DIGITAL MIXING CONSOLE Owner’s Manual PHONES 1 2 3 4 5 6 7 8 9 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 10 11 12 13 14 15 16 ST IN PHONES MONITOR OUT PAD SOLO/ +10 –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN SETUP SCENE MEMORY DIO –20 0 GAIN
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.
i Important Information Read the Following Before Operating the 03D Warnings • Do not place a container with liquid or small metal objects on top of this unit. Liquid or metal objects inside this unit are a fire and electrical shock hazard. • Do not locate the 03D in a place subject to excessive heat or in direct sunlight. This could be a fire hazard. • Do not place the 03D in a place subject to excessive humidity or dust. This could be a fire and electrical shock hazard.
ii • The 03D is a heavy piece of equipment. Always grip the underneath, not the side panels, when lifting. Interference 03D uses high-frequency digital circuits that may cause interference on radios and televisions placed close to it. If interference does occur, relocate the affected equipment. Copyright © 1997 Yamaha Corporation. All rights reserved.
Contents iii Contents 1 Welcome to the 03D . . . . . . . . . . . . . . . . . . . . . . . . 1 Welcome to 03D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03D Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03D Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv Contents Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resetting the EQ Gain Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storing EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recalling EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contents Metering Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sending Channel Signals to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . Pre-fader/Post-fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applying EQ to Aux Sends .
vi Contents 14 Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . 143 About the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patching in a Dynamics Processor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storing a Dynamics Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recalling a Dynamics Program . . . . . . . . . .
Contents vii 17 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 User Define Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Onboard Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03D Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Checking the Battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
viii Contents Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . 267 Parameter to Control Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Appendix D: Resources . . . . . . . . . . . . . . . . . . . . . . . 279 Books . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Welcome to the 03D 1 Welcome to the 03D 1 In this chapter... Welcome to 03D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03D Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03D Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Chapter 1—Welcome to the 03D Welcome to 03D Thank you for choosing the Yamaha 03D Digital Mixing Console. Based on the highly successful 02R Digital Recording Console, the new Yamaha 03D has been designed with music production and project studios in mind, although its unique and flexible features will also appeal to audio post and sound reinforcement and installation providers. About this Owner’s Manual The 03D Owner’s Manual contains all the information you need to use your 03D Digital Mixing Console.
03D Features 3 03D Features 03D Sonic Specs • Linear 20-bit 64-times oversampling A/D converters • Linear 20-bit 8-times oversampling D/A converters (ST OUT, MONITOR OUT) • 105 dB typical dynamic range (ST IN to ST OUT) • 20 Hz–20 kHz (+1, –3 dB) frequency response • 32-bit internal digital audio processing • 44-bit digital EQ processing 03D Features • 26 inputs (including 8 digital inputs) • 18 outputs (including 8 assignable digital outputs) • Continuously variable gain controls • Balanced XLR inputs w
4 Chapter 1—Welcome to the 03D Key Feature Discussion Configuration The 03D provides a total of 26 inputs (including 8 digital inputs), stereo output (analog or digital), 4 bus outs, 4 aux sends, 2 internal effects sends, and 8 assignable digital outputs via a single YGDAI (Yamaha General Digital Audio Interface) slot. Each input channel features four-band parametric EQ and a dynamics processor.
Key Feature Discussion 5 Four-band Parametric EQ & Library The 03D input channels, stereo input channel, stereo output, bus outs, aux sends, and onboard effects returns all feature four-band fully parametric EQ, with variable gain, frequency, Q, and bypass. That’s 160 bands of EQ! High and low EQ bands can be used as shelving, peaking, or HPF and LPF, respectively. See EQ on page 45 for more information.
6 Chapter 1—Welcome to the 03D Onboard Dynamics Processors Dynamics processors, providing compression, ducking, gating, and expansion, are available on all input channels, the stereo input channel, the stereo output, bus outs, aux sends, and the onboard effects returns. That’s a total of 36 dynamics processors! Dynamics processors can be self triggering (i.e., the signal being processed is used as the trigger signal), or triggered by a signal from another channel.
Key Feature Discussion 7 Scene Memories On many mixers, the only way to store mix settings is with marker pen and masking tape. With the 03D, however, virtually every mix setting can be stored as a mix scene in one of the 03D’s 50 scene memories. Mix scenes can be recalled instantly with just one button press, or MIDI Program Change command. Mix scenes can also be recalled as part of a dynamic automix, providing “total automation”.
Touring the 03D 9 Touring the 03D 2 In this chapter... Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10 Chapter 2—Touring the 03D Top Panel PHONES 1 2 3 4 5 6 7 8 9 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 10 11 12 13 14 15 16 ST IN PHONES MONITOR OUT PAD SOLO/ +10 –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN SETUP SCENE MEMORY DIO –20 0 GA
11 Top Panel Analog Control Section 1 3 PHONES 1 2 3 4 5 6 7 8 26dB 26dB 26dB 26dB 26dB 26dB 26dB 26dB –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 –16 –60 +10 GAIN –34 9 10 11 12 13 14 15 16 ST IN MONITOR OUT PHONES PAD SOLO/ +10 –20 +10 GAIN –20 +10 GAIN 2 –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 +10 GAIN –20 GAIN 0
12 Chapter 2—Touring the 03D Display & Stereo Meters SCENE MEMORY USER DEFINE FUNCTION SEL CH L STEREO R CLIP –3 –6 –9 –12 –15 –18 –24 –30 –36 –42 –48 1 FADER STATUS FADER 1–8 9–12 13–16 ST IN EFFECT RTN 2 3 A Display The large 320 x 240 dot display with fluorescent backlight provides clear indication of mix settings and operating status. As well as showing parameter values numerically, faders and rotary controls are represented graphically, so you can actually see pan and fader positions.
Top Panel 13 Channel Control CHANNEL CONTROL DELAY/Ø DYNAMICS PAN/ROUTING EQ LOW LO-MID HI-MID VIEW HIGH EQ FLAT EQ LIBRARY The Channel function buttons are used to access the following channel pages. The name of the selected function is shown on the display. Button Pages DELAY/∅ CH Delay, Dly 1–16, Dly 17–24, Output Dly, Phase DYNAMICS Dyn. Edit, Library PAN/ROUTING Pan 1-16, Pan 17–24, Surround, Bus to ST (when a surround pan mode is selected, the Bus to ST page is replaced by the Surr.
14 Chapter 2—Touring the 03D MIDI Remote MIDI REMOTE The [MIDI REMOTE] button activates the MIDI Remote mode. In this mode, the 03D faders and [ON] buttons of channels 1 to 16 can be used to control other MIDI equipment using MIDI commands. The indicator in the button lights up when the MIDI Remote mode is active. See MIDI Remote on page 243 for more information. Solo SOLO SOLO The [SOLO] button activates the SOLO mode. The indicator in the button flashes when the SOLO mode is active.
Top Panel 15 Mixing Layer, SEL buttons, ON buttons, Faders MIXING LAYER 1–16 1 17–24/MASTER 1 2 3 4 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 AUX1 AUX2 AUX3 AUX4 BUS1 BUS2 BUS3 BUS4 SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ST IN EFFECT RETURN ST OUT 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 0 0 0 0
16 Chapter 2—Touring the 03D Rear Panel Rear Panel—Top Half The top half of the rear panel consists of analog inputs and outputs.
Rear Panel 17 D INSERTs (input channels 1 and 2) These TRS phone jack connectors are used to connect signal processors for use with input channels 1 and 2 exclusively. Typically, compressors, limiters, and noise gates are connected to this type of connection. They are wired: sleeve–ground, ring–return, tip–send.
18 Chapter 2—Touring the 03D I AUX OUTs These are balanced 1/4-inch phone jacks with a +4 dB nominal output level. Either balanced or unbalanced phone plugs can be connected. They output the aux send signals and can be used to feed external effects processors, foldback amplifiers, and so on. Tip (hot) 1/4" TRS phone plug Ring (cold) Sleeve (ground) J REC OUT These are phono jacks with a –10 dBV nominal output level.
Rear Panel 19 Rear Panel—Lower Half The lower half of the rear panel consists of digital and control I/O. 1 2 3 TO EDITOR TO HOST 4 5 WORD CLOCK DIGITAL STEREO OUT IN OUT 6 DIGITAL STEREO IN AES/EBU AES/EBU COAXIAL POWER ON/ 75Ω ON OFF OFF 1 3 2 2 1 3 MOUSE THRU MIDI OUT IN YGDAI SLOT 8CH INPUTS(CH17-24)/8CH OUTPUTS 7 8 9 A POWER switch This switch is used to turn on and off the 03D. It’s recessed to prevent accidental operation.
20 Chapter 2—Touring the 03D H MIDI IN, OUT, THRU These are standard MIDI IN, OUT, and THRU connections. They are used to connect the 03D to other MIDI equipment for control and synchronization. I YGDAI slot An optional YGDAI card can be installed here, providing access to the 03D’s eight digital inputs and outputs. See YGDAI Cards on page 223.
R L 9-16 3-8 DIGITAL STEREO IN AES/EBU COAXIAL ST IN INPUT 3-8 INSERT 1, 2 IN 1, 2 GAIN 26dB AD AD AD from EFF2 DC CUT DC CUT DC CUT DC CUT DC CUT SINE 100Hz SINE 1kHz SINE 10kHz PINK NOISE BURST NOISE INTERNAL EFFECT 2 INTERNAL EFFECT 1 DeEmphasis AD AD INPUT (YGDAI) from EFF1 SELECT HA GAIN HA CH INPUT 17-24 This section is available only when an optional YGDAI card is inserted.
Getting Around the User Interface 23 Getting Around the User Interface 3 In this chapter... About the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Display Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . .
24 Chapter 3—Getting Around the User Interface About the User Interface The 03D user interface is both straightforward and easy to use. Apart from the GAIN controls, [PAD] switches, scene memory buttons, and a few other buttons, there are very few dedicated controls. The faders, [ON] buttons, and [SEL] buttons are multifunction controls whose operation depends on the Mixing Layer and fader mode settings.
25 Display Selected function—This area of the display shows the name of the function selected using the Setup, Channel Control, and Fader mode buttons. The following functions can be selected.
26 Chapter 3—Getting Around the User Interface positions. See Display Elements on page 28 for more information. An example page is shown below. The title of each page appears in a tab at the top of each page. The tab of the selected page has a dark border, as shown below. Pages can be selected simply by clicking the tabs with the mouse. Selected page Fader status—This area of the display shows the selected fader mode and Mixing Layer. The top row indicates which channel the fader is controlling (e.g.
Display 27 Mixing Layer 1–16 EFFECT 1 FADER 1–8 9–12 13–16 ST IN EFFECT RTN FADER 1–8 9–12 13–16 ST IN EFFECT RTN EFFECT 2 Mixing Layer 17–24/MASTER FADER METER FADER 1–8 9–12 13–16 ST IN EFFECT RTN FADER 1–8 9–12 13–16 ST IN EFFECT RTN FADER 1–8 9–12 13–16 ST IN EFFECT RTN FADER 1–8 9–12 13–16 ST IN EFFECT RTN FADER 1–8 9–12 13–16 ST IN EFFECT RTN FADER 1–8 9–12 13–16 ST IN EFFECT RTN FADER 1–8 9–12 13–16 ST IN EFFECT RTN AUX 1 AUX 2 AUX 3 AUX 4 EFFECT
28 Chapter 3—Getting Around the User Interface Display Elements This section explains the various elements that appear on display pages. Switches Switches appear as boxes with a shadowed outline (i.e., a thicker outline on the right side and bottom of the box). Simple on/off-type switches are highlighted when they are turned on. In this example, the [1] and [ST] switches are on. The labels inside some switches change when they turned on or off, as these Normal and Reverse phase switches show.
Cursor Buttons 29 Parameter Boxes Parameters that appear in parameter boxes (i.e., dotted-line boxes) can be set using the PARAMETER wheel or a mouse. Use the cursor buttons to select the parameter box and the PARAMETER wheel to adjust. If you are using a mouse, position the mouse cursor over the parameter box, press and hold the left mouse button, and then drag the mouse. Parameter boxes can also be adjusted in single-step increments by clicking once with a mouse.
30 Chapter 3—Getting Around the User Interface Mouse An optional mouse can be connected to the 03D for quick navigation around the display and parameter setting. Simple on/off-type parameters can then be set with one click of the mouse, and rotary controls can be dragged. The 03D should work with any PC-compatible serial mouse (a mouse that supports both serial and PS-2 operation may not work correctly with the 03D). The mouse should be connected to the MOUSE connector on the 03D’s rear panel.
Mixing Layer 31 Mixing Layer The 03D [SEL] buttons, [ON] buttons, and faders are multifunction controls. Their exact operation depends on the selected Mixing Layer. Fader operation is also affected by the Fader modes. The operation of all these controls is shown in the following tables. As these tables show, the ST IN, EFFECT RETURN, and ST OUT [SEL] buttons, [ON] buttons, and faders are unaffected by the Mixing Layer setting.
32 Chapter 3—Getting Around the User Interface Faders Mixing Layer: 1–16 Fader Fader Mode 1–8 9–12 13–16 ST IN EFF RTN Fader (Meter) CH 1–8 fader CH 9–12 fader CH 13–16 fader ST IN fader EFF RTN 1/2 fader ST OUT Aux 1 CH 1–8 CH 9–12 CH 13–16 ST IN EFF RTN 1/2 AUX 1 send AUX 1 send AUX 1 send AUX 1 send AUX 1 send Aux 2 CH 1–8 CH 9–12 CH 13–16 ST IN EFF RTN 1/2 AUX 2 send AUX 2 send AUX 2 send AUX 2 send AUX 2 send Aux 3 ST OUT CH 9–12 CH 13–16 ST IN EFF RTN 1/2 CH 1–8 AUX 3 send AUX 3 s
Title Edit Dialog Box 33 Title Edit Dialog Box The Title Edit dialog box is used to title mix scenes, EQ programs, dynamics programs, effects programs, channel programs, and automixes. It appears when storing or retitling a scene memory or program. Titles can be up to 12 characters long. Available characters are shown on the following two screen shots. The SPC key is a space key.
Input Channels 35 Input Channels 4 In this chapter... Input Channel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phantom Power (input channels 1–8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pad (input channels 1–8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering .
36 Chapter 4—Input Channels Input Channel Overview A full description of the rear panel connectors is provided on page 16. Input Channels 1 & 2 2 XLR INPUT (balanced) 1 3 Phone jack INPUT (balanced) Phantom Powering INSERT Input channels 1 and 2 feature balanced XLR-3-31-type and balanced phone jack connectors, both with a nominal input range of –60 dB to +10 dB. Individually switchable +48 V phantom powering is supplied to the XLR connector.
Phantom Power (input channels 1–8) 37 Phantom Power (input channels 1–8) Input channels 1 to 8 feature switchable +48 V phantom powering for use with condenser-type microphones. Phantom powering is supplied to the balanced XLR-3-31-type connector, and can be switched individually for each channel. Phantom power should be turned on only when a condenser-type microphone is connected. PHANTOM ON OFF (+48V) Pad (input channels 1–8) 26dB Input channels 1 to 8 feature 26 dB pad switches.
38 Chapter 4—Input Channels Attenuator After A/D conversion, input signals can be attenuated using the Attenuation function. Signals can be attenuated from 0 dB to –96 dB in 1 dB steps. For digital inputs 17 to 24, the Attenuation function comes after de-emphasis. Attenuation is set on the EQ page. 1. Press the [EQ LOW] button to locate the EQ page shown below. 2. Use the [SEL] and [MIXING LAYER] buttons to select a channel. See Mixing Layer on page 31 for more information. 3.
Phase 39 Phase The Phase function reverses the phase of an input signal by 180 degrees. The phase can be set for input channels 1 to 24 and the left and right channels of stereo input channel. Phase reversal can be used to compensate for incorrectly wired balanced cables and microphones. When a snare drum is miked top and bottom, the channel connected to the bottom microphone can be phase reversed. 1. Use the [DELAY/∅] button to locate the Phase page shown below. 2.
40 Chapter 4—Input Channels Channel Delay The Delay function can be used to compensate for microphone placement, or simply as a delay effect. Three types of delay are available: Delay, Slap, and Echo. Delay can be applied to input channels 1 to 24 and the stereo input channel. When channels are configured as a stereo pair using the Pair function (Stereo Pairs on page 114), the channel delays of the two channels work together, and parameter adjustments can be made with either channel selected.
Channel Delay 41 PARAMETER COPY—The COPY TO ALL CH switch is used to copy the delay parameter settings to all input channels and the stereo input channel. The following dialog box appears when this switch is pressed. Use OK to copy or CANCEL to cancel. Viewing Channel Delay Settings Channel delay settings can be viewed on the following two pages. 1. Use the [DELAY/∅] button to locate these pages. The following page shows the delay settings for input channels 1 to 16.
42 Chapter 4—Input Channels Applying EQ to the Input Channels EQ Each input channel features four-band parametric EQ. See EQ on page 45 for more information. Dynamics Processor Each input channel features a dynamics processor. See Dynamics Processors on page 143 for more information. Muting Input Channels (ON/OFF) ON Channels can be muted using the [ON] buttons. These buttons contain an indicator that lights up when a channel is on. The function of each [ON] button depends on the selected Mixing Layer.
Direct Outputs 43 Direct Outputs Up to eight post-fader signals from input channels 1 to 16 can be output directly via the YGDAI digital outputs. Direct out settings are made on the Pan/Route page. When a channel is set for direct out operation, the YGDAI OUTPUT ASSIGN for that channel is set automatically on the D.out Setup page. These settings can also be made manually. See Assigning Signals to the YGDAI Outputs on page 224 for more information. 1.
44 Chapter 4—Input Channels Input Channels Block Diagram +48V BUS PHANTOM Meter Meter Meter AD HA PAD DC CUT DELAY 4Band PEQ Dynamics PAN ON ATT 1, 2 AUX 1 GAIN 26dB EFF ST SOLO Meter Meter CH Fader IN AUX 1234 1234 12 LR LR 1, 2 AUX 2 AUX 3 INSERT AUX 4 EFF 1 +48V EFF 2 PHANTOM 3-8 AUX/EFF PRE/POST INPUT 3-8 HA PAD AD DC CUT Same as 1, 2 AD DC CUT Same as 1, 2 GAIN 26dB HA 9-16 GAIN This section is available only when an optional YGDAI card is inserted.
EQ 45 EQ 5 In this chapter... About 03D EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resetting the EQ Gain Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ Library . . . . . . .
46 Chapter 5—EQ About 03D EQ 03D EQ is four-band fully parametric, with variable gain, frequency, Q, and ON/OFF parameters. EQ is available on all input channels, the stereo input channel, the stereo output, bus outputs, aux sends, and the onboard effects returns. See the Block Diagram on page 21 for the exact location of each EQ section. Initially, each EQ section is configured as a conventional four-band EQ, with shelving high and low and peaking lo-mid and hi-mid.
Adjusting the EQ 47 Adjusting the EQ 1. Use the [SEL] and [MIXING LAYER] buttons to select a channel. See Mixing Layer on page 31 for more information. 2. Use the [EQ LOW], [LO-MID], [HI-MID], or [HIGH] button to access the EQ page shown below. 3. Use the [EQ LOW], [LO-MID], [HI-MID], and [HIGH] buttons to select the EQ parameters and the PARAMETER wheel to adjust them.
48 Chapter 5—EQ EQ Library EQ settings can be stored as programs in the EQ library. The EQ library contains 40 preset programs (1–40) and 40 user programs (41–80). User programs allow you to store frequently used EQ settings, and they can be titled for easy identification. The EQ library can also be used to transfer settings from one EQ to another. For example, the stereo out EQ settings could be stored as a library program and then recalled to an aux send EQ.
Storing EQ Programs 49 Storing EQ Programs EQ programs are stored on the EQ Library page. You can store EQ settings to user programs 41 to 80. Preset programs 1 to 40 are read only. 1. Press the [EQ LOW] and [LO-MID] buttons together to access the Library page. 2. Use the [SEL] buttons to select the channel whose EQ settings you want to store as a program. 3. Use the PARAMETER wheel to scroll through the list of EQ programs.
50 Chapter 5—EQ Recalling EQ Programs EQ programs are recalled from the EQ Library page. You can recall any of the 40 preset and 40 user programs. 1. Press the [EQ LOW] and [LO-MID] buttons together to access the Library page. 2. Use the [SEL] buttons to select the channel to which you want to recall the EQ program. 3. Use the PARAMETER wheel to scroll through the list of EQ programs.
Editing EQ Program Titles 51 Editing EQ Program Titles EQ program titles can be edited at anytime. You don’t have to recall a program to edit its title. Only EQ programs that contain data can have their titles edited. Title editing is performed on the EQ Library page shown below. 1. Press the [EQ LOW] and [LO-MID] buttons together to access the Library page. 2. Select the EQ program using the PARAMETER wheel or mouse. 3.
52 Chapter 5—EQ Preset EQ Programs # 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 03D—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 99 Hz 265 Hz 1.05 kHz 5.33 kHz Q 1.2 10 0.9 — PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 79 Hz 397 Hz 2.52 kHz 12.6 kHz Q 1.4 4.5 2.
Preset EQ Programs # 11 12 13 14 15 16 17 18 19 20 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 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 83 Hz 944 Hz 4.00 kHz 12.6 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 177 Hz 1.12 kHz 12.6 kHz Q 1.6 8 2.2 — L.
54 # 21 22 23 24 25 26 27 28 29 30 Chapter 5—EQ Parameter Title A.G.Stroke 2 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 03D—Owner’s Manual LOW L-MID H-MID HIGH L.SHELF PEAKING PEAKING H.SHELF G –3.5 dB –2.0 dB 0.0 dB +2.0 dB F 297 Hz 749 Hz 2.00 kHz 3.56 kHz Q — 9 4.5 — L.SHELF PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB 0.0 dB +2.0 dB F 223 Hz 1.00 kHz 4.00 kHz 6.72 kHz Q — 4.
Preset EQ Programs # 31 32 33 34 35 36 37 38 39 40 Parameter Title Total EQ 2 Total EQ 3 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 H.SHELF G +4.0 dB +1.5 dB +2.0 dB +6.0 dB F 94 Hz 749 Hz 1.78 kHz 17.9 kHz Q 7 2.8 5.6 — L.SHELF PEAKING PEAKING H.SHELF G +1.5 dB +0.5 dB +2.0 dB +4.0 dB F 66 Hz 841 Hz 1.88 kHz 15.1 kHz Q — 0.28 0.
Pan, Routing & Surround Pan 57 Pan, Routing & Surround Pan 6 In this chapter... Selecting a Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stereo Pan, Balance & Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stereo Pairs, Pan & Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
58 Chapter 6—Pan, Routing & Surround Pan Selecting a Pan Mode In addition to stereo pan, the 03D features three surround pan modes. Pan modes are set on the Surround page. 1. Use the [PAN/ROUTING] button to locate the Surround page shown below. 2. Use the cursor buttons to select a pan mode. 3. Press the [ENTER] button to activate the selected pan mode. If you are using a mouse, simply click a Pan mode switch. When a surround pan mode is selected, the Bus to ST page title tab is replaced by the Surr.
Stereo Pan, Balance & Routing 59 Stereo Pan, Balance & Routing Input channel, stereo input channel, and effects return signals can be routed to buses 1 to 4 and the Stereo bus. Input channel signals can be panned. Stereo input channel and effects return signals can be balanced and panned. This pan can be used to adjust the width of stereo signals. Pan, balance, and routing settings are made on the Pan/Route pages. 1. Use the [PAN/ROUTING] button to locate the pages shown below.
60 Chapter 6—Pan, Routing & Surround Pan With both controls set at CENTER, as shown, the width of a stereo signal is reduced to zero, and it’s fed to the buses in mono. Setting the controls to positions in between these two extremes allows you set the width of the stereo signal. To maintain a central balance, however, you must set both controls to corresponding values. For example, L5 and R5, or L10 and R10. The stereo input channel and effects returns have balance controls.
Stereo Pairs, Pan & Routing 61 Stereo Pairs, Pan & Routing When input channels are configured as a stereo pair using the Pair function (Stereo Pairs on page 114), control operation changes. Here input channels 1 and 2 have been configured as a stereo pair. Clicking a routing switch on either channel sets the routing for both channel. The operation of the two pan controls depends on the selected pan mode. See Pan Mode on page 60 for more information.
62 Chapter 6—Pan, Routing & Surround Pan Surround Pan As well as normal stereo pan, the 03D features three surround pan modes: 2+2, 3+1, and 3+2+1. In conjunction with the stereo out and bus outs, surround pan controls allow you to pan channel signals in a two-dimensional space. Surround pan controls can be used to move sounds in a circular motion, ellipse, semicircle, or straight line. Sounds can also be moved around the two-dimensional space using a mouse.
Surround Pan 63 2+2 Surround Mode The 2+2 surround pan mode uses four channels: front left, front right, rear left, and rear right. The front speakers are fed from the 03D stereo output, while the rear speakers are fed from bus outs 3 and 4. The following illustration shows a 2+2 surround sound system using the 03D.
64 Chapter 6—Pan, Routing & Surround Pan In 3+1 mode, channel routing and pan look like this. The pan control and 1 and 2 routing switches can still be used to assign the channel signal to bus outs 1 and 2. The SURR switch is used to assign the channel to the surround sound outputs. 3+2+1 Surround Mode The 3+2+1 surround pan mode uses six channels: front left, front right, rear left, rear right, front center, and subwoofer.
Using Surround Pan 65 Using Surround Pan When a surround pan mode is selected (see Selecting a Pan Mode on page 58), the Surr. 1–16 and Surr. 17–24 surround pan pages shown below can be accessed. 1. Use the [PAN/ROUTING] button to locate the Surr. 1–16 and Surr. 17–24 pages shown below. The Surr. 1–16 page contains surround pan controls for input channels 1 to 16. The Surr. 17–24 page contains surround pan controls for input channels 17 to 24, the stereo input channel, and the effects returns.
66 Chapter 6—Pan, Routing & Surround Pan The surround pan trajectory window shown below appears. Trajectories Level meters Selected channel Width, Depth, Offset Surround mode/jump CSR (Center-Side-Ratio) PARAMETER wheel speed 3. Use the cursor buttons to select a trajectory, and then press the [ENTER] button to activate it. See Surround Pan Trajectories on page 67 for more information. If you are using a mouse, simply click the trajectory switches. 4.
Using Surround Pan 67 Surround Pan Trajectories The following surround pan trajectories are available. Left to right—The sound moves from left to right. The following illustrations show some typical left to right trajectories. Front to rear—The sound moves from front to back. The following illustrations show some typical front to rear trajectories. Rear left to front right diagonal—The sound moves on a diagonal trajectory from the rear left to the front right.
68 Chapter 6—Pan, Routing & Surround Pan Left to right semicircle—The sound moves from left to right on a semicircle trajectory. Use the width and depth parameters to set the size and shape of the semicircle. The shape can be adjusted from a semicircle to a narrow oval. Use the offset parameters to offset the trajectory to the left, right, front, or rear. The following illustrations show some typical trajectories. Front to rear semicircle—The sound moves from front to rear on a semicircle trajectory.
Using Surround Pan 69 Stereo Link For input channels configured as a stereo pair you can select a pattern and trajectory and move both signals simultaneously. 1. Configure two input channels as a stereo pair. See Stereo Pairs on page 114 for more information. 2. Use the cursor buttons to select the ST LINK switch, and then press the [ENTER] button to turn on the Stereo Link function. 3. Use the cursor buttons to select the PATTERN parameter and the PARAMETER wheel to select a pattern.
Solo, Monitors & Meters 71 Solo, Monitors & Meters 7 In this chapter... About Monitor & Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitor Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
72 Chapter 7—Solo, Monitors & Meters About Monitor & Solo The 03D’s flexible monitoring and solo functions are designed for use in a wide range of applications. Pre-fader or post-fader signals from all inputs and outputs can be monitored via the monitor out and headphones. Solo in Place and Mixdown Solo mode, which work in conjunction with the stereo output, are also provided. Monitor and solo functions are divided between two pages: Moni.Setup and Solo Setup. When the Solo function is off (i.e.
73 Monitor Outputs Monitor Outputs Monitor and solo signals are output via the monitor out and phones connections. Mixdown Solo and Solo in Place modes also work with the stereo outputs. The MONITOR OUT SOLO/2TR IN switch selects the signal source for the monitor out and phones, and should be set to SOLO for monitoring. See Two-track Input on page 77 for more information.
74 Chapter 7—Solo, Monitors & Meters Monitoring On the Moni.Setup page you can select the stereo output, aux sends, bus outs, or stereo cascade input as the monitor source. These signals are monitored via the monitor out and phones. Functions on this page do not affect the [SOLO] button or stereo output. 1. Use the [SOLO SETUP] button to locate the Moni.Setup page shown below. 2. Use the cursor buttons to select the parameters, and the [ENTER] button and PARAMETER wheel to set them.
Setting Up Solo 75 Setting Up Solo The Solo Setup page is used to set up the solo functions used to monitor input channels, the stereo input channel, and effects returns. Three solo modes are available: Recording Solo, Mixdown Solo, and Solo in Place. These modes are used in conjunction with the [SOLO] and [ON] buttons, which are used to select channels. The Solo Setup page is used only to set up the solo functions. You do not need to select it in order to use the solo functions. 1.
76 Chapter 7—Solo, Monitors & Meters and effects returns. The third switch, FADER GROUP AFL, works with fader groups. When you solo a channel that is in a fader group, all other channels in that fader group are also soloed. See Fader Groups on page 112. These switches are not active in MIXDOWN SOLO mode, because the monitor out and phones signals are sourced from the Stereo bus.
77 Solo Safe Solo Safe The Solo Safe function is used to protect channels from being muted when the MIXDOWN SOLO or SOLO IN PLACE mode is used. A safe channel is not muted when other channels are soloed. The input channels, stereo input channel, effects returns, and stereo cascade input can be set as safe channels. Solo safe settings are made on the Solo Setup page. 1. Use the [SOLO SETUP] button to locate the Solo Setup page shown below. 2.
03D—Owner’s Manual not changed DIGITAL STEREO IN INTERNAL EFFECT 1,2 ST IN CH INPUT 1-16 17-24 SOLO IN PLACE INTERNAL EFFECT 1,2 ST IN CH INPUT 1-16 17-24 MIXDOWN SOLO INTERNAL EFFECT 1,2 not changed ST IN CH INPUT 1-16 17-24 RECORDING SOLO not changed not changed ON ON ON ON not changed not changed not changed not changed PAN PAN LISTEN ON LISTEN ON LISTEN ON ON ON ON not changed not changed not changed PAN LISTEN ON Control other CH ON buttons (CH1–16, ST IN, EFF 1/2
Metering 79 Metering Level meters for the 24 input channels, stereo input channel, aux sends, bus outs, effects returns, YGDAI outputs, and Solo bus are provided on the three Meter pages. The signal source points for input and output meters can be set on Pre/Post page. Meters can be used to meter signal levels or the amount of gain reductions being applied by the dynamics processors. Stereo out levels are metered using the dedicated L STEREO R LED meters.
80 Chapter 7—Solo, Monitors & Meters 3. Use the cursor buttons to select the PEAK HOLD switch, and then press the [ENTER] button to activate the peak hold function. If you are using a mouse, simply click the PEAK HOLD switch. PEAK HOLD—This switch is used to turn on and off the Peak Hold function for the Meter pages and the L STEREO R meters. When Peak Hold is ON, the meter segments lit by the loudest signal peaks remain on, providing an easy way to check for peak levels.
Metering 81 The following Pre/Post meter page is used to select the signal source points for the input and output meters. The Peak Hold function is reset whenever you select another source point. 4. Use the cursor buttons to select a meter point switch, and then press the [ENTER] button to activate it. If you are using a mouse, simply click the meter point switches.
82 Chapter 7—Solo, Monitors & Meters Monitor Block Diagram BUS AUX EFF ST SOLO 1234 1234 12 LR LR Meter SOLO/ 2TR IN DA MONI TRIM L MONO LEVEL DA MONITOR OUT R L 2TR IN LEVEL R 03D—Owner’s Manual PHONES
Stereo Output 83 Stereo Output 8 In this chapter... About the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Analog Stereo Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DIGITAL STEREO OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stereo Output & the YGDAI Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rec Out & the Stereo Output .
84 Chapter 8—Stereo Output About the Stereo Output The stereo output signal can be output to analog XLR-type connectors, analog REC OUT connectors, YGDAI digital outputs, or AES/EBU and COAXIAL digital outputs. The stereo output features four-band parametric EQ and a dynamics processor. Analog Stereo Outputs The stereo output signal is converted to analog using 20-bit 8-times oversampling D/A converters, and then output via balanced XLR-3-32-type connectors with a +4 dB nominal output level.
Setting the Stereo Output Level 85 Setting the Stereo Output Level The stereo output level is controlled using the ST OUT fader. This fader is not affected by the Mixing Layer, and always works as level control for the stereo output. 6 0 5 10 20 40 60 00 Muting the Stereo Output ON The stereo output can be muted using the ST OUT [ON] button. This button contains an indicator that lights up when stereo output is on. The ST OUT [ON] button is not affected by the Mixing Layer setting or [SOLO] function.
86 Chapter 8—Stereo Output Stereo Output Delay The left and right signals of the analog stereo output can be delayed individually. This can be used to compensate for delays in multi-speaker sound reinforcement systems. 1. Use the [DELAY/∅] button to locate the CH Delay page. 2. Press the ST OUT [SEL] button. The CH Delay page shown below appears. 3. Use the cursor buttons to select the delay parameters and the [ENTER] button and PARAMETER wheel to set them.
Stereo Output Block Diagram 87 Stereo Output Block Diagram BUS AUX EFF ST SOLO 1234 1234 12 LR LR DITHER Meter Meter 4Band PEQ Dynamics DA L ST OUT BALANCE ON STEREO OUT 4Band PEQ DELAY COAXIAL DIGITAL STEREO OUT AES/EBU Dynamics DELAY DA R L SOURCE SELECT REC OUT R from BUS OUT 1, 2 03D—Owner’s Manual
Aux Sends 89 Aux Sends 9 In this chapter... About Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Analog Aux Send Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aux Sends & the YGDAI Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Aux Sends . . . .
90 Chapter 9—Aux Sends About Aux Sends The 03D features four aux sends. Input channel, stereo input channel, and effects return signals can be fed to the four aux sends. Each aux send features four-band parametric EQ and a dynamics processor. Aux sends can be used individually or in stereo pairs. Aux send signals are output via analog phone jacks. They can also be output via the YGDAI digital outputs. The 03D does not have dedicated aux return inputs.
Sending Channel Signals to Aux Sends 91 Sending Channel Signals to Aux Sends Input channel, stereo input channel, and effects return signals can be sent to aux sends. 1. Use the [MIXING LAYER] button to select the 17–24/MASTER Mixing Layer. See Mixing Layer on page 31 for more information. Faders 9 to 12 now function as master level controls for aux sends 1 to 4. 2. Set the fader of the aux send you are using to 0. The master level can be adjusted again later. 3.
92 Chapter 9—Aux Sends Pre-fader/Post-fader Aux Sends Individual input channels, the stereo input channel, and effects return aux sends can be configured as either pre-fader or post-fader sends. These settings are made on the Aux Pre/Post pages. Each aux send has its own Pre/Post page. 1. Use the [AUX] buttons to locate the Pre/Post pages for aux sends 1 to 4. The meters show the level of the selected aux send and the amount of gain reduction.
Setting Aux Send Master Levels 93 Setting Aux Send Master Levels Aux send master levels are controlled using faders 9 to 12. The function of these faders depends on the selected Mixing Layer. See Faders on page 32 for more information. 6 0 5 10 20 40 60 00 1.Use the [MIXING LAYER] button to select the 17–24/MASTER Mixing Layer. Faders 9 to 12 now function as aux send master level controls. 2.Use faders 9 to 12 to adjust the aux send levels.
94 Chapter 9—Aux Sends Aux Send Stereo Pairs Aux sends 1/2 and aux sends 3/4 can be configured as stereo pairs. Aux send stereo pairs are configured on the Pair page. See Stereo Pairs on page 114 for more information. When aux sends are paired, the following aux send master parameters are linked: EQ, faders, dynamics processors, [ON] buttons, and monitor. Since these parameters are linked, you can adjust the master controls of either aux send in a stereo pair.
Aux Send Block Diagram 95 With the left control set at L16 and the right control set at R16, as shown, the width of a stereo signal is 100%. With both controls set at CENTER, as shown, the width of a stereo signal is reduced to zero. Setting the controls to positions in between these two extremes allows you set the width of the stereo signal from zero to 100%. To maintain a central balance, however, you must set both controls to corresponding values. For example, L5 and R5, or L10 and R10.
Bus Outs 97 Bus Outs 10 In this chapter... About Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Analog Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Bus Outs & the YGDAI Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Rec Out & Bus Outs 1 & 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
98 Chapter 10—Bus Outs About Bus Outs The 03D features four bus outputs. Input channel, stereo input channel, and effects return signals can be routed to the four buses. Each bus out features four-band parametric EQ and a dynamics processor. Bus outs can be used individually or in stereo pairs. Bus signals are output via analog phone jacks. They can also be output via the YGDAI digital outputs.
Setting Bus Out Master Levels 99 Setting Bus Out Master Levels Bus out master levels are controlled using faders 13 to 16. The function of these faders depends on the selected Mixing Layer. See Faders on page 32 for more information. 6 0 5 10 20 40 60 00 1.Use the [MIXING LAYER] button to select the 17–24/MASTER Mixing Layer. Faders 13 to 16 now function as bus out master level controls. 2.Use faders 13 to 16 to adjust the bus out levels.
100 Chapter 10—Bus Outs Bus Out Delay Analog bus out signals can be delayed individually. This can be used to compensate for delays in multi-speaker sound reinforcement systems. 1. Use the [DELAY/∅] button to locate the CH Delay page. 2. Use the [MIXING LAYER] button to select 17–24/MASTER. 3. Use the [SEL] buttons to select a bus out. The CH Delay page shown below appears. 4. Use the cursor buttons to select the delay parameters and the [ENTER] button and PARAMETER wheel to set them.
Routing Bus Signals to the Stereo Bus 101 Routing Bus Signals to the Stereo Bus Bus out signals can be routed to the Stereo bus, allowing the bus outs to be used as sub-groups during mixdown. Bus to Stereo bus settings are made on the Bus to ST page. The Bus to ST page is available only when the pan mode is set to stereo. When a surround pan mode is selected, this function is not active. See Selecting a Pan Mode on page 58 for more information. 1.
102 Chapter 10—Bus Outs Bus Out Block Diagram BUS AUX EFF ST SOLO 1234 1234 12 LR LR Meter Meter Meter 4Band PEQ Meter Meter Dynamics to REC OUT L DELAY DA ON 1 BUS OUT 1 PAN SOLO Meter Meter Meter 4Band PEQ Meter Meter Dynamics to REC OUT L DELAY DA ON 1 BUS OUT 2 PAN SOLO Meter Meter Meter 4Band PEQ Meter Meter Dynamics DELAY DA ON 1 BUS OUT 3 PAN SOLO Meter Meter 4Band PEQ Meter Meter Meter Dynamics DELAY ON 1 SOLO 03D—Owner’s Manual PAN DA BUS OUT 4
Channel Library & View 103 Channel Library & View 11 In this chapter... Channel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storing Channel Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recalling Channel Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing Channel Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
104 Chapter 11—Channel Library & View Channel Library Channel settings can be stored as programs in the channel library. The channel library contains two preset programs (00 and 01) and 49 user programs (02–50). User programs allow you to store frequently used channel settings, and they can be titled for easy identification. The channel library can also be used to transfer settings from one channel to another.
Storing Channel Programs 105 Storing Channel Programs Channel programs are stored on the Channel Library page. You can store channel settings to user programs 02 to 50. Programs 00 and 01 are read only. 1. Use the [VIEW] button to locate the Library page. 2. Use the PARAMETER wheel to scroll through the list of channel programs. If you are using a mouse, position the mouse cursor over the parameter box, press and hold the left mouse button, and then drag the mouse.
106 Chapter 11—Channel Library & View Recalling Channel Programs Channel programs are recalled from the Channel Library page. 1. Use the [VIEW] button to locate the Library page. 2. Use the PARAMETER wheel to scroll through the list of channel programs. If you are using a mouse, position the mouse cursor over the parameter box, press and hold the left mouse button, and then drag the mouse.
Editing Channel Program Titles 107 Editing Channel Program Titles Channel program titles can be edited at anytime. You don’t have to recall a program to edit its title. Only channel programs that contain data can have their titles edited. Title editing is performed on the Channel Library page shown below. 1. Use the [VIEW] button to locate the Library page. 2. Select the channel program using the PARAMETER wheel or mouse. 3.
108 Chapter 11—Channel Library & View Channel View The Channel View page shows various settings and parameter values of the selected input channel, stereo input channel, effects return channel, aux send, bus out, or the stereo output, allowing you to check a channel’s mix settings at a glance. Parameters can also be adjusted. 1. Use the [VIEW] button to locate the CH View page. 2. Use the [SEL] and [MIXING LAYER] buttons to select a channel. See Mixing Layer on page 31 for more information. 3.
Channel View 109 Input channel view with aux sends 1 and 2 configured as a stereo pair Input channel view with the 2+2 surround pan mode selected Stereo input channel view page Effects return channel view page 03D—Owner’s Manual
110 Chapter 11—Channel Library & View Aux send view page Bus out view page Stereo output view page 03D—Owner’s Manual
Groups & Pairs 111 Groups & Pairs 12 In this chapter... Fader Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Stereo Pairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
112 Chapter 12—Groups & Pairs Fader Groups Faders can be grouped for multiple fader control using only one fader. This makes it easy to control several faders simultaneously. Faders for input channels 1 through 24 and the stereo input can be used in fader groups. There are four fader groups available: A, B, C, and D. Fader groups are configured on the Group page. Making a Fader Group 1. Use the [GROUP/PAIR] button to locate the Group page shown below. 2.
Mute Groups 113 Mute Groups Channels can be grouped for multiple mute control using only one [ON] button. This makes it easy to mute several channels simultaneously. Input channels 1 through 24 and the stereo input can be used in mute groups. All channels in a mute group don’t have to be on or off. A mute group can contain a mix of on channels and off channels. When a mixed mute group is switched, on channels go off and off channels come on.
114 Chapter 12—Groups & Pairs Stereo Pairs Input channels, aux sends, and bus outs can be paired together for stereo operation. Paired input channels are useful for processing stereo inputs signals. Paired aux sends and bus outputs provide additional stereo outputs. Configuring Stereo Pairs 1. Use the [GROUP/PAIR] button to locate the Pair page shown below. 2. Use the cursor buttons to select a pair switch, and then press the [ENTER] button. If you are using a mouse, simply click the pair switch.
Stereo Pairs 115 When you break a stereo pair, the following dialog box appears. 4. Use the cursor buttons to select either CANCEL or OK, and then press the [ENTER] button. Input Channel Stereo Pairs See Input Channel Stereo Pairs on page 43 for more information. Aux Send Stereo Pairs See Aux Send Stereo Pairs on page 94 for more information. Bus Out Stereo Pairs See Bus Out Stereo Pairs on page 101 for more information.
Onboard Effects 117 Onboard Effects 13 In this chapter... About the Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pre-fader/Post-fader Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118 Chapter 13—Onboard Effects About the Onboard Effects The 03D features two onboard stereo multi-effects processors: Effect 1 and Effect 2. They provide a wide range of quality effects, including reverb, delay, chorus, flange, amp simulator, and more. There are 34 different effects type available. See Effects Parameters on page 129 for more information. The effects processors are fed by Effect 1 bus and Effect 2 bus, and the processed signals are returned via effect return 1 and effect return 2.
Preset Effects Programs # Title Type 119 Description 09 Rev Vocal 1 REVERB HALL Long reverb suitable for ballad-type music 10 Rev Vocal 2 REVERB STAGE Broadly useful reverb, good for vocals, chorus, etc 11 Rev. Plate REVERB PLATE Simulation of a plate echo unit 12 Reverb Stage REVERB STAGE Simulation of the acoustics of a stage, brighter than Hall 13 Snare Room REVERB ROOM Room-type reverb mainly for snare.
120 Chapter 13—Onboard Effects # Title Type Description 38 Symphonic SYMPHONIC Standard symphonic effect setting 39 Phaser PHASER Simulation of a standard phaser 40 16stagePhase PHASER Variation of a phaser. This uses all 16 stages of phase shift 41 Auto Pan AUTO PAN Standard auto-pan 42 Tremolo TREMOLO Standard tremolo effect settings Pitch Change # Title Type Description 43 Mono Pitch HQ. PITCH Long delay with slightly shifted pitch.
Preset Effects Programs 121 Dynamic Effects # Title Type Description 58 Auto Wah DYNA. FILTER Filter that uses the input level to control the frequency. This one is the standard auto-wah effect in which the filter is a BPF type 59 Flange Wah DYNA. FLANGE A type of flanger effect in which the input level controls the resonance point. An auto-wah effect can also be produced 60 Ethnic E DYNA.
122 Chapter 13—Onboard Effects Applying Effects 1. Press the [EFFECT 1] or [EFFECT 2] button to select an effects processor. 2. Use the [SEL] and [MIXING LAYER] buttons to select a channel. 3. Raise that channel’s fader to the 0 position. Having pressed the EFFECT 1 or EFFECT 2 button in step 1, the channel faders are working as effects send faders. The left and right signals of the stereo input channel are summed into a mono signal before being sent to the Aux Send buses. 4.
Pre-fader/Post-fader Effects Sends 123 Pre-fader/Post-fader Effects Sends Individual input channels and the stereo input channel effects sends can be configured as either pre-fader or post-fader sends. These settings are made on the Effects Pre/Post pages. 1. Use the [EFFECT 1] button to locate the Pre/Post page for Effect 1 or the [EFFECT 2] button to locate the Pre/Post page for Effect 2. The values below the PRE/POST switches indicate the effects send fader positions. 2.
124 Chapter 13—Onboard Effects Effects Returns Dynamics Processors Each effects return features a stereo dynamics processor. See Dynamics Processors on page 143 for more information. Muting Effects Returns ON Effects returns can be muted using the EFFECT RETURN [ON] button. This button contains an indicator that lights up when an effect return is on. 1. Use the EFFECT RETURN [SEL] button to select either EFFECT RETURN 1 or EFFECT RETURN 2.
Effects Library 125 Effects Library Effects settings can be stored as programs in the effects library. The effects library contains 64 preset programs (1–64) and 32 user programs (65–96). User programs allow you to store frequently used effects settings, and they can be titled for easy identification. The effects library can also be used to transfer settings from one effects processor to another. For example, the Effect 1 settings could be stored as a library program and then recalled to Effect 2.
126 Chapter 13—Onboard Effects Storing Effects Programs Effects programs are stored on the Effects Library page. You can store effects settings to user programs 65 to 96. Preset programs 1 to 64 are read only. 1. Use the [EFFECT 1] or [EFFECT 2] button to locate the Library page. Effects settings are stored from the currently selected effects processor. To store the effects settings of Effect 1, use the [EFFECT 1] button to locate the Library page.
Recalling Effects Programs 127 Recalling Effects Programs Effects programs are recalled from the Effects Library page. You can recall any of the 64 preset and 32 user programs. Effects programs that use the HQ. PITCH or FREEZE effect types can be recalled to only Effect 2. 1. Use the [EFFECT 1] or [EFFECT 2] button to locate the Library page. Effects programs are recalled to the currently selected effects processor.
128 Chapter 13—Onboard Effects Editing Effects Program Titles Effects program titles can be edited at anytime. You don’t have to recall a program to edit its title. Only effects programs that contain data can have their titles edited. Title editing is performed on the Effects Library page shown below. 1. Use the [EFFECT 1] or [EFFECT 2] button to locate the Library page. 2. Select the effects program using the PARAMETER wheel or mouse. 3.
Effects Parameters 129 Effects Parameters REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE Parameter Range Description REV.TIME 0.3–99.0 s Length of the reverb. INI.DLY 0.1–500.0 ms Delay time until the early reflections of the reverb are heard. HI.RATIO 0.1–1.0 Length of the high frequency reverberation, expressed as a ratio relative to REV.TIME. LO.RATIO 0.1–2.4 Length of the low frequency reverberation, expressed as a ratio relative to the REV.TIME. DIFF.
130 Chapter 13—Onboard Effects DELAY LCR Parameter Range Description DLY L 0.1–2730.0 ms Delay time of the L channel. DLY C 0.1–2730.0 ms Delay time of the center delay. DLY R 0.1–2730.0 ms Delay time of the R channel. LEVEL L –100 to +100 Level of the L channel delay sound. LEVEL C –100 to +100 Level of the center delay sound. LEVEL R –100 to +100 Level of the R channel delay sound. FB.DLY 0.1–2730.0 ms Feedback delay time. FB.GAIN –99 to +99% Amount of feedback. HI.RATIO 0.
Effects Parameters 131 FLANGE Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed. DEPTH 0–100% Modulation depth. FB.GAIN –99 to +99% Feedback amount. LSF F 21 Hz–1.0 kHz Frequency of the low shelving filter. LSF G –12 to +12 dB Gain of the low shelving filter. MOD.DLY 0.0–500.0 ms Delay time from the direct sound until the modulated sound. EQ F 99 Hz–8.0 kHz Frequency of the parametric equalizer. EQ G –12 to +12 dB Gain of the parametric equalizer.
132 Chapter 13—Onboard Effects AUTOPAN Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed. DEPTH 0–100% Modulation depth. DIR. 1 Select the direction in which the sound will move. LSF F 21 Hz–1.0 kHz Frequency of the low shelving filter. LSF G –12 to +12 dB Gain of the low shelving filter. EQ F 99 Hz–8.0 kHz Frequency of the parametric equalizer. EQ G –12 to +12 dB Gain of the parametric equalizer. WAVE SINE, TRI Modulation waveform.
Effects Parameters 133 DUAL PITCH Parameter Range Description PITCH 1 –24 to +24 Amount of pitch change 1 (semitones). FINE 1 –50 to +50 cent Fine adjustment (1 cent steps) for pitch change 1. PAN 1 L16–CENTER–R16 Pan for pitch change 1. MODE 0–10 Precision of the pitch change. Higher settings will produce more accuracy, but longer delay time. DLY 1 0.1–1000.0 ms Delay time of pitch change 1. FB.G 1 –99 to +99% Feedback amount for pitch change 1.
134 Chapter 13—Onboard Effects REV->CHORUS Parameter REV.TIME Range Description 0.3–99.0 s Length of reverb. INI.DLY 0.1–500.0 ms Delay time until the early reflections of the reverb are heard. HI.RATIO 0.1–1.0 Length of the high frequency portion of the reverb, expressed as a ratio relative to REV.TIME. DIFF. 0–10 Left/right spread of the reverb sound. DENSITY 0–100% Density of the reverb. HPF THRU,21 Hz–8.0 kHz Cutoff frequency of the high pass filter. LPF 50 Hz–16.
Effects Parameters 135 REV->FLANGE Parameter REV.TIME Range Description 0.3–99.0 s Length of reverb. INI.DLY 0.1–500.0 ms Delay time until the early reflections of the reverb are heard. HI.RATIO 0.1–1.0 Length of the high frequency portion of the reverb, expressed as a ratio relative to REV.TIME. DIFF. 0–10 Left/right spread of the reverb sound. DENSITY 0–100% Density of the reverb. HPF THRU,21 Hz–8.0 kHz Cutoff frequency of the high pass filter. LPF 50 Hz–16.
136 Chapter 13—Onboard Effects REV->SYMPHO. Parameter REV.TIME Range Description 0.3–99.0 s Length of reverb. INI.DLY 0.1–500.0 ms Delay time until the early reflections of the reverb are heard. HI.RATIO 0.1–1.0 Length of the high frequency portion of the reverb, expressed as a ratio relative to REV.TIME. DIFF. 0–10 Left/right spread of the reverb sound. DENSITY 0–100% Density of the reverb. HPF THRU,21 Hz–8.0 kHz Cutoff frequency of the high pass filter. LPF 50 Hz–16.
Effects Parameters 137 DELAY+ER. Parameter Range Description DLY L 0.1–1000.0 ms Delay time of the L channel. DLY R 0.1–1000.0 ms Delay time of the R channel. FB.DLY 0.1–1000.0 ms Feedback delay time. FB.GAIN –99 to +99% Feedback amount. HI.RATIO 0.1–1.0 High frequency portion of the feedback, expressed as a ratio relative to FB.GAIN. TYPE 1 Early reflection (ER) pattern type. ROOMSIZE 0.1–20.0 Size of the room; i.e., the spacing of the reflections.
138 Chapter 13—Onboard Effects DELAY+REV Parameter Range Description DLY L 0.1–1000.0 ms Delay time of the L channel. DLY R 0.1–1000.0 ms Delay time of the R channel. FB.DLY 0.1–1000.0 ms Feedback delay time. FB.GAIN –99 to +99% Feedback amount. HI.RATIO 0.1–1.0 High frequency portion of the feedback, expressed as a ratio relative to FB.GAIN. REV.TIME 0.3–99.0 s Length of reverberation. INI.DLY 0.1–500.0 ms Delay time until the early reflections of the reverb are heard. HI.
Effects Parameters 139 MONODELAY->REV Parameter Range Description DELAY 0.1–1000.0 ms Delay time. FB.DLY 0.1–1000.0 ms Feedback delay time. FB.GAIN -99 to +99% Feedback amount. HI.RATIO 0.1–1.0 High frequency portion of the feedback, expressed as a ratio relative to FB.GAIN. REV.TIME 0.3–99.0 s Length of reverberation. INI.DLY 0.1–500.0 ms Delay time until the early reflections of the reverb are heard. HI.RATIO 0.1–1.
140 Chapter 13—Onboard Effects DYNA.FILTER Parameter Range Description SENSE 0–100 Input sensitivity. TYPE LPF, HPF, BPF Select the filter type. OFFSET 0–100 Filter frequency offset. RESO. 0–20 Filter resonance. DECAY 1 Decay time of the change in filter frequency. DIR. Up, Down Select whether the frequency will move upward (Up) or downward (Down) in response to a high input level. FREQ. 0.05–40.00 Hz LFO speed when the filter frequency is moved by the LFO.
Effects Parameters 141 DYNA.PHASER Parameter SENSE Range 0–100 Description Input sensitivity. FB.GAIN –99 to +99% Feedback amount. OFFSET 0–100 Offset of the phase shift point. HOLD 1 Hold time. DECAY 2 Delay time. DIR Up, Down Select whether the phase shift point will move upward (Up) or downward (Down) in response to a high input level. LSF F 21 Hz–1.0 kHz Frequency of the low shelving filter. LSF G –12 to +12 dB Gain of the low shelving filter.
142 Chapter 13—Onboard Effects To play back the sample, move the cursor to a rotary control (i.e., off the REC READY switch). If PLY MODE is set to MOMENT or CONTINUE, press the [ENTER] button to start playback. If the PLY MODe is set to INP TRG, playback starts automatically when the input signal exceeds the TRG LEVEL.
Dynamics Processors 143 Dynamics Processors 14 In this chapter... About the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patching in a Dynamics Processor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Storing a Dynamics Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
144 Chapter 14—Dynamics Processors About the Dynamics Processors Dynamics processors are available on all input channels, the stereo input channel, the stereo output, bus outputs, aux sends, and the onboard effects returns. See the Block Diagram on page 21 for the exact location of each dynamics processor. Dynamics processors can be configured as compressor, noise gate, ducker, expander, hard compander, or soft compander. They can be self triggering (i.e.
About the Dynamics Processors 145 Dynamics processors are edited on the Dyn. Edit page shown below. Use the [DYNAMICS] button to locate the Dyn. Edit page. KEY IN SOURCE—These switches are used to set the KEY IN, or trigger source for the dynamics processors. The following options are available. KEY IN Description SELF (POST EQ) The dynamics processor is triggered by the signal it’s processing and that signal is sourced after the EQ.
146 Chapter 14—Dynamics Processors Patching in a Dynamics Processor 1. Use the [SEL] and [MIXING LAYER] buttons to select a channel. 2. Use the [DYNAMICS] button to locate the Library page and recall a dynamics program that uses the type of dynamics processor required. See Recalling a Dynamics Program on page 149 for more information. 3. Use the [DYNAMICS] button to locate the Dyn. Edit page shown below. 4.
Dynamics Library 147 Dynamics Library Dynamics settings can be stored as programs in the dynamics library. The dynamics library contains 40 preset programs (1–40) and 40 user programs (41–80). User programs allow you to store frequently used dynamics settings, and they can be titled for easy identification. The dynamics library can also be used to transfer settings from one dynamics processor to another.
148 Chapter 14—Dynamics Processors Storing a Dynamics Program Dynamics programs are stored on the Dynamics Library page. You can store Dynamics settings to user programs 41 to 80. Preset programs 1 to 40 are read only. 1. Use the [DYNAMICS] button to locate the Library page. 2. Use the [SEL] buttons to select the channel whose dynamics processor settings you want to store as a program. 3. Use the PARAMETER wheel to scroll through the list of dynamics programs.
Recalling a Dynamics Program 149 Recalling a Dynamics Program Dynamics programs are recalled from the Dynamics Library page. You can recall any of the 40 preset and 40 user programs. 1. Use the [DYNAMICS] button to locate the Library page. 2. Use the [SEL] buttons to select the channel to which you want to recall the dynamics program. 3. Use the PARAMETER wheel to scroll through the list of Dynamics programs.
150 Chapter 14—Dynamics Processors Editing Dynamics Program Titles Dynamics program titles can be edited at anytime. You don’t have to recall a program to edit its title. Only dynamics programs that contain data can have their titles edited. Title editing is performed on the Dynamics Library page shown below. 1. Use the [DYNAMICS] button to locate the Library page. 2. Select the dynamics program using the PARAMETER wheel or mouse. 3.
Processor Types 151 Processor Types Dynamics processors are generally used to correct or control signal levels. They can, however, be used creatively to shape a sound’s volume envelope. The dynamics processor types, parameters, and their general applications are explained in the following sections. COMP The COMP type dynamics processor is a compressor, providing automatic level control. A Compression ratio = 2:1 compressor attenuates signals above a specified threshold.
152 Chapter 14—Dynamics Processors Signals at and above the threshold level are compressed by the amount specified using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter. RATIO—This determines the amount of compression. That is, the change in output signal level relative to change in input signal level. For a 2:1 ratio, for example, a 10 dB change in input level (above the threshold) results in a 5 dB change in output level.
Processor Types 153 THRESHOLD—This determines the level at which the gate closes, cutting off the signal. Signals above the threshold level pass through unaffected. Signals at or below the threshold, however, cause the gate to close. The trigger signal is sourced using the KEY IN parameter. RANGE—This determines the level to which the gate closes. Think of it as a brick holding a garden gate open so that a certain amount of signal always flows through.
154 Chapter 14—Dynamics Processors is reduced to a level set by the Range parameter. The trigger signal is sourced using the KEY IN parameter. RANGE—This determines the level to which the signal is ducked. For a setting of –80 dB, the signal is virtually cutoff. For a setting of –30 dB, however, the signal is ducked by 30 dB. For a setting of 0 dB, the ducker has no effect. ATTACK—This determines how soon the signal is ducked once the ducker has been triggered.
Processor Types 155 RATIO—This determines the amount of expansion. That is, the change in output signal level relative to change in input signal level. For a 2:1 ratio, for example, a 5 dB change in input level (below the threshold) results in a 10 dB change in output level. For a 5:1 ratio, a 2 dB change in input level (below the threshold) results in a 10 dB change in output level. KNEE—This determines how expansion is applied at the threshold point.
156 Chapter 14—Dynamics Processors Parameter Range ATTACK 0–120 ms (1 ms steps) RELEASE 5 ms–42.3 s (sampling rate @ 48 kHz) 6 ms–46 s (sampling rate @ 44.1 kHz) 8 ms–63.4 s (sampling rate @ 32 kHz) OUT GAIN –18 dB to 0 dB (0.5 dB steps) THRESHOLD—This determines the input signal level at which compression and expansion are applied. Signals at a level below the threshold+width are attenuated by the expander.
Preset Dynamics Programs 157 Preset Dynamics Programs # 01 Title Comp Type Compressor Parameter Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 60 Outgain (dB) 0.0 Knee Release (ms) 02 03 Gate Expand Gate Expander 05 Ducking Compander(H) Ducking Compander (H) –26 Range (dB) –56 Attack (ms) 2.56 Decay (ms) 331 Threshold (dB) –23 Ratio ( :1) 1.7 Attack (ms) 1 Outgain (dB) 07 08 A.Dr.BD A.Dr.BD Compander (S) Compressor Gate 3.
158 Chapter 14—Dynamics Processors # 09 Title A.Dr.BD Type Compander (H) Parameter Threshold (dB) –11 Ratio ( :1) 3.5 Attack (ms) 1 Outgain (dB) Width (dB) 10 A.Dr.SN Compressor A.Dr.SN Expander 192 –17 Ratio ( :1) 2.5 Attack (ms) 8 Outgain (dB) 13 A.Dr.SN Gate Compander (S) 12 –23 Ratio ( :1) 2 Attack (ms) 0 14 A.Dr.Tom Expander –23 Attack (ms) 1 Hold (ms) 0.63 Decay (ms) 238 Threshold (dB) –8 Ratio ( :1) 1.7 Attack (ms) 11 Outgain (dB) 0.
Preset Dynamics Programs # 17 18 19 20 Title E.B.Slap Syn.Bass Piano1 Piano2 Type Compressor Compressor Compressor Compressor Parameter Threshold (dB) –12 Ratio ( :1) 1.7 Attack (ms) 6 Outgain (dB) hard Release (ms) 133 Threshold (dB) –10 Ratio ( :1) 3.5 Attack (ms) 9 Outgain (dB) Compressor hard Release (ms) 250 Threshold (dB) –9 Ratio ( :1) 2.5 Attack (ms) 17 Outgain (dB) 1.0 Knee hard Release (ms) 238 Threshold (dB) –18 Ratio ( :1) 3.
160 Chapter 14—Dynamics Processors # 25 Title Strings3 Type Compressor Parameter Threshold (dB) –17 Ratio ( :1) 1.5 Attack (ms) 76 Outgain (dB) 2.5 Knee 26 BrassSection Compressor Syn.Pad Compressor 186 Threshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 18 Outgain (dB) 4.0 29 SamplingPerc Sampling BD Compander (S) 226 Threshold (dB) –13 Ratio ( :1) 2 Attack (ms) 58 Outgain (dB) 2.0 Compressor 238 Threshold (dB) –18 Ratio ( :1) 1.
Preset Dynamics Programs # 33 Title Solo Vocal2 Type Compressor Parameter Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 26 Outgain (dB) 1.5 Knee Release (ms) 34 Chorus Compressor Click Erase Expander Ratio ( :1) 1.7 Attack (ms) 39 Outgain (dB) 2.5 36 Announcer Compander (H) 226 Threshold (dB) –33 Ratio ( :1) 2 Attack (ms) 1 Limiter1 Compander (S) 284 –14 Ratio ( :1) 2.
Scene Memories 163 Scene Memories 15 In this chapter... About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What’s Stored in Scene Memories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What’s the Edit Buffer & Edit Indicator? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scene Memory 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scene Memory Display Area . . . .
164 Chapter 15—Scene Memories About Scene Memories Scene memories are memory locations that are used to store mix scenes. A mix scene consists of all 03D mix settings (i.e., EQ, fader positions, and so on). There are 50 scene memories, and they can be titled for easy identification. Scene memories can be stored and recalled in three ways: • Manually using the using SCENE MEMORY [STORE] and [RECALL] buttons or Scene Mem.
Scene Memory 00 165 Scene Memory 00 Scene memory 00 is a little different to scene memories 1 through 50. It’s a read-only memory and contains the initial 03D settings. You can recall it, but you cannot store it. When you want to reset all mix settings to their initial values, recall scene memory 00. Scene Memory Display Area The scene memory area of the display shows the selected scene memory number, title, whether or not the scene memory is read-only or protected, and the status of the Edit Buffer.
166 Chapter 15—Scene Memories Storing Mix Scenes Mix scenes can be stored using the SCENE MEMORY buttons or the Scene Mem. page. Both methods are explained below. When a mix scene is stored, all data in the selected scene memory is overwritten. So be careful not to overwrite an important mix scene. Scene memories can be write protected to prevent accidental data loss. See Write Protecting Scene Memories on page 170 for more information.
Storing Mix Scenes 167 press and hold the left mouse button, and then drag the mouse. The number and title of each scene memory flashes as it’s selected. Scene memories that do not contain data have the title No Data! 4. Use the cursor buttons to select the STORE switch, and then press the [ENTER] button (you could press the [STORE] button instead). The Title Edit dialog box appears. 5. Enter a title for the mix scene. See Title Edit Dialog Box on page 33 for more information. 6.
168 Chapter 15—Scene Memories Recalling Mix Scenes Mix scenes can be recalled using the SCENE MEMORY buttons, the Scene Mem. page, MIDI Program Change messages, or automix. Each of these methods is explained below. Note: When recalling mix scenes, be aware that volume levels may change suddenly as channels are switched on and faders moved. Nobody likes sudden surprises or speaker damage.
Undoing Mix Scene Recalls 169 Using MIDI Program Change Messages MIDI Program Change messages can be used to recall mix scenes, providing snapshot-style mix automation. Program Change messages can be transmitted from a controlling computer, MIDI sequencer, or MIDI keyboard to the 03D to recall mix scenes. For example, most MIDI keyboards transmit a Program Change message when a voice is selected. This could be used to recall the corresponding mix scene on the 03D.
170 Chapter 15—Scene Memories Write Protecting Scene Memories Mix scenes can be protected against accidental erasure by write protecting scene memories. Mix scenes cannot be stored to write-protected scene memories. Scene memory data received as MIDI Bulk Dump data is ignored when the corresponding scene memory is write protected. Scene memories can be write protected individually, or in blocks of 25 (01–25 or 26–50). Write protection settings are made on the Scene Mem. page shown below.
Editing Scene Memory Titles 171 Editing Scene Memory Titles Scene memory titles can be edited at anytime. You don’t have to recall a scene memory to edit its title. Only scene memories that contain data can have their titles edited. Title editing is performed on the Scene Mem. page. 1. Use the [SCENE MEMORY] button to locate the Scene Mem. page shown below. 2. Select the scene memory using the PARAMETER wheel, SCENE MEMORY [π] and [†] buttons, or mouse. 3.
172 Chapter 15—Scene Memories Sorting Scene Memories Scene memories can be sorted using the Sort page. 1. Use [SCENE MEMORY] button to locate the Sort page shown below. 2. Use the PARAMETER wheel or mouse to select a scene memory from the SOURCE list. 3. Use the cursor buttons to move the cursor over to the DESTINATION list. 4. Use the PARAMETER wheel or mouse to select the insertion point. 5. Use the cursor buttons to select the EXECUTE switch. 6. Press the [ENTER] button.
Setting a Fade Time 173 Setting a Fade Time The Fade Time page can be used to specify a common fade time at which fader levels move to their new positions. This can be used to create cross fades between scenes. The fade time can be applied to faders individually. Once the Fade Time parameters have been set, they must be stored to a scene memory before they can be used. When the scene memory is recalled, its fade time settings are used.
174 Chapter 15—Scene Memories Recalling Scene Data Safely When a mix scene is recalled, mix settings that do not match those in the Edit Buffer are updated. In some situations, you may want to retain the mix settings of certain channels. This is possible using the Recall Safe function on the RCL. Safe page. 1. Use the [SCENE MEMORY] button to locate the RCL. Safe page shown below. 2. Use the cursor buttons to select channels and the [ENTER] button to make them safe.
Automix 175 Automix 16 In this chapter... About Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a New Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Enabling Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Time Base . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
176 Chapter 16—Automix About Automix The 03D’s Automix function provides dynamic mix automation referenced to an external timecode source. The external timecode can be either MTC or MIDI Clock. The automix start time can be offset relative to the external timecode. Automix can be used to record and playback fader moves, channel mutes, EQ changes, pan, and more.
About Automix 177 Current Automix The current automix is the currently active automix. When the current automix is stored, its data is written to the selected automix memory. When an automix is recalled, the contents of the selected automix become the current automix. The current automix is remembered when the 03D is turned off. So they don’t have to store the current automix before the 03D is turned off.
178 Chapter 16—Automix Time Counter & Offset Displays The counter display depends on the selected time base: MTC or MIDI CLK. See Setting the Time Base on page 181 for more information. TC Counter The TC counter displays hour, minute, second, and frame information of the incoming MTC signal. An offset can be specified using the OFST parameter. When an offset is set, events in the current automix are moved by the specified amount. See Setting an Automix Offset on page 182 for more information.
About Automix 179 ABORT switch while recording is in progress. Pressing it when recording has already stopped will not work. If memory is low and the undo buffer is disabled, you may not be able to abort playback or recording. In this case, the ABORT switch appears gray. First Mix Scene Each automix starts with a mix scene recall event that recalls the first mix scene. The first mix scene sets the mix settings as required at the beginning of an automix.
180 Chapter 16—Automix Creating a New Automix New automixes are created on the Memory page. When a new automix is created, the contents of the current automix are copied to the undo buffer, presuming that the undo function is turned on. See Undoing Automix Operations on page 200 for more information. 1. Use the [AUTOMIX] button to locate the Memory page. 2. Use the cursor button to select the NEW MIX switch. 3. Press the [ENTER] button. If you are using a mouse, simply click the NEW MIX switch.
Setting the Time Base 181 Setting the Time Base Automix requires an external timecode source. The 03D does not generate timecode internally. Automix can be used with MTC (MIDI Timecode) or MIDI Clock. Timecode signals are input using the MIDI IN or TO HOST connection. See MIDI Connectors & TO HOST on page 232 for more information. The 03D’s time base settings must be set to match the incoming timecode signal. Time base settings are made in the TIME BASE section of the Main automix page. 1.
182 Chapter 16—Automix Setting an Automix Offset By setting an offset, automix events can be moved relative to the incoming timecode or a MIDI Start message. The offset parameters depend on the selected time base. See Setting the Time Base on page 181 for information about setting the time base. 1. Use the [AUTOMIX] button to locate the Main page. 2. Use the cursor buttons to select the OFST fields. 3. Use the PARAMETER wheel to set the OFST fields.
Safe Channels 183 Safe Channels Channels set as safe channels are excluded from automix playback. This allows you to perform real-time adjustments to a channel while automix plays, for example, in a live concert or theater situation. 1. Use the [AUTOMIX] button to locate the Fader Edit page. 2. Use the cursor buttons to select the SAFE CHANNEL switches, and the [ENTER] button to set them. If you are using a mouse, simply click the SAFE CHANNEL switches.
184 Chapter 16—Automix Selecting Parameters for Recording You can select parameters for automix recording and rerecording using the OVERWRITE switches on the Main page. 1. Use the [AUTOMIX] button to locate the Main page. 2. Use the cursor buttons to select the OVERWRITE switches, and the [ENTER] button to set them. If you are using a mouse, simply click the OVERWRITE switches. Parameters are selected for recording when the corresponding switch in highlighted.
Recording an Automix 185 Recording an Automix This section explains how to record an automix. 1. Use the [AUTOMIX] button to locate the Memory page. 2. Create a new automix. See Creating a New Automix on page 180 for more information. 3. Use the [AUTOMIX] button to locate the Main page. 4. Turn on the automix function. See Enabling Automix on page 180 for more information. 5. Set the time base. This should be set to match the time base of the external device that is providing the timecode.
186 Chapter 16—Automix During automix recording, parameter changes, such as EQ, pan, and so on, apply to the channel selected in this step. You can select several channels and record fader moves and mute events for those channels because each channel has it’s own fader and [ON] button. Use the [FADER MODE] buttons to select aux and effects send faders for automix recording. To swap the effect return fader between effects returns 1 and 2, use the [EFFECT 1] and [EFFECT 2] buttons.
Playing Back an Automix 187 • Rerecord events—Rerecording Events on page 188 • Use automix punch in to replace events—Automix Punch-In/Punch-Out on page 189 • Edit fader moves “on the fly”—Editing Fader Moves On-the-fly on page 190 • Edit events off-line—Editing Events Off-line on page 193 • Extract events—Extracting Events on page 198 Playing Back an Automix If the Automix function is enabled, playback starts automatically when the 03D receives timecode or a MIDI Start or Continue message.
188 Chapter 16—Automix Rerecording Events You can rerecord automix events. The overwrite switches allow you to chose which events you want to rerecord. 1. Use the [AUTOMIX] button to locate the Main page. 2. Use the cursor buttons to select the OVERWRITE switches, and the [ENTER] button to set them. See Selecting Parameters for Recording on page 184 for more information. 3. Use the cursor button to select the REC switch, and then press the [ENTER] button.
Automix Punch-In/Punch-Out 189 Automix Punch-In/Punch-Out You can punch-in and punch-out-style recording to rerecord events in an automix. The overwrite switches allow you to choose which events you want to rerecord. 1. Use the [AUTOMIX] button to locate the Main page. 2. Use the cursor buttons to select the OVERWRITE switches, and the [ENTER] button to set them. If you are using a mouse, simply click the OVERWRITE switches.
190 Chapter 16—Automix Editing Fader Moves On-the-fly Fader moves can be edited on the fly. 1. Use the [AUTOMIX] button to locate the Main page. 2. Set the FADER overwrite switch to on (i.e., highlighted). See Recording an Automix on page 185 for information about the overwrite switches. 3. Use the [FADER MODE] buttons to select a fader mode. See Fader Mode on page 13 for more information. 4. Set the EDIT OPTIONs. The EDIT OPTIONs also appear on the Fader Edit page.
Editing Fader Moves On-the-fly 191 7. At the point where you want to edit the fader moves, press the channel’s [SEL] button. 8. Adjust the fader as required. Use the Fader Edit page to check fader positions relative to previously recorded fader data. See the following Fader Edit page for more information. When editing in Trim mode, you cannot operate the faders while they are moving. 9. At the point where you want stop editing, press the channel’s [SEL] button again.
192 Chapter 16—Automix Fader Return & Trim Edit Modes The following illustrations show how the return and trim modes affect levels. Original data These are the original, or previously recorded level changes. Original data & new fader move These are the original level changes with the new fader move shown in gray. The two vertical lines indicate the duration of the fader edit. Trim & Return Off With the fader edit complete, the level changes look like this.
Editing Events Off-line 193 Editing Events Off-line Events in the current automix can be edited off-line using the Event Edit page (this page cannot be accessed during automix playback or recording). 1. Use the [AUTOMIX] button to locate the Event Edit page. Events are listed chronologically in the event list, which shows the time, event type, and the channel that it applies to. 2. Use the cursor buttons to select an EVENT EDIT CHANNEL switch, and then press the [ENTER] button to activate that channel.
194 Chapter 16—Automix 5. To edit individual parameters, use the cursor buttons to select the TIME, EVENT, and CHANNEL parameter of the selected event, and the PARAMETER wheel to edit them. If you are using a mouse, position the mouse cursor over a parameter, press and hold the left mouse button, and then drag the mouse. When an event’s TIME value is changed and the cursor moved to the scroll arrows, events are sorted automatically.
Editing Events Off-line 195 MTC Time Base Event List Example Time Event Channel --:--:--.---:--:--.-: --:--:--.---:--:--.---:--:--.-- RCL SAFE RCL SAFE : RCL SAFE SAFE ENA. SAFE MODE OFF OFF : ON DIS ALL --:--:--.
196 Chapter 16—Automix EQ Frequency Event Value Table Value Frequency Value Frequency Value Frequency Value Frequency 0 21 Hz 30 118 Hz 60 667 Hz 90 3.77 kHz 1 22 Hz 31 125 Hz 61 707 Hz 91 4.00 kHz 2 23 Hz 32 132 Hz 62 749 Hz 92 4.23 kHz 3 24 Hz 33 140 Hz 63 794 Hz 93 4.49 kHz 4 25 Hz 34 149 Hz 64 841 Hz 94 4.75 kHz 5 26 Hz 35 157 Hz 65 891 Hz 95 5.04 kHz 6 27 Hz 36 167 Hz 66 944 Hz 96 5.33 kHz 7 31 Hz 37 177 Hz 67 1.00 kHz 97 5.
Editing Events Off-line 197 EQ Gain Event Value Table Value Gain Value Gain Value Gain Value Gain 0 –18.0 dB 19 –8.5 dB 38 +1.0 dB 57 +10.5 dB 1 –17.5 dB 20 –8.0 dB 39 +1.5 dB 58 +11.0 dB 2 –17.0 dB 21 –7.5 dB 40 +2.0 dB 59 +11.5 dB 3 –16.5 dB 22 –7.0 dB 41 +2.5 dB 60 +12.0 dB 4 –16.0 dB 23 –6.5 dB 42 +3.0 dB 61 +12.5 dB 5 –15.5 dB 24 –6.0 dB 43 +3.5 dB 62 +13.0 dB 6 –15.0 dB 25 –5.5 dB 44 +4.0 dB 63 +13.5 dB 7 –14.5 dB 26 –5.0 dB 45 +4.
198 Chapter 16—Automix Extracting Events Events in the current automix can be deleted or moved and fader levels can be trimmed by a specified amount using the Extract page (this page cannot be accessed during automix playback or recording). 1. Use the [AUTOMIX] button to locate the Extract page. 2. Use the cursor buttons to select an EVENT EDIT CHANNEL switch, and then press the [ENTER] button to activate that channel. If you are using a mouse, simply click the EVENT EDIT CHANNEL switch.
Extracting Events 199 The EVENT SELECT switches are used to select the type of event to be extracted, moved, or trimmed. Switch Parameters FADER Normal CH faders, cross fades CH ON Channel [ON] buttons PAN Pan, balance, surround pan EQ EQ AUX 1 SEND Aux 1 send faders AUX 2 SEND Aux 2 send faders AUX 3 SEND Aux 3 send faders AUX 4 SEND Aux 4 send faders EFF 1 SEND Effect 1 send faders EFF 2 SEND Effect 2 send faders LIB. Channel, EQ, and dynamics library recalls. RCL.
200 Chapter 16—Automix are overwritten. The trim fade times apply only to normal channel faders. The Trim and Extract functions require at least 1K of free memory. Mix scene recalls, effects library recalls, initial safe channel settings, time signature settings, and transmitted MIDI Program Changes cannot be edited on the Extract page. Use the Event Edit page to edit these events. See Editing Events Off-line on page 193 for more information. Automix data in memory is compressed.
Clearing the Undo Buffer 201 • Fader moves are edited “on the fly” (see Editing Fader Moves On-the-fly on page 190) • Automix events are extracted (see Extracting Events on page 198) The UNDO BUF. SIZE window displays the amount of memory being used by the undo buffer. 4. To undo changes to the automix, use the cursor buttons to select the UNDO switch, which is located above the ABORT switch, and then press the [ENTER] button. If you are using a mouse, simply click the UNDO switch.
202 Chapter 16—Automix Storing Automixes Automixes are stored on the Memory page. Up to four automixes can be stored. Automixes and the current automix can be backed up to an external MIDI device, such as a MIDI data filer, using MIDI Bulk Dump. See Bulk Dump on page 242 for more information. 1. Use the [AUTOMIX] button to locate the Memory page. 2. Use the PARAMETER wheel to scroll through the list of automixes.
Recalling Automixes 203 Recalling Automixes Automixes are recalled on the Memory page. You can recall any one of the four automixes. When an automix is recalled, the contents of the current automix are replaced by the contents of the automix being recalled. You may want to store the current automix before recalling an automix. See Storing Automixes on page 202 for more information. 1. Use the [AUTOMIX] button to locate the Memory page. 2. Use the PARAMETER wheel to scroll through the list of automixes.
204 Chapter 16—Automix Swapping the Current Automix When an automix is recalled, and the undo function is on, the previous current automix is copied to the undo buffer. If there’s not enough memory available to recall an automix and have the current automix copied to the undo buffer, the current automix and automix memory can simply be swapped. Swap can also be used when you attempt to store or recall an automix that is too large for the available memory. 1.
Editing Automix Titles 205 Editing Automix Titles Automix titles can be edited at anytime. You don’t have to recall an automix to edit its title. Only automixes that contain data can have their titles edited. Title editing is performed on the Memory page shown below. 1. Use the [AUTOMIX] button to locate the Memory page. 2. Select the automix using the PARAMETER wheel or mouse.
206 Chapter 16—Automix Clearing Automix Memories The contents of the four automix memories can be cleared individually. This can be used to free up memory for further recording, or simply to clear automixes that are no longer required. It can also be used to delete automixes that have been backed up using MIDI Bulk Dump. See Bulk Dump on page 242 for more information. Automix memories are cleared on the Memory page. You don’t have to recall an automix to clear it. 1.
Other Functions 207 Other Functions 17 In this chapter... User Define Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Onboard Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03D Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Checking the Battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
208 Chapter 17—Other Functions User Define Buttons The USER DEFINE buttons are user-programmable buttons that can be configured to send specific MIDI or MMC (MIDI Machine Control) commands when pressed. They can also be used to recall frequently used mix scenes or effects programs, adjust mix settings of the selected channel, or control the Automix function.
User Define Buttons 209 MMC Commands # Function Description 00 ----- (No assign) No function 01 MMC [STOP] Transmit MMC Stop command (F0 7F nn 06 01 F7) 02 MMC [PLAY] Transmit MMC Deferred Play command (F0 7F nn 06 03 F7) 03 MMC [REWIND] Transmit MMC Rewind command (F0 7F nn 06 05 F7) 04 MMC [F.
210 Chapter 17—Other Functions Automix # Function Description 18 Automix [REC] Same as REC switch on Main automix page 19 Automix [PLAY] Same as PLAY switch on Main automix page 20 Automix [STOP] Same as STOP switch on Main automix page 21 Automix [ABORT] Same as ABORT switch on Main automix page Channel Controls # Function Description 22 CH Delay on/off Turn the selected channel’s delay on or off 23 EQ on/off Turn the selected channel’s EQ on or off 24 Dynamics on/off Turn the selected
User Define Buttons 211 selected channel. In the following examples, the PAN LEFT and PAN RIGHT functions are assigned to USER DEFINE buttons [1] and [2].
212 Chapter 17—Other Functions Using the Onboard Oscillator The 03D features a useful, onboard audio oscillator, which can be assigned to the bus outputs, aux sends, stereo output, and onboard effects. It can be used for calibration or diagnostic purposes. Assigning a burst noise waveform to the onboard effects processors, for example, is a convenient way to audition reverb settings. 1. Use the [UTILITY] button to locate the Oscillator page shown below. 2.
03D Preferences 213 03D Preferences Various 03D preferences can be set on the Prefer. page shown below. 1. Use the [UTILITY] button to locate the Prefer. page shown below. 2. Use the cursor buttons to select the parameters and the [ENTER] button to activate them. The preferences are explained below. MOUSE SPEED The mouse speed can be set to one of four speeds. The speed you choose will depend on your personal preference and the amount of physical space available where your mouse is located.
214 Chapter 17—Other Functions Checking the Battery The 03D uses a long-life battery to maintain its internal memories. The battery should last for up to five years. You can check its condition on the Prefer. page. 1. Use the [UTILITY] button to locate the Prefer. page shown below. If the battery monitor indicates that the battery is low, contact your Yamaha dealer about having the battery changed. Do not attempt to change the battery yourself.
Digital I/O 215 Digital I/O 18 In this chapter... Wordclock Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Digital Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Output Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Digital Stereo In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
216 Chapter 18—Digital I/O Wordclock Setup About Wordclocks When several digital audio devices are configured in a system, it is essential that they are all synchronized to a single wordclock source. This is not SMPTE or MIDI timecode synchronization. Wordclock synchronization refers to the synchronization of the digital audio processing circuits inside each digital audio device. Typically, one digital audio device acts as wordclock master and other devices work as wordclock slaves.
Wordclock Setup 217 AUTO NAVIGATE—This function checks all possible wordclock sources and then displays a dialog box recommending a suitable source. Note, however, that this function is not perfect and in some situations it may not be able to recommend a suitable source. The dialog box shown here appears when this function is selected. MANUAL—These options allow you to select the wordclock source. Internal wordclock at 44.
218 Chapter 18—Digital I/O Wordclock Connections & Termination For correct operation it is essential that wordclock cabling be terminated correctly. The 03D has a wordclock termination ON/OFF (75Ω) switch on the rear panel. Wordclock is a TTL signal, and IN and OUT connections use BNC connectors. Three wordclock distribution examples are shown below. Note the 75Ω wordclock terminator switch settings. 1.
Digital Stereo Out 219 Digital Stereo Out The 03D features both AES/EBU and COAXIAL-type digital stereo outputs. They output the same digital audio signal but in different formats. The XLR-3-32-type connector outputs AES/EBU format digital audio, while the COAXIAL connector outputs Consumer format digital audio. DIGITAL STEREO OUT AES/EBU COAXIAL 1 3 2 In addition to the stereo output signal, the Stereo bus signals can be selected as the source for these outputs. 1.
220 Chapter 18—Digital I/O Output Dither The 03D’s AES/EBU connection outputs digital audio data with a wordlength of 24 bits. The Coaxial connection outputs digital audio data with a wordlength of 20 bits. When a high-resolution digital audio signal is transferred to a lower-resolution system, some of the least-significant bits (LSB) are ignored by the receiving system.
Digital Stereo In 221 Digital Stereo In The 03D features both AES/EBU and COAXIAL-type digital stereo inputs. Only one connection can be used at a time. The XLR-3-31-type connector accepts AES/EBU format digital audio, while the COAXIAL connector accepts Consumer format digital audio. Signals input here can be fed to the stereo input channel or directly to the Stereo bus for stereo cascade operation. DIGITAL STEREO IN AES/EBU COAXIAL 2 1 3 1. Use the [DIO] button to locate the D.
222 Chapter 18—Digital I/O Digital Input Monitor The DIO Monitor page is used to monitor the channel status of IEC958 digital input signals (AES/EBU or COAXIAL) connected to the DIGITAL STEREO IN and YGDAI card. The DIGITAL STEREO IN can be set to either AES/EBU or COAXIAL on the D.in Setup page. See Digital Stereo In on page 221 for more information. The YGDAI input monitor works only when an AES/EBU CD8-AE-S YGDAI card is installed. 1. Use the [DIO] button to locate the Monitor page shown below.
YGDAI Cards 223 YGDAI Cards About the YGDAI System The YGDAI (Yamaha General Digital Audio Interface) system and optional YGDAI interface cards provide digital I/O support for several industry standard digital audio formats and protocols. Using a YGDAI card, the 03D’s bus, aux, and input channel signals 1–16 can be output to other digital audio equipment, including digital multitrack recorders. The following YGDAI cards are available.
224 Chapter 18—Digital I/O Multitrack Recorders The 03D’s YGDAI slot provides eight digital inputs and outputs, and can be used to connect modular digital multitrack recorders, such as the Alesis ADAT or Tascam DA-88. The digital outputs can be any combination of bus outs, aux sends, and direct outputs from the first 16 input channels. So even though the 03D has only four bus outputs, up to eight tracks can be recorded simultaneously.
CH INPUT 1-16 CH INPUT 17-24 INPUT (YGDAI) not changed DeEmphasis Meter ON ATT Meter Same as 1, 2 PAN BUS AUX EFF ST CUE 1234 1234 12 LR LR Ch8 Ch16 Ch7 Ch15 Ch2 Ch10 from Ch1 Ch9 not changed not changed Meter to YGDAI Meter from AUX OUT to YGDAI not changed from BUS OUT not changed not changed not changed DITHER DITHER CH OUTPUT 1-8 AUX OUT BUS OUT ST OUT OUTPUT (YGDAI) YGDAI Cards 225 YGDAI Block Diagram 03D—Owner’s Manual
226 Chapter 18—Digital I/O Installing YGDAI Cards Warning: Turn off the 03D before installing a YGDAI card. Failure to do so is an electrical shock hazard, and may damage the 03D or card. 1. Turn off the 03D. 2. Undo the four fixing screws and remove the slot cover, as shown below. Keep the cover in a safe place for future use. 3. Insert the card into the slot as shown below. Push it in all the way so that the card’s connector mates correctly with the internal 03D connector. 4.
Cascading the 03D 227 Cascading the 03D The CD8-CS Cascade Kit allows two 03Ds to work together as one 32-input mixing console, with both 03Ds sharing a common bus system (inputs 17–24 are not available when a cascade card is installed). The 03D can also be cascaded with the Yamaha 02R Digital Recording Console, which is an 8-bus console. The CD8-CS Cascade Kit contains two cards and one cable. This is all that is required to cascade two 03Ds or a 03D and 02R together.
228 Chapter 18—Digital I/O 2. Use the cursor buttons to select the switches and controls and the [ENTER] button and PARAMETER wheel to set them. If you are using a mouse, simply click and drag the parameters. SELECT—These four switches are used to route the eight bus signals from the cascade card to the 03D’s four buses. If you’re cascading two 03Ds together, these switches should be set so that cascade bus 1 routes to 03D bus 1, cascade bus 2 routes to 03D bus 2, and so on.
Cascading the 03D 229 Using Solo with Cascade When two consoles are cascaded together, the Solo buses of both consoles are connected. Solo mode is engaged using the [SOLO] button on the master console. The [SOLO] button on the slave console is essentially redundant. Also, solo Status settings must be made on the master console. Listen, Sel mode, and safe channel settings, however, are made on the respective console. 1. Set the Solo Status on the Solo Setup page of the cascade master.
MIDI 231 MIDI 19 In this chapter... MIDI and the 03D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Connectors & TO HOST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI & TO HOST Data Receive Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI/HOST Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 19—MIDI MIDI and the 03D The 03D works with MIDI in the following ways: • Program Changes for mix scene recall (see Program Change Assign on page 239) • Control Changes for real-time mix parameter control (Control Change Assign on page 240) • System Exclusive for parameter control (System Exclusive Parameter Control on page 241) • Bulk Dump for data backup and transfer between 03Ds (see Bulk Dump on page 242) • MTC (MIDI Timecode) and MIDI Clock for automix synchronization (see Setting the Tim
MIDI & TO HOST Data Receive Indicators 233 In MULTIPORT mode, the 03D’s general MIDI functions work with MIDI messages received on Port 1. Although you can select different ports for MTC, MIDI Real-Time messages, MMC, Fader Start, and the four MIDI Remote pages. Port 2 data is echoed through to the MIDI OUT for connection to other MIDI gear. The 03D Multiport mode does not support fast MIDI, which is used by some multiport devices and software.
Chapter 19—MIDI In this case, MIDI messages received at the TO HOST connection are echoed through to the MIDI OUT connector according to the ECHO parameters on the MIDI Setup page. See MIDI Setup on page 235 for more information. While MIDI messages received at the 03D’s MIDI IN pass through the 03D to the controlling computer via the TO HOST connection.
MIDI Setup 235 selecting the SETUP switch and then pressing the [ENTER] button. If you are using a mouse, simply click the SETUP switch. The following dialog box appears. These setting are really intended for those who write their own computer programs to control the 03D. You should not change them unless you know what you are doing. If you are using a standard MIDI sequencer program, use the following settings. Computer Type Macintosh Windows PC BAUD RATE 31.
Chapter 19—MIDI Control Change messages. Rx determines whether or not the 03D receives Control Change messages. OMNI determines whether or not the 03D receives Control Change messages on all 16 MIDI Channels. When OMNI is on, Control Change messages are received regardless of the MIDI CHANNEL Rx parameter settings. ECHO determines whether or not Control Change messages received on the specified MIDI Channel (Rx CH) are echoed to the MIDI OUT.
MIDI Setup 237 OTHER COMMANDS—This switch determines whether or not MIDI data other than that set using the PROGRAM CHANGE, CONTROL CHANGE, PARAMETER CHANGE, and REAL TIME MSG. & MTC switches is echoed. Operation of this echo switch depends on the HOST INTERFACE setting on the MIDI/HOST page (MIDI/HOST Setup on page 233). When the HOST INTERFACE is set to STANDARD I/F, this switch affects data echoed from the MIDI IN to the MIDI OUT.
Chapter 19—MIDI MIDI Monitor The MIDI Moni. page is used to monitor data received at the MIDI IN and TO HOST connections. Data is displayed in a hexadecimal format. 1. Use the [UTILITY] button to locate the MIDI Moni. page shown below. MIDI data received at the MIDI IN connection is monitored in the MIDI INPUT MONITOR window. Data received at the TO HOST connection is monitored in the TO HOST INPUT MONITOR window. Status bytes with an MSB (Most Significant Byte) of 1 are highlighted.
Program Change Assign 239 Program Change Assign The PGM Asgn. page is used to assign 03D scene memories to MIDI Program Changes. Program Change messages can be used to recall 03D mix scenes. See Using MIDI Program Change Messages on page 169 for more information. Scene memories can be assigned to Program Change messages from 1 to 128. Initially, scene memories 1 to 50 are assigned sequentially to Program Changes 1 to 50. Scene memory 00 is assigned to Program Change 51.
Chapter 19—MIDI Control Change Assign The CTL Asgn. page is used to assign 03D parameters to MIDI Control Changes. Control Changes can be used to control 03D mix settings in real time. When an 03D mix parameter is adjusted, a Control Change messages is transmitted. This message could be recorded to a MIDI sequencer or controlling computer. When the sequence is played back, the 03D parameter is adjusted automatically.
System Exclusive Parameter Control 241 initialize. The P.MIX 01 ARRANGEMENT option is used to configure Control Changes for use with a Yamaha Programmable Mixer 01 Digital Mixer. A parameter to Control Change assignment table is provided on page 268. The parameter to Control Change assignment table can be backed up to an external MIDI device, such as a MIDI data filer, using MIDI Bulk Dump. See Bulk Dump on page 242 for more information. Pair, group, library recall parameters, etc.
Chapter 19—MIDI Bulk Dump From the Bulk page, 03D data can be dumped to and from other MIDI devices, such as a MIDI data filer, controlling computer, or another 03D. This can be used to backup 03D data, or transfer data between 03Ds. 1. Use the [MIDI] button to locate the Bulk page shown below. 2. Use the cursor buttons to select a data type switch, and then press the [ENTER] button. If you are using a mouse, simply click the data type switch. 3.
MIDI Remote 243 MIDI Remote The MIDI Remote function allows you to control other MIDI equipment from the 03D. Connection can be made using MIDI IN/OUT or the TO HOST connection. Remote equipment can be controlled using the 03D faders, [ON] buttons, cursor buttons, and PARAMETER wheel. The following MIDI equipment can be controlled from the 03D.
Chapter 19—MIDI Assigning Devices to MIDI Remote Pages Four MIDI Remote pages are available and each can be assigned to one device. 1. Use the [MIDI REMOTE] button to locate the Setup page shown below. 2. Use the cursor buttons to select a page’s rotary control, and then use the PARAMETER wheel to select a device. If you are using a mouse, position the mouse cursor over a rotary control, press and hold the left mouse button, and then drag the mouse. 3.
MIDI Remote 245 Programmable Mixer 01, 02R, 03D Pages The same remote control functions are available for the Programmable Mixer 01, 02R, and 03D. The following table lists the mixer parameters that can be controlled from the 03D. 03D Control Programmable Mixer 01, 02R, 03D Parameter Channel faders Channel faders [ON] buttons Channel ON/OFF Display functions Pan Mix scene recall 1. Use the [MIDI REMOTE] button to locate the P.Mix01, 02R, or 03D page.
Chapter 19—MIDI ProR3, REV500 Pages The following table lists the reverb parameters that can be controlled from the 03D. 03D Control Channel faders Display functions ProR3, REV500 Parameter Reverb parameters Reverb parameters Reverb program recall 03D faders control the same parameters as those on the display. 1. Use the [MIDI REMOTE] button to locate the ProR3 or REV500 page. To recall a reverb program, select the PGM NO. parameter and use the PARAMETER wheel to choose a program.
MIDI Remote 247 GM Tone Generator Page The following table lists the GM tone generator parameters that can be controlled from the 03D. MIDI Channels do not have to be set. 03D Control Channel faders GM Tone Generator Parameter Channel levels Pan Display functions Expression Two assignable Control Changes 1. Use the [MIDI REMOTE] button to locate the GM page. The 03D display shows Control Change 1, Control Change 2, Expression, and Pan controls for channels 1 to 8 or channels 9 to 16.
Chapter 19—MIDI XG Page The following table lists the XG tone generator parameters that can be controlled from the 03D. 03D Control Channel faders XG Tone Generator Parameter Part levels Reverb levels Chorus levels Display functions Variation levels or Variation Assign switches Pan Reverb, Chorus, and Variation return levels Master volume 1. Use the [MIDI REMOTE] button to locate the XG page. 2. Set the MIDI Channel to match the device number of the XG tone generator.
MIDI Remote 249 Pro Tools Page The following table lists the Pro Tools parameters that can be controlled from the 03D. MIDI Channels do not have to be set. 03D Control Channel faders (1–8) [ON] buttons Pro Tools Parameter Track levels Depends on the selected mode Start, Stop, Record, Fast Forward, Rewind Display functions Locate point recall Pan Send 1, Send 2 1. Use the [MIDI REMOTE] button to locate the Pro Tools page. 2. In Pro Tools, choose Peripherals from the Setups menu. 3.
Chapter 19—MIDI User Define Page The following table lists the 03D controls that can be used to control user-defined parameters. 03D Control Parameter Channel faders Output a user-defined command (31 byte) [ON] buttons (OFF to ON) Output a user-defined command (16 byte) [ON] buttons (ON to OFF) Output a user-defined command (16 byte) 1. Use the [MIDI REMOTE] button to locate the User Def. page.
Troubleshooting Symptom The 03D cannot be turned on! Advice Make sure that the power cord is connected to a suitable AC wall outlet. Make sure that the 03D POWER switch is set to the ON position. If you still cannot turn on the 03D, contact your Yamaha dealer. Input channel signal level is very low! Make sure that the GAIN control and PAD switch (channels 1 to 8) are set correctly. See Gain and Pad on page 37. Use the Meter pages to check the levels. See Metering on page 79 for more information.
Symptom Advice Configured a stereo pair but the signal appears to be in mono! Make sure that the odd channel is panned hard left, and the right channel is panned hard right. Configured a stereo pair but the signal sounds out of phase! Make sure that the phase of both input channels in the stereo pair is set the same. Phase settings are not linked when channels are configured as a stereo pair. See Phase on page 39 for more information.
–190 –180 –170 –160 –150 –140 –130 –120 –110 –100 –90 –80 –70 –60 –50 –40 –30 –20 –10 +10 +4 0 0 +24 +20 –210 –200 –190 –180 –170 –160 –150 –140 –130 –120 –110 –100 –90 _80 –70 –60 –50 –40 –30 –20 –10 dB dB Analog 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 Bit Digital Gain Insert Analog [+4dB] [+18dB] GAIN MAX, PAD OFF Nominal Input [–60dB] GAIN MIN., PAD ON [+10dB] Nominal Input Max.
Display Messages Message Meaning AUTOMIX MEMORY FULL! The automix memory is full. Delete some unnecessary data or back up your data to a MIDI data filer. AUTOMIX REC ABORTED. Automix recording was aborted and the data was discarded. If the automix undo buffer is set to ENABLE, you can undo the operation. AUTOMIX REC STOPPED! Automix recording was stopped. AUTOMIX REC TIME EXCEEDED! The total recording time for automix has been exceeded. AUTOMIX RUNNING.
Display Messages Message 255 Meaning TC TYPE MISMATCH! Timecode that is different from the automix Time Base setting has been input. The automix may not play back correctly. Review and correct the setting. TO HOST: DATA FRAMING ERROR! An incorrect signal may have been input to the TO HOST connector. TO HOST: DATA OVERRUN! An incorrect signal may have been input to the TO HOST connector. TO HOST: DATA PARITY ERROR! An incorrect signal may have been input to the TO HOST connector.
Security Cover In some situations you may want to fit a protective cover over the analog controls across the top of the 03D. Although Yamaha do not make a cover, the 03D has four fixing holes to secure a user-made cover. If you fit such a cover, make sure that the fixing screws do not protrude inside the 03D by more than 12 mm. The fixing holes accept M3-size machine screws, and are spaced 40.0 mm vertically, 411.6 mm horizontally.
General Specs 257 Appendix B: Specifications General Specs Sampling rate Internal: 48 kHz/44.1 kHz External: 32 kHz (–6%) to 48 kHz (+6%) Signal delay Less than 2.5 ms fs=48 kHz, CH IN to ST OUT Dither 16 to 24 bit Fader 60 mm stroke motorized fader × 19 Fader resolution 128 steps ST OUT: +6 to –90 dB, –∞ dB others: +6 to –72 dB, –∞ dB Total harmonic distortion (THD) Less than 0.1% 20 Hz to 20 kHz, +14 dB 600Ω, ST IN to ST OUT Less than 0.
CHANNEL CONTROL button EQ LOW, LO-MID, HI-MID, HIGH, DELAY/ø, DYNAMICS, PAN/ROUTING, VIEW SET UP button UTILITY, MIDI, SCENE MEMORY, DIO, GROUP/PAIR, SOLO SETUP, AUTOMIX SOLO button SCENE MEMORY button STORE, RECALL, INC+, DEC–, UNDO/REDO USER DEFINE button 1, 2, 3, 4 CURSOR button LEFT, RIGHT, UP, DOWN PARAMETER wheel 24-click rotary encoder ENTER button Display LCD Graphical LCD, 320 × 240 dots with backlight and contrast control Meters STEREO OUT meter, 2 × 12 segment LED bargraphs LE
Channel Specs 259 Channel Specs Mono input channel channels 1 to 24 (channels 17 to 24: YGDAI card) Analog section PHANTOM switch +48 V, CH 1 to 8 GAIN control 44 dB (–16 to –60 dB), channel 1 to 8 30 dB (+10 to –20 dB), channel 9 to 16 PAD switch 26 dB, channels 1 to 8 INSERT channel 1 & 2 AD convertor 20-bit linear 64-times oversampling Digital section Attenuator 0 to –96 dB 1 dB step Delay Delay/Slap/Echo (Delay time: 0 to 200 ms, fs=48 kHz) Pre/Post AUX1, AUX2, AUX3, AUX4, EFFECT1, EF
Stereo digital input channel De-emphasis Auto de-emphasis filter (15 µ s/50 µ s) FLIP switch Normal (ST IN: analog) FLIP (DIGITAL STEREO IN: digital) DIGITAL STEREO IN: AES/EBU, COAXIAL Cascade ON/OFF, ON: assign to ST bus Effect return channel 1,2 Equalizer 4-band parametric equalizer Dynamics ON button ON/OFF EFFECT1, EFFECT2 Fader 60 mm stroke motorized fader Solo ON/OFF AFL/PFL Balance Dual pan Individual/Gang/Inverted Gang Bus assign BUS1, BUS2, BUS3, BUS4, ST L-R Meter LCD Pre/
Channel Specs 261 AUX output channel AUX OUT 1 to 4 Digital section Equalizer 4-band parametric equalizer Fader 60 mm stroke motorized fader Dynamics ON/OFF Monitor ON/OFF AFL/PFL Meter LCD Analog section DA convertor 18-bit linear 8-times oversampling Monitor output channel Digital section MONI TRIM control/SOLO TRIM control (SOLO ON) MONO switch ON/OFF Analog section DA convertor 20-bit linear 8-times oversampling Output select switch SOLO/2TR IN LEVEL control MONITOR OUT PHONES REC OU
Memory/Library Specs Type Total Preset User Scene Memories 51 1 50 Channel Library 51 2 49 Effects Library 96 64 32 Dynamics Library 80 40 40 EQ Library 80 40 40 EQ Specs (G)ain (F)requency1 High ±18 dB 21 Hz–20.1 kHz LPF, 10–0.1, shelving High-Mid ±18 dB 21 Hz–20.1 kHz 10–0.1 Lo-Mid ±18 dB 21 Hz–20.1 kHz 10–0.1 Low ±18 dB 21 Hz–20.1 kHz HPF, 10–0.1, shelving Band (Q) 1. Frequency at 48 kHz or 44.1 kHz sampling rate.
Analog Inputs Specs 263 Analog Inputs Specs Connection Actual PAD GAIN Load Switch Control Impedance OFF Input Channels 1–8 3 kΩ –16 ON Input Channels 9–16 ST IN (L, R) Sensitivity1 50–600 Ω Mics –28 dB & (30.9 mV) 600 Ω Lines –2 dB (616 mV) –20 — Input level –72 dB (194 µV) –60 OFF For Use With Nominal 10 kΩ 600 Ω Lines Nominal Maximum Before Clipping –60 dB (775 µV) –46 dB XLR-3-31 type (3.
Analog Outputs Specs Output Level Actual Source Impedance For Use With Nominal Nominal Maximum Before Clipping STEREO OUT (L, R) 150 Ω 600 Ω Lines +4 dB (1.23 V) +18 dB (6.16 V) XLR-3-32 type (balanced)1 BUS OUT (1–4) 150 Ω 10 kΩ Lines +4 dB (1.23 V) +18 dB (6.16 V) TRS phone jack (balanced)2 AUX OUT (1–4) 150 Ω 10 kΩ Lines +4 dB (1.23 V) +18 dB (6.16 V) TRS phone jack (balanced)2 Insert Out (CH1, 2) 600 Ω 10 kΩ Lines +4 dB (1.23 V) +18 dB (6.
Digital Inputs Specs 265 Digital Inputs Specs Connection DIGITAL STEREO IN1 Format Data Length Level Connector AES/EBU AES/EBU 24 bit RS-422 XLR-3-31 type COAXIAL IEC-958 Consumer Use 24 bit 0.5 Vpp (75Ω) Phono 1. De-emphasis is applied automatically if the input signal has been emphasized. Digital Outputs Specs Connection DIGITAL STEREO OUT Format Data Length Level Connector AES/EBU AES/EBU1 24 bit3 RS-422 XLR-3-32 type COAXIAL IEC-958 2 Consumer Use 20 bit3 0.
03D Dimensions W: 460 362 116.5 D: 516.5 36 H: 210.5 Specifications and external appearance are subject to change without notice. For European Model Purchaser/User information specified in EN55103-1 and EN55103-2. Inrush Current: 5A Conformed Environment: E1, E2, E3 and E4.
Scene Memory to Program Change Table 267 Appendix C: MIDI Scene Memory to Program Change Table Program Change # Initial Scene # 1 User Scene # Program Change # Initial Scene # 01 44 2 02 3 03 4 5 User Scene # Program Change# Initial Scene # 44 87 — 45 45 88 — 46 46 89 — 04 47 47 90 — 05 48 48 91 — 6 06 49 49 92 — 7 07 50 50 93 — 8 08 51 00 94 — 9 09 52 — 95 — 10 10 53 — 96 — 11 11 54 — 97 — 12 12 55 — 98 — 13 13 56 — 99 —
Parameter to Control Change Table Parameter Control Change # 03D Default 0 NO ASSIGN Programmable Mixer 01 Arrangement FADER CHANNEL CH 1 1 FADER CHANNEL CH 1 FADER CHANNEL CH 2 2 FADER CHANNEL CH 2 FADER CHANNEL CH 3 3 FADER CHANNEL CH 3 FADER CHANNEL CH 4 4 FADER CHANNEL CH 4 FADER CHANNEL CH 5 5 FADER CHANNEL CH 5 FADER CHANNEL CH 6 6 FADER CHANNEL CH 6 FADER CHANNEL CH 7 7 FADER CHANNEL CH 7 FADER CHANNEL CH 8 8 FADER CHANNEL CH 8 FADER C
Parameter to Control Change Table 269 Parameter Control Change # Programmable Mixer 01 Arrangement 03D Default 38 PAN CHANNEL CH 1 ON CHANNEL ST IN 39 PAN CHANNEL CH 2 ON CHANNEL RETURN1 40 PAN CHANNEL CH 3 ON CHANNEL RETURN2 41 PAN CHANNEL CH 4 ON CHANNEL MAS AUX1 42 PAN CHANNEL CH 5 ON CHANNEL MAS AUX2 43 PAN CHANNEL CH 6 ON CHANNEL MAS ST 44 PAN CHANNEL CH 7 PAN CHANNEL CH 1 45 PAN CHANNEL CH 8 PAN CHANNEL CH 2 46 PAN CHANNEL CH 9 PAN CHAN
Parameter Control Change # 03D Default Programmable Mixer 01 Arrangement 80 ON CHANNEL CH17 FADER EFF1 SEND CH13 81 ON CHANNEL CH18 FADER EFF1 SEND CH14 82 ON CHANNEL CH19 FADER EFF1 SEND CH15 83 ON CHANNEL CH20 FADER EFF1 SEND CH16 84 ON CHANNEL CH21 FADER EFF1 SEND ST IN 85 ON CHANNEL CH22 FADER EFF2 SEND CH 1 86 ON CHANNEL CH23 FADER EFF2 SEND CH 2 87 ON CHANNEL CH24 FADER EFF2 SEND CH 3 88 ON CHANNEL ST IN FADER EFF2 SEND CH 4 89 ON
MIDI Data Format MIDI Data Format 271 1.2 System Exclusive Messages 1.2.1 Bulk Dump/Request 1 Transmit/Receive Data 1.1 Channel Messages 1.1.1 Note On/ Note Off When FADER START is on, Note-on messages will be transmitted when odd numbered faders from 1 through 15 are raised from -infinity (velocity 127) or lowered to -infinity (velocity 0). CH 1 3 5 7 9 11 13 15 Note No. 37 (25h) 38 (26h) 39 (27h) 40 (28h) 41 (29h) 42 (2Ah) 43 (2Bh) 44 (2Ch) Transmission is always on. Reception can be specified.
2. Transmission Condition 4. Parameter Change & Request Format MIDI TRG ON NOTE ON/OFF $9nH FD Tx CH? Parameter Change & Request (basic format) CTL Rx ON CONTROL CHANGE $BnH PGM Rx ON MIDI Tx CH? STATUS ID No.
MIDI Data Format Parameter Change (bit operation for type 0x48:edit buffer) STATUS ID No. SUB STATUS 11110000 F0 01000011 43 0001nnnn 1n MODEL ID PARAM TYPE DATA 00111101 01001000 0000aaaa 0aaaaaaa 0ddddddd EOX 3d 48 aa0 aa1 dd : : 11110111 F7 System Exclusive Message Manufacturer's ID No. (YAMAHA) parameter change n=0-15 (Device Channel No.
5. Bulk Dump & Request Format Equalizer Library Bulk Dump Request Format How to get check sum, adding data from BYTE COUNT (LOW) to just before the CHECK SUM, multiplying -1 (2's complement), resetting MSB (bit7). check sum =( -sum) & 0x7F STATUS ID No. SUB STATUS FORMAT No. Scene Memory Bulk Dump Format STATUS 11110000 F0 ID No. 01000011 43 SUB STATUS 0000nnnn 0n FORMAT No.
MIDI Data Format Effect Library Bulk Dump Request Format STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000010 00110000 00110011 01000101 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 42 30 33 45 mm F7 System Exclusive Message Manufacturer's ID (YAMAHA) n=0-15 (Device Channel No.1-16) Universal Bulk Dump 'L' 'M' '' '' '8' 'B' '0' '3' 'E' m=0-95 (Effect Library No.
Setup Memory Bulk Dump Format STATUS 11110000 F0 ID No. 01000011 43 SUB STATUS 0000nnnn 0n FORMAT No. 01111110 7E 368 BYTE COUNT(HIGH)000000(358+10)bytes 10 02 BYTE COUNT(LOW) 01110000 70 01001100 4C 01001101 4D 00100000 20 00100000 20 00111000 38 01000010 42 00110000 30 00110011 33 DATA NAME 01010011 53 00100000 20 DATA 0ddddddd ds : : 0ddddddd de CHECK SUM 0eeeeeee ee EOX 11110111 F7 System Exclusive Message Manufacturer's ID No. (YAMAHA) n=0-15 (Device Channel No.
MIDI Data Format 6.
YAMAHA [Digital Mixing Console—Internal Parameters] Date: 05 Feb. 1997 MIDI Implementation Chart Model: 03D Function... Version: 1.
Books 279 Appendix D: Resources Books • Introducing Digital Audio, Ian R Sinclair, second edition, PC Publishing, 1992. A good all-round introduction to digital audio. Second edition explains oversampling and bitstream techniques. • Principles of Digital Audio, Ken C. Pohlmann, Howard W.Sams & Co, 1989. Covering all aspects of digital audio, this book is ideal for the newcomer who wants to know the basics—plus a bit more. • The Art of digital Audio, John Watkinson, Focal Press (Butterworth Group), 1990.
281 Glossary A/D converter—An electronic device that converts analog signals into digital signals. AES/EBU format—The digital audio format established by the AES (Audio Engineering Society) and EBU (European Broadcasting Union) that is used to transfer digital audio data between professional equipment. Two channels of digital audio (left/odd and right/even) are carried in one connection, usually an XLR-type connection.
282 Edit buffer—The internal RAM area that stores the current mix settings (i.e. the current mix scene). When a mix scene is stored, the Edit Buffer data is copied to the selected scene memory. When a mix scene is recalled, the data of the selected scene memory is copied back to the Edit Buffer. EFF—Abbreviation for effect. Emphasis—A technique that was used to improve the noise performance of the first generation of AD/DA converters.
283 MMC (MIDI Machine Control)— A set of MIDI messages that can be used to control audio and video tape machines, disk recorders, and other studio equipment. Typical MMC commands include Stop, Play, Rewind, and Pause. Modulation—In general audio, using an LFO (low frequency oscillator) to control a signal’s frequency (pitch) or amplitude (level). The LFO frequency is set using modulation frequency parameters and the amount of LFO control is set using modulation depth parameters.
284 Pre fader—A point in the signal path before a fader. Aux send controls are often configured as pre-fader sends, which means the signal for the aux send is sourced before the channel fader. The advantage of this is that the aux send signal can be controlled independently of the main channel signal. Pre-fader aux sends are often used for foldback mixes. See also PFL. Program Change—A type of MIDI message that is used to recall programs or patches. Q—The unit used to measure an EQ circuit’s selectivity.
Index Index Symbols +48 V phantom 37 Numerics 02R cascade with 03D 227 MIDI Remote 245 03D benefits 4 block diagram 21 configuration 4 dimensions 266 features 3 initializing 214 level diagram 253 MIDI 232 MIDI Remote 245 preferences 213 rear panel 16 sonic performance 4 top panel 10 2+2 surround pan 63 2TR IN connector 16 using 77 3+1 surround pan 63 3+2+1 surround pan 64 44.
286 Index Cascade block diagram 229 configuring 227 delay compensation 228 digital stereo input 221 Cascade page 227 Cascade YGDAI card 223 CH 1-16 page, meters 79 CH 17-24 page, meters 80 CH Delay page 40, 86, 100 CH View page 108 CH, definition 281 Channel control buttons 13 Channel delay using 40 viewing settings 41 Channel library about 104 Bulk Dump 242 recalling programs 106 storing programs 105 titling programs 107 Channel specs 259 Channel status, digital inputs 222 Channel view 108 Checking level
Index MIDI 235 Edit buffer about 164 definition 282 Editing extracting events 198 off-line 193 EFF, definition 282 Eff.
288 Index K Key in, dynamics 145 L LCD about 12 definition 282 LED, definition 282 Level diagram 253 Library channel 104 dynamics processors 147 effects 125 EQ 48 user define buttons 209 Library page, channels 104, 105, 106, 107 Library specs 262 Line-level signal, definition 282 Lo-mid EQ 47 Low EQ 47 Low pass filter (EQ) 47 Low-level signal, definition 282 LPF 47 LSB, definition 282 M M button 30 Macintosh, TO HOST 235 Main page 176, 181, 182, 184, 185, 188, 189, 190, 200, 201 Memory page 180, 185, 20
Index Nyquist theorem, definition 283 O Off-line editing, automix 193 Offset automix 182 display 178 Omni definition 283 MIDI 235 ON buttons about 15 aux sends 93 bus outs 99 input channels 42 mixing layer 31 stereo output 85 Onboard dynamics. See Dynamics processors Onboard effects.
290 Index S Safe channels automix 183 scene memories 174 solo 77 Sample delay 40 Sampling rate definition 284 display 217 setting 217 synchronization 216 Scene Mem.
Index Macintosh 235 multiport 234 operation 232 port setup 233 standard I/F 233 Top panel 10 Trajectory window, surround pan 66 Transmit channel, MIDI 235 Transmit interval 242 Transport controls, automix 178 Tremolo 132 Trim fader edit 190 modes 192 Troubleshooting 251 U Undo automix 200 automix buffer 201 mix scene recalls 169 Unity gain, definition 284 User Def.
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