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.

CD8-TDII

CD8-AT

CD8-AE

CD8-AE-S

CD8-AD

CD8-AD-S

CD8-CS KIT

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

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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)

AUTOMIX/MEMORY Module
AUX MASTER 1~8/ BUS MASTER 1~8

Stereo MASTER

MONITOR Module

PEAK BUS

-60 GAIN

SIGNAL

-40 GAIN
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

10 LEVEL

Q L R STEREO METER

10 LEVEL PHONES

20 F 20k LPF
20 F 20k LPF 30 30D 25 24

-18 GAIN

18 GAIN

00 ATT

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

MIDI CLOCK

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

SOLO STATUS

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

AFTER PAN

LAST SOLO

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.

M e w s r

R o T l

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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

40 r es.

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.

Interactive Interface

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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.

"View" Screen

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

(+48V)

ON +48V

INPUT A

INPUT B

INSERT I/O +0dB

INPUT 9-16

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

RTN1,2

DYNAMICS

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

Format Converter

Gain Reduction Meter

ON ON Meter

Dither
Format Converter Meter Gain Reduction

BUS 1-8

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

Equalizer
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

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

Effect Programs

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)

Connector

A:3k B:4k
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

600 Lines

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

Output Terminals

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

Memory

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

645.51.8

95.7 116.4
For more information about the 02R Digital Recording Console, other Yamaha products, dealer network and more, visit: Yamaha PA Web Site
http://www.yamaha.co.jp/product/proaudio/homeenglish/
221.5 196.5 183.8 40.4 117.6

25 25.8

Full-featured, fully automated, and fully compatible, it's the Yamaha O3D Digital Mixing Console.
f youre ready for a compact, comfortably priced, full-featured digital mixer one especially made for professional project and post production studios relying on modular digital multitrack recorders such as TASCAM, ADAT, AES/EBU and YAMAHA digital formats then youre ready for the 03D Digital Mixing Console. Nestled between the popular ProMix 01 famed for bringing affordable digital mixing to the masses and the award-winning, industrystandard 02R Digital Recording Console revered for defining a new age in cost-effective professional digital mixing the rackmountable 03D is a selfcontained, 26-input/18-output fullyautomated digital mixing console in its own right, destined to set new standards of its own. The 03D features an intuitive user interface, ease of operation and a long list of essential professional engineers tools including fast 32-bit internal digital audio processing, versatile analog and digital I/O configuration with 20-bit ADs and DAs, 32-bit onboard multi-effects processors with freeze (sampling) and guitar amp simulation effects, motorized faders, fader and mute grouping, surround sound mixing, scene snapshot memories, onboard automation, MIDI remote capabilities, plus convenient cascading options which make it the ideal companion for an 02R or another 03D.

Options

CD8-TDII CD8-AT CD8-AE-S CD8-CS KIT
Options TASCAM ADAT I/O Interface Card AES/EBU YAMAHA Digital Cascade Kit*
Model CD8-TDII CD8-AT CD8-AE-S CD8-Y CD8-CS KIT
Connector D-sub 25pinx1 OPTICALx2 D-sub 25pinx1 D-sub 25pinx1 D-sub 25pinx1

Options Rack Ear

Model RK124
*.2xDigital Cascade Card, 1xD-sub Cascade Cable

+48V -16 -60 GAIN

MIX.LEVEL FB.GAIN
Streamlined but naturally intuitive, the 03D provides instant access to and easy manipulation of parameters via onboard controls or a PCcompatible mouse (optional), plus a large, backlit 320 x 240 dot fluorescent graphical display. Four userdefined switches are ideal for controlling external multitrack recorders via MMC (MIDI Machine Control).

20 F 20k LPF

18 GAIN

20 F 20k

20 F 20k HPF

PRE ST PRE

ROUTING

L R ODD EVEN

E 00 F G H MUTE METER A B C D FADER
The 03D provides all the familiar features of a traditional analog mixer channel strip, plus the digital convenience and flexibility of scene storage and recall, EQ, dynamics, channel and effects libraries, full onboard automation, and much more.
Balanced analog inputs and outputs, individual phantom power switches on channels 1-8, stereo AES/EBU and coaxial digital inputs and outputs, TO HOST and MIDI terminals, YGDAI (Yamaha General Digital Audio Interface) slot and more make the 03D suitable for virtually any professional mixing application. Direct connection of a PCcompatible mouse (available separately) permits even quicker navigation and parameter editing.
26-inputs and 18-outputs with highly flexible digital I/O
The 03Ds flexible configuration of analog and digital inputs and outputs makes it suitable for a wide range of professional mixing applications. Included are 24 input channels and a fully-featured stereo input for a total of 26 inputs plus 4 bus outputs, 4 auxiliary (and 2 internal) effect sends, a main stereo mix bus and a solo bus. Stereo digital inputs and outputs, plus 8 digital inputs and outputs (optional, via a YGDAI slot), provide a total of 10 digital inputs and 10 digital outputs. Input channels 1-8 have mic preamps, XLR and balanced stereo 1/4" phone connectors, and individual phantom power switches, and can accept input levels from -60dB to +10dB. Inputs 9-16 feature balanced stereo 1/4" connectors and support line level signals between -20 and +10dB. All 16 channel inputs feature input gain controls with 30 detents for precise and repeatable setting. Channels 1 and 2 include analog inserts for connecting external dynamics processors. Aux sends and bus outputs can be paired together for stereo operation and can be routed to the control room monitors for cue mixes, with onboard effects returns included. The four bus and four aux send signals are output via balanced stereo 1/4" connectors. Coaxial and AES/EBU stereo digital I/O connectors permit direct connection to DAT recorders and other compatible digital devices. The stereo digital input signals can be routed to the stereo bus for submixing, or to the stereo input channel for mixing and processing. The number of inputs can be increased by digitally cascading two 03Ds together, with both sharing bus, aux, stereo, and solo busses. The 03D can also be digitally cascaded with an 02R.

T th a 6 v e p o c a (s s p In m 9
METER screen pages display all channel, stereo in and effect 1 and 2 input levels visually, as well as aux and bus output levels.
5 Maximum compatibility through YGDAI open system
The 03Ds YGDAI (Yamaha General Digital Audio Interface) slot which accepts the same single-size YGDAI cards as the 02R provides 8 digital inputs and 8 digital outputs for direct digital connection to all major modular digital multitrack recorders (including Alesis ADAT, Tascam DA88 and DA38), disk-based recording systems, and AES/EBU and Yamaha format systems. The YGDAI digital outputs can be configured as bus outs, aux sends, direct outs, or stereo outs so although the 03D is essentially a four-bus mixer, you can assign the four busses and four aux sends to the YGDAI slots eight outputs to achieve eighttrack simultaneous recording. M 2 c ti
T ti b s d s m th th c e o m p in w A
The Digital In Setup screen permits easy setting and confirmation of word clock source, stereo input assignment and monitoring word clock locking status.
The Digital Out Setup screen permits easy setting and confirmation of YGDAI output assignments, bus channel direct, aux and stereo output.
Individual channel PEQ and dynamics processors
The 03D features an uncompromising array of onboard parametric EQs and dynamics and effects processors, with signal processing performed by Yamahas custom 32-bit DSP chips same as in the 02R and available parameters selected in collaboration with professional sound engineers. Comprehensive libraries of preset EQ and dynamics settings provide a great place to start or for reference, and plenty of user programs are available to store your own. 40 four-band parametric EQs and 40 dynamics processors are available for all 26 individual channel inputs, the 2 onboard stereo effects returns, the 4 bus outputs, 4 aux sends, and main stereo outputs. Each EQ band has a range from 20 Hz to 20kHz which can be adjusted in 1/12 octave steps and a 0.1-10 Q range. High and low EQ bands can be configured as shelving or peaking, with the high band capable of being configured as LPF, and the low band as HPF. EQ gain settings range from -18 to +18dB. EQ settings can also be copied between channels via the equalizer library. The EQ librarys collection of 40 preset EQ programs include specific settings which can be applied to everything from acoustic and electronic instruments to percussion to vocals. Including the 40 memories for storing your own EQ settings, a total of 80 EQ programs are available. The onboard dynamics processors include compressor, expander, gate, ducker and compander functions, and a total of 80 dynamics memories. Any input channel (1-24 or stereo input) can be used as a key trigger, and AUX 1 or AUX 2 can be used as a key-in signal for any channel. The dynamics librarys collection of 40 preset dynamics programs include settings appropriate for the mixing of strings, brass sections, sampled percussion, vocals and more, and 40 user dynamics programs are available for storing your own.

A u 0 b p m a o th a M s ti m
The four-band EQ features a "quick-draw" graphic EQ curve, providing the engineer with a clear and visual image of the channel EQ.
The 03D allows fine-tuning of all dynamics parameters, complete with gain reduction metering and a graphic curve for visual monitoring of applied processing.
2 effects processors with Freeze and Amp Simulator
nmThe 03Ds two powerful new sets of effects processors which utilize the same DSP and some of the same algorithms as Yamahas ProR3 and REV500 feature 64 basic presets, with various reverb, delay, echo, chorus, flange, pitch shifting and other effects to choose from, as well as the new freeze (sampling) and amp simulator, or guitar preamp, effects. Including the 32 user memories, a total of 96 effects are on hand. The 03D also features channel input delays of up to 200ms which is useful for microphone-placement compensation for live recording and video editing. Channel delays can also be mixed with the dry signal to provide delay and echo effects. Output delays, for the stereo and 4 buses, of up to 40ms are useful for applications which require delaycompensation on the outputs.
DELAY/ screen pages allow access to channel input and output delay parameters as well as channel phase settings.
New Freeze (sampling) and Amp Simulator (guitar preamp) effects greatly expand the 03D's onboard sound processing power.

50 scene memories

Mix snapshots of entire setups, or scenes, consisting of approximately 2000 parameters including all input channel-to-bus routing and output configurations, fader and pan positions, EQ and dynamics settings everything can be stored and recalled instantly using the 50 scene memories. Scenes can be recalled manually, by MIDI, or using the automix function. A Recall Safe feature permits selected channels to be isolated from scene memory recalls. An UNDO/REDO function permits undoing and redoing of scene memory recall operations.
Motorized faders, and fader and mute grouping
The 03Ds quick-response, positive-feel 60mm motorized faders function as conventional mixer faders, auxiliary send level controls, and onboard effects aux send level controls, depending on current status. When a scene memory is recalled, the faders position themselves automatically to the levels stored. During playback of an automix, fader movements are replayed automatically in synchronization with MIDI time-code. 4 fader groups and 4 mute groups work independently Adjacent odd/even to let you build up complicated mixes fast. number channels can be linked in pairs, with panning either independent or ganged. You can control two adjacent channels paired in stereo using only one fader.

nd nel

olbe rQ
Panning and output bus assignments are displayed graphically and are easily accessed.
Crossfade, auto-fade, and solo in place
A crossfade time of up to 10 seconds, in 0.1-second steps, can be set for faders as part of a scene memory. You can auto-fade the stereo output fader using the built-in automation based on MTC time-code, or by setting a crossfade time in a scene memory. Comprehensive monitoring functions include Recording Solo mode, where the SOLO bus feeds the monitor output, allowing nondestructive soloing that doesnt affect the main stereo mix. Theres also Mixdown Solo mode, where the stereo output is connected to the monitor output, so solo affects the stereo output. And theres Solo in Place, where the SOLO bus is connected to the monitor output, and also solo affects the stereo output.

rs, hic

SOLO function allows nondestructive soloing that doesn't affect the main stereo mix, plus Mixdown Solo and Solo in Place.

Surround sound mixing

With the 03D, surround sound mixing suitable for CD-ROM and DVD productions as well as audio post applications is built right in. Three types of surround sound configurations are available. The dedicated pan page provides precise control.

MIDI remote control

MIDI IN, OUT and THRU terminals permit control of all parameters (approximately 2,000) in realtime using MIDI Control Change and System Exclusive messages. The 03Ds MIDI remote function is extremely powerful. MIDI remote allows the 03Ds motorized faders to remotely control the internal levels in a digital audio workstation, or the faders can be used to edit the internal parameters of an outboard effects processor or synthesizer. 03D faders and four user definable buttons can be used to control other MIDI devices such as digital audio recorders and processors via MMC (MIDI Machine Control). A TO HOST (RS422) port permits direct connection to a personal computer without a MIDI interface. Scene, EQ, dynamics, effects and channel library user memory, and automix data can be saved using MIDI bulk dump operations to a MIDI data filer (such as the Yamaha MDF2 MIDI Data Filer) or MIDI sequencer.
MIDI remote permits detailed control of parameters of external devices.
MTC time-code based "automixing" provides full onboard automation
The 03D also allows full onboard dynamic automation unprecedented for a mixer in its price range of all faders (including the AUX send faders) as well as channel on/off, EQ, pan and surround pan, and scene, EQ, dynamics, effects and channel libraries, can be automated by snapshot. You can easily and quickly update dynamic changes in realtime, and even insert and modify parameters "off-line" using the Event Edit function. There are four automix memories and one current memory. Recording and mixdown automation can be synchronized to external MIDI time-code (30NDF, 29.97NDF, 30DF, 29.97DF, 25, and 24).

Automixing lets you set up portions of a mix and then have them play back automatically as you work on other automix dubbing. You can also insert and modify specific parameters "off-line".
Twin RISC CPUs with 32-bit DSP processing, and 20-bit AD/DA
The 03Ds twin RISC CPUs ensure fast and reliable control of LCD graphics, faders and automix. Internal audio processing is performed at 32 bits by the powerful Yamaha DSP chip, providing a dynamic range of 192dB. Uncompromising sonic quality and performance are guaranteed by 20-bit, 64-times oversampling AD converters on each input and 20-bit, 8-times oversampling DA converters on the stereo output and monitor output. Bus outputs and aux send outputs use 18-bit, 8-times oversampling DA converters. The audio dynamic range is an impressive 105dB for analog input to analog stereo output.

Block Diagram

+48V PHANTOM 1, 2 Meter Meter 4Band PEQ Meter Meter CH Fader IN PAD HA AD DC CUT ATT 1, 2 26dB INSERT GAIN DELAY Dynamics ON Meter PAN AUX 1 AUX 2 AUX 3 AUX 4 EFF 1 +48V PHANTOM 3-8 INPUT 3-8 PAD HA AD DC CUT Same as 1, 2 EFF 2 AUX/EFF PRE/POST STEREO OUT 4Band PEQ Dynamics BALANCE ON ST OUT Meter 4Band PEQ Meter Dynamics DA BUS AUX EFF ST SOLO Meter COAXIAL DIGITAL STEREO OUT AES/EBU

12 LR LR

DITHER
ed, d as y Mix e ng e tal yits ds ve ng rs l tal bit ze ts, nd rd nt or D.
L 26dB GAIN SOURCE SELECT AD DC CUT Same as 1, 2 from BUS OUT 1, 2 GAIN Meter L ST IN R HA GAIN ATT HA AD DC CUT DELAY/ EFFECT 4Band PEQ Dynamics AD DC CUT DELAY/ EFFECT Meter 4Band PEQ Meter Dynamics Meter ST IN Fader Meter Meter Meter 4Band PEQ ON BALANCE *1 Meter Meter Meter to REC OUT L DA REC OUT R

Dynamics ON

to REC OUT R BUS OUT FLIP Same as 1 DA 2
Same as 1 COAXIAL DIGITAL STEREO IN AES/EBU DeEmphasis SELECT Meter Meter from EFF1 INTERNAL EFFECT 1 4Band PEQ from EFF2 INTERNAL EFFECT 2 Same as EFF1 Meter DA SINE 100Hz SINE 1kHz SINE 10kHz PINK NOISE BURST NOISE WAVEFORM L 2TR IN *1: INDIVIDUAL/GANG/INVERTED GANG R MONI TRIM ON LEVEL SOLO/ 2TR IN Dynamics 4Band PEQ Meter Meter ON/OFF ST CASCADE IN Same as 1

EFF RET Fader

Dynamics ON BALANCE *1
to INTERNAL EFFECT 1, 2 Meter Meter 4Band PEQ Meter Meter Dynamics ON 1-4 Meter

AUX OUT 1-4

L MONO DA LEVEL MONITOR OUT R

PHONES

Applications

ADATCD8-AT

YGDAI Card In

DA88CD8-TDII DA38

ADAT/DA-88
03D Digital Mixing Console

MONITOR OUT

Hard Disk Recorder AES/EBUCD8-AE-S

Computer

2TR IN

+10 GAIN 34

20 +10
SCENE MEMORY UTILITY MIDI

SCENE MEMORY

UNDO/ REDO

GROUP/PAIR SOLO SETUP

AUTOMIX

RECALL

CHANNEL CONTROL
DELAY/ DYNAMICS PAN/ROUTING
SCENE MEMORY VIEW FUNCTION CEL CH

USER DEFINE

L STEREO R

EQ LOW

LO-MID

HI-MID

EQ LIBRARY

FADER MODE

AUX 1 AUX 2 AUX 3 AUX 4

CLIP 48

PARAMETER
(Pro Tools) 888I/O or 882I/O

EFFECT 1

EFFECT 2 CURSOR

FADER STATUS

MIXING LAYER 1~16

17~24/MASTER

FADER 1~8

EFFECT RTN

EFFECT RETURN

ST OUT

Synthesizer

MIDI In MIDI Out To Host

MIDI I/F
DA-88 and DA-38 are registered trademarks of TEAC Corporation. Adat is registered trademark of ALESIS Corporation. Pro Tools, 888I/O and 882I/O are registered trademarks of Digidesign, a division of Avid Technology, Inc. "Dolby", "AC-3", "Pro Logic", and the double-D symbol are trademarks of Dolby Laboratories Licensing Corporation. Copyright 1992, Dolby Laboratories, Inc. All rights reserved.

Specifications

General Specifications
Frequency Response 20 Hz20 kHz+1, 3 dB (+4 dB into 600 ) 110 dB min. STEREO OUT D/A converter 105 dB typ. STEREO IN to STEREO OUT (AD/DA) 100 dB min. STEREO IN to STEREO OUT (AD/DA) THD (Total Harmonic Distortion) Less than 0.1% (20 Hz-20 kHz @ +14 dB into 600 ) Less than 0.01% for STEREO IN to STEREO OUT (1 kHz @ + 18 dB into 600 ) 128 dB equivalent input noise 94 dB regidual output noise from STEREO OUT (STEREO OUT = OFF) 94 dB (98 dB S/N) STEREO OUTPUT. Master fader at nominal level and all CH faders at minimum. 64 dB (68 dB S/N) STEREO OUTPUT. Master fader and one CH fader at nominal level. 76 dB CH IN to STEREO OUT/BUS OUT 76 dB CH IN to AUX OUT (pre fader) 12 dB STERTEO IN to STEREO OUT 76 dB CH IN to MONITOR OUT (via Stereo bus) 70 dB (1 kHz) 70 dB (1 kHz)
REC OUT (L, R) 100 10k Lines 10k Lines 8 Phones 40 Phones ST IN (L, R) +10 CH INSERT IN CH 1, 2 2TRACK IN (L, R) 10k 10k

Analog Input/Output Specifications
Input Terminals Pad Gain 0 CH INPUT CH 1-20 CH INPUT CH 916 +10k 600 Lines 10k 600 Lines 3k Actual Load Impedance Input level For Use with Nominal Sensitivity* Nominal Max. before Clip 50600 Mics & 600 Lines 72 dB 60 dB (0.194 mV) (0.775 mV) 28 dB (30.9 mV) 2 dB (0.616 V) 32 dB (19.4 mV) 2 dB (0.615 V) 32 dB (19.4 mV) 2 dB (0.615 V) 8 dB (0.309 V) 10 dBV (0.316 V) 16 dB (0.123 V) +10 dB (2.45 V) 20 dB (77.5 mV) +10 dB (2.45 V) 20 dB (77.5 mV) +10 dB (2.45 V) +4 dB (1.23 V) 10 dBV (0.316 V) Output level Nominal +4 dB (1.23 V) +4 dB (1.23 V) +4 dB (1.23 V) +4 dB (1.23 V) -10 dBV (0.316 V) +4 dB (1.23 mV) 1 mW 3 mW Max. before Clip +18 dB (6.16 V) +18 dB (6.16 V) +18 dB (6.16 V) +18 dB (6.16 V) +4 dBV (1.58 V) +18 dB (6.16 V) 25 mW 75 mW 46 dB (3.88 mV) 2 dB (0.616 V) +24 dB (12.3 V) 6 dB (0.388 V) +24 dB (12.3 V) -6 dB (0.388 V) +24 dB (12.3 V) +18 dB (6.16 V) +4 dBV (1.58 V) Phone Jack*** RCA Pin Jack*** XLR-3-31 type** or TRS Phone Jack** Connector in Console

Dynamic Range

TRS Phone Jack**
Hum & Noise* (20 Hz-20 kHz) Rs = 150 , input gain = max. input pad = off, input sensitivity = 60 dB

600 Lines 600 Lines

Output Terminals STEREO OUT (L, R) BUS OUT 1-4 AUX OUT 1-4 CH INSERT OUT CH1, 2
Actual Source For Use with Impedance Nominal 600 Lines 10k Lines 10k Lines 10k Lines
Connector XLR-3-32 type** TRS Phone Jack** TRS Phone Jack** Phone Jack*** RCA Pin Jack*** TRS Phone Jack*** Stereo Phone Jack***

Maximum Voltage Gain

Crosstalk
Adjacent Channels Input to Output Internal External

Sampling Rate

Signal Delay Digital Output Dither Type Faders Resolution Display High EQ High-Mid Low-Mid Low Scene Channel EQ Effects Dynamics Steteo Output Meters Memories/ Libraries Power Requirements USA & Canada
48 kHz/44.1 kHz 32 kHz48 kHz 6% Less than 2.5 ms input to output (fs = 48 kHz) 1624 bit 60 mm motorized +6 to 90, dB 320 x 240 dot backlit LCD (with contrast control) 18 dB, 20 Hz20.1 kHz, HPF, peaking, shelving 18 dB, 20 Hz20.1 kHz, peaking 18 dB, 20 Hz20.1 kHz, peaking 18 dB, 20 Hz20.1 kHz, LPF, peaking, shelving 51 (1 preset, 50 user) 51 (2 preset, 49 user) 80 (40 preset, 40 user) 96 (64 preset, 32 user) 80 (40 preset, 40 user) 12segment LED meter x V AC, 60 Hz
MONITOR OUT (L, R) PHONES
* The lowest level will produce an output of +4dB (1.23V) or the nominal level when the unit is set to maximum gain. ** Balanced. *** Unbalanced. 0dB=0.775 Vrms, 0dBV=1Vrms

Digital Input/Output Specifications
Terminals DIGITAL STEREO IN AES/EBU DIGITAL STEREO IN COAXIAL DIGITAL STEREO OUT AES/EBU DIGITAL STEREO OUT COAXIAL TO HOST MIDI (MTC**) IN-OUT-THRU MOUSE TO EDITOR (REMOTE) WORD CLOCK IN WORD CLOCK OUT Format AES/EBU S/P DIF * AES/EBU S/P DIF * (MS) Level RS-422 0.5 Vpp/75 RS-422 0.5 Vpp/75 RS-422 TTL/(75 IN/OUT) TTL/75 Connector XLR-3-31 type RCA Pin Jack XLR-3-32 type RCA Pin Jack Mini DIN 8pin DIN 5pin D-SUB 9pin male D-SUB 9pin female BNC BNC
* IEC958, EIAJ CP-1201 (Consumer) ** IN only To HOST and To EDITOR connectors cannot be used at the same time.
European 230 V AC, 50 Hz Power Consumption 85 W Dimensions (W x D x H) 460 x 516 x 204 mm (18.1" x 20.3" x 8") Weight 16 kg (35.3 lbs) Free-air operating 10C to 35C (50F to 95F) temperature Relative Humidity 25%80% * Hum and noise measured with a 6 dB/octave 12.7 kHz filter; equivalent to a 20 kHz filter with an infinite dB/octave attenuation. Specifications and appearance subject to change without notice. For details please contact:
For more information about the 03D Digital Mixing Console, other Yamaha products, dealer network and more, visit:
Yamaha PA Web Sitehttp://www.yamaha.co.jp/product/proaudio/homeenglish/