Yamaha 02R Version 2 Manual
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o2r YAMAHA 02R VER. 2
User reviews and opinions
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Yamaha's award-winning 02R Digital Recording Console is now available with Version Still provided are all the powerful features that have made the 02R the first choice for These include uncompromising features like a versatile 40-input/8-bus configuration, 02R Version 2 includes a long list of additional features resulting from extensive
2 software. Hailed the world over for setting the standard in cost-effective professional digital mixing, 02R Version 2 raises that standard by including a long list of new features designed to greatly increase productivity, further decrease the need for peripheral components, and even provide an all-in-one sound processing platform for DVD projects.
professional project and post production studios relying on TASCAM, ADAT, AES/EBU and YAMAHA digital interface formatsnot to mention the versatile cascading options and many on-board processing functions which make the 02R an ideal live mixing and recording console. individual channel PEQ and dynamics processors, effects libraries, scene snapshots and full on-board automation for recording and mixdown sessions, and pristine sound quality plus fast processing power from twin RISC CPUs and 32-bit signal processing LSIs.
consultation with many 02R users worldwide. Added are on-board 24-bit recording capability, various surround panning options, off-line copy-and-paste editing, timecode offset and timecode "capture" for quick location of specific points in a song. Plus, now there's touch sense fader editing which allows a fader to be instantly updated by simply moving it. There's also much more versatile I/O assigning of input patching and slot and Aux output selection, as well as MIDI remote and MIDI control assign, on-board MS stereo decoding, bus channel pairing, more flexible routing assignment and fader grouping, more scene memories, automatic fader start and stop of MD, DAT and CDand much, much more.
Options TASCAM ADAT I/O Interface Card AES/EBU
YAMAHA AD/DA Interface Card
Model CD8-TDII CD8-AT CD8-AE CD8-AE-S CD8-Y CD8-AD CD8-AD-S
Connector D-sub 25pin x1 OPTICALx2 XLR-3-31 type x4, XLR-3-32 Type x4 D-sub 25pin x1 D-sub 25pin x1 TRS Phone Jack x 16 TRS Phone Jack x 8
Options Model Digital Cascade Kit * CD8-CS KIT Peak Meter Bridge MB202 Memory Expansion Kit (for Automation) ME4M Wood Side Pads W02SP *.2xDigital Cascade Card, 1xD-sub Cascade Cable
Connector D-sub 25pin x1 D-sub 15pin
MIC/LINE IN Ch 1~8 w/Insert I/O
+48V A/B PEAK
MIC/LINE IN Ch 9~16
LINE IN Ch 17~24
TAPE RETURN Ch 1~16
Effect RETURN 1,2(L,R)
AUX MASTER 1~8/ BUS MASTER 1~8
S T AUX 2TR IN A1 2TR IN A2 2TR IN D2TR IN D2 2TR IN D3 AUX5 ST AUX6 ST
IN OUT GR IN OUT GR IN OUT GR 5
NOISE THR RATIO THR RATIO THR RATIO THR RATIO METER 0 O. GAIN ATK O. GAIN ATK O. GAIN ATK O. GAIN ATK 2 OSC ON 4 REL KNEE REL KNEE REL KNEE REL KNEE 6 ON TYPE ON TYPE ON TYPE ON TYPE OSCILALATOR 100 METER 1k 10k
Q L R STEREO METER
10 LEVEL PHONES
20 F 20k LPF
20 F 20k LPF 30 30D 25 24
FRAMES Q Q Q Q Q
SMPTE 20 F 20k 20 F 20k 20 F 20k 20 F 20k 20 F 20k 20 F 20k
MTC TC INPUT
GR AUX5 ST AUX6
THR Q Q Q Q Q Q TIME DISPLAY O. GAIN 20 F 20k 20 F 20k 20 F 20k 20 F 20k 20 F 20k 20 F 20k IN IN
RATIO C-R ST ATK
+18 REL AUTO REC REC PLAY STOP ABORT 0 ON TYPE 10 LEVEL KNEE
20 F 20k HPF
20 F 20k HPF GR GR
EQ ON 18 GAIN +18
PRE ST PRE
THR RECORDING Q MIXDOWN
20 F 20k PRE ST PRE PRE ST PRE PRE ST PRE PRE ST PRE PRE ST PRE PRE ST PRE O. GAIN O. GAIN ATK ATK 18 GAIN +18
Q PRE ST PRE PRE ST PRE PRE ST PRE PRE ST PRE PRE ST PRE PRE ST PRE REL SCENE PRE PRE PRE PRE PRE PRE PRE PRE PRE STORE PAN C ROUTING PAN C ROUTING PAN C ROUTING PAN C ROUTING PAN C ROUTING PAN C ROUTING MEMORY 18 GAIN +18 HPF RECALL 20 F 20k PRE TYPE TYPE Q CH EQ DYNAMICS EFFECT REL 18 GAIN ON ON +18 KNEE KNEE 20 F 20k
L R ODD EVEN
METER CURSOR E 00 F G H MUTE 40 METER A B C D FADER 25 E F G H MUTE METER A B C D FADER 25 E F G H MUTE METER A B C D FADER 25 E F G H MUTE METER A B C D FADER 25 E F G H MUTE METER A B C D FADER 25 E F G H MUTE 00 ENTER 10 METER A B C D FADER 6 12
METER 00 L R METER
The 02R provides all the familiar features of a traditional analog mixer channel strip, but with the digital convenience and flexibility of scene storage and recall, EQ, dynamics, channel and effects libraries, full onboard automation with off-line editing functions, and much more.
24-bit recording provides high-resolution digital audio using two recorder tracks per channel, where a single slot can output up to four channels during recording, and track signals are automatically recombined and fed to the 02R during playback.
Touch sense fader edit lets you instantly update a fader by simply moving it. This is only one of the convenient features you can activate using the Preferences page. Timecode offset lets you move Automix events back or forward relative to the incoming timecode, while timecode "capture" lets you designate up to eight locate points.
M c o m M s s
Surround pan functions support 2+2, 3+1 and 3+2+1 (5. 1) modes, to let you move sounds freely around a twodimensional sound space, or along preset circle, ellipse, semicircle, or diagonal trajectories. Surround channels can be transferred directly to a digital multitrack recorder via YGDAI or output via the analog Aux sends.
The Input Patching function lets you freely select the signal sources for MIC/LINE channels 1 to 24 and TAPE channels 1 to 16. Also, the same source can be selected for several channels, while bus outs can be patched back through to the TAPE input channels for bus out monitoring and easy fader subgrouping. This is especially convenient for live performance mixing.
T d e b o a a Y m p M B m
Off-line editing enhancements provide faster data input with features that include copy and paste of fader, channel, pan, EQ and other Automix events, level trimming of selected parameters for selected channels between In Time and Out Time points, plus options for automatically writing new level and other data to the end of the song even after stopping playback.
A new Slot Output Select page lets you individually select bus outs, Aux sends, channel direct outs, and the left and right channels of the stereo output for YGDAI (Yamaha General Digital Audio Interface) digital outputs, which allows the final mixdown to be conveniently recorded onto two tracks of an MDM. When combined with the 24-bit recording mode, a full 24-bit mixdown can be recorded onto four tracks of any 16-bit MDM. Aux sends can be sent to the digital outputs on any YGDAI slot, providing digital aux send capabilities. Aux output select features let you send the busses directly to the 6 analog Aux sends, which is also ideal for surround monitoring as well as for output to live multi-speaker systems.
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MIDI control assign functions let you assign 02R fader, channel, panpot, balance, EQ, effect, surround and other parameters to MIDI Control Changes, so that 02R mix settings can be controlled in real time from other MIDI devices such as a synthesizer with assignable sliders. A Scene Memory to Program Change Table simplifies configuration of Program Change options.
Input channels configured as a stereo pair can be routed individually. Adjacent channels of the eight Bus Outs can be paired just like the six Aux Outs. A channel's level within a fader group can be quickly adjusted by simply holding the SEL key and moving the fader. The Touch Sense Select option provides fast and intuitive operation by allowing a channel to be selected by simply moving its fader. The number of scene memories has been increased to 96, and a Clear function is now provided for channel, EQ, dynamics and effects libraries as well as mix scenes.
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Talkback cue level control lets you determine the level to which cue outputs are dimmed when talkback is engaged. Adjacent MIC/LINE or TAPE channels configured as a stereo pair can be used to decode signals derived using MS microphone techniques. The fader start and stop function transmits a MIDI Note On message when channel faders are raised from infinity, and a Note Off message when faders are moved back to infinity. This lets you automatically start and stop DAT, MD, CD and other players via fader movements (with interface box from third parties). Initial data options let you choose whether all faders will be set to nominal or minimum positions when scene memory 0 is recalled. Input channel delay on/off control is now possible from the View screen, and Auto WORD CLOCK Display and Pre EQ Direct Out have been added to the general Preferences page. Multiple 02R control options provide simplified control of two or more cascaded 02Rs by a master 02R, of automix, scene store and recall functions, and more. This conveniently allows for configurations of two or more 02Rs to function as one large digital mixing console. Automix and scene memory functions, including storing, recalling and naming are linked together to behave as one integrated system.
The MIDI remote function lets you control other MIDI devices via the 02R's motorized faders, rotary encoders, ON and MIC/LINE SEL 1-16 buttons, cursor buttons and encoder wheel. Since MIDI remote operations are recorded by the Automix, real time adjustments to connected MIDI devices can be automated. There are specific MIDI remote pages for Yamaha Programmable Mixer 01, 02R and 03D digital mixers, Yamaha ProR3 and REV500 digital effects processors, GM and XG tone generators, MIDI Machine Control and Pro Tools. Bus and Aux masters can be controlled from the 02R's motorized faders.
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MIDI clock sync lets the Automix be referenced to an external MIDI clock (in addition to SMPTE and MTC ), while MTC to MIDI IN provides for perfect synchronization with external software or hard disk recorder.
y. eal ve Reverse and normal Phase, and Attenuation functions of stereo input channels 17 to 24 and MIC/LINE or TAPE channels configured as stereo pairs are not linked, and therefore can be adjusted independently.
The 02R is designed for maximum compatibility with all major industry-standard digital audio formats. Simply plug the appropriate I/O interface card (8 channels per card) for your specific recorder into any of the 4 YGDAI (Yamaha General Digital Audio Interface) slots located on the rear panel. Choose the interface (see chart, below) according to the number of tracks you have, and feel free to mix card types at will. Although an AD/DA interface (8 channels per card) using high-performance 20-bit converters is available for connection to analog MTRs, you can also bus analog signals out using the Aux sends.
Input/Output of Each Slot
Slot Input TAPE IN 1~8 TAPE IN 9~16 MIC/LINE 1~8 MIC/LINE 9~16 Output BUS 1~8 or DIRECT OUT MIC/LINE 1~8 (by ROUTING SW), AUX1~6, STEREO BUS 1~8 or DIRECT OUT MIC/LINE 9~16 (by ROUTING SW), AUX1~6, STEREO BUS 1~8, AUX1~6, STEREO BUS 1~8, AUX1~6, STEREO
24 analog inputs and 16 digital inputs provide for 40 channel inputs, with 16 of the 24 analog inputs incorporating high-performance head amplifiers for optimum matching with microphone or line sources. Channels 1 to 8 feature balanced XLR connectors with phantom power built-in, TRS phone jacks (with A/B switching between XLR and TRS inputs) and insert patch points. Channels 9 to 16 are provided with balanced TRS phone jack inputs. These 16 channels can also be configured for digital inputs (TASCAM, ADAT, AES/EBU or YAMAHA format) to provide a total of 32 channels available for digital mixdown. Channels 17/18 to 23/24 are conveniently configured to accept line-level stereo sources. The 16 digital input channels (TAPE 1-16) can accept digital input in TASCAM, ADAT, AES/EBU or any YAMAHA digital audio format. Simply adding an optional AD/DA interface permits output from analog MTRs to be returned to these channels for full 40-channel analog input capability. Other channel controls include 20dB pad switches on channels 1 to 16, detented trim controls (+16 to 60dB on channels 1 to 16; +4 to 40dB on channels 17 to 24), peak/signal indicators, phase switches, programmable channel delay up to 60ms, and direct outputs on channels 1 to 16. Eight auxiliary sends provide for versatile signal routing. AUX 5 and 6 can be used individually or as a stereo control room or studio monitor send, or as a performer's cue mix send during recording. AUX 7 and 8 feed internal high-performance digital effect processors, and can be connected in series for flexible effects configuration. Pre- or post-fader operation is possible with each send, while sends 1/2, 3/4, and 5/6 can be paired in stereo, depending on your requirements. Two pairs of 2-track analog inputs (balanced TRS phone and unbalanced RCA type jacks) and 3 stereo 2-track digital inputs (one AES/EBU and two COAXIAL S/P DIF inputs) provide for highly versatile input routing. Two of the digital inputs can easily be routed to stereo input channels 17/18 and 19/20 for recording or mastering applications. Multiple 02R consoles can be cascaded at will for increased input capacity. Version 2 software simplifies control of scene, automix and other functions on all consoles from the "master".
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I/O Card Height and Pluggable Slots
Card CD8-TDII CD8-AT CD8-Y Height Single Single for all 1 for all 1 for all or 2 for all or 2 any of 1 Slot ~ 4 , 4 cards/32ch max. ~ 4 , 4 cards/32ch max. ~ 4 , 4 cards/32ch max. , 2 cards/16ch max. ~ 4 , 4 cards/32ch max. , 2 cards/16ch max. ~ 4 , usually 3 or 4
Single CD8-AE Double Single CD8-AES Double CD8-AD CD8-CS KIT Single(X2 & cable)
*Card types can be mixed.
EQ, dynamics and effect settings can all be saved and recalled easily
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The 02R's on-board digital effects processors can be applied to all 40 channel inputs and the 2 stereo effect returns. The 4-band fully parametric EQ can be applied to all inputs, including analog inputs 1 to 24, digital tape inputs 1 to 16, and stereo effect returns 1 and 2. The LOW, LOW-MID, HIGH-MID, and HIGH bands all allow boost/cut over a 18dB range, sweepable from 20 Hz to 20kHz, with a 41-point Q range. Depending on your requirements, the LOW and HIGH bands can be used in shelving or HPF/LPF filters. The graphic display on the console's large LCD provides for ample visual feedback. Dynamics processing can be applied to all 40 input channels, with five processor types which are individually selectable for each channel, including compressor, gate, expander, ducking, and a combined compressor/limiter/expander. Key-in and stereo link functions provide for added flexibility, while individual processing on each channel offers the same type of extensive dynamics control as extremely expensive high-end studio consoles. There are plenty of preprogrammed EQ, dynamics, and effect libraries, and all user settings can be saved in a large user memory area for instant recall at the touch of a button. These settings can be applied as events within an automation program, while an "undo" function instantly recalls the settings prior to a save operation. With the 02R, convenience and flexibility is built right in. Up to four fader groupswhere a single fader controls multiple specified fadersand four mute groups, can be designated in a flash to permit convenient control of multi-source "sections" for enhanced operation, ease and efficiency. Version 2 software lets you make adjustments to one or more channels on-the-fly. Convenient handling of stereo signals is possible since EQ and other channel parameters for adjacent channels (MIC/LINE 1 to 16, TAPE 1 to 16) can be linked for simultaneous control, and panning can be independent or linked.
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The SELECTED CHANNEL section works in conjunction with the large 320 x 240 pixel backlit LCD screen and navigation and data entry section to make routing, auxiliary send level, pan, and EQ adjustment simple and intuitive. Interactive displays are called up automatically while you work, and a View screen displays all parameters for the selected channel. A handy "channel library" function lets you save all settings for a single channel and recall them at will. Copying data from a source channel to any other specified channel is as easy as the flick of a switch. The 100mm multi-function motorized faders provide precise control of input and effect send and return and other levels, while the FLIP key lets you interchange the functions of the linear faders and rotary encoders on channels 1 to 16 for MIC/LINE or TAPE level control.
The 02R comes standard with a variety of output options, including both COAXIAL (S/P DIF) and AES/EBU digital stereo outputs, and balanced XLR and unbalanced RCA analog stereo outputs, with full 4-band parametric EQ included in the stereo output stage. Dynamics processing can be applied to the 8 bus outputs as well as the stereo outputs, and both individual track processing and overall compression can be applied if the situation requires. The monitor section includes studio and control room monitor outputs, each with individual level control. In addition to the 2-track inputs and stereo bus, auxiliary sends 5 and 6 are ideal for setting up a performer's cue mix. The solo signal is sent to only the control room monitor outputs in recording solo mode, and to the main outputs in mixdown solo mode. The solo signal can be taken either pre-fader or post-pan. In addition to the normal summing solo mode, a "last solo" mode is available for monitoring of the last pressed solo switch signal. In the mixdown solo mode a solo-safe function for all input channels is provided for monitoring of soloed channel plus related effects. A built-in oscillator with 100 Hz, 1kHz and 10kHz sine wave output, plus white noise, can be routed to the 8 bus outputs, the stereo outputs, and/or the 8 auxiliary outputs.
The 02R comes equipped with full on-board automation of all faders (including the Aux send faders) as well as all mixing parameters. Recording and mixdown automation can be synchronized to external SMPTE timecode (30f, 30df, 25f, 24f) or MIDI timecode, and MIDI clock sync lets the Automix be referenced to an external MIDI clock. Dynamic real time automation is available for the faders, channel on/off switching, panning, EQ and surround sound parameters. On-line editing options include "absolute" mode where the written fader data corresponds precisely to the fader positions, and "relative" mode where previously written data can be trimmed according to your needs. A "motor off" function can be engaged to stop fader movement for simple control in the relative Automix mode. 96 scene memories are provided for storing "snapshots" of all fader and parameter settings, which can be treated as Automix events. Off-line editing functions permit scene memory, EQ, dynamics processor, effect and channel library recall to be specified in precise frame increments. Easy copy and paste of selected parameters for selected channels between In Time and Out Time points is possible, while a Write To End feature automatically writes new level and other data to the end of the song even after stopping playback. A fader recall safe function lets you specify which faders will be unaffected by snapshot recall for convenient manual control. Although about 0.5MB of automation memory is supplied as standard equipment from the factory, up to two optional 1 MB expansion cards can be added to increase the memory to 2.5 MB (maximum). Version 2 also employs data compression techniques which effectively increase Automix storage capacity by 50%.
T t c m e n f p A u E C T M O b A S 0 d g p e a m A d a
Displays for Automixing Operation
The 02R's MIDI IN, OUT, THRU and MTC IN terminals permit flexible control ofas well as control byexternal MIDI devices. 02R scene memories and programs can be switched from external devices using MIDI Program Change numbers, while system exclusive data can be used for precise sequence control of all mixing parameters. An external synthesizer's assignable sliders can be used to select 02R fader, channel, panpot, balance, EQ, effect, surround and other parameters via MIDI Control Change messages. The MIDI remote function lets you control other MIDI devices via the 02R's faders, rotary encoders, ON and MIC/LINE SEL 1-16 buttons, cursor buttons and encoder wheelall recordable with the Automix. Specific MIDI remote pages for Yamaha 02R and 03D digital mixers, Yamaha ProR3 and REV500 digital effects processors, GM and XG tone generators, MIDI Machine Control and Pro Tools provide convenient control of a wide variety of external devices from the on-board controls. Bus and Aux masters can be controlled from the 02R's motorized faders. A "TO HOST" RS422 port is also provided to allow direct control from a personal computer running appropriate software.
AES/EBU 1 2TR IN DIGITAL 2 COAXIAL 3 L 1 +4dB R 2TR IN ANALOG Digital Audio Interface Format Receiver
C-R MONITOR OUT R +4dB MONO DIM C-R LEVEL [Phones] 2TR-D1 2TR-D2 2TR-D3 AUX 5 Selector 2TR-A1 2TR-A2 ST AUX 6 PHONES LEVEL
L 2 10dBV R
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 Syn.Bass 1 Syn.Bass 2 Piano 1 Piano 2 E.G Clean E.G. Crunch 1 E.G. Crunch 2 E.G.Distortion 1 E.G.Distortion 2 A.G.Stroke 1
Emphasizes the low range of the bass drum and the attacked created by the beater Creates a peak around 80Hz, producing a tight stiff sound. Emphasizes snapping and rimshot sound. Emphasizes the ranges of that classic rock snare drum sound. Emphasize the attack of tom-toms, and creates a long leathery decay. Emphasizes the attack of crash cymbals, extending the sparkling decay. Use on a tight high-hat, emphasizing the mid to high range. Emphasizes the attack and clarifies the high-range of instruments, such as shakers, cabanas, and congas. Makes a tight electric bass sound by cutting very low frequencies. Unlike program 9. this emphasizes the high range of the electric bass. Use on a synth bass with emphasized low range. Emphasizes the attack that is peculiar to synth bass. This is used to make a piano sound brighter. Emphasizes the attack and low range of the piano sound by using a compressor. Use for line-recording an electric guitar or semi-acoustic guitar to get a slightly hard sound. Adjusts the tonal quality of a slightly distorted guitar sound. This is a variation on program 16. Makes a heavily distorted guitar sound clearer. This is a variation on program 18. Emphasizes the bright tones of an acoustic guitar.
A.G.Stroke 2 A.G.Arpeggio 1 A.G.Arpeggio 2 Brass Section Male Vocal 1 Male Vocal 2 Female Vocal 1 Female Vocal 2 Chorus & Harmony Total EQ 1 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
This is a variation on program 20. You can also use it for the electric gut guitar. Corrects arpeggio technique of an acoustic guitar. This is a variation on program 22. Use with trumpets, trombones, or sax. With one instrument, adjust the HIGH or MID frequency. Use as a template for male vocal. Adjust the HIGH or H-MID setting according to the voice quality. This is a variation on program 25. Use as a template for male vocal. Adjust the HIGH or H-MID setting according to the voice quality. This is a variation on program 27. Use as a template for a chorus. It makes the entire chorus much brighter. Use on the STEREO bus during mixdown. For more effect. try it with a compressor. This is a variation on program 30. This is a variation on program 30. Also use these programs for stereo inputs or external effect returns. This is a variation on program 1. the low and mid range is removed. This is a variation on program 3. It creates rather thick sound. This is a variation on program 5. Emphasizes the mid and high range. This is a variation on program 13. Use for the low range of the piano sound when it is recorded in stereo. Use with program 38. Use for the high range of the piano sound when it is recorded in stereo. Use with program 37. Use for recording to or from cassette tape to make the sound clearer. Use for recording a voice reading a text.
A.Dr BD A.Dr.BD A.Dr.BD A.Dr.BD A.Dr. SN A.Dr.SN A.Dr.SN A.Dr.SN A.Dr.Tom CMP EXP GAT CPH CMP EXP GAT CPS EXP
Compressor that gives the best result with as acoustic bass drum. Expander for the same purpose as program 1. Gate for the same purpose as program 1. Hard compander for the same purpose as program 1. Compressor that gives the best results with an acoustic snare drum. Expander for the same purpose as program 5. Gate for the same purpose as program 5. Soft compander for the same purpose program 5. Expander for acoustic toms automatically reduces the volume when the toms are not played. helping to differentiate the bass and snare clearly. Soft compander to emphasize the attack and ambience of cymbals using overhead microphone. It automatically reduces the volume when the cymbals are not played, helping differentiate the bass and snare drums clearly. Compressor to equalize the attack and volume level of a finger-picked electric bass guitar. Compressor to equalize the attack and volume of a slap electric bass guitar. Compressor to adjust and/or emphasize the level of a synth bass. Compressor to brighten the tonal color of a piano. A variation on program 14, adjusting the attack and entire level using a deeper threshold. Compressor for backing performance, such as electric rhythm guitar playing chords or arpeggios. A variation on program 16, intended for acoustic guitar playing rhythm chords or arpeggio. Compressor for string instruments. this program was intended for violins. A variation on program 18, intended for violas or cellos. A variation on program 18, intended for string instruments with a very low range, such as cellos or contrabass.
Brass Section CMP Syn.Pad CMP SamplingPerc CPS Sampling BD Sampling SN Hip Comp Solo Vocal 1 Solo Vocal 2 Chorus Compander(H) Compander(S) Click Erase Announcer CMP CMP CPS CMP CMP CMP CPS CPS EXP CPH
Compressor intended for brass sounds with fast and strong attack. Compressor for synth pad, intended to prevent diffusion of the sound. Compressor for sampled sounds to boost them to be as powerful and clear the acoustic sounds. This is for percussion sound. A variation on program 23, intended for sampled bass drum sound. A variation on program 23, intended for sampled snare drum sounds. A variation on program 23, intended for sampled sounds for loops. Compressor suited for a solo vocal source. A variation on program 27. A variation on program 27, intended for chorus vocals. A template for the hard knee compander program. A template for the soft knee compander program. Expander to remove click track sounds that may bleed out of the monitor headphones the musicians are using. Hard compander reduces the level during the interval between the words, making the voice sound even. A template for the gate program. Ducking background music for voice-overs, typically keyed from the announcers channel. A template for a limiter using the soft compander program. This program has a slow release. A template for a limiter using the compressor program. This program is a PEAK STOP type. Compressor intended to reduce the overall volume level. Use for the stereo out during mixdown. it is also interesting on stereo input signals. A variation of program 38. it has a harder compression ratio. A variation of program 38. It has an extreme compression ratio, almost a limiter effect.
A.Dr.OverTop CPS E.B.finger E.B.slap Syn.Bass Piano 1 Piano 2 E.Guitar A.Gutar Strings 1 Strings 2 Strings 3 CMP CMP CMP CMP CMP CMP CMP CMP CMP CMP
GAT Easy Gate BGM Ducking DUK Limiter 1 Limiter 2 Total comp Total Comp 2 Total Comp 3 CMP CMP CMP CMP CMP
CMP: Compressor, GAT: Gate, DUK: Ducking, EXP: Expander, CPH: Compressor+Limiter+Expander Hard, CPS: Compressor+Limiter+Expander Soft
Reverb Hall 1 Reverb Hall 2 Reverb Room 1 Reverb Room 2 Reverb Stage Reverb Plate REV Ambience 1 REV Ambience 2 REV Live Room 1 REV Live Room 2 Reverb Vocal 1 Reverb Vocal 2 REV SN.Room REV SN.Plate Chorus->Reverb
This simulates the reverberation in a lager concert hall, and adds spread to sounds such as strings and brass. This is a variation on program 1. It emphasizes longer reverberation and spaciousness. This simulates reverberation of a room with many reflective wall aspects. It gives a live acoustic feel to drums. This is a variation on program 3. This has a slightly brighter effect than the Reverb Hall Programs. Applying a small amount of this effect to an entire mix will create the feel of live acoustic environment. This simulates an old Steel plate reverb and is effective on vocals or musical instruments, especially percussion. This creates space (a smaller space than created by the Reverb Room Programs) around instruments. A small amount of these effects is effective on vocal and chorus, as well as percussion instruments. This is a variation on program 7. This simulates reverberation in much larger rooms. This is a variation on program 9. This is useful for vocal and chorus. This has longer reverberation than program 11. This could be suitable for ballads. This is a reverb variation to enhance the sound of s snare drum. This is also for snare drums, similar to program 13. Stereo chorus followed b reverb. This program will change a dry sound into a worm sound with spread. Use the reverb Depth parameter to adjust the amount of reverberation. Flange effect by reverb. This effect is more appropriate to emphasize modulation
Reverse Gate DELAY->Early REF. Delay L-C-R 1 Delay L-C-R 2 Chorus->DLY LCR Mono DLY->Chorus Stereo INI.DLY ECHO Echo Cross Echo Cross Delay Chorus 1 Chorus 2 Broad Chorus Flange Symphonic Tremolo Auto PAN Phasing ST.Pitch Change Vocal Doubler
Input Terminals CH INPUT MIC/LINE 1~16 A:1~8 B:1~16
Pad Gain 40
Actual Load Impedance
Input Level For Use with Nominal Sensitivity* l Nominal Max. before Clip 50~600 Mics & 600 Lines 70dB (0.245mV) 26dB (38.8mV) 6dB (388mV) 50dB (2.45mV) 6dB (388mV) 10dB (245mV) +4dB (1.23V) 10dBV (316mV) 60dB (0.775mV) 16dB (0.123V) +4dB (1.23V) 40dB (7.75mV) +4dB (1.23V) +0dB (0.775V) +4dB (1.23V) 10dBV (316mV) Output Level Nominal +4dB (1.23V) -10dBV (316mV) +4dB (1.23V) +4dB (1.23V) +4dBV (1.23V) 0dB (0.775mV) 1mW 3mW Max. before Clip +24dB (12.3V) +10dBV (3.16V) +24dB (12.3V) +24dB (12.3V) +20dBV (7.75V) +20dB (7.75V) 25mW 110mW 40dB (7.75mV) +4dB (1.23V) +24dB (12.3V) 20dB (77.5mV) +24dB (12.3V) +20dB (7.75V) +24dB (12.3V) +10dBV (3.16V)
A:XLR-3-31 type* B or B:TRS Phone Jack* B
Hum & Noise Level* 1 * 2 Crosstalk @1kHz AD Conversion DA Conversion
CH INPUT LINE 17~24 +4 INSERT IN MIC/LINE 1~8
TRS Phone Jack* B
70dB adjacent input channels 70dB input to input 20-bit linear 64 times oversampling(INPUT 1~24) 20-bit linear 8 times oversampling(ST OUT, C-R MONI OUT) 18-bit linear 8 times oversampling (STUDIO MONI OUT, AUX SEND 1~8)
TRS Phone Jack* U TRS Phone Jack* B RCA Pin Jack* U
2TRACK INPUT(L, R)
Internal Signal Processing Sampling Frequency
32-bit(Dynamic Range=192dB) Internal:44.1/48kHz External:32kHz(-6%)~48kHz(+6%) 4-band Full Parametric Equalization f:20Hz~20kHz(120point), G:18dB(0.5dB step), Q:0.1~10(41point)4-stages type:shelving/filterLOW, HIGH (40 IN, Internal EFF RTN 1, 2, ST OUT) 100mm Motor Fader x21 Scene(Total Recall) 96 Ch Library 64 EQ Library 128(40 preset) Dynamics Library 128(40 preset) Effect Library 128(40 preset) Auto mix 16(0.5MB) 320x240 pixel backlit LCD panel 21-elements x2 LED 662.7(700.7*3)W x 221.5(334.9*4)H x 685(691.5*4)D mm 30kg
Actual Source For Use with Impedance Nominal Lines 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 8 Phones 40 Phones
Connector XLR-3-32 type* B RCA Pin Jack* U TRS Phone Jack* B TRS Phone Jack* B Phone Jack* U TRS Phone Jack* U Stereo Phone Jack
STEREO OUT(L, R) 600 STUDIO MONITOR OUT(L, R) C-R MONITOR OUT(L, R) AUX SEND 1~16 INSERT OUT MIC/LINE 1~8 PHONES *l *B *U 100
Display Stereo Meter Dimensions & Weights
The lowest level that will produce an output of +4dB(1.23V) or the nominal level when the unit is set to maximum gain. Balanced. Unbalanced. 0dB=0.775Vrms, 0dBV=1Vrms
*1=fs:internal 48kHz *2=measured with a 6dB/octave filter @12.7kHz(equivalent to a 20kHz filter with infinite dB/octave attenuation). *3=W02SP(1.7kg) attached. *4=MB02(3kg) connected.
TEAC, TASCAM are registered trademarks of TEAC Corporation. ADAT, ALESIS are registered trademarks of Alesis Corporation. ADAT Degital Interface is a trademark of Alesis Corporation. Fostex is a trademark of Fostex Corporation. *Specifications and appearance subject to change without notice.
Terminals STEREO OUT DIGITAL AES/EBU STEREO OUT DIGITAL COAXIAL 2TR IN DIGITAL 1 AES/EBU 2TR IN DIGITAL 2, 3 AES/EBU WORD CLOCK IN WORD CLOCK OUT TC IN MTC IN MIDI-IN-OUT-THRU TO HOST METER * IEC958, EIAJ CP-1201(Consumer)
Format AES/EBU S/P DIF * AES/EBU S/P DIF * SMPTE MIDI MIDI
Level RS-422 0.5Vpp/75 RS-422 0.5Vpp/75 TTL/75 TTL/75 Nominal-10dBV/10k RS-422
Connector XLR-3-31 type RCA Pin Jack XLR-3-32 type RCA Pin Jack BNC BNC RCA Pin Jack DIN 5pin DIN 5pin Mini DIN 8pin D-sub 15pin
For details please contact:
700.7 662.7 448.2
Unit : mm
For more information about the 02R Digital Recording Console, other Yamaha products, dealer network and more, visit: Yamaha PA Web Site
221.5 196.5 183.8 40.4 117.6
455 95.7 685
Using the 02R Do not touch the 02R under the following circumstances: If you hear thunder, turn off the power switch and remove the power plug from the AC outlet as soon as possible. If you fear a lightning hit, and the 02R has been connected to an AC outlet, do not touch the power plug. Otherwise, you may receive an electrical shock. Do not attempt to modify this equipment. Otherwise, re or electrical shock may result. Do not remove the case of the 02R. Otherwise, electrical shock may result. If you think the 02R needs to be checked for maintenance or repair, consult your dealer. Do not place a container of water, or any small metal object on top of the 02R. If water is spilled or if the metal object falls inside, re or electrical shock may result. This applies to vases, potted plants, glasses, cosmetic bottles, medicine, etc. Do not damage, process, bend, twist, stretch, or heat the power cord. Otherwise, the cord may be damaged, resulting in re or electrical shock. When you are connecting audio devices or speakers to the 02R, make sure that rst you turn off the power to all devices to be connected. Refer to the user's guide for each device, and use the specied cable for connection. Set the volume level on all the devices to the minimum before turning on the power. Otherwise, an extremely loud noise could damage your hearing. If you plan not to use the 02R for a long period of time (such as when you are on vacation), remove the power plug from the AC outlet. Otherwise, a re could possibly result.
If an abnormality occurs while operating the 02, remove the plug from the AC outlet If you notice any abnormalitysuch as smoke, odor, noise, etcturn off the power to the 02R immediately, and remove the power plug from the AC outlet. Conrm that the abnormality is no longer present, then consult your dealer for repair. If you continue using the 02R under abnormal conditions, re or electrical shock may result. If a foreign object or water enters inside the equipment, turn off the power to the 02R immediately, remove the power plug from the AC outlet, and consult your dealer for repair. If you continue using the 02R under this condition, re or electrical shock may result. If the power cord is damaged (for example, the it is cut or if the core wire is exposed), ask your dealer for a replacement. If you continue using the 02R under this condition, re or electrical shock may result. If the 02R is dropped, or the cabinet is damaged, turn off the power switch, remove the power plug from the AC outlet, and consult your dealer. If you continue using the 02R under this condition, re or electrical shock may result.
Youre probably already familiar with the many benets of digital audio, but what exactly are the benets for digital audio mixing? An audio mixer has the job of combining audio signals from various sources, at differing levels and impedances, usually into a stereo signal. It must do this without introducing any new distortions and noise. Most analog mixers do a pretty good job, but even with the best designs, nonlinear effects caused by circuit components are unavoidable. In the digital realm, audio mixing consists of adding and multiplying the binary numbers that represent audio signals. The 02R uses a 32-bit DSP (Digital Signal Processor) chip for these calculations, ensuring a very high degree of precision. Once past the analog-to-digital conversion, audio signals are essentially immune from standard signal degradation. With the 02R, noise, distortion, and crosstalk are virtually eliminated. Youll hear a new clarity in your mixes. Once in the digital realm, theres little point converting back to analog. The 02R features stereo digital outputs for direct mixdown to DAT and other digital recorders. It uses the industry standards AES/EBU or IEC958 Part 2 (Consumer) for its digital inputs and outputs. With one of the optional digital I/O cards installed in your 02R, you can record direct-to-digital to your modular digital multitrack recorder.
Introduction to the 02R 02R Sonic Performance
The 02R uses linear 20-bit 64-times oversampling analog-to-digital converters to provide a typical dynamic range of 105 dB. This means that an audio programs dynamic range, from low to high levels, is processed intact. The 02R samples audio at 44.1 kHz or 48 kHz. It provides a full spectrum frequency response from 20 Hz to 20 kHz, +1, 3 dB. For digital-to-analog conversion, the 02R features 20-bit 8-times oversampling for its main stereo outputs, including the control room monitor outputs, and 18-bit 8-times oversampling for the studio and aux send outputs. Oversampling and bitstream techniques effectively increase the internal sampling rate, so side effects caused by steep low-pass lters, which are used to lter out undesirable sampling frequency components during conversion, are virtually eliminated. Consequently, audio signal integrity is maintained from input through to output.
Basic Assumptions. 14 Making the Connections. 14 Basic Setup. 15 Power ON/OFF. 16 Setting the Synchronization. 16 Recall Scene Memory 0. 17
The 02R was designed to be the perfect digital mixing console for a studio using the current generation of modular digital multitrack tape and disk recorders. Although the 02R can also be used as a sound-reinforcement mixer, the typical user will own a project recording or post-production studio with some form of multitrack recorder. Therefore, your 02R will probably be equipped with one or more of the optional input/output cards. For the purposes of these tutorials, it does not matter if you are working with an analog or digital multitrack.
When you select a different scene memory, the number displayed in the SCENE MEMORY LED indicator ashes. 2. Press the [RECALL] button. The selected scene memory is recalled. Note: When recalling mix scenes, be aware that volume levels may change suddenly as channels are switched ON and faders moved. The 02R has a feature that allows you to fade the levels as a scene memory is loaded, but it cannot compensate for the sudden burst of a channel suddenly being switched on. See Fade Time on page 136 of the Users Guide for further information. When the scene memory is recalled, the number displayed in the SCENE MEMORY LED indicator stops ashing. If you attempt to recall a scene memory that is empty, the 02R displays an error message, indicating that the selected memory location is not available for recall.
Mixing and Automix
What is 02R Automix?
There are three basic steps to making a multitrack recording: Setup and initial tracks Overdubbing Mixdown
Each step is vital in order to produce a satisfactory recording, but the most difcult one for most engineers is the mixdown. The musicians have nished their work. They have played their instruments and sung their vocals. All that raw material is stored on your multitrack recorder, waiting to be turned into a perfect nal mix. To assist you with this difcult task, the 02R has a fully-featured on-board automix system. It memorizes fader position changes, switches individual channels on or off, adjusts the EQ or pan positions, and changes the auxiliary sendsall based on timecode. It can also recall scene memories and programs from the EQ library, effects library, dynamics library, and channel library. This allows you to record an entire mixing session, and then edit the individual channel settings in multiple passes until you have achieved perfection. You can punch-in to ne tune a specic parameter or you can use one of the event editors to adjust the timecode position of a channel setting or scene change. You can easily create a mix that would be virtually impossible to achieve on a standard analog mixer.
begin. The timecode will be displayed in real-time in the Time Code eld of the Automix Main page. Note: If the timecode is not being displayed correctly in the Time Code eld, check the following: Are your cables connected between the timecode source device and the 02R correctly? Is the timecode source device setup correctly to output timecode?
5. While monitoring the recording, operate the faders and other controls for the selected channels. When you are recording the automix events, you can only operate the controls, specically the faders, of the selected channels. Note: The 02R tries to prevent accidental level changes by freezing the faders that have not been selected. To avoid damaging the unit, do not attempt to operate the faders of channels that have not been selected.
Automix Recording Notes
When you are recording pan or EQ changes you may nd it more convenient to use the buttons and controls of the SELECTED CHANNEL block. If you have selected more than one channel with the [SEL] buttons, the SELECTED CHANNEL controls can only adjust the channel that was selected last. The same applies for EQ and dynamics processor operations. Because of these restrictions, you may nd it more convenient to work on your automix recording one channel at a time when editing EQ and pan data. While you are recording automix events, you can select other 02R display functions, allowing you to adjust the parameters for multiple channels. To record a recall operation from EQ, dynamics, or channel libraries, press the [SEL] button for the channel to be changed, then use the corresponding display function to perform the recall operation. To record a recall operation from the effect libraries, use the [AUX 7] or [AUX 8] button to access the effect libraries.
6. When you have completed recording the automix session, use the CURSOR buttons to select the STOP icon and press the [ENTER] button. You may nd it faster and more convenient to stop the automix recording session by stopping the device that is providing the timecode. In this case, the effect is the same as if you selected the STOP function on the 02R:
The REC icon will change to normal and the STOP icon is highlighted. The events recorded during the automix session will be written to the current automix memory. You can also discard the events recorded during the automix session by selecting the UNDO icon with the CURSOR buttons and pressing the [ENTER] button. You can stop the automix recording session by selecting the ABORT icon with the CURSOR buttons and pressing the [ENTER] button. However, the events recorded during the automix session will be discarded. Note: The ABORT function must be used before an automix recording has stopped. Once the recording has stopped, the automix data will be updated and a new current mix is created. At this point after stopping an automix recording, the UNDO function can be used to retrieve the previous automix data. In most cases, punch-in edits or using the event editors can correct minor errors. 7. Stop the device that is providing the timecode.
Option slots (1 to 4)
These slots accept one of the optional I/O cards.
List of Cards
Card Format Product Size Double Single Single Single Single Double Single Slot 1 or 2 (max 2 cards, 16 ch) 14 (max 4 cards, 32 ch) 14 (max 4 cards, 32 ch) 14 (max 4 cards, 32 ch) 14 (max 4 cards, 32 ch) 1 or 2 (max 2 cards, 16 ch) 14 (max 4 cards, 32 ch)
AES/EBU CD8-AE CD8-AE-S ADAT TDIF-1 CD8-AT CD8-TD
YAMAHA CD8-Y AD/DA Analog I/O A/D CD8-AD CD8-AD-S CD8-CS KIT
Single 2 Any (normally 3 or 4)
Use slots 1 and 2 for direct output lines to your multitrack recorder. See Section 14, Installing Options on page 217 of the Users Guide for further details.
OFF PEAK SIGNAL Meter PHASE DELAY ON Meter Gain Reduction ON 4BAND EQ PEAK ON ON Meter ON DIRECT Meter ATT Meter Meter A/D PEAK Meter ON Meter ON ON D/A Gain Reduction PHASE DELAY 4BAND EQ Meter ON EFFECTOR DYNAMICS SIGNAL DC CUT PHASE 4BAND EQ DELAY DYNAMICS Dither Dither 4BAND EQ DYNAMICS SIGNAL A/D Same as 1-8 DC CUT ATT DYNAMICS Meter D/A ON Meter L ATT 4BAND EQ DYNAMICS A/D DC CUT BUS 78 ST LR AUX 78
INSERT I/O +0dB
1 +4dB R STEREO OUT ANALOG L 2 10dBV R
Meter Gain Reduction
INPUT 17,19 21,23
Digital Audio Interface Format Transmitter
AES/EBU STEREO OUT DIGITAL COAXIAL
INPUT 18,20 22,24 DC CUT
AUX SEND +4dB 1-6 Meter
BUS MASTER LEVEL
Dither Format Converter Meter BUS 1-8 Slot 1 Slot 2
De Emp PHASE DELAY
ATT Gain Reduction Meter
18 Slot Slot 2 4BAND EQ ON ON DYNAMICS
ON ON Meter
Format Converter Meter Gain Reduction
Slot 3 Slot 4
EFF1,2 PHASE DELAY Same as ST IN EFF1 can not be assigned to AUX7 EFF2 can not be assigned to AUX8 DELAY AUX 5 ATT PHASE 4BAND EQ 4BAND EQ
The Pad function attenuates input signals by 20 dB. This is useful when inputting high level signals that would otherwise overload the input preamplier. By increasing the effective range of the GAIN control, high-level signals can be adjusted accurately. Pad can be set individually for the mono input channels 1 through 16. The [20 dB] (pad) switch at the top of each channel is used to turn it ON and OFF: up for OFF, down for ON.
The GAIN controls are used to optimize the input channel signal levels. Use them with the PEAK indicators. This red LED illuminates when the input signal exceeds 3 dB below clipping. Ideally the level should be set relatively high. It is acceptable if this LED illuminates occasionally. If it is continuously illuminated, however, back off the GAIN control a little, otherwise the input preamplier is being overloaded and clipping distortion will result. The GAIN control should be set with some care. If it is set too low, the signal-to-noise performance will suffer, and if it is set too high, unpleasant signal clipping and distortion may occur. The SIGNAL indicator is a green LED which illuminates when the input signal exceeds 10 dB below nominal. The analog input controls are not controlled or stored by the 02R automix and scene memory functions. To assist in easy recall of the gain setting, the GAIN controls are detented. You should note the analog settings on a copy of the User Settings Sheet at the back of the manual.
The [SEL] buttons are used to select a channel in order to perform some action on it. When a channel is selected, the LED set in the corresponding button lights up and its name appears in the Selected Channel area of the display. Stereo-pair channels are selected together. Note: You can use the [SEL] buttons to create stereo-pair channels. Refer to Pairing Channels on page 184 of the Users Guide. The SELECTED CHANNEL controls are set to the current status of the selected channel. Depending on which display function is active, the selected channel may be highlighted, or the entire display may be dedicated to its parameters.
The [ON] buttons are used to turn channels on and off. The input channel, tape return channel, effect return channel, and stereo output [ON] buttons turn their respective channels on and off. When a channel is turned on, the LED set in the corresponding button lights up. When it is turned off, the LED goes off. Stereo-pair channels are turned on and off together.
The 02Rs faders are motorized. This means that they can be positioned automatically. You can group or pair faders together so all faders in a group or pair move automatically when you move any fader in that group or stereo pair. Fader positions are stored in scene memories. When a scene memory is recalled the faders automatically move to their stored positions.
Fader positions are stored when the 02R is powered OFF. Even if faders are subsequently moved, they return automatically to their last positions when the 02R is powered ON again. Note: You should avoid placing objects on the 02R that may block fader movements. There are several operations, such as recalling a scene memory, selecting the auxiliary buses, and automix playback, that automatically move the faders. If a fader is blocked, it could be damaged as it attempts to move.
To adjust the levels of the tape and effect return channels, the 02R provides a continuously rotary encoder for each channel. The channel levels are indicated by the Tape Return Level and Effect Return Level icons at the bottom of the display.
Although the rotary encoders are reasonably accurate, there will be times, for example during a mixdown, when you want the increased accuracy and feel of a fader to adjust the tape return levels. The faders for input channels 1 through 16 are multifunction controls. When you press the [FLIP] button, the faders switch to adjusting the tape returns. The Tape Return icons are highlighted to indicate the input channels have moved up to the TAPE controls, and the LED in the [FLIP] button is illuminated.
The 02R is equipped with a pair of analog stereo out connectors, one pair XLR-type for connecting to professional equipment, the other phono jacks. There are also two pairs of phone jacks to provide a stereo output to your control room and studio monitoring systems.
2 -10dBV 1 +4dB STEREO OUT ANALOG
Monitor Selector Switches
These buttons select the monitor signal sent to the studio monitor system. In many studios, this would be a headphone amplier, typically one that could drive several sets of headphones. This system provides the monitoring that your musicians need in order to successfully work on a multitrack recording. You can select the same signal that is being monitored in the control room with the [C-R] button. When you press this button, it cancels the current settings. When you press it again, it restores the previous settings. You can send the signal from the stereo bus by pressing the [ST] button. The most exible approach is to set up a separate mix using one of the auxiliary channels (press either the [AUX 5] or [AUX 6] button), and send that to the studio monitors. This allows you, for example, to apply reverb and equalization to the monitor signal you send to your vocalist, while you record the performance dry. You can select any combination of the [ST], [AUX 5], and [AUX 6] buttonsincluding none.
MIXING Display Functions Phase & Attenuation Pages
There are two pages to the / 1/1 function. The rst page, shown below, contains the Phase and Attenuation controls for MIC/LINE channels 1 to 24, and appears when one of these channels is selected.
The second page, shown below, contains the Phase and Attenuation controls for TAPE channels 1 to 16, effects returns (EFF 1 and EFF 2), and the stereo output, and appears when one of these channels is selected.
Note: When a stereo channel (17 to 24) is stored to the channel library, phase and attenuation parameters for both the left and right channels are stored. If such a channel program is recalled to a mono channel, the phase and attenuation settings of the left channel are used.
1. Press the [DELAY] button. The DELAY display function is used to apply a small amount of delay to input or return signals to compensate for situations such as line or cabling delays or the gap between the record and playback heads (or circuitry) of your multitrack recorder. You can delay a signal from 0 to 2,600 samplesat 44.1 kHz this is a delay of 0 to 59.0 ms and at 48 kHz it is a delay of 0 to 54.2 ms. Delay can be applied to any of the input channels and the tape and effect return channels. The stereo input channels are always ganged together. The MIC/LINE and TAPE channels are set independently only when they are not linked together in GANG mode with the PAN function
The DELAY display function appears. 2. Select a channel using the [SEL] buttons or the CURSOR buttons. 3. By default, the delay is off. Press the [ENTER] button to turn it on. The OFF icon, highlighted, changes to ON. 4. Use the CURSOR buttons to select either [Smpl] or [mSEC]. 5. To change the delay, rotate the encoder wheel until the desired value is shown. 6. To set all channels to the same delay time, double-click the (ENTER) button.
Delay and Cascade
If you use a digital cascade kit (CD8-CS) to connect more than four 02Rs together, you will need to use the DELAY display function to apply delay to the machines closest to the output. Set a delay value of 10 to 20 samples for each unit. The digital cascade kit will automatically apply the correct amount of delay when you connect four or less 02Rs together. See Cascade Conguration on page 191 of the Users Guide.
Program 3 REVERB ROOM1
This simulates reverberation of a room with many reective wall aspects. It gives a live acoustic feel to drums. Parameter Rev.Time Hi.Ratio Diff. Ini.Dly Density LPF HPF Rev.Dly Rev.Bal Setting 1.4s 0.5.0ms 3 THRU 280Hz 1.0ms 50% Same as program 1 Same as program 1 Range Description
Internal Effects Program 4 REVERB ROOM2
This is a variation on program 3. Parameter Rev.Time Hi.Ratio Diff. Ini.Dly Density LPF HPF Rev.Dly Rev.Bal Setting 1.8s 0.17.0ms 3 9.0kHz 80Hz 4.0ms 50% Same as program 1 Same as program 1 Range Description
Program 5 REVERB STAGE
This has a slightly brighter effect than the REVERB HALL programs. Applying a small amount of this effect to an entire mix will create the feel of live acoustic environment. Parameter Rev.Time Hi.Ratio Diff. Ini.Dly Density LPF HPF Rev.Dly Rev.Bal Setting 3.4s 0.45.0ms 3 THRU 70Hz 9.0ms 50% Same as program 1 Same as program 1 Range Description
Program 6 REVERB PLATE
This simulates an old "steel plate reverb" and is effective on vocals or musical instruments, especially percussion. Parameter Rev.Time Hi.Ratio Diff. Ini.Dly Density LPF HPF Rev.Dly Rev.Bal Setting 2.4s 0.16.0ms 3 8.0kHz THRU 2.0ms 50% Same as program 1 Same as program 1 Range Description
Program 7 REV AMBIENCE1
This creates space (a smaller space than created by the REVERB ROOM programs) around instruments. A small amount of these effects is effective on vocal and chorus, as well as percussion instruments. Parameter Rev.Time Hi.Ratio Diff. Ini.Dly Density LPF HPF Rev.Dly Rev.Bal Setting 1.2s 1.19.0ms 3 9.0kHz 45Hz 4.0ms 50% Same as program 1 Same as program 1 Range Description
Program 8 REV AMBIENCE2
This is a variation on program 7. Parameter Rev.Time Hi.Ratio Diff. Ini.Dly Density LPF HPF Rev.Dly Rev.Bal Setting 0.8s 0.0.1ms 3 THRU 56Hz 0.1ms 50% Same as program 1 Same as program 1 Range Description
Program 9 REV LIVE ROOM1
This simulates reverberation in much larger rooms. Parameter Rev.Time Hi.Ratio Diff. Ini.Dly Density LPF HPF Rev.Dly Rev.Bal Setting 2.4s 0.0.1ms 3 7.0kHz THRU 0.1ms 50% Same as program 1 Same as program 1 Range Description
Automix Time Code Counter
The timecode counter displays the incoming timecode. For the SMPTE, MTC, and INT time references, timecode is displayed in hours, minutes, seconds, and frames. If you select INT (internal) timecode, the timecode counters starts straightaway. For MIDI Clock, timecode is displayed in bars, beats, and MIDI clocks.
Using an offset, automix events can be moved backwards or forwards relative to the incoming timecode. For the SMPTE, MTC, and INT time references, offset is specied in hours, minutes, seconds, and frames. For MIDI, its specied in bars, beats, MIDI clocks, and Time Signature.
Timecode Type and Frame Rate
Select the timecode type from the following list: SMPTE timecode MTC (MIDI Timecode) INT (internal SMPTE) MIDI (MIDI Clock)
Select the timecode frame rate from the following list: 24 frames per second 25 frames per second 29.97 frames per second (30 drop frame) 30 frames per second (29.97/30 non-drop frame)
When the 02R receives timecode during enable status (box checked), it will start playback of the AUTOMIX (or recording if it is in REC ready mode). If the 02R is in disable status, the AUTOMIX will not function.
Automix Overwrite Mode
The Overwrite check boxes can be used to select certain parameters for automix recording. These are: FADER, CH ON, PAN, EQ or SURROUND. The FADER check box includes rotary encoders and AUX send levels. The following parameters are not affected by the Overwrite check boxes and can be recorded at any time: mix scene recalls, MIDI Remote actions, and EQ, channel, dynamics, and effects program recalls. Use the [SEL] buttons to select a channel for recording. The parameter will be recorded during the rst record operation, and overwritten during subsequent passes (recordings). During the overwrite operation, the [SEL] button will ash. During automix recording, you cannot change a parameter settings unless the corresponding parameter has been selected and the channel [SEL] button (edit key) has been pressed. If the parameter has been selected and the channel [SEL] button has been pressed, automix playback for that parameter will be stopped, and you can record new data. Note: It is possible to change a parameter during automix playback, but automix playback has priority.
When you insert the card, press it rmly into the slot to make certain the connector on the card edge seats rmly on the bus slot inside the 02R. Make sure the card is properly secured with the screws that held the cover plate in place. 4. Turn on the 02R. Verify that the card has been recognized by the 02R on the DIGITAL I/O 1/5 page (see Word Clock Select on page 188 of the Users Guide). If the card was installed properly, the 02R should correctly identify it in the appropriate slot.
Installing Options Peak Meter Bridge and Wooden Side Panels
1. Turn off the 02R.
TO PREVENT ELECTRICAL SHOCK, ENSURE THE 02R IS TURNED OFF BEFORE YOU FASTEN ANY CONNECTORS OR UNDO ANY SCREWS! Note: Before you install the MB02 on the 02R, be certain to turn the power off. Not only do you risk electrical shock, you can also damage either the 02R or the MB02. You may also invalidate any warranties for the 02R or the Peak Meter Bridge (MB02). 2. Install the Peak Meter Bridge and/or Wooden Side Panels as shown in the following diagram:
3. Turn on the 02R. Verify that the MB02 is functioning correctly.
Memory Expansion Kit
The Memory Expansion Kit (ME4M) is a dealer/service center installed option only. Any attempt by a customer to install this option will invalidate any warranties for the 02R or the ME4M.
Please take your 02R to your YAMAHA dealer or a YAMAHA service center to have the Memory Expansion Kit (ME4M) installed in the 02R.
Analog I/O CardAD/DA (CD8-AD)
The CD8-AD is used to connect an analog multitrack recorder or other analog devices to the 02R.
Installing the CD8-AD
The CD8-AD is a double slot card. For installation instructions, see Double Slot Cards on page 222 of the Users Guide. Before you install the CD8-AD, you need to set the individual input and output level switches. Set the switches to 10 dBv or +4 dB as appropriate. Refer to the instructions included with the CD8-AD for more information.
Setup of the CD8-AD
1. Use the [DIGITAL I/O] button to locate the DIGITAL I/O 1/5 page. If the card was installed properly, the 02R will identify it in the appropriate slot. 2. Make the required connections between the 02R and your analog devices. You should use the highest quality connecting cables you can afford to maintain the best possible signal quality.
MB02 meter bridge installation 236 Memory expansion kit, installing 223 Merging events 153 METER 1/2 page 41 METER 2/2 page 41 METER 3/3 page 42 Meter bridge installing 223 using 236 METER connector 13 Metering 41 MIDI bulk dump 161
METER 1/METER 2/METER 3/MIDI 1/MIDI 2/MIDI 3/MIDI 4/MIDI 5/PAIR 1/PAIR 2/PAN 1/PHASE 1/ROUTING 1/ROUTING 2/ROUTING 3/ROUTING 4/SCENE 1/SCENE 2/SCENE 3/SCENE 4/SCENE 5/SETUP 1/SETUP 2/SETUP 3/SETUP 4/UTILITY 1/UTILITY 2/UTILITY 3/UTILITY 4/4 213, 214 VIEW 1/VIEW 2/PAIR 1/2 page 184 PAIR 2/2 page 185 Pairing channels 184 Pan controls 24, 38 gang 37 using 36 PAN 1/1 page 36 Parameter change data format 262 receive enable 159 transmit enable 159 Peak hold 42 PEAK indicators 27 Phantom power 26 Phase 32 PHASE 1/1 page 33 PHONES LEVEL control 30 PLAY icon, automix 147 POWER switch 13 Pre EQ Direct Out 199 Pre Fader Direct Out 199 Preferences 198 Presets dynamics programs 90 effects programs 105, 112 EQ programs 58 Program change assign to scene memories 160 data format 262 receive enable 159 transmit enable 159 Programmable Mixer 01 MIDI remote 169 parameter to control change assign 164 Programs bulk dump 161 channel 48 dynamics 76, 90 effects 105, 112 EQ 54, 58 ProR3, MIDI remote 178 Protecting scene memories 134 Pro Tools, MIDI remote 180 ROUTING 2/2 page 65 ROUTING 3/4 page 67 ROUTING 4/4 page 69 ROUTING buttons 23 Rx 02R Link Message 202
S/PDIF See COAXIAL. Safe, scene recalls 135 SCENE 1/5 page 131 SCENE 2/5 page 135 SCENE 3/5 page 136 SCENE 4/5 page 206 SCENE 5/5 page 204 Scene memories bulk dump 161 edit buffer 129 editing recall events 155 fader recall safe 135 fade time 136 initial data 129 program change assignments 160 protecting 134 recalling 134 storing 130 titling 131 whats stored 129 SCENE MEMORY buttons 21 SEL buttons 27 SETUP 1/4 page 196 SETUP 2/4 page 203 SETUP 3/4 page 198 SETUP 4/4 page 201 Show Compact Size 202 SIGNAL indicators 27 Single slot cards 218 Slate Tone 199 Slot output select 194 SMPTE counter 145 frame rate 145 input connector 13 offset 145 using 140 Solo 196 SOLO button 30 Specifications digital inputs and outputs 247
Read-only scene memories 129 Rear panel 11 Recall Confirmation 199 Recalling automixes 148 channel programs 48 dynamics programs 87 effects programs 109 EQ programs 55 scene memories 134 Receive channel, MIDI 159 REC icon, automix 147 REC Recall Safe Faders 201 Remote Talkback (C3) 199 Restore Last Edit Ch 201 RET mode 152 REV500, MIDI remote 178 Reversing signal phase 32 Rotary encoders 28 Routing 39 ROUTING 1/2 page 39
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