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MIC C w/In
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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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.
Yamaha custom-developed 32bit signal processing LSIs and twin RISC CPUs provide unprecedented sound quality and fast response speed.
High-precision, high-resolution 20-bit linear AD converters with 64-times over-sampling are available on all analog inputs. 20-bit linear DA converters with 8-times over-sampling are featured on the stereo and control room monitor outputs. With a dynamic range of 110dB at the stereo outputs and 105dB from the MIC/LINE inputs to the STEREO OUT connectors, the 02R is capable of providing uncompromising sound quality in the most demanding professional recording and mixing situation.
Rear panel of 02R shown with the optional TASCAM & ADAT Interface Cards installed.
OFF PEAK SIGNAL Meter PHASE DELAY ON Meter Gain Reduction ON 4BAND EQ PEAK ON ON Meter ON DIRECT Meter ATT Dither Meter Dither Meter DC CUT PHASE Meter ON Meter ON ON D/A Gain Reduction PHASE DELAY 4BAND EQ Meter Meter ON EFFECTOR DYNAMICS 4BAND EQ DELAY DYNAMICS Digital Audio Interface Format Transmitter 4BAND EQ DYNAMICS SIGNAL DC CUT Same as 1-8 ATT DYNAMICS Meter 1 +4dB R STEREO OUT ANALOG L 2 10dBV R D/A ON Meter L ATT 4BAND EQ DYNAMICS DC CUT BUS 78 ST LR AUX 78
INSERT I/O +0dB
Meter Gain Reduction
INPUT 17,19 21,23
AES/EBU STEREO OUT DIGITAL COAXIAL
INPUT 18,20 22,24 DC CUT
AUX SEND +4dB 1-6
BUS MASTER LEVEL
Dither Format Converter DIRECT DIRECT BUS 1-8 Slot 1 Slot 2
De Emp PHASE DELAY
18 Slot Slot 2 4BAND EQ DYNAMICS
Gain Reduction Meter
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
OSC Meter HA SLATE T/B LEVEL A/D
AUX 6 L D/A ST C-R STUDIO MONITOR OUT R +4dB STUDIO LEVEL T/B C-R Line17/18 Line19/20 De-EMP T/B D/A De-EMP
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
This is a variation on program 20. It creates somewhat strange, reversed gate reverb sound. This effect creates early reflection sound after a delay. A three-part delay with independent delay time parameters for left, right, and center. This is a variation on program 23. Chorus effect is followed by three-part delay(L-C-R) with feedback. Mono feedback delay followed by stereo chorus. Stereo feedback delay followed by stereo echo. This is a common echo effect. The Echo feedback signal crosses left to right and from right to left. The Echo feedback signal crosses completely. A stereo chorus. Creates rich, thickening effect. This is a variation on program 31. The modulation is much thicker and shimmering. This is a variation on program 31, with more spread and spaciousness. Stereo Flanger. Creates a rich, swirling effect, full of harmonics. This program creates a rich grand chorus effect, bigger than chorus alone. A Stereo tremolo, just like on a classic guitar amplifier. It creates a fat sound that is great with guitars. This effect performs automatic panning across the stereo image. Stereo Phaser. This effect simulates old phase shifter effects. Two-Part stereo pitch shifter. This stereo effect changes the pitch of the left and right channels independently of each other. This is a thin harmonizing effect obtained by setting a longer delay.
Flange->Reverb 1 effects than the CHORUS- REVERB program. Use the reverb Depth parameter to
adjust the amount of reverberation.
Flange->Reverb 2 This is a variation on program 16. Early REF. 1 Early REF. 2 Gate Reverb
Simulates early reflections only. It can create a wide range of effects, from gate-reverb to ambience effects. This is a variation on Program 18. It produce a thicker sound. Simulates a gate reverb effect by using the EARLY REFLECTION program.
Total Harmonic Distortion Frequency Response* 1 Dynamic Range* 1
less than 0.2% 20Hz~20kHz(analog output) @+14dB into 600 +1, 3dB, 20Hz~20kHz @+4dB into 600 110dB(typical) DA Converter(STEREO OUT) 105dB(typical) AD to DA(MIC/LINE IN to STEREO OUT) 128dB Equivalent Input Noise(20Hz~20kHz)
Rs=150W, Input Gain=Max., Input Pad=0dB, Input Sensitivity=-60dB
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
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