Page 1
Getting Started Guide
Manuel de l’utilisateur
Guía de introducción
1 2 3 4 5 6 7 8 9
PAD
20dB
20dB
20dB
20dB
20dB
20dB
20dB
20dB
20dB
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
GAIN
1
SCENE MEMORY
INC +
STORE
DEC –
RECALL
METER
PAN/ø
SEND 1
EQ-LOW
1
SEL
ON
GAIN
GAIN
GAIN
GAIN
2
3
UTILITY
MIDI
GROUP
PAIR
COMP
CUE
2
3
4
MID
HIGH
LIBRARY
2
3
SEL
SEL
ON
ON
GAIN
4
5
6
FUNCTION
MEMORY
SEL CH
4
5
6
SEL
SEL
SEL
ON
ON
ON
–16 –60
GAIN
GAIN
GAIN
7
8
9
7
8
9
SEL
SEL
SEL
ON
ON
ON
Kurzanleitung
10 LRLR
11 12 13 14 15 16
20dB
20dB
20dB
20dB
20dB
20dB
20dB
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
GAIN
GAIN
GAIN
10
10
SEL
ON
GAIN
11
12
13
RTN 1
RTN 2
SEND 3
SEND 4
11
12
13
SEL
SEL
SEL
ON
ON
ON
–16 –60
GAIN
GAIN
GAIN
14
15
16
ENTER
CLIP
15
12
9
6
3
0
–6
–12
–18
–24
–40
R
L
14
15
16
SEL
SEL
SEL
ON
ON
ON
ST IN
ST IN
SEL
ON
010
LEVEL
MONITOR
OUT
PARAMETER
RTN/
SEND ST OUT
SEL
ON
2TR IN
CUE/ 2TR IN
010
LEVEL
PHONES
SEL
ON
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
40
40
40
60
00
1
40
60
60
60
00
00
00
2
3
4
20
40
40
40
60
60
60
00
00
00
5
6
7
10
20
20
20
40
40
40
60
60
60
00
00
00
8
9
10
5
10
10
10
20
20
20
40
40
40
60
60
60
00
00
00
11
12
13
0
5
5
5
10
10
10
20
20
20
40
40
40
60
60
60
00
00
00
14
15
16
6
0
0
0
5
5
5
10
10
10
20
20
20
40
40
40
60
60
60
00
00
00
RTN/
ST IN
ST OUT
SEND
Page 2
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 vedtrørende
radiostøj.
Cet appareil est conforme aux prescriptions de la directive
communautaire 87/308/CEE.
Diese Geräte 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 è conforme al D.M.13 aprile 1989 (Direttiva
CEE/87/308) sulla soppressione dei radiodisturbi.
Este producto está de acuerdo con los requisitos sobre interferencias
de radio frequencia fijados por el Consejo Directivo 87/308/CEE.
YAMAHA CORPORATION
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.)
*
LTD.
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 N’EMET 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!
Bör endast bytas av servicepersonal.
Explosionsfara vid felaktig hantering.
VAROITUS!
Lithiumparisto, Räjähdysvaara.
Pariston saa vaihtaa ainoastaan aian
ammattimies.
ADVARSELl!
Lithiumbatter!
Eksplosionsfare. Udskiftning må kun foretages
af en sagkyndig, –og som beskrevet i
servicemanualen.
Page 3
i
Important Information
Please read the following before operating ProMix 01.
Safety Information
• Make sure the P roMix 01 power cord is not locat ed in a position
where it is likely to be walked on or pinc hed b y 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 10˚C and 35˚C (50˚F and 95˚F).
Warnings
• ProMix 01 should be connected only to an AC receptacle of the
type described in this User’s Guide or as marked on ProMix 01.
• To reduce the risk of electric shock, do not open ProMix 01.
• To reduce the risk of fire or electric shock, do not expose
ProMix 01 to rain or moisture.
• In an extremely humid environment, condensation ma y 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 qualified 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 qualified 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 per-
formance is noticed.
ProMix 01 Getting Started Guide
Page 4
•
ii
Copyright
© 1994 Yamaha Corporation. All rights reserved.
No part of the ProMix 01 software or its user manuals may be repro-
duced 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. It ’s usually
better to buy the best connecting cables that y ou can afford. And don ’t
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 det ergent. Do not
use abrasive cleaners or solvent based cleaning fluids such as alc ohol
and benzine.
Unpacking
At approximately 12.5 kg (27.6 lb), ProMix 01 is a relative heavyweight, so it’s 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 Getting Started Guide
• ProMix 01
• This Getting Started Guide
User’s Guide
• Button Protector (for ST OUT [ON] button)
Page 5
iii
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
2 Getting Started . . . . . . . . . . . . . . . . . . 9
What You’ll Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Making the Connections . . . . . . . . . . . . . . . . . . . . . . . . . 11
Power ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
3 Basic Mixing Tutorial . . . . . . . . . . . . 13
Setting the Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Applying EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Using the EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
CUE LCD Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Setting the CUE Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Setting Fader Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Channel ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4 Advanced Mixing Tutorial . . . . . . . . 23
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Recalling Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Storing User Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Patching in a Compressor . . . . . . . . . . . . . . . . . . . . . . . . 27
Storing Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Recalling Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Where to Go from Here? . . . . . . . . . . . . . . . . . . . . . . . . . 30
5 Application Examples . . . . . . . . . . . . 31
Live Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Onstage Keyboard Mixing . . . . . . . . . . . . . . . . . . . . . . . . 34
MIDI Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Multitracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
ProMix 01 Getting Started Guide
Page 6
iv
6 Mixing and Automation . . . . . . . . . . 41
General Mix Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
What is ProMix 01 Automation . . . . . . . . . . . . . . . . . . . . 45
An Automation System . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Mix Scenes & Automation . . . . . . . . . . . . . . . . . . . . . . . . . 46
Real-Time Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
ProMix 01 Getting Started Guide
Page 7
1
Welcome to ProMix 01
Welcome to ProMix 01
In this chapter...
Welcome to ProMix 01 . . . . . . . . . . . . . . . . . . . . . . . . . 2
1
ProMix 01 User Guides . . . . . . . . . . . . . . . . . . . . . . . . . 2
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Top & Rear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
ProMix 01 Sonic Spec . . . . . . . . . . . . . . . . . . . . . . . . . . 5
ProMix 01 General Features . . . . . . . . . . . . . . . . . . . . . 5
ProMix 01 Key Features . . . . . . . . . . . . . . . . . . . . . . . . . 6
ProMix 01 Secrets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
ProMix 01 Getting Started Guide
Page 8
Chapter 1: Welcome to ProMix 01
2
Welcome to ProMix 01
Thank you for purchasing and welcome t o—ProMix 01—the world’ s
first affordable programmable digital mixer. With superb sonic performance, full MIDI control, and a powerful feature set, ProMix 01
is a mixer for life—whatever your application—be 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
User’s Guide
tutorials to get you started. The
explains all ProMix 01 functions in full detail. Use the table of contents to search for general topics and the index to sear ch for specifics.
A glossary of ProMix 01 related jargon is provided.
. This
Getting Started Guide
User’s Guide
contains two
, on the other hand,
This guy is your resident ProMix 01 expert. He’ll introduce you to
ꎹ
each tutorial section and monitor your progress on his headset. Since
printed paper is a non-interactive medium, however, he can’t help
you out if you get stuck. Still, the tutorials are relatively straightforward, so you shouldn’t have any problems.
We recommend that you start with this Getting Started Guide , and
then move on to the User’s Guide when you are little more familiar
with ProMix 01. You may want to refer to the
detailed information while using this guide.
In both guides, parameter range values are separated by a dash, for
example: 0–100%. Where the range consists of plus and minus values,
however , they are separated by thr ee periods, for example: –99...+99.
This is to avoid possible co nfusion between the minus sign and dash.
User’s Guide
Installation
Site ProMix 01 on a stable surface. Somewhere that complies with the
“Important Information” on page i. The motorized faders don’t
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 fitted for an even
more attractive finish. I f you plan to tak e P r oMix 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.
for more
ProMix 01 Getting Started Guide
Page 9
20dB PAD switch
GAIN control
LCD
SCENE MEMORY
buttons
LCD function
buttons
SEL button
ON button
Top & Rear
1 2 3 4 5 6 7 8 9
PAD
20dB
20dB
20dB
20dB
20dB
20dB
20dB
20dB
20dB
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
GAIN
GAIN
1
SCENE MEMORY
INC +
STORE
DEC –
RECALL
METER
PAN/ø
SEND 1
EQ LOW
MID
1
SEL
ON
GAIN
GAIN
GAIN
GAIN
FUNCTION
MEMORY
SEL CH
GAIN
6
7
6
7
SEL
SEL
ON
ON
2
3
4
5
UTILITY
MIDI
GROUP
PAIR
COMP
CUE
2
3
4
HIGH
LIBRARY
2
3
4
SEL
SEL
ON
ON
5
SEL
SEL
ON
ON
–16 –60
GAIN
GAIN
8
9
8
9
SEL
SEL
ON
ON
11 12 13 14 15 16
10 LRLR
20dB
20dB
20dB
20dB
20dB
20dB
20dB
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
–16 –60
GAIN
GAIN
GAIN
GAIN
10
11
12
GAIN
13
14
–16 –60
GAIN
GAIN
15
16
ENTER
RTN 1
RTN 2
SEND 3
SEND 4
10
11
12
SEL
SEL
ON
ON
13
SEL
SEL
ON
ON
CLIP
15
12
9
6
3
0
–6
–12
–18
–24
–40
R
L
14
15
SEL
ON
16
SEL
SEL
ON
ON
ST IN
ST IN
SEL
ON
CUE/ 2TR IN
010
LEVEL
MONITOR
OUT
PARAMETER
RTN/
SEND ST OUT
SEL
ON
Top & Rear
2TR IN
010
LEVEL
PHONES
SEL
ON
3
MONITOR OUT
LEVEL control
CUE/2TR IN
switch
PHONES
LEVELcontrol
LCD contrast
control
ENTER button
PARAMETER
wheel
Cursor buttons
Stereo output
L/R meters
Input channel fader
6
6
0
0
5
5
10
10
20
20
40
40
60
60
00
00
1
2
Phantom power
master switch
PHANTOM
MASTER
CH1~8
–10dB
ON OFF
(UNBAL)
(+48V)
R
L
2TR IN
6
6
0
0
5
5
10
10
20
20
40
40
60
60
00
00
3
4
2-track input jacks
Stereo input jacks
+4dB
(UNBAL)
R
L
16 15
ST IN
POWER
ON
OFF
Stereo input
fader
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
40
40
40
40
40
40
60
60
60
60
00
00
00
5
6
60
00
00
7
8
40
60
60
00
00
9
10
11
20
40
40
60
60
00
00
12
13
10
20
20
40
40
60
60
00
00
14
15
Input channels 9–16
balanced input jacks
14 13
12 11
PHONES
10
+4dB
(UNBAL)
R
MONITOR OUT
9
+4dB
(UNBAL)
L4
8
INPUT
3R
7
(BAL)
+4dB (BAL)
STEREO OUTAUX SEND
65
ANALOG DIGITAL
–10dB
(UNBAL)
L
RL
REC OUT MIDI
5
10
10
20
20
40
40
60
60
00
00
16
ST IN
Input channels 1–8
balanced input XLRs
3
4
COAXIAL
OUT IN
0
5
5
10
10
20
20
40
40
60
60
00
00
RTN/
ST OUT
SEND
21
Stereo output
fader
RTN/SEND
fader
POWER switch
PHONES
output jack
MONITOR OUT
jacks
AUX SEND
output jacks
Analog
REC OUT
STEREO OUT
XLRs
Digital
REC OUT
MIDI IN/OUT
ProMix 01 Getting Started Guide
Page 10
Chapter 1: Welcome to ProMix 01
4
ProMix 01 Sonic Spec
• Linear 20-bit 64-times oversampling A/D co nv erters (CH, ST IN)
• Linear 20-bit 8-times oversampling D/A converters (ST OUT)
• 105dB dynamic range (typical)
• Frequency response of 20Hz–20kHz +1, –3dB
ProMix 01 General Features
• 16 input channels (eight XLR, eight phone jack—all 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 ext ernal 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
ProMix 01 Getting Started Guide
• Optional rack-mount kit, carrying case, wooden side panels, and
color fader knob set
Page 11
ProMix 01 Key Features
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.
Scene Memories
Until now , the only way t o store mix settings was with marker pen and
masking tape. ProMix 01 scene memories, however, change all that.
They allow you to recall all mix settings (i.e. a mix scene) instantly
with just one press of a button, or MIDI Program Change command.
And it’ s not just mutes and faders, it’s
on several projects at a time, you can store the current mix scene so
when you return to that project, y ou can start again right where you
left off. Scene memories also make light work of night-after-night
sound checks. Simply press r ecall to return to the previous night’s mix
settings. For theater w ork, scene memories allow accurate and re peatable sound changes between scenes. ProMix 01 has 50 scene
memories.
all
mix settings. So if you work
5
MIDI Control
As well as sonic benefits, digital audio systems also hav e excellent control capabilities. In fact, the true pow er of ProMix 01 can be realized
through MIDI control. Simply connecting ProMix 01 to a MIDI
sequencer provides total mix control. Allowing you to list en t o your
mix while difficult moves are performed for you, repeat edly and precisely. MIDI Program Change messages can be used to recall mix
scenes, providing
Change messages can be used to control virtually all mix parameters
in real time, providing
snapshot
dynamic
mix automation. And MIDI Control
mix automation.
Large LCD
At the heart of the ProMix 01 user interface is a large backlit 240 x 64
dot graphic LCD display. This provides clear indication of mix settings and operating status. As well as showing parameter values
numerically, faders and rotary controls are represented graphically , so
you can actually see pan positions and fader positions. In addition,
EQ curves are displayed graphically, a feature certainly not available
on analog mixers. S ignal levels of virtually all inputs and outputs are
metered on the LCD, with peak hold function.
ProMix 01 Getting Started Guide
Page 12
Chapter 1: Welcome to ProMix 01
6
Digital Benefits
You’re probably already familiar with the many benefits of digital
audio, but what e xactly are the benefits for digital audio mixing? W ell,
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 m ust 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. You’ll hear a new clarity in your
mixes.
Once in the digital realm, there’s little point converting back to analog. ProMix 01 featur es an S/PDIF digital output for direct mixdown
to DAT and other digital recorders.
ProMix 01 Sonic Performance
ProMix 01’s linear 20-bit 64-times oversampling A/D converters provide a dynamic range of 105dB (typical). This means that an audio
program’ s dynamic range, fr om low to high levels, is proc essed intact.
ProMix 01 samples audio at 48kHz, the professional sampling rate.
This provides a full spectrum frequency response of 20Hz–20kHz +1,
–3dB. Fo r D/A c onversion, the st er eo outputs feature 20-bit 8-times
oversampling and the monitor outputs, 18-bit 8-times oversampling.
Oversampling and bitstream techniques effectively incr ease the internal sampling rate, so side effects caused by steep LPF filters, which are
used to filter out sampling frequency components during D/A conversion, are virtually eliminated. Consequently, audio signal integrity
is maintained from input through to output.
ProMix 01 Getting Started Guide
Page 13
ProMix 01 Key Features
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 R TN2, r espectively . Having
internal effects processors means that you don’t have to purchase
external units, effect patching is greatly simplified, 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 o wn 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 benefits of internal
dynamics processors are similar to those for the int ernal effects. They
are, you don ’t ha ve to purchase ext ernal units, patching is greatly simplified, and your audio data remains in the digital realm. Dynamic
processor settings are stored in mix scenes and can be controlled in
real time. Pr ocessors are organized into programs. Ther e are 10 preset
programs and 10 user programs for you to store your own settings.
7
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 specified in
octaves. From a musical point of view, octa ves 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 specific 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 mov ements ar e r epla yed aut omatically. Faders can also be grouped into one of four groups for multiple fader control from a single fader . And when adjacent input c hannels are paired,
both channel faders move together.
ProMix 01 Getting Started Guide
Page 14
Chapter 1: Welcome to ProMix 01
8
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 P AN L CD function, ST OUT is a balance contr ol, 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 configur ed as a stereo pair , an additional pan control is available on each input channel and a balanc e
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 configured 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 G uides they are mainly referred to as d ynamics processors, since they offer more than just compression.
ProMix 01 Getting Started Guide
Page 15
2
Getting Started
Getting Started
In this chapter...
What You’ll Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
9
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Making the Connections . . . . . . . . . . . . . . . . . . . . . . . 11
Power ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
ProMix 01 Getting Started Guide
Page 16
Chapter 2: Getting Started
10
What You’ll Need
To perform the following tutorials, you need:
• ProMix 01
• A sound source: CD playe r , drum machine, synth with demo song
• An amplifier and speakers, or headphones
• Audio connecting cables
Basic Setup
The following illustration shows how to set up a minimal system that
will allow you to perform the following tutorials.
CD player
INPUTS 9 & 10
Power amp
MONITOR
OUT
To AC receptacle
ProMix 01 Getting Started Guide
Page 17
Making the Connections
11
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 sinc e inputs
1 through 8 use XLR-type connectors, and it’s doubtful whether
you’re going to yell into a microphone for both tutorials, we’ll use
input channel 9. If you’re using a stereo sound source, connect to
input channel 10 as well. A stereo source is not essential, and for most
of the tutorial it’s probably easier to work with just one channel.
2. Connect the MONITOR OUTs to your power amplifier’ s inputs.
If you’re 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
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 amplifier.
Press the PO WER switch on the rear panel t o pow er ON Pr oMix 01.
The ProMix 01 start-up screen appears for a few seconds, the faders
initialize themselves, then the scr een that was used when P r oM ix 01
was last powered off appears.
Power OFF
Always power off your system in the follo wing order: power amplifier
through to signal source devices.
Press the PO WER switch on the rear panel to pow er OFF ProMix 01.
All mix settings, mix scenes, and other data is stored when ProMix 01
is powered OFF.
ProMix 01 Getting Started Guide
Page 18
Chapter 2: Getting Started
12
ProMix 01 Getting Started Guide
Page 19
3
Basic Mixing Tutorial
Basic Mixing Tutorial
In this chapter...
Setting the Input Level . . . . . . . . . . . . . . . . . . . . . . . . . 14
13
ꎹ
Applying EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Using the EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . 18
CUE LCD Function . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Setting the CUE Mode . . . . . . . . . . . . . . . . . . . . . . . . . 21
Setting Fader Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Channel ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Note: It’s 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
find that subsequent tutorial steps don’t work as expected. Also note that
this tutorial does not explain all ProMix 01 functions, nor does it serve
as a substitute for the User’ s Guide explanations. For full details on all
ProMix 01 functions, see the User’s Guide.
ProMix 01 Getting Started Guide
Page 20
Chapter 3: Basic Mixing Tutorial
14
Setting the Input Level
Presuming that ProM ix 01 is pow er ed ON and your music source is
ꎹ
running, let’s optimize the input signal level for best performance.
1. Press [METER].
The METER LCD function appears showing channel 9’ s signal level.
2. Turn the MONITOR OUT LEVEL control up a little. If you’re
using headphones, turn up the PHONES LEVEL control instead.
3. Press channel 9’s [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 9’s P AD switch to attenuate the input signal by 20dB.
5. Use channel 9’s GAIN control to optimize the signal level.
Ideally the level should be set relativ ely high and it's OK for it to reach
CLIP occasionally. If CLIP is reached often, however, back off the
GAIN control a little, otherwise signal distortion may occur. The
GAIN control should be set with some care, because if it is set too low ,
the S/N performance will suffer, and if it is set too high, unpleasant
signal clipping and distortion may occur.
6. Y ou might find the Peak Hold function useful at this point. T o
turn it ON, press [ENTER]. The peak level is indicated by an
empty square box. To reset it, press [ENTER] twice.
Peak Hold is e xtremely useful for level checking before recording. Y ou
can leave a mix to play thr ough unattended while P eak Hold watches
out for signal peaks. If any levels reach CLIP, back off the relevant
GAIN control and run through the mix again.
ProMix 01 Getting Started Guide
Typically, you’ll be using more than just one input channel, so you’ll
need to set the input signal level for each channel individually . S ince
it’ s r elativ ely easy to set them at this point, take time and care. I f you
have to readjust them later in the mixing process, you may need to
readjust faders, effects sends, and other levels, too.
Page 21
ꎹ
Applying EQ
15
Applying EQ
Now we ’ll apply a little EQ to channel 9. Pr oMix 01 EQ is 3-band fully
parametric, with variable gain, frequency, and Q.
Setting EQ Gain
1. Press [EQ LOW].
The EQ LCD function shown below appears.
Initially, the LOW gain (G) parameter is selected.
2. Turn the PARAMETER wheel clockwise to boost.
The gain increases in 1dB steps and the EQ curve changes. In the
MEMORY area of the display the word EDIT appears highlighted.
Don’ t wo rry about it at this stage. It just means that the mix settings
have changed (i.e. they are different to the 00 InitData mix scene).
Note: Applying a lot of EQ boost may increase the signal level sufficiently
to cause distortion. If this does occur, reduce the amount of EQ boost or
back off the GAIN control a little. Note that the METER L CD function
shows pre-EQ signal levels. So you’ll have to use your ears for this one.
3. Turning the P ARAMETER wheel counterclockwise, set the gain
back to 0dB.
ProMix 01 Getting Started Guide
Page 22
Chapter 3: Basic Mixing Tutorial
16
Setting EQ Frequency
1. Press [MID].
The MID gain (G) parameter is selected.
2. Set the gain to –10dB.
3. Press [MID] again.
The MID frequency (F) parameter is selected.
4. Use the PARAMETER wheel to sweep through the frequency
range. The MID band covers virtually the entire audio spectrum, from 32Hz to 18kHz.
Note: Although it may take a little while to draw the EQ curve, the inter -
nal EQ circuits reflect your adjustments immediately.
As well as the frequency value in Hz, the dotted vertical line on the
EQ graph indicates the current frequency position.
5. Set the MID frequency back to 2.0kHz.
6. Press [MID] twice, then set the MID gain back to 0dB.
ProMix 01 Getting Started Guide
Page 23
Applying EQ
17
Setting the Q
The MID band is a peaking type EQ. The LO W and HIGH bands are
initially configured as shelving type EQs. However, they can also be
configured 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 specified as musically intuitive octave values as opposed to decimal values.
5. As you keep turning the PARAMETER wheel counter clockwise,
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 specific frequencies.
As well as using the [EQ LO W], [MID], and [HIGH] buttons to select
parameters, you can also use the cursor buttons.
6. T o turn the EQ OFF (i.e. bypass it), press [ENTER]. Press again
to turn it back ON. This is useful for EQ A–B listening.
Well, that’s ProMix 01 EQ; flexible and intuitive. The following display shows some ex cessive EQ settings. Although they don ’t sound too
good, they do show off the EQ curve.
ProMix 01 Getting Started Guide
Page 24
18 Chapter 3: Basic Mixing Tutorial
ꎹ
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 we’ll 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 flash.
ProMix 01 Getting Started Guide
3. Press [ENTER] to recall the program.
The program is recalled and channel 9’s EQ is set accordingly. Your
sound source now sounds like it ’s coming via long distance telephone.
The name and number of the EQ program stops flashing, 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 doesn’ t change, c heck whether you ’ve 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.
Page 25
Storing an EQ Program
Using the EQ Library 19
ꎹ
Now we ’ll 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 first user program, is selected automatically.
4. Press [ENTER].
The LIBRARY NAME display shown below appears.
Here you can name y our custom EQ program for easy identification.
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 low er case letters, numerals,
and punctuation. Use them as spaces or to delete characters.
In this example we’ve named our program “My EQ Program”.
6. Press [ENTER] to store the program.
The message << Stored >> appears briefly, then the LIBRARY LCD
function reappears showing your new program.
You’ve now stored your own custom EQ program. If you’re happy
with the sound, go to the next section. If not, you can reset the EQ b y
recalling preset EQ program #1 (RESET). While STORE is selected
you cannot select and, therefor e, recall pr eset EQ programs. Press the
[
®] cursor button to select RECALL, then use the PARAMETER
wheel to select the preset EQ programs.
ProMix 01 Getting Started Guide
Page 26
20 Chapter 3: Basic Mixing Tutorial
ꎹ
CUE LCD Function
So far we’ve 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 9’s [SEL] button.
The sound reappears, channel 9’s [SEL] button LED comes ON, and
various information about channel 9 is displayed. The signal level is
displayed by the meter to the right.
ProMix 01 Getting Started Guide
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 we’re using only channel 9 for the moment, pressing other
channels’ [SEL] buttons won’t do much more than cause their [SEL]
button LEDs to light up. You ma y want t o c onnect a different sound
source to another input channel to try out MIX CUE mode.
As well as MIX, there ar e two more CUE modes: LAST CUE and ST
FIX. We’ll use ST FIX in the next section. See the User’s 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 User’s Guide for more details.
Page 27
Setting the CUE Mode 21
Setting the CUE Mode
ꎹ
ꎹ
For the rest of this tutorial and the next, we’ll 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 flashes.
2. Press [ENTER] to confirm the setting.
The sound is cut and ST FIX appears highlighted. An y 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 9’s fader to the 0dB mark.
The 0dB fader position is a good place to start when setting fader levels. It’s 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.
ProMix 01 Getting Started Guide
Page 28
22 Chapter 3: Basic Mixing Tutorial
ꎹ
ꎹ
Channel ON/OFF
The channel [ON] buttons are used to turn channels ON and OFF.
This function is sometimes called MUTE.
1. Press channel 9’s [ON] button.
The sound is cut and the [ON] button’s LED goes OFF.
2. Press the [ON] button again to turn the channel back ON.
Note how the signal level is displa yed on the LCD even when the channel is OFF . This is because the met er signal is sourced before the [ON]
button. If you were t o set the CUE mode to LAST CUE while channel
9 is turned OFF , the sound would reappear for MONIT OR 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 we’ll use pan to position channel 9 in the stereo field.
1. Press [PAN∅].
The PAN LCD function shown below appears.
ProMix 01 Getting Started Guide
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.
Page 29
4
Advanced Mixing Tutorial 23
Advanced Mixing Tutorial
In this chapter...
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Recalling Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Storing User Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Patching in a Compressor . . . . . . . . . . . . . . . . . . . . . . 27
Storing Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Recalling Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Where to Go from Here? . . . . . . . . . . . . . . . . . . . . . . . 30
ProMix 01 Getting Started Guide
Page 30
24 Chapter 4: Advanced Mixing Tutorial
Applying Effects
ProMix 01 features two stereo effects processors: Effect1 and Effect2.
ꎹ
There are 30 preset effects programs and 10 user effects programs for
you to store your own custom effects. Here we’ll apply Effect1 to
channel 9.
1. Press [SEND1].
The SEND1 LCD function shown below appears and the channel
fader goes to its minimum position.
Even though the fader has moved t o its minim um position, you can
still hear the sound. This is because the fader is now controlling the
channel-to-SEND1 level, not the channel-to-stereo mix level.
ProMix 01 faders are multifunction faders, which means they are
used to control several signal levels. The flashing fader in the FUNCTION area of the display indicates that the faders are controlling
channel-to-send levels. If you press any function button other than
[SEND1], [SEND2], [SEND3], or [SEND4], the fader returns to its
normal operating mode (i.e. channel-to-stereo mix level control).
2. Set channel 9’s fader to the 0dB mark.
Since there are no master send level c ontrols, the signal is fed straight
to Effect1. The processed output signals of Effect1 are returned via
RTN1 and the stereo signal levels are shown on the display.
3. Set the RTN/SEND fader to 0dB.
You can now hear the impressive reverb of effects program #1
(REVERB HALL 1) as the processed signal of Effect1 is returned into
the stereo mix via RTN1.
ProMix 01 Getting Started Guide
You’ve now applied an effect. Next we’ll look at recalling programs.
Recalling Effects
We’ve already heard effects program #1 (REVERB HALL 1). Now
ꎹ
we’ll listen to some of the other preset effects programs.
1. Use the PARAMETER wheel to select an effects program.
Its name and number flash.
2. Press [ENTER] to recall the selected effects program.
The effects program is recalled and its name and number become
highlighted. Repeat steps 1 and 2 to r ecall some the other effects programs to get a good idea of the range and quality.
Page 31
Editing Effects
Editing Effects 25
ꎹ
You can edit the preset effects programs and then store them as user
effects programs. Here we explain just the editing procedure. You’re
free to set the parameter values as you like. Feel free to experiment.
1. Select and recall an effects program as described page 24.
2. Press the [®] cursor button to select EDIT, as shown below.
3. Press [ENTER].
An edit display similar to the one shown below appears.
4. Use the [π] and [†] cursor buttons to select the effects param-
eters and the PARAMETER wheel to set them.
5. When you’ve finished 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 find out how to
store your new effects program.
ProMix 01 Getting Started Guide
Page 32
26 Chapter 4: Advanced Mixing Tutorial
Storing User Effects
There are 10 user effects programs for you to stor e your own settings.
ꎹ
Here we explain how to store.
1. Press the [√] cursor button twice to select STORE.
Effects program #31, the first user program, is select ed automatically
and its name and number flash.
2. Press [ENTER].
The EFFECT NAME display shown below appears.
Here you can name y our effects program for easy identification. P rogram names can be up to 15 characters long.
3. Use the PARAMETER wheel to select characters and the [√]
Spaces are available between upper and low er case letters, numerals,
and punctuation. Use them as spaces or to delete characters.
and [®] cursor buttons to position the cursor in the name.
In this example we’ve named our user program “My First Effect”.
4. Press [ENTER] to store the program.
The message << Stored >> appears briefly, then the SEND1 LCD
function reappears showing our new program.
You’ve now stor ed your own custom effects program. If you’ re happy
with the effects sound, go to the next section. If not, y ou can remov e
it by setting the channel 9 and RTN/SEND faders t o their minimum
positions, or recall another effects program. While the ST ORE option
is selected you cannot select and, therefore, recall preset effects programs. Press the [
PARAMETER wheel to select the preset programs.
®] cursor button to select RECALL, then use the
ProMix 01 Getting Started Guide
Page 33
Patching in a Compressor 27
Patching in a Compressor
ꎹ
ProMix 01 features three stereo dynamics processors, for compression, limiting, gating and ducking. Here we’ll patch a c ompressor 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 flashes.
4. Press [ENTER] to confirm.
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 abov e the threshold level are compressed, while those below are effectiv ely incr eased
in level due to the fact that you ’ve 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 compressor’s output signal level and the amount of gain reduction (GR) applied is indicated on the display. The GR meter works
from top-to-bottom.
5. To perform A–B listening tests, select ON/OFF and use the
PARAMETER wheel to switch the compressor ON and OFF.
With COMP1 turned ON you can raise the ST OUT fader higher than
0dB and the overall output volume changes very little.
If you’ re happ y with the compressed sound, go to the next section. If
not, select PAT CH and set it to OFF. Remember t o press [ENTER] to
confirm.
ProMix 01 Getting Started Guide
Page 34
28 Chapter 4: Advanced Mixing Tutorial
Storing Mix Scenes
ProMix 01 scene memories allow you to store and recall all mix set-
ꎹ
tings, collectiv ely called a mix sc ene, with just one press of a button.
Scene memory refers to the RAM memories in ProMix 01, while mix
scene refers to the collective mix settings that are stored in a scene
memory. Up to 50 mix scenes can be stored.
1. Press [STORE].
A message saying you that mix scene 00 is read only may appear
briefly. After that, the MEMORY L CD function shown below appears.
2. Use the PARAMETER wheel to select mix scene #01.
Its name and number flash.
3. Press [STORE].
The MEMORY NAME display shown below appears.
ProMix 01 Getting Started Guide
Here you can name your mix scene for easy identification. 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 low er case letters, numerals,
and punctuation. Use them as spaces or to delete characters.
As we’ re nearly at the end of this tutorial, we ’ve named the mix scene
“Finale”, as shown below.
5. Press [STORE] to store the mix scene.
The message <<Stored>> appears briefly and EDIT disappears from
the MEMORY area of the display.
Page 35
Recalling Mix Scenes
Recalling Mix Scenes 29
ꎹ
Now we ’ll take a look at recalling mix scenes. Since you ’ve stor ed only
one mix scene so far , first w e’ll recall mix sc ene 00 to reset all the mix
settings, then recall mix scene #01 to r eturn to our pr evious mix settings. U nlike mix scenes 01 to 50, mix scene 00 is r ead-only and is used
to reset all mix settings. You cannot store it.
If you’re 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 first. N ote that if you press the [RECALL] butt on
when the MEMORY L CD function is selected you ’ll store the curre nt
mix settings—there is no warning before store is executed.
1. Use the PARAMETER wheel to select mix scene #00, “InitData”.
READ ONL Y appears on the display and the name and number flash.
2. Press [RECALL].
The sound is cut and all mix settings are reset to their initial settings.
The message <<Recalled>> appears briefly . The mix scene name and
number, “InitData 00”, appear in the MEMORY area of the display.
Now we ’ll recall mix scene #01 to r eturn to our previous mix settings.
3. Use the PARAMETER wheel to select mix scene #01.
Its name and number flash.
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 ar ea 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.
ProMix 01 Getting Started Guide
Page 36
30 Chapter 4: Advanced Mixing Tutorial
Where to Go from Here?
That’s 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 01’s basic mixing functions. In the
Advanced Tutorial you leaned how to apply, recall, edit, and store
effects; patch in a dynamics processor; and st ore and recall mix scenes.
After working with just one input channel, you’re probably ready to
start mixing for real. Connect several sound sourc es and start mixing
using the techniques that you’ve learned. If you’re 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 mat ch
your exact requirements.
Although you’ve 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 c ontr ol all mix parameters in r eal time.
All you need is a MIDI sequencer. See page 45 to find out how t o set
up a ProMix 01 automation system. Otherwise, proc eed to the User’s
Guide for a full explanation of all ProMix 01 functions—happy
mixing.
ProMix 01 Getting Started Guide
Page 37
5
Application Examples 31
Application Examples
In this chapter...
Live Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Onstage Keyboard Mixing . . . . . . . . . . . . . . . . . . . . . . 34
MIDI Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Multitracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
This chapter shows ProMix 01 in action in some real-life working
applications, probably its mainstream applications. With superb
sonic specifications and MIDI control capabilities, however,
ProMix 01 can be used for virtually any mixing application that
demands high performance.
ProMix 01 Getting Started Guide
Page 38
32 Chapter 5: Application Examples
Stage monitors
Power amp
Graphic EQ
SEND4
Headphones
SEND3
Live Performance
Front of house
main speakers
Power amp
STEREO OUT
DIGITAL
REC OUT
DAT
Inputs 1–8 Inputs 9–16
ANALOG
REC OUT
2TR IN
ProMix 01 Getting Started Guide
Mics Line level sources
Page 39
Live Performance 33
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 sourc es 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 amplifier. 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
amplifier. The main mix is taken from the balanced XLR-type STEREO OUT connectors, whic h feed the front of house power amps and
speakers. The stereo output’s 3-band parametric EQ is used to balance the room acoustics. The EQ’ s sharp peaking response is ideal for
filtering 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 r eturned internally via R TN1 and
RTN2, respectively . Ha ving internal effects means that you don’ t have
to bother with patch cords and external unit settings. All effects settings are stored in mix scenes, so y ou can r ecall differ ent settings for
different parts of the performance.
All three dynamics processors are utiliz ed. One is patched into the stereo outputs, the other two into SEND3 and SEND4. All are set for limiting operation, protecting the power amplifiers and speakers from
overload. You could patch a gate into a drum micr ophone channel to
improve separation between drums, or c ompress the main vocalist to
achieve a more consistent volume level.
ProMix 01 mix scenes really come int o 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
night’s 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 co rrect
individual instrument frequency abnormalities.
The large LCD display sho ws input levels, EQ curves, and dynamics
processor action. It’s backlit, too, so it’s easy to read in dim light.
An optional ProMix 01 carrying case is available.
ProMix 01 Getting Started Guide
Page 40
34 Chapter 5: Application Examples
Onstage Keyboard Mixing
Effects processor
Headphones
MIDI sequencer
88
SEND4
SEND3
MIDI OUT
MIDI IN
ST IN
Powered
MONITOR OUT
monitors
STEREO OUT
To front of
house console
ProMix 01 Getting Started Guide
Talkback mic
Inputs 1–8 Inputs 9–16
MIDI THRU
Synths/tone generators/samplers
To other
MIDI instruments
20 P128
MIDI Foot controller
Page 41
Onstage Keyboard Mixing 35
This example shows ProMix 01 in an onstage keyboard mixing application. Line-level sourc es are c o nnected dir ectly t o 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 configur ed as ster eo 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 list en 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 fr ont 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 r eturned internally via R TN1 and
RTN2, respectively . All effects settings are stored in mix scenes, so y ou
can recall different settings for different parts of the performance.
A dynamics processor set for compression is pat ched into the backing
vocal input channel to provide a more consistent volume level.
Another dynamics processor set for limiting is patched int o 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 comple x system consisting of many synthesizers, tone generators, and samplers, mix scenes can be used to reconfigure 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 specific
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.
ProMix 01 Getting Started Guide
Page 42
36 Chapter 5: Application Examples
Effects processor
88
SEND4
MIDI Studio
Monitors
Power amp
Headphones
MIDI sequencer
SEND3
MIDI OUT
MIDI IN
ST IN
Inputs 1–8 Inputs 9–16
MONITOR OUT
DIGITAL
REC OUT
2TR IN
ANALOG
REC OUT
DAT
ProMix 01 Getting Started Guide
Mics
MIDI THRU
Main MIDI keyboard
To other MIDI synths
/tone generators/samplers
Page 43
MIDI Studio 37
This example shows ProMix 01 in a MIDI studio application. This
could be a home or project studio. Balanc ed microphones for v ocals
are connected to input channels 1 through 8, and 48V phantom
power is available for condenser type microphones. Line-level
sources are connect ed to input channels 9 through 16. A part from the
phantom power and connector type, however, inputs 1 through 16
all feature the same head amplifier . So with right connector , an y combination of microphones and line-level sources can be connected:
eight with balanced XLR, and eight with balanced TRS phone plug.
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 stereo pow er amplifier and
speakers for monitoring. The CUE mode is set to ST FIX so the ster eo
output mix is monitored. The CUE signal can also be heard thr ough
the headphones. The mix is recor ded directly to DA T via the DIGIT AL
REC OUT connection. Similarly , an analog cassette deck is connected
to the ANALOG REC OUT. The DAT outputs are connected to the
2TR IN connectors for 2-track playback and confidence monitoring.
ProMix 01 internal effects provide reverb and chorus via SEND1 and
SEND2. The processed signals are r eturned internally via R TN1 and
RTN2, respectively.
A dynamics processor set for compression is patched into the vocal
input channel to provide a more consistent volume level. Another
dynamics processor set for 2:1 compression is pat ched into the stereo
outputs to provide the final mix with some extra punch.
If you work on several projects at a time, you can store a mix scene
for each project, so when y ou r eturn t o a particular project, you can
start right where you left off. Storing a mix scene before experimenting with different mixes allows you to return to previous settings if
things don’t go as planned. If you store a mix scene for each experimental mix, you can listen t o them one-by-one and c hoose the best.
Recalling previous mix scenes can be used like a mix undo function.
The MIDI sequencer is used to record all manual mix scene recalls.
Mix scenes are then recalled automatically during playback. The c orresponding MIDI Program Change messages can be positioned precisely by editing them on the MIDI sequencer. Effects programs on
the external effects processor, and synth voices on the other MIDI
instruments are also recalled via MIDI.
As well as mix scenes, the MIDI sequenc er also records all mix mo ves
(i.e. faders, m utes, pan, EQ, and effects adjustments) as MIDI Control
Change messages. These mix moves ar e then r epla yed aut omatically
with precision and repeatability.
Optional wooden side panels make ProMix 01 an attractive centerpiece in a MIDI studio.
ProMix 01 Getting Started Guide
Page 44
38 Chapter 5: Application Examples
Multitracking
Monitors
MIDI IN
Headphones
MIDI sequencer
SEND4
SEND3
MIDI OUT
MIDI IN
Tape outputs
to ProMix inputs
Patchbay
/routing selector
ST OUT
Power amp
Graphic EQ
MONITOR OUT
DIGITAL
REC OUT
2TR IN
ANALOG
REC OUT
DAT
ProMix 01 Getting Started Guide
Mics
Inputs 1–8 Inputs 9–16
MIDI THRU
Main MIDI keyboard
To other MIDI synths
/tone generators/samplers
Page 45
Multitracking 39
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 specifically designed for
use as a recording mix er , multitrack recording with Pr oMix 01 is possible with a little patching. In the illustration, an analog multitrack
tape recorder is shown. This could, howev er, just as well be a hard disk
recorder.
ST OUT , SEND3, and SEND4 outputs ar e connected to the patc hbay
where the multitrack recorder input jacks can be acc essed. 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, ho wever , you ’ll probably only need t o make one patch. F or stereo recording, SEND3 and SEND4 can be configured as a ster eo pair .
In this case, an additional pan contr ol appears on each input channel
and a balance control on the stereo input c hannel, effectively an independent stereo mix can be set up.
The multitrack recorder’s outputs are connected to the ProMix 01
inputs. Connecting all ProMix 01 inputs and the multitrack
recorder’s outputs to a patchbay would allow you to patch in tape
channels as they are used, thus lea ving ProMix 01 inputs available for
connecting other instruments.
The multitrack recorder is controlled via a MIDI connection fr om the
MIDI sequencer. MMC (MIDI Machine Control) commands make
the recorder start play, rewind, record, et c., as the transport controls
on the MIDI sequencer are clicked with a mouse. I f your recorder does
not conform to MMC, ma y be you need a sync hroniz er bo x or inter face for it. Failing that, the last tape track can be striped with SMPTE
timecode or an FSK code and a conv erter bo x used to c on vert this to
either MIDI clock or MTC (MIDI Timec ode), whichev er your MIDI
sequencer accepts. The MIDI sequencer can then be slaved to the
recorder.
ProMix 01, a MIDI sequencer , and a controllable multitrack recor der
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.
ProMix 01 Getting Started Guide
Page 46
40 Chapter 5: Application Examples
ProMix 01 Getting Started Guide
Page 47
6
Mixing and Automation 41
Mixing and Automation
In this chapter...
General Mix Procedure . . . . . . . . . . . . . . . . . . . . . . . . 42
What is ProMix 01 Automation . . . . . . . . . . . . . . . . . 45
An Automation System . . . . . . . . . . . . . . . . . . . . . . . . 45
Mix Scenes & Automation . . . . . . . . . . . . . . . . . . . . . . 46
Real-Time Automation . . . . . . . . . . . . . . . . . . . . . . . . 47
ProMix 01 Getting Started Guide
Page 48
42 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 controls—this is simple on ProMix 01, just recall mix
scene memory 00. Don’t forget to reset the GAIN controls, PAD
switches, and monitor controls by hand, though.
• Connect your sound sources—inputs 1 through 8 are balanced XLR-types, with 48V phantom pow er for condenser microphones, while inputs 9 through 16 are TRS balanced phone jacks.
• Set up your monitor—if you’r e 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 you ’re listening to the st ereo output
mix, set the ST OUT fader to about 0 dB.
• Optimize the input signal levels—this is an important stage
and you should take time and care setting these levels. Listening
to each channel in turn, use the GAIN co ntrol 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
you’re monitoring via CUE, use the [SEL] buttons to select each
channel in turn. If you ’ re monitoring via the stereo outputs, raise
each fader in turn to about 0 dB. You can always readjust later.
• Clean up sounds—unwanted noise and distortion reduce clarity, making the mix sound muddy and confused. If you can ’t 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 EQ—you can use EQ at this stage to filter out any
unwanted hiss, hum, or frequency abnormalities in a sound. If
you ’ re after a natural sound, it ’s always bett er to try to correct the
sound source itself (i.e. microphone type and position) rather
than correcting with EQ. You’ll pr obably need to r eadjust the EQ
when listening to all sounds in the mix, anyway.
• Pan the sounds—pan allows you to position sounds from left
to right in the stereo field. This is often used to pr o vide 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, t o 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 v ery directional,
so it’s usually best to keep them panned about center.
ProMix 01 Getting Started Guide
Page 49
General Mix Procedure 43
• Balance levels—once you ’ve optimized the input levels, applied
some corrective EQ, and positioned instruments using pan, you ’re
ready to balance the levels. You should already have some idea of
how you want the mix to sound. This will, obviously, depend on
the application and the instruments being mixed. Start with all
faders at about 0dB. This is an optimum setting with regard to
mixer performance and leaves you with some headroom to
increase levels later. If one particular instrument is too quiet,
rather than increasing its level it may better to try reducing the levels of some of the other instruments. If you keep raising faders
bit-by-bit, you’ll soon end up with some faders set at maximum
and no room for further adjustment. Vocal and instrument levels
should be balanced to create an agreeable sound mix. Nothing too
loud, nothing too quiet. What needs to be heard (i.e. vocals, solo
instruments) can be, and backing instruments are in the background.
• Balance tonal content—now that all instruments can be heard
together, you may need to redo some of your earlier EQ adjustments. For example, instruments with overlapping frequencies
often cause peaks at certain points in the audio spectrum when
mixed. Using a peaking EQ you can cut back some of these overlapping frequencies. This will improv e the separation between the
instruments and provide a more tonally balanced mix. Besides the
input channels and effects returns, three-band parametric EQ is
also featured on the stereo outputs. Y ou can use this EQ to improv e
a room’s acoustics, using narrow peaking EQ to cut troublesome
frequencies. The ov erall sound should be tonally balanced so that
the low, mid, and high bands of the audio spectrum contain an
equal amount of sound energy. Too much bass or treble leads to
listening fatigue. With EQ it is generally better to cut than boost.
• CUE—when several instruments are mixed, it can be difficult to
make individual judgements about them. CUE allows y ou to listen
to channels in isolation. If you can hear noise or other un wanted
sounds, use CUE to listen to eac h channel in turn, without affecting the main mix, and correct as necessary.
• ON/OFF—use the [ON] buttons to turn OFF unused channels.
Also useful for turning OFF microphones in between performer,
band, and set changes. Channels with noisy sound sources can be
turned ON as and when required, eliminating unnecessary noise.
When channels are turned OFF they can be monitored via CUE,
so you can make adjustments before adding sounds to the mix.
• Fader groups—fader groups allow you to control sev eral faders
simultaneously using just one fader. This can be used to create a
submix within the main mix, so that, for example, drum levels,
keyboard levels, or vocal levels can be adjusted with ease.
ProMix 01 has four fader groups.
ProMix 01 Getting Started Guide
Page 50
44 Chapter 6: Mixing and Automation
• Apply effects—this really depends on your application. In the
studio, you’ll pr obably 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 processor—if the lead vocalist tends to
move towar d and away fr om the microphone, you ma y find it difficult to set an average fader level that allows him to be heard
throughout a song. In a live situation, c ompressing the lead v ocal
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 gat e. This is useful on the snare and hi-hat microphones, whic h are usually close
together . Noise gates are also useful for gating out noise fr om noisy
guitar amps and effects pedals. To prevent power amplifier and
speaker overload, patch a limiter into the stereo output.
• EQ library—use the EQ library to store custom EQ settings that
you ’ve 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 you ’ve 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 scenes—allow you to recall stor ed mix settings with just one
button press. Mix sc enes are great for applications wher e 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 pr ojects at a time, y ou 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 allo w y ou to e xper iment freely. You can store several trial mixes and then listen to
each one in turn and choose the best.
• Stereo pairs—make 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 reflected on
the even/right channel, and vice versa.
That just about covers mixing basics and some Pr oMix 01 specific features. Although not a complete guide to audio mixing, it should be
enough to get you started. For mor e information, check out the publications in your local music bookstore, or try a good technical bookstore.
ProMix 01 Getting Started Guide
Page 51
What is ProMix 01 Automation 45
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, pr o viding snapshot mix automation. And MIDI C ontrol Change messages are used to c ontrol 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 mo ves) you can connect Pr oMix 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 y ou 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.
To other
MIDI devices
MIDI sequencer
MIDI OUT
MIDI IN
ProMix 01 Getting Started Guide
Page 52
46 Chapter 6: Mixing and Automation
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 P rogram 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 ha v e a specific
need it’ s probably best t o leav e these assignments as they are. See the
Mix Scene to Program Change A ssignment table in the Additions section of the User’s Guide for the initial assignments.
On your MIDI sequencer:
• Set the MIDI THRU (or ECHO BACK) function to OFF. Otherwise, you’ll 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 filters that can filter out incoming
Program Change messages. If your sequencer has this type of filter,
turn it OFF so that Program Change messages are received.
• Set the sequencer track’s MIDI Channel so it matches the
ProMix 01 Tx and Rx Channels.
Operation Tips
• Record P rogram 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 tak e a little time. The exact time depends
on the number of parameters to be changed, the average being
about 300ms. Recalling effects pr ograms, especially reverbs, ma y
take a little longer.
• If your sequencer song starts with a Program Change message to
recall the first mix scene, y ou 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 first 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 t one generator voic es, or pr ograms on
external effects processors. When mix scenes are recalled in
between songs, however, this is of little consideration.
ProMix 01 Getting Started Guide
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Real-Time Automation 47
• When recalling a mix scene during a mix, try to choose a point
when the parameters to be changed aren’t being used. For example, turn channels ON before the sound source starts, and turn
them OFF when it has finished. Also try to adjust fader levels
before a sound starts. Nothing sounds worse than abrupt level
changes halfway through a guitar solo, or the sudden disappearance of a fading guitar solo due to premature muting. For mix
scenes that recall effects programs, try to recall them when no
sound is actually being processed by Effect1 or Effect2.
• If you only want to change one effects parameter , instead of using
a mix scene, rec or d the parameter c hange in real time as C ontr ol
Change data.
• For effects, mix scenes store only the current program numbers
and parameter settings for Effect1 and Effect2. They do not store
all 40 available effects programs. Likewise for the dynamics processors, only the current program numbers and parameter settings of COMP1, COMP2, and COMP3 are stored. For EQ, all EQ
settings are stored, but the EQ library of 50 programs is not.
• To ensure that only Program Changes are recorded, you c ould fil-
ter all other MIDI data types.
Real-Time Automation
To record and playback mix moves in real time you need to:
• Set the CONTROL Tx and Rx parameters on the MIDI SETUP
LCD function to ON.
• Set the MIDI Tx and Rx Channels. Not e that this setting is affected
by the Control Change mode explained next.
• Set the Control Change mode on the CONTROL CHANGE
ASSIGN LCD function to either Channel or R egister. These modes
are explained in full in the User’ s Guide. In Channel mode, Control
Changes are transmitted on several MIDI Channels. Con: with 96
parameters at most on each MIDI Channel, this will use at least
six MIDI Channels. Pro: If you assign these MIDI Channels to six
sequencer tracks, you ha ve a better chance of being able to edit the
data since it’s spread across six tracks. You could reassign parameters so, for example, all ON/OFF Control Changes are in one
bank on one MIDI Channel, further simplifying data editing.
Some sequencers allow you to record data from several MIDI
Channels into one track. In this case, you could record the data
from all six MIDI Channels into any track.
In Register mode, all C ontrol Changes are transmitted on the same
MIDI Channel and Control Change #98 (Non-R egistered P arameter LSB) is used to specify the bank. Con: all Co ntrol Change data
is recorded to one track, so editing is more complicated. Pro: only
one MIDI Channel is used.
ProMix 01 Getting Started Guide
Page 54
48 Chapter 6: Mixing and Automation
On your MIDI sequencer:
• Set the MIDI THRU (or ECHO BACK) function to OFF. Otherwise, you’ll 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 filters that can filter out incoming
Control Change messages. If your sequencer has this type of filter,
turn it OFF so that Control Change messages are received.
• If you’re using Register mode, set the sequencer track’s MIDI
Channel so it matches the ProMix 01 Tx and Rx Channels. If
you ’ r e using Channel mode, in which C ontrol Changes ar e transmitted on several MIDI Channels, you can do one of two things:
set the track to OMNI, so that all Control Changes are recorded
in the track regardless of MIDI Channel. Or, record on several
tracks simultaneously.
Operation Tips
• This is probably the most important tip: always start an automated
mixdown by recalling a mix scene. This mix sc ene should contain
the initial mix settings that you want at the beginning of your song.
If you don’ t do this, mix parameters will not return to their initial
settings when the mixdown is replayed. For example, if you recor d
some faders moves, when you restart the song, the faders will
remain where you left them when you stopped recording, then
they’ll jump to the recorded positions. Not very practical. Think
of this first mix scene as a starting point from which all mix moves
are referenced.
• If your MIDI sequencer has a Chase Events function, turn it ON
so that all Control Changes are updated to their c orrect values no
matter where you start playback.
• If your sequencer has a Reset on Stop function, turn it OFF so that
Control Changes are not reset every time you stop playback.
• Some MIDI sequencers allow you to thin out data in a track. If you
want to reduce the amount of ProMix 01 related Control Change
data, you can try this. However, the results are somewhat unpredictable, so play y our mix through to mak e sure that it still works
correctly. Remember the Undo function is always there just in
case.
ProMix 01 Getting Started Guide
• T o ensure that only Contr ol Changes are recorded, you could filter
all other MIDI data types.
• Don’t quantize Control Change data. You’ll ruin it.
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