Owner's Manual

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Owner’s Manual

Keep This Manual For Future Reference.

Summary of content (362 pages)

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Owner’s Manual Keep This Manual For Future Reference.
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FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
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i Important Information Warnings • • • • • • • • • • • • • • • Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. Failure to do so is a fire and electrical shock hazard. Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result. Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a fire and electrical shock hazard.
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ii • • • • • • • • This unit has ventilation holes along the front underside and at the rear to prevent the internal temperature from rising too high. Do not block them. Blocked ventilation holes are a fire hazard. In particular, do not operate the unit while it’s on its side, is upside down, or while it’s covered with a cloth or dust sheet. If you are using the optional MB2000 Peak Meter Bridge, do not hold only the MB2000 when you move the entire unit.
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iii SmartMedia Handling Precautions • • • • • • • • • • • • • The CARD slot is for use with SmartMedia only. Never attempt to insert any other type of storage media. Use only SmartMedia of the type specified in this Owner’s Manual. Store SmartMedia in a place free from extreme temperatures, humidity, dust, and dirt. Always store SmartMedia in its original case. Write only on the designated area. When handling SmartMedia, be careful not to touch the gold contacts.
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iv Yamaha Web Site Further information about the DM2000, related products, and other Yamaha professional audio equipment is available on the Yamaha Professional Audio Web site at: .
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v Contents 1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . . 4 Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 3 Operating Basics . . . . . . . . . . . . . . . . . . . . . . . . . .
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vi 7 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Patching Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reversing the Signal Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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vii 9 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Patching Bus Outs to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Input Channels to Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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viii 11 Matrix Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Patching Matrix Send Masters to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pre-Fader or Post-Fader Matrix Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Matrix Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting Matrix Sends (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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ix 14 Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 About the Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 General Library Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Channel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Input Patch Library . . . . . . . . . . . . . . . . . . .
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x 18 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 MIDI & the DM2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Channel Setup . . . . . . . . . . . . . . . . . . . . . . . . .
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xi 20 Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 About Remote Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Assigning Targets to Remote Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Configuring User Defined Remote Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Using User Defined Remote Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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xii Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 301 General Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Libraries . . . . . . . . . . . . . . . . . . . . . . . .
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Welcome 1 1 Welcome Thank you for choosing the Yamaha DM2000 Digital Production Console. Designed with production in mind, the DM2000 Digital Production Console offers 24-bit/96 kHz digital audio processing without compromise, comprehensive surround mixing and monitoring, including bass management and down mixing, and hands-on control of popular DAW (Digital Audio Workstation) systems.
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2 Chapter 1—Welcome I/O Patching • • • • Any available input port can be patched to the Input Channels, Insert Ins, or Effects inputs Direct Outs, Insert Outs, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out can be patched to any output port Input and output ports can be named for easy identification Patches can be stored in the Input and Output Patch libraries EQ & GEQ • • • • 4-band parametric EQ on all Input and Output Channels EQ library with 40 presets, 160 user memories Six 31-band graphic
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Welcome 3 Surround Sound • • • • • • 3-1 and 5.
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DM2000—Owner’s Manual EFFECTS/PLUG-INS (p. 9) ENCODER MODE (p. 7) FADER MODE (p. 8) AUX SELECT (p. 7) MATRIX SELECT (p. 6) SmartMedia CARD Slot (p. 6) PAD OFF ON 3.
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Control Surface 5 AD Input Section AD Input #1 is shown here. A +48V ON/OFF switches These switches turn on and off the +48 V phantom power feed to each INPUT A (XLR-type connector). Phantom power is typically used to power condenser-type microphones or direct boxes. See “Phantom Power” on page 48 for more information. + 48V 1 2 3 4 5 6 ON OFF PAD B PAD switches These switches turn on and off the 26 dB pad (attenuator) for each AD Input. See “Pad” on page 48 for more information.
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6 Chapter 2—Control Surface & Rear Panel D SOLO buttons These buttons are used to solo Channels. The [SOLO] button indicators of channels that are soloed light up. See “Soloing Channels” on page 118 for more information. E ON buttons These buttons are used to mute Input and Output Channels. Their exact operation depends on the currently selected Layer. The [ON] button indicators of channels that are on light up.
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Control Surface 7 AUX SELECT 1 AUX SELECT DISPLAY AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 AUX 9 AUX 10 AUX 11 AUX 12 2 A AUX SELECT DISPLAY button This button is used to select the following pages: Aux Send, Aux Send Pan, and Input Channel Aux View. See “Aux Sends” on page 88 for more information. B AUX 1–12 buttons These buttons are used to select Aux Sends when sending Input Channel signals to Aux Sends. The button indicator of the currently selected Aux Send lights up.
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8 Chapter 2—Control Surface & Rear Panel FADER MODE FADER MODE FADER AUX/ MTRX 1 2 A FADER button This button selects Fader mode, in which the faders control Input or Output Channel levels, depending on the currently selected Layer. Its indicator lights up when this mode is selected. See “Selecting Fader Modes” on page 44 for more information.
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Control Surface 9 G METER button This button is used to select the following pages: Input Channel Meter, Master Meter, Effect Input/Output Meter, Effect 1-2 Input/Output Meter, Effect 1–8 Input/Output Meter, Stereo Meter, and Metering Position. See “Metering” on page 103 for more information. H VIEW button This button is used to select the following pages: Parameter View, Fader View, and Channel Library.
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10 Chapter 2—Control Surface & Rear Panel D PLUG-INS button This button is used to select the Plug-Ins in conjunction with the EFFECTS/PLUG-INS [1–8] buttons. Its indicator lights up when it’s pressed. See “Editing Plug-Ins” on page 153 for more information. E CHANNEL INSERTS button If an internal effects processor or Y56K card effects chain is inserted in the currently selected channel, the relevant Effects Edit or Plug-In Edit page appears when this button is pressed, and its indicator lights up.
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Control Surface 11 Display Section 1 2 3 4 5 F1 F2 F3 F4 A Display This 320 x 240 dot display with fluorescent backlight displays pages, information on the currently selected Scene and channel, the sampling rate, and more. See “About the Display” on page 35 for more information. B Contrast control This control is used to adjust the contrast of the display. C F1–F4 buttons These buttons are used to select the pages whose tabs are currently visible.
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12 Chapter 2—Control Surface & Rear Panel SELECTED CHANNEL Section SELECTED CHANNEL ROUTING PHASE / INSERT DELAY FB DISPLAY DISPLAY 1 DISPLAY 2 MIX ON INSERT ON TIME AUX / MATRIX SEND 3 4 DISPLAY FOLLOW PAN 5 6 7 8 STEREO LEVEL LEVEL LEVEL LEVEL ON ON ON ON AUX 1 / MATRIX 1 AUX 2 / MATRIX 2 AUX 3 / MATRIX 3 AUX 4 / MATRIX 4 AUX 5 AUX 6 AUX 7 AUX 8 AUX 9 AUX 10 AUX 11 AUX 12 BANK DIRECT DYNAMICS DISPLAY GATE / COMP THRESHOLD RANGE ATTACK DECAY HOLD THRESHOLD R
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Control Surface 13 E ROUTING 1–8 buttons These buttons are used to route the currently selected Input Channel to the Bus Outs. The button indicators of Bus Outs to which the Input Channel is routed light up. See “Routing Input Channels” on page 75 for more information. PHASE/INSERT 1 PHASE / INSERT DISPLAY INSERT ON 2 3 A PHASE/INSERT DISPLAY button This button is used to select the Input Channel Phase and Insert pages.
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14 Chapter 2—Control Surface & Rear Panel AUX/MATRIX SEND 1 AUX / MATRIX SEND 4 DISPLAY LEVEL LEVEL LEVEL LEVEL 5 2 BANK 3 ON ON ON ON AUX 1 / MATRIX 1 AUX 2 / MATRIX 2 AUX 3 / MATRIX 3 AUX 4 / MATRIX 4 AUX 5 AUX 6 AUX 7 AUX 8 AUX 9 AUX 10 AUX 11 AUX 12 A AUX/MATRIX SEND DISPLAY button The pages selected by this button depends on the type of channel currently selected. If it’s an Input Channel, it selects the Aux Send, Aux Send Pan, and Input Channel Aux View pages.
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Control Surface 15 B GATE/COMP button This button is used to set the rotary controls for either Gate or Compressor operation. When an Output Channel is selected, Compressor is selected automatically and cannot be changed. See “Gating Input Channels” on page 69 and “Compressing Channels” on page 113 for more information.
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16 Chapter 2—Control Surface & Rear Panel D PAN control This rotary control is used to pan the currently selected Input Channel. When a Matrix Send or the Stereo Out is selected, it is used to set the balance. For Input Channels in Gang or Inverse Gang Pan mode, horizontally or vertically paired Input Channels are panned simultaneously. See “Panning Input Channels” on page 76, “Balancing the Stereo Out” on page 84, and “Balancing Matrix Send Masters” on page 101.
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Control Surface 17 B EQ ON button This button is used to turn the EQ of the currently selected channel on and off. Its indicator lights up when the EQ is on. See “Using EQ” on page 107 for more information. C ATT control This control is used to attenuate the pre-EQ signal of the currently selected channel. See “Attenuating Signals” on page 106 for more information. D FREQUENCY/Q indicators These indicators show whether each FREQUENCY/Q control is set to control frequency or Q.
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18 Chapter 2—Control Surface & Rear Panel LAYER LAYER 1 1 24 REMOTE 1 25 48 REMOTE 2 49 72 REMOTE 3 73 96 REMOTE 4 3 2 MASTER A 1–24, 25–48, 49–72 & 73–96 buttons These buttons select the Input Channel Layers, which determine which Input Channels are controlled by the channel strips. The LAYER button indicator for the currently selected Layer lights up. See “Selecting Layers” on page 42 for more information.
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Control Surface 19 TRACK ARMING 1 TRACK ARMING DISPLAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 A B C D 2 ALL CLEAR MASTER 4 5 TRACK ARMING GROUP 3 A TRACK ARMING DISPLAY button This button is used to select the following pages: Track Arming Group, MTR Track Arming Configuration, and Master Track Arming Configuration. See “Arming Machine Tracks” on page 225 for more information.
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20 Chapter 2—Control Surface & Rear Panel D STORE button This button is used to store the current Scene to the selected Scene memory. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page 159. E Scene Up/Down buttons These buttons are used to select Scene memories. Pressing the Scene Up [ ] button increments the selection; pressing the Scene Down [ ] button decrements the selection. Holding down a button causes the selection to increment/decrement continuously.
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Control Surface 21 G RELATIVE button This button is used to set the Automix Fader Edit mode. It works in unison with the FADER EDIT buttons on the Automix Main page. See “FADER EDIT” on page 167 for more information. H TOUCH SENSE button This button is used to turn on and off Fader Touch Sense for Automix recording. It works in unison with the TOUCH SENSE buttons on the Fader Edit pages. See “Fader Edit Pages” on page 170 for more information.
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22 Chapter 2—Control Surface & Rear Panel C PRE button Pressing this button transmits a Locate command to the target machine (DAW, MMC or P2) in order to locate the Pre-Roll point. Its indicator lights up momentarily when it’s pressed. The Pre-Roll point is a predefined number of seconds before the specified In point. See “Using the Locator” on page 222 for more information. D IN button Pressing this button transmits a Locate command to the target machine (DAW, MMC or P2) in order to locate the In point.
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Control Surface 23 O ROLL BACK button This button is used to roll back (i.e., rewind) the target machine (MMC or P2) from the current position by a predefined amount. Its indicator lights up momentarily when it’s pressed. See “Using the Locator” on page 222 for more information. P REHEARSAL button This button is used to turn on and off the Rehearsal function on the target machine (MMC or P2). Its indicator lights up when Rehearsal is on. See “Using the Locator” on page 222 for more information.
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24 Chapter 2—Control Surface & Rear Panel G SHUTTLE button This button is used to set the Parameter wheel to Shuttle mode for machine control (DAW, MMC or P2). Its indicator lights up when Shuttle mode is on. See “Using Shuttle & Scrub” on page 222 for more information. H SCRUB button This button is used to set the Parameter wheel to Scrub mode for machine control (DAW, MMC or P2). Its indicator lights up when Scrub mode is on. See “Using Shuttle & Scrub” on page 222 for more information.
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Control Surface 25 Monitor, Phones & Talkback Section 6 0 10 TALKBACK LEVEL 5 4 PHONES 0 10 0 10 0 10 SMALL TRIM STUDIO LEVEL PHONES LEVEL 1 2 3 A SMALL TRIM control This control is used to set the level of the SMALL CONTROL ROOM MONITOR OUT. See “Control Room Monitoring” on page 132 for more information. B STUDIO LEVEL control This control is used to set the level of the STUDIO MONITOR OUT. See “Studio Monitoring” on page 133 for more information.
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26 Chapter 2—Control Surface & Rear Panel MONITOR Section MONITOR The various subsections of the MONITOR section are explained below.
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Control Surface 27 CONTROL ROOM CONTROL ROOM STEREO 1 2 3 7 2TR D1 2TR A1 2TR D2 2TR A2 2TR D3 STEREO ASSIGN 1 ASSIGN 2 4 5 6 8 K B STEREO 2TR D2 button This button selects the 2TR IN DIGITAL AES/EBU 2 as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Monitoring” on page 132 for more information. N C STEREO 2TR D3 button This button selects the 2TR IN DIGITAL COAXIAL 3 as the Control Room Monitor signal source.
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28 Chapter 2—Control Surface & Rear Panel M MONO button This button is used to switch the Control Room Monitor signal into mono. Its indicator lights up when mono is selected. See “Control Room Monitoring” on page 132 for more information. N DIMMER button This button is used to dim the Control Room Monitor and Surround Monitor signals. Its indicator lights up when these signals are dimmed. See “Control Room Monitoring” on page 132 for more information.
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Power Section (p. 34) OMNI OUT Section (p. 31) Analog Master I/O Section (p. 30) Digital I/O & Control Section (p. 32) AD Input Section (p. 30) SLOT Section (p.
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30 Chapter 2—Control Surface & Rear Panel AD Input Section A INPUT A & B (BAL) connectors 1 2 AD Inputs 1 through 24 feature balanced XLR-3-31-type connectors and balanced 1/4-inch phone jacks, both with a nominal input range of –60 dB to +10 dB. Phantom powering (+48 V) is supplied to the XLR-type connectors, with individual ON/OFF switches on each input.
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31 Rear Panel B STEREO OUT +4 dB (BAL) These balanced XLR-3-32-type connectors, nominal Female XLR plug output level +4 dB, output the analog Stereo Out signal and are typically connected the stereo inputs of a 2-track recorder. They are wired pin 1–ground, pin 2–hot (+), and pin 3–cold (–). See “Stereo Out Connectors” on page 82.
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32 Chapter 2—Control Surface & Rear Panel Digital I/O & Control Section 1 2 N 3 4 O 5 6 7 8 9 P J K Q L M R A KEYBOARD connector A PS/2 compatible keyboard can be connected here for quick entry of scene and library titles and channel names. See “Using a Keyboard” on page 38 for more information. B SMPTE TIME CODE INPUT connector This balanced XLR-3-31-type connector is used to input SMPTE timecode for synchronizing the Automix function.
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Rear Panel 33 K 2TR OUT DIGITAL AES/EBU 1 & 2 These XLR-3-32-type connectors output AES/EBU format digital audio, and are typically connected to the digital stereo inputs of 2-track recorders. The following signals can be patched to these outputs: Stereo Out, Bus Outs, Aux Sends, Matrix Sends, Direct Outs, Insert Outs, and Control Room. The sampling rate of the digital audio output can be set independently of the DM2000 sampling rate by using the internal sampling rate converters.
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34 Chapter 2—Control Surface & Rear Panel Power Section 1 4 2 3 A POWER ON/OFF switch This switch is used to turn on the power to the DM2000. See “Turning On & Off the DM2000” on page 35 for more information. B Grounding screw For electrical safety reasons, and correct operation of the touch-sensitive faders, it’s important that the DM2000 is grounded properly.
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Operating Basics 35 3 Operating Basics Connecting the Power Cord Warning: Turn off all equipment connected to the DM2000 before making any power connections. Connect the socket-end of the supplied power cord to the AC IN on the rear panel of the DM2000. Connect the plug-end to a suitable AC wall outlet, one that conforms to the power supply requirements stated on the DM2000’s rear panel.
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36 Chapter 3—Operating Basics EDIT indicator: This indicator appears when the current mix settings no longer match those of the Scene that was recalled last. It works in unison with the Edit indicator dot on the SCENE MEMORY display. See “Edit Buffer & Edit Indicator” on page 157 for more information. Selected DISPLAY: This indicates the currently selected display page group, for example, AUX, EQ, or AUTOMIX. Display page groups are selected by using the [DISPLAY] buttons.
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Display History 37 When parameters are divided among several pages, for example, the Input Channel Attenuators, which are divided among four pages, the page containing the parameter for the currently selected channel is selected automatically when channels on different Layers are selected.
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38 Chapter 3—Operating Basics Title Edit Window The Title Edit window is used to enter titles for Scene and library memories, automixes, and so on. Depending on the item being titled, the number of characters that can be entered is either 4, 12, or 16. The following screen shots show the available characters. The one on the left shows uppercase characters and various punctuation marks. That on the right, lowercase characters and numbers.
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Channel Strip Displays 39 Channel Strip Displays The fluorescent channel strip displays graphically display the value of the Input or Output Channel parameter currently assigned to the Encoders, routing settings, and the on/off status of the EQ, Insert, Delay, Comp, and Gate functions. They also display the Long and Short channel names and indicate the currently selected channel. You can adjust their brightness by using the Channel Strip Display Brightness preference on page 236.
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40 Chapter 3—Operating Basics Delay Feedback Gain, Delay Mix & EQ Gain Parameters Negative value ( indicates 0%, ±0 dB) 0%, ±0 dB ( indicates at 0%, ±0 dB) Positive value On/Off & Pre/Post Parameters EQ On/Off, Phase On/Off, Insert On/Off, EQ Type, Gate On/Off, Comp On/Off, Aux Send On/Off, Matrix Send On/Off, Aux Send Pre/Post, Matrix Send Pre/Post. On/Pre Off/Post AD824 Input Gain, Insert In Gain & Scene Fade Time Parameters AD824 Input Gain, AD824 Insert In Gain, Scene Fade Time.
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Channel Strip Displays 41 Channel Names The channel strip displays also display the names or IDs of all the channels on the currently selected Layer. Each Input and Output Channel has a fixed Channel ID and Short and Long names that you can edit. See “Naming Channels” on page 130. You can choose whether the Short names or Channel IDs are displayed in the preferences. See “Channel ID/Channel” on page 236. CH01 1 To display a channel’s Long name, press and hold its [SEL] button.
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42 Chapter 3—Operating Basics Selecting Layers Input and Output Channels are arranged into Layers, as illustrated below. There are nine Layers altogether: four Input Channel Layers, one Master Layer (or Output Layer), and four Remote Layers.
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43 Selecting Channels Selecting Channels 1 2 To select Input and Output Channels for editing with the SELECTED CHANNEL controls, you use the LAYER buttons to select a Layer, and the [SEL] buttons to select a channel on that Layer. Select a Layer, as explained on page 42. Use the [SEL] buttons to select an Input or Output Channel. The [SEL] button indicator for the currently selected channel lights up, and the SEL border of its channel strip display lights up (see page 39).
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44 Chapter 3—Operating Basics Auto Channel Select & Touch Sense Select While the Auto Channel Select preference is on (see page 235), channels can be selected by moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO], or [ON] button. While the Touch Sense Select preference is on (see page 237), channels can be selected simply by touching the fader knobs. Selecting Fader Modes 1 2 The exact function of each fader depends on the selected Layer and Fader mode.
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45 Selecting Encoder Modes Selecting Encoder Modes 1 2 The exact function of each Encoder depends on the selected Layer and Encoder mode. There are two preset Encoder modes, Pan and Aux/Mtrx, and four assignable modes, for which you can choose from over 40 parameters. Select a Layer, as explained in page 42. Use the ENCODER MODE buttons to select ENCODER MODE an Encoder mode. DISPLAY [PAN]: Encoders function as Pan controls.
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46 Chapter 3—Operating Basics Assigning Parameters to the ENCODER MODE Assign Buttons 1 Up to four parameters can be assigned to the four ENCODER MODE ASSIGN buttons. Initially, the following parameters are assigned to the ASSIGN buttons: [ASSIGN 1]: Input Patch [ASSIGN 2]: Direct Out [ASSIGN 3]: Surr. LFE Level [ASSIGN 4]: Surr. Pan Wheel Use the ENCODER MODE [DISPLAY] button to select the Encoder Mode Assign page.
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Assigning Parameters to the ENCODER MODE Assign Buttons 47 Assignable Encoder Mode Parameter List # Parameter 1 No Assign Encoder Operation 2 Attenuator Attenuator 3 Input Patch Input Channel patch Confirm patch selection 4 Insert In Patch Insert In patch Confirm patch selection 5 Insert Out Patch Insert Out patch Confirm patch selection 6 Direct Out Direct Out patch Confirm patch selection 7 Phase Phase: normal/reverse — 8 Insert On Insert on/off — 9 Aux pre/post Aux pre
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48 Chapter 4—wAnalog I/O & the AD Input Section 4 wAnalog I/O & the AD Input Section AD Input Section The DM2000 features 24 AD Inputs for connecting microphone and line-level sources. AD Inputs can be patched to Input Channels or Input Channel Insert Ins (see page 61). They can also be patched to Output Channel Insert Ins (see page 64). AD Input Connectors AD Inputs feature balanced XLR-3-31-type connectors and balanced 1/4-inch phone jacks, both with a nominal input range of –60 dB to +10 dB.
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Stereo Out 49 AD Inserts AD Inputs feature switchable analog inserts with individual balanced 1/4-inch TRS phone jacks for the send and return signals. They are wired: sleeve–ground, ring–cold, tip–hot. The nominal signal level for both connectors is +4 dB. OFF ON INSERT AD Input inserts can be turned on and off individually by using the INSERT ON/OFF switches, so you don’t have to disconnect your external equipment in order to remove an insert.
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50 Chapter 5—Digital I/O & Cascading 5 Digital I/O & Cascading Wordclocks Unlike analog audio equipment, digital audio equipment must be synchronized when digital audio signals are transferred from one device to another, otherwise, signals may not be received correctly and audible noise, glitches, or clicks may occur. Synchronization is achieved using what’s called a wordclock, which is a clock signal for synchronizing all the digital audio signals in a system.
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Wordclocks 51 Selecting the Wordclock Source The wordclock source can be selected as follows. Note: When you change the wordclock settings on any device in your digital audio system, some devices may output noise, so turn down your power amps beforehand, otherwise your speakers may be damaged. 1 Use the DISPLAY ACCESS [DIO] button to locate the Word Clock Select page. 2 Use the cursor buttons to select the sources, and press [ENTER] to set.
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52 Chapter 5—Digital I/O & Cascading Terminating External Wordclocks Wordclock signals distributed via BNC cables must be terminated correctly, otherwise, jitter and synchronization errors may result. Ideally, you should make a separate wordclock connection to each device and terminate it. The following examples show two ways in which wordclock signals can be distributed and how termination should be applied in each case. Normally the WORD CLOCK 75Ω ON/OFF switch should be set to ON.
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2TR Digital Ins 53 2TR Digital Ins The DM2000 features three sets of 2-track digital inputs: 2TR IN DIGITAL AES/EBU 1 and AES/EBU 2 use XLR-3-31-type connectors and accept AES/EBU format digital audio. 2TR IN DIGITAL COAXIAL 3 uses a phono connector and accepts consumer format (IEC-60958) digital audio. These inputs can be monitored via the Control Room monitors by using the CONTROL ROOM [2TR D1], [2TR D2], and [2TR D3] buttons.
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54 Chapter 5—Digital I/O & Cascading Slot I/O The DM2000 features six Slots for installing optional mini-YGDAI (Yamaha General Digital Audio Interface) I/O Cards, which offer various analog I/O options and digital I/O interfaces in all the popular digital audio interconnect formats, including AES/EBU, ADAT, and Tascam. Slot Inputs can be assigned to Input Channels or Input Channel Insert Ins (see page 61), or to Output Channel Insert Ins (see page 64).
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Slot I/O 55 Installing I/O Cards Attention: For technical reasons, certain card combinations are not supported. Before installing any cards, check the Yamaha web site (see page 6) to see whether your card is compatible. http://www.yamahaproaudio.com/ Also check the total number of cards that can be installed in the unit. Installing cards that are not endorsed by Yamaha may cause electrical shock, fire, or damage to the unit. 1 This section explains how to install I/O Cards. Turn off the DM2000.
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56 Chapter 5—Digital I/O & Cascading Setting the Transfer Format for Higher Sampling Rates 1 2 The data transfer format for the higher sampling rates can be set as follows. Use the DISPLAY ACCESS [DIO] button to locate the Higher Sample Rate Data Transfer Format page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. The SLOT TYPE column displays the names of any installed I/O Cards.
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Dithering Digital Outputs 57 Dithering Digital Outputs 1 2 For digital audio transfer to lower-resolution systems, the 2TR Digital Outputs and Slot Outputs can be dithered to 16-bit, 20-bit, or 24-bit. Use the DISPLAY ACCESS [DIO] button to locate the Dither page. Use the cursor buttons to select the Dither parameters, and use the Parameter wheel or INC/DEC buttons to set them. The SLOT column displays the names of any installed I/O Cards.
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58 Chapter 5—Digital I/O & Cascading Cascading Consoles Up to four DM2000s can be cascaded, offering a maximum of 384 Input Channels. Several functions are linked between all cascaded consoles, including Solo, Scene Recall and Store, so that all consoles work just like one big console. A single Yamaha 02R Digital Recording Console can be included in the cascade system. The CASCADE IN and CASCADE OUT ports are used to transmit and receive Cascade and control signals.
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Cascading Consoles 59 Cascade Hookup Examples Cascading Two DM2000s Master: Off Bi-directional: - Master: On Bi-directional: On CASCADE OUT CASCADE IN DM2000 #1 DM2000 #2 CASCADE IN CASCADE OUT Final signals can be output by the Slot Outputs or Omni Outs. Final signals can be output by the Slot Outputs or Omni Outs.
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60 Chapter 5—Digital I/O & Cascading Attenuating Cascade Inputs 1 2 Cascade Inputs can be attenuated, and the Cascade mode and Cascade source can be specified on the Cascade In page. Use the DISPLAY ACCESS [DIO] button to locate the Cascade In page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. CASCADE MODE: When you want to output the same signals from two DM2000s, turn on the BI-DIRECTIONAL button.
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Input & Output Patching 61 6 Input & Output Patching Input Patching Signal sources for the Input Channels, Input Channel Insert Ins, and internal effects processors are selected on the Input Patch pages, which are selected by using the DISPLAY ACCESS [INPUT PATCH] button. Use the cursor buttons to select the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set. Patch parameters display Short Port names.
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62 Chapter 6—Input & Output Patching Patching Input Channel Insert Ins AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs can be patched to the Input Channel Insert Ins. The Input Channel Insert In Patch parameters for the 96 Input Channels are divided between two pages. The Input Channel 1–48 Insert In Patch page is shown below. The layout of the other page is the same.
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Output Patching 63 Output Patching Signal sources for the Slot Outputs, Omni Outs, Output Channel Inserts Ins, Direct Outs, 2TR Digital Outputs, and GEQs are selected on the Output Patch pages, which are selected by using the DISPLAY ACCESS [OUTPUT PATCH] button. Use the cursor buttons to select the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set. Depending on the patch page, patch parameters display either Short Channel or Short Port names.
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64 Chapter 6—Input & Output Patching Patching Omni Outs Bus Outs, Aux Sends, Matrix Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround Monitor Channels can be patched to the Omni Outs. Omni Outs can be patched to Direct Outs on the Direct Out Destination pages (see page 65). When an Omni Out is patched to a Direct out (see page 65), and that Direct Out is assigned on an Input Channel Routing page, the Omni Out patch cannot be changed here.
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Output Patching 65 Patching Direct Outs Direct Outs can be patched to the Slot Outputs, Omni Outs, or 2TR Digital Outputs. The Direct Out Destination parameters for the 96 Input Channels are divided between two pages. The Input Channel 1–48 Direct Out Destination page is shown below. The layout of the other page is the same. In addition to using the cursor buttons, Patch parameters can also be selected by using the [SEL] buttons.
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66 Chapter 6—Input & Output Patching Patching the GEQs The six 31-band graphic equalizers can be inserted into the Bus Outs, Aux Sends, or the left or right channels of the Matrix Sends or Stereo Out on the Graphic Equalizer Insert page. GEQs can also be patched on the Graphic Equalizer Edit page (see page 155) or the Output Channel Insert page (see page 111). Naming Input & Output Ports 1 You can specify Long and Short names for the Input and Output Ports as follows.
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Patch Select Window 67 Patch Select Window Input and Output patches can be made by using the Patch Select window, shown below, which appears when the [ENTER] button is pressed while a patch parameter is selected. Available input and output sources and destinations are displayed in a hierarchical format in three panes. The existing source or destination is displayed in the upper-right corner of the window.
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68 Chapter 7—Input Channels 7 Input Channels Patching Input Channels AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs, Bus Outs, or Aux Sends can be patched to the Input Channel Inputs. See “Patching Input Channels” on page 61 for more information. Metering Input Channels Input Channel signal levels can be metered on the Meter pages. See “Metering” on page 103 for more information.
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Gating Input Channels 69 Gating Input Channels Each Input Channel features a noise Gate for automatically shutting out unwanted noise. Gate settings can be stored in the Gate library, which contains 4 preset memories and 88 user memories. See “Gate Library” on page 144 for more information. Preset Gates & Types The following table lists the preset Gates and types. See page 296 for detailed parameter information.
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70 Chapter 7—Input Channels 3 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the Gate Edit page. 4 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. KEYIN SOURCE: This determines the trigger source for the currently selected Input Channel’s Gate. Trigger sources include SELF (the Gate’s own input signal), CHANNEL (another Input Channel), or AUX (an Aux Send from 1–12).
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Grouping Input Channel EQs 71 Grouping Input Channel EQs 1 Input Channel EQs can be grouped, allowing you to control the EQ of several Input Channels simultaneously. There are four Input Channel EQ groups: a, b, c, and d. Use the DISPLAY ACCESS [GROUP] button to locate the Input Equalizer Link page. 2 Use the LAYER buttons to select the Input Channel Layers. The corresponding group row is selected as each Input Channel Layer is selected. 3 Use the Up/Down cursor buttons to select EQ groups a–d.
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72 Chapter 7—Input Channels Grouping Input Channel Compressors 1 Input Channel Compressors can be grouped, allowing you to control the compression of several Input Channels simultaneously by operating any Compressor control in the group. There are four Input Channel Compressor groups: i, j, k, and l. Use the DISPLAY ACCESS [GROUP] button to locate the Input Comp Link page. 2 Use the LAYER buttons to select the Input Channel Layers.
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Grouping Input Channel Mutes (ON/OFF) 73 Grouping Input Channel Mutes (ON/OFF) 1 Input Channel Mutes can be grouped, allowing you to mute several Input Channels simultaneously. There are eight Input Channel Mute groups: I, J, K, L, M, N, O, and P. Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Mute Group pages. The Mute group parameters for the 96 Input Channels are divided between two pages. The Input Channel 1–48 Mute Group page is shown below.
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74 Chapter 7—Input Channels Setting Input Channel Levels 1 Input Channel levels can be set as follows. Use the LAYER buttons to select the Input Channel Layers. 2 Press the FADER MODE [FADER] button to select Fader mode. 3 Use the faders to set the Input Channel levels. Refer to the legend on the left side of the faders when setting Input Channel levels. Fader positions can be viewed on the Fader View pages. See “Viewing Channel Fader Settings” on page 125 for more information.
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75 Routing Input Channels Routing Input Channels Each Input Channel can be routed to the Bus Outs, Stereo Out, or its own Direct Out. Using the SELECTED CHANNEL ROUTING Controls 1 Use the LAYER buttons to select the Input Channel Layers, and use the [SEL] buttons to select the Input Channels. ROUTING DISPLAY 1 2 2 Use the [1–8], [STEREO], and [DIRECT] buttons to route the currently selected Input Channel. [1–8]: These buttons route the currently selected Input Channel to the Bus Outs.
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76 Chapter 7—Input Channels The currently selected Surround mode is displayed in the lower-left corner. When Stereo mode is selected, the Bus Out routing buttons display numbers from 1 through 8. When a Surround Pan mode is selected, they display abbreviations of the Surround Channel names, as shown in the following table. See “Using Surround Pan” on page 77 for more information. Bus Outs Surround Mode 1 2 3 4 5 6 7 8 Stereo 1 2 3 4 5 6 7 8 3-1 L R C S 5 6 7 8 C E1 7 8 5.
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77 Using Surround Pan The Pan parameters for the 96 Input Channels are arranged into four pages. The Input Channel 1–24 Pan page is shown below. The layout of the other three pages is the same. 2 Use the cursor buttons to select the Pan controls, and use the Parameter wheel and INC/DEC buttons to set them. Pan parameters can also be selected by using the Input Channel Layer buttons and [SEL] buttons. The currently selected Pan control can be set to center by pressing [ENTER].
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78 Chapter 7—Input Channels Selecting Surround Pan Modes 1 2 The Surround mode can be selected as follows. Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Surround Mode page. Use the cursor buttons to select the surround mode buttons, and press [ENTER] to activate the selected mode. The 3-1 Surround mode page is shown on the left; the 5.1 page on the right. The diagram on each page shows the typical sound image placement and the Surround channel to Bus Out configuration.
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Using Surround Pan 79 Selected Channel Surround Edit Page 1 Surround pan settings can be viewed and set on the Input Channel Surround Edit page. If the Auto PAN/SURROUND Display preference is on, and a Surround Pan mode other than Stereo is selected, this page appears automatically when a PAN/SURROUND control other than the [EFFECT] button is operated. See “Auto PAN/SURROUND Display” on page 234. Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Surround Edit page.
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80 Chapter 7—Input Channels DEPTH OFFSET: This can be used to offset the front-to-rear direction of the selected pattern. ST LINK: This can be used to link the surround pan parameters of the currently selected Input Channel and its horizontal or vertical partner regardless of whether they are paired. PATTERN: When Input Channels are linked, the seven patterns selectable here determine how the linked surround pan moves by the Parameter wheel and INC/DEC buttons.
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Soloing Input Channels 81 Soloing Input Channels Input Channels can be soloed. See page 118 for more information. Direct Outs Each Input Channel features a Direct Out, which can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. Direct Out signals can be sourced pre-EQ, pre-fader, or post-fader. See “Patching Direct Outs” on page 65 and “Routing Input Channels” on page 75 for more information.
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82 Chapter 8—Stereo Out 8 Stereo Out Stereo Out Connectors The Stereo Out is output by the STEREO OUT +4 dB (BAL) balanced XLR-3-32-type connectors and the STEREO OUT –10 dBV (UNBAL) unbalanced phono connectors. Patching the Stereo Out to Outputs The left and right channels of the Stereo Out can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 63 for more information.
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83 Compressing the Stereo Out Compressing the Stereo Out Signal dynamics can be controlled by using the Stereo Out Compressor. See “Compressing Channels” on page 113 for more information. Grouping Master Compressors The Stereo Out Compressor can be grouped with the Compressors of other Output Channels. See “Grouping Output Channel Compressors” on page 116 for more information.
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84 Chapter 8—Stereo Out Balancing the Stereo Out 1 The left and right channels of the Stereo Out can be balanced as follows. Press the STEREO [SEL] button to select the Stereo Out. PAN / SURROUND DISPLAY L 2 L R ODD EVEN R Use the Pan control to set the balance. The pan display indicates the balance. When the balance is set to center, the center two segments light up. Balance can be set to center by pressing [ENTER]. The Stereo Out balance can also be set on the Stereo Fader View page.
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Bus Outs 85 9 Bus Outs Patching Bus Outs to Outputs Bus Outs can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 63 for more information. Routing Input Channels to Bus Outs Input Channels can be routed to the Bus Outs. See “Routing Input Channels” on page 75 for more information. Metering Bus Outs Bus Out signal levels can be metered on the Meter pages. See “Metering” on page 103 for more information.
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86 Chapter 9—Bus Outs Muting Bus Outs (ON/OFF) 1 2 Bus Outs can be muted by using the channel strip [ON] buttons. Press the LAYER [MASTER] button to select the Master Layer. Use channel strip [ON] buttons 1–8 to mute the Bus Outs. The [ON] button indicators of Bus Outs that are on light up. ON Grouping Master Mutes (ON/OFF) Bus Out Mutes can be grouped with the Mutes of other Output Channels. See “Grouping Output Channel Mutes (ON/OFF)” on page 123 for more information.
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Sending Bus Outs to the Stereo Out 87 Sending Bus Outs to the Stereo Out 1 2 Bus Outs can be routed to the Stereo Out buses as follows. Bus Out to Stereo Out settings can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user memories. See “Bus to Stereo Library” on page 143 for more information. Use the SELECTED CHANNEL ROUTING [DISPLAY] button to locate the Bus to Stereo page.
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88 Chapter 10—Aux Sends 10 Aux Sends Patching Aux Send Masters to Outputs Aux Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 63 for more information. Setting the Aux Send Mode 1 Aux Sends have two operating modes—Variable and Fixed—which can be set individually for each of the 12 Aux Sends. In Variable mode, Aux Send levels are variable and the signal source point can be either pre-fader or post-fader.
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89 Setting Aux Send Levels Setting Aux Send Levels Aux Send levels can be set by using the SELECTED CHANNEL AUX/MATRIX SEND LEVEL controls, the faders, or the Encoders. Using the SELECTED CHANNEL AUX/MATRIX SEND LEVEL Controls 1 Use the LAYER buttons to select the Input Channel Layers, and use the [SEL] buttons to select Input Channels. 2 Use the [BANK] button to select Aux 1–4, Aux 5–8, or Aux 9–12. 3 Use the LEVEL controls to set the Aux Send levels.
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90 Chapter 10—Aux Sends Muting Aux Sends (ON/OFF) 1 Use the LAYER buttons to select the Input Channel Layers, and use the [SEL] buttons to select the Input Channels. 2 Use the SELECTED CHANNEL AUX/MATRIX SEND [BANK] button to select Aux 1–4, Aux 5–8, or Aux 9–12. 3 Use the SELECTED CHANNEL AUX/MATRIX SEND [ON] buttons to turn the Aux Sends of the selected Input Channel on or off.
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Aux Send Pages 91 5 To set Aux Send levels, select the rotary controls, and use the Parameter wheel or INC/DEC buttons. 6 To set the Pre/Post parameters, select the PRE/POST buttons, and use the [ENTER] button or INC/DEC buttons. 7 To set all Input Channels for the selected Aux Send to pre-fader or post-fader simultaneously, select the GLOBAL PRE or POST button, and then press [ENTER].
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92 Chapter 10—Aux Sends Viewing Aux Send Settings You can view and set settings of all Aux Sends on the Aux View pages. Level and Pre/Post parameters are displayed separately. If the Auto AUX/MATRIX Display preference is on, and an Input Channel is currently selected, these pages appear automatically when a SELECTED CHANNEL AUX/MATRIX SEND control is operated. See “Auto AUX/MATRIX Display” on page 234 for more information.
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Viewing Aux Send Settings 93 Pre/Post Parameters 1 In Pre/Post mode, the Aux View pages display Aux Send Pre/Post parameters. Fixed mode Aux Sends can be turned on and off only. Use the AUX SELECT [DISPLAY] button to select the Aux View pages. 2 Select the DISPLAY PRE/POST button, and press [ENTER]. The Input Channel 1–24 Aux View page is shown below in Pre/Post mode. The layout of the other three Aux View pages in Pre/Post mode is the same.
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94 Chapter 10—Aux Sends Panning Aux Sends 1 When Aux Sends are paired, Aux Sends can be panned between the paired Aux buses. See “Pairing Channels” on page 120 for more information. If the selected Aux Send is not paired, the message “AUXx–x are not paired” appears.
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Metering Aux Send Masters 95 Metering Aux Send Masters Aux Send Master levels can be metered on the Meter pages. See “Metering” on page 103 for more information. Monitoring Aux Send Masters Aux Send Masters can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2] button for monitoring. See “Control Room Monitoring” on page 132 for more information. Aux 11 and Aux 12 can be monitored via the STUDIO MONITOR OUT (see page 133).
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96 Chapter 10—Aux Sends Settings Aux Send Master Levels 1 Aux Send Master levels can be set as follows. Press the LAYER [MASTER] button to select the Master Layer. 2 Press the FADER MODE [FADER] button to select the Fader mode. 3 Use faders 9–20 to set the Aux Send Master levels. Refer to the legend on the right side of the faders when setting Aux Send Master levels.
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97 Matrix Sends 11 Matrix Sends Patching Matrix Send Masters to Outputs The left and right channels of the Matrix Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 63 for more information. Pre-Fader or Post-Fader Matrix Sends Matrix Sends can be configured globally as either pre-fader or post-fader on the Matrix View page. See “Viewing Matrix Send Settings” on page 99 for more information.
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98 Chapter 11—Matrix Sends 3 Use the MATRIX SELECT [1–4] buttons to select Matrix Sends 1–4. 4 Use Encoders 1–20 to set the Matrix Send levels. Encoders 21–24 are inactive because Matrix Send Masters do not feature Matrix Send controls. Muting Matrix Sends (ON/OFF) 1 Press the LAYER [MASTER] button to select the Master Layer. 2 Use [SEL] buttons 1–20 to select the Bus Outs and Aux Sends, and use the STEREO [SEL] button to select the Stereo Out.
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Panning Matrix Sends 99 Panning Matrix Sends 1 Matrix Sends can be panned on the Matrix Send Pan page. The Matrix Sends for the left and right channels of the Stereo Out can be panned individually. Use the MATRIX SELECT [DISPLAY] button to select the Matrix Send Pan page. 2 Use the MATRIX SELECT [1–4] buttons to select Matrix Sends 1–4. 3 Use the cursor buttons to select Output Channel Matrix Send pan controls, and use the Parameter wheel or INC/DEC buttons to set them.
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100 Chapter 11—Matrix Sends If the Master Layer is currently selected, [SEL] buttons 1–20 can also be used to select Output Channels. Matrix Sends can also be selected by using the MATRIX SELECT [1–4] buttons. 4 Use the Parameter wheel or INC/DEC buttons to set the levels of the Matrix Sends. 5 Use the [ENTER] button to turn on and off the selected Matrix Send. The various Matrix View page indicators are as follows: Send level set to –∞. Send level bar. Send set to off. Send level set to nominal.
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Grouping Master Compressors 101 Grouping Master Compressors Matrix Send Master Compressors can be grouped with the Compressors of other Output Channels. See “Grouping Output Channel Compressors” on page 116 for more information. Muting Matrix Send Masters (ON/OFF) 1 2 Matrix Send Masters can be muted as follows. Press the LAYER [MASTER] button to select the Master Layer. Use channel strip [ON] buttons 21–24 to mute the Matrix Sends Masters.
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102 Chapter 11—Matrix Sends Delaying Matrix Send Masters Each Matrix Send Master features a Delay function. See “Delaying Channel Signals” on page 117 for more information. Soloing Matrix Sends Matrix Sends can be soloed. See page 118 for more information. Inserting GEQs Internal GEQs can be inserted into the left and right channels of the Matrix Send Masters. See “About the GEQs” on page 155 for more information.
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Common Channel Functions 103 12 Common Channel Functions Metering Input Channels, Bus Outs, Aux Sends, Matrix Sends, the Stereo Out, and the Effects processors can be metered on the various Meter pages, which are located by using the DISPLAY ACCESS [METER] button. Input and Output Channel Meter pages also display fader positions numerically. The Peak Hold function, which applies to all level meters, can be turned on or off on any of the Meter pages.
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104 Chapter 12—Common Channel Functions There are two 48-channel Meter pages. The Input Channel 1–48 Meter page is shown below. The layout of the other page is the same. Metering Output Channels Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out can all be metered on the Master Meter page. Metering Effects There are two Effects Input/Output Meter pages: Effects 1–8 and Effects 1–2.
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Metering 105 The Effects 1–2 Input/Output Meter page features individual level meters for the eight inputs and outputs of internal effects processors #1 and #2. Metering the Stereo out The Stereo Out can be metered on the Stereo Meter page. Peak signal levels for the left and right channels are displayed numerically.
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106 Chapter 12—Common Channel Functions Attenuating Signals Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out all feature pre-EQ attenuation, which is useful for attenuating “hot” signals before EQ’ing. Using the SELECTED CHANNEL EQUALIZER ATT Control 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 2 Use the ATT control to set the amount of attenuation. Attenuator Pages 1 ATT.
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Using EQ 107 Using EQ Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out all feature 4-band parametric EQ. The LOW-MID and HIGH-MID bands are peaking type. The LOW and HIGH bands can be set to shelving, peaking, or HPF and LPF respectively. EQ settings can be stored in the EQ library, which contains 40 preset memories and 160 user memories. See “EQ Library” on page 146 for more information. Preset EQs The following table lists the preset EQs.
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108 Chapter 12—Common Channel Functions # Preset Name Description 33 Bass Drum 3 A variation on preset 1, with low and mid range reduced. 34 Snare Drum 3 A variation on preset 3, creating a thicker sound. 35 Tom-tom 2 A variation on preset 5, emphasizing the mid and high ranges. 36 Piano 3 A variation on preset 13. 37 Piano Low Emphasizes the low range of pianos recorded in stereo. 38 Piano High Emphasizes the high range of pianos recorded in stereo.
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Using EQ 109 EQ Edit Pages 1 EQ parameters can also be set on the EQ Edit page. If the Auto EQUALIZER Display preference is on, this page appears automatically when a control in the SELECTED CHANNEL EQUALIZER section is operated. See “Auto EQUALIZER Display” on page 234. Use the EQUALIZER [DISPLAY] button to select the EQ Edit page. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels.
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110 Chapter 12—Common Channel Functions Grouping Output Channel EQs 1 The Bus Out, Aux Send, Matrix Send, and Stereo Out EQs can be grouped, allowing you to control the EQ of several Output Channels simultaneously. There are four Output Channel EQ groups: e, f, g, and h. Use the DISPLAY ACCESS [GROUP] button to locate the Output Equalizer Link page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select EQ groups e–h. The selected group is highlighted by a flashing cursor box.
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Using Inserts 111 Using Inserts Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out all feature assignable Inserts. Using the SELECTED CHANNEL PHASE/INSERT [INSERT ON] Button 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 2 Use the [INSERT ON] button to turn the currently selected channel’s Insert on or off. INSERT ON Insert Pages 1 Inserts can be configured on the Insert page.
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112 Chapter 12—Common Channel Functions 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. INSERT ON/OFF: This turns the currently selected channel’s Insert on and off. It works in unison with the SELECTED CHANNEL PHASE/INSERT [INSERT ON] button.
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Compressing Channels 113 Compressing Channels Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out all feature a Compressor. Settings can be stored in the Comp library, which contains 36 preset memories and 88 user memories. See “Comp Library” on page 145 for more information. Preset Comps & Types The following table lists the preset Comps and types. See page 296 for detailed parameter information.
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114 Chapter 12—Common Channel Functions # Preset Name Type Description 27 Hip Comp COMPAND-S A variation on preset 26, intended for sampled loops and phrases. 28 Solo Vocal1 COMP Compressor for use with main vocals. 29 Solo Vocal2 COMP A variation on preset 28. 30 Chorus COMP A variation on preset 28, intended for choruses. 31 Click Erase EXPAND Expander for removing a click track that may bleed through from a musicians headphones.
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Compressing Channels 115 3 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the Comp Edit page. 4 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. POSITION: This determines the position of the Compressor within the channel, and can be set to pre-EQ, pre-fader, or post-fader. It works in unison with the COMP POSITION parameter on the Insert page. See “Using Inserts” on page 111 for more information.
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116 Chapter 12—Common Channel Functions Grouping Output Channel Compressors 1 The Bus Out, Aux Send, Matrix Send, and Stereo Out Compressors can be grouped, allowing you to control the compression of several Output Channels simultaneously. There are four Output Channel Compressor groups: m, n, o, and p. Use the DISPLAY ACCESS [GROUP] button to locate the Output Comp Link page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select Comp groups m–p.
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Delaying Channel Signals 117 Delaying Channel Signals Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out all feature independent Delay functions. Input Channel Delays feature feedback, with independent Mix and Gain parameters. Using the SELECTED CHANNEL DELAY Controls 1 Use the LAYER buttons to select Layers, and use DELAY the [SEL] buttons to select channels. Use the STEREO [SEL] button to toggle between the left and right channels of the Stereo Out.
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118 Chapter 12—Common Channel Functions The Delay parameters for the Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out appear on the Output Delay page. 2 Use the cursor buttons to select the Delay parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. Input and Output Channels can also be selected by using the LAYER and [SEL] buttons. DELAY SCALE: These buttons determine the units of the delay value shown below the msec value.
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Soloing Channels 119 Configuring Solo 1 2 The Solo function is configured on the Solo Setup page. If the Auto SOLO Display preference is on, this page appears automatically when a channel is soloed. See “Auto SOLO Display” on page 234. Use the MONITOR [DISPLAY] button to locate the Solo Setup page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. SOLO: This is used to enable and disable the Solo function.
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120 Chapter 12—Common Channel Functions Pairing Channels Input Channels, Bus Outs, and Aux Sends can be paired for stereo operation. Input Channels can be paired either horizontally, that is, adjacent odd-even channels on the same Layer (e.g., 1-2, 3-4, 5-6, etc) or vertically, that is, counterpart channels on adjacent Layers (e.g., 1-25, 2-26, 49-73, 50-74, etc). Bus Outs and Aux Sends can be paired only horizontally.
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Pairing Channels 2 121 To set the pair mode, select the PAIR MODE HORIZONTAL or VERTICAL buttons, and press [ENTER]. The Pair mode can be set independently for Input Channels 1–48 and Input Channels 49–96. The Input Channel 1–48 Pair page in Vertical mode is shown below. Pair parameters for the Bus Outs and Aux Sends appear on the Output Pair page. 3 Use the cursor buttons or Parameter wheel to select the channel pair buttons, and press [ENTER] to make or break pairs.
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122 Chapter 12—Common Channel Functions When a Surround mode other than Stereo is selected, Aux Sends can be set to follow the same Input Channel Surround Pan that applies to the Bus Outs, which is useful for feeding Surround channel signals to external effects processors. This is turned on and off by using the F.S buttons that appear below the Aux Send Pair buttons.
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Grouping Output Channel Mutes (ON/OFF) 123 Grouping Output Channel Mutes (ON/OFF) 1 The Bus Out, Aux Send, Matrix Send, and Stereo Out mutes can be grouped, allowing you to mute several Output Channels simultaneously. There are four Output Channel Mute groups: U, V, W, and X. Use the DISPLAY ACCESS [GROUP] button to locate the Output Mute Group page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select Mute groups U–X.
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124 Chapter 12—Common Channel Functions Viewing Channel Parameter Settings 1 The parameter setting of the currently selected Input Channel, Bus Out, Aux Send, Matrix Send, or the Stereo Out can be viewed and set on the Parameter View pages. Use the DISPLAY ACCESS [VIEW] button to select the Parameter View page. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels.
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Viewing Channel Fader Settings 125 Output Channels This is the Parameter View page for the Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out. Parameters are the same as for the Input Channel Parameter View page, minus the GATE and Phase sections and the DELAY MIX and FB GAIN parameters. The parameter settings of the left and right channels of the Matrix Sends and Stereo Out can be viewed individually. Use the [SEL] buttons to toggle between the left and right channels.
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126 Chapter 12—Common Channel Functions numerically below the fader. See “Setting Input Channel Levels” on page 74 for more information. SURROUND PAN: The Surround pan parameters for the currently selected Input Channel are displayed only when a Surround mode other than Stereo is selected. See “Using Surround Pan” on page 77 for more information. BUS ROUTING: This section contains Routing and Follow Pan buttons for the currently selected Input Channel.
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Viewing Channel Fader Settings 127 Aux Sends Below is the Fader View page for the Aux Sends. ON/OFF: This is the On/Off parameter of the currently selected Aux Send. See “Muting Aux Sends (ON/OFF)” on page 90 for more information. Fader: This indicates the fader position of the currently selected Aux Send. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Settings Aux Send Master Levels” on page 96 for more information.
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128 Chapter 12—Common Channel Functions Fader: This indicates the fader position of the currently selected Matrix Send. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Setting Matrix Send Master Levels” on page 101 for more information. Meters: These meters indicate the levels of the currently selected Matrix Send and its partner. The metering position is displayed below them.
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Copying Channel Settings 129 Copying Channel Settings The settings of Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo CHANNEL Out can be copied among channels of the same type by using the Channel Copy function. You can even copy to and from channels in Scenes without recalling COPY them. For the Matrix Sends and Stereo Out, the left and right channels are copied and pasted independently.
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130 Chapter 12—Common Channel Functions Copying Channel Settings Between Noncurrent Scenes 1 Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the source Scene. The number of the source Scene flashes on the SCENE MEMORY display. 2 Use the LAYER and [SEL] buttons to select the source channel. 3 Press the CHANNEL [COPY] button. 4 Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the destination Scene. The number of the destination Scene flashes on the SCENE MEMORY display.
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Naming Channels 131 Output Channels 1 Use the DISPLAY ACCESS [OUTPUT PATCH] button to locate the Output Channel Name page 2 Use the Parameter wheel, INC/DEC buttons, or the Master Layer and [SEL] buttons to select the Output Channels. 3 Use the cursor buttons to select the Output Channel’s Long or Short name, and then press [ENTER]. When the Title Edit window appears, edit the Output Channel name, and press OK when you’ve finished. See “Title Edit Window” on page 38 for more information.
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132 Chapter 13—Monitoring & Talkback 13 Monitoring & Talkback Control Room Monitoring The DM2000 features independent outputs and level controls for two sets of studio monitors. The LARGE CONTROL ROOM MONITOR OUT +4 dB (BAL) XLR-3-32-type connectors are intended to feed to the control room’s main monitors. The SMALL CONTROL ROOM MONITOR OUT +4 dB (BAL) XLR-3-32-type connectors are intended to feed to the control room’s nearfield monitors.
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Studio Monitoring 133 Control Room Setup 1 Control room monitoring is configured on the Control Room Setup page. Use the MONITOR [DISPLAY] button to locate the Control Room Setup page. 2 Use the cursor buttons to select the ASSIGN buttons in the left-hand box, and use the Parameter wheel to select an Output Channel in the right-hand box. Bus Outs, Aux Sends, or Matrix Sends can be assigned to the [ASSIGN 1] and [ASSIGN 2] buttons. 3 Press [ENTER] to assign the selected Output Channel.
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134 Chapter 13—Monitoring & Talkback Surround Monitoring The DM2000 features comprehensive surround monitoring functions, including a pink noise generator for speaker setup, Bass Management, and down mixing. The Surround pages explained in this section are available only when a Surround mode other than Stereo is selected (see page 78). The Surround Monitor signal source is selected by using the SURROUND buttons. The [BUS] button selects the Bus Outs as the source.
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Surround Monitoring 135 When the MONITOR L/R to C-R button is on, the Left and Right Surround Monitor Channels are fed to the Control Room Monitors. This is useful when you want to use the same speakers for Left and Right Surround Monitors and Control Room Monitors. STATUS: SURROUND MODE indicates the currently selected Surround mode, which is set on the Surround Mode page (see page 78).
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136 Chapter 13—Monitoring & Talkback MONITOR MATRIX: This is used to select the Surround Monitor Matrix. In 5.1 Surround mode, you can select 5.1, 3-1, or ST. In 3-1 Surround mode, you can select 3-1 or ST. When a down mix Monitor Matrix is selected, you can attenuate signals by using the ATT parameters. The following diagrams, which show the Monitor Matrixes available in each Surround mode, are displayed when this parameter is selected. 3-1 to 3-1 3-1 to ST 5.1 to 5.1 5.1 to 3-1 5.
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Surround Monitoring 137 MONITOR ALIGNMENT ATT & DLY ON/OFF: These buttons are used to turn on and off the Monitor Alignment Attenuator and Delay parameters of all Surround speakers. The MONITOR ALIGNMENT diagram and Surround Channel Attenuator and Delay parameters, which are displayed when either of these buttons are selected, allow you to align the surround monitor speakers by attenuating and delaying Surround Channels as necessary. The Attenuator parameters can be set from –12 dB to +12 dB in 0.
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138 Chapter 13—Monitoring & Talkback Using Talkback & Slate The Talkback function distributes the Talkback mic signal to the Studio Monitor Outs and any Slot or Omni Outputs specified on the Talkback Setup page. The TALKBACK LEVEL control sets the level of the built-in talkback microphone. 0 10 TALKBACK LEVEL The [TALKBACK] button has two modes of operation: If it’s pressed once (i.e., for less than 300 ms), the Talkback function is turned on and remains on when the button is released.
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Libraries 139 14 Libraries About the Libraries The DM2000 features 11 libraries for storing Automix, Effects, Channel, Input Patch, Output Patch, GEQ, Bus to Stereo, Gate, Comp, EQ, and Surround Monitor data. Library data can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 187). It can also be stored to SmartMedia (see page 231).
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140 Chapter 14—Libraries Memory #U is a special read-only memory that allows you to undo and redo memory recall and store operations. After recalling a memory, you can revert to the previously recalled memory by recalling memory #U. After storing a memory, you can revert it to its previous contents by recalling memory #U. You can redo either of these undo operations by recalling memory #U again.
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Input Patch Library 141 Input Patch Library 1 Input Patch settings can be stored in the Input Patch library, which contains 1 preset memory and 32 user memories. See page 61 for information on Input Patch settings. Use the DISPLAY ACCESS [INPUT PATCH] button to select the Input Patch Library page. When storing, the current Input Patch settings are stored to the selected memory. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 139.
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142 Chapter 14—Libraries GEQ Library 1 2 GEQ settings can be stored in the GEQ library, which contains 1 preset memory and 128 user memories. See page 155 for information on using the GEQs. Use the EFFECTS/PLUG-INS [DISPLAY] button to select the Graphic Equalizer Library page. Press the EFFECTS/PLUG-INS [GRAPHIC EQUALIZERS] button, and use the EFFECTS/PLUG-INS [1–6] buttons to select the GEQs.
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Bus to Stereo Library 143 TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O configuration is shown below this. Level meters: These meters indicate the output levels of the currently selected Effects processor. There are eight output meters for Effects processors #1 and #2, and two output meters for Effects processors #3 through #8. EFFECT TYPE: This is the effects type in the selected memory. Its I/O configuration is shown below this.
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144 Chapter 14—Libraries Gate Library 1 2 Input Channel Gate settings can be stored in the Gate library, which contains 4 preset memories and 124 user memories. See page 69 for information on gating Input Channels. Use the DYNAMICS [DISPLAY] button to select the Gate Library page. Use the LAYER buttons to select the Input Channel Layers, and the [SEL] buttons to select Input Channels.
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Comp Library 145 Comp Library 1 2 Comp settings can be stored in the Comp library, which contains 36 preset memories and 92 user memories. See page 113 for information on the Comps. Use the DYNAMICS [DISPLAY] button to select the Comp Library page. Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels. When storing, the Comp settings of the currently selected channel, indicated in the upper-right corner, are stored to the selected memory.
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146 Chapter 14—Libraries EQ Library 1 2 Input Channel, Bus Out, Aux Send, Matrix Send, and Stereo Out EQ settings can be stored in the EQ library, which contains 40 preset memories and 160 user memories. See page 107 for information on EQ’ing. Use the EQUALIZER [DISPLAY] button to select the EQ Library page. Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels.
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Automix Library 147 Automix Library 1 Up to 16 Automixes can be stored in the Automix library. See page 164 for information on using Automix. Use the AUTOMIX [DISPLAY] button to select the Automix Memory page. When storing, the current Automix is stored to the selected memory. TITLE: This is the title of the current Automix. CURRENT: This is the size of the current Automix. FREE: This is the amount of free memory for storing the current Automix. SIZE: This is the size of the selected Automix memory.
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148 Chapter 15—Internal Effects, Plug-Ins & GEQs 15 Internal Effects, Plug-Ins & GEQs About the Effects The DM2000 features eight internal multi-effects processors, offering a whole host of effects types, including reverbs, delays, modulation-based effects, combination effects, and multichannel effects designed especially for use with surround sound. Effects processors 3–8 feature assignable stereo inputs and outputs.
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Preset Effects & Types 149 Modulation-based Effects # Preset Name Type Description 13 Chorus CHORUS Chorus 14 Flange FLANGE Flanger 15 Symphonic SYMPHONIC Proprietary Yamaha effect that produces a richer and more complex modulation than normal chorus 16 Phaser PHASER 16-stage stereo phase shifter 17 Auto Pan AUTO PAN Auto-panner 18 Tremolo TREMOLO Tremolo 19 HQ.Pitch HQ.
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150 Chapter 15—Internal Effects, Plug-Ins & GEQs Others # Preset Name Type Description 41 Multi.Filter MULTI.FILTER 42 Freeze FREEZE Simple sampler 43 Stereo Reverb ST REVERB Stereo reverb 441 Reverb 5.1 REVERB 5.12 6-channel reverb for 5.1 surround 3-band parallel filter (24 dB/octave) 451 Octa Reverb OCTA 461 Auto Pan 5.1 AUTO PAN 5.1 6-channel auto pan for 5.1 surround 471 Chorus 5.1 CHORUS 5.1 6-channel chorus for 5.1 surround 481 Flange 5.1 FLANGE 5.
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151 Editing Effects TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O configuration is shown below this. MIX BALANCE: This is used to set the balance between the wet and dry signals. When set to 0%, only the dry signal is heard. When set to 100%, only the wet signal is heard. BYPASS: This button is used to bypass the currently selected Effects processor.
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152 Chapter 15—Internal Effects, Plug-Ins & GEQs About Plug-Ins There are two types of Plug-Ins: Waves Plug-Ins and User Defined Plug-Ins. Waves Plug-Ins are available on Y56K cards, which need to be installed in the DM2000’s mini YGDAI Slots (Slots 4–6 only). See your Yamaha dealer for details. User Defined Plug-Ins can be used to control up to 32 user definable parameters via MIDI Control Change or Parameter Change messages on an external MIDI device, such as an external effects processor.
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Editing Plug-Ins 153 Editing Plug-Ins 1 Plug-Ins can be edited as follows. The settings of Waves Plug-Ins and User Defined Plug-In banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 187), or stored to SmartMedia (see page 231). If you’ve installed a Y56K card into one of the Slots, display pages especially for the Waves card are displayed when the corresponding Plug-In is selected. See the Waves documentation for more information.
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154 Chapter 15—Internal Effects, Plug-Ins & GEQs MIN/MAX: These parameters determine the minimum and maximum values of the MIDI data transmitted when each parameter control is adjusted. Use the PARAMETER ID/NAME parameter to select a Parameter ID from 1–4, and then edit as necessary. VAL: This is used to select the format for converting parameter control values to the DATA parameter’s VAL setting. It applies to the currently selected bank. The available options are listed in the following table.
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About the GEQs 155 About the GEQs The DM2000 features six 31-band graphic equalizers that can be inserted into the Bus Outs, Aux Sends, or the left or right channels of the Matrix Sends or Stereo Out. GEQs can be linked for simultaneous operation. GEQ settings can be stored in the GEQ library, which contains 1 preset memory and 128 user memories. See “GEQ Library” on page 142 for more information. Editing GEQs 1 GEQs can be edited as follows. Press the EFFECTS/PLUG INS [GRAPHIC EQUALIZERS] button.
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156 Chapter 15—Internal Effects, Plug-Ins & GEQs GEQ parameters can also be adjusted by using Parameter controls #1 and #4. Parameter control #1 selects the frequency bands. Parameter control #4 resets the gain of the selected band. Parameter controls #2 and #3 are inactive.
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Scene Memories 157 16 Scene Memories About Scene Memories Scene memories allow you to store a snapshot of virtually every DM2000 mix setting in a Scene. There are 99 Scene memories, and they can be titled for easy identification. A fade time of up to 30 seconds can be set individually for each Input and Output Channel fader. Recall Safe can be used to exclude individual Input and Output Channels and certain parameters from Scene recalls. Stored Scenes can be sorted as necessary.
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158 Chapter 16—Scene Memories Scene memory #U is a special read-only memory that allows you to undo and redo Scene memory recall and store operations. After recalling a Scene memory, you can revert to the previously recalled Scene memory by recalling Scene memory #U. After storing a Scene memory, you can revert it to its previous contents by recalling Scene memory #U. You can redo either of these undo operations by recalling Scene memory #U again.
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Storing & Recalling Scenes with the SCENE MEMORY Buttons 159 Storing & Recalling Scenes with the SCENE MEMORY Buttons As each Scene memory is selected, its number flashes on the SCENE MEMORY display, and its number and title flash in the Scene memory section of the display. These stop flashing when the selected Scene memory is either stored or recalled. Empty Scene memories have the title “No Data!” and cannot be recalled. You cannot store to Scene memories that are write-protected.
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160 Chapter 16—Scene Memories Using the Scene Memory Page 1 On the Scene Memory page you can store, recall, write-protect, delete, and edit the titles of Scenes. Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory page. 2 Use the Parameter wheel or INC/DEC buttons to select a Scene memory. A Scene memory is selected when it appears inside the dotted box. 3 Use the cursor buttons to select the following buttons.
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Fading Scenes 161 Fading Scenes 1 2 Fade times can be specified for individual Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out. The fade time determines the time it takes the Input and Output Channel faders to move to their new positions when a Scene is recalled. You must store these settings in a Scene beforehand in order for them to take effect. Fade time settings can be specified for each Scene individually. Use the SCENE MEMORY [DISPLAY] button to locate a Fade Time page.
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162 Chapter 16—Scene Memories Recalling Scenes Safely 1 When a Scene is recalled, all mix parameters are set accordingly. In some situations, you may want to retain the settings of certain parameters on certain channels, and this can be achieved by using the Recall Safe function. Recall Safe can be set individually for Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out. Use the SCENE MEMORY [DISPLAY] button to locate the Recall Safe page.
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Sorting Scenes 163 Sorting Scenes 1 Scene can be sorted by using the Scene Memory Sort function. Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory Sort page. 2 Use the cursor button to the select the SOURCE list, and use the Parameter wheel or the INC/DEC buttons to select the Scene memory you want to move.
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164 Chapter 17—Automix 17 Automix About Automix The DM2000’s Automix function allows dynamic automation of virtually all mix parameters, including Levels, Mutes, Pan, Surround Pan, Aux/Matrix Sends, Aux/Matrix Send Mutes, EQ, effects, and Plug-Ins. You can specify which of these parameters will be recorded, and punch channels in and out of recording on-the-fly.
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Automix Main Page 165 Automix Main Page 1 2 This section explains the Automix Main page. Use the AUTOMIX [DISPLAY] button to locate the Automix Main page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TITLE: This is the title of the current Automix. DISABLED/ENABLED: This button is used to enable and disable the Automix function. It works in unison with the AUTOMIX [ENABLE] button.
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166 Chapter 17—Automix TO END Return Takeover or Off At the point at which recording is stopped, the fader returns to the position specified by the existing fader data, at the speed specified by the Time parameter on the Fader Edit pages. At the point at which recording is stopped, the fader remains at the same position until the next Fader event in the existing data occurs.
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Automix Main Page 167 FADER EDIT: These buttons are used to set the Fader Edit mode: Absolute or Relative. The Fader Edit mode determines how fader moves are rerecorded. It has no effect during the first recording pass. In Absolute mode, fader moves are rerecorded as absolute values and existing fader data is erased. In Relative mode, fader moves are rerecorded relative to the existing fader data.
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168 Chapter 17—Automix AUTO REC: This button works the same as the REC button except that it remains on when Automix recording is stopped. It appears highlighted while Auto Record mode is on. It works in unison with the AUTOMIX [AUTO-REC] button. REC: This button is used to engage Record-Ready mode, in which Automix recording starts automatically as soon as the specified timecode source starts. Unlike the AUTO REC button, however, it’s turned off when recording is stopped.
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Channel Strip [AUTO] Buttons 169 [RETURN] button: This button is used to set the Edit Out mode. It works in unison with the EDIT OUT RETURN buttons on the Automix Main and Memory pages. When its indicator is on, Return mode is set. When its indicator is flashing, Takeover mode is set. And when its indicator is off, neither mode is set. [RELATIVE] button: This button is used to set the Fader Edit mode. It works in unison with the FADER EDIT buttons on the Automix Main and Memory pages.
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170 Chapter 17—Automix Fader Edit Pages 1 2 During playback, fader positions are displayed graphically as black bars on the Fader Edit page, of which there are two. The CH1–48 Fader Edit page displays Faders positions for Input Channel 1 through 48, the Bus Outs, Aux Sends, and Stereo Out. The CH49–96 Fader Edit page displays faders positions for Input Channel 49 through 96, the Bus Outs, Aux Sends, and Matrix Sends. When the Fader mode is set to Fader, Input and Output Channel levels are displayed.
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Selecting the Timecode Source & Frame Rate 171 UPDATE: This button is the same as that on the Main and Memory pages. See “Automix Main Page” on page 165 for more information. EDIT OUT: The TAKEOVER and RETURN buttons are the same as those on the Main and Memory pages. See “Automix Main Page” on page 165 for more information. The TIME parameter determines the time it takes faders to return to levels specified by the existing Automix data when the Edit Out mode is set to Return. It can be set from 0.
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172 Chapter 17—Automix Creating a Time Signature Map 1 2 When using the MIDI CLOCK timecode source, you’ll also need to specify the initial time signature and any time signature changes that follow. Use the DISPLAY ACCESS [SETUP] button to select the Time Signature page. Use the cursor buttons to select the parameters, and use the Parameter wheel or INC/DEC buttons to specify the measure and time signature.
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Rerecording Events 173 7 Start the timecode source. The AUTOMIX [REC] button indicator lights up continuously, and on the Automix Main and Memory pages, the REC and PLAY buttons appear highlighted. 8 Adjust the faders and other controls as necessary. Use the SELECTED CHANNEL section to edit the currently selected channel. Channels are selected automatically when the [AUTO] buttons are pressed. You can punch channels out of recording by using the [AUTO] buttons.
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174 Chapter 17—Automix Parameter Recording The following table summarizes parameter recording operation for each parameter. Parameter adjustments made on the respective display pages are also recorded.
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Punching In & Out Individual Parameters 175 Punching In & Out Individual Parameters During Automix rerecording, channels can be punched in and out by pressing the channel strip [AUTO] buttons. Individual parameters can be punched in and out as follows.
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176 Chapter 17—Automix If during Automix recording you punch in an individual parameter by using the controls listed in the above table, even if some OVERWRITE buttons are on, only the existing data of that particular parameter will be overwritten. Likewise, when you punch out an individual parameter by using the controls listed above, only that particular parameter will be punched out.
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Editing Events Offline 177 Editing Events Offline Automix events can be edited offline on the Event Copy and Event Edit pages. Offline editing can be performed only while the Automix function is stopped. Event Copy Page 1 2 On the Event Copy page, specified events on specified channels between specified in and out points can be erased, copied, moved/merged, or trimmed. Use the AUTOMIX [DISPLAY] button to locate the Event Copy page.
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178 Chapter 17—Automix TRIM EDIT: These parameters are used to specify the TRIM IN and TRIM OUT times and the trim level, which can be set in 0.5 dB steps. The TRIM IN parameter determines the time in which the fader level must achieve the specified trim amount. The TIME SETTING IN point determines the point at which trimming starts. The TRIM OUT time determines the time from which the Fader level can start returning to the previous level.
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Editing Events Offline 179 ERASE button: This button is used to erase the specified Automix data. Use the channel buttons to select the source channels. Use the IN and OUT parameters to specify the region to be erased. Use the PARAMETERS window to specify which Automix events are to be erased. Then select the ERASE button and press [ENTER]. COPY button: This button is used to copy the specified Automix data. Use the channel buttons to select the source channels.
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180 Chapter 17—Automix Event Edit Page 1 2 On the Event Edit page, you can edit, duplicate, delete, and insert new events. Use the AUTOMIX [DISPLAY] button to locate the Event Edit page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. Event list: Automix events are listed in chronological order. The type of events listed depends on the Event select buttons. Use the cursor buttons to select event parameters.
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Editing Events Offline 181 CAPTURE button: This button is used to capture the current timecode position. Up to eight timecode values can be captured and stored in the eight Capture memories. Use the cursor buttons to select the Capture memory number, and use the Parameter wheel or the INC/DEC buttons to select the Capture memories. Capture memories can be selected even while the CAPTURE, LOCATE, or INSERT button is selected.
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182 Chapter 18—MIDI 18 MIDI MIDI & the DM2000 • • • • • • • • • • The DM2000 supports the following MIDI messages: Program Changes for recalling Scenes (see page 185) Control Changes for real-time parameter control (see page 186) System Exclusive Parameter Changes for real-time parameter control (see page 186) MIDI Note On/Off for Freeze effect (see page 285) Bulk Dump for transmitting Scene, library, and setup data (see page 187) MTC and MIDI Clock for Automix synchronization (see page 171) MMC for exte
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MIDI Port Setup 183 MIDI Port Setup 1 2 MIDI ports are configured as follows. Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TO HOST SERIAL: These buttons are used to configure the TO HOST SERIAL port for use with either a Mac or PC. Caution: When a PC is connected to the TO HOST SERIAL port, do not set this to Mac because your PC may crash.
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184 Chapter 18—MIDI MIDI Channel Setup 1 2 MIDI Channels for reception and transmission are specified as follows. Use the DISPLAY ACCESS [MIDI] button to locate the MIDI Setup page. Use the cursor buttons or Parameter wheel to select the parameters, and use the INC/DEC buttons or [ENTER] button to set them. RECEIVE: The Channel buttons are used to select a MIDI Channel for MIDI message reception.
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Assigning Scenes to Program Changes 185 Assigning Scenes to Program Changes DM2000 Scenes can be assigned to MIDI Program Changes for remote recall. When a Scene is recalled on the DM2000, the assigned Program Change number is transmitted. If that Scene is assigned to more than one Program Change, the lowest Program Change is transmitted. Likewise, when a Program Change message is received, the assigned Scene is recalled.
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186 Chapter 18—MIDI Assigning Parameters to Control Changes 1 DM2000 parameters can be assigned to MIDI Control Changes for real-time control. When a parameter is adjusted on the DM2000, the assigned Control Change message is transmitted. Likewise, when a Control Change message is received, the assigned DM2000 parameter is set. You must set the MIDI Setup parameters in order to transmit and receive Control Change messages (see page 184).
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Using Bulk Dump 187 Using Bulk Dump 1 DM2000 data can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump. Use the DISPLAY ACCESS [MIDI] button to locate the Bulk Dump page. 2 To transmit data, use the CATEGORY parameters to select the type of data you want to transmit, select the TRANSMIT button, and then press [ENTER]. 3 To receive data, use the CATEGORY parameters to select the type of data you want to receive, select the REQUEST button, and then press [ENTER].
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188 Chapter 19—Pro Tools Remote Layer 19 Pro Tools Remote Layer The DM2000 features a Remote Layer target especially designed for controlling Pro Tools. If an optional MB2000 Peak Meter Bridge is installed, Pro Tools channel levels are displayed by the meters, and timecode is displayed on the TIME CODE counter. Configuring Windows Computers 1 Connect your PC.
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Configuring Pro Tools 189 Configuring Pro Tools 1 Pro Tools needs to be configured as follows. For more information, see your Pro Tools documentation. Launch Pro Tools. 2 Choose OMS Studio Setup from the Setups menu, and configure OMS as necessary. This screen shot shows the Yamaha USB MIDI driver with eight ports. An OMS-compatible device profile for the DM2000 is included on the DM2000 CD-ROM. See the included documentation for more information. 3 Choose Peripherals from the Setups menu.
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190 Chapter 19—Pro Tools Remote Layer Control Surface Operation with the Pro Tools Remote Layer This section explains the operation of the DM2000 control surface when the Pro Tools Remote Layer is selected. DM2000 buttons and controls are referred to by the names printed on the DM2000 with the name of the corresponding Pro Tools function in parenthesis. For example, “Press the MATRIX SELECT [MATRIX 1] (DEFAULT) button.” In keyboard shortcuts, the Pro Tools function names are left out for simplification.
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Control Surface Operation with the Pro Tools Remote Layer 191 INSERT ASSIGN/EDIT ASSIGN: This indicator works in unison with the EFFECTS/PLUG-INS [5] (ASSIGN) button indicator. See “Assigning Inserts/Plug-ins” on page 209 for more information. COMPARE: This indicator works in unison with the EFFECTS/PLUG-INS [6] (COMPARE) button indicator. See “Editing Plug-ins” on page 210 for more information. BYPASS: This indicator works in unison with the EFFECTS/PLUG-INS [7] (BYPASS) button indicator.
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192 Chapter 19—Pro Tools Remote Layer Encoders & Push-Switches The Encoders are used to set pan and send levels and select I/O assignments. The Encoder push-switches are used to mute sends, reset send levels and panpots, and confirm I/O assignments. Their exact operation depends on the currently selected Encoder mode, as shown in the following table.
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Control Surface Operation with the Pro Tools Remote Layer 193 Channel Strip Displays Aud1 The fluorescent channel strip displays graphically display the value of the parameter currently assigned to the Encoders. The minimum and maximum segments do not work with the Pro Tools Remote Layer. Channel strip displays also display Pro Tools channel names in an abbreviated form. Various other information is also displayed here and this is explained in the relevant sections.
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194 Chapter 19—Pro Tools Remote Layer MATRIX SELECT Section MATRIX SELECT MATRIX 1 MATRIX 2 (DEFAULT) (SEND MUTE) MATRIX 4 (INSERT BYPASS) [MATRIX 1] (DEFAULT) button This button is used in conjunction with other controls to reset faders, panpots, sends, and plug-ins to their default values. See “Resetting Faders, Sends, Panpots & Plug-ins” on page 212 for more information. [MATRIX 2] (SEND MUTE) button This button is used in conjunction with the Encoder push-switches to mute sends.
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Control Surface Operation with the Pro Tools Remote Layer 195 [ASSIGN 1] (INPUT) button This button is used in conjunction with other controls to set channel input sources. See “Assigning Inputs to Channels” on page 203 for more information. [ASSIGN 2] (OUTPUT) button This button is used in conjunction with other controls to set channel output destinations. See “Assigning Outputs to Channels” on page 204 for more information.
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196 Chapter 19—Pro Tools Remote Layer EFFECTS/PLUG-INS Section EFFECTS / PLUG INS DISPLAY (SHOW INSERT) (< SCROLL) 5 (ASSIGN) 6 7 8 (SCROLL >) 1 2 3 4 (COMPARE) (BYPASS) (INSERT/PARAM) [DISPLAY] (SHOW INSERT) button This button is used to open and close plug-in windows. [5] (ASSIGN) button This button is used in conjunction with other controls to assign inserts/plug-ins to channels. See “Assigning Inserts/Plug-ins” on page 209 for more information.
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Control Surface Operation with the Pro Tools Remote Layer 197 TRACK ARMING Section TRACK ARMING 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 MASTER (REC/RDY ALL) [1–24] (REC/RDY) buttons These buttons are used to arm Pro Tools channels for recording. The button indicators of channels that are armed flash. The button indicators of armed channels light continuously when recording starts.
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198 Chapter 19—Pro Tools Remote Layer [REC] (WRITE), [ABORT/UNDO] (TOUCH), [AUTOREC] (LATCH), [RETURN] (READ), [RELATIVE] (TRIM) & [TOUCH SENSE] (OFF) buttons These buttons are used to select the channel Automation modes. See “Setting the Automation Mode” on page 215 for more information. OVERWRITE [FADER] (FADER), [ON] (MUTE), [PAN] (PAN), [AUX] (SEND), [AUX ON] (SEND MUTE) & [EQ] (PLUG-IN) buttons These buttons are used to select parameters for automation recording and playback.
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Control Surface Operation with the Pro Tools Remote Layer 199 [12] (CTRL/CLUTCH) & [13] (Command-ALT/FINE) buttons These buttons are used in conjunction with other buttons to modify function operation. They correspond to the Control and Command modifier keys found on Macintosh keyboards. [14] (MONITOR) button This button is used to display the monitor mode currently selected in the Pro Tools Operations menu. When the monitor mode is set to “Auto Input Monitor,” “Auto” is displayed.
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200 Chapter 19—Pro Tools Remote Layer • Press the [POST] button to audition from the out point of the selected region, continuing for the specified post-roll time. Auditioning stops at the end of the section, or when a transport button is pressed. [PRE] & [POST] buttons These buttons are used to turn on and off pre-roll and post-roll. While the [AUDITION] button indicator is lit, they are used for auditioning. [IN] & [OUT] buttons These buttons are used to set in and out points during playback.
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Control Surface Operation with the Pro Tools Remote Layer 201 Data Entry & Transport Section REW FF STOP PLAY REC DISPLAY HISTORY BACK FORWARD (EDIT MODE) (EDIT TOOLS) DEC (ESC) SHUTTLE INC (CURSOR MODE) SCRUB ENTER [REW] button This button rewinds from the current cursor position (it’s non-latching). [FF] button This button fast forwards from the current cursor position (it’s non-latching). [STOP] button This button stops playback and recording.
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202 Chapter 19—Pro Tools Remote Layer [SHUTTLE] & [SCRUB] buttons These buttons are used to select the Shuttle and Scrub modes. See “Scrub & Shuttle” on page 214 for more information. These buttons are mutually exclusive with the [QUICK PUNCH] and [LOOP] buttons. [ENTER] button This button works the same as the Enter key on your computer keyboard. Pressing it opens the New Memory Location dialog box. While a dialog box is open, pressing it performs the same action as clicking the OK button.
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Scrolling Windows 203 Scrolling Windows The following shortcuts can be used to scroll the Mix and Edit windows.
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204 Chapter 19—Pro Tools Remote Layer The following shortcuts apply. To do this... Do this! Set all channels to the same input source ENCODER MODE [ASSIGN 3], ENCODER MODE [ASSIGN 1], Encoder, USER DEFINED KEYS [5]+Encoder push-switch Set all selected channels to the same input source ENCODER MODE [ASSIGN 3], ENCODER MODE [ASSIGN 1], Encoder, USER DEFINED KEYS [5]+USER DEFINED KEYS [4]+Encoder push-switch You can cancel this function by pressing the [–/DEC] (ESC) button.
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Muting Channels 205 Muting Channels 1 2 Channels can be muted as follows. Use the [ON] buttons to mute channels. The [ON] button indicators of muted channels go out. Press the [ON] buttons again to unmute channels. The [ON] button indicators of unmuted channels are lit. Grouped channels are muted together. You can temporarily disable a group in order to mute individual channels by pressing and holding the USER DEFINED KEYS [12] (CTRL/CLUTCH) button. The following shortcuts apply. To do this...
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206 Chapter 19—Pro Tools Remote Layer Assigning Send Destinations 1 Sends can be assigned to output destinations as follows. The Pro Tools transport must be stopped in order to make these assignments. You can view the current output destination assignment for each send on the channel strip displays by pressing and holding the AUX SELECT [AUX 1–5] (SEND A–E) buttons. Press the ENCODER MODE [ASSIGN 3] (SEND ASSIGN) button. Its indicator flashes, and the SELECT ASSIGN section of the display shows “ASGN.
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Setting Send Levels 207 Setting Send Levels 1 2 Send levels can be set as follows. Use the AUX SELECT [AUX 1–5] (SEND A–E) buttons to select the sends. The ENCODER MODE [AUX/MTRX] (SEND LEVEL) button indicator lights up, as does the button indicator of the selected send. The levels for the selected send are displayed by the channel strip displays. See “Send Level” on page 193 for more information. Use the Encoders to set the send levels.
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208 Chapter 19—Pro Tools Remote Layer Flip Mode In Flip mode, the faders, Encoders, and [ON] buttons can be used to control sends, as shown in the following table. Control Normal mode Flip mode Fader Channel level Send level Encoder Channel pan/send level Send pan [ON] button Channel mute Send mute 1 Press the FADER MODE [FADER] or [AUX/MTRX] button.
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Assigning Inserts/Plug-ins 209 Assigning Inserts/Plug-ins 1 Inserts can be assigned to channels as follows. The Pro Tools transport must be stopped in order to make these assignments. Press the ENCODER MODE [ASSIGN 4] (INSERT) button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select channels for insert assignment. The name of the selected channel appears in the INSERT/PARAM section of the display.
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210 Chapter 19—Pro Tools Remote Layer Editing Plug-ins 1 Plug-ins can be edited as follows. (Make sure the MATRIX SELECT [MATRIX 4] (INSERT BYPASS) button indicator is not lit before proceeding.) Press the ENCODER MODE [ASSIGN 4] (INSERT) button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select the channel whose plug-in you want to edit.
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Bypassing Individual Plug-ins 211 Bypassing Individual Plug-ins 1 Individual plug-ins can be bypassed as follows. (Make sure the EFFECTS/PLUG-INS [8] (INSERT/PARAM) button indicator is not lit before proceeding.) Press the ENCODER MODE [ASSIGN 4] (INSERT) button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select plug-ins.
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212 Chapter 19—Pro Tools Remote Layer Resetting Faders, Sends, Panpots & Plug-ins Faders, panpots, sends, and plug-ins can be reset to their default values as follows. For faders and send controls, this is “0.” For panpots, it’s center. Make sure that the ENCODER MODE [ASSIGN 4] (INSERT) button indicator is off before proceeding with these shortcuts. To do this...
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Zooming 213 Zooming 1 • • • • The cursor buttons can be used to zoom the Edit window as follows. Use the [INC] (CURSOR MODE) button to select Zoom cursor mode. The CURSOR MODE section of the display shows “ZOOM.” In Zoom cursor mode, the cursor buttons work as follows: Left cursor button: Zoom out horizontally. Right cursor button: Zoom in horizontally. Up cursor button: Zoom in vertically. Down cursor button: Zoom out vertically.
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214 Chapter 19—Pro Tools Remote Layer Scrub & Shuttle 1 The Parameter wheel can be used to scrub and shuttle as follows. Make sure that Pro Tools is stopped. 2 Press the [SCRUB] button if you want to scrub, press the [SHUTTLE] button if you want to shuttle. The corresponding button indicator lights up. The [REW] and [FF] button indicators also light up, and the cursor mode is set to Navigation (the CURSOR MODE section of the display shows “NAVIGATION”).
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Automation 215 Automation Viewing the Automation Mode 1 The Automation mode setting of each channel can be viewed as follows. Press and hold a channel’s [AUTO] button. The channel’s Automation mode is displayed on the corresponding channel strip display while the [AUTO] button is pressed.
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216 Chapter 19—Pro Tools Remote Layer Trim Mode 1 Trim mode can be set as follows. While holding down a channel’s [AUTO] button, press the AUTOMIX [RELATIVE] (TRIM) button. The channel’s Automation mode is displayed on the corresponding channel strip display while its [AUTO] button is pressed.
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Remote Control 217 20 Remote Control About Remote Layers The DM2000’s four Remote Layers allow you to control external MIDI equipment directly from the DM2000. The type of device to be controlled (i.e., the target) can be specified for each Remote Layer. There are three types of target: User Defined, Nuendo, and Pro Tools. User Defined targets allow you to specify the MIDI data that will be transmitted when the 24 channel strip faders, Encoders, and [ON] buttons are operated.
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218 Chapter 20—Remote Control Configuring User Defined Remote Layers 1 2 User Defined Remote Layers can be configured as follows. Use the DISPLAY ACCESS [REMOTE] button to locate the Remote 1–4 pages. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TARGET: This is used to select the target for the currently selected Remote Layer (the User Defined target is explained here).
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Using User Defined Remote Layers 219 ENCODER: These parameters are used to specify the MIDI message (up to 16 bytes) to be transmitted when an Encoder is operated. Use the [SEL] buttons to select the channel strips, and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted when an Encoder is adjusted. For the ENC setting, the Encoder’s current value from 0–127 is transmitted when it’s adjusted. The END setting specifies the end of the data.
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220 Chapter 20—Remote Control About Machine Control (MMC & P2) The DM2000 can control the transport, locate functions, track arming, and chase function of up to eight external recording machines that support the MMC or P2 control protocol. Machines can be specified as either MTR or Master and controlled independently. Machines that support the P2 protocol can be controlled by connecting them to the DM2000’s REMOTE port using a 9-pin straight cable. Wiring details are provided on page 315.
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Configuring the REMOTE Port 221 Configuring the REMOTE Port 1 2 If you are using the P2 protocol to control a machine, the REMOTE port must be configured as follows. Use the DISPLAY ACCESS [SETUP] button to select the Remote Port Setup page. Use the cursor buttons to select the REMOTE FUNCTION P2 button, and then press [ENTER]. Transport Buttons The DM2000’s transport can be used to control external machines.
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222 Chapter 20—Remote Control Using Shuttle & Scrub The Parameter wheel can be used to shuttle and scrub the external machines. SHUTTLE SCRUB When the [SHUTTLE] button indicator is lit, the Parameter wheel can be used to shuttle. When the [SCRUB] button indicator is lit, the Parameter wheel can be used to scrub. Turn the Parameter wheel clockwise to shuttle/scrub forwards. Turn it counterclockwise to shuttle/scrub backwards.
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Using the Locator 223 [PRE] & [POST] buttons These buttons are used to locate the pre-roll and post-roll points. If the [AUDITION] button indicator is lit, playback starts when a point is located. The pre-roll point is the in point minus the specified pre-roll time. The post-roll point is the out point plus the specified post-roll time. The pre-roll and post-roll times can be specified on the Locate Memory page (see page 224).
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224 Chapter 20—Remote Control • • When the [QUICK PUNCH] button indicator is lit, pressing the [PLAY] button will locate to the pre-roll point and start playback. At the post-roll point, the machine will stop playback, locate the pre-roll point, and then stop. When the [QUICK PUNCH] button indicator is lit, pressing the [PLAY] and [REC] buttons together will locate to the pre-roll point and start playback. At the in point, the machine switches to input monitor and starts recording.
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Arming Machine Tracks 225 These points can also be set on-the-fly, so long as the DM2000 is receiving timecode. To do this, while holding down the LOCATOR [SET] button, press the [1–8], [IN], [OUT], or [RTZ] button. PREROLL TIME: In conjunction with the in point, this determines the position that will be located when the LOCATOR [PRE] button is pressed. For example, if the in point is 00:01:00.00 and the pre-roll time is 5 seconds, 00:00:55.00 will be located.
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226 Chapter 20—Remote Control Configuring MTR Track Arming 1 2 You can assign MTR machine tracks to the TRACK ARMING [1–24] buttons as follows. These assignments are effective only when the TRACK ARMING [MASTER] button indicator is off. Use the TRACK ARMING [DISPLAY] button to locate the MTR Track Arming Configuration page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them.
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Configuring Track Arming Groups 227 TARGET TRACK: This parameter is used to specify the Master machine track that is to be armed when each TRACK ARMING button is pressed. Configuring Track Arming Groups 1 2 Track arming groups A, B, C, and D provide a quick way to arm multiple MTR or Master machine tracks. Use the TRACK ARMING [DISPLAY] button to locate the Track Arming Group page.
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228 Chapter 20—Remote Control GPI (General Purpose Interface) 1 The DM2000’s CONTROL port (25-pin D-sub connector) provides a GPI (General Purpose Interface) for controlling external equipment. Pinouts are provided on page 315. The eight GPI outputs can be configured so that they output trigger signals when faders or USER DEFINED KEYS are operated. The GPI can also be used to control a “RECORDING” warning light outside a studio, or to trigger the Solo function of a Yamaha 02R Digital Recording Console.
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Controlling AD824 A/D Converters 229 Controlling AD824 A/D Converters You can control the Gain and Phantom On/Off parameters of up to 12 Yamaha AD824 A/D Converters from the DM2000 by connecting them to the DM2000’s REMOTE port using a 9-pin reversed cable. Pinouts are provided on page 315. Configuring the REMOTE Port & Assigning Slots to AD824 IDs 1 The REMOTE port can be configured, and Slots assigned to AD824 IDs as follows. Use the DISPLAY ACCESS [SETUP] button to select the Remote Port Setup page.
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230 Chapter 21—Other Functions 21 Other Functions Using the User Defined Keys USER DEFINED KEYS Up to 16 functions from a list of over 150 can be assigned to the USER DEFINED KEYS, and up to four assignment setups can be stored in banks A, B, C, and D. See page 240 for a list of initial bank assignments. Use the USER DEFINED KEYS [DISPLAY] button to locate the User defined Key Assigned page.
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Saving DM2000 Data to SmartMedia 231 Saving DM2000 Data to SmartMedia Saving 1 DM2000 Data can be saved to SmartMedia as follows. Use the DISPLAY ACCESS [DATA] button to locate the Save page. 2 Insert your SmartMedia card into the CARD slot. If the card doesn’t have a “/YPE/DM2000” directory, a confirmation message appears and you should choose YES to make the directory. The LIST box displays files and directories alphabetically. Only files of the currently selected CATEGORY are displayed.
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232 Chapter 21—Other Functions user memories, individual user memories, and for the Bus to Stereo, Input Patch, Output Patch, Surround Monitor libraries you can also select the current settings. BANK: Saves the User Defined Remote banks, User Defined Plug-Ins banks, or the User Defined Keys banks. For each item you can select ALL or individual banks. SETUP MEM: Saves the DM2000 setup data (i.e., system settings). PGM TABLE: Saves the Scene to MIDI Program Change table.
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Saving DM2000 Data to SmartMedia 233 Managing Files & SmartMedia 1 Files stored on SmartMedia can be renamed and deleted as follows. Use the DISPLAY ACCESS [DATA] button to locate the File page. 2 Insert your SmartMedia card into the CARD slot. If the card doesn’t have a “/YPE/DM2000” directory, a confirmation message appears and you should choose YES to make the directory. The FILE INFORMATION box displays the filename and the date when the currently selected file was last stored.
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234 Chapter 21—Other Functions Setting Preferences You can customize the operation of the DM2000 by using the preferences pages. Preferences 1 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 1 page. 2 Use the cursor buttons or Parameter wheel to select the preferences, and use the INC/DEC buttons or [ENTER] button to set them.
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Setting Preferences 235 Auto Channel Select: When this preference is on, channels can be selected by moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO], or [ON] button. Store Confirmation: When this preference is on, the Title Edit window appears when you store a Scene (page 159) or library memory (page 139). However, when you store an Automix library memory, the Title Edit window appears regardless of whether this preference is set to on or off.
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236 Chapter 21—Other Functions Preferences 2 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 2 page. 2 Use the cursor buttons to select the preferences, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. Channel ID/Channel: This preference setting determines how channels are represented on the channel strip displays. When the Channel ID preference is on, Channel IDs are displayed.
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Setting Preferences 237 Preferences 3 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 3 page. 2 Use the cursor buttons or Parameter wheel to select the preferences, and use the INC/DEC buttons or [ENTER] button to set them. Mix Update Confirmation: When this preference is on, a confirmation message asking if you want to update the current Automix with the latest edits appears when Automix recording is stopped.
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238 Chapter 21—Other Functions Using the Oscillator 1 2 The DM2000 features an oscillator that can be used for calibration or diagnostic purposes. Use the DISPLAY ACCESS [UTILITY] button to locate the Oscillator page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC button, or [ENTER] button to set them. OSCILLATOR ON: This turns the Oscillator on or off. While the LEVEL parameter is selected, the [ENTER] button can be used to turn on and off the Oscillator.
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Initializing the DM2000 239 Initializing the DM2000 The DM2000 can be initialized as follows. Warning: This procedure will clear all user memories and reset all settings to their initial values. You may want to back up any important data beforehand via MIDI Bulk Dump (see page 187), or to SmartMedia (see page 231). If you want to reset just the mix settings, recall scene memory #0 instead (see page 157). 1 Turn off the DM2000. 2 While holding down the SCENE MEMORY [STORE] button, turn on the DM2000.
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240 Appendix A: Parameter Lists Appendix A: Parameter Lists USER DEFINED KEYS # 0 Function No ASSIGN # Function 42 COMP Lib. Recall +1 Comp Lib+1 RCL. No Assign 43 COMP Lib. Recall –1 Comp Lib–1 RCL. COMP Lib. Recall No. XX Comp LibXXX RCL. Display Display 1 Scene MEM. Recall +1 Scene +1 Recall 44 2 Scene MEM. Recall –1 Scene –1 Recall 45 EQ Lib. Recall +1 EQ Lib+1 Recall 3 Scene MEM. Recall No. XX Scene XX Recall 46 EQ Lib. Recall –1 EQ Lib–1 Recall 4 Effect-1 Lib.
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USER DEFINED KEYS # Function Display 82 SURR. MONI SLOT5 ON/OFF Surr.SLOT5 ON 83 SURR. MONI SLOT6 ON/OFF Surr.SLOT6 ON 84 SURR. MONI BASS MANAGE ON/OFF Bass Manage ON 85 86 # Function 241 Display 127 Automix TAKEOVER Automix TAKEOVER 128 Automix RELATIVE Automix RELATIVE 129 Automix TOUCH SENSE Automix T.
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242 Appendix A: Parameter Lists USER DEFINED KEYS Initial Assignments # Bank A Bank B Bank C Bank D 1 SOLO ON Scene 1 Recall IN Fader Group A No Assign 2 No Assign Scene 2 Recall IN Fader Group B No Assign 3 No Assign Scene 3 Recall IN Fader Group C No Assign 4 No Assign Scene 4 Recall IN Fader Group D No Assign 5 No Assign Scene 5 Recall IN Fader Group E No Assign 6 Surr.Mon L Mute Scene 6 Recall IN Fader Group F No Assign 7 Surr.
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Input Patch Parameters input Channel Inputs Port ID Input Channel insert Ins Description Port ID Description 243 Internal Effects Processor Inputs Port ID Description S1-4 Slot1 CH4 IN S1-4 Slot1 CH4 IN INSCH16 InsertOut-CH16 S1-5 Slot1 CH5 IN S1-5 Slot1 CH5 IN INSCH17 InsertOut-CH17 S1-6 Slot1 CH6 IN S1-6 Slot1 CH6 IN INSCH18 InsertOut-CH18 S1-7 Slot1 CH7 IN S1-7 Slot1 CH7 IN INSCH19 InsertOut-CH19 S1-8 Slot1 CH8 IN S1-8 Slot1 CH8 IN INSCH20 InsertOut-CH20 S1-9 Slot1
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244 Appendix A: Parameter Lists input Channel Inputs Port ID Input Channel insert Ins Description Port ID Description Internal Effects Processor Inputs Port ID Description S4-7 Slot4 CH7 IN S4-7 Slot4 CH7 IN INSCH67 InsertOut-CH67 S4-8 Slot4 CH8 IN S4-8 Slot4 CH8 IN INSCH68 InsertOut-CH68 S4-9 Slot4 CH9 IN S4-9 Slot4 CH9 IN INSCH69 InsertOut-CH69 S4-10 Slot4 CH10 IN S4-10 Slot4 CH10 IN INSCH70 InsertOut-CH70 S4-11 Slot4 CH11 IN S4-11 Slot4 CH11 IN INSCH71 InsertOut-CH71
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245 Input Patch Parameters input Channel Inputs Port ID Description Input Channel insert Ins Port ID Description Internal Effects Processor Inputs Port ID Description FX2-2 Effect2 OUT 2 FX2-2 Effect2 OUT 2 INSMTX1R InsertOut-MTX1R FX2-3 Effect2 OUT 3 FX2-3 Effect2 OUT 3 INSMTX2L InsertOut-MTX2L FX2-4 Effect2 OUT 4 FX2-4 Effect2 OUT 4 INSMTX2R InsertOut-MTX2R FX2-5 Effect2 OUT 5 FX2-5 Effect2 OUT 5 INSMTX3L InsertOut-MTX3L FX2-6 Effect2 OUT 6 FX2-6 Effect2 OUT 6 INSMTX3R
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246 Appendix A: Parameter Lists Initial Input Patch Settings Input Channel Inputs Ch # Source Ch # Source Effects Processors inputs # Source 1 AD01 49 S4-01 1-1 AUX1 2 AD02 50 S4-02 1-2 NONE 3 AD03 51 S4-03 1-3 NONE 4 AD04 52 S4-04 1-4 NONE 5 AD05 53 S4-05 1-5 NONE 6 AD06 54 S4-06 1-6 NONE 7 AD07 55 S4-07 1-7 NONE 8 AD08 56 S4-08 1-8 NONE 9 AD09 57 S5-01 2-1 AUX2 10 AD10 58 S5-02 2-2 NONE 11 AD11 59 S5-03 2-3 NONE 12 AD12 60 S5-04
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Output Patch Parameters 247 Output Patch Parameters Output patch parameters are split into two tables. The first table contains parameters for the Slot Outputs, Omni Outs, and Output Channel Insert Ins. The second table, Direct Outs, 2TR Digital Outputs, and the GEQs.
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248 Appendix A: Parameter Lists Slot Outputs Source Description Omni Outs Source Output Channel Insert Ins Description Source Description INSCH14 InsertOut-CH14 INSCH14 InsertOut-CH14 S2-4 Slot2 CH4 IN INSCH15 InsertOut-CH15 INSCH15 InsertOut-CH15 S2-5 Slot2 CH5 IN INSCH16 InsertOut-CH16 INSCH16 InsertOut-CH16 S2-6 Slot2 CH6 IN INSCH17 InsertOut-CH17 INSCH17 InsertOut-CH17 S2-7 Slot2 CH7 IN INSCH18 InsertOut-CH18 INSCH18 InsertOut-CH18 S2-8 Slot2 CH8 IN INSCH19 Insert
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Output Patch Parameters Slot Outputs Source Description Omni Outs Source 249 Output Channel Insert Ins Description Source Description INSCH65 InsertOut-CH65 INSCH65 InsertOut-CH65 S5-7 Slot5 CH7 IN INSCH66 InsertOut-CH66 INSCH66 InsertOut-CH66 S5-8 Slot5 CH8 IN INSCH67 InsertOut-CH67 INSCH67 InsertOut-CH67 S5-9 Slot5 CH9 IN INSCH68 InsertOut-CH68 INSCH68 InsertOut-CH68 S5-10 Slot5 CH10 IN INSCH69 InsertOut-CH69 INSCH69 InsertOut-CH69 S5-11 Slot5 CH11 IN INSCH70 Insert
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250 Appendix A: Parameter Lists Slot Outputs Source INSAUX12 Omni Outs Description InsertOut-AUX12 Source INSAUX12 Output Channel Insert Ins Description InsertOut-AUX12 Source FX7-2 Description Effect7 OUT 2 INSMTX1L InsertOut-MTX1L INSMTX1L InsertOut-MTX1L FX8-1 Effect8 OUT 1 INSMTX1R InsertOut-MTX1R INSMTX1R InsertOut-MTX1R FX8-2 Effect8 OUT 2 INSMTX2L InsertOut-MTX2L INSMTX2L InsertOut-MTX2L 2TD1L 2TR IN Dig.
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251 Output Patch Parameters Output Patch Table 2 Direct Outs Source 2TR Digital Outs Description Source GEQs Description Source Description NONE NONE NONE NONE NONE NONE S1-1 Slot1 CH1 OUT BUS1 BUS1 BUS1 BUS1 S1-2 Slot1 CH2 OUT BUS2 BUS2 BUS2 BUS2 S1-3 Slot1 CH3 OUT BUS3 BUS3 BUS3 BUS3 S1-4 Slot1 CH4 OUT BUS4 BUS4 BUS4 BUS4 S1-5 Slot1 CH5 OUT BUS5 BUS5 BUS5 BUS5 S1-6 Slot1 CH6 OUT BUS6 BUS6 BUS6 BUS6 S1-7 Slot1 CH7 OUT BUS7 BUS7 BUS7 BUS7 S1-8 Slot1
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252 Appendix A: Parameter Lists Direct Outs Source Description 2TR Digital Outs Source Description S4-2 Slot4 CH2 OUT INSCH20 InsertOut-CH20 — — S4-3 Slot4 CH3 OUT INSCH21 InsertOut-CH21 — — S4-4 Slot4 CH4 OUT INSCH22 InsertOut-CH22 — — S4-5 Slot4 CH5 OUT INSCH23 InsertOut-CH23 — — S4-6 Slot4 CH6 OUT INSCH24 InsertOut-CH24 — — S4-7 Slot4 CH7 OUT INSCH25 InsertOut-CH25 — — S4-8 Slot4 CH8 OUT INSCH26 InsertOut-CH26 — — S4-9 Slot4 CH9 OUT INSCH27 InsertOut-CH2
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253 Output Patch Parameters Direct Outs Source 2TR Digital Outs Description Source Description GEQs Source Description OMNI6 OMNI OUT 6 INSCH72 InsertOut-CH72 — — OMNI7 OMNI OUT 7 INSCH73 InsertOut-CH73 — — OMNI8 OMNI OUT 8 INSCH74 InsertOut-CH74 — — 2TD1L 2TR OUT Dig.1 L INSCH75 InsertOut-CH75 — — 2TD1R 2TR OUT Dig.1 R INSCH76 InsertOut-CH76 — — 2TD2L 2TR OUT Dig.2 L INSCH77 InsertOut-CH77 — — 2TD2R 2TR OUT Dig.
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254 Appendix A: Parameter Lists Direct Outs 2TR Digital Outs Source Description — — INSMTX4R InsertOut-MTX4R — — INSSTL InsertOut-STL — — — — INSSTR InsertOut-STR — — — — CR-L Control Room L — — — — CR-R Control Room R — — DM2000—Owner’s Manual Source Description GEQs Source Description — —
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Initial Output Patch Settings Initial Output Patch Settings Slot Outputs Omni Outs # # Source Direct Outs Destinati on Source SLOT1-01 BUS1 1 AUX1 1 SLOT1-01 SLOT1-02 BUS2 2 AUX2 2 SLOT1-02 SLOT1-03 BUS3 3 AUX3 3 SLOT1-03 SLOT1-04 BUS4 4 AUX4 4 SLOT1-04 SLOT1-05 BUS5 5 AUX5 5 SLOT1-05 SLOT1-06 BUS6 6 AUX6 6 SLOT1-06 SLOT1-07 BUS7 7 AUX7 7 SLOT1-07 SLOT1-08 BUS8 8 AUX8 8 SLOT1-08 SLOT1-09 BUS1 — — 9 SLOT2-01 SLOT1-10 BUS2 — — 10 SLOT2-02 SLO
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256 Appendix A: Parameter Lists Initial Input Channel Names Input Channel ID CH01 CH02 CH03 Short Name CH01 CH02 CH03 Long Name CH01 CH02 CH03 CH04 CH04 CH04 CH05 CH05 CH05 CH06 CH07 CH08 CH09 CH10 CH11 CH06 CH07 CH08 CH09 CH10 CH11 CH06 CH07 CH08 CH09 CH10 CH11 CH12 CH12 CH12 CH13 CH13 CH13 CH14 CH15 CH16 CH17 CH18 CH19 CH14 CH15 CH16 CH17 CH18 CH19 CH14 CH15 CH16 CH17 CH18 CH19 CH20 CH20 CH20 CH21 CH21 CH21 CH22 CH23 CH24 CH25 CH26 CH27 CH22 CH23 CH24 CH25 CH26 CH27 CH22 CH2
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Initial Output Channel Names 257 Initial Output Channel Names Output Channel ID Short Name Long Name BUS1 BUS1 BUS1 BUS2 BUS2 BUS2 BUS3 BUS3 BUS3 BUS4 BUS4 BUS4 BUS5 BUS5 BUS5 BUS6 BUS6 BUS6 BUS7 BUS7 BUS7 BUS8 BUS8 BUS8 AUX1 AUX1 AUX1 AUX2 AUX2 AUX2 AUX3 AUX3 AUX3 AUX4 AUX4 AUX4 AUX5 AUX5 AUX5 AUX6 AUX6 AUX6 AUX7 AUX7 AUX7 AUX8 AUX8 AUX8 AUX9 AUX9 AUX9 AX10 AX10 AUX10 AX11 AX11 AUX11 AX12 AX12 AUX12 MTX1 MTX1 MATRIX1 MTX2 MTX2 MATRIX2 M
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258 Appendix A: Parameter Lists Initial Input Port Names Port PORT ID Short Name Long Name AD1 AD01 AD01 AD IN 1 AD2 AD02 AD02 AD IN 2 AD3 AD03 AD03 AD IN 3 AD4 AD04 AD04 AD IN 4 AD5 AD05 AD05 AD IN 5 AD6 AD06 AD06 AD IN 6 AD7 AD07 AD07 AD IN 7 AD8 AD08 AD08 AD IN 8 AD9 AD09 AD09 AD IN 9 AD10 AD10 AD10 AD IN 10 AD11 AD11 AD11 AD IN 11 AD12 AD12 AD12 AD IN 12 AD13 AD13 AD13 AD IN 13 AD14 AD14 AD14 AD IN 14 AD15 AD15 AD15 AD IN 15 AD16 AD16 A
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Initial Input Port Names Port PORT ID Short Name 259 Long Name SLOT5-14 S514 S514 Slot5 CH14 IN SLOT5-15 S515 S515 Slot5 CH15 IN SLOT5-16 S516 S516 Slot5 CH16 IN SLOT6-01 S6-1 S6-1 Slot6 CH1 IN SLOT6-02 S6-2 S6-2 Slot6 CH2 IN SLOT6-03 S6-3 S6-3 Slot6 CH3 IN SLOT6-04 S6-4 S6-4 Slot6 CH4 IN SLOT6-05 S6-5 S6-5 Slot6 CH5 IN SLOT6-06 S6-6 S6-6 Slot6 CH6 IN SLOT6-07 S6-7 S6-7 Slot6 CH7 IN SLOT6-08 S6-8 S6-8 Slot6 CH8 IN SLOT6-09 S6-9 S6-9 Slot6 CH9 IN SLOT6-10
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260 Appendix A: Parameter Lists Initial Output Port Names Port SLOT1-01 SLOT1-02 SLOT1-03 SLOT1-04 SLOT1-05 SLOT1-06 SLOT1-07 SLOT1-08 SLOT1-09 SLOT1-10 SLOT1-11 SLOT1-12 SLOT1-13 SLOT1-14 SLOT1-15 SLOT1-16 SLOT2-01 SLOT2-02 SLOT2-03 SLOT2-04 SLOT2-05 SLOT2-06 SLOT2-07 SLOT2-08 SLOT2-09 SLOT2-10 SLOT2-11 SLOT2-12 SLOT2-13 SLOT2-14 SLOT2-15 SLOT2-16 SLOT3-01 SLOT3-02 SLOT3-03 SLOT3-04 SLOT3-05 SLOT3-06 SLOT3-07 SLOT3-08 SLOT3-09 SLOT3-10 SLOT3-11 SLOT3-12 SLOT3-13 SLOT3-14 SLOT3-15 SLOT3-16 SLOT4-01 SLOT4-
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GPI Trigger Source List GPI Trigger Source List # Source 0 NO ASSIGN 1 2 CH1 FADER ON CH2 FADER ON 3 CH3 FADER ON 4 CH4 FADER ON 5 6 7 8 9 10 CH5 FADER ON CH6 FADER ON CH7 FADER ON CH8 FADER ON CH9 FADER ON CH10 FADER ON 11 CH11 FADER ON 12 CH12 FADER ON 13 14 15 16 17 18 CH13 FADER ON CH14 FADER ON CH15 FADER ON CH16 FADER ON CH17 FADER ON CH18 FADER ON 19 CH19 FADER ON 20 CH20 FADER ON 21 22 23 24 25 26 CH21 FADER ON CH22 FADER ON CH23 FADER ON CH24 FADER ON CH25 FADER ON CH26 FADE
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262 # Appendix A: Parameter Lists Source # Source 108 AUX4 FADER ON 163 CH42 FADER OFF 109 AUX5 FADER ON 164 CH43 FADER OFF 110 AUX6 FADER ON 165 CH44 FADER OFF 111 AUX7 FADER ON 166 CH45 FADER OFF 112 AUX8 FADER ON 167 CH46 FADER OFF 113 AUX9 FADER ON 168 CH47 FADER OFF 114 AUX10 FADER ON 169 CH48 FADER OFF 115 AUX11 FADER ON 170 CH49 FADER OFF 116 AUX12 FADER ON 171 CH50 FADER OFF 117 MATRIX1 FADER ON 172 CH51 FADER OFF 118 MATRIX2 FADER ON 173 CH52 FADER OF
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GPI Trigger Source List # Source # 263 Source 218 BUS1 FADER OFF 273 UDEF15 UNLATCH 219 BUS2 FADER OFF 274 UDEF16 UNLATCH 220 BUS3 FADER OFF 275 REC LAMP 221 BUS4 FADER OFF 222 BUS5 FADER OFF 223 BUS6 FADER OFF 224 BUS7 FADER OFF 225 BUS8 FADER OFF 226 AUX1 FADER OFF 227 AUX2 FADER OFF 228 AUX3 FADER OFF 229 AUX4 FADER OFF 230 AUX5 FADER OFF 231 AUX6 FADER OFF 232 AUX7 FADER OFF 233 AUX8 FADER OFF 234 AUX9 FADER OFF 235 AUX10 FADER OFF 236 AUX11 FADER OFF 23
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264 Appendix A: Parameter Lists Effects Parameters REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE One input, two output hall, room, stage, and plate reverb simulations, all with gates. Parameter Range Description REV TIME 0.3–99.0 s Reverb time INI. DLY 0.0–500.0 ms Initial delay before reverb begins HI. RATIO 0.1–1.0 High-frequency reverb time ratio LO. RATIO 0.1–2.4 Low-frequency reverb time ratio DIFF.
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Effects Parameters 265 GATE REVERB, REVERSE GATE One input, two output early reflections with gate, and early reflections with reverse gate. Parameter Range Description TYPE Type-A, Type-B Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI. DLY 0.0–500.0 ms Initial delay before reverb begins DIFF.
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266 Appendix A: Parameter Lists STEREO DELAY Two input, two output basic stereo delay. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time DELAY R 0.0–1350.0 ms Right channel delay time FB. G L –99 to +99% Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) FB. G R –99 to +99% Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.
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Effects Parameters 267 DELAY LCR One input, two output 3-tap delay (left, center, right). Parameter Range Description DELAY L 0.0–2730.0 ms Left channel delay time DELAY C 0.0–2730.0 ms Center channel delay time DELAY R 0.0–2730.0 ms Right channel delay time FB. DLY 0.0–2730.0 ms Feedback delay time LEVEL L –100 to +100% Left channel delay level LEVEL C –100 to +100% Center channel delay level LEVEL R –100 to +100% Right channel delay level FB.
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268 Appendix A: Parameter Lists ECHO Two input, two output stereo delay with crossed feedback loop. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time DELAY R 0.0–1350.0 ms Right channel delay time FB. D L 0.0–1350.0 ms Left channel feedback delay time FB. D R 0.0–1350.0 ms Right channel feedback delay time FB. G L –99 to +99% Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) FB.
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Effects Parameters 269 FLANGE Two input, two output flange effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.
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270 Appendix A: Parameter Lists PHASER Two input, two output 16-stage phaser. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) OFFSET 0–100 Lowest phase-shifted frequency offset PHASE 0.00–354.38 degrees Left and right modulation phase balance STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages LSH F 21.2 Hz–8.
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Effects Parameters 271 TREMOLO Two input, two output tremolo effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth WAVE Sine, Tri, Square Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.
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272 Appendix A: Parameter Lists DUAL PITCH Two input, two output pitch shifter. Parameter Range Description PITCH 1 –24 to +24 semitones Channel #1 pitch shift FINE 1 –50 to +50 cents Channel #1 pitch shift fine LEVEL 1 –100 to +100% Channel #1 level (plus values for normal phase, minus values for reverse phase) PAN 1 L63 to R63 Channel #1 pan DELAY 1 0.0–1000.0 ms Channel #1 delay time FB.
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Effects Parameters 273 RING MOD. Two input, two output ring modulator. Parameter Range SOURCE Description OSC, SELF Modulation source: oscillator or input signal OSC FREQ 0.0–5000.0 Hz Oscillator frequency FM FREQ 0.05–40.00 Hz Oscillator frequency modulation speed FM DEPTH 0–100% Oscillator frequency modulation depth SYNC OFF/ON Tempo parameter sync on/off NOTE FM 1 Used in conjunction with TEMPO to determine FM FREQ 1. MOD. FILTER Two input, two output modulation filter.
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274 Appendix A: Parameter Lists AMP SIMULATE One input, two output guitar amp simulator. Parameter Range Description AMP TYPE 1 Guitar amp simulation type DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume BASS 0–100 Bass tone control MIDDLE 0–100 Middle tone control TREBLE 0–100 High tone control CAB DEP 0–100% Speaker cabinet simulation depth EQ F 100 Hz–8.
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Effects Parameters 275 DYNA. FLANGE Two input, two output dynamically controlled flanger. Parameter Range Description SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity SENSE 0–100 Sensitivity DIR. UP, DOWN Upward or downward frequency change DECAY 1 Decay speed OFFSET 0–100 Delay time offset FB GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) LSH F 21.2 Hz–8.
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276 Appendix A: Parameter Lists REV+CHORUS One input, two output reverb and chorus effects in parallel. Parameter Range Description INI. DLY 0.0–500.0 ms Initial delay before reverb begins REV TIME 0.3–99.0 s Reverb time HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
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Effects Parameters 277 REV+FLANGE One input, two output reverb and flanger effects in parallel. Parameter Range Description INI. DLY 0.0–500.0 ms Initial delay before reverb begins REV TIME 0.3–99.0 s Reverb time HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
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278 Appendix A: Parameter Lists REV+SYMPHO. One input, two output reverb and symphonic effects in parallel. Parameter Range Description INI. DLY 0.0–500.0 ms Initial delay before reverb begins REV TIME 0.3–99.0 s Reverb time HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
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Effects Parameters 279 REV->PAN One input, two output reverb and autopan effects in parallel. Parameter Range Description INI. DLY 0.0–500.0 ms Initial delay before reverb begins REV TIME 0.3–99.0 s Reverb time HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV BAL.
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280 Appendix A: Parameter Lists DELAY+ER. One input, two output delay and early reflections effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.
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Effects Parameters 281 DELAY->ER. One input, two output delay and early reflections effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.
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282 Appendix A: Parameter Lists DELAY+REV One input, two output delay and reverb effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio HPF THRU, 21.2 Hz–8.
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Effects Parameters 283 DELAY->REV One input, two output delay and reverb effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio HPF THRU, 21.2 Hz–8.
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284 Appendix A: Parameter Lists DIST->DELAY One input, two output distortion and delay effects in series. Parameter Range Description DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume TONE –10 to +10 Tone control N. GATE 0–20 Noise reduction DELAY 0.0–2725.0 ms Delay time FB.
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Effects Parameters 285 FREEZE One input, one output basic sampler. Parameter Range Description REC MODE MANUAL, INPUT In MANUAL mode, recording is started by pressing the REC and PLAY buttons. In INPUT mode, Record-Ready mode is engaged by pressing the REC button, and actual recording is triggered by the input signal. REC DLY –1000 to +1000 ms Recording delay. For plus values, recording starts after the trigger is received. For minus values, recording starts before the trigger is received.
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286 Appendix A: Parameter Lists REVERB 5.1 One input, six output reverb for 5.1 surround, with surround panning. Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency DIV.
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Effects Parameters 287 AUTO PAN 5.1 Six input, six output autopanner for 5.1 surround. You can reset to the pan position specified by the OFFSET parameter by pressing the RESET button. Parameter Range Description SOURCE OFF, HOLD, INPUT, MIDI When set to OFF, the TRIGGER button is used to start autopan. When set to HOLD, autopan runs continuously. When set to INPUT, the input signal triggers autopan. When set to MIDI, a MIDI Note On message can be used to trigger autopan. TRIG.
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288 Appendix A: Parameter Lists FLANGE 5.1 Six input, six output flanger for 5.1 surround. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD. DLY 0.0–400.0 ms Modulation delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.
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Effects Parameters 289 M. BAND DYNA. Two input, two output 3-band dynamics processor, with individual solo and gain reduction metering for each band. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.0 dB High band level PRESENCE –10 to +10 For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For negative values, the opposite will occur.
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290 Appendix A: Parameter Lists COMP 5.1 Six input, six output compressor for 5.1 surround, with individual solo for each band, and gain reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C), or LFE channels. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.
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Effects Parameters 291 COMPAND 5.1 Six input, six output compander for 5.1 surround, with individual solo for each band, and gain reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C), or LFE channels. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.
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292 Appendix A: Parameter Lists Preset EQ Parameters # 01 02 03 04 05 06 07 08 09 10 Parameter Title Bass Drum 1 Bass Drum 2 Snare Drum 1 Snare Drum 2 Tom-tom 1 Cymbal High Hat Percussion E. Bass 1 E. Bass 2 DM2000—Owner’s Manual LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –3.5 dB 0.0 dB +4.0 dB F 100 Hz 265 Hz 1.06 kHz 5.30 kHz Q 1.2 10 0.9 — PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 80 Hz 400 Hz 2.50 kHz 12.
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293 Preset EQ Parameters # 11 12 13 14 15 16 17 18 19 20 21 Parameter Title Syn. Bass 1 Syn. Bass 2 Piano 1 Piano 2 E. G. Clean E. G. Crunch 1 E. G. Crunch 2 E. G. Dist. 1 E. G. Dist. 2 A. G. Stroke 1 A. G. Stroke 2 LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB +8.5 dB 0.0 dB 0.0 dB F 85 Hz 950 Hz 4.00 kHz 12.5 kHz Q 0.1 8 4.5 — PEAKING PEAKING PEAKING H.SHELF G +2.5 dB 0.0 dB +1.5 dB 0.0 dB F 125 Hz 180 Hz 1.12 kHz 12.
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294 # 22 23 24 25 26 27 28 29 30 31 32 Appendix A: Parameter Lists Parameter Title A. G. Arpeg. 1 A. G. Arpeg. 2 Brass Sec. Male Vocal 1 Male Vocal 2 Female Vo. 1 Female Vo. 2 Chorus & Harmo Total EQ 1 Total EQ 2 Total EQ 3 DM2000—Owner’s Manual LOW L-MID H-MID HIGH L.SHELF PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB 0.0 dB +2.0 dB F 224 Hz 1.00 kHz 4.00 kHz 6.70 kHz Q — 4.5 4.5 0.12 L.SHELF PEAKING PEAKING H.SHELF G 0.0 dB –5.5 dB 0.0 dB +4.
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295 Preset EQ Parameters # 33 34 35 36 37 38 39 40 Parameter Title Bass Drum 3 Snare Drum 3 Tom-tom 2 Piano 3 Piano Low Piano High Fine-EQ Cass Narrator LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING PEAKING G +3.5 dB –10.0 dB +3.5 dB 0.0 dB F 118 Hz 315 Hz 4.25 kHz 20.0 kHz Q 2 10 0.4 0.4 L.SHELF PEAKING PEAKING PEAKING G 0.0 dB +2.0 dB +3.5 dB 0.0 dB F 224 Hz 560 Hz 4.25 kHz 4.00 kHz Q — 4.5 2.8 0.1 L.SHELF PEAKING PEAKING H.SHELF G –9.
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296 Appendix A: Parameter Lists Preset Gate Parameters (fs = 44.1 kHz) # 1 2 3 4 Title Gate Ducking A. Dr. BD A. Dr. SN Type GATE DUCKING GATE GATE Parameter Value Threshold (dB) –26 Range (dB) –56 Attack (ms) 0 Hold (ms) 2.56 Decay (ms) 331 Threshold (dB) –19 Range (dB) –22 Attack (ms) 93 Hold (ms) 1.20 S Decay (ms) 6.32 S Threshold (dB) –11 Range (dB) –53 Attack (ms) 0 Hold (ms) 1.
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297 Preset Compressor Parameters (fs = 44.1 kHz) # Title Type Parameter Threshold (dB) 5 6 A. Dr. BD A. Dr. BD COMP COMPAND-H A. Dr. SN COMP 3 Attack (ms) 9 Out gain (dB) A. Dr. SN EXPAND 2 Release (ms) 58 Threshold (dB) –11 Ratio ( :1) 3.5 Attack (ms) Out gain (dB) COMPAND-S Threshold (dB) –17 Ratio ( :1) 2.5 Attack (ms) Out gain (dB) A. Dr. Tom EXPAND 2 Release (ms) 12 Threshold (dB) –23 Attack (ms) Out gain (dB) A. Dr. OverTop COMPAND-S E. B. Finger COMP 0 0.
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298 # 13 14 15 16 Appendix A: Parameter Lists Title E. B. Slap Syn. Bass Piano1 Piano2 Type COMP COMP COMP COMP Parameter Threshold (dB) –12 Ratio ( :1) 1.7 Attack (ms) 4.0 Knee hard Release (ms) 133 Threshold (dB) –10 Ratio ( :1) 3.5 Attack (ms) COMP 3.0 Knee hard Release (ms) 250 Threshold (dB) –9 Ratio ( :1) 2.5 Attack (ms) 17 Out gain (dB) 1.0 Knee hard Release (ms) 238 Threshold (dB) –18 Ratio ( :1) 3.5 Attack (ms) Out gain (dB) A.
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299 Preset Compressor Parameters (fs = 44.1 kHz) # 21 Title Strings3 Type COMP Parameter Threshold (dB) –17 Ratio ( :1) 1.5 Attack (ms) 76 Out gain (dB) 2.5 Knee 22 BrassSection COMP Syn. Pad COMP 186 Threshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 18 Out gain (dB) 4.0 25 SamplingPerc Sampling BD COMPAND-S COMP 226 Threshold (dB) –13 Ratio ( :1) 2 Attack (ms) 58 Out gain (dB) 2.
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300 # 29 Appendix A: Parameter Lists Title Solo Vocal2 Type COMP Parameter Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 26 Out gain (dB) 1.5 Knee Release (ms) 30 Chorus COMP Click Erase EXPAND –9 Ratio ( :1) 1.7 Attack (ms) 39 Out gain (dB) 2.5 Announcer COMPAND-H 226 Threshold (dB) –33 Ratio ( :1) 2 Attack (ms) 1 Out gain (dB) Limiter1 COMPAND-S Threshold (dB) –14 Ratio ( :1) 2.
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General Spec 301 Appendix B: Specifications General Spec Number of scene memories 99 Internal Sampling Frequency External 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 (fs=48 kHz) Signal Delay Less than 1.2 ms CH INPUT to STEREO OUT (fs=96 kHz) 100 mm motorized with touch sense × 25 Fader +10 to –96, –∞ dB (256 steps/100 mm) input faders Fader Resolution Total Harmonic Distortion1 (CH INPUT to STEREO OUT) (Input Gain=Min.
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302 Appendix B: Specifications Input patch — Phase Normal/reverse On/off Gate-type3 Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48, 49–60, 61–72, 73–84, 85–96)/AUX1–12 On/off Comp-type4 Key in: self /Stereo Link Pre EQ/pre fader/post fader Attenuator EQ –96.0 to +12.0 dB (0.
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General Spec STUDIO MONITOR OUT Monitor select CONTROL ROOM, STEREO, AUX 11, AUX 12 DA converter 24-bit linear, 128-times oversampling Level control Analog rotary potentiometer Dither 2TR OUT DIGITAL 1–3 Option Output (SLOT 1–6) 303 On/off Word length 16, 20, 24-bit Output patch STEREO, BUS1–8, AUX 1–12, MATRIX 1L–4R, DIRECT OUT 1–96, INSERT OUT, CONTROL ROOM SRC On/off (1:3 and 3:1 maximum input to output sample rate ratio) Available card Optional digital interface card (MY8, MY4 series)
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304 Appendix B: Specifications Comp-type4 Attenuator EQ On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.1 dB step) 4-band PEQ5 On/off AUX1–12 On/off — Fader 100 mm motorized Delay 0–43400 samples Pre fader/post fader Matrix send Level (–∞, –96 dB to +10 dB) Pan: 127 positions (Left=1–63, Center, Right=1–63) Metering Comp-type4 Attenuator EQ Displayed on LCD Peak hold on/off On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.
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General Spec Supplied Accessories AC Cable CD-ROM (Studio Manager) Options Digital interface card (MY8, MY4 series) PEAK METER BRIDGE: MB2000 SIDE PANEL: SP2000 305 1. Total harmonic distortion is measured with a 6 dB/octave filter @ 80 kHz. 2. Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation. 3. See “Gate Parameters” on page 305. 4. See “Comp Parameters” on page 306. 5. See “EQ Parameters” on page 305.
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306 Appendix B: Specifications Comp Parameters Compressor Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points) Out gain 0 dB to +18 dB (0.1 dB step) Knee Hard, 1, 2, 3, 4, 5 (6 step) Attack 0 ms–120 ms (1 ms step) 5 ms–42.3 s (160 points) @ 48 kHz Release 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz Expander Threshold –54 dB to 0 dB (0.
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Controls 307 Controls Analog Section +48 V switch INPUT 1–24 ON/OFF PAD switch 0/26 dB GAIN control –16 to –60 dB INSERT switch ON/OFF TALKBACK TALKBACK LEVEL control STUDIO MONITOR OUT STUDIO LEVEL control CONTROL ROOM MONITOR OUT CONTROL ROOM LEVEL control CONTROL ROOM MONITOR OUT SMALL SMALL TRIM control PHONES PHONES LEVEL control Digital Section MATRIX SELECT DISPLAY button MATRIX 1, MATRIX 2, MATRIX 3, MATRIX 4 buttons (w/LED) DISPLAY button AUX SELECT AUX 1, AUX 2, AUX 3, AUX 4
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308 Appendix B: Specifications DISPLAY button ROUTING PHASE/INSERT 1, 2, 3, 4, 5, 6, 7, 8, STEREO, DIRECT, FOLLOW PAN buttons (w/LED) DISPLAY button ø, INSERT ON buttons (w/LED) DISPLAY button DELAY ON button (w/LED) TIME control MIX/FB control (w/SW) DISPLAY, BANK button AUX/MATRIX SEND ON button (w/LED) x 4 LEVEL control (w/SW) x 4 SELECTED CHANNEL Section DISPLAY, GATE /COMP buttons DYNAMICS GATE ON, COMP ON buttons (w/LED) Parameter control x 5 DISPLAY button PAN/SURROUND L, R, LINK, GRAB,
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Indicators 309 DISPLAY, ALL CLEAR buttons TRACK ARMING 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, MASTER, TRACK ARMING GROUP: A, B, C, D buttons (w/LED) DISPLAY button MACHINE CONTROL Section LOCATOR CHANNEL STRIP Section TRANSPORT CONTROL REW, FF, STOP, PLAY, REC, SHUTTLE, SCRUB (w/LED) Encoders x 24 (1–24) Buttons AUTO x 24 (1–24), SEL x 24 (1–24), SOLO x 24 (1–24), ON x 24 (1–24) Faders (w/ touch sense) x 24 (1–24) LAYER Input CH: 1–24, 25–48, 49
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310 Appendix B: Specifications Libraries Effect library (EFFECT 1–8) Compressor library Gate library EQ library Channel library GEQ library (GEQ 1–6) Surround Monitor library Input patch library Output patch library Bus to Stereo library DM2000—Owner’s Manual Presets 52 (EFFECT 3–8: 44) User memories 76 Presets 36 User memories 92 Presets 4 User memories 124 Presets 40 User memories 160 Presets 2 User memories 127 Presets 1 User memories 128 Presets 1 User memories 32 Presets
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Analog Input Spec 311 Analog Input Spec Input PAD GAIN Actual Load For Use With Impedance Nominal Sensitivity1 0 3k Ω –16 dB Nominal Connector Max. before clip A: XLR-3-31 type –70 dB –60 dB –46 dB (0.245 mV) (0.775 mV) (3.88 mV) (Balanced)2 –60 dB INPUT A/B 1–24 Input level 50–600 Ω Mics & 600 Ω Lines 26 –26 dB (38.8 mV) –16 dB (0.123 V) B: Phone jack (TRS) –2 dB (616 mV) (Balanced)3 0dB (775 mV) +10 dB (2.45 V) +24 dB (12.
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312 Appendix B: Specifications Digital Input Spec Input 2TR IN DIGITAL Format Data length Level 1 AES/EBU 24-bit RS422 XLR-3-31 type (Balanced)1 2 AES/EBU 24-bit RS422 XLR-3-31 type (Balanced)1 3 IEC-60958 24-bit — — CASCADE IN Connector 0.5 Vpp/75 Ω PHONO RS422 D-SUB Half Pitch Connector 68P (Female) 1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
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I/O Slot Spec 313 I/O Slot Spec Each I/O SLOT accepts a digital interface card. Only SLOT #1 has a serial interface.
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314 Appendix B: Specifications Connector Pin Assignments CASCADE IN Pin Signal Pin CASCADE OUT Signal Pin Signal Pin Signal 1 GND 35 GND 1 GND 35 GND 2 INPUT 1-2(+) 36 INPUT 1-2(–) 2 OUTPUT 1-2(+) 36 OUTPUT 1-2(–) 3 INPUT 3-4(+) 37 INPUT 3-4(–) 3 OUTPUT 3-4(+) 37 OUTPUT 3-4(–) 4 INPUT 5-6(+) 38 INPUT 5-6(–) 4 OUTPUT 5-6(+) 38 OUTPUT 5-6(–) 5 INPUT 7-8(+) 39 INPUT 7-8(–) 5 OUTPUT 7-8(+) 39 OUTPUT 7-8(–) 6 INPUT 9-10(+) 40 INPUT 9-10(–) 6 OUTPUT 9-10(+) 40 OUTPUT 9
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Connector Pin Assignments 315 REMOTE Port Pin Signal Pin Signal 1 GND 6 RX+/GND1 2 RX–/RX–1 7 RTS/RX+1 3 TX–/TX+1 8 CTS/TX–1 4 TX+/GND1 9 GND 5 N.C. 1. RS422 (for AD824)/SONY 9-pin protocol (P2). CONTROL Port Pin Signal Pin Signal 1 GPO0 14 GPO1 2 GPO2 15 GPO3 3 GPO4 16 GPO5 4 GPO6 17 GPO7 5 GND 18 GND 6 GND 19 GND 7 GND 20 GND 8 GND 21 +5V 9 +5V 22 GPI0 10 GPI1 23 N.C. 11 N.C. 24 SOLO1 12 SMODE1 25 MAS/SLV1 13 SPARE1 1.
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247 mm 371 mm PAD DM2000—Owner’s Manual MATRIX 2 6 AUX 8 4 12 AUX AUX MATRIX 4 FADER MODE 11 7 3 3 DIO GROUP REMOTE SETUP INPUT PATCH METER 1 2 3 12 F2 OFF ON 8 7 COMP ON L INSERT ON FREQUENCY FREQUENCY FREQUENCY 10 11 12 13 14 15 16 1 70 50 2 50 30 50 30 60 40 50 20 30 30 15 40 20 30 15 40 20 15 40 20 10 20 10 10 10 5 5 0 15 5 5 70 50 60 40 10 0 15 5 0 10 5 5 10 0 5 0 3 10 70 50 60 40 50 30 40 20 30 15 20 10 15 5 10 0 5 5
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Scene Memory to Program Change Table 317 Appendix C: MIDI Scene Memory to Program Change Table Program Change # Initial Scene # 1 2 User Scene # Program Change # Initial Scene # 01 44 02 45 3 03 4 04 5 User Scene # Program Change# Initial Scene # 44 87 87 45 88 88 46 46 89 89 47 47 90 90 05 48 48 91 91 6 06 49 49 92 92 7 07 50 50 93 93 8 08 51 51 94 94 9 09 52 52 95 95 10 10 53 53 96 96 11 11 54 54 97 97 12 12 55 55 98 98 13 1
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318 Appendix C: MIDI Initial Parameter to Control Change Table # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 High NO ASSIGN FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H NO ASSIGN F
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MIDI Data Format 319 MIDI Data Format 1. CHANNEL MESSAGE Command 8n NOTE OFF 9n NOTE ON Bn CONTROL CHANGE Cn PROGRAM CHANGE 4.2.2 PARAMETER CHANGE rx/tx rx rx rx/tx rx/tx function Control the internal effects Control the internal effects Control parameters Switch scene memories 2. SYSTEM COMMON MESSAGE Command F1 MIDI TIME CODE QUARTER FRAME F2 SONG POSITION POINTER rx/tx rx rx function Used when TIME REFERENCE is MIDI CLOCK. Used when TIME REFERENCE is MIDI CLOCK. 3.
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320 Appendix C: MIDI 8. CONTINUE (FB) If [TABLE] is selected STATUS DATA 1011nnnn Bn Control change 0ccccccc cc Control number (0-95, 102-119) 0vvvvvvv vv Control value (0-127) If [NRPN] is selected STATUS DATA STATUS DATA STATUS DATA STATUS DATA 1011nnnn 01100010 0vvvvvvv 1011nnnn 01100011 0vvvvvvv 1011nnnn 00100110 0vvvvvvv 1011nnnn 00000110 0vvvvvvv Bn 62 vv Bn 63 vv Bn 26 vv Bn 06 vv STATUS Control change 9.
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Format Details request. The data area is handled by converting seven words of 8-bit data into eight words of 7-bit data. [Conversion from actual data into bulk data] d[0~6]: actual data b[0~7]: bulk data b[0] = 0; for( I=0; I<7; I++){ if( d[I]&0x80){ b[0] |= 1<<(6-I); } b[I+1] = d[I]&0x7F; } [Restoration from bulk data into actual data] d[0~6]: actual data b[0~7]: bulk data for( I=0; I<7; I++){ b[0] <<= 1; d[I] = b[I+1]+(0x80&b[0]); } 12.2.
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322 Appendix C: MIDI DATA NAME 01001100 00000000 0bbbbbbb BLOCK INFO. 0ttttttt 4C 'L' 00 bb b=0-3(bank no.1-4) tt total block number(minimum number 12.2.6 User define layer bulk dump request format The second and third bytes of the DATA NAME indicate the bank number. 12.2.9 User Define Key bulk dump format DATA is 0) 0bbbbbbb bb current block number(0-total block number) 0ddddddd ds User define layer CHECK SUM EOX : 0ddddddd 0eeeeeee 11110111 STATUS ID No. SUB STATUS FORMAT No.
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Format Details FORMAT No. 01111110 7E COUNT HIGH 00000011 ch COUNT LOW 00010010 cl 01001100 4C 01001101 4D 00100000 20 00100000 20 00111000 38 01000011 43 00110001 31 00110010 32 DATA NAME 01000011 43 00000000 02 00000000 00 BLOCK INFO. 0ttttttt tt DATA data count = ch * 128 + cl 'L' 'M' '' : 'C' '1' '2' 'C' No.256 = Current (342/7)*8+(342%7)+1=391bytes→ unfixed 0ddddddd de 0eeeeeee ee ee=(Invert('L'+...
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324 Appendix C: MIDI DATA NAME 01010001 51 'Q' LIB. No. H 0bbbbbbb bb 0-199(EQ Library no.1-200), ID No. 01000011 SUB STATUS 0000nnnn 43 Manufacture's ID number (YAMAHA) 0n n=0-15 (Device number=MIDI FORMAT No. 01111110 COUNT HIGH 0ccccccc COUNT LOW 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110001 00110010 DATA NAME 01000111 LIB. No. H 0bbbbbbb 7E ch cl 4C 4D 20 20 38 43 31 32 47 bh LIB. No. L 0bbbbbbb BLOCK INFO.
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Format Details LIB. No. H 0bbbbbbb bh 0-127(Effect Library no.1-128), 256-263(Effect1-8 current) LIB. No. L 0bbbbbbb bl BLOCK INFO. 0ttttttt tt total block number(minimum number is 0) 0bbbbbbb bb current block number(0-total block number) DATA CHECK SUM EOX 0ddddddd : 0ddddddd 0eeeeeee 11110111 ds Effect Library data : de ee ee=(Invert('L'+...+de)+1)&0x7F F7 End of exclusive 12.2.22 Effect library bulk dump request format The second and third bytes of the DATA NAME indicate the library number.
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326 Appendix C: MIDI LIB. No. L 0bbbbbbb bl EOX 11110111 F7 End of exclusive 12.2.27 Input patch library bulk dump format The second and third bytes of the DATA NAME indicate the library number. 0:Library no.0 - 32:Library no.32, 256:current input patch data For reception by the DM2000, only the user area is valid. (1-32, 256) STATUS ID No. SUB STATUS FORMAT No.
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Format Details CHECK SUM EOX 0eeeeeee ee ee=(Invert('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 12.2.32 Bus to Stereo library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. 0:Library no.0 - 32:Library no.32, 256:current data STATUS ID No. SUB STATUS FORMAT No.
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328 Appendix C: MIDI 12.3 PARAMETER CHANGE 12.3.1 Parameter change basic format STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0001nnnn 00111110 00000110 0ttttttt 0eeeeeee F0 43 1n 3E 06 tt ee System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) DM2000 Data type Element No. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter No. DATA *) EOX 0ccccccc 0ddddddd : 11110111 cc Channel No.
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Format Details ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 01000011 0011nnnn 00111110 00000110 00000010 0eeeeeee 43 3n 3E 06 02 ee Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) DM2000 Patch data Element No. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter No. EOX 0ccccccc cc Channel No. 11110111 F7 End of exclusive 12.3.
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330 Appendix C: MIDI item. Effect is 0:Effect 1–7:Effect 8, GEQ is 0:GEQ1–5:GEQ6 If the store destination is 16383 (0x3FFF), this indicates that the library data has been changed by a external cause (i.e., loading from SmartMedia) (only transmitted by the DM2000) *2) This is also transmitted when a program that has not been assigned to the [Program change table] is recalled. (Normally this would be transmitted as a program change message.) 12.3.
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Format Details When this is received, the corresponding effect’s function activates (depending on the effect type). STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS DATA EOX 11110000 01000011 0001nnnn 00111110 00000110 00010010 0000aaaa 00000000 0ddddddd 00000000 0ddddddd 11110111 F0 43 1n 3E 7F 12 0a 00 dd 00 dd F7 function Freeze Play button Freeze Record button Auto Pan 5.1 Trigger Button Auto Pan 5.
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332 Appendix C: MIDI change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX 11110000 01000011 0011nnnn 00111110 00000110 00100001 0aaaaaaa F0 43 3n 3E 06 22 aa System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) DM2000 Remote Time Counter 0:Transmission request, 0x7F:Transmission stop request 11110111 F7 End of exclusive 12.3.
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MB2000 Peak Meter Bridge 333 Appendix D: Options MB2000 Peak Meter Bridge Installation 1 Attach the brackets to the meter bridge. 2 Screw the four fixing screws into the DM2000, but don’t tighten them fully. 3 Align the meter bridge with the four screws, and then tighten the screws. 4 Connect the meter bridge cable to the DM2000’s METER port.
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334 Appendix D: Options Meter Bridge Controls BEAT S CLOCK F LAMP DIMMER J H CONTROL ROOM TIME CODE MEASURE M 6 72 L STEREO 36 56 42 18 30 24 48 49 96 1 48 MASTER This button is used to set the metering position for Output Channels to pre-EQ, pre-fader, or post-fader. It works in unison with the PRE EQ, PRE FADER, and POST FADER buttons for Output Channels on the Meter pages. The indicators show the current setting.
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SP2000 Wooden Side Panels 335 SP2000 Wooden Side Panels Attach the left side panel as shown below. Attach the right side panel in the same way.
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336 Index Symbols +48V ON/OFF switches 5 Numerics 1–24 button 18 25–48 button 18 2TR I/O channel status 57 dithering outputs 57 patching digital outputs 65 patching direct outs 65 patching inputs 61 sampling rate conversion 53 2TR IN ANALOG 1 +4 dB (BAL) 31 2TR IN ANALOG 2 –10 dBV (UNBAL) 31 2TR IN DIGITAL AES/EBU 1 & 2 33 2TR IN DIGITAL COAXIAL 3 33 2TR OUT DIGITAL AES/EBU 1 & 2 33 2TR OUT DIGITAL COAXIAL 3 32 2TR OUT DIGITAL OUT PATCH page 65 3-1 surround mode 77 31-band GEQs 155 49–72 button 18 5.
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337 naming 130 pairing 120 pan modes 94 panning 94 patching GEQs 66 patching to 2TR digital outputs 65 patching to effects 62 patching to input channels 61 patching to omni outs 64 patching to slot outputs 63 pre/post fader 88 scene recall safe 162 setting levels 89 soloing 118 variable mode 88 viewing fader settings 125 viewing parameter settings 124 viewing settings 92 Aux sends chapter 88 AUX/MATRIX SEND section about 14 muting aux sends 90 muting matrix sends 98 setting aux send levels 89 setting matrix
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338 Currently selected channel display 36 name display 36 selecting 43 Currently selected page page number display 36 selecting 36 title display 36 Cursor buttons 24 D DATA button 8 Data entry & transport section about 23 machine transport 221 Pro Tools 201 Date preference 236 DAW MIDI port setup 183 See Pro tools DEC button 24 DECAY control 15 DEL, title edit window 38 Delay effects 148 DELAY LCR 267 DELAY SCALE 118 DELAY section about 13 using 117 DELAY+ER. 280 DELAY+REV 282 DELAY->ER.
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339 EVENT EDIT page 180 Event editing 177 Event list, automix 180 Expander 113 F F1–F4 buttons 11 FADER button 8 FADER button, automix 21 Fader edit mode 167 FADER MODE section about 8 Pro Tools 195 using 44 Fader Touch Sensitivity preference 236 Faders about 6 auto channel select 44 automix punch in/out 175 aux send master levels 96 bus out levels 86 fader edit mode 167 grouping input channels 74 grouping output channels 122 input channel levels 74 matrix send master levels 101 motors on/off 170 Pro Tools
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340 Joystick about 16 panning input channels 76 reverb 5.
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341 MIDI button 8 MIDI chapter 182 MIDI clock automix timecode source 171 Tap tempo, effects 151 MIDI SETUP page 184 MIDI Warning preference 235 MIDI/TO HOST SETUP page 183 mini YGDAI. See Slots Mix solo mode 119 Mix Update Confirmation preference 237 Mixdown, solo status 119 mLAN I/O card 54 MMC. See Machine control MOD. DELAY 266 MOD.
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342 PEAK indicators 5 Phantom power switches 5 Phase button 13 Phase, input channel phase reverse 68 PHASE/INSERT section about 13 reversing phase 68 using inserts 111 PHASER 270 Phone jacks 29 PHONES jack 25 PHONES LEVEL control 25 Phono connectors 29 Picture of control surface 4 PLAY button, automix 168 PLAY button, transport 23 Playing back an automix 176 PLUG-IN EDIT page 153 PLUG-IN SETUP page 152 Plug-ins about 152 configuring 152 editing 153 MIDI port setup 183 storing to smartmedia 231 storing via b
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343 REW button 23 Right Tab Scroll button 11 RING MOD.
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344 patching to slot outputs 63 routing to 75 scene recall safe 162 viewing fader settings 125 viewing parameter settings 124 STEREO OUT +4 dB (BAL) 31 STEREO OUT –10 dBV (UNBAL) 31 Stereo out chapter 82 STEREO section 18 STOP button, automix 168 STOP button, transport 23 STORE button 20 Store Confirmation preference 235 Storing library memories 139 scene memories 159 see also Smartmedia STUDIO LEVEL control 25 Studio manager port setup 183 STUDIO MONITOR OUT +4 dB (BAL) 30 Studio monitoring 133 SURROUND bu
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DM2000 Block Diagram (Gain Reduction) (Out Meter) INPUT 1(...96) GAIN METER (Out Meter) METER PAD 0 26 INSERT OFF AD IN 1(...
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DM2000 Level Diagram Analog Analog dBu Digital dBFS PAD GAIN INSERT 0 –10 +4 0 –20 –10 PHASE GATE INSERT ATT. EQ INSERT COMP DELAY ON LEVEL INSERT PAN CASCADE IN BUS Adder INSERT ATT. EQ INSERT COMP MASTER ON MASTER LEVEL INSERT BAL DELAY GEQ OUTPUT PATCH [+18dBu] 2 [+10dBu] 3 Nominal Input 5 [+4dBu] GAIN MIN., PAD ON –20 –50 –30 7 –40 –50 –80 –60 –70 –80 –110 –90 Max. Input –100 –40 13 15 –50 Nominal Input [–60dBu] –60 GAIN MAX.
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YAMAHA [Digital Mixing Console-Internal Parameters] Model: DM2000 Function... Date: Feb 01, 2002 MIDI Implementation Chart Version: 1.
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YAMAHA CORPORATION V642910 R2 1 IP 364 02 08 1000 AP Printed in Japan Pro Audio & Digital Musical Instrument Division P.O.