The 01V has two stereo multi-effects processors onboard: Effect 1 and Effect 2. These processors provide a wide range of quality effects, including reverb, delay, chorus, ange, amp simulator, and more. There are 34 different effects types available. The effects processors are fed by the Effect 1 and Effect 2 buses, and the processed signals are returned through the effects return channels. Effects can be applied to input channels 1 through 24. Effects return 1 can be fed to Effect 2, and Effects return 2 can be fed to Effect 1. Effects settings can be stored in the effects library as programs, or with all mix settings in mix scenes. The effect library consists of 42 preset programs and 57 user programs. User programs allow you to store your own effects programs, which can be titled for easy identication. See Effects Library on page 132 for more information. External effects processors can be patched into the 01V using the aux sends.
Onboard Dynamics Processors
Dynamics processors, providing compressor, gate, ducking, expander, and compander, are available on input channels 1 through 16, the stereo output, and the aux sends. Thats equivalent to 22 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. Dynamics settings can be stored in the dynamics library as programs, or with all mix settings in mix scenes. The dynamics library consists of 40 preset programs and 40 user programs. User programs allow you to store your own dynamics programs, which can be titled for easy identication. See Dynamics Library on page 173 for more information.
Option I/O & Digital I/O
The 01V features a single slot for an optional Option I/O card, providing eight digital inputs (input channels 17 through 24) and eight assignable digital outputs. Option I/O provides a direct digital connection to modular digital multitrack recorders, with cards for the following formats: ADAT, Tascam, and AES/EBU. An Option I/O card offering four analog outputs is also available. See About Option I/O Cards on page 216 for more information. 01V Option I/O cards are not interchangeable with the YGDAI cards used by the Yamaha 02R and 03D Digital Recording Consoles, such as the CD8-AT. The Coaxial DIGITAL STEREO IN and OUT allow direct connection to stereo digital recorders and other digital equipment. Digital stereo signals can be routed to the Stereo bus for cascade operation, or to input channels 13/14 for mixing and processing. See Digital Stereo In on page 213 for more information.
Easy-to-Learn GUI Interface

G 38 Piano High F Q

5.5 dB 187 Hz 10 L.SHELF
Use for the high range of a piano sound recorded in stereo.

G 39 Fine-EQ Cass F Q

1.5 dB 74 Hz PEAKING
Use when recording to or from cassette tape to make the sound clearer.

G 40 Narrator F Q

4.0 dB 105 Hz 4
Use when recording narration.
Solo, Monitors & Meters
About Monitor & Solo. Monitor Outputs. Phones. Two-track Input (2TR IN). Monitor Setup. Using Monitor. Monitor Block Diagram. Solo Setup. Using Solo. Solo Block Diagram. Metering Signal Levels. Main Stereo Meters. Peak Hold. Setting the Metering Point. Option I/O Meters (input channels 1724). Effects Send Meters. 85 86
Chapter 7Solo, Monitors & Meters

About Monitor & Solo

Flexible monitoring and solo functions mean the 01V can be used in a wide range of applications. All inputs and outputs can be monitored pre or post fader via the monitor out or phones. Recording Solo and Mixdown Solo modes allow quick monitoring of inputs channels and effects returns. Monitor and solo parameters appear on SETUP page 2 shown below.
When no channels are soloed, the signal source for the monitor out and phones is selected using the MONITOR SETUP parameters in the top half of this page. Selectable sources are: the stereo output, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Signals can be sourced pre-fader (PFL) or post-fader (AFL). Other parameters include monitor trim and a mono/stereo switch. See Monitor Setup on page 78 for more information. The SOLO SETUP parameters in the bottom half of this page are used to congure the Solo function. Input channels 1 through 24 and the effects returns can be soloed using the [SOLO] buttons. Two Solo modes are available: Recording Solo and Mixdown Solo. The SEL MODE determines how signals from each channel are soloed: individually or mixed together. Signals can be sourced pre-fader (PFL) or post-fader (AFL). Other parameters include solo trim and a solo enable switch. See Solo Setup on page 80 for more information.

Using Monitor

To monitor, for example, the stereo out, proceed as follows. 1. Connect a monitoring system (amp, speakers) to the MONITOR OUT. 2. Make sure that the MONITOR2TR IN switch is set to MONITOR. 3. Set the MONITOR OUT LEVEL control midway. If you are using headphones, set the PHONES LEVEL control midway. 4. Use the [SETUP] button to locate SETUP page 2, explained previously. 5. Set the SOURCE to STEREO OUT. If MONITOR SETUP LISTEN is set to AFL, the STEREO fader must be raised. Otherwise, you wont hear anything.

Monitor Block Diagram

BUS AUX EFF ST L R Meter L 2TR OUT R Meter 4-Band PEQ Dynamics Delay

BALANCE ON 4-Band PEQ

STEREO OUT

Dynamics

ST Dither

MONI L R

BUS master fader ON
Meter BUS 1-4 to OUTPUT SELECT

LISTEN PAN 1-4

Meter 4-Band PEQ

AUX master fader ON

Meter AUX 1-4 to OUTPUT SELECT

Monitor section

Solo Setup
The Solo function, available on input channels 1 through 24 and the effects returns, is used to monitor channels individually. Two solo modes are available: Recording Solo and Mixdown Solo. These and congured using the SOLO SETUP parameters on SETUP page 2. Solo has priority over the sources selected using the MONITOR SETUP parameters. Channel signals can be soloed pre-fader (PFL) or post-fader (AFL). When input channels 1 through 12 are paired (Pairing Input Channels on page 52), their [SOLO] buttons continue to work independently. 1. Use the [SETUP] button to locate SETUP page 2 shown below.
SOLOThis switch is used to enable and disable the Solo function. When set to DISABLE, signals are not soloed, the [SOLO] indicator on the soloed channel lights up instead of ashing, and the SOLO status indicator does not light up. SOLO MODEThese switches are used to select the Solo mode: Recording Solo or Mixdown Solo.
In Recording Solo mode, Soloed channel signals are fed to the Monitor bus and then output to the monitor out and phones. No other outputs are affected. Input channels that are turned off can also be soloed. If LISTEN is set to AFL, off channels are monitored PFL. This mode is typically used to monitor individual input signals in recording and sound reinforcement applications, and is useful for checking whether signals are clipping, or making EQ adjustments in isolation. In Mixdown Solo mode, Soloed channels signals are fed to the Stereo bus and then output to the stereo output, monitor out, and phones. Non-soloed channels are muted. Only channels that are routed to the Stereo bus cab be soloed. For the purpose of soloing, channels that are turned off are turned on when soloed. This mode is typically used when adjusting individual channels during mixdown.
SEL MODEThese switches set the Solo Select mode. In LAST SOLO mode, only one channels can be soloed at a time. In MIX SOLO mode, however, several channels can be soloed simultaneously. LISTENThis switches set the solo signal source to pre-fader (PFL) or post-fader (AFL). It affects input channels 1 through 24 and the effects returns. This switch is not effective in Mixdown Solo mode because the monitor out and phones signals are sourced from the Stereo bus. In this mode, the MONITOR SETUP LISTEN switch can be used to select either PFL or AFL. SOLO TRIMThis parameter is used to adjust the level of the solo signal from 60 dB to +6 dB.

1. Use the [AUX] buttons to locate an AUX PRE/POST page, as shown below.
The value below each PRE/POST switch indicates the position of the aux send fader. The position of the corresponding aux send master fader is displayed at the top of the page. 2. Use the [SEL] buttons or cursor buttons to select the PRE/POST switches, and the [ENTER] button, PARAMETER wheel, or [1/DEC] and [+1/INC] buttons to set them. The PRE/POST switches on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired, or when aux sends are congured as stereo pairs (Pairing Input Channels on page 52), their PRE/POST switches are linked.
2. Use [SEL] buttons 17 through 24 to select channels. 3. Use the cursor buttons to select the AUX PRE/POST switches, and the PARAMETER wheel or [1/DEC] and [+1/INC] buttons to set them. When aux 1 and 2 are paired (Pairing Aux Sends on page 101), the PRE/POST switches are linked.
Viewing Aux Send Settings
Settings for the aux sends can be viewed, and certain parameters adjusted on VIEW pages 1 and 2. 1. Use the [AUX] buttons to select an aux send, and then press the MASTER [SEL] button. AUX appears on the display, indicating that an aux send is selected. 2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.
Setting Aux Send Master Levels
Aux send master levels are controlled using the MASTER fader. The function of this fader depends on the selected Fader mode. See Faders (plus Return Rotary Controls) on page 35 for more information.
1. Use the [AUX] buttons to select an aux send. An AUX page similar to the one shown below appears.
The MASTER fader now functions as aux send master level control for the selected aux send. 2. Use the MASTER fader to set the aux send master level. The position of the aux send master fader is displayed at the top of the AUX PRE/POST page. When aux sends are paired (Pairing Aux Sends on page 101), their master faders are linked. The aux send master levels can be viewed and adjusted on the VIEW pages. See Viewing Aux Send Settings on page 98 for more information.

REV+FLANGE

Reverb and anger effects in parallel.
Parameter REV TIME INI.DLY HI.RATIO DENSITY FREQ. NOTE DEPTH MOD.DLY FB.GAIN WAVE REV/FLG HPF LPF TEMPO*2 Range 0.399.9 s 0.0500.0 ms 0.11.0 0100% 0.0540.00 Hz
Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Used in conjunction with TEMPO to determine FREQ. Modulation depth Modulation delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Modulation waveform Reverb and ange balance (0% = ange, 100% = reverb) High-pass lter cutoff frequency Used in conjunction with NOTE to determine FREQ.
0100% 0.0500.0 ms 99 to +99% Sine, Tri 0100% Thru, 21 Hz8.0 kHz 25300 bps

REV->FLANGE

Reverb and anger effects in series.
Parameter REV TIME INI.DLY HI.RATIO DENSITY FREQ. NOTE DEPTH MOD.DLY FB.GAIN WAVE REV BAL. HPF LPF TEMPO*2 Range 0.399.9 s 0.0500.0 ms 0.11.0 0100% 0.0540.00 Hz
Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Used in conjunction with TEMPO to determine FREQ. Modulation depth Modulation delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Modulation waveform Reverb and anged reverb balance (0% = anged reverb, 100% = reverb) High-pass lter cutoff frequency Used in conjunction with NOTE to determine FREQ.

REV+SYMPHO.

Reverb and symphonic effects in parallel.
Parameter REV TIME INI.DLY HI.RATIO DENSITY FREQ. NOTE DEPTH MOD.DLY WAVE REV/SYM HPF LPF TEMPO*2 Range 0.399.9 s 0.0500.0 ms 0.11.0 0100% 0.0540.00 Hz
Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Used in conjunction with TEMPO to determine FREQ. Modulation depth Modulation delay time Modulation waveform Reverb and symphonic balance (0% = symphonic, 100% = reverb) High-pass lter cutoff frequency Used in conjunction with NOTE to determine FREQ.

REV->SYMPHO.

Reverb and symphonic effects in series.

Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Used in conjunction with TEMPO to determine FREQ. Modulation depth Modulation delay time Modulation waveform Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb) High-pass lter cutoff frequency Used in conjunction with NOTE to determine FREQ.

REV->PAN

Reverb and auto-pan effects in parallel.
Parameter REV TIME INI.DLY HI.RATIO DENSITY FREQ. NOTE DEPTH DIR. WAVE REV BAL. HPF LPF TEMPO*3 Range 0.399.9 s 0.0500.0 ms 0.11.0 0100% 0.0540.00 Hz
Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Used in conjunction with TEMPO to determine FREQ. Modulation depth Panning direction Modulation waveform Reverb and panned reverb balance (0% = panned reverb, 100% = reverb) High-pass lter cutoff frequency Low-pass lter cutoff frequency Used in conjunction with NOTE to determine FREQ.
Sine, Tri, Square 0100% Thru, 21 Hz8.0 kHz 50 Hz16.0 kHz, Thru Hz 25300 bps

DELAY+ER.

Delay and early reections effects in parallel.
Parameter DELAY L NOTE L FB.GAIN DELAY R NOTE R HI.RATIO FB.DLY NOTE FB DLY/ER TYPE ROOMSIZE LIVENESS INI.DLY DENSITY ER NUM. TEMPO*2 1. Range 0.01000.0 ms
Description Left channel delay time Used in conjunction with TEMPO to determine left channel DELAY L Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Right channel delay time Used in conjunction with TEMPO to determine right channel DELAY R High-frequency feedback ratio Feedback delay time Used in conjunction with TEMPO to determine FB.DLY Delay and early reections balance (0% = early reections, 100% = delay) Type of early reection simulation Reection spacing Early reections decay characteristics (0 = dead, 10 = live) Initial delay before reverb begins Reverb density Number of early reections Used in conjunction with NOTE parameters to determine DELAY L, DELAY R, and FB.DLY
99 to +99% 0.01000.0 ms *1 0.11.0 0.01000.0 ms *1 0100% S-Hall, L-Hall, Random, Revers, Plate, Spring 0.120.0.0500.0 ms 0100% bps

DELAY->ER.

Delay and early reections effects in series.
Parameter DELAY L NOTE L FB.GAIN DELAY R NOTE R HI.RATIO FB.DLY NOTE FB DLY BAL. TYPE ROOMSIZE LIVENESS INI.DLY DENSITY ER NUM. TEMPO*2 1. Range 0.01000.0 ms
Description Left channel delay time Used in conjunction with TEMPO to determine left channel DELAY L Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Right channel delay time Used in conjunction with TEMPO to determine right channel DELAY R High-frequency feedback ratio Feedback delay time Used in conjunction with TEMPO to determine FB.DLY Delay and early reected delay balance (0% = early reected delay, 100% = delay) Type of early reection simulation Reection spacing Early reections decay characteristics (0 = dead, 10 = live) Initial delay before reverb begins Reverb density Number of early reections Used in conjunction with NOTE parameters to determine DELAY L, DELAY R, and FB.DLY

TYPEThis is the name of the type of dynamics processor currently selected: COMP, GATE, DUCKING, EXPAND, COMPANDER-(H), or COMPANDER-(S). ON/OFFThis switch is used to turn on or off the dynamics processors. While DYNAMICS page 1 is displayed, the [ENTER] button turns the dynamics processor on or off regardless of the cursor position. KEY INThis parameter is used to select the trigger source for the dynamics processors, and can be set to SELF (i.e., the signal being processed is used as the trigger signal) or triggered by a signal from another input channel from CH1 through CH16. CURVEThis window shows the curve of the dynamics processor, providing a visual indication of how its set. The horizontal axis corresponds to the input signal and the vertical axis corresponds to the output signal.
A straight line at 45 degrees from the bottom left corner indicates that the input signal will pass through the dynamics processor unaffected. This can be seen when, for example, a compressor is set with a compression ratio of 1:1.
PARAMETERThese controls are used to adjust the dynamics processors parameters. The number and type of parameters available depends on the type of dynamics processor selected. MetersThe GR meter indicates the amount of gain reduction being applied to the selected channel. Next to this are level meters for the selected channel and its neighbor. The GR meter works from top to bottom. For the COMP, DUCKING, EXPAND, and COMPANDER types, the GR meter displays the amount of gain reduction. For the GATE type, the processor is active when the input signal is below the threshold, so the GR meter displays the amount of gain reduction when the input signal is below the threshold, and when there is no input signal.
The dynamics processors parameters are explained in detail on page 167.

Processor Types

Dynamics processors are generally used to correct or control signal levels, although they can also be used creatively to shape a sounds volume envelope. The following sections explain the COMP, GATE, DUCKING, EXPAND, COMPANDER-(H), and COMPANDER-(S) dynamics processors, their parameters, and general applications.
The COMP processor is a compressor that attenuates signals above a specied threshold, +20 Compression ratio = 2:1 providing automatic level control. Vocalists +10 that tend to move toward and away from the 0 microphone while singing produce uctuat10 Threshold = 20dB ing signal levels; sometimes loud, sometimes 20 Knee = hard soft. Likewise, acoustic instruments with a 30 large dynamic range produce sound levels 40 from pianissimo (very soft) through to fortis50 simo (very loud). In these situations, it is 60 often difcult to set an average fader level that 70 will allow a voice or instrument to be heard +10 +20 Input Level (dB) clearly throughout a song or piece of music. This is where the compressor comes in with automatic level control. By automatically reducing high levels, thus effectively reducing the dynamic range, the compressor makes it much easier to control signals and set appropriate fader levels. Reducing the dynamic range also means that recording levels can be set higher, therefore improving signal-to-noise performance. The COMP processor can also be used as a limiter, which is essentially a compressor with a high ratio setting. Compression ratios above 10:1 are considered to limit signals rather than compress them. When an input signal exceeds the specied threshold level, its level is automatically reduced to the threshold level. This means that the limiters output level never actually exceeds the threshold level. Limiters are often used to prevent signals from overloading ampliers and tape recorders. A limiter with a relatively high threshold, for example, could be used with the stereo outputs to prevent amplier and speaker overload.

Parameter THRESHOLD RANGE HOLD ATTACK DECAY 54 dB to 0 dB (55 steps) 70 dB to 0 dB (71 steps) 0.02 ms1.96 s (fs = 48 kHz) 0.02 ms2.13 s (fs = 44.1 kHz) 0120 ms (1 ms steps) 5 ms42.3 s (fs = 48 kHz) 6 ms46 s (fs = 44.1 kHz)

Threshold = 10dB

Range = 30dB

Range = 70dB

THRESHOLDThis 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. RANGEThis 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 ows through. For a setting of 70 dB, the gate closes completely when the input signal falls below the threshold. For a setting of 30 dB, however, the gate half closes. For a setting of 0 dB, the gate has no effect. When signals are gated abruptly, the sudden disappearance can sometimes sound odd. This parameter causes the gate to reduce the signal level rather than cut it completely. HOLDThis determines how long the gate stays open once the trigger signal has fallen below the threshold level. ATTACKThis determines how fast the gate opens when the signal exceeds the threshold level. Slow attack times can be used to remove the initial transient edge of percussive sounds. Too slow an attack time makes some sounds appear backwards. DECAYThis determines how fast the gate closes once the hold time has expired. A longer decay time produces a more natural gating effect, allowing the natural decay of an instrument to pass through. With a maximum decay time of between 42 and 63 seconds, you could even use this for fade-outs.

DUCKING

Ducking is commonly used for voice-over applications in which the background music +20 level is reduced automatically when an +10 announcer speaks. Ducking is achieved by 0 triggering a compressor with a different 10 Threshold = 20dB sound source. For example, a ducker is 20 patched into the background music channel, 30 and the KEY IN signal is sourced from the 40 announcers microphone channel. When the 50 Range = 30dB announcers microphone level exceeds the 60 specied threshold, the background music 70 level is reduced automatically, allowing the +10 +20 Input Level (dB) announcer to be heard clearly. The same technique can also be used for vocals in a mix. For example, ducking backing sounds such as rhythm guitar and synth pad during vocal phrases allows the vocals to be heard more clearly. This can also be used to bring solo instruments up in a mix.
THRESHOLDThis determines the level of trigger signal (KEY IN) required to activate ducking. Trigger signal levels below the threshold do not activate ducking. Trigger signals at and above the threshold level, however, activate ducking, and the signal level

01V Digital Mixing Console MY8-AE Option I/O card Pro Tools system with Digidesign 888 I/O Audio Interface XLR to 25-pin D-sub splitter box (or 25-pin D-sub to XLR break-out cable) 25-pin D-sub cable, 50-pin Pro Tools cable See Installing Option I/O Cards on page 218 for MY8-AE installation instructions.
For digital audio transfer, digital audio devices must be wordclock synchronized (see About Wordclocks on page 206). In this example, Pro Tools is wordclock master and the 01V and DAT recorder are wordclock slaves. The 01V derives its wordclock from the Option I/O digital input. The DAT derives its wordclock from the Digital Stereo Coaxial Out of the 01V. The wordclock frequency, which is the same as the sampling rate, is set by Pro Tools. For digital recording from the DAT recorder to Pro Tools, the DAT recorder must be congured as wordclock master and the 01V and Pro Tools as wordclock slaves. In this case, the 01V would derive its wordclock from the Digital Stereo Coaxial In connection, and Pro Tools would derive its wordclock from the 01Vs Option I/O connection. The sampling rate will be the same as that used when the DAT tape was recorded. If a CD player is used instead of the DAT, the sampling rate will be xed at 44.1 kHz, the industry-standard for music CDs.
The AES/EBU connector on the MY8-AE card is connected to the XLR to 25-pin D-sub splitter box using a 25-pin D-sub cable. The splitter box is connected to the 888 I/O Audio Interface using AES/EBU compatible XLR cables. The 888 I/O Audio Interface is connected to the Pro Tools audio card using a special 50-pin Pro Tools cable. The XLR to 25-pin D-sub splitter box is custom made and not available from Yamaha. A 25-pin D-sub to XLR break-out cable could be used instead of the splitter box.
Pro Tools (wordclock master) Monitors

50-pin Pro Tools cable

888 I/O Audio Interface 01V (wordclock slave)

XLR cables

AES/EBU
XLR to D-sub splitter box
OPTION I/O 25-pin D-sub cable

To computer Serial port

Troubleshooting
Symptom Advice Make sure that the power cord is connected to a suitable AC wall outlet. See Connecting the Power Cord on page 11 for more information. Cannot turn on the 01V. Make sure that the 01V POWER switch is set to the ON position. See Turning On the 01V on page 11 for more information. If you still cannot turn on the 01V, contact your Yamaha dealer. The display is difcult to read. Try adjusting the contrast. See Display, Selected Channel Controls & Meters on page 16 for more information. Make sure that the +48 V phantom power is turned on for that input. Connected a condenser-type microphone but it doesnt work. If a phone plug is plugged into the same input channel, the XLR input is disabled. See Input Channel Overview on page 40 for more information. Use the [SEL] buttons to select channels. See SEL Buttons on page 32 for more information. Make sure that the GAIN control and PAD switch are set correctly. See Gain and Pad on page 41. Use the HOME pages to check signal levels. See Metering Signal Levels on page 83 for more information. Make sure that you have selected the right fader mode. See Faders (plus Return Rotary Controls) on page 35 for more information. Make sure that you have selected the correct fader mode. See SEL Buttons on page 32 for more information. Make sure that you have selected the correct fader mode. See Solo Buttons on page 33 for more information. Make sure that you have selected the correct fader mode. See ON Buttons on page 34 for more information. Make sure that you have selected the correct fader mode. See Faders (plus Return Rotary Controls) on page 35 for more information. Input channels 17 through 24 are available only when an optional Option I/O card is installed. See About Option I/O Cards on page 216 for more information. Input channels 17 through 24 feature 2-band EQ, so these bands cannot be selected. This is correct. Input channels 17 through 24 can only be sent to aux sends 1 and 2. See About the Aux Sends on page 94 for more information. Probably because the inputs have been swapped. See Swapping Inputs 18 & 1724 on page 51 for more information. Raise the STEREO fader and turn on the STEREO [ON] button. Make sure that the input channels are routed to the stereo output. See Routing Input Channels on page 49 for more information.

MIDI Control Change messages dont control mix parameters.
Cannot receive MIDI Bulk Dump data. Controls have no effect on the 01V.
MMC commands have no effect.

Analog Digital

METER PHASE ATT EQ DYNAMICS DELAY ON/OFF LEVEL PAN EQ METER DAC STEREO BUS
MASTER MASTER MASTER LEVEL DYNAMICS BALANCE ON/OFF

Digital

Analog

PAD GAIN

Clipping Level Max. Output [+18dB] Nominal Output [+4dB] Stereo Out Monitor Out OMNI14 Out

+24 +20

Max. [+24dB] Input

+10 +4 0

[+10dB] Nominal Input

GAIN MINI, PAD ON

Nominal Input [60dB]

01V Level Diagram

GAIN MAX,PAD OFF

29 DSP Noise Floor

Appendix A: General

Display Messages

Message BULK: Byte Count Mismatch! BULK: Check Sum Error! BULK: Memory Protected! Meaning The byte count of the received Bulk Dump data is not correct. The check sum of the received Bulk Dump data is not correct. The Bulk Dump data cannot be stored because the destination is write-protected. This warning message appears if the Digital Stereo Coaxial In signal is not wordclock synchronized with the 01V. Make sure that all digital equipment is wordclock synchronized to a common wordclock source. See Setting the Wordclock on page 209 for more information. This warning message can be disabled by turning off the DIGITAL IN SYNC CAUTION option in the preferences (Setting 01V Preferences on page 203). The selected effect program can be recalled only to Effect 2. The internal battery voltage is getting very low. Back up the Setup data (Bulk Dump on page 232), and ask your dealer to replace the battery. Cannot execute as selected scene memory is protected. An incorrect signal may have been input to the MIDI IN. An incorrect signal may have been input to the MIDI IN. The 01V is probably receiving too much MIDI data. The 01V is probably transmitting too much MIDI data. Cannot execute as no data has been stored. Local Control cannot be turned off while a mix-scene fade is in progress (Fade Time). This warning message appears if the Option I/O input digital signal is not wordclock synchronized with the 01V. Make sure that all digital equipment is wordclock synchronized to a common wordclock source. See Setting the Wordclock on page 209 for more information. This warning message can be disabled by turning off the DIGITAL IN SYNC CAUTION option in the preferences (Setting 01V Preferences on page 203). Cannot execute as selected scene memory is read only. CHxx is the selected channel. The MIDI Local Control function is preparing for use. An incorrect signal may have been input to the TO HOST connector. An incorrect signal may have been input to the TO HOST connector. An incorrect signal may have been input to the TO HOST connector. The 01V is probably receiving too much MIDI data at the TO HOST connector. The 01V is probably transmitting too much MIDI data from the TO HOST connector. The received wordclock is not correct and the 01V cannot synchronize correctly. Select a suitable wordclock, or use the AUTO NAVIGATE function on the SETUP page 1.

STATUS ID No. SUB STATUS GROUOP ID MODEL ID PARAM TYPE DATA 11110000 F43 0001nnnn 1n 0ddddddd 0000dddd 3e 00 dd dd System Exclusive Message Manufacturer's ID No.(YAMAHA) parameter change n=0-15(Device Channel No.1-16) MODEL ID Device code (01V) controller control no.(0:key remote) No. 0-10,99-102(key 1-11,100-103) data(bit0-2:change bit no.0-7, bit3:0=reset 1=set) : End Of Exclusive
Status Function Note ---------------------------------------------------------------------------------------------------------0x00 scene recall Recall the specied memory number 0x01 scene store Store to the specied memory number with title (Assign the same title to all) 0x02 scene title edit If the title was modied, make it the same, make it match 0x48 solo mode Match the solo mode bit6: enable/disable bit5: on/off bit2: recording/mixdown bit1: sel mix/last bit0: after fader/pre fader 0x60 display call When the screen (Fader Mode) is changed, make it match 0x61 metering point Make the meter points match 0x62 peak hold Make the meter Peak Hold ON/OFF match
KEY key no.bit0 bit1 bit2 bit3 bit4 bit5 bit6 bit7 ------------------------------------------------------------------------------------------------------------------------------------------------keyON1 ON2 ON3 ON4 ON5 ON6 ON7 ON8 keyON9 ON10 ON11 ON12 ON13-14 ON15-16 ONSTOUT -----keySOLO1 SOLO2 SOLO3 SOLO4 SOLO5 SOLO6 SOLO7 SOLO8 keySOLO9 SOLO10 SOLO11 SOLO12 SOLO13-14SOLO15-16 ----------keySEL1 SEL2 SEL3 SEL4 SEL5 SEL6 SEL7 SEL8 keySEL9 SEL10 SEL11 SEL12 SEL13-14 SEL15-16 SEL STO -----keyONRTN1 ONRTN2 SOLORT1 SOLORT2 SELRTN1 SELRTN2 HOME MEMORY keyAUX1 AUX2 AUX3 AUX4 EFFECT1 EFFECT2 OPTION REMOTE keyLOW L-MID H-MID HIGH --------------------keyUP LEFT RIGHT DOWN ENTER INC DEC -----keyDYNAMIX EQ DELAY PAN UTILITY MIDI SETUP VIEW keyFRZ-REC FRZ-PLAY ------------------------------keySOLO1 SOLO2 SOLO3 SOLO4 SOLO5 SOLO6 SOLO7 SOLO8 keySOLO9 SOLO10 SOLO11 SOLO12 SOLO13-14SOLO15-16 SOLO-RTN1 SOLO-RTN2 keySOLO17 SOLO18 SOLO19 SOLO20 SOLO21 SOLO22 SOLO23 SOLO24
* Normally, data should be transmitted as "set(bit3=1)." In this case, the 01V will determine that that switch has been pressed and then immediately released, and will perform the appropriate processing. This means that you will not have to transmit "reset(bit3=0)" separately. * The keys followed by 100 are virtual key, it would be the keys on LCD.
PARAMETER CHANGE(type 0x05:remote meter)
When the following request is received to enable transmission, the specied parameter data will be transmitted at 30 msec intervals for ve seconds. If you want meter data to be transmitted continuously, you must continue transmitting requests less than ve seconds apart. Reception When [Parameter Change RX] is ON and the [Rx CH] matches the Device Channel that is included in the SUB STATUS, this message is received. When [LOCAL OFF] is ON, the incoming meter data will be displayed. In other cases it will be ignored. Transmission When transmission is enabled by a request, this will be transmitted every 30msec on the [Rx CH] channel, for ve seconds. Transmission will be disabled when the power is turned on, and when PORT settings have been modied.

STATUS ID No. SUB STATUS GROUOP ID MODEL ID PARAM TYPE DATA 0001nnnn 00000101 0sgttttt 0mmmmmmm 0mmmmmmm : 11110111 F1n 3e tt mm0 mm1 : F7 System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(Tx/Rx Channel No.1-16) MODEL ID Device code (01V) remote meter meter no.(s:special bit, g:gr bit)
STATUS ID No. SUB STATUS GROUOP ID MODEL ID PARAM TYPE DATA EOX
0011nnnn 00000101 0sgttttt 11110111

F3n 3e tt F7

System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(Tx/Rx Channel No.1-16) MODEL ID Device code (01V) remote meter meter no.(s:special bit, g:gr bit) End Of Exclusive
Table of signal levels and codes
Level code Level code Level code -------------------------------------------------------------------------------------72dB 0x1F -30dB 0x57 -9dB 0x72 -68dB 0x24 -27dB 0x5A -8dB 0x73 -64dB 0x29 -24dB 0x5F -7dB 0x75 -60dB 0x2F -21dB 0x62 -6dB 0x77 -56dB 0x33 -18dB 0x67 -5dB 0x78 -51dB 0x3A -16dB 0x69 -4dB 0x79 -48dB 0x3F -15dB 0x6A -3dB 0x7A -46dB 0x41 -14dB 0x6B -2dB 0x7B -42dB 0x47 -13dB 0x6D -1dB 0x7D -39dB 0x4A -12dB 0x6F 0dB 0x7E -36dB 0x4F -11dB 0x70 CLIP 0x7F -33dB 0x52 -10dB 0x71

End Of Exclusive

5. SYSTEM EXCLUSIVE MESSAGE (Bulk Dump) & REQUEST
These messages input and output the contents of various types of internal memory. The unique header identies whether or not the data is for the 01V. The CHECK SUM is calculated by adding the data following the BYTE COUNT(LOW) until the data preceding the CHECK SUM, then inverting the bits (2's complement), and setting bit 7 to 0. CHECK SUM = ( -sum) & 0x7F Reception This is received if [Bulk RX] is ON and the [Rx CH] matches the Device Channel that is included in SUB STATUS. When a BULK DUMP is received, it will immediately be written into the specied memory. When a BULK DUMP REQUEST is received, a bulk dump will be transmitted immediately. Transmission In the [MIDI-BULK] page, this is transmitted on the [Tx CH] channel by key operations. In response to a Bulk Dump Request, a Bulk Dump Message is transmitted on the [Rx CH] channel.
data name rx/tx function -----------------------------------------------------------------------------------------------------'M' rx/tx Scene Memory & Request 'S' rx/tx Setup Memory & Request 'I' rx/tx Remote(Internal Parameter) Memory & Request 'L' rx/tx Remote(MMC) Memory & Request 'U' rx/tx Remote(User Dene) Memory & Request 'C' rx/tx Control Change Assign Table & Request 'P' rx/tx Program Change Assign Table & Request 'Q' rx/tx Equalizer Library & Request 'Y' rx/tx Dynamics Library & Request 'E' rx/tx Effect Library & Request

Aux Messages

MTC quarter frame message is recognized *1: Bulk Dump/Request, Parameter Change/Request, and MMC. For MIDI Remote, ALL messages can be transmitted. Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO O: Yes X: No
Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY

Appendix D: Resources

Introducing Digital Audio, Ian R Sinclair, second edition, PC Publishing, 1992. A good all-around 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 newcomers who want to know the basics plus a bit more. The Art of digital Audio, John Watkinson, Focal Press (Butterworth Group), 1990. An essential read for digital audio professionalsbut only for the serious! The MIDI Ins, Outs & Thrus, Jeff Rona, Hal Leonard Publishing, 1992. An excellent introduction to MIDI with many illustrations for easy understanding. MIDI Systems & Control, Francis Rumsey, second edition, Focal Press, 1994. Covers all MIDI topics in detail and looks at how MIDI can be used to control systems (i.e., digital mixers, synths). THE MIDI BOOK, Steve DeFuria with Joe Scacciaferro, Hal Leonard Books. A good introduction for anyone new to MIDI. THE MIDI RESOURCE BOOK, Steve DeFuria with Joe Scacciaferro, Hal Leonard Books, 1988. Following on from THE MIDI BOOK, this one looks at the real nuts and bolts of MIDI including the MIDI specication and how to read MIDI Implementation Charts. Yamaha Sound Reinforcement Handbook, Gary Davis and Ralph Jones, second edition, Hal Leonard Publishing Corporation, 1990. Although primarily concerned with sound reinforcement, many of the subjects covered also apply to studio audio applications. The second edition also includes a comprehensive section on MIDI.

Yamaha Web Site

Information on Yamaha professional audio products can be found at the Yamaha Professional Audio Web site. <http://www.yamaha.co.jp/product/proaudio/homeenglish/>

Glossary

A/D converterAn electronic device for converting analog signals to digital signals. AFL (After Fader Listen)Monitoring signals after the channel fader. Contrast with PFL. AliasingA type of signal distortion that occurs during A/D conversion if the sampling rate is less than twice that of the highest audio frequency. A/D converters employ aliasing lters to remove audio frequencies higher than half the sampling rate. See also Nyquist Sampling Theorem. Anti-aliasingIn digital audio, a technique used to prevent aliasing in the form of an anti-aliasing lter before A/D conversion. This lter removes audio frequencies that are higher than half the sampling frequency (e.g., for a 32 kHz sampling rate, audio frequencies above 16 kHz are ltered).

When its time to go digital, When its time to go digital, its time to go Yamaha. its time to go Yamaha. Let the 01V take you there in style. Let the 01V take you there in style.
f youre ready for your first digital mixer, or if you could use a rack-mountable, full-featured programmable digital mixer with 24 inputs to tidy up an elaborate music system thats not as flexible as youd like, then youre ready for the Yamaha 01V Digital Mixing Console. The awesome offspring of the 01, 02R and 03D line the worlds most popular family of digital mixers the 01V is an enormously powerful digital mixer in its own right, featuring a wealth of professionallevel signal routing, processing and mixing options, as well as crystal clean sound with 105dB dynamic range and even the capability to easily link another 01V for 48 input channels all at an enticing entry-level price. The 01V is the ideal digital mixer for project studios, broadcast, private studios, live sound applications, and more. Simply the most flexible digital mixer
available for the money, the 01V will let you take your music wherever you want to go and deliver it in style.

Main features

q 24 input channels, including 16 built-in analog inputs (with +48V phantom powering on 12 channels), plus 8 optional digital inputs (ADAT, TASCAM, AES/EBU formats available) q 4 freely assignable analog outputs, plus expansion options for 4 additional analog outputs, or 8 assignable digital outputs q Digital I/O expansion slot for optional multitrack recorder interface card (ADAT, TASCAM, AES/EBU format options), plus 8 channels analog input card options q Coaxial-type digital stereo input and output, and balanced XLR-type stereo outputs q Total 120 bands of EQ all processed with 44-bit precision including 4-band parametric equalization on all main input and output mixing channels, and 2-band EQ on secondary input channels, plus an EQ library with 40 preset programs and 40 user programs q Centrally located, dedicated panel controls for the four bands of EQ just like the 02R and a dedicated pan control q 2 internal stereo multi-effects processors with the same DSP as the Yamaha ProR3 and REV500, and an effects library with 42 preset programs and 57 user programs q Input delays of up to 250ms and output delays of up to 300ms q 22 dynamics processors permitting individual dynamics processing, and a dynamics library with 40 preset programs and 40 user programs q 99 scene memories for instant recall of mixer settings at the touch of a button, or recall via MIDI program change messages q Channel data copy and swapping, flexible effect routing, dedicated controls for EQ and pan, and a dedicated effect return signal control section q Comprehensive MIDI implementation which permits automated mixing via program change, control change and system exclusive messages received from an external sequencer, plus MMC capability and user definable remote control options q TO HOST port which permits direct connection to a personal computer, as well as to another 01V for double the mixing power the 01V Link function lets you easily create a 48input digital mixing system for an unprecedented low price

Front Panel

Fast Internal Processing And Superior Sonic Specs
Fast and reliable internal digital audio processing, as well as LCD refreshing and fader control, is guaranteed by Yamahas custom 32-bit DSP chips. Uncompromising sonic quality and performance are guaranteed by 20-bit, 128-times oversampling ADs on each input and 20-bit, 8-times oversampling DAs on the stereo outputs, and 44-bit EQ processing. The 01Vs audio dynamic range is an impressive 105dB for analog input to analog stereo output.
Optional Expansion Cards With Maximum Compatibility
The 01Vs mini YGDAI (Yamaha General Digital Audio Interface) slot located on the rear panel provides a convenient means for expanding your mixing power in a variety of ways. There are cards available separately which provide an additional 8 digital inputs and 8 assignable digital outputs for direct digital connection to major modular digital multitrack recorders such as Alesis ADAT, Tascam DA98/DA88/DA38, and AES/EBU format systems. The digital outputs can be configured as bus outs, aux sends, direct outs, or stereo outs at will. There is also a card available separately which provides 4 additional analog outputs. So although the 01V is essentially a 4 bus mixer, it can easily be expanded to achieve eight-track simultaneous digital recording.
Options I/O Interface Card TASCAM ADAT AES/EBU DA Interface AD Interface D/A A/D Model MY8-TD MY8-AT MY8-AE MY4-DA MY8-AD RK124 Connector D-sub 25pin x 1 OPTICAL x 2 D-sub 25pin x 1 XLR x 4 TRS Phone x 8

Rear Panel

RACK MOUNT KIT

MY8-TD

MY8-AT

MY8-AE

This photograph shows a model with optional MY8-TD (TASCAM) card.

MY4-DA MY8-AD

Streamlined Panel Design Makes Operation Easy And Intuitive
If youve never operated a Yamaha digital mixer before, youll be pleasantly surprised to discover how convenient and natural the overall feel of the 01V is, as well as how quickly youll be able to master the operation of it. The 01Vs panel layout makes access to all features and adjustment of parameter values as quick and easy as the press of one of the many dedicated buttons and spin of the detented data dial. The large 320 x 80 dot LCD provides plenty of visual feedback of mixer status, and an LED on each panel button lights to indicate which parameter is currently selected. Pressing the HOME button once or more lets you call up one of a number of screens which provide instant views of overall mixer status, while VIEW screens give you at-a-glance confirmation of the various channel settings. Channel and Stereo Master control is especially easy. Dedicated ON buttons let you select only what you want to hear. Pressing a SEL (Select) button displays channel or Master status in the LCD, and each channel has a dedicated SOLO button for singling out a specific track for aural scrutiny. Also, the Return control section lets you adjust each effect return level with the twist of a knob, as well as solo or turn each on and off at will.
Flexible Input/Output Configuration And Signal Routing
The 01Vs flexible configuration of inputs and outputs and signal routing capabilities makes it suitable for an extremely wide range of recording, main mixing, submixing and even live mixing applications. Included are 12 analog input channels and 2 analog stereo inputs making a total of 16 analog inputs plus 4 Omni outputs which are freely assignable, along with a main stereo mix bus and stereo monitor outputs. All analog inputs are equipped with latest generation 20-bit AD and DA converters, which let the 01V achieve over 105dB dynamic range from analog input to output. There are also stereo 2-track inputs and outputs for direct connection to an analog 2-track recorder for master mixes, and even coaxial-type digital stereo input and output for direct connection to a digital 2track recorder such as DAT or MD. Add to all this the option to install an expansion card with an additional 8 digital inputs and 8 digital outputs (via a rear panel mini YGDAI slot), and you can see how the 01V is designed to hold its own in practically any recording and mixing situation. In fact, in its full capacity, the 01V has nothing less than 24 inputs and 12 assignable outputs that can be interfaced to outboard equipment. co au ou op mo inc

Add to all this 99 scene memories in which to store snapshots of all parameter settings for instant recall complete with scene naming as well as convenient channel data copy and swap functions, and you can see how the 01V will literally save you hours and hours of setup time before and during sessions, so you can spend your quality time concentrating on creativity and making a marvelous mix.
pe co sig or mi dig HO SU
The PAN screen lets you see stereo pan positions of all channels at once.

The mon

Access to channel pan position, as well as EQ settings, effect send levels and dynamics setting is also quick and convenient, thanks to dedicated buttons which you can press to display the respective settings in the LCD.
The VIEW screens give you at-a-glance confirmation of all selected channel parameter settings, including fader positions for channel level, aux send and effect send levels and pre/post fader configurations, and more.
Analog channel inputs provide the means to satisfy even the most demanding mixing engineer. Input channels 1-12 have mic preamps, XLR and balanced stereo 1/4" phone connectors, and +48 volt phantom power which can be applied to the XLR inputs. These channels can accept input levels from 60dB to +10dB, and feature a PAD switch which can provide 26dB level attenuation. Inputs 13-16 feature balanced stereo 1/4" connectors and support line level signals between -20 and +10dB. All 16 channels feature a continuously variable GAIN control to permit accurate microphone or line level matching with the widest possible range of input sources.

With is s

Particularly handy is the centrally located panel parametric EQ control section which gives you instant access to each of the four bands of equalization, plus frequency and gain adjustment just like the 02R.
The HOME screens let you visually monitor input levels, or effect return and bus output levels, or stereo output levels and more.
Individual Channel PEQ, And Dynamics Processors With Libraries And Storage

The 4 Omni outputs are balanced stereo 1/4" type connectors, and can be freely configured to output aux, bus, channel direct, and stereo signals. The Omni outputs can also be paired together for stereo operation and can be routed to the control room monitors for cue mixes, with onboard effects returns included. The 01Vs parametric equalizers and onboard dynamics processors provide the same tried and true, professional quality signal processing as the 02R, since they use the same Yamaha custom 32-bit DSP, and feature the same parameters selected after close consultation with the worlds top professional recording engineers. Comprehensive libraries of preset EQ and dynamics settings provide a great place to start or for reference, and plenty of user programs are available to store your own. There are 26 four-band parametric EQs which are available for all 16 individual channel inputs, the 2 onboard stereo effects returns, the 4 aux sends, and main stereo outputs. (A 2-band PEQ is available for optional digital input channels 17-24.) Each of the four EQ bands has a range from 20 Hz to 20kHz which can be adjusted in 1/12 octave steps, and a 0.1 - 10 Q range. High and low EQ bands can be configured as shelving or peaking, with the high band capable of being configured as LPF, and the low band as HPF. EQ gain settings range from -18 to +18dB. EQ settings can also be copied between channels via the equalizer library. The EQ librarys collection of 40 preset EQ programs include specific settings which can be applied to everything from acoustic and electronic instruments to percussion to vocals. Including the 40 memories for storing your own EQ settings, a total of 80 EQ programs are available for instant recall.
or The coaxial stereo digital I/O 24-bit connectors permit direct connection to DAT recorders and other compatible digital devices. The stereo digital input signals can be routed to the stereo bus for submixing, or to a stereo input channel for processing and mixing. The number of inputs can be increased by digitally cascading two 01Vs together using the TO HOST port, with SOLO functions linked stereo 24-bit SUB-IN.

There are 40 preset programs in the Dynamics Library which you can freely edit to suit your needs and then store in 40 user programs for instant recall at any time.
The Monitor Setup screen lets you quickly configure the 01V to suit your monitoring needs.
There are 22 onboard dynamics processors for 16 individual channels, 4 aux sends, and main stereo outs which provide a choice of compressor, expander, gate, ducker and compander functions to apply to individual channel as well as stereo inputs. Any input channel (1-16 or stereo input) can be used as a key trigger. The dynamics librarys collection of 40 preset dynamics programs include settings appropriate for the mixing of strings, brass sections, sampled percussion, vocals and much more, and 40 user dynamics programs are available for storing your own settings for instant recall.
The panel EQ section gives you direct access to frequency and gain control of each band of the PEQ for the selected channel, and channel panning too.
With the 01V, routing signals to any of the four Omni outputs is quick and easy, as is setting Bus Master levels and Omni Out Select configuration.
2 Internal Effects Processors With Libraries, Storage And Auxiliary Routing
Two of the 01Vs 6 aux sends are hot-wired directly to the onboard 32-bit effects processors which utilize the same DSP and some of the same algorithms as Yamahas professional ProR3 and REV500 models. There are 42 basic preset effects which make up a library of various reverb, delay, echo, chorus, flange, pitch shifting and other effect types to choose from, as well as freeze (sampling) and guitar amp simulation effects. Each effect type has a host of parameters which can be freely edited and then stored in any of the 57 user programs to make a total of 99 effects on hand.
60mm Motorized Faders With Channel Pairing And Fader And Mute Grouping
The 01Vs 15 quick-response 60mm motorized faders serve multiple functions. Besides their role as conventional mixer faders to adjust channel output signal levels, they also function as auxiliary send level controls for each of the 4 aux sends, as well as onboard effects aux send level controls.

Comprehensive MIDI Functions And User-definable Remote Control
A true product of the digital age, the 01V features MIDI IN, OUT and THRU terminals which permit control of all parameters in real-time using MIDI Control Change and System Exclusive messages, providing Dynamic Automation via MIDI. This means you can record all fader movements, channel on/off selections, scene selections, effect selections, as well as panning, EQ and other parameter adjustments to an external MIDI sequencer, then have the sequencer play them back in order to create an automated mixdown. You can also perform MIDI bulk dump operations to a MIDI data filer (such as the Yamaha MDF3 MIDI Data Filer) or MIDI sequencer to save your scene data, as well as user EQ, dynamics and effects programs. 01V faders and user definable buttons in the menu can be used to control other MIDI devices such as digital audio recorders and processors via MMC (MIDI Machine Control) commands. The 01Vs MIDI remote function is extremely powerful. MIDI remote allows the 01Vs motorized faders to remotely control the internal levels in a digital audio workstation, and then at the press of a button the faders can be used to edit the internal parameters of an external effects processor. You can define which MIDI command can be transmitted along with fader movement or channel on/off without affecting the performance of the internal processor. A TO HOST (RS422) port permits direct connection to a personal computer without a MIDI interface. You can also use it to connect two 01Vs for double the mixing power. The 01V Link function allows two mixers to behave like one mixer, which gives you the freedom to build a 48 channel digital mixdown system.
The 2 onboard professional effects processors include 42 preset programs in the Effects Library which you can freely edit and then store in 57 user programs.
Besides the 2 onboard effects, the 4 Omni outputs can be used as additional auxiliary sends. Thus, the 01V has powerful submixing applications with as many as 6 effects available for signal processing. The 01V also features channel input delays of up to 250ms which are useful for microphone-placement compensation for live recording and video editing. Channel delays can also be mixed with the dry signal to provide delay and echo effects. Output delays of up to 300ms for the stereo and 4 Omni outs are useful for applications which require delay-compensation on the outputs.
When a scene memory is recalled, the faders automatically position themselves to the levels stored. Likewise, when an aux or effects function is selected, they position themselves precisely at the send level settings. The 01Vs channel Group function lets you configure 3 separate fader groups and 3 separate mute groups which work independently so you can build up complicated mixes quickly. Moving one fader within a group will automatically adjust the other faders in the group by the same relative amount. Similarly, pressing one ON button in a mute group will automatically turn the other channels in the group on or off. A stereo-pairing function is handy for linking adjacent odd/even number channels, with panning either independent or ganged. When channels are paired, moving either channel fader will automatically adjust the other channel level by the same amount. The 4 aux sends and 4 bus outs can also be paired.

The 01Vs Fade Time function can be used to specify a cross fade time between 0-25 seconds in 0.1 second steps at which fader levels move to their respective new positions. This can be used to create cross fades between scene recalls.
Fader grouping and channel stereo pairing functions let you control two or more channel levels by moving only a single fader in the group or pair. A Local Control function lets you control specific parameters of an external 01V.

O1V Block Diagram

Specifications

General Specifications

Sampling frequency Internal: 44.1 kHz External: 44.1 kHz (10%) to 48 kHz (+6%) Signal delay Fader Fader resolution Less than 2.5 ms @fs=44.1 kHz, CH INPUT to ST OUT 15 x 60 mm motorized 0 to 72, dB (128 steps/60 mm) master faders except ST OUT +6 to 72, dB (128 steps/60 mm) other faders 0 to 96, dB (128 steps/60 mm) ST OUT fader Total harmonic distortion

(Input Gain= Min.)

Analog Inputs Specifications
Input Terminals CH INPUT CH 1-12 PAD 0 GAIN 26 CH INPUT CH 13-k Mics & 600 Lines Actual Load Impedance For Use With Nominal Input level Sensitivity 66 dB (388 V) 22 dB (61.6 mV) +4 dB (1.23 V) k +10 2TR IN (L, R) 10 k 600 Lines 600 Lines +4 dB (1.23 V) 10 dBV (316 mV) +10 dB (2.45 V) 10 dBV (316 mV) +24 dB (12.3 V) +4 dBV (1.58 V) 26 dB (38.8 mV) Connector in Nominal Max. Before Clip Console 60 dB (775 V) 16 dB (123 mV) +10 dB (2.45 V) 20 dB (77.5 mV) 46 dB (3.88 mV) 2 dB (616 mV) +24 dB (12.3 V) 6 dB (388 mV) XLR-3-31 type (Balanced)*1 & Phone jack (TRS) (Balanced)*2
Less than 0.1% 20 Hz to 20 kHz, @+14 dB into 600 Less than 0.02% 1 kHz, @+18 dB into 600, CH IN to ST OUT +1, 3 dB 20 Hz to 20 kHz, @+4 dB into dB typ. DA converter (ST OUT) 105 dB typ. AD+DA (to ST OUT) 128 dB Equivalent input noise 94 dB Residual output noise. ST OUT, ST OUT off 94 dB (98 dB S/N) 64 dB (68 dB S/N) ST OUT, ST fader at nominal level and all CH IN faders at minimum level. ST OUT, ST fader at nominal level and one CH IN fader at nominal level.
Frequency response Dynamic range
(maximum level to noise level)
Phone jack (TRS) (Balanced)*2

Hum & Noise

(20 Hz to 20 kHz) Rs=150, Input gain= Max., Input pad=0 dB, Input sensitivity= 60 dB Measured with a 6dB/oct filter @12.7 kHz; equivalent to a 20kHz filter with an infinite dB/oct attenuation
RCA Pin jack (Unbalanced)
Analog Outputs Specifications
Output Terminals Actual Source For Use With Impedance Nominal Lines Output Level Nominal +4 dB (1.23 V) +4 dB (1.23 V) 10 dBV (316 mV) +4 dB (1.23 V) 4 mW 12 mW Max. Before Clip +18 dB (6.16 V) +18 dB (6.16 V) +4 dBV (1.58 V) +18 dB (6.16 V) 25 mW 75 mW XLR-3-32 type (Balanced)*1 Phone jack (TRS balanced)*2 RCA Pin jack (Unbalanced) Phone jack (TRS balanced)*2 ST phone jack (TRS) (Unbalanced)*4 Connector in Console

Maximum voltage gain

70 dB CH IN (CH 1-12) to ST OUT/OMNI(BUS) OUT 70 dB CH IN (CH 1-12) to OMNI(AUX) OUT (via pre input fader) 36 dB CH IN (CH 13-16) to ST OUT 76 dB CH IN (CH 1-12) to MONITOR OUT (via ST bus)

STEREO OUT [L, R]

Crosstalk (@1 kHz)
70 dB adjacent input channels (CH 1-12) 60 dB adjacent input channels (CH 13-16) 70 dB input to output

OMNI OUT [14]

10 k Lines

2TR OUT [L, R]

Memory/Libraries
Scene EQ Effects Dynamics
(40 preset, 40 user) 99 (42 preset, 57 user) 80 (40 preset, 40 user) PAD (0/26), GAIN (16 to 60) PHANTOM +48 V switch (simultaneously suplied to CH 1-6, 7-12) 8 phones PHONES phones MONITOR OUT [L, R] k Lines

Controls Analog section

INPUT (1-12)
*1: STEREO OUT XLR-type connectors are balanced (pin 1 = GND, pin 2 = HOT, pin 3 = COLD). *2: BUS, AUX, and MONITOR OUT TRS phone jacks are balanced (tip = HOT, ring = COLD, sleeve = GND). *3: Input channel insert connections are unbalanced (tip = SEND, ring = RETURN, sleeve = GND). *4: The PHONES stereo phone jack is unbalanced (tip = LEFT, ring = RIGHT, sleeve = GND). *5: When dB represents a specific voltage, 0 dB is referenced to 0.775 V rms. *6: For REC OUT levels, 0 dBV is referenced to 1.00 V rms.
INPUT (13/14) INPUT (15/16) OUTPUT
GAIN (+10 to 20) GAIN (+10 to 20), INPUT SELECT (15/16, 2TR IN) MONITOR SELECT (2TR IN, MONITOR) MONITOR LEVEL CONTROL PHONES LEVEL CONTROL
Digital section ON & SEL Keys
CH 1-12, CH 13/14, CH 15/16 STEREO/MASTER (AUX 1-4, EFFECT 1, 2), RETURN 1, 2

FADERS

CH 1-12, CH 13/14, CH 15/16 STEREO/MASTER (AUX 1-4, EFFECT 1, 2)
ENCODERS SOLO Keys FADER MODE Keys
RETURN 1, 2 CH 1-12, CH 13/14, CH 15/16, RETURN 1, 2 HOME, EFFECT 1, EFFECT 2, OPTION I/O, REMOTE, AUX 1, AUX2, AUX 3, AUX 4
Digital I/O Specifications
Terminals DIGITAL STEREO IN (COAXIAL) Format IEC-60958 24-bit IEC-60958 24-bit MIDI MIDI MIDI Level 0.5 Vpp (75) Connector RCA Pin jack
SELECTED CHANNEL EQ Keys ENCODERS HIGH, HI-MID, LO-MID, LOW PAN, F (EQ), G (EQ)
INPUT CONTROL Keys EQ/ATT, /DELAY, DYNAMICS, PAN/ROUTING, VIEW SET UP Keys DATA ENTRY ENCODER KEYS CURSOR Keys Display LCD PARAMETER (24 detents/rotation) +1/INC, 1/DEC, ENTER (push to fix parameter) LEFT, RIGHT, UP, DOWN 320 x 80 dots Graphic LCD w/backlight and a contrast control pot. LEDs ST OUT meter, 12 elements x 2 SOLO mode LED Power Requirements U.S.A. & Canada European Power Consumption Dimensions (W x H x D) Weight Security cover 70 W 430 x 148 x 520 mm (16.9 x 5.8 x 20.4) 12.5 kg (27.5 lbs) Four M3 fixing holes for user-made cover 120 V AC, 60 Hz 230 V AC, 50 Hz UTILITY, MIDI, SETUP, MEMORY

DIGITAL STEREO OUT (COAXIAL) TO HOST MIDI IN MIDI THRU MIDI OUT

0.5 Vpp (75) RS-422

RCA Pin jack mini DIN Connector 8P DIN Connector 5P DIN Connector 5P DIN Connector 5P
TEAC, TASCAM are registered trademarks of TEAC Corporation. ADAT, ALESIS are registered trademarks of Alesis Corporation. ADAT Digital Interface is a trademark of Alesis Corporation. *Specifications and appearance subject to change without notice.
Yamaha PA Web Site http://www.yamaha.co.jp/product/proaudio/homeenglish/ For details please contact:

LPA400

Printed in Japan