AW4416 Specifications

General Specification
Frequency Response Total Harmonic Distortion Dynamic Range 20 Hz - 20kHz (0+1/-3dB, Omni Out) Less than 0.02% (@ 1kHz, Omni Out) 104dB (typical) Internal Multi-Effects Faders Memory 17 (60mm motor drive) Scene memory 96 per song, Patch Library, Channnel Library, EQ Library, Dynamic Library, Effect Library, Automix 2 Processors (dedicated to Aux 7/8 busses or insertion to any input channel or stereo buss)

Inputs & Outputs

Analog Input
Terminal Connector Nominal level Input impedance Sensivity /Maximun input level 3k/+22dB 52dB

HD Recorder

Internal (HDD) Internal Tracks Simultaneous Record /Play Tracks 2.5" IDE. (one unit included in the product package) 130 (16 tracks x 8 virtual tracks, STEREO track) Trigger Pad 16-bit mode 8/16, 24-bit mode 8/16, All Rec mode 16 Max. Playback Time Sequencer Function Max. HDD Capacity Max. No. of Songs Max. Capacity of 1 Song Locate Point (per song) 64 GB Audio File Assign 30,000 Songs 6.4 GB (12,000 regions) Quick Locate 8 points (SONG TOP, RTZ, SONG END, A, B, LAST REC IN, LAST REC OUT, ROLL BACK) Mark Direct Locate Edit Time Compression /Expansion Pitch Change 99 Playback

Sampling Pad Section

Mono x 8 voices 8 x A/B bank Approx. 90-sec. Total (16-bit/44.1kHz) 16 tracks HD recorder, external input, WAV file

MIC /LINE INPUT 1,2

XLR/TRS phone +4dB(Line) (Balanced), ~ -46dB(Mic) Phantom 0dB +4dB(Line) ~ -46dB(Mic) +4dB(Line) ~ -46dB(Mic)
CH 1,2 INSERT IN TRS Phone (Unbalanced) MIC /LINE INPUT 3~8 CH8 Input Hi-Z/CH8 TRS Phone (Balanced) Phone (Unbalanced)
10k(600) / 3k/+22dB 500k/+20dB

52dB 52dB

Recording Resolution 16-bit, 24-bit / 44.1kHz, 48kHz

Analog output

Terminal STEREO OUT MONITOR OUT (L,R) OMNI OUT 1~4 PHONES Connector Phono TRS Phone (Balanced) Phone (Unbalanced) Stereo Phone (Unbalanced) Nominal level Output impedance /Maximun output level -10dBV +4dB 0dB 100mW +100mW 1k/+8dBV 150/+22dB 1k/+18dB /100mW+100mW (40 load)

CD-RW SECTION

Playback Audio CD, make Audio CD Save backup HDD data/ Load backup data from CD-ROM to HDD Read CD-ROM Compatible drive unit YAMAHA CRW8824S, etc.
Numeric Keypad SONG, TRACK, PART, REGION 50% - 200% 1 octaves (Tempo Map related)
* Visit YAMAHA Pro Audio web site for a list of other compatible drive.

Others

Undo/Redo Up to 16 times Metronome function tempo - mappable MIDI MTC, MMC, MIDI Program Change, MIDI Clock IN/OUT For backup of internal data (Max. 64 GB) 320 x 240 dot backlit LCD, 3-color FL display
0dBV=1Vrms * 0dB=0.775Vrms (+48V) is available on channels 1 and 2. * Phantom power

Mixer Section

A/D Conversion Rate D/A Conversion Rate Sampling Rate Internal Processing SimultaneousMixing Inputs: 44 total 24-bit 64 x oversampling 24-bit 128 x oversampling Internal 44.1kHz/48kHz, External 44.1kHz-6% - 48kHz+6% 32-bit
Digital Input & Output
Terminal OPTION I/O SLOT 1,2 Connector Mini-YGDAI Format/Level Mini-YGDAI Resolution 24bit

Word Clock SCSI Display

DIGITAL STEREO Phono IN/OUT WORD CLOCK IN/OUT BNC
IEC958 Consumer 24bit Use/Professional TTL/75
Power Requirements 120 V (UL, CSA), 230 V (CE) Selected Inputs via Patch Bay 24 HD Recorder Playback 16 (stereo x 1 for CD playback) Internal Effects Return 4 (stereo x 2) Group x 8, Aux 8, Stereo, Solo (stereo x 1) Attenuation Pan 4-band fully parametric EQ Phase Dynamics Insert Delay Channel ON/OFF Attenuation Pan 4-band fully parametric EQ Phase Insert Delay Channel ON/OFF Power Consumption 80 W Dimensions Weight Accessory Channel Functions 558 (W) x 460 (D) x 148 (H) mm 11.8kg (excl. options) Removable adaptor for 2.5-inch (ADP25H), 12GB 2.5" Hard Disk Drive (DARA-212000)
MIDI IN,OUT DIN 5pin /THRU, MTC OUT TO HOST SCSI MOUSE Mini DIN8pin D-sub 50pin D-sub 9pin

Busses : 20 total

Effect Return Channel
Specifications and appearances are subject to change without notice.

Rear Panel

Options
12GB 2.5" Hard Disk Drive DARA-212000
(one unit included in the AW4416 product package)
Removable 2.5" HDD Adapter ADP25H
Foot Switch FC-5 Mini-YGDAI Cards * Each Mini-YGDAI card in the photo is an optional product (sold separately).

MY8-AE MY8-AD

8 ch AD Interface (TRS x 8)

MY8-AT MY4-AD

MY8-TD

Tascam Interface

AES/EBU Interface ADAT Interface

Web Site http:// www.aw4416.com http:// www.yamaha.co.jp/ product / proaudio/ homeenglish /
For detail please contact:

MY4-DA

4 ch AD Interface 4 ch DA Interface (XLR x 4) (XLR x 4)
This document is printed on chlorine free (ECF) paper.

LPA442E

Printed in Japan
From Concept to CD with Total Creative Control and Unsurpassed Quality
Here it is at last. Your digital dream studio in one totally integrated, totally professional unit. With the Yamaha AW4416 Professional Audio Workstation you can record, edit, mix, and master to CD without needing any external equipment other than your microphones and/or line sources and a monitor system (headphones will do in a pinch). Of course, you can easily expand the AW4416 to meet even the grandest production requirements with a range of optional I/O interface cards that provide direct connectivity with all types of digital and analog gear. And, whether you choose to record in 16-bit or 24-bit format, the sound quality youll achieve is on a par with the finest professional digital recording gear available anywhere. In terms of sound quality, features, operation, and seamless integration, the Yamaha AW4416 Professional Audio Workstation is simply the only choice if youre serious about your recordings.

Digital Mixer

Analog Input Option I/0 card Option I/0 card DIGITAL STEREO Input/ Output OMNI OUT Analog Output MONITOR OUT STEREO OUT PHONES OUT x2 x2 x4 x2 x8 x8 x8 x8 x8 Patch 44 mix (24 input, 16 HDR/PB, 2 Effect RTN) 20 busses (Stereo, 8 Group, 2 Effect, 6 AUX) 16 Direct Out, Channel Insert I/O, Stereo Buss Insert I/O TO HOST MIDI Multi-FX x1 x2 Multi-FX x1 x2 Serial
44-Channel All-digital Mixer
O2R Technology & Features Taken to the Next Level A Direct Descendant Of the O2R Plus Some
The Yamaha O2R Digital Mixing Console has become the de-facto standard in all areas of sound recording and production. The AW4416 gives you all of the O2Rs quality and features and more in an integrated audio workstation. Internal processing is 32-bit (except for the EQ stages, which use 54-bit processing) for extraordinary resolution and reproduction realism. And, of course, the very latest refinements in digital audio technology have been added to bring you stunning sonic quality throughout.

Friendly to Any Audio Format
It seems that the experts can never agree on which format should be the standard for anything. Actually the diversity is healthy, but working with a bunch of equipment with differing formats can be frustrating as well as costly. The AW4416 features an open system, also inherited from the O2R, which allows it to interface with most analog and digital audio formats via a series of optional interface cards. This system gives you maximum connectivity at minimum cost. Yamaha offers a range of Mini YGDAI* cards that make it easy to configure the AW4416 for optimum integration with any studio.
* Yamaha General, Digital Audio Interface
Format TASCAM ADAT AES/EBU Analog I/O Card MY8-TD MY8-AT MY8-AE MY8-AD, MY4-AD, MY4-DA

The Mixer

44 input channels, 20 mix buses. Motor faders. And full mix automation. Advanced channel functions (inherited from the industry-leading O2R Digital Mixer). Two powerful effect processors.
Large-console Input and Output Capability
For its size the AW4416 offers a surprisingly large complement of input channels and output buses. Out-of-the-box you have 8 analog inputs plus digital stereo inputs. Then, with optional I/O interface cards you can add up to 16 more analog or digital channels. Add the 16 playback channels from the hard-disk recorder, and effect returns, and you have a total of 44 input channels to handle even large recording projects. On the output side you have 8 group buses, 8 auxiliary buses, a stereo bus, and stereo solo bus for a total of 20 outputs which offer plenty of flexibility to handle just about any application.

The Hard-disk Recorder

16 or 24-bit recording (uncompressed). Up to 130 tracks (16 tracks x 8 virtual tracks + STEREO TRACK). Precision editing and location. Accepts a wide range of 2.5 IDE hard disk drives up to 64 gigabytes.
METRONOME x1 x8 Data x8/16 x16 x2

SAMPLING PAD

8 rec / 16 play back 130 tracks (16 x 8v, STEREO) Audio files CD writing

CD-RW Recorder

To prepare a hard disk drive yourself, use a model in the compatibility list available at YAMAHA Pro Audio web site.

Trigger PAD

A B 7 8
Data back up Audio Data SCSI Data back up Audio Data SCSI DEVICE Audio CD-R/RW CD-ROM/RW

Sampling Pads

8 sampling pads for real-time playback of samples from hard disk, external audio sources, WAV files on CDs or external SCSI devices. 2 pad banks (A and B) for assignment to up to 16 samples. 8-note polyphony with up to 90-seconds sample time.
Powerful EQ and Dynamics on All Channels
With the exception of the two stereo effect returns, main stereo outputs and the remaining 40 input channels all feature the same powerful 4-band full-parametric equalizer and dynamics processing as the O2R. The effect returns offer 4-band parametric EQ without dynamics processing.

44 Inputs, 20 Buses Ample Input Capacity
If youll be recording with the AW4416 alone, from mostly analog sources, you probably wont even need any additional interface cards. The AW4416 comes equipped with 8 analog microphone/line inputs. All inputs are balanced with TRS phone plugs, while channels 1 and 2 additionally feature XLR type connectors with switchable phantom power, +48v and insert I/O points for patching in external analog signal processing devices. Channel 8 also features a Hi-Z unbalanced input intended primarily for direct-recording guitar or bass. Digital input capability is provided via a coaxial stereo input. If thats not enough for your recording needs, then you can add up to 16 analog and/or digital inputs via two I/O card slots on the rear panel. You can mix and match I/O cards as required, so you could, for example, add four high quality 24-bit analog inputs via a MY4-AD card in one slot, and 8 channels of ADAT optical digital input via a MY8-AT in the remaining slot. The Sampling Pads which can be used for realtime playback and recording of samples effectively provide another 8 inputs, the dual stereo effect returns are another 4, and the hard-disk recorder section has another 16 inputs. That adds up to 44 inputs with full simultaneous mix capability.
CD-RW Mastering & Data Storage
CD-R or CD-RW drive. Master your own audio CDs without ever leaving the digital domain. Convenient, reliable data storage and retrieval. Directly load audio and other data from CD-ROMs. To prepare CD-R/RW drive yourself, use model prepare CD-R/RW drive yourself, * To the compatibility list available at use asite. in web in the compatibility list available at web site.

Full Mix Automation

Faders, pan, EQ and more: the AW4416 offers full automation for precision mix control. 17 x 60-mm motor faders provide an accurate visual level reference, and theres never any need to match dumb faders to the actual mix levels. Add scene memories and a number of recallable parameter libraries for automation and convenience that only a state-of-the-art digital workstation can provide.

Beyond the O2R

In addition to a number of refinements that you wont see but might hear, the AW4416 features two brand new multi-effect processors offering ambience effects such as reverb and delay, modulation effects including flanging, chorus, pitch change, and rotary-speaker simulation, and even a number of guitar-oriented effects like distortion and an amp simulator (weve even added a hi-Z input specially for guitar). The effects can be used in send/return mode or inserted into any of the input channels and the stereo bus. Furthermore, all AD and DA converters are top-quality 24-bit types for unsurpassed overall sound quality, and a virtual patchbay offers unprecedented flexibility in routing mixer inputs and outputs.

Impressive Output Capability
Output capability is just as impressive, with 8 group buses, 8 auxiliary buses, a main stereo bus, and a stereo solo bus. In fact, this is the type of bus complement youd expect on a fairly large console.
Precise, Professional Mix Functions Equalization
For precise response-shaping control all input channels, the stereo effect returns, and the main stereo bus feature flexible 4-band fullparametric EQ. By full-parametric we mean that all four bands are sweepable from 20Hz to 20kHz with 41-point Q adjustment and a 18dB control range. The low and high bands can also function as shelving type EQ with high-pass or lowpass filters. A fast-response graphic display of the EQ curve is shown on the LCD panel for easy, accurate visual confirmation.

Setup Libraries

Operation of the equalizers, dynamics, and effects is made easy and efficient by the inclusion of libraries containing setups that can be recalled in an instant. A range of topquality presets is provided, as are user areas which can be used to store your own settings. Library setups can be assigned as mix automation events, and an undo function saves time and frustration when you want to return to a previous setting.

Stereo Pairing

Any pair of adjacent faders can be assigned as a stereo pair to comfortably handle stereo sources. In addition to fader level, pairing can be used to link EQ and other channel parameters. The pan parameters of the paired channels can be linked or not, depending on the application.

Virtual Control Section

The AW4416 features a Virtual Control Section and large backlit 320 x 240-dot LCD panel which make centralized operation of the many channels and functions provided quick and easy. Pan and EQ parameters can be directly adjusted via analog-type rotary controls. And the LCD responds instantly when any virtual control is operated, instantly showing the related functions and parameters. But if you prefer the cursor-and-dial approach, thats available, too. The AW4416 lets you work the way youre most comfortable.
Virtual Controls for Direct Pan & EQ Operation Intuitive Operation
Years of experience in building high-performance digital consoles for professional applications has given us the know-how we need to give you the controllability you need. Digital gear tends to be complex, so easy access and operation are essential. In time-critical situations such as recording and live sound, the intuitive, efficient control interface provided by the AW4416 lets creativity take the lead.
Internal Digital Patching & Patch Library
Although patch bays and patch cables in general are the key to the versatility of most larger recording systems, they can be confusing and, because signals are routed externally over relatively long distances, they usually compromise the quality of the signal to some degree. The AW4416 features an internal digital patching system which allows inputs and outputs to be assigned as required with ease, with no loss in sound quality. A patch library is also provided so you can quickly recall different patches for different applications.

Smooth Motor Fader Operation
In discussing operating feel we cant leave out the AW4416 faders. The 17 x 60-millimeter motor faders provided have been painstakingly designed and manufactured to provide the seemingly contradictory benefits of precision motorized operation, accurate level control, and smooth manual feel.

Dynamics Processing

Another feature that offers uncompromising sonic control is versatile dynamics processing on all input channels as well as the main stereo bus. You have a choice of 6 dynamics processing modes per channel: compressor, gate, ducking, expander, compressor /limiter/hard-knee expander, and compressor/limiter/soft-knee expander. Key-in capability and stereo linking are also provided. Everything you need for subtle level correction, noise control, or in-your-face punch is right there all in the digital domain.
Versatile Outputs & Functions Digital & Analog Outputs
Both digital (coaxial SPDIF) and analog (phono jack) outputs are provided for the main stereo bus. Assignable analog OMNI outputs are also provided for extra output flexibility.

Channel View

The Channel View function lets you see all parameters for the selected channel in one display screen. Parameters except for EQ dynamics, and effects can also be directly edited via the Channel View display. Theres even a Channel Library that lets you store complete channel setups for instant recall: think about how much time you spend setting up a channel to compensate for microphone or pickup coloration, for example, then think about how easy life will be when you can simply recall a channel setup that youve already created.

Fader Grouping

Faders can be assigned to any of 8 groups, so that moving any fader in the group moves all others by the same amount. This function is ideal for controlling the overall level of specific source/instrument groups, rapidly switching between takes, and other operations that can significantly enhance the efficiency of the recording process.

Stereo Dynamics

Dynamics processing is provided on the main stereo outputs as well as the individual input channels so you can easily apply overall or mastering compression to the final stereo mix.

The AW4416 provides a wealth of editing functions which can be applied to songs, tracks, parts, and regions. Editing is nondestructive with up to 15 undo/redo operations. In addition to copy, move, insert, and delete edit operations, the AW4416 provides 50 200% time compression and expansion as well as a two-octave pitch change range. Locating points for editing is no problem, either: you have direct TOP, END, RTZ, A, B, LAST REC IN, LAST REC OUT, and ROLL BACK keys as well as up to 99 assignable locate points per song which can be specified in time or measure numbers.
Absolute & Relative On-line Editing
Full dynamic automation applies to faders, channel on/off switching, pan, and EQ. Absolute on-line editing records actual fader movement in real time, while a relative mode makes it easy to trim previously recorded fader data. Other convenient automation features include a fader return time parameter, and a hold function which prevents the faders from moving until the recorded data does.
High Performance 24-bit AD/DA On All Analog I/O
All analog inputs on the AW4416 feature high-resolution linear 24-bit 64x oversampling AD converters for accurate signal conversion without the digital harshness that is a sign of inferior converters. The analog outputs feature linear 24-bit 8x oversampling DA converters achieving outstanding sound quality and a dynamic range of 104dB on the stereo outputs.
16 Tracks x 8 Virtual Tracks, Uncompressed 24-bit Linear Recording
While compression is fine where media space is an issue, theres nothing like uncompressed 24-bit linear recording to reproduce the full impact and nuance of a performance. The choice is yours: choose 16-bit or 24-bit recording at 44.1 or 48 kHz for each individual song. The AW4416 hard-disk recorder provides 16 tracks x 8 virtual tracks for a total of 128 tracks, plus a stereo track which is the ideal place to store a mix prior to mastering it to CD. When recording in 16-bit mode you can simultaneously record up to 8 tracks while playing back 16 tracks, and in the 24-bit mode the maximum number of simultaneous record/play tracks is 16.

Auto Punch-In/Out

Auto punch-in and punch-in points can be precisely set wherever needed, and an optional footswitch (FC5) lets you punch in and out while operating the controls or playing an instrument.

Scene Memory Automation

The AW4416 scene (snapshot) memory also provides versatile automation capability. Individual fader times can be programmed for each scene memory (up to 96 scenes per song), and scenes can be assigned as automation events for automatic recall during mixdown. Offline editing allows precise frame-accurate adjustment of scene memory, EQ, effect, channel library recall, and channel on/off switching. Theres even a Fader Recall Safe function which allows individual faders to be disengaged from scene recall operations for manual override.

Song, Track, and Region Naming
For easy identification songs, tracks, and regions can be assigned individual names. Comments can also be saved with each song so you wont forget the details. The AW4416 even has a built-in calendar that makes it easy to record and manage production times dates.

Disk Optimization

As work on a project progresses, the data on the disk can become fragmented, slowing down access times and making inefficient use of disk space. A built-in optimization function solves this problem, quickly restoring your hard disk to top condition.

Quick Record Function

A Quick Record function automatically sets up 8 tracks (or up to 16 when optional I/O cards are installed) for recording when starting work on a new song. Tempo mapping and a built in synchronized metronome are also provided to ease the recording process.

Sample Applications

1: 24-channel Mic/Line Studio
This setup allows simultaneous input of up to 24 analog microphone or line sources. The AW4416s 8 built-in analog inputs are used as-is, while MY8-AT ADAT-type I/O cards interface the AW4416 to two AD824 (8-channel head amplifier/AD converter) units, also equipped with MY8-AT I/O cards.
2: 32-track Recording Studio
This system adds two external 8-track digital multitrack recorders to the AW4416s internal 16-track recorder for a total of 32 tracks. The external multitrack recorders are interfaced to the AW4416 via two MY8-AT I/O cards, and synchronization with the AW4416 is maintained via MTC (MIDI Time Code) and MMC (MIDI Machine Control). The external multitrack recorders themselves are synchronized via a local sync cable. Of course, youre not limited to ADAT type external recorders. I/O cards are available for ADAT, TASCAM, and AES/EBU digital formats so you can team the AW4416 up with a wide range of digital multitrack recorders. * Total of simultaneously recordable tracks depends on settings on the AW4416
and external multitrack recorders.

MTC MMC

16-voice, 8-note Polyphonic Sampling Pads
The AW4416 features 8 Sampling Pads below the LCD panel, switchable in two banks for a total of 16 samples, which can be used to trigger samples in real time during playback or while recording. The samples themselves can be sound files on the internal hard disk, or WAV files from the CD-R/W drive or an external SCSI storage device. The samples can be 16-bit or 24-bit at 44.1 or 48 kHz, with a total of 90 seconds sample playback time for all pads (when using 16-bit/44.1 kHz samples). Up to 8 samples can be played simultaneously. Odd- and even-numbered pads can be assigned as stereo pads for stereo sample playback. Furthermore, the outputs from the Sampling Pads can be assigned to input channels 1 through 24 or returns 1 and 2 via the AW4416 input patching function. Of course, the pads can also be assigned to the hard-disk recorder tracks to allow direct recording of the sampled sounds. Sampling Pad playback can be automated via a trigger list which also allows precise editing of playback timing. This feature takes the creative capabilities of the audio workstation to a new level.

MIC/ LINE IN 1~ 8

MY8-AT

OPTICAL

SLOT 1

SLOT 2

8tr Digital MTR

16tr HDR

Extended
3: Computer-based Recording Studio Internal CD-R or CD-RW Drive ( sold separately )
Install an optional SCSI CD-R or CD-RW drive in the bay provided, and you can take an entire project to completion from laying down the initial tracks to CD mastering using only the AW4416. In addition to final audio mastering, the CD-R/W drive can be used for reliable, convenient data backup and archival storage. You can also play back audio CDs, and retrieve data from commercial CD-ROMs.
* To prepare a CD-R/RW drive yourself, use a model in the compatibility list available at web site.

4: Sound Reinforcement

Yes, the AW4416 can be a powerful sound-reinforcement tool, too. With the built-in analog inputs plus additional inputs provided via optional I/O cards, the AW4416 offers more than enough mixing power and flexibility for even fairly sophisticated sound reinforcement applications. In this example two MY4-AD I/O cards are used to provide 8 addition highperformance line inputs. The AW4416s channel processing and effects processors can make it easy to get the ideal live sound, while the sampling pads let you add live touches in real time. And since the AW4416 is also a recorder, you wont have any trouble getting a great live recording. * The internal hard disk drive is always necessary

if you only use the AW4416 mixing functions.
Heres an example of the AW4416 hooked up to a computer equipped with sequencing software and Yamahas computer-based 16-track recording system: DSP Factory. This is a true hybrid system which combines the advantages of pure computer-based recording and sequencing with the functionality of the AW4416 Professional Audio Workstation. The computer can be used for sequencing and waveform editing * including waveforms recorded on the AW4416 and the computers 16 tracks can be mixed simultaneously with those of the AW4416. *.WAV exporting will be enabled with a version-up of the AW4416 system software.

PC SEQUENCE SOFT

KEYBOARDS SAMPLER TONE GENERATOR CD/DAT

Easy, Open, Expansion

Easy, intuitive operation via a well-designed control panel with jog/shuttle dials. A 9-pin connector is also provided for mouse connection. High-visibility backlit LCD display panel and 3-color fluorescent display for fast, easy parameter and status access. Two option I/O slots allow easy installation of optional I/O cards for full compatibility with ADAT, TASCAM, AES/EBU and a range of analog equipment (up to 16 additional channels). TO HOST connector allows easy, direct connection to a wide range of computers MIDI synchronization with sequencing software and other applications. SCSI-2 connector for easy connection of external SCSI storage devices for data backup and loading. Professional WORD CLOCK terminals for precise word-clock sync in a wide range of applications. MTC and well as MIDI clock synchronization, plus MMC control capability.

DS2416

LINE IN 9 ~12

LINE IN 13~16

AX16AT

MY4-AD

Power Amp

Main Speaker

STEREO OUT

TO HOST

OMNI OUT 1~4

MONITOR OUT

MY8-AE (AES-EBU)

MY8-AT (ADAT)

MY8-TD (TASCAM)

MY4-AD (XLR x 4)

MY8-AD (TRS x 8)

MY4-DA (XLR x 4)

Monitor Speaker

Effect Library

Reverb Effects
No. EFFECT NAME 01 Reverb Hall EFFECT TYPE REVERB HALL A simulation of the reverb in a concert hall or other large enclosed space. The type of reverb you might hear in a room which is smaller than the concert hall of Reverb Hall, above. A reverb suited to vocals. A plate reverb simulation with a relatively hard sound. No. EFFECT NAME 05 Early Ref. EARLY REF. This effect produces only the early-reflections portion of the overall reverb sound. It can be used to add thickness, or as an alternative echo effect. A gated version of the Early Ref. Effect. Ideal for use with drums. Reverse Gate REVERSE GATE Early reflections played back in reverse. Produces reverse playback effects with sounds that have a strong attack. 28 Dyna.Phaser DYNA.PHASER Dyna.Flange DYNA.FLANGE 26 Dyna.Filter EFFECT TYPE DYNA.FILTER When the source is set to INPUT the input level determines the filter frequency offset. When the source is set to MIDI the filter frequency offset is determined by the received MIDI note number. When the source is set to INPUT the input level determines the delay time. When the source is set to MIDI the delay time is determined by the received MIDI note number. When the source is set to INPUT the input level determines the phase shift point. When the source is set to MIDI the phase shift point is determined by the received MIDI note number.

Block Diagram

MONITOR OUT PHONES DIGITAL STEREO OUT RECORDER INPUT 1(.16) OMNI OUT

Guitar Effects

No. EFFECT NAME 24 Distortion EFFECT TYPE DISTORTION Two types of distortion, two types of overdrive, and five crunch effects. A wide variety of amp sounds can be created by combining 10 amp models and five types of distortion.

OPTION OUT

+4dB DA R ON ATT L

SLOT1 OUT

SLOT2 OUT

STEREO

BUS1(.8)

AUX1(.8)

Reverb Room

REVERB ROOM

Amp simulate

AMP SIMULATE

PHONES

TRACK CUE

RECORDER

DITHER

CD PLAY mode

Reverb Plate

REVERB PLATE

MIXER SOLO 46

Dynamic Effects

RECORDER INPUT 1~16

Reverb Stage

REVERB STAGE

Logic Logic

INSERT

Gate Reverb

GATE REVERB

CD PlayBack

SELECT

CD-RW DRIVE

CH DIRECT OUT1~16

(EQ) (Gain Reduction)

RECORDER DIRECT OUT 1~16

RECORDER DIRECT OUT 16

RECORDER DIRECT OUT 1

INSERT SEND

MONITOR

4BAND EQ
No. EFFECT NAME 08 Mono Delay
EFFECT TYPE MONO DELAY A monaural delay. A comprehensive set of parameters is provided to allow sophisticated delay effects. A stereo delay. Independent parameters are provided for the left and right channels. Mono delay plus modulation capability. A 3-tap delay with left, center, and right channel delays. More precisely controllable than the Stereo Delay. Feedback can be applied from the left to right or right to left channels.

Combination Effects

No. EFFECT NAME EFFECT TYPE REV+CHORUS REVCHORUS REV+FLANGE REVFLANGE REV+SYMPO. REVERB and CHORUS connected in parallel. Reverb and CHORUS connected in series. REVERB and FLANGE connected in parallel. REVERB and FLANGE connected in series. REVERB and SYMPHONIC connected in parallel. REVERB and SYMPHONIC connected in series. REVERB and AUTO PAN connected in series. DELAY (2-tap) and EARLY REFLECTIONS connected in parallel. DELAY (2-tap) and EARLY REFLECTIONS connected in series.
AUX 1. AUX 8(EFF2) AUX 7(EFF1) AUX 6

Stereo Delay

STEREO DELAY
Rev+Chorus RevChorus Rev+Flange RevFlange Rev+Sympo.

SOLO R SOLO L

Mod.Delay Delay LCR Echo

MOD.DELAY DELAY LCR ECHO

STEREO R STEREO L BUS8 BUS7 BUS6 BUS5 BUS4 BUS3 BUS2 BUS1 PREFADER LISTEN/ PREFADER LISTEN/ AUX PREFADER LISTEN/ SOLO SOLO DIRECT OUT SOLO

Delay Effects

RETURN1 can not be assigned to AUX7
RETURN2 can not be assigned to AUX8

(1~16 only)

AFTER PAN

PRE/POST

ENABLE

Modulation Effects

No. EFFECT NAME 13 Chorus EFFECT TYPE CHORUS A 3-phase stereo chorus which can be used to add depth and thickness to the sound. A flanger effect: sort of like chorus with feedback. Produces interesting results with sources that are rich in harmonics. An original Yamaha effect which is more complex effect than chorus and can be used to create exceptionally rich modulation effects. A stereo phaser with 2 to 16 stages of phase shift. Chorus a flange effects are produced by delay time modulation, while the phaser effect is produced by modulating the phase of the input signal for particularly well-defined sound. Applies reverse-phase tremolo to the left and right channels, thus producing a flying stereo pan effect. A broadly-variable tremolo effect.
RevSympho. REVSYMPHO. RevPan Delay+ER. DelayER. Delay+Rev DelayRev DistDelay REVPAN DELAY+ER. DELAYER. DELAY+REV DELAYREV DISTDELAY

DIGITAL STEREO R

DIGITAL STEREO L
DELAY (2-tap) and REVERB connected in parallel. DELAY (2-tap) and REVERB connected in series. DISTORTION and DELAY connected in series.

(Gain Reduction)

SELECTED INSERT RETURNS

Mono in X 24

RECORDER MONI 1(.16)

4 BAND EQ

Other Effects
No. EFFECT NAME 41 Multi.filter EFFECT TYPE MULTI.FILTER A 3-band parallel filter.

Mono in X 16

Stereo in X 2

EFFECT

Phaser

PHASER

NAMICS

EFFECT1~2

Symphonic

SYMPHONIC

Flager

FLANGE

(BUS CASCADE)

(EFF1)

(EFF2)

Auto Pan

AUTOPAN

RETURN 1(.2)

INPUT 1(.24)

DIRECT OUT

Tremolo HQ.Pitch Dual Pitch Rotary Ring Mod.
TREMOLO HQ.PITH DUAL PITCH ROTARY RING MOD.

A very stable single-note pitch shift effect. Independent pitch shift for the left and right channels.

RECORDER INPUT 1-16

(FL Display)

AUX7 (EFF1),

INPUT SELECT (1,2 only)

MONITOR INPUT

A rotary speaker simulation. High-frequency modulation applied o the input signal produces distinctive pitch effects. Modulation can even be applied to the modulating frequency. Low-pass, high-pass, or bandpass filter frequency modulation via LFO.

METRONOME

DIGITAL STEREO IN
SAMPLING PAD EFFECT 1 EFFECT 2

OPTION IN

MIC/LINE INPUT

ST Trk L/R

Mod.Filter

MOD.FILTER

REPRO1-16

AUX8 (EFF2)

INPUT SELECT

STEREO R

STEREO L

BUS 1~8

SOLO R

BUS1~8

AUX1~8

SOLO L

_____________________ NASHVILLE ROUGHRIDER _____________________
K E N N Y G R E E N B E R G :
NASHvILLE SESSION GUITARISTS ARE JUSTLY KNOWN FOR THE THEIR PRECISE performances and inside sensibilities. So why does Kenny Greenberg get so much work? Im the guy they bring in on country records when they dont want the perfect thing, he says. Im not a total roots guy, but I have a loose, Stones-like way of playing that just feels good. I dont have to play those perfect, clean guitar parts you hear on most country records. I can be a little rougher. Judging by Greenbergs resume, Nashville is hungry for roughness. You can hear Kenny on discs by Trisha Yearwood, Toby Keith, Amy Grant, Rodney Crowell, Rich Mullins, Wynona, Edwin McCain, Brooks & Dunn, Natalie Imbruglia, Jewel, Mandy Moore, Lucinda Williams, Indigo Girls, Lee Ann Womack, Pam Tillis, Billy Ray Cyrus, Peter Cetera, Michael Bolton, SheDAISY, Nicole Mullen, and Reba McIntyre. Greenberg is also a respected songwriter and instrumental composer (youve probably heard his music on vH-1s Behind the Music, Beverly Hills 90210, Bay Watch, Fox Sports, E Channel, Disney Channel, Playboy Channel, CBS Sports, or ABC Sports) and a two-time Grammy-winning producer for his work with his wife, rock-gospel singer Ashley Cleveland. While Nashville studio regulars are accustomed to seeing Greenberg with his Yamaha AES1500B (It sounds like a vintage guitar, only it stays in tune better, he says), Kenny spends much of his time sitting behind keyboards and computers. Im really into electronic stuff, he says. I play keyboards on most of my records and on my film and Tv music. I like to use beats, and I love the idea of combining beats with bluesy-acoustic instruments like guitars and Dobros. Greenberg generates some of his beats with a Yamaha DJX Box supposedly a toy instrument. It just sounds good, he says. It has these funky, lo-fi sounds and effects like slicer and distortion. I like using it when I want to step away from something too clean and hi-fi. Greenberg is equally fond of
the analog-type sounds on his Yamaha Motif6 music production synthesizer. The straight-up piano and Wurlie sounds are as good as any Ive heard. It has great beats and drum sounds, and I especially like some of the compressed, mono pianos they sound like the old, funky pianos from a Beatles record. With the Motif and a couple of lo-fi boxes, Im in. These days Greenberg assembles his music with a computer and a Yamaha AW4416 digital audio workstation. The AW4416 is fantastic for a songwriter like me, he says. Its a simple little box thats so easy to work. I sync it to my computer, and then run a twomix from whatever Im doing on my computer into the Yamaha. Its great for demos, songwriting, and pre-production, because its so fast. Why not work exclusively on the computer? There are several reasons, replies Greenberg. First of all, theres just something I like about sitting in front of a box and pushing faders. I also like the fact that I can start something at home, and then take the box to a songwriters studio and work with it there. And the AW4416 effects are great, especially the compressors and delays. In fact, a lot of things that start out as demos on the AW4416 sound so good that they wind up on records. For example, I just finished working with my wife on a cover version of Neil Youngs The Needle and the Damage Done. I just programmed a beat, loaded it into the AW4416, played some guitar and bass into it, and then we recorded some vocals. Then I added a lo-fi organ sound from the DJX, and we mixed it all on the AW4416. The record was done we just blew it out in a day. Greenberg insists that hes not the only Nashville session ace who wishes todays country records were a bit less polished. I guarantee you, he says, all those great players who play on all the slickest records dont listen to music like that on their own time. Everyone wants to be more raw, but I just kind of do that naturally.
Im the guy they bring in on country records when they dont want the perfect thing.

yamaha all access

winter 03