by applying a compensatory digital offset to the data after A/D conversion. As long as the room temperature remains the same as it was at power on, it will not be necessary to use this function.
DSP Reset 128 e —— e DSP Reset Usually the DMC1000 can internally compensate for external forelock drift and other word clock abnormalities. If, however, the DSP (Digital Signal Processor) circuits are forced 1o shut down due to word clock abnormalities, all analog and digital outputs will be muted. In this case, the DSP Reset function should be used. Likewise, when you think you have set everything up correctly, for example, word clock connections, source selection, etc.
129 Chapter 20: MIDI & the DMC1000 Chapter 20: MID! & the DMC1000 Sending & Receiving The DMC1000 can send and receive MIDI Program Change messages, MIDI Controller messages, System Exclusive messages, and System Real Time messages. MTC (MIDI Time code) can be received, but not sent. Basic Setup The [MIDI] LCD function shown below is used to set the basic MIDI send and receive options for Controllers and Program Change messages.
Program Change 130 T e A Program Change ‘When a Program Change message is received, the scene memory assigned to that Program Change message is recalled. ‘When a scene memory is recalled on the DMC1000, the Program Change message assigned to that scene memory is output, if the “Program Tx” parameter on the {MIDI] LCD function is set to “on”. Likewise, if the “Auto.
131 Chapter 20: MIDI & the DMC1000 Controllers MIDI Controllers can control up to 1,152 DMC1000 parameters, divided into 12 banks, with 96 parameters in each bank. Controller messages can be processed in one of two modes: Channel mode: each bank uses a different MIDI channel. The MIDI channel used by each bank depends on the currently set MIDI channel setting. For example, bank 0 MIDI channel =n + 0 bank 1 MIDI channel = n +1 bank 11 MIDI channel =n + 11 Where n = the currently set MIDI channel.
Multi Controller Assign 132 To change an assignment, position the cursor in the “BANK” or “CTR" (Controller) column using the PARAMETER SELECT keys. Then, use the PARAMETER ADJUST keys or data entry wheel to select a BANK or CTR. A setting of means no assignment. If two or more parameters are assigned to the same Controller, all those parameters will be controlled by that Controller. Controller assignments can be saved to floppy disk.
133 Chapter 20: MIDI & the DMC1000 Memory: this parameter allows you select a range of scene memories: 1~32 with no RAM card, 1~96 with a RAM card inserted. Ram card: this parameter allows you select a range of scene memories from the RAM card: A0~B31. That is, 32 memories in bank A and 32 in bank B. Edit Buf: edit buffer data consists of the same parameters that are stored within a scene memory.
Cascading the DMC1000 134 Chapter 21: Cascading the DMC1000 To expand the number of channels, DMC1000s can be linked together using the 25-pin D-sub CASCADE connections. The CASCADE connection carries the Stereo bus, the three Aux buses, the eight Bus (group) buses, and the Solo bus between each DMC1000, so all buses can be mixed down using one DMC1000. The DMC1000 with a CASCADE IN connection only works as the Master mixing console. A multi track recorder, 2-track master recorder, etc.
135 Chapter 21: Cascading the DMC1000 Cascade Bus Isolation On each DMC1000 in a cascade system, individual buses can be isolated (disconnected) from the cascade bus system using the [Cas. Is0] LCD function shown below. OF'f not isolated Ori isolated Initially, no buses are isolated from the cascade bus (all Off).
Cascade, Scene Memories, & MIDI 136 Cascade, Scene Memories, & MIDI In 2 cascade system, you can store and recall scene memories on all DMC1000s using the MEMORY [STORE] and [RECALL] keys on the Master DMC1000. When a scene memory is stored on the Master DMC1000, a MIDI Scene Memory Store Request message is sent to the other DMC1000s in the system, which then store their current console settings into a scene memory with the same number as that selected on the master.
137 Chapter 22: Video Edit Controllers Chapter 22: Video Edit Controllers The DMC1000 can be controlled using SEAM II protocol commands from a video edit controller, which is EDL. (Edit Decision List) driven. The “Audio/Video System 1” on page 146 shows how the DMC1000 can integrated into a video edit environment.
SEAM Il Command List 138 T A — FROM MACHINE machine number. The machine number corresponds to a DMC1000 scene memory number. When this command is received, scene memory number (XX+1) is retailed. Obviously, you must store something in the scene memory before it can be recalled. TO MACHINE machine number. The machine number corresponds to a DMC1000 scene memory number. This command specifies the scene memory to be recalled when a TRANSITION START command is received.
139 Chapter 22: Video Edit Controllers S ALL STOP 0201 AD Sets all fades to minimum position. MONITOR MODE Selects the C-R monitor source: Stereo output (as selected by pressing the [ST] key), which would be the feed to the recording VTR or 2TR monitor input {as selected by pressing the [EXT] key), which would be the recording VI's monitor playback. It can also be used to mute the selected monitor source. Exhibit Exhibit OFF I DMCT000 V3.
System Examples 140 Chapter 23: System Examples 8-Track DMC1000/DRUS System In this system (Fig 23-1) we are using the DMC1000 and DRYS Digital Recorder. Input sources are connected via an ADMIX, and a DAT Recorder is used for mastering. The DRYS is remotely controlled using the RC8 Controvertible. The DRYS is word clock master, the sampling frequency is 44.1 kHz, and no emphasis is used. The DMC1000 is synchronized to the DRUBS using SMOTE time code.
24-Track DMC1000 System 142 24-Track DMC1000 System DMC1000s can be cascaded together to provide 16-, 24-, 32nd 48-track systems. The recorder could be a number of Drubs or a multi track recorder. See “DMC1000/Sony Multi track System” on page 149 and “DMC1000/Mitsubishi Multi track System” on page 151. This system (Fig 23-2) is basically an extension of the DMC1000 8-track system, we're using three DMC1000s and three Dress. Stereo output and monitoring is handled by DMC1000 A.
145 Chapter 23: System Examples Mastering to a Digital 2-Track Fig 23-4 shows a digital 2-track being used for mastering. Input and output connections could be AESCHYLUS or SDI format. An optional word clock connection is shown. DIGITAL 2-TRACK RECORDER (3402, 1830, et} OPTIONAL WOODBLOCK Figure 23-4 Mastering to0 a Digital 2-Track DMC1000 Setup {WALK Sei} {.
Audio Video System t 146 Audio/Video System 1 In Fig 23-6 the DMC1000 is being used to mix down and sweeten audio material from four digital Vt Rs. The AESCHYLUS stereo outputs of the four Vt Rs, A, B, C and D, are connected to the DMC1000’s AESCHYLUS CHANNEL INPUTS. From the DMC1000, audio material is fed to a recording VTR. The recording VTR is monitored via the DMC1000’s 2TR MONITOR IN connection, The Vt Rs could be any of the following. any VTR with AESCHYLUS input and output connections.
147 Chapter 23: System Examples Audio/Video System 2 In Fig 23-7 the DMC1000 is used in conjunction with the Screen Sound post production editing system, The DMC1000 with full automation, 64 scene memories, internal effects processing, and touch sensitive fared selection, greatly expands the flexibility of the Screen Sound system. COMPUTER S81.
DMC1000/Hard Disk Recorder System 148 DMC1000/Hard Disk Recorder System In Fig 23-8, the DMC1000’s AESCHYLUS BUS OUT connectors output audio data to a hard disk recorder. Some hard disk recorders have only one digital input. In this case, only the BUS OUT 172 connector would be used. On the hard disk recorder, the two digital signals can be assigned to any pair of tracks {or a single track). The outputs from the hard disk recorder are connected to the DMC1000’s AESCHYLUS CHANNEL INPUTS.
149 Chapter 23: System Examples DMC1000/Sony Multi track System Fig 23-9 shows how three DMC1000s and a Sony PM-3324 digital multi track recorder can be integrated to form an all-digital 24-track recording system. From DMC1000 to PM-3324 PCM audio data from each DMC1000 is input to the FUSIBLE. JAE straight cables are connected from the DMC1000s” BUS OUT connectors to the Infuser's FROM CONSOLE connectors. The DMC1000’s BUS output format is set to SDI.
151 Chapter 23: System Examples e DMC1000/Mitsubishi Multi track System Fig 23-10 shows how four DMC1000s and a Mitsubishi X850 digital multi track recorder can be integrated to form an all-digital 32-track recording system. From DMC1000 to X850 Audio data from each DMC1000 is input to the FUSIBLE. JAE straight cables are connected from the DMC1000’s BUS OUT connectors to the [Fuse's FROM CONSOLE connectors. The DMC1000"s BUS output format is set to M.
LCD Messages 154 LCD Messages ‘This section explains the various messages that may appear on the LCD. Some are error messages and some are just process confirmation messages, Automation Messages #u#4# ABORTED! without Up-Date Automation recording was aborted, no data updated. *x4x Automation Data Up-Date New automation data written to recording track. #4 Automation is ready to record ! ## You tried to operate the automation tads in Record Ready mode.
155 Appendix A e #24% No Time Code ! 2455 No time code present at specified connection. #e¥% Please Wait | After automation recording, automation data is being updated, >> Set Different Destination Trk No. << Destination track not specified correctly for the automation Merge function. Sorry ! No Back-up Data. You tried to swap data on the same track (undo), but there is no previous data. Swap New Data Old Data Data swapped successfully on the same track.
LCD Messages 156 ##ut File Cannot Close ! #8u# ** File Cannot Close ! The file on disk cannot be closed. #4## File Cannot Open ! ###8 The file on disk cannot be opened. Loading Track Loading automation data from disk. Please wait. Make System Disk Going to make a system disk. Memory was restored ! Scene memory was loaded from disk. &nuisance No Disk ! glissandi oy No Disk ! FEED No disk in disk drive. Insert disk.
157 Appendix A Ram Card write protected ! RAM card is write protected. Unformulated Card ! RAM card has not been formatted. $$ Warning ! Card Format conflict ! $$ RAM card is not formatted correctly. MIDI Messages >> BULK data check sum err << The checksum received and the checksum calculated from the data do not match. = the sub data (the data after the DATA NAME), and <> = checksum. BULK data format missing ! The data number or sub data is not correct for the received Bulk Dump data.
LCD Messages 158 Memory BULK Received!! $3$$ Data for scene memory number was received as Bulk Dump, Memory BULK Transmitting!! Data for scene memory number was sent as Bulk Dump. MIDI over run error | Over run error occurred during MIDI reception. MIDI receive buffer full { The MIDI receive buffer is full. MIDI transmit buffer full ! The MIDI transmit buffer is full. $% Program Change BULK Received!! $$ MIDI Program Change assignment data received as Bulk Dump.
159 Appendix A PLL UNLOCK ! PLL unlocked because the word clock has slipped. When locked, the program will be sent to the DSP. Please wait. If this message appears frequently, check the word clock. ## Wrong WALK Source is selected ! ## ‘Word clock setting is incorrect. AESCHYLUS Messages AESCHYLUS SUB over run error ! An over run error occurred while receiving data from the SUB CPU for AESCHYLUS. >> AESCHYLUS SUB receive buffer full ! << The buffer for receiving data from the SUB CPU for AESCHYLUS is full.
LCD Messages 160 Remote Messages %% % % all stop (machine) all stop (source) %% %% ALL STOP command received. AMX170 Protocol An edit controller that uses AMX 170 protocol is connected to the REMOTE connector. ## Break Character Detected | ## A break character was detected. SESAME 1I Protocol> {SEAM 11 Protocol] An edit controller that uses SEAM I protocol is connected to the REMOTE connector. %% % % from machine %% %% FROM MACHINE command received. %% % % from source %% %% FROM SOURCE command received.
161 Appendix A e %% transfer register check sum error %% ‘The scene memory check sum sent as SEAM 11 is not correct. % %% % transfer register read %% %% Scene memory data sent. transition start (machine) MACHINE TRANSITION START command received. transition start (source) % % %% SOURCE TRANSITION START command received. %% % % transfer register write %% %% The data sent to the scene memory has been stored. Other Messages Calibration Done offset calibration completed.
LCD Messages 162 SUB CPU communication error ! There is a communication error with the SUB CPU (A/D converter). The value of the AFL feel, DIM level, RAM card battery, or internal battery is not sent to the main CPU, = the section that is not sending. SUB Receive error The fared SUB CPU has a data reception error. = the signal line, and = data received. > Warning Low Battery ! (INT RAM) < The voltage of the internal backup battery is below 2.5 V.
163 Appendix A e Glossary A digital interface format established by the AES (Audio Engineering Society) and EBU (European Broadcasting Union) that is used to transfer digital audio data between professional digital audio equipment. Two channels of digital audio (wholefood and right/even) are carried in one connection, usually an XLR type connection.
Further Reading 164 Register mode: All banks of DMC1000 parameters are set to send and receive MIDI Controller messages on the same MIDI channel. Remote parity: Parity is a simple error checking system that is used to check for data errors in serial data transmissions such as RS232 and RS422, Parity makes all data words either even or odd by adding a parity bit onto the end of each word.
165 Appendix A Digital Audio Formats Yamaha Y1 Format (Input & Output) Kbz 20,63 Wordbook | l oms 165th f 2080 MsB 24 bit {Channels 1,2,3,4,5,6,7, etc) Yamaha Y2 Format (Input & Output) Mwmuummpa«.s iz, 20,63 s © 48 KH2) mbi wordbook T e T Data [ITOOTIITOITG. (IO, bit ? I(— 16 bit f 200k MSB 20 bit MSB 24 bt 24 bit {Channels {Channels Sony SDI Format (input) Word clock {Word Synge} 12345676901 RBUISIBITINDNRBMBWNWAN0IRT 2 pew G f bit 20 bit MB8 DBMC1000 V3.
167 Appendix A Associated Yamaha Digital Audio Equipment DRYS Digital Recorder The Yamaha DRYS Digital Recorder provides 8 tracks of 20-bit digital audio (120 dB dynamic range), comprehensive synchronization facilities, and a built-in digital monitor mixer. It can be used with the DMC1000 to form an all-digital recording and fully automated mixing system. DRYS tapes are fully compatible with the Yamaha DEMURS, and 22 minutes of recording is available on one tape (fs @ 44.1 kHz).
Associated Yamaha Digital Audio Equipment 168 FM Format Converter The Yamaha FM can convert up to four AESCHYLUS format digital audio signals to Yamaha Y2 format. It is ideally suited to audio/video applications with D1, D2, and D3 digital Vt Rs, and includes a 1-into-2 AESCHYLUS distribution facility. IF Interface Unit ‘The Yamaha IF can convert up to four TTL Revel signals to RS422 level. TTL signals do not travel well over 10 meters, whereas RS422 signals can safely be sent 100 to 200 meters.
169 Appendix A DEQ? Digital Equalizer The Yamaha DEED is an all-digital EQ processor that can be used as a graphic equalizer, 4-band fully parametric equalizer, 6-band notch filter, or band pass filter with variable LPF and HPF. It has 30 EQ presets and 89 user memories. Yamaha Y2 format digital inputs and outputs allow direct connection to the DMC1000.
Appendix B 170 Appendix B Scene Memory Data The following parameters are stored within a scene memory. Wader Data Aux Data Parameter No. Parameter Parameter No.
EQ Data Phase Data Parameter No. Parameter Parameter No. Parameter 343~350 Input 1~8 HPF or volt 324-331 input 1~8 phase normalization 351~358 Monitor 1-8 HPF on/oft 332-339 Monitor 1~8 phase normal reverse 358-381 8T input A~G HFF on/of! ST input A~C phase normalization 362-369 input 1-8 LPF banjo 370-377 Monitor 1-8 LPF on/off Pad Data 378-380 ST input A~C LPF on/oft Rampart No.
Specifications 174 Specifications Pad (0.8 dB steps) Phase Noncontroversial Emphasis Emphasis, thru, DE-emphasis EQ Frequency 20Hz ~ 20 kHz (all four bands) Input Kennel, Monitor Channel, & Gain 808 Sterno Input Channel G 61 ~816 Type 1 & 4 switchable earthshaking. 2 & 3 peaking, Delay 0 ~ 370 ms (Fs @ 44.1 kHz) Wader 100 mm motorized, with touch select AD Conversion 18-bit DA Conversion 20-bit, with 8-times oversampling digital filter Fs @ kHz kHz, Frequency Response Fs 0 waltz 041 -3 dB THD <0.
Connector Pin Outs 178 Connector Pin Outs + CHANNEL DIGITAL /O + CHANNEL INSERT /O + MONITOR DIGITAL /O » MONITOR CHANNEL DIGITAL /O + ST INPUT A-C INSERT /O Pin Assignment Cod Signal Name Wichita-2 Datamation-4 Datamation-& Datamation-8 Data Dutch § 2 Data Out Ch 3 -4 Data Out Ch 5 -8 Data Qut Ch7 -8 Word lock In Word clock Out Emphasis in 11 Emphasis Qut 12 GND 13,24,25 = INPUT CHANNEL « MONITOR INPUT Pin Assignment Cold Signal Name Inchoate 1 Brainchild Datamation Datamation Datamation Brainchild Data in
178 Appendix B = INPUT CHANNEL DIRECT OUT * MONITOR CHANNEL DIRECT OUT ¢ ST INPUT A-C DIRECT OUT » BUYOUT 1~8 Pin Assignment Signal Name Data Dutch 1 1 Data Qut Ch 2 2 Chiquita 3 3 Data Out Ch4 4 Data Out Data Qut Ch 8 Data Dutch 7 Data Quint 8 Word clock Out Word clock in 16 Bit Clock Out {Mitsubishi) Emphasis Out 12 GND 13,28 11 24 + CASCADE IN Pla Assignment Hot Cold Si gnat Name Bus 1-2 In Bus 34 In Bus 56 In Bus 78 (n Tin Mon In Auxin Aux 3 In Word clock In Soto Control in 10 Sail Select In 23 Master O
Connector Pin Outs 180 » CASCADE OUT Pin Assignment Signal Name Hot Cod Bus 1-2 Out 1 14 Bus 3~4 Out 2 15 Bus 56 Out 3 18 Bus 7-8 Qut 4 17 S10ut & 18 Mon Out & 18 Aux 1 & 2 Out 7 26 Aux 3 Out 8 21 Woodcock Out 8 22 Sole Control Out 10 Soto Select Out 28 Master in 1 Spare Out 24 Emphasis Out 12 GND 18,26 * REMOTE Pin Assignment Si gnat Name Hot Cold Tx 7 2 Fix 3 8 Common 4.8 Frame GND 18 e DMCI1006 V3.
MID! Data Format 182 MIDI Data Format 1. Receive Behavior NO, NO che sack exit channel % NG C heck device No. exit 1 <> NO YES bulk in bulk out program control change change taxi ves veS exit exit eves YeS 1 i memory parameter rectal Bat exit *1 Program Rx can be turned on and off. See “Basic Setup” on page 129. *2 Control Rx can be turned on and off. See “Basic Setup” on page 129.
183 MIDI Data Format 2. Sending YES 1 MID out {bank No.) control No. assigned? YES 1 MIDI out {control No.} exit NG YES *5 YES MIDI out exit *1 Parameter changed on DMC1000. *2 Scene memory recalled on DMC1000. *3 Refer to the “MIDI Controller Assignment Table” on page 194. *4 Refer to the “MIDI Controller Assignment Table” on page 194, *5§ Refer to the “MIDI Program Change Assignment Table” on page 193. 6 When device No. is off, send is disabled. DMC1000 V3.
MIDI Data Format 184 3. Bulk Dump Format 3-1. One Internal Scene Memory Bulk Data STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT BYTE COUNT DATA NAME MEMORY No. DATA CHECK SUM EOX 01001100 01601101 00111000 00110110 00110110 01001101 Eisteddfod (YAMAHA} (Device UNIVERSAL BULK DUMP (High} {Low} s sy * (SPACE) * ' {SPACE) nunmemmne= 1 (40h) 127(7Fh) «..EDIT BUFFER I. terabytes *1 END OF EXCLUSIVE 3-2, One RAM Card (External) Scene Memory Bulk Data STATUS ID No. SUB STATUS FORMAT No.
185 MIDI Data Format e 3-3. Program Change Assignment Bulk Data STATUS FO ID No. 43 (YAMAHA) SUB STATUS On (Device FORMAT No. 7E UNIVERSAL BULK DUMP BYTE COUNT 02 (High) BYTE COUNT 40001010 0A (Low) 41001100 4C L’ 01001101 4D M’ 20 * *{SPACE) 20 “{SPACE) 00111000 38 8’ 00110110 36 67 30 0’ 00110110 36 ‘6’ DATA NAME 50 P’ 20 * “{SPACE} DATA terabytes addenda da —— CHECK SUM Cecelia ee *1 EOX F7 END OF EXCLUSIVE 3-4. Controller Assignment Bulk Data STATUS FO ID No. 43 {YAMAHA) SUB STATUS On (Device FORMAT No.
MIDI Data Format 186 3-5. Setup Bulk Data STATUS FO Ip No. 43 {YAMAHA) SUB STATUS On (Device FORMAT No.
187 MIDI Data Format e 4. Bulk Dump Request 4-1. One Internal Scene Memory Bulk Data Request STATUS PO SYSTEM EXCLUSIVE ID No. 43 (YAMAHA ) SUB STATUS 0010nnon 2n (Device FORMAT No. 7E UNIVERSAL BULK DUMP REQUEST 01001100 4C L’ 01001101 4D M’ 20 * 20 * *(SPACE) 00111000 38 ‘8’ 00110110 36 ‘6 30 ‘o 00110110 3¢ NN DATA NAME 01001101 53 ‘M MEMORY No. 7w mwwwamms 1 {01h) ~64 (40h} {127 {7Ph) . -EDIT BUFFER EOX ¥7 4-2. One RAM Card (External) Scene Memory Bulk Data Request STATUS FO SYSTEM EXCLUSIVE ID No.
MIDI Data Format 188 4-3. Program Change Assignment Bulk Data Request STATUS 1D No. SUB STATUS FORMAT No. 01001100 01001101 00111000 00110110 00116000 00110110 001006000 DATA NAME EOX SYSTEM EXCLUSIVE (YAMAHA) (Device UNIVERSAL BULK DUMP REQUEST “Le B * *{SPACE) ' (SPACE) vpr ' (SPACE) 4-4. Controller Assignment Bulk Data Request STATUS 1D No. SUB STATUS FORMAT No.
189 MID! Data Format e 4-5. Setup Bulk Data Request STATUS FO SYSTEM EXCLUSIVE ID No. 43 (YAMAHA) SUB STATUS 2n (Device FORMAT No. 7B UNIVERSAL BULK DUMP REQUEST 01001100 4C v 01001101 4D M’ 20 *(SPACE) 20 * *(SPACE) 00111000 38 *8’ 00110110 358 6¢ 30 o0 00110110 36 6 DATA NAME 01010011 50 s 20 * *(SPACE) EOX liii0iir F7 4-6. Scene Memory Store Request STATUS © FO SYSTEM EXCLUSIVE ID No. 43 {YAMAHA) SUB STATUS 2n (Device FORMAT No.
MIDI Data Format 190 A — 4-7. Changed Setup Data Request STATUS FO iD No. 43 SUB STATUS 0010nmnn 2n FORMAT No. 7E 01001100 4C 01001101 4D 20 20 00111000 238 00110110 36 30 00110110 36 DATA NAME 01010011 23 EOX F7 SYSTEM EXCLUSIVE {YAMAHA) {Device UNIVERSAL BULK DUMP REQUEST (SPACE) ' ‘' (SPACE) ‘g vgr The DMC1000 outputs this request when its setup data is changed. This message is not sent when the setup data is changed by a MIDI Controller. e A OMCI000 V3.
193 MIDI Data Format e MIDI Program Change Assignment Table Initial Ursa Memory | Memory No. No. 2181812 hoagie BRI B2 N|I| 818(2(82 DMC1000 V3.
197 initial Setup Parameter [ Controller DMC1000 Capacitor No.
MIDI Controller Assignment Table 198 A — G initial Setup User Setup Parameter Ne. Controller DMC1000 Parameter Controller No. Bank Bank 192 bus € bus? bus B bus 1 bus 2 bus bus bus & bus & bus 7 bus B bus 194 188 196, 197, 198 199 200 2 @R bus 3 333 BIRINBIBI® 220 221 222 223 224 225 226 227 228 229 280 231 232 233 234 =~ o s~ 238 237 238 > 240 bus§ T DMCTO00 V3.
MIDI Controller Assignment Table 200 L e —— I WSS——— Pa initial Setup User Setup tetrameter Controvert B DMC1000 Parameter Controller o lo. No.
201 S I Parameter initial Setup User Setup No. Controlling Bank DMC1000 Parameter Controller Bank No. No.
MID! Controller Assignment Table 202 L A Parameter Initial Setup User Sat up oy Controller ek DMC1000 Parameter Controller No. No.
203 initial Setup Bank DMC1000 Parameter 49 Mani tor 7 nonfood 50 Monitor 8 convoy 51 ST A offing 52 ST B an/off 53 8T C conjoint 54 i 1 Lowland 1 1 Lowland il cowhand 1 Low band 1 Low Mid band 3 Low Mid band 1 Low Mid band 1 Low Mid band 1 Mid band Mid band Mid band Mid band band band band 1 band lowland 2 Low band 2 Low band 2 low band 2 Low Mid band 2 Low Mid band 2 Low Mid band 2 Low Mid band 2 Mid band Mid band Mid band Mid band band band band 2 band 3 Low band 3 lowland 8 Low band lowland 3 Low Mid ba
MIDI Controller Assignment Table 204 A band band band 3 band 4 Low band 4 low band 4 Low band 4 Low band 4 Low Mid band 4 Low Mid band 4 Low Mid band 4 Low Mid band 4 Mid band Mid band Mid band Mid band band band band 4 band & Low band 5 Low band 5 Low band 5 Low band 5 Low Mid band 5 Low Mid band § Low Mid band 5 Low Mid band 5 Mid band Mid band Mid band Mid band band band 518 band 5 band 18 6 Low band 6 Low band 520 6 Low band 521 6 Low band se2 6 Low Mid band 523 43 6 Low Mid band 524 6 Low Mid band 525
205 initiate Setup DMC1000 Parameter Controller Bank 8 Mid band 8 band 8 band 8 band 7 Low band 7 Low band 7 Low band 7 Lowland 7 Low Mid band 7 Low Mid band 7 Low Mid band 7 Low Mid band 7 Mid band Mid band Mid band Mid band band band band 7 band 8 Low band lowland 8 Low band 8 Low band 8 Low Mid band 8 Low Mid band 8 Low Mid band 8 Low Mid band 8 Mid band 8 High Mid band 8 High Mid band 8 Mid band 8 band bard 8 band 8 band Monitor 1 Low band Monitor 1 Low band Monitor 1 Low band Monitor 1 Low band Monitor
MID!I Controller Assignment Table 206 Parameter initial Setup User Sat up o 1 Gondolier sk DMC1000 Parameter 578 0 Monitor 1 High Mid band equalizer Q 577 1 Monitor 1 High Mid band equalizer Type 578 2 Monitor 1 High viand equalizer Piquancy £79 3 Monitor 1 High band equalizer Gain 580 4 Monitor 1 High band equalizer Q 581 5 Monitor 1 High band equalizer Type 582 8 Monitor 2 Low band equalizer Frequency 583 7 Monitor 2 Low band equalizer Gain 84 8 Morton 2 Low band equalizer Q 588 g Monitor 2 Low band equal
Parametric initial Setup User Sat up o, Controvert DMC1000 Parameter Controller Ne. No.
MIDI Controller Assignment Table 208 o — S initial Setup User Setup b .No.. 1 Controller Sank DBMC1000 Parameter Controvert Bank No. No. 872 o Monitor 7 High Mid band equalizer G 673 i Monitor 7 High Mid band equalizer Gyps 674 2 Monitor 7 High band equalizer Frequency 675 a Monitor 7 High band equalizer Gain 676 4 Monitor 7 High band equalizer Q 677 5 Monitor 7 High band equalizer Type.
Parameter initial Setup User Setup ™ 1 Controvert DMC1000 Parameter Controller No. No.
MIDI Controller Assignment Table 210 L S Parameter Initial Setup User Setup No.
211 Initial Setup User Setup at tor Controller e DMC1000 Parameter Controller e No. No.
213 H wle|Nivizinioin|sisio Monitor 1 Monitor § Monitor 2 Monitor 2 Monitor 3 Monitor 3 Monitor 4 Monitor 4 Monitor § Monitor 5 Monitor 8 Monitor 8 Monitor 7 Monitor 7 Monitor 8 Monitor 668 izl 3|#[ = i~ olo|ols|s|wlominiai L L ———e A DMCT000 V3.
MIDI Controller Assignment Table 214 L A Parameter initial Setup User Setup o™ | Generation s DMC1000 Parameter Controller ae No. No.
YAMAHA [ Digital Nixing Console ] Date Model DEDUCIBLE IBID Implementation Chart Version : 1.
219 Index T Index A A/D converter offset calibration 127 Absolute mode 110 Absolute Update mode 110 AES Rx, LCD 121 AES stat, LCD 122 AES T, LCD 121 AESCHYLUS cables 23 AESCHYLUS format channel status (Hex) 121 nut channel status (ASS) 122 input channel stats (Hex) 121 user bits 122 AFL key 62 AFL LEVEL control 62 AFL mode 62 ALL Trk mode 110 Analog input/output specs 175 Appendix A 153 Appendix B 170 Applications 1 Associated Yamaha equipment 167 Antedated, LCD 115 Mediated, LCD 104, 109, 114 Audiovisual s
Index 220 e A Channel [SEL] Keys 18 Channel status, AESCHYLUS 121 Channels, selecting 18 Chorus (effect) 79 Cleaning the DMC1000 ii Clock (real-time) 17 Clock, LCD 17 Compressor (effect) 83 Connecting cable notes 23 Connector contacts, cleaning ii Connector pin out details 178 Console status keys 28 Console, an explanation 3 Constant Energy BQ mode 35 Constant Q EQ mode 35 Control, LCD 131 Controllers assignment table 194 Bulk Dump 133 Channel mode 131 parameter assign 131 Register mode 131 Copy prohibit 58
221 Index L A stereo channel 54 stereo output 59 touch sense 18 Fail time, setting 74 Features 1 File types 89 Flange (effect) 79 Flip keys 28 Floppy disk compatibility 50 deleting files 91 Disk, LCD 8% erasure protection tabs 89 file types 89 formatting 90 handling 89 Listing ail files 90 loading automation data 91 loading data 90 operations 89 saving data 90 what can be saved? 30 Formatting floppy disk 90 RAM card 93 Full locate mode 109 Function LCD customizing 20 using 19 Further reading 164 G GAIN cont
Index 222 e Title.
223 Index A A —— stereo channel 51 Pan input channel 38 monitor channel 47 stereo channel 53 Pan pot (effect) 83 Pan pot, LCD input channel 38 input channel aux 3 send 41 monitor channel 47 monitor channel aux 3 send 48 stereo channel 53 Peak {Hold key 74 Peak hold, setting 74 Phase 38 Phasing (effect) 79 Phones LEVEL control 64 see alto C-R monitor PHONES LEVEL control! 64 Pitch change 1 (effect) 82 Pitch change 2 (effect) 82 PLAY Repeat 101 Playback, automation 109 Power on/off procedure 17 Power switch 1
Index 224 input select 50 insert 36 LPF 52 metering 54 ON key 52 pad 51 pan 53 phase 38 rating 52 SOLO key 54 Stereo delay (effect) 81 Ste res output S8 balance 39 copy prohibit 58 digital outputs 58 fared 59 insert 38 metering 59 noise shaping 60 ON key 58 Stereo pairs bus outputs 56 input channels 42 monitor channels 49 Store Rennin Prohibit 136 Store Reroute Prohibit 136 Storing scene memories 94 STUDIO MONITOR {ON] key 65 STUDIO MONITOR LEVEL control 65 Studio monitor, see Cue monitor Swap scene memorie
