Yamaha Audio 01V User Manual

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Page 1

GAIN

–60

–34

OFF

PHANTOM +48V

26dB

GAIN

26dB

GAIN

Owner’s ManualOwner’s Manual

GAIN

+10

–60–16

–34

GAIN

+10

–60–16

+10

–34

–60–16

+10

–34

–60–16

+10

–34

8 9 10 11

GAIN

PAN

–60–16

–10dBV (UNBAL)

15/16

2TR IN

–20

+10

GAIN

–34

13/14 15/16

DIGITAL MIXING CONSOLE

GAIN

PAN

–20+10

OUT

2TR

MONITOR

2TR IN

HIGH

PHONES

100

LEVEL LEVEL

MONITOR

OUT

HI-MID

LO-MID

100

PHONES

L STEREO R

CLIP

–3

–6

–9

–12

–15

–18

–24

–30

–36

–42

–48

1 RETURN 2

SEL

13/14

SEL

SOLO

15/16

SEL

LOW

SELECTED CHANNEL

STEREO

MASTER

SOLO

1 RETURN 2

SELSEL

SOLO

ONON

SEL

Page 2

ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.

VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion.

VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

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 or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

IMPORTANT NOTICE FOR

THE UNITED KINGDOM

Connecting the Plug and Cord

WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT: The wires in this mains lead are coloured in accordance with

the following code: GREEN-AND-YELLOW : EARTH

BLUE : NEUTRAL BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying 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.

NEDERLAND

● Dit apparaat bevat een lithium batterij voor geheugen

back-up.

● Raadpleeg uw leverancier over de verwijdering van de

batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425

● Gooi de batterij niet weg, maar lever hem in als KCA.

THE NETHERLANDS

● This apparatus contains a lithium battery for memory

back-up.

● For the removal of the battery at the moment of the

disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows:

Yamaha Music Nederland Service Center Address: Kanaalweg 18-G, 3526 KL

UTRECHT

Tel: 030-2828425

● Do not throw away the battery. Instead, hand it in as small

chemical waste.

Page 3

Important Information

Read the Following Before Operating the 01V

Warnings

• Do not locate the 01V in a place subject to excessive heat or in direct sunlight. This could be a ﬁre hazard.

• Do not place the 01V in a place subject to excessive humidity or dust. This could be a ﬁre and electrical shock hazard.

• Connect the 01V power cord only to an AC outlet of the type stated in this

Manual

• Do not plug several devices into the same AC outlet. This can overload the AC outlet, and can be a ﬁre and electrical shock hazard. It may also affect the performance of some devices.

• Do not place heavy objects on the power cord. A damaged power cord is a potential ﬁre and electrical shock hazard.

• Do not place a container with liquid or small metal objects on top of this unit. Liquid or metal objects inside this unit are a ﬁre and electrical shock hazard.

or as marked on the 01V. Failure to do so is a ﬁre and electrical shock hazard.

Owner’s

• If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a replacement. Using the 01V in this condition is a ﬁre and shock hazard.

• Hold the power cord plug when disconnecting from an AC outlet. Never pull the cord. Damaging the power cord in this way is a potential ﬁre and electrical shock hazard.

• Do not place small metal objects on top of the 01V. Metal objects inside the 01V are a ﬁre and electrical shock hazard.

• Do not block the 01V ventilation slots. The 01V has ventilation slots on the top and rear to prevent the internal temperature from rising. Blocked ventilation slots are a ﬁre hazard.

• Do not try to modify the 01V. This could be a ﬁre and electrical shock hazard.

• The 01V operating temperature is between 5˚C and 35˚C (41˚F and 95˚F).

• If lightning begins to occur, turn off the power switch of the unit as soon as possible, and unplug the power cable plug from the electrical outlet.

• If there is a possibility of lightning, do not touch the power cable plug if it is still connected. Doing so may be an electrical shock hazard.

• If you notice any abnormality—such as smoke, odor, or noise—turn off the 01V immediately. Remove the power cord from the AC outlet. Conﬁrm that the abnormality is no longer present. Consult your dealer for repair. Using the 01V in this condition is a ﬁre and shock hazard.

Cautions

• Turn off all audio devices and speakers when connecting to the 01V. Refer to the owner’s manual for each device. Use the correct cables and connect as speciﬁed.

• If a foreign object or water gets inside the 01V, turn it off immediately. Remove the power cord from the AC outlet. Consult your dealer for repair. Using the 01V in this condition is a ﬁre and electrical shock hazard.

01V—Owner’s Manual

Page 4

• If you plan not to use the 01V for a long period of time, remove the power cord from the AC outlet. Leaving the 01V connected is a ﬁre hazard.

• Do not use benzene, thinner, cleaning detergent, or a chemical cloth to clean the 01V. Use only a soft, dry cloth.

• The 01V is a heavy piece of equipment. Always grip the underneath, not the side panels, when lifting.

Interference

01V uses high-frequency digital circuits that may cause interference on radios and televisions placed close to it. If interference does occur, relocate the affected equipment.

No part of the 01V software or this in any form or by any means without the prior written authorization of Yamaha Corporation.

Owner’s Manual

may be reproduced or distributed

Trademarks

ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are registered trademarks of Alesis Corporation. Macintosh is a registered trademark of Apple Computer, Inc. Pro Tools is a registered trademark of Digidesign or Avid Technology, Inc. Tascam Digital Interface is a trademark and Tascam and TEAC are registered trademarks of TEAC Corporation. Windows is a trademark of Microsoft Corporation.

All other trademarks are the property of their respective holders and are hereby acknowledged.

Package Contents

The 01V package should contain the following items. Make sure that you have them all.

• 01V Digital Mixing Console

• Owner’s Manual

Contact your Yamaha dealer if anything is missing.

Keep this manual for future reference!

01V—Owner’s Manual

Page 5

Contents

1 Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . 1

Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Key Feature Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

2 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

01V System Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Important Wordclock Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning On the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning Off the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3 Touring the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Top Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

iii

4 Getting Around the User Interface . . . . . . . . . . . . 27

About the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

PARAMETER Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

–1/DEC & +1/INC Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

ENTER Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Title Edit Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

5 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Input Channel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Phantom Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pad Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Setting Input Channel Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Changing the Input Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Attenuating Input Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Applying EQ to Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Input Channels Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Muting Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Monitoring Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

01V—Owner’s Manual

Page 6

Contents

Input Channels & the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & the Option I/O Outs . . . . . . . . . . . . . . . . . . . . . . . . . 50

Swapping Inputs 1–8 & 17–24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Grouping Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Grouping Mutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Copying & Swapping Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . 59

Input Channel Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

6 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

About the 01V EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Adjusting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

EQ Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Resetting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Preset EQ Program List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Storing EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Recalling EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Editing EQ Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Preset EQ Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

7 Solo, Monitors & Meters . . . . . . . . . . . . . . . . . . . . 75

About Monitor & Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Monitor Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Two-track Input (2TR IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Monitor Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Using Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Monitor Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Solo Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Using Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Solo Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Metering Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Main Stereo Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Peak Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Setting the Metering Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Option I/O Meters (input channels 17–24) . . . . . . . . . . . . . . . . . . . . . . 85

Effects Send Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

8 Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

About the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Analog Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

2TR Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Coaxial Digital Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . 88

Option I/O & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Omni Outs & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Solo & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Monitoring the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

01V—Owner’s Manual

Page 7

Contents

Metering the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Routing Signals to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Viewing Stereo Output Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Setting the Stereo Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Muting the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Balancing the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Applying EQ to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Stereo Output Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

9 Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

About the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Option I/O & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Omni Outs & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Monitoring Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Metering Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Sending Channel Signals to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . 95

Pre-fader/Post-fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Setting Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Muting Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Applying EQ to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Aux Send Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Stereo Pair Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

10 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

About the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Option I/O & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Omni Outs & the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Routing Signals to the Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Setting Bus Out Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Muting Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Routing Bus Signals to the Stereo Bus . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Pairing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Bus Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Stereo Pair Bus Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

11 Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

About the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Assigning Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Omni Out Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Omni Out Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

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Contents

12 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

About the Onboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Preset Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Using the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Pre-fader/Post-fader Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Viewing Effects Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Metering Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Setting Effects Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Muting Effects Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Viewing Effects Returns Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Metering Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Applying EQ to Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Muting Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Setting Effects Returns Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Panning Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Routing Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Monitoring Effects Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Effects Returns & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Storing Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Recalling Effects Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Editing Effects Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Setting Delay, Freq, Note & Tempo Parameters . . . . . . . . . . . . . . . . . . 137

Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Effects Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

13 Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . 161

About the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Preset Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Using the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Editing the Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Processor Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Dynamics Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Storing Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Recalling Dynamics Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Editing Dynamics Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Preset Dynamics Program Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

14 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . 183

About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

What’s Stored in Scene Memories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

About the Edit Buffer & Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Scene Memory 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Scene Memory Display Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Storing Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Recalling Mix Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Recalling Mix Scenes Using MIDI Program Change Messages . . . . . . 188

Undoing Mix Scene Recalls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Protecting Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

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Contents

Editing Scene Memory Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Renumbering Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Setting a Fade Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Recalling Scene Data Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

15 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Assigning Faders & On Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Setting 01V Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Initializing the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Calibrating the Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

16 Using the Digital Inputs & Outputs . . . . . . . . . . . 205

About Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Setting the Wordclock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Digital Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Output Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Digital Stereo In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Cascading 01Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

About Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Installing Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Assigning Option I/O Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Option I/O Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

vii

17 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

MIDI & the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

MIDI Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

MIDI Receive Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Program Change Scene Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Control Change Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

System Exclusive Parameter Control . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Local Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

User Defined MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Linking 01Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

18 System Examples . . . . . . . . . . . . . . . . . . . . . . . . . . 241

01V & ADAT-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Two 01Vs & two ADAT-Interface Recorders . . . . . . . . . . . . . . . . . . . . 244

01V & Tascam-Interface Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Two 01Vs & two Tascam-Interface Recorders . . . . . . . . . . . . . . . . . . . 248

01V & Pro Tools (AES/EBU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Appendix A: General . . . . . . . . . . . . . . . . . . . . . . . . . . 257

01V Level Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Display Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

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Contents

Security Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Rack-mounting Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 261

General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Input Channels 1–16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Option I/O Inputs 17–24 (need optional card) . . . . . . . . . . . . . . . . . . . 264

Digital Stereo In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Return 1, 2 (Internal Effect 1, 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Bus 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Aux 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Omni Out 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Monitor Out (Solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Digital Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Option I/O Output (need optional card) . . . . . . . . . . . . . . . . . . . . . . . 266

Memories & Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Analog Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Analog Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Digital Audio Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Digital Audio Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Option I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Control I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

01V Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . 273

01V Parameter to Control Change Table . . . . . . . . . . . . . . . . . . . . . . 274

03D & Programmable Mixer 01 Parameter to Control Change Table 277

MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Appendix D: Resources . . . . . . . . . . . . . . . . . . . . . . . 291

Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Yamaha Web Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

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Page 11

In this chapter...

Welcome to the 01V

Welcome to the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

About this Owner’s Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

01V Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Key Feature Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

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Chapter 1—Welcome to the 01V

Welcome to the 01V

Thank you for choosing the Yamaha 01V Digital Mixing Console. Based on the highly successful Yamaha digital mixer series, the Yamaha 01V has been designed with MIDI musicians and small sound reinforcement applications in mind, although its versatility, compactness, and ease-of-use will appeal to both professional and semiprofessional users.

About this Owner’s Manual

This Owner’s Manual contains all the information you’ll need in order to operate your 01V Digital Mixing Console. Use the table of contents to ﬁnd general information and familiarize yourself with the organization of this manual, and use the index to locate speciﬁc items. A glossary of 01V-related jargon is provided on page 293.

Each chapter covers a speciﬁc section of the 01V. The Input Channels Chapter, for example, explains all about input channels, while the Scene Memories Chapter deals with scene memories. The content of each chapter should be fairly obvious from its title. Items such as EQ and dynamics, which are available on input channels, aux sends, and the stereo output, are explained in their own chapters.

Where possible, the individual sections of a chapter are organized in order of signal ﬂow. The Input Channel Chapter, for example, starts with the input connectors and works through each input channel function, ﬁnishing up at the buses.

01V Installation

Site the 01V on a stable surface, somewhere that complies with the important information at the front of this manual. The 01V can be rack-mounted using an optional rack-mount kit.

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Page 13

01V Features

01V Sonic Specs

• Linear 20-bit 128-times oversampling A/D converters

• Linear 20-bit 8-times oversampling D/A converters (STEREO OUT)

• 105 dB typical dynamic range (CH INPUT to STEREO OUT)

• 20 Hz–20 kHz (+1, –3 dB) frequency response

• 32-bit internal digital audio processing

• 44-bit digital EQ processing

01V Features

• 24 inputs (including 8 digital inputs)

• 14 outputs (STEREO OUT, OMNI OUTs, 8 assignable digital outputs)

• Continuously variable gain controls

• Balanced XLRs with +48 V phantom powering (input channels 1 through 12)

• 26 dB pad (input channels 1 through 12)

• Balanced phone jack inputs (input channels 1 through 16)

• Four conﬁgurable analog Omni outs (AUX, BUS, CH DIRECT, STEREO)

• Option I/O slot for digital interface with 8-track digital multitrack recorders

• 8 assignable digital outputs from an Option I/O card (Tascam, ADAT, AES/EBU)

• Coaxial-type digital input and output

• Versatile solo modes for comprehensive monitoring

• 3 fader groups for multiple fader control

• 3 mute groups for multiple mute control

• 250 ms input delay (1–16) and 300 ms output delay (STEREO OUT, OMNI OUTs)

• Channel Copy function

• Stereo-pair operation for input channels, aux sends, and bus outs

• 100 scene memories for storing mix snapshots

• Four-band parametric EQ (2-band on Option I/O input channels)

• Powerful EQ library with 40 preset programs and 40 user programs

• Dedicated controls for EQ and pan

• Two stereo multi-effects processors onboard

• Powerful effects library with 42 preset programs and 57 user programs

• The equivalent of 22 dynamics processors onboard (compressor, gate, ducking, expander, compander)

• Powerful dynamics library with 40 preset programs and 40 user programs

• 320 x 80 dot LCD display

• Comprehensive MIDI implementation (remote control, MMC, Bulk)

• Built-in MIDI interface and TO HOST port for quick and simple connection to a personal computer

• 15 motorized 60 mm faders

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Chapter 1—Welcome to the 01V

Key Feature Discussion

Conﬁguration

The 01V provides a total of 24 inputs: 12 mono input channels (1 through 12), 2 stereo input channels (13/14 and 15/16), and 8 digital inputs (17 through 24) by means of an Option I/O card. The stereo output signal is available from the analog STEREO OUT, coaxial DIGITAL STEREO OUT, and can be assigned to the analog OMNI OUTs and Option I/O digital outputs. The four bus outputs and four aux sends can be assigned to the analog OMNI OUTs and Option I/O digital outputs. The Effect 1 and Effect 2 buses feed the onboard stereo multi-effects processors, whose signals are returned via effects returns 1 and 2, which feature four-band parametric EQ. Input channels 1 through 12 feature balanced XLR and phone jack connections, with switchable phantom powering. Input channels 13 through 16 feature phone jack connections. Input channels 17 through 24 are accessed via an Option I/O card.

Full-feature input channels 1 through 16 feature an attenuator, four-band parametric EQ, dynamics processor, delay, and can be assigned to aux sends 1 through 4 and effects sends 1 and 2. Simpliﬁed input channels 17 through 24 feature an attenuator, two-band parametric EQ, and can be assigned to aux sends 1 and 2 and effects sends 1 and 2. Input channels 1 through 8 and 17 through 24 can be swapped, so that Option I/O digital input signals appear on full-feature channels 1 through 8. Input delays can be used for microphone-placement compensation, while output delays can be used for delay-compensation in multi-speaker systems. The number of input channels can be increased by digitally cascading two 01Vs together. Option I/O digital outputs can be conﬁgured as bus outs, aux sends, input channel direct outs, or stereo outs. So although the 01V is a four-bus mixer, assigning the four buses and four aux sends, or the channel direct outs to the Option I/O eight outputs allows eight-track simultaneous recording.

Beneﬁts of a Digital Mixer

You’re probably already familiar with the many beneﬁts offered by digital audio, but what exactly are the beneﬁts 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 mix. 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, non-linear 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 initial A/D conversion, audio signals are immune from signal degradation. With the 01V, noise, distortion, and crosstalk are virtually eliminated, and you’ll hear a new clarity in your mixes.

Once in the digital domain, it makes sense to keep audio data digital, as multiple AD/DA conversions can degrade signal quality. With an Option I/O interface card, the 01V can be connected directly to a modular digital multitrack recorder, thereby keeping audio data in the digital domain for both recording and mixing. The ﬁnal stereo mix can be transferred to a two-track digital recorder using the 01V’s Coaxial STEREO OUT.

Onboard stereo multi-effects processors and dynamics processors mean that signals remain in the digital domain, eliminating unnecessary AD/DA conversions. Digital signal processing is performed using third-generation Yamaha DSPs, as used in the Yamaha ProR3 Digital Reverberator.

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Page 15

Key Feature Discussion

01V Sonic Performance

The 01V’s linear 20-bit 128-times oversampling A/D converters provide a typical dynamic range of 105 dB. The STEREO OUT features 20-bit 8-times oversampling D/A converters, while the MONITOR OUT and OMNI OUTs feature 18-bit 8-times oversampling D/A converters. Oversampling techniques effectively increase the internal sampling rate, so side effects caused by steep low-pass ﬁlters, 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.

The 01V can generate the industry standard sampling rate of 44.1 kHz, or synchronize to an external wordclock source from 44.1 kHz –10% to 48 kHz +6%.

Four-band Parametric EQ & Library

Input channels 1 through 16, the stereo output, aux sends, and effects returns all feature four-band fully parametric EQ, with variable gain, frequency, Q, and bypass. Input channels 17 through 24 feature a simpliﬁed two-band parametric EQ. High and low EQ bands can be used as shelving, peaking, or HPF and LPF, respectively. See “EQ” on page 61 for more information.

EQ settings can be stored in the EQ library as programs, or with all mix settings in mix scenes. The EQ library consists of 40 preset programs and 40 user programs. User programs allow you to store frequently used EQ settings, which can be titled for easy identiﬁcation. The unique collection of preset EQ programs are designed for speciﬁc applications and instruments, and provide a good reference and starting point when making EQ adjustments. See “EQ Library” on page 67 for more information.

Motorized Faders

The 01V features 15 motorized 60 mm faders that move automatically when a mix scene is recalled, providing a clear and visual indication of fader levels. A fade time of up to 25 seconds can be set for each mix scene individually. Faders can be grouped together in one of three fader groups for multiple fader control. See “Grouping Faders” on page 55 for more information. Faders on paired channels move simultaneously. See “Pairing Input Channels” on page 52 for more information.

01V Faders are multifunction controls, and their exact operation depends on the selected Fader mode. Input channel faders may be used as channel faders or aux or effects send controls. The STEREO fader may be used as the stereo output fader or aux or effects send master level faders. See “Fader Modes” on page 32 for more information.

Faders 1 through 16 and master can be assigned to various internal parameters on REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See “Assigning Faders & On Buttons” on page 194 and “User Deﬁned MIDI Controllers” on page 238 for more information.

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Chapter 1—Welcome to the 01V

Onboard Effects Processors

The 01V has two stereo multi-effects processors onboard: Effect 1 and Effect 2. These processors provide a wide range of quality effects, including reverb, delay, chorus, ﬂange, amp simulator, and more. There are 34 different effects types available. The effects processors are fed by the Effect 1 and Effect 2 buses, and the processed signals are returned through the effects return channels. Effects can be applied to input channels 1 through 24. Effects return 1 can be fed to Effect 2, and Effects return 2 can be fed to Effect 1.

Effects settings can be stored in the effects library as programs, or with all mix settings in mix scenes. The effect library consists of 42 preset programs and 57 user programs. User programs allow you to store your own effects programs, which can be titled for easy identiﬁcation. See “Effects Library” on page 132 for more information.

External effects processors can be patched into the 01V using the aux sends.

Onboard Dynamics Processors

Dynamics processors, providing compressor, gate, ducking, expander, and compander, are available on input channels 1 through 16, the stereo output, and the aux sends. That’s equivalent to 22 dynamics processors! Dynamics processors can be self triggering (i.e., the signal being processed is used as the trigger signal), or triggered by a signal from another channel.

Dynamics settings can be stored in the dynamics library as programs, or with all mix settings in mix scenes. The dynamics library consists of 40 preset programs and 40 user programs. User programs allow you to store your own dynamics programs, which can be titled for easy identiﬁcation. See “Dynamics Library” on page 173 for more information.

Option I/O & Digital I/O

The 01V features a single slot for an optional Option I/O card, providing eight digital inputs (input channels 17 through 24) and eight assignable digital outputs. Option I/O provides a direct digital connection to modular digital multitrack recorders, with cards for the following formats: ADAT, Tascam, and AES/EBU. An Option I/O card offering four analog outputs is also available. See “About Option I/O Cards” on page 216 for more information. 01V Option I/O cards are not interchangeable with the YGDAI cards used by the Yamaha 02R and 03D Digital Recording Consoles, such as the CD8-AT.

The Coaxial DIGITAL STEREO IN and OUT allow direct connection to stereo digital recorders and other digital equipment. Digital stereo signals can be routed to the Stereo bus for cascade operation, or to input channels 13/14 for mixing and processing. See “Digital Stereo In” on page 213 for more information.

Easy-to-Learn GUI Interface

01V operation is both logical and intuitive. The 320 x 80 dot LCD display uses graphical icons to represent rotary controls, switches, and faders, and provides a clear indication of the current mix settings and EQ curves. Dedicated controls allow for quick EQ and pan adjustments. Mixing functions and conﬁguration settings are organized into display pages. Parameter selection and editing is performed using the [CURSOR], [ENTER], [–1/DEC] and [+1/INC] buttons, and PARAMETER wheel.

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Page 17

Key Feature Discussion

Scene Memories

On many mixers, the only way to store mix settings is with marker pen and masking tape. With the 01V, however, virtually every mix setting can be stored in a mix scene using the 01V’s 99 scene memories. Mix scenes can be recalled instantly with just one button press, or remotely using MIDI Program Change commands. 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. Scene memories also make light work of night-after-night sound checks. Simply press recall to return to the previous night’s mix settings. For theater work, scene memories allow accurate and repeatable sound changes between scenes.

MIDI

In addition to regular MIDI ports, the 01V features a TO HOST port that allows the 01V to be connected directly to a personal computer without a MIDI interface.

MIDI Program Change messages can be used to recall mix scenes, and mix parameters can be assigned to MIDI Control Change messages for real-time remote control. Mix parameters that can be stored in mix scenes can be controlled remotely using MIDI System Exclusive messages. Scene memory, library, and setup data can be transferred to a MIDI data ﬁler, computer, or another 01V for backup and archive using MIDI Bulk Dump. See “MIDI” on page 221 for more information.

When REMOTE page 2 is displayed, the 01V’s [SEL] and [ON] buttons can be used to control recorders that support MMC (MIDI Machine Control) commands (stop, play, rewind, forward, and record). When REMOTE page 3 is displayed, faders, [SOLO] & [ON] buttons function as assignable MIDI Controllers.

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In this chapter...

Getting Started

01V System Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Important Wordclock Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning On the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Turning Off the 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

01V—Owner’s Manual

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10 Chapter 2—Getting Started

01V System Example

This example shows the kind of system possible with the 01V.

Personal computer

running MIDI software

Monitors

Power Amp

Headphones

Serial port

MIDI

interface

MIDI IN

MIDI OUT

Drum machine

Tone generator

MONITOR OUT

OFF

PHANTOM +48V

INPUT (BAL)

PAD

26dB126dB226dB326dB426dB526dB626dB726dB826dB926dB1026dB1126dB

–60–16

+10 –34

GAIN

UTILITY MIDI SETUP VIEW

PAN/

DYNAMICS EQ/ATT Ø/DELAY

ROUTING

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1

AUX 2 AUX 3 AUX 4

HOME

SEL

SOLO

17 18 19 20 21 22 23 24

–60–16

+10 –34

GAIN

FUNCTION

MEMORY

1 RETURN 2

232221201918

SEL

SOLO

MIC/LINE inputs 1–16

PHONES

OFF

PHANTOM +48V

–60–16

+10 –34

GAIN

SEL

SOLO

–60–16

+10 –34

GAIN

PAN

15/16

13/14

SEL

SOLO

13/14

131415

–60–16 –20+10 100 100

–20+10

GAIN

+10 –34

GAIN

13/14 15/16

DIGITAL MIXING CONSOLE

PAN

SELECTED CHANNEL

STEREO

MASTER

SEL

SOLO

ON ON

0 –5 –10 –15 –20

–30 –40 –50 –70 –

15/16

STEREO

MASTER

–10dBV (UNBAL)

OUT

2TR

PHONES

MONITOR

15/16

2TR IN

LEVEL LEVELGAIN

MONITOR

PHONES

OUT

L STEREO R

HIGH

CLIP –3 –6

HI-MID

–9 –12 –15 –18 –24

LO-MID

–30 –36 –42 –48

LOW

1 RETURN 2 SELSEL

SEL

SOLO

SOLO SOLO

MEMORY

–1/DEC

+1/INC

PARAMETER

CURSOR

ENTER

Digital in

OPTION I/O

Digital out

OUT

DIGITAL STEREO COAXIAL

Digital in

Digital out

Digital multitrack

8-TRACK DIGITAL

DAT recorder

00.00.00.00

DAT

Guitar processor

Bass processor

MIDI keyboard

MIDI IN

MIDI OUT

Vocals Drums

01V—Owner’s Manual

Page 20

Important Wordclock Information 11

Important Wordclock Information

Unlike analog audio equipment, digital audio equipment must be wordclock synchro- nized when digital audio is transferred from one device to another. See “About Wordclocks” on page 206 for more information.

If the 01V is the only digital audio device in your system, no special wordclock settings are required, and the 01V synchronizes to its own internal wordclock. Add a DAT recorder or digital multitrack recorder, however, and the system must be conﬁgured so that digital audio equipment synchronizes to a common wordclock source. The “System Examples” on page 241 show how to conﬁgure wordclock settings with a variety of digital audio equipment.

Connecting the Power Cord

Warning: Turn off all equipment before making any connections.

Connect the 01V power cord to a suitable AC wall outlet, one that conforms to the power supply requirements stated on the rear panel of the 01V.

Turning On the 01V

Always turn on your audio equipment in the following order:

1. Sound sources

2. 01V

3. Monitor ampliﬁer

To turn on the 01V, press the 01V POWER switch located on the rear panel.

When turned on, the 01V startup screen appears for a few seconds, and then the display page selected when the 01V was last turned off appears.

Turning Off the 01V

Always turn off your audio equipment in the following order:

1. Monitor ampliﬁer

2. 01V

3. Sound sources

To turn off the 01V, press the 01V POWER switch located on the rear panel.

All parameter settings, scene memories, and library programs are stored when the 01V is turned off.

POWER

ON/ OFF

01V—Owner’s Manual

Page 21

In this chapter...

Touring the 01V 13

Touring the 01V

Top Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

01V—Owner’s Manual

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14 Chapter 3—Touring the 01V

Top Panel Controls

OFF

SEL

INPUT (BAL)

–60–16

SEL

+10 –34

GAIN

–60–16

SEL

+10 –34

SEL

+10 –34

GAIN

SEL

GAIN

1 RETURN 2

232221201918

SEL

+10 –34

GAIN

SEL

PHANTOM +48V

–60–16

+10 –34

GAIN

13/14

SEL

PHANTOM +48V

PAD

26dB126dB226dB326dB426dB526dB626dB726dB826dB926dB1026dB1126dB

–60–16

+10 –34

GAIN

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1

AUX 2 AUX 3 AUX 4

HOME

SEL

–60–16

PAN/

ROUTING

SEL

+10 –34

GAIN

–60–16

+10 –34

GAIN

FUNCTION

MEMORY

SEL

–60–16

+10 –34

GAIN

SEL

OFF

15/16 2TR IN

HIGH

HI-MID

LO-MID

LOW

1 RETURN 2

SELSEL

–10dBV (UNBAL)

MONITOR 2TR IN

LEVEL LEVELGAIN

MONITOR

OUT

SEL

OUT

2TR

L STEREO R

CLIP

–12 –15 –18 –24 –30 –36 –42 –48

PHONES

–3 –6 –9

SOLO

–60–16

–60–16 –20+10 100 100

+10 –34

GAIN

DIGITAL MIXING CONSOLE

PAN

15/16

SEL

13/14 15/16

SELECTED CHANNEL

STEREO

MASTER

–20+10

GAIN

PAN

SOLO

40 60

17 18 19 20 21 22 23 24

The individual sections of the 01V are explained on the following pages.

SOLO

13/14

40 60

15/16

–5 –10 –15 –20

–30 –40

–50 –70

–

STEREO

MASTER

SOLO SOLO

ON ON

–1/DEC

PARAMETER

ENTER

MEMORY

+1/INC

CURSOR

01V—Owner’s Manual

Page 23

Analog Control Section

1 2 3

Top Panel Controls 15

PAD

26dB

+10 –34

GAIN

26dB226dB326dB426dB526dB626dB726dB826dB926dB1026dB1126dB

–60–16

+10 –34

GAIN

–60–16

+10 –34

GAIN

+10 –34

GAIN

+10 –34

GAIN

–60–16

4 5 6

A PAD switches

These switches are used to turn on and off the 26 dB input pads. See “Pad Switches” on page 41 for more information.

B 15/16–2TR IN Switch

This switch is used to select the signal source for input channels 15 and 16: phone jacks 15 and 16 (15/16) or the 2TR IN phono jacks (2TR IN).

C MONITOR–2TR IN Switch

This switch is used to select the signal source for the monitor out and phones: Monitor bus (MONITOR) or 2TR IN phono jacks (2TR IN).

D GAIN controls

These controls are used to adjust the gain of the input preamps. See “Setting Input Channel Gain” on page 41 for more information.

+10 –34

GAIN

–60–16

–60–16 –20+10 –20+10 –20+10

–20+10

+10 –34

GAIN

13/14 15/16 PHONES

15/16 2TR IN

MONITOR 2TR IN

LEVEL LEVELGAIN

MONITOR

OUT

E MONITOR OUT LEVEL control

This control is used to adjust the monitor out level.

F PHONES LEVEL control

This control is used to adjust the phones level.

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16 Chapter 3—Touring the 01V

Display, Selected Channel Controls & Meters

DIGITAL MIXING CONSOLE

L STEREO R

CLIP

–3 –6

–9 –12 –15 –18 –24 –30 –36 –42 –48

FUNCTION

MEMORY

1 RETURN 2

HIGH

PAN

HI-MID

LO-MID

LOW

SELECTED CHANNEL

2 3

A Display

This 320 x 80 dot LCD display 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 and fader positions. The display also shows EQ curves and signal level meters. See “Display” on page 28 for more information.

B SELECTED CHANNEL Controls

These controls are used to adjust the pan and EQ of the selected channel. Dedicated rotary controls for PAN, EQ frequency (F) and EQ gain (G), and EQ [HIGH], [HI-MID], [LO-MID], and [LOW] buttons make for quick operation. When the EQ AUTO SCREEN option is turned on, and an EQ control is adjusted, the EQ page appears automatically. Likewise, for the PANPOT AUTO SCREEN option and PAN control. See “Setting 01V Preferences” on page 203 for more information.

C Contrast

This control is used to adjust the display contrast. Adjust it so that the display is clear and easy-to-read from your viewing position. You may need to readjust it when viewing the display from a different height or angle.

D Stereo Output Meters

These 12-segment LED bar-type meters display the stereo output signal levels.

Parameter Wheel, Cursors & Enter

–1/DEC

PARAMETER

ENTER

These controls are used to navigate around the display pages and edit parameters. See “Getting Around the User Interface” on page 27 for more information.

+1/INC

CURSOR

01V—Owner’s Manual

Page 25

Top Panel Controls 17

Function Buttons

UTILITY MIDI SETUP VIEW

DYNAMICS EQ/ATT Ø/DELAY

PAN/

ROUTING

Function buttons are used to access the following function pages. Related pages are grouped together and can be selected by repeatedly pressing a button. The name of the selected function and its page number appear in the top-left corner of the display.

Button Pages

UTILITY

MIDI

SETUP

VIEW

DYNAMICS

EQ/ATT

ø/DELAY

PAN/ROUTING

MEMORY

Oscillator, Preferences-1, Preferences-2

MIDI Setup, Program Change, Control Change, Bulk, Local Control

Word Clock Select, Monitor/Solo Setup, Group, Pair, Dither

Channel View, Fader View, CH Copy

Dynamics Edit, Dynamics Library

EQ Edit, EQ Library

Phase, Input Delay 1–8, Input Delay 9–16, Output Delay

Panpot, Routing, Bus Master, Omni Out Select

Memory, Fade Time, Memory Sort, Recall Safe

MEMORY

Fader Mode Buttons

FADER MODE

EFFECT 1 EFFECT 2 OPTION I/O REMOTE

AUX 1

AUX 2 AUX 3 AUX 4

HOME

Fader mode buttons are used to select the following fader modes and display pages. Pressing buttons repeatedly selects the various pages that are available for a mode. The name of the selected function and its page number appear in the top-left corner of the display.

Button Pages

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE

AUX 1

AUX 2

AUX 3

AUX 4

HOME

Effect1 Edit, Effect1 Library, Effect1 Pre/Post

Effect2 Edit, Effect2 Library, Effect2 Pre/Post

Option In Meter, Channel Control, Option Out Meter, Option Out Select, Input Swap

Internal Parameter, MMC Control, User Deﬁne

Pre/Post, Aux 1-2 Pan

Pre/Post, Aux 3-4 Pan

Input Meter, Rtn/Output Meter, Omni Out Meter, St Out Meter, Metering Point

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18 Chapter 3—Touring the 01V

SEL, SOLO, ON buttons & Faders

SEL

SOLO

40 60

17 18 19 20 21 22 23 24

SEL

SOLO

SEL

SOLO

232221201918

SEL

SOLO

A SEL buttons

The [SEL] buttons are used to select channels for parameter editing: input channels 1 through 24, effects returns 1 and 2, aux sends 1 through 4, effects sends 1 and 2, and the stereo output. Press [SEL] button 13/14 or 15/16 repeatedly to select input channels 13 and 14 or 15 and 16, respectively. Since most functions on input channels 13 and 14 (likewise 15 and 16) are linked together, the only time you’ll need to select either channel 13 or channel 14 (likewise 15 or 16) is to set the Phase or Pan for a channel individually. The number of the selected channel appears in the lower-right corner of the display. See “Display” on page 28 for more information.

Normally, [SEL] buttons 1 through 8 select channels 1 through 8. When the [OPTION I/O] button is pressed, however, they select input channels 17 through 24, which are only available when an Option I/O card is installed. See “SEL Buttons” on page 32 for more information. The [SEL] buttons 1 through 6 are also used to transmit MMC (MIDI Machine Control) Locate commands when REMOTE page 2 is displayed. Finally, [SEL] buttons are also used to make and break channel pairs (“Pairing Input Channels” on page 52) and fader and mute groups (“Grouping Faders” on page 55 and “Grouping Mutes” on page 56).

SOLO

SEL

MASTER

SEL

1 RETURN 2

SEL SEL

STEREO

15/16

13/14

MASTER

SOLO SOLO

ON ON

SOLO

13/14

40 60

15/16

–5 –10 –15 –20

–30 –40

–50 –70

–

STEREO

B SOLO buttons

The [SOLO] buttons are used to solo channels: input channels 1 through 16 and effects returns 1 and 2. Normally, [SOLO] buttons 1 through 8 select channels 1 through 8. When the [OPTION I/O] button is pressed, however, they select input channels 17 through 24, which are only available when an Option I/O card is installed. See “Solo Buttons” on page 33 for more information.

The [SOLO] buttons 1 through 16 can also be used as MIDI controllers on REMOTE page 3. See “User Deﬁned MIDI Controllers” on page 238 for more information.

C ON buttons

The [ON] buttons are used to turn channels on and off: input channels 1 through 24, effects returns 1 and 2, aux sends 1 through 4, effects sends 1 and 2, and the stereo out-

01V—Owner’s Manual

Page 27

Top Panel Controls 19

put. Normally, [ON] buttons 1 through 8 select channels 1 through 8. When the [OPTION I/O] button is pressed, however, they select input channels 17 through 24, which are only available when an Option I/O card is installed. See “ON Buttons” on page 34 for more information.

The [ON] buttons 1 through 16 and master can be assigned to various internal parameters on REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See “Assigning Faders & On Buttons” on page 194 and “User Deﬁned MIDI Controllers” on page 238 for more information.

D Faders

Depending on the selected fader mode, the 01V’s 60 mm motorized faders are used to control channel levels, aux send levels, or effects sends levels. Normally, faders 1 through 8 control channels 1 through 8. When the [OPTION I/O] button is pressed, however, they control input channels 17 through 24, which are only available when an Option I/O card is installed. See “Faders (plus Return Rotary Controls)” on page 35 for more information.

E RETURN Controls

The RETURN controls are used to adjust the effects return levels, and their positions are displayed in the lower-left corner of the display.

F SOLO Status Indicator

The SOLO status indicator lights up when a channel is soloed.

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20 Chapter 3—Touring the 01V

Inputs & Outputs

Input and output connectors are located on the top and rear panels.

Top Panel

PHANTOM +48V

OFF

INPUT (BAL)

PHANTOM +48V

OFF

–10dBV (UNBAL)

IN OUT

2TR

1 2

A INPUT (BAL) 1–12

Input channels 1 through 12 feature balanced XLR-3-31-type and balanced phone jack connectors, both with a nominal input range of –60 dB to +10 dB. Phantom powering (+48 V) is supplied to the XLR connectors, with master on/off switches for connectors 1 through 6 and 7 through 12. Phone jacks, which can also be used with unbalanced phone plugs, have priority over the XLR-type connectors, so when a phone plug is inserted, the XLR-type connector is disconnected. With their high sensitivity and 26 dB PAD switches, these inputs can handle a wide range of signals, from condenser microphones to “hot” line levels.

Male XLR plug

1 (ground)

3 (cold)

1/4" TRS phone plug

Ring (cold)

PHONES

53 4

Tip (hot)

B INPUT (BAL) 13–16

Input channels 13 through 16 feature balanced phone jack connectors, with a nominal input range of –20 dB to +10 dB. These inputs are designed for use with line-level sources, and can also be used with unbalanced phone plugs. The stereo outputs of an external effects processor or other stereo device can be connected here.

2 (hot)

1/4" TRS phone plug

Sleeve (ground)

Tip (hot)

Ring (cold)

Sleeve (ground)

01V—Owner’s Manual

Page 29

C 2TR IN

These are phono jacks with a –10 dBV nominal input level. Signals input here can be monitored via the monitor out and phones when the MONITOR–2TR IN switch is set to 2TR IN. The stereo outputs of a master recorder can be connected here for conﬁdence monitoring and master playback.

By setting the 15/16–2TR IN switch to 2TR IN, 2TR IN signals can be fed to input channels 15 and 16 for mixing with other signals.

D 2TR OUT

These are phono jacks with a –10 dBV nominal output level. The 2TR OUT signal is the same as the stereo out signal. A cassette deck, DAT, or MiniDisc deck connected here can be used to record the stereo mix.

E PHONES

This is a stereo (TRS) phone jack, to which a pair of stereo headphones can be connected for monitoring. The phones signal is the same as the monitor out signal, and the level is set using the phones level control.

Inputs & Outputs 21

Phono plug

1/4" TRS phone plug

Ring (right)

Sleeve (ground)

Tip

Sleeve

Tip

Sleeve

Tip (left)

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22 Chapter 3—Touring the 01V

Rear Panel

1 2 3 4 2 65 7 8

PHANTOM +48V

MONITOR OUT

CH 7-12

OFF ON OFF

OMNI OUT

+4dB (BAL)+4dB (BAL)

34LR21

A MONITOR OUT

These are balanced 1/4-inch phone jacks with a +4 dB nominal output level. Balanced or unbalanced phone plugs can be connected. They output the monitor signals and should be connected to the inputs on a monitor ampliﬁer. The monitor signal source is set using the MONITOR–2TR IN switch and SETUP page 2, and the output level is set using the MONITOR LEVEL control.

CH 1-6

STEREO OUT

+4dB (BAL)

POWER

ON/ OFF

COAXIAL

OUT IN

THRU

OUT IN

OPTION I/O

9 J

1/4" TRS phone plug

TO HOSTMIDIDIGITAL STEREO

Tip (hot)

Ring (cold)

Sleeve (ground)

B PHANTOM +48V ON–OFF Switches

The CH 1–6 and CH 7–12 PHANTOM +48V ON–OFF switches are used to turn on and off the +48 V phantom power for XLR inputs 1 through 6 and 7 through 12, respectively.

C OMNI OUTs

These are balanced 1/4-inch phone jacks with a +4 dB nominal output level. Balanced or unbalanced phone plugs can be connected. These outputs can be conﬁgured individually as analog bus outs, aux sends, stereo outs, or direct outs for input channels 1 through 16. Bus outputs are typically connected to multitrack recorders, while aux sends are typically used to feed external effects processors, foldback ampliﬁers, and so on.

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

01V—Owner’s Manual

Page 31

Inputs & Outputs 23

D STEREO OUT

These are balanced XLR-3-32-type connectors with a +4 dB nominal

Female XLR plug

output level. They are wired pin 1–ground, pin 2–hot (+), and pin 3–cold (–). They output the main stereo mix.

If you need to connect the balanced ST OUT to an unbalanced phone jack input, use a cable with the following wiring scheme (i.e., XLR pins 3 and 1 linked).

Tip (hot)

1/4" phone plug

Female XLR plug

2 (hot)

3 (cold)

1 (ground)

3 (cold)

Sleeve (ground)

E DIGITAL STEREO OUT

This phono jack outputs the main stereo mix as Coaxial format 24-bit digital audio, allowing digital transfer to a DAT, MiniDisc deck, or other digital recorder.

F DIGITAL STEREO IN

This phono jack accepts 24-bit Coaxial format digital audio. Signals input here can be fed directly to the Stereo bus for stereo cascade operation (i.e., two mixers working together), or to input channels 13 and 14.

G MIDI IN, OUT, THRU

These are standard MIDI IN, OUT, and THRU ports and are used to connect the 01V to other MIDI equipment for remote control and data backup. The MIDI IN port receives MIDI messages, while the MIDI OUT port transmits them. The MIDI THRU port transmits all MIDI messages received at the MIDI IN port.

H TO HOST

This 8-pin mini DIN port is used to connect the 01V to a personal computer for use with MIDI software. It eliminates the need for a computer MIDI interface, and together with the MIDI ports allows the 01V to be used as a MIDI interface for other MIDI equipment.

I POWER switch

This switch is used to turn on and off the 01V. It’s recessed to prevent accidental operation.

1 (ground)

J OPTION I/O slot

An Option I/O card can be installed here, providing access to the 01V’s eight digital inputs and outputs. See “About Option I/O Cards” on page 216.

01V—Owner’s Manual

Page 32

01V—Owner’s Manual

INPUT (BAL)

1-12

INPUT (BAL)

Pad

26dB

1-6, 7-12

GAIN

HA AD

GAIN

HA AD

PHANTOM

+48V

FLIP

AUX

AUX1

AUX2

AUX3

AUX4

EFF1

EFF2

AUX1

AUX2

AUX3

AUX4

EFF1

EFF2

BUS

4321

Meter

4-Band

Dynamics

PEQ

ATT

Meter

4-Band

Dynamics

PEQ

ATT

4-Band

Dynamics

PEQ

Delay

Meter

Delay

CH Fader

PAN

AUX/EFF

PRE/POST

OUTPUT

SELECT

PAN*

AUX/EFF

PRE/POST

OUTPUT

SELECT

EFF 121234

Meter

4-Band

PEQ

4-Band

PEQ

PAN

4-Band

PEQ

Meter

Dynamics

TO ST

Meter

Dynamics

BALANCE

BUS

master fader

AUX

master fader

Delay

LISTEN

Meter

Dither

STEREO OUT

BUS 1-4

1-4

AUX 1-4

1-4

OUTPUT SELECT

2TR OUT

STEREO OUT

DIGITAL STEREO OUT

MONI

Block Diagram

24 Chapter 3—Touring the 01V

DIGITAL STEREO IN

INPUT (BAL)

De-emphasis

GAIN

ON/OFF

to MONI

Meter

15/16 2TR IN

from 2TR IN

4-Band

PEQ

ATT

4-Band

PEQ

Same as INPUT 13

Same as INPUT 14

*PAN: INDIVIDUAL/GANG/INV. GANG

DIGITAL

from

STEREO IN

Effect send 1/2

master fader

ST CASCADE IN

LISTEN

to INTERNAL

EFFECT 1, 2

MONITOR

Page 33

INPUT

1-8

(BAL)

Option I/O

17-24

This section is available only when an optional Option I/O card is installed.

Unchanged

De-emphasis

or DC Cut

from EFF1

Meter

SWAP

Meter

Internal Effect 1

BUS

4321

Unchanged

2-Band

PEQ

ATT

Meter

4-Band

PEQ

4-Band

PEQ

CH Fader

EFF RTN

Rotary

AUX/EFF

PRE/POST

AUX/EFF

PRE/POST

PAN

AUX1

AUX2

EFF1

EFF2

PAN*

AUX1

AUX2

AUX3

AUX4

EFF2

STEFFAUX

121234

from

STEREO L STEREO R BUS 1

BUS 4 AUX 1

AUX 4 CH 1 CH 2

CH 15 CH 16

STEREO L STEREO R BUS 1

BUS 4 AUX 1

AUX 4 CH 1 CH 2

CH 15 CH 16

Option I/O

Output Select

OMNI OUT

Select

Meter

Delay

Option

I/O

Dither

Option I/O

OUT

1-4

OMNI OUT

1-8

01V—Owner’s Manual

from EFF2

Waveform

1kHz

10kHz

PINK

BURST

100Hz

Meter

OSC

Internal Effect 2

LEVEL

Same as Effect 1

*PAN: INDIVIDUAL/GANG/INV. GANG

EFF1

to INPUT 15, 16

2TR IN

MONI

TRIM

from MONI

MONO

MONITOR 2TR IN

LEVEL

MONITOR OUT

PHONES

Block Diagram 25

Page 34

Getting Around the User Interface 27

Getting Around the User Interface

In this chapter...

About the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Display Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Cursor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

PARAMETER Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

–1/DEC & +1/INC Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

ENTER Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Title Edit Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

01V—Owner’s Manual

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28 Chapter 4—Getting Around the User Interface

About the User Interface

Thanks to a user-friendly interface, 01V operation is both logical and intuitive. The 320 x 80 dot LCD display provides clear indication of mix settings and operating status, while dedicated SELECTED CHANNEL controls allow for quick EQ and pan adjustments. Operation of the multifunction faders depends on the selected Fader mode. Mixing functions and conﬁguration settings are organized into display pages, with up to ﬁve related pages being grouped together. For example, the MIDI Setup and Program Change pages are grouped together under MIDI. Parameter selection and editing is carried out using the [CURSOR], [ENTER], [–1/DEC] and [+1/INC] buttons, and PARAMETER wheel, which is detented for precise and accurate editing.

Display

The 320 x 80 dot LCD display 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 and fader positions. The display also shows EQ curves and signal level meters. The various sections of the display are explained below.

Page area

Function

Memory

Effects Returns

Selected channel

Function—This area of the display shows the name of the function

selected using the Function and Fader mode buttons. Functions are divided into pages, which are identiﬁed by numbered tabs, as shown here. In this example, page 1 of the VIEW function is selected. The following functions can be selected.

Function Buttons Fader Mode Buttons

UTILITY EFFECT 1

MIDI EFFECT 2

SETUP OPTION I/O

VIEW REMOTE

DYNAMICS AUX 1

EQ/ATT AUX 2

ø/DELAY AUX 3

PAN/ROUTING AUX 4

MEMORY HOME

01V—Owner’s Manual

Page 36

Display 29

Memory—This area of the display shows the number and title of the

selected scene memory, whether that scene memory is read only or write protected (indicated by the closed padlock icon), and whether or not the contents of the Edit Buffer have been edited. See “Scene Memory Display Area” on page 185 for more information. Also in the Memory area are the MIDI and HOST indicators, which appear when MIDI data is received at the MIDI IN or TO HOST port, respectively. See “MIDI Receive Indicators” on page 224 for more information.

Effects Returns—This area of the display shows two control icons,

which indicate the positions of the RETURN level controls, and the type of effects selected for the two onboard effects processors: Effect 1 and Effect 2. When the EFFECT 1 or EFFECT 2 Fader mode is selected, the corresponding control icon is highlighted.

Selected channel—This area of the display shows three control icons:

Pan, EQ frequency (F), and EQ gain (G), which indicate the pan, EQ frequency, and EQ gain of the selected channel. Below these is the selected channel indicator, showing which channel is currently selected. The following channels can be selected.

CH1 through CH24—Input channels 1 through 24

•

• ST—Stereo output

• RTN1, RTN2—Effects returns 1 and 2

• AUX1 through AUX4—Aux sends 1 through 4

• EFF1, EFF2—Effects sends 1 and 2

• 1–16, MAS—Remote function channels

When channels 13 through 16, the effects return channels, or paired input channels from 1 through 12 are selected, dotted lines appear to the right of these control icons when an odd or left channel is selected. Similarly, dotted lines appear to the left, as shown here, when an even or right channel is selected.

Page area—This area of the display is where the various setup, utility, and mixing

function pages appear. As well as showing parameter values numerically, faders and rotary controls are represented graphically, so you can actually see pan and fader positions. See “Display Elements” on page 30 for more information. An example page is shown below.

01V—Owner’s Manual

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30 Chapter 4—Getting Around the User Interface

Nominal

Display Elements

This section explains the various control elements that appear on display pages.

Switches

Switches appear as boxes with a shadowed outline (i.e., a thicker outline on the right side and bottom).

Simple on/off-type switches are highlighted when they are turned on. In this example, the [ST] switch is on.

The labels inside some switches change when they turned on and off, as these phase switches show.

For option-type switches, only one switch can be on at a time. In this example, the monitor source can be set to either stereo out or ST CASCADE IN, but not both.

To operate a switch, use the cursor buttons to select it, and the [ENTER] button or [–1/DEC] and [+1/INC] buttons to turn it on or off.

Rotary Controls

Some parameters appear as rotary controls, as this example from the PANPOT page shows. To adjust a rotary control, use the cursor buttons to select it and use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to adjust it.

Parameter Boxes

Some parameters appear in parameter boxes (i.e., dotted-line boxes), as this example from the EFFECT1 EDIT page shows. To adjust a parameter box parameter, use the cursor buttons to select it, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set it. Parameter boxes that require you to conﬁrm new settings ﬂash until you press the [ENTER] button.

Faders

Pages such as VIEW and BUS MASTER display faders graphically. To adjust a fader, use the cursor buttons to select it, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set it. Fader knobs appear highlighted when set to the nominal position.

01V—Owner’s Manual

Page 38

Cursor Buttons

Cursor Buttons 31

The cursor buttons are used to move the cursor around the display pages, selecting parameters and options. The cursor appears as a ﬂashing box, making it easy to see which parameter or option is currently selected. Holding down a cursor button moves the cursor continuously in the respective direction.

PARAMETER Wheel

The PARAMETER wheel is used to adjust parameter values, scroll through scene memory and library programs, and position the cursor when titling scene memories, effects programs, and so on. Its detented action gives it a positive feel, allowing quick and accurate parameter editing. Turning it clockwise increases parameter values; turning it counterclockwise decreases them.

–1/DEC & +1/INC Buttons

Like the PARAMETER wheel, the [–1/DEC] and [+1/INC] buttons are used to adjust parameter values, scroll through scene memory and library programs, and position the cursor when titling scene memories, effects programs, and so on. The [–1/DEC] button is used to decrement values, while the [+1/INC] button is used to increment them. Holding down the [–1/DEC] or [+1/INC] button sweeps through a parameter’s adjustable range. When titling memories or programs, the [–1/DEC] button is used to toggle between uppercase, lowercase, and numerals, while the [+1/INC] button is used to insert spaces.

–1/DEC +1/INC

PARAMETER

CURSOR

PARAMETER

ENTER Button

The [ENTER] button is used to activate parameter settings selected using the [CURSOR] buttons, and set on/off-type parameters, such as EQ ON/OFF. It’s also used to conﬁrm settings and enter characters when titling scene memories, effects programs, and so on. On the EQ page, the [ENTER] button is used solely to turn the EQ on and off.

ENTER

01V—Owner’s Manual

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32 Chapter 4—Getting Around the User Interface

Fader Modes

The 01V [SEL], [SOLO], and [ON] buttons, channel faders, and STEREO (MASTER) fader are multifunction controls, and their exact operation depends on the selected Fader mode. Operation of these controls is shown in the following tables.

SEL Buttons

The [SEL] buttons are used to select channels for EQ, Pan, Dynamics, and Routing operations. The following channels can be selected:

• CH1 through CH24—Input channels 1 through 24

ST—Stereo output

•

RTN1, RTN2—Effects returns 1 and 2

•

AUX1 through AUX4—Aux sends 1 through 4

•

EFF1, EFF2—Effects sends 1 and 2

•

1–16, MAS—Remote function channels

•

The [SEL] buttons are also used to make and release channel pairs and fader and mute groups (“Grouping Faders” on page 55 and “Grouping Mutes” on page 56).

Fader Mode

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE 1

REMOTE 2

REMOTE 3

SEL button

1–8

[17–24]

CH 17–24

select

MMC (1–6) —

9–12 13/14

15/16

CH 1–16 select

——STEREO select

Internal parameter assign select —

User deﬁned MIDI controller select —

STEREO

[MASTER]

STEREO OUT

select

AUX 1

master select

AUX 2

master select

AUX 3

master select

AUX 4

master select

EFFECT 1

master select

EFFECT 2

master select

RETURN 1/2

select

Input Channel [SEL] button Examples

To select the EQ function for input channel 3, press the [HOME] button, and then press [SEL] button 3 (CH3 appears in the bottom right corner of the display). Use the SELECTED CHANNEL F and G controls to adjust the EQ. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To select the Pan function for input channel 13, press the [HOME] button, and then press [SEL] button 13/14 repeatedly until CH13 appears on the display. Use the SELECTED CHANNEL PAN control to adjust the pan. Since most functions on input channels 13 and 14 (likewise 15 and 16) are linked, the only time you’ll need to select these channels individually is to set the Phase or Pan. (If a fader mode other than

01V—Owner’s Manual

Page 40

Fader Modes 33

Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To select the EQ function for input channel 20, press the [OPTION I/O] button, and then press [SEL] button 20 (CH20 appears on the display). Use the F and G controls to adjust the EQ.

Master [SEL] Button Examples

To select the stereo output, press the [HOME] button, and then press the MASTER [SEL] button (ST appears in the bottom right corner of the display).

To select the AUX 1 master, press the [AUX 1] button, and then press the MASTER [SEL] button (AUX1 appears on the display).

To select the EFFECT 1 master, press the [EFFECT 1] button, and then press the MASTER [SEL] button (EFF1 appears on the display).

Solo Buttons

The [SOLO] buttons are used to solo channels for monitoring. See “Solo Setup” on page 80 for more information. The following channels can be soloed:

• CH1 through CH24—Input channels 1 through 24

RTN1, RTN2—Effects returns 1 and 2

•

SOLO button

Fader Mode

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE 1

REMOTE 2

REMOTE 3

1–8

[17–24]

CH 17–24

solo

User deﬁned MIDI controller —

9–12 13/14

15/16

CH 1–16 solo

———

—

RETURN 1/2

solo

The [SOLO] buttons 1 through 16 can be used as MIDI controllers on REMOTE page

3. See “User Deﬁned MIDI Controllers” on page 238 for more information.

Usage Examples

To solo input channel 3, press the [HOME] button, and then press [SOLO] button 3. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To solo input channels 13/14, press the [HOME] button, and then press [SOLO] button 13/14. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To solo input channel 20, press the [OPTION I/O] button, and then press [SOLO] button 20.

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34 Chapter 4—Getting Around the User Interface

ON Buttons

The [ON] buttons are used to turn channels on or off. They work with the following channels:

• CH1 through CH24—Input channels 1 through 24

ST—Stereo output

•

RTN1, RTN2—Effects returns 1 and 2

•

• AUX1 through AUX4—Aux sends 1 through 4

EFF1, EFF2—Effects sends 1 and 2

•

The bus outs can be turned on or off on PAN/ROUT page 4.

Fader Mode

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE 1

REMOTE 2

REMOTE 3

1–8

[17–24]

CH 1–16 On/Off

CH 17–24

On/Off

Assigned internal parameters —

MMC (1–6) —

User deﬁned MIDI controllers —

ON button

9–12 13/14

15/16

master On/Off

——

STEREO

[MASTER]

STEREO OUT

On/Off

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

STEREO OUT

On/Off

RETURN 1/2

On/Off

01V—Owner’s Manual

On buttons 1 through 16 and master can be assigned to various internal parameters on REMOTE page 1, or used as MIDI controllers on REMOTE page 3. See “Assigning Faders & On Buttons” on page 194 and “User Deﬁned MIDI Controllers” on page 238 for more information.

Input Channel [ON] button Examples

To turn on or off input channel 3, press the [HOME] button, and then press [ON] button 3. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To turn on or off input channels 13/14, press the [HOME] button, and then press [ON] button 13/14. (If a fader mode other than Option I/O or Remote is selected, it’s not necessary to press the [HOME] button.)

To turn on or off input channel 20, press the [OPTION I/O] button, and then press [ON] button 20.

Master [ON] Button Examples

To turn on or off the stereo output, press the [HOME] button, and then use the MASTER [ON] button.

To turn on or off the AUX 1 send master, press the [AUX 1] button, and then use the

Page 42

Fader Modes 35

MASTER [ON] button.

To turn on or off the EFFECT 1 send master, press the [EFFECT 1] button, and then use the MASTER [ON] button.

Faders (plus Return Rotary Controls)

The faders are used to adjust channel levels.

Fader Rotary Control

Fader Mode

HOME

AUX 1

AUX 2

AUX 3

AUX 4

EFFECT 1

EFFECT 2

OPTION I/O

REMOTE 1

REMOTE 2

REMOTE 3

1. Effects return 1 cannot be fed to effect send 1

2. Effects return 2 cannot be fed to effect send 2

1–8

[17–24]

CH 1–16 AUX 1 send level

CH 1–16 AUX 2 send level

CH 1–16 AUX 3 send level

CH 1–16 AUX 4 send level

CH 1–16 EFFECT 1 send level

CH 1–16 EFFECT 2 send level

CH 17–24

level

9–12 13/14

CH 1–16 level

——

Assigned internal parameters —

User deﬁned MIDI controllers —

15/16

—

STEREO

[MASTER]

STEREO

master level

AUX 1

master level

AUX 2

master level

AUX 3

master level

AUX 4

master level

EFFECT 1

master level

EFFECT 2

master level

STEREO

master level

RETURN 1/2

RETURN 1/2 levels

RETURN 1/2 AUX

1 send levels

RETURN 1/2 AUX

2 send levels

RETURN 1/2 AUX

3 send levels

RETURN 1/2 AUX

4 send levels

RETURN 1 level

RETURN 2 EFFECT

1 send level

RETURN 1 EFFECT

2 send level

RETURN 2 level

RETURN 1/2 levels

Input Channel Level Examples

To adjust the level of input channel 3, press the [HOME] button, and then operate fader

To adjust the level of input channel 13/14, press the [HOME] button, and then operate fader 13/14.

To adjust the level of input channel 20, press the [OPTION I/O] button, and then operate fader 20.

Input Channel Aux Send Examples

To adjust the aux 1 send level of input channel 3, press the [AUX 1] button, and then operate fader 3.

To adjust the aux 1 send level of input channel 13/14, press the [AUX 1] button, and then operate fader 13/14.

01V—Owner’s Manual

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36 Chapter 4—Getting Around the User Interface

To adjust the aux 1 send level of input channel 20, use the [OPTION I/O] button to locate OPTION page 2, press [SEL] button 20, use the cursor buttons to select the AUX 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons.

Note: Aux send levels for input channels 17 through 24 can only be set using the virtual faders on OPTION page 2.

Input Channel Effects Send Examples

To adjust the Effect 1 send level of input channel 3, press the [EFFECT 1] button, and then operate fader 3.

To adjust the Effect 1 send level of input channel 13/14, press the [EFFECT 1] button, and then operate fader 13/14.

To adjust the Effect 1 send level of input channel 20, use the [OPTION I/O] button to locate OPTION page 2, press [SEL] button 20, use the cursor buttons to select the EFFECT 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons.

Note: Effects send levels for input channels 17 through 24 can only be set using the virtual faders on OPTION page 2.

Master Level Examples

To adjust the level of stereo out, press the [HOME] button, and then operate the MASTER fader.

To adjust the AUX 1 master send level, press the [AUX 1] button, and then operate the MASTER fader.

To adjust the EFFECT 1 master send level, press the [EFFECT 1] button, and then operate the MASTER fader.

To adjust the BUS OUT 1 master send level, use the [PAN/ROUT] button to locate PAN/ROUT page 3, use the cursor buttons to select the BUS 1 fader, and then adjust it using the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons.

Note: Bus out master levels can only be set using the virtual faders on PAN/ROUT page 3.

01V—Owner’s Manual

Page 44

Title Edit Dialog Box 37

Title Edit Dialog Box

The Title Edit dialog box is used to title mix scenes, EQ programs, dynamics programs, and effects programs. Program titles can be up to 12 characters, scene memory titles up to 8 characters.

1. Use the cursor buttons to position the cursor in the title window.

2. Use the PARAMETER wheel to select characters.

3. Use the cursor buttons to select the following switches, and press the [ENTER] button to execute their functions.

INS—Insert a space at the cursor position and moves subsequent characters to the

right. Characters moved beyond the right edge of the title window are lost.

DEL—Delete the character at the cursor position and move subsequent characters to

the left.

4. Use the [+1/INC] button to enter a space at the cursor position.

5. Use the [–1/DEC] button to toggle the character at the cursor position between uppercase, lowercase, and numerals.

6. Press the [ENTER] button to store.

01V—Owner’s Manual

Page 45

In this chapter...

Input Channels 39

Input Channels

Input Channel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Phantom Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pad Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Setting Input Channel Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Changing the Input Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Attenuating Input Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Applying EQ to Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Input Channels Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Muting Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Monitoring Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & the Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Input Channels & the Option I/O Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Swapping Inputs 1–8 & 17–24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Grouping Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Grouping Mutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Copying & Swapping Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Input Channel Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

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40 Chapter 5—Input Channels

Input Channel Overview

This section provides an overview of 01V input channels.

Input Channels 1–12

XLR INPUT (balanced)

XLR-3-31-type and balanced phone jack connectors, both with a nominal input range of –60 dB to +10 dB. Phantom powering (+48 V) is supplied to the XLR connectors, with master on/off switches for connectors 1 through 6 and 7

Input channels 1 through 12 feature balanced

Phone jack INPUT

(balanced)

through 12. Phone jacks, which can also be used with unbalanced phone plugs, have priority over the XLR-type connectors, so when a phone plug is inserted, the XLR-type connector is disconnected. Inputs 1 through 8 can be swapped with inputs 17 through 24. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

Input Channels 13–16

Phone jacks INPUT

(balanced)

Apart from being stereo, input channels 13/14 and 15/16 offer the same features as input channels 1 through 12. Normally, the input signals for input channels 13 and 14 are derived from phone jack inputs 13 and 14. By using the CH13-14 FLIP function on PAN/ROUT page 4, however, the DIGITAL STEREO IN signals can be fed to input channels 13 and 14. See “Digital Stereo In” on page 213 for more information. Similarly, the input signals for input channels 15 and 16 are normally derived from phone jack inputs 15 and 16. By using the 15/16–2TR IN switch, however, the 2TR IN signals can be fed to input channels 15 and 16. See “Two-track Input (2TR IN)” on page 77 for more information.

01V—Owner’s Manual

Input Channels 17–24

OPTION I/O

Input channels 17 through 24 do not have analog input connectors, a pad switch, gain control, or direct out. They are somewhat simpler than input channels 1 through 16 in that they feature only an attenuator, two-band parametric EQ, and can be assigned to aux sends 1 and 2, but not aux sends 3 and 4. Input channels 17 through 24 are accessed through the digital inputs of the Option I/O slot. See “About Option I/O Cards” on page 216 for more information. Inputs 17 through 24 can be swapped with inputs 1 through

8. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

Page 47

Phantom Powering

Phantom Powering 41

CH 1-6

ON OFF

Input channels 1 through 12 feature +48 V phantom powering for use with condenser-type microphones. Phantom powering is supplied to the balanced XLR-3-31-type connector, and can be switched for inputs 1 through 6 and inputs 7 through 12. Phantom powering should be turned on only when

CH 7-12

ON OFF

a condenser-type microphone is connected.

Warning: Make sure that phantom powering is turned off when connecting an unbalanced source to an XLR input.

Pad Switches

Input channels 1 through 12 feature 26 dB pad switches. Input pads attenu-

26dB

ate the input signal by 26 dB, allowing the input preamp to work with high-level signals. You may need to use a pad with “hot” signals from bass or snare drum microphones, or “hot” line-level signals. PAD switch settings are not stored in scene memories.

Setting Input Channel Gain

GAIN controls adjust the gain of the input channel preamps. They’re used to optimize the input signal level for the best signal-to-noise performance, and should be set in conjunction with the level meters on the HOME pages. Ideally, the GAIN control should be set so that the signal level is relatively high, and it’s okay 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 care. If it’s set too low, the signal-to-noise performance will suffer. If it’s set too high, unpleasant signal clipping and distortion may occur.

The GAIN controls on input channels 1 through 12 are designed for use with microphone signals, and have an input sensitivity of –16 dB to –60 dB. Used in conjunction with the 26 dB PAD switches, however,

–60–16

+10 –34

GAIN

these channels can also be used with line-level signals and “hot” microphone signals. With the pad switch on, input sensitivity is +10 to –34 dB. A detented action allows for accurate repeat setting.

The GAIN controls on input channels 13 through 16 are designed for use

with line-level signals, and have a gain range of –10 dB to 20 dB.

–20+10

GAIN

GAIN control settings are not stored in scene memories.

Metering Input Channels

Signal levels can be metered on the HOME pages. See “Metering Signal Levels” on page 83 for more information.

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42 Chapter 5—Input Channels

Changing the Input Phase

The Phase switches, available on input channels 1 through 16, reverse the phase of input signals by 180 degrees. This can be used to compensate for incorrectly wired balanced cables and microphones. Also, when a snare drum is miked top and bottom, the channel connected to the bottom microphone can be phase reversed to prevent signal cancellation.

1. Use the [∅/DELAY] button to locate DELAY page 1, as shown below.

2. Use [SEL] buttons 1 through 16 to select channels.

Phase switches can also be selected using the cursor buttons.

3. Use the [ENTER] button, or the [–1/DEC] and [+1/INC] buttons to set the phase of the selected channel to normal or reversed.

Normal phase

Reversed phase

The Phase switches on input channels 13 and 14 (likewise 15 and 16) are not linked, and can be set independently. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their Phase switches continue to work independently.

Input channels 17 through 24 do not have Phase switches.

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Attenuating Input Channel Signals 43

Attenuating Input Channel Signals

Input channels 1 through 24 are ﬁtted with digital attenuators, which can be used to attenuate input signals from 0 dB to –96 dB in 1 dB steps.

For Input Channels 1–16

1. Use the [EQ/ATT] button to locate EQ page 1, as shown below.

2. Use [SEL] buttons 1 through 16 to select channels.

3. Use the cursor buttons to select the ATT control, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to adjust it.

The Attenuation functions on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their attenuators are linked, so adjustments can be made with either channel selected.

The Attenuation function can be used to compensate for signal level increases caused by EQ boosting or dynamics processing. Although such signals can be reduced using the GAIN controls, doing so would adversely affect the performance of the A/D converters, which need a reasonable signal level in order to maximize signal-to-noise performance. Since the digital attenuators are located after A/D conversion, they can be used to attenuate signals without affecting performance.

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the ATT control, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to adjust it.

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44 Chapter 5—Input Channels

Applying EQ to Input Channels

Input channels 1 through 16 feature four-band parametric EQ, while input channels 17 through 24 feature two-band parametric EQ. See “EQ” on page 61 for more information. EQ can be turned on or off and the EQ curve viewed on the EQ page and VIEW page. See “Viewing Input Channel Settings” on page 57 for more information.

Input Channels Dynamics Processors

Input channels 1 through 16 feature a dynamics processor. See “Dynamics Processors” on page 161 for more information. The dynamics can be turned on or off and the dynamics curve viewed on the Dynamics page and VIEW page. See “Viewing Input Channel Settings” on page 57 for more information.

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Delaying Channel Signals 45

Delaying Channel Signals

The Channel Delays, available on input channels 1 through 16, can be used to compensate for microphone placement, or simply as delay effects. The delay parameters for input channels 1 through 8 are on DELAY page 2, while those for input channels 9 though 16 are on DELAY page 3. Both pages are shown below.

1. Use the [∅/DELAY] button to locate DELAY page 2 or 3, as shown below.

2. Use the [SEL] buttons to select channels.

3. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Parameter Range Description

ON/OFF

DELAY

MIX

FB. GAIN

ON/OFF These switches are used to turn on and off the delays.

Delay can be speciﬁed in milliseconds, meters, or samples (“Setting 01V Preferences” on page 203). The maximum

0–250 ms

–100 to +100

–99 to +99

delay in samples is ﬁxed at 11025. The maximum delay in milliseconds and meters depends on the sampling rate. At

44.1 kHz, for example, it is 250 milliseconds and 85.2 meters, respectively.

This parameter determines the level of delayed signal. 0 is no delay. +50 is a 50/50 mix of delayed and dry signals. +100 is all delay, no dry. Negative values are the same except the delayed signal is phase reversed.

This parameter determines how much of the delayed signal is fed back into the delay. 0 is no feedback. +99 is maximum feedback. Negative values are the same except the feedback signal is phase reversed.

The Channel Delays on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their Channel Delays are linked, so adjustments can be made with either channel selected.

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46 Chapter 5—Input Channels

Muting Input Channels

Input channels can be turned on and off (i.e., muted) using the [ON] buttons. When a channel is on, its [ON] button lights up.

To turn on or off an input channel from 1 through 16, select a fader mode other than Option I/O or Remote, and then press an [ON] button from 1 through 16.

To turn on or off an input channel from 17 through 24, press the [OPTION I/O] button, and then press an [ON] button from 17 through 24.

The [ON] buttons on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their [ON] buttons are linked.

ON buttons can be grouped together for multi-channel muting using a single [ON] button. See “Grouping Mutes” on page 56 for more information.

Setting Input Channel Levels

Input channel levels are controlled using the motorized 60 mm faders.

40 60

To adjust the level of an input channel from 1 through 16, press the [HOME] button, and then operate a fader from 1 through 16.

To adjust the level of an input channel from 17 through 24, press the [OPTION I/O] button, and then operate a fader from 17 through 24.

Faders operation depends on the selected Fader mode. See “Faders (plus Return Rotary Controls)” on page 35 for more information. The selected fader mode is shown on the display. See “Display” on page 28 for more information.

The faders on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their faders are linked.

Faders can be grouped together for multi-channel control using a single fader. See “Grouping Faders” on page 55 for more information.

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Panning Input Channels 47

Panning Input Channels

The Panpots, available on input channels 1 through 24 (and the effects returns), are used to pan signals between the left and right channels of the stereo out, and the odd and even bus outs. Panpots can be adjusted using the SELECTED CHANNEL PAN control, the quickest method, or the panpot pages in conjunction with the cursor buttons, [–/DEC] and [+/INC] buttons, and PARAMETER wheel.

HIGH

For quick panning, select a channel and use the PAN control.

For Input Channels 1–16 & the Effects Returns

1. Use the [SEL] buttons to select channels.

To select input channel 13 or 14 (likewise 15 or 16), press [SEL] button 13/14 (15/16) repeatedly. The number of the currently selected channel appears on the display. To select the left or right channel of effects return 1 (likewise effects return 2), press [SEL] button RETURN 1 (RETURN 2) repeatedly. As these channels are selected, the letter “R” or “L” appears on the display next to the panpot icon.

PAN

HI-MID

LO-MID

LOW

SELECTED CHANNEL

2. Use the PAN control to pan the selected channel.

If the PANPOT AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the PAN/ROUT page shown below appears, and the Home fader mode is selected. This page can also be located using the [PAN/ROUTING] button.

Panpots can be adjusted on this page by using the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons. In addition to the [SEL] buttons, panpots on the PAN/ROUT page can be selected using the cursor buttons.

For Input Channels 17–24

1. Press the [OPTION I/O] button.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the PAN control to pan the selected channel.

If the PANPOT AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the OPTION page shown below appears. This page can also

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48 Chapter 5—Input Channels

be located using the [OPTION I/O] button.

Panpots can also be adjusted on this page by using the cursor buttons to select the PAN control and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set it.

Including center, there are 33 pan positions.

Hard left

L16←···←L3←L2←L1←CENTER→R1→R2→R3→···→R16

Center

Hard right

Input channels 1 through 12 and 17 through 24 feature a single panpot, as shown here.

Input channels 13/14 and 15/16 (and the effects returns) feature dual panpots, with the inner panpots being odd-numbered channel pans 13 and 15 (effects returns left), and the outer panpots being even-numbered channel pans 14 and 16 (effects returns right). When working with stereo signals, these dual panpots can be used to adjust the width of stereo signals, as shown below.

With the inner control set at L16 and the outer control set at R16, as shown here, the width of a stereo signal is 100%.

With both controls set at CENTER, as shown here, the width of the stereo signal is zero (i.e., mono).

Setting the controls to positions in between these two extremes allows you to set the width of the stereo signal. To maintain a central balance, however, you must set both controls to corresponding values. For example, L8 and R8, or L10 and R10.

Pan Modes

The three Pan modes, INDIVIDUAL, GANG, and INV. GANG, determine how the panpots operate on input channels 13/14, 15/16 (and the effects returns), and paired input channels 1 through 12. Since input channels 17 through 24 cannot be paired, they are not affected by the Pan modes.

1. Use the cursor buttons to select the MODE parameter, and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select a mode.

INDIVIDUAL—In this mode, panpots function independently.

GANG—In this mode, panpots are ganged (i.e., linked) together.

INV. GANG—In this mode, panpots are ganged together but operation is

inverted (i.e., panpots move in opposite directions).

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Routing Input Channels 49

Routing Input Channels

The Routing switches, available on input channels 1 through 24 (and the effects returns), are used to route signals to the four bus outs, stereo out, and direct outs.

For Input Channels 1–16 & the Effects Returns

1. Use the [PAN/ROUTING] button to locate PAN/ROUT page 2, as shown below.

2. Use the [SEL] buttons to select channels.

3. Use the cursor buttons to select the Routing switches and the [ENTER] button to set them.

For Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the Routing switches and the [ENTER] button to set them.

A highlighted Routing switch indicates that a channel has been routed.

Input channels 1 through 12 have four bus out routing switches (1, 2, 3, 4), a stereo out routing switch (ST), and a direct out routing switch (D). The latter switch is turned on automatically when an input channel is selected as the source for an Option I/O out on OPTION page 4. Likewise, when an input channel is selected as the source for an Option I/O out on OPTION page 4, the corresponding D switch on the PAN/ROUT page is turned on. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

Input channels 13 through 24 (and the effects returns) have four bus out routing switches (1, 2, 3, 4) and a stereo out routing switch (ST).

Routing switches work in conjunction with Panpots to feed signals through to the left and right channels of the stereo out and the odd and even bus outs. The following table

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50 Chapter 5—Input Channels

shows how it works.

Routing Pan Signal Destination

The Routing switches on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their Routing switches are not linked.

Monitoring Input Channels

Input channels can be monitored using the monitor out or phones. See “Monitor Setup” on page 78 for more information.

Signals are fed equally to bus outs 1 and 2 and the left and right channels of the stereo out.

Signals are fed to bus out 1 and the left channel of the stereo out.

Signals are fed to bus out 2 and the right channel of the stereo out.

Input Channels & Aux Sends

Signals from input channels 1 through 16 can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2. Input channel sends can be conﬁgured as either pre-fader or post-fader sends. When aux sends are paired, aux send panpots become available on each input channel. See “Aux Sends” on page 93 for more information.

Input Channels & the Omni Outs

Direct signals from input channels 1 through 16 can be selected for the omni outs. See “Omni Outs” on page 115 for more information. Note that OMNI OUTs are not affected by the D switches on the PAN/ROUT page 2.

Input Channels & the Option I/O Outs

Input channels 1 through 16 can be selected as sources for the Option I/O outs. See “Routing Input Channels” on page 49 and “About Option I/O Cards” on page 216 for more information.

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Swapping Inputs 1–8 & 17–24 51

Swapping Inputs 1–8 & 17–24

The inputs to channels 1 through 8 can be swapped with those of input channels 17 through 24 either individually or altogether. This allows signals from the Option I/O digital inputs to make use of the 4-band EQ, dynamics processors, and other functions of full-feature input channels 1 through 8.

1. Use the [OPTION I/O] button to locate OPTION page 5, as shown below.

2. Use the cursor buttons to select the GLOBAL or individual SWAP switches, and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Swap switches appear highlighted when channels are swapped.

When channels are swapped, their meter numbers appear highlighted on HOME page 1 and OPTION page 1, as shown below. When a swapped channel is selected, the selected channel area of the display alternately shows the channel number and “SWAP”, also shown below.

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52 Chapter 5—Input Channels

Pairing Input Channels

Input channels 1 through 12 can be paired together for stereo signal processing. Adjacent odd and even input channels can be paired together (i.e., 1/2, 3/4, 5/6, not 2/3 or 4/5). The following parameters are linked when channels are paired: attenuators, EQ, dynamics, delays, [ON], and [SEL] buttons, faders, aux sends, effects sends, and pre/post settings. Routing switches, [SOLO] buttons, phase, panpots, aux panpots, and fade time on/off are not linked. Panpot operation depends on the selected Pan mode. See “Pan Modes” on page 48 for more information.

Making Input Channel Pairs

1. Press the [SEL] button of both input channels simultaneously.

Use the [SETUP] button to locate SETUP page 4, as shown below, and use the cursor buttons to select channel pairs, and then press the [ENTER] button.

The following dialog box appears.

CH 1 –> 2—Copy the settings of input channel 1 to input channel 2.

CH 2 –> 1—Copy the settings of input channel 2 to input channel 1.

RESET BOTH—Reset both input channels to their initial settings.

2. Use the cursor buttons to select a pairing mode, and then press the [ENTER] button.

The highlighted switch and STEREO label show that the input channels are now conﬁgured as a stereo pair.

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Pairing Input Channels 53

Releasing Input Channel Pairs

1. Press the [SEL] button of both input channels simultaneously.

On SETUP page 4, use the cursor buttons to select the paired channel switch, and then press the [ENTER] button.

The following dialog box appears.

2. Select OK, and then press the [ENTER] button.

The stereo pair is broken, and both input channels operate independently.

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01V—Owner’s Manual

CH INPUT 1, 3...11 (odd channels)

Unchanged

CH INPUT 2, 4...12 (even channels)

Unchanged

Meter

ATT

4-Band

PEQ

4-Band

PEQ

Dynamics

Delay

CH Fader

AUX1

AUX2

EFF1

EFF2

PAN*

BUS

1234

AUX EFF ST

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54 Chapter 5—Input Channels

Input Channel Pair Block Diagram

AUX/EFF

PRE/POST

*PAN: INDIVIDUAL/GANG/INV. GANG

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Grouping Faders 55

Grouping Faders

Input channel faders 1 through 16 can be grouped together in fader groups for multi-channel control using a single fader. Three groups are available: A, B, and C.

Making Fader Groups

1. Use the [SETUP] button to locate SETUP page 3, as shown below.

2. Use the up and down cursor buttons to select the fader groups, and the [SEL] buttons to add and remove faders to and from that group.

Channels cannot be in more than one group at a time.

Input channels 13/14, 15/16, and paired input channels 1 through 12 (“Pairing Input Channels” on page 52) are added and removed together.

Operate only one fader in a group at a time. If you attempt to adjust two or more faders in the same group, the fader motors may malfunction due to the increased load.

Enabling & Disabling Fader Groups

Fader groups can be enabled and disabled using the ENABLE switches. Disabling a group allows you to adjust faders without removing them from the group.

1. Use the up and down cursor buttons to select the fader group that you want to disable: A, B, or C.

2. Use the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to enable or disable the selected group.

Fader group enabled

Fader group disabled

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56 Chapter 5—Input Channels

Grouping Mutes

Input channel [ON] buttons 1 through 16 can be grouped together in mute groups for multi-channel control using a single button. Three groups are available: D, E, and F. Mute groups may contain on channels and off channels, making it easy to toggle between channels. When switched, on channels go off and off channels come on.

Making a Mute Group

1. Use the [SETUP] button to locate SETUP page 3, as shown below.

2. Use the up and down cursor buttons to select the mute groups, and the [SEL] buttons to add and remove channels to and from that group.

Channels cannot be in more than one group at a time.

Input channels 13/14, 15/16, and paired input channels 1 through 12 (“Pairing Input Channels” on page 52) are added and removed together.

Enabling & Disabling Mute Groups

Mute groups can be enabled and disabled using the ENABLE switches. Disabling a group allows you to set channels without removing them from the group.

1. Use the up and down cursor buttons to select the mute group that you want to disable: D, E, or F.

2. Use the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to enable or disable the selected group.

Mute group enabled

Mute group disabled

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Viewing Input Channel Settings 57

Viewing Input Channel Settings

Settings for input channels 1 through 16 can be viewed, and certain parameters adjusted on VIEW pages 1 and 2. Settings for input channels 17 through 24 can be viewed and adjusted on OPTION page 2.

Input Channels 1–16

1. Use the [VIEW] button to locate VIEW page 1 or 2

VIEW pages for input channels 1 through 12 appear as below.

VIEW pages for input channels 13/14 and 15/16 appear as below.

2. Use [SEL] buttons 1 through 16 to select channels.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

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58 Chapter 5—Input Channels

Input Channels 17–24

1. Use the [OPTION I/O] button to locate OPTION page 2, as shown below.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

Most of the parameters for input channels 17 through 24 can be set only on OPTION page 2.

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Copying & Swapping Channel Settings 59

Copying & Swapping Channel Settings

The Channel Copy function is used to copy input channel settings from one channel to another. The Channel swap function is used to swap input channel settings between channels. Copy and Swap can be used with input channels 1 through 16.

1. Use the [VIEW] button to locate the VIEW page shown below.

2. Use the cursor buttons and PARAMETER wheel to select the SOURCE and DESTINATION channels.

3. Use the cursor buttons and [ENTER] button to select a CATEGORY.

ALL—All input channel settings.

EQ—EQ settings.

DELAY—Delay settings.

DYNAMICS—Dynamics settings.

FADER—Fader settings.

4. Use the cursor buttons to select COPY or SWAP, and the [ENTER] button to execute the function.

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60 Chapter 5—Input Channels

Input Channel Block Diagram

1-6,

INPUT (BAL)

1-12

Pad

26dB

7-12

PHANTOM

GAIN

+48V

ATT

4-Band

PEQ

Meter

Dynamics

Meter

Delay

Meter

AUX

BUS

4321

CH Fader

PAN

AUX/EFF

PRE/POST

OUTPUT

SELECT

AUX1

AUX2

AUX3

AUX4

EFF1

EFF2

EFF

121234

INPUT (BAL)

DIGITAL STEREO IN

INPUT (BAL)

GAIN

De-emphasis

GAIN

HA AD

Pad

15/16 2TR IN

Meter

4-Band

Dynamics

PEQ

ATT

4-Band

Dynamics

PEQ

FLIP

Meter

ATT

4-Band

PEQ

4-Band

PEQ

Delay

Same as INPUT 13

Same as INPUT 14

CH Fader

PRE/POST

ON/OFF

AUX/EFF

OUTPUT

SELECT

PAN*

AUX1

AUX2

AUX3

AUX4

EFF1

EFF2

to MONI

from 2TR IN

INPUT

1-8

(BAL)

Option I/O

17-24

   ฀         

Unchanged

De-emphasis

or DC Cut

SWAP

01V—Owner’s Manual

Meter

ATT

2-Band

PEQ

Unchanged

CH Fader

AUX/EFF

PRE/POST

*PAN: INDIVIDUAL/GANG/INV. GANG

PAN

AUX1

AUX2

EFF1

EFF2

Page 67

In this chapter...

EQ 61

EQ

About the 01V EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Adjusting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

EQ Specs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Bypassing the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Resetting the EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Preset EQ Program List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Storing EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Recalling EQ Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Editing EQ Program Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Preset EQ Program Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

01V—Owner’s Manual

Page 68

62 Chapter 6—EQ

About the 01V EQ

Input channels 1 through 16, the effects returns, aux sends, and stereo out all feature four-band parametric EQ, with variable gain, frequency, Q, and ON/OFF parameters. Input channels 17 through 24 feature a simpliﬁed two-band parametric EQ. See the “Block Diagram” on page 24 for the exact location of each EQ section. The high and low bands of each EQ can be used as shelving, peaking, or HPF (High-Pass Filter) and LPF (Low-Pass Filter), respectively.

EQ settings can be stored in the EQ library as programs, or with all mix settings in mix scenes. The EQ library consists of 40 preset programs and 40 user programs. User programs allow you to store frequently used EQ settings, which can be titled for easy identiﬁcation. The unique collection of preset EQ programs are designed for speciﬁc applications and instruments, and provide a good reference and starting point when making EQ adjustments. The EQ library cannot be used with the 2-band EQs on input channels 17 through 24. See “EQ Library” on page 67 for more information.

The EQs on input channels 13 and 14 (likewise 15 and 16) are permanently linked. When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their EQs are linked.

The EQ parameters and response curve for input channels 1 through 16, the effects returns, aux sends, and stereo out appear on the EQ page shown below.

The EQ parameters and response curve for input channels 17 through 24 appear on the OPTION page shown below.

The quickest way to adjust the EQ is by using the SELECTED CHANNEL controls shown below.

HIGH

PAN

HI-MID

LO-MID

LOW

SELECTED CHANNEL

01V—Owner’s Manual

Page 69

Adjusting the EQ 63

Adjusting the EQ

EQ can be adjusted using the SELECTED CHANNEL controls, the quickest method, or the EQ pages in conjunction with the cursor buttons, [–/DEC] and [+/INC] buttons, and PARAMETER wheel.

HIGH

PAN

HI-MID

For quick EQ'ing select a channel and use the EQ controls.

For Input Channels 1–16

1. Use [SEL] buttons 1 through 16 to select channels.

2. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the EQ page shown below appears, and the Home fader mode is selected. This page can also be located using the [EQ/ATT] button.

LO-MID

LOW

SELECTED CHANNEL

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

For Input Channels 17–24

1. Press the [OPTION I/O] button.

2. Use [SEL] buttons 17 through 24 to select channels.

3. Use the [HIGH] and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

If the EQ AUTO SCREEN option is turned on in the preferences (“Setting 01V Preferences” on page 203), the OPTION page shown below appears. This page can also be located using the [OPTION I/O] button.

01V—Owner’s Manual

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64 Chapter 6—EQ

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

For Effects Returns 1 & 2

1. Use the effects returns [SEL] buttons to select effects returns 1 and 2.

2. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

For Aux Sends 1–4

1. Use the Fader Mode AUX buttons to select an aux send.

2. Press the MASTER [SEL] button.

3. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

When aux sends are paired (“Pairing Aux Sends” on page 101), their EQs are linked.

01V—Owner’s Manual

Page 71

Adjusting the EQ 65

For the Stereo Output

1. Press the [HOME] button.

2. Press the MASTER [SEL] button.

ST is the selected channel.

3. Use the [HIGH], [HI-MID], [LO-MID], and [LOW] buttons to select EQ bands, and the F and G controls to adjust the frequency and gain, respectively.

The EQ can also be adjusted on this page by using the cursor buttons to select parameters and the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to set them.

01V—Owner’s Manual

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66 Chapter 6—EQ

EQ Specs

The following table contains the EQ specs.

Gain (G)

Frequency (F)

1. Four-band EQs only (low and high bands only on input channels 17 through 24).

2. When the low and high EQ bands are conﬁgured as HPF and LPF, their gain controls

Bypassing the EQ

The selected channel’s EQ can be turned on or off using the EQ ON switch on the EQ page (OPTION page 2 for channels 17 through 24), or the [ENTER] button. While the EQ page is displayed, the [ENTER] button turns the EQ on or off regardless of the cursor position.

Low

21 Hz–20.1 kHz (1/12 octave steps, 120 steps)

HPF, 10.0–0.10

(41 steps),

L.SHELF

function as ﬁlter on and off switches.

Lo-Mid

–18.0 dB to +18.0 dB (0.5 dB steps)

10.0–0.10 (41 steps)

Hi-Mid

High

LPF, 10.0–0.10

(41 steps),

H.SHELF

ENTER

Resetting the EQ

To reset all the EQ parameters on the selected channel to their initial values, press the [HIGH] and [LOW] buttons simultaneously.

The following table contains the initial EQ values.

Low

Gain (G)

Frequency (F)

1. Four-band EQs only (low and high bands only on input channels 17 through 24).

0 dB 0 dB 0 dB 0 dB

125 Hz 1.00 kHz 4.00 kHz 10.0 kHz

L.SHELF 0.70 0.70 H.SHELF

Lo-Mid

Hi-Mid

High

01V—Owner’s Manual

Page 73

EQ Library 67

EQ Library

EQ settings can be stored as programs in the EQ library, which contains 40 preset programs (1–40) and 40 user programs (41–80). User programs allow you to store frequently used EQ settings, and they can be titled for easy identiﬁcation. The EQ library can also be used to transfer settings from one EQ to another. For example, the stereo out EQ settings could be stored as a library program and then recalled to an aux send EQ. The unique collection of preset EQ programs are designed for speciﬁc applications and instruments, and provide a good reference and starting point when making EQ adjustments. See page 71 for a complete list of the preset EQ programs.

The EQ library is controlled from the EQ Library page shown below. Use the [EQ/ATT] button to locate this page.

As each program is selected, its EQ curve appears in the EQ CURVE window. Above this are signal level meters for the selected channel.

Preset EQ Program List

# Title # Title

01 Bass Drum 1 21 A.G.Stroke 2

02 Bass Drum 2 22 A.G.Arpeg. 1

03 Snare Drum 1 23 A.G.Arpeg. 2

04 Snare Drum 2 24 Brass Sec.

05 Tom-tom 1 25 Male Vocal 1

06 Cymbal 26 Male Vocal 2

07 High Hat 27 Female Vo. 1

08 Percussion 28 Female Vo. 2

09 E.Bass 1 29 Chorus&Harmo

10 E.Bass 2 30 Total EQ 1

11 Syn.Bass 1 31 Total EQ 2

12 Syn.Bass 2 32 Total EQ 3

13 Piano 1 33 Bass Drum 3

14 Piano 2 34 Snare Drum 3

15 E.G.Clean 35 Tom-tom 2

16 E.G.Crunch 1 36 Piano 3

17 E.G.Crunch 2 37 Piano Low

18 E.G.Dist. 1 38 Piano High

19 E.G.Dist. 2 39 Fine-EQ Cass

20 A.G.Stroke 1 40 Narrator

01V—Owner’s Manual

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68 Chapter 6—EQ

Storing EQ Programs

EQ programs are stored on the EQ Library page. You can store EQ settings to user programs 41 to 80. Preset programs 1 through 40 are read only.

1. Use the [EQ/ATT] button to locate the EQ Library page shown below.

2. Use the [SEL] buttons to select the channel whose EQ settings you want to store as a program.

You can select input channels 1 through 16, the effects returns, aux sends, or stereo out. You cannot select input channels 17 through 24.

3. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select programs.

The program list order can be set using the LIBRARY LIST ORDER option in preferences (“Setting 01V Preferences” on page 203).

4. Use the cursor buttons to select STORE, and then press the [ENTER] button.

The Title Edit dialog box appears. If the STORE CONFIRMATION option is turned off in the preferences (“Setting 01V Preferences” on page 203), the Title Edit dialog box does not appear and the EQ program is stored.

5. Enter a title for the EQ program.

See “Title Edit Dialog Box” on page 37 for more information.

6. When you’ve ﬁnished, select OK, and then press the [ENTER] button.

The EQ program is stored.

01V—Owner’s Manual

Page 75

Recalling EQ Programs 69

Recalling EQ Programs

EQ programs are recalled on the EQ Library page. You can recall any one of the 40 preset and 40 user programs.

1. Use the [EQ/ATT] button to locate the EQ Library page shown below.

2. Use the [SEL] buttons to select the channel to which you want to recall the EQ program.

You can select input channels 1 through 16, the effects returns, aux sends, or stereo out. You cannot select input channels 17 through 24.

3. Use the PARAMETER wheel or [–1/DEC] and [+1/INC] buttons to select programs.

As each program is selected its EQ curve is displayed in the EQ CURVE window.

The program list order can be set using the LIBRARY LIST ORDER option in preferences (“Setting 01V Preferences” on page 203).

4. Use the cursor buttons to select RECALL, and then press the [ENTER] button.

The EQ program is recalled. If the RECALL CONFIRMATION option is turned on in the preferences (“Setting 01V Preferences” on page 203), a conﬁrmation dialog box appears. In this case, select OK, and then press the [ENTER] button to conﬁrm the recall.

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70 Chapter 6—EQ

Editing EQ Program Titles

The titles of stored EQ programs can be edited using the Title Edit function.

1. Use the [EQ/ATT] button to locate the EQ Library page shown below.

2. Use the PARAMETER wheel to select programs.

3. Use the cursor buttons to select TITLE EDIT, and then press the [ENTER] button.

The Title Edit dialog box appears.

4. Edit the program title.

See “Title Edit Dialog Box” on page 37 for more information.

5. When you’ve ﬁnished, select OK, and then press the [ENTER] button.

The new title is stored.

01V—Owner’s Manual

Page 77

Preset EQ Program Parameters 71

Preset EQ Program Parameters

# Title

01 Bass Drum 1

02 Bass Drum 2

03 Snare Drum 1

04 Snare Drum 2

05 Tom-tom 1

06 Cymbal

07 High Hat

08 Percussion

09 E.Bass 1

10 E.Bass 2

Parameter

LOW L-MID H-MID HIGH

PEAKING PEAKING PEAKING H.SHELF

+3.5 dB –3.5 dB 0.0 dB +4.0 dB

99 Hz 265 Hz 1.05 kHz 5.33 kHz

1.2 10 0.9 —

PEAKING PEAKING PEAKING LPF

+8.0 dB –7.0 dB +6.0 dB ON

79 Hz 397 Hz 2.52 kHz 12.6 kHz

1.4 4.5 2.2 —

PEAKING PEAKING PEAKING H.SHELF

–0.5 dB 0.0 dB +3.0 dB +4.5 dB

132 Hz 1.00 kHz 3.17 kHz 5.04 kHz

1.2 4.5 0.11 —

L.SHELF PEAKING PEAKING PEAKING

+1.5 dB –8.5 dB +2.5 dB +4.0 dB

177 Hz 334 Hz 2.37 kHz 4.00 kHz

— 10 0.7 0.1

PEAKING PEAKING PEAKING PEAKING

+2.0 dB –7.5 dB +2.0 dB +1.0 dB

210 Hz 667 Hz 4.49 kHz 6.35 kHz

1.4 10 1.2 0.28

L.SHELF PEAKING PEAKING H.SHELF

–2.0 dB 0.0 dB 0.0 dB +3.0 dB

105 Hz 420 Hz 1.05 kHz 13.4 kHz

— 8 0.9 —

L.SHELF PEAKING PEAKING H.SHELF

–4.0 dB –2.5 dB +1.0 dB +0.5 dB

94 Hz 420 Hz 2.82 kHz 7.55 kHz

— 0.5 1 —

L.SHELF PEAKING PEAKING H.SHELF

–4.5 dB 0.0 dB +2.0 dB 0.0 dB

99 Hz 397 Hz 2.82 kHz 16.9 kHz

— 4.5 0.56 —

L.SHELF PEAKING PEAKING H.SHELF

–7.5 dB +4.5 dB +2.5 dB 0.0 dB

35 Hz 111 Hz 2.00 kHz 4.00 kHz

— 5 4.5 —

PEAKING PEAKING PEAKING H.SHELF

+3.0 dB 0.0 dB +2.5 dB +0.5 dB

111 Hz 111 Hz 2.24 kHz 4.00 kHz

0.1 5 6.3 —

Description

Emphasizes the low range of a bass drum and the attack created by the beater.

Creates a peak around 80Hz, producing a tight, stiff sound.

Emphasizes snapping and rimshot sounds.

Emphasizes the ranges of that classic rock snare drum sound.

Emphasizes the attack of tom-toms, and creates a long, “leathery” decay.

Emphasizes the attack of crash cymbals, extending the “sparkling” decay.

Use on a tight high-hat, emphasizing the mid to high range.

Emphasizes the attack and clariﬁes the high-range of instruments, such as shakers, cabasas, and congas.

Makes a tight electric bass sound by cutting very low frequencies.

Unlike program 9, this program emphasizes the low range of an electric bass.

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72 Chapter 6—EQ

# Title

11 Syn.Bass 1

12 Syn.Bass 2

13 Piano 1

14 Piano 2

15 E.G.Clean

16 E.G.Crunch 1

17 E.G.Crunch 2

18 E.G.Dist. 1

19 E.G.Dist. 2

20 A.G.Stroke 1

Parameter

LOW L-MID H-MID HIGH

PEAKING PEAKING PEAKING H.SHELF

+3.5 dB +8.5 dB 0.0 dB 0.0 dB

83 Hz 944 Hz 4.00 kHz 12.6 kHz

0.1 8 4.5 —

PEAKING PEAKING PEAKING H.SHELF

+2.5 dB 0.0 dB +1.5 dB 0.0 dB

125 Hz 177 Hz 1.12 kHz 12.6 kHz

1.6 8 2.2 —

L.SHELF PEAKING PEAKING H.SHELF

–6.0 dB 0.0 dB +2.0 dB +4.0 dB

94 Hz 944 Hz 3.17 kHz 7.55 kHz

— 8 0.9 —

PEAKING PEAKING PEAKING H.SHELF

+3.5 dB –8.5 dB +1.5 dB +3.0 dB

223 Hz 595 Hz 3.17 kHz 5.33 kHz

5.6 10 0.7 —

PEAKING PEAKING PEAKING H.SHELF

+2.0 dB –5.5 dB +0.5 dB +2.5 dB

265 Hz 397 Hz 1.33 kHz 4.49 kHz

0.18 10 6.3 —

PEAKING PEAKING PEAKING PEAKING

+4.5 dB 0.0 dB +4.0 dB +2.0 dB

140 Hz 1.00 kHz 1.88 kHz 5.65 kHz

8 4.5 0.63 9

PEAKING PEAKING PEAKING H.SHELF

+2.5 dB +1.5 dB +2.5 dB 0.0 dB

125 Hz 445 Hz 3.36 kHz 19.0 kHz

8 0.4 0.16 —

L.SHELF PEAKING PEAKING H.SHELF

+5.0 dB 0.0 dB +3.5 dB 0.0 dB

354 Hz 944 Hz 3.36 kHz 12.6 kHz

— 910—

L.SHELF PEAKING PEAKING H.SHELF

+6.0 dB –8.5 dB +4.5 dB +4.0 dB

315 Hz 1.05 kHz 4.23 kHz 12.6 kHz

— 10 4 —

PEAKING PEAKING PEAKING H.SHELF

–2.0 dB 0.0 dB +1.0 dB +4.0 dB

105 Hz 1.00 kHz 1.88 kHz 5.33 kHz

0.9 4.5 3.5 —

Description

Use on a synth bass with emphasized low range.

Emphasizes the attack that is peculiar to a synth bass.

This is used to make a piano sound brighter.

Used in conjunction with a compressor, this program emphasizes the attack and low range of a piano sound.

Use for line-recording an electric guitar or semi-acoustic guitar to get a slightly hard sound.

Adjusts the tonal quality of a slightly distorted guitar sound.

A variation on program

16.

Makes a heavily distorted guitar sound clearer.

A variation on program

18.

Emphasizes the bright tones of an acoustic guitar.

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Page 79

Preset EQ Program Parameters 73

# Title

21 A.G.Stroke 2

22 A.G.Arpeg. 1

23 A.G.Arpeg. 2

24 Brass Sec.

25 Male Vocal 1

26 Male Vocal 2

27 Female Vo. 1

28 Female Vo. 2

29 Chorus&Harmo

30 Total EQ 1

Parameter

LOW L-MID H-MID HIGH

L.SHELF PEAKING PEAKING H.SHELF

–3.5 dB –2.0 dB 0.0 dB +2.0 dB

297 Hz 749 Hz 2.00 kHz 3.56 kHz

— 9 4.5 —

L.SHELF PEAKING PEAKING PEAKING

–0.5 dB 0.0 dB 0.0 dB +2.0 dB

223 Hz 1.00 kHz 4.00 kHz 6.72 kHz

— 4.5 4.5 0.12

L.SHELF PEAKING PEAKING H.SHELF

0.0 dB –5.5 dB 0.0 dB +4.0 dB

177 Hz 354 Hz 4.00 kHz 4.23 kHz

— 7 4.5 —

PEAKING PEAKING PEAKING PEAKING

–2.0 dB –1.0 dB +1.5 dB +3.0 dB

88 Hz 841 Hz 2.11 kHz 4.49 kHz

2.8 2 0.7 7

PEAKING PEAKING PEAKING PEAKING

–0.5 dB 0.0 dB +2.0 dB +3.5 dB

187 Hz 1.00 kHz 2.00 kHz 6.72 kHz

0.11 4.5 0.56 0.11

PEAKING PEAKING PEAKING H.SHELF

+2.0 dB –5.0 dB –2.5 dB +4.0 dB

167 Hz 236 Hz 2.67 kHz 6.72 kHz

0.11 10 5.6 —

PEAKING PEAKING PEAKING PEAKING

–1.0 dB +1.0 dB +1.5 dB +2.0 dB

118 Hz 397 Hz 2.67 kHz 5.99 kHz

0.18 0.45 0.56 0.14

L.SHELF PEAKING PEAKING H.SHELF

–7.0 dB +1.5 dB +1.5 dB +2.5 dB

111 Hz 334 Hz 2.00 kHz 6.72 kHz

— 0.16 0.2 —

PEAKING PEAKING PEAKING PEAKING

–2.0 dB –1.0 dB +1.5 dB +3.0 dB

88 Hz 841 Hz 2.11 kHz 4.49 kHz

2.8 2 0.7 7

PEAKING PEAKING PEAKING H.SHELF

–0.5 dB 0.0 dB +3.0 dB +6.5 dB

94 Hz 944 Hz 2.11 kHz 16.0 kHz

7 2.2 5.6 —

Description

A variation on program

20. You can also use it with a gutsy guitar sound.

Corrects arpeggio technique of an acoustic guitar.

A variation on program

22.

Use with trumpets, trombones, or sax. With one instrument, adjust the HIGH or H-MID frequency.

Use as a template for male vocal. Adjust the HIGH or H-MID setting according to the voice quality.

A variation on program

25.

Use as a template for female vocal. Adjust the HIGH or H-MID setting according to the voice quality.

A variation on program

27.

Use as a template for a chorus. It makes the entire chorus much brighter.

Use on a stereo mix during mixdown. Sounds even better when used with a compressor.

01V—Owner’s Manual

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74 Chapter 6—EQ

# Title

31 Total EQ 2

32 Total EQ 3

33 Bass Drum 3

34 Snare Drum 3

35 Tom-tom 2

36 Piano 3

37 Piano Low

38 Piano High

39 Fine-EQ Cass

40 Narrator

Parameter

LOW L-MID H-MID HIGH

PEAKING PEAKING PEAKING H.SHELF

+4.0 dB +1.5 dB +2.0 dB +6.0 dB

94 Hz 749 Hz 1.78 kHz 17.9 kHz

7 2.8 5.6 —

L.SHELF PEAKING PEAKING H.SHELF

+1.5 dB +0.5 dB +2.0 dB +4.0 dB

66 Hz 841 Hz 1.88 kHz 15.1 kHz

— 0.28 0.7 —

PEAKING PEAKING PEAKING PEAKING

+3.5 dB –10.0 dB +3.5 dB 0.0 dB

118 Hz 315 Hz 4.23 kHz 20.1 kHz

2 10 0.4 0.4

L.SHELF PEAKING PEAKING PEAKING

0.0 dB +2.0 dB +3.5 dB 0.0 dB

223 Hz 561 Hz 4.23 kHz 4.00 kHz

— 4.5 2.8 0.1

L.SHELF PEAKING PEAKING H.SHELF

–9.0 dB +1.5 dB +2.0 dB 0.0 dB

88 Hz 210 Hz 5.33 kHz 16.9 kHz

— 4.5 1.2 —

PEAKING PEAKING PEAKING H.SHELF

+4.5 dB –13.0 dB +4.5 dB +2.5 dB

99 Hz 472 Hz 2.37 kHz 10.0 kHz

8109—

PEAKING PEAKING PEAKING H.SHELF

–5.5 dB +1.5 dB +6.0 dB 0.0 dB

187 Hz 397 Hz 6.72 kHz 12.6 kHz

10 6.3 2.2 —

PEAKING PEAKING PEAKING PEAKING

–5.5 dB +1.5 dB +5.0 dB +3.0 dB

187 Hz 397 Hz 6.72 kHz 5.65 kHz

10 6.3 2.2 0.1

L.SHELF PEAKING PEAKING H.SHELF

–1.5 dB –18.0 dB +1.0 dB +3.0 dB

74 Hz 1.00 kHz 4.00 kHz 12.6 kHz

— 4.5 1.8 —

PEAKING PEAKING PEAKING H.SHELF

–4.0 dB –1.0 dB +2.0 dB 0.0 dB

105 Hz 707 Hz 2.52 kHz 10.0 kHz

4 7 0.63 —

Description

A variation on program

30.

A variation on program

30. Can also be used with stereo inputs or external effect returns.

A variation on program

1. The low and mid range is removed.

A variation on program

3. It creates a thick sound.

A variation on program

5. Emphasizes the mid and high range.

A variation on program

13.

Use for the low range of a piano sound recorded in stereo.

Use for the high range of a piano sound recorded in stereo.

Use when recording to or from cassette tape to make the sound clearer.

Use when recording narration.

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Page 81

Solo, Monitors & Meters

In this chapter...

Solo, Monitors & Meters 75

About Monitor & Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Monitor Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Two-track Input (2TR IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Monitor Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Using Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Monitor Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Solo Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Using Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Solo Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Metering Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Main Stereo Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Peak Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Setting the Metering Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Option I/O Meters (input channels 17–24) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Effects Send Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

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76 Chapter 7—Solo, Monitors & Meters

About Monitor & Solo

Flexible monitoring and solo functions mean the 01V can be used in a wide range of applications. All inputs and outputs can be monitored pre or post fader via the monitor out or phones. Recording Solo and Mixdown Solo modes allow quick monitoring of inputs channels and effects returns. Monitor and solo parameters appear on SETUP page 2 shown below.

When no channels are soloed, the signal source for the monitor out and phones is selected using the MONITOR SETUP parameters in the top half of this page. Selectable sources are: the stereo output, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Signals can be sourced pre-fader (PFL) or post-fader (AFL). Other parameters include monitor trim and a mono/stereo switch. See “Monitor Setup” on page 78 for more information.

The SOLO SETUP parameters in the bottom half of this page are used to conﬁgure the Solo function. Input channels 1 through 24 and the effects returns can be soloed using the [SOLO] buttons. Two Solo modes are available: Recording Solo and Mixdown Solo. The SEL MODE determines how signals from each channel are soloed: individually or mixed together. Signals can be sourced pre-fader (PFL) or post-fader (AFL). Other parameters include solo trim and a solo enable switch. See “Solo Setup” on page 80 for more information.

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Monitor Outputs 77

Monitor Outputs

Monitor and solo signals are output via the monitor out and phones connections. Make sure the MONITOR–2TR IN switch is set to MONITOR for monitoring. See “Two-track Input (2TR IN)” on page 77 for more information.

Monitor signals are converted to analog using 18-bit 8-times oversampling D/A converters, and then output via balanced 1/4-inch phone jacks with a +4 dB nominal output level.

The MONITOR OUT LEVEL control is used to adjust the level of the monitor out signal.

Phones

A pair of stereo headphones can be connected to the PHONES stereo (TRS) phone jack. The phones signal is the same as the monitor out signal.

The PHONES LEVEL control is used to adjust the level of the phones signal.

MONITOR OUT

+4dB(BAL)

100

LEVEL

MONITOR

OUT

PHONES

100

LEVEL

Two-track Input (2TR IN)

Signals connected via the 2TR IN jacks can be monitored via the MONITOR OUT and PHONES when the MONITOR–2TR IN switch is set to 2TR IN. The stereo outputs of a master recorder can be connected here for conﬁdence monitoring and master playback. The 2TR IN uses phono jacks with a –10 dBV nominal

input level.

By setting the 15/16–2TR IN switch to 2TR IN, 2TR IN signals can be fed to input channels 15 and 16 for mixing with other signals. Normally, the input signals for these input channels are derived from phone jack inputs 15 and 16.

The 2TR OUT jacks are explained on page 88.

PHONES

–10dBV (UNBAL)

IN OUT

2TR

MONITOR 2TR IN

15/16 2TR IN

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78 Chapter 7—Solo, Monitors & Meters

Monitor Setup

The signal source for the monitor out and phones is selected using the MONITOR SETUP parameters on SETUP page 2. Selectable sources are: the stereo output, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Since the Solo function has priority, these sources can be monitored only when the Solo function is off (i.e., no channels are soloed). Signals can be sourced pre-fader (PFL) or post-fader (AFL). Other parameters include monitor trim and a mono/stereo switch.

1. Use the [SETUP] button to locate SETUP page 2 shown below.

2. Use the cursor buttons to select the MONITOR SETUP parameters, and the PARAMETER wheel, [–1/DEC] and [+1/INC] buttons, and [ENTER] button to set them.

SOURCE—These switches are used to select the signal source for the monitor out and

phones. You can select the stereo out, stereo cascade in, aux sends 1 through 4, or bus outs 1 through 4. Several sources can be selected simultaneously.

LISTEN—This switch sets the monitor signal source to pre-fader (PFL) or post-fader

(AFL). It affects the stereo out, aux send, and bus out monitor sources. For example, when set to PFL, the stereo out can be monitored regardless of the position of the stereo master fader. When set to AFL, however, this fader must be raised in order to monitor the stereo out.

MONI TRIM—This parameter is used to adjust the level of the monitor signal from

–60 dB to +6 dB.

MONO—This switch sets the monitor and phone’s signals to mono (MONO) or ste-

reo (ST). When set to MONO, the left and right signals are summed together to form a mono mix, which is attenuated by –3 dB.

Using Monitor

To monitor, for example, the stereo out, proceed as follows.

1. Connect a monitoring system (amp, speakers) to the MONITOR OUT.

2. Make sure that the MONITOR–2TR IN switch is set to MONITOR.

3. Set the MONITOR OUT LEVEL control midway.

If you are using headphones, set the PHONES LEVEL control midway.

4. Use the [SETUP] button to locate SETUP page 2, explained previously.

5. Set the SOURCE to STEREO OUT.

If MONITOR SETUP LISTEN is set to AFL, the STEREO fader must be raised. Otherwise, you won’t hear anything.

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BUS

Monitor Block Diagram

EFFAUX

4321

121234

Meter

4-Band

PEQ

Dynamics

Delay

Monitor Block Diagram 79

Meter

2TR OUT

4-Band

PEQ

4-Band

PEQ

PAN

Meter

Dynamics

1-4

Meter

Dynamics

BALANCE

BUS

master fader

AUX

master fader

Delay

LISTEN

Meter

Dither

STEREO OUT

BUS 1-4

1-4

AUX 1-4

1-4

STEREO OUT

OUTPUT

SELECT

OUTPUT

SELECT

OUTPUT

SELECT

DIGITAL STEREO OUT

MONI

Monitor section

MONI TRIM

to INPUT 15, 16

2TR IN

MONO

from

DIGITAL STEREO IN

MONITOR 2TR IN

LISTEN

LEVEL

ST CASCADE IN

MONITOR OUT

PHONES

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80 Chapter 7—Solo, Monitors & Meters

Solo Setup

The Solo function, available on input channels 1 through 24 and the effects returns, is used to monitor channels individually. Two solo modes are available: Recording Solo and Mixdown Solo. These and conﬁgured using the SOLO SETUP parameters on SETUP page 2. Solo has priority over the sources selected using the MONITOR SETUP parameters. Channel signals can be soloed pre-fader (PFL) or post-fader (AFL). When input channels 1 through 12 are paired (“Pairing Input Channels” on page 52), their [SOLO] buttons continue to work independently.

1. Use the [SETUP] button to locate SETUP page 2 shown below.

2. Use the cursor buttons to select the MONITOR SETUP parameters, and the PARAMETER wheel, [–1/DEC] and [+1/INC] buttons, and [ENTER] button to set them.

SOLO—This switch is used to enable and disable the Solo function. When set to DIS-

ABLE, signals are not soloed, the [SOLO] indicator on the soloed channel lights up instead of ﬂashing, and the SOLO status indicator does not light up.

SOLO MODE—These switches are used to select the Solo mode: Recording Solo or

Mixdown Solo.

In Recording Solo mode, Soloed channel signals are fed to the Monitor bus and then output to the monitor out and phones. No other outputs are affected. Input channels that are turned off can also be soloed. If LISTEN is set to AFL, off channels are monitored PFL. This mode is typically used to monitor individual input signals in recording and sound reinforcement applications, and is useful for checking whether signals are clipping, or making EQ adjustments in isolation.

In Mixdown Solo mode, Soloed channels signals are fed to the Stereo bus and then output to the stereo output, monitor out, and phones. Non-soloed channels are muted. Only channels that are routed to the Stereo bus cab be soloed. For the purpose of soloing, channels that are turned off are turned on when soloed. This mode is typically used when adjusting individual channels during mixdown.

SEL MODE—These switches set the Solo Select mode. In LAST SOLO mode, only one

channels can be soloed at a time. In MIX SOLO mode, however, several channels can be soloed simultaneously.

LISTEN—This switches set the solo signal source to pre-fader (PFL) or post-fader

(AFL). It affects input channels 1 through 24 and the effects returns. This switch is not effective in Mixdown Solo mode because the monitor out and phones signals are sourced from the Stereo bus. In this mode, the MONITOR SETUP LISTEN switch can be used to select either PFL or AFL.

SOLO TRIM—This parameter is used to adjust the level of the solo signal from –60 dB

to +6 dB.

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Using Solo 81

Using Solo

Input channels 1 through 24 and the effects returns can be soloed as follows.

1. Connect a monitoring system (amp, speakers) to the MONITOR OUT.

2. Make sure that the MONITOR–2TR IN switch is set to MONITOR.

3. Set the MONITOR OUT LEVEL control midway.

If you are using headphones, set the PHONES LEVEL control midway.

4. Use the [SETUP] button to locate SETUP page 2, explained previously, and conﬁgure as necessary.

For Input Channels 1–16

5. Use [SOLO] buttons 1 through 16 to solo channels.

For Input Channels 17–24

6. Press the [OPTION I/O] button.

7. Use [SOLO] buttons 17 through 24 to solo channels.

For Effects Returns 1 & 2

8. Use the effects returns [SOLO] buttons to solo effects returns 1 and 2.

When a channel is soloed, its [SOLO] button and the main SOLO indicator ﬂash.

If SOLO SETUP LISTEN is set to AFL, you must raise the soloed channel’s fader. Otherwise, you won’t hear anything.

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01V—Owner’s Manual

Input channels 1 through 24 and the effects returns can be soloed. The stereo output, aux sends, bus outs, and stereo cascade input can be monitored when Solo is off.

RECORDING SOLO

1-12

17-24

13/14 15/16

EFF1, 2

Unchanged

Unchanged Unchanged

Unchanged

PAN

BUS

1234

AUX EFFLRST

432121

LISTEN

SOLO

MONI

SOLO

TRIM

MONO

Unchanged

MONITOR OUT

PHONES

82 Chapter 7—Solo, Monitors & Meters

Solo Block Diagram

MIX SOLO

1-12 17-24 13/14 15/16

EFF1, 2

Unchanged

Input channels 1 through 24 and effects returns that are turned off are temporarily turned on when soloed (Solo Safe channels are unaffected).

PAN

BUS

1234

AUX EFFLRST

432121

STEREO OUT: unchanged

BALANCE

LISTEN

SOLO

MONI

SOLO

TRIM

MONO

Unchanged

MONITOR OUT

PHONES

Page 89

Metering Signal Levels 83

Metering Signal Levels

Signal level meters for input channels 1 through 16, the effects returns, aux sends, bus outs, omni outs, and stereo output are provided on the HOME pages. The signal source points for input and output meters can be set on HOME page 5. Stereo output levels can be metered using the main stereo meters or the meters on HOME page 4. A Peak Hold function can be set globally for all meters. Meters for input channels 17 through 24 and the eight digital outputs (Option I/O) are available on the OPTION pages. All meters feature a CLIP indicator, which lights up when signals clip. If this happens, back off the levels, otherwise signal distortion may occur.

Input channels 1 through 16, the stereo output, aux sends, and effects sends can also be metered on the VIEW pages.

1. Use the [HOME] button to locate the following HOME pages.

Input channels 1–16

HOME page 1 displays signal level meters for input channels 1 through 16. The decibel value below each meter indicates the position of the corresponding channel fader. The highlighted numbers 1, 2, and 3 indicate that input channels 1, 2, and 3 have been swapped with input channels 17, 18, and 19. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

Meters for input channels 1 through 16 also appear on the VIEW pages. See “Viewing Input Channel Settings” on page 57 for more information.

Effects Returns, Aux Sends & Bus Outs

HOME page 2 displays signal level meters for the effects returns, aux sends, and bus outs. The decibel value below each meter indicates the position of the corresponding fader. The position of the stereo fader (ST) is also shown.

Meters for the effects returns also appear on the EFFECT and VIEW pages. See “Using the Effects” on page 123 and “Viewing Effects Returns Settings” on page 130. Meters for the aux sends also appear on the VIEW pages. See “Viewing Aux Send Settings” on page 98 for more information.

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84 Chapter 7—Solo, Monitors & Meters

Omni Outs

HOME page 3 displays signal level meters for the four omni outs. The source assigned to an omni out is displayed below its meters. These assignments are made on PAN/ROUT page 4. See “Assigning Omni Outs” on page 116 for more information.

Stereo Output

HOME page 4 displays signal level meters for the stereo output. Compared to the main stereo meters, these have a large scale from –72 dB to CLIP.

Meters for the stereo output also appear on the VIEW pages. See “Viewing Stereo Output Settings” on page 89 for more information.

Main Stereo Meters

L STEREO R

CLIP

–3 –6

–9 –12 –15 –18 –24 –30 –36 –42 –48

In addition to the meters on HOME page 4, stereo output levels are displayed on the dedicated 12-segment main stereo meters, with Peak Hold. The meters range from –48 dB to CLIP. If a CLIP LED does light, reduce the stereo output level to prevent signal distortion. The main stereo meters are not affected by the metering points on HOME page 5.

Peak Hold

The Peak Hold function works with the HOME, OPTION I/O, and main stereo meters. When it’s turned on, the meter segments lit by the loudest signal peaks remain on, providing an easy way to check for peak levels.

1. Use the PARAMETER wheel, [–1/DEC] and [+1/INC] buttons, or [ENTER] button to turn the Peak Hold function on or off.

To reset the Peak Hold function, turn it off and then on again.

01V—Owner’s Manual

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Setting the Metering Point 85

Setting the Metering Point

The metering points for input channels 1 through 16 and the effects returns can be set to either PRE EQ or PRE FADER. For the stereo output, aux send, and bus out meters it can be set to either POST EQ or POST ON. These settings do not affect the main stereo meters, which always meter POST ON signals.

1. Use the [HOME] button to locate HOME page 5, as shown below.

2. Use the cursor buttons to select the switches, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

INPUT—Used to set the meter source points for input channels 1 through 16 and the

effects returns to either PRE EQ or PRE FADER.

OUTPUT—Used to set the meter source points for the stereo output, aux send, and bus

out meters to either POST EQ or POST ON.

Option I/O Meters (input channels 17–24)

Signal level meters for input channels 17 through 24 and the Option I/O outputs are displayed on the OPTION pages.

1. Use the [OPTION I/O] button to locate the OPTION pages.

Signal level meters for inputs 17 through 24 are displayed on OPTION page 1, as shown below. The decibel value below each meter indicates the position of the corresponding fader. The highlighted numbers 20 and 22 indicate that input channels 20 and 22 have been swapped with input channels 4 and 6. See “Swapping Inputs 1–8 & 17–24” on page 51 for more information.

Signal level meters for the Option I/O outputs are displayed on OPTION page 3, as shown below. The source assigned to each output is displayed below its meter. These assignments are made on OPTION page 4. See “Assigning Option I/O Digital Outputs” on page 219 for more information.

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86 Chapter 7—Solo, Monitors & Meters

Effects Send Meters

Signal level meters for effects sends 1 and 2 are displayed on the VIEW pages.

1. Use the [EFFECT 1] or [EFFECT 2] button to select an effects send, and then press the MASTER [SEL] button.

EFF1 or EFF2 appears on the display, indicating that an effects send is selected.

2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.

Signal level meters for effects send 1 are displayed on VIEW pages 1 and 2, as shown below.

Signal level meters for effects send 2 are displayed on VIEW pages 1 and 2, as shown below.

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In this chapter...

Stereo Output 87

Stereo Output

About the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Analog Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

2TR Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Coaxial Digital Out & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Option I/O & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Omni Outs & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Solo & the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Monitoring the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Metering the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Routing Signals to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Viewing Stereo Output Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Setting the Stereo Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Muting the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Balancing the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Applying EQ to the Stereo Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Stereo Output Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Stereo Output Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

01V—Owner’s Manual

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88 Chapter 8—Stereo Output

DIGITAL STEREO

COAXIAL

OUT IN

About the Stereo Output

The stereo output features four-band parametric EQ, a dynamics processor, balance control, and variable output delay of up to 300 milliseconds. The stereo signal is output via analog XLR-type connectors, analog 2TR OUT connectors, Coaxial digital outputs, and can be assigned to the Option I/O digital outputs or omni outs.

Analog Stereo Output

The stereo output signal is converted to analog using 20-bit 8-times oversampling D/A converters, and then output via balanced XLR-3-32-type connectors with a +4 dB nominal output level.

STEREO OUT

+4dB(BAL)

2TR Out & the Stereo Output

In addition to the XLR connectors, the stereo output signal is output to the 2TR OUT connectors. These are phono jacks with a –10 dBV nominal output level, and are typically connected to the analog inputs of a stereo cassette deck, DAT, or MiniDisc deck for stereo mix recording.

Coaxial Digital Out & the Stereo Output

The stereo output signal is output digitally in Coaxial format from the digital stereo out connector. Typically this is connected to the digital input on a DAT or MiniDisc deck for stereo mix recording. See “Digital Stereo Out” on page 211 for more information.

–10dBV (UNBAL)

IN OUT

2TR

01V—Owner’s Manual

Option I/O & the Stereo Output

The stereo output signal can be assigned to the Option I/O digital outputs. See “About Option I/O Cards” on page 216 for more information.

Omni Outs & the Stereo Output

The stereo output signal can be assigned to the omni outs. See “Assigning Omni Outs” on page 116 for more information.

Solo & the Stereo Output

The Mixdown Solo modes work in conjunction with the stereo output. See “Solo Setup” on page 80 for more information.

Monitoring the Stereo Output

The stereo output can be monitored using the monitor out or phones. See “Monitor Setup” on page 78 for more information.

Page 95

Metering the Stereo Output 89

Metering the Stereo Output

Stereo output signal levels can be metered using the L STEREO R meters or HOME page 4 meters. See “Metering Signal Levels” on page 83 for more information.

Routing Signals to the Stereo Output

Input channels 1 through 24 and the effects return can be routed to the stereo output. See “Routing Input Channels” on page 49 for more information.

Viewing Stereo Output Settings

Settings for the stereo output can be viewed, and certain parameters adjusted on VIEW pages 1 and 2.

1. Press the [HOME] button, and then the MASTER [SEL] button.

ST appears on the display, indicating that the stereo output is selected.

2. Use the [VIEW] button to locate VIEW pages 1 and 2, as shown below.

3. Use the cursor buttons to select the parameters, and the PARAMETER wheel, [–1/DEC], [+1/INC], and [ENTER] buttons to set them.

Parameters are explained in the following sections.

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90 Chapter 8—Stereo Output

Setting the Stereo Output Level

–5 –10 –15 –20

–30 –40

–50 –70

–

STEREO

MASTER

Muting the Stereo Output

The stereo output level is controlled using the STEREO fader. Since this fader is also used to control the aux and effects send master levels, you may need to press the [HOME] button before adjusting the stereo output level. See “Faders (plus Return Rotary Controls)” on page 35 for more information.

The stereo output can be muted using the STEREO [ON] button. This button lights up when stereo output is on. Since this button is also used to mute the aux and effects send master outputs, you may need to press the [HOME] button before turning the stereo output on or off. See “ON Buttons” on page 34 for more information.

Balancing the Stereo Output

The left and right channels of the stereo output signal can be balanced as follows.

1. Press the [HOME] button, and then the STEREO [SEL] button.

ST appears on the display, indicating that the stereo output is selected.

2. Use the PAN control to adjust the balance.

The balance can also be adjusted on the VIEW page. See “Viewing Stereo Output Settings” on page 89 for more information.

Applying EQ to the Stereo Output

The stereo output features four-band parametric EQ. See “EQ” on page 61 for more information. The EQ can be turned on or off, and the EQ curve viewed on the VIEW page. See “Viewing Stereo Output Settings” on page 89 for more information.

Stereo Output Dynamics Processors

The stereo output features a stereo dynamics processor. See “Dynamics Processors” on page 161 for more information. The dynamics can be turned on or off, and the dynamics curve viewed on the VIEW page. See “Viewing Stereo Output Settings” on page 89 for more information.

01V—Owner’s Manual

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Stereo Output Delay 91

Stereo Output Delay

The left and right channels of the stereo output can be delayed individually by up to 300 milliseconds. This can be used to compensate for delays in multi-speaker sound reinforcement systems.

1. Use the [∅/DELAY] button to locate DELAY page 4, as shown below.

2. Use the cursor buttons to select the delay parameters and the [ENTER] button, PARAMETER wheel, or [–1/DEC] and [+1/INC] buttons to set them.

Parameter Range Description

ON/OFF

DELAY

ON/OFF These switches are used to turn on and off the delays.

Delay can be speciﬁed in milliseconds, meters, or samples (“Setting 01V Preferences” on page 203). The maximum

0–300 ms

delay in samples is ﬁxed at 13229. The maximum delay in milliseconds and meters depends on the sampling rate. At

44.1 kHz, for example, it is 300 milliseconds and 102.2 meters, respectively.

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92 Chapter 8—Stereo Output

Stereo Output Block Diagram

BUS

EFFAUX

4321

121234

Meter

4-Band

PEQ

4-Band

PEQ

Dynamics

BALANCE

Delay

LISTEN

Meter

STEREO OUT

Dither

2TR OUT

STEREO OUT

OUTPUT

SELECT

DIGITAL STEREO OUT

MONI

01V—Owner’s Manual

Page 99

In this chapter...

Aux Sends 93

Aux Sends

About the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Option I/O & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Omni Outs & the Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Monitoring Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Metering Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Sending Channel Signals to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Pre-fader/Post-fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Setting Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Muting Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Applying EQ to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Aux Send Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Stereo Pair Aux Send Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

01V—Owner’s Manual

Page 100

94 Chapter 9—Aux Sends

About the Aux Sends

The 01V’s four aux sends, which can be used individually or in stereo pairs, feature four-band parametric EQ and dynamics processors. Signals from input channels 1 through 16 and the effects returns can be sent to aux sends 1 through 4, while those from input channels 17 through 24 can be sent to aux sends 1 and 2. Channel aux sends can be conﬁgured individually as pre-fader or post-fader sends. The 01V does not have dedicated aux send connections. Instead aux sends must be assigned to the Option I/O digital outputs or omni outs.

The 01V does not have dedicated aux return inputs. Use the input channels to return aux signals. Stereo return signals can be connected to input channels 13/14 and 15/16.

The onboard effects are explained in their own chapter. See “Effects” on page 119 for more information.

Option I/O & the Aux Sends

Aux send signals can be assigned to the Option I/O digital outputs. See “About Option I/O Cards” on page 216 for more information.

Omni Outs & the Aux Sends

Aux send signals can be assigned to the omni outs. See “Assigning Omni Outs” on page 116 for more information.

Monitoring Aux Sends

Aux sends can be monitored using the monitor out or phones. See “Monitor Setup” on page 78 for more information.

Metering Aux Sends

Aux send signal levels can be metered on the HOME pages. See “Metering Signal Levels” on page 83 for more information.

01V—Owner’s Manual

Yamaha Audio 01V User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Important Information

Contents

Welcome to the 01V

Welcome to the 01V

About this Owner’s Manual

01V Installation

01V Features

Key Feature Discussion

Getting Started

01V System Example

Important Wordclock Information

Connecting the Power Cord

Turning On the 01V

Turning Off the 01V

Touring the 01V

Top Panel Controls

Inputs & Outputs

Block Diagram

Getting Around the User Interface

About the User Interface

Display

Display Elements

Cursor Buttons

PARAMETER Wheel

–1/DEC & +1/INC Buttons

ENTER Button

Fader Modes

Title Edit Dialog Box

Input Channels

Input Channel Overview

Phantom Powering

Pad Switches

Setting Input Channel Gain

Metering Input Channels

Changing the Input Phase

Attenuating Input Channel Signals

Applying EQ to Input Channels

Input Channels Dynamics Processors

Delaying Channel Signals

Muting Input Channels

Setting Input Channel Levels

Panning Input Channels

Routing Input Channels

Monitoring Input Channels

Input Channels & Aux Sends

Input Channels & the Omni Outs

Input Channels & the Option I/O Outs

Swapping Inputs 1–8 & 17–24

Pairing Input Channels

Grouping Faders

Grouping Mutes

Viewing Input Channel Settings

Copying & Swapping Channel Settings

Input Channel Block Diagram

EQ

About the 01V EQ

Adjusting the EQ

EQ Specs

Bypassing the EQ

Resetting the EQ

EQ Library

Preset EQ Program List

Storing EQ Programs

Recalling EQ Programs

Editing EQ Program Titles

Preset EQ Program Parameters

Solo, Monitors & Meters

About Monitor & Solo

Monitor Outputs

Phones

Monitor Setup

Using Monitor

Monitor Block Diagram

Solo Setup

Using Solo

Solo Block Diagram