Yamaha Audio mLAN Mixer, mLAN User Manual

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Page 1

What is mLAN Mixer? .......... 2

Starting mLAN Mixer........... 2

Windows98/95 environment. 2

Macintosh environment ........ 2

Top Panel Screen ................. 3

Menu Bar.............................. 4

File menu .............................. 4

View menu............................ 4

Option .................................. 4

Help menu ............................ 5

Basic Controls....................... 6

Control knobs ....................... 6

Numeric field box ................. 6

Input Channel Settings

(Input Section) ..................7

Master Track Settings

(Output Section) ............... 9

• The software and this owner’s manual are exclusive copyrights of Yamaha Corporation.

• Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer.

• Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software.

• Copying of the commercially available music sequence data and/or digital audio ﬁles is strictly prohibited except for your personal use.

• The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.

• The screen displays as illustrated in this Owner’s Manual are for instructional purposes, and may appear somewhat different from the screens which appear on your computer.

Channel Tab Window.........10

EQ (Equalizer)...................... 11

Dynamics ............................11

Delay...................................12

Effect Tab Screen................13

System Tab Screen .............14

mLAN8P.............................. 14

mLAN8E .............................. 16

Block Diagram (Audio).......17

mLAN8P.............................. 17

mLAN8E .............................. 18

Data List..............................19

Effect Type .......................... 19

Effects Parameters................ 20

Dynamics ............................29

Dynamics Library................. 34

EQ Library ........................... 35

This owner’s manual assumes that you are already familiar with basic Windows/Macintosh operation. If you are not, please refer to the owner’s manual which came with your Windows/Mac OS software before using mLAN Mixer. For information about hardware requirements, the interconnection of devices and the installation of the mLAN Mixer software, refer to the separate “ Installation Guide” as well as the owner’s manual for the respective mLAN device. This owner’s manual is applicable to the mLAN Mixer for both Windows and Macintosh. The screen illustrations are mainly taken from the mLAN Mixer for Macintosh.

Page 2

What is mLAN Mixer?

mLAN Mixer is a software application that enables you to control the mixer functions of the mLAN8P/ mLAN8E from the computer as if you were controlling a normal mixing console. mLAN Mixer offers independent EQ and dynamics settings for each channel, making it possible to perform detailed mixing operation.

Starting mLAN Mixer

After installing mLAN Mixer and making the necessary connections, follow the steps below to start the software.

Use mLAN Patchbay to set up the COM port for Windows.

Windows98/95 environment

In Windows98/95, select [Start | Program (P) | YAMAHA mLAN Mixer], then select “mLAN Mixer.”

Macintosh environment

Open the “YAMAHA mLAN Mixer” folder on the computer and double-click the “mLAN Mixer” icon.

Page 3

Top Panel Screen

The following screen appears when you start mLAN Mixer.

If there are multiple mLAN8P/mLAN8Es connected to the bus (system) of a Macintosh computer, a window appears, prompting you to select the device you wish to control with the mLAN Mixer. You can select multiple devices to control simultaneously from the mLAN Mixer. If you are using a PC that runs Windows98/95, an mLAN8P/mLAN8E connected serially to the computer will be automatically selected.

The mLAN8P controlling screen and the mLAN8E controlling screen are slightly different. This manual references the mLAN8P controlling screen. However, functions that differ are also explained.

input channels (input section)

parameters

master track (output section)

Page 4

Menu Bar

File menu

New: ......................... Creates a new Mixer ﬁle.

Open: ....................... Opens an existing Mixer ﬁle.

Save: ......................... Overwrites an existing ﬁle with the currently-edited Mixer ﬁle.

Save As: .................... Saves the currently-edited Mixer ﬁle with a different name.

Quit: ......................... Closes mLAN Mixer.

“ Save” and “ Save As” do not save the Level, Meter Source, Peak Hold, Fall Time, and Word Clock settings.

The edited settings for the mLAN mixer will be lost when the power to the mLAN8P/mLAN8E is turned off. (This does not apply to the parameters accessible from the control panel of the unit.) Be sure to store the necessary settings using the File menu.

View menu

Hide/Show Parameter: ............... Displays or hides various parameters in the tab screens.

Option

Init Channel (Initialize Channel): ......Opens the Init Channel dialog that is used to initial-

ize the settings for selected channels or all channels.

Preference (Windows only): ................Opens the Preference dialog that is used to customize

the menu shortcut keys.

Page 5

Preference dialog (Setting the shortcuts) (Windows only)

Shortcuts

1. Select a menu and action from the Menu and Action columns for which you wish to set a shortcut. In the example above, [New] in the File menu is selected.

2. Click [New Shortcuts] and press the desired shortcut key. In the example above, the [Q] key is pressed while the [Ctrl] and [Shift] keys are held down. If the shortcut key has already been assigned to another “Action,” the “Used Action” column displays the name of the “Action.”

3. Click [Assign]. The “Current Shortcut” column displays the selected shortcut.

4. Press the [OK] button to conﬁrm the selected shortcut setting. If you do not wish to change the setting, click [Cancel].

Revert Panel: ......... Returns to the previous setting.

Initial setting: ........ The shortcut is set to the [Ctrl] key plus the ﬁrst letter of the

selected Action.

Clear: ...................... Clears the setting.

Direct Mode: ........... You can temporarily place mLAN Mixer in Direct mode while you are

controlling the mLAN8E. This function is not available with the mLAN8P.

Refer to the Owner’s manual for the mLAN8E for more information on Direct mode.

Help menu

About mLAN Mixer (A): ............ Displays the version information for the mLAN Mixer

(Windows).

Page 6

Basic Controls

Control knobs

To rotate a control knob clockwise, click-and-hold the mouse on the knob while dragging upward. Drag down to rotate the knob counter-clockwise.

Click-and-hold the mouse on a control knob.

Move the mouse upward to rotate the knob clockwise.

Move the mouse downward to rotate the knob counter-clockwise.

Numeric ﬁeld box

Click-and-hold the mouse and drag upward in a number box to continuously increment the value. Drag the mouse downward to decrement the value. You can also enter the value directly by clicking (double-clicking) the box.

Click-and-hold down the mouse button in the box. (The pointer changes to an arrow.)

Drag the mouse downward to continuously decrement the value.

Drag the mouse upward to continuously increment the value.

Page 7

Input Channel Settings (Input Section)

You can adjust the input signal level and effect on/off for each channel.

Channel number

Channels 1-8 are used for input signals via mLAN. Channels 9 and 10 are used for Digital input signals, and channels 11 and 12 are used for A/D input signals.

EQ/Dyna (Dynamics)/Dly (Delay) button

These buttons are used to switch EQ, Dynamics, and Delay on and off for each channel. The settings are linked with the buttons in the Channel tab.

Aux 1/2 send knobs

These knobs are used to adjust the level of each channel signal sent to AUX 1/2. Use these knobs when you are sending signals to an external effect processor or when you are monitoring signals with a balance that is different from the stereo output balance. If you are using the mLAN8P: Signals sent to AUX2 are also sent to the internal multi-effect processor.

When AUX Layer is turned on, you can set AUX 3-6 parameters (mLAN8E).

Pre/Post buttons

These buttons enable you to select a pre-fader (Pre) signal or a post-fader (Post) signal as the AUX send signal. With the “Pre” setting, a signal is sent to the AUX bus before it reaches the channel fader; thus the signal is not affected by the channel fader setting. With the “Post” setting, a signal is sent to the AUX bus after it passes through the channel fader; thus the signal is affected by the channel fader.

M (Mute) button

Press this button to mute the corresponding channel signal.

S (Solo) button

Press this button to monitor the corresponding channel signal. Press this button while holding down the Shift key to monitor multiple channel signals.

Panpot knob

This knob enables you to set the stereo position of the corresponding channel. If the channel’s Link switch is set to “ON,” the knob adjusts the signal balance.

You can set the attenuation and phase independently for each channel, even when the Link switch is turned on.

When adjacent channels are linked, the panpot knob enables you to adjust the level balance between the odd and even channels.

Page 8

Channel fader

The channel fader enables you to adjust the channel level. Click and hold down the mouse button on the fader and slide the mouse up and down, or click a desired point on the fader to move the fader to that point.

Channel level meter

The channel level meter is displayed on the right side of the channel fader. The channel meter source is always the signal just after the gain, so the channel level meter displays the level of the input signal and is not affected by the EQ, Dynamics or the fader.

Link (Link switch)

When this switch is turned on, adjacent channels (1 and 2, 3 and 4, etc.) are linked to each other for stereo operation.

Page 9

Master Track Settings (Output Section)

In this section, you can set the stereo out fader, AUX master level, and effect return level.

Mute button (mLAN8P only)

Press this button to mute the return signal from the internal multi-effect processor.

Effect RTN (mLAN8P only)

This knob adjusts the amount of signal processed by the effect processor and routed to Stereo Out.

The mLAN8E features an AUX Layer button instead of this button. When you turn this button on, you can set AUX 3-6 parameters for both input channels and the master track.

Link button

Set this button to ON to link the AUX 1 and 2 settings. When they are linked, the panpot setting of the corresponding input channel is used. This is useful when you wish to use AUX 1 and 2 as individual stereo outputs.

AUX 1/2 Master

These are used to adjust the level of the AUX 1 and 2 return signals.

When AUX Layer is turned on, you can set AUX 3-6 parameters (mLAN8E).

Mute button

Press this button to mute the stereo mix output.

Balance

This knob adjusts the left and right balance of the stereo mix output.

Stereo mix fader

This fader adjusts the level of the stereo mix signal. Click-and-hold the mouse on the fader and slide the mouse up and down, or click the desired point on the fader to move the fader to that point.

Level meter

The level meter is displayed on the right side of the fader. The meter source signal is speciﬁed by the Mix Meter Source parameter.

Page 10

Channel Tab Window

mLAN Mixer offers the parameters independently for each channel, making detailed mixing operations possible.

Channel (Target Channel)

Select the channel you wish to set here. Click the desired input channel module to display the corresponding channel number here automatically.

Gain

This parameter enables you to adjust the input level in steps of 6dB. Internally, mLAN Mixer performs a Bit Shift process. Settings: –12 – +24dB

Att (Attenuator)

This parameter enables you to set the input level in steps of 1dB. In this way, you can ﬁne tune the Gain value. Settings: –96–+24dB

Phase Inv (Inverted)

Click the check box to reverse the phase of the input signal.

Page 11

EQ (Equalizer)

EQ button

This button turns the selected channel EQ on or off. It is linked to each channel’s EQ button.

EQ Library

This parameter enables you to select a preset EQ type.

G (dB)

This parameter sets the amount of boost (+) or cut (–) of the signal at the speciﬁed frequency (F (Hz)). Settings: –18–+18dB (in steps of 0.5dB), ON/OFF (only when [HPF] or [LPF] is selected for the “Type” parameter with the Macintosh version.)

F (Hz)

This parameter sets the equalizing frequency.

LO: ................... 21 (Hz) – 20.0 k(Hz)

L-MID: ............ 21 (Hz) – 20.0 k(Hz)

H-MID: ........... 21 (Hz) – 20.0 k(Hz)

HI:

.................... 21 (Hz) – 20.0 k(Hz)

This parameter sets the frequency range for boost and cut. The higher the value is, the smoother the changes in the speciﬁed frequency range. With the Macintosh version, use this parameter to make the setting for “Type.” Settings: 10.0–0.10

Type (Windows only)

This parameter enables you to select a type of EQ.

With the Macintosh version, set the Q value ( select a Type.

[LO]

PEAK (peaking): LSLV (low-shelving): A shelving-type equalizer that boosts and cuts the signal in the low range. LPF (low pass ﬁlter): A ﬁlter that cuts the frequency range above the threshold speciﬁed by the “F

[HI]

PEAK (peaking): HSLV (high-shelving): A shelving-type equalizer that boosts and cuts the signal in the high range. HPF (high pass ﬁlter): A ﬁlter that cuts the frequency range below the threshold speciﬁed by the “F

mLAN Mixer uses a 4-band full parametric equalizer. Basically, a parametric equalizer changes a tone by boosting (+) or cutting (–) the signal at the speciﬁed frequency. Boosting emphasizes the corresponding frequency range, and cutting attenuates the range. mLAN Mixer offers many presets suitable for various applications. Select one that suits your application, and ﬁne tune it for quick operation.

A normal parametric equalizer

(frequency)” parameter.

A normal parametric equalizer

(frequency)” parameter.

) to the maximum or minimum to

Dynamics

Dynamics button

This button turns the dynamics processor of the selected channel on or off. This button is linked with each channel’s Dynamics button.

Dyna (Dynamics) Library

Select the desired Dynamics type (page 34).

Page 12

M Ty p e

This ﬁeld displays the type of dynamics selected in the Dyna Library ﬁeld.

N Dynamics Parameters

These parameters are for the dynamics of the type indicated in the “Type” ﬁeld (M). For more information, refer to Dynamics in the Data List on page 29.

O Key in (Key in Source)

You can set the ducking effect. Ducking is used for voice-over applications in which the background music level is reduced automatically when the announcer speaks. For dynamics processing, match the Key in the source parameter of the Target Channel (music channel) with that of the voice channel. The input channel processors can be self-triggered (triggered by the signal to be processed), or they can be triggered by a signal from another channel.

Dynamics processors are generally used to correct or control signal levels (like a compressor) and psycho-acoustically extend the sustain. mLAN Mixer provides not only a compressor but gates, limiters, and other types of processors for various occasions. mLAN Mixer offers many presets suitable for various applications. Select one that suits your application, and ﬁne tune it for quick operation.

Delay

This function is not available on the mLAN8E.

P Delay button

This button turns the selected channel Delay on or off. It is liked to each channel’s Dly (Delay) button.

Q Delay/Time (Delay Time)

This parameter sets the delay time. Settings (sample): 1–9600 samples Settings (millisecond): 0.023–217.687ms (44.1kHz), 0.021–200.00ms (48kHz)

R Mix Level

This parameter sets the mix balance between the dry sound and the delay sound. With a setting of “0,” the ratio of dry signal to delay signal is 1:0. With a setting of “+50,” the ratio is 1:1. With a setting of “+100,” the ratio is 0:1. If the value is negative, the phase of the delay signal is reversed.

FB.Gain/FB. Level

This parameter sets the delay feedback amount. This level is the amount of the delay signal fed back to the delay effect. With a setting of “0,” there is no feedback. With a setting of “+99,” the feedback is at maximum. If the value is negative, the phase of the delay signal is reversed.

Sample

Select this option to display the delay time in sample units. With 44.1kHz, one sample corresponds to 1/44,100 seconds. With 48kHz, one sample corresponds to 1/48,000 seconds.

MS (millisecond)

Select this option to display the delay time in ms (milliseconds).

Both options are based on either 1/44,100 seconds or 1/48,000 seconds, and feature the same upper limit value. Select the desired option depending on your application.

Page 13

Effect Tab Screen

You can set the internal effect parameters on this screen. (mLAN8P only)

A Effect Mono Mix (Mono)

This parameter enables you to mix the L/R effect return signals into a monaural signal.

Effect Pan (Balance/Return Pan)

This parameter sets the L/R balance of the effect return signals.

C Ty p e

This parameter enables you to select the desired effect type (page 19).

D Use these parameters to set up the effect speci-

ﬁed by the Type parameter. The displayed parameters differ depending on the selected

(page 20).

effect mLAN Mixer offers many presets suitable for various applications. Select one best suits your application, and ﬁne tune it for quick operation.

Page 14

System Tab Screen

You can make settings related to the mLAN8P/mLAN8E on this screen.

mLAN8P

A Mixer Type

You can assign EQ and Dyna for up to eight channels. The assignments for channels 1-4 are ﬁxed. You can assign EQ and Dyna for the other four channels here.

1: EQ and Dyna are assigned to channels 5-8. 2: EQ and Dyna are assigned to channels 5-6 and

Digital in.

3: EQ and Dyna are assigned to channels 5-6 and

A/D in.

4: EQ and Dyna are assigned to Digital in and A/

D in.

Mix Meter Source (Level Meter Source)

This parameter enables you to select a signal to display on the master track level meter.

Stereo Mix: Displays the stereo output signal. Effect Return: Displays the effect return signal. AUX1/2: Displays the AUX1/2 master output sig-

nal.

Meter Setting

This parameter enables you to select the type of level meter display. Peak Hold ON: The meter holds the peak level until you turn off “Peak Hold.” Peak Hold OFF: The meter does not hold the peak level. Fall Time: This parameter sets the speed of the meter’s response to the decaying sound.

Normal: Normal response speed Fast: The meter responds quickly to and reﬂects

the attenuating sound. This setting clariﬁes the attack level on the meter.

OFF: The level meter is not displayed.

Digital Input

This parameter enables you to select Optical or Coaxial for the input signal at the Digital In connector on the mLAN8P.

Digital Output

This parameter speciﬁes the signal routed to the Digital Out connector on the rear panel of the mLAN8P. Settings: Stereo Mix, AUX1/2, Coaxial/Optical In, A/D In

Page 15

F Analog Output

This parameter speciﬁes the signal routed to the D/A out connector on the rear panel. Settings: Stereo Mix, AUX1/2, Coaxial/Optical (depending on the Digital Input settings) In, A/D In

Word Clo ck

This parameter speciﬁes the word clock for the mLAN8P. Settings: Internal44.1k, Internal48k, Coaxial/Optical (depending on the Digital Input settings), mLAN (follows the unit’s or mLAN Patchbay’s setting.)

Device Fs

This ﬁeld displays the actual sampling frequency.

The signal speciﬁed by the Analog Output source parameter is also output to connected headphones.

Page 16

mLAN8E

A Mixer Type

You can assign EQ and Dyna to up to eight channels.

1: EQ and Dyna are assigned to channels 1-8. 2: EQ and Dyna are assigned to channels 1-6 and

9-10.

3: EQ and Dyna are assigned to channels 1-4 and

9-12.

4: EQ and Dyna are assigned to channels 9-16.

Mix Meter Source (Level Meter Source)

This parameter enables you to select a signal to display on the master track level meter.

Stereo Mix: Displays the stereo output signal. AUX1/2: Displays the AUX1/2 signal. AUX3/4: Displays the AUX1/2 signal. AUX5/6: Displays the AUX1/2 signal.

Meter Setting:

Normal: Normal response speed Fast: The meter responds quickly to and reﬂects

the attenuating sound. This setting clariﬁes the attack level on the meter.

OFF: The level meter is not displayed.

Word Clo ck

This parameter speciﬁes the word clock for the mLAN8E. Settings: Internal44.1k, mLAN (follows the unit’s or mLAN Patchbay’s setting.)

Device Fs

This ﬁeld displays the actual sampling frequency.

The signal speciﬁed by the Analog Output source parameter is also output to connected headphones.

Page 17

Block Diagram (Audio)

mLAN8P

mLAN Plug Name

Input 3

Input 8

1Input 1

2Input 2

mLAN

DIGITAL

INPUT

SELECT

SFC

DAC

LEVEL METER KEY IN

GAIN PHASE DELAY4 BAND EQ DYNAMICSATT

Same as above, except that the 4-band EQ and Dynamics processor can be assigned to up to eight channels.

KEY IN

AUX2 MIX R

AUX1 MIX L

LEVEL

PRE/POST

PANPOT

SEND

DIGITAL OUTPUT

SELECT AUX1 AUX2 MIX L MIX R

ANALOG OUTPUT

SELECT AUX1 AUX2 MIX L MIX R

DAC DAC

OUT1

OUT2

PHONES VOLUME

PHONES L/R

INPUT

VOLUME

DAC

LEVEL METER

EFFECT

mLAN Plug Name

AUX1

AUX2

St Mix L

St Mix R

Dig In L Dig In R A/D In L A/D In R

LEVEL METER

AUX1

AUX2

MIX L

MIX R

Page 18

mLAN8E

฀

mLAN

LEVEL METER KEY IN

LEVEL

GAIN PHASE 4 BAND EQ DYNAMICSATT

KEY IN

Same as above, except that the 4-band EQ and Dynamics processor can be assigned to up to eight channels.

PRE/POST

PANPOT

SEND

AUX

12 4 63

5RL

MIX

LEVEL METER

AUX1

AUX2

mLAN

MIX L

MIX R

฀

Page 19

Data List

Effect Type

Reverb-type Effects

# Type Description

Reverb Hall

Reverb Room

Reverb Stage

Reverb Plate

Early Ref.

Gate Reverb

Reverse Gate A reverse-playback type ER.

Reverb simulating a large space such as a concert hall.

Reverb simulating the acoustics of a smaller space (room) than REVERB HALL.

Reverb designed with vocals in mind.

Simulation of a metal-plate reverb unit, producing a feeling of hardedged reverberation.

An effect which isolates only the early reﬂ ection (ER) component from reverberation. A ﬂ ashier effect than reverb is produced.

A type of ER designed for use as gated reverb.

Delays

# Type Description

Mono Delay

Stereo Delay

Mod.delay Mono delay with modulation.

Delay LCR Three-tap delay (L, C, R).

Echo

Mono delay with simple operation. Use when you don' t need to use complex parameter settings.

Stereo delay with independent left and right.

Stereo delay with additional parameters for more detailed control. The signal can be fed back from left to right, and right to left.

Guitar Effects

# Type Description

Distortion Distortion

Amp Simulate Guitar Amp Simulator

Dynamic Effects

# Type Description

Dyna.Filter Dynamically controlled ﬁlter.

Dyna.Flange Dynamically controlled ﬂ anger.

Dyna.Phaser Dynamically controlled phase shifter.

Modulation-type Effects

# Type Description

Chorus Three-phase stereo chorus.

Flange The well-known ﬂ anging effect.

Symphonic

Phaser

Auto Pan

Tremolo Tremolo

Dual Pitch

Rotary Simulation of a rotary speaker.

Ring Mod.

Mod.Filter

A Yamaha proprietary effect that produces a richer and more complex modulation than chorus.

Stereo phaser with 2–16 stages of phase shift.

An effect which cyclically moves the sound between left and right.

Stereo pitch shift with left and right pitches set independently.

An effect that modiﬁes the pitch by applying amplitude modulation to the frequency of the input. Even the modulation frequency can be controlled by modulation.

An effect which uses an LFO to modulate the frequency of the ﬁlter.

Combined Effects

# Type Description

Rev+Chorus Reverb and chorus in parallel

Rev->Chorus Reverb and chorus in series

Rev+Flange Reverb and ﬂ anger in parallel

Rev->Flange Reverb and ﬂ anger in series

Rev+Sympho. Reverb and symphonic in parallel

Rev->Sym-

pho.

Rev->Pan Reverb and auto-pan in parallel

Delay+ER. Delay and early reﬂ ections in parallel

Delay->ER. Delay and early reﬂ ections in series

Delay+Rev Delay and reverb in parallel

Delay->Rev Delay and reverb in series

Dist->Delay Distortion and delay in series

Reverb and symphonic in series

Page 20

Effects Parameters

REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

LO.RATIO 0.1–2.4 Low-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left–right reverb spread)

DENSITY 0–100% Reverb density

E/R DLY 0.0–100.0 ms Delay between early reﬂ ections and reverb

E/R BAL. 0–100% Balance of early reﬂ ections and reverb (0% = ER, 100% = reverb)

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

EARLY REF.

Parameter Range Description

TYPE

ROOMSIZE 0.1–20.0 Reﬂ ection spacing

LIVENESS 0–10 Early reﬂ ections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DIFF. 0–10 Reverb diffusion (left–right reverb spread)

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂ ections

FB GAIN –99 to +99% Feedback gain

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

S-Hall, L-Hall, Random, Revers, Plate, Spring

Type of early reﬂ ection simulation

GATE REVERB, REVERSE GATE

Parameter Range Description

TYPE Type-A, Type-B Type of early reﬂ ection simulation

ROOMSIZE 0.1–20.0 Reﬂ ection spacing

LIVENESS 0–10 Early reﬂ ections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DIFF. 0–10 Reverb diffusion (left–right reverb spread)

DENSITY 0–100% Reverb density

HI.RATIO 0.1–1.0 High-frequency feedback ratio

ER NUM. 1–19 Number of early reﬂ ections

FB GAIN –99 to +99% Feedback gain

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MONO DELAY

Parameter Range Description

DELAY 0.0–2730.0 ms Delay time

FB.GAIN –99 to +99%

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Page 21

STEREO DELAY

Parameter Range Description

DELAY L 0.0–1350.0 ms Left channel delay time

FB.G L –99 to +99%

DELAY R 0.0–1350.0 ms Right channel delay time

FB.G R –99 to +99%

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback)

MOD.DELAY

Parameter Range Description

DELAY 0.0–2725.0 ms Delay time

FB.GAIN –99 to +99%

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

DELAY LCR

Parameter Range Description

DELAY L 0.0–2730.0 ms Left channel delay time

LEVEL L –100 to +100% Left channel delay level

DELAY C 0.0–2730.0 ms Center channel delay time

LEVEL C –100 to +100% Center channel delay level

DELAY R 0.0–2730.0 ms Right channel delay time

LEVEL R –100 to +100% Right channel delay level

FB.DLY 0.0–2730.0 ms Feedback delay time

FB.GAIN –99 to +99%

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

ECHO

Parameter Range Description

DELAY L 0.0–1350.0 ms Left channel delay time

FB.G L –99 to +99%

DELAY R 0.0–1350.0 ms Right channel delay time

FB.G R –99 to +99%

FB.D L 0.0–1350.0 ms Left channel feedback delay time

L->R FB.G –99 to +99%

FB.D R 0.0–1350.0 ms Right channel feedback delay time

R->L FB.G –99 to +99%

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Left to right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right to left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Page 22

CHORUS

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

FLANGE

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

FB.GAIN –99 to +99%

WAVE Sine, Tri Modulation waveform

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

SYMPHONIC

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

PHASER

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

FB.GAIN –99 to +99%

OFFSET 0–100 Lowest phase-shifted frequency offset

STAGE 2, 4, 8, 10, 12, 14, 16 Number of phase shift stages

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

AUTOPAN

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DIR.

WAVE Sine, Tri, Square Modulation waveform

a. L<->R, L— >R, L<— R, Turn L, Turn R

Panning direction

TREMOLO

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

WAVE Sine, Tri, Square Modulation waveform

Page 23

DUAL PITCH

Parameter Range Description

PITCH L –24 to +24 semitones Left channel pitch shift

FINE L –50 to +50 cents Left channel pitch shift ﬁne

LEVEL L –100 to +100%

PITCH R –24 to +24 semitones Right channel pitch shift

FINE R –50 to +50 cents Right channel pitch shift ﬁne

LEVEL R –100 to +100%

DELAY L 0.0–1000.0 ms Left channel delay time

FB.G L –99 to +99%

DELAY R 0.0–1000.0 ms Right channel delay time

FB.G R –99 to +99%

MODE 1–10 Pitch shift precision

Left channel level (plus values for normal phase, minus values for reverse phase)

Right channel level (plus values for normal phase, minus values for reverse phase)

Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

ROTARY

Parameter Range Description

ROTATE STOP, START Rotation stop, start

SPEED SLOW, FAST Rotation speed (see SLOW and FAST parameters)

DRIVE 0–100 Overdrive level

ACCEL 0–10 Accelation at speed changes

LOW 0–100 Low-frequency ﬁlter

HIGH 0–100 High-frequency ﬁlter

SLOW 0.05–10.00 Hz SLOW rotation speed

FAST 0.05–10.00 Hz FAST rotation speed

RING MOD.

Parameter Range Description

SOURCE OSC, SELF Modulation source: oscillator or input signal

OSC FREQ 0.0–3000.0 Hz Oscillator frequency

FM FREQ 0.05–40.00 Hz Oscillator frequency modulation speed

FM DEPTH 0–100% Oscillator frequency modulation depth

MOD.FILTER

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

TYPE LPF, HPF, BPF Filter type: low pass, high pass, band pass

OFFSET 0–100 Filter frequency offset

RESO. 0–20 Filter resonance

PHASE 0.00–354.38° Left-channel modulation and right-channel modulation phase difference

LEVEL 0–100 Output level

DISTORTION

Parameter Range Description

DST TYPE

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

TONE –10 to +10 Tone

DST1, DST2, OVD1, OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

Page 24

AMP SIMULATE

Parameter Range Description

AMP TYPE

DST TYPE

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

CAB DEP 0–100% Speaker cabinet simulation depth

BASS 0–100 Bass tone control

MIDDLE 0–100 Middle tone control

TREBLE 0–100 High tone control

EQ F 99–8.0 kHz Parametric equalizer frequency

EQ G –12 to +12 dB Parametric equalizer gain

EQ Q 10.0–0.10 Parametric equalizer bandwidth

DST1, DST2, OVD1, OVD2, CRUNCH

Guitar amp simulation type

Distortion type (DST = distortion, OVD = overdrive)

a. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT

DYNA.FILTER

Parameter Range Description

SENSE 0–100 Sensitivity

TYPE LPF, HPF, BPF Filter type

OFFSET 0–100 Filter frequency offset

RESO. 0–20 Filter resonance

LEVEL 0–100 Output Level

DIR. UP, DOWN Upward or downward frequency change

DECAY

a. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

Filter frequency change decay speed

DYNA.FLANGE

Parameter Range Description

SENSE 0–100 Sensitivity

FB GAIN –99 to +99%

OFFSET 0–100 Delay time offset

DIR. UP, DOWN Upward or downward frequency change

DECAY

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Decay speed

a. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

DYNA.PHASER

Parameter Range Description

SENSE 0–100 Sensitivity

FB GAIN –99 to +99%

OFFSET 0–100 Lowest phase-shifted frequency offset

DIR. UP, DOWN Upward or downward frequency change

STAGE 2, 4, 8, 10, 12, 14, 16 Number of phase shift stages

DECAY

a. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48kHz)

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Decay speed

Page 25

REV+CHORUS

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV/CHO 0–100% Reverb and chorus balance (0% = chorus, 100% = reverb)

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

REV->CHORUS

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV BAL. 0–100%

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Reverb and chorused reverb balance (0% = chorused reverb, 100% = reverb)

REV+FLANGE

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

FB.GAIN –99 to +99%

WAVE Sine, Tri Modulation waveform

REV/FLG 0–100% Reverb and ﬂ ange balance (0% = ﬂ ange, 100% = reverb)

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Page 26

REV->FLANGE

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

FB.GAIN –99 to +99%

WAVE Sine, Tri Modulation waveform

REV BAL. 0–100% Reverb and ﬂ anged reverb balance (0% = ﬂ anged reverb, 100% = reverb)

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

REV+SYMPHO.

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV/SYM 0–100% Reverb and symphonic balance (0% = symphonic, 100% = reverb)

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

REV->SYMPHO.

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV BAL. 0–100%

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb)

Page 27

REV->PAN

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DIR.

WAVE Sine, Tri, Square Modulation waveform

REV BAL. 0–100% Reverb and panned reverb balance (0% = panned reverb, 100% = reverb)

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Panning direction

a. L<->R, L— >R, L<— R, Turn L, Turn R

DELAY+ER.

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

FB.GAIN –99 to +99%

DELAY R 0.0–1000.0 ms Right channel delay time

HI.RATIO 0.1–1.0 High-frequency feedback ratio

FB.DLY 0.0–1000.0 ms Feedback delay time

DLY/ER 0–100% Delay and early reﬂ ections balance (0% = early reﬂ ections, 100% = delay)

TYPE

ROOMSIZE 0.1–20.0 Reﬂ ection spacing

LIVENESS 0–10 Early reﬂ ections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂ ections

S-Hall, L-Hall, Random, Revers, Plate, Spring

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Type of early reﬂ ection simulation

DELAY->ER.

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

FB.GAIN –99 to +99%

DELAY R 0.0–1000.0 ms Right channel delay time

HI.RATIO 0.1–1.0 High-frequency feedback ratio

FB.DLY 0.0–1000.0 ms Feedback delay time

DLY BAL. 0–100%

TYPE

ROOMSIZE 0.1–20.0 Reﬂ ection spacing

LIVENESS 0–10 Early reﬂ ections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂ ections

S-Hall, L-Hall, Random, Revers, Plate, Spring

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Delay and early reﬂ ected delay balance (0% = early reﬂ ected delay, 100% = delay)

Type of early reﬂ ection simulation

Page 28

DELAY+REV

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

FB.GAIN –99 to +99%

DELAY R 0.0–1000.0 ms Right channel delay time

DLY HI 0.1–1.0 Delay high-frequency feedback ratio

FB.DLY 0.0–1000.0 ms Feedback delay time

DLY/REV 0–100% Delay and reverb balance (0% = reverb, 100% = delay)

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

REV HI 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

DELAY->REV

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

FB.GAIN –99 to +99%

DELAY R 0.0–1000.0 ms Right channel delay time

DLY HI 0.1–1.0 Delay high-frequency feedback ratio

FB.DLY 0.0–1000.0 ms Feedback delay time

DLY BAL 0–100% Delay and delayed reverb balance (0% = delayed reverb, 100% = delay)

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

REV HI 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density

HPF Thru, 21 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

DIST->DELAY

Parameter Range Description

DST TYPE

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

TONE –10 to +10 Tone control

DLY BAL 0–100% Distortion and delay balance (0% = distortion, 100% = delayed distortion)

DELAY 0.0–2725.0 ms Delay time

FB.GAIN –99 to +99%

HI.RATIO 0.1–1.0 High-frequency feedback ratio

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DST1, DST2, OVD1, OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)

Page 29

Dynamics

Dynamics processors are generally used to correct or control signal levels, although they can also be used creatively to shape a sound’s volume envelope. The following sections explain the COMP, GATE, DUCKING, EXPAND, COMPANDER-(H), and COMPANDER-(S) dynamics processors, their parameters, and general applications.

COMP

The COMP processor is a compressor that attenuates signals above a speciﬁed threshold, providing automatic level control. Vocalists that tend to move toward and away from the microphone while singing produce ﬂuctuating signal levels; sometimes loud, sometimes soft. Likewise, acoustic instruments with a large dynamic range produce sound levels from pianis- simo (very soft) through to fortissimo (very loud). In these situ- ations, it is often difﬁcult to set an average fader level that will allow a voice or instrument to be heard clearly throughout a song or piece of music. This is where the compressor comes in with automatic level control. By automatically reducing high levels, thus effectively reducing the dynamic range, the compressor makes it much easier to control signals and set appropriate fader levels. Reducing the dynamic range also means that recording levels can be set higher, therefore improving signal-to-noise performance. The COMP processor can also be used as a limiter, which is essentially a compressor with a high ratio setting. Compression ratios above 10:1 are considered to limit signals rather than compress them. When an input signal exceeds the speciﬁed threshold level, its level is automatically reduced to the threshold level. This means that the limiter’s output level never actually exceeds the threshold level. Limiters are often used to prevent signals from overloading ampliﬁers and tape recorders. A limiter with a relatively high threshold, for example, could be used with the stereo outputs to prevent ampliﬁer and speaker overload.

+20

+10

–10

–20

–30

Output Level (dB)

–40

–50

–60

–70

+20

+10

–10

–20

–30

Output Level (dB)

–40

–50

–60

–70

Compression ratio = 2:1

Threshold = –20dB

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Threshold = –20dB

Input Level (dB)

Compression ratio = 20:1

Knee = hard

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Input Level (dB)

Parameter Range

THRESHOLD

OUT GAIN

KNEE

ATTACK

RELEASE

RATIO

–54 dB to 0 dB (55 steps)

0.0 dB to +18.0 dB (0.5 dB steps)

hard, 1, 2, 3, 4, 5

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz) 6 ms–46 s (fs = 44.1 kHz)

1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1, 10:1, 20:1, ∞:1 (16 steps)

THRESHOLD—This determines the level of input signal required to trigger the compressor. Signals at

a level below the threshold pass through the compressor unaffected. Signals at and above the threshold level are compressed by the amount speciﬁed using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter.

Page 30

OUT GAIN—This sets the compressor’s output signal level, and can be used to compensate for the

overall level change caused by the compression process.

KNEE—This determines how compression is applied at the threshold point. When set to hard, com-

pression at the speciﬁed ratio is applied as soon as the input signal level exceeds the speciﬁed threshold. For knee settings from 1 to 5, however, compression is applied gradually as the signal exceeds the speciﬁed threshold, creating a more natural sound. This is called soft-knee compression.

AT TA CK —This determines how soon the signal is compressed once the compressor has been trig-

gered. With a fast attack time, the signal is compressed almost immediately. With a slow attack time, however, the initial transient of a sound passes through unaffected. Attack times from 1 to 5 milliseconds are a good place to start.

RELEASE—This determines how soon the compressor returns to its normal gain once the trigger sig-

nal level drops below the threshold. If the release time is too short, the gain will recover too quickly causing level pumping (i.e., noticeable gain ﬂuctuations). If it is set too long, the compressor may not have time to recover before the next high level signal appears, and it will be compressed incorrectly. Release times from 0.1 to 0.5 seconds are a good place to start.

RATIO—This determines the amount of compression, that is, the change in output signal level relative

to change in input signal level. For a 2:1 ratio, for example, a 10 dB change in input level (above the threshold) results in a 5 dB change in output level. For a 5:1 ratio, a 10 dB change in input level (above the threshold) results in a 2 dB change in output level.

GATE

A gate, or noise gate is essentially an audio switch used to mute signals below a set threshold level. It can be used to cut background noise picked up by open microphones, noise and hiss from guitar valve amps and effects pedals, and leakage between drum microphones. It also has many creative uses too. For example, gating a drum sound with a short decay time tightens up the sound. Also, patching a gate into a droning bass synth channel and then triggering it from the kick drum channel allows the bass synth through only when the kick drum is struck, adding extra “oomph” on the beat.

+20

+10

–10

–20

–30

Output Level (dB)

–40

–50

–60

–70

Threshold = –10dB

Range = –30dB

Range = –70dB

Parameter Range

THRESHOLD

RANGE

HOLD

ATTACK

DECAY

–54 dB to 0 dB (55 steps)

–70 dB to 0 dB (71 steps)

0.02 ms–1.96 s (fs = 48 kHz)

0.02 ms–2.13 s (fs = 44.1 kHz)

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz) 6 ms–46 s (fs = 44.1 kHz)

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Input Level (dB)

THRESHOLD—This determines the level at which the gate closes, cutting off the signal. Signals above

the threshold level pass through unaffected. Signals at or below the threshold, however, cause the gate to close. The trigger signal is sourced using the KEY IN parameter.

RANGE—This determines the level to which the gate closes. Think of it as a brick holding a garden

gate open so that a certain amount of signal always ﬂows through. For a setting of –70 dB, the gate closes completely when the input signal falls below the threshold. For a setting of –30 dB, however, the gate half closes. For a setting of 0 dB, the gate has no effect. When signals are gated abruptly, the sudden disappearance can sometimes sound odd. This parameter causes the gate to reduce the signal level rather than cut it completely.

Page 31

HOLD—This determines how long the gate stays open once the trigger signal has fallen below the

threshold level.

AT TA CK —This determines how fast the gate opens when the signal exceeds the threshold level. Slow

attack times can be used to remove the initial transient edge of percussive sounds. Too slow an attack time makes some sounds appear backwards.

DECAY—This determines how fast the gate closes once the hold time has expired. A longer decay time

produces a more natural gating effect, allowing the natural decay of an instrument to pass through. With a maximum decay time of between 42 and 63 seconds, you could even use this for fade-outs.

DUCKING

Ducking is commonly used for voice-over applications in which the background music level is reduced automatically when an announcer speaks. Ducking is achieved by triggering a compressor with a different sound source. For example, a ducker is patched into the background music channel, and the KEY IN signal is sourced from the announcer’s microphone channel. When the announcer’s microphone level exceeds the speciﬁed threshold, the background music level is reduced automatically, allowing the announcer to be heard clearly. The same technique can also be used for vocals in a mix. For example, ducking backing sounds such as rhythm guitar and synth pad during vocal phrases allows the vocals to be heard more clearly. This can also be used to bring solo instruments up in a mix.

+20

+10

–10

Threshold = –20dB

–20

–30

Output Level (dB)

–40

–50

–60

–70

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Input Level (dB)

Range = –30dB

Parameter Range

THRESHOLD

RANGE

HOLD

ATTACK

DECAY

–54 dB to 0 dB (55 steps)

–70 dB to 0 dB (71 steps)

0.02 ms–1.96 s (fs = 48 kHz)

0.02 ms–2.13 s (fs = 44.1 kHz)

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz) 6 ms–46 s (fs = 44.1 kHz)

THRESHOLD—This determines the level of trigger signal (KEY IN) required to activate ducking.

Trigger signal levels below the threshold do not activate ducking. Trigger signals at and above the threshold level, however, activate ducking, and the signal level is reduced to a level set by the Range parameter. The trigger signal is sourced using the KEY IN parameter.

RANGE—This determines the level to which the signal is ducked. For a setting of –80 dB, the signal is

virtually cutoff. For a setting of –30 dB, however, the signal is ducked by 30 dB. For a setting of 0 dB, the ducker has no effect.

HOLD— This determines how long ducking remains active once the trigger signal has fallen below the

threshold level.

AT TA CK —This determines how soon the signal is ducked once the ducker has been triggered. With a

fast attack time, the signal is ducked almost immediately. With a slow attack time, however, ducking appears to fade the signal. Too fast an attack time may sound abrupt.

DECAY—This determines how soon the ducker returns to its normal gain once the trigger signal level

drops below the threshold.

Page 32

EXPAND

An expander is similar to a compressor except that it works on signals below the threshold level. By reducing signals below the threshold level, the expander attenuates low-level noise, effectively increasing the dynamic range and improving the signal-to-noise performance. An expander set to an inﬁnite ratio

(i.e., ∞:1) is essentially a gate. The following two graphs show typical expander curves. The one on the

left shows an expander with an expansion ratio of 2:1 and a hard knee setting. The one on the right shows an expander with an expansion ratio of 2:1 and a soft knee setting of 5.

+20

+10

–10

–20

–30

Output Level (dB)

–40

–50

–60

–70

Expansion ratio = 2:1

Knee = hard

Threshold = –10dB

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Input Level (dB)

Parameter Range

THRESHOLD

OUT GAIN

KNEE

ATTACK

RELEASE

RATIO

–54 dB to 0 dB (55 steps)

0.0 dB to +18.0 dB (0.5 dB steps)

hard, 1, 2, 3, 4, 5

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz) 6 ms–46 s (fs = 44.1 kHz)

1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1, 10:1, 20:1, ∞:1 (16 steps)

+20

+10

–10

–20

–30

Output Level (dB)

–40

–50

–60

–70

Expansion ratio = 2:1

Knee = 5

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Input Level (dB)

Threshold = –20dB

THRESHOLD—This determines the level of input signal required to trigger the expander. Signals above

the threshold pass through the expander unaffected. Signals at and below the threshold level are attenuated by the amount speciﬁed using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter.

OUT GAIN—This sets the expander’s output signal level, and can be used to compensate for the over-

all level change caused by the expansion process.

KNEE—This determines how expansion is applied at the threshold point. When set to hard, expansion

at the speciﬁed ratio is applied as soon as the input signal level falls below the speciﬁed threshold. For knee settings from 1 to 5, however, expansion is applied gradually as the signal falls below the speciﬁed threshold, creating a more natural sound.

AT TA CK —This determines how soon the signal is expanded once the expander has been triggered.

With a fast attack time, the signal is expanded almost immediately. With a slow attack time, however, the initial transient of a sound passes through unaffected. Attack times from 1 to 5 milliseconds are a good place to start.

RELEASE—This determines how soon the expander returns to its normal gain once the trigger signal

level exceeds the threshold. If the release time is too short, the gain will recover too quickly causing level pumping (i.e., noticeable gain ﬂuctuations). If it is set too long, the expander may not have time to recover before the next low-level signal appears, and it will be expanded incorrectly. Release times from

0.1 to 0.5 seconds are a good place to start.

RATIO—This determines the amount of expansion. That is, the change in output signal level relative

to change in input signal level. For a 2:1 ratio, for example, a 5 dB change in input level (below the threshold) results in a 10 dB change in output level. For a 5:1 ratio, a 2 dB change in input level (below the threshold) results in a 10 dB change in output level.

Page 33

COMPANDER (HARD & SOFT)

The hard (H) and soft (S) companders comprise of compressor, expander, and limiter. The limiter prevents output signals from exceeding 0 dB. The compressor compresses signals that exceed the threshold level. The expander attenuates signals below the threshold and width. The soft compander has an expansion ratio of

1.5:1, while the hard compander has an expansion ratio of 5:1. The following two graphs show typical compander curves. The one on the left shows the hard compander. The one on the right, the soft compander.

+20

+10

–10

–20

–30

Output Level (dB)

–40

–50

–60

–70

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Width

Threshold

Output Level (dB)

Input Level (dB)

Hard Compander

Parameter Range

THRESHOLD

OUT GAIN

WIDTH

ATTACK

RELEASE

RATIO

–54 dB to 0 dB (55 steps)

–18 dB to 0 dB (0.5 dB steps)

1 dB–90 dB (1 dB steps)

0–120 ms (1 ms steps)

5 ms–42.3 s (fs = 48 kHz) 6 ms–46 s (fs = 44.1 kHz)

1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1, 10:1, 20:1 (15 steps)

+20

+10

–10

–20

–30

–40

–50

–60

–70

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Width

Input Level (dB)

Soft Compander

Threshold

THRESHOLD—This determines the input signal level at which compression and expansion are

applied. Signals at a level below the sum of the threshold and width are attenuated by the expander. Signals at and above the threshold level are compressed by the amount speciﬁed using the Ratio parameter. The trigger signal is sourced using the KEY IN parameter.

OUT GAIN—This sets the compander’s output signal level. It can be used to compensate for the over-

all level change caused by the compression and expansion processes.

WIDTH—This determines how far below the threshold level expansion is applied. The expander is

essentially turned off when the width is set to 90 dB.

AT TA CK —This determines how soon the signal is compressed and expanded once the compander has

been triggered. With a fast attack time, the signal is companded almost immediately. With a slow attack time, however, the initial transient of a sound passes through unaffected. Attack times from 1 to 5 milliseconds are a good place to start.

RELEASE—This determines how soon the compressor and expander return to their normal gains once

the trigger signal level drops below the threshold. If the release time is too short, the gain will recover too quickly causing level pumping (i.e., noticeable gain ﬂuctuations). If it is set too long, the compressor may not have time to recover before the next high level signal appears, and it will be compressed incorrectly. Release times from 0.1 to 0.5 seconds are a good place to start.

RATIO—This determines the amount of compression. That is, the change in output signal level rela-

tive to change in input signal level. For a 2:1 ratio, for example, a 10 dB change in input level (above the threshold) results in a 5 dB change in output level. For a 5:1 ratio, a 10 dB change in input level (above the threshold) results in a 2 dB change in output level. The expander ratios are ﬁxed: 1.5:1 for the soft compander (S) and 5:1 for the hard compander (H).

Page 34

Dynamics Library

# Title Type Description

Comp COMP

Gate GATE

Expand EXPAND

Ducking DUCKING

Compander(H) COMPAND-H

Compander(S) COMPAND-S

A.Dr.BD COMP

A.Dr.BD GATE

A.Dr.BD COMPAND-H

A.Dr.SN COMP

A.Dr.SN EXPAND

A.Dr.SN GATE

A.Dr.SN COMPAND-S

A.Dr.Tom EXPAND

A.Dr.OverTop COMPAND-S

E.B.Finger COMP

E.B.Slap COMP

Syn.Bass COMP

Piano1 COMP

Piano2 COMP

E.Guitar COMP

A.Guitar COMP

Strings1 COMP

Strings2 COMP

Strings3 COMP

BrassSection COMP

Syn.Pad COMP

SamplingPerc COMPAND-S

Sampling BD COMP

Sampling SN COMP

Hip Comp COMPAND-S

Solo Vocal1 COMP

Solo Vocal2 COMP

Chorus COMP

Click Erase EXPAND

Announcer COMPAND-H

Limiter1 COMPAND-S

Limiter2 COMP

Total Comp1 COMP

Total Comp2 COMP

Compressor intended to reduce the overall volume level. Use it on the stereo output during mixdown. It can also be used with the stereo input.

Gate template.

Expander template.

Ducking template.

Hard-knee compressor template.

Soft-knee compressor template.

Compressor program for use with acoustic kit’s bass drum.

Gate program for use with acoustic kit’s bass drum.

COMPAND-H program for use with acoustic kit’s bass drum.

Compressor program for use with acoustic kit’s snare drum.

Expander program for use with acoustic kit’s snare drum.

Gate program for use with acoustic kit’s snare drum.

COMPAND-H program for use with acoustic kit’s snare drum.

Expander program for use with acoustic kit’s tom toms, which automatically reduces the volume when the tom toms are not played, helping to differentiate the bass and snare drums clearly.

Soft-knees compander program to emphasize the attack and ambience of cymbals recorded with overhead microphones. It automatically reduces the volume when the cymbals are not played, helping to differentiate the bass and snare drums clearly.

Compressor program to level the attack and volume level of a ﬁnger-picked electric bass guitar.

Compressor program to level the attack and volume level of a slap electric bass guitar.

Compressor program to control or emphasize the level of a synth bass.

Compressor program to brighten the tonal color of a piano.

A variation on program 19, using a deep threshold to change the entire attack and level.

Compressor program for electric guitar cutting and arpeggio-style backing performance. The sound color can be varied using different playing styles.

Compressor program for acoustic guitar stroke and arpeggio-style backing performance.

Compressor program for strings.

A variation on program 23, intended for violas or cellos.

A variation on program 23, intended for string instruments with a very low range, such as cellos or contrabass.

Compressor program intended for brass sounds with a fast and strong attack.

Compressor program for synth pad, intended to prevent diffusion of the sound.

Compressor program for sampled sounds, making them as powerful as real acoustic drums. This program is for percussion sounds.

A variation on program 28, intended for sampled bass drum sounds.

A variation on program 28, intended for sampled snare drum sounds.

A variation on program 28, intended for sampled sound loops.

Compressor program suited for use with solo vocals.

A variation on program 32.

A variation on program 32, intended for chorus vocals.

Expander program to remove click track sounds that may bleed out of the musicians monitor headphones.

Hard compander program to reduce the music level when the announcer speaks, making the voice clearer.

A soft-knee compander program with a slow release.

A compressor program using the peak-stop style.

Compressor intended to reduce the overall volume level. Use it on the stereo output during mixdown. It can also be used with the stereo input.

A variation on program 39 with greater compression.

Page 35

EQ Library

# Title Description

Bass Drum 1 Emphasizes the low range of a bass drum and the attack created by the beater.

Bass Drum 2 Creates a peak around 80Hz, producing a tight, stiff sound.

Snare Drum 1 Emphasizes snapping and rimshot sounds.

Snare Drum 2 Emphasizes the ranges of that classic rock snare drum sound.

Tom-tom 1 Emphasizes the attack of tom-toms, and creates a long, “ leathery” decay.

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

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

Percussion

E.Bass 1 Makes a tight electric bass sound by cutting very low frequencies.

E.Bass 2 Unlike program 9, this program emphasizes the low range of an electric bass.

Syn.Bass 1 Use on a synth bass with emphasized low range.

Syn.Bass 2 Emphasizes the attack that is peculiar to a synth bass.

Piano 1 This is used to make a piano sound brighter.

Piano 2

E.G.Clean

E.G.Crunch 1 Adjusts the tonal quality of a slightly distorted guitar sound.

E.G.Crunch 2 A variation on program 16.

E.G.Dist. 1 Makes a heavily distorted guitar sound clearer.

E.G.Dist. 2 A variation on program 18.

A.G.Stroke 1 Emphasizes the bright tones of an acoustic guitar.

A.G.Stroke 2 A variation on program 20. You can also use it with a gutsy guitar sound.

A.G.Arpeg. 1 Corrects arpeggio technique of an acoustic guitar.

A.G.Arpeg. 2 A variation on program 22.

Brass Sec.

Male Vocal 1

Male Vocal 2 A variation on program 25.

Female Vo. 1

Female Vo. 2 A variation on program 27.

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

Total EQ 1

Total EQ 2 A variation on program 30.

Total EQ 3

Bass Drum 3 A variation on program 1. The low and mid range is removed.

Snare Drum 3 A variation on program 3. It creates a thick sound.

Tom-tom 2 A variation on program 5. Emphasizes the mid and high range.

Piano 3 A variation on program 13.

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

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

Fine-EQ Cass Use when recording to or from cassette tape to make the sound clearer.

Narrator Use when recording narration.

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

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.

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.

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

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

A variation on program 30. Can also be used with stereo inputs or external effect returns.

Page 36

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Yamaha Audio mLAN Mixer, mLAN User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

What is mLAN Mixer?

Starting mLAN Mixer

Windows98/95 environment

Macintosh environment

Top Panel Screen

Menu Bar

File menu

View menu

Option

Preference dialog (Setting the shortcuts) (Windows only)

Help menu

Basic Controls

Control knobs

Input Channel Settings (Input Section)

Master Track Settings (Output Section)

Channel Tab Window

EQ (Equalizer)

Dynamics

Delay

Effect Tab Screen

System Tab Screen

mLAN8P

mLAN8E

Block Diagram (Audio)

mLAN8P

mLAN8E

Data List

Effect Type

Effects Parameters

Dynamics

Dynamics Library

EQ Library