* This applies only to products distributed by YAMAHA CANADA
MUSIC LTD. Litiumbatter! Br endast bytas av servicepersonal. Explosionsfara vid felaktig hantering. VAROITUS! Lithiumparisto, Rjhdysvaara. Pariston saa vaihtaa ainoastaan aian ammattimies. ADVARSELl! Lithiumbatter! Eksplosionsfare. Udskiftning m kun foretages af en sagkyndig, og som beskrevet i servicemanualen.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT: The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings idenlifying the terminals in your plug, proceed as follows: The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. * This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.)

Important Information

Please read the following before operating ProMix 01.

Safety Information

Make sure the ProMix 01 power cord is not located in a position where it is likely to be walked on or pinched by other equipment. Make sure ProMix 01 is earthed correctly. Do not expose ProMix 01 to direct sunlight, extremes of temperature or humidity, excessive dust or vibration, or severe shocks. The ambient temperature where ProMix 01 is sited should be between 10C and 35C (50F and 95F).

Warnings

ProMix 01 should be connected only to an AC receptacle of the type described in this Users Guide or as marked on ProMix 01. To reduce the risk of electric shock, do not open ProMix 01. To reduce the risk of re or electric shock, do not expose ProMix 01 to rain or moisture. In an extremely humid environment, condensation may form on the inside and outside of ProMix 01. If condensation does occur, leave ProMix 01 powered on, but do not use it until the condensation has cleared. ProMix 01 contains no user serviceable parts. Refer all servicing to qualied personnel. ProMix 01 uses high frequency digital circuits. When used close to TV and radio equipment, interference may occur. If this is the case, simply relocate ProMix 01 or the affected equipment. If any of the following should occur, ProMix 01 should be serviced by qualied personnel: The ProMix 01 power cord or plug becomes damaged in any way. Metal objects or liquids get inside ProMix 01. ProMix 01 is exposed to rain. ProMix 01 is dropped, the enclosure damaged, or both. ProMix 01 does not operate normally or a marked change in performance is noticed.

Welcome to ProMix 01

In this chapter.
Welcome to ProMix 01. ProMix 01 User Guides. Installation. Top & Rear. ProMix 01 Sonic Spec. ProMix 01 General Features. ProMix 01 Key Features. ProMix 01 Secrets.
Chapter 1: Welcome to ProMix 01
Thank you for purchasing and welcome toProMix 01the worlds rst affordable programmable digital mixer. With superb sonic performance, full MIDI control, and a powerful feature set, ProMix 01 is a mixer for lifewhatever your applicationbe it keyboard mixing, MIDI studio, live sound, commercial installation, sub-mixer, theater, post production, hard disk recording, and so on.

ProMix 01 User Guides

ProMix 01 is supplied with two user guides. This Getting Started Guide and a Users Guide. This Getting Started Guide contains two tutorials to get you started. The Users Guide, on the other hand, explains all ProMix 01 functions in full detail. Use the table of contents to search for general topics and the index to search for specics. A glossary of ProMix 01 related jargon is provided.
This guy is your resident ProMix 01 expert. Hell introduce you to each tutorial section and monitor your progress on his headset. Since printed paper is a non-interactive medium, however, he cant help you out if you get stuck. Still, the tutorials are relatively straightforward, so you shouldnt have any problems. We recommend that you start with this Getting Started Guide, and then move on to the Users Guide when you are little more familiar with ProMix 01. You may want to refer to the Users Guide for more detailed information while using this guide. In both guides, parameter range values are separated by a dash, for example: 0100%. Where the range consists of plus and minus values, however, they are separated by three periods, for example: 99.+99. This is to avoid possible confusion between the minus sign and dash.

Installation

Site ProMix 01 on a stable surface. Somewhere that complies with the Important Information on page i. The motorized faders dont mind climbing hills, so ProMix 01 can be positioned at a sloping angle. ProMix 01 can also be rack mounted using the optional rack-mount kit. Optional wooden side panels can be tted for an even more attractive nish. If you plan to take ProMix 01 on the road, an optional carrying case is available. A set of color fader knobs is also available. See your Yamaha dealer for details.

Top & Rear

L ST IN R L 2TR IN R
20dB PAD switch GAIN control
MONITOR OUT LEVEL control CUE/2TR IN switch PHONES LEVELcontrol LCD contrast control

LCD ENTER button

SCENE MEMORY buttons
RECALL DEC GROUP PAIR FUNCTION RTN RTN MEMORY SEND 3 SEND SEL CH SEND 2

PARAMETER wheel

LCD function buttons

Cursor buttons

EQ LOW

SEL button

Stereo output L/R meters

ON button

Stereo input fader

Input channel fader

Stereo output fader

RTN/SEND fader

Phantom power master switch
2-track input jacks Stereo input jacks
Input channels 916 balanced input jacks
Input channels 18 balanced input XLRs
PHANTOM MASTER CH1~8 ON OFF (+48V)

10dB +4dB (UNBAL)

R (UNBAL) L

8 INPUT

2TR IN

ANALOG

DIGITAL

ON OFF

+4dB (UNBAL) +4dB (UNBAL) 10dB (UNBAL)

+4dB (BAL)

COAXIAL

AUX SEND

STEREO OUT

REC OUT

PHONES output jack POWER switch

AUX SEND output jacks

Analog Digital REC OUT REC OUT MIDI IN/OUT

MONITOR OUT jacks

STEREO OUT XLRs

ProMix 01 Sonic Spec

Linear 20-bit 64-times oversampling A/D converters (CH, ST IN) Linear 20-bit 8-times oversampling D/A converters (ST OUT) 105dB dynamic range (typical) Frequency response of 20Hz20kHz +1, 3dB
ProMix 01 General Features
16 input channels (eight XLR, eight phone jackall balanced) Continuously variable gain control 20dB input pad 48V phantom power for condenser microphones Stereo input channel Balanced XLR stereo outputs 50 scene memories for storing mix scenes Two internal effects processors with 30 preset, 10 user programs Three dynamics processors with 10 preset, 10 user programs Fully parametric three-band EQ EQ library with 30 preset, 20 user programs Four fader groups for single fader control of several faders Adjacent channel Pair function for stereo operation Full MIDI control CUE for virtually all inputs and outputs Four auxiliary sends: two for internal effects, two for external use 60 mm motorized faders 33-position pan controls Large 240 x 64 dot backlit LCD display Stereo 12-segment LED meters Digital two-track OUT Analog two-track IN/OUT Optional rack-mount kit, carrying case, wooden side panels, and color fader knob set

ProMix 01 Key Features

This section looks at some ProMix 01 key features; what they mean to you and how you can take advantage of them.

ProMix 01 Sonic Performance
ProMix 01s linear 20-bit 64-times oversampling A/D converters provide a dynamic range of 105dB (typical). This means that an audio programs dynamic range, from low to high levels, is processed intact. ProMix 01 samples audio at 48kHz, the professional sampling rate. This provides a full spectrum frequency response of 20Hz20kHz +1, 3dB. For D/A conversion, the stereo outputs feature 20-bit 8-times oversampling and the monitor outputs, 18-bit 8-times oversampling. Oversampling and bitstream techniques effectively increase the internal sampling rate, so side effects caused by steep LPF lters, which are used to lter out sampling frequency components during D/A conversion, are virtually eliminated. Consequently, audio signal integrity is maintained from input through to output.

Internal Effects

ProMix 01 features two stereo internal multi-effects processors. A whole range of effects from reverbs to modulation effects are provided. Effects processors are fed via SEND1 and SEND2, and the processed signals are returned via RTN1 and RTN2, respectively. Having internal effects processors means that you dont have to purchase external units, effect patching is greatly simplied, and your audio data remains in the digital realm. Effects settings are stored in mix scenes and can be controlled in real time. Effects are organized into programs and there are 30 preset effects programs and 10 user effects programs for you to store your own settings. Your favorite effects processors can be patched into SEND3 and SEND4.

Dynamics Processors

ProMix 01 features three stereo dynamics processors, which can be assigned to input channels, aux sends, and stereo outputs for compression, limiting, gating, and ducking. The benets of internal dynamics processors are similar to those for the internal effects. They are, you dont have to purchase external units, patching is greatly simplied, and your audio data remains in the digital realm. Dynamic processor settings are stored in mix scenes and can be controlled in real time. Processors are organized into programs. There are 10 preset programs and 10 user programs for you to store your own settings.

EQ with Library

ProMix 01 input channels, the stereo input channel, RTN1, RTN2, and the stereo outputs all feature three-band fully parametric EQ. EQ parameters consist of gain, frequency, and Q, which is specied in octaves. From a musical point of view, octaves are more intuitive than decimal values. EQ parameter settings are stored in mix scenes and can be controlled in real time. A library of unique EQ preset programs designed for specic applications and instruments is provided. There are 30 preset EQ programs and 20 user EQ programs for you to store your own settings. The preset EQ programs serve as a good starting point and reference when making EQ adjustments.

To AC receptacle

Making the Connections

Warning: Before making any connections, make sure that all your equipment is powered OFF.
1. Connect your sound source to input channel 9.
It seems more logical to connect to input channel 1. But since inputs 1 through 8 use XLR-type connectors, and its doubtful whether youre going to yell into a microphone for both tutorials, well use input channel 9. If youre using a stereo sound source, connect to input channel 10 as well. A stereo source is not essential, and for most of the tutorial its probably easier to work with just one channel.
2. Connect the MONITOR OUTs to your power ampliers inputs.
If youre using headphones, connect them to the PHONES jack.
3. Plug ProMix 01 into a suitable AC receptacle.
Warning: ProMix 01 should be connected only to an AC receptacle of the voltage type marked on its rear panel.

Power ON/OFF

This section explains how to power ProMix 01 ON and OFF.

Power ON

Always power on your system in the following order: signal source devices through to power amplier. Press the POWER switch on the rear panel to power ON ProMix 01. The ProMix 01 start-up screen appears for a few seconds, the faders initialize themselves, then the screen that was used when ProMix 01 was last powered off appears.

Power OFF

Always power off your system in the following order: power amplier through to signal source devices. Press the POWER switch on the rear panel to power OFF ProMix 01. All mix settings, mix scenes, and other data is stored when ProMix 01 is powered OFF.

Basic Mixing Tutorial

Setting the Input Level. Applying EQ. Using the EQ Library. CUE LCD Function. Setting the CUE Mode. Setting Fader Levels. Channel ON/OFF. Panning.
Note: Its best to start at the beginning of this tutorial and work your way through, taking breaks as required. Be aware that if you deviate too far from this tutorial, or jump into a tutorial halfway through, you may nd that subsequent tutorial steps dont work as expected. Also note that this tutorial does not explain all ProMix 01 functions, nor does it serve as a substitute for the Users Guide explanations. For full details on all ProMix 01 functions, see the Users Guide.
Chapter 3: Basic Mixing Tutorial

Setting the Input Level

Presuming that ProMix 01 is powered ON and your music source is running, lets optimize the input signal level for best performance.

1. Press [METER].

The METER LCD function appears showing channel 9s signal level.
2. Turn the MONITOR OUT LEVEL control up a little. If youre using headphones, turn up the PHONES LEVEL control instead. 3. Press channel 9s [SEL] button.
You are now listening to input channel 9.
4. If the sound is distorted and the level is going up to CLIP, press channel 9s PAD switch to attenuate the input signal by 20dB. 5. Use channel 9s GAIN control to optimize the signal level.

Setting the Q

The MID band is a peaking type EQ. The LOW and HIGH bands are initially congured as shelving type EQs. However, they can also be congured as peaking EQs.
1. Press [EQ LOW] to select the LOW gain. 2. Set to 10dB. 3. Press [EQ LOW] twice to select the LOW Q. 4. Turn the PARAMETER wheel one step counterclockwise.
The LOW band changes from shelving to peaking with a Q value of 3oct (3 octaves). ProMix 01 Q values are specied as musically intuitive octave values as opposed to decimal values.
5. As you keep turning the PARAMETER wheel counterclockwise, effectively increasing the Q, the band of frequencies affected by the LOW EQ is narrowed, as shown on the EQ graph.
A narrow curve is useful for boosting or cutting specic frequencies. As well as using the [EQ LOW], [MID], and [HIGH] buttons to select parameters, you can also use the cursor buttons.
6. To turn the EQ OFF (i.e. bypass it), press [ENTER]. Press again to turn it back ON. This is useful for EQ AB listening.
Well, thats ProMix 01 EQ; exible and intuitive. The following display shows some excessive EQ settings. Although they dont sound too good, they do show off the EQ curve.

Using the EQ Library

The EQ library is used to store EQ settings. It has 30 preset EQ programs and 20 user EQ programs for you to store your own custom EQ settings. First well look at recalling EQ programs, then how to store your own.

Recalling an EQ Program

1. Press [LIBRARY].
The LIBRARY LCD function shown below appears.
2. Using the PARAMETER wheel, select program #26 (TELEPHONE VOICE).
The EQ curve of program #26 appears to the right of the program list and the name and number ash.
3. Press [ENTER] to recall the program.
The program is recalled and channel 9s EQ is set accordingly. Your sound source now sounds like its coming via long distance telephone. The name and number of the EQ program stops ashing, appears highlighted, and the period between its name and number changes to an equal symbol (=), indicating that program #26 was the last program recalled. If the sound doesnt change, check whether youve left the EQ turned OFF on the EQ LCD function.

4. Press [EQ LOW] to go to the EQ LCD function. Here you can see the parameter values and the EQ curve in more detail.

Using the EQ Library

Storing an EQ Program
Now well edit the EQ and store it in the library as a user EQ program.
1. Set the EQ parameters how you like. 2. Press [LIBRARY] to return to the LIBRARY LCD function. 3. Press the [] cursor button to select STORE.
EQ program #31, the rst user program, is selected automatically.

4. Press [ENTER].

The LIBRARY NAME display shown below appears.
Here you can name your custom EQ program for easy identication. Program names can be up to 15 characters long.
5. Use the PARAMETER wheel to select characters and the [] and [] cursor buttons to position the cursor in the name.
Spaces are available between upper and lower case letters, numerals, and punctuation. Use them as spaces or to delete characters. In this example weve named our program My EQ Program.
6. Press [ENTER] to store the program.
The message << Stored >> appears briey, then the LIBRARY LCD function reappears showing your new program.
Youve now stored your own custom EQ program. If youre happy with the sound, go to the next section. If not, you can reset the EQ by recalling preset EQ program #1 (RESET). While STORE is selected you cannot select and, therefore, recall preset EQ programs. Press the [] cursor button to select RECALL, then use the PARAMETER wheel to select the preset EQ programs.

CUE LCD Function

So far weve been monitoring channel 9 using the MIX CUE mode. In this mode, the channel selected using the [SEL] buttons is monitored. When the CUE LCD function is selected, however, operation is a little different, as we shall see.

1. Press [CUE].

The sound is cut, all [SEL] button LEDs go OFF, and the CUE LCD function shown below appears.
The message Select a channel to CUE tells us that ProMix 01 is waiting for us to select the channels that we want to monitor.
2. Press channel 9s [SEL] button.

The sound reappears, channel 9s [SEL] button LED comes ON, and various information about channel 9 is displayed. The signal level is displayed by the meter to the right.
MIX CUE mode allows you to monitor a pre-fader CUE mix of selected channels. The [SEL] buttons are used to add and remove channels. The [SEL] button LEDs indicate which channels are selected for the CUE mix. Information about the channel last added or removed is displayed on the CUE LCD function. Since were using only channel 9 for the moment, pressing other channels [SEL] buttons wont do much more than cause their [SEL] button LEDs to light up. You may want to connect a different sound source to another input channel to try out MIX CUE mode. As well as MIX, there are two more CUE modes: LAST CUE and ST FIX. Well use ST FIX in the next section. See the Users Guide for full details on all CUE modes. There is another CUE mode called LAST CUE. CUE is also affected by the GROUP LCD function. See the Users Guide for more details.

Setting the CUE Mode

Setting the CUE Mode
For the rest of this tutorial and the next, well use the ST FIX CUE mode. In this mode, the MONITOR OUT and PHONES signals are the same as those of the main STEREO OUTPUT.
1. Use the PARAMETER wheel to select ST FIX.

ST FIX ashes.

2. Press [ENTER] to conrm the setting.
The sound is cut and ST FIX appears highlighted. Any channels that were in the previous CUE MIX are released. The following display shows the CUE LCD function with the CUE mode set to ST FIX. Channel 9 is selected.

Setting Fader Levels

To hear our sound source again we need to feed the channel 9 signal to the main stereo outputs (i.e. the main stereo mix).
1. Set channel 9s fader to the 0dB mark.
The 0dB fader position is a good place to start when setting fader levels. Its a good setting with regard to signal level and noise performance and it leaves room for you to raise the level later, if necessary.
2. Set the ST OUT fader to the 0dB mark.
You can now hear your sound source and the stereo output meters are indicating the stereo output level. The stereo mix signal is now being output to the STEREO OUTs and digital and analog REC OUTs. Note that the Peak Hold function, which is set on the METER LCD function, also works on the stereo output meters.

Channel ON/OFF

The channel [ON] buttons are used to turn channels ON and OFF. This function is sometimes called MUTE.
1. Press channel 9s [ON] button.
The sound is cut and the [ON] buttons LED goes OFF.
2. Press the [ON] button again to turn the channel back ON.
Note how the signal level is displayed on the LCD even when the channel is OFF. This is because the meter signal is sourced before the [ON] button. If you were to set the CUE mode to LAST CUE while channel 9 is turned OFF, the sound would reappear for MONITOR OUT and PHONES. LAST CUE mode allows you to set up channels before feeding them to the main mix.

1. Press [STORE].

A message saying you that mix scene 00 is read only may appear briey. After that, the MEMORY LCD function shown below appears.
2. Use the PARAMETER wheel to select mix scene #01.

3. Press [STORE].

The MEMORY NAME display shown below appears.
Here you can name your mix scene for easy identication. Scene names can be up to eight characters long.
4. Use the PARAMETER wheel to select characters and the [] and [] cursor buttons to position the cursor in the name.
Spaces are available between upper and lower case letters, numerals, and punctuation. Use them as spaces or to delete characters. As were nearly at the end of this tutorial, weve named the mix scene Finale, as shown below.
5. Press [STORE] to store the mix scene.
The message <<Stored>> appears briey and EDIT disappears from the MEMORY area of the display.

Recalling Mix Scenes

Recalling Mix Scenes
Now well take a look at recalling mix scenes. Since youve stored only one mix scene so far, rst well recall mix scene 00 to reset all the mix settings, then recall mix scene #01 to return to our previous mix settings. Unlike mix scenes 01 to 50, mix scene 00 is read-only and is used to reset all mix settings. You cannot store it. If youre continuing from the Storing Mix Scenes tutorial on page 28, the MEMORY LCD function shown below will already be selected. If another LCD function is selected you need to press the [RECALL] button rst. Note that if you press the [RECALL] button when the MEMORY LCD function is selected youll store the current mix settingsthere is no warning before store is executed.
1. Use the PARAMETER wheel to select mix scene #00, InitData.
READ ONLY appears on the display and the name and number ash.

2. Press [RECALL].

The sound is cut and all mix settings are reset to their initial settings. The message <<Recalled>> appears briey. The mix scene name and number, InitData 00, appear in the MEMORY area of the display. Now well recall mix scene #01 to return to our previous mix settings.
3. Use the PARAMETER wheel to select mix scene #01.

4. Press [RECALL].

The sound reappears and mix scene #01 is recalled. All mix settings return to the way we left them when mix scene #01 was stored and the faders move to their new positions automatically. The display looks something like the one shown below, with the mix scene name and number shown in the MEMORY area and 01=Finale in the mix scene list. The word EDIT has disappeared.

Onstage Keyboard Mixing

Effects processor

Powered monitors

SEND4 SEND3 Headphones STEREO OUT To front of house console ST IN MONITOR OUT

MIDI sequencer

MIDI OUT MIDI IN
Inputs 916 To other MIDI instruments

MIDI THRU

MIDI Foot controller Talkback mic Synths/tone generators/samplers
This example shows ProMix 01 in an onstage keyboard mixing application. Line-level sources are connected directly to inputs channel 9 through 16. With the correct connectors, line-level sources can also be connected to input channels 1 through 8. Balanced microphones for foldback or miking up a rotary-type speaker cabinet can also be connected. Adjacent input channels can be congured as stereo pairs, so synthesizers, tone generators, and samplers with stereo outputs can be handled with ease. Faders can be grouped so that several synth levels can be controlled simultaneously using a single fader. This is useful when several synths are used to create layered sounds. SEND3 and SEND4 are used to feed an external effects processor, and the processed signals are returned via the stereo input channel. The MONITOR OUTs are connected to a pair of powered monitors. The keyboard player can listen to the stereo out mix in ST FIX CUE mode, or to individual channels in LAST CUE mode. The CUE signal can also be heard through the headphones. The feed to the main front of house console is taken via the balanced XLR-type STEREO OUT connectors. ProMix 01 internal effects provide reverb and delay via SEND1 and SEND2. The processed signals are returned internally via RTN1 and RTN2, respectively. All effects settings are stored in mix scenes, so you can recall different settings for different parts of the performance. A dynamics processor set for compression is patched into the backing vocal input channel to provide a more consistent volume level. Another dynamics processor set for limiting is patched into the stereo outputs to prevent signal overload on the front of house console. Mix scenes can be used to store different mix settings for each song in a performance. In a complex system consisting of many synthesizers, tone generators, and samplers, mix scenes can be used to recongure the internal effects, switch unused channels OFF, and set different fader levels for synths as they are used for lead solo and pad parts. The MIDI sequencer transmits Program Change messages at specic times during the performance. These MIDI messages are used to recall ProMix 01 mix scenes and select synthesizer voices. A MIDI footswitch is also used to recall mix scenes and synthesizer voices manually. ProMix 01 can be rack-mounted using the optional rack-mount kit.

Multitracking

MIDI IN
Tape outputs to ProMix inputs Power amp
Patchbay /routing selector
SEND4 SEND3 Headphones ST OUT MONITOR OUT DIGITAL REC OUT
This example shows ProMix 01 in a multitrack recording application. It is basically the same as the MIDI Studio application with the addition of a multitrack recorder. Although not specically designed for use as a recording mixer, multitrack recording with ProMix 01 is possible with a little patching. In the illustration, an analog multitrack tape recorder is shown. This could, however, just as well be a hard disk recorder. ST OUT, SEND3, and SEND4 outputs are connected to the patchbay where the multitrack recorder input jacks can be accessed. To record to tracks 1 and 2, for example, SEND3 and SEND4 signals are patched into multitrack inputs 1 and 2. Since most tracks are recorded in mono, however, youll probably only need to make one patch. For stereo recording, SEND3 and SEND4 can be congured as a stereo pair. In this case, an additional pan control appears on each input channel and a balance control on the stereo input channel, effectively an independent stereo mix can be set up. The multitrack recorders outputs are connected to the ProMix 01 inputs. Connecting all ProMix 01 inputs and the multitrack recorders outputs to a patchbay would allow you to patch in tape channels as they are used, thus leaving ProMix 01 inputs available for connecting other instruments. The multitrack recorder is controlled via a MIDI connection from the MIDI sequencer. MMC (MIDI Machine Control) commands make the recorder start play, rewind, record, etc., as the transport controls on the MIDI sequencer are clicked with a mouse. If your recorder does not conform to MMC, may be you need a synchronizer box or interface for it. Failing that, the last tape track can be striped with SMPTE timecode or an FSK code and a converter box used to convert this to either MIDI clock or MTC (MIDI Timecode), whichever your MIDI sequencer accepts. The MIDI sequencer can then be slaved to the recorder. ProMix 01, a MIDI sequencer, and a controllable multitrack recorder provide fully automated mixdown for MIDI instruments and acoustic instruments. In conjunction with a MIDI sequencer and multitrack recorder, ProMix 01 provides fully automated mixdown for MIDI instruments, acoustic instruments, and vocals.

Mixing and Automation

General Mix Procedure. What is ProMix 01 Automation. An Automation System. Mix Scenes & Automation. Real-Time Automation.
Chapter 6: Mixing and Automation

General Mix Procedure

This section is for users who are relatively new to audio mixing. It provides a general mix procedure for successful ProMix 01 mixing. Reset all controlsthis is simple on ProMix 01, just recall mix scene memory 00. Dont forget to reset the GAIN controls, PAD switches, and monitor controls by hand, though. Connect your sound sourcesinputs 1 through 8 are balanced XLR-types, with 48V phantom power for condenser microphones, while inputs 9 through 16 are TRS balanced phone jacks. Set up your monitorif youre monitoring via headphones or the monitor outputs, turn up the PHONES or MONITOR OUT LEVEL control and select a CUE mode. LAST CUE mode allows you to monitor individual input channels and the main stereo output using the [SEL] buttons. If youre listening to the stereo output mix, set the ST OUT fader to about 0 dB. Optimize the input signal levelsthis is an important stage and you should take time and care setting these levels. Listening to each channel in turn, use the GAIN control and PAD switch to optimize the input signal level. Levels for all input channels are displayed on the METER LCD function. See Setting the Input Level on page 14 of this Getting Started Guide for full details. If youre monitoring via CUE, use the [SEL] buttons to select each channel in turn. If youre monitoring via the stereo outputs, raise each fader in turn to about 0 dB. You can always readjust later. Clean up soundsunwanted noise and distortion reduce clarity, making the mix sound muddy and confused. If you cant eliminate noise problems at source, use EQ to cut it, or patch in a noise gate. The EQ library contains several preset programs for reducing mains-born hum, hiss, and noise. Apply EQyou can use EQ at this stage to lter out any unwanted hiss, hum, or frequency abnormalities in a sound. If youre after a natural sound, its always better to try to correct the sound source itself (i.e. microphone type and position) rather than correcting with EQ. Youll probably need to readjust the EQ when listening to all sounds in the mix, anyway. Pan the soundspan allows you to position sounds from left to right in the stereo eld. This is often used to provide space for individual instruments. Bass instruments and lead vocals are usually panned around center. Rhythm guitar maybe panned to the left and lead guitar or piano, to the right. A drum kit with two overhead microphones and one front microphone would have the overhead microphones panned hard-left and hard-right and the front microphone panned center. Backing vocals can be panned to the left or right as required. Bass sounds are not very directional, so its usually best to keep them panned about center.

Apply effectsthis really depends on your application. In the studio, youll probably have time to experiment with effects. In a live situation, however, where the show must go on, you may not have time to experiment. At venues with irregular acoustic properties you may spend all your time trying to make a bad sound sound good. Adding effects at this stage may just complicate the situation. Anyway, ProMix 01 effects can be used to simulate the reverbs and echoes of natural sound environments or as special effects, for original exciting sounds. Patch in a dynamics processorif the lead vocalist tends to move toward and away from the microphone, you may nd it difcult to set an average fader level that allows him to be heard throughout a song. In a live situation, compressing the lead vocal will allow you to increase the level of the vocals in the mix without the risk of feedback. To eliminate crosstalk and improve separation between drum microphones, patch in a noise gate. This is useful on the snare and hi-hat microphones, which are usually close together. Noise gates are also useful for gating out noise from noisy guitar amps and effects pedals. To prevent power amplier and speaker overload, patch a limiter into the stereo output. EQ libraryuse the EQ library to store custom EQ settings that youve found work best with certain instruments or microphones. The preset EQ programs provide a good starting point and reference for making adjustments, with EQ settings for a whole range of instruments. Once youve recalled a preset program you can tailor it to suit a particular application, and then store it for future use. You can also use the library to copy EQ settings between channels. Mix scenesallow you to recall stored mix settings with just one button press. Mix scenes are great for applications where mix settings are used over-and-over again. Such as night-after-night sound checks, theater scene changes, and multi-performer/band events. If you work on several projects at a time, you can store the current mix scene so when you return to that project, you can start again right where you left off. Mix scenes also allow you to experiment freely. You can store several trial mixes and then listen to each one in turn and choose the best. Stereo pairsmake it easy to control stereo input signals. By linking adjacent input channels, EQ, fader, and ON/OFF adjustments made on the odd/left channel are automatically reected on the even/right channel, and vice versa. That just about covers mixing basics and some ProMix 01 specic features. Although not a complete guide to audio mixing, it should be enough to get you started. For more information, check out the publications in your local music bookstore, or try a good technical bookstore.

Users Guide Manuel de rfrence Bedienungsanleitung Manual de uso

L ST IN

L 2TR IN
20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB CUE/ 2TR IN

GAIN 1

GAIN 2

GAIN 3

GAIN 4

GAIN 5

GAIN 6

GAIN 7

GAIN 8

GAIN 9

GAIN 10

GAIN 11

GAIN 12

GAIN 13

GAIN 14

GAIN 15

GAIN 16

MONITOR OUT

PHONES

PARAMETER

SCENE MEMORY INC + STORE UTILITY
RECALL DEC GROUP PAIR FUNCTION METER PAN/ COMP CUE MEMORY SEND 3 SEND SEL CH SEND 4 RTN RTN 1 2

CLIP 40

EQ LOW

LIBRARY L

RTN/ SEND

ST OUT

FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference Utilize power outlets that are on different branch (circuit breaker of fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America. Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT: The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings idenlifying the terminals in your plug, proceed as follows: The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. * This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.)

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE CLASS B LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS. LE PRESENT APPAREIL NUMERIQUE NEMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA CLASSE B PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.
* This applies only to products distributed by YAMAHA CANADA
MUSIC LTD. Litiumbatter! Br endast bytas av servicepersonal. Explosionsfara vid felaktig hantering. VAROITUS! Lithiumparisto, Rjhdysvaara. Pariston saa vaihtaa ainoastaan aian ammattimies. ADVARSELl! Lithiumbatter! Eksplosionsfare. Udskiftning m kun foretages af en sagkyndig, og som beskrevet i servicemanualen.

Analog Digital

AD DC Cut Meter Phase EQ Patch Level Pan ST Bus Patch EQ Meter DA ON/OFF Master Level Master Master Balance ON/OFF Patch

Digital

Analog

RTN1, 2

Additions

+24 +20

SEND3, 4
Stereo out SEND3, 4 Monitor out

Gain min

ProMix 01 Level Diagram

Gain max

22 DSP Noise Floor

34 DEQ Noise Floor

ProMix 01 Users Guide

ProMix 01 Dimensions

H: 124.7 110.27.D: 487.4

430 W: 435

Optional Rack-Mount Ears
Optional Wooden Side Panels
Use only the screws supplied Utilisez uniquement les vis fournies. Verwenden Sie ausschlielich die beiliegenden Schrauben. Use solamente los tornillos proporcionados.
Mix Scene to Program Change Assignment Table
Program Change # 43 Initial Mix Scene # 43 User Mix Scene # Program Change # 86 Initial Mix Scene # 50 User Mix Scene # Program Change # Initial Mix Scene # 0 User Mix Scene #
Control Change to Parameter Assignment Table
Param # 46 Initial Setup Control Bank Change # 46 ProMix 01 Parameter Channel Input 1 Level Channel Input 2 Level Channel Input 3 Level Channel Input 4 Level Channel Input 5 Level Channel Input 6 Level Channel Input 7 Level Channel Input 8 Level Channel Input 9 Level Channel Input 10 Level Channel Input 11 Level Channel Input 12 Level Channel Input 13 Level Channel Input 14 Level Channel Input 15 Level Channel Input 16 Level Stereo Input Level Effect Return 1 Level Effect Return 2 Level Send 3 Level Send 4 Level Stereo Output Level Channel Input 1 On/Off Channel Input 2 On/Off Channel Input 3 On/Off Channel Input 4 On/Off Channel Input 5 On/Off Channel Input 6 On/Off Channel Input 7 On/Off Channel Input 8 On/Off Channel Input 9 On/Off Channel Input 10 On/Off Channel Input 11 On/Off Channel Input 12 On/Off Channel Input 13 On/Off Channel Input 14 On/Off Channel Input 15 On/Off Channel Input 16 On/Off Stereo Input On/Off Effect Return 1 On/Off Effect Return 2 On/Off Send 3 On/Off Send 4 On/Off Stereo Output On/Off Channel Input 1 Panpot Channel Input 2 Panpot Channel Input 3 Panpot Data Value User Setup Control Bank Change #
Param # 95 Initial Setup Control Bank Change # 95 ProMix 01 Parameter Channel Input 4 Panpot Channel Input 5 Panpot Channel Input 6 Panpot Channel Input 7 Panpot Channel Input 8 Panpot Channel Input 9 Panpot Channel Input 10 Panpot Channel Input 11 Panpot Channel Input 12 Panpot Channel Input 13 Panpot Channel Input 14 Panpot Channel Input 15 Panpot Channel Input 16 Panpot Stereo Input Lch Panpot Stereo Input Rch Panpot Effect Return 1 Lch Panpot Effect Return 1 Rch Panpot Effect Return 2 Lch Panpot Effect Return 2 Rch Panpot Send 3/4 Balance(Send 3/4 Configuration=Stereo) Stereo Output Balance Channel Input 1 to Effect Send 1 Level Channel Input 2 to Effect Send 1 Level Channel Input 3 to Effect Send 1 Level Channel Input 4 to Effect Send 1 Level Channel Input 5 to Effect Send 1 Level Channel Input 6 to Effect Send 1 Level Channel Input 7 to Effect Send 1 Level Channel Input 8 to Effect Send 1 Level Channel Input 9 to Effect Send 1 Level Channel Input 10 to Effect Send 1 Level Channel Input 11 to Effect Send 1 Level Channel Input 12 to Effect Send 1 Level Channel Input 13 to Effect Send 1 Level Channel Input 14 to Effect Send 1 Level Channel Input 15 to Effect Send 1 Level Channel Input 16 to Effect Send 1 Level Stereo Input to Effect Send 1 Level Channel Input 1 to Effect Send 2 Level Channel Input 2 to Effect Send 2 Level Channel Input 3 to Effect Send 2 Level Channel Input 4 to Effect Send 2 Level Channel Input 5 to Effect Send 2 Level Channel Input 6 to Effect Send 2 Level Channel Input 7 to Effect Send 2 Level Channel Input 8 to Effect Send 2 Level Channel Input 9 to Effect Send 2 Level Channel Input 10 to Effect Send 2 Level Channel Input 11 to Effect Send 2 Level Data Value User Setup Control Bank Change #

Add-13

Param # 432
ProMix 01 Parameter Channel Input 9 High Equalizer Q/Shelf Channel Input 10 High Equalizer Q/Shelf Channel Input 11 High Equalizer Q/Shelf Channel Input 12 High Equalizer Q/Shelf Channel Input 13 High Equalizer Q/Shelf Channel Input 14 High Equalizer Q/Shelf Channel Input 15 High Equalizer Q/Shelf Channel Input 16 High Equalizer Q/Shelf Stereo Input High Equalizer Q/Shelf Effect Return 1 High Equalizer Q/Shelf Effect Return 2 High Equalizer Q/Shelf Stereo Output High Equalizer Q/Shelf Channel Input 1/2 Stereo Pair Flag On/Off Channel Input 3/4 Stereo Pair Flag On/Off Channel Input 5/6 Stereo Pair Flag On/Off Channel Input 7/8 Stereo Pair Flag On/Off Channel Input 9/10 Stereo Pair Flag On/Off Channel Input 11/12 Stereo Pair Flag On/Off Channel Input 13/14 Stereo Pair Flag On/Off Channel Input 15/16 Stereo Pair Flag On/Off Internal Effect 1 Type Internal Effect 2 Type Internal Effect 1 Parameter 1 High Byte Internal Effect 1 Parameter 1 Low Byte Internal Effect 1 Parameter 2 High Byte Internal Effect 1 Parameter 2 Low Byte Internal Effect 1 Parameter 3 High Byte Internal Effect 1 Parameter 3 Low Byte Internal Effect 1 Parameter 4 High Byte Internal Effect 1 Parameter 4 Low Byte Internal Effect 1 Parameter 5 High Byte Internal Effect 1 Parameter 5 Low Byte Internal Effect 1 Parameter 6 High Byte Internal Effect 1 Parameter 6 Low Byte Internal Effect 1 Parameter 7 High Byte Internal Effect 1 Parameter 7 Low Byte Internal Effect 1 Parameter 8 High Byte Internal Effect 1 Parameter 8 Low Byte Internal Effect 1 Parameter 9 High Byte Internal Effect 1 Parameter 9 Low Byte Internal Effect 1 Parameter 10 High Byte Internal Effect 1 Parameter 10 Low Byte Internal Effect 2 Parameter 1 High Byte Internal Effect 2 Parameter 1 Low Byte Internal Effect 2 Parameter 2 High Byte Internal Effect 2 Parameter 2 Low Byte Internal Effect 2 Parameter 3 High Byte Internal Effect 2 Parameter 3 Low Byte Internal Effect 2 Parameter 4 High Byte

Add-14

Param # 479 Initial Setup Control Bank Change # 95 ProMix 01 Parameter Internal Effect 2 Parameter 4 Low Byte Internal Effect 2 Parameter 5 High Byte Internal Effect 2 Parameter 5 Low Byte Internal Effect 2 Parameter 6 High Byte Internal Effect 2 Parameter 6 Low Byte Internal Effect 2 Parameter 7 High Byte Internal Effect 2 Parameter 7 Low Byte Internal Effect 2 Parameter 8 High Byte Internal Effect 2 Parameter 8 Low Byte Internal Effect 2 Parameter 9 High Byte Internal Effect 2 Parameter 9 Low Byte Internal Effect 2 Parameter 10 High Byte Internal Effect 2 Parameter 10 Low Byte Comp 1 Type Comp 2 Type Comp 3 Type Comp 1 Patch Point Comp 2 Patch Point Comp 3 Patch Point Comp 1 Keyin Channel Comp 2 Keyin Channel Comp 3 Keyin Channel Comp 1 In Mode(Both/Odd/Even) Comp 2 In Mode(Both/Odd/Even) Comp 3 In Mode(Both/Odd/Even) Comp 1 On/Off Comp 2 On/Off Comp 3 On/Off Comp 1 Parameter 1 Comp 1 Parameter 2 Comp 1 Parameter 3 Comp 1 Parameter 4 Comp 1 Parameter 5 Comp 2 Parameter 1 Comp 2 Parameter 2 Comp 2 Parameter 3 Comp 2 Parameter 4 Comp 2 Parameter 5 Comp 3 Parameter 1 Comp 3 Parameter 2 Comp 3 Parameter 3 Comp 3 Parameter 4 Comp 3 Parameter 5 Send 3/4 Configuration Flag (Individual/Stereo) Oscillator On/Off Oscillator Level Oscillator Frequency Data Value User Setup Control Bank Change #

A. Depends on selected effects type. B. Depends on selected dynamics type.

Add-15

Initial Setup Control Bank Change # --Data Value User Setup Control Bank Change #

Param # 530

ProMix 01 Parameter Oscillator SEND3 Assign Oscillator SEND4 Assign Oscillator ST OUT Assign Cue mode MIX/LAST CUE/GROUP CUE/STEREO OUT FIX Channel Input 1 Group No. (0: OFF, 14: AD) Channel Input 2 Group No. Channel Input 3 Group No. Channel Input 4 Group No. Channel Input 5 Group No. Channel Input 6 Group No. Channel Input 7 Group No. Channel Input 8 Group No. Channel Input 9 Group No. Channel Input 10 Group No. Channel Input 11 Group No. Channel Input 12 Group No. Channel Input 13 Group No. Channel Input 14 Group No. Channel Input 15 Group No. Channel Input 16 Group No. Stereo Input Group No. Panpot Control Mode (Individual/Gang) Group Select (A/B/C/D) Ch Input 1/2 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Ch Input 3/4 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Ch Input 5/6 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Ch Input 7/8 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Ch Input 9/10 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Ch Input 11/12 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Ch Input 13/14 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Ch Input 15/16 Pair Execute(MONO,Odd->Even,Even->Odd,Reset) Stereo Master Patch Point Pre/Post Send3 Master Patch Point Pre/Post Send4 Master Patch Point Pre/Post Send3,4 Configuration Execute(Monaural/Stereo) MIDI Local Off Fader No.1 MIDI Local Off Fader No.2 MIDI Local Off Fader No.3 MIDI Local Off Fader No.4 MIDI Local Off Fader No.5 MIDI Local Off Fader No.6 MIDI Local Off Fader No.7 MIDI Local Off Fader No.8 MIDI Local Off Fader No.9 MIDI Local Off Fader No.10 MIDI Local Off Fader No.11 MIDI Local Off Fader No.12 MIDI Local Off Fader No.13 MIDI Local Off Fader No.14 MIDI Local Off Fader No.15 MIDI Local Off Fader No.16

Add-16

MIDI Data Format

1 General Items

1-1 This section describes the ProMix 01 MIDI specications. 1-2 Electrical characteristics and signal specications conform to the MIDI Standard 1.0.

2 Transmission/Reception

ProMix 01 transmits and receives Program Change, Control Change, and System Exclusive messages. Real-time messages, Active Sensing, and MIDI Reset are received only.

2-1 Program Change

Transmission Channel number (Tx Channel No.) is used for transmission. Messages are received only when the receive Channel number (Rx Channel No.) matches, or when OMNI is set to ON. Receiving a Program Change message recalls the scene memory assigned to that Program number. When a scene memory is recalled using the RECALL button, the corresponding Program Change message is output. Program Changes can be assigned to scene memories by the user.

2-2 Control Change

Control Change messages can be transmitted and received in Channel mode or Register mode. In Channel mode, the MIDI Channel No. is the Transmission/Receive Channel (Tx/Rx Channel No.) plus parameter Bank Number(Bank). If the resultant value exceeds 16, the remainder will be the Channel number. If all parameters are transmitted and received in this mode, many MIDI Channels are used. See <Cf1> below. In Register mode, the Channel number uses the transmission/receive Channel number (Tx/Rx Channel No.), and the parameter Bank Number(Bank) is specied by Non-Registered Parameter Number(NRPN) 62h (98 in decimal). In this mode, only one MIDI Channel is required, and OMNI operation is available. See <Cf2> below. The ProMix 01 parameter corresponding to the Control Change Bank number and Control Change number is adjusted. If an assigned parameter is adjusted using the front panel controls, the corresponding Control Change message is output. Parameters can be assigned to Control Changes by the user. <Cf1> The data format will be as follows: When you adjust a parameter of Channel #10, Bank #2, and Control #72: BB 48 dd (dd is data) When you adjust a parameter of Channel #13, Bank #5, and Control #20: Bdd (dd is data) <Cf2> The data format will be as follows: When you adjust a parameter of Channel #10, Bank #2, and Control #72: B02 Bdd (dd is data) For MIDI data transmission, a parameters minimum internal data value is expressed by 00h, and the maximum value is expressed by 7fh. For example, for Panpot data the internal data value 0 is expressed by 00h, and the internal data value 32 (MAX) is expressed by 7fh.

Add-17

To derive the midway value of the internal data, the following calculation is used (MIDI midway value = 64). First, 128 (the maximum value used in MIDI) is divided by the internal Data Value (Panpot = 33) to obtain the MIDI data number equivalent to one internal data number. The internal Data Values for all parameters are given in the Control Change to Parameter Assignment tables. ex. Panpot: 128 / 33 = 3.29 To express the midway value of the internal data using the MIDI midway value (64), the remainder obtained from the above calculation is added to both sides of the MIDI range. If there is another remainder, 1 is added to the result. ex. Panpot: 29 / 2 = 14.+ 1 = 15 Therefore, when MIDI data is x, the internal data is calculated using the following formula: ex. Panpot: INTEGER ((x - 15) / 3) If the resultant value is below 0, it becomes the minimum internal data value. If the resultant value exceeds the maximum internal data value, it becomes the maximum internal data value. For data that consists of two bytes (Effect Parameter), 16,384 (14-bit value) is used instead of 128 (Minimum: 0000h, Maximum: 3fffh). Usually, Control Change messages are output only when the internal data is changed. Incoming messages are processed so that they do not contradict the internal data (i.e. abnormal settings that are not acceptable to ProMix 01). However, the following are exceptions: If the status of a stereo pair is changed, a Stereo Pair Flag Control Change is output, then the Control Change of the changed parameter is output. When ProMix 01 receives a Stereo Pair Flag Control Change, only the ag is changed. When the information about channels for a stereo pair is received afterward, the parameter of the other receive channel is also changed. Also, at the moment of operation, the parameters for both channels are changed. Therefore, the Control Change that has the same function as the pair processing on the unit is assigned to the other number. The parameters labelled Execute or Ex. can prevent contradiction occurring when the message is received. Also, when the unit receives the Control Change message of this number, the parameter changed by this message will, in turn, output a control change message. The above also applies to SEND3, 4 Conguration. When a Control Change message to change the level of a channel in a group is received, the other channels are not affected. The group is temporarily released, the fader adjusted, then grouping is reactivated.

2-3 System Exclusive Message
Transmission Channel number (Tx Channel No.) is used for transmission. Messages are received only when the receive Channel number (Rx Channel No.) matches, or when OMNI is set to ON. The ProMix 01 transmits and receives scene memory contents, Program Change Assignment Table, Control Change Assignment Table, Edit Buffer contents, Setup Memory contents, Backup Memory contents, Key Remote Message, Effect User Memory contents, Compressor User Memory contents, and EQ User Library contents.

2-4 Real Time Message

Only Active Sensing (FEh), and MIDI Reset (FFh) are received. Running Status is cleared if the unit dose not receive any data for more than 300 ms after receiving Active Sensing, or when MIDI Reset is received.

Add-18

3 Transmission Condition
CONTROL TX CONTROL CHANGE $BnH ON PROGRAM TX ON BULK TX ON MIDI OUT MIDI TX
PROGRAM CHANGE $CnH SYSTEM EXCLUSIVE BULK DUMP $F0H, $43H

REQUEST $F0H, $43H

ON CONTROL ECHO

MIDI IN

ON PROGRAM ECHO ON

4 Receive Condition

CONTROL RX ON PROGRAM RX MIDI IN MIDI RX ON $BnH CONTROL CHANGE

$CnH PROGRAM CHANGE

BULK RX CONTROL OMNI (REGISTER MODE ONLY) ON PROGRAM OMNI ON BULK OMNI ON CONTROL ECHO ON PROGRAM ECHO ON ON
SYSTEM EXCLUSIVE $F0H, $43H, $0nH BULK DUMP

$F0H, $43H BULK REQUEST

MIDI OUT

Add-19

5 Bulk Dump Request Format
5-1 One Memory Mixing Program Bulk Dump Data Format
STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) 0000xxxx 0xxxxxxx 0xxxxxxx 0xxxxxxx : 0xxxxxxx 0xxxxxxx 0xxxxxxx 11110111 F0n 7E 06 3A 4C 4D 4D mm dsH dsL : deH deL ee F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump 826(408x2+10)bytes L M 8 A M mm=1(01h)-50(32h).Scene Memory No., 127(7Fh).Edit Buffer Scene Memory Data(408x2bytes)*3
DATA NAME MEMORY NO. DATA*1

CHECK SUM*2 EOX

ee=(INVERT(L+M+.+dsH+.+deL)+1) AND 7Fh End Of Exclusive
5-2 All Program Change Assignment Table Bulk Dump Data Format
STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) 0000xxxx 00100000 0xxxxxxx 0xxxxxxx : 0xxxxxxx 0xxxxxxx 0xxxxxxx 11110111 F0n 7E 02 0A 4C 4D dsH dsL : deH deL ee F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump 266(128x2+10)bytes L M 8 A P Program Change Table(128x2bytes)*4

Add-23 5-9 Key Remote Bulk Dump Data Format (Receive only)
STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) 0000xxxx 0xxxxxxx 0xxxxxxx 0xxxxxxx 11110111 F0n 7E 00 0B 4C 4D 4B Kn DT ee F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Rx Channel No.) Universal Bulk Dump 11(1+10)bytes L M 8 A K Key Number*11 Key Data*12 ee=(INVERT(L+M+.+dsH+.+deL)+1) AND 7Fh End Of Exclusive
DATA NAME MEMORY NO. DATA*1 CHECK SUM*2 EOX
5-10 Error/Warning Report Bulk Dump Data Format (Transmission only)
STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT(HIGH) BYTE COUNT(LOW) 0000xxxx 01111110 0xxxxxxx 0xxxxxxx 0xxxxxxx 0xxxxxxx 0xxxxxxx : 0xxxxxxx 0xxxxxxx 11110111 F0n 7E nn nn 4C 4D EnH EnL Ms : Me ee F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx Channel No.) Universal Bulk Dump nn([Message]x2+10)bytes L M 8 A X E Message No.(HIGH)*13 Message No.(LOW) Message*14
Add-24 5-11 One Memory Mixing Program Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx 0xxxxxxx 11110111 F2n 7E 4C 4D 4D mm F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump L M 8 A M mm=1(01h)-50(32h).Scene Memory No., 127(7Fh).Edit Buffer End Of Exclusive

DATA NAME MEMORY NO. EOX

5-12 All Program Change Assignment Table Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx F2n 7E 4C 4D F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump L M 8 A P End Of Exclusive

DATA NAME EOX

5-13 All Control Change Assignment Table Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx F2n 7E 4C 4D F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump L M 8 A C End Of Exclusive
Add-25 5-14 Scene Memory Store Bulk Request Data Format*17
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx F2n 7E 4C 4D F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump L M 8 A W End Of Exclusive
5-15 All Data Bulk Request Data Format*18
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx F2n 7E 4C 4D F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump L M 8 A A End Of Exclusive

5-16 Setup Memory Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx F2n 7E 4C 4D F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Tx/Rx Channel No.) Universal Bulk Dump L M 8 A S End Of Exclusive
Add-26 5-17 Backup Memory Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx F2n 7E 4C 4D F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Rx Channel No.) Universal Bulk Dump L M 8 A B End Of Exclusive
5-18 Effect User Memory Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx 0xxxxxxx 11110111 F2n 7E 4C 4D 45 mm F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Rx Channel No.) Universal Bulk Dump L M 8 A E mm=1(00h)-10(09h).Effect User Memory No., End Of Exclusive
5-19 Compressor User Memory Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx 0xxxxxxx 11110111 F2n 7E 4C 4D 4F mm F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Rx Channel No.) Universal Bulk Dump L M 8 A O mm=1(00h)-10(09h).Compressor User Memory No, End Of Exclusive
Add-27 5-20 Equalizer User Library Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx 0xxxxxxx 11110111 F2n 7E 4C 4D 51 mm F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Rx Channel No.) Universal Bulk Dump L M 8 A Q mm=1(00h)-20(13h).Equalizer User Library No., End Of Exclusive
5-21 Memory Control Change Out Bulk Request Data Format
STATUS ID No. SUB STATUS FORMAT No. 0010xxxx 0xxxxxxx 11110111 F2n 7E 4C 4D 59 mm F7 System Exclusive Message Manufacturers ID No. (YAMAHA) n=0-15(Rx Channel No.) Universal Bulk Dump L M 8 A Y mm=1(01h)-50(32h).Scene Memory No., 127(7Fh).Edit Buffer End Of Exclusive

Add-28

Button Number Table
Button # #0 #1 #2 #3 #4 #5 #6 #7 #8 #9 # 10 # 11 # 12 # 13 # 14 # 15 # 16 # 17 # 18 # 19 # 20 # 21 # 22 # 23 # 24 # 25 # 26 # 27 # 28 # 29 # 30 # 31 # 32 # 33 # 34 # 35 # 36 # 37 Button Name MEMORY STORE MEMORY UP UTILITY MIDI MEMORY RECALL MEMORY DOWN GROUP PAIR METER PAN/PHASE COMP CUE SEND1 SEND2 SEND3 SEND4 EQ LOW EQ MID EQ HIGH EQ LIBRARY CH1 SEL CH2 SEL CH3 SEL CH4 SEL CH5 SEL CH6 SEL CH7 SEL CH8 SEL CH9 SEL CH10 SEL CH11 SEL CH12 SEL CH13 SEL CH14 SEL CH15 SEL CH16 SEL ST IN SEL RTN/SEND SEL Button # # 38 # 39 # 40 # 41 # 42 # 43 # 44 # 45 # 46 # 47 # 48 # 49 # 50 # 51 # 52 # 53 # 54 # 55 # 56 # 57 # 58 # 59 # 60 # 61 # 62 # 63 # 64 Button Name ST OUT SEL CH1 ON CH2 ON CH3 ON CH4 ON CH5 ON CH6 ON CH7 ON CH8 ON CH9 ON CH10 ON CH11 ON CH12 ON CH13 ON CH14 ON CH15 ON CH16 ON ST IN ON RTN/SEND ON ST OUT ON CURSOR UP CURSOR DOWN CURSOR LEFT CURSOR RIGHT ENTER PARAMETER UP PARAMETER DOWN

Add-29

*1 How to calculate data format. For example, Internal Data: Ds,D1,D2,D3,.,Dx,.,De (Dx is 1 byte data). The data ranges between 00h and FFh. DxH = ASCII ((Dx/16) AND 0Fh) (Character code 0 to F) DxL = ASCII (Dx AND 0Fh) (Character code 0 to F) *2 Check sum. Sum is calculated for the sum after the BYTE COUNT (LOW), namely L to the data immediately before the CHECK SUM, all bits are inverted (ones compliment), and then add 1 (one), and then the MSB (bit7) is set 0 (zero) for obtaining the CHECK SUM (twos compliment). *3 Data between D0 and D407 *4 Data between D0 and D127 (See the Program Change Assign Map) *5 Data between D0 and D1151 (See the Control Change Assign Map) *6 Data between D0 and D25 *7 Data between D0 and D71 *8 Data between D0 and D35 *9 Data between D0 and D21 *10 Data between D0 and D23 *11 Data between 0 and 45 (See the Button Number Table) *12 SWITCH: ON=7Fh, OFF=00h DATA ENTRY:01-7Fh *13 See the Error Message List *14 How to calculate data format. For example, Strings character: Ms,M1,M2,M3,.,Mx,.,Me (Mx is ASCII code 1 byte data. The data ranges between 00h and FFh). Mx = Mx (Character code) LF (Return) = 0Ah *15 The following is how to calculate data format. For example, Internal Data: Ds, D1, D2, D3,., Dx,., De (Dx is 1 byte data. The data ranges between 00h and 3Fh.) Dx = Dx *16 Data between D0 and D2559 *17 This request signal is output when storing a scene memory on the STORE key, thus enabling the current setup within the EDIT BUFFER to be stored into a specied memory. *18 All Data= [1 Memory Mixing Program No. 150, Edit Buffer] + [All Program Change Assignment Table] + [All Control Change Assignment Table] + [Setup Memory] + [Backup Memory] + [1 Effect User Memory No. 09] + [1 Compressor User Memory No. 012] + [1 EQ User Library No. 019].
YAMAHA [Digital Mixer] Model: ProMix 01 Function. Basic Channel Default Changed Default Messages Altered MIDI Implementation Chart Transmitted X X **************** X **************** X X X X X Recognized OMNI off / OMNI on OMNI on/off X X X X X X X X
Date: 3 June 1994 Version: 1.0 Remarks

Memorized

Note Number Velocity
True Voice Note On Note Off Keys Chs

After Touch Pitch bend

Control Change

9899 100120

O X O X

Prog Change

O :True#
0127 **************** O X X X X X X X X X

O X X X X X X X X X

*2 Bulk Dump/Request
System Exclusive System Common System Real Time :Song Pos :Song Sel :Tune :Clock :Commands :Local ON/OFF :All Notes OFF :Active Sense

Aux Messages

*1: Each parameter can be assigned to any Control Change and these assignment tables can be stored in memory. *2: For program 1128, memory #0#50 is selected. Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO O: Yes X: No
Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY

VT76430 IP

3000 AP Printed in Japan
YAMAHA CORPORATION P.O.Box 1, Hamamatsu, Japan