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
Dette apparat overholder det gaeldende EF-direktiv vedtrrende radiostj. Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE. Diese Gerte entsprechen der EG-Richtlinie 82/499/EWG und/ oder 87/308/EWG. This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/308/ EEC. Questo apparecchio conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi. Este producto est de acuerdo con los requisitos sobre interferencias de radio frequencia fijados por el Consejo Directivo 87/308/CEE. YAMAHA CORPORATION

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

Metering

1. Press [METER]. The METER LCD function appears. 2. To turn the Peak Hold function ON and OFF, press [ENTER] or use the PARAMETER wheel. 3. Use the [] [] cursor buttons or press [ENTER] to switch between the two METER displays.
ProMix 01 features comprehensive signal level metering. Input channels, the stereo input channel, RTN1, RTN2, SEND3, and SEND4 are all metered using the METER LCD function. The stereo output is metered using the dedicated 12-segment LED meters. Peak hold is available for all meters. The METER LCD function consists of two displays. One shows the 16 input channels. The other, the stereo input (ST IN), RTN1, RTN2, SEND3, and SEND4. Both displays are shown below.
The Peak Hold function can be turned ON and OFF on either display. Peak hold levels are cancelled when Peak Hold is turned OFF or another LCD function is selected. The stereo output meter peak hold is not affected when other LCD functions are selected. Note: Its OK for signal levels to reach CLIP occasionally. If CLIP is reached often, however, back off the GAIN control a little, otherwise signal distortion may occur. The following table lists the meter signal source points.
Signal Input channel Source Point Post GAIN and A/D converterpre phase and EQ

R L Stereo output meters

Stereo input channel (ST IN) Post GAIN and A/D converterpre phase and EQ Stereo output RTN1, RTN2 SEND3, SEND4 Post fader and balancepre D/A converter Post internal effectpre EQ and fader Post faderpre D/A converter
Note: When the STEREO OUT XLRs are used with unbalanced connectors, their maximum output level is reduced by 6dB. This means that the STEREO OUT signal actually clips when the 15dB LED lights up, which is 5dB before the CLIP LED. When the stereo output meters 0dB LED lights up, the DIGITAL REC OUT still has 20dB of headroom.
1. Select a channel using the [SEL] buttons. 2. Press [PAN/]. The PHASE LCD function appears. If the PAN display appears, press [PAN/] again. 3. To change the phase, press [ENTER] or use the PARAMETER wheel. Other channels can be selected using the [SEL] buttons or cursor buttons.
The Phase function reverses the polarity of the hot and cold feeds in a balanced input (i.e. pins 2 and 3). The phase can be set for the input channels and stereo input channel. It can be used to compensate for incorrectly wired cables and connectors. It is also useful, for example, when a snare drum is miked top and bottom. In this case the bottom microphone signal needs to be phase reversed. Shown below is the PHASE LCD function.
The parameters are: N normal phase. R reverse phase. Stereo-pair channels are controlled together, as shown below.

Returning the Processed Signal
Returning the processed signal via RTN1 or RTN2 is the second step to using effects. As explained in the Sending a Channel Signal procedure on page 32, the processed signal can be returned into the mix just by raising the RTN/SEND fader. However, RTN1 and RTN2 also feature the following functions. Meters See Sending a Channel Signal on page 32. Faders these are used to set the level of processed signal that is fed into the mix. When the SEND1 LCD function is selected, the RTN/SEND fader is automatically set to RTN1. Likewise, when the SEND2 LCD function is selected, it is automatically set to RTN2. The RTN/SEND [SEL] button can also be used to select RTN1 and RTN2. EQ RTN1 and RTN2 feature the same three-band parametric EQ as that of the input channels. The EQ Library can also be used. See EQ on page 21 and EQ Library on page 22. CUE RTN1 and RTN2 signals can be monitored in stereo (pre-ON/OFF switch) using CUE. See CUE on page 49 for more details. ON/OFF RTN1 and RTN2 signals can be turned ON and OFF using the RTN/SEND [ON] button. When the SEND1 LCD function is selected, the RTN/SEND [ON] button is automatically set to RTN1. Likewise, when the SEND2 LCD function is selected, it is automatically set to RTN2. The RTN/SEND [SEL] button can also be used to select RTN1 and RTN2. See ON Buttons on page 25 for more details. Pan RTN1 and RTN2 pan controls appear on the PAN LCD function. See Pan and Balance on page 26 for more details.
Recalling Effects Programs
1. Press [SEND1] or [SEND2]. The SEND1 or SEND2 LCD function appears. If you didnt exit after your last effect edit, the EFFECT EDIT LCD function appears instead. 2. Select RECALL. 3. Use the PARAMETER wheel to select a program. 4. Press [ENTER] to recall. The effects program is recalled.
There are 30 preset effects programs (130) and 10 user effects programs (3140). Shown below is the SEND1 LCD function. The SEND2 LCD function is essentially the same. The ashing fader icon in the FUNCTION area of the display indicates that the faders are now controlling channel-to-send levels. Effects programs are listed in the center and the name of the current effects program is highlighted. Also there is an equal symbol (=) between the programs name and number, not a period like the other programs. The PARAMETER wheel is used to scroll through the program list. When another program is selected, its name ashes. If it is recalled, it stops ashing, appears highlighted, and the period between its name and number changes to an equal symbol (=).
Remember that when a SEND button is pressed the faders control channel-to-send levels. To return the faders to normal operation, select an LCD function other than a SEND.

Program 17DELAY->CHORUS
Two-stage delay followed by stereo chorus. Parameter Dly(1) Dly(2) FB.Dly FB.Gain High Ratio Mod.Freq Mod.Depth Mod.Dly Setting 250.0ms 500.0ms 500.0ms +33% 0.7 1.2Hz 25% 10.0ms Range 0.1618.0ms 0.1618.0ms 0.1618.0ms 99.+99% 0.11.0 0.120.0Hz 0100% 0.024.0ms Description Delay 1 delay time. Delay 2 delay time. Feedback delay. The delay time before feedback starts. Feedback gain. The amount of delayed signal fed back into the delay. Feedback high-frequency decay ratio. Chorus modulation speed. Chorus modulation depth. The amount of modulation. Chorus modulation delay. The delay time before modulation starts.

Program 18KARAOKE ECHO 1

Typical karaoke type echo. Parameter Dly(L) FB.Gain(L) Dly(R) FB.Gain(R) High Ratio Setting 220.0ms +40% 223.0ms +40% 0.4 Range 0.1322.0ms 99.+99% 0.1322.0ms 99.+99% 0.11.0 Description Left channel delay. Left channel feedback gain. The amount of delayed signal fed back. Right channel delay. Right channel feedback gain. The amount of delayed signal fed back. Feedback high-frequency decay ratio.

Program 19KARAOKE ECHO 2

A variation of program 18. Parameter Dly(L) FB.Gain(L) Dly(R) FB.Gain(R) High Ratio Setting 220.0ms +44% 180.0ms 55% 0.2 Same as program 18 Same as program 18 Range Description
Program 20ST.PITCH CHANGE
Two-part stereo pitch shifter. Each part has independent pan parameter for stereo effects. Parameter Pitch Fine(1) Fine(2) Out.Lvl(1) Out.Lvl(2) Pan(1) Pan(2) FB.Gain(1) FB.Gain(2) FB.Dly Setting 0 ++100 +100 L100 R100 +28% 28% 25.0ms Range 12.+12 50.+50 50.+50 100.+100 100.+100 L100R100 L100R100 99.+99% 99.+99% 0.1223.0ms Description Coarse pitch setting for pitch changers 1 and 2. Fine pitch for pitch changer 1. Fine pitch for pitch changer 2. Output volume level for pitch changer 1. Output volume level for pitch changer 2. Pitch changer 1 panpot. Pitch changer 2 panpot. Pitch changer 1 feedback gain. The amount of processed signal fed back. Pitch changer 2 feedback gain. The amount of processed signal fed back. Feedback delay. The delay time before feedback starts.

Program 29TREMOLO

Stereo tremolo. Just like that of the classic guitar amps. Good with guitars. Parameter Mod.Freq AM Depth PM Depth Setting 2.8Hz 86% 0% Range 0.120.0Hz 0100% 0100% Description Modulation speed. Amplitude modulation depth. The amount of amplitude modulation. Pitch modulation depth. The amount of pitch modulation.

Program 30AUTO PAN

Auto pan. Automatic panning across the stereo image. Helps to maintain interest in repetitive phrases. Parameter Mod.Freq L/R Depth F/R Depth Setting 0.8Hz 98% 15% LR Range 0.120.0Hz 0100% 0100% LR, Turn L, Turn R Description Modulation speed. Pan depth between the left and right channels. Pan depth from front to rear. Auto pan direction. LR: from left to right, right to left, left to right, and so on. Turn L: from left to right. Always turning direction at the left. Turn R: from right to left. Always turning direction at the right.

Direction

SEND3 and SEND4
1. Press [SEND3] or [SEND4]. The SEND3 or SEND4 LCD function appears. The channel faders are now controlling channel-to-send levels and the RTN/SEND fader, the corresponding send (SEND3 or SEND4). 2. Raise the channel fader. 0dB is a good fader position to start with. You can always readjust later. For post-fader sends you must set the normal fader too. 3. Raise the RTN/SEND fader. The send signal is output and its level is metered on the LCD.
SEND3 and SEND4 can be used to feed external effects processors, foldback ampliers, or multitrack recording equipment. When used to feed an external effects processor, the processed signal can be returned via the stereo input channel or an unused input channel. Input channel and stereo input channels signals can be fed to SEND3 and SEND4. The master send level is set using the RTN/SEND fader. When the SEND3 LCD function is selected, the RTN/SEND fader is automatically set to SEND3. Likewise, when the SEND4 LCD function is selected, it is automatically set to SEND4. The RTN/SEND [SEL] button can also be used to select SEND3 and SEND4. Shown below is the SEND3 LCD function. The SEND4 LCD function is essentially the same. A level meter for the send signal is on the right. The meter signal is sourced after the RTN/SEND fader. Ideally the level should be set relatively high and its OK to reach CLIP occasionally. If CLIP is reached often, however, reduce the send level a little, otherwise signal distortion may occur.

SEND3 and SEND4 Pre or Post
SEND3 and SEND4 can be congured pre-fader or post-fader, and the current setting is shown at the bottom right of the display. This setting affects all channels, so if SEND3 is set to PRE, all channel SEND3s are pre-fader. Initially, SEND3 and SEND4 are congured pre-fader, the usual setting for foldback sends. This setting can be toggled between PRE and POST by pressing [ENTER] or turning the PARAMETER wheel. PRE the send signal is sourced before the channel fader. So its unaffected by the normal channel fader. This means that the channel-to-mix and channel-to-foldback levels can be set independently. POST the send signal is sourced after the channel fader. This means that the send signal is also affected by the normal channel fader. So you must have that fader raised as well. This setting is used mainly for effects sends. See SEND1 and SEND2 Pre or Post on page 32 for more details.

SEND3-4 Stereo Pair

1. Press [UTILITY]. The UTILITY menu appears. 2. Select SEND3, 4 CONFIGURATION and press [ENTER]. The SEND3, 4 CONFIGURATION LCD function appears. 3. To change the mode, press [ENTER] or use the PARAMETER wheel. 4. Select the SEND3-4 MODE parameter, then press [ENTER] or use the PARAMETER wheel to set it. 5. To exit this function and return to the UTILITY menu, select EXIT and press [ENTER], or just press [UTILITY]. The UTILITY menu reappears.
SEND3 and SEND4 can be linked for use as a stereo pair. In this way they can, essentially, be used as another pair of stereo outputs, allowing for another stereo mix to be set up. This is called SEND3-4 Stereo mode. Independent, or normal operation is called Mono mode. In Stereo mode, the SEND3 and SEND4 LCD functions are combined into the SEND3-4 LCD function. This LCD function can be selected by pressing either [SEND3] or [SEND4]. When either button is pressed, the RTN/SEND fader is automatically set to SEND3-4. When set to Stereo, the following changes occur: For individual input channels, the SEND3 and SEND4 send level controls become a single send level control, and a SEND3-4 pan control appears (set to center) on the SEND3-4 PAN display. For stereo-pair input channels, the SEND3 and SEND4 send level controls become single send level controls, and a SEND3-4 pan control appears on the SEND3-4 PAN display. Odd channels are panned hard-left (i.e. to SEND3) and even channels are panned hard-right (i.e. to SEND4). For the stereo input channel, the left signal feeds SEND3 bus and the right signal feeds SEND4 bus. Levels are controlled together. A balance control appears on the SEND3-4 PAN display. SEND3 and SEND4 dynamics processor patches are cancelled. The SEND3-4 output comp patch point is set to the SEND3 setting. The SEND3-4 fader level is set to the SEND3 setting. SEND3-4 ON/OFF and PRE/POST are set to the SEND3 settings. Shown below is the SEND3, 4 CONFIGURATION LCD function that is used to select the Stereo and Mono modes.

There are 50 scene memories, so you can store up to 50 mix scenes. More can be saved to a MIDI data ler. See Bulk Dump/Request on page 85. Mix scenes can be named for easy identication. Note: When a mix scene is stored, all data in the selected scene memory is overwritten. Be careful not to overwrite an important mix scene. Shown below is the MEMORY STORE LCD function. Mix scenes are listed in the center and the name of the mix scene last recalled or stored is highlighted. Also there is an equal symbol (=) between the programs name and number, not a period like the other programs. The PARAMETER wheel is used to scroll through the list. When another mix scene is selected, its name ashes. If it is stored, it stops ashing, appears highlighted, and the period between its name and number changes to an equal symbol (=).
By recalling a mix scene and then storing it to another location, you can copy and reorganize your mix scenes.
Mix scene names can be up to eight characters long. The selected character in the name is highlighted. Available characters scroll through the box in the center. Use the cursor buttons to position the cursor in the name, and the PARAMETER wheel to scroll through the characters. The following characters are available. ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ()[]{}<>#$%&@!?+-*/= ,.:;", 0123456789 Spaces are available between the above character rows. Note: When storing mix scenes, make sure there are no mix settings in the Edit Buffer that you do not want to store. Maybe some settings have been adjusted accidentally or by someone else. If you are not sure about the Edit Buffers exact contents, rst recall the last mix scene, make the adjustments that you really want, and then store. You may want to store the current mix settings to an unused scene memory, just in case.
! When recalling mix scenes, be
aware that volume levels may change suddenly as channels are switched ON and faders moved. Nobody likes sudden surprises or speaker damage!

Recalling Mix Scenes

1. Press [RECALL]. The MEMORY RECALL LCD function appears. You can also go to the MEMORY LCD function by pressing the [INC+] [DEC] buttons. 2. Use the [INC+] [DEC] buttons or the PARAMETER wheel to select a mix scene. 3. Press [RECALL] to recall. The mix scene is recalled and its name and number appear in the MEMORY area of the display.
Mix scenes are recalled using the [RECALL] button. They can also be recalled using MIDI Program Changes. See Program Change on page 82. Shown below is the MEMORY RECALL LCD function that appears when [RECALL] is pressed. Mix scenes are listed in the center and the name of the mix scene last recalled or stored is highlighted. Also there is an equal symbol (=) between the programs name and number, not a period like the other programs. When another mix scene is selected, its name ashes. If it is recalled, it stops ashing, appears highlighted, and the period between its name and number changes to an equal symbol (=).

MIDI Menu

MIDI LCD functions are accessed through the MIDI menu, shown below. The MIDI menu appears when the [MIDI] button is pressed. There are six MIDI related LCD functions available. These are explained in the following sections.

MIDI Indicator

MIDI receive indicator
When ProMix 01 is receiving MIDI data, the MIDI indicator appears in the Memory area of the display.

MIDI Setup

1. Press [MIDI]. The MIDI menu appears. 2. Select MIDI SETUP and press [ENTER]. The MIDI SETUP LCD function appears. 3. Use the cursor buttons to select parameters and the PARAMETER wheel to set them. Tx, Rx, OMNI, and ECHO parameters can also be set using [ENTER]. 4. To exit this function and return to the MIDI menu, select EXIT and press [ENTER], or just press [MIDI]. The MIDI menu reappears.
The MIDI SETUP LCD function shown below is used to set basic MIDI parameters.
The parameters are: Tx Ch this determines which MIDI Channel ProMix 01 uses to transmit Program Change, Control Change, and Bulk Dump messages. MIDI Channels 1 through 16 can be selected. Rx Ch this determines which MIDI Channel ProMix 01 uses to receive Program Change, Control Change, and Bulk Dump messages. MIDI Channels 1 through 16 can be selected. Note: In Channel mode, Control Changes are transmitted and received on several MIDI Channels. See Control Change on page 83. The following parameters can be set independently for Program Change (PROGRAM), Control Change (CONTROL), and Bulk Dump (BULK). Tx this determines whether ProMix 01 transmits MIDI data. When set to ON, MIDI data is transmitted as normal. When set to OFF, no MIDI data is transmitted. Rx this determines whether ProMix 01 receives MIDI data. When set to ON, MIDI data is received as normal. When set to OFF, received MIDI data is ignored. OMNI this determines whether ProMix 01 receives MIDI data on all MIDI Channels. When set to OFF, MIDI data is received on the MIDI Channels specied using Rx Ch. When set to ON, however, MIDI data is received on all MIDI Channels, regardless of Rx Ch settings. ECHO this determines whether MIDI data received at MIDI IN is echoed through to MIDI OUT. When set to OFF, data is not echoed. When set to ON, it is echoed.

Program Change

1. Press [MIDI]. The MIDI menu appears. 2. Select PROGRAM CHANGE ASSIGN and press [ENTER]. The PROGRAM CHANGE ASSIGN LCD function appears. 3. Use the cursor buttons to select Program Changes (PGM) and the PARAMETER wheel to assign mix scenes (MEM). 4. To exit this function and return to the MIDI menu, select EXIT and press [ENTER], or just press [MIDI]. The MIDI menu reappears.

Make sure that PROGRAM Tx and CONTROL Tx are set to ON. Otherwise, Control Change and Program Change messages are not output. Go to the MIDI SETUP LCD function.
LOCAL ON/OFF this turns the Local function ON and OFF. When set to ON, the faders and [SEL] buttons control the ProMix 01 as normal. When set to OFF, the faders and [SEL] buttons do not control the ProMix 01 (i.e. Edit Buffer). When a fader is moved, a Control Change message is output, and when a CH116 [SEL] button is pressed, a Program Change message is output. The message Program Change Transmitted appears when a [SEL] button is pressed. The ST IN, RTN/SEND, and ST OUT faders are set to minimum automatically. When Local is set to OFF, ProMix 01 can still be controlled by another device using Control Change messages. The Control Change to Parameter Assignment table in the Additions section of this Users Guide lists the initial parameter assignments. Note: Local OFF is effective only when the MIDI LOCAL ON/OFF LCD function is selected. When another LCD function is selected, the faders and [SEL] buttons control the ProMix 01 as normal. Once the LOCAL ON/OFF parameter has been set to OFF, you can toggle between Local Off mode and normal operation very quickly. Simply press a function button to go to another LCD function. Then, to return to Local Off mode, just press the [MIDI] button. When ProMix 01 is powered ON, Local ON/OFF is set to ON automatically.
Memory Control Change Out
1. Press [MIDI]. The MIDI menu appears. 2. Select MEMORY CONTROL CHANGE OUT and press [ENTER]. The MEMORY CONTROL CHANGE OUT LCD function appears. 3. Use the cursor buttons to select parameters and the PARAMETER wheel and [ENTER] button to set them. 4. Select OUTPUT:EXECUTE and press [ENTER]. The selected data is output and the message EXECUTING appears. The message changes to.DONE when nished. 5. To exit this function and return to the MIDI menu, select EXIT and press [ENTER], or just press [MIDI]. The MIDI menu reappears.
The MEMORY CONTROL CHANGE OUT LCD function allows you to selectively output mix scene data as MIDI Control Change messages. This can be used to selectively update mix scene data on another ProMix 01 or a controlling computer. Shown below is the MEMORY CONTROL CHANGE OUT LCD function.
OUTPUT: EXECUTE this executes Control Change Out. The following data types can be selected:
MEMORY ON/OFF LEVEL EQ This selects the mix scene whose data is output. You can also select the Edit Buffer (i.e. current mix settings). CH116, ST IN, RTN1, RTN2, SEND3, SEND4, ST OUT ON/OFF (# 2243). CH116, ST IN, RTN1, RTN2, SEND3, SEND4, ST OUT level (#021). CH116, ST IN, RTN1, RTN2, ST OUT EQ ON/OFF (#196215). CH116, ST IN, RTN1, RTN2, ST OUT EQ F/G/Q (#216395). COMP13 ON/OFF (#458460). COMP13 # (#446448). COMP13 PATCH Channel (#449451). COMP13 KEYIN Channel (#452454). COMP13 KEYIN Mode (#455457). COMP13 Parameter 1(5) (#461475). The number of parameters depends on the program selected. PAN CH116, ST IN L-R, RTN1 L-R, RTN2 L-R, SEND3, SEND4, ST OUT Pan, Balance (# 4467). CH116, ST IN SEND3-4 Pan, Balance (# 140156).

Shelving A type of EQ circuit used to cut and boost frequencies above or below a set frequency. It produces a shelf-looking response curve. High and low EQs are usually of the shelving type. ProMix 01 high and lows, however, can also be congured as peaking types. Compare with Peaking. Snapshot See Mix scene. S/N (Signal to Noise ratio) In an audio system, the difference between the nominal signal level and the residual noise oor, usually expressed as a ratio in decibels. System Exclusive A type of MIDI message that is used to transmit data between MIDI devices exclusively. The ProMix 01 uses System Exclusive messages to transmit mix scene and setup data between ProMix 01s. See also Bulk Dump.

Further Reading

If you want to know more about ProMix 01 related subjects, here are a few suggested books. Practical Recording Techniques, Bruce and Jenny Bartlett, Sams, 1992. A step-by-step guide to modern recording techniques. Introducing Digital Audio, Ian R Sinclair, second edition, PC Publishing, 1992. A good all-around introduction to digital audio for experienced analog users. Second edition explains oversampling and bitstream techniques. Principles of Digital Audio, Ken C. Pohlmann, Howard W.Sams & Co, 1989. Covering all aspects of digital audio, this book is ideal for the newcomer who wants to know the basics plus a bit more. The Art of digital Audio, John Watkinson, Focal Press (Butterworth Group), 1990. An essential read for digital audio professionals but only for the serious! The MIDI Ins, Outs & Thrus, Jeff Rona, Hal Leonard Publishing, 1992. An excellent introduction to MIDI with many illustrations for easy understanding. MIDI Systems & Control, Francis Rumsey, second edition, Focal Press, 1994. Covers all MIDI topics in detail and looks at how MIDI can be used to control systems (i.e. digital mixers, synths). Yamaha Sound Reinforcement Handbook, Gary Davis and Ralph Jones, second edition, Hal Leonard Publishing Corporation, 1990. Although primarily concerned with sound reinforcement, many of the subjects covered also apply to ProMix 01 applications. The second edition also includes a comprehensive section on MIDI.

Numerics

2TR IN connection 5 operation 51 48V phantom power 18
A/D converter 109 About auxiliaries 30 CUE 50 dynamics processors 68 effects 30 user interface 12 Aliasing 109 Analog mixer analogy 9 Attack compressor 69 ducker 71 gate 70 AUTO PAN 44 Auxiliaries about 30 and ST IN 31

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

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

*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
VS17170 IP 5000 AP Printed in Japan
YAMAHA CORPORATION P.O.Box 1, Hamamatsu, Japan

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.
ProMix 01 Getting Started Guide

Copyright

1994 Yamaha Corporation. All rights reserved. No part of the ProMix 01 software or its user manuals may be reproduced or distributed in any form or by any means without the prior written authorization of Yamaha Corporation.

Trademarks

All trademarks are the property of their respective holders.

Cable Notes

ProMix 01 offers superb sonic quality. So the last thing you want is signal degradation due to cheap or corroded connectors. Its usually better to buy the best connecting cables that you can afford. And dont forget to keep them clean using a quality contact cleaner.

Interference

Under rare circumstances, CH9-16 may pick up radio or TV interference when used with unbalanced connectors. Therefore, we recommend that you use balanced connectors wherever possible.

ProMix 01 Cleaning

If ProMix 01 should require cleaning, use a soft, lightly moistened cloth. Stubborn marks can be removed using a mild detergent. Do not use abrasive cleaners or solvent based cleaning uids such as alcohol and benzine.

Unpacking

At approximately 12.5 kg (27.6 lb), ProMix 01 is a relative heavyweight, so its a good idea to get someone to help you unpack it. You may want to keep the packaging materials for future use.

Package Contents

Your ProMix 01 package contains the following items. If you do not have them all, please contact your Yamaha dealer. ProMix 01 This Getting Started Guide Users Guide Button Protector (for ST OUT [ON] button)

Contents

1 Welcome to ProMix 01. 1
Welcome to ProMix 01. 2 ProMix 01 User Guides. 2 Installation. 2 Top & Rear. 3 ProMix 01 Sonic Spec. 4 ProMix 01 General Features. 4 ProMix 01 Key Features. 5 ProMix 01 Secrets. 8

Getting Started. 9

What Youll Need. Basic Setup. Making the Connections. Power ON/OFF. 11 11
Basic Mixing Tutorial. 13
Setting the Input Level. Applying EQ. Using the EQ Library. CUE LCD Function. Setting the CUE Mode. Setting Fader Levels. Channel ON/OFF. Panning. 22 22
Advanced Mixing Tutorial. 23
Applying Effects. Recalling Effects. Editing Effects. Storing User Effects. Patching in a Compressor. Storing Mix Scenes. Recalling Mix Scenes. Where to Go from Here?. 29 30

Application Examples. 31

Live Performance. Onstage Keyboard Mixing. MIDI Studio. Multitracking. 36 38
Mixing and Automation. 41
General Mix Procedure. What is ProMix 01 Automation. An Automation System. Mix Scenes & Automation. Real-Time Automation. 47

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.

Digital Benets

Youre probably already familiar with the many benets of digital audio, but what exactly are the benets for digital audio mixing? Well, an audio mixer has the job of combining audio signals from various sources, at differing levels and impedances, usually into a stereo signal. And it must do this without introducing any new distortions and noise. Analog mixers do a pretty good job, but even with the best designs nonlinear effects caused by circuit components are unavoidable. In the digital realm, audio mixing consists of adding and multiplying binary numbers that represent audio signals. The DSP (Digital Signal Processor) chips used for these calculations never get their sums wrong. So once past the A/D conversion, audio signals are immune from signal degradation. With ProMix 01, noise, distortion, and crosstalk are virtually eliminated. Youll hear a new clarity in your mixes. Once in the digital realm, theres little point converting back to analog. ProMix 01 features an S/PDIF digital output for direct mixdown to DAT and other digital recorders.
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.

Motorized Faders

ProMix 01 features motorized faders. This means that they can position themselves automatically when mix scenes are recalled. When real-time automation with a controlling computer or MIDI sequencer is used, fader movements are replayed automatically. Faders can also be grouped into one of four groups for multiple fader control from a single fader. And when adjacent input channels are paired, both channel faders move together.

ProMix 01 Secrets

The following points will help you take full advantage of ProMix 01. Besides the DIGITAL REC OUT, inputs and outputs are analog. The input channel INPUTs and STEREO OUT are balanced. All other inputs and outputs are unbalanced. On the PAN LCD function, ST OUT is a balance control, not pan. When no plugs are inserted into the ST IN phone jacks, the 2TR IN signals are fed through to the stereo input channel. This is in addition to being fed through to the CUE/2TR IN switch. This means that you can apply EQ, etc., to the 2TR IN signals. When plugs are inserted into the ST IN phone jacks, however, this connection is broken. When SEND3 and SEND4 are congured as a stereo pair, an additional pan control is available on each input channel and a balance control on the stereo input channel. These extra controls appear on the SEND3-4 LCD function. In addition, a SEND3-4 output balance control appears on the PAN LCD function. SEND3 and SEND4 are congured as a stereo pair using the MASTER CONFIGURATION LCD function in the UTILITY menu. If you press the [UTILITY] or [MIDI] button and an LCD function appears instead of a menu, press again to get the menu. When the GROUP LCD function is selected, a post-fader mix of the channels in the selected group can be monitored via CUE (CUE mode must be MIX or LAST CUE, not ST FIX). CH refers to input channels. ST IN is the stereo input channel. ST OUT is the main stereo output. SEND1, SEND2, SEND3, and SEND4 are the four auxiliary sends. RTN1 and RTN2 are the two auxiliary returns. Effect1 and Effect2 are the internal effects processors. COMP1, COMP2, and COMP3 are the dynamics processors. In the ProMix 01 User Guides they are mainly referred to as dynamics processors, since they offer more than just compression.

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.
3. Leave CUE mode set to ST FIX and channel 9 turned ON.

Panning

Now well use pan to position channel 9 in the stereo eld.

1. Press [PAN].

The PAN LCD function shown below appears.
The number under pan control #9 is highlighted. Channel 9 pan is currently set to center.
2. Turn the PARAMETER wheel counterclockwise to pan to the left, and clockwise to pan to the right.
Including center, there are 33 pan positions. As pan is adjusted, the marker line inside the pan control indicates the pan position, just like a real rotary pan control. The pan position is also indicated by the horizontal bar below the pan controls. The number to the left of this bar is the channel number. The value to the right indicates the exact pan position. This display shows channel 9 panned hard-left.
3. Set the pan back to center before proceeding with the Advanced Mixing Tutorial on page 23.

Advanced Mixing Tutorial

Applying Effects. Recalling Effects. Editing Effects. Storing User Effects. Patching in a Compressor. Storing Mix Scenes. Recalling Mix Scenes. Where to Go from Here?.

4. Use the [] and [] cursor buttons to select the effects parameters and the PARAMETER wheel to set them. 5. When youve nished editing, press [ENTER].
The cursor moves to EXIT.

6. Press [ENTER] again.

The SEND1 LCD function shown below reappears.
7. Go to Storing User Effects on page 26 to nd out how to store your new effects program.

Storing User Effects

There are 10 user effects programs for you to store your own settings. Here we explain how to store.
1. Press the [] cursor button twice to select STORE.
Effects program #31, the rst user program, is selected automatically and its name and number ash.

2. Press [ENTER].

The EFFECT NAME display shown below appears.
Here you can name your effects program for easy identication. Program names can be up to 15 characters long.
3. 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 user program My First Effect.
4. Press [ENTER] to store the program.
The message << Stored >> appears briey, then the SEND1 LCD function reappears showing our new program.
Youve now stored your own custom effects program. If youre happy with the effects sound, go to the next section. If not, you can remove it by setting the channel 9 and RTN/SEND faders to their minimum positions, or recall another effects program. While the STORE option is selected you cannot select and, therefore, recall preset effects programs. Press the [] cursor button to select RECALL, then use the PARAMETER wheel to select the preset programs.

Patching in a Compressor

Patching in a Compressor
ProMix 01 features three stereo dynamics processors, for compression, limiting, gating and ducking. Here well patch a compressor into the stereo output to add some punch.

1. Press [COMP].

The COMP LCD function shown below appears.
2. Use the cursor buttons to select PATCH. 3. Use the PARAMETER wheel to select STEREO.

STEREO ashes.

4. Press [ENTER] to conrm.
Dynamics processor #1 is patched into the stereo outputs and the sound is compressed. Program #1 (TOTAL COMP) provides 2:1 compression above a 0dB threshold. This means that for every 1dB change in input signal level above 0dB there will be a 0.5dB change in output level. This means that you can increase the output level a little without the risk of clipping. Essentially, signals above the threshold level are compressed, while those below are effectively increased in level due to the fact that youve increased the output level using the ST OUT fader. In other words, the dynamic range (i.e. the range of levels from quiet to loud) has been compressed. The compressors output signal level and the amount of gain reduction (GR) applied is indicated on the display. The GR meter works from top-to-bottom.

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.
When you change a mix setting, the word EDIT reappears, indicating that the current mix settings no longer match those of mix scene #01.

Where to Go from Here?

Thats the end of the tutorials. In the Basic Tutorial you leaned how to set input levels, apply EQ, use the EQ library, set CUE modes, set faders, use the [ON] buttons, and set the pan. You should now have a good understanding of ProMix 01s basic mixing functions. In the Advanced Tutorial you leaned how to apply, recall, edit, and store effects; patch in a dynamics processor; and store and recall mix scenes. After working with just one input channel, youre probably ready to start mixing for real. Connect several sound sources and start mixing using the techniques that youve learned. If youre relatively new to audio mixing, see General Mix Procedure on page 42. The system examples in the next chapter show ProMix 01 in action in some real-life working applications. They include: live performance, onstage keyboard mixing, MIDI studio, and multitracking. You can, of course, pick-and-mix your system components to match your exact requirements. Although youve covered a lot of ground with ProMix 01, the fun is really only just beginning. Remember that full MIDI control allows you to recall mix scenes and control all mix parameters in real time. All you need is a MIDI sequencer. See page 45 to nd out how to set up a ProMix 01 automation system. Otherwise, proceed to the Users Guide for a full explanation of all ProMix 01 functionshappy mixing.

Application Examples

Live Performance. Onstage Keyboard Mixing. MIDI Studio. Multitracking.
This chapter shows ProMix 01 in action in some real-life working applications, probably its mainstream applications. With superb sonic specications and MIDI control capabilities, however, ProMix 01 can be used for virtually any mixing application that demands high performance.
Chapter 5: Application Examples

Live Performance

Front of house main speakers Stage monitors

Power amp Power amp

Graphic EQ
SEND4 SEND3 Headphones STEREO OUT DIGITAL REC OUT

ANALOG REC OUT

Inputs 18

Inputs 916

Line level sources
This example shows ProMix 01 in a live performance application. Eight balanced microphones can be connected to input channels 1 through 8, and 48V phantom power is available for condenser type microphones. Eight line level sources can be connected to input channels 9 through 16. Apart from the phantom power and connector type, however, inputs 1 through 16 all feature the same head amplier. So with right connector, up to 16 microphones can be connected: eight with balanced XLR, and eight with balanced TRS phone plug. SEND3 and SEND4 are used for two independent foldback mixes that feed the onstage monitors via a stereo graphic equalizer and power amplier. The main mix is taken from the balanced XLR-type STEREO OUT connectors, which feed the front of house power amps and speakers. The stereo outputs 3-band parametric EQ is used to balance the room acoustics. The EQs sharp peaking response is ideal for ltering out unwanted noise and mains-born hum. The live performance is recorded directly to DAT via the DIGITAL REC OUT connection. Similarly, an analog cassette deck is connected to the ANALOG REC OUT. A CD player connected to 2TR IN supplies background music for intervals. ProMix 01 internal effects provide reverb and delay via SEND1 and SEND2. The processed signals are returned internally via RTN1 and RTN2, respectively. Having internal effects means that you dont have to bother with patch cords and external unit settings. All effects settings are stored in mix scenes, so you can recall different settings for different parts of the performance. All three dynamics processors are utilized. One is patched into the stereo outputs, the other two into SEND3 and SEND4. All are set for limiting operation, protecting the power ampliers and speakers from overload. You could patch a gate into a drum microphone channel to improve separation between drums, or compress the main vocalist to achieve a more consistent volume level. ProMix 01 mix scenes really come into their own with repeat performances. For example, mix scenes make night-after-night sound-checks a breeze. Simply press recall to return to the previous nights mix settings. In a multi-performer/band situation, you can store different mix settings (i.e. effects, EQ, faders) for each performer/band, then simply recall them during the performance. To mute all microphone inputs with just one button press, simply store a mix scene with all input channels turned OFF. Three-band fully parametric EQ on all input channels allows you to cut unwanted hiss, hum, and prevent possible feedback. It can also be used to shape sounds so they cut through the mix, and to correct individual instrument frequency abnormalities. The large LCD display shows input levels, EQ curves, and dynamics processor action. Its backlit, too, so its easy to read in dim light. An optional ProMix 01 carrying case is available.

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.

What is ProMix 01 Automation
In conjunction with a MIDI sequencer or controlling computer, ProMix 01 provides total mix automation. MIDI Program Change messages are used to recall mix scenes, providing snapshot mix automation. And MIDI Control Change messages are used to control virtually all mix parameters in real time, providing dynamic mix automation.

An Automation System

The following illustration shows a basic system for ProMix 01 automation. For simple automation (i.e. channel ON/OFF, mix scene recall, and occasional fader moves) you can connect ProMix 01 along with the other MIDI devices in your system. Since this will not produce too much MIDI data, system performance should not be affected. For complex automation consisting of several fader moves and real-time EQ and effects parameter changes, however, a lot of continuous Control Change data is produced and system performance may be affected. Therefore, it is recommend that you connect ProMix 01 to dedicated MIDI IN and OUT connections, separate from your other MIDI devices. Multi-port MIDI interfaces are available for most computer sequencers. See your Yamaha dealer for more details.
MIDI OUT To other MIDI devices MIDI IN
Mix Scenes & Automation
To recall mix scenes using a MIDI sequencer you need to: Set the PROGRAM Tx and Rx parameters on the MIDI SETUP LCD function to ON. Set the MIDI Tx and Rx Channels. ProMix 01 will now transmit a program Change message when the [RECALL] button is pressed. And will recall a mix scene when a Program Change message is received, so long as that Program Change message is assigned to a mix scene, of course. All mix scenes are already assigned to Program Changes and unless you have a specic need its probably best to leave these assignments as they are. See the Mix Scene to Program Change Assignment table in the Additions section of the Users Guide for the initial assignments. On your MIDI sequencer: Set the MIDI THRU (or ECHO BACK) function to OFF. Otherwise, youll have a MIDI feedback loop. That is, MIDI data transmitted by ProMix 01 will pass through the sequencer and back to ProMix 01, which is not recommended. Some Sequencers allow you to set MIDI THRU to OFF on just one MIDI Channel. Some sequencers have MIDI lters that can lter out incoming Program Change messages. If your sequencer has this type of lter, turn it OFF so that Program Change messages are received. Set the sequencer tracks MIDI Channel so it matches the ProMix 01 Tx and Rx Channels.

Operation Tips

Record Program Changes for mix scene recalls on a separate track. This way you can edit them easily. Mix scene recalls are virtually instant. Although with a lot of parameters to set, it may take a little time. The exact time depends on the number of parameters to be changed, the average being about 300ms. Recalling effects programs, especially reverbs, may take a little longer. If your sequencer song starts with a Program Change message to recall the rst mix scene, you may want to shift the song data back a little, just to make sure that ProMix 01 is set ready to go. For example, mix scene #01, the rst mix scene, is recalled at 00:00:00:00 and the song data starts at 00:00:02:00. You may also transmit Program Changes to other MIDI devices at this time, for example, to recall synth or tone generator voices, or programs on external effects processors. When mix scenes are recalled in between songs, however, this is of little consideration.