Yamaha 02R96-v2 de handleiding

Merk: Yamaha

Model: 02R96-v2

Categorie: DJ-controllers

Type: de handleiding

DIGITAL MIXING CONSOLE

Owner’s ManualOwner’s Manual

Owner’s Manual

Keep This Manual For Future Reference.

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.

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

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

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.

• Explanation of Graphical Symbols

The lightning flash with arrowhead symbol

within an equilateral triangle is intended to

alert the user to the presence of uninsulated

“dangerous voltage” within the product’s

enclosure that may be of sufficient magni-

tude to constitute a risk of electric shock to

persons.

The exclamation point within an equilat-

eral triangle is intended to alert the user to

the presence of important operating and

maintenance (servicing) instructions in the

literature accompanying the product.

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

The above warning is located on the

side of the unit.

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij op het

moment dat u het apparaat ann het einde van de levensduur of gelieve

dan contact op te nemen met de vertegenwoordiging van Yamaha in

uw land.

•For the removal of the battery at the moment of the disposal at the end

of life please consult your retailer or Yamaha representative ofﬁce in

your country.

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

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

waste.

(lithium disposal)

Warnings

02R96 Version 2—Owner’s Manual

Important Information

Warnings

•Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Man-

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

•Be sure to connect to an appropriate outlet with a protective grounding connection.

Improper grounding can result in electrical shock.

•Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock

may result.

•Do not place heavy objects, including this unit, on top of the power cord. A damaged power

cord is a ﬁre and electrical shock hazard. In particular, be careful not to place heavy objects

on a power cord covered by a carpet.

•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.

•This unit is equipped with a dedicated ground connection to prevent electrical shock.

Before connecting the power plug to an AC outlet, be sure to ground the unit. If the power

cord has a three-pin plug, it will provide sufﬁcient grounding so long as the AC outlet is

grounded correctly.

•Do not scratch, bend, twist, pull, or heat the power cord. A damaged power cord is a ﬁre

and electrical shock hazard.

•Do not remove the unit’s cover. You could receive an electrical shock. If you think internal

inspection, maintenance, or repair is necessary, contact your dealer.

•Do not modify the unit. Doing so is a ﬁre and electrical shock hazard.

•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.

•Use only the included power cord for this unit. Using other types may be a ﬁre and electrical

shock hazard.

•The 02R96 has four rear-panel slots for installing mini-YGDAI cards. For technical reasons,

certain card combinations are not supported. Before installing any cards, check the Yamaha

web site to if your card is compatible. Installing cards that are not endorsed by Yamaha may

cause electrical shock, ﬁre, or damage to the unit.

•If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a

replacement. Using the unit with a damaged power cord is a ﬁre and electrical shock hazard.

•If you notice any abnormality, such as smoke, odor, or noise, or if a foreign object or liquid

gets inside the unit, turn it off immediately. Remove the power cord from the AC outlet.

Consult your dealer for repair. Using the unit in this condition is a ﬁre and electrical shock

hazard.

• Should this unit be dropped or the cabinet be damaged, turn the power switch off, remove

the power plug from the AC outlet, and contact your dealer. If you continue using the unit

without heeding this instruction, ﬁre or electrical shock may result.

Cautions

•Keep this unit away from the following locations:

—Locations exposed to oil splashes or steam, such as near cooking stoves, humidiﬁers, etc.

—Unstable surfaces, such as a wobbly table or slope.

—Locations exposed to excessive heat, such as inside a car with all the windows closed, or

places that receive direct sunlight.

—Locations subject to excessive humidity or dust accumulation.

Important Information

02R96 Version 2—Owner’s Manual

•Hold the power cord plug when disconnecting it from an AC outlet. Never pull the cord. A

damaged power cord is a potential ﬁre and electrical shock hazard.

•Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard.

•This unit has ventilation holes along the front underside and at the rear to prevent the inter-

nal temperature from rising too high. Do not block them. Blocked ventilation holes are a

ﬁre hazard. In particular, do not operate the unit while it’s on its side, is upside down, or

while it’s covered with a cloth or dust sheet.

•If you are using the optional MB02R96 Peak Meter Bridge, do not hold only the MB02R96

when moving the 02R96. Otherwise, the meter brackets may be damaged, the main unit

may malfunction, or you may be injured if the unit falls.

•This unit is heavy. Use two or more people to carry it.

•When you transport or move the 02R96 with the MB02R96 attached, do not permit impact

or stress on the cable connector that connects the MB02R96 to the 02R96. Otherwise, mal-

function may occur.

•To relocate the unit, turn the power switch off, remove the power plug from the AC outlet,

and remove all connecting cables. Damaged cables may cause ﬁre or electrical shock.

•When setting up the product, make sure that the AC outlet you are using is easily accessible.

If some trouble or malfunction occurs, immediately turn off the power switch and discon-

nect the plug from the outlet. Even when the power switch is turned off, electricity is still

ﬂowing to the product at the minimum level. When you are not using the product for a long

time, make sure to unplug the power cord from the wall AC outlet.

•If you know you will not use this unit for a long period of time, such as when going on vaca-

tion, remove the power plug from the AC outlet. Leaving it connected is a potential ﬁre haz-

ard.

•The inside of the unit should be cleaned periodically. Dust accumulation inside the unit

may cause malfunction and is a potential ﬁre hazard. Consult your dealer for information

about cleaning.

•To prevent electrical shock when cleaning the unit, remove the power plug from the AC out-

let.

•Do not apply oil, grease, or contact cleaner to the faders. Doing so may cause problems with

electrical contact or fader motion.

•Do not use the headphones for a long period of time at a high or uncomfortable volume

level, since this can cause permanent hearing loss. If you experience any hearing loss or ring-

ing in the ears, consult a physician.

Operating Notes

• XLR-type connectors are wired as follows: pin 1–ground, pin 2–hot (+), and pin 3–cold (–).

•Insert TRS phone jacks are wired as follows: sleeve–ground, tip–send, and ring–return.

•The performance of components with moving contacts, such switches, rotary controls, fad-

ers, and connectors, deteriorates over time. The rate of deterioration depends on the oper-

ating environment and is unavoidable. Consult your dealer about replacing defective

components.

•Using a mobile telephone near this unit may induce noise. If noise occurs, use the telephone

away from the unit.

•If the message “WARNING Low Battery!” appears when you turn on this unit, contact your

dealer as soon as possible about replacing the internal data backup battery. The unit will still

operate correctly, but data other than the presets will be lost.

•Before replacing the batteries, back up your data to a memory card, or another unit by using

MIDI Bulk Dump.

•The digital circuits of this unit may induce a slight noise into nearby radios and TVs. If noise

occurs, relocate the affected equipment.

Interference

02R96 Version 2—Owner’s Manual

•When connecting D-sub cables, be sure to tighten the screws on both sides of the connector

securely. To disconnect the cable, loosen the screws completely, then remove the cable by

holding the connector part. Do not remove the plug by pulling the cable while the screws

are still attached. Otherwise, the connector may be damaged, leading to malfunction.

•When you change the wordclock settings on any device in your digital audio system, some

devices may output noise, so turn down your power amps beforehand, otherwise your

speakers may be damaged.

Interference

The 02R96 uses high-frequency digital circuits that may cause interference on radio and

television equipment located nearby. If interference is a problem, relocate the affected

equipment. Using a mobile telephone near the unit may induce noise. In this case use the

telephone away from the unit.

02R96 Exclusion of Certain Responsibility

Manufacturer, importer, or dealer shall not be liable for any incidental damages including

personal injury or any other damages caused by improper use or operation of the 02R96.

Trademarks

ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are reg-

istered trademarks of Alesis Corporation. Apogee is a trademark of Apogee Electronics, Inc.

Apple, Mac, and Power Macintosh are registered trademarks and Mac OS is a trademark of

Apple Corporation, Inc. HUI is a trademark of Mackie Designs, Inc. Intel and Pentium are

registered trademarks of Intel Corporation. Nuendo is a registered trademark of Steinberg

Media Technologies AG. Pro Tools is a trademark or registered trademark of Digidesign

and/or Avid Technology, Inc. Tascam Digital Interface is a trademark and Tascam and Teac

are registered trademarks of Teac Corporation. Microsoft and Windows are registered

trademarks of Microsoft Corporation, Inc. Waves is a trademark of Waves, Inc. Yamaha is a

trademark of Yamaha Corporation. Nuendo and Cubse SX are trademarks of Steinberg

Media Technologies GmbH. All other trademarks are the property of their respective hold-

ers and are hereby acknowledged.

No part of the 02R96, its software, or this

Owner’s Manual

may be reproduced or distrib-

uted in any form or by any means without the prior written authorization of Yamaha Cor-

poration.

Yamaha Web Site

Further information about the 02R96, related products, and other Yamaha professional

audio equipment is available on the Yamaha Professional Audio Web site at:

<http://www.yamahaproaudio.com/>.

Package Contents

• 02R96 Digital Mixing Console

• CD-ROM

•Power cord

•This manual

•Studio Manager Installation Guide

Optional Extras

•MB02R96 Peak Meter Bridge

• SP02R96 Wooden Side Panels

• mini YGDAI I/O cards

Important Information

02R96 Version 2—Owner’s Manual

About this Owner’s Manual

This

Owner’s Manual

covers the 02R96 Digital Mixing Console.

All the information you need in order to operate the 02R96 Digital Mixing Console is con-

tained in this manual. Use the table of contents to familiarize yourself with the manual’s

organization and to locate tasks and topics, and use the index to locate speciﬁc information.

Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on

page 43.

Each chapter of this manual discusses a speciﬁc section or function of the 02R96. The Input

and Output Channels are explained in the following chapters: “Input Channels,” “Bus

Outs,” “Aux Sends,” and “Stereo Out.” Where possible, these chapters have been organized

in order of signal ﬂow, from input through to output.

Functions such as EQ and Delay are common to all channels. Rather than repeat the same

information over and over, these functions are explained once in the “Common Channel

Functions” chapter, which starts on page 107. The Input Channels, Bus Outs, Aux Sends,

and Stereo Out chapters contain cross-references to the relevant sections of the “Common

Channel Functions” chapter.

Conventions Used in this Manual

The 02R96 features two types of button: physical buttons that you can press (e.g., ENTER

and DISPLAY) and buttons that appear on the display pages. References to physical buttons

are enclosed in square brackets, for example, “press the [ENTER] button.” References to dis-

play page buttons are not emphasized, for example, “press the ENTER button.”

Display pages can be selected by using the [DISPLAY] buttons or the Left Tab Scroll, Right

Tab Scroll, and F1–4 buttons below the display. In order to simplify explanations, only the

[DISPLAY] button method is mentioned in the procedures. See “Selecting Display Pages”

on page 45 for details on all the ways in which pages can be selected.

Installing the 02R96

The 02R96 should be placed on a strong and stable surface, somewhere that complies with

the warnings and cautions listed in the previous sections.

New Functions in 02R96 Version 2

The following functions have been added to the 02R96 as part of the upgrade of the ﬁrm-

ware from version 1.2 to version 2.0.

Control Surface

• Encoder mode now features an assignable function, ALT LAYER, which enables you to con-

trol the channel level for all 48 channels without switching between layers.

→

page 50

•There are now 48 assignable Encoder mode parameters.

→

page 52

Input Channels

•Surround Pan supports 6.1 Surround.

→

page 85

•You can change the bus assigned to each surround pan channel.

→

page 87

•The Fader Group Master function enables you to control the overall level of the Fader group

channels simultaneously while maintaining the relative level balance of each channel.

→

page 80

•The Mute Group Master function enables you to mute all channels in a Mute group simul-

taneously.

→

page 79

•The on/off status of the Follow Pan button is reﬂected in the pan and Surround Pan settings.

→

page 82

New Functions in 02R96 Version 2

02R96 Version 2—Owner’s Manual

Aux Sends

•You can exclude channels from Aux Sends (Mix Minus).

→

page 104

•You can copy the channel fader positions to Aux Sends.

→

page 104

•You can set all Send levels to nominal simultaneously.

→

page 99

•If an Aux Send is set to pre-fader, you can set the Pre point before or after the [ON] button.

→

page 99

Common Channel Functions

•Input and Output Channel Meter pages indicate the gain reduction being applied by the

Gate and Compressor.

→

page 108

•You can select whether the Input Channel’s Pan setting is used when the Input Channel Solo

signal is set to Pre Fader.

→

page 121

•Raising the channel faders for soloed Channels from –

∞

can unsolo the Channels.

→

page 121

•The AUX SELECT [AUX 1]–[AUX 8] buttons enable you to solo or unsolo Aux Sends.

→

page 121

•The Fader Group Master function enables you to control the overall level of the Fader group

channels simultaneously while maintaining the relative level balance of each channel.

→

page 127

•The Mute Group Master function enables you to mute all channels in a Mute group simul-

taneously.

→

page 129

Monitor

•The level of the Surround Monitor can be reset to 85dB SPL.

→

page 138

•A new parameter has been added to Base Management on the Surround Monitor Setup

page.

→

page 140

•Surround Monitor is also available when Surround mode is set to Stereo.

•You can simultaneously select BUS and SLOT on the Surround Monitor page.

•You can select from Slot Channel 9 through Channel 16 as Surround Monitor signal sources.

•You can simultaneously select 2TRD, D2, D3, A1, or A2, and STEREO, ASSIGN1, or

ASSIGN2 as Control Monitor signal sources.

•You can select the Talkback mic signal as the Studio Monitor source.

→

page 142

Internal Effects and Plug-ins

•You can add optional Add-On Effects to the preset effects.

→

page 157

Scene Memory

•You can globally apply the Fade Time setting to all scenes.

→

page 166

•You can globally apply the Recall Safe setting to all scenes.

→

page 167

•Any channel or parameter settings in the current scene can be copied and pasted into other

scenes.

→

page 168

•You can select more parameters for the Recall Safe function.

→

page 167

Automix

•You can insert the current mix parameters in a region speciﬁed in the Automix data.

→

page 180

•Touching the faders can punch parameter values in and out if the corresponding OVER-

WRITE button is set to on.

→

page 171

•A parameter related to timecode synchronization has been added.

→

page 234

Important Information

02R96 Version 2—Owner’s Manual

Remote Control

•The Joystick or the controls in the SELECTED CHANNEL section enable you to control Pro

To ols Surround Pan settings.

•The USER DEFINED KEYS enable you to switch windows in the included Studio Manager

application software.

Other Functions

•A user-assignable layer enables you to assign Channels to Remote layer targets.

→

page 228

•You can also select General DAW (for DAW software that supports the Pro Tools protocol)

or Cubase SX as the target for a Remote layer.

→

page 219

•Yamaha’s proprietary Advanced DAW protocol has been added to Nuendo, Cubase SX, and

General DAW. This enables you to control these devices using the 02R96’s SELECTED

CHANNEL section. (Controllable functions vary depending on the DAW software and ver-

sion you are using.)

•You can now assign any of 174 functions to the USER DEFINED KEYS.

→

page 238

•You can assign the selected channels to a Fader or Mute group using the USER DEFINED

KEYS.

→

page 238

•An Operation Lock function prevents unintentional edits and uses a password to restrict

access to panel operation.

→

page 235

•The Oscillator can output sine wave signals with different frequencies to the L and R chan-

nels and odd and even buses.

→

page 234

•You can set the Auto Direct Out On check box so that if you change a channel’s Direct Out

destination, the channel Direct Out will automatically be enabled.

→

page 231

•You can set the Routing ST Pair Link check box so that the routing from paired Channels to

the Stereo Bus is linked.

→

page 231

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

This product contains a high intensity lamp that contains a small amount of mercury. Disposal of this material

may be regulated due to environmental considerations. For disposal information in the United States, refer to

the Electronic Industries Alliance web site: www.eiae.org

* This applies only to products distributed by

YAMAHA CORPORATION OF AMERICA.

COMPLIANCE INFORMATION STATEMENT

(DECLARATION OF CONFORMITY PROCEDURE)

Responsible Party : Yamaha Corporation of America

Address : 6600 Orangethorpe Ave., Buena Park, Calif. 90620

Telephone : 714-522-9011

Type of Equipment : Digital Mixing Console

Model Name : 02R96

This device complies with Part 15 of the FCC Rules.

Operation is subject to the following two conditions:

1) this device may not cause harmful interference, and

2) this device must accept any interference received including interference

that may cause undesired operation.

See user manual instructions if interference to radio reception is sus-

pected.

(FCC DoC)

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

This product contains a battery that contains perchlorate material.

Perchlorate Material—special handling may apply,

See www.dtsc.ca.gov/hazardouswaste/perchlorate.

Contents

02R96 Version 2—Owner’s Manual

Contents

1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . 19

Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

3 Operating Basics . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Turning On & Off the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

About the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Selecting Display Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Display Parameter Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Parameter Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Confirmation Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Title Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Selecting Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Selecting Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Selecting Encoder Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Assigning Parameters to the ENCODER MODE Assign Buttons . . . . . . . . . . . . . 51

4 Analog I/O & the AD Input Section . . . . . . . . . . . 53

AD Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Control Room Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Studio Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

2TR Analog INs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

5 Digital I/O & Cascading . . . . . . . . . . . . . . . . . . . . 55

Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

2TR Digital Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

2TR Digital Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

2TR In Sampling Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Slot I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Dithering Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Monitoring Digital Input Channel Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Cascading Consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

6 Input & Output Patching . . . . . . . . . . . . . . . . . . . 66

Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Naming Input & Output Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Patch Select Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Patching with the Encoders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Contents

02R96 Version 2—Owner’s Manual

7 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Patching Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Reversing the Signal Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Gating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Attenuating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

EQ’ing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Grouping Input Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Input Channel Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Compressing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Grouping Input Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Delaying Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Muting Input Channels (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Grouping Input Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Input Channel Mute Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Grouping Input Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Group Master for Input Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Using Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Assigning Surround Channels to Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Sending Input Channels to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Soloing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Direct Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Naming Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Using the MS Stereo Microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

8 Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Stereo Out Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Patching the Stereo Out to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Routing Input Channels to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Metering the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Monitoring the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Attenuating the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

EQ’ing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Stereo Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Compressing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Muting the Stereo Out (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Setting the Stereo Out Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Balancing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Delaying the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Viewing Stereo Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Naming the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Contents

02R96 Version 2—Owner’s Manual

9 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Patching Bus Outs to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Routing Input Channels to Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Attenuating Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

EQ’ing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Bus Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Compressing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Muting Bus Outs (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Setting Bus Out Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Delaying Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Soloing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Pairing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Viewing Bus Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Naming Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

10 Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Patching Aux Send Masters to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Setting the Aux Send Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Pre-Fader or Post-Fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

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

Aux Send Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Panning Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Excluding Certain Channels from Aux Sends (Mix Minus) . . . . . . . . . . . . . . . . . 104

Copying Channel Fader Positions to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Metering Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Monitoring Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Attenuating Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

EQ’ing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Aux Send Master Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Compressing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Muting Aux Send Masters (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Settings Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Delaying Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Soloing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Viewing Aux Send Master Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Naming Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Contents

02R96 Version 2—Owner’s Manual

11 Common Channel Functions . . . . . . . . . . . . . . . . 107

Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Attenuating Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Using EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Grouping Output Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Using Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Compressing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Grouping Output Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Pairing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Grouping Output Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Group Master for the Output Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Grouping Output Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Output Channel Mute Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Viewing Channel Parameter Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Viewing Channel Fader Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Naming Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

12 Monitoring & Talkback . . . . . . . . . . . . . . . . . . . . . 136

Control Room Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Studio Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Surround Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Using Talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

13 Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

About the Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

General Library Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Channel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Input Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Output Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Bus to Stereo Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Gate Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Comp Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Automix Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Surround Monitor Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

14 Internal Effects & Plug-Ins . . . . . . . . . . . . . . . . . . 153

About the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Patching Effects Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Preset Effects & Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Adding Optional Add-On Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

About Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Configuring Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Editing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Contents

02R96 Version 2—Owner’s Manual

15 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . 162

About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Auto Scene Memory Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Storing & Recalling Scenes with the SCENE MEMORY Buttons . . . . . . . . . . . . . 164

Using the Scene Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Fading Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Recalling Scenes Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Sorting Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Copying and Pasting a Scene (Global Paste) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

16 Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

About Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

What’s Recorded in an Automix? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Automix Main Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Channel Strip [AUTO] Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Automix Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Fader Edit Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Selecting the Timecode Source & Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Creating a Time Signature Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Recording an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Inserting Mix Parameters into Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Rerecording Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Parameter Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Punching In & Out Individual Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Playing Back an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Editing Events Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Event Edit Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

17 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

MIDI & the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

MIDI Channel Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Assigning Scenes to Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Assigning Parameters to Control Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Controlling Parameters by Using Parameter Changes . . . . . . . . . . . . . . . . . . . . . . 194

Using Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Contents

02R96 Version 2—Owner’s Manual

18 Pro Tools Remote Layer . . . . . . . . . . . . . . . . . . . . 196

Configuring Windows Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Configuring Macintosh Computers (MacOS 8.6 to 9.2.2) . . . . . . . . . . . . . . . . . . 196

Configuring Macintosh Computer (MacOS X) . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Configuring the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Configuring Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Control Surface Operation with the Pro Tools Remote Layer . . . . . . . . . . . . . . . 199

Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Setting Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Muting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Panning Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Viewing Send Destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Configuring Sends as Pre or Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Setting Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Muting Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Panning Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Flip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Assigning Inserts/Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Editing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Bypassing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Resetting Faders, Sends, & Panpots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Navigating the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Making Fine Adjustments to the Selected Region . . . . . . . . . . . . . . . . . . . . . . . . . 215

Scrub & Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Panner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

19 Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . 219

About the Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

About Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

GPI (General Purpose Interface) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

20 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Using the User Assignable Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Using the User Defined Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Operation Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Checking the Battery and the System Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Initializing the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Initializing the Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Contents 15

02R96 Version 2—Owner’s Manual

Appendix A: Parameter Lists . . . . . . . . . . . . . . . . . . . . 238

USER DEFINED KEYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

USER DEFINED KEYS Initial Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Input Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Initial Input Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Output Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Initial Output Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Initial Input Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Initial Output Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Initial Input Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Initial Output Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

GPI Trigger Source & Target List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

User Defined Remote Layer Initial Bank Settings . . . . . . . . . . . . . . . . . . . . . . . . . 255

Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Effects and tempo synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Preset EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Preset Gate Parameters

(fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Preset Compressor Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Dynamics Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 291

General Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Analog Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Analog Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Digital Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Digital Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

I/O Slot Spec (1–4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Control I/O Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Connector Pin Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Format Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Appendix D: Options . . . . . . . . . . . . . . . . . . . . . . . . . . 335

MB02R96 Peak Meter Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

SP02R96 Wooden Side Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

16 Chapter 1—Welcome

02R96 Version 2—Owner’s Manual

1 Welcome

Thank you for choosing the Yamaha 02R96 Digital Mixing Console.

The 02R96 Digital Mixing Console offers 24-bit/96 kHz digital audio processing without

compromise, comprehensive surround mixing and monitoring, including bass manage-

ment, and hands-on control of popular DAW (Digital Audio Workstation) systems.

Sonic Spec

• Linear 24-bit, 128-times oversampling A/D converters

• Linear 24-bit, 128-times oversampling D/A converters

• 20 Hz–40 kHz (0.5, –1.5 dB) frequency response at 96 kHz sampling rate

• 105 dB typical dynamic range (AD Input to Stereo Out)

• 32-bit internal signal processing (58-bit accumulator)

Channel Architecture

• 56 Input Channels, with Direct Outs

•8 Bus Outs, with to Stereo Out routing for subgrouping

•8 Aux Sends

•Stereo Out

•Channels can be named for easy identiﬁcation

•Channel library with 127 user memories

I/O Architecture

• 16 analog mic inputs on balanced XLRs (plus 48 V phantom) 24 analog line inputs on bal-

anced phone jacks

• 16 analog inserts

• 32 inputs, 32 outputs via four mini-YGDAI slots and optional I/O cards, which

offer a vari-

ety of analog and digital I/O options, with support for all the popular digital audio

interconnect formats, including AES/EBU, ADAT, Tascam TDIF-1, and mLAN.

•8 assignable Omni outputs

•1 AES/EBU, 2 Coaxial 2-track digital input, with sampling rate converters for connecting

44.1/48 kHz legacy digital audio equipment

•1 AES/EBU, 2 Coaxial 2-track digital output

•2 analog 2-track inputs

• XLR and phono connector stereo outputs

•Control room monitor outputs

•Dedicated studio monitor outputs

•Double channel digital I/O for use with legacy 44.1/48 kHz multitrack recorders

•Cascade ports for cascading up to four 02R96s (i.e., 224 Input Channels)

Welcome 17

02R96 Version 2—Owner’s Manual

I/O Patching

•Any available input port can be patched to the Input Channels, Insert Ins, or Effects inputs

•Direct Outs, Insert Outs, Bus Outs, Aux Sends, and the Stereo Out can be patched to any

output port

•Input and output ports can be named for easy identiﬁcation

•Patches can be stored in the Input and Output Patch libraries

•4-band parametric EQ on all Input and Output Channels

• EQ library with 40 presets, 160 user memories

Groups & Pairs

•Horizontal and vertical pairing of Input Channels

•Horizontal pairing of Bus Outs, Aux Sends, and Surround Pan

•8 Input Channel, 4 Output Channel Fader groups

•8 Input Channel, 4 Output Channel Mute groups

•4 Input Channel, 4 Output Channel EQ groups

•4 Input Channel, 4 Output Channel Compressor groups

Effects

•4 internal effects processors

• Effects library with 61 presets, 67 user memories (presets 53–61 are used for optional

Add-On Effects.)

•Optional Add-On Effect package includes effects that featuring new algorithms.

•Multichannel effects for surround sound processing

•Joystick control of early reﬂections and reverb with the Reverb 5.1 effect

•Optional Waves 56K effects plug-in cards

•User deﬁned plug-ins for external effects control via MIDI, with Learn function

Dynamics

• Gates on all 56 Input Channels

• Gate library with 4 presets, 124 user memories

•Compressors on all Input Channels and Out Channels (74 in total)

•Compressor library with 36 presets, 92 user memories

Automation

•Dynamic automation of virtually all mix parameters, with 1/4-frame accuracy

•Automix library with 16 memories

•Snapshot style automation with 99 Scene memories, recallable via MIDI or Automix

•Individual fade time settings for all Input and Output faders

•Scene and library recalls

•Punch in/out entire channels with dedicated [AUTO] buttons, or individual parameters

• Editing fader moves with Fader Return, Fader Takeover, Absolute/Relative modes

• Ofﬂine event editing includes, erase, copy, move/merge, trim, duplicate, delete, and insert

18 Chapter 1—Welcome

02R96 Version 2—Owner’s Manual

Surround Sound

•3-1, 5.1 and 6.1 Surround modes

•Joystick control

•Bass management

•Monitor matrix

•Surround monitor speaker alignment functions

•Surround monitor library with 32 user memories

Remote Control

•Control and manage your 02R96 from your Mac or PC by using the bundled Studio Man-

ager software

•Remote Layers for external equipment control, including predeﬁned targets for controlling

DAW systems, and user deﬁned targets for controlling MIDI equipment, with Learn func-

tion

•Comprehensive machine control via MMC, including transport, track arming, jog/shuttle,

and built-in locator with eight Locate memories

•Assignable GPI (General Purpose Interface) port for external control and “Recording” light

MIDI

• Standard MIDI ports, USB TO HOST port, or SERIAL TO HOST port

• USB, and SERIAL offer multiport operation

•Scene recall, mix parameter control, Bulk Dump, MTC and MIDI Clock for Automix syn-

chronization, MMC for external machine control

Control Surface

• 25 touch-sensitive 100-mm motorized faders (touch sense used to select channels or punch

faders in/out during Automix recording)

•Use the faders to set channel levels or Aux Send levels

•Use the 24 Encoders to control Pan, Aux Send levels, or user assigned parameters

•Channels arranged into two Input Layers, Master Layer, and Remote Layer

• 320 x 240 dot LCD display with ﬂuorescent backlight

•Complete hands-on control of all channel functions via the SELECTED CHANNEL section

•2-digit Scene memory display

•4 EQ displays for frequency, gain, and Q

• 16 user-deﬁnable buttons make light work of repetitive tasks

Control Surface & Rear Panel 19

02R96 Version 2—Owner’s Manual

2 Control Surface & Rear Panel

Control Surface

25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

49 50 51 52 53 54 55 56

AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 BUS 1 BUS 2 BUS 3 BUS 4 BUS 5 BUS 6 BUS 7 BUS 8

PHONES

LEVEL

010

TALKBACK LEVEL

STUDIO

LEVEL

PHONES

GAIN

PEAK

SIGNAL

PEAK

SIGNAL

PEAK

SIGNAL

PEAK

SIGNAL

19101112 13 14 15 16

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

DISPLAY

STUDIO

AUX7 AUX8

SOLO

CONTROL

ROOM

STEREO

BUS

SLOT

CONTROL ROOM

2TR D1 2TR A1

2TR D2 2TR A2

2TR D3 STEREO

ASSIGN

1 ASSIGN2

SURROUND

CLEAR

DIMMER

CONTROL ROOM LEVEL

100

TALKBACK

SURROUND MONITOR LEVEL

EQUALIZER

EQ ON

LOW

FREQUENCY

DISPLAY

GAIN

LOW MID

GAIN

HIGH MID

GAIN

HIGH

GAIN

GATE ON COMP ON

GATE

COMP

RANGE

RATIO

ATT ACK

ATT ACKTHRESHOLD

THRESHOLD

DYNA MICS

DISPLAY

GATE / COMP

DECAY

RELEASE

HOLD

GAIN

SELECTED CHANNEL

LINK GRAB EFFECT

EVEN

PAN/SURROUND

DISPLAY

ODD

DISPLAY ACCESS

PHASE /

INSERT

DELAY

STEREOFOLLOW PAN DIRECT

DISPLAY

ROUTING

SCENE MEMORY

DISPLAY

STORE RECALL

USER DEFINED KEYS

12345678

910111213141516

DISPLAY

REC

REW FF

STOP PLAY

SET

DISPLAY

MACHINE CONTROL

LOCATE MEMORY

1234

5678

INCDEC

ENTER

SHUTTLE

SCRUB

SEL

AUTO

STEREO

12345678 910111213 14 15 16 17 18 19 20 21 22 23 24

SOLO

SEL

AUTO

AUTOMIX DI O SETUP UTILITY

MIDI REMOTE METER VIEW

PAI R GROUP INPUT

PATCH

OUTPUT

PATC H

DISPLAY ACCESS

AUX 2AUX 1 AUX 3 AUX 4

AUX 6AUX 5 AUX 7 AUX 8

AUX SELECT

DISPLAY

AUXPAN

ASSIGN 2ASSIGN 1

ENCODER MODE

DISPLAY

AUXFADER

FADER MODE

EFFECTS / PLUG INS

INTERNAL

EFFECTS

CHANNEL

INSERTS

PLUG INS

1234

DISPLAY

kHz

STEREO

12345678 910111213141516 1718192021222324

17 18

19 2 0 21 22 23 24

MONITOR

DIGITAL MIXING CONSOLE

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

PAD

125 1.00 4.00 10.0

MASTER25 48

REMOTE1 24

LAYER

D Input Section (p. 20)

Channel strips (p. 20)

MACHINE CONTROL (p. 32)

UX SELECT (p. 21)

FADER MODE (p. 22)

ENCODER MODE (p. 22)

DISPLAY ACCESS (p. 23)

EFFECTS/PLUG-INS (p. 24)

Display Section (p. 25)

SELECTED CHANNEL Section (p. 26)

LAYER (p. 30) STEREO (p. 30)

Data Entry & Transport

(p. 33)

Monitor, Phones & Talkback

Section (p. 34)

MONITOR Section (p. 34)

SCENE MEMORY (p. 31)

USER DEFINED KEYS (p. 31)

20 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

AD Input Section

AD Input #1 is shown at the top; AD Inputs #17 and #18 below.

A +48V ON/OFF switches (AD 1–16)

These switches turn on and off the +48 V phantom power feed to each INPUT A

(XLR-type connector). Phantom power is typically used to power condenser-type

microphones or direct boxes. See “Phantom Power (AD 1–16)” on page 53 for

more information.

B PAD switches (AD 1–16)

These switches turn on and off the 26 dB pad (attenuator) for each AD Input. See

“Pad (AD 1–16)” on page 53 for more information.

C GAIN controls

These controls adjust the gain of the AD Input Head Amps. They have an input

sensitivity of –16 dB to –60 dB or +10 dB to –34 dB when Pad is on. AD Inputs 17

to 24 have an input sensitivity of +10 dB to –34 dB. See “Gain” on page 53 for

more information.

D PEAK indicators

These indicators light up when the input signal level is 3 dB below clipping. See

“PEAK & SIGNAL Indicators” on page 53 for more information.

E SIGNAL indicators

These indicators light up when the input signal level is 20 dB below nominal. See

“PEAK & SIGNAL Indicators” on page 53 for more information.

F INSERT ON/OFF switches (AD 1–16)

These switches are for turning on and off the AD Input inserts. See “AD Inserts

(AD 1–16)” on page 54 for more information.

Channel strips

Channel strip #1 is shown here.

The function of each channel strip depends on the currently selected Layer. See

“Selecting Layers” on page 47 for more information.

A Encoders

These controls are used to edit Input and Output Channel parameters. Their exact

operation depends on the currently selected Encoder mode and Layer. There are

two preset Encoder modes, Pan and Aux, and two assignable modes, with over 40

parameters to choose from. See “Selecting Encoder Modes” on page 50 for more

information.

The Encoders feature push switches that are used to punch the parameter cur-

rently assigned to the Encoders in and out during Automix recording. See

“Punching In & Out Individual Parameters” on page 183 for more information.

B AUTO buttons

These buttons are used to set Automix recording and playback for each channel.

Their exact operation depends on the currently selected Layer. Their indicators

light up orange in Record-Ready mode, red while recording, and green during

playback. See “Channel Strip [AUTO] Buttons” on page 174 for more information.

C SEL buttons

These buttons are used to select Input and Output Channels for editing with the

SELECTED CHANNEL section. Their exact operation depends on the currently

selected Layer. The [SEL] button indicator of the currently selected channel lights

up. See “Selecting Channels” on page 48 for more information. The [SEL] buttons

can also be used to pair channels, and to add and remove channels to and from the

EQ, Comp, Fader, and Mute groups.

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

PAD

GAIN

PEAK

SIGNAL

17 18

SOLO

SEL

AUTO

Control Surface 21

02R96 Version 2—Owner’s Manual

D SOLO buttons

These buttons are used to solo Channels. The [SOLO] button indicators of channels that

are soloed light up. See “Soloing Channels” on page 121 for more information.

E ON buttons

These buttons are used to mute Input and Output Channels. Their exact operation depends

on the currently selected Layer. The [ON] button indicators of channels that are on light up.

You can also use these buttons along with the AUX SELECT buttons to turn Aux Sends on

and off (Mix Minus) (page 104).

F Channel faders

These 100 mm touch-sensitive motorized faders are used to set the levels of Input Channels,

Bus Outs, and Aux Sends. Their exact operation depends on the currently selected Fader

mode and Layer. See “Selecting Fader Modes” on page 49 for more information. Faders can

be grouped for simultaneous operation. See “Grouping Input Channel Faders” on page 79

and “Grouping Output Channel Faders” on page 126 for more information.

Faders can also be used to select Input and Output Channels. See “Auto Channel Select &

Touch Sense Select” on page 49 for more information. They can also be used to punch chan-

nels in and out during Automix recording. See “Punching In & Out Individual Parameters”

on page 183 for more information.

AUX SELECT

AUX SELECT DISPLAY button

This button is used to select the following pages: Aux Send, Aux Send Pan, and Input Chan-

nel Aux View. See “Aux Sends” on page 98 for more information.

B AUX 1–8 buttons

These buttons are used to select Aux Sends when sending Input Channel signals to Aux

Sends. The button indicator of the currently selected Aux Send lights up. If the currently

selected Aux Send is paired, the indicator of its partner ﬂashes. See “Aux Sends” on page 98

for more information. These buttons can also be used to pair Aux Sends. See “Pairing Chan-

nels” on page 123 for more information.

Using these buttons along with the channel [ON] buttons enables you to turn Aux Sends on

and off (Mix Minus) (page 104).

Using these buttons along with the LAYER buttons enables you to copy the corresponding

channel levels to the Aux Send levels.

These buttons are also used to turn the Aux Out Solo function on and off when Aux/Solo

Link is turned on (page 121).

AUX 2AUX 1 AUX 3 AUX 4

AUX 6AUX 5 AUX 7 AUX 8

AUX SELECT

DISPLAY

22 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

ENCODER MODE

ENCODER MODE DISPLAY button

This button is used to select the Encoder Mode Assign page. See “Selecting Encoder Modes”

on page 50 for more information.

B PAN button

This button is used to select the Pan Encoder mode. Its indicator lights up when this mode

is selected. In this mode, the Encoders function as Pan controls while an Input Channel

Layer is selected. While the Master Layer is selected, Encoders 1–8 function as Input Chan-

nel 49–56 Pan controls, and Encoders 9–24 are inactive. See “Selecting Encoder Modes” on

page 50 for more information.

C AUX button

This button is used to select the Aux Encoder mode. Its indicator lights up when this mode

is selected. In this mode, the Encoders function as Aux Send level controls when an Input

Channel Layer is selected. While the Master Layer is selected, Encoders 1–8 function as

Input Channel 49–56 Aux Send controls, and Encoders 9–24 are inactive. See “Selecting

Encoder Modes” on page 50.

D ASSIGN 1 & 2 buttons

These buttons are used to select the assignable Encoder modes. The button indicator for the

currently selected mode lights up. When an assignable mode is selected, the function of the

Encoders depends on the assigned parameter. Up to two parameters, from a list of over 40,

can be assigned to these two buttons. See “Assigning Parameters to the ENCODER MODE

Assign Buttons” on page 51 for more information.

FADER MODE

FADER button

This button selects Fader mode, in which the faders control Input or Output Channel levels,

depending on the currently selected Layer. Its indicator lights up when this mode is selected.

See “Selecting Fader Modes” on page 49 for more information.

B AUX button

This button selects the Aux Fader mode, in which the faders control Aux Send levels. Its

indicator lights up when this mode is selected. See “Selecting Fader Modes” on page 49 for

more information.

AUXPAN

ASSIGN 2ASSIGN 1

ENCODER MODE

DISPLAY

1 2

AUXFADER

FADER MODE

Control Surface 23

02R96 Version 2—Owner’s Manual

DISPLAY ACCESS

AUTOMIX button

This button is used to select the following Automix pages: Automix Main, Automix Mem-

ory, Fader Edit, Event Copy, and Event Edit. See “Automix” on page 170 for more informa-

tion.

B DIO button

This button is used to select the following pages: Word Clock Select, Dither, Cascade In,

Cascade Out, Sampling Rate Converter, and Higher Sample Rate Data Transfer Format. See

“Digital I/O & Cascading” on page 55 for more information.

C SETUP button

This button is used to select the following pages: Preferences 1, Preferences 2, Preferences 3,

MIDI/TO HOST Setup, GPI Setup, Input Port Name, Output Port Name, Time Reference,

Time Signature, and Surround Bus Setup.

D UTILITY button

This button is used to select the following pages: Oscillator, Channel Status Monitor, Bat-

tery Check, and Operation Lock.

E REMOTE button

This button is used to select the Remote page. See “About the Remote Layer” on page 219

for more information.

F MIDI button

This button is used to select the following pages: MIDI Setup, Program Change Assign

Ta ble, Control Change Assign Table, and Bulk Dump. See “MIDI” on page 190 for more

information.

G METER button

This button is used to select the following pages: Input Channel Meter, Master Meter, Effect

1-4 Input/Output Meter, Stereo Meter, and Metering Position. See “Metering” on page 107

for more information.

H VIEW button

This button is used to select the following pages: Parameter View, Fader View, and Channel

Library. See “Viewing Channel Parameter Settings” on page 129, “Viewing Channel Fader

Settings” on page 130, and “Channel Library” on page 144 for more information.

I PAIR button

This button is used to select the Input and Output Pair pages. See “Pairing Channels” on

page 123 for more information.

J GROUP button

This button is used to select the following pages: Input Channel Fader Group, Input Chan-

nel Mute Group, Output Fader Group, Output Mute Group, Input Equalizer Link, Output

Equalizer Link, Input Comp Link, Output Comp Link, Input Fader Group Master, and

Output Fader Group Master.

AUTOMIX DIO SETUP UTILITY

MIDI REMOTE METER VIEW

PAIR GROUP INPUT

PATCH

OUTPUT

PATCH

DISPLAY ACCESS

1 2 3 4

J K L

24 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

K INPUT PATCH button

This button is used to select the following pages: Input Channel Patch, Input Channel Insert

In Patch, Effect Input/Output Patch, Input Channel Name, and Input Patch Library. See

“Input Patching” on page 66 for more information.

L OUTPUT PATCH button

This button is used to select the following pages: Slot Output Patch, Omni Out Patch, Out-

put Insert In Patch, Input Channel Direct Out Destination, 2TR Out Digital Patch, Output

Channel Name, and Output Patch Library. See “Output Patching” on page 68 for more

information.

EFFECTS/PLUG-INS

EFFECTS/PLUG-INS DISPLAY button

This button is used to select the following pages: Effects Edit, Effects Library, Plug-In Setup,

and Plug-In Edit. See “Internal Effects & Plug-Ins” on page 153 for more information.

B INTERNAL EFFECTS button

This button is used to select the internal effects processors in conjunction with the

EFFECTS/PLUG-INS [1–4] buttons. Its indicator lights up when it’s pressed. See “Editing

Effects” on page 156 for more information.

C PLUG-INS button

This button is used to select the Plug-Ins in conjunction with the EFFECTS/PLUG-INS

[1–4] buttons. Its indicator lights up when it’s pressed. See “Editing Plug-Ins” on page 160

for more information.

D CHANNEL INSERTS button

If an internal effects processor or Y56K card effect is inserted in the currently selected chan-

nel, the relevant Effects Edit or Plug-In Edit page appears when this button is pressed, and

its indicator lights up. In addition, the corresponding EFFECTS/PLUG-INS [1–4] button

indicator ﬂashes. If it’s a Y56K that is inserted, the [PLUG-INS] button indicator also

ﬂashes. If it’s an internal effects processor, the [INTERNAL EFFECTS] button indicator

ﬂashes. A warning message appears if there’s nothing inserted in the currently selected

channel. See “Editing Effects” on page 156 and “Editing Plug-Ins” on page 160 for more

information.

E EFFECTS/PLUG-INS 1–4 buttons

These buttons are used to select the internal effects processors and Plug-Ins in conjunction

with the EFFECTS/PLUG-INS [INTERNAL EFFECTS] and [PLUG-INS] buttons. The but-

ton indicator of the currently selected internal effects processor or Plug-In lights up. While

the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is lit, all of these buttons

are inactive.

F Parameter Up/Down buttons

These buttons are used to select the rows of internal effects processor and Plug-In parame-

ters for editing with Parameter controls 1–4. The parameters in the currently selected row

appear highlighted. Up to 16 parameters can be displayed at a time. If more are available,

an up or down arrow is displayed. See “Editing Effects” on page 156 and “Editing Plug-Ins”

on page 160 for more information.

EFFECTS / PLUG INS

INTERNAL

EFFECTS

CHANNEL

INSERTS

PLUG INS

1234

DISPLAY

2 3 4

Control Surface 25

02R96 Version 2—Owner’s Manual

G Parameter controls 1–4

These are rotary controls and push switches. The rotary controls are used to edit the param-

eters of the currently selected internal effects processor or Plug-In. When the Effects Edit

page is selected, they control the currently selected row of parameters, rows being selected

by the Parameter Up/Down buttons. See “Editing Effects” on page 156 and “Editing

Plug-Ins” on page 160 for more information.

The push switches are used to punch the Effects or Plug-In parameters currently being con-

trolled by the rotary controls in and out during Automix recording. See “Punching In & Out

Individual Parameters” on page 183 for more information.

Display Section

Display

This 320 x 240 dot display with ﬂuorescent backlight displays pages, information on the

currently selected Scene and channel, the sampling rate, and more. See “About the Display”

on page 44 for more information.

B Contrast control

This control is used to adjust the contrast of the display.

C F1–F4 buttons

These buttons are used to select the pages whose tabs are currently visible. See “Selecting

Display Pages” on page 45 for more information.

D Left Tab Scroll button

This button, which is active only when the left Tab Scroll arrow is displayed, is used to dis-

play the tabs of pages available to the left of the currently selected page. See “Selecting Dis-

play Pages” on page 45 for more information.

E Right Tab Scroll button

This button, which is active only when the right Tab Scroll arrow is displayed, is used to dis-

play the tabs of pages available to the right of the currently selected page. See “Selecting Dis-

play Pages” on page 45 for more information.

26 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

SELECTED CHANNEL Section

The subsections of the SELECTED CHANNEL section are explained below.

ROUTING

A ROUTING DISPLAY button

This button is used to select the following pages: Input Channel Routing, Bus to Stereo, and

Bus to Stereo Library. See “Routing Input Channels” on page 82 and “Sending Bus Outs to

the Stereo Out” on page 97 for more information.

B FOLLOW PAN button

This button determines whether or not the currently selected Input Channel’s pan setting,

and Surround pan setting are applied to the Bus Outs. Its indicator lights up when it’s

pressed. See “Routing Input Channels” on page 82 for more information.

C STEREO button

This button is used to route the currently selected Input Channel to the Stereo Out. Its indi-

cator lights up when it’s pressed. See “Routing Input Channels” on page 82 for more infor-

mation.

D DIRECT button

This button is used to route the currently selected Input Channel to its Direct Out. Its indi-

cator lights up when it’s pressed. See “Routing Input Channels” on page 82 for more infor-

mation.

E ROUTING 1–8 buttons

These buttons are used to route the currently selected Input Channel to the Bus Outs. The

button indicators of Bus Outs to which the Input Channel is routed light up. See “Routing

Input Channels” on page 82 for more information.

EQUALIZER

EQ ON

LOW

FREQUENCY

DISPLAY

GAIN

LOW MID

GAIN

HIGH MID

GAIN

HIGH

GAIN

GATE ON COMP ON

GATE

COMP

RANGE

RATIO

ATTAC K

ATTAC KTHRESHOLD

THRESHOLD

DYNAMICS

DISPLAY

GATE / COMP

DECAY

RELEASE

HOLD

GAIN

SELECTED CHANNEL

LINK GRAB EFFECT

EVEN

PAN/SURROUND

DISPLAY

ODD

DISPLAY ACCESS

PHASE /

INSERT

DELAY

STEREOFOLLOW PAN DIRECT

DISPLAY

ROUTING

kHz

125 1.00 4.00 10.0

STEREOFOLLOW PAN DIRECT

DISPLAY

ROUTING

3 4

Control Surface 27

02R96 Version 2—Owner’s Manual

DISPLAY ACCESS

A PHASE/INSERT button

This button is used to select the Input Channel Phase and Insert pages. See “Reversing the

Signal Phase” on page 73 and “Using Inserts” on page 115 for more information.

B DELAY button

This button is used to select the Delay pages. See “Delaying Channel Signals” on page 120

for more information.

DYNAMICS

A DYNAMICS DISPLAY button

This button is used to select the following pages: Gate Edit, Gate Library, Comp Edit, and

Comp Library. See “Gating Input Channels” on page 74 and “Compressing Channels” on

page 116 for more information.

B GATE ON button

This button is used to turn the currently selected Input Channel’s Gate on and off. Its indi-

cator lights up when the Gate is on. See “Gating Input Channels” on page 74 for more infor-

mation.

C COMP ON button

This button is used to turn the currently selected channel’s Compressor on and off. Its indi-

cator lights up when the Compressor is on. See “Compressing Channels” on page 116 for

more information.

D GATE/COMP button

This button is used to set the rotary controls for either Gate or Compressor operation.

When an Output Channel is selected, Compressor is selected automatically and cannot be

changed. See “Gating Input Channels” on page 74 and “Compressing Channels” on

page 116 for more information.

E THRESHOLD, RANGE, ATTACK, DECAY, HOLD (THRESHOLD, RATIO, ATTACK,

RELEASE, GAIN) controls

When the GATE/COMP button is set to GATE, these controls set the Threshold, Range,

Attack, Decay, and Hold parameters of the currently selected Input Channel’s Gate. When

it’s set to COMP, they set the Threshold, Ratio, Attack, Release, and Gain parameters of the

currently selected channel’s Compressor. See “Gating Input Channels” on page 74 and

“Compressing Channels” on page 116 for more information.

F GATE/COMP indicators

These indicators show whether the rotary controls are set to control a Gate or Compressor.

The GATE indicator lights up when they’re set to control a Gate; the COMP indicator, when

they’re set to control a Compressor. See “Gating Input Channels” on page 74 and “Com-

pressing Channels” on page 116 for more information.

DISPLAY ACCESS

PHASE /

INSERT

DELAY

1 2

GATE ON COMP ON

GATE

COMP

RANGE

RATIO

ATTAC K

ATTAC KTHRESHOLD

THRESHOLD

DYNAMICS

DISPLAY

GATE / COMP

DECAY

RELEASE

HOLD

GAIN

3 4 5

28 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

PAN/SURROUND

A PAN/SURROUND DISPLAY button

This button is used to select the Input Channel Pan pages, the Surround Mode page, and

the Surround Edit pages. See “Panning Input Channels” on page 83 and “Using Surround

Pan” on page 85.

B L & R buttons

These buttons can be used to select horizontally or vertically partnered Input or Output

Channels. They can be used to select the left and right channels when the Stereo Out is

selected. For Input Channels, in Individual Pan mode, the [L] button indicator lights up

when an odd/left channel is selected; the [R] button indicator, when an even/right channel

is selected. In Gang or Inverse Gang Pan mode, the button indicator of the other channel in

the pair ﬂashes while its partner is selected.

C PAN display

This 10-segment display indicates the pan position of the currently selected Input Channel.

When pan is set to center, the center two segments light up. When the Stereo Out is selected,

it displays the balance.

D PAN control

This rotary control is used to pan the currently selected Input Channel. When the Stereo

Out is selected, it is used to set the balance. For Input Channels in Gang or Inverse Gang

Pan mode, horizontally or vertically paired Input Channels are panned simultaneously. See

“Panning Input Channels” on page 83 and “Balancing the Stereo Out” on page 94.

E LINK button

This button, which is enabled only when a Surround mode other than Stereo is selected, is

used to link the PAN control and the Joystick so that either control can be used for normal

and surround panning. It’s a global setting that applies to all Input Channels. Its indicator

lights up when the PAN control and Joystick are linked. If the Joystick is set to control effects

(i.e., the [EFFECT] button indicator is lit), this button is disabled. See “Panning Input

Channels” on page 83 and “Using Surround Pan” on page 85 for more information.

F GRAB button

This button is used to turn on and off Joystick control for the currently selected Input Chan-

nel. Its indicator lights up when Grab is on. When Grab is on, the Joystick can be used to

control the currently selected Input Channel’s surround pan position. When turned off, the

Joystick does not control surround pan. In Stereo mode, it controls the currently-selected

Input Channel’s pan position. If the PAN control and the Joystick are linked (i.e., the

[LINK] button indicator is lit), Grab is turned off if the PAN control is adjusted. If the Joy-

stick is set to control effects (i.e., the [EFFECT] button indicator is lit), this button is dis-

abled.

G EFFECT button

This button is used to select the Joystick for parameter control of the Reverb 5.1 effect. Its

indicator lights up when Reverb 5.1 effect control is on, and the Joystick cannot be used for

surround panning. See “REVERB 5.1” on page 276 for more information.

LINK GRAB EFFECT

EVEN

PAN/SURROUND

DISPLAY

ODD

234567

Control Surface 29

02R96 Version 2—Owner’s Manual

H Joystick

This control can be used for surround panning, normal panning, or parameter control of

the Reverb 5.1 effect. When the [EFFECT] button indicator is lit, the Joystick controls the

Reverb 5.1 effect. See “REVERB 5.1” on page 276 for more information. When the

[EFFECT] button indicator is off and the [GRAB] button indicator is on, the Joystick con-

trols surround panning of the currently selected Input Channel. When the [EFFECT] but-

ton and [GRAB] button indicators are both off, the Joystick can still be used for surround

panning if the Auto Grab preference is on. See “Using Surround Pan” on page 85 for more

information. When the [EFFECT] button indicator is off but the [GRAB] button and

[LINK] button indicators are both on, the Joystick can be used for normal panning in uni-

son with the PAN control. See “Panning Input Channels” on page 83 for more information.

EQUALIZER

A EQUALIZER DISPLAY button

This button is used to select the following pages: Equalizer Edit, Equalizer Library, Input

Channel Attenuator/Shifter, and Output Attenuator.

B FREQUENCY/Q controls

These are rotary controls and push switches. The push switches are used to select either fre-

quency or Q. The current setting is shown by the FREQUENCY/Q indicators. The rotary

controls are used to set the frequency or Q, as selected by the push switches. See “Using EQ”

on page 111 for more information.

C EQ GAIN controls

These controls are used to set the gain of each EQ band. See “Using EQ” on page 111 for

more information.

D EQ ON button

This button is used to turn the EQ of the currently selected channel on and off. Its indicator

lights up when the EQ is on. See “Using EQ” on page 111 for more information.

E FREQUENCY/Q indicators

These indicators show whether each FREQUENCY/Q control is set to control frequency or

Q. The FREQUENCY indicator lights up when it’s set to control frequency; the Q indicator,

when it’s set to control Q. See “Using EQ” on page 111 for more information.

F EQ displays

Normally these displays show the frequency of each band. When the GAIN is adjusted, the

gain value is displayed. When the Q is adjusted, the Q value is displayed. If the gain or Q is

not adjusted for two seconds, the frequency value reappears. See “Using EQ” on page 111

for more information.

LOW

EQUALIZER

2 3

EQ ON

FREQUENCY

DISPLAY

GAIN

LOW MID

GAIN

HIGH MID

GAIN

HIGH

GAIN

kHz

125 1.00 4.00 10.0

4 65

30 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

LAYER

1–24 & 25–48 buttons

These buttons select the Input Channel Layers, which determine which Input Channels are

controlled by the channel strips. The LAYER button indicator for the currently selected

Layer lights up. See “Selecting Layers” on page 47 for more information.

B REMOTE button

This button selects the Remote Layer, which can be used to control external devices, includ-

ing DAWs. See “About the Remote Layer” on page 219 for more information. Its button

indicator lights up when the Remote Layer is selected. See “Selecting Layers” on page 47 for

more information.

C MASTER button

This button selects the Master Layer, from which the channel strips control Input Channels

49–56, Bus Outs, and Aux Sends. Its indicator lights up when the Master Layer is selected.

See “Selecting Layers” on page 47 for more information.

STEREO

AUTO button

This button is used exclusively to set Automix recording and playback for the Ste-

reo Out. Its indicator lights up orange in Record-Ready mode, red while record-

ing, and green during playback. See “Channel Strip [AUTO] Buttons” on page 174

for more information.

B SEL button

The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing

with the SELECTED CHANNEL section. Its indicator lights up when the Stereo

Out is selected. Each time it’s pressed, the selection toggles between the Stereo

Out’s left and right channels. See “Selecting Channels” on page 48 for more infor-

mation. It can also be used to add and remove the Stereo Out to and from EQ,

Comp, Fader, and Mute groups.

C ON button

This button is used exclusively to mute the Stereo Out. Its indicator lights up when

the Stereo Out is on. See “Muting the Stereo Out (ON/OFF)” on page 93 for more

information.

D Fader

This 100 mm touch-sensitive motorized fader is used exclusively to adjust the level

of the Stereo Out. See “Setting the Stereo Out Level” on page 93 for more infor-

mation. It can be grouped with other Output Channel faders for simultaneous

operation. See “Grouping Output Channel Faders” on page 126 for more infor-

mation. It can also be used to select the Stereo Out, see “Auto Channel Select &

Touch Sense Select” on page 49, or to punch the Stereo Out in and out during

Automix recording. See “Punching In & Out Individual Parameters” on page 183

for more information.

MASTER25 48

REMOTE1 24

LAYER

SEL

AUTO

STEREO

Control Surface 31

02R96 Version 2—Owner’s Manual

SCENE MEMORY

SCENE MEMORY DISPLAY button

This button is used to select the following pages: Scene Memory, Input Channel Fade Time,

Output Fade Time, Recall Safe, and Scene Memory Sort. See “Scene Memories” on page 162

for more information.

B Scene memory display

This displays the number of the currently selected Scene memory. See “Scene Memories” on

page 162 for more information.

C Edit indicator

This indicates that the current mix settings no longer match those of the Scene that was

recalled last. See “Edit Buffer & Edit Indicator” on page 162 for more information.

D STORE button

This button is used to store the current Scene to the selected Scene memory. See “Storing &

Recalling Scenes with the SCENE MEMORY Buttons” on page 164.

E Scene Up/Down buttons

These buttons are used to select Scene memories. Pressing the

Scene Up [ ] button incre-

ments the selection; pressing the

Scene Down [ ] button decrements the selection. Holding

down a button causes the selection to increment/decrement continuously. See “Storing &

Recalling Scenes with the SCENE MEMORY Buttons” on page 164.

F RECALL button

This button is used to recall the selected Scene memory. See “Storing & Recalling Scenes

with the SCENE MEMORY Buttons” on page 164.

USER DEFINED KEYS

USER DEFINED KEYS DISPLAY button

This button is used to select the User Deﬁned Key Assign page. See “Using the User Deﬁned

Keys” on page 229 for more information.

B USER DEFINED KEYS 1–16 buttons

Up to 16 functions, from a list of over 172, can be assigned to these buttons. See “Using the

User Deﬁned Keys” on page 229 for more information. These buttons have speciﬁc func-

tions when the DAW Remote Layer is selected. See “About the Remote Layer” on page 219

for more information.

SCENE MEMORY

DISPLAY

STORE RECALL

23 4 65

USER DEFINED KEYS

12345678

910111213141516

DISPLAY

32 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

MACHINE CONTROL

MACHINE CONTROL DISPLAY button

This button is used to select the Locate Memory and Machine Conﬁguration pages. See

“Setting the Locate Memories” on page 224 and “Conﬁguring Machines” on page 222

respectively for more information.

B LOCATE MEMORY 1–8 buttons

Pressing these buttons transmits Locate commands to the target machine (DAW, MMC) in

order to locate the Locate memory points. Their indicators light up momentarily when

they’re pressed. See “Using the Locator” on page 224 for more information.

C SET button

This button is used when specifying the eight Locate points. Its indicator lights up while it’s

pressed. See “Using the Locator” on page 224 for more information.

D REW button

This button starts rewind on the target machine (DAW, MMC). Its indicator lights up while

rewinding is in progress. See “Transport Buttons” on page 223.

E FF button

This button starts fast forward on the target machine (DAW, MMC). Its indicator lights up

while fast forwarding is in progress. See “Transport Buttons” on page 223.

F STOP button

This button stops the target machine (DAW, MMC). Its indicator lights up momentarily

when it’s pressed. See “Transport Buttons” on page 223.

G PLAY button

This button starts playback on the target machine (DAW, MMC). Its indicator lights up

while playback is in progress. See “Transport Buttons” on page 223.

H REC button

This button is used in conjunction with the [PLAY] button to start recording on the target

machine (DAW, MMC). Its indicator lights up while recording is in progress. See “Trans-

port Buttons” on page 223.

REC

REW FF

STOP PLAY

SET

DISPLAY

MACHINE CONTROL

LOCATE MEMORY

1234

5678

6 7 8

Control Surface 33

02R96 Version 2—Owner’s Manual

Data Entry & Transport

SHUTTLE button

This button is used to set the Parameter wheel to Shuttle mode for machine control (DAW,

MMC). Its indicator lights up when Shuttle mode is on. See “Using Shuttle & Scrub” on

page 223 for more information.

B SCRUB button

This button is used to set the Parameter wheel to Scrub mode for machine control (DAW,

MMC). Its indicator lights up when Scrub mode is on. See “Using Shuttle & Scrub” on page

223 for more information.

C Parameter wheel

The Parameter wheel is used to edit parameter values, scroll through Scene and library lists,

and to position the cursor when titling Scenes, Effects, 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. Turning it fast

allows quick parameter editing.

The Parameter wheel is also used with the Shuttle and Scroll functions. See “Using Shuttle

& Scrub” on page 223 for more information.

D ENTER button

This button is used to select and ﬁnalize parameter settings, to set on/off-type parameters,

such as EQ ON/OFF, and to enter characters when titling Scenes, Effects, and so on. When

a Pan control is selected on a Pan display page, pressing this button resets the pan position

to center. For certain parameters, the [ENTER] button supports double clicking (i.e., two

quick presses).

E DEC & INC buttons

These buttons are used to adjust parameter values. Pressing the [INC] button increases the

value of the currently selected parameter by one. Pressing the [DEC] decreases it. Pressing

and holding either button causes the parameter value to change continuously.

These buttons can also be used to set on/off-type parameters, such as EQ ON/OFF. When

such a parameter is selected, pressing the [DEC] button turns the function off, pressing the

[INC] button turns it on.

These buttons can also used to scroll through Scene and library lists.

F Cursor buttons

These 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.

INCDEC

ENTER

SHUTTLE

SCRUB

34 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

Monitor, Phones & Talkback Section

STUDIO LEVEL control

This control is used to set the level of the STUDIO MONITOR OUT. See “Studio Monitor-

ing” on page 137 for more information.

B PHONES LEVEL control

This control is used to set the level of the PHONES. See “Control Room Monitoring” on

page 136 for more information.

C PHONES jack

This stereo TRS phone jack outputs the

Control room signal for monitoring via a

pair of stereo headphones.

D Talkback mic

This built-in microphone is used for talkback. See “Using Talkback” on page 142 for more

information.

E TALKBACK LEVEL control

This control is used to set the level of the built-in talkback microphone. See “Using Talk-

back” on page 142 for more information.

MONITOR Section

The various subsections of the MONITOR section are explained below.

STUDIO

A MONITOR DISPLAY button

This button is used to select the following pages: Solo Setting, Control Room

Setup, Talkback Setup, Surround Monitor, Surround Monitor Setup, Surround

Monitor Patch, and Surround Monitor Library. See “Conﬁguring Solo” on

page 121, “Control Room Monitoring” on page 136 “Using Talkback” on

page 142, and “Surround Monitoring” on page 138 respectively for more infor-

mation.

B CONTROL ROOM button

This button selects the Control Room Monitor signal as the Studio Monitor signal

source. Its indicator lights up when this source is selected. See “Studio Monitor-

ing” on page 137 for more information.

PHONES

LEVEL

010

TALKBACK LEVEL

STUDIO

LEVEL

PHONES

1 2

1/4" TRS phone plug

Tip (left)

Ring (right)

Sleeve (ground)

DISPLAY

STUDIO

AUX7 AUX8

SOLO

CONTROL

ROOM

STEREO

BUS

SLOT

CONTROL ROOM

2TR D1 2TR A1

2TR D2 2TR A2

2TRD3STEREO

ASSIGN

1 ASSIGN2

SURROUND

CLEAR

DIMMER

CONTROL ROOM LEVEL

100

TALKBACK

SURROUND MONITOR LEVEL

MONITOR

DISPLAY

STUDIO

AUX7 AUX8

CONTROL

ROOM

STEREO

MONITOR

Control Surface 35

02R96 Version 2—Owner’s Manual

C STEREO button

This button selects the Stereo Out signal as the Studio Monitor signal source. Its indicator

lights up when this source is selected. See “Studio Monitoring” on page 137 for more infor-

mation.

D AUX 7 button

This button selects Aux Send #7 as the Studio Monitor signal source. Its indicator lights up

when this source is selected. See “Studio Monitoring” on page 137 for more information.

E AUX 8 button

This button selects Aux Send #8 as the Studio Monitor signal source. Its indicator lights up

when this source is selected. See “Studio Monitoring” on page 137 for more information.

SOLO

A SOLO indicator

This indicator ﬂashes when one or more Channels are soloed, indicating that the Solo func-

tion is active. See “Soloing Channels” on page 121 for more information.

B CLEAR button

This button can be used to unsolo all soloed Channels. See “Soloing Channels” on page 121

for more information.

CONTROL ROOM

A STEREO 2TR D1 button

This button selects the 2TR IN DIGITAL AES/EBU 1 as the Control Room

Monitor signal source. Its indicator lights up when this source is selected. See

“Control Room Monitoring” on page 136 for more information.

B STEREO 2TR D2 button

This button selects the

2TR IN DIGITAL COAXIAL 2 as the Control Room

Monitor signal source. Its indicator lights up when this source is selected. See

“Control Room Monitoring” on page 136 for more information.

C STEREO 2TR D3 button

This button selects the

2TR IN DIGITAL COAXIAL 3 as the Control Room

Monitor signal source. Its indicator lights up when this source is selected. See

“Control Room Monitoring” on page 136 for more information.

D STEREO 2TR A1 button

This button selects the

2TR IN ANALOG 1 as the Control Room Monitor sig-

nal source. Its indicator lights up when this source is selected. See “Control

Room Monitoring” on page 136 for more information.

E STEREO 2TR A2 button

This button selects the

2TR IN ANALOG 2 as the Control Room Monitor signal source. Its

indicator lights up when this source is selected. See “Control Room Monitoring” on page

136 for more information.

F STEREO button

This button selects the Stereo Out as the Control Room Monitor signal source. Its indicator

lights up when this source is selected. See “Control Room Monitoring” on page 136 for

more information.

SOLO

CLEAR

BUS

SLOT

CONTROL ROOM

2TR D1 2TR A1

2TR D2 2TR A2

2TRD3STEREO

ASSIGN

1 ASSIGN2

SURROUND

DIMMER

CONTROL ROOM LEVEL

100

TALKBACK

SURROUND MONITOR LEVEL

1 4

2 5

3 6

36 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

G STEREO ASSIGN 1 button

This button is used to select the assigned Output Channel as the Control Room Monitor

signal source. Its indicator lights up when this source is selected. See “Control Room Setup”

on page 137 for more information.

H STEREO ASSIGN 2 button

This button is used to select the assigned Output Channel as the Control Room Monitor

signal source. Its indicator lights up when this source is selected. See “Control Room Setup”

on page 137 for more information.

I SURROUND BUS button

This button is used to select the Bus Outs as the Surround Monitor signal source. Its indi-

cator lights up when this source is selected. See “Surround Monitoring” on page 138 for

more information.

J SURROUND SLOT button

This button is used to select the assigned Slot’s Inputs as the Surround Monitor signal

source. Its indicator lights up when this source is selected. See “Surround Monitoring” on

page 138 for more information.

K SURROUND MONITOR LEVEL control

This control is used to adjust the level of the Surround Monitor signals. See “Surround

Monitoring” on page 138 for more information.

L CONTROL ROOM LEVEL control

This control is used to adjust the level of the Control Room Monitor signal. See “Control

Room Monitoring” on page 136 for more information.

M DIMMER button

This button is used to dim the Control Room Monitor and Surround Monitor signals. Its

indicator lights up when these signals are dimmed. See “Control Room Monitoring” on

page 136 for more information.

N TALKBACK button

This button is used to turn on the Talkback function, which distributes the Talkback mic

signal to the Studio Monitor Outs, Slot Inputs and Omni Outputs speciﬁed on the Talkback

Setup page. See “Using Talkback” on page 142 for more information.

Rear Panel 37

02R96 Version 2—Owner’s Manual

Rear Panel

AD Input Section (p. 38)

SLOT Section (p. 42)

Analog Master I/O Section (p. 39)

OMNI OUTs, Digital I/O & Control Section (p. 40)Power Section (p. 42)

38 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

AD Input Section

AD Input #1 is shown at the top; AD Inputs #17 and #18 below

A INPUT A & B (BAL) connectors

AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and bal-

anced 1/4-inch phone jacks, both with a nominal input range of –60 dB to

+10 dB. Phantom powering (+48 V) is supplied to the XLR-type connectors, with

individual ON/OFF switches on each input. The 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. AD

Inputs 17–24 feature balanced 1/4-inch phone jacks. AD Inputs can be patched

individually to the Input Channels or Insert Ins. See “AD Input Section” on page

53 for more information.

B INSERT I/O +4dB (UNBAL) connectors (AD 1–16)

These unbalanced 1/4-inch TRS phone jacks are used to insert external signal pro-

cessors, etc., into AD Inputs 1 through 16. They are wired: sleeve–ground,

ring–return, tip–send. The nominal signal level is +4 dB. Inserts can be turned on

and off individually by using the INSERT ON/OFF switches. See “AD Input Sec-

tion” on page 53 for more information.

Male XLR plug

1 (ground)

2 (hot)

3 (cold)

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

1/4" phone plug

Tip (send)

Sleeve (ground)

Tip (return)

1/4" TRS phone plug

Sleeve (ground)

Tip (send)

Ring (return)

To processor’s input

From processor’s output

Connect to INSERT jack

Rear Panel 39

02R96 Version 2—Owner’s Manual

Analog Master I/O Section

STUDIO MONITOR OUT +4 dB (BAL)

These balanced 1/4-inch TRS phone jacks, nominal output

level +4 dB, output the analog Studio Monitor signal for

monitoring in the actual studio. The source, which is

selected by using the STUDIO buttons in the MONITOR

section, can be Aux Send #7, Aux Send #8, the Stereo Out, or Control Room. The output

level is controlled by the STUDIO LEVEL control. See “Studio Monitoring” on page 137 for

more information.

B STEREO OUT +4 dB (BAL)

These balanced XLR-3-32-type connectors, nomi-

nal output level +4 dB, output the analog Stereo

Out signal and are typically connected the stereo

inputs of a 2-track recorder. They are wired pin

1–ground, pin 2–hot (+), and pin 3–cold (–). See “Stereo Out Connectors” on page 92.

C 2TR IN ANALOG 1 +4 dB (BAL)

These balanced 1/4-inch TRS phone jacks, nominal input

level +4 dB, are typically used to connect the analog stereo

outputs of a 2-track recorder. Signals connected here can

be monitored via the CONTROL ROOM MONITOR

OUT by pressing the CONTROL ROOM [2TR A1] button. In addition, these inputs can be

patched to Input Channels or Insert Ins. See “2TR Analog INs” on page 54.

D CONTROL ROOM MONITOR OUT +4 dB (BAL)

These balanced 1/4-inch TRS phone jacks, nominal output

level +4 dB, output the analog Control Room Monitor sig-

nal and are typically used to feed the control room’s main

monitors. See “Control Room Monitoring” on page 136

for more information.

E STEREO OUT –10 dBV (UNBAL)

These unbalanced phono connectors, nominal output level

–10 dBV, output the analog Stereo Out signal and are typically

connected to the stereo inputs of a 2-track recorder. See “Stereo

Out Connectors” on page 92.

F 2TR IN ANALOG 2 –10 dBV (UNBAL)

These unbalanced phono connectors, nominal input level

–10 dBV, are typically used to connect the analog stereo outputs

of a 2-track recorder. Signals connected here can be monitored

via the CONTROL ROOM MONITOR OUTs by pressing the

CONTROL ROOM [2TR A2] button. In addition, these inputs can be patched to Input

Channels or Insert Ins. See “2TR Analog INs” on page 54.

21 3

4 5 6

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

Female XLR plug

2 (hot)

1 (ground)

3 (cold)

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

Phono plug

Tip (hot)

Sleeve (ground)

Phono plug

Tip (hot)

Sleeve (ground)

40 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

OMNI OUTs, Digital I/O & Control Section

OMNI OUT +4dB (BAL)

These balanced 1/4-inch TRS phone jacks, nominal output

level +4 dB, provide eight analog outputs that can be

patched to the following: Bus Outs, Aux Sends, the Stereo

Out, Insert Outs, Direct Outs, or Surround Monitor Chan-

nels. See “Omni Outs” on page 54.

B SMPTE TIME CODE INPUT connector

This balanced XLR-3-31-type connector is used to input SMPTE timecode for synchroniz-

ing the Automix function. See “Selecting the Timecode Source & Frame Rate” on page 177.

C MTC TIME CODE INPUT connector

This 5-pin DIN connector is used to input MTC for synchronizing the Automix function.

See “Selecting the Timecode Source & Frame Rate” on page 177.

D USB TO HOST port

This USB port is for MIDI communication between the 02R96 and a host computer with a

USB port. See “MIDI I/O” on page 190 for more information.

E SERIAL TO HOST port

This 8-pin mini DIN port is for MIDI communication between the 02R96 and a host com-

puter with a serial port. See “MIDI I/O” on page 190 for more information.

F 2TR OUT DIGITAL COAXIAL 2 & 3

These phono connectors output consumer format (IEC-60958) digital audio, and are typ-

ically connected to the digital stereo inputs of 2-track recorders. The following signals can

be patched to these outputs: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and

Control Room. Dither can be applied for digital audio transfer to lower-resolution systems.

See “2TR Digital Outs” on page 57 for more information.

G 2TR OUT DIGITAL AES/EBU 1

This XLR-3-32-type connector outputs AES/EBU format digital audio, and is typically con-

nected to the digital stereo input of a 2-track recorder. The following signals can be patched

to this output: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and Control

Room. Dither can be applied for digital audio transfer to lower-resolution systems. See

“2TR Digital Outs” on page 57 for more information.

N PO

2 3 4 5 6 7 8 9 J L

1/4" TRS phone plug

Tip (hot)

Ring (cold)

Sleeve (ground)

Rear Panel 41

02R96 Version 2—Owner’s Manual

H 2TR IN DIGITAL COAXIAL 2 & 3

These phono connectors accept consumer format (IEC-60958) digital audio, and are typi-

cally used to connect the digital stereo outputs of 2-track recorders. Signals connected here

can be monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL

ROOM [2TR D2] or [2TR D3] button. In addition, these inputs can be patched to Input

Channels or Insert Ins. Unsynchronized digital audio signals can be converted by the inter-

nal sampling rate converters. See “2TR Digital Ins” on page 58 for more information.

I 2TR IN DIGITAL AES/EBU 1

This XLR-3-31-type connector accepts AES/EBU format digital audio, and is typically used

to connect the digital stereo output of a 2-track recorder. Signals connected here can be

monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL

ROOM [2TR D1] button. In addition, this input can be patched to Input Channels or

Insert Ins. Unsynchronized digital audio signals can be converted by the internal sampling

rate converters. See “2TR Digital Ins” on page 58 for more information.

J WORD CLOCK OUT connector

This BNC connector outputs a wordclock signal at the same clock rate as the 02R96. See

“Wordclock Connections” on page 55 for more information.

K WORD CLOCK 75Ω ON/OFF termination switch

This switch applies 75Ω termination to the WORD CLOCK IN. See “Terminating External

Wordclocks” on page 57 for more information.

L WORD CLOCK IN connector

This BNC connector is for connecting an external wordclock signal. See “Selecting the

Wordclock Source” on page 56 for more information.

M CONTROL port

This 25-pin D-sub connector provides access to the GPI (General Purpose Interface)

through which external equipment can be triggered when speciﬁed 02R96 faders or USER

DEFINE KEYS are operated. It can also be used to control a “RECORDING” light outside

of a studio, to trigger the Solo function of an 02R Digital Recording Console, or to turn on

Talkback from an external device. See “GPI (General Purpose Interface)” on page 225 for

more information.

N METER port

This 15-pin D-sub connector is for connecting the optional MB02R96 Peak Meter Bridge.

O MIDI IN, OUT & THRU ports

These standard MIDI IN, OUT, and THRU ports are used to connect the 02R96 to other

MIDI equipment. Supported MIDI messages include Program Changes for Scene recall,

Control Changes and Parameter Changes for real-time parameter control, Bulk Dump for

data storage, MIDI Clock, MTC, and MMC. See “MIDI I/O” on page 190 for more infor-

mation.

P CASCADE IN & OUT ports

These 64-pin connectors can be used to cascade up to four 02R96s to create a multiple-unit

mixing system. The 02R96 can also be cascaded with an 02R Digital Recording Console. See

“Cascading Consoles” on page 63 for more information.

42 Chapter 2—Control Surface & Rear Panel

02R96 Version 2—Owner’s Manual

Power Section

POWER ON/OFF switch

This switch is used to turn on the power to the 02R96. See “Turning On & Off the 02R96”

on page 43 for more information.

B Grounding screw

For electrical safety reasons, and correct operation of the touch-sensitive faders, it’s impor-

tant that the 02R96 is grounded properly. The supplied power cord has a three-pin plug,

and if the ground terminal of the AC outlet is grounded, then the unit will be grounded suf-

ﬁciently through the power cord. If the AC outlet does not provide a suitable ground, this

screw must be connected to a suitable ground point. Grounding is also an effective method

for eliminating hum, interference, and other noise.

C AC IN connector

This connector is used to connect the 02R96 to an AC outlet via the supplied power cord.

See “Connecting the Power Cord” on page 43 for more information.

D Cooling fan

The cooling fan expels air out through this outlet. If the airﬂow is restricted, the 02R96 may

overheat, so make sure this outlet is not blocked.

SLOT Section

SLOT 1–4

These four slots are for use with optional mini YGDAI cards, which offer a variety of analog

and digital I/O options. See “Slot I/O” on page 59 for more information. Slot inputs can be

patched to Input Channels or Insert Ins. See “Input Patching” on page 66 for more infor-

mation. The following signals can be patched to the Slot Outputs: Bus Outs, Aux Sends, Ste-

reo Out, Insert Outs, Direct Outs, and Surround Monitor Channels. See “Output Patching”

on page 68 for more information.

Operating Basics 43

02R96 Version 2—Owner’s Manual

3 Operating Basics

Connecting the Power Cord

Connect the socket-end of the supplied power cord to the AC IN

on the rear panel of the 02R96. Connect the plug-end to a suitable

AC wall outlet, one that conforms to the power supply require-

ments stated on the 02R96’s rear panel.

Turning On & Off the 02R96

To prevent loud clicks and thumps in your speakers, turn on your

audio equipment in the following order (reverse this order when turn-

ing off)—sound sources, multitrack and master recorders, 02R96,

monitoring power ampliﬁers.

1 To turn on the 02R96, press the [POWER] switch.

The startup page appears for a while, and then the last selected display page appears.

2 To turn off the 02R96, press the [POWER] switch again.

Warning: Turn off all equipment connected to the 02R96 before making any power connec-

tions.

44 Chapter 3—Operating Basics

02R96 Version 2—Owner’s Manual

About the Display

All 02R96 mix parameters can be edited on the various display pages.

Current Scene: The number and title of the currently selected Scene memory are dis-

played here. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page

164 for more information. If the selected Scene is write-protected, a padlock icon appears.

See “Using the Scene Memory Page” on page 165 for more information.

MIDI indicator: This indicator appears when the 02R96 is receiving MIDI data via the

MIDI IN port, USB TO HOST port, or SERIAL TO HOST port.

EDIT indicator: This indicator appears when the current mix settings no longer match

those of the Scene that was recalled last. It works in unison with the Edit indicator dot on

the SCENE MEMORY display. See “Edit Buffer & Edit Indicator” on page 162 for more

information.

Selected DISPLAY: This indicates the currently selected display page group, for example,

AUX, EQ, or AUTOMIX. Display page groups are selected by using the [DISPLAY] buttons.

Sampling rate/Surround mode: This indicates the current sampling rate—44.1 kHz

(44k), 48 kHz (48k), 88.2 kHz (88k), or 96 kHz (96k), and surround mode—6.1, 5.1, 3-1,

and ST.

Selected channel: The Input or Output Channel currently selected by the [SEL] buttons

is indicated here. See “Selecting Channels” on page 48. The ﬁrst four characters are the

Channel ID (e.g., CH1–CH56, BUS1–BUS8, AUX1–AUX8, ST-L, ST-R. The second four,

are the channel’s Short name. See “Naming Channels” on page 134. If the Channel ID pref-

erence is on, only the Channel ID is displayed. See “Channel ID” on page 232 for more

information.

Channel name: Depending on the currently selected page, this is the Long name of

either the currently selected channel or the channel selected by the cursor buttons. On some

pages, the Aux Send pages, for example, it’s possible to edit Aux Send levels without having

to select each Input Channel. Instead, Input Channel Aux Sends can be selected by using the

cursor buttons. In this case, the name displayed here is different to the name displayed in

the upper-right corner of the display.

Page title: This is the title of the currently selected page.

Page #: Depending on the group of pages currently selected, page numbers are displayed

here. For example, although you can view only one Input Channel 1–24 Aux Send page at

a time, there are in fact eight Input Channel 1–24 Aux Send pages, one for each of the eight

Aux Sends. Page numbers are also displayed when the Effects page group is selected.

Page title

Page #

Page area

Current Scene

MIDI indicator

EDIT indicator

Selected

DISPLAY

Selected channel

Sampling rate/Surround mode

Channel name

Page tab scroll arrows

Page tabs

Selecting Display Pages 45

02R96 Version 2—Owner’s Manual

Page area: This area of the display is where the various display pages appear.

Page tabs: These tabs are used when selecting pages. Up to four tabs are visible at a time.

See “Selecting Display Pages” on page 45 for more information.

Page tab scroll arrows: These arrows indicate that there are more pages available. See

“Selecting Display Pages” on page 45 for more information.

Selecting Display Pages

Display pages are grouped by function, and each group of pages can be selected by

using the following [DISPLAY] buttons: AUX SELECT, ENCODER MODE,

EFFECTS/PLUG-INS, ROUTING, DYNAMICS, PAN/SURROUND, EQUAL-

IZER, SCENE MEMORY, USER DEFINED KEYS, MACHINE CONTROL, MON-

ITOR. Further page groups can be selected by using the DISPLAY ACCESS buttons.

•The next page in the group can be selected by pressing the [DISPLAY] button.

•Previous pages can be selected by pressing and holding down the [DISPLAY] button.

•The ﬁrst page in the group can be selected by double-clicking the [DISPLAY] button.

•Pages whose tabs are currently displayed can be

selected by using the F1–F4 buttons.

If there are more pages available than the four whose

tabs are currently displayed, depending on whether they

are located to the left or right, either the left or right Tab

Scroll arrow appears. Pressing either the Left or Right

Tab Scroll button displays the tabs of these pages, which

can then be selected by using the F1–F4 buttons.

When parameters are divided among several pages, for example, the Input Channel Atten-

uators, which are divided among three pages, the page containing the parameter for the cur-

rently selected channel is selected automatically when channels on different Layers are

selected. For example, if the Input Channel 1–24 Attenuator page is currently selected, and

then you select, say, Input Channel #25 by using the LAYER [25–48] button and [SEL] but-

ton #1, the Input Channel 25–48 Attenuator page is selected automatically.

The currently selected page in a group, and the parameter selected on that page, are remem-

bered when you select another group of pages, so when you return to that group, by press-

ing its [DISPLAY] button, that page is displayed with the same parameter selected.

The Auto Display preferences can be set so that certain pages appear automatically when a

corresponding control is adjusted. For example, if the “Auto EQUALIZER Display” prefer-

ence is on, the EQ page appears automatically when a SELECTED CHANNEL EQUAL-

IZER control is operated. See page 230 for information on the Auto Display preferences.

Display Parameter Boxes

Operation of the various buttons, rotary controls, and faders that

appear on the display pages is straightforward. The only items that

require a special mention are the parameter boxes, such as the

INSERT POSITION, OUT, and IN parameter boxes shown here.

Operation of these boxes consists of two steps. First you select a value,

typically by using the Parameter wheel or INC/DEC buttons. Second

you conﬁrm your selection, while the value is ﬂashing, by pressing the

[ENTER] button. If you select another parameter while the value is

still ﬂashing, it remains unchanged.

DISPLAY

F1 F2 F3

Tab Scroll arrows

Tab scroll buttons

46 Chapter 3—Operating Basics

02R96 Version 2—Owner’s Manual

Parameter Windows

When a rotary control in the SELECTED CHANNEL section is operated, if the

corresponding parameter does not appear on the currently selected page, a

parameter window like the one shown here is displayed while the control is

adjusted. If the control is not adjusted for awhile, the window closes automat-

ically. If the Auto Display preference for the adjusted parameter is on, the page containing

that parameter appears instead of this parameter window.

Conﬁrmation Messages

For certain functions, the 02R96 prompts you for

conﬁrmation before executing them, as shown here.

Press YES to execute the function, or press NO to can-

cel. If no action is taken for awhile, the conﬁrmation

window closes automatically and the function is not

executed.

Title Edit Window

The Title Edit window is used to enter titles for Scene and library memories, automixes, and

so on. Depending on the item being titled, the number of characters that can be entered is

either 4, 12, or 16. The following screen shots show the available characters. The one on the

left shows uppercase characters and various punctuation marks. That on the right, lower-

case characters and numbers.

Use the cursor buttons to select characters, and the [ENTER] button to enter them into the

title. The cursor moves to the right automatically as each character is entered. The Param-

eter wheel or the arrow buttons can be used to move the cursor within the title.

Use the SHIFT LOCK button to select uppercase and lowercase characters, and use the SPC

button to enter a space. To insert a space at the cursor position and move subsequent char-

acters to the right, press the INS button. To delete the character at the cursor position, press

the DEL button.

When you’ve ﬁnished, press the OK button to enter the title, or press CANCEL to cancel

title entry.

Selecting Layers 47

02R96 Version 2—Owner’s Manual

Selecting Layers

Input and Output Channels are arranged into Layers, as illustrated below. There are four

Layers altogether: two Input Channel Layers, a Master Layer (or Output Layer), and a

Remote Layer.

To select Input and Output Channels for editing with the channel strip

controls, you use the LAYER buttons to select a Layer.

The LAYER button indicator for the currently selected Layer lights up.

The currently selected Layer determines the function of the channel

strip Encoders, [AUTO] buttons, [SEL] buttons, [SOLO] buttons,

[ON] buttons

, and faders. For example, when Layer 1–24 is selected,

[SEL] button #1 controls Input Channel #1. When Layer 25–48 is

selected, it controls Input Channel #25. And when the Master Layer is

selected, it controls Input Channel #49.

The following table shows which Input and Output Channels are controlled by the channel

strips on each Layer.

The exact function of each channel strip fader and Encoder also depends on the currently

selected Fader mode and Encoder mode respectively. See “Selecting Fader Modes” on

page 49 and “Selecting Encoder Modes” on page 50 for more information.

Layers

Channel Strips

1–8 9–16 17–24

1–24

Input Channels 1–24

25–48

Input Channels 25–48

MASTER

Input Channels 49–56 Aux Send masters 1–8 Bus Out masters 1–8

REMOTE

Operation depends on the selected target.

See “About the Remote Layer” on page 219 for more information.

87654321 910111213141516 1718192021222324

Input Channels [1–24]

Input Channels [25–48]

Input Channels 49–56, Aux Sends, Bus Outs [MASTER]

[REMOTE]

MASTER25 48

REMOTE1 24

LAYER

48 Chapter 3—Operating Basics

02R96 Version 2—Owner’s Manual

Selecting Channels

To select Input and Output Channels for editing with the SELECTED CHANNEL controls,

you use the LAYER buttons to select a Layer, and the [SEL] buttons to select a channel on

that Layer.

1 Select a Layer, as explained on page 47.

2 Use the [SEL] buttons to select an Input or Output Channel.

The [SEL] button indicator for the currently selected channel lights up. In addi-

tion, the Channel’s ID and Short name appear in the upper right corner of the dis-

play (see page 44).

The exact channel selected by each [SEL] button depends on the currently selected Layer.

For example, when Layer 1–24 is selected, [SEL] button #1 selects Input Channel #1. When

Layer 25–48 is selected, it selects Input Channel #25. And when the Master Layer is selected,

it selects Input Channel #49, as shown in the following table.

For paired Input or Output channels, the channel whose [SEL] button you press is selected,

and its indicator lights up. The [SEL] button indicator of the other channel ﬂashes.

Ve rtical and horizontal Input and Output channel partners can also be selected by using the

SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons, which can also be used to

select left and right channels when the Stereo Out is selected.

If the currently displayed page contains a relevant parameter, when a channel’s [SEL] but-

ton is pressed, the cursor moves to that parameter automatically. If the currently displayed

page contains no such parameter, the page that does contain such a parameter is selected

automatically. For example, if a Delay page for the Output Channels is selected when an

Input Channel [SEL] button is pressed, the Delay page showing the relevant Input Channel

Delay parameter is selected automatically.

Stereo Out [SEL] Button

The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing with the

SELECTED CHANNEL controls. Its indicator lights up when the Stereo Out is selected.

Each time it’s pressed, the selection toggles between the Stereo Out’s left and right channels.

The SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons can also be used to

select the left and right channels.

If the currently displayed page contains a Stereo Out parameter, that parameter is selected

automatically when the Stereo Out [SEL] button is pressed. If the currently selected page

contain no such parameter, the page that does contain such a parameter is selected auto-

matically. For example, if a Delay page for the Input Channels is currently selected when the

Stereo Out [SEL] button is pressed, the Delay page showing the Stereo Out Delay parameter

is selected automatically.

Layer

[SEL] Button

1–8 9–16 17–24

1–24

Input Channels 1–24

25–48

Input Channels 25–48

MASTER

Input Channels 49–56 Aux Sends 1–8 Bus Outs 1–8

REMOTE

Operation depends on the selected target.

See “About the Remote Layer” on page 219 for more information.

SEL

Selecting Fader Modes 49

02R96 Version 2—Owner’s Manual

Auto Channel Select & Touch Sense Select

While the Auto Channel Select preference is on (see page 230), channels can be selected by

moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO],

[SOLO], or [ON] button. Note that you can use the [AUTO] buttons to select channels only

during Automix recording or in Automix record ready mode.

While the Fader Touch Sense SELECT preference is on (see page 232), channels can be

selected simply by touching the fader knobs.

Selecting Fader Modes

The exact function of each fader depends on the selected Layer and Fader mode.

1 Select a Layer, as explained on page 47.

2 Use the FADER MODE buttons to select a Fader mode.

[FADER]: Channel faders control Input Channel levels or Output Channel master levels,

depending on the selected Layer.

[AUX]: Channel faders control Aux Send levels, depending on the selected Layer.

The indicator of the currently selected FADER MODE button lights up.

The following table shows the channel fader functions for each Layer and Fader mode.

Layer

Fader

Mode

Fader

1–8 9–16 17–24

1–24

Fader Input Channels 1–24 level

Aux Input Channels 1–24 Aux Send level

25–48

Fader Input Channels 25–48 level

Aux Input Channels 25–48 Aux Send level

Master

Fader

Input Channels 49–56

level

Aux Sends 1–8 master

level

Bus Outs 1–8 master

level

Aux

Input Channels 49–56

Aux Send level

No operation: faders ﬁxed at –∞

Remote

Fader

Operation depends on the selected target.

See “About the Remote Layer” on page 219 for more information.

Aux

AUXFADER

FADER MODE

50 Chapter 3—Operating Basics

02R96 Version 2—Owner’s Manual

Selecting Encoder Modes

The exact function of each Encoder depends on the selected Layer and Encoder

mode. There are two preset Encoder modes, Pan and Aux, and two assignable

modes, for which you can choose from over 40 parameters.

1 Select a Layer, as explained in page 47.

2 Use the ENCODER MODE buttons to select an Encoder mode.

[PAN]: Encoders function as Pan controls.

[AUX]: Encoders control Aux Send levels, depending on the selected Layer.

[ASSIGN 1/2]: Encoders control the parameters assigned to the ASSIGN buttons. See

“A ssigning Parameters to the ENCODER MODE Assign Buttons” on page 51 for more

information.

The indicator of the currently selected ENCODER MODE button lights up.

The following table shows the exact Encoder functions for each Layer and Encoder mode.

Layer

Encoder

Mode

Encoder

1–8 9–16 17–24

1–24

Pan Input Channels 1–24 pan

Aux Input Channels 1–24 Aux Send level

Assign 1/2

Input Channels 1–24 assigned parameter

1. When Alt Layer is assigned, the Encoders enable you to control a parameter that is assigned to the cor-

responding channel fader in the partner layer. (A partner layer would be the layer of channels 25-48

if the layer of channels 1-24 is currently selected.)

25–48

Pan Input Channels 25–48 pan

Aux Input Channels 25–48 Aux Send level

Assign 1/2

Input Channels 25–48 assigned parameter

Master

Pan

Input Channels 49–56

pan

No operation

Aux

Input Channels 49–56

Aux Send level

No operation

Assign 1/2

Input Channels 49–56

assigned parameter

Aux Sends 1–8

assigned parameter

Bus Outs 1–8 assigned

parameter

Remote

Pan

Operation depends on the selected target.

See “About the Remote Layer” on page 219 for more information.

Aux

Assign 1/2

AUXPAN

ASSIGN 2ASSIGN 1

ENCODER MODE

DISPLAY

Assigning Parameters to the ENCODER MODE Assign Buttons 51

02R96 Version 2—Owner’s Manual

Assigning Parameters to the ENCODER MODE Assign Buttons

Up to two parameters can be assigned to the two ENCODER MODE ASSIGN buttons.

Initially, the following parameters are assigned to the ASSIGN buttons:

[ASSIGN 1]: Input Patch

[ASSIGN 2]: Direct Out

1 Use the ENCODER MODE [DISPLAY] button to select the Encoder Mode

Assign page.

The names of the parameters currently assigned to each ASSIGN button are displayed in the

left-hand box. The parameter currently assigned to the selected ASSIGN button appears

highlighted in the right-hand box.

2 Press an ASSIGN button, or use the Up/Down cursor buttons, to select an

ASSIGN button.

3 Use the Parameter wheel, or the INC/DEC buttons to select a parameter.

A parameter is selected when it appears inside the dotted box.

See the “Assignable Encoder Mode Parameter List” on page 52 for a complete list of assign-

able parameters.

4 Press the [ENTER] button to assign your choice.

Once assigned, the selected parameter appears highlighted in the right-hand box.

When channels that do not feature the currently assigned parameter are selected, the

Encoders are inactive. For example, if the assigned Encoder parameter is “Phase,” and the

Master Layer is selected, Encoders 9–24 are inactive, because the Aux Sends and Bus Outs

do not feature Phase parameters.

52 Chapter 3—Operating Basics

02R96 Version 2—Owner’s Manual

Assignable Encoder Mode Parameter List

# Parameter Encoder Operation Push Switch Operation

1 No Assign ——

2 Attenuator Attenuator —

3 Input Patch Input Channel patch Conﬁrm or execute patch selection.

4 Insert In Patch Insert In patch Conﬁrm or execute patch selection.

5 Insert Out Patch Insert Out patch Conﬁrm or execute patch selection.

6 Direct Out Direct Out patch Conﬁrm or execute patch selection.

7 Phase Phase: normal/reverse —

8 Insert On Insert on/off —

9 Aux pre/post Aux pre/post —

10 Delay On Delay on/off —

11 Delay Time Delay Time —

12 Delay FB.Gain Delay FB.Gain —

13 Delay Mix Delay Mix —

14 EQ On EQ on/off —

15 EQ Type EQ Type —

16 EQ Low Q EQ Low Q —

17 EQ Low F EQ Low Frequency —

18 EQ Low G EQ Low Gain —

19 EQ Low-Mid Q EQ Low-Mid Q —

20 EQ Low-Mid F EQ Low-Mid Frequency —

21 EQ Low-Mid G EQ Low-Mid Gain —

22 EQ High-Mid Q EQ High-Mid Q —

23 EQ High-Mid F EQ High-Mid Frequency —

24 EQ High-Mid G EQ High-Mid Gain —

25 EQ High Q EQ High Q —

26 EQ High F EQ High Frequency —

27 EQ High G EQ High Gain —

28 Gate On Gate on/off —

29 Gate Threshold Gate Threshold —

30 Gate Range Gate Range —

31 Gate Attack Gate Attack —

32 Gate Decay Gate Decay —

33 Gate Hold Gate Hold —

34 Comp On Comp on/off —

35 Comp Threshold Comp Threshold —

36 Comp Ratio Comp Ratio —

37 Comp Attack Comp Attack —

38 Comp Release Comp Release —

39 Comp Out Gain Comp Out Gain —

40 Comp Knee/Width Comp Knee/Width —

41 Surr L/R Pan Surround L/R Pan —

42 Surr F/R Pan Surround F/R Pan —

43 Surr Front DIV Surround Front DIV —

44 Surr Rear DIV Surround Rear DIV —

45 Surr. LFE Level Surround LFE level —

46 Surr. Pan Wheel Surround Pan Wheel —

47 Scene Fade Time Scene Fade Time —

48 Alt Layer Alt Layer —

Analog I/O & the AD Input Section 53

02R96 Version 2—Owner’s Manual

4 Analog I/O & the AD Input Section

AD Input Section

The 02R96 features 24 AD Inputs for connecting microphone and line-level sources.

AD Inputs can be patched to Input Channels or Input Channel Insert Ins (see page 66).

They can also be patched to Output Channel Insert Ins (see page 69).

AD Input Connectors (AD 1–16)

AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and bal-

anced 1/4-inch phone jacks, both with a nominal input range of –60 dB to

+10 dB. The 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.

AD Input Connectors (AD 17–24)

AD Inputs 17 through 24 feature balanced 1/4-inch phone jacks, with a nom-

inal input range of –34 dB to +10 dB. They can also be used with unbalanced

phone plugs.

Phantom Power (AD 1–16)

AD Inputs 1 through 16 feature switchable +48 V phantom powering for use

with condenser-type microphones and direct boxes. Phantom power is sup-

plied to the balanced XLR-3-31-type connector, and can be switched individ-

ually for each AD Input.

Pad (AD 1–16)

AD Inputs 1 through 16 feature pad switches, which attenuate input signals by

26 dB, allowing the Head Amps to work with high-level signals. Pad is typi-

cally used to attenuate “hot” signals from bass or snare drum microphones, or

“hot” line-level signals.

Gain

AD Inputs feature detented rotary gain controls with an input sensitivity of

–16 dB to –60 dB, or +10 dB to –34 dB when the Pad is on (+10 dB to –34 dB

for AD Inputs 17–24). The GAIN controls adjust the gain of the Head Amps,

allowing you to optimize input signal levels for the best signal-to-noise perfor-

mance. Ideally, the GAIN control should be set so that the signal level is rela-

tively high, and it’s okay for the PEAK indicator to light up occasionally. If the

PEAK indicator lights up often, however, you should back off the GAIN con-

trol a little, otherwise, signal clipping may occur. If the GAIN is set too low, the

signal-to-noise performance will suffer.

PEAK & SIGNAL Indicators

These indicators are used in conjunction with the GAIN controls and PAD

switches to optimize signal levels. The SIGNAL indicator lights up when the

input signal level is 20 dB below the rated level. The PEAK indicator lights up

when the input signal level is 3 dB below clipping.

OFF

48V

26dB

GAIN

-16

-60

GAIN

AD Inputs 1–16

AD Inputs 17–24

PEAK

SIGNAL

54 Chapter 4—Analog I/O & the AD Input Section

02R96 Version 2—Owner’s Manual

AD Inserts (AD 1–16)

AD Inputs 1 through 16 feature switchable analog inserts on 1/4-inch TRS

phone jacks for the send and return signals. They are wired: sleeve–ground,

ring–return, tip–send. The rated level for both connectors is +4 dB.

AD Input inserts can be turned on and off individually by using the INSERT

ON/OFF switches, so you don’t have to disconnect your external equipment in

order to remove an insert.

Stereo Out

See page 92 for information on the Stereo Out outputs.

Control Room Monitor Out

See page 136 for information on the Control Room Monitor output.

Studio Monitor Out

See page 137 for information on the Studio Monitor output.

Omni Outs

The 02R96 features assignable Omni Outs on balanced 1/4-inch TRS phone jacks. Omni

Outs can be patched to Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel

Insert Outs, or Surround Monitor Channels (see page 69). In addition, Input Channel

Direct Outs can be patched to the Omni Outs (see page 70).

The maximum output level of each OMNI OUT can be set internally to either +4 dB

(–10 dB operating level) or +18 dB (+4 dB operating level). Contact your dealer for further

details.

2TR Analog INs

The 02R96 features two sets of 2-track analog inputs: 2TR IN ANALOG 1

+4 dB (BAL) uses balanced 1/4-inch TRS phone jacks. 2TR IN ANALOG 2

–10 dBV (UNBAL) uses unbalanced phono connectors. These inputs can be

monitored via the Control Room monitors by pressing the CONTROL

ROOM [2TR A1] and [2TR A2] buttons. They can be patched to Input

Channels (see page 66), Input Channel Insert Ins (see page 67), or Output

Channel Insert Ins (see page 69).

OFF

INSERT

Digital I/O & Cascading 55

02R96 Version 2—Owner’s Manual

5 Digital I/O & Cascading

Wordclocks

Unlike analog audio equipment, digital audio equipment must be synchronized when dig-

ital audio signals are transferred from one device to another, otherwise, signals may not be

received correctly and audible noise, glitches, or clicks may occur. Synchronization is

achieved using what’s called a wordclock, which is a clock signal for synchronizing all the

digital audio signals in a system. Note that wordclocks are not the same as SMPTE/EBU or

MTC timecode, which is typically used to synchronize tape machines, MIDI sequencers,

and so on. Wordclock synchronization refers to the synchronization of the digital audio

processing circuits inside each digital audio device.

In a typical digital audio system, one device operates as the wordclock master, and the other

devices operate as wordclock slaves, synchronizing to the wordclock master. Wordclock sig-

nals can be distributed via dedicated cables, typically BNC cables, or derived from digital

audio connections, including AES/EBU, ADAT, and Tascam formats.

If you’re connecting to the 02R96 using only analog inputs and outputs, no special word-

clock settings are required, and the 02R96 can be set to use its own internally generated

wordclock. If you’re connecting other equipment digitally, however, you must decide which

device to use as the wordclock master and which devices to use as slaves.

The 02R96 can be used as the wordclock master running at either 44.1 kHz, 48 kHz,

88.2 kHz, or 96 kHz, or slaved to an external wordclock source. External wordclock signals

can be received via the Slot Inputs, 2TR Digital Inputs, the CASCADE IN port, or the ded-

icated BNC WORD CLOCK IN connector.

In a system where all devices share a common wordclock, it’s important that all devices be

turned on even if they’re not being used. Turn on the wordclock master ﬁrst, and then the

slaves. When shutting down the system, turn off the slaves ﬁrst, and then the master. Before

use, make sure that the wordclock slaves are correctly locked to the wordclock master. Most

devices have front panel indicators to indicate this. Refer to the relevant owner’s manuals

for more information.

Wordclock Connections

The 02R96 features a BNC wordclock input and a BNC wordclock

output. External wordclock signals can be connected to the WORD

CLOCK IN connector, and terminated by using the 75Ω ON/OFF

switch (see page 57). The WORD CLOCK OUT outputs a word-

clock signal at the same clock rate as the 02R96.

56 Chapter 5—Digital I/O & Cascading

02R96 Version 2—Owner’s Manual

Selecting the Wordclock Source

The wordclock source can be selected as follows.

1 Use the DISPLAY ACCESS [DIO] button to locate the Word Clock Select page.

2 Use the cursor buttons to select the sources, and press [ENTER] to set.

The SLOT TYPE column displays the names of any installed I/O Cards. The IN and OUT

columns indicate the number of inputs and outputs available for each installed I/O Card.

The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz,

88.2kHz, 96kHz, or Unlock.

The following are possible wordclock sources:

SLOT1–4 (1/2–15/16): These buttons select the Slot Inputs as the wordclock source.

Inputs are selected in pairs, the number of pairs depending on the type of I/O Card

installed.

WC IN: This button selects the WORDCLOCK IN connector as the wordclock source.

CAS. IN: This button selects the CASCADE IN port as the wordclock source.

2TRD1, 2TRD2, 2TRD3: These buttons select the 2TR Digital Inputs as the wordclock

source.

INT44.1k, INT48k, INT88.2k, INT96k: These buttons select the internal wordclock

generator as the wordclock source.

The source select buttons have the following indications:

A usable wordclock signal is present at this input.

No wordclock signal is present at this input.

A wordclock signal is present, but it’s out of sync with the current 02R96 clock.

This is the currently selected wordclock source.

This input was selected as the wordclock source, but no usable signal was received.

This cannot be selected as the wordclock source because a wordclock signal cannot be

sourced from this input on this type of I/O Card, or no I/O Card is installed.

If an external wordclock source fails for some reason, the 02R96 automatically switches to

its internal wordclock generator at the closest frequency.

Note: When you change the wordclock settings on any device in your digital audio system, some

devices may output noise, so turn down your power amps beforehand, otherwise your speakers

may be damaged.

2TR Digital Outs 57

02R96 Version 2—Owner’s Manual

Terminating External Wordclocks

Wo rdclock signals distributed via BNC cables must be terminated correctly, otherwise, jitter

and synchronization errors may result. Ideally, you should make a separate wordclock con-

nection to each device and terminate it. The following examples show two ways in which

wordclock signals can be distributed and how termination should be applied in each case.

Normally the WORD CLOCK 75Ω ON/OFF switch should be set to ON. The OFF setting

provides support for wordclock source devices with special speciﬁcations.

Star Distribution

In this example a dedicated wordclock distribution box is used to supply wordclock signals

to each device individually. Termination is applied at each device.

Daisy Chain Distribution

In this example the wordclock signal is distributed in a “daisy-chain” fashion, with each

device feeding the wordclock signal on to the next. This method of distribution is not rec-

ommended for larger systems.

2TR Digital Outs

The 02R96 features three sets of 2-track digital outputs: 2TR OUT

DIGITAL AES/EBU 1 uses an XLR-3-32-type connector and outputs

AES/EBU format digital audio. 2TR OUT DIGITAL COAXIAL 2 and 3

use phono connectors and output consumer format (IEC-60958) dig-

ital audio. These outputs can be patched to the Bus Outs, Aux Sends,

the Stereo Out, Input or Output Channel Insert Outs, or the Control Room signal (see

page 70). They can also be patched to Direct Outs (see page 70). Digital output signals can

be dithered for transfer to lower-resolution systems (see page 62).

WC OUT

(BNC)

WC IN (BNC) WC IN (BNC) WC IN (BNC) WC IN (BNC)

Wordclock

master

Wordclock

distribution box

Device-A

Te r mination = ON

Wordclock slave

Device-B

Te r mination = ON

Wordclock slave

Device-C

Te r mination = ON

Wordclock slave

Device-D

Te r mination = ON

Wordclock slave

WC IN

(BNC)

WC OUT

(BNC)

WC OUT (BNC)

WC IN

(BNC)

WC IN

(BNC)

WC OUT

(BNC)

Device-A

Te r mination = ON

Wordclock slave

Device-B

Te r mination = ON

Wordclock slave

Device-C

Te r mination = ON

Wordclock slave

Wordclock

master

58 Chapter 5—Digital I/O & Cascading

02R96 Version 2—Owner’s Manual

2TR Digital Ins

The 02R96 features three sets of 2-track digital inputs: 2TR IN DIGI-

TAL AES/EBU 1 uses an XLR-3-31-type connector and accepts

AES/EBU format digital audio. 2TR IN DIGITAL COAXIAL 2 and 3

use phono connectors and accept consumer format (IEC-60958) digi-

tal audio. These inputs can be monitored via the Control Room mon-

itors by using the CONTROL ROOM [2TR D1], [2TR D2], and [2TR D3] buttons. They

can be patched to Input Channels (see page 66), Input Channel Insert Ins (see page 67), or

Output Channel Insert Ins (see page 69). Digital audio signals received at sampling rates

other than the current 02R96 rate can be converted by the internal sampling rate converters

(see page 58). You can monitor the Channel Status of digital signals present at these inputs

on the Channel Status Monitor page (see page 62).

2TR In Sampling Rate Conversion

The 02R96’s 2TR Digital Inputs feature sampling rate converters so you can easily connect

your legacy 44.1/48 kHz digital audio equipment.

1 Use the DISPLAY ACCESS [DIO] button to locate the Sampling Rate Con-

verter page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, or [ENTER] button to set them.

The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz,

88.2kHz, 96kHz, or Unlock.

2TR IN D1–3: These buttons are used to turn on and off the sampling rate converter for

each 2TR Digital Input. When on, the sampling rate of the received digital audio is con-

verted to the 02R96’s current sampling rate. The original sampling rate is displayed.

Slot I/O

02R96 Version 2 Owner

’

s Manual

Slot I/O

The 02R96 features four Slots for installing optional mini-YGDAI (Yamaha General Digital

Audio Interface) I/O Cards, which offer various analog I/O options and digital I/O inter-

faces in all the popular digital audio interconnect formats, including AES/EBU, ADAT, and

Tascam.

Slot Inputs can be assigned to Input Channels or Input Channel Insert Ins (see page 66), or

to Output Channel Insert Ins (see page 69). Slot Outputs can be assigned to Bus Outs, Aux

Sends, the Stereo Out, Insert Outs, or the Surround Monitor Channels (see page 68), or

Direct Outs (see page 70).

Slot outputs can be dithered for digital audio transfer to lower-resolution systems (see

page 62).

Available Cards

The following mini-YGDAI I/O Cards are currently available. See the Yamaha Professional

Audio Web site at the following URL for up-to-date new

s on I/O Cards:

<http://www.yamahaproaudio.com/>.

Card Format In Out Resolution/Sampling Rate Connectors

MY8-AD

Analog in

—

20-bit, 44.1/48 kHz

Phone jack (balanced) x8

MY8-AD24

1. This card is a substitution for a 20-bit MY8-AD card.

24-bit, 44.1/48 kHz

MY4-AD

4 XLR-3-31 type (balanced) x4

MY8-AD96

8 24-bit, 44.1/48/88.2/96 kHz D-sub 25-pin

MY4-DA

Analog out —

4 20-bit, 44.1/48 kHz XLR-3-32 type (balanced) x4

MY8-DA96

24-bit, 44.1/48/88.2/96 kHz

D-sub 25-pin

MY8-ADDA96

Analog

in/out

88 Euroblock x4

MY8-AE

2. These cards support 24-bit/96 kHz in Double Channel mode. (Separate 96 kHz wordclock required.)

AES/EBU I/O

24-bit, 44.1/48 kHz

D-sub 25-pin

MY16-AE

16 16

MY8-AEB

88 BNC connector x8

MY8-AE96

8824-bit, 44.1/48/88.2/96 kHz D-sub 25-pin

MY8-AE96S

3. This card is identical to the MY8-AE96, except that it features a sampling rate converter.

MY8-AT

ADAT I/O

24-bit, 44.1/48 kHz

Optical x2

MY16-AT

16 16 Optical x4

MY8-TD

Tascam

D-sub 25-pin

BNC wordclock output

MY16-TD

16 16 D-sub 25-pin

MY8-mLAN

IEEE1394

6-pin 1394 connector x2

MY16-mLAN

16 16

WAVES Y56K

ADAT 8 8

24-bit, 44.1/48 kHz

Optical x2

WAVES Y96K

24-bit, 44.1/48/88.2/96 kHz

60 Chapter 5—Digital I/O & Cascading

02R96 Version 2—Owner’s Manual

Installing I/O Cards

This section explains how to install I/O Cards.

1 Turn off the 02R96.

2 Undo the two ﬁxing screws and remove the slot cover, as shown below.

Keep the cover and ﬁxing screws in a safe place for future use.

3 Insert the card between the guide rails and slide it all the way into the slot,

as shown below. You may have to push ﬁrmly to plug the card into the inter-

nal connector.

4 Secure the card using the attached thumbscrews. Do not leave them loose,

as the card will not be grounded correctly, which may cause the 02R96 to

malfunction.

You can check which I/O Cards are installed on the Word Clock Select page (see page 56).

For technical reasons, certain card combinations are not supported. Before

installing any cards, check the Yamaha web site (see page 5) to see whether your

card is compatible.

http://www.yamahaproaudio.com/

Also check the total number of cards that can be installed in the unit. Installing cards that are

not endorsed by Yamaha may cause electrical shock, ﬁre, or damage to the unit.

Slot I/O 61

02R96 Version 2—Owner’s Manual

Setting the Transfer Format for Higher Sampling Rates

The data transfer format for the higher sampling rates can be set as follows.

1 Use the DISPLAY ACCESS [DIO] button to locate the Higher Sample Rate Data

Transfer Format page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, or [ENTER] button to set them.

The SLOT TYPE column displays the names of any installed I/O Cards.

IN/OUT: These parameters are used to set the input and output data transfer format of I/O

Cards when running at the higher sampling rates (i.e., 88.2 kHz or 96 kHz) to either Double

Channel, Double Speed or Single. In Double Speed mode, digital audio data is received and

transmitted at the current higher sampling rate (i.e., 88.2 kHz or 96 kHz). In Double Chan-

nel mode, digital audio data is received and transmitted at a sampling rate that is exactly half

the current higher sampling rate and data is handled by two channels, thereby reducing the

total number of inputs or outputs for an eight channel I/O Card to four. In Double Channel

mode, the even-numbered channels are disabled. Double Channel mode allows you to

record 96 kHz audio to legacy 44.1/48 kHz digital multitrack recorders. In Single mode,

digital audio data is received and transmitted at a sampling rate that is exactly half the cur-

rent higher sampling rate. This is useful for digital MTR recording and playback situations.

The IN and OUT parameters are only available when a higher sampling rate (i.e., 88.2 kHz

or 96 kHz) is selected. When the sampling rate is 44.1 kHz or 48 kHz, all parameters on this

page are unavailable. As are individual parameters for Slots with analog I/O Cards installed,

or no I/O Card installed. When a digital I/O card that does not support 88.2/96 kHz is

installed, such as the MY8-AE, MY8-AT, or MY8-TD, its IN and OUT formats cannot be

set to Double Speed mode.

SRC: These parameters are used to turn on and off the sampling rate converter for each

pair of Slot Inputs. When on, the sampling rate of the received digital audio is converted to

the 02R96’s current sampling rate. The original sampling rate is displayed. These parame-

ters are available only when an I/O Card with onboard sampling rate converters is installed,

such as the MY8-AE96S.

Chapter 5—Digital I/O & Cascading

02R96 Version 2 Owner

’

s Manual

Dithering Digital Outputs

For digital audio transfer to lower-resolution systems, the 2TR Digital Outputs and Slot

Outputs can be dithered to 16-bit, 20-bit, or 24-bit.

Use the DISPLAY ACCESS [DIO] button to locate the Dither page.

Use the cursor buttons to select the Dither parameters, and use the Param-

eter wheel or INC/DEC buttons to set them.

The SLOT column displays the names of any installed I/O Cards.

You can copy the currently selected setting to all Dither parameters by double-clicking the

[ENTER] button.

Monitoring Digital Input Channel Status

You can monitor the Channel Status of digital audio signals connected to the 2TR Digital

Inputs and Slot Inputs as follows.

Use the DISPLAY ACCESS [UTILITY] button to locate the Channel Status Mon-

itor page.

Use the cursor buttons to select the SLOT 1–4 and 2TR IN buttons, and the

press [ENTER].

Displayed Channel Status information includes sampling rate (FS), emphasis, category, and

copy protection.

However, if a mini-YGDAI I/O card other than AES/EBU format is installed, Channel Status

information will be grayed out.

Cascading Consoles 63

02R96 Version 2—Owner’s Manual

3 If you select the SLOT button for a slot that has an

MY16-AE card installed, use the 01–08 and 09–16 but-

tons located in the lower-right corner of the screen

to select a channel group you wish to display.

Cascading Consoles

Total four 02R96s or DM2000s can be cascaded, offering a maximum of 224 Input Chan-

nels. Several functions are linked between all cascaded consoles, including Solo, Scene

Recall and Store, so that all consoles work just like one big console. A single Yamaha 02R

Digital Recording Console can be included in the cascade system.

The CASCADE IN and CASCADE OUT

ports are used to transmit and receive

Cascade and control signals. Only use

the optional dedicated Cascade cables for

connecting.

Linked Functions

The following 02R96 functions are linked via the cascade ports:

•AUX SELECT (Not linked with DM2000’s Aux 9–12.)

•Display page selection (Not linked with the DM2000.)

•Solo function

•FADER MODE

• ENCODER MODE

•Metering position setting

•Peak Hold On/Off

•Meter Fast Fall on/off

•Scene Store, Recall, and Title Edit

When a Scene is recalled on the master console, that scene is recalled on all cascaded con-

soles.

•The following Automix functions: Make New Automix, Store, Recall, Title Edit, Transport

(AutoREC, REC, PLAY, STOP, ABORT).

•The following Automix parameters: Automix Enable/Disable, Internal Start Time, Offset

Time, Frame Rate, Overwrite (FADER, ON, PAN, SURR, AUX, AUX ON, EQ), Motor

ON/OFF, Edit Out Mode OFF/RETURN/TAKEOVER, Return Time, Update To End

On/Off, ABSOLUTE/RELATIVE Fader Edit Mode, Touch Sense Edit In On/Off, Touch

Sense Edit Out On/Off, Touch Sense Edit Off/Touch/Latch.

Function and parameter linking can be turned on or off by using the Cascade COMM Link

preference (see page 231). The Solo function is always linked regardless of this preference.

When the 02R96 is cascaded with a Yamaha DM2000 Digital Production Console, display

page selection is not linked, and Matrix Send select actions, and Aux Send 9–12 select

actions performed on the DM2000 are ignored by the 02R96.

Note: When the Cascade COMM Link preference is on, do not make any MIDI connections

between cascaded 02R96/DM2000s. If two 02R96/DM2000s are cascaded and connected via

MIDI, and the Cascade COMM Link preference is on, when a store operation is performed

on the master console, a loop will be created, causing both consoles to execute endless store oper-

ations.

64 Chapter 5—Digital I/O & Cascading

02R96 Version 2—Owner’s Manual

Cascade Hookup Examples

Cascading Two 02R96s

Cascading Three or More 02R96s

Cascading an 02R Digital Recording Console

02R96 #1 02R96 #2

CASCADE IN

CASCADE OUT

CASCADE IN

Master: Off

Bi-directional: –

Final signals can be output by

the Slot Outputs or Omni Outs.

Final signals can be output by

the Slot Outputs or Omni Outs.

Master: On

Bi-directional: On

02R96 #1 02R96 #2/3 02R96 #4

CASCADE IN

CASCADE OUT

CASCADE IN

CASCADE OUT CASCADE OUT

CASCADE IN

Master: Off

Bi-directional: –

Final signals can be output by

the Slot Outputs or Omni Outs.

Master: Off

Bi-directional: –

Master: On

Bi-directional: On

Final signals can be output by

the Slot Outputs or Omni Outs.

02R 02R96 #1/2 02R96 #3

CASCADE IN

CASCADE OUT

CASCADE IN

CASCADE OUT

Master: On

Bi-directional: Off

Final signals can be output by

the Slot Outputs or Omni Outs.

Master: Off

Bi-directional: –

Cascade In from: 02R

Cascading Consoles 65

02R96 Version 2—Owner’s Manual

Attenuating Cascade Inputs

Cascade Inputs can be attenuated, and the Cascade mode and Cascade source can be spec-

iﬁed on the Cascade In page.

1 Use the DISPLAY ACCESS [DIO] button to locate the Cascade In page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, or [ENTER] button to set them.

CASCADE MODE: When you want to output the same signals from two 02R96s, turn on

the BI-DIRECTIONAL button. In this case, the Cascade connections are looped. Turn on

the CASCADE MASTER option on the last 02R96 to make it the master console. When the

BI-DIRECTIONAL button is off, the last 02R96 in the cascade is automatically conﬁgured

as the master console and it output the ﬁnal signals.

CASCADE IN FROM: This is used to specify the type of device connected to the CAS-

CADE IN port, either 02R96 or 02R. When a 02R96 or DM2000 is connected to the CAS-

CADE IN port, 02R96 is speciﬁed automatically.

CASCADE IN ATTENUATOR: These controls are used to attenuate Cascade Input sig-

nals. The AUX9–AUX12 controls attenuate the corresponding signals only when the 02R96

is cascaded between two Yamaha DM2000 Digital Production Consoles, they have no effect

on the 02R96 itself. You can copy the currently selected setting to all Attenuator parameters

by double-clicking the [ENTER] button.

Turning On & Off Cascade Outputs

Individual Cascade Outputs can be turned on or off as follows.

1 Use the DISPLAY ACCESS [DIO] button to locate the Cascade Out page.

2 Use the cursor buttons to select the ON/OFF buttons, and use the [ENTER]

button to set them.

66 Chapter 6—Input & Output Patching

02R96 Version 2—Owner’s Manual

6 Input & Output Patching

Input Patching

Input and Output signals for the Input Channels, Input Channel Insert Ins, and internal

effects processors are selected on the Input Patch pages, which are selected by using the DIS-

PLAY ACCESS [INPUT PATCH] button. Use the cursor buttons to select the patch param-

eters, use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER]

to set.

Patch parameters display Short Port names. The Long Port name of the currently selected

patch parameter is displayed in the upper-right corner of each page.

Patching can also be done by using the Patch Select Window (see page 71). Input Channel

Inputs, Insert Ins, and Insert Outs can also be patched by using the Encoders (see page 72).

See page 241 for a complete list of input patch sources. See page 244 for a list of initial input

patches.

Input Patch settings can be stored in the Input Patch library, which contains 1 preset mem-

ory and 32 user memories. See “Input Patch Library” on page 145 for more information.

Patching Input Channels

AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs,

Bus Outs, or Aux Sends can be patched to the Input Channel Inputs.

The Input Channel Patch parameters for the 56 Input Channels are divided between two

pages. The Input Channel 1–48 Patch page is shown below. The layout of the other page is

the same. When Vertical Input Channel pairing mode is selected, patch parameters for ver-

tical partners are displayed, for example, CH1, CH25, CH2, CH26, and so on.

In addition to using the cursor buttons, Patch parameters can also be selected by using the

LAYER and [SEL] buttons.

Input Patching

02R96 Version 2—Owner’s Manual

Patching Input Channel Insert Ins

AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs can

be patched to the Input Channel Insert Ins.

The Input Channel Insert In Patch parameters for the 56 Input Channels are divided

between two pages. The Input Channel 1–48 Insert In Patch page is shown below. The lay-

out of the other page is the same. When Vertical Input Channel pairing mode is selected,

patch parameters for vertical partners are displayed, for example, CH1, CH25, CH2, CH26,

and so on.

In addition to using the cursor buttons, Patch parameters can also be selected by using the

LAYER and [SEL] buttons.

Patching Effects Inputs and Outputs

Aux Sends, internal effects processor outputs (OUT1 and OUT2 only), or Output Channel

Insert Outs can be patched to the internal effects processor inputs.

Input Channels, or Insert Ins can be patched to the internal effects processor outputs. Inter-

nal effects processor inputs can be also patched to the internal effects processor outputs

(OUT1 and OUT2 only).

FOLLOW SURROUND:

When surround effects are recalled to Effects processor 1, this

button sorts the effect inputs and outputs displayed in the list in the order speciﬁed on the

Surround Bus Setup page (see page 87). If the recalled surround effects are compatible with

5.1 Channel systems, the surround bus setting for 5.1 surround mode will be used.

Press this button repeatedly until an Effect Edit (1–4) page for the effects processor you

wish to edit appears.

68 Chapter 6—Input & Output Patching

02R96 Version 2—Owner’s Manual

Output Patching

Signal sources for the Slot Outputs, Omni Outs, Output Channel Inserts Ins, Direct Outs,

and 2TR Digital Outputs are selected on the Output Patch pages, which are selected by

using the DISPLAY ACCESS [OUTPUT PATCH] button. Use the cursor buttons to select

the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and

press [ENTER] to set.

Depending on the patch page, patch parameters display either Short Channel or Short Port

names. The Long Channel or Port name of the currently selected patch parameter is dis-

played in the upper-right corner of each page.

Signal sources can also be selected by using the Patch Select Window (see page 71). Insert

Ins, Insert Outs, and Direct Outs can also be patched by using the Encoders (see page 72).

See page 245 for a complete list of output patch sources. See page 249 for a list of initial out-

put patches.

Output Patch settings can be stored in the Output Patch library, which contains 1 preset

memory and 32 user memories. See “Output Patch Library” on page 145 for more informa-

tion.

Patching Slot Outputs

Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround

Monitor Channels can be patched to the Slot Outputs. Slot Outputs can be patched to

Direct Outs on the Direct Out Destination pages (see page 70).

The Slot Output Patch parameters for the four Slots are arranged into two pages. The Slot

1–2 Output Patch page is shown below. The layout of the other page is the same.

When a Slot Output is patched to a Direct Out (see page 70), and that Direct Out is assigned

on an Input Channel Routing page, the Slot Output patch cannot be changed here. If the

higher sampling rate (88.2 kHz/96 kHz) data format is set to Double Channel mode, the

Slot’s even channel patch is disabled and cannot be changed.

Output Patching 69

02R96 Version 2—Owner’s Manual

Patching Omni Outs

Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround

Monitor Channels can be patched to the Omni Outs. Omni Outs can be patched to Direct

Outs on the Direct Out Destination pages (see page 70).

When an Omni Out is patched to a Direct out (see page 70), and that Direct Out is assigned

on an Input Channel Routing page, the Omni Out patch cannot be changed here.

Output Channel Inserts Ins

AD Inputs, Slot Inputs, internal effects processor outputs, or Digital or Analog 2TR Inputs

can be patched to the Output Channel Insert Ins. The left and right channels of the Stereo

Out can be patched individually.

In addition to using the cursor buttons, Patch parameters can also be selected by using the

[SEL] buttons.

70 Chapter 6—Input & Output Patching

02R96 Version 2—Owner’s Manual

Patching Direct Outs

Direct Outs can be patched to the Slot Outputs, Omni Outs, or 2TR Digital Outputs.

The Direct Out Destination parameters for the 56 Input Channels are divided between two

pages. The Input Channel 1–48 Direct Out Destination page is shown below. The layout of

the other page is the same.

In addition to using the cursor buttons, Patch parameters can also be selected by using the

LAYER and [SEL] buttons.

Patching the 2TR Digital Outputs

Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or the Control

Room signal can be patched to the 2TR Digital Outputs. 2TR Digital Outputs can be

patched to Direct Outs on the Direct Out Destination pages (see page 70). The left and right

channels of each Digital Output can be patched individually.

When a 2TR Digital Output is patched to a Direct out (see page 70), and that Direct Out is

assigned on an Input Channel Routing page, the 2TR Digital Output patch cannot be

changed here.

Naming Input & Output Ports 71

02R96 Version 2—Owner’s Manual

Naming Input & Output Ports

You can specify Long and Short names for the Input and Output Ports as follows. These

names appear on the Input and Output Patch pages.

See page 251 for a list of the initial Input Port names; page 252 for Output Port names.

1 Use the DISPLAY ACCESS [SETUP] button to locate the Input Port or Output

Port Name page.

2 Use the Parameter wheel or INC/DEC buttons to select the ports.

3 Use the cursor buttons to select the Long or Short name, and then press

[ENTER].

When the Title Edit window appears, edit the port name, and press OK when you’ve ﬁn-

ished. See “Title Edit Window” on page 46 for more information.

When the Name Input Auto Copy option is on, the ﬁrst four characters of a newly entered

Long name are automatically copied to the Short name and vice versa.

You can reset all port names back to their initial values by pressing the INITIALIZE button.

Patch Select Window

Input and Output patches can be made by using the Patch Select window, shown below,

which appears when the [ENTER] button is pressed while a patch parameter is selected.

Available input and output sources and destinations are displayed in a hierarchical format

in three panes. The existing source or destination is displayed in the upper-right corner of

the window. Use the cursor buttons to move the cursor to the pane on the left, and use the

Parameter wheel or INC/DEC buttons to select the top level item. Then move the cursor to

the center pane, and select an item at the next level. Select an item in the right pane, if avail-

able, and then select the YES button and press [ENTER].

72 Chapter 6—Input & Output Patching

02R96 Version 2—Owner’s Manual

Patching with the Encoders

The following patches can be made by using the Encoders: Input Channel Inputs, Insert

Outs, Insert Ins, and Direct Outs.

1 Assign one of the above parameters to an Encoder ASSIGN button, as

explained on page 51.

2 Press the ASSIGN button to which you assigned the patch parameter.

3 Use the Encoders to select ports, and press the Encoder push switches to set

them.

The coresponding Patch page appears when an Encoder is operated. If you operate another

Encoder, the selection is cancelled and the patch is left unchanged.

Input Channels 73

02R96 Version 2—Owner’s Manual

7 Input Channels

Patching Input Channels

AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs,

Bus Outs, or Aux Sends can be patched to the Input Channel Inputs. See “Patching Input

Channels” on page 66 for more information.

Metering Input Channels

Input Channel signal levels can be metered on the Meter pages. See “Metering” on page 107

for more information.

Reversing the Signal Phase

The signal phase of each Input Channel can be reversed as follows.

1 Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to

select the Phase pages.

The Phase parameters for the 56 Input Channels are divided between two pages. The Input

Channel 1–48 Phase page is shown below. The layout of the other page is the same.

2 Use the cursor buttons or Parameter wheel to select the NOR/REV buttons,

and the [ENTER] button and INC/DEC buttons to set them.

The NOR/REV buttons can also be selected by using the [SEL] buttons.

GLOBAL NOR/REV: These buttons allow you to set the phase of all Input Channels

simultaneously.

74 Chapter 7—Input Channels

02R96 Version 2—Owner’s Manual

Gating Input Channels

Each Input Channel features a noise Gate for automatically shutting out unwanted noise.

Gate settings can be stored in the Gate library, which contains 4 preset memories and 124

user memories. See “Gate Library” on page 148 for more information.

Preset Gates & Types

The following table lists the preset Gates and types. See page 283 for detailed parameter

information.

Using the SELECTED CHANNEL DYNAMICS Controls

1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

Input Channels.

2 Use the [GATE ON] button to turn the currently selected Input Channel’s

Gate on or off.

3 Use the [GATE/COMP] button to set the DYNAMICS controls to GATE (GATE

indicator lit), and use the THRESHOLD, RANGE, ATTACK, DECAY, and HOLD

controls to set the Gate.

Gate Edit Page

Gate settings can be viewed and set on the Gate Edit page. If the Auto DYNAMICS Display

preference is on, this page appears automatically when a gate control in the SELECTED

CHANNEL DYNAMICS section is operated.

1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

Input Channels.

2 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the

Gate Library page, and then recall a Gate preset that contains the gate type

that you want.

See “Gate Library” on page 148 for more information.

# Preset Name Type Description

Gate

GATE Gate template

Ducking

DUCKING Ducking template

A. Dr. BD

GATE Gate preset for use with acoustic bass drums

A. Dr. SN

GATE Gate preset for use with acoustic snare drums

GATE ON COMP ON

GATE

COMP

RANGE

RATIO

ATTAC K

ATTAC KTHRESHOLD

THRESHOLD

DYNAMICS

DISPLAY

GATE / COMP

DECAY

RELEASE

HOLD

GAIN

Attenuating Input Channels 75

02R96 Version 2—Owner’s Manual

3 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the

Gate Edit page.

4 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

KEYIN SOURCE: This determines the trigger source for the currently selected Input

Channel’s Gate. Trigger sources include SELF (the Gate’s own input signal), CHANNEL

(another Input Channel), or AUX (an Aux Send from 1–8). Input Channel trigger sources

are selectable in blocks of 12 channels. For example, if Input Channel #1 is currently

selected, an Input Channel from 1–12 can be selected as the trigger source. However, if

Input Channel #13 is currently selected, an Input Channel from 13–24 can be selected.

STEREO LINK: This allows you to pair Gates for stereo operation even when Input Chan-

nels are not paired. Input Channel Gates are paired either horizontally or vertically depend-

ing on the Pair mode setting for the currently selected Input Channel. See “Pairing

Channels” on page 123 for more information on horizontal and vertical pairing. When

Input Channels are paired, this parameter is turned on automatically and cannot be

changed.

CURVE: This displays the gate curve (i.e., input level vs. output level).

TYPE: This is the gate type used by the currently selected Input Channel’s Gate.

Meters: These meters indicate the levels of the currently selected Input Channel and its

horizontal or vertical partner. The GR meter indicates the amount of gain reduction being

applied by the currently selected Input Channel’s Gate.

ON/OFF: This turns the currently selected Input Channel’s Gate on and off. It works in

unison with the SELECTED CHANNEL DYNAMICS [GATE ON] button.

PARAMETER: These controls are used to set the Threshold, Range, Attack, Decay, and

Hold parameters.

Attenuating Input Channels

Input Channels signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110 for

more information.

EQ’ing Input Channels

Each Input Channel features 4-band parametric EQ. See “Using EQ” on page 111 for more

information.

76 Chapter 7—Input Channels

02R96 Version 2—Owner’s Manual

Grouping Input Channel EQs

Input Channel EQs can be grouped, allowing you to control the EQ of several Input Chan-

nels simultaneously. There are four Input Channel EQ groups: a, b, c, and d.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Equalizer Link

page.

2 Use the LAYER buttons to select the Layers.

The corresponding group row is selected as each Layer is selected.

3 Use the Up/Down cursor buttons to select EQ groups a–d.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove Input Channels to and from the

selected group.

The EQ settings of the ﬁrst Input Channel added to the group are applied to all subse-

quently added Input Channels.

When an Input Channel is added to a group, its [SEL] button indicator lights up.

Input Channel Inserts

Internal effects processors and external signal processors can be patched into the Input

Channels by using the Inserts. See “Using Inserts” on page 115 for more information.

Compressing Input Channels

Each Input Channel features a Compressor. See “Compressing Channels” on page 116 for

more information.

Grouping Input Channel Compressors 77

02R96 Version 2—Owner’s Manual

Grouping Input Channel Compressors

Input Channel Compressors can be grouped, allowing you to control the compression of

several Input Channels simultaneously by operating any Compressor control in the group.

There are four Input Channel Compressor groups: i, j, k, and l.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Comp Link

page.

2 Use the LAYER buttons to select the Layers.

The corresponding group row is selected as each Layer is selected.

3 Use the Up/Down cursor buttons to select Comp groups i–l.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove Input Channels to and from the

selected group.

The Compressor settings of the ﬁrst Input Channel added to the group are applied to all

subsequently added Input Channels.

When an Input Channel is added to a group, its [SEL] button indicator lights up.

Delaying Input Channels

Each Input Channel features a Delay function. See “Delaying Channel Signals” on page 120

for more information.

Muting Input Channels (ON/OFF)

Input Channels can be muted as follows.

1 Use the LAYER buttons to select the Layers.

2 Use the [ON] buttons to mute the Input Channels.

The [ON] button indicators of channels that are on are lit.

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Grouping Input Channel Mutes (ON/OFF)

Input Channel Mutes can be grouped, allowing you to mute several Input Channels simul-

taneously. There are eight Input Channel Mute groups: I, J, K, L, M, N, O, and P.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Mute

Group pages.

The Mute group parameters for the 56 Input Channels are divided between two pages. The

Input Channel 1–48 Mute Group page is shown below. The layout of the other page is the

same.

2 Use the LAYER buttons to select the Layers.

The corresponding Mute Group page and group row is selected as each Layer is selected.

3 Use the Up/Down cursor buttons to select Mute groups I–P.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove mutes to and from the selected

group.

When an Input Channel is added to a Mute group, its [SEL] button indicator lights up.

ENABLE: These buttons are used to enable and disable the groups.

INPUT MUTE MASTER: When this check box is checked, clicking a MASTER MUTE

button mutes or unmutes all channels in the corresponding Mute group. When this check

box is unchecked, the Input Channel [ON] button status links to the mute on/off status of

the channels in the group.

MASTER MUTE: When the Input Mute Master check box is checked, use this button to

mute or unmute all channels in the corresponding Mute group.

When the Input Mute Master check box is unchecked, pressing the Input Channel [ON]

button mutes or unmutes the channels in the corresponding Mute group (Mute On chan-

nels turn off and Mute Off channels turn on).

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02R96 Version 2—Owner’s Manual

Input Channel Mute Master

The 02R96 features a Mute Master function that enables you to mute all channels in the

Mute group using the MASTER button, much like a Mute group on an analog mixing con-

sole. When the Mute Group Master function is enabled, the channel [ON] button status

does not link to the corresponding Mute group.

1 Follow Steps 1–4 as described in the “Grouping Input Channel Mutes

(ON/OFF)” section on the previous page, select the Input Mute Master check

box, then press the [ENTER] button to check or uncheck the Input Mute

Group Master check box.

2 When the Input Mute Master check box is checked, the MASTER MUTE but-

ton for each Mute group turns mute on or off for the channels in the corre-

sponding Mute group.

If the channels are muted by the Mute Master function, the corresponding channel [ON]

button indicators ﬂash. You can assign the MASTER MUTE button function to one of the

USER DEFINED KEYS for convenient operation.

Setting Input Channel Levels

Input Channel levels can be set as follows.

1 Use the LAYER buttons to select the Layers.

2 Press the FADER MODE [FADER] button to select Fader mode.

3 Use the faders to set the Input Channel levels.

Refer to the legend on the left side of the faders when setting Input Channel levels.

Fader positions can be viewed on the Fader View pages. See “Viewing Channel

Fader Settings” on page 130 for more information.

Grouping Input Channel Faders

Input Channel faders can be grouped, allowing you to control the level of several Input

Channels simultaneously. There are eight Input Channel Fader groups: A, B, C, D, E, F, G,

and H.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Fader

Group pages.

The Fader Group parameters for the 56 Input Channels are divided between two pages. The

Input Channel 1–48 Fader Group page is shown below. The layout of the other page is the

same.

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02R96 Version 2—Owner’s Manual

2 Use the LAYER buttons to select the Layers.

The corresponding Fader Group page and group row is selected as each Layer is selected.

3 Use the Up/Down cursor buttons to select Fader groups A–H.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove faders to and from the selected

group.

When an Input Channel is added to a group, its [SEL] button indicator lights up.

ENABLE: These buttons are used to enable and disable the groups.

INPUT FADER MASTER: When this check box is unchecked, the Input Channel fader

positions link to the fader levels for the channels in the corresponding Fader group. When

this check box is checked, you can set the master level for the corresponding Input Channel

Fader group in the Master column. The resultant Input Channel level equals the corre-

sponding Input Channel fader level plus the Group Master level. See “Group Master for

Input Channel Faders” on page 80.

When the Input Fader Master check box is not checked, operating the channel faders will

affect the input levels for the corresponding Fader group. Pressing and holding down the

[SEL] button while operating the fader of an Input Channel will temporarily cancel the cor-

responding Fader group, which is convenient if you want to adjust the relative balance

between channels.

Fader groups are active only in Fader mode (i.e., when the FADER MODE [FADER] button

indicator is on). See “Selecting Fader Modes” on page 49 for more information.

Group Master for Input Channel Faders

The 02R96 features a Fader Group Master function that enables you to control the level of

all channels using the Group Master level while maintaining the relative balance between

channels, much like a VCA group on an analog mixing console. While this function is

enabled, channel fader operation does not affect channel levels in the corresponding Fader

group.

1 Follow Steps 1–4 as described in the “Grouping Input Channel Faders” sec-

tion on the previous page, select the Input Fader Master check box, then

press the [ENTER] button to check or uncheck the Input Fader Master check

box.

2 When the Input Fader Master check box is checked, you can set channel lev-

els of the Fader groups in the Master column.

When the Master column is selected, repeatedly pressing the [ENTER] button turns the

Input Fader group on and off.

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02R96 Version 2—Owner’s Manual

You can also make these settings in the Input Fader Group Master page, as shown below.

3 Use the DISPLAY ACCESS [GROUP] button to locate the Input Fader Group

Master page.

4 Use the cursor buttons to select parameters, then use the Parameter wheel,

INC/DEC buttons, or [ENTER] button to set the parameters.

INPUT FADER MASTER: When this check box is checked, you can set the master levels

for the Input Fader groups. The resultant Input Channel level equals the corresponding

Input Channel fader level plus the Group Master level.

ALL NOMINAL: This button resets the master levels for all Input Fader groups to nomi-

nal.

ON/OFF: This turns each Input Fader group on or off. This function works like a VCA

mute on an analog mixing console.

Faders: These faders adjust the master levels of the Fader groups. Fader knobs are high-

lighted when faders are set to 0.0 dB. Press the [ENTER] button to set the currently-selected

fader to 0.0 dB.

You can also control the parameters from the channel strips on the control surface as

described below by using the User Assignable Layer of the Remote Layers. See page 228 for

information on the User Assignable Layer.

Encoders: The Encoders are not available.

[AUTO] buttons: These buttons are used to control the Fader Group Master On/Off and

the master level during Automix.

[SEL] buttons: These buttons move the cursor on the Input Fader Group Master page.

[SOLO] buttons: These buttons turn the Solo function of each Fader group on and off.

You can monitor all the channels in each Fader group.

Channel Faders: The channel faders enable you to set the master level for each Fader

group.

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Routing Input Channels

Each Input Channel can be routed to the Bus Outs, Stereo Out, or its own Direct Out.

Using the SELECTED CHANNEL ROUTING Controls

1 Use the LAYER buttons to select the Layers, and use the

[SEL] buttons to select the Input Channels.

2 Use the [1–8], [STEREO], and [DIRECT] buttons to route the

currently selected Input Channel.

[1–8]: These buttons route the currently selected Input Channel to the

Bus Outs.

[STEREO]: This button routes the currently selected Input Channel to

the Stereo Out.

DIRECT: This button routes the currently selected Input Channel to its Direct Out.

[FOLLOW PAN]: This determines whether the Input Channel’s Pan control setting is

applied to the Bus Outs. When off, the levels of the signals fed to the odd and even Bus Outs

is the same. When on, the levels of the signals fed to the odd and even Bus Outs follows the

Pan control.

In Surround mode, when this button is turned off, the surround pan setting does not affect

signals fed to the Bus Outs. You can enable the surround pan setting when the input source

is monaural, and patch the surround sources or surround effects directly to the Surround

Buses.

Routing Pages

Input Channel routing settings can be viewed and set on the Routing pages. If the Auto

ROUTING Display preference is on, these pages appear automatically when a button in the

SELECTED CHANNEL ROUTING section is pressed. See “Auto ROUTING Display” on

page 230.

1 Use the SELECTED CHANNEL ROUTING [DISPLAY] button to select the Rout-

ing pages.

The Routing parameters for the 56 Input Channels are divided among three pages. The

Input Channel 1–24 Routing page is shown below. The layout of the other two pages is the

same.

2 Use the cursor buttons and Parameter wheel to select the parameters, and

use the [ENTER] button or INC/DEC buttons to set them.

Channels can also be selected by using the LAYER buttons and [SEL] buttons.

ALL STEREO: This button assigns all Input Channels that are currently displayed to the

Stereo Out.

STEREOFOLLOW PAN DIRECT

DISPLAY

ROUTING

Panning Input Channels 83

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ALL BUS: This button assigns all Input Channels that are currently displayed to all Bus

Outs

ALL CLEAR: This button clears all routing assignments that are currently displayed.

The currently selected Surround mode is displayed in the lower-left corner. When Stereo

mode is selected, the Bus Out routing buttons display numbers from 1 through 8. When a

Surround Pan mode is selected, they display abbreviations of the Surround Channel names,

as shown in the following table. See “Using Surround Pan” on page 85 for more informa-

tion.

This table shows the default assignments. The actual assignments may vary depending on

the settings on the Surround Bus Setup page. See “Assigning Surround Channels to Buses”

on page 87 for more information.

Panning Input Channels

Input Channels can be panned between the left and right channels of the Stereo Out.

Using the Encoders

1 Use the LAYER buttons to select the Layers.

2 Press the ENCODER MODE [PAN] button to select the Pan Encoder

mode.

3 Use the Encoders to pan the input channels.

Using the SELECTED CHANNEL PAN/SURROUND Controls

1 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to

select the Input Channels.

2 Use the Pan control to pan the currently selected Input Channel.

The pan display indicates the pan position of the currently selected Input Channel. When

pan is set to center, the center two segments light up. You can use the [L] and [R] buttons

to select horizontal or vertical Input Channel partners.

The [LINK] button, which is enabled only when a Surround mode other than Stereo is

selected, is used to link the Pan control and the Joystick so that either control can be used

for panning. This setting applies only to Input Channels that are currently selected. For this

to work, the [EFFECT] button indicator must be off and the [GRAB] and [LINK] button

indicators must be on.

Surround Mode

Bus Outs

12345678

Stereo

12345678

3-1

LRCS5678

5.1

LRLsRs C

1. Short for LFE (Low frequency Effects).

6.1

LRLsRs C Bs E 8

LINK GRAB EFFECT

EVEN

PAN/SURROUND

DISPLAY

ODD

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Pan Pages

Pan settings can be viewed and set on the Pan pages. If the Auto PAN/SURROUND Display

preference is on, these pages appear automatically when a control in the SELECTED

CHANNEL PAN/SURROUND section is operated.

1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select

the Input Channel Pan pages.

The Pan parameters for the 56 Input Channels are arranged into three pages. The Input

Channel 1–24 Pan page is shown below. The layout of the other two pages is the same.

2 Use the cursor buttons to select the Pan controls, and use the Parameter

wheel and INC/DEC buttons to set them.

Pan parameters can also be selected by using the LAYER buttons and [SEL] buttons.

The currently selected Pan control can be set to center by pressing [ENTER].

MODE: There are three Pan modes that determine how horizontally and vertically paired

Input Channels are panned: Individual, Gang, and Inverse Gang. This is a global setting that

applies to all paired Input Channels.

In individual mode, paired Input Channel pan controls operate independently.

In Gang mode, paired Input Channel pan controls operate in unison.

In Inverse Gang mode, paired Input Channel pan controls operate in unison but

move in opposite directions.

Aux Send Pan controls can be linked to Input Channel Pan controls so that operating an

Input Channel Pan control also operates the corresponding Aux Send Pan control, and vice

versa (see page 103). While linked, the Pan mode can be set on the Aux Pan page or the

Input Channel Pan page.

Note: While the PAN/SURROUND [LINK] button is turned on, the Pan mode is automati-

cally set to Individual. When the Pan mode is switched from Gang mode to Inverse Gang mode,

the [LINK] button is turned off.

Using Surround Pan 85

02R96 Version 2—Owner’s Manual

Using Surround Pan

The 02R96 supports 3-1, 5.1 and 6.1 Surround modes. Surround pan is independent of nor-

mal panning. Normal panning determines how the Input Channel signal is panned

between the left and right channels of the Stereo out. Whereas surround panning deter-

mines how the Input Channel signal is panned among the Surround channels (i.e., the Bus

Outs).

If Input Channel Follow Pan is off, you can patch signals to the corresponding Bus Outs

without being affected by the surround pan setting. This is useful when you want to assign

the surround source or surround effect return to Bus Outs.

When the Nominal Pan preference is on (see page 231), signals will be at nominal level

when panned hard left or hard right, and at +3 dB when the preference is turned off.

The following table shows how Surround channels are handled by the Bus Outs.

The table may vary depending on the settings on the Surround Bus Setup page (see

page 87).

Selecting Surround Pan Modes

The Surround mode can be selected as follows.

1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select

the Surround Mode page.

Note: If you have saved a scene with the Follow Pan function turned off on a 02R96 that is

older than Version 2.0, the surround setting may not be reproduced

Surround

Mode

Bus Outs

12345 6 7

3-1

LRCS

—— —

Front left Front right Center Surround

5.1

LRLsRs C LFE

—

Front left Front right Rear left Rear right Center Subwoofer

6.1

LRLsRs C Bs LFE

Front left Front right Rear left Rear right Center Rear center Subwoofer

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2 Use the cursor buttons to select the surround mode buttons, and press

[ENTER] to activate the selected mode.

The diagram on each page shows the typical sound image placement and the Surround

channel to Bus Out conﬁguration.

Select the SURR/BUS SETUP button, then press the [ENTER] button to display the Sur-

round Bus Setup page, which enables you to change the Surround Channel to Bus Out

assignment. See “Assigning Surround Channels to Buses” on page 87 for more information

on the Surround Bus Setup page.

3-1 Surround 5.1 Surround

6.1 Surround

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02R96 Version 2—Owner’s Manual

Assigning Surround Channels to Buses

You can modify the Surround Channel to Bus assignment.

1 Use the DISPLAY ACCESS [SETUP] button to locate the Surround Bus Setup

page.

2 Use the cursor buttons to select the bus for which you want to change the

surround channel assignment, then use the Parameter wheel or INC/DEC

buttons to select a surround channel.

INIT: These buttons reset the channel assignment to the default setting.

Using the Joystick

1 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to

select the Input Channels.

2 Press the [GRAB] button to grab the current Joystick position, and then use

the Joystick to set the surround pan.

This is used to turn on and off Joystick surround pan control for the currently selected Input

Channel. While Grab is on, the Joystick can be used to set the surround pan position of the

currently selected Input Channel. If the Joystick is set to control effects (i.e., the [EFFECT]

button indicator is lit), the [GRAB] button is disabled.

LINK GRAB EFFECT

EVEN

PAN/SURROUND

DISPLAY

ODD

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Selected Channel Surround Edit Page

Surround pan settings can be viewed and set on the Input Channel Surround Edit page. If

the Auto PAN/SURROUND Display preference is on, and a Surround Pan mode other than

Stereo is selected, this page appears automatically when a PAN/SURROUND control other

than the [EFFECT] button is operated. See “Auto PAN/SURROUND Display” on page 230.

1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select

the Surround Edit page.

2 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to

select the Input Channels.

The Surround Edit page displays surround pan parameters for the currently selected Input

Channel and its horizontal or vertical partner. The current surround pan position of each

Input Channel is indicated by a small circle. It’s also indicated numerically next to each

Input Channel number, for example, “CH1 (L9, R10).”

The graph of the currently selected Input Channel displays a small square, which indicates

the current position of the Joystick. If the Auto Grab preference is on (see page 231), when

the Joystick is moved to the current surround pan position, the Joystick kicks in as surround

pan control and the small square disappears.

The number of speaker icons and meters around the surround graph depends on the cur-

rently selected Surround mode. The meters indicate Bus Out signal levels.

You can move the surround pan directly to one of the speaker icons, including the box icons

without speakers, by selecting its icon, and then pressing [ENTER].

3 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

Patterns: These buttons are used to select the seven patterns that determine how the sur-

round pan moves by the Parameter wheel and INC/DEC buttons.

FAST: This sets the speed of surround pan control when using the Parameter wheel and

INC/DEC buttons.

WIDTH: This sets the left-to-right width of the selected pattern.

DEPTH: This sets the front-to-rear depth of the selected pattern.

WIDTH OFFSET: This can be used to offset the left-to-right direction of the selected pat-

tern.

DEPTH OFFSET: This can be used to offset the front-to-rear direction of the selected pat-

tern.

LFE: This sets the level of the LFE (Low Frequency Effects) Channel (5.1 and 6.1 mode

only).

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02R96 Version 2—Owner’s Manual

DIV (divergence): This determines how the Center signal is fed to the Left, Right, and

Center channels. When set to 0, the Center signal is fed only to the Left and Right channels

(i.e., Phantom Center). When set to 50, the Center signal is fed equally to the Left, Right,

and Center channels. When set to 100, it’s fed to only the Center channel (i.e., Real Center)

(3-1 and 5.1 mode only).

DIV F/R: The F parameter control determines how the Front Center signal is fed to the Left

and Right channels. The R parameter control determines how the rear surround signal is

fed to the Left and Right surround channels (only for 6.1 surround).

DIV LINK: When DIV LINK is on, the F and R parameter controls are set to the same value

and linked to each other (only for 6.1 Surround).

ST LINK: This can be used to link the surround pan parameters of the currently selected

Input Channel and its horizontal or vertical partner regardless of whether they are paired.

PATTERN: When Input Channels are linked, the eight patterns selectable here determine

how the linked surround pan moves by the Parameter wheel and INC/DEC buttons.

Input Channel Surround Pages

Surround pan positions can be viewed and set on the Surround pages.

1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select

the Input Channel Surround pages.

The Surround parameters for the 56 Input Channels are arranged into three pages. The

Input Channel 1–24 Surround page is shown below. The layout of the other two pages is the

same.

2 Use the cursor buttons to select the Surround parameters, and use the

Parameter wheel and INC/DEC buttons to set them.

Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. The

graph for the currently selected Input Channel displays a small square, which indicates the

current position of the Joystick.

L/R: These parameters are used to set the left/right surround position. While selected, they

can quickly be set to center by pressing [ENTER].

F/R: These parameters are used to set the front/rear surround position. While selected, they

can quickly be set to center by pressing [ENTER].

You can jump to the more detailed Surround Edit page by pressing [ENTER] while an Input

Channel’s surround graph is selected.

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Sending Input Channels to Aux Sends

Input Channel signals can be sent to Aux Sends 1–8. See “Setting Aux Send Levels” on

page 99 and “Pre-Fader or Post-Fader Aux Sends” on page 98.

Soloing Input Channels

Input Channels can be soloed. See page 121 for more information.

Direct Outs

Each Input Channel features a Direct Out, which can be patched to the Slot Outputs, Omni

Outs, or the 2TR Digital Outputs. Direct Out signals can be sourced pre-EQ, pre-fader, or

post-fader. See “Patching Direct Outs” on page 70 and “Routing Input Channels” on

page 82 for more information.

Pairing Input Channels

Horizontal or vertical Input Channel partners can be paired for stereo operation. See “Pair-

ing Channels” on page 123 for more information.

Viewing Input Channel Settings

Parameter and fader settings for each Input Channel can be viewed on the View pages. See

“Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader Settings”

on page 130 for more information.

Naming Input Channels

Input Channels can be named for easy identiﬁcation. See “Naming Channels” on page 134

for more information.

Using the MS Stereo Microphone 91

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Using the MS Stereo Microphone

The MS system is a type of stereo recording that uses two microphones: mono-directional

M (Middle) and bi-directional S (Side) microphones. An M microphone picks up main sig-

nals, and an S microphone picks up directional signals. These two signals are decoded by

calculating a sum (M plus S) and a difference (M minus S), and are recorded to L and R

channels.

An MS microphone is usually a stereo microphone that features both M and S functions.

To use an MS microphone, do the following:

1 Connect the L connector of an MS microphone to an odd channel input jack,

and the R connector to an even channel input jack.

Signals from the MS microphone are

input from the L and R connectors. To

use an MS microphone with the

02R96, connect the L connector to the

input jack of an odd Input Channel,

and connect the R connector to the

input jack of the partner channel.

2 Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages.

3 Turn on the MS button for the channels to which the MS microphone is con-

nected.

The two channels are automatically paired and MS Decoding is turned on. With MS Decod-

ing turned on, the faders and Encoders (Pan parameters) function as follows:

• Odd-channel faders.................M level (Controls the volume level.)

• Odd-channel Encoders...........ML/MR balance

• Even-channel faders................S level (Controls the left and right directional spread.)

• Even-channel Encoders ..........SL/SR balance

4 Use the faders and Encoders to adjust the MS microphone level and balance.

When the signals are routed to paired Buses or the Stereo Bus, a sum of signals (ML plus

SL) is sent to the odd-numbered Bus, and a difference of signals (ML minus SL) is sent to

the even-numbered Bus.

MS microphone

R connector L connector

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8 Stereo Out

Stereo Out Connectors

The Stereo Out is output by the STEREO OUT +4 dB (BAL) balanced

XLR-3-32-type connectors and the STEREO OUT –10 dBV (UNBAL)

unbalanced phono connectors.

Patching the Stereo Out to Outputs

The left and right channels of the Stereo Out can be patched to the Slot Outputs, Omni

Outs, or the 2TR Digital Outputs. See “Output Patching” on page 68 for more information.

Routing Input Channels to the Stereo Out

Input Channels can be routed and panned to the Stereo Out. See “Routing Input Channels”

on page 82 for more information.

Sending Bus Outs to the Stereo Out

Bus Out signals can be sent to the Stereo Out. See “Sending Bus Outs to the Stereo Out” on

page 97 for more information.

Metering the Stereo Out

Stereo Out signal levels can be metered on the Meter pages. See “Metering” on page 107 for

more information.

Monitoring the Stereo Out

The Stereo Out can be monitored via the CONTROL ROOM MONITOR OUTs and the

PHONES (see page 136) or the STUDIO MONITOR OUT (see page 137).

Attenuating the Stereo Out

Stereo Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110 for

more information.

EQ’ing the Stereo Out

The Stereo Out features 4-band parametric EQ. See “Using EQ” on page 111 for more infor-

mation.

Grouping Master EQs

The Stereo Out EQ can be grouped with the EQs of other Output Channels. See “Grouping

Output Channel EQs” on page 114 for more information.

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02R96 Version 2—Owner’s Manual

Stereo Out Inserts

Internal effects processors and external signal processors can be patched into the Stereo Out

by using the Inserts. See “Using Inserts” on page 115 for more information.

Compressing the Stereo Out

Signal dynamics can be controlled by using the Stereo Out Compressor. See “Compressing

Channels” on page 116 for more information.

Grouping Master Compressors

The Stereo Out Compressor can be grouped with the Compressors of other Output Chan-

nels. See “Grouping Output Channel Compressors” on page 119 for more information.

Muting the Stereo Out (ON/OFF)

The Stereo Out can be muted by using the STEREO [ON] button, which is used

exclusively for this task and is not affected by the Layers. Its indicator lights up

when the Stereo Out is on.

Grouping Master Mutes (ON/OFF)

The Stereo Out Mute can be grouped with the Mutes of other Output Channels. See

“Grouping Output Channel Mutes (ON/OFF)” on page 128 for more information.

Setting the Stereo Out Level

The Stereo Out level is set by using the STEREO fader, which is used exclu-

sively for this task and is not affected by the Layers or Fader modes.

Grouping Master Faders

The Stereo Out fader can be grouped with the faders of other Output Channels. See

“Grouping Output Channel Faders” on page 126 for more information.

STEREO

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Balancing the Stereo Out

The left and right channels of the Stereo Out can be balanced as follows.

1 Press the STEREO [SEL] button to select the Stereo Out.

2 Use the Pan control to set the balance.

The pan display indicates the balance. When the balance is set to center, the center two seg-

ments light up.

The Stereo Out balance can also be set on the Stereo Fader View page. See “Viewing Channel

Fader Settings” on page 130 for more information.

Delaying the Stereo Out

The left and right channels of the Stereo Out can be delayed independently by using the Ste-

reo Out Delay. See “Delaying Channel Signals” on page 120 for more information.

Viewing Stereo Out Settings

Parameter and fader settings for the Stereo Out can be viewed and set on the View pages.

See “Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader Set-

tings” on page 130 for more information.

Naming the Stereo Out

The Stereo Out can be named for easy identiﬁcation. See “Naming Channels” on page 134

for more information.

EVEN

PAN/SURROUND

DISPLAY

ODD

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9 Bus Outs

Patching Bus Outs to Outputs

Bus Outs can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See

“Output Patching” on page 68 for more information.

Routing Input Channels to Bus Outs

Input Channels can be routed to the Bus Outs. See “Routing Input Channels” on page 82

for more information.

Metering Bus Outs

Bus Out signal levels can be metered on the Meter pages. See “Metering” on page 107 for

more information.

Monitoring Bus Outs

Bus Outs can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2] button for

monitoring. See “Control Room Monitoring” on page 136 for more information.

Attenuating Bus Outs

Bus Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110 for more

information.

EQ’ing Bus Outs

Each Bus Out features 4-band parametric EQ. See “Using EQ” on page 111 for more infor-

mation.

Grouping Master EQs

Bus Out EQs can be grouped with the EQs of other Output Channels. See “Grouping Out-

put Channel EQs” on page 114 for more information.

Bus Out Inserts

Internal effects processors and external signal processors can be patched into the Bus Outs

by using the Inserts. See “Using Inserts” on page 115 for more information.

Compressing Bus Outs

Signal dynamics can be controlled by using the Bus Out Compressors. See “Compressing

Channels” on page 116 for more information.

Grouping Master Compressors

Bus Out Compressors can be grouped with the Compressors of other Output Channels. See

“Grouping Output Channel Compressors” on page 119 for more information.

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Muting Bus Outs (ON/OFF)

Bus Outs can be muted by using the channel strip [ON] buttons.

1 Press the LAYER [MASTER] button to select the Master Layer.

2 Use channel strip [ON] buttons 17–24 to mute the Bus Outs.

The [ON] button indicators of Bus Outs that are on light up.

Grouping Master Mutes (ON/OFF)

Bus Out Mutes can be grouped with the Mutes of other Output Channels. See “Grouping

Output Channel Mutes (ON/OFF)” on page 128 for more information.

Setting Bus Out Levels

Bus Out levels can be set as follows.

1 Press the LAYER [MASTER] button to select the Master Layer.

2 Press the FADER MODE [FADER] button to select Fader mode.

3 Use faders 17–24 to set the Bus Out levels.

Refer to the legend on the right side of the faders when setting Bus Out levels.

Grouping Master Faders

Bus Out faders can be grouped with the faders of other Output Channels. See “Grouping

Output Channel Faders” on page 126 for more information.

Delaying Bus Outs

Each Bus Out features a Delay function. See “Delaying Channel Signals” on page 120 for

more information.

Soloing Bus Outs

Bus Outs can be soloed. See page 121 for more information.

Pairing Bus Outs

Bus Outs can be paired for stereo operation. See “Pairing Channels” on page 123 for more

information.

BUS 1

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Sending Bus Outs to the Stereo Out

Bus Outs can be routed to the Stereo Out buses as follows. Bus Out to Stereo Out settings

can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user

memories. See “Bus to Stereo Library” on page 147 for more information.

1 Use the SELECTED CHANNEL ROUTING [DISPLAY] button to locate the Bus

to Stereo page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

PAN: These controls are used to pan the Bus Out signals between the left and right Stereo

Out buses. The currently selected Pan control can be set to center by pressing [ENTER].

ON/OFF: These buttons are used to turn on and off the Bus Out to Stereo Out routing.

Faders: These faders are used to set the Bus Out to Stereo Out levels. Fader knobs appear

highlighted when faders are set to 0.0 dB.

Press the [ENTER] button to set the currently-selected fader to 0.0 dB. You can copy the

currently-selected fader position to other faders by double-clicking the [ENTER] button.

Viewing Bus Out Settings

Parameter and fader settings for each Bus Out can be viewed and set on the View pages. See

“Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader Settings”

on page 130 for more information.

Naming Bus Outs

Bus Outs can be named for easy identiﬁcation. See “Naming Channels” on page 134 for

more information.

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10 Aux Sends

Patching Aux Send Masters to Outputs

Aux Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Out-

puts. See “Output Patching” on page 68 for more information.

Setting the Aux Send Mode

Aux Sends have two operating modes—Variable and Fixed—which can be set individually

for each of the eight Aux Sends. In Variable mode, Aux Send levels are variable and the signal

source point can be either pre-fader or post-fader. In Fixed mode, Aux Send levels are ﬁxed

at nominal and the signal source point is ﬁxed to post-fader.

1 Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.

The Aux Send parameters for the 56 Input Channels are divided among three pages. The

Input Channel 1–24 Aux Send page is shown below: Variable mode on the left, Fixed mode

on the right. The layout of the other two pages is the same.

On the Fixed mode page, “GLOBAL POST” is displayed in the lower-right corner, indicat-

ing that the Aux Send Pre/Post parameter is ﬁxed at Post.

2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8.

3 Use the cursor buttons to select the FIXED and VARIABLE buttons, and press

[ENTER] to select a mode.

When the Aux mode is changed, the parameters of the selected Aux Send are set as follows.

Pre-Fader or Post-Fader Aux Sends

Aux Sends can be conﬁgured individually as either pre-fader or post-fader on the Aux Send

pages (see page 99) or the Aux View pages (see page 102). If Aux Sends are conﬁgured as

pre-fader, you can position the send points before or after the [ON] buttons.

Parameters Change from Variable to Fixed Change from Fixed to Variable

Level

All set to nominal All set to –∞

Pre/Post

All set to Post

On/Off

All turned off All turned on

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Setting Aux Send Levels

Aux Send levels can be set by using the faders or Encoders.

Using the Faders

1 Use the LAYER buttons to select the Layers.

2 Press the FADER MODE [AUX] button to select the Aux Fader mode.

3 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends

1–8.

4 Use the faders to set the Aux Send levels.

Refer to the legend on the left side of the faders when setting Aux Send levels.

Using the Encoders

1 Use the LAYER buttons to select the Layers.

2 Press the ENCODER MODE [AUX] button to select the Aux Encoder mode.

3 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8.

4 Use the Encoders to set the Aux Send levels.

Aux Send Pages

You can view and set the Aux Send parameters of all Input Channels on the Aux Send pages.

Operation of the Aux Send pages in Variable and Fixed mode is explained separately.

Variable Mode

See page 98 for information on how to select Variable Aux mode.

1 Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.

The Aux Send parameters for the 56 Input Channels are divided among three pages. The

Input Channel 1–24 Aux Send page in Variable mode is shown below. The layout of the

other two pages is the same.

2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8.

3 Use the cursor buttons to select the Input Channel Aux Send controls.

Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.

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4 To turn Aux Sends on and off, select the rotary controls, and press [ENTER].

The rotary controls of Aux Sends that are turned off, appear gray, and “OFF” appears in

place of the level value. Aux Send levels can still be changed even when they’re off.

5 To set Aux Send levels, select the rotary controls, and use the Parameter

wheel or INC/DEC buttons.

To set Aux Send levels for all Input Channels to nominal, select the ALL NOMINAL button.

6 To set the Pre Fader and Post Fader parameters, select the PRE/POST but-

tons, and use the [ENTER] button or INC/DEC buttons.

7 To set all Input Channels for the selected Aux Send to pre-fader or post-fader

simultaneously, select the GLOBAL PRE or POST button, and then press

[ENTER].

The PRE or POST button is highlighted, and remains highlighted as long as all Input Chan-

nel pre or post settings remain unchanged, so you can quickly see if all Input Channels are

set to either pre-fader or post-fader.

8 If you selected pre-fader, turn on the PRE ON button or POST ON button to

set the Pre point before or after each channel’s [ON] button.

Fixed Mode

See page 98 for information on how to select Fixed Aux mode.

1 Use the AUX SELECT [DISPLAY] button to select the Aux Send pages.

The Input Channel 1–24 Aux Send page in Fixed mode is shown below. The layout of the

other two Aux Send pages in Fixed mode is the same.

2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8.

3 Use the cursor buttons or Parameter wheel to select the Aux Send buttons.

Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.

4 Use the [ENTER] button or INC/DEC buttons to turn Aux Sends on and off.

If the Fader mode is set to Aux, the faders provide a visual indication of the On/Off status

of each Input Channel for the currently selected Aux Send. For Aux Sends that are on, faders

move to the nominal position. Aux Sends that are off, they move to the –∞ position. On/Off

settings cannot be changed by using the faders.

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Viewing Aux Send Settings

You can view and set settings of all Aux Sends on the Aux View pages. Level and Pre/Post

parameters are displayed separately.

Level Parameters

In Level mode, the Aux View pages display Aux Send Level and On/Off parameters. Fixed

mode Aux Sends can be turned on and off only.

1 Use the AUX SELECT [DISPLAY] button to select the Aux View pages.

2 Select the DISPLAY LEVEL button, and press [ENTER].

The Aux View parameters for the 56 Input Channels are divided among three pages. The

Input Channel 1–24 Aux View page is shown below in Level mode. The layout of the other

two pages is the same.

3 Use the cursor buttons to select the Input Channel Aux Sends.

Input Channels can also be selected by using the Input Channel Layer buttons and [SEL]

buttons. Aux Sends can also be selected by using the AUX SELECT [AUX 1]–[AUX 8] but-

tons.

4 Use the Parameter wheel or INC/DEC buttons to set the Aux Send levels.

5 Use the [ENTER] button to turn on and off the selected Aux Send.

The various Aux View page indicators are as follows:

Send level set to –∞, or Fixed mode Aux Send set to off.

Send level bar.

Send set to off.

Send level set to nominal.

Send off, level set to nominal.

Fixed mode Aux Send set to on.

In Va riable Aux mode, the Level and On/Off parameter values for the selected Aux Send are

displayed in the lower-right corner of the page, for example, “LEVEL: –2.0 dB ON/OFF:

ON.”

In Fixed Aux mode, the On/Off parameter values for the selected Aux Send are displayed in

the lower-right corner of the page, for example, “LEVEL: FIXED ON/OFF: ON.”

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Pre/Post Parameters

In Pre/Post mode, the Aux View pages display Aux Send Pre/Post parameters. Fixed mode

Aux Sends can be turned on and off only.

1 Use the AUX SELECT [DISPLAY] button to select the Aux View pages.

2 Select the DISPLAY PRE/POST button, and press [ENTER].

The Input Channel 1–24 Aux View page is shown below in Pre/Post mode. The layout of the

other two Aux View pages in Pre/Post mode is the same.

3 Use the cursor buttons or Parameter wheel to select the Input Channel Aux

Sends.

Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. Aux

Sends can also be selected by using the AUX SELECT [AUX 1]–[AUX 8] buttons.

4 Use the [ENTER] button or INC/DEC buttons to set the selected Aux Send to

either pre-fader or post-fader.

The various Aux View page indicators are as follows:

Aux Send conﬁgured pre-fader.

Aux Send conﬁgured post-fader.

Fixed mode Aux Send.

Fixed mode Aux Sends can be turned on and off by using the [ENTER] or INC/DEC but-

tons.

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Panning Aux Sends

When Aux Sends are paired, Aux Sends can be panned between the paired Aux buses. See

“Pairing Channels” on page 123 for more information. If the selected Aux Send is not

paired, the message “AUXx–x are not paired” appears.

If the currently selected pair of Aux Send Masters is set to Follow Surround on the Output

Pair page, Aux Sends follow the Input Channel Surround Pan settings and cannot be set

here, in which case the message “Now AUXx-x PAN Following Surround” appears. See

“Pairing Aux Sends” on page 106 for more information.

1 Use the AUX SELECT [DISPLAY] button to select the Aux Pan pages.

The Aux Pan parameters for the 56 Input Channels are divided among three pages. The

Input Channel 1–24 Aux Pan page is shown below. The layout of the other two pages is the

same.

2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select the Aux Sends 1–8.

3 Use the cursor buttons to select Input Channel Aux Send pan controls, and

use the Parameter wheel or INC/DEC buttons to set them.

Input Channels can also be selected by using the LAYER buttons and [SEL] buttons.

The currently selected Pan control can be set to center by pressing [ENTER].

MODE: There are three Pan modes that determine how paired Aux Sends are panned:

Individual, Gang, and Inverse Gang. This is an individual setting that applies to each send

in a pair of Aux Sends.

In individual mode, Aux Send pan controls operate independently.

In Gang mode, the Aux Send pan controls of paired Input Channels operate in

unison.

In Inverse Gang mode, the Aux Send pan controls of paired Input Channels

operate in unison but move in opposite directions.

INPUT PAN LINK: This is used to link Aux Send Pan controls to Input Channel Pan con-

trols so that operating an Input Channel Pan control also operates the corresponding Aux

Send Pan control, and vice versa. This can be set individually for each pair of Aux Send Mas-

ters. When a link is established, the pan positions and Pan mode of the Input Channels are

copied to the Aux Sends. While linked, the Pan mode can be set from either the Aux Pan

page or the Input Channel Pan page (see page 84). The Pan mode setting for Aux Sends is

linked to the Pan mode setting for Input Channels.

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Excluding Certain Channels from Aux Sends (Mix Minus)

You can quickly exclude certain channel signals from Aux Sends by using the controls on

the top panel. This operation is called “Mix Minus.”

For example, when Aux Sends are being used as monitors for the musicians or a narrator,

you can turn off the audio signals of the musicians or narrator, excluding them from the

monitor sound.

1 Press and hold down the AUX SELECT [AUX 1]–[AUX 8] buttons of the desired

Aux Sends.

The [ON] button indicators in the channel strip remain lit while you hold down the button.

This means that signals routed from channels with a lit [ON] button indicator to the Aux

Send are turned on.

2 Press the [ON] buttons of the Input Channels you wish to exclude from the

Aux Send. You can select multiple channels.

The selected channels’ [ON] button indicators turn off, and signals routed from those

channels to the corresponding Aux Send are turned off. “MIX MINUS FOR AUX * ”

appears at the bottom of the screen. (The asterisk represents an Aux number.)

3 To reset the setting, while pressing and holding down the AUX SELECT

[AUX 1]–[AUX 8] buttons you pressed in Step 1, press the [ON] buttons you

pressed in Step 2.

The corresponding [ON] button indicators light up.

Copying Channel Fader Positions to Aux Sends

While Aux Sends are in Variable mode, you can copy all Input Channel fader positions on

one layer to the corresponding Aux Sends.

This is convenient when you wish to send to the musicians monitor signals that have the

same balance setting as the Stereo Out signals.

1 Locate the copy source layer button from the Input Channel Layer buttons,

then press and hold down the button.

2 Press one of the AUX SELECT [AUX 1]–[AUX 8] buttons to select the desired

Aux Send copy destination.

The conﬁrmation message appears.

Note: If you release the AUX SELECT button before you proceed to Step 2, you will be unable

to complete the Mix Minus operation.

Tip: At this time, the Send Level controls on the Aux Send page are grayed out.

Note: If you release the button in the LAYER section before you proceed to Step 2, you will be

unable to complete the Copy operation.

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3 To execute the Copy operation, move the cursor to the [YES] button, then

press [ENTER].

To cancel the Copy operation, move the cursor to the [NO] button, then press [ENTER].

Metering Aux Send Masters

Aux Send Master levels can be metered on the Meter pages. See “Metering” on page 107 for

more information.

Monitoring Aux Send Masters

Aux Send Masters can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2]

button for monitoring. See “Control Room Monitoring” on page 136 for more informa-

tion. Aux 7 and Aux 8 can be monitored via the STUDIO MONITOR OUT (see page 137).

Attenuating Aux Send Masters

Aux Send Master signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110

for more information.

EQ’ing Aux Send Masters

Each Aux Send Master features 4-band parametric EQ. See “Using EQ” on page 111 for

more information.

Grouping Master EQs

Aux Send Master EQs can be grouped with the EQs of other Output Channels. See “Group-

ing Output Channel EQs” on page 114 for more information.

Aux Send Master Inserts

Internal effects processors and external signal processors can be patched into the Aux Send

Masters by using the Inserts. See “Using Inserts” on page 115 for more information.

Compressing Aux Send Masters

Signal dynamics can be controlled by using the Aux Send Master Compressors. See “Com-

pressing Channels” on page 116 for more information.

Grouping Master Compressors

Aux Send Master Compressors can be grouped with the Compressors of other Output

Channels. See “Grouping Output Channel Compressors” on page 119 for more informa-

tion.

Muting Aux Send Masters (ON/OFF)

Aux Send Masters can be muted as follows.

1 Press the LAYER [MASTER] button to select the Master Layer.

2 Use channel strip [ON] buttons 9–16 to mute the Aux Send Masters.

The [ON] button indicators of Aux Send Masters that are on light up.

Tip: If the copy destination Input Channel has been paired with a vertical partner in another

Layer, the fader position will be copied to the partner’s Aux Send.

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Grouping Master Mutes (ON/OFF)

Aux Send Master Mutes can be grouped with the Mutes of other Output Channels. See

“Grouping Output Channel Mutes (ON/OFF)” on page 128 for more information.

Settings Aux Send Master Levels

Aux Send Master levels can be set as follows.

1 Press the LAYER [MASTER] button to select the Master Layer.

2 Press the FADER MODE [FADER] button to select the Fader mode.

3 Use faders 9–16 to set the Aux Send Master levels.

Refer to the legend on the right side of the faders when setting Aux Send Master

levels.

Grouping Master Faders

Aux Send Master faders can be grouped with the faders of other Output Channels. See

“Grouping Output Channel Faders” on page 126 for more information.

Delaying Aux Send Masters

Each Aux Send Master features a Delay function. See “Delaying Channel Signals” on page

120 for more information.

Soloing Aux Sends

Aux Sends can be soloed. See page 121 for more information.

Pairing Aux Sends

Aux Sends can be paired for stereo operation. See “Pairing Channels” on page 123 for more

information.

Viewing Aux Send Master Settings

Parameter and fader settings for each Aux Send Master can be viewed and set on the View

pages. See “Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader

Settings” on page 130 for more information.

Naming Aux Send Masters

Aux Send Masters can be named for easy identiﬁcation. See “Naming Channels” on page

134 for more information.

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11 Common Channel Functions

Metering

Input Channels, Bus Outs, Aux Sends, the Stereo Out, and the effects processors can be

metered on the various Meter pages, which are located by using the DISPLAY ACCESS

[METER] button.

Input and Output Channel Meter pages also display fader positions numerically. The Peak

Hold function, which applies to all level meters, can be turned on or off on any of the Meter

pages.

Setting the Metering Position

Input and Output Channels can be metered pre-EQ, pre-fader, or post-fader. This setting,

which can be set independently for the Input and Output Channels, can be set on the

Metering Position page shown below, or any of the Input and Output Channel Meter pages.

PRE EQ: Channels are metered pre-EQ.

PRE FADER: Channels are metered pre-fader.

POST FADER: Channels are metered post-fader.

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Metering Input Channels

There are two types of Input Channel Meter page: 24-channel and 48-channel.

There are three 24-channel Meter pages. The Input Channel 1–24 Meter page is shown

below. The layout of the other two pages is the same. These pages feature two level meters

for each Input Channel. When Input Channels are vertically paired, both meters operate.

When Input Channels are horizontally paired, only the left-hand meter operates.

GATE GR: The meters indicate the gain reduction being applied by the Gate.

COMP GR: The meters indicate the gain reduction being applied by the Compressor.

There are two 48-channel Meter pages. The Input Channel 1–48 Meter page is shown below.

The layout of the other page is the same.

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Metering Output Channels

Bus Outs, Aux Sends, and the Stereo Out can all be metered on the Master Meter page.

Metering Effects

Effects inputs and outputs are metered on the Effect 1–4 page. There are eight input and

output meters for effect #1, and 2 input and output meters for effects 2 through 4.

Metering the Stereo out

The Stereo Out can be metered on the Stereo Meter page. Peak signal levels for the left and

right channels are displayed numerically.

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Attenuating Signals

Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature pre-EQ attenuation,

which is useful for attenuating “hot” signals before EQ’ing.

1 Use the EQUALIZER [DISPLAY] button to select the Attenuator pages.

The Attenuator parameters for the 56 Input Channels are arranged into three pages. The

Input Channel 1–24 Attenuator/Shifter page is shown below. The layout of the other two

pages is the same.

The attenuator parameters for the Output Channels appear on the Output Attenuator page.

2 Use the cursor buttons to select the channels, and use the Parameter wheel

or INC/DEC buttons to set the amount of attenuation.

Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.

You can copy the currently selected Input or Output Channel attenuation setting to all

Input or Output Channels respectively by double-clicking the [ENTER] button.

For Input Channels, you can also set the amount of attenuation in bits from +2 bits to –24

bits. Use the cursor buttons to select the bit shift parameters, and use the Parameter wheel

or INC/DEC buttons to set them. The rotary attenuators and the bit shift parameters can

be set independently.

You can set the attenuator parameters for individual Input and Output Channels on the

Input Attenuator and Output Attenuator pages, regardless of paired channels. The changes

made on the Attenuator pages, along with the level balance between channels, will be

reﬂected in the settings in the SELECTED CHANNEL section, in the EQUALIZER [ATT]

controls, and on the EQ Edit page.

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Using EQ

Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature 4-band parametric EQ.

The LOW-MID and HIGH-MID bands are peaking type. The LOW and HIGH bands can

be set to shelving, peaking, or HPF and LPF respectively. EQ settings can be stored in the

EQ library, which contains 40 preset memories and 160 user memories. See “EQ Library”

on page 150 for more information.

Preset EQs

The following table lists the preset EQs. See page 282 for detailed parameter information.

# Preset Name 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 80 Hz, producing a tight, stiff sound.

Snare Drum 1

Emphasizes “snappy” and rimshot sounds.

Snare Drum 2

Emphasizes various ranges for 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

Emphasizes attack and adds clarity to the high-range of instruments, such as

shakers, cabasas, and congas.

E. Bass 1

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

E. Bass 2

Unlike preset 9, this preset 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 synth bass.

Piano 1

Makes pianos sound brighter.

Piano 2

Used in conjunction with a compressor, this preset emphasizes the attack and

low range of pianos.

E. G. Clean

Use for line-level recording of an electric or semi-acoustic guitar to get a slightly

harder sound.

E. G. Crunch 1

Adjusts the tonal quality of a slightly distorted guitar sound.

E. G. Crunch 2

A variation on preset 16.

E. G. Dist. 1

Makes a heavily distorted guitar sound clearer.

E. G. Dist. 2

A variation on preset 18.

A. G. Stroke 1

Emphasizes the bright tones of acoustic guitars.

A. G. Stroke 2

A variation on preset 20. You can also use it with gutsy guitar sounds.

A. G. Arpeg. 1

Ideal for arpeggio playing on acoustic guitars.

A. G. Arpeg. 2

A variation on preset 22.

Brass Sec.

Use with trumpets, trombones, or saxes. When used with a single instrument,

try adjusting the HIGH or HIGH-MID frequency.

Male Vocal 1

An EQ template for male vocals. Try adjusting the HIGH or HIGH-MID parame-

ters according to the voice quality.

Male Vocal 2

A variation on preset 25.

Female Vo. 1

An EQ template for female vocals. Try adjusting the HIGH or HIGH-MID param-

eters according to the voice quality.

Female Vo. 2

A variation on preset 27.

Chorus&Harmo

An EQ template for brightening choruses.

Total EQ 1

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

compressor.

Total EQ 2

A variation on preset 30.

Total EQ 3

A variation on preset 30. Can also be used with paired Input or Output Chan-

nels.

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Using the SELECTED CHANNEL EQUALIZER Controls

1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

channels.

2 Use the [EQ ON] button to turn the EQ on or off.

3 Use the GAIN controls to set the gain of each band.

When a GAIN control is adjusted, the gain in dB is displayed on the corresponding EQ dis-

play. If the GAIN control is not adjusted for two seconds, the EQ display returns to display-

ing the frequency.

4 To set the frequency, press a FREQUENCY/Q control so that the FREQUENCY

indicator lights up, and use the FREQUENCY/Q control to set the frequency.

The frequency is displayed by the corresponding EQ display.

5 To set the Q, press a FREQUENCY/Q control so that the Q indicator lights

up, and use the FREQUENCY/Q control to set the Q.

The Q value is displayed by the corresponding EQ display. If the Q control is not adjusted

for two seconds, the EQ display returns to displaying the frequency.

To r eset an individual gain control, hold down the corresponding FREQUENCY/Q control.

To reset all gain controls, press the LOW and HIGH FREQUENCY/Q controls.

The EQ parameter ranges are as follows.

The initial EQ parameter settings are as follows.

Bass Drum 3

A variation on preset 1, with low and mid range reduced.

Snare Drum 3

A variation on preset 3, creating a thicker sound.

Tom-tom 2

A variation on preset 5, emphasizing the mid and high ranges.

Piano 3

A variation on preset 13.

Piano Low

Emphasizes the low range of pianos recorded in stereo.

Piano High

Emphasizes the high range of pianos recorded in stereo.

Fine-EQ Cass

Add clarity when recording to or from cassette tape.

Narrator

Ideal for recording narration.

Parameter LOW LOW-MID HIGH-MID HIGH

Gain

–18.0 dB to +18.0 dB (0.1 dB steps)

1. The LOW and HIGH GAIN controls function as filter on/off controls when Q is set to HPF or LPF respec-

tively.

Frequency

21.2 Hz to 20.0 kHz (120 steps per 1/12 octave)

HPF, 10.0 to 0.10 (41 steps),

L.SHELF

10.0 to 0.10 (41 steps)

LPF, 10.0 to 0.10 (41 steps),

H.SHELF

Parameter LOW LOW-MID HIGH-MID HIGH

Gain

0 dB

Frequency

125 Hz 1.00 kHz 4.00 kHz 10.0 kHz

L.SHELF 0.70 H.SHELF

# Preset Name Description

LOW

EQUALIZER

EQ ON

FREQUENCY

DISPLAY

GAIN

LOW MID

GAIN

HIGH MID

GAIN

HIGH

GAIN

kHz

125 1.00 4.00 10.0

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02R96 Version 2—Owner’s Manual

EQ Edit Pages

EQ parameters can also be set on the EQ Edit page. If the Auto EQUALIZER Display pref-

erence is on, this page appears automatically when a control in the SELECTED CHANNEL

EQUALIZER section is operated. See “Auto EQUALIZER Display” on page 230.

1 Use the EQUALIZER [DISPLAY] button to select the EQ Edit page.

2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

channels.

3 Use the cursor buttons to select the parameters, and use the Parameter

wheel and INC/DEC buttons to set them.

EQ ON: This turns the EQ on and off. While this page is selected, the [ENTER] button can

be used to turn the EQ on and off so long as any parameter other than TYPE is selected.

TYPE: This selects the type of EQ: TYPE I (the EQ type used on legacy Yamaha digital mix-

ing consoles) or TYPE II (a newly developed algorithm).

ATT: This can be used to attenuate signals pre-EQ. It’s the same Attenuator parameter that

appears on the Attenuator pages. See “Attenuating Signals” on page 110 for more informa-

tion.

CURVE: This displays the EQ curve of the currently selected Input Channel.

Level meters: These meters indicate the levels of the currently selected Input Channel

and its horizontal or vertical partner.

LOW, L-MID, H-MID, HIGH: These are the Q, Frequency (F), and Gain (G) parameters

for the four bands. The parameter (F or Q) you selected using the FREQUENCY/Q control

is highlighted.

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02R96 Version 2—Owner’s Manual

Grouping Output Channel EQs

The Bus Out, Aux Send, and Stereo Out EQs can be grouped, allowing you to control the

EQ of several Output Channels simultaneously. There are four Output Channel EQ groups:

e, f, g, and h.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Equalizer

Link page.

2 Press the LAYER [MASTER] button.

3 Use the Up/Down cursor buttons to select EQ groups e–h.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove Output Channels to and from the

selected group.

The EQ settings of the ﬁrst Output Channel added to the group are applied to all subse-

quently added Output Channels.

When an Output Channel is added to a group, its [SEL] button indicator lights up.

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02R96 Version 2—Owner’s Manual

Using Inserts

Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature assignable Inserts.

1 Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to

select the Insert page.

The Insert page for Input Channels is shown below.

The Insert page for Bus Outs, Aux Sends, and the Stereo out is shown below.

2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

channels.

3 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

POSITION: This determines the position of the Insert and Compressor within the chan-

nel, and can be set to pre-EQ, pre-fader, or post-fader. Click the desired [COMP] and

[INSERT] buttons in the POSITION block diagram to select the Compressor and Insert

positions.

INSERT ON/OFF: This turns the currently selected channel’s Insert on and off.

INSERT OUT: This selects the destination for the Insert Out, which can be a Slot Output,

Omni Out, 2TR Digital Output, or the input to an internal effects processor. See page 241

and page 245 for Input and Output patch parameter lists. The Port ID of the currently

selected destination is displayed below the currently selected channel’s Long name in the

upper-right corner of the page. The destination port can also be selected by using the Patch

Select window (see page 71), which is accessed by pressing [ENTER] while this parameter

is selected. Insert Outs can also be patched on the Output Patch pages. See “Output Patch-

ing” on page 68 for more information.

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02R96 Version 2—Owner’s Manual

INSERT IN: This selects the source for the Insert In, which can be an AD Input, Slot Input,

2TR Digital or Analog Input, or the output of an internal effects processor. See page 241 for

a list of Input Channel Insert In sources; page 245 for a list of Output Channel Insert In

sources. The Port ID of the currently selected source is displayed below the currently

selected channel’s Long name in the upper-right corner of the page. The source port can

also be selected by using the Patch Select window (see page 71), which is accessed by press-

ing [ENTER] while this parameter is selected. Insert Ins can also be patched on the Input

Channel Insert In Patch pages. See “Patching Input Channel Insert Ins” on page 67 for more

information.

COMP ON/OFF: This turns the currently selected channel’s Compressor on and off. It

works in unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button, and

the ON/OFF button on the Comp Edit page. See “Compressing Channels” on page 116 for

more information.

COMP ORDER: If the Insert and Compressor are set to the same position in the channel

(i.e., INSERT POSITION and COMP POSITION are the same), you can use this parameter

to set the order of the Insert and Compressor to either Comp->Ins or Ins->Comp.

When a Y56K card effect, or an internal effects processor is inserted in the currently selected

channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the cor-

responding EFFECTS/PLUG-INS [1–4] button indicator ﬂashes, and the corresponding

Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] but-

ton indicator also ﬂashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]

button indicator also ﬂashes. This applies only to effects that are inserted into channels. If

there’s nothing inserted in the currently selected channel, a message appears.

Compressing Channels

Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature a Compressor. Settings

can be stored in the Comp library, which contains 36 preset memories and 92 user memo-

ries. See “Comp Library” on page 149 for more information.

Preset Comps & Types

The following table lists the preset Comps and types. See page 284 for detailed parameter

information.

# Preset Name Type Description

Comp

COMP

Compressor intended to reduce the overall volume level. Use

it on the stereo output during mixdown, or with paired Input

or Output Channels.

Expand

EXPAND Expander template.

Compander (H)

COMPAND-H Hard-kneed compressor template.

Compander (S)

COMPAND-S Soft-kneed compressor template.

A. Dr. BD

COMP Compressor for use with acoustic bass drum.

A. Dr. BD

COMPAND-H Hard-kneed compander for use with acoustic bass drum.

A. Dr. SN

COMP Compressor for use with acoustic snare drum.

A. Dr. SN

EXPAND Expander for use with acoustic snare drum.

A. Dr. SN

COMPAND-S Soft-kneed compander for use with acoustic snare drum.

A. Dr. Tom

EXPAND

Expander for use with acoustic tom toms, which automati-

cally reduces the volume when the tom toms are not played,

improving mic separation.

A. Dr. OverTop

COMPAND-S

Soft-kneed compander for emphasizing the attack and ambi-

ence of cymbals recorded with overhead mics. It automati-

cally reduces the volume when the cymbals are not played,

improving mic separation.

E. B. Finger

COMP

Compressor for leveling the attack and volume of a ﬁn-

ger-picked electric bass guitar.

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E. B. Slap

COMP

Compressor for leveling the attack and volume of a slapped

electric bass guitar.

Syn. Bass

COMP

Compressor for controlling or emphasizing the level of a

synth bass.

Piano1

COMP Compressor for brightening the tonal color of a piano.

Piano2

COMP

A variation on preset 15, using a deep threshold to change

the overall attack and level.

E. Guitar

COMP

Compressor for electric guitar “cutting” or arpeggio-style

backing. The sound color can be varied by playing different

styles.

A. Guitar

COMP

Compressor for acoustic guitar “stroke” or arpeggio-style

backing.

Strings1

COMP Compressor for use with strings.

Strings2

COMP A variation on preset 19, intended for violas or cellos.

Strings3

COMP

A variation on preset 20, intended for string instruments with

a very low range, such as cellos or contrabass.

BrassSection

COMP Compressor for brass sounds with a fast and strong attack.

Syn. Pad

COMP

Compressor for synth pad, intended to prevent diffusion of

the sound.

SamplingPerc

COMPAND-S

Compressor for making sampled percussion sound like real

acoustic percussion.

Sampling BD

COMP

A variation on preset 24, intended for sampled bass drum

sounds.

Sampling SN

COMP

A variation on preset 25, intended for sampled snare drum

sounds.

Hip Comp

COMPAND-S

A variation on preset 26, intended for sampled loops and

phrases.

Solo Vocal1

COMP Compressor for use with main vocals.

Solo Vocal2

COMP A variation on preset 28.

Chorus

COMP A variation on preset 28, intended for choruses.

Click Erase

EXPAND

Expander for removing a click track that may bleed through

from a musicians headphones.

Announcer

COMPAND-H

Hard-kneed compander for reducing the level of the music

when an announcer speaks.

Limiter1

COMPAND-S A soft-kneed compander with a slow release.

Limiter2

COMP A “peak-stop” compressor.

Total Comp1

COMP

Compressor for reducing the overall volume level. Use it on

the stereo output during mixdown, or with paired Input or

Output Channels.

Total Comp2

COMP A variation on preset 35, but with more compression.

# Preset Name Type Description

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02R96 Version 2—Owner’s Manual

Using the SELECTED CHANNEL DYNAMICS Controls

1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

channels.

2 Use the SELECTED CHANNEL DYNAMICS [COMP ON] button to turn the cur-

rently selected channel’s Compressor on or off.

3 Use the SELECTED CHANNEL DYNAMICS [GATE/COMP] button to set the

DYNAMICS controls to COMP (COMP indicator lit), and use the THRESH-

OLD, RATIO, ATTACK, RELEASE, and GAIN controls to set the Compressor.

While an output Channel is selected, the [GATE/COMP] button is ﬁxed at COMP.

Comp Edit Page

Compressor settings can be viewed and set on the Comp Edit page. If the Auto DYNAMICS

Display preference is on, this page appears automatically when a Compressor control in the

SELECTED CHANNEL DYNAMICS section is operated. See “Auto DYNAMICS Display”

on page 230.

1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

channels.

2 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the

Comp Library page, and recall a preset Compressor that contains the comp

type that you want.

See “Comp Library” on page 149 for more information.

3 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the

Comp Edit page.

4 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

POSITION: This determines the position of the Compressor within the channel, and can

be set to pre-EQ, pre-fader, or post-fader. It works in unison with the COMP POSITION

parameter on the Insert page. See “Using Inserts” on page 115 for more information.

STEREO LINK: This allows you to pair Comps for stereo operation even when channels

are not paired. Input Channel Comps are paired either horizontally or vertically depending

on the Pair mode setting for the currently selected Input Channel. See “Pairing Channels”

GATE ON COMP ON

GATE

COMP

RANGE

RATIO

ATTAC K

ATTAC KTHRESHOLD

THRESHOLD

DYNAMICS

DISPLAY

GATE / COMP

DECAY

RELEASE

HOLD

GAIN

Grouping Output Channel Compressors 119

02R96 Version 2—Owner’s Manual

on page 123 for more information on horizontal and vertical pairing. When channels are

paired, this parameter is turned on automatically and cannot be changed.

CURVE: This displays the Compressor curve (i.e., input level vs. output level).

TYPE: This is the comp type used by the currently selected channel’s Compressor.

Meters: These meters indicate the levels of the currently selected Input Channel and its

horizontal or vertical partner. The GR meter indicates the amount of gain reduction being

applied by the currently selected channel’s Compressor.

ON/OFF: This turns the currently selected channel’s Compressor on and off. It works in

unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button.

PARAMETER: These controls are used to set the Threshold, Ratio, Attack, Release, Out

Gain, and Knee (Width) parameters.

Grouping Output Channel Compressors

The Bus Out, Aux Send, and Stereo Out Compressors can be grouped, allowing you to con-

trol the compression of several Output Channels simultaneously. There are four Output

Channel Compressor groups: m, n, o, and p.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Comp Link

page.

2 Press the LAYER [MASTER] button.

3 Use the Up/Down cursor buttons to select Comp groups m–p.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove Output Channels to and from the

selected group.

The Compressor settings of the ﬁrst Output Channel added to the group are applied to all

subsequently added Output Channels.

When an Output Channel is added to a group, its [SEL] button indicator lights up.

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02R96 Version 2—Owner’s Manual

Delaying Channel Signals

Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature independent Delay

functions. Input Channel Delays feature feedback, with independent Mix and Gain param-

eters.

1 Use the SELECTED CHANNEL DISPLAY ACCESS [DELAY] button to select the

Delay pages.

The Delay parameters for the 56 Input Channels are arranged into three pages. The Input

Channel 1–24 Delay page is shown below. The layout of the other two pages is the same.

The Delay parameters for the Bus Outs, Aux Sends, and the Stereo Out appear on the Out-

put Delay page.

2 Use the cursor buttons to select the Delay parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.

DELAY SCALE: These buttons determine the units of the delay value shown below the

msec value. Units can be set to meters, feet, samples, beats, or timecode frames.

GANG: When this option is turned on, the delay time for paired channels can be set simul-

taneously. Ganging is relative, so any delay time difference between the two channels is

maintained when this is turned on.

ON/OFF: These buttons turn the individual Delay functions on and off. The [ENTER]

button can be used to turn a Delay on and off regardless of which parameter is selected.

msec: This sets the delay time in milliseconds. The delay time can also be set by using the

parameter below, which is the delay time in the units selected by the DELAY SCALE but-

tons. You can copy the currently selected Input or Output Channel delay setting to all Input

or Output Channels respectively by double-clicking the [ENTER] button.

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02R96 Version 2—Owner’s Manual

MIX: This parameter, available only on the Input Channel Delay pages, sets the mix of dry

and wet signals.

FB.GAIN: This parameter, available only on the Input Channel Delay pages, sets the

amount of feedback.

Soloing Channels

Input Channels, Bus Outs, and Aux Sends can be soloed as follows.

1 Use the LAYER buttons to select the Input Channel Layers if you want to solo

Input Channels, or select the Master Layer if you want to solo Output Chan-

nels.

Input and Output Channels cannot be soloed simultaneously. Soled Input Channels will be

unsoled when an Output Channel is soloed, and vice versa.

2 Use the [SOLO] buttons to solo the channels on the selected Layer.

The [SOLO] button indicators of channels that are soloed light up.

The SOLO indicator in the MONITOR section ﬂashes when the Solo

function is active. You can unsolo all soloed channels by pressing the

SOLO [CLEAR] button.

Conﬁguring Solo

The Solo function is conﬁgured on the Solo Setup page. If the Auto SOLO Display prefer-

ence is on, this page appears automatically when a channel is soloed. See “Auto SOLO Dis-

play” on page 230.

1 Use the MONITOR [DISPLAY] button to locate the Solo Setup page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

SOLO: This is used to enable and disable the Solo function.

STATUS: This determines the Solo mode: Recording or Mixdown. It affects only Input

Channels.

In Recording Solo mode, soloed Input Channel signals are fed to the Solo bus and output

via the Control Room Outputs. Other buses are unaffected by this mode. If the Listen

parameter is set to AFTER PAN, the signal source for Input Channels that are off, is pre

fader.

SOLO

CLEAR

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02R96 Version 2—Owner’s Manual

In Mixdown Solo mode, soloed Input Channel signals are fed to the Stereo bus and output

via the Stereo Out and Control Room Outputs. Unsoloed Input Channels are muted and

their [ON] button indicators ﬂash (unless they are Solo Safe enabled). Only Input Channels

that are routed to the Stereo Out can be soloed in this mode. Input Channels that are off are

temporarily turned on when they are soloed.

SEL MODE:

This determines the Solo Select mode: Mix Solo or Last Solo. In Mix Solo

mode, any number of channels can be soloed simultaneously. In Last Solo mode, only one

channel can be soloed at a time.

LISTEN:

This determines the source of the Input Channel Solo signal: Pre Fader or After

Pan. It does not affect Mixdown Solo mode. Output Channels are ﬁxed at After Pan. If you

select Pre Fader, turning on the PAN button below it enables you to solo the channel with

the Pan setting still applied.

SOLO TRIM:

This is used to trim the level of the Solo signal. This parameter does not

affect Mixdown Solo mode.

SOLO SAFE CHANNEL:

For Mixdown Solo mode, Input Channels can be conﬁgured

individually so that they are not muted when other Input Channels are soloed. Use the

[SEL] buttons, cursor buttons, or Parameter wheel to select the SOLO SAFE CHANNEL

buttons. Use the [ENTER] or INC/DEC buttons to set Solo Safe for each Input Channel.

These settings do not affect Recording Solo mode. You can clear all Solo Safe settings by

selecting the ALL CLEAR button and pressing [ENTER].

AUX/SOLO LINK:

When this check box is checked, you can solo or unsolo the Aux Sends

using the AUX SELECT [AUX 1]–[AUX 8] buttons without changing the Master layer. This

is convenient when you want to solo or unsolo Aux Outs while controlling the Aux Sends

from the Input Channels. Press the AUX SELECT key for the AUX send that you want to

solo, making it light. Then press that key once again to solo only the selected AUX send.

When Aux Sends are soloed, the corresponding AUX SELECT button indicators ﬂash.

FADER/SOLO RELEASE:

When you check this check box, raising the channel faders of

soloed Channels from –

∞

will unsolo the Channels. If the channel fader position is higher

than –

∞

, you cannot solo the corresponding channel.

This function is disabled in Mixdown Solo mode and for the Output Channels.

Note: When the AUX/SOLO LINK or FADER/SOLO RELEASE check box is checked, the solo

setting is cancelled.

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02R96 Version 2—Owner’s Manual

Pairing Channels

Input Channels, Bus Outs, and Aux Sends can be paired for stereo operation. Input Chan-

nels can be paired either horizontally, that is, adjacent odd-even channels on the same Layer

(e.g., 1-2, 3-4, 5-6, etc) or vertically, that is, counterpart channels on adjacent Layers (e.g.,

1-25, 2-26, 49-73, 50-74, etc). Bus Outs and Aux Sends can be paired only horizontally.

Pairing Channels by Using the [SEL] Buttons

Only horizontal pairing can be set by using the [SEL] buttons.

1 Use the LAYER buttons to select the Layer containing the channels that you

want to pair.

2 While holding down the [SEL] button of the ﬁrst channel, press the [SEL] but-

ton of the second channel.

The settings of the ﬁrst channel are copied to the second channel and the channels are

paired. The [SEL] button indicator of the currently selected channel lights up, while the

[SEL] button indicator of the other channel ﬂashes.

To cancel a pair, while holding down the [SEL] button of the ﬁrst channel, press the [SEL]

button of the second channel.

The following channel parameters are copied, and controlled together, when channels are

paired: Fader, On/Off, Insert On/Off, Aux On/Off, Aux Send Mode, Aux Send Level, Aux

Pre/Post, Aux Pre Point, Gate parameters, Compressor parameters, EQ parameters, Fader

group, Mute group, EQ group, Comp group, Solo, Solo Safe, [AUTO] button, Fade Time,

Recall Safe, Bus to Stereo On/Off, Bus to Stereo Level.

The following channel parameters are not copied, or controlled together, when channels are

paired: Input Patch, Insert Patch, Output Patch, Comp Position, Phase, Delay On/Off,

Delay Time, Delay Feedback, Delay Mix, Routing, Pan, Follow Pan, Surround Pan, Bus to

Stereo Pan, Aux Send Pan, Balance.

When channels are paired, the Attenuator value is copied, but the changes made in the

Attenuator page are not reﬂected in the pair partner. However, if you change the values in

the EQ Edit page, Parameter view page, or on the control surface, the changes will be

reﬂected in the pair partner while maintaining the relative level difference.

When Aux Send Mode is set to Fixed, Aux Send On/Off is not controlled together.

Check the Routing ST Pair Link check box to link the routing from the paired channels to

the Stereo Bus. See “Setting Preferences” on page 230 for more information.

124 Chapter 11—Common Channel Functions

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Pairing Channels by Using the Pair Pages

Both horizontal and vertical pairing can be set on the Pair pages.

1 Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages.

The Pair parameters for the 56 Input Channels are divided between two pages. The Input

Channel 1–48 Pair page is shown below. The layout of the other page is the same.

2 To set the pair mode, select the PAIR MODE HORIZONTAL or VERTICAL but-

tons, and press [ENTER].

The Pair mode can be set independently for Input Channels 1–48 and Input Channels

49–56. The Input Channel 1–48 Pair page in Vertical mode is shown below.

Pair parameters for the Bus Outs and Aux Sends appear on the Output Pair page.

Pairing Channels 125

02R96 Version 2—Owner’s Manual

3 Use the cursor buttons or Parameter wheel to select the channel pair but-

tons, and press [ENTER] to make or break pairs.

Input and Output Channels can also be selected by using the LAYER and [SEL] buttons.

A dialog box appears with options for copying the settings of the ﬁrst channel to the second

channel, the second channel to the ﬁrst channel, and for resetting both channels to their ini-

tial settings. Choose the option required, and then press [ENTER].

On other display pages, paired channels have a heart icon, or a dash between their channel

numbers.

When Input Channels are paired, MS Decoding can be used to decode signals from micro-

phones arranged as MS pairs. MS Decoding is set on the Input Channel Pair pages. This can

be turned on and off for each pair of channels by using the MS buttons.

The Output Pair page displays the currently selected Surround mode (i.e., Stereo, 3-1, 5.1,

or 6.1), which can be set on the Surround Mode page (see page 85). When a Surround mode

other than Stereo is selected, the names of the Surround channels are shown below the Bus

Out and Aux Send pair buttons, as shown in the following table.

This table shows the default assignment. The assignment may vary depending on the set-

tings in the Surround Bus Setup page (see page 87).

When a Surround mode other than Stereo is selected, Aux Sends can be set to follow the

same Input Channel Surround Pan that applies to the Bus Outs, which is useful for feeding

Surround channel signals to external effects processors. This is turned on and off by using

the F.S buttons that appear below the Aux Send Pair buttons. When a pair of Aux Sends are

set to follow Surround Pan, their Aux Send Pair button is unavailable, and their Aux Pan

parameters (see page 103) are unavailable.

Surround Mode

Bus Out/Aux Send

12345678

3-1

LRCS————

5.1

LRLsRs C LFE — —

6.1

LRLsRs C Bs LFE —

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Grouping Output Channel Faders

The Bus Out, Aux Send, and Stereo Out faders can be grouped, allowing you to control the

level of several Output Channels simultaneously. There are four Output Channel Fader

groups: Q, R, S, and T.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group

page.

2 Press the LAYER [MASTER] button.

3 Use the Up/Down cursor buttons to select Fader groups Q–T.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove Output Channel faders to and from

the selected group.

When an Output Channel is added to a group, its [SEL] button indicator lights up.

ENABLE: These buttons are used to enable and disable the groups.

OUTPUT FADER MASTER: When this check box is not checked, the Output Channel

fader positions determine the fader levels in the Output Channel Fader groups. When this

check box is checked, you can set the master level for the corresponding Output Channel

Fader group in the Master column. The resultant Output Channel level equals the corre-

sponding Output Channel fader level plus the Group master level. See “Group Master for

the Output Channel Faders” on page 127 for more information.

When the Output Fader Master check box is not checked, operating the channel faders will

affect the Output Channel levels in the corresponding Fader group. Pressing and holding

down the [SEL] button while operating the fader of an Output Channel will temporarily

cancel the corresponding Fader group, which is convenient if you want to adjust the relative

balance between channels.

When the Output Fader Master check box is not checked, fader groups are active only in

Fader mode. See “Selecting Fader Modes” on page 49 for more information.

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02R96 Version 2—Owner’s Manual

Group Master for the Output Channel Faders

The 02R96 also features a Fader Group Master function that enables you to control the level

of all channels using the Group Master level while maintaining the balance between the

channels, much like a VCA Group on an analog mixing console. While this function is

enabled, channel fader operation will not affect the channel levels of the corresponding

Fader group.

1 Follow Steps 1–4 as described in the “Grouping Output Channel Faders” sec-

tion on the previous page, select the Output Fader Master check box, then

press the [ENTER] button to check or uncheck the Output Fader Master check

box.

2 When the Output Fader Master check box is checked, you can set the channel

levels of the Fader groups in the Master column.

When the Master column is selected, repeatedly pressing the [ENTER] button turns the

Output Fader Group on and off.

You can also make these settings in the Output Fader Group Master page, as shown below.

3 Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group

Master page.

4 Use the cursor buttons to select the parameters, then use the Parameter

wheel, INC/DEC buttons or [ENTER] button to set them.

OUTPUT FADER MASTER: When this check box is checked, you can set the master lev-

els for the Output Fader groups. The resultant Output Channel level equals the correspond-

ing Output Channel fader level plus the Group master level.

ALL NOMINAL: This button resets the master levels for all Output Fader groups to nom-

inal.

ON/OFF: This turns each Output Fader group on or off, like a VCA mute on an analog

mixing console.

Faders: These faders adjust the master levels of the Fader groups. Fader knobs appear

highlighted when faders are set to 0.0 dB. Press the [ENTER] button to set the cur-

rently-selected fader to 0.0 dB.

You can also control the Fader Master function from the channel strips on the control sur-

face as described below by using the User Assignable Layer of the Remote Layers. See

page 228 for information on the User Assignable Layer.

Encoders: The Encoders are not available.

[AUTO] buttons: These buttons are used to control the Fader Group Master On/Off and

the master level during Automix.

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[SEL] buttons: These buttons move the cursor on the Output Fader Group Master page.

[SOLO] buttons: These buttons turn the Solo function of each Fader group on and off,

enabling you to monitor every channel in each Fader group.

Channel Faders: The Channel Faders enable you to set the master level for each Fader

group.

Grouping Output Channel Mutes (ON/OFF)

The Bus Out, Aux Send, and Stereo Out mutes can be grouped, allowing you to mute several

Output Channels simultaneously. There are four Output Channel Mute groups: U, V, W,

and X.

1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Mute Group

page.

2 Press the LAYER [MASTER] button.

3 Use the Up/Down cursor buttons to select Mute groups U–X.

The selected group is highlighted by a ﬂashing cursor box.

4 Use the [SEL] buttons to add and remove Output Channels to and from the

selected group.

When an Output Channel is added to a Mute group, its [SEL] button indicator lights up.

ENABLE: These buttons are used to enable and disable the groups.

OUTPUT MUTE MASTER: When this check box is checked, pressing the MASTER

MUTE button turns mute on or off for all channels in the corresponding Mute group.

When this check box is unchecked, the Output Channel [ON] button status mutes or

unmutes the channels in the group.

MASTER MUTE: When the Output Mute Master check box is checked, use this button to

mute or unmute all channels in the corresponding Mute group.

When the Output Mute Master check box is unchecked, pressing the Output Channel [ON]

button mutes or unmutes the channel in the corresponding Mute group (Mute On channels

are turned off and Mute Off channels are turned on).

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Output Channel Mute Master

The 02R96 features a Mute Group Master function that enables you to mute all channels in

the Mute group using the MASTER button, much like a Mute group on an analog mixing

console. When this function is enabled, the channel [ON] buttons do not control the chan-

nels in the group collectively.

1 Follow Steps 1–4 described in the “Grouping Output Channel Mutes

(ON/OFF)” section on the previous page, select the Output Mute Master

check box, then press the [ENTER] button to check or uncheck the Output

Mute Master check box.

When the Output Mute Master check box is checked, the MASTER MUTE but-

ton in each group mutes or unmutes the channels in the corresponding group.

If the channels are muted by the Mute Master function, the corresponding channel [ON]

button indicators ﬂash. You can assign the MASTER MUTE button function to one of the

USER DEFINED KEYS for convenient operation.

Viewing Channel Parameter Settings

The parameter setting of the currently selected Input Channel, Bus Out, Aux Send, or the

Stereo Out can be viewed and set on the Parameter View pages.

1 Use the DISPLAY ACCESS [VIEW] button to select the Parameter View page.

2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

channels.

3 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] buttons to set them.

Input Channels

This is the Parameter View page for the Input Channels.

GATE: The following Gate parameters for the currently selected Input Channel can be set:

Gate On/Off, Threshold, Range, Attack, Decay, and Hold. The GR meter indicates the

amount of gain reduction being applied by the Gate. Also displayed are the gate curve and

gate type. See “Gating Input Channels” on page 74 for more information.

COMP: The following Compressor parameters for the currently selected channel can be

set: Comp On/Off, Threshold, Ratio, Attack, Release, Gain, and Knee. The GR meter indi-

cates the amount of gain reduction being applied by the Compressor. Also displayed are the

comp curve and comp type. See “Compressing Channels” on page 116 for more informa-

tion.

INSERT: The currently selected channel’s Insert can be turned on and off and patched. See

“Using Inserts” on page 115 for more information.

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EQ: The currently selected channel’s EQ and Attenuator can be set. Also displayed is the EQ

curve of the currently selected Input Channel. See “Using EQ” on page 111 for more infor-

mation.

Meters: These meters indicate the levels of the currently selected channel and its horizon-

tal or vertical partner.

Phase: The signal phase of the currently selected Input Channel can be reversed. See

“Reversing the Signal Phase” on page 73 for more information.

DELAY: The currently selected channel’s Delay function can be set. See “Delaying Channel

Signals” on page 120 for more information.

PAIR: This heart icon indicates whether or not channels are paired. See “Pairing Channels”

on page 123 for more information.

Output Channels

This is the Parameter View page for the Bus Outs, Aux Sends, and the Stereo Out. Parame-

ters are the same as for the Input Channel Parameter View page, minus the GATE and Phase

sections and the DELAY MIX and FB GAIN parameters. The parameter settings of the left

and right channels of the Stereo Out can be viewed individually. Use the [SEL] buttons to

toggle between the left and right channels.

Viewing Channel Fader Settings

The fader-related settings of the currently selected Input Channel, Bus Out, Aux Send, or

the Stereo Out can be viewed and set on the Fader View pages.

1 Use the DISPLAY ACCESS [VIEW] button to select the Fader View page.

2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select

channels.

3 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] buttons to set them.

Pan and Balance controls can be set to center by pressing [ENTER] while they’re selected.

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02R96 Version 2—Owner’s Manual

Input Channels

This is the Fader View page for the Input Channels.

PAN: This is the currently selected Input Channel’s Pan parameter. Select this parameter

using the cursor buttons, then press the [ENTER] button to set the Pan parameter to Cen-

ter. See “Panning Input Channels” on page 83 for more information.

ON/OFF: This is the On/Off parameter of the currently selected Input Channel. See “Mut-

ing Input Channels (ON/OFF)” on page 77 for more information.

Fader: This indicates the fader position of the currently selected Input Channel. The fader

knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed

numerically below the fader. See “Setting Input Channel Levels” on page 79 for more infor-

mation.

SURROUND PAN: The Surround pan parameters for the currently selected Input Chan-

nel are displayed only when a Surround mode other than Stereo is selected. See “Using Sur-

round Pan” on page 85 for more information.

BUS ROUTING: This section contains Routing and Follow Pan buttons for the currently

selected Input Channel. See “Routing Input Channels” on page 82 for more information.

The Direct Out output patch can also be set. See “Patching Direct Outs” on page 70 for more

information.

AUX: These are the currently selected Input Channel’s Aux Send Level, On/Off, and

Pre/Post parameters. While a rotary control is selected, the Aux Send can be turned on and

off by pressing [ENTER]. See “Aux Sends” on page 98 for more information.

Meters: These meters indicate the levels of the currently selected Input Channel and its

horizontal or vertical partner. The metering position is displayed below them.

GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the cur-

rently selected Input Channel is in.

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Bus Outs

This is the Fader View page for the Bus Outs.

ON/OFF: This is the On/Off parameter of the currently selected Bus Out. See “Muting Bus

Outs (ON/OFF)” on page 96 for more information.

Fader: This indicates the fader position of the currently selected Bus Out. The fader knob

appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numer-

ically below the fader. See “Setting Bus Out Levels” on page 96 for more information.

TO ST PAN, ON/OFF & Fader: These are the Bus Out to Stereo Out Pan, On/Off, and

Fader parameters for the currently selected Bus Out. The fader knob appears highlighted

when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader.

See “Sending Bus Outs to the Stereo Out” on page 97 for more information.

Meters: These meters indicate the levels of the currently selected Bus Out and its partner.

The metering position is displayed below them.

GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the cur-

rently selected Bus Out is in.

Aux Sends

Below is the Fader View page for the Aux Sends.

ON/OFF: This is the On/Off parameter of the currently selected Aux Send. See “Aux Send

Pages” on page 99 for more information.

Fader: This indicates the fader position of the currently selected Aux Send. The fader knob

appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numer-

ically below the fader. See “Settings Aux Send Master Levels” on page 106.

Meters: These meters indicate the levels of the currently selected Aux Send and its partner.

The metering position is displayed below them.

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02R96 Version 2—Owner’s Manual

GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the cur-

rently selected Aux Send is in.

Stereo Out

Below is the Fader View page for the Stereo Out. The settings of the left and right channels

of the Stereo Out can be viewed individually. Use the STEREO [SEL] button to toggle

between the left and right channels.

BAL: This is the Balance parameter for the Stereo Out. Select this parameter using the cur-

sor buttons, then press the [ENTER] button to set the parameter to Center. See “Balancing

the Stereo Out” on page 94 for more information.

ON/OFF: This is the On/Off parameter of the Stereo Out. See “Muting the Stereo Out

(ON/OFF)” on page 93 for more information.

Fader: This indicates the fader position of the Stereo Out. The fader knob appears high-

lighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the

fader. See “Setting the Stereo Out Level” on page 93 for more information.

Meters: These meters indicate the levels of the Stereo Out. The metering position is dis-

played below them.

GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the Stereo

Out is in.

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02R96 Version 2—Owner’s Manual

Naming Channels

You can specify Long and Short names for the Input Channels, Bus Outs, Aux Sends, and

the Stereo Out as follows.

See page 250 for a list of initial Input Channel names; page 250 for Output Channel names.

Input Channels

1 Use the DISPLAY ACCESS [INPUT PATCH] button to locate the Input Channel

Name page.

2 Use the Parameter wheel, INC/DEC buttons, or the LAYER and [SEL] buttons

to select the Input Channels.

When Vertical Input Channel pairing mode is selected, Input Channels are listed in order

of vertical partners, for example, CH1, CH25, CH2, CH26, and so on.

3 Use the cursor buttons to select the Input Channel’s Long or Short name,

and then press [ENTER].

When the Title Edit window appears, edit the Input Channel name, and press OK when

you’ve ﬁnished. See “Title Edit Window” on page 46 for more information.

You can reset all Input Channel names back to their initial values by pressing the INITIAL-

IZE button.

If the Name Input Auto Copy check box in the upper right corner is checked, the ﬁrst four

characters of the name entered in the LONG column are automatically copied to the

SHORT column. Also, a name entered in the SHORT column is automatically copied to the

LONG column.

Naming Channels 135

02R96 Version 2—Owner’s Manual

Output Channels

1 Use the DISPLAY ACCESS [OUTPUT PATCH] button to locate the Output

Channel Name page

2 Use the Parameter wheel, INC/DEC buttons, or the Master Layer and [SEL]

buttons to select the Output Channels.

3 Use the cursor buttons to select the Output Channel’s Long or Short name,

and then press [ENTER].

When the Title Edit window appears, edit the Output Channel name, and press OK when

you’ve ﬁnished. See “Title Edit Window” on page 46 for more information.

You can reset all Output Channel names back to their initial values by pressing the INI-

TIALIZE button.

If the Name Input Auto Copy check box in the upper right corner is checked, the ﬁrst four

characters of the name entered in the LONG column are automatically copied to the

SHORT column. Also, a name entered in the SHORT column is automatically copied to the

LONG column.

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12 Monitoring & Talkback

Control Room Monitoring

The CONTROL ROOM MONITOR OUT uses balanced 1/4-inch

phone jacks, nominal level +4 dB. Typically it’s used to feed the control

room’s main monitors.

The Control Room Monitor signal source is selected by using the CON-

TROL ROOM buttons.

[2TR D1]: Selects the 2TR IN DIGITAL AES/EBU 1.

[2TR D2]: Selects the

2TR IN DIGITAL COAXIAL 2.

[2TR D3]: Selects the

2TR IN DIGITAL COAXIAL 3.

[2TR A1]: Selects the

2TR IN ANALOG 1.

[2TR A2]: Selects the

2TR IN ANALOG 2.

[STEREO]: Selects the Stereo Out.

[ASSIGN 1]: Selects the Output Channel assigned to this button on the Control Room

Setup page. See “Control Room Setup” on page 137.

[ASSIGN 2]: Selects the Output Channel assigned to this button on the Control Room

Setup page. See “Control Room Setup” on page 137.

The level of the Control Room Monitor signal can be set by using the

CONTROL ROOM LEVEL control. The [DIMMER] button activates

the Dimmer function, which dims the Control Room Monitor and Sur-

round Monitor signals by the amount speciﬁed on the Control Room

Setup page (page 137). The Dimmer function is activated automatically

when the Talkback or Oscillator function is active.

The Control Room Monitor signal is also fed to the PHONES jack, the level of

which is set by using the PHONES LEVEL control.

CONTROL ROOM

2TR D1 2TR A1

2TR D2 2TR A2

2TRD3STEREO

ASSIGN

1 ASSIGN2

DIMMER

CONTROL ROOM LEVEL

100

TALKBACK

PHONES

LEVEL

010

PHONES

Studio Monitoring 137

02R96 Version 2—Owner’s Manual

Control Room Setup

Control room monitoring is conﬁgured on the Control Room Setup page.

1 Use the MONITOR [DISPLAY] button to locate the Control Room Setup page.

2 Use the cursor buttons to select the ASSIGN buttons in the left-hand box,

and use the Parameter wheel to select an Output Channel in the right-hand

box.

Bus Outs or Aux Sends can be assigned to the [ASSIGN 1] and [ASSIGN 2] buttons.

3 Press [ENTER] to assign the selected Output Channel.

Once assigned, the selected Output Channel appears highlighted in the right-hand box.

The other parameters on this page are as follows.

CONTROL ROOM DIMMER LEVEL: This determines the amount of attenuation

applied to the Control Room Monitor and Surround Monitor signals by the Dimmer func-

tion. Use the cursor buttons to select it, and use the Parameter wheel or INC/DEC buttons

to set it from.

MONO: This button is be used to switch the Control Room Monitor signal into mono.

Studio Monitoring

The STUDIO MONITOR OUT uses balanced 1/4-inch phone jacks,

nominal level +4 dB. Typically it’s used to feed monitoring systems in the

actual studio.

The Studio Monitor signal source is selected by using the STUDIO but-

tons.

[CONTROL ROOM]: Selects the Control Room Monitor.

[STEREO]: Selects the Stereo Out.

[AUX 7]: Selects Aux Send #7.

[AUX 8]: Selects Aux Send #8.

The level of the Studio Monitor signal can be set by using the STUDIO LEVEL

control.

STUDIO

AUX7 AUX8

CONTROL

ROOM

STEREO

STUDIO

LEVEL

010

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Surround Monitoring

The 02R96 features comprehensive surround monitoring functions, including a pink noise

generator for speaker setup, Bass Management, and down mixing.

The Surround Monitor signal source is selected by using the SUR-

ROUND buttons. The [BUS] button selects the Bus Outs as the source.

The [SLOT] button selects the Inputs of the Slots speciﬁed on the Sur-

round Monitor page as the source. Surround mixes from up to four mul-

titrack recorders can be monitored by patching Slot Inputs to Surround

Monitor Channels (see page 141) and selecting with the [SLOT] button.

The level of the Surround Monitor can be set by using the SURROUND

MONITOR LEVEL control.

Surround monitor speakers can be aligned by using the individual Attenuator and Delay

parameters on each Surround Monitor Channel. In addition to the standard Ls and Rs

speakers, the 02R96 supports Ls2 and Rs2 speakers, with independent Attenuator and Delay

parameters, for a more diffused surround monitoring environment. See “Conﬁguring Sur-

round Monitoring” on page 139 for more information.

Surround Monitor Channels can be patched to Slot Outputs or Omni Outputs. See “Output

Patching” on page 68 for more information.

Surround Monitor settings can be stored in the Surround Monitor library, which contains

1 preset memory and 32 user memories. See “Surround Monitor Library” on page 152 for

more information.

General surround monitoring is performed on the Surround Monitor page.

1 Use the MONITOR [DISPLAY] button to locate the Surround Monitor page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

The number of speaker icons and meters shown on the Surround Monitor page depends on

the currently selected Surround mode. The meters indicate Bus Out signal levels.

MUTE/SOLO: These parameters are used to mute and solo Surround Channels. A Sur-

round Channel is on when its speaker icon is highlighted. Speaker icons can be selected by

using the cursor buttons. When SOLO is on, Surround Channels can be soloed by selecting

speaker icons and pressing [ENTER].

SETTING: These buttons are used to select which Slot’s Inputs are monitored when the

SURROUND [SLOT] button is pressed. Up to four Slots can be assigned, and the signals

from each Slot are mixed. Individual Slot Inputs can be patched to Surround Monitor

Channels on the Surround Monitor Patch page (see page 141).

When the MONITOR L/R to C-R button is on, the Left and Right Surround Monitor Chan-

nels are fed to the Control Room Monitors. This is useful when you want to use the same

speakers for Left and Right Surround Monitors and Control Room Monitors.

BUS

SLOT

SURROUND

100

SURROUND MONITOR LEVEL

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02R96 Version 2—Owner’s Manual

STATUS: SURROUND MODE indicates the currently selected Surround mode, which is

set on the Surround Mode page (see page 85). MONITOR LEVEL indicates the volume set-

ting of the SURROUND MONITOR LEVEL control, which can be calibrated to 85 dB SPL,

the cinema standard for setting up Surround Channel Monitor speakers. To do this, output

pink noise from the built-in Oscillator (see page 139), set the SURROUND MONITOR

LEVEL control and the level controls on the Surround Monitor speaker amps so that the

total output is 85 dB SPL, then press the SET SPL85 button. The MONITOR LEVEL indi-

cation will then display the volume setting relative to 85 dB SPL. Press the SET SPL85 but-

ton again to return to the normal volume indication. Press the SNAP TO SPL85 button to

reset the SURROUND MONITOR LEVEL control to 85 dB SPL.

Conﬁguring Surround Monitoring

Surround monitoring, including speaker setup, monitor matrix, Bass Management, and

monitor alignment, is conﬁgured on the Surround Monitor Setup page.

1 Use the MONITOR [DISPLAY] button to locate the Surround Monitor Setup

page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

SPEAKER SETUP: These parameters are for setting the volume balance of the surround

monitor speakers. Select the OSC (Oscillator) parameter and choose from PINK NOISE,

500-2K (pink noise through a 500 Hz to 2 kHz BPF), 1K (1 kHz sinewave), or 50 Hz (50 Hz

sinewave). Use the ON/OFF button to turn the Oscillator on and off. When on, the Oscil-

lator outputs a signal at –20 dB to the Surround Channels whose icons are highlighted. You

can turn on and off Oscillator output for speakers individually. Speaker icons can be

selected by using the cursor buttons or the Bus Out [SEL] buttons on the Master Layer. The

signal phase of the LFE Channel can be reversed by using the SW Phase button. When

ROTATE is on, the Oscillator signal is output by each speaker in turn in a clockwise direc-

tion (3 second signal, 2 second pause).

SURR. MODE: This indicates the currently selected Surround mode, which is set on the

Surround Mode page (see page 85).

MONITOR MATRIX: This is used to select the Surround Monitor Matrix. In 6.1 Sur-

round mode, you can select 6.1, 5.1, 3-1, or ST. In 5.1 Surround mode, you can select 5.1,

3-1, or ST. In 3-1 Surround mode, you can select 3-1 or ST.

When a down mix Monitor Matrix is selected, you can attenuate signals by using the ATT

parameters.

You can use the Surround Monitor settings in Stereo mode, but Monitor Matrix is ﬁxed to

ST.

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02R96 Version 2—Owner’s Manual

The following screen shows an example in 6.1 Surround mode and 3-1 Monitor Matrix

mode.

BASS MANAGEMENT: You can set the ﬁlter and

attenuator settings for each Surround Monitor Chan-

nel using ﬁve preset Bass Management modes.

The following presets are available:

ATT1: Adjusts the level difference between LR and LsRs.

ATT2: Adjusts the level difference between C and Bs.

AMP: Corrects the LFE channel level.

HPF1–3: Cut the low range so that the speakers’ supporting frequency ranges will not interfere with the

subwoofer signals.

HPF1–2: Cut the high range so that the subwoofer’s supporting frequency ranges will not interfere with

other speakers’ signals.

Presets Parameters

No. Title HPF 1, 2, 3 LPF1 LPF2 ATT 1 & 2 AMP

DVD Mix w/BS 80–12 80–24 80–24 0 10

DVD Author w/BS 80–12 120–42 80–24 0 10

Film Mix w/BS 80–12 80–24 80–24 –3 10

Film Author w/BS 80–12 120–42 80–24 –3 10

Bypass THRU THRU MUTE 0 0

Tip: If you select 3-1 Monitor Matrix mode, use Presets 1 or 2 to establish an appropriate mon-

itoring environment.

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You can set the Bass Management parameters in the following ranges:

The HPF 1, 2, 3, and LPF 1 & 2 values indicate a cut-off frequency and a filter response. For example,

“80-12” means a cutoff frequency of 80 Hz and a filter response of –12 dB/octave.

“L” means Linkwitz filter. Other filters are Butterworth.

MONITOR ALIGNMENT ATT & DLY ON/OFF:

These buttons are used to turn on and off the Monitor

Alignment Attenuator and Delay parameters of all Sur-

round speakers. The MONITOR ALIGNMENT diagram

and Surround Channel Attenuator and Delay parameters,

which are displayed when either of these buttons are

selected, allow you to align the surround monitor speak-

ers by attenuating and delaying Surround Channels as

necessary. The Attenuator parameters can be set –∞,

–12 dB to +12 dB in 0.1 dB steps. The Delay parameters

can be set from 0 to 30 msec in 0.02 msec steps.

Patching Slot Inputs to Surround Channels

Individual Slot Inputs can be patched to Surround Monitor Channels as follows.

1 Use the MONITOR [DISPLAY] button to locate the Surround Monitor Patch

page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

SLOT/CH: This patching matrix is used to patch Inputs 1–16 from each of the four Slots

to the Surround Monitor Channels. Each Slot Input can be patched to only one Surround

Monitor Channel.

LEVEL: These parameters are used to set the monitor level of each Slot.

Parameters Range

HPF 1, 2, 3

THRU, 80-12, 80-12L, 80-24, 80-24L

LPF1

THRU, 80-24, 80-24L, 120-42

LPF2

THRU, 80-24, 80-24L, MUTE

ATT 1 & 2

0 to –12 dB (1 dB steps)

AMP

0 to +12 dB (1 dB steps)

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Using Talkback

The Talkback function distributes the Talkback mic signal to the Studio Monitor Outs and

any Slot or Omni Outputs speciﬁed on the Talkback Setup page.

The TALKBACK LEVEL control sets the level of the built-in talkback micro-

phone.

The [TALKBACK] button has two modes of operation: If it’s pressed once (i.e.,

for less than 300 ms), the Talkback function is turned on and remains on when

the button is released. This is Latched mode (this mode can be disabled on the

Talkback Setup page). If it’s pressed and held for longer, the Talkback function is

turned on, but turns off when the button is released. This is Unlatched mode.

The [TALKBACK] button indicator ﬂashes while the Talkback function is active.

Talkback Setup

1 Use the MONITOR [DISPLAY] button to locate the Talkback Setup page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

OUTPUT ASSIGN: These buttons are used to assign the Talkback mic signal to Slot and

Omni Outputs.

STUDIO MONITOR: This allows you to select the Talkback mic signal as the Studio

Monitor source.

TALKBACK DIMMER LEVEL: When the Talkback function is active, this determines the

amount of attenuation applied to sound sources assigned to the Studio Monitors and

selected for Talkback.

USE AD IN x AS TALKBACK: This allows you to select an AD Input as the Talkback sig-

nal source. Use the check box to turn this option on and off, and use the number parameter

to specify the number of the AD Input. The signal from the speciﬁed AD Input is mixed

with the Talkback mic signal. Turn down the TALKBACK LEVEL if you do not want to use

the Talkback mic.

NEVER LATCH TALKBACK: This options allows you to disable latching for the Talkback

function.

010

TALKBACK LEVEL

TALKBACK

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13 Libraries

About the Libraries

The 02R96 features 10 libraries for storing Automix, Effects, Channel, Input Patch, Output

Patch, Bus to Stereo, Gate, Comp, EQ, and Surround Monitor data.

Library data can be stored to an external MIDI device, such as a MIDI data ﬁler, by using

MIDI Bulk Dump (see page 195).

General Library Operation

Since most library functions are the same for each library, rather than explain them several

times, they’re explained only here for conciseness.

1 Locate the various library pages as explained in the following sections.

The Input Patch Library page shown below is used here for explanation purposes.

2 Use the Parameter wheel or INC/DEC buttons to select the memories.

A memory is selected when it appears inside the dotted box.

3 Use the cursor buttons to select the following page buttons.

TITLE EDIT: To edit the title of the selected memory, select this and press [ENTER]. When

the Title Edit window appears, edit the title, and press OK when you’ve ﬁnished. See “Title

Edit Window” on page 46 for more information.

RECALL: To recall the contents of the selected memory, select this and press [ENTER]. If

the Recall Conﬁrmation preference is on, a conﬁrmation window appears before the con-

tents are recalled.

STORE: To store settings to the selected memory, select this and press [ENTER]. When the

Title Edit window appears, enter a title, and press OK. See “Title Edit Window” on page 46

for more information. You can stop the Title Edit window from appearing by turning off

the Store Conﬁrmation preference on page 230.

CLEAR: To delete the contents and title of the selected memory, select this and press

[ENTER]. A conﬁrmation window appears before the memory is cleared.

Read-only preset memories have an “R” icon next to their name. You cannot store, clear, or

edit the title of these memories. Empty memories have the title “No Data!” Memory #0 is a

read-only memory that you can recall to reset settings to their initial values.

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02R96 Version 2—Owner’s Manual

Memory #U is a special read-only memory that allows you to undo and redo memory recall

and store operations. After recalling a memory, you can revert to the previously recalled

memory by recalling memory #U. After storing a memory, you can revert it to its previous

contents by recalling memory #U. You can redo either of these undo operations by recalling

memory #U again.

Channel Library

Input Channel, Bus Out, Aux Send, and Stereo Out channel settings can be stored in the

Channel library, which contains 2 preset memories and 127 user memories. Preset memo-

ries are read-only. User memories enable you to store custom settings.

1 Use the DISPLAY ACCESS [VIEW] button to select the Channel Library page.

2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select chan-

nels.

When storing, the settings of the currently selected channel are stored to the selected mem-

ory. When recalling, the settings in the selected memory are applied to the currently selected

channel.

Only memories whose contents correspond to the currently selected channel can be

recalled. For example, you can recall Input Channel settings to Input Channels, but not to

Aux Sends. When the selected memory and currently selected channel don’t correspond, a

warning triangle and the word “CONFLICT” appear in the STORED FROM box.

Preset memory #0, “Reset(–∞dB),” resets all parameters of the currently selected channel to

their initial values and sets the channel level to –∞ dB. Preset memory #1, “Reset (0dB),”

also resets all parameters, but sets the channel level to 0 dB (i.e., nominal).

SEL CH: This indicates the currently selected channel.

CURRENT CONFIGURATION: If the currently selected channel is an Input Channel,

Surround mode and Aux conﬁguration information is displayed here.

Level meters: These meters indicate the levels of the currently selected Input Channel

and its horizontal or vertical partner.

STORED FROM: This indicates the channel whose settings were originally stored in the

selected memory. If the currently selected channel is an Input channel, Pan mode and Aux

pairing information is also displayed.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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Input Patch Library

Input Patch settings can be stored in the Input Patch library, which contains 1 preset mem-

ory and 32 user memories. The preset memory is read-only. User memories enable you to

store custom settings. See page 66 for information on Input Patch settings.

1 Use the DISPLAY ACCESS [INPUT PATCH] button to select the Input Patch

Library page.

When storing, the current Input Patch settings are stored to the selected memory.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

Output Patch Library

Output Patch settings can be stored in the Output Patch library, which contains 1 preset

memory and 32 user memories.The preset memory is read-only. User memories enable you

to store custom settings. See page 68 for information on Output Patch settings.

1 Use the DISPLAY ACCESS [OUTPUT PATCH] button to select the Output Patch

Library page.

When storing, the current Output Patch settings are stored to the selected memory.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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Effects Library

Effects settings can be stored in the Effects library, which contains 61 preset memories and

67 user memories. Preset memories are read-only. User memories enable you to store cus-

tom settings. See page 153 for information on using the Effects.

1 Use the EFFECTS/PLUG-INS [DISPLAY] button to select the Effect Library

page.

2 Press the EFFECTS/PLUG-INS [INTERNAL EFFECTS] button, and use the

EFFECTS/PLUG-INS [1–4] buttons to select the internal effects processors.

When storing, the settings of the currently selected internal effects processor, indicated in

the upper-left corner, are stored to the selected memory.

EFFECT NAME: This is the name of the previously recalled Effects memory.

TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O con-

ﬁguration is shown below this.

EDIT: Pressing this button, then the [ENTER] button, displays the Effects Edit page, which

enables you to adjust the Effects parameters. See “Editing Effects” on page 156 for more

information.

PATCH: Pressing this button, then the [ENTER] button, displays the Effects Input Patch

page, which enables you to patch internal Effects processor inputs and outputs. See “Patch-

ing Effects Inputs and Outputs” on page 67 for more information.

Level meters: These meters indicate the input and output levels of the currently selected

Effects processor. Use the IN and OUT buttons to switch between input level and output

level. There are eight meters for Effects processors #1, and two meters for Effects processors

#2 through #4.

EFFECT TYPE: This is the effects type in the selected memory. Its I/O conﬁguration is

shown below this.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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Bus to Stereo Library

Bus to Stereo settings can be stored in the Bus to Stereo library, which contains 1 preset

memory and 32 user memories. The preset memory is read-only. User memories enable

you to store custom settings. See page 97 for information on Bus to Stereo routing.

1 Use the ROUTING [DISPLAY] button to select the Bus to Stereo Library page.

When storing, the current Bus Out to Stereo Out settings are stored to the selected memory.

CURRENT CONFIGURATION: Bus Out pairing information for the current conﬁgura-

tion is displayed here.

LIBRARY CONFIGURATION: Bus Out pairing information for the conﬁguration stored

in the currently selected memory is displayed here.

If the Bus Out pairing conﬁguration does not match the current conﬁguration, the word

“CONFLICT” will appear in the LIBRARY CONFIGURATION box. In this case, if you

recall such a memory, the 02R96 will apply the current Bus Out pairing conﬁguration and

related parameter settings to the recalled memory settings.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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Gate Library

Input Channel Gate settings can be stored in the Gate library, which contains 4 preset mem-

ories and 124 user memories. Preset memories are read-only. User memories enable you to

store custom settings. See page 74 for information on gating Input Channels.

1 Use the DYNAMICS [DISPLAY] button to select the Gate Library page.

2 Use the LAYER buttons to select the Layers, and the [SEL] buttons to select

Input Channels.

When storing, the Gate settings of the currently selected Input Channel, indicated in the

upper-right corner, are stored to the selected memory. When recalling, the Gate settings in

the selected memory are applied to the currently selected Input Channel.

CURRENT TYPE: This indicates the current Gate type of the currently selected channel.

CURRENT CURVE: This is the Gate curve of the currently selected channel.

GR meters: These meters indicate the amount of gain reduction being applied by the

Gate, and the levels of the currently selected channel and its adjacent channel. If Pair mode

for the currently selected channel is set to Vertical, the level of its counterpart on the adja-

cent Layer is displayed.

TYPE/CURVE: The type (Gate or Ducking) and curve of the currently selected memory is

displayed to the right of the memory list.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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Comp Library

Comp settings can be stored in the Comp library, which contains 36 preset memories and

92 user memories. Preset memories are read-only. User memories enable you to store cus-

tom settings. See page 116 for information on the Comps.

1 Use the DYNAMICS [DISPLAY] button to select the Comp Library page.

2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select chan-

nels.

When storing, the Comp settings of the currently selected channel, indicated in the

upper-right corner, are stored to the selected memory. When recalling, the Comp settings

in the selected memory are applied to the currently selected channel.

CURRENT TYPE: This indicates the current Comp type of the currently selected channel.

CURRENT CURVE: This is the Comp curve of the currently selected channel.

GR meters: These meters indicate the amount of gain reduction being applied by the

Comp, and the levels of the currently selected channel and its adjacent channel. If Pair mode

for the currently selected channel is set to Vertical, the level of its counterpart on the adja-

cent Layer is displayed.

TYPE/CURVE: The type (Comp, Expand, Comp Hard, Comp Soft) and curve of the cur-

rently selected memory is displayed to the right of the memory list.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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EQ Library

Input Channel, Bus Out, Aux Send, and Stereo Out EQ settings can be stored in the EQ

library, which contains 40 preset memories and 160 user memories. Preset memories are

read-only. User memories enable you to store custom settings. See page 111 for information

on EQ’ing.

1 Use the EQUALIZER [DISPLAY] button to select the EQ Library page.

2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select chan-

nels.

When storing, the EQ settings of the currently selected channel, indicated in the upper-left

and right corners, are stored to the selected memory. When recalling, the EQ settings in the

selected memory are applied to the currently selected channel.

CURRENT TYPE: This indicates the current EQ type (TYPE I or TYPE II) for the cur-

rently selected channel.

CURRENT CURVE: This is the EQ curve of the currently selected channel.

Level meters: These meters indicate the levels of the currently selected Input Channel

and its horizontal or vertical partner.

CURVE: This displays the EQ curve in the currently selected memory.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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Automix Library

Up to 16 Automixes can be stored in the Automix library. See page 170 for information on

using Automix.

1 Use the DISPLAY ACCESS [AUTOMIX] button to select the Automix Memory

page.

When storing, the current Automix is stored to the selected memory.

TITLE: This is the title of the current Automix.

CURRENT: This is the size of the current Automix.

UNDO: This is the size of the Automix data in the current Undo buffer.

FREE: This is the amount of free memory for storing the current Automix.

MEMORY: This is the size of the selected Automix memory.

PROTECT: To protect the contents of the selected memory, select this and press [ENTER].

A padlock icon appears next to the titles of memories that are write-protected. Automixes

cannot be stored to write-protected memories.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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Surround Monitor Library

Surround Monitor settings can be stored in the Surround Monitor library, which contains

1 preset memory and 32 user memories. The preset memory is read-only. User memories

enable you to store custom settings. See page 138 for information on Surround Monitoring.

1 Use the MONITOR [DISPLAY] button to select the Surround Monitor Library

page.

When storing, the current Surround Monitor settings are stored to the selected memory.

For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Oper-

ation” on page 143.

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14 Internal Effects & Plug-Ins

About the Effects

The 02R96 features four internal multi-effects processors, offering a whole host of effects

types, including reverbs, delays, modulation-based effects, combination effects, and multi-

channel effects designed especially for use with surround sound.

Effects processors 2–4 feature assignable stereo inputs and outputs. Processor #1, which is

intended for use with the multichannel surround effects, features eight assignable inputs

and outputs. Processor inputs and outputs can be patched to various sources, including the

inputs and outputs of other effects processors, allowing you to chain processors together in

series. (The only outputs available for patching in series are effects processor outputs OUT1

and OUT2.)

The input and output signal levels of the currently selected Effects processor can be metered

on the Effects Edit page and the Effects Library page. The input and output signal levels of

all effects processors can be metered on the Meter pages. See “Metering” on page 107 for

more information.

Effects settings can be stored in the Effects library, which contains 61 preset memories and

67 user memories. See “Effects Library” on page 146 for more information.

Patching Effects Processors

Effects processor inputs can be fed from the Aux Sends, Input and Output Channel Insert

Outs, or the outputs of another effects processor. See “Patching Effects Inputs and Outputs”

on page 67 for more information.

Effects processor outputs can be patched to the Input Channels, Input and Output Channel

Insert Ins, or the inputs of another effects processor. See “Output Patching” on page 68 for

more information.

Preset Effects & Types

The following tables list the preset effects and types. See page 259 for detailed parameter

information.

Reverbs

Delays

# Preset Name Type Description

1 Reverb Hall REVERB HALL Concert hall reverberation simulation with gate

2 Reverb Room REVERB ROOM Room reverberation simulation with gate

3 Reverb Stage REVERB STAGE Reverb designed for vocals, with gate

4 Reverb Plate REVERB PLATE Plate reverb simulation with gate

5 Early Ref. EARLY REF. Early reﬂections without the subsequent reverb

6 Gate Reverb GATE REVERB Gated early reﬂections

7 Reverse Gate REVERSE GATE Gated reverse early reﬂections

# Preset Name Type Description

8 Mono Delay MONO DELAY Simple mono delay

9 Stereo Delay STEREO DELAY Simple stereo delay

10 Mod.delay MOD.DELAY Simple repeat delay with modulation

11 Delay LCR DELAY LCR 3-tap (left, center, right) delay

12 Echo ECHO Stereo delay with crossed left/right feedback

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Modulation-based Effects

Guitar Effects

Dynamic Effects

Combination Effects

# Preset Name Type Description

13 Chorus CHORUS Chorus

14 Flange FLANGE Flanger

15 Symphonic SYMPHONIC

Proprietary Yamaha effect that produces a richer and more

complex modulation than normal chorus

16 Phaser PHASER 16-stage stereo phase shifter

17 Auto Pan AUTO PAN Auto-panner

18 Tremolo TREMOLO Tremolo

19 HQ.Pitch HQ.PITCH Mono pitch shifter, producing stable results

20 Dual Pitch DUAL PITCH Stereo pitch shifter

21 Rotary ROTARY Rotary speaker simulation

22 Ring Mod. RING MOD. Ring modulator

23 Mod.Filter MOD.FILTER Modulated ﬁlter

# Preset Name Type Description

24 Distortion DISTORTION Distortion

25 Amp Simulate AMP SIMULATE Guitar amp simulation

# Preset Name Type Description

26 Dyna.Filter DYNA.FILTER Dynamically controlled ﬁlter

27 Dyna.Flange DYNA.FLANGE Dynamically controlled ﬂanger

28 Dyna.Phaser DYNA.PHASER Dynamically controlled phase shifter

# Preset Name Type Description

29 Rev+Chorus REV+CHORUS Reverb and chorus in parallel

30 Rev->Chorus REV->CHORUS Reverb and chorus in series

31 Rev+Flange REV+FLANGE Reverb and ﬂanger in parallel

32 Rev->Flange REV->FLANGE Reverb and ﬂanger in series

33 Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel

34 Rev->Sympho. REV->SYMPHO. Reverb and symphonic in series

35 Rev->Pan REV->PAN Reverb and auto-pan in series

36 Delay+ER. DELAY+ER. Delay and early reﬂections in parallel

37 Delay->ER. DELAY->ER. Delay and early reﬂections in series

38 Delay+Rev DELAY+REV Delay and reverb in parallel

39 Delay->Rev DELAY->REV Delay and reverb in series

40 Dist->Delay DIST->DELAY Distortion and delay in series

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Others

# Preset Name Type Description

41 Multi.Filter MULTI.FILTER 3-band parallel ﬁlter (24 dB/octave)

42 Freeze FREEZE Simple sampler

43 Stereo Reverb ST REVERB Stereo reverb

1. These effects can be recalled only to effects processor #1.

Reverb 5.1

REVERB 5.1

2. Since these effects types require four DSPs, the total number of effects processors is reduced by three

when one of these types is used. For example, if REVERB 5.1 is used with effects processor #1, proces-

sors 2–4 are unavailable.

6-channel reverb for 5.1 surround

Octa Reverb

OCTA REVERB

8-channel reverb for 7.1 surround

Auto Pan 5.1 AUTO PAN 5.1 6-channel auto pan for 5.1 surround

Chorus 5.1 CHORUS 5.1 6-channel chorus for 5.1 surround

Flange 5.1 FLANGE 5.1 6-channel ﬂanger for 5.1 surround

Sympho. 5.1 SYMPHO. 5.1 6-channel symphonic effect for 5.1 surround

50 M. Band Dyna. M. BAND DYNA. Multi-band dynamics processor

Comp 5.1

COMP 5.1

Multi-band compressor for 5.1 surround

Compand 5.1

COMPAND 5.1

Multi-band compander for 5.1 surround

3. Preset numbers are reserved for Add-On Effects. Effects that are not installed appear in gray and are

unavailable for use. See “Adding Optional Add-On Effects” on page 157 for more information on

Add-On Effects.

Comp276 ——

Comp276S ——

Comp260 ——

Comp260S ——

Equalizer601 ——

OpenDeck ——

REV-X Hall ——

REV-X Room ——

REV-X Plate ——

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Editing Effects

The internal effects processors can be edited as follows.

1 Press the EFFECTS/PLUG INS [INTERNAL EFFECTS] button.

2 Use the EFFECTS/PLUG INS [1–4] buttons to select the internal effects pro-

cessors.

3 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Library

page, and recall a preset effects memory that contains the effects type that

you want.

See “Effects Library” on page 146 for more information.

4 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Edit page.

The available effects parameters depends on the effects type currently selected. See page 153

for detailed parameter information.

5 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, or [ENTER] button to set them.

EFFECT NAME: This is the name of the currently-recalled Effects memory.

TYPE: This is the effects type used in the currently-recalled Effects memory. Its I/O conﬁg-

uration is shown below this.

LIBRARY: Select the LIBRARY button, then press [ENTER] to display the Library page for

the selected effects processor. See “Effects Library” on page 146 for more information.

PATCH: Select the PATCH button, then press [ENTER] to display the Effects Input/Out-

put Patch page, which enables you to patch internal Effects processor inputs and outputs.

See “Patching Effects Inputs and Outputs” on page 67 for more information.

MIX BALANCE: This is used to set the balance between the wet and dry signals. When set

to 0%, only the dry signal is heard. When set to 100%, only the wet signal is heard.

BYPASS: This button is used to bypass the currently selected effects processor.

TEMPO: The TEMPO section displays TEMPO parameters for delay and modula-

tion-based effects. These TEMPO parameters calculate and set the delay time for delay

effects, or the modulation frequency for modulation effects, relative to the speciﬁed tempo

and note duration. Use these parameters along with the SYNC and NOTE parameters.

When you turn on the SYNC parameter, the 02R96 recalculates the delay time or modula-

tion frequency based on the TEMPO parameter value (tempo) and the NOTE parameter

value (note). For example, if the TEMPO parameter is set to 120BPM and the NOTE

parameter is set to an eighth note, turning on the SYNC parameter sets the delay time to

250msec and the modulation frequency to 0.25Hz.

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Level meters: The Level meters indicate the input and output levels of the currently

selected Effects processor. Select the IN or OUT button to display input or output levels

respectively. There are eight output meters for Effects processors 1, and two output meters

for Effects processors 2 through 4.

Effects parameters can also be adjusted by using Parameter controls 1–4. Use the Parameter

Up/Down buttons to select the rows of parameters. The parameters in the currently selected

row appear highlighted. Up to 16 parameters can be displayed at a time, and if more are

available, an up or down arrow is displayed.

When a Y56K card effect, or an internal effects processor is inserted in the currently selected

channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the cor-

responding EFFECTS/PLUG-INS [1–4] button indicator ﬂashes, and the corresponding

Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] but-

ton indicator also ﬂashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]

button indicator also ﬂashes. This applies only to effects that are inserted into channels. If

there’s nothing inserted in the currently selected channel, a message appears.

Adding Optional Add-On Effects

Installing an optional Add-On Effect package enables you to expand the internal Effects

processors. You can use installed Add-On Effects as preset effects #53 and up. Edited settings

can be stored in user memories #68 and up. Refer to the installation guide included in your

Add-On Effect package for information on installing the effects.

Tip:

•If you turn on the SYNC parameter and edit the TEMPO or NOTE parameter, the 02R96

recalculates the delay time or modulation frequency.

•If you turn on the SYNC parameter and edit the delay time or modulation frequency, the

NOTE parameter value changes based on the TEMPO parameter setting.

• See “Effects and tempo synchronization” on page 281 for more information on the tempo

sync parameters.

1234

Parameter Up/Down

Parameter controls 1–4

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As of January 2004, the following Add-On Effect packages are available:

• AE011 Channel Strip Package

• AE021 Master Strip Package

• AE031 Reverb Package

Additional packages will be released in the future. Visit the Yamaha web site for the latest

information:

http://www.yamahaproaudio.com/

About Plug-Ins

There are two types of Plug-Ins: Waves Plug-Ins and User Deﬁned Plug-Ins. Waves Plug-Ins

are available on Y56K cards, which need to be installed in the 02R96’s mini YGDAI Slots

(Slots 3 and 4 only). See your Yamaha dealer for details. User Deﬁned Plug-Ins can be used

to control up to 32 user deﬁnable parameters via MIDI Control Change or Parameter

Change messages on an external MIDI device, such as an external effects processor. Plug-In

parameters can be controlled by using the four Parameter controls below the display.

Plug-In parameter settings are stored in Scenes, for snapshot-style automation.

When installing Y56K cards, mini YGDAI Slots 3 and 4 correspond to Plug-Ins 3 and 4, so

if you install, for example, a Y56K card in Slot #4, it’s automatically conﬁgured as Plug-In

#4. 02R96 signals are patched through to the Y56K card’s effect chains just like any other sig-

nal is patched through to a Slot Input or Output. Slot Outputs (i.e., effect chain inputs) can

be fed from the Bus Outs, Aux Sends, Stereo Out, or the Input and Output Channel Insert

Outs. Slot Inputs (i.e., effect chain outputs) can be fed to the Input Channels, or the Input

and Output Channel Insert Ins. See “Input & Output Patching” on page 66.

Settings for Y56K cards are stored in memory on the card when you store a Scene, and

recalled automatically during Scene recall. Please note, however, that these settings cannot

be stored in 02R96 Scenes. Therefore, the cards do not support Scene memory global paste,

sort, sort, and other scene related functions.

Note: Y56K cards use Scenes #1–#96. If you store or recall Scenes #97 and up, the Y56K card

settings will not reﬂect the Scenes. (A warning message will appear.)

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Conﬁguring Plug-Ins

Plug-Ins can be conﬁgured as follows.

If you’ve installed a Y56K card into one of the Slots, the 02R96 conﬁgures itself automati-

cally and no further conﬁguration settings are required.

1 Press the EFFECTS/PLUG INS [PLUG-INS] button.

2 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Setup

page.

3 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

TARGET: These are used to assign a target to each of the four Plug-Ins. Parameters for the

speciﬁed target appear on the Plug-In Edit page when that Plug-In is selected by using the

EFFECTS PLUG-INS [1–4] buttons. In addition to using the cursor buttons, Plug-Ins can

also be selected on this page by using the EFFECTS PLUG-INS [1–4] buttons.

TITLE: If a Y56K card is installed, its name is displayed here. If the target is set to USER

DEFINED, the speciﬁed title of the bank currently selected on the Plug-In Edit page is dis-

played.

PORT: If a Y56K card is installed, its Slot number is displayed here. If the target is set to

USER DEFINED, you can specify the Plug-Ins MIDI port as MIDI, SERIAL 1–8, USB 1–8,

or SLOT1 1–8. Plug-In MIDI Ports can also be set on the MIDI/To Host Setup page. See

“MIDI I/O” on page 190 for more information.

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Editing Plug-Ins

Plug-Ins can be edited as follows. The settings of Waves Plug-Ins and User Deﬁned Plug-In

banks can be stored to an external MIDI device, such as a MIDI data ﬁler, by using MIDI

Bulk Dump (see page 195).

If you’ve installed a Y56K card into one of the Slots, display pages especially for the Waves

card are displayed when the corresponding Plug-In is selected. See the Waves documenta-

tion for more information. The following explanation applies only to User Deﬁned

Plug-Ins.

1 Press the EFFECTS/PLUG INS [PLUG-INS] button.

2 Use the EFFECTS/PLUG INS [1–4] buttons to select the Plug-Ins.

3 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Edit page.

4 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

TRANSMIT: This enables and disables MIDI data transmission for the currently selected

Plug-In.

INITIALIZE: This initializes the settings of the currently selected bank.

BANK: These buttons are used to select the parameter banks of the currently selected

Plug-In. Up to four parameter settings can be stored in each bank, making a total of 32

parameters per Plug-In.

TITLE: This is used to enter a title (up to 16 characters long) for each bank. To enter a title

for the currently selected bank, select this and press [ENTER]. When the Title Edit window

appears, enter a title, and press OK when you’ve ﬁnished. See “Title Edit Window” on page

46 for more information.

PARAMETER ID/NAME: This is used to select the four rotary controls at the bottom of

the Plug-In Edit page for editing, and to enter a name (up to 16 characters long) for each

control. Use the Parameter wheel or INC/DEC buttons to select a Parameter ID from 1–4,

and then press [ENTER]. When the Title Edit window appears, enter a title, and press OK

when you’ve ﬁnished. See “Title Edit Window” on page 46 for more information.

DATA: This is used to specify the MIDI message (up to 16 bytes) to be transmitted when

each parameter control is adjusted. Use the PARAMETER ID/NAME parameter to select a

Parameter ID from 1–4, and then edit as necessary. Data values can be set in hex from 00 to

FF. The VAL setting is the value of the parameter control. The END setting speciﬁes the end

of the data. NOP means no data is transmitted.

LEARN: This button is used to turn on and off the Learn function, which can be used to

learn what MIDI messages are transmitted by external MIDI devices when their controls or

parameters are adjusted. When on, received MIDI messages are displayed by the DATA

parameter. Only the ﬁrst 16 bytes of data, starting with a Status bit, are displayed.

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MIN/MAX: These parameters determine the minimum and maximum values of the

MIDI data transmitted when each parameter control is adjusted. Use the PARAMETER

ID/NAME parameter to select a Parameter ID from 1–4, and then edit as necessary.

VAL: This is used to select the format for converting parameter control values to the DATA

parameter’s VAL setting. It applies to the currently selected bank. The available options are

listed in the following table.

When the controls at the bottom of the Plug-In Edit page are operated, the speciﬁed MIDI

data, along with the value of the parameter control, is transmitted.

Plug-In parameters can also be adjusted by using Parameter controls 1–4, which corre-

spond to the four parameters shown at the bottom of the Plug-In Edit page.

When a Y56K card effect, or an internal effects processor is inserted in the currently selected

channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the cor-

responding EFFECTS/PLUG-INS [1–4] button indicator ﬂashes, and the corresponding

Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] but-

ton indicator also ﬂashes. If it’s an internal effects processor, the [INTERNAL EFFECTS]

button indicator also ﬂashes. This applies only to effects that are inserted into channels. If

there’s nothing inserted in the currently selected channel, a message appears.

The parameter settings, and the target and bank for each Plug-In are stored in Scenes. When

a Scene is recalled, if the Plug-In’s Target is the same as when the Scene was stored, the

parameters are set accordingly and the corresponding MIDI data is transmitted (so long as

the REMOTE parameter is set to ENABLED). If the Target is not the same, the parameters

are set accordingly but no MIDI data is transmitted.

VAL Description VAL count

One byte Transmit the lower 7 bits of the parameter value as 1 word Up to one VAL

MSB/LSB

Transmit the lower 14 bits of the parameter value in 7-bit units

starting from the upper byte

Up to two VAL’s

LSB/MSB

Transmit the lower 14 bits of the parameter value in 7-bit units

starting from the lower byte

Up to two VAL’s

2 Nibbles M

Transmit the lower 8 bits of the parameter value in 4-bit units,

consecutively from the highest data

Up to two VAL’s

3 Nibbles M

Transmit the lower 12 bits of the parameter value in 4-bit units,

consecutively from the highest data

Up to three VAL’s

4 Nibbles M

Transmit the parameter value in 16 bit units, consecutively from

the highest data

Up to four VAL’s

2 Nibbles L

Transmit the lower 8 bits of the parameter value in 4-bit units,

consecutively from the lowest data

Up to two VAL’s

3 Nibbles L

Transmit the lower 12 bits of the parameter value in 4-bit units,

consecutively from the lowest data

Up to three VAL’s

4 Nibbles L

Transmit the parameter value in 16-bit units, consecutively from

the lowest data

Up to four VAL’s

1234

Parameter controls 1–4

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15 Scene Memories

About Scene Memories

Scene memories allow you to store a snapshot of virtually every 02R96 mix setting in a

Scene. There are 99 Scene memories, and they can be titled for easy identiﬁcation. Scenes

can be linked to Input and Output Patch library memories, so that input and output

patches are recalled along with Scenes. A fade time of up to 30 seconds can be set individu-

ally for each Input and Output Channel fader. Recall Safe can be used to exclude individual

Input and Output Channels and certain parameters from Scene recalls. Stored Scenes can

be sorted as necessary.

Scenes can be stored and recalled by using the SCENE MEMORY [STORE] and [RECALL]

buttons, or by using the Scene Memory page. Scenes can be assigned MIDI Program

Change numbers and recalled remotely. See “A ssigning Scenes to Program Changes” on

page 193 for more information. When a Scene is recalled on the 02R96, the Program

Change number assigned to that Scene is transmitted, which can be used to recall programs,

effects, etc., on other MIDI equipment. In addition, manual Scene recalls can be recorded

on-the-ﬂy in an Automix. When that Automix is replayed, the Scenes are recalled automat-

ically. See “Automix” on page 170 for more information.

Scene memories can be stored to external MIDI device, such as a MIDI data ﬁler, by using

MIDI Bulk Dump (see page 195).

What’s Stored in a Scene?

The following items are stored in Scenes: Input and Output Channel settings, Effects set-

tings, Group and Pair settings, Fade Time settings, and Scene title.

Edit Buffer & Edit Indicator

The Edit Buffer is where the current mix settings (i.e., the current Scene) are stored. When

a Scene is stored, the mix settings in the Edit Buffer are written to the selected Scene mem-

ory. When a Scene is recalled, the contents of the selected Scene memory are copied to the

Edit Buffer, making them the current mix settings.

When a parameter is adjusted after a Scene has been recalled, the Edit indicators—the dot

on the SCENE MEMORY display and “EDIT” on the display—appear, indicating that the

current mix settings (i.e., those in the Edit Buffer) no longer match those of the Scene that

was recalled last, as illustrated below.

The contents of the Edit Buffer are retained while the 02R96 is turned off.

SCENE MEMORY display

Display

Scene #2 has just been recalled, so

the contents of the Edit Buffer

match those of Scene #2 and the

Edit indicators are off.

A parameter has been adjusted since

Scene #2 was recalled, so the Edit

indicators appear, indicating that the

contents of the Edit Buffer no longer

match those of Scene #2.

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Scene Memories #0 & #U

Scene memory #0 is a special read-only memory that contains the initial settings of all mix

parameters. It can be recalled, but not stored. When you want to reset all mix parameters to

their initial, or default values, recall Scene memory #0. Input Channel faders are set to either

–∞dB or nominal, depending on the Initial Data Nominal preference (see page 231).

Scene memory #U is a special read-only memory that allows you to undo and redo Scene

memory recall and store operations. After recalling a Scene memory, you can revert to the

previously recalled Scene memory by recalling Scene memory #U. After storing a Scene

memory, you can revert it to its previous contents by recalling Scene memory #U. You can

redo either of these undo operations by recalling Scene memory #U again.

Auto Scene Memory Update

Normally, when a Scene is recalled and then edited, that Scene must be stored again in order

to save the edits. If the Scene MEM Auto Update preference on page 231 is on, however,

those edits are stored automatically in a Shadow memory. There’s one Shadow memory for

each Original Scene memory. The contents of the Original and Shadow memories can be

recalled alternately, which is useful for doing A/B comparisons.

When a Scene is recalled, the current mix settings are automatically stored in the Shadow

memory of the Scene memory that was recalled last. When you return to that Scene, you

can recall the Shadow or Original memory alternately.

While the Scene MEM Auto Update preference is on, Shadow memories, not Original

memories are recalled initially. To recall an Original memory, recall its Shadow memory

ﬁrst, and while the Edit indicators are both off, recall again. This time the Original memory

is recalled.

When recalling Original and Shadow memories, you can easily tell which is currently active

by the Edit indicators, which are off when an Original memory is active, and on when a

Shadow memory is active. Note that when a Scene is stored, the contents of the Original and

Shadow memories will be the same and the Edit indicators will be off regardless of which

memory is active.

When recalling Scenes in an Automix, only the Original memories can be recalled. When

recalling Scenes via MIDI Program Change messages, Original and Shadow memories can

be recalled, and operation is the same as for recalling Scenes by using the 02R96’s SCENE

MEMORY buttons or the Scene Memory page.

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Storing & Recalling Scenes with the SCENE MEMORY Buttons

As each Scene memory is selected, its number ﬂashes on the SCENE MEMORY display, and

its number and title ﬂash in the Scene memory section of the display. These stop ﬂashing

when the selected Scene memory is either stored or recalled. Empty Scene memories have

the title “No Data!” and cannot be recalled. You cannot store to Scene memories that are

write-protected.

Storing Scenes

1 Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene

memories.

2 Press the [STORE] button.

The Title Edit window appears. This window can be disabled by the Store Conﬁrmation

preference on page 230.

3 Enter a title.

See “Title Edit Window” on page 46 for more information.

4 Press OK on the Title Edit window.

The current Scene is stored to the selected Scene memory.

You can undo Scene stores, reverting to the previous mix settings, by recalling Scene mem-

ory #U (“Ud” on the SCENE MEMORY display).

Recalling Scenes

1 Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene

memories.

2 Press the [RECALL] button.

The contents of the selected Scene memory are recalled and all mix parameters are set

accordingly. If the Recall Conﬁrmation preference is on, a conﬁrmation window appears

before a Scene is recalled.

You can undo Scene recalls, reverting to the previous mix settings, by recalling Scene mem-

ory #U (“Ud” on the SCENE MEMORY display).

Warning: When storing Scenes, make sure that there are no settings in the Edit Buffer that

you do not want to store. Perhaps some settings have been adjusted accidentally, or by someone

else. If you are not sure of the Edit Buffer’s exact contents, recall the last Scene, make the adjust-

ments that you really want, and then store the Scene. You may want to store the current Scene

to an unused Scene memory just in case.

Using the Scene Memory Page

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Using the Scene Memory Page

On the Scene Memory page you can store, recall, write-protect, delete, and edit the titles of

Scenes.

Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory

page.

Use the Parameter wheel or INC/DEC buttons to select the Scene memories.

A Scene memory is selected when it appears inside the dotted box.

Use the cursor buttons to select the following buttons.

TITLE EDIT:

To edit the title of the selected Scene memory, select this and press [ENTER].

When the Title Edit window appears, edit the title, and press OK when you’ve ﬁnished. See

“Title Edit Window” on page 46 for more information.

RECALL:

To recall the contents of the selected Scene memory, select this and press

[ENTER]. The contents of the selected Scene memory are recalled, all parameters are set

accordingly, the Scene memory’s number and title stop ﬂashing, and the Edit indicators go

off. If the Recall Conﬁrmation preference is on, a conﬁrmation window appears before a

Scene is recalled.

STORE:

To store the current Scene to the selected Scene memory, select this and press

[ENTER]. When the Title Edit window appears, enter a title, and press OK. See “Title Edit

Window” on page 46 for more information. When a Scene is stored, the Scene memory’s

number and title stop ﬂashing, and the Edit indicators go off. You can stop the Title Edit

window from appearing by turning off the Store Conﬁrmation preference on page 230. The

“Free: 100%” value indicates the amount of free memory available for storing Scenes.

CLEAR:

To delete the contents and title of the selected Scene memory, select this, press

[ENTER], and the press YES when the conﬁrmation window appears.

PROTECT:

To protect the contents of the selected Scene memory, select this and press

[ENTER]. A padlock icon appears next to the titles of Scene memories that are write-pro-

tected. Scenes cannot be stored to write-protected Scene memories. While the PROTECT

button is selected, the selected Scene memory can be protected and unprotected by using

the INC/DEC buttons.

PATCH LINK:

This indicates the Input/Output Patch library number that is linked to each

scene. When you store a scene, the number of the input/output patch that was most recently

recalled or stored will automatically be linked with that scene. When you recall that scene,

this library number will also be automatically recalled. You can also move the cursor to the

parameter boxes and change the library numbers.

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Fading Scenes

Fade times can be speciﬁed for individual Input Channels, Bus Outs, Aux Sends, Stereo Out,

and the Group Master. The fade time determines the time it takes the Input and Output

Channel faders to move to their new positions when a Scene is recalled. Fade time settings

can be speciﬁed for each Scene individually.

1 Use the SCENE MEMORY [DISPLAY] button to locate a Fade Time page.

The Fade Time parameters for the 56 Input Channels are divided between two pages. The

Input Channel 1–48 Fade time page is shown below. The layout of the other page is the

same.

The Fade Time parameters for the Output Channels appear on the Output Fade Time page.

2 Use the cursor buttons or [SEL] buttons to select the individual Fade Time

parameters, and use the Parameter wheel or INC/DEC buttons to set them.

You can copy the currently selected Input or Output Channel Fade Time setting to all Input

or Output Channels respectively by double-clicking the [ENTER] button. If the Input or

Output Group Master is selected, you can copy the setting to all Input or Output Channel

Group Master channels.

The Long name of the channel whose Fade Time parameter is currently selected appears in

the upper-right corner of the page. When a channel is selected by using the [SEL] buttons,

its Long name also appears in the upper-right corner of the display.

The Fade Time can be set from 0 to 30 seconds in 0.1 second steps.

You can reset all Input Channel Fade Time parameters to zero by selecting the ALL INPUT

CLEAR buttons, then pressing the [ENTER] button. You can reset all Output Channel Fade

Time parameters to zero by selecting the [ALL CLEAR] buttons, then pressing the [ENTER]

button.

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02R96 Version 2—Owner’s Manual

Global Fade Time: When this check box is checked, a Scene is recalled using the Fade

Time that is applied globally to all Scenes. (The Fade Time setting stored in the recalled

Scene is temporarily ignored.)

Recalling Scenes Safely

When a Scene is recalled, all mix parameters are set accordingly. In some situations, you

may want to retain the settings of certain parameters on certain channels, and this can be

achieved by using the Recall Safe function. Recall Safe can be set individually for Input/Out-

put Channels, Group Master, Internal Effect Processor, and the Remote Layer, etc.

1 Use the SCENE MEMORY [DISPLAY] button to locate the Recall Safe page.

2 Select the SAFE ENABLED/DISABLED button, and use the [ENTER] button or

the INC/DEC buttons to enable or disable the Recall Safe function.

3 Use the cursor buttons, [SEL] buttons, or Parameter wheel to select channels,

and use the [ENTER] button or the INC/DEC buttons to set them as Safe chan-

nels.

When a channel is Safe, its number appears highlighted.

GROUP MASTER/OTHERS: Recall Safe can be set individually not only for Input/Out-

put Channels, but also Group Master, Internal Effect Processors, User Deﬁned Remote

Layer, and Plug-ins.

4 Use the cursor buttons or Parameter wheel to select the MODE parameters,

and the [ENTER] button to set them.

The MODE buttons determine which Safe channel parameters are unaffected by Scene

recalls. ALL (all parameters. This option is mutually exclusive with the following options),

FADER (faders), ON (On/Off parameters), PAN (Pan parameters), EQ (EQ parameters),

COMP (Comp parameters), GATE (Gate parameters), AUX (Aux Send levels), AUX ON

(Aux Send On/Off parameters), DELAY (Delay parameters), ROUTING (Routing param-

eters).

GLOBAL RECALL SAFE: When this check box is checked, a Scene is recalled using the

settings that are applied globally to all Scenes. The settings stored in the recalled Scene are

temporarily ignored.

Recall Safe settings are stored in Scene memories.

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Sorting Scenes

Scene can be sorted by using the Scene Memory Sort function.

1 Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory Sort

page.

2 Use the cursor button to the select the SOURCE list, and use the Parameter

wheel or the INC/DEC buttons to select the Scene memory you want to

move.

3 Use the cursor button to the select the DESTINATION list, and use the Param-

eter wheel or the INC/DEC buttons to select the position to which you want

to move the source Scene memory.

4 Press [ENTER] to move the source Scene memory to the speciﬁed destina-

tion.

The [ENTER] button executes the Sort function regardless of its position.

Copying and Pasting a Scene (Global Paste)

Any channel or parameter settings for the current scene can be copied and pasted into other

scenes. This function is useful when you want to apply edited parameter settings in the cur-

rent scene to other scenes.

1 Use the SCENE MEMORY [DISPLAY] button to locate the Global Paste Source

CH Select page.

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02R96 Version 2—Owner’s Manual

2 Use the cursor buttons, [SEL] buttons, or Parameter wheel to select the chan-

nel category, then use the [ENTER] button or the INC/DEC buttons to select

the copy source channel.

The number of the source channel is highlighted.

GROUP MASTER/OTHERS: You can select as the copy source each Group Master, inter-

nal Effects processos, User Deﬁned Remote layer, or user Deﬁned plug-in, as well as each

channel.

3 Use the cursor buttons or Parameter wheel to select the copy source param-

eter, then press the [ENTER] button.

4 Use the cursor buttons or Parameter wheel to select the destination chan-

nels, then press the [ENTER] button.

5 Use the SCENE MEMORY [DISPLAY] button to locate the Global Paste Des-

tination Scene page.

6 Use the Parameter wheel or INC/DEC buttons to select the destination

scene(s).

Scenes speciﬁed between FROM and TO (inclusive) become the paste destination. You can

paste up to 10 scenes at a time.

7 Use the cursor buttons to select the PASTE button, then use the [ENTER] but-

ton to paste the settings.

You cannot paste the settings to write-protected scenes.

UNDO: This button restores the settings used prior to the paste operation. However, if the

settings in the scene are changed after the paste operation (such as by saving, clearing, or

sorting the scene, or receiving scene data via MIDI Bulk Dump), the UNDO function is dis-

abled.

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16 Automix

About Automix

The 02R96’s Automix function allows dynamic automation of virtually all mix parameters,

including Levels, Mutes, Pan, Surround Pan, Aux Sends, Aux Send Mutes, EQ, effects, and

Plug-Ins. You can specify which of these parameters will be recorded, and punch channels

in and out of recording on-the-ﬂy. User Deﬁned Remote Layer operations, and scene and

library recall operations can also be automated, combining snap shot and dynamic mix

automation. Events are recorded in real time and can be edited either ofﬂine, with 1/4 frame

accuracy, or by rerecording with punch in/out. Automix can be synchronized to an external

timecode source or to the internal timecode generator.

Up to 16 Automixes can be stored in the Automix library. See “Automix Library” on page

151 for more information. They can also be stored to an external MIDI device, such as a

MIDI data ﬁler, by using MIDI Bulk Dump (see page 195).

What’s Recorded in an Automix?

The following parameters can be recorded in an Automix.

Parameter

Input

Channels

Bus Out

Masters

Aux Send

Masters

Stereo

Out

Channel Levels (faders) OOOO

Channel Mutes (ON/OFF) OOOO

Pan O — — —

Surround Pan O — — —

EQ (F, Q, G, On/Off) OOOO

Aux Send 1–8 levels O — — —

Aux Send 1–8 mutes O — — —

Feder Group Master

(Level, On/Off)

—

Scene recalls —

EQ, Gate, Comp, Effects, Channel library recalls —

Effect parameters (certain parameters) —

User Deﬁned Plug-Ins (parameters 1–4) —

User Deﬁned Remote Layers (faders, [ON],

Encoders)

—

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Automix Main Page

This section explains the Automix Main page.

1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main

page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

TITLE: This is the title of the current Automix.

TIME CODE: This counter displays the current timecode position.

FREE: The amount of free Automix memory remaining is displayed here in kilobytes, per-

cent, and graphically by a bargraph.

SIZE: The size of the current Automix and the size of any Automix data in the undo buffer

are displayed here in kilobytes.

TIME REFERENCE: This section displays the current timecode source and frame rate. If

you select this item and then press the [ENTER] button, you can jump directly to the Time

Reference page (see page 177).

INT START TIME: This parameter is used to set the start time of the internal timecode

generator in hours, minutes, seconds, frames, and subframes. Press the [ENTER] button to

reset the currently selected digits to “00.” The internal timecode generator is selected on the

Time Reference page (see page 177).

OFFSET: This parameter can be used to specify an offset relative to the external timecode

source in hours, minutes, seconds, frames, and subframes. Specify a “+” value to move

events forward relative to the incoming timecode. Specify a “–” value to move events back-

wards relative to the incoming timecode. Press the [ENTER] button to reset the currently

selected digits to “00.” If the Timecode Display Relative preference is turned on (see

page 233), the indicated timecode is offset.

UPDATE: This button determines the fate of events that exist beyond the point at which

rerecording is stopped. When TO END is on, all events that exist beyond the point at which

rerecording is stopped for parameters that have been edited during the current pass are

erased. This function is useful when you want parameters to remain the same right through

to the end of the Automix. Events are erased only when the current pass is actually stopped,

not when a punch out occurs. When TO END is off, existing events are left as they are.

When TO END is on, the way in which Fader events are processed depends on the currently

selected Fader Edit mode and Edit Out mode. In the following table, the Fader Edit mode

is set to Absolute. If the Fader Edit mode is set to Relative, and the Edit Out mode is set to

either Takeover or Off, the fader will remain at a position relative to the position at which

recording is stopped.

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EDIT OUT: These buttons are used to set the Edit Out mode: Off, Takeover, or Return. The

Edit Out mode determines how rerecorded fader moves align with existing fader data at the

punch out point. Fader data includes Input Channel levels, Bus Out master levels, Aux Send

master levels, the Stereo Out level, User Deﬁned Remote Layer faders, and Group master

levels. The Edit Out modes are explained in the following table. The Return Time is speci-

ﬁed on the Fader Edit page (see page 176).

Return Takeover or Off

TO END is OFF

At the point at which recording is stopped, the fader

returns to the position speciﬁed by the existing fader

data, at the speed speciﬁed by the Time parameter on

the Fader Edit pages.

At the point at which recording is stopped, the fader

remains at the same position until the next Fader

event in the existing data occurs.

TO END is ON

At the point at which recording is stopped, the fader

returns to the position speciﬁed by the existing fader

data, at the speed speciﬁed by the Time parameter,

and all subsequent events are erased so that the fader

remains at that position right through to the end of

the Automix.

At the point at which recording is stopped, all subse-

quent events are erased so that the fader remains at

that position right through to the end of the Automix.

Off Return Takeover

At the punch out point, the fader

remains at the same position until the

next Fader event in the existing data

occurs.

At the punch out point, the fader returns

to the position speciﬁed by the existing

fader data, at the speed speciﬁed by the

Time parameter on the Fader Edit pages.

At the punch out point, recording con-

tinues until the fader position intersects

the existing fader data. If you are still

touching the fader knob at the actual

punch out point, the fader is disabled

until you release it.

In this example, punch out was per-

formed by pressing the [AUTO] button,

and the fader was moved manually

between the punch out and actual

punch out points.

Existing data

Return time

Time

Punch in Stop recording

Fader edit

Time

Punch in Stop recording

Existing data

Fader edit

Existing data

Return time

Time

Punch in Stop recording

Fader edit

Time

Punch in Stop recording

Existing data

Fader edit

Time

Punch in Punch out

Existing data

Fader edit

Existing data

Return time

Time

Punch in Punch out

Fader edit

Time

Punch in Punch out

Existing data

Fader edit

Actual punch out

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FADER EDIT: These buttons are used to set the Fader Edit mode: Absolute or Relative. The

Fader Edit mode determines how fader moves are rerecorded. It has no effect during the

ﬁrst recording pass. In Absolute mode, fader moves are rerecorded as absolute values and

existing fader data is erased. In Relative mode, fader moves are rerecorded relative to the

existing fader data.

Fader data includes Input Channel levels, Bus Out master levels, Aux Send master levels,

Stereo Out level, User Deﬁned Remote Layer faders, and Group master levels.

The following table explains Fader Edit mode operation (TO END: off. Edit Out: off)

TOUCH SENSE: When the TOUCH button is selected, the Touch Sense function enables

you to touch the faders to punch parameter values in and out. The corresponding parame-

ters’ OVERWRITE button must be set to on. When the LATCH button is selected, only

punch in operations are available (the punch out function is disabled).

OVERWRITE: These buttons determine which parameters can be recorded on the ﬁrst

pass, and rerecorded (i.e., overwritten) on subsequent passes. They can be set while record-

ing is in progress. Parameters for which the corresponding OVERWRITE button is not set,

cannot be edited while recording is in progress.

Scene and library recalls, and internal effects processors and Plug-Ins parameters can be

recorded regardless of the OVERWRITE settings.

AUTOMIX: This button is used to enable and disable the Automix function. It works in

unison with the AUTOMIX [ENABLE] button.

NEW: This button is used to create a new Automix. When a new Automix is created, a

Scene recall event to recall the current Scene (i.e., the last Scene recalled) is automatically

inserted at the start of the Automix. You can edit this event so that another Scene is recalled.

This initial Scene is important because it sets all the mix parameters how you’d like them at

the beginning of the Automix. Without it, mix parameters would remain the same as when

Automix playback was stopped.

Absolute Relative

Fader edits are recorded as absolute values and

existing fader data between the punch in and out

points is erased.

Fader edits are rerecorded relative to the existing

fader data.

Parameter button Description

FADER

Channel faders (Inputs Channels, Bus Out masters, Aux Send masters, the Ste-

reo Out, Group master levels, and User Deﬁned Layer faders)

Channel Mutes (ON/OFF), User Deﬁned Layer [ON] buttons, and Group master

PAN

Input Channel Pan, User Deﬁned Layer Encoders

SURR

Input Channel Surround pan, LFE level, DIV parameter, and RDIV parameter

AUX

Aux Send 1–8 levels

AUX ON

Aux Send 1–8 mutes

(F, Q, G, On/Off)

Time

Punch in Punch out

Existing data

Fader edit

Time

Punch in Punch out

Existing data

Fader edit

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UNDO: This button is used to undo various Automix operations. During each recording

pass, when a new Automix is created, when an Automix is recalled, when an ofﬂine edit is

performed, or when the Undo function is used, the current Automix data is copied to the

Undo buffer, from which it can be retrieved by pressing UNDO while Automix is stopped.

The Undo buffer is cleared when the 02R96 is turned off. If you want to save the contents

of the Undo buffer, perform the undo, and then store the Automix (see page 151).

INSERT: The INSERT button inserts the current Scene into the current Automix data. This

is useful when you want to quickly swap out a speciﬁed range of the Automix data, such as

a line of dialog.

See “Inserting Mix Parameters into Automix” on page 180 for more infor-

mation.

AUTO REC: This button works the same as the REC button except that it remains on when

Automix recording is stopped. It appears highlighted while Auto Record mode is on.

REC: This button is used to engage Record-Ready mode, in which Automix recording starts

automatically as soon as the speciﬁed timecode source starts. Unlike the AUTO REC button,

however, it’s turned off when recording is stopped. It ﬂashes in Record-Ready mode, and is

highlighted during recording. This button can also be used to engage Automix recording

during playback. To do this, while the PLAY button is highlighted (i.e., during playback),

press the REC button (it ﬂashes in Record-Ready mode). Then press the PLAY button to

start recording.

PLAY: This button is used to start Automix recording and playback when the timecode

source is set to internal. When an external timecode source is selected, while the external

timecode is being received, recording and playback are started, and this button is turned on

automatically. If Automix is stopped by pressing the STOP or ABORT button, recording or

playback can be restarted by pressing this button so long as timecode is still being received.

This button can also be used in conjunction with the REC button to punch in recording

during Automix playback.

STOP: This button is used to stop Automix playback and recording. It appears highlighted

while Automix is stopped.

ABORT: This button is used to abort the current recording and inserting without updating

the existing Automix data.

Channel Strip [AUTO] Buttons

The channel strip [AUTO] buttons are used to arm channels in Record-Ready

mode, and to punch channels in and out during recording.

The [AUTO] button indicators operate as follows:

• Off: Automix playback disabled

•Green: Automix stopped or playing

•Orange: Record-Ready mode

•Red: Recording (even for individual parameters, see page 183)

• Flashing red: Takeover in progress

• Flashing green: indicates that a fader is inactive, for example, when you continue touching

a fader after actual punch out has occurred when using the Takeover Edit Out mode.

AUTO

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Automix Memory Page

Automixes can be stored and recalled on the Automix Memory page. The lower half of this

page is identical to the Automix Main page.

1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Memory

page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

The Automix library functions are explained in “Automix Library” on page 151. The

remaining items are the same as on the Main page and are explained on page 171.

Fader Edit Pages

During playback, fader positions are displayed graphically as black bars on the Fader Edit

page, of which there are three. The Fader Edit 1 page displays Faders positions for Input

Channel 1 through 56, the Bus Outs, and Stereo Out. The Fader Edit 2 page displays faders

positions for Input Channel 1 through 56, the Bus Outs, and Aux Sends. The Fader Edit 3

page displays fader positions for the Input Group Master Levels and Output Group Master

Levels. When the Fader mode is set to Fader, Input and Output Channel levels are displayed.

When it’s set to Aux mode, Aux Send levels are displayed.

During rerecording, arrows are displayed next to each fader bar. A

downward arrow indicates that the current fader position is higher

than that speciﬁed by the existing fader data. An upward arrow indi-

cates that the current fader position is lower than that speciﬁed by

the existing fader data.

1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Fader Edit pages.

The Fader Edit 1 page is shown here.

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2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

The counter in the upper-left corner displays the current timecode position.

Edit Safe buttons: The numbered buttons below each fader bar are Channel Safe but-

tons, which can be used to prohibit automix recording on certain channels. A channel is set

to safe when its button appears highlighted.

You can make all channels safe by selecting one “non-safe” button and double-clicking the

[ENTER] button. A conﬁrmation message appears.

You can cancel all safe channels by selecting one “safe” button and double-clicking the

[ENTER] button. A conﬁrmation message appears.

During recording, events cannot be recorded, or rerecorded on safe channels, although

existing events are played back and faders, Encoders, [ON] buttons, and so on can still be

used, which is useful for rehearsing mix moves. Channel safe settings cannot be changed

during recording.

ABSOLUTE & RELATIVE: These buttons are the same as those on the Main and Memory

pages. See “Automix Main Page” on page 171 for more information.

MOTOR: This button is used to turn the fader motors are on and off for Automix play-

back. The button appears highlighted when the motors are on. The motors cannot be

turned off during recording, and are automatically turned on when recording starts.

TOUCH SENSE: This button is the same as the TOUCH SENSE button on the Automix

Main page (see page 173).

UPDATE: This button is the same as that on the Main and Memory pages. See “Automix

Main Page” on page 171 for more information.

EDIT OUT: The TAKEOVER and RETURN buttons are the same as those on the Main and

Memory pages. See “Automix Main Page” on page 171 for more information. The TIME

parameter determines the time it takes faders to return to levels speciﬁed by the existing

Automix data when the Edit Out mode is set to Return. It can be set from 0.0 to 30.0 seconds

in 0.1 second steps.

Selecting the Timecode Source & Frame Rate

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Selecting the Timecode Source & Frame Rate

The timecode source and frame rate for Automix can be set as follows.

Use the DISPLAY ACCESS [SETUP] button to select the Time Reference page.

Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

TIME REFERENCE:

The following timecode sources can be selected.

For the USB and SERIAL sources, you must specify a port from 1–8.

FRAMES:

The frame rate can be set to: 30, 30D, 29.97, 29.97D, 25, or 24. An Automix will

playback correctly even if the frame rate is different to that which was used when the Auto-

mix was originally recorded.

The MIDI CLOCK source supports Song position Pointers, F8 TIMING CLOCK (timing

info), FA START (starts Automix from beginning), FB CONTINUE (starts Automix from

current position), and FC STOP (stops Automix).

Source Description

INTERNAL

Internally generated timecode

SMPTE

SMPTE timecode received via the SMPTE TIME CODE INPUT

MIDI CLOCK

MIDI Clock received via the MIDI IN port

MTC

MTC received via the MTC TIME CODE INPUT

USB

MTC received via the USB TO HOST port

SERIAL

MTC received via the SERIAL TO HOST port

SLOT1

MTC received via Slot #1 (for use with an optional mLAN I/O Card installed in Slot #1)

MIDI

MTC received via the MIDI IN port

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Creating a Time Signature Map

When using the MIDI CLOCK timecode source, you’ll also need to specify the initial time

signature and any time signature changes that follow.

1 Use the DISPLAY ACCESS [SETUP] button to select the Time Signature page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel or INC/DEC buttons to specify the measure and time signature.

To insert a time signature change, use the cursor buttons to select the next available entry,

and press [ENTER], or turn the Parameter wheel.

To delete a time signature change, select it, and then press [ENTER]. The initial time signa-

ture entry at measure #1 cannot be deleted.

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Recording an Automix

This section provides a general procedure for Automix recording.

1 Connect a timecode source.

2 Select the timecode source and frame rate.

See “Selecting the Timecode Source & Frame Rate” on page 177 for more information.

3 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main

page.

4 On the Automix Main page, use the ENABLED/DISABLED button to enable

the Automix function.

5 On the Automix Main page, use the OVERWRITE buttons to select which

parameters you want to record.

The corresponding OVERWRITE buttons pages appear highlighted.

6 On the Automix Main page, press the REC button.

The REC button ﬂashes.

Alternatively, you could press the AUTO REC button so that Automix recording starts auto-

matically when timecode is received. The main difference between REC and AUTO REC is

that the AUTO REC functions remains on when recording is stopped, whereas REC must

be pressed each and every time you want to start recording. Initially however, REC may be

the safer option.

7 Use the [AUTO] buttons to arm channels for Automix recording.

The [AUTO] button indicators of armed channels light up orange.

8 Start the timecode source.

The REC and PLAY buttons appear highlighted.

9 Adjust the faders and other controls as necessary.

Use the SELECTED CHANNEL section to edit the currently selected channel. Channels are

selected automatically when the [AUTO] buttons are pressed. You can punch channels out

of recording by using the [AUTO] buttons.

10 To stop Automix recording, stop the timecode source, or press the STOP but-

ton on the Automix Main or Memory page.

When the Mix Update Conﬁrmation preference is on (see page 233), a conﬁrmation mes-

sage appears asking if you want to update the existing Automix data (i.e., keep the edits just

recorded).

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Inserting Mix Parameters into Automix

You can insert the static mix parameter settings into the range speciﬁed by the IN and OUT

parameters in the current Automix data. This is useful when you want to quickly insert

static EQ settings into a speciﬁed range of the Automix data.

1 Follow Steps 1–4 as described in the “Recording an Automix” section on the

previous page, then press the DISPLAY ACCESS [AUTOMIX] button to display

the Automix Main page.

2 Use the cursor buttons to select the INSERT button, then press [ENTER].

A conﬁrmation message appears.

3 Use the IN and OUT parameters to specify the region to be inserted.

The default IN and OUT parameter values use the Locate memories speciﬁed by the Insert

Time Link preference (see page 234). If you change the Locate points for the corresponding

Locate memories while the conﬁrmation message is displayed, the IN and OUT parameter

values will be updated accordingly.

If MIDI clock is selected as a timecode source, these parameters indicate the position in

bar:beats:clocks and use the IN and OUT parameter values in the TIME SETTING section

on the Event Job page. In this case, the Insert Time Link preference is disabled.

Time Time

IN OUT

Before Insert After Insert

Event No event Event

Event erased

Value prior to Insert

Inserted

parameter value

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4 Use the cursor buttons to select YES, then press [ENTER].

The 02R96 enters Insert mode, and the INSERT button is highlighted.

The fader positions, mute function and other parameters are updated to the settings speci-

ﬁed for the time value of the IN parameter.

5 Select the parameter you wish to insert using the AUTOMIX OVERWRITE but-

tons.

To select effect or plug-in parameters, locate the Effect Edit or Plug-in Edit page, then move

the cursor to the desired parameter and press [ENTER].

6 Select the insert destination channel by pressing the corresponding [AUTO]

button.

The selected [AUTO] button indicator lights up red.

7 Edit a parameter you wish to insert.

8 Use the cursor buttons to select the INSERT button, then press [ENTER].

A conﬁrmation message appears.

9 Use the cursor buttons to select YES, then press [ENTER] to insert the data.

Once the data is inserted, Insert mode is cancelled and the INSERT button is unhighlighted.

Rerecording Events

Events can be rerecorded as many times as you like. Remember, however, that unlike the

ﬁrst pass, on subsequent passes existing events for the currently punched in parameter are

overwritten, so use the OVERWRITE buttons and [AUTO] buttons with care. Instead of

using the [AUTO] buttons to punch in an entire channel, you can reduce the risk of over-

writing important data by punching in and out individual parameters (see page 183). Use

the Update To End option to determine how existing events are handled when rerecording

is stopped (see page 171). Use the Edit Out (see page 172) and Fader Edit (see page 173)

options to determine how Fader events are rerecorded.

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Parameter Recording

The following table summarizes parameter recording operation for each parameter. Param-

eter adjustments made on the respective display pages are also recorded.

Parameter Channel

OVER-

WRITE

Operation Pair/Group

Channel Levels

(faders)

Input

FADER

Set Layer to input, Fader mode to

Fader, use faders

Faders of paired channels and

grouped faders are recorded

together

Bus Out, Aux Send

Set Layer to Master, Fader mode to

Fader, use faders

Stereo Out Use Stereo Out fader

Group Master lev-

els

Use faders assigned to Group Master

in the User Assignable Layer.

Channel Mutes

(ON/OFF)

Input

Set Layer to input, use [ON] buttons

[ON] buttons of paired chan-

nels and grouped mutes are

recorded together

Bus Out, Aux Send Set Layer to Master, use [ON] buttons

Stereo Out Use Stereo Out [ON] button

Group Master

On/Off

Use [ON] buttons assigned to Group

Master in the User Assignable Layer.

Pan

Input PAN

Set Layer to input, Encoder mode to

Pan, use Encoders.

If Pan mode is Gang or

Inverse-Gang, paired chan-

nels are recorded together.

Surround Pan

Input SURR

Use Joystick (If a surround parameter

is assigned to the Encoders, also use

Encoders)

If ST LINK button on Surround

Edit page is on, adjacent

channels are recorded

together.

EQ (F, Q, G, On/Off)

Input, Bus Out,

Aux Send, Stereo

Out

Use SELECTED CHANNEL EQUALIZER

section (If EQ parameter assigned to

an Encoder, also use Encoders)

EQ of paired channels, and

grouped EQs recorded

together

Aux send 1–8 levels

Input AUX

If Fader mode is Aux, use faders. If

Encoder mode is Aux, use Encoders

(also use Aux Send or Aux view

pages)

Aux send levels of paired

channels recorded together.

(If the selected Aux Send is

paired, the send level to both

Aux Sends is recorded.)

Aux send 1–8 mutes

Input

AUX

Use Aux Send or Aux view pages

Aux send mutes of paired

channels recorded together

(If the selected Aux Send is

paired, mutes for both Aux

Sends recorded.)

Scene recalls

——

Use SCENE MEMORY section or

Scene Memory page

—

Library recalls

EQ, Gate, Comp,

Effects, Channel

— Use corresponding library page —

Effect parameters

(certain parameters)

Effects processors

1–4

—

Use Parameter controls 1–4 (push to

punch in/out). Select the desired

parameter on the Effect Edit page,

then press [ENTER]

—

User Deﬁned Plug-Ins

(parameters 1–4)

Plug-Ins 1–4 —

Use Parameter controls 1–4 (push to

punch in/out). Select the desired

parameter on the Plug-in Edit page,

then press [ENTER]

—

User Deﬁned Remote

Layers

Faders FADER

Select User Deﬁned Remote Layer,

use faders

—

[ON] buttons ON

Select User Deﬁned Remote Layer,

use [ON] buttons

—

Encoders PAN

Select User Deﬁned Remote Layer,

use Encoder

—

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Punching In & Out Individual Parameters

During Automix rerecording, channels can be punched in and out by pressing the channel

strip [AUTO] buttons. Individual parameters can be punched in and out as follows.

If during Automix recording you punch in an individual parameter by using the controls

listed in the above table, even if some OVERWRITE buttons are on, only the existing data

of that particular parameter will be overwritten. Likewise, when you punch out an individ-

ual parameter by using the controls listed above, only that particular parameter will be

punched out.

If during Automix recording you press an [AUTO] button to punch in a channel, the exist-

ing data of all parameters for which the corresponding OVERWRITE buttons are on will be

overwritten. When you press the [AUTO] button to punch out of recording, all of those

parameters will be punched out.

Parameter Channel

OVER-

WRITE

Operation Punch In Punch Out

Channel Levels

(faders)

Input

FADER

Set Layer to input, Fader mode to

Fader

Touch fader knob

and adjust

1. TOUCH SENSE on Fader Edit page must be TOUCH or LATCH.

Release fader

knob

2. TOUCH SENSE on Fader Edit page must be TOUCH.

Bus Out, Aux

Send

Set Layer to Master, Fader mode

to fader

Stereo Out Stereo Out fader

Group Master

faders

Set the Fader mode to Fader; Set

the Group Master in the User

Assignable Layer.

Pan

Input PAN

Set Layer to input, Encoder mode

to Pan.

Press Encoder

and adjust

Press Encoder

Surround Pan

Input SURR

Select Input Layer and assign Sur-

round LFE Level or Surround Pan

Wheel to the Encoders

Press Encoder

and adjust

Press Encoder

EQ (F, Q, G)

All channels EQ

Turn on Auto EQ Edit In prefer-

ence (see page 233). Use

SELECTED CHANNEL EQUALIZER

section (If EQ parameter assigned

to an Encoder, also use Encoders)

Adjust control

Press [AUTO] but-

ton

EQ On/Off

Press EQ [ON]

button

Press [AUTO] but-

ton

Aux send 1–8 levels

Input AUX

Set Layer to input, Fader mode to

Aux

Touch fader knob

and adjust

Release fader

knob

Set Layer to input, Encoder mode

to Aux

Press Encoder

and adjust

Press Encoder

Effect parameters

(certain parameters)

Effects proces-

sors 1–4

— Select internal effects processors

Push Parameter

1–4 control, or

select the param-

eters on the Effect

Edit page, then

press [ENTER]

Push Parameter

1–4 control, or

select the param-

eters on the Effect

Edit page, then

press [ENTER]

User Deﬁned Plug-Ins

(parameters 1–4)

Plug-Ins 1–4 — Select Plug-Ins

Push Parameter

1–4 control.

Select the desired

parameter on the

Plug-in Edit page,

then press

[ENTER]

Push Parameter

1–4 control Select

the desired

parameter on the

Plug-in Edit page,

then press

[ENTER]

User Deﬁned Remote

Layers

Faders FADER Select User Deﬁned Remote Layer

Touch fader knob

and adjust

Release fader

knob

Encoders PAN Select User Deﬁned Remote Layer

Press Encoder

and adjust

Press Encoder

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When faders are grouped with the Fader Group Master function turned off, if the OVER-

WRITE FADER button is on, pressing an [AUTO] button, or touching the fader knob of any

fader in the group (if TOUCH SENSE on the Fader Edit page is on) puts all the correspond-

ing channels into Record mode and all the [AUTO] button indicators light up red. The same

applies to Mute (OVERWRITE ON button) and EQ (OVERWRITE EQ button) groups.

Playing Back an Automix

So long as the Automix function is enabled, the Automix function will chase the incoming

timecode and play and stop the current Automix accordingly. Playback stops automatically

when the end of the Automix data is reached. Playback can be stopped manually by pressing

the STOP or ABORT button on the Automix Main or Memory page. Playback will stop

automatically if no timecode is received for a while, for example, if the timecode source is

disconnected or turned off.

If the timecode source is set to internal, use the PLAY button on the Automix Main or Mem-

ory page to start Automix playback, and the STOP button to stop it.

You can disable Automix playback on individual channels by using the channel strip

[AUTO] buttons. During playback, the [AUTO] button indicators appear green. When

Automix playback for an individual channel is disabled, its [AUTO] button indicator goes

out.

During playback, faders move in accordance with recorded Fader events (so long as the cor-

responding Layer and Fader mode is selected). Fader movement can be disabled by turning

off the fader motors (see page 175). Fader events can be viewed on the Fader Edit pages (see

page 175).

Other events are displayed by the display pages and button indicators. Recorded events of

the currently selected channel are displayed by the SELECTED CHANNEL section controls

and displays.

Warning: If the effects type is different to that which was used when the effects parameter edits

were recorded, the parameter edits will not be played back. However, they are not deleted.

When you rerecord effects parameter edits, it’s recommended that you delete the existing effects

events ofﬂine. See “Editing Events Ofﬂine” on page 185 for more information.

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Editing Events Ofﬂine

Automix events can be edited ofﬂine on the Event Job and Event Edit pages. Ofﬂine editing

can be performed only while the Automix function is stopped.

Event Job Page

On the Event Job page, speciﬁed events on speciﬁed channels between speciﬁed in and out

points can be erased, copied, moved/merged, or trimmed.

1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Job page.

2 Use the cursor buttons to select the channels to edit, then press [ENTER] to

set them.

You can select multiple Input Channels, Bus Outs, Aux Outs, Stereo Out, and the Fader

Group Master. When you select a channel, its button is highlighted. (You can select multiple

channels.)

ALL SELECT: The ALL SELECT button selects all channels.

ALL CLEAR: The ALL CLEAR button de-selects all channels.

3 Use the cursor buttons to select the IN and OUT parameters, then use the

Parameter wheel, INC/DEC buttons or [ENTER] button to specify the edit

range.

TIME SETTING: The IN and OUT parameters are used to specify the region of Automix

data to be erased, copied, moved/merged, or trimmed. The IN and OUT points can be set

on-the-ﬂy by pressing the [ENTER] button while the IN or OUT button is selected. The

captured timecode values can be edited by using the Parameter wheel or the INC/DEC but-

tons. Press the [ENTER] button to reset the currently selected digits to “00.” Up to eight IN

and OUT timecode values can be captured and stored in the eight Capture memories. Use

the cursor buttons to select the Capture memory number, and use the Parameter wheel or

the INC/DEC buttons to select the Capture memories.

4 Use the cursor buttons to select a Job, then press [ENTER].

The following Jobs are available. Certain Jobs feature an additional parameter below the

TIME SETTING section.

ERASE: The ERASE button erases speciﬁed Automix data.

COPY: The COPY button copies speciﬁed Automix data. This Job features a SOURCE sec-

tion and COPY TO section (below the TIME SETTING section).

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02R96 Version 2—Owner’s Manual

The SOURCE section enables you to select the copy source Automix. You can select CUR-

RENT (the current Automix) or MEM (any Automix from 1 to 16).

The TIME parameter determines the point to which the speciﬁed data is copied. The num-

ber in parentheses on the right indicates the end point of the copy destination. You can set

the TIME parameter on-the-ﬂy by selecting the TIME button, then pressing [ENTER]. You

can edit the captured timecode value using the Parameter wheel or INC/DEC buttons. Press

[ENTER] to reset the currently-selected digit to “00.”

The CH parameter speciﬁes the channel to which the speciﬁed data will be copied. The

number of destination channels depends on the speciﬁed number of copy source channels.

For example, if Input Channels 1 though 8 are speciﬁed as the source, then the number of

destination channels will be eight (8). Destination channels are contiguous and only the

ﬁrst channel in the range can be speciﬁed. The number in parentheses on the right indicates

the last channel in the copy destination.

You cannot copy from Input Channels to Output Channels. Also, even within Output

Channels, you cannot copy between Aux and Bus channels.

TRIM: The TRIM button trims the speciﬁed Automix data. This Job includes a TRIM

EDIT section below the TIME SETTING section.

The IN parameter determines the amount of time required for the faders to achieve the

speciﬁed trim amount. The OUT parameter determines the amount of time required for

the faders to return to the previous levels. The LEVEL parameter speciﬁes the fader trim

amount in the range of –96 dB to +96 dB.

Time

Trim: –

TRIM IN

TRIM OUT

IN OUT

Trimmed data

Existing data

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02R96 Version 2—Owner’s Manual

MOVE/MERGE: This Job features a SOURCE section and a MOVE TO (MERGE TO)

section below the TIME SETTING section. The function of this button changes depending

on the SOURCE section setting. If you select CURRENT (current Automix) in the

SOURCE section, this button becomes the MOVE button, which enables you to move the

speciﬁed range of Automix data to another position. If you select MEM (Automix memo-

ries 1–16) in the SOURCE section, this button becomes the MERGE button, which enables

you to merge the speciﬁed range of Automix data with other Automix data.

The SOURCE section enables you to select the move/merge source Automix. You can select

CURRENT (the current Automix) or MEM (any Automix from 1 to 16).

The TIME parameter determines the point to which the speciﬁed data is moved or merged.

The number in parentheses on the right indicates the end point of the move/merge desti-

nation. You can set the TIME parameter on-the-ﬂy by selecting the TIME button, then

pressing [ENTER]. You can edit the captured timecode value using the Parameter wheel or

the INC/DEC buttons. Press the [ENTER] button to reset the currently-selected digit to

“00.”

The CH parameter speciﬁes the channel to which the speciﬁed data will be moved or

merged. The number of destination channels depends on the number of move/merge

source channels speciﬁed. For example, if Input Channels 1 though 8 are speciﬁed as the

source, then the number of destination channels will be eight (8). Destination channels are

contiguous and only the ﬁrst channel in the range can be speciﬁed. The number in paren-

theses on the right indicates the last channel of the move/merge destination.

You cannot move or merge from Input Channels to Output Channels. Also, even within

Output Channels, you cannot move or merge between Aux and Bus channels.

5 Use the cursor buttons to select the EXEC button, then press [ENTER].

The PARAMETERS window appears, which enables you to select the parameters to be

edited, and to perform the selected Job.

When you select a parameter, its button is highlighted. You can specify multiple parameters.

Double-clicking a non-highlighted parameter button will display a message conﬁrming

that you wish to highlight all parameter buttons. Double-clicking a highlighted parameter

button will display a message that you wish to unhighlight all parameter buttons.

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02R96 Version 2—Owner’s Manual

These buttons correspond to the following parameters:

6 Use the cursor buttons to select the EXEC button, then press [ENTER].

When the conﬁrmation message appears, select YES to execute the Job.

BACK: Select this button to return to the previous page without executing the Job.

Event Edit Page

On the Event Edit page, you can edit, duplicate, delete, and insert new events.

1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Edit page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

Event list: Automix events are listed in chronological order. The type of events listed

depends on the Event select buttons. Use the cursor buttons to select event parameters.

While the cursor is on the SYNC, DUPLICATE, DELETE, SELECTED CH, or Event select

buttons, you can use the Parameter wheel or the INC/DEC buttons to scroll the list. While

the cursor is inside the event list, you can use these controls to edit event parameters. The

triangular cursor at the left side of the list indicates the currently selected event. When an

event’s timecode value is edited, the list is resorted automatically.

Button Events

FADER

Channel Fader events (Inputs Channels, Bus Out masters, Aux Send masters,

Group master levels, and the Stereo Out)

Channel Mute events, Group master ON

PAN

Input Channel pan events

SURR

Input Channel surround pan, LFE level, DIV parameter events, and RDIV param-

eter events

Channel EQ events

LIB

Channel library recall events

GATE

Gate library recall events

COMP

Comp library recall events

EQ library recall events

SCENE

Scene recall events

FX LIB 1–4

Effects library recall events of each internal effects processor

AUX 1–8

Level events of each Aux Send

ON 1–8

Mute events of each Aux Send

REMOTE 1

User Deﬁned Remote Layer events

EFFECT 1–4

Parameter events for each internal effects processor

PLUG-IN 1–4

Parameter events for each Plug-In

Event Edit Page 189

02R96 Version 2—Owner’s Manual

SYNC button: This button is used to synchronize the list to the current timecode posi-

tion. When pressed, events closest to the current timecode position are displayed. This

function can be used during Automix playback.

DUPLICATE button: This button is used to duplicate events. Use the Parameter wheel to

select an event, select the DUPLICATE button, and then press [ENTER]. A duplicate event

is inserted below the currently selected event. If there are no events in the list, you can use

this button to insert a new event of the type speciﬁed by the Event select buttons.

DELETE button: This button is used to delete events. Use the Parameter wheel to select

an event, select the DELETE button, and then press [ENTER].

SELECTED CH: When this option is on, only events of the currently selected channel are

displayed. All Scene recall and effects library recall events are displayed regardless of this

option. For paired channels, only events of the currently selected channel are displayed.

Event select buttons: These buttons are used to select the type of events to be displayed

in the event list.

INSERT button: This button is used to insert new events. Use the Event select buttons to

select the type of event that you want to insert. Use the Captured timecode counter to spec-

ify the point at which you want to insert the new event. Select the INSERT button, and then

press [ENTER].

LOCATE button: This button is used to locate events at the Capture memory display

position.

Capture memory display: This displays the captured timecode position. The captured

timecode values can be edited by using the Parameter wheel or the INC/DEC buttons. Press

the [ENTER] button to reset the currently selected digits to “00.”

CAPTURE button: This button is used to capture the current timecode position. Up to

eight timecode values can be captured and stored in the eight Capture memories. Use the

cursor buttons to select the Capture memory number, and use the Parameter wheel or the

INC/DEC buttons to select the Capture memories. Capture memories can be selected even

while the CAPTURE, LOCATE, or INSERT button is selected.

If the Auto Inc TC capture preference is on (see page 233), Capture memories increment

automatically each time a timecode position is captured.

If the Link Capture & Locate Memory preference is on (see page 233), the eight Capture

memories are linked to the eight Locate memories so that, for example, edits made to Cap-

ture memory #1 are reﬂected on Locate memory #1, and vice versa.

Button Events Listed List Format

SCENE/LIB

Library and Scene recall events TIME CODE, CH, SCENE/LIB

FADER

Channel faders (Inputs Channels, Bus Out masters,

Aux Send masters, Group master levels, and the Ste-

reo Out)

TIME CODE, CH, dB, SEC

Channel Mutes (ON/OFF) TIME CODE, CH, ON/OFF

PAN

Pan TIME CODE, CH, L-C-R

SURR-PAN Surround pan TIME CODE, CH, SURR

SURR-LFE Surround LFE TIME CODE, CH, dB

SURR-DIV Surround DIV TIME CODE, CH, DIV

SURR-RDIV Surround RDIV TIME CODE, CH, DIV

EQ-ON EQ ON/OFF TIME CODE, CH, ON/OFF

EQ-FREQ EQ Frequency TIME CODE, CH, BAND/Hz

EQ-Q EQ Q TIME CODE, CH, BAND/Q

EQ-GAIN EQ Gain TIME CODE, CH, BAND/dB

AUX

Aux Send 1–8 levels TIME CODE, CH, AUX, dB

AUX ON

Aux Send 1–8 mutes TIME CODE, CH, AUX, ON/OFF

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17 MIDI

MIDI & the 02R96

The 02R96 supports the following MIDI messages:

•Program Changes for recalling Scenes (see page 193)

•Control Changes for real-time parameter control (see page 194)

•System Exclusive Parameter Changes for real-time parameter control (see page 194)

• MIDI Note On/Off for Freeze effect etc. (see page 275)

•Bulk Dump for transmitting Scene, library, and setup data (see page 195)

•MTC and MIDI Clock for Automix synchronization (see page 177)

• MMC for external machine control (see page 222)

•User Deﬁned Plug-Ins transmit user-speciﬁed MIDI data when Parameter controls 1–4 are

operated (see page 158)

•User Deﬁned Remote Layer transmits user-speciﬁed MIDI data when the channel strip fad-

ers, Encoders, and [ON] buttons are operated (see page 219)

•Predeﬁned Remote Layers for controlling popular DAWs (Digital Audio Workstations),

including Pro Tools (see page 196)

MIDI I/O

The 02R96 features four types of interface for transmitting and receiving MIDI data:

• Standard MIDI ports

•TO HOST USB port

•TO HOST SERIAL port

•SLOT1 (for use with an optional mLAN I/O Card installed in Slot #1)

TO HOST SERIAL and TO HOST USB are multiport interfaces, with eight ports each.

When the 02R96 receives MIDI data via any of these interfaces, the MIDI indicator appears

on the display (see page 44).

If you are connecting a Windows computer to the TO HOST USB or TO HOST SERIAL

port, you must install and use the YAMAHA CBX Driver for Windows and the YAMAHA

USB Driver for Windows, which are included on the supplied CD-ROM.

If you plan to connect a Macintosh computer to the TO HOST USB port, you must install

and use the YAMAHA USB Driver for Macintosh, or the YAMAHA USB Driver for MacOS

X. If you are using MacOS 8.6–9.2.2, you must install OMS 2.3.3 in the Macintosh.

If you plan to connect a Macintosh computer running MacOS 8.6–9.2.2 to the TO HOST

SERIAL port on the 02R96, you must install OMS 2.3.3 in the Macintosh.

MIDI Port Setup

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MIDI Port Setup

MIDI ports are conﬁgured as follows.

Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup

page.

Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

TO HOST SERIAL:

These buttons are used to conﬁgure the TO HOST SERIAL port for

use with either a Mac or PC.

GENERAL:

These parameters are used to select ports for general MIDI data transmission

and reception, including Program Changes for recalling Scenes, Control Changes for

real-time parameter control, and Note On/Off for use with the Freeze effect. Available ports

include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1.

MIDI THRU:

These parameters allow you to route the incoming MIDI data from one port

through to another port. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1.

REMOTE1:

This parameter is used to select a port for the Remote Layer. Available ports

include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1. If Pro Tools is selected as the target for a

Remote Layer, “Pro Tools” is displayed here and no settings can be made.

Studio Manager:

These parameters are used to select a port for use with the Studio

Manager software and to assign the 02R96 an ID from 1 to 8. Available ports include: MIDI,

SERIAL 1–8, USB 1–8, and SLOT1. See the Studio Manager documentation for more infor-

mation.

DAW:

These parameters are used to select ports for use with DAWs. Since four ports are

required to control DAWs, ports are selected in groups of four, as follows: 1–4, 2–5, 3–6,

4–7, 5–8. Available ports include: SERIAL, USB, and SLOT1.

PLUG-IN1–4:

These parameters are used to select ports for use with the Plug-Ins. If a

Waves Plug-In card is installed in a Slot, the number of that Slot is displayed and no settings

can be made. If the Plug-In target is set to USER DEFINED, you can select a port from

MIDI, SERIAL 1–8, USB 1–8, or SLOT1. Ports for User Deﬁned Plug-Ins can also be set on

the Plug-In Setup page (see page 159).

Caution: When a PC is connected to the TO HOST SERIAL port, do not set this to Mac

because your PC may crash.

Note: Some functions cannot share ports. If you try to assign a port that’s already assigned to

such a function, the message “Change Port?” appears. If you select YES, the port will be assigned

to the selected function and the previously assigned function will be set to “NO ASSIGN.”

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MIDI Channel Setup

MIDI Channels for reception and transmission are speciﬁed as follows.

1 Use the DISPLAY ACCESS [MIDI] button to locate the MIDI Setup page.

2 Use the cursor buttons or Parameter wheel to select the parameters, and use

the INC/DEC buttons or [ENTER] button to set them.

Select MIDI channels for transmission and reception in the CHANNEL row, and turn the

transmission and reception of each MIDI message on or off using the buttons in the param-

eter rows from PROGRAM CHANGE to OTHER COMMANDS.

CHANNEL

This parameter row enables you to specify MIDI Channels for MIDI message transmission

and reception. The following parameters are available in this row:

Tx: This parameter box speciﬁes a MIDI Transmit Channel.

Rx: This parameter box speciﬁes a MIDI Receive Channel.

PROGRAM CHANGE

This parameter row enables or disables transmission and reception of Program Changes.

Tx ON/OFF: Tr ansmission of Program Change messages is enabled or disabled.

Rx ON/OFF: Reception of Program Change messages is enabled or disabled.

OMNI ON/OFF: When this button is turned on, Program Changes on all MIDI Channels

are received regardless of the CHANNEL row settings.

ECHO ON/OFF: This button determines whether Program Change messages received at

the MIDI IN port are echoed through to the MIDI OUT port.

CONTROL CHANGE

This parameter row enables or disables transmission and reception of Control Changes.

Tx ON/OFF: Tr ansmission of Control Change messages is enabled or disabled.

Rx ON/OFF: Reception of Control Change messages is enabled or disabled.

ECHO ON/OFF: This button determines whether Control Change messages received at

the MIDI IN port are echoed through to the MIDI OUT port.

PARAMETER CHANGE

This parameter row enables or disables transmission and reception of Parameter Changes.

Tx ON/OFF: Tr ansmission of Parameter Change messages is enabled or disabled.

Rx ON/OFF: Reception of Parameter Change messages is enabled or disabled.

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02R96 Version 2—Owner’s Manual

ECHO ON/OFF: This button determines whether Parameter Change messages received

at the MIDI IN port are echoed through to the MIDI OUT port.

BULK

This parameter row enables or disables reception of Bulk Dump data.

Rx ON/OFF: Reception of Bulk Dump data is enabled or disabled.

OTHER COMMANDS

ECHO ON/OFF: This button determines whether other MIDI messages received at the

MIDI IN port are echoed through to the MIDI OUT port.

Fader Resolution

HIGH/LOW: This parameter speciﬁes the resolution of the value output when you oper-

ate the 02R96’s faders. To transfer fader value data between two cascaded 02R96s, or to

record the 02R96 operation to or play it back from a sequencer, select the HIGH button.

When the LOW button is selected, the fader resolution switches to 256 steps.

Assigning Scenes to Program Changes

02R96 Scenes can be assigned to MIDI Program Changes for remote recall. When a Scene

is recalled on the 02R96, the assigned Program Change number is transmitted. If that Scene

is assigned to more than one Program Change, the lowest Program Change is transmitted.

Likewise, when a Program Change message is received, the assigned Scene is recalled. You

must set the MIDI Setup parameters in order to transmit and receive Program Change mes-

sages (see page 192).

Initially, Scenes 1 through 99 are assigned sequentially to Program Changes 1 through

99. Scene #0 is assigned to Program Changes #100.

A Scene to Program Change assign-

ment table, listing initial assignments and with space to note user assignments, is provided

on page 302. This table can be stored to an external MIDI device, such as a MIDI data ﬁler,

by using MIDI Bulk Dump (see page 195).

1 Use the DISPLAY ACCESS [MIDI] button to locate the Program Change

Assign Table page.

2 Use the cursor buttons to select the PGM CHG. column, and use the Param-

eter wheel or INC/DEC buttons to select the Program Changes.

3 Use the cursor buttons to select the SCENE No/TITLE column, and use the

Parameter wheel or INC/DEC buttons to select Scenes.

You can initialize the Scene to Program Change assignment table by selecting the INITIAL-

IZE button, and then pressing [ENTER].

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Assigning Parameters to Control Changes

02R96 parameters can be assigned to MIDI Control Changes for real-time control. When a

parameter is adjusted on the 02R96, the assigned Control Change message is transmitted.

Likewise, when a Control Change message is received, the assigned 02R96 parameter is set.

You must set the MIDI Setup parameters in order to transmit and receive Control Change

messages (see page 192).

A Parameter to Control Change assignment table, listing the initial assignments, is provided

on page 303. This table can be stored to an external MIDI device, such as a MIDI data ﬁler,

by using MIDI Bulk Dump (see page 195).

1 Use the DISPLAY ACCESS [MIDI] button to locate the Control Change Assign

Table page.

2 Use the cursor buttons to select the MODE TABLE button, and press [ENTER].

In TABLE mode, when 02R96 parameters are adjusted, MIDI Control Change messages are

transmitted in accordance with the assignments on this page. In NRPN mode, when 02R96

parameters are adjusted, predeﬁned NRPNs (Non Registered Parameter Number) are

transmitted.

3 Use the cursor buttons to select the No. (CH) column, and use the Parameter

wheel or INC/DEC buttons to select the Control Changes.

4 Use the cursor buttons to select the three PARAMETER columns, and use the

Parameter wheel or INC/DEC buttons to select the parameters.

Parameters with more than 128 steps require two or more Control Change messages for

MIDI transmission and reception. Certain Delay parameters and the faders are divided into

L and H parameters. Delay Time parameters are divided into LOW, MID, and HIGH

parameters. For accurate transmission, all parameters (e.g., both L and H for faders) must

be assigned to individual Control Changes.

You can initialize the Parameter to Control Change assignment table by selecting the INI-

TIALIZE button, and then pressing [ENTER].

Controlling Parameters by Using Parameter Changes

02R96 parameters can be controlled in real time by using Parameter Change messages,

which are System Exclusive messages. When a parameter is adjusted on the 02R96, a Param-

eter Change message is transmitted. Likewise, when a Parameter Change message is

received, a 02R96 parameter is adjusted. See “MIDI Data Format” on page 319 for detailed

information. You must set the MIDI Setup parameters in order to transmit and receive

Parameter Change messages (see page 192).

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02R96 Version 2—Owner’s Manual

Using Bulk Dump

02R96 data can be stored to an external MIDI device, such as a MIDI data ﬁler, by using

MIDI Bulk Dump.

1 Use the DISPLAY ACCESS [MIDI] button to locate the Bulk Dump page.

2 To transmit data, use the CATEGORY parameters to select the type of data

you want to transmit, select the TRANSMIT button, and then press [ENTER].

The INTERVAL parameter sets the interval between data packets during transmission.

The CATEGORY parameters can be set as follows:

ALL: All data.

SCENE MEM: ALL Scenes, individual Scenes, or current (i.e., the Edit buffer).

AUTOMIX: ALL Automixes, individual Automixes, or the current Automix.

LIBRARY: The following libraries: EQ, Gate, Comp, Channel, Effects, Bus to Stereo, Input

Patch, Output Patch, Surround Monitor. For each library you can specify ALL user memo-

ries, individual user memories, and for the Bus to Stereo, Input Patch, Output Patch, Sur-

round Monitor libraries you can also specify the current settings.

BANK: User Deﬁned Remote Layer banks (RMT UDEF), User Deﬁned Plug-Ins banks

(PLUG UDEF), User Deﬁned Keys banks (KEYS UDEF), or the USER ASSIGNABLE

LAYER banks (USR LAYER). For each item you can specify ALL or individual banks.

SETUP MEM: 02R96 setup data (i.e., system settings).

PGM TABLE: Scene to MIDI Program Change table. See “Assigning Scenes to Program

Changes” on page 193.

CTL TABLE: Parameter to MIDI Control Change table. See “Assigning Parameters to Con-

trol Changes” on page 194.

PLUG-IN: The settings of any installed Y56K cards. You can specify ALL Slots or Slot 3 or 4.

3 You can also transmit 02R96 data via a MIDI cable. To receive data, use the

CATEGORY parameters to select the type of data you want to receive, select

the REQUEST button, then press [ENTER].

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18 Pro Tools Remote Layer

The 02R96 features a Remote Layer target especially designed for controlling Pro Tools.

If an optional MB02R96 Peak Meter Bridge is installed, Pro Tools channel levels are dis-

played on its meters.

Conﬁguring Windows Computers

1 Connect your PC.

The 02R96 can be connected to your Windows PC by connecting the TO HOST SERIAL

port to a suitable RS232 serial port on your PC, or by connecting the TO HOST USB port

to a USB port on your PC. If you use the TO HOST SERIAL port, make sure that the TO

HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to PC-2 (see page 191).

2 Install the necessary drivers.

Once your PC is connected, you’ll need to install the TO HOST SERIAL or TO HOST USB

drivers included on the 02R96 CD-ROM.

Conﬁguring Macintosh Computers (MacOS 8.6 to 9.2.2)

1 Connect your Mac.

The 02R96 can be connected to your Mac by connecting the TO HOST SERIAL port to

either the Printer or Modem port on your Mac, or by connecting the TO HOST USB port

to a USB port on your Mac. If you use the TO HOST SERIAL port, make sure that the TO

HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to Mac (see page 191).

2 Install OMS.

The 02R96 communicates with Pro Tools via OMS (Open Music System) software. If you

already have OMS installed on your Mac, there’s no need to install it again and you can

move on to the next section. If you don’t already have OMS installed, it’s included on the

02R96 CD-ROM. Refer to the OMS documentation included on the 02R96 CD-ROM for

more information on installing.

3 Install Yamaha USB MIDI driver 1.04 or later.

If you are using the TO HOST USB port, you must also install the Yamaha USB MIDI driver

included on the 02R96 CD-ROM. See the included documentation for more information.

Conﬁguring Macintosh Computer (MacOS X)

1 Connect the 02R96 TO HOST USB port to a USB port on your Mac.

2 Install the Yamaha USB MIDI Driver for MacOS X on the computer.

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Conﬁguring the 02R96

1 Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup

page, and use the DAW parameter to specify the port to which Pro Tools is

connected.

See “MIDI Port Setup” on page 191 for more information.

2 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page, and

set the target to Pro Tools.

See “Assigning a Target to the Remote Layer” on page 219 for more information.

3 Use the LAYER [REMOTE] button to select the Remote Layer.

When the Pro Tools Remote Layer is selected, the 02R96’s control surface controls Pro

To ols, not the 02R96. In order to control the 02R96, you need to select an Input Channel

Layer or the Master Layer. Audio mixing on the other Layers and Automix continues while

the Pro Tools Layer is selected.

Conﬁguring Pro Tools

Pro Tools needs to be conﬁgured as follows. For more information, see your Pro Tools doc-

umentation.

1 Launch Pro Tools.

2 If you are using MacOS 8.6 - 9.2.2, choose OMS Studio Setup from the Setups

menu, and conﬁgure OMS as necessary.

This screen shot shows the Yamaha USB MIDI driver with eight ports. An OMS-compatible

device proﬁle for the 02R96 is included on the 02R96 CD-ROM. See the included docu-

mentation for more information.

3 Choose Peripherals from the Setups menu.

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4 When the Peripherals window appears, click the MIDI Controllers button.

5 Select HUI as the Type of controller for #1–#3, and select MCS PANNER for

#4 to enable use of the Joystick.

6 Select the Receive From and Send To ports, and then click OK.

The 02R96 can emulate up to three typical 8-channel Pro Tools MIDI controllers. A single

MIDI port is required for every eight channels. So, you must conﬁgure MIDI Controller #1

to use channels 1 through 8, MIDI Controller #2 to use channels 9 through 16, and MIDI

Controller #3 to use channels 17 through 24.

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Control Surface Operation with the Pro Tools Remote Layer

This section explains the operation of the 02R96 control surface when the Pro Tools Remote

Layer is selected. 02R96 buttons and controls are referred to by the names printed on the

02R96 with the name of the corresponding Pro Tools function in parenthesis. For example,

“Press the AUX SELECT [AUX 1] (SEND A) button.”

Display

This is the Pro Tools Remote Layer page, the various sections of which are explained below.

F2 (INSERT), F3 (CHANNEL), F4 (METER) buttons

These buttons are used to select the following display modes:

• [F2]—Insert Assign/Edit Display mode (see page 200)

• [F3]—Channel Display mode (see page 200)

• [F4]—Meter Display mode (see page 201)

TARGET

This parameter cannot be changed here. To change the target for this Layer, you must ﬁrst

select another Layer, and then press the DISPLAY ACCESS [REMOTE] button. See “Assign-

ing a Target to the Remote Layer” on page 219 for more information.

COUNTER

This counter works in unison with the timecode counter

in Pro Tools. The display format is speciﬁed in Pro Tools.

The three check boxes indicate the currently selected for-

mat, as follows:

TIME CODE: Pro Tools timecode format set to “Time Code.”

FEET: Pro Tools timecode format set to “Feet:Frames.”

BEATS: Pro Tools timecode format set to “Bars:Beats.”

When the Pro Tools timecode format is set to “Minutes:Seconds” or “Samples,” no check

boxes are selected.

CURSOR MODE

The currently selected Cursor mode is displayed here: NAVIGA-

TION, ZOOM, or SELECT. Cursor modes are selected by using the

[INC] (CURSOR MODE) button.

SELECT ASSIGN

This indicates the current function of the Encoders. For example,

Pan (PanR), SndA, SndB, SndC, SndD, or SndE.

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INSERT ASSIGN/EDIT Display Mode

Press the [F2] button to select this mode.

ASSIGN: This indicator ﬂashes when the EFFECTS/PLUG-INS [1] (ASSIGN) button is

pressed. See “Assigning Inserts/Plug-ins” on page 212 for more information.

COMPARE: This indicator appears highlighted when the EFFECTS/PLUG-INS [2]

(COMPARE) button is pressed. See “Editing Plug-ins” on page 213 for more information.

BYPASS: This indicator appears highlighted when the EFFECTS/PLUG-INS [3]

(BYPASS) button is pressed. See “Editing Plug-ins” on page 213 and “Bypassing Plug-ins”

on page 214 for more information.

INSERT: This indicator appears highlighted when the EFFECTS/PLUG-INS [4]

(INSERT/ASSIGN) button is pressed. See “Editing Plug-ins” on page 213 for more infor-

mation.

INSERT/PARAM Display

This section displays mainly insert and plug-in-related information, although other mes-

sages are also displayed here.

Encoder Display

This section displays information about the Parameter controls 1–4. The SEL indicators

show the on/off status of the Parameter control push-switches. The rotary control indica-

tors show the positions of the Parameter controls. The “O” symbol below each Parameter

control shows the automation status for each Parameter control.

Channel Display Mode

Press the [F3] button to select this display mode.

In this display mode, controls for the parameters currently assigned to the Encoders are dis-

played (e.g., pan or aux send). When displaying panpots, the small circles inside the

Encoder icons are highlighted when pan is at center. The name of each channel is displayed

below the Encoder icons. Automation mode settings, aux send destinations, and aux send

pre/post settings can also be displayed here. See “Viewing the Automation Mode” on

page 216, “Viewing Send Destinations” on page 210, and “Conﬁguring Sends as Pre or

Post” on page 210 respectively for more information.

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Meter Display Mode

Press the [F4] button to select this display mode.

In this display mode, stereo meters for each channel are displayed. The name of each chan-

nel is displayed below the meters. Automation mode settings, aux send destinations, and

aux send pre/post settings can also be displayed here. See “Viewing the Automation Mode”

on page 216, “Viewing Send Destinations” on page 210, and “Conﬁguring Sends as Pre or

Post” on page 210 respectively for more information.

Channel Strips

02R96 channel strips correspond to Pro Tools channels from left to right, with the

leftmost Pro Tools channel being handled by 02R96 channel strip #1. You can

change the order of channel strips by dragging the channel select buttons in Pro

To ols, in which case the 02R96 automatically reorders its channel strips. By using

the USER DEFINED KEYS, Pro Tools channels can be scrolled in banks of 24 (see

page 206).

Encoders & Push-Switches

The Encoders are used to set pan and send levels. The Encoder push-switches are used to

reset send levels and panpots and to set sends to pre or post fader. Their exact operation

depends on the currently selected Encoder mode, as shown in the following table.

[AUTO] buttons

These buttons are used in conjunction with USER DEFINED KEYS [3–8] to set the Auto-

mation mode of each channel. See “Setting the Automation Mode” on page 216 for more

information.

[SEL] buttons

These buttons are used to select channels (see page 209) and to select inserts (see page 213).

[SOLO] buttons

These buttons are used to solo channels. See “Soloing Channels” on page 210 for more

information.

[ON] buttons

These buttons are used to mute channels. See “Muting Channels” on page 209 for more

information.

Encoder Mode Encoder Push-switches

[PAN]

Pan (see page 209) Reset pan (see page 214)

[SEND LEVEL]

Send levels (see page 210)

Send pre/post (see page 210)

Reset send levels (see page 214)

SOLO

SEL

AUTO

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Faders

The faders are used to set channel levels (see page 209), or to set send levels in Flip

mode (see page 211).

AUX SELECT Section

AUX SELECT [AUX 1]–[AUX 5] buttons are used to select sends A–E. The button indicator

of the currently selected send lights up.

ENCODER MODE Section

[PAN] (PAN) button

When this button is pressed, the Encoders work as channel panpots. Its indicator lights up

when it’s pressed. See “Panning Channels” on page 209 for more information.

[AUX] (SEND LEVEL) button

When this button is pressed, the Encoders work as send level controls. Its indicator lights

up when it’s pressed, and send A is selected automatically. If the Encoders are currently set

to control pan, its indicator lights automatically when one of the AUX SELECT

[AUX 1]–[AUX 5] (SEND A–E) buttons is pressed.

FADER MODE Section

[FADER] & [AUX] buttons

These buttons are used to select Flip mode, in which faders, Encoders, and [ON] buttons

can be used to control sends. See “Flip Mode” on page 211 for more information.

(SEND B)(SEND A) (SEND C) (SEND D)

(SEND E)

AUX 2AUX 1 AUX 3 AUX 4

AUX 5

AUX SELECT

DISPLAY

PAN SEND LEVEL

AUXPAN

ENCODER MODE

DISPLAY

AUXFADER

FADER MODE

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EFFECTS/PLUG-INS Section

[DISPLAY] (SHOW INSERT) button

This button is used to open and close plug-in windows.

[PLUG-INS] (DEFAULT) button

This button is used in conjunction with other controls to reset faders, panpots, and sends

to their default values. See “Resetting Faders, Sends, & Panpots” on page 214 for more infor-

mation.

[CHANNEL INSERTS]

This button determines the operation of the [SEL] buttons. When its indicator is off (Chan-

nel Select mode), [SEL] buttons select channels (see page 209). When its indicator is on

(Insert Select mode), they select inserts/plug-ins (see page 213).

[1] (ASSIGN) button

This button is used in conjunction with other controls to assign inserts/plug-ins to chan-

nels. See “Assigning Inserts/Plug-ins” on page 212 for more information.

[2] (COMPARE) button

This button is used to compare plug-in edits before and after. See “Editing Plug-ins” on page

213 for more information.

[3] (BYPASS) button

This button is used to bypass plug-ins. See “Editing Plug-ins” on page 213 and “Bypassing

Plug-ins” on page 214 for more information.

[4] (INSERT/PARAM) button

This button is used in conjunction with other controls when editing plug-ins. See “Editing

Plug-ins” on page 213 for more information.

Parameter Up ( SCROLL) & Parameter Down

(SCROLL ) buttons

These buttons are used to scroll parameters when assigning inserts and editing plug-ins. See

“A ssigning Inserts/Plug-ins” on page 212 and “Editing Plug-ins” on page 213 for more

information.

(COMPARE)(ASSIGN) (BYPASS)

(DEFAULT)

(INSERT/PARAM)

( SCROLL)

(SCROLL )

(SHOW

INSERT)

EFFECTS / PLUG INS

CHANNEL

INSERTS

PLUG INS

1234

DISPLAY

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SELECTED CHANNEL Section

■ ROUTING

[1] button

Selects the previous track to be controlled by the Joystick.

[2] button

Selects the next track to be controlled by the Joystick.

[3] button

Functions the same as the [OPTION] key on a computer keyboard.

[4] button

Switches between L and R of the selected track. The [4] button indicator lights up when the

R channel is selected.

[5] button

Selects Main, or Send (in this order) for the selected track.

[6] button

Switches the mode of the knob controls for the panner. The [6] button indicator lights up

or turns off.

[7] button

Selects Send, or Main (in this order) for the selected track.

[8] button

Mutes or unmutes the selected track. The [8] button indicator lights up while the track is

muted.

[DIRECT] button

Functions the same as the [SHIFT] key on the computer keyboard.

STEREOFOLLOW PAN DIRECT

DISPLAY

ROUTING

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■ DYNAMICS

[THRESHOLD] control

If the ROUTING [6] button indicator is off, the [THRESHOLD] control adjusts the front

position. If the ROUTING [6] button indicator is lit, the control adjusts the front diver-

gence.

[RANGE/RATIO] control

If the ROUTING [6] button indicator is off, the [RANGE/RATIO] control adjusts the rear

position. If the ROUTING [6] button indicator is lit, the control adjusts the rear divergence.

[ATTACK] control

If the ROUTING [6] button indicator is off, the [ATTACK] control adjusts the F/R

(front/rear) position. If the ROUTING [6] button indicator is lit, the control adjusts the F/R

(front/rear) divergence.

[DECAY/RELEASE] control

If the ROUTING [6] button indicator is off, the [DECAY/RELEASE] control adjusts the

LFE level. If the ROUTING [6] button indicator is lit, this control adjusts the center per-

centage.

[HOLD/GAIN] control

Adjusts the channel volume.

■ PAN/SURROUND

[GRAB] button

Press this button, turning on the button indicator, then operate the Joystick to quickly set

the pan position.

Joystick

Operating the Joystick while the [GRAB] button indicator is turned on enables you to

quickly set the pan position.

GATE ON COMP ON

GATE

COMP

RANGE

RATIO

ATTAC K

ATTAC KTHRESHOLD

THRESHOLD

DYNAMICS

DISPLAY

GATE / COMP

DECAY

RELEASE

HOLD

GAIN

LINK GRAB EFFECT

EVEN

PAN/SURROUND

DISPLAY

ODD

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USER DEFINED KEYS Section

[DISPLAY] (AUTO STATUS) button

This button is used to display the Automation mode settings of all channels. See “Viewing

the Automation Mode” on page 216 for more information.

[1] (MIX/EDIT)

This button is used to toggle between the Mix and Edit windows.

[2] (SUSPEND) button

This button is used to temporarily suspend all automation recording and playback. Its indi-

cator ﬂashes while automation is suspended.

[3] (WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), [8] (OFF)

buttons

These buttons are used in conjunction with the channel strip [AUTO] buttons to set the

Automation mode of each channel strip. See “Setting the Automation Mode” on page 216

for more information.

[9] ( BANK) & [10] (BANK ) buttons

These buttons are used to swap channel banks 24 channels at a time.

[11] (FADER), [12] (MUTE), [13] (PAN), [14] (SEND), [15] (SEND MUTE),

[16] (PLUG-IN) buttons

These buttons are used to select parameters for automation recording and playback. See

“A r ming Parameters for Automation” on page 217 for more information.

(AUTO

STATUS)

( BANK) (BANK )

(MIX/EDIT) (SUSPEND) (WRITE) (TOUCH) (LATCH) (READ) (TRIM) (OFF)

(FADER) (MUTE) (PAN) (SEND) (SEND MUTE) (PLUG-IN)

USER DEFINED KEYS

12345678

910111213141516

DISPLAY

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MACHINE CONTROL Section

[DISPLAY] (MEM-LOC) button

This button is used to open and close the Memory Locations window.

LOCATE MEMORY [1–8] buttons

These buttons perform the same transport-related functions as the 1–8 number keys on a

Macintosh keyboard. If you set the Numeric keypad Mode in Pro Tools to “Classic” (Setups

menu, Preferences), these buttons can be used to directly locate markers 1–8.

[REW] button

This button rewinds from the current cursor position (it’s non-latching).

[FF] button

This button fast forwards from the current cursor position (it’s non-latching).

[STOP] button

This button stops playback and recording.

[PLAY] button

This button starts playback from the current cursor position.

[REC] button

This button arms Pro Tools for recording ([REC] button indicator ﬂashing), recording is

started by pressing the [PLAY] button ([REC] button indicator lit continuously).

The MACHINE CONTROL section enables you to control Pro Tools only while the DAW

CONTROL option is turned on either on the Locate Memory page (see page 224) or on the

Machine Conﬁguration page (see page 222), regardless of which layer is currently selected.

(MEM-LOC)

REC

REW FF

STOP PLAY

SET

DISPLAY

MACHINE CONTROL

LOCATE MEMORY

1234

5678

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Data Entry Section

Parameter Wheel

The Parameter wheel is used for shuttling and scrubbing (see page 215). It’s also used for

making ﬁne adjustments to the selected region (see page 215).

[SHUTTLE] & [SCRUB] buttons

These buttons are used to select the Shuttle and Scrub modes. See “Scrub & Shuttle” on page

215 for more information. These buttons are mutually exclusive with the [QUICK

PUNCH] and [LOOP] buttons. Also, the cursor in the window on the computer monitor

disappears.

[ENTER] button

This button works the same as the Enter key on your computer keyboard. Pressing it opens

the New Memory Location dialog box. While a dialog box is open, pressing it performs the

same action as clicking the OK button.

[DEC] (ESC) button

For the most part, this button works the same as the Esc key on your computer keyboard.

While a dialog box is open, pressing it performs the same action as clicking the Cancel but-

ton.

[INC] (CURSOR MODE) button

This button is used to select the following cursor modes: Navigation (see page 214), Zoom

(see page 215), and Select (see page 215).

Cursor buttons

These buttons can be used to navigate the Edit window (see page 214), zoom waveforms

(see page 215), and to make ﬁne adjustments to the selected region (see page 215). Their

exact operation depends on the currently selected cursor mode.

(CURSOR MODE)(ESC)

INCDEC

ENTER

SHUTTLE

SCRUB

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Selecting Channels

Channels can be selected as follows.

(Make sure the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is not lit

before proceeding.)

1 Use the [SEL] buttons to select channels.

The [SEL] button indicators of selected channels light up.

2 To select multiple channels in each eight-channel block (e.g., 1–8, 9–16, or

17–24), while holding down one [SEL] button, use the [SEL] buttons of the

other channels in the same block to add and remove channels.

Setting Channel Levels

Channel levels can be set as follows.

(Make sure the FADER MODE [FADER] and [AUX] button indicators are not ﬂashing

before proceeding.)

1 Use the faders to set channels levels.

Faders in a mix group are controlled together.

Muting Channels

Channels can be muted as follows.

1 Use the [ON] buttons to mute channels.

The [ON] button indicators of muted channels go out.

2 Press the [ON] buttons again to unmute channels.

The [ON] button indicators of unmuted channels are lit.

Grouped channels are muted together.

Panning Channels

Channels can be panned as follows.

1 Press the ENCODER MODE [PAN] (PAN) button.

Its indicator lights up.

2 Use the Encoders to pan the channels.

Pan positions are displayed in Channel Display mode. See “Channel Display Mode” on page

200 for more information.

For stereo aux input channels (i.e., channels with two panpots), use the ENCODER MODE

[PAN] (PAN) button to toggle between the left and right panpots, and pan with the

Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indi-

cator is lit continuously and the SELECT ASSIGN section of the display shows “Pan.” When

the right panpot is active, the ENCODER MODE [PAN] (PAN) button indicator ﬂashes

and the SELECT ASSIGN section of the display shows “PanR.”

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Soloing Channels

Channels can be soloed as follows.

1 Use the [SOLO] buttons to solo channels.

The [SOLO] button indicators of soloed channels light up and the [ON] button indicators

of unsoloed channels ﬂash.

2 Press the [SOLO] buttons again to unsolo channels.

Grouped channels are soloed together.

Viewing Send Destinations

Send destinations can be viewed in Channel Display mode [F3] or Meter Display mode [F4]

(see page 200) by pressing the holding the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E)

buttons.

Conﬁguring Sends as Pre or Post

Sends can be conﬁgured as either pre or post as follows.

(Make sure the ENCODER MODE [PAN] (PAN) button indicator is not lit before proceed-

ing.)

1 Use the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons to select the

sends.

The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the but-

ton indicator of the selected send.

2 Use the Encoder push-switches to toggle between pre and post.

Sends can also be set as pre or post fader by using the Encoder push-switches in Flip mode.

See “Flip Mode” on page 211 for more information.

Send pre/post status can be viewed in Channel Display mode [F3] or Meter Display mode

[F4] (see page 200) by pressing the holding the Encoder push-switches.

Setting Send Levels

Send levels can be set as follows.

1 Use the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons to select the

sends.

The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the but-

ton indicator of the selected send.

The levels for the selected send are displayed in Channel Display mode. See “Channel Dis-

play Mode” on page 200 for more information.

2 Use the Encoders to set the send levels.

Send levels can also be set by using the faders in Flip mode. See “Flip Mode” on page 211 for

more information.

Muting Sends

Sends can be muted by using the [ON] buttons in Flip mode. See “Flip Mode” on page 211

for more information.

Panning Sends

Only sends assigned to stereo destinations can be panned. Sends can be panned by using the

Encoders in Flip mode. See “Flip Mode” on page 211 for more information.

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Flip Mode

In Flip mode, the faders, Encoders, and [ON] buttons can be used to control sends, as

shown in the following table.

1 Press the FADER MODE [FADER] or [AUX] button.

The FADER MODE [FADER] and [AUX] button indicators ﬂash alternately, and both the

ENCODER MODE [PAN] (PAN) and [AUX] (SEND LEVEL) button indicators light up.

The SELECT ASSIGN section of the display shows “FLIP.”

2 Use the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons to select the

sends.

The button indicator of the selected send lights up.

3 Use the faders, Encoders, and [ON] buttons to control the currently selected

send.

For stereo aux input channels (i.e., channels with two send panpots), use the ENCODER

MODE [PAN] (PAN) button to toggle between the left and right panpots, and pan with the

Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indi-

cator is lit continuously. When the right panpot is active, the ENCODER MODE [PAN]

(PAN) button indicator ﬂashes.

Control Normal mode Flip mode

Fader Channel level Send level

Encoder Channel pan/send level Send pan

Encoder push-switches

Encoder mode is Pan, inactive

Encoder mode is Send level, Send pre/post

Send pre/post

[ON] button Channel mute Send mute

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Assigning Inserts/Plug-ins

Inserts can be assigned to channels as follows. The Pro Tools transport must be stopped in

order to make these assignments.

1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.

Its indicator lights up and the [SEL] buttons are set to Insert Select mode.

2 Use the [SEL] buttons to select channels for insert assignment.

The name of the selected channel appears in the INSERT/PARAM section of the display.

The border of the corresponding channel name in the Pro Tools Mix window is highlighted

red.

3 Press the EFFECTS/PLUG-INS [1] (ASSIGN) button.

Its indicator ﬂashes, as does the ASSIGN indicator on the display.

4 Use Parameter controls 1–4 to select inserts/plug-ins.

The names of the inserts/plug-ins appear on the display in abbreviated form. When you

select an insert/plug-in other than the current, the corresponding SEL button ﬂashes on the

display.

5 To conﬁrm your selection, press the relevant Parameter control’s

push-switch.

The SEL button stops ﬂashing.

While the EFFECTS/PLUG-INS [1] (ASSIGN) button indicator is still ﬂashing, you can

assign more inserts/plug-ins to the same channel. To set insert #5, press the Parameter

Down (SCROLL >) button. Press the Parameter Up (< SCROLL) button to view inserts 1–4

again.

To assign inserts/plug-ins to other channels, use the [SEL] buttons to select them. You’ll

need to press the EFFECTS/PLUG-INS [1] (ASSIGN) button each time you select another

channel.

You can cancel this function by pressing the [DEC] (ESC) button.

Editing Plug-ins 213

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Editing Plug-ins

Plug-ins can be edited as follows.

1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.

Its indicator lights up and the [SEL] buttons are set to Insert Select mode.

2 Use the [SEL] buttons to select the channel whose plug-in you want to edit.

That channel’s [SEL] button indicator lights up, and the border of the corresponding chan-

nel name in the Pro Tools Mix window is highlighted red. The names of the Plug-ins

inserted in the channel are displayed in the INSERT ASSIGN/EDIT section of the display.

3 Use the Parameter control 1–4 push-switches to select the plug-in that you

want to edit.

Plug-in Edit mode is set and the plug-in’s parameters are displayed in the INSERT

ASSIGN/EDIT section of the display. The EFFECTS/PLUG-INS [4] (INSERT/PARAM)

button indicator lights up and the PARAM indicator on the display appears highlighted.

4 Use Parameter controls 1–4 and their push-switches to edit the displayed

parameters.

Parameters displayed on the top row can be edited by using the push-switches. Parameters

displayed on the bottom row can be edited by using the Parameter controls.

5 Use the Parameter Down (SCROLL >) button and Parameter Up (< SCROLL)

button to select the parameter pages.

When a parameter page is ﬁrst selected, the number of the current parameter page and the

total number of parameter pages is displayed momentarily. For example, “1/2” indicates

that the ﬁrst page of two is currently selected. While “3/4” indicates that the third page of

four is currently selected. The title of the plug-in is also displayed.

While editing a plug-in you can bypass it by pressing the EFFECTS/PLUG-INS [3]

(BYPASS) button. In which case, the BYPASS indicator on the display appears highlighted.

As soon as you begin editing a plug-in, the COMPARE indicator on the display appears

highlighted. You can compare your edits with the original settings by pressing the

EFFECTS/PLUG-INS [2] (COMPARE) button. The COMPARE indicator on the display

appears highlighted while the original settings are active, and unhighlighted while your

edits are active.

6 To edit another plug-in, press the EFFECTS/PLUG-INS [4] (INSERT/PARAM)

button (its indicator goes out), use the [SEL] buttons to select the channel

(same as step #2), and use the Parameter control 1–4 push-switches to select

the plug-in (same as step #3).

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Bypassing Plug-ins

Plug-ins can be bypassed as follows.

(Make sure the EFFECTS/PLUG-INS [4] (INSERT/PARAM) button indicator is not lit

before proceeding.)

1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button.

Its indicator lights up and the [SEL] buttons are set to Insert Select mode.

2 Use the [SEL] buttons to select plug-ins.

3 While holding down the EFFECTS/PLUG-INS [3] (BYPASS) button, use

Parameter control 1–4 push switches to bypass the plug-ins.

To bypass plug-in #5, press the Parameter Down (SCROLL >) button, and then perform

step 3. Press the Parameter Up (< SCROLL) button to view plug-ins 1–4 again.

The titles of bypassed plug-ins are displayed in uppercase characters. For example, the title

of the plug in “D-Verb” appears as “d-verb” when it’s not bypassed, and appears as

“D-VERB” when it is bypassed.

Resetting Faders, Sends, & Panpots

Faders, panpots, and sends can be reset to their default values as follows. For faders and send

controls, this is “0.” For panpots, it’s center.

Make sure that the EFFECTS PLUG-INS [CHANNEL INSERTS] button indicator is off

before proceeding with these shortcuts.

While the EFFECTS PLUG-INS [PLUG-INS] (DEFAULT) button is being pressed, its indi-

cator ﬂashes and “DFLT” appears in the SELECT ASSIGN section of the display.

Grouped channels are reset together.

Navigating the Edit Window

The cursor buttons can be used to navigate the Edit window as follows.

1 Use the [INC] (CURSOR MODE) button to select Navigation cursor mode.

The CURSOR MODE section of the display shows “NAVIGATION.”

2 To move the edit cursor to the previous region boundary, or to the previous

marker, press the Left cursor button.

3 To move the edit cursor to the next region boundary, or to the next marker,

press the Right cursor button.

4 To select the track above, press the Up cursor button.

5 To select the track below, press the Down cursor button.

To do this... Do this!

Reset a channel fader EFFECTS PLUG-INS [PLUG-INS]+[SEL]

Reset a channel panpot [PAN], EFFECTS PLUG-INS [PLUG-INS]+[ENCODER push]

Reset a channel send level

AUX SELECT [AUX 1]–[AUX 5], EFFECTS PLUG-INS

[PLUG-INS]+[ENCODER push]

Zooming 215

02R96 Version 2—Owner’s Manual

Zooming

The cursor buttons can be used to zoom the Edit window as follows.

1 Use the [INC] (CURSOR MODE) button to select Zoom cursor mode.

The CURSOR MODE section of the display shows “ZOOM.”

In Zoom cursor mode, the cursor buttons work as follows:

•Left cursor button: Zoom out horizontally.

•Right cursor button: Zoom in horizontally.

•Up cursor button: Zoom in vertically.

•Down cursor button: Zoom out vertically.

Making Fine Adjustments to the Selected Region

The cursor buttons can be used in conjunction with the Parameter wheel to make ﬁne

adjustments to the selected region.

1 Use the [INC] (CURSOR MODE) button to select Select cursor mode.

The CURSOR MODE section of the display shows “SELECT.”

2 While holding down the left cursor button, turn the Parameter wheel to

make ﬁne adjustments to the in point of the selected region.

3 While holding down the right cursor button, turn the Parameter wheel to

make ﬁne adjustments to the out point of the selected region.

4 To select the track above, press the Up cursor button.

5 To select the track below, press the Down cursor button.

6 To move the cursor to the in point of the selected region, double-click the

Left cursor button.

7 To move the cursor to the out point of the selected region, double-click the

Right cursor button.

Scrub & Shuttle

The Parameter wheel can be used to scrub and shuttle as follows.

1 Make sure that Pro Tools is stopped.

2 Press the [SCRUB] button if you want to scrub, press the [SHUTTLE] button

if you want to shuttle.

The corresponding button indicator lights up. The [REW] and [FF] button indicators also

light up, and the cursor mode is set to Navigation (the CURSOR MODE section of the dis-

play shows “NAVIGATION”).

3 Turn the Parameter wheel clockwise to scrub/shuttle forwards. Turn it coun-

terclockwise to scrub/shuttle backwards.

Scrub/shuttle starts at the in point of the selected region. If no region is selected, the edit

cursor position is used. Note that if the Edit Insertion Follows Scrub/Shuttle preference is

turned on in Pro Tools (Setups menu, Preferences command, Operation page), the cur-

rently selected region will be cancelled when the [SCRUB] or [SHUTTLE] button is

pressed.

Press the left cursor button to move to the in point. Press the right cursor button, to move

to the out point.

You can toggle between scrub and shuttle by pressing the [SCRUB] and [SHUTTLE] but-

tons, in which case scrub or shuttle continues from the current position.

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4 To stop scrub/shuttle, press the [SCRUB] or [SHUTTLE] button again, or press

the [STOP] button.

If you press the [REW], [FF], or [PLAY] button, scrub/shuttle operation is stopped before

rewind, fast forward, or playback commences.

While scrub/ shuttle is active, only the following Pro Tools/02R96 controls can be used:

[SCRUB] and [SHUTTLE] buttons, Parameter wheel, transport buttons, faders, [ON] but-

tons, and [SOLO] buttons. The current position can be stored as a marker by pressing the

[ENTER] button.

The scrub resolution depends on the current zoom setting, the more zoomed in you are, the

higher the resolution.

Automation

Viewing the Automation Mode

The Automation mode setting of each channel can be viewed as follows.

1 Press either the [F3] or [F4] button.

Channel Display mode or Meter Display mode is selected.

2 Press and hold a channel’s [AUTO] button.

The channel’s Automation mode is displayed while the [AUTO] button is pressed.

For MIDI tracks, “—” appears on the display.

The Automation mode settings of all channels can be viewed as follows.

3 Press and hold the USER DEFINED [DISPLAY] (AUTO STATUS) button.

The Automation modes of all channels are displayed while the USER DEFINED [DISPLAY]

(AUTO STATUS) button is pressed.

Setting the Automation Mode

The Automation mode can be set as follows.

1 While holding down a channel’s [AUTO] button, press the USER DEFINED [3]

(WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), or [8] (OFF) but-

ton.

If Channel Display mode or Meter Display mode is currently selected, the channel’s Auto-

mation mode is displayed while the [AUTO] button is pressed.

Grouped channels are set together.

Pro Tools Display [AUTO] Button Indicators

Auto write

Wrt

Flashing red (Record Ready)

Red (Recording)

Auto touch

Tch

Auto latch

Ltch

Auto read

Read Green

Auto off

Off Off

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02R96 Version 2—Owner’s Manual

Trim Mode

Tr im mode can be set as follows.

1 While holding down a channel’s [AUTO] button, press the USER DEFINED

KEYS [7] (TRIM) button.

If channel Display mode [F3] or Meter Display mode [F4] is currently selected, the chan-

nel’s Automation mode is displayed while its [AUTO] button is pressed.

You can display the Automation mode settings of all channels by pressing and holding the

USER DEFINED KEYS [DISPLAY] (AUTO STATUS) button.

Grouped channels are set together.

Arming Parameters for Automation

Parameters can be selected for automation recording as follows.

1 Use the following USER DEFINED KEYS to arm parameters.

The button indicators for armed parameters light up.

Panner

Selecting a Track

Use the SELECTED CHANNEL ROUTING buttons to manipulate the following track

operations.

Stereo Track Link

You can control the panner for the L and R channels of stereo tracks simultaneously or indi-

vidually, depending on the stereo link status.

To cancel the stereo panner link, press and hold down the [Control] key on the keyboard

and move the Joystick.

Pro Tools Display [AUTO] Button Indicators

Auto trim/write

TWrt

Flashing red/orange (Record Ready)

Orange (Recording)

Auto trim/touch

TTch

Auto trim/latch

TLch

Auto trim/read

TRd Flashing green/orange

USER DEFINED KEYS Pro Tools

[11] (FADER) Volume

[12] (MUTE) Mute

[13] (PAN) Pan

[14] (SEND) Send level

[15] (SEND MUTE) Send mute

[16] (PLUG-IN) Plug-in

To do this... Use these buttons:

Selecting the previous track ROUTING [1] button

Selecting the next track ROUTING [2] button

Selecting the top track ROUTING [3] + [1] buttons

Selecting the last track ROUTING [3] + [2] buttons

Selecting the main output of the selected track ROUTING [3] + [5] buttons

Selecting Send 5 of the selected track ROUTING [3] + [7] buttons

Selecting the output/send of the selected track ROUTING [5] + [7] buttons

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Panner Operation via the Joystick

1 Select the track you wish to pan.

2 Press the [GRAB] button, turning on the [GRAB] button indicator.

3 While the [GRAB] button indicator is lit, operate the Joystick.

If you move the Joystick for direct panning while the [GRAB] button indicator is lit, the pan

position is speciﬁed as an absolute value, which may cause the pan position to jump dras-

tically.

You can also restrict the trajectory direction of the Joystick. To limit movement to the L and

R directions, press and hold down the [DIRECT] button and move the Joystick. To limit

movement to the up and down (front and rear) directions, select 3 Knob mode in the Pro

To ols Panner window.

Panner Operation via Knob Controls

You can control the following parameters using the DYNAMICS controls.

1 Select the track and output, if desired.

2 Press the ROUTING [6] button to select the knob control mode that is appro-

priate for the parameter you wish to control.

3 Use the appropriate control to adjust the parameter.

Pressing and holding down the [Command] key on the keyboard and rotating the controls

reduces the change in the parameter values.

Controls ROUTING [6] indicator is off ROUTING [6] indicator is on

THRESHOLD Front position Front divergence

RANGE/RATIO Rear position Rear divergence

ATTACK F/R position F/R divergence

DECAY/RELEASE LFE level Center percentage

HOLD/GAIN Channel volume

Remote Control 219

02R96 Version 2—Owner’s Manual

19 Remote Control

About the Remote Layer

The 02R96’s Remote Layer allows you to control external MIDI equipment directly from

the 02R96. The type of device to be controlled (i.e., the target) can be speciﬁed for each

Remote Layer. There are six types of target: User Deﬁned, Pro Tools, Nuendo, Cubase SX,

General DAW, and User Assignable Layer. User Deﬁned targets allow you to specify the

MIDI data that will be transmitted when the 24 channel strip faders, Encoders, and [ON]

buttons are operated. These settings are stored in Scenes, for snapshot-style automation.

The Pro Tools, Nuendo, Cubase SX, and General DAW targets have been especially designed

to control Pro Tools, Nuendo, Cubase SX, and other DAW software that uses the Pro Tools

protocol.

The User Assignable Layer target enables you to combine 02R96 channels to create a custom

layer. See page 228 for more information on the User Assignable Layer.

Assigning a Target to the Remote Layer

Targets are assigned to the Remote Layer as follows.

1 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote 1–4 pages.

2 Use the cursor buttons to select the TARGET parameter, use the Parameter

wheel or INC/DEC buttons to select a target, and then press [ENTER].

TARGET: This can be set to NO ASSIGN, USER DEFINED, Pro Tools, Nuendo, Cubase

SX, General DAW, or User Assignable Layer. See page 220 for more information on the User

Deﬁned target. See page 196 for more information on the Pro Tools target. See page 228 for

more information on the User Assignable Layer.

To conrol Nuendo or Cubase SX remotely, make the following settings in addition to the

TARGET parameter.

3 Select the desired port for the DAW parameter on the MIDI/To Host Setup

page (see page 191).

4 Select an appropriate device in the Device menu of Nuendo or Cubase SX

and specify the 02R96 as a controller.

For more information on the necessary settings, refer to the Owner’s Manual that came

with Nuendo or Cubase SX.

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02R96 Version 2—Owner’s Manual

Conﬁguring the User Deﬁned Remote Layer

The User Deﬁned Remote Layer can be conﬁgured as follows.

1 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

TARGET: This is used to select the target (only the User Deﬁned target is explained in this

section).

TRANSMIT: This enables and disables MIDI data transmission for the Remote Layer.

INITIALIZE: This initializes the settings of the currently selected bank.

BANK: These buttons are used to select banks 1, 2, 3, and 4. Each bank can contain MIDI

settings for the 24 faders, Encoders, and [ON] buttons. Banks can be stored to an external

MIDI device, such as a MIDI data ﬁler, by using MIDI Bulk Dump (see page 195). See “User

Deﬁned Remote Layer Initial Bank Settings” on page 255 for a list of initial bank settings.

ID/SHORT/LONG: On the Remote Layer, channel strips 1–24 are identiﬁed by the ﬁxed

IDs RM01–RM24. You can enter a Short and Long name for each Remote channel strip. To

enter a name, use the cursor buttons to select the SHORT or LONG name, use the [SEL]

buttons, Parameter wheel, or INC/DEC buttons to select the channel strips, and then press

[ENTER]. When the Title Edit window appears, enter a name, and press OK when you’ve

ﬁnished. See “Title Edit Window” on page 46 for more information.

ON: These parameters are used to specify the MIDI message (up to 16 bytes) to be trans-

mitted when an [ON] button is pressed. Use the [SEL] buttons to select the channel strips,

and then edit as necessary. When a value from 00 to FF is speciﬁed, that value is transmitted

when an [ON] button is pressed. For the SW setting, data value 7F is transmitted when an

[ON] button is turned on, and data value 00 is transmitted when an [ON] button is turned

off. The END setting speciﬁes the end of the data. “–” means no data is transmitted.

UNLATCH/LATCH: This parameter determines the operation of the [ON] buttons:

Latching or Non-latching. When set to UNLATCH, an ON value is transmitted when an

buttons is pressed, and an OFF value is transmitted when it’s released. When set to LATCH,

an ON value is transmitted when the button is pressed and that value is maintained when

the button is released. The next time you press that button, the OFF value is transmitted.

LEARN: This button is used to turn on and off the Learn function, which can be used to

learn what MIDI messages are being transmitted by external MIDI devices when their con-

trols or parameters are adjusted. When on, received MIDI messages are displayed in the

DATA area. Only the ﬁrst 16 bytes of data, starting with a Status bit, are displayed.

ENCODER: These parameters are used to specify the MIDI message (up to 16 bytes) to be

transmitted when an Encoder is operated. Use the [SEL] buttons to select the channel strips,

and then edit as necessary. When a value from 00 to FF is speciﬁed, that value is transmitted

About the Remote Layer 221

02R96 Version 2—Owner’s Manual

when an Encoder is adjusted. For the ENC setting, the Encoder’s current value from 0–127

is transmitted when it’s adjusted. The END setting speciﬁes the end of the data. “–” means

no data is transmitted.

LEARN: This works the same as the [ON] button Learn function above, except the received

MIDI messages are displayed in the ENCODER DATA area. Only one Learn function can

be used at a time.

FADER: These parameters are used to specify the MIDI message (up to 16 bytes) to be

transmitted when a fader is operated. Use the [SEL] buttons to select the channel strips, and

then edit as necessary. When a value from 00 to FF is speciﬁed, that value is transmitted

when a fader is adjusted. For the FAD setting, a fader’s current value from 0–127 is trans-

mitted when it’s adjusted. The END setting speciﬁes the end of the data. “–” means no data

is transmitted.

LEARN: This works the same as the [ON] button Learn function above, except the received

MIDI messages are displayed in the FADER DATA area. Only one Learn function can be

used at a time.

Using the User Deﬁned Remote Layer

Once conﬁgured, the User Deﬁned Remote Layer can be used as follows.

1 Use the LAYER [REMOTE] button to select the User Deﬁned Remote Layer.

While the User Deﬁned Remote Layer is selected, operating the channel strip faders, Encod-

ers, and [ON] buttons causes the speciﬁed MIDI data to be transmitted.

When the User Deﬁned Remote Layer is selected, the Remote page appears. Since this is the

same page as that selected by the DISPLAY ACCESS [REMOTE] button, the User Deﬁned

Remote Layer can be conﬁgured here as well, even the target can be changed.

The settings of the channel strip faders, Encoders, and [ON] buttons, and the current target

and bank setting for the Remote Layer are stored in Scenes. When a Scene is recalled, if the

Remote Layer’s target is the same as when the Scene was stored, the faders, Encoders, and

[ON] buttons are set accordingly and the corresponding MIDI data is transmitted (so long

as the TRANSMIT parameter is set to ENABLED). If the target is not the same, the faders,

Encoders, and [ON] buttons are set accordingly, but no MIDI data is transmitted.

222

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02R96 Version 2—Owner’s Manual

About Machine Control

The 02R96 can control the transport and locate functions of up to eight external recording

machines that support MMC (MIDI Machine Control).

Machines that support MMC can be controlled by connecting them to the 02R96’s MIDI,

SERIAL, USB, or SLOT1 (with optional mLAN I/O Card installed in Slot #1).

MMC support varies from machine to machine. Some machines may not operate exactly

as explained in this section.

Conﬁguring Machines

Up to eight machines can be conﬁgured as follows.

Use the MACHINE CONTROL [DISPLAY] button to locate the Machine Con-

ﬁguration page.

Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

MACHINE CONTROL/DAW CONTROL:

When the MACHINE CONTROL option is

on, the MACHINE CONTROL section controls external MMC machines, regardless of the

layer selection. When the DAW CONTROL option is on, the MACHINE CONTROL sec-

tion controls DAWs, regardless of the layer selection.

TYPE:

This is used to specify the type of machine: MMC or NONE.

PORT:

When the machine TYPE is MMC, use this parameter to specify the port for MMC

communications. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1.

DEVICE ID:

When the machine TYPE is MMC, use this parameter to specify the device ID

from 1 to 127 or ALL. The target machine must be set to the same ID. The same ID cannot

be assigned to more than one SERIAL, USB, or SLOT1 port.

TRANSPORT CONTROL:

This parameter determines which machine is controlled by

the 02R96’s transport buttons. Only one machine can be controlled at a time.

About Machine Control 223

02R96 Version 2—Owner’s Manual

Transport Buttons

The 02R96’s transport can be used to control external machines. The machine that is to be

controlled can be selected on the Machine Conﬁguration page (see page 222).

[REW] button

This button starts rewind on the external machines.

[FF] button

This button starts fast forward on the external machines.

[STOP] button

This button stops the external machines.

[PLAY] button

This button starts playback on the external machines. It’s also used to punch out of record-

ing.

[REC] button

This button is used in conjunction with the [PLAY] button to start recording on the external

machines.

Using Shuttle & Scrub

The Parameter wheel can be used to shuttle and scrub the external machines.

When the [SHUTTLE] button indicator is lit, the Parameter wheel can be used to shuttle.

When the [SCRUB] button indicator is lit, the Parameter wheel can be used to scrub. Turn

the Parameter wheel clockwise to shuttle/scrub forwards. Turn it counterclockwise to shut-

tle/scrub backwards.

REC

REW FF

STOP PLAY

SHUTTLE

SCRUB

224 Chapter 19—Remote Control

02R96 Version 2—Owner’s Manual

Using the Locator

LOCATE MEMORY [1–8] buttons

These buttons are used to set and to locate to the eight Locate memories. Locate memories

can be set on the Locate Memory page (see page 224). To set a locate memory on-the-ﬂy,

while holding down the [SET] button, press a LOCATE MEMORY [1–8] button. The

02R96 must be receiving timecode in order to do this. Once set, the stored position can be

located by pressing the corresponding button. If the button is pressed while the machine is

stopped, the stored position is located. If the button is pressed while the machine is playing,

the stored position is located and then playback continues from that position.

[SET] button

This button is used in conjunction with the LOCATE MEMORY [1–8], [IN], [OUT], and

[RETURN TO ZERO] buttons to set the locate points.

Setting the Locate Memories

The locate points can be set as follows.

1 Use the MACHINE CONTROL [DISPLAY] button to locate the Locate Memory

page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC buttons, and [ENTER] button to set them.

MACHINE CONTROL/DAW CONTROL: When the MACHINE CONTROL option is

on, the MACHINE CONTROL section controls external MMC machines, regardless of the

layer selection. When the DAW CONTROL option is on, the MACHINE CONTROL sec-

tion controls DAWs, regardless of the layer selection.

LOCATE MEMORY 1–8: These time values determine the points that will be located

when the LOCATe MEMORY [1–8] buttons are pressed. They can only be set while the

MACHINE CONTROL option is on. Locate points can be speciﬁed in hours, minutes, sec-

onds, and frames, the frame range being dependent on the frame rate setting on the Time

Reference page (see page 177).

FRAMES: This parameter selects the timecode frame rate.

(MEM-LOC)

SET

DISPLAY

MACHINE CONTROL

LOCATE MEMORY

1234

5678

GPI (General Purpose Interface) 225

02R96 Version 2—Owner’s Manual

GPI (General Purpose Interface)

The 02R96’s CONTROL port (25-pin D-sub connector) provides a

GPI (General Purpose Interface). You can conﬁgure the GPI so that it

will output 8-channel trigger signals when you operate the faders or

User Deﬁned Keys, or receive 2-channel trigger signals to control

02R96 parameters.

You can assign any function to these trigger signals. In this way, for example, you can con-

trol a “RECORDING” warning light outside a studio from the 02R96, or you can control

the 02R96’s Talkback function or Dimmer function using an outside switch.

See page 300 for more information on pin assignment.

1 Use the DISPLAY ACCESS [SETUP] button to select the GPI Setup page.

2 To assign functions to incoming trigger signals, use the cursor buttons to

select INPUT 1 or 2.

3 Use the Parameter wheel or INC/DEC buttons to select a parameter, then

press [ENTER].

9 1 21 14 9 2 21 15

9 3 21 16 9 4 21 17

22 5 10 6

GPO0 GPO1 GPO2 GPO3

GPO4 GPO5 GPO6 GPO7

GPI0 GPI1

This is an example of the external circuit that operates GPI.

In this example, a trigger signal causes the LEDs to light up

when the button is selected as the trigger signal polarity

in the OUTPUT section. A trigger signal causes the LEDs to

turn off when the button is selected as the trigger signal

polarity.

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02R96 Version 2—Owner’s Manual

4 Select one of two buttons located to the right of trigger signal parameters

INPUT 1 & 2 to specify how the incoming trigger signals will be detected.

: When the switch is grounded (Low), the trigger signal is active and the selected param-

eter changes.

: When the GPI Input goes High (open), the trigger signal is active and the selected

parameter changes.

You can execute functions assigned to the MONITOR section buttons and User Deﬁned

Keys, and turn channels on and off. See “GPI Trigger Source & Target List” on page 253 for

a complete list of assignable functions.

At this point, when the 02R96 receives the trigger signal at the CONTROL connector, the

selected parameter changes.

TALKBACK - SMALL: Functions the same as the MONITOR section buttons.

SR xxx: Functions the same as the SURROUND buttons in the MONITOR section.

CR xxx: Functions the same as the CONTROL ROOM buttons in the MONITOR section.

SM xxx: Functions the same as the STUDIO buttons in the MONITOR section.

xxx UNLATCH: The assigned function is enabled only while the incoming trigger signal

is active.

xxx ON: The corresponding channels turn on or off each time the incoming trigger signal

becomes active.

xxx ON UNLATCH: The corresponding channels turn on only while the incoming trig-

ger signal is active.

UDEFxxx: Functions the same as the USER DEFINED KEYS.

5 To select parameters or controls as trigger signal sources, use the cursor but-

tons to select an output from OUTPUT 1–8, then select trigger signal param-

eters as you would for the INPUT section.

See “GPI Trigger Source & Target List” on page 253 for a complete list of assignable param-

eters.

Note: “xxx UNLATCH” means that the assigned function is enabled only while the incoming

trigger signal is active. For example, if CH1 ON is selected, the channel on/off status changes

each time the trigger signal is detected. If CH1 ON UNLATCH is selected, Channel 1 turns

on only while the trigger signal is active.

Tip: Refer to the page 253 for a complete list of assignable parameters.

Input signals from

the CONTROL con-

nector

Executes the function.

Trigger =

Input signals from

the CONTROL con-

nector

Trigger =

Executes the function.

Executes the function. Executes the function.

GPI (General Purpose Interface) 227

02R96 Version 2—Owner’s Manual

6 Use the buttons located to the right of the OUTPUT (1–8) parameters to

switch the polarity of the trigger signals that are output when you control

the trigger sources.

: The GPI Output goes High (open) when the trigger signal source is active.

: The GPI Output goes Low (ground) when the trigger signal source is active.

At this time, the trigger signal is output from the CONTROL connector when you operate

the assigned parameters or controls.

xxx FADER ON: A trigger signal of 250 ms is transmitted when you raise a fader from –∞.

xxx FADER OFF: A trigger signal of 250 ms is transmitted when you lower a fader to –∞.

xxx FADER TALLY: The trigger signal becomes active when the fader is set to any level

other than –∞, and the trigger signal turns off when the fader is set to –∞.

UDEFxx LATCH: Pressing the corresponding button in the USER DEFINED KEYS sec-

tion activates the trigger signal, and pressing the button again turns it off.

UDEF xx UNLATCH: A trigger signal of 250 ms is transmitted each time you press the

corresponding button in the USER DEFINED KEYS section.

REC LAMP: This source can be used to control a “RECORDING” warning light outside a

studio. The trigger signal is active while the [REC] button indicator is lit.

POWER ON: The trigger signal is active while the power to the 02R96 is on.

Tip: Refer to page 253 for a complete list of assignable parameters and controls.

Important note: GPI outputs are open collector outputs. GPI inputs have an internal pull-up

to 5 V.

Trigger signal polarity =

Output signals from the

CONTROL connector

Trigger signal polarity =

Output signals from the

CONTROL connector

228 Chapter 20—Other Functions

02R96 Version 2—Owner’s Manual

20 Other Functions

Using the User Assignable Layers

If you set the Remote layer target to “USER ASSIGNABLE,” you can create a custom layer

by combining any 02R96 channels (excluding the Stereo Out).

1 Use the DISPLAY ACCESS [REMOTE] button to locate Remote page.

2 Use the cursor buttons to select the TARGET parameter, use the Parameter

wheel or INC/DEC buttons to select USER ASSIGNABLE LAYER, then press

[ENTER].

A conﬁrmation message appears. Select the YES button and press [ENTER].

3 Use the cursor buttons to select parameter 1–24, use the Parameter wheel

or INC/DEC buttons to select a channel you want to assign, then press

[ENTER].

You can store up to four 24-channel setups in four banks by switching Banks 1–4 via the

BANK 1–4 buttons.

Pressing the [ENTER] button prior to selecting assigned channels enables you to select a

channel in the User CH Select window.

4 Select a Remote layer using the LAYER [REMOTE] button.

You can use the faders, Encoders, [ON] buttons, [AUTO] buttons, and [SOLO] buttons to

control assigned channels. If you connected an optional MB02R96 Meter Bridge, its meters

indicate the level of the channels currently-assigned to layer channels 1–24.

Using the User Defined Keys 229

02R96 Version 2—Owner’s Manual

Using the User Deﬁned Keys

Up to 16 functions from a list of over 170 can be

assigned to the USER DEFINED KEYS, and up to

eight assignment setups can be stored in banks A to

H. See page 238 for a list of initial bank assignments.

1 Use the USER DEFINED KEYS [DISPLAY] button to locate the User Deﬁned

Key Assign page.

2 Use the cursor buttons to select the BANK buttons, A to H, and press [ENTER]

to select a bank.

The TITLE parameter box displays the name of the selected bank. Select the TITLE param-

eter box, then press [ENTER]. The Title Edit window appears, enabling you to enter a

name.

3 Use the cursor buttons to select from 1–16, then press [ENTER].

The following User Deﬁne Select window opens.

4 Move the cursor to the left column, then rotate the Parameter wheel or press

the [INC]/[DEC] buttons to select the function you wish to assign.

5 Select options in the center and right columns in the same way.

The items displayed in the center and right columns vary depending on the function

assigned in Step 4.

6 Use the cursor buttons to select YES, then press [ENTER].

When the window closes, the speciﬁed function is assigned to the selected User Deﬁned

button.

When you select a function that recalls a speciﬁc Scene or library memory, you need to spec-

ify the number of the memory that you want recalled when the USER DEFINED KEY is

pressed. To do this, in the left-hand box, select the number parameter next to the Assign

button, and use the Parameter wheel or INC/DEC buttons to specify the number.

USER DEFINED KEYS

12345678

910111213141516

DISPLAY

230 Chapter 20—Other Functions

02R96 Version 2—Owner’s Manual

You can initialize the assignments of the currently selected bank by selecting the INITIAL-

IZE button, and pressing [ENTER].

User Deﬁned Keys banks can be stored to an external MIDI device, such as a MIDI data ﬁler,

by using MIDI Bulk Dump (see page 195).

Setting Preferences

You can customize the operation of the 02R96 by using the preferences pages.

Preferences 1

1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 1 page.

2 Use the cursor buttons or Parameter wheel to select the preferences, and

use the INC/DEC buttons or [ENTER] button to set them.

Auto ROUTING Display: When this preference is on, the Routing pages appear auto-

matically when a button in the SELECTED CHANNEL ROUTING section is pressed (see

page 82).

Auto DYNAMICS Display: When this preference is on, the Gate Edit page appears auto-

matically when a gate control in the SELECTED CHANNEL DYNAMICS section is oper-

ated (see page 74), and the Comp Edit page appears automatically when a Compressor

control in the SELECTED CHANNEL DYNAMICS section is operated (see page 116).

Auto PAN/SURROUND Display: When this preference is on and Input Channels have

been selected, the Pan pages appears automatically when a control in the SELECTED

CHANNEL PAN/SURROUND section is operated (see page 84). Similarly, when a Sur-

round Pan mode other than Stereo is selected, the Input Channel Surround Edit page

appears automatically when the Joystick is operated (see page 88). Also, when Stereo is

selected, the Fader View page appears automatically when the Pan controls are operated.

Auto EQUALIZER Display: When this preference is on, the EQ Edit page appears auto-

matically when a control in the SELECTED CHANNEL EQUALIZER section is operated

(see page 113).

Auto SOLO Display: When this option is on, the Solo Setup page appears automatically

when an channel is soloed (see page 121).

Auto WORD CLOCK Display: When this preference is on, the Word Clock Select page

appears automatically if the currently selected external wordclock source fails (see page 56).

Auto Channel Select: When this preference is on, channels can be selected by moving

the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO],

or [ON] button.

Store Conﬁrmation: When this preference is on, the Title Edit window appears when

you store a Scene (page 164) or library memory (page 143).

Setting Preferences 231

02R96 Version 2—Owner’s Manual

Recall Conﬁrmation: When this preference is on, a conﬁrmation message appears when

you recall a Scene (page 164) or library memory (page 143).

Patch Conﬁrmation: When this preference is on, a conﬁrmation message appears when

you edit the Input and Output Patches (see page 66).

Pair Conﬁrmation: When this preference is on, a conﬁrmation message appears when

you pair channels using the [SEL] buttons.

Nominal Pan: When this preference is on, left/odd and right/even signals will be at nom-

inal level when Input Channel, or Bus to Stereo signals are panned hard left or hard right,

and at –3 dB when panned center. When this preference is off, signals panned hard left or

hard right will be at 3 dB, and at nominal level when panned center. In Surround mode, this

preference setting is used for the signal of any Surround Pan channel that is fully panned.

Fast Meter Fall Time: When this preference is on, the level meters fall quicker.

TC Drop Warning: When this preference is on, a warning message appears if a dropout

is detected in the incoming timecode.

DIO Warning: When this preference is on, a warning message appears if any errors are

detected in digital audio signals received by the Slot Inputs or 2TR Digital Inputs.

MIDI Warning: When this preference is on, a warning message appears if any errors are

detected in the incoming MIDI messages.

Initial Data Nominal: When this preference is on, Input Channel faders are set to nom-

inal when Scene #0 is recalled.

Meter Follow Layer: When this preference is on, the optional MB02R96 Peak Meter

Bridge automatically follows the Layer selection on the 02R96.

Scene MEM Auto Update: When this preference is on, the Shadow Scene memories

can be used (see page 163).

Joystick Auto Grab: When this preference is on, the Joystick automatically kicks in as the

surround pan control when it’s moved to the current surround pan position (see page 88).

Cascade COMM Link: When this preference is on, various functions are linked between

cascaded 02R96s (see page 63). When this preference is off, only digital audio signals are

distributed among the cascaded 02R96s.

Solo Bus to Studio Out: When this preference is on and all STUDIO buttons ([CON-

TROL ROOM], [STEREO], [AUX 7], [AUX 8]) in the MONITOR section are turned off,

soloed Input Channel signals are output via the STUDIO MONITOR OUT.

Auto Direct Out On: When this preference is on and you change the channel Direct Out

destination from “–” to any other output, the channel Direct Out is automatically enabled.

If you change the channel Direct Out destination from an output to “–,” the channel Direct

Out is automatically disabled.

Routing ST Pair Link: When this preference is on, routing from paired channels to the

Stereo Bus is linked.

232 Chapter 20—Other Functions

02R96 Version 2—Owner’s Manual

Preferences 2

1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 2 page.

2 Use the cursor buttons to select the preferences, and use the Parameter

wheel, INC/DEC buttons, or [ENTER] button to set them.

Channel ID: The corresponding Channel ID is indicated in the upper right corner of the

display.

Channel Short Name: The corresponding Channel Short Name is indicated in the

upper right corner of the display.

Port ID: The Port ID is indicated in the upper right corner of the display.

Port Short Name: The Port Short Name is indicated in the upper right corner of the dis-

play.

Channel Copy Parameter: These buttons allow you to choose which channel parame-

ters are copied by the Channel Copy function: ALL parameters, or any combination of

FADER, ON, PAN, SURR, AUX, AUX ON, and EQ.

Fader Touch Sense: These parameters control the Touch Sense function. If the CON-

TROL button is turned on and the touch sensors are not triggered, fader operation is

ignored. During Automix recording, you can “cut-in” by touching a fader. When this button

is off, the 02R96 always recognizes fader movements. If the SELECT button is on, you can

select channels using the Touch Sense function.

The Sensitivity parameter adjusts touch sensitivity. If you’re having trouble selecting chan-

nels because the fader knobs are insufﬁciently sensitive, try increasing this value. If they are

too sensitive, try reducing it. It’s important that the 02R96 is grounded properly for Touch

Select to work correctly. See “Grounding screw” on page 42 for more information.

Display Brightness: This preference is used to set the brightness of the LED displays and

indicators.

Setting Preferences 233

02R96 Version 2—Owner’s Manual

Preferences 3

1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 3 page.

2 Use the cursor buttons or Parameter wheel to select the preferences, and

use the INC/DEC buttons or [ENTER] button to set them.

Mix Update Conﬁrmation: When this preference is on, a conﬁrmation message asking

if you want to update the current Automix with the latest edits appears when Automix

recording is stopped.

Auto EQ Edit In: When this preference is on, EQ is automatically punched into Automix

recording when an EQ control is adjusted.

Copy Initial Fader: When this preference is on, when Fader events are copied or moved

on the Automix Event Copy page, the fader value at the speciﬁed IN point is copied to the

speciﬁed TO point. This eliminates fader position matching problems when no fader event

exists at the speciﬁed TO point.

Auto Inc TC Capture: When this preference is on, the Timecode Capture memory is

incremented automatically each time a timecode address is captured on the Automix Event

Edit page (see page 185).

Link Capture & Locate Memory: When this preference is on, the eight Capture mem-

ories on the Automix Event Edit page are linked to the eight Locate memories so that, for

example, edits made to Capture memory #1 are reﬂected on Locate memory #1, and vice

versa.

Clear Edit Channel after REC: When this preference is on, when using Auto Rec,

channels are automatically unarmed (i.e., [AUTO] buttons are turned off) when Automix

recording stops. When this preference is off, channels remain armed when recording stops.

Timecode Display Relative: When this preference is on, the indicated timecode is off-

set as speciﬁed by the OFFSET parameter on the Automix Main page.

Receive Full Frame Message: When this preference is on, MTC full frame messages

are recognized and Automix follows them.

Touch Sense Edit In All: When this preference is on, using the faders’ Touch Sense

function enables you to punch in and out all parameters for which the corresponding

OVERWRITE buttons are turned on. When this preference is off, you can punch in and out

only these faders selected in Fader mode.

Show Compact Size: Automix data, except that in the Undo buffer, is compressed while

recording. When this preference is on, the compressed size of the Automix is displayed on

the Automix Main and Memory pages. When this preference is off, the uncompressed size

is displayed.

Automix Store Undo: When this preference is on, Automix Store operations can be

undone by using the Undo function.

234 Chapter 20—Other Functions

02R96 Version 2—Owner’s Manual

Drop Out Time: This parameter sets an interval (in frames) between the interruption of

incoming timecode and the stoppage of Automix recording or playback.

Lock Time: This parameter sets the interval (in frames) allowed until the Automix locks

to incoming timecode messages. If the sync operation is unstable, set this value higher.

Frame Jump Error: This parameter sets the time interval (in frames) required by the

02R96 to recognize an error after incoming timecode messages jump. If the actual interval

is shorter than the value speciﬁed by this parameter, the 02R96 continues the sync opera-

tion. If the frame jump causes the recording or playback to stop during the MTC and SMPT

sync operation, set the parameter value higher than the number of frames indicated in the

error message.

If you set the parameter to a higher value, adjust the Drop Out Time parameter value, if nec-

essary.

Fader REC Accuracy: This parameter sets the accuracy of recording faders over time to

“Little,” “Some,” “More,” or “Most.” If you set the parameter to lower values, you will save

Automix memory space.

Insert Time Link: This parameter enables you to select the locate memory used for the

IN and OUT parameters in the Insert operation.

Using the Oscillator

The 02R96 features an oscillator that can be used for calibration or diagnostic purposes.

1 Use the DISPLAY ACCESS [UTILITY] button to locate the Oscillator page.

2 Use the cursor buttons to select the parameters, and use the Parameter

wheel, INC/DEC button, or [ENTER] button to set them.

OSCILLATOR ON: This turns the Oscillator on or off. While the LEVEL parameter is

selected, the [ENTER] button can be used to turn on and off the Oscillator.

LEVEL: This sets the Oscillator output level, which is displayed by the adjacent meter. This

parameter can be set by using the Parameter wheel regardless of which parameter is cur-

rently selected.

WAVEFORM: These buttons are used to select the waveforms: SINE 100Hz, SINE 1kHz,

SINE 10kHz, 1kHz/400Hz, PINK NOISE, or BURST NOISE, which is 200 msec pink noise

pulses at four second intervals. If you select 1 kHz/400 Hz, the Oscillator outputs a sine wave

at different frequencies to L, R, and odd/even buses.

ASSIGN: These buttons are used to assign the Oscillator output to Bus Outs, Aux Sends,

and the Stereo Out.

Note: To prevent any sudden tone burst surprises in your monitors or headphones, you may

want to set the LEVEL parameter to minimum before turning on the oscillator.

Operation Lock 235

02R96 Version 2—Owner’s Manual

Operation Lock

The 02R96 features the Operation Lock function, which avoids unintentional edits and uses

a password to restrict access to panel operation.

1 Use the DISPLAY ACCESS [UTILITY] button to locate the Operation Lock

page.

2 Use the cursor buttons to select the PASSWORD button, then press [ENTER].

3 Use the [SEL] buttons to set the password.

Enter a four-letter password using the Channel 1–10 [SEL] buttons (Channel 10 [SEL] but-

ton enters “0”). (The factory default password is 1234.)

Enter the current password in the PASSWORD ﬁeld, and a new password in the NEW

PASSWORD ﬁeld. Enter the new password again in the REENTRY ﬁeld.

4 Use the cursor buttons to select the OK button, then press [ENTER] to update

the password.

If you forget the password, you will be unable to cancel Operation Lock. Be sure to remem-

ber the password.

236 Chapter 20—Other Functions

02R96 Version 2—Owner’s Manual

5 Use the buttons in the OPERATION LOCK SAFE section to select certain con-

trols on the panel to exclude from Operation Lock.

6 Use the cursor buttons to select the OPERATION LOCK button, then press

[ENTER].

The Password window appears.

7 Use the [SEL] buttons to enter the password you set in Step 4.

The Operation Lock function is activated.

To cancel Operation Lock, press [ENTER]. The Password window opens again. Enter the

same password again, and Operation Lock is cancelled.

Buttons Controls excluded from Operation Lock

CHANNEL FADER

Channel faders (1–24, STEREO)

CHANNEL ENCODER

Channel Encoders (1–24)

CHANNEL ON

Channel [ON] buttons (1–24, STEREO)

CHANNEL SOLO

Channel [SOLO] buttons (1–24)

CHANNEL SEL

Channel [SEL] buttons (1–24, STEREO)

FADER MODE

All buttons in the FADER MODE section

ENCODER MODE

All buttons in the ENCODER MODE section

AUX SELECT

All buttons in the AUX SELECT section

SCENE MEMORY

All buttons in the SCENE MEMORY section (excluding the [STORE] button)

SELECTED CHANNEL

All controls in the SELECTED CHANNEL section

LAYER

All buttons in the LAYER section

USER DEFINED KEYS

All buttons in the USER DEFINED KEYS section

EFFECTS/PLUGINS

All buttons in the EFFECTS/PLUG-INS section (including the Parameter con-

trols 1–4)

MONITOR

All controls in the MONITOR section

MACHINE CONTROL

1. The Parameter wheel is also excluded from Operation Lock when the [SHUTTLE] or [SCRUB] button is

on.

All buttons in the MACHINE CONTROL section

Checking the Battery and the System Version

237

02R96 Version 2—Owner’s Manual

Checking the Battery and the System Version

The condition of the internal memory-backup battery can be checked as follows.

Use the DISPLAY ACCESS [UTILITY] button to locate the Battery Check page.

If the Status is “Okay,” the battery is okay. If the Status is “Getting Low,” ask your Yamaha

dealer to replace the battery as soon as possible. Do not attempt to replace the battery your-

self. Failure to replace a low battery may result in data loss.

Ver x.xx:

This description identiﬁes the system version number. Check the current system

version number against this description before you update the ﬁrmware. Visit the following

website to check the latest system version number:

http://www.yamahaproaudio.com/

Initializing the 02R96

The 02R96 can be initialized as follows.

Turn off the 02R96.

While holding down the SCENE MEMORY [STORE] button, turn on the

02R96.

When the conﬁrmation message appears, release the SCENE MEMORY

[STORE] button, select [INITIALIZE] button, and press [ENTER].

The following message is displayed while initialization is in progress: “Loading Factory Pre-

sets & Calibrating the Faders... Do Not Touch the Faders!”

It’s important that you do not touch the faders while this message is displayed, as the fad-

ers may not be calibrated correctly.

The display returns to normal when initialization is complete.

Initializing the Password

Follow the steps below to initialize the password for the Operation Lock function.

Turn off the power to the 02R96.

Hold down the SCENE MEMORY[STORE] button, and turn on the power to

the 02R96.

When a conﬁrmation message appears, release the SCENE MEMORY

[STORE] button. Use the cursor buttons to select the PASSWORD button,

then press [ENTER].

The password is reset to “1234”.

Warning: This procedure will clear all user memories and reset all settings to their initial values.

Yo u may want to back up any important data beforehand via MIDI Bulk Dump (see page 195).

If you want to reset just the mix settings, recall scene memory #0 instead (see page 163).

238 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Appendix A: Parameter Lists

USER DEFINED KEYS

# Function Display

0 No ASSIGN No Assign

1 Scene MEM. Recall +1 Scene +1 Recall

2 Scene MEM. Recall –1 Scene –1 Recall

3 Scene MEM. Recall No. XX Scene XX Recall

4 Effect-1 Lib. Recall +1 Fx1 Lib+1 Recall

5 Effect-1 Lib. Recall –1 Fx1 Lib–1 Recall

6 Effect-1 Lib. Recall No.XX Fx1 LibXXX RCL.

7 Effect-2 Lib. Recall +1 Fx2 Lib+1 Recall

8 Effect-2 Lib. Recall –1 Fx2 Lib–1 Recall

9 Effect-2 Lib. Recall No.XX Fx2 LibXXX RCL.

10 Effect-3 Lib. Recall +1 Fx3 Lib+1 Recall

11 Effect-3 Lib. Recall –1 Fx3 Lib–1 Recall

12 Effect-3 Lib. Recall No.XX Fx3 LibXXX RCL.

13 Effect-4 Lib. Recall +1 Fx4 Lib+1 Recall

14 Effect-4 Lib. Recall –1 Fx4 Lib–1 Recall

15 Effect-4 Lib. Recall No.XX Fx4 LibXXX RCL.

16 Effect-1 Bypass On/Off Fx1 Bypass

17 Effect-2 Bypass On/Off Fx2 Bypass

18 Effect-3 Bypass On/Off Fx3 Bypass

19 Effect-4 Bypass On/Off Fx4 Bypass

20 Channel Lib. Recall +1 CH Lib+1 Recall

21 Channel Lib. Recall –1 CH Lib–1 Recall

22 Channel Lib. Recall No. XX CH LibXXX Recall

23 GATE Lib. Recall +1 Gate Lib+1 RCL.

24 GATE Lib. Recall –1 Gate Lib–1 RCL.

25 GATE Lib. Recall No. XX Gate LibXXX RCL.

26 COMP Lib. Recall +1 Comp Lib+1 RCL.

27 COMP Lib. Recall –1 Comp Lib–1 RCL.

28 COMP Lib. Recall No. XX Comp LibXXX RCL.

29 EQ Lib. Recall +1 EQ Lib+1 Recall

30 EQ Lib. Recall –1 EQ Lib–1 Recall

31 EQ Lib. Recall No. XX EQ LibXXX Recall

32 SURR. MONI MUTE Mute L On/Off Surr.Mon L Mute

33 SURR. MONI MUTE Mute R On/Off Surr.Mon R Mute

SURR. MONI MUTE Mute Ls

On/Off

Surr.Mon Ls Mute

SURR. MONI MUTE Mute Rs

On/Off

Surr.Mon Rs Mute

36 SURR. MONI MUTE Mute C On/Off Surr.Mon C Mute

SURR. MONI MUTE Mute LFE

On/Off

Surr.Mon LFE Mute

SURR. MONI ASSIGN X SLOT1

ON/OFF

Surr.ASGNX SL1 ON

SURR. MONI ASSIGN X SLOT2

ON/OFF

Surr.ASGNX SL2 ON

SURR. MONI ASSIGN X SLOT3

ON/OFF

Surr.ASGNX SL3 ON

SURR. MONI ASSIGN X SLOT4

ON/OFF

Surr.ASGNX SL4 ON

SURR. MONI BASS MANAGE

ON/OFF

Bass Manage ON

43 Input Fader Group Enable A IN Fader Group A

44 Input Fader Group Enable B IN Fader Group B

45 Input Fader Group Enable C IN Fader Group C

46 Input Fader Group Enable D IN Fader Group D

47 Input Fader Group Enable E IN Fader Group E

48 Input Fader Group Enable F IN Fader Group F

49 Input Fader Group Enable G IN Fader Group G

50 Input Fader Group Enable H IN Fader Group H

51 Input MUTE Group Enable I IN Mute Group I

52 Input MUTE Group Enable J IN Mute Group J

53 Input MUTE Group Enable K IN Mute Group K

54 Input MUTE Group Enable L IN Mute Group L

55 Input MUTE Group Enable M IN Mute Group M

56 Input MUTE Group Enable N IN Mute Group N

57 Input MUTE Group Enable O IN Mute Group O

58 Input MUTE Group Enable P IN Mute Group P

59 Output Fader Group Enable Q OutFader Group Q

60 Output Fader Group Enable R OutFader Group R

61 Output Fader Group Enable S OutFader Group S

62 Output Fader Group Enable T OutFader Group T

63 Output MUTE Group Enable U Out Mute Group U

64 Output MUTE Group Enable V Out Mute Group V

65 Output MUTE Group Enable W Out Mute Group W

66 Output MUTE Group Enable X Out Mute Group X

67 PEAK HOLD On/Off Peak Hold

68 OSCILLATOR On/Off OSC. ON/OFF

69 SOLO Enable SOLO ENABLE

70 Input Patch Lib. Recall +1 IN Patch Lib+1

71 Input Patch Lib. Recall –1 IN Patch Lib–1

72 Input Patch Lib. Recall No. XX IN Patch LibXX

73 Output Patch Lib. Recall +1 Out Patch Lib+1

74 Output Patch Lib. Recall –1 Out Patch Lib–1

75 Output Patch Lib. Recall No. XX Out Patch LibXX

76 Channel Name ID/Short CH Name ID/Short

77 Port Name ID/Short PortNameID/Short

78 Automix REC Automix REC

79 Automix PLAY Automix PLAY

80 Automix STOP Automix STOP

81 Automix ABORT Automix ABORT

82 Automix AUTO REC Automix AUTOREC

83 Automix ENABLE Automix ENABLE

84 Automix RETURN Automix RETURN

85 Automix TAKEOVER Automix TAKEOVER

86 Automix RELATIVE Automix RELATIVE

87 Automix TOUCH SENSE Automix T.SENSE

88 Overwrite FADER Overwrite FADER

89 Overwrite ON Overwrite ON

90 Overwrite PAN Overwrite PAN

91 Overwrite SURROUND Overwrite SURR.

92 Overwrite EQ Overwrite EQ

93 Overwrite AUX Overwrite AUX

94 Overwrite AUX ON Overwrite AUX ON

95 Track Arming 1 ON/OFF Track Arming 1

96 Track Arming 2 ON/OFF Track Arming 2

97 Track Arming 3 ON/OFF Track Arming 3

98 Track Arming 4 ON/OFF Track Arming 4

99 Track Arming 5 ON/OFF Track Arming 5

# Function Display

USER DEFINED KEYS 239

02R96 Version 2—Owner’s Manual

100 Track Arming 6 ON/OFF Track Arming 6

101 Track Arming 7 ON/OFF Track Arming 7

102 Track Arming 8 ON/OFF Track Arming 8

103 Track Arming 9 ON/OFF Track Arming 9

104 Track Arming 10 ON/OFF Track Arming 10

105 Track Arming 11 ON/OFF Track Arming 11

106 Track Arming 12 ON/OFF Track Arming 12

107 Track Arming 13 ON/OFF Track Arming 13

108 Track Arming 14 ON/OFF Track Arming 14

109 Track Arming 15 ON/OFF Track Arming 15

110 Track Arming 16 ON/OFF Track Arming 16

111 Track Arming 17 ON/OFF Track Arming 17

112 Track Arming 18 ON/OFF Track Arming 18

113 Track Arming 19 ON/OFF Track Arming 19

114 Track Arming 20 ON/OFF Track Arming 20

115 Track Arming 21 ON/OFF Track Arming 21

116 Track Arming 22 ON/OFF Track Arming 22

117 Track Arming 23 ON/OFF Track Arming 23

118 Track Arming 24 ON/OFF Track Arming 24

119 SURR Lib. Recall +1 Surr Lib+1 RCL

120 SURR Lib. Recall –1 Surr Lib–1 RCL

121 SURR Lib. Recall No.XX Surr LibXX RCL

122 Channel Copy Channel Copy

123 Channel Paste Channel Paste

124 Display Back Display Back

125 Display Forward Display Forward

126

SURR. MONI MUTE Mute Bs

On/Off

Surr.Mon Bs Mute

127 SURR. MONI SNAP TO 85dB SPL SNAP TO SPL85

128 Bus to ST Lib. Recall +1 BUS To ST LIB+1

129 Bus to ST Lib. Recall –1 BUS To ST LIB–1

130 Bus to ST Lib. Recall No. XX BUS To ST LIBXX

131 Input Fader Group Assign X IN Fader Assign X

132 Input Mute Group Assign X IN Mute Assign X

133 Input EQ Group Assign X IN EQ Assign x

134 Input COMP Group Assign X IN COMP Assign x

135 Output Fader Group Assign X OutFader Assign X

136 Output Mute Group Assign X Out Mute Assign X

137 Output EQ Group Assign X Out EQ Assign x

138 Output COMP Group Assign X Out COMP Assign x

139 Input Mute Group Master X In Mute Master X

140 Output MUTE Group Master X Out Mute Master X

141 Automix UPDATE TO END Amx UPDATE TO END

142 AUX/SOLO LINK Mode On/Off AUX/SOLO LINK

143

FADER/SOLO RELEASE Mode

On/Off

FaderSoloRELEASE

144 Control Room Monitor MONO C-R MONO

145 Talkback Assign SLOT1 Talkback SLOT1-XX

146 Talkback Assign SLOT2 Talkback SLOT2-XX

147 Talkback Assign SLOT3 Talkback SLOT3-XX

148 Talkback Assign SLOT4 Talkback SLOT4-XX

149 Talkback Assign OMNI OUT Talkback OMNI-XX

150

Talkback Studio Monitor Out

On/Off

Talkback S.Moni

151 User Deﬁned Keys BANK +1 UDEF KEYS BANK+1

152 User Deﬁned Keys BANK –1 UDEF KEYS BANK–1

153 User Deﬁned Keys BANK X UDEF KEYS BANK X

154 Remote User Deﬁned BANK +1 RMT UDEF BANK+1

155 Remote User Deﬁned BANK –1 RMT UDEF BANK–1

156 Remote User Deﬁned BANK X RMT UDEF BANK X

# Function Display

157 User Assignable Layer BANK +1 USER LAYER BANK+1

158 User Assignable Layer BANK –1 USER LAYER BANK–1

159 User Assignable Layer BANK X USER LAYER BANK X

160 MIDI NOTE No.XX MIDI NOTE XXX

161 MIDI Program change No.XX MIDI PGM XXX

162 MIDI Control Change No.XX MIDI CC XXX

163 Track Arming All Clear Track Arming CLR

164

Studio Manager Window Control

SM Ctrl Close

165

Studio Manager Window Control

Close All

SM Ctrl Close All

166

Studio Manager Window Control

Selected Channel

SM Ctrl Sel Ch

167

Studio Manager Window Control

Library

SM Ctrl Library

168

Studio Manager Window Control

Patch Editor

SM Ctrl Patch

169

Studio Manager Window Control

Surround Editor

SM Ctrl Surround

170

Studio Manager Window Control

Time Counter

SM Ctrl TimeCount

171

Studio Manager Window Control

Effect Editor

SM Ctrl Effect

172

Studio Manager Window Control

Meter

SM Ctrl Meter

173

Studio Manager Window Control

Layer

SM Ctrl Layer

174

Studio Manager Window Control

Master

SM Ctrl Master

# Function Display

240 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

USER DEFINED KEYS Initial Assignments

No.

Bank A

(Surround

Monitor)

Bank B

(Scene

Recall)

Bank C

(Group

Enable)

Bank D

(Automix)

Bank E

(Effect

Library)

Bank F

(Group

Assign)

Bank G

(Mute

Master)

Bank H

(Program

Change)

SNAP TO SPL

Scene 1

Recall

IN Fader

Group A

Automix

ENABLE

Fx 1 Lib+1

Recall

IN Fader

Assign A

IN Mute

Master I

MIDI PGM 1

No Assign

Scene 2

Recall

IN Fader

Group B

Automix REC

Fx 2 Lib+1

Recall

IN Fader

Assign B

IN Mute

Master J

MIDI PGM 2

Surr Lib 0

Recall

Scene 3

Recall

IN Fader

Group C

Automix

ABORT

Fx 3 Lib+1

Recall

IN Fader

Assign C

IN Mute

Master K

MIDI PGM 3

Surr Lib–1

Recall

Scene 4

Recall

IN Fader

Group D

Automix

AUTOREC

Fx 4 Lib+1

Recall

IN Fader

Assign D

IN Mute

Master L

MIDI PGM 4

Surr Lib+1

Recall

Scene 5

Recall

IN Fader

Group E

Automix

RETURN

No Assign

IN Fader

Assign E

IN Mute

Master M

MIDI PGM 5

Surr Mon L

Mute

Scene 6

Recall

IN Fader

Group F

Automix REL-

ATIVE

No Assign

IN Fader

Assign F

IN Mute

Master N

MIDI PGM 6

Surr Mon C

Mute

Scene 7

Recall

IN Fader

Group G

Automix

T.SENSE

No Assign

IN Fader

Assign G

IN Mute

Master O

MIDI PGM 7

Surr Mon R

Mute

Scene +1

Recall

IN Fader

Group H

Automix

TAKEOVER

No Assign

IN Fader

Assign H

IN Mute

Master P

MIDI PGM 8

Bass Man-

age ON

Scene 8

Recall

IN Mute

Group I

Overwrite

FADER

Fx 1 Lib-1

Recall

IN Mute

Assign I

OUT Mute

Master U

MIDI PGM 9

No Assign

Scene 9

Recall

IN Mute

Group J

Overwrite

Fx 2 Lib-1

Recall

IN Mute

Assign J

OUT Mute

Master V

MIDI PGM

No Assign

Scene 10

Recall

IN Mute

Group K

Overwrite

PAN

Fx 3 Lib-1

Recall

IN Mute

Assign K

OUT Mute

Master W

MIDI PGM

No Assign

Scene 11

Recall

IN Mute

Group L

Overwrite

SURR.

Fx 4 Lib-1

Recall

IN Mute

Assign L

OUT Mute

Master X

MIDI PGM

Surr.Mon

LFEMute

Scene 12

Recall

IN Mute

Group M

Overwrite

AUX

No Assign

IN Mute

Assign M

No Assign

MIDI PGM

Surr.Mon Ls

Mute

Scene 13

Recall

IN Mute

Group N

Overwrite

AUX ON

No Assign

IN Mute

Assign N

No Assign

MIDI PGM

Surr.Mon Bs

Mute

Scene 14

Recall

IN Mute

Group O

Overwrite EQ No Assign

IN Mute

Assign O

No Assign

MIDI PGM

Surr.Mon Rs

Mute

Scene –1

Recall

IN Mute

Group P

Automix

STOP

No Assign

IN Mute

Assign P

No Assign

MIDI PGM

Input Patch Parameters 241

02R96 Version 2—Owner’s Manual

Input Patch Parameters

Input Channel Inputs Input Channel insert Ins Internal Effects Processor Inputs

Port ID Description Port ID Description Port ID Description

NONE NONE NONE NONE NONE NONE

AD1 AD IN 1 AD1 AD IN 1 AUX1 AUX1

AD2 AD IN 2 AD2 AD IN 2 AUX2 AUX2

AD3 AD IN 3 AD3 AD IN 3 AUX3 AUX3

AD4 AD IN 4 AD4 AD IN 4 AUX4 AUX4

AD5 AD IN 5 AD5 AD IN 5 AUX5 AUX5

AD6 AD IN 6 AD6 AD IN 6 AUX6 AUX6

AD7 AD IN 7 AD7 AD IN 7 AUX7 AUX7

AD8 AD IN 8 AD8 AD IN 8 AUX8 AUX8

AD9 AD IN 9 AD9 AD IN 9 INSCH1 InsertOut-CH1

AD10 AD IN 10 AD10 AD IN 10 INSCH2 InsertOut-CH2

AD11 AD IN 11 AD11 AD IN 11 INSCH3 InsertOut-CH3

AD12 AD IN 12 AD12 AD IN 12 INSCH4 InsertOut-CH4

AD13 AD IN 13 AD13 AD IN 13 INSCH5 InsertOut-CH5

AD14 AD IN 14 AD14 AD IN 14 INSCH6 InsertOut-CH6

AD15 AD IN 15 AD15 AD IN 15 INSCH7 InsertOut-CH7

AD16 AD IN 16 AD16 AD IN 16 INSCH8 InsertOut-CH8

AD17 AD IN 17 AD17 AD IN 17 INSCH9 InsertOut-CH9

AD18 AD IN 18 AD18 AD IN 18 INSCH10 InsertOut-CH10

AD19 AD IN 19 AD19 AD IN 19 INSCH11 InsertOut-CH11

AD20 AD IN 20 AD20 AD IN 20 INSCH12 InsertOut-CH12

AD21 AD IN 21 AD21 AD IN 21 INSCH13 InsertOut-CH13

AD22 AD IN 22 AD22 AD IN 22 INSCH14 InsertOut-CH14

AD23 AD IN 23 AD23 AD IN 23 INSCH15 InsertOut-CH15

AD24 AD IN 24 AD24 AD IN 24 INSCH16 InsertOut-CH16

S1-1 Slot1 CH1 IN S1-1 Slot1 CH1 IN INSCH17 InsertOut-CH17

S1-2 Slot1 CH2 IN S1-2 Slot1 CH2 IN INSCH18 InsertOut-CH18

S1-3 Slot1 CH3 IN S1-3 Slot1 CH3 IN INSCH19 InsertOut-CH19

S1-4 Slot1 CH4 IN S1-4 Slot1 CH4 IN INSCH20 InsertOut-CH20

S1-5 Slot1 CH5 IN S1-5 Slot1 CH5 IN INSCH21 InsertOut-CH21

S1-6 Slot1 CH6 IN S1-6 Slot1 CH6 IN INSCH22 InsertOut-CH22

S1-7 Slot1 CH7 IN S1-7 Slot1 CH7 IN INSCH23 InsertOut-CH23

S1-8 Slot1 CH8 IN S1-8 Slot1 CH8 IN INSCH24 InsertOut-CH24

S1-9 Slot1 CH9 IN S1-9 Slot1 CH9 IN INSCH25 InsertOut-CH25

S1-10 Slot1 CH10 IN S1-10 Slot1 CH10 IN INSCH26 InsertOut-CH26

S1-11 Slot1 CH11 IN S1-11 Slot1 CH11 IN INSCH27 InsertOut-CH27

S1-12 Slot1 CH12 IN S1-12 Slot1 CH12 IN INSCH28 InsertOut-CH28

S1-13 Slot1 CH13 IN S1-13 Slot1 CH13 IN INSCH29 InsertOut-CH29

S1-14 Slot1 CH14 IN S1-14 Slot1 CH14 IN INSCH30 InsertOut-CH30

S1-15 Slot1 CH15 IN S1-15 Slot1 CH15 IN INSCH31 InsertOut-CH31

S1-16 Slot1 CH16 IN S1-16 Slot1 CH16 IN INSCH32 InsertOut-CH32

S2-1 Slot2 CH1 IN S2-1 Slot2 CH1 IN INSCH33 InsertOut-CH33

S2-2 Slot2 CH2 IN S2-2 Slot2 CH2 IN INSCH34 InsertOut-CH34

S2-3 Slot2 CH3 IN S2-3 Slot2 CH3 IN INSCH35 InsertOut-CH35

S2-4 Slot2 CH4 IN S2-4 Slot2 CH4 IN INSCH36 InsertOut-CH36

S2-5 Slot2 CH5 IN S2-5 Slot2 CH5 IN INSCH37 InsertOut-CH37

S2-6 Slot2 CH6 IN S2-6 Slot2 CH6 IN INSCH38 InsertOut-CH38

S2-7 Slot2 CH7 IN S2-7 Slot2 CH7 IN INSCH39 InsertOut-CH39

S2-8 Slot2 CH8 IN S2-8 Slot2 CH8 IN INSCH40 InsertOut-CH40

S2-9 Slot2 CH9 IN S2-9 Slot2 CH9 IN INSCH41 InsertOut-CH41

S2-10 Slot2 CH10 IN S2-10 Slot2 CH10 IN INSCH42 InsertOut-CH42

S2-11 Slot2 CH11 IN S2-11 Slot2 CH11 IN INSCH43 InsertOut-CH43

242 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

S2-12 Slot2 CH12 IN S2-12 Slot2 CH12 IN INSCH44 InsertOut-CH44

S2-13 Slot2 CH13 IN S2-13 Slot2 CH13 IN INSCH45 InsertOut-CH45

S2-14 Slot2 CH14 IN S2-14 Slot2 CH14 IN INSCH46 InsertOut-CH46

S2-15 Slot2 CH15 IN S2-15 Slot2 CH15 IN INSCH47 InsertOut-CH47

S2-16 Slot2 CH16 IN S2-16 Slot2 CH16 IN INSCH48 InsertOut-CH48

S3-1 Slot3 CH1 IN S3-1 Slot3 CH1 IN INSCH49 InsertOut-CH49

S3-2 Slot3 CH2 IN S3-2 Slot3 CH2 IN INSCH50 InsertOut-CH50

S3-3 Slot3 CH3 IN S3-3 Slot3 CH3 IN INSCH51 InsertOut-CH51

S3-4 Slot3 CH4 IN S3-4 Slot3 CH4 IN INSCH52 InsertOut-CH52

S3-5 Slot3 CH5 IN S3-5 Slot3 CH5 IN INSCH53 InsertOut-CH53

S3-6 Slot3 CH6 IN S3-6 Slot3 CH6 IN INSCH54 InsertOut-CH54

S3-7 Slot3 CH7 IN S3-7 Slot3 CH7 IN INSCH55 InsertOut-CH55

S3-8 Slot3 CH8 IN S3-8 Slot3 CH8 IN INSCH56 InsertOut-CH56

S3-9 Slot3 CH9 IN S3-9 Slot3 CH9 IN INSBUS1 InsertOut-BUS1

S3-10 Slot3 CH10 IN S3-10 Slot3 CH10 IN INSBUS2 InsertOut-BUS2

S3-11 Slot3 CH11 IN S3-11 Slot3 CH11 IN INSBUS3 InsertOut-BUS3

S3-12 Slot3 CH12 IN S3-12 Slot3 CH12 IN INSBUS4 InsertOut-BUS4

S3-13 Slot3 CH13 IN S3-13 Slot3 CH13 IN INSBUS5 InsertOut-BUS5

S3-14 Slot3 CH14 IN S3-14 Slot3 CH14 IN INSBUS6 InsertOut-BUS6

S3-15 Slot3 CH15 IN S3-15 Slot3 CH15 IN INSBUS7 InsertOut-BUS7

S3-16 Slot3 CH16 IN S3-16 Slot3 CH16 IN INSBUS8 InsertOut-BUS8

S4-1 Slot4 CH1 IN S4-1 Slot4 CH1 IN INSAUX1 InsertOut-AUX1

S4-2 Slot4 CH2 IN S4-2 Slot4 CH2 IN INSAUX2 InsertOut-AUX2

S4-3 Slot4 CH3 IN S4-3 Slot4 CH3 IN INSAUX3 InsertOut-AUX3

S4-4 Slot4 CH4 IN S4-4 Slot4 CH4 IN INSAUX4 InsertOut-AUX4

S4-5 Slot4 CH5 IN S4-5 Slot4 CH5 IN INSAUX5 InsertOut-AUX5

S4-6 Slot4 CH6 IN S4-6 Slot4 CH6 IN INSAUX6 InsertOut-AUX6

S4-7 Slot4 CH7 IN S4-7 Slot4 CH7 IN INSAUX7 InsertOut-AUX7

S4-8 Slot4 CH8 IN S4-8 Slot4 CH8 IN INSAUX8 InsertOut-AUX8

S4-9 Slot4 CH9 IN S4-9 Slot4 CH9 IN INSSTL InsertOut-STL

S4-10 Slot4 CH10 IN S4-10 Slot4 CH10 IN INSSTR InsertOut-STR

S4-11 Slot4 CH11 IN S4-11 Slot4 CH11 IN FX1-1 Effect1 OUT 1

S4-12 Slot4 CH12 IN S4-12 Slot4 CH12 IN FX1-2 Effect1 OUT 2

S4-13 Slot4 CH13 IN S4-13 Slot4 CH13 IN FX2-1 Effect2 OUT 1

S4-14 Slot4 CH14 IN S4-14 Slot4 CH14 IN FX2-2 Effect2 OUT 2

S4-15 Slot4 CH15 IN S4-15 Slot4 CH15 IN FX3-1 Effect3 OUT 1

S4-16 Slot4 CH16 IN S4-16 Slot4 CH16 IN FX3-2 Effect3 OUT 2

FX1-1 Effect1 OUT 1 FX1-1 Effect1 OUT 1 FX4-1 Effect4 OUT 1

FX1-2 Effect1 OUT 2 FX1-2 Effect1 OUT 2 FX4-2 Effect4 OUT 2

FX1-3 Effect1 OUT 3 FX1-3 Effect1 OUT 3

FX1-4 Effect1 OUT 4 FX1-4 Effect1 OUT 4

FX1-5 Effect1 OUT 5 FX1-5 Effect1 OUT 5

FX1-6 Effect1 OUT 6 FX1-6 Effect1 OUT 6

FX1-7 Effect1 OUT 7 FX1-7 Effect1 OUT 7

FX1-8 Effect1 OUT 8 FX1-8 Effect1 OUT 8

FX2-1 Effect2 OUT 1 FX2-1 Effect2 OUT 1

FX2-2 Effect2 OUT 2 FX2-2 Effect2 OUT 2

FX3-1 Effect3 OUT 1 FX3-1 Effect3 OUT 1

FX3-2 Effect3 OUT 2 FX3-2 Effect3 OUT 2

FX4-1 Effect4 OUT 1 FX4-1 Effect4 OUT 1

FX4-2 Effect4 OUT 2 FX4-2 Effect4 OUT 2

2TD1L 2TR IN Dig.1 L 2TD1L 2TR IN Dig.1 L

2TD1R 2TR IN Dig.1 R 2TD1R 2TR IN Dig.1 R

Input Channel Inputs Input Channel insert Ins Internal Effects Processor Inputs

Port ID Description Port ID Description Port ID Description

Input Patch Parameters 243

02R96 Version 2—Owner’s Manual

Input Channel Inputs Input Channel insert Ins

Port ID Description Port ID Description

2TD2L 2TR IN Dig.2 L 2TD2L 2TR IN Dig.2 L

2TD2R 2TR IN Dig.2 R 2TD2R 2TR IN Dig.2 R

2TD3L 2TR IN Dig.3 L 2TD3L 2TR IN Dig.3 L

2TD3R 2TR IN Dig.3 R 2TD3R 2TR IN Dig.3 R

2TA1L 2TR IN Analog1 L 2TA1L 2TR IN Analog1 L

2TA1R 2TR IN Analog1 R 2TA1R 2TR IN Analog1 R

2TA2L 2TR IN Analog2 L 2TA2L 2TR IN Analog2 L

2TA2R 2TR IN Analog2 R 2TA2R 2TR IN Analog2 R

BUS1 BUS1

BUS2 BUS2

BUS3 BUS3

BUS4 BUS4

BUS5 BUS5

BUS6 BUS6

BUS7 BUS7

BUS8 BUS8

AUX1 AUX1

AUX2 AUX2

AUX3 AUX3

AUX4 AUX4

AUX5 AUX5

AUX6 AUX6

AUX7 AUX7

AUX8 AUX8

244 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Initial Input Patch Settings

Input channel Inputs Effects Processors Inputs

# Source # Source

1 AD01 29 S1-05

2 AD02 30 S1-06

3 AD03 31 S1-07

4 AD04 32 S1-08

5 AD05 33 S2-01

6 AD06 34 S2-02

7 AD07 35 S2-03

8 AD08 36 S2-04

9 AD09 37 S2-05

10 AD10 38 S2-06

11 AD11 39 S2-07

12 AD12 40 S2-08

13 AD13 41 S3-01

14 AD14 42 S3-02

15 AD15 43 S3-03

16 AD16 44 S3-04

17 AD17 45 S3-05

18 AD18 46 S3-06

19 AD19 47 S3-07

20 AD20 48 S3-08

21 AD21 49 S4-01

22 AD22 50 S4-02

23 AD23 51 S4-03

24 AD24 52 S4-04

25 S1-01 53 S4-05

26 S1-02 54 S4-06

27 S1-03 55 S4-07

28 S1-04 56 S4-08

# Source

1-1 AUX1

1-2 NONE

1-3 NONE

1-4 NONE

1-5 NONE

1-6 NONE

1-7 NONE

1-8 NONE

2-1 AUX2

2-2 NONE

3-1 AUX3

3-2 NONE

4-1 AUX4

4-2 NONE

Output Patch Parameters 245

02R96 Version 2—Owner’s Manual

Output Patch Parameters

Output patch parameters are split into two tables. The ﬁrst table contains parameters for

the Slot Outputs, Omni Outs, and Output Channel Insert Ins. The second table, Direct

Outs and, 2TR Digital Outputs.

Output Patch Table 1

Slot Outputs Omni Outs Output Channel Insert Ins

Source Description Source Description Source Description

NONE NONE NONE NONE NONE NONE

BUS1 BUS1 BUS1 BUS1 AD1 AD IN 1

BUS2 BUS2 BUS2 BUS2 AD2 AD IN 2

BUS3 BUS3 BUS3 BUS3 AD3 AD IN 3

BUS4 BUS4 BUS4 BUS4 AD4 AD IN 4

BUS5 BUS5 BUS5 BUS5 AD5 AD IN 5

BUS6 BUS6 BUS6 BUS6 AD6 AD IN 6

BUS7 BUS7 BUS7 BUS7 AD7 AD IN 7

BUS8 BUS8 BUS8 BUS8 AD8 AD IN 8

AUX1 AUX1 AUX1 AUX1 AD9 AD IN 9

AUX2 AUX2 AUX2 AUX2 AD10 AD IN 10

AUX3 AUX3 AUX3 AUX3 AD11 AD IN 11

AUX4 AUX4 AUX4 AUX4 AD12 AD IN 12

AUX5 AUX5 AUX5 AUX5 AD13 AD IN 13

AUX6 AUX6 AUX6 AUX6 AD14 AD IN 14

AUX7 AUX7 AUX7 AUX7 AD15 AD IN 15

AUX8 AUX8 AUX8 AUX8 AD16 AD IN 16

STEREO-L STEREO L STEREO-L STEREO L AD17 AD IN 17

STEREO-R STEREO R STEREO-R STEREO R AD18 AD IN 18

INSCH1 InsertOut-CH1 INSCH1 InsertOut-CH1 AD19 AD IN 19

INSCH2 InsertOut-CH2 INSCH2 InsertOut-CH2 AD20 AD IN 20

INSCH3 InsertOut-CH3 INSCH3 InsertOut-CH3 AD21 AD IN 21

INSCH4 InsertOut-CH4 INSCH4 InsertOut-CH4 AD22 AD IN 22

INSCH5 InsertOut-CH5 INSCH5 InsertOut-CH5 AD23 AD IN 23

INSCH6 InsertOut-CH6 INSCH6 InsertOut-CH6 AD24 AD IN 24

INSCH7 InsertOut-CH7 INSCH7 InsertOut-CH7 S1-1 Slot1 CH1 IN

INSCH8 InsertOut-CH8 INSCH8 InsertOut-CH8 S1-2 Slot1 CH2 IN

INSCH9 InsertOut-CH9 INSCH9 InsertOut-CH9 S1-3 Slot1 CH3 IN

INSCH10 InsertOut-CH10 INSCH10 InsertOut-CH10 S1-4 Slot1 CH4 IN

INSCH11 InsertOut-CH11 INSCH11 InsertOut-CH11 S1-5 Slot1 CH5 IN

INSCH12 InsertOut-CH12 INSCH12 InsertOut-CH12 S1-6 Slot1 CH6 IN

INSCH13 InsertOut-CH13 INSCH13 InsertOut-CH13 S1-7 Slot1 CH7 IN

INSCH14 InsertOut-CH14 INSCH14 InsertOut-CH14 S1-8 Slot1 CH8 IN

INSCH15 InsertOut-CH15 INSCH15 InsertOut-CH15 S1-9 Slot1 CH9 IN

INSCH16 InsertOut-CH16 INSCH16 InsertOut-CH16 S1-10 Slot1 CH10 IN

INSCH17 InsertOut-CH17 INSCH17 InsertOut-CH17 S1-11 Slot1 CH11 IN

INSCH18 InsertOut-CH18 INSCH18 InsertOut-CH18 S1-12 Slot1 CH12 IN

INSCH19 InsertOut-CH19 INSCH19 InsertOut-CH19 S1-13 Slot1 CH13 IN

INSCH20 InsertOut-CH20 INSCH20 InsertOut-CH20 S1-14 Slot1 CH14 IN

INSCH21 InsertOut-CH21 INSCH21 InsertOut-CH21 S1-15 Slot1 CH15 IN

INSCH22 InsertOut-CH22 INSCH22 InsertOut-CH22 S1-16 Slot1 CH16 IN

INSCH23 InsertOut-CH23 INSCH23 InsertOut-CH23 S2-1 Slot2 CH1 IN

INSCH24 InsertOut-CH24 INSCH24 InsertOut-CH24 S2-2 Slot2 CH2 IN

INSCH25 InsertOut-CH25 INSCH25 InsertOut-CH25 S2-3 Slot2 CH3 IN

INSCH26 InsertOut-CH26 INSCH26 InsertOut-CH26 S2-4 Slot2 CH4 IN

INSCH27 InsertOut-CH27 INSCH27 InsertOut-CH27 S2-5 Slot2 CH5 IN

246 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

INSCH28 InsertOut-CH28 INSCH28 InsertOut-CH28 S2-6 Slot2 CH6 IN

INSCH29 InsertOut-CH29 INSCH29 InsertOut-CH29 S2-7 Slot2 CH7 IN

INSCH30 InsertOut-CH30 INSCH30 InsertOut-CH30 S2-8 Slot2 CH8 IN

INSCH31 InsertOut-CH31 INSCH31 InsertOut-CH31 S2-9 Slot2 CH9 IN

INSCH32 InsertOut-CH32 INSCH32 InsertOut-CH32 S2-10 Slot2 CH10 IN

INSCH33 InsertOut-CH33 INSCH33 InsertOut-CH33 S2-11 Slot2 CH11 IN

INSCH34 InsertOut-CH34 INSCH34 InsertOut-CH34 S2-12 Slot2 CH12 IN

INSCH35 InsertOut-CH35 INSCH35 InsertOut-CH35 S2-13 Slot2 CH13 IN

INSCH36 InsertOut-CH36 INSCH36 InsertOut-CH36 S2-14 Slot2 CH14 IN

INSCH37 InsertOut-CH37 INSCH37 InsertOut-CH37 S2-15 Slot2 CH15 IN

INSCH38 InsertOut-CH38 INSCH38 InsertOut-CH38 S2-16 Slot2 CH16 IN

INSCH39 InsertOut-CH39 INSCH39 InsertOut-CH39 S3-1 Slot3 CH1 IN

INSCH40 InsertOut-CH40 INSCH40 InsertOut-CH40 S3-2 Slot3 CH2 IN

INSCH41 InsertOut-CH41 INSCH41 InsertOut-CH41 S3-3 Slot3 CH3 IN

INSCH42 InsertOut-CH42 INSCH42 InsertOut-CH42 S3-4 Slot3 CH4 IN

INSCH43 InsertOut-CH43 INSCH43 InsertOut-CH43 S3-5 Slot3 CH5 IN

INSCH44 InsertOut-CH44 INSCH44 InsertOut-CH44 S3-6 Slot3 CH6 IN

INSCH45 InsertOut-CH45 INSCH45 InsertOut-CH45 S3-7 Slot3 CH7 IN

INSCH46 InsertOut-CH46 INSCH46 InsertOut-CH46 S3-8 Slot3 CH8 IN

INSCH47 InsertOut-CH47 INSCH47 InsertOut-CH47 S3-9 Slot3 CH9 IN

INSCH48 InsertOut-CH48 INSCH48 InsertOut-CH48 S3-10 Slot3 CH10 IN

INSCH49 InsertOut-CH49 INSCH49 InsertOut-CH49 S3-11 Slot3 CH11 IN

INSCH50 InsertOut-CH50 INSCH50 InsertOut-CH50 S3-12 Slot3 CH12 IN

INSCH51 InsertOut-CH51 INSCH51 InsertOut-CH51 S3-13 Slot3 CH13 IN

INSCH52 InsertOut-CH52 INSCH52 InsertOut-CH52 S3-14 Slot3 CH14 IN

INSCH53 InsertOut-CH53 INSCH53 InsertOut-CH53 S3-15 Slot3 CH15 IN

INSCH54 InsertOut-CH54 INSCH54 InsertOut-CH54 S3-16 Slot3 CH16 IN

INSCH55 InsertOut-CH55 INSCH55 InsertOut-CH55 S4-1 Slot4 CH1 IN

INSCH56 InsertOut-CH56 INSCH56 InsertOut-CH56 S4-2 Slot4 CH2 IN

INSBUS1 InsertOut-BUS1 INSBUS1 InsertOut-BUS1 S4-3 Slot4 CH3 IN

INSBUS2 InsertOut-BUS2 INSBUS2 InsertOut-BUS2 S4-4 Slot4 CH4 IN

INSBUS3 InsertOut-BUS3 INSBUS3 InsertOut-BUS3 S4-5 Slot4 CH5 IN

INSBUS4 InsertOut-BUS4 INSBUS4 InsertOut-BUS4 S4-6 Slot4 CH6 IN

INSBUS5 InsertOut-BUS5 INSBUS5 InsertOut-BUS5 S4-7 Slot4 CH7 IN

INSBUS6 InsertOut-BUS6 INSBUS6 InsertOut-BUS6 S4-8 Slot4 CH8 IN

INSBUS7 InsertOut-BUS7 INSBUS7 InsertOut-BUS7 S4-9 Slot4 CH9 IN

INSBUS8 InsertOut-BUS8 INSBUS8 InsertOut-BUS8 S4-10 Slot4 CH10 IN

INSAUX1 InsertOut-AUX1 INSAUX1 InsertOut-AUX1 S4-11 Slot4 CH11 IN

INSAUX2 InsertOut-AUX2 INSAUX2 InsertOut-AUX2 S4-12 Slot4 CH12 IN

INSAUX3 InsertOut-AUX3 INSAUX3 InsertOut-AUX3 S4-13 Slot4 CH13 IN

INSAUX4 InsertOut-AUX4 INSAUX4 InsertOut-AUX4 S4-14 Slot4 CH14 IN

INSAUX5 InsertOut-AUX5 INSAUX5 InsertOut-AUX5 S4-15 Slot4 CH15 IN

INSAUX6 InsertOut-AUX6 INSAUX6 InsertOut-AUX6 S4-16 Slot4 CH16 IN

INSAUX7 InsertOut-AUX7 INSAUX7 InsertOut-AUX7 FX1-1 Effect1 OUT 1

INSAUX8 InsertOut-AUX8 INSAUX8 InsertOut-AUX8 FX1-2 Effect1 OUT 2

INSSTL InsertOut-STL INSSTL InsertOut-STL FX1-3 Effect1 OUT 3

INSSTR InsertOut-STR INSSTR InsertOut-STR FX1-4 Effect1 OUT 4

Surr L Surround Monitor L Surr L Surround Monitor L FX1-5 Effect1 OUT 5

Surr R Surround Monitor R Surr R Surround Monitor R FX1-6 Effect1 OUT 6

Surr Ls Surround Monitor Ls Surr Ls Surround Monitor Ls FX1-7 Effect1 OUT 7

Surr Rs Surround Monitor Rs Surr Rs Surround Monitor Rs FX1-8 Effect1 OUT 8

Surr C Surround Monitor C Surr C Surround Monitor C FX2-1 Effect2 OUT 1

Surr LFE Surround Monitor LFE Surr LFE Surround Monitor LFE FX2-2 Effect2 OUT 2

Slot Outputs Omni Outs Output Channel Insert Ins

Source Description Source Description Source Description

Output Patch Parameters 247

02R96 Version 2—Owner’s Manual

Surr Ls2 Surround Monitor Ls2 Surr Ls2 Surround Monitor Ls2 FX3-1 Effect3 OUT 1

Surr Rs2 Surround Monitor Rs2 Surr Rs2 Surround Monitor Rs2 FX3-2 Effect3 OUT 2

FX4-1 Effect4 OUT 1

FX4-2 Effect4 OUT 2

2TD1L 2TR IN Dig.1 L

2TD1R 2TR IN Dig.1 R

2TD2L 2TR IN Dig.2 L

2TD2R 2TR IN Dig.2 R

2TD3L 2TR IN Dig.3 L

2TD3R 2TR IN Dig.3 R

2TA1L 2TR IN Analog1 L

2TA1R 2TR IN Analog1 R

2TA2L 2TR IN Analog2 L

2TA2R 2TR IN Analog2 R

Slot Outputs Omni Outs Output Channel Insert Ins

Source Description Source Description Source Description

248 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Output Patch Table 2

Direct Outs 2TR Digital Outs

Source Description Source Description

NONE NONE NONE NONE

S1-1 Slot1 CH1 OUT BUS1 BUS1

S1-2 Slot1 CH2 OUT BUS2 BUS2

S1-3 Slot1 CH3 OUT BUS3 BUS3

S1-4 Slot1 CH4 OUT BUS4 BUS4

S1-5 Slot1 CH5 OUT BUS5 BUS5

S1-6 Slot1 CH6 OUT BUS6 BUS6

S1-7 Slot1 CH7 OUT BUS7 BUS7

S1-8 Slot1 CH8 OUT BUS8 BUS8

S1-9 Slot1 CH9 OUT AUX1 AUX1

S1-10 Slot1 CH10 OUT AUX2 AUX2

S1-11 Slot1 CH11 OUT AUX3 AUX3

S1-12 Slot1 CH12 OUT AUX4 AUX4

S1-13 Slot1 CH13 OUT AUX5 AUX5

S1-14 Slot1 CH14 OUT AUX6 AUX6

S1-15 Slot1 CH15 OUT AUX7 AUX7

S1-16 Slot1 CH16 OUT AUX8 AUX8

S2-1 Slot2 CH1 OUT STEREO-L STEREO L

S2-2 Slot2 CH2 OUT STEREO-R STEREO R

S2-3 Slot2 CH3 OUT INSCH1 InsertOut-CH1

S2-4 Slot2 CH4 OUT INSCH2 InsertOut-CH2

S2-5 Slot2 CH5 OUT INSCH3 InsertOut-CH3

S2-6 Slot2 CH6 OUT INSCH4 InsertOut-CH4

S2-7 Slot2 CH7 OUT INSCH5 InsertOut-CH5

S2-8 Slot2 CH8 OUT INSCH6 InsertOut-CH6

S2-9 Slot2 CH9 OUT INSCH7 InsertOut-CH7

S2-10 Slot2 CH10 OUT INSCH8 InsertOut-CH8

S2-11 Slot2 CH11 OUT INSCH9 InsertOut-CH9

S2-12 Slot2 CH12 OUT INSCH10 InsertOut-CH10

S2-13 Slot2 CH13 OUT INSCH11 InsertOut-CH11

S2-14 Slot2 CH14 OUT INSCH12 InsertOut-CH12

S2-15 Slot2 CH15 OUT INSCH13 InsertOut-CH13

S2-16 Slot2 CH16 OUT INSCH14 InsertOut-CH14

S3-1 Slot3 CH1 OUT INSCH15 InsertOut-CH15

S3-2 Slot3 CH2 OUT INSCH16 InsertOut-CH16

S3-3 Slot3 CH3 OUT INSCH17 InsertOut-CH17

S3-4 Slot3 CH4 OUT INSCH18 InsertOut-CH18

S3-5 Slot3 CH5 OUT INSCH19 InsertOut-CH19

S3-6 Slot3 CH6 OUT INSCH20 InsertOut-CH20

S3-7 Slot3 CH7 OUT INSCH21 InsertOut-CH21

S3-8 Slot3 CH8 OUT INSCH22 InsertOut-CH22

S3-9 Slot3 CH9 OUT INSCH23 InsertOut-CH23

S3-10 Slot3 CH10 OUT INSCH24 InsertOut-CH24

S3-11 Slot3 CH11 OUT INSCH25 InsertOut-CH25

S3-12 Slot3 CH12 OUT INSCH26 InsertOut-CH26

S3-13 Slot3 CH13 OUT INSCH27 InsertOut-CH27

S3-14 Slot3 CH14 OUT INSCH28 InsertOut-CH28

S3-15 Slot3 CH15 OUT INSCH29 InsertOut-CH29

S3-16 Slot3 CH16 OUT INSCH30 InsertOut-CH30

S4-1 Slot4 CH1 OUT INSCH31 InsertOut-CH31

S4-2 Slot4 CH2 OUT INSCH32 InsertOut-CH32

S4-3 Slot4 CH3 OUT INSCH33 InsertOut-CH33

S4-4 Slot4 CH4 OUT INSCH34 InsertOut-CH34

S4-5 Slot4 CH5 OUT INSCH35 InsertOut-CH35

S4-6 Slot4 CH6 OUT INSCH36 InsertOut-CH36

S4-7 Slot4 CH7 OUT INSCH37 InsertOut-CH37

S4-8 Slot4 CH8 OUT INSCH38 InsertOut-CH38

S4-9 Slot4 CH9 OUT INSCH39 InsertOut-CH39

S4-10 Slot4 CH10 OUT INSCH40 InsertOut-CH40

S4-11 Slot4 CH11 OUT INSCH41 InsertOut-CH41

S4-12 Slot4 CH12 OUT INSCH42 InsertOut-CH42

S4-13 Slot4 CH13 OUT INSCH43 InsertOut-CH43

S4-14 Slot4 CH14 OUT INSCH44 InsertOut-CH44

S4-15 Slot4 CH15 OUT INSCH45 InsertOut-CH45

S4-16 Slot4 CH16 OUT INSCH46 InsertOut-CH46

OMNI1 OMNI OUT 1 INSCH47 InsertOut-CH47

OMNI2 OMNI OUT 2 INSCH48 InsertOut-CH48

OMNI3 OMNI OUT 3 INSCH49 InsertOut-CH49

OMNI4 OMNI OUT 4 INSCH50 InsertOut-CH50

OMNI5 OMNI OUT 5 INSCH51 InsertOut-CH51

OMNI6 OMNI OUT 6 INSCH52 InsertOut-CH52

OMNI7 OMNI OUT 7 INSCH53 InsertOut-CH53

OMNI8 OMNI OUT 8 INSCH54 InsertOut-CH54

2TD1L 2TR OUT Dig.1 L INSCH55 InsertOut-CH55

2TD1R 2TR OUT Dig.1 R INSCH56 InsertOut-CH56

2TD2L 2TR OUT Dig.2 L INSBUS1 InsertOut-BUS1

2TD2R 2TR OUT Dig.2 R INSBUS2 InsertOut-BUS2

2TD3L 2TR OUT Dig.3 L INSBUS3 InsertOut-BUS3

2TD3R 2TR OUT Dig.3 R INSBUS4 InsertOut-BUS4

INSBUS5 InsertOut-BUS5

INSBUS6 InsertOut-BUS6

INSBUS7 InsertOut-BUS7

INSBUS8 InsertOut-BUS8

INSAUX1 InsertOut-AUX1

INSAUX2 InsertOut-AUX2

INSAUX3 InsertOut-AUX3

INSAUX4 InsertOut-AUX4

INSAUX5 InsertOut-AUX5

INSAUX6 InsertOut-AUX6

INSAUX7 InsertOut-AUX7

INSAUX8 InsertOut-AUX8

INSSTL InsertOut-STL

INSSTR InsertOut-STR

CR-L Control Room L

CR-R Control Room R

Direct Outs 2TR Digital Outs

Source Description Source Description

Initial Output Patch Settings 249

02R96 Version 2—Owner’s Manual

Initial Output Patch Settings

Slot Outputs Omni Outs

Direct Outs

# Source # Source

SLOT1-01 BUS1 SLOT3-01 BUS1

SLOT1-02 BUS2 SLOT3-02 BUS2

SLOT1-03 BUS3 SLOT3-03 BUS3

SLOT1-04 BUS4 SLOT3-04 BUS4

SLOT1-05 BUS5 SLOT3-05 BUS5

SLOT1-06 BUS6 SLOT3-06 BUS6

SLOT1-07 BUS7 SLOT3-07 BUS7

SLOT1-08 BUS8 SLOT3-08 BUS8

SLOT1-09 BUS1 SLOT3-09 BUS1

SLOT1-10 BUS2 SLOT3-10 BUS2

SLOT1-11 BUS3 SLOT3-11 BUS3

SLOT1-12 BUS4 SLOT3-12 BUS4

SLOT1-13 BUS5 SLOT3-13 BUS5

SLOT1-14 BUS6 SLOT3-14 BUS6

SLOT1-15 BUS7 SLOT3-15 BUS7

SLOT1-16 BUS8 SLOT3-16 BUS8

SLOT2-01 BUS1 SLOT4-01 BUS1

SLOT2-02 BUS2 SLOT4-02 BUS2

SLOT2-03 BUS3 SLOT4-03 BUS3

SLOT2-04 BUS4 SLOT4-04 BUS4

SLOT2-05 BUS5 SLOT4-05 BUS5

SLOT2-06 BUS6 SLOT4-06 BUS6

SLOT2-07 BUS7 SLOT4-07 BUS7

SLOT2-08 BUS8 SLOT4-08 BUS8

SLOT2-09 BUS1 SLOT4-09 BUS1

SLOT2-10 BUS2 SLOT4-10 BUS2

SLOT2-11 BUS3 SLOT4-11 BUS3

SLOT2-12 BUS4 SLOT4-12 BUS4

SLOT2-13 BUS5 SLOT4-13 BUS5

SLOT2-14 BUS6 SLOT4-14 BUS6

SLOT2-15 BUS7 SLOT4-15 BUS7

SLOT2-16 BUS8 SLOT4-16 BUS8

# Source

1 AUX1

2 AUX2

3 AUX3

4 AUX4

5 AUX5

6 AUX6

7 AUX7

8 AUX8

# Destination # Destination

1 SLOT1-01 29 SLOT4-05

2 SLOT1-02 30 SLOT4-06

3 SLOT1-03 31 SLOT4-07

4 SLOT1-04 32 SLOT4-08

5 SLOT1-05 33 NONE

6 SLOT1-06 34 NONE

7 SLOT1-07 35 NONE

8 SLOT1-08 36 NONE

9 SLOT2-01 37 NONE

10 SLOT2-02 38 NONE

11 SLOT2-03 39 NONE

12 SLOT2-04 40 NONE

13 SLOT2-05 41 NONE

14 SLOT2-06 42 NONE

15 SLOT2-07 43 NONE

16 SLOT2-08 44 NONE

17 SLOT3-01 45 NONE

18 SLOT3-02 46 NONE

19 SLOT3-03 47 NONE

20 SLOT3-04 48 NONE

21 SLOT3-05 49 NONE

22 SLOT3-06 50 NONE

23 SLOT3-07 51 NONE

24 SLOT3-08 52 NONE

25 SLOT4-01 53 NONE

26 SLOT4-02 54 NONE

27 SLOT4-03 55 NONE

28 SLOT4-04 56 NONE

250 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Initial Input Channel Names Initial Output Channel Names

Input

Channel ID

Short Name Long Name

CH01 CH01 CH01

CH02 CH02 CH02

CH03 CH03 CH03

CH04 CH04 CH04

CH05 CH05 CH05

CH06 CH06 CH06

CH07 CH07 CH07

CH08 CH08 CH08

CH09 CH09 CH09

CH10 CH10 CH10

CH11 CH11 CH11

CH12 CH12 CH12

CH13 CH13 CH13

CH14 CH14 CH14

CH15 CH15 CH15

CH16 CH16 CH16

CH17 CH17 CH17

CH18 CH18 CH18

CH19 CH19 CH19

CH20 CH20 CH20

CH21 CH21 CH21

CH22 CH22 CH22

CH23 CH23 CH23

CH24 CH24 CH24

CH25 CH25 CH25

CH26 CH26 CH26

CH27 CH27 CH27

CH28 CH28 CH28

CH29 CH29 CH29

CH30 CH30 CH30

CH31 CH31 CH31

CH32 CH32 CH32

CH33 CH33 CH33

CH34 CH34 CH34

CH35 CH35 CH35

CH36 CH36 CH36

CH37 CH37 CH37

CH38 CH38 CH38

CH39 CH39 CH39

CH40 CH40 CH40

CH41 CH41 CH41

CH42 CH42 CH42

CH43 CH43 CH43

CH44 CH44 CH44

CH45 CH45 CH45

CH46 CH46 CH46

CH47 CH47 CH47

CH48 CH48 CH48

CH49 CH49 CH49

CH50 CH50 CH50

CH51 CH51 CH51

CH52 CH52 CH52

CH53 CH53 CH53

CH54 CH54 CH54

CH55 CH55 CH55

CH56 CH56 CH56

Output

Channel ID

Short Name Long Name

BUS1 BUS1 BUS1

BUS2 BUS2 BUS2

BUS3 BUS3 BUS3

BUS4 BUS4 BUS4

BUS5 BUS5 BUS5

BUS6 BUS6 BUS6

BUS7 BUS7 BUS7

BUS8 BUS8 BUS8

AUX1 AUX1 AUX1

AUX2 AUX2 AUX2

AUX3 AUX3 AUX3

AUX4 AUX4 AUX4

AUX5 AUX5 AUX5

AUX6 AUX6 AUX6

AUX7 AUX7 AUX7

AUX8 AUX8 AUX8

ST ST STEREO

Initial Input Port Names 251

02R96 Version 2—Owner’s Manual

Initial Input Port Names

Port PORT ID

Short

Name

Long Name

AD1 AD01 AD01 AD IN 1

AD2 AD02 AD02 AD IN 2

AD3 AD03 AD03 AD IN 3

AD4 AD04 AD04 AD IN 4

AD5 AD05 AD05 AD IN 5

AD6 AD06 AD06 AD IN 6

AD7 AD07 AD07 AD IN 7

AD8 AD08 AD08 AD IN 8

AD9 AD09 AD09 AD IN 9

AD10 AD10 AD10 AD IN 10

AD11 AD11 AD11 AD IN 11

AD12 AD12 AD12 AD IN 12

AD13 AD13 AD13 AD IN 13

AD14 AD14 AD14 AD IN 14

AD15 AD15 AD15 AD IN 15

AD16 AD16 AD16 AD IN 16

AD17 AD17 AD17 AD IN 17

AD18 AD18 AD18 AD IN 18

AD19 AD19 AD19 AD IN 19

AD20 AD20 AD20 AD IN 20

AD21 AD21 AD21 AD IN 21

AD22 AD22 AD22 AD IN 22

AD23 AD23 AD23 AD IN 23

AD24 AD24 AD24 AD IN 24

SLOT1-01 S1-1 S1-1 Slot1 CH1 IN

SLOT1-02 S1-2 S1-2 Slot1 CH2 IN

SLOT1-03 S1-3 S1-3 Slot1 CH3 IN

SLOT1-04 S1-4 S1-4 Slot1 CH4 IN

SLOT1-05 S1-5 S1-5 Slot1 CH5 IN

SLOT1-06 S1-6 S1-6 Slot1 CH6 IN

SLOT1-07 S1-7 S1-7 Slot1 CH7 IN

SLOT1-08 S1-8 S1-8 Slot1 CH8 IN

SLOT1-09 S1-9 S1-9 Slot1 CH9 IN

SLOT1-10 S110 S110 Slot1 CH10 IN

SLOT1-11 S111 S111 Slot1 CH11 IN

SLOT1-12 S112 S112 Slot1 CH12 IN

SLOT1-13 S113 S113 Slot1 CH13 IN

SLOT1-14 S114 S114 Slot1 CH14 IN

SLOT1-15 S115 S115 Slot1 CH15 IN

SLOT1-16 S116 S116 Slot1 CH16 IN

SLOT2-01 S2-1 S2-1 Slot2 CH1 IN

SLOT2-02 S2-2 S2-2 Slot2 CH2 IN

SLOT2-03 S2-3 S2-3 Slot2 CH3 IN

SLOT2-04 S2-4 S2-4 Slot2 CH4 IN

SLOT2-05 S2-5 S2-5 Slot2 CH5 IN

SLOT2-06 S2-6 S2-6 Slot2 CH6 IN

SLOT2-07 S2-7 S2-7 Slot2 CH7 IN

SLOT2-08 S2-8 S2-8 Slot2 CH8 IN

SLOT2-09 S2-9 S2-9 Slot2 CH9 IN

SLOT2-10 S210 S210 Slot2 CH10 IN

SLOT2-11 S211 S211 Slot2 CH11 IN

SLOT2-12 S212 S212 Slot2 CH12 IN

SLOT2-13 S213 S213 Slot2 CH13 IN

SLOT2-14 S214 S214 Slot2 CH14 IN

SLOT2-15 S215 S215 Slot2 CH15 IN

SLOT2-16 S216 S216 Slot2 CH16 IN

SLOT3-01 S3-1 S3-1 Slot3 CH1 IN

SLOT3-02 S3-2 S3-2 Slot3 CH2 IN

SLOT3-03 S3-3 S3-3 Slot3 CH3 IN

SLOT3-04 S3-4 S3-4 Slot3 CH4 IN

SLOT3-05 S3-5 S3-5 Slot3 CH5 IN

SLOT3-06 S3-6 S3-6 Slot3 CH6 IN

SLOT3-07 S3-7 S3-7 Slot3 CH7 IN

SLOT3-08 S3-8 S3-8 Slot3 CH8 IN

SLOT3-09 S3-9 S3-9 Slot3 CH9 IN

SLOT3-10 S310 S310 Slot3 CH10 IN

SLOT3-11 S311 S311 Slot3 CH11 IN

SLOT3-12 S312 S312 Slot3 CH12 IN

SLOT3-13 S313 S313 Slot3 CH13 IN

SLOT3-14 S314 S314 Slot3 CH14 IN

SLOT3-15 S315 S315 Slot3 CH15 IN

SLOT3-16 S316 S316 Slot3 CH16 IN

SLOT4-01 S4-1 S4-1 Slot4 CH1 IN

SLOT4-02 S4-2 S4-2 Slot4 CH2 IN

SLOT4-03 S4-3 S4-3 Slot4 CH3 IN

SLOT4-04 S4-4 S4-4 Slot4 CH4 IN

SLOT4-05 S4-5 S4-5 Slot4 CH5 IN

SLOT4-06 S4-6 S4-6 Slot4 CH6 IN

SLOT4-07 S4-7 S4-7 Slot4 CH7 IN

SLOT4-08 S4-8 S4-8 Slot4 CH8 IN

SLOT4-09 S4-9 S4-9 Slot4 CH9 IN

SLOT4-10 S410 S410 Slot4 CH10 IN

SLOT4-11 S411 S411 Slot4 CH11 IN

SLOT4-12 S412 S412 Slot4 CH12 IN

SLOT4-13 S413 S413 Slot4 CH13 IN

SLOT4-14 S414 S414 Slot4 CH14 IN

SLOT4-15 S415 S415 Slot4 CH15 IN

SLOT4-16 S416 S416 Slot4 CH16 IN

2TD1L 2TD1L 2D1L 2TR IN Dig.1 L

2TD1R 2TD1R 2D1R 2TR IN Dig.1 R

2TD2L 2TD2L 2D2L 2TR IN Dig.2 L

2TD2R 2TD2R 2D2R 2TR IN Dig.2 R

2TD3L 2TD3L 2D3L 2TR IN Dig.3 L

2TD3R 2TD3R 2D3R 2TR IN Dig.3 R

2TA1L 2TA1L 2A1L 2TR IN Analog1 L

2TA1R 2TA1R 2A1R 2TR IN Analog1 R

2TA2L 2TA2L 2A2L 2TR IN Analog2 L

2TA2R 2TA2R 2A2R 2TR IN Analog2 R

Port PORT ID

Short

Name

Long Name

252 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Initial Output Port Names

Port Port ID

Short

Name

Long Name

SLOT1-01 S1-1 S1-1 Slot1 CH1 OUT

SLOT1-02 S1-2 S1-2 Slot1 CH2 OUT

SLOT1-03 S1-3 S1-3 Slot1 CH3 OUT

SLOT1-04 S1-4 S1-4 Slot1 CH4 OUT

SLOT1-05 S1-5 S1-5 Slot1 CH5 OUT

SLOT1-06 S1-6 S1-6 Slot1 CH6 OUT

SLOT1-07 S1-7 S1-7 Slot1 CH7 OUT

SLOT1-08 S1-8 S1-8 Slot1 CH8 OUT

SLOT1-09 S1-9 S1-9 Slot1 CH9 OUT

SLOT1-10 S110 S110 Slot1 CH10 OUT

SLOT1-11 S111 S111 Slot1 CH11 OUT

SLOT1-12 S112 S112 Slot1 CH12 OUT

SLOT1-13 S113 S113 Slot1 CH13 OUT

SLOT1-14 S114 S114 Slot1 CH14 OUT

SLOT1-15 S115 S115 Slot1 CH15 OUT

SLOT1-16 S116 S116 Slot1 CH16 OUT

SLOT2-01 S2-1 S2-1 Slot2 CH1 OUT

SLOT2-02 S2-2 S2-2 Slot2 CH2 OUT

SLOT2-03 S2-3 S2-3 Slot2 CH3 OUT

SLOT2-04 S2-4 S2-4 Slot2 CH4 OUT

SLOT2-05 S2-5 S2-5 Slot2 CH5 OUT

SLOT2-06 S2-6 S2-6 Slot2 CH6 OUT

SLOT2-07 S2-7 S2-7 Slot2 CH7 OUT

SLOT2-08 S2-8 S2-8 Slot2 CH8 OUT

SLOT2-09 S2-9 S2-9 Slot2 CH9 OUT

SLOT2-10 S210 S210 Slot2 CH10 OUT

SLOT2-11 S211 S211 Slot2 CH11 OUT

SLOT2-12 S212 S212 Slot2 CH12 OUT

SLOT2-13 S213 S213 Slot2 CH13 OUT

SLOT2-14 S214 S214 Slot2 CH14 OUT

SLOT2-15 S215 S215 Slot2 CH15 OUT

SLOT2-16 S216 S216 Slot2 CH16 OUT

SLOT3-01 S3-1 S3-1 Slot3 CH1 OUT

SLOT3-02 S3-2 S3-2 Slot3 CH2 OUT

SLOT3-03 S3-3 S3-3 Slot3 CH3 OUT

SLOT3-04 S3-4 S3-4 Slot3 CH4 OUT

SLOT3-05 S3-5 S3-5 Slot3 CH5 OUT

SLOT3-06 S3-6 S3-6 Slot3 CH6 OUT

SLOT3-07 S3-7 S3-7 Slot3 CH7 OUT

SLOT3-08 S3-8 S3-8 Slot3 CH8 OUT

SLOT3-09 S3-9 S3-9 Slot3 CH9 OUT

SLOT3-10 S310 S310 Slot3 CH10 OUT

SLOT3-11 S311 S311 Slot3 CH11 OUT

SLOT3-12 S312 S312 Slot3 CH12 OUT

SLOT3-13 S313 S313 Slot3 CH13 OUT

SLOT3-14 S314 S314 Slot3 CH14 OUT

SLOT3-15 S315 S315 Slot3 CH15 OUT

SLOT3-16 S316 S316 Slot3 CH16 OUT

SLOT4-01 S4-1 S4-1 Slot4 CH1 OUT

SLOT4-02 S4-2 S4-2 Slot4 CH2 OUT

SLOT4-03 S4-3 S4-3 Slot4 CH3 OUT

SLOT4-04 S4-4 S4-4 Slot4 CH4 OUT

SLOT4-05 S4-5 S4-5 Slot4 CH5 OUT

SLOT4-06 S4-6 S4-6 Slot4 CH6 OUT

SLOT4-07 S4-7 S4-7 Slot4 CH7 OUT

SLOT4-08 S4-8 S4-8 Slot4 CH8 OUT

SLOT4-09 S4-9 S4-9 Slot4 CH9 OUT

SLOT4-10 S410 S410 Slot4 CH10 OUT

SLOT4-11 S411 S411 Slot4 CH11 OUT

SLOT4-12 S412 S412 Slot4 CH12 OUT

SLOT4-13 S413 S413 Slot4 CH13 OUT

SLOT4-14 S414 S414 Slot4 CH14 OUT

SLOT4-15 S415 S415 Slot4 CH15 OUT

SLOT4-16 S416 S416 Slot4 CH16 OUT

OMNI1 OMNI1 OMN1 OMNI OUT 1

OMNI2 OMNI2 OMN2 OMNI OUT 2

OMNI3 OMNI3 OMN3 OMNI OUT 3

OMNI4 OMNI4 OMN4 OMNI OUT 4

OMNI5 OMNI5 OMN5 OMNI OUT 5

OMNI6 OMNI6 OMN6 OMNI OUT 6

OMNI7 OMNI7 OMN7 OMNI OUT 7

OMNI8 OMNI8 OMN8 OMNI OUT 8

2TD1L 2TD1L 2D1L 2TR OUT Dig. 1L

2TD1R 2TD1R 2D1R 2TR OUT Dig. 1R

2TD2L 2TD2L 2D2L 2TR OUT Dig. 2L

2TD2R 2TD2R 2D2R 2TR OUT Dig. 2R

2TD3L 2TD3L 2D3L 2TR OUT Dig. 3L

2TD3R 2TD3R 2D3R 2TR OUT Dig. 3R

Port Port ID

Short

Name

Long Name

GPI Trigger Source & Target List 253

02R96 Version 2—Owner’s Manual

GPI Trigger Source & Target List

INPUT

#Target

NO ASSIGN

TALKBACK

SLATE

DIMMER

MONO

SMALL

SR BUS

SR ASSIGN1

SR ASSIGN2

CR STEREO

CR 2TRD1

CR 2TRD2

CR 2TRD3

CR 2TRA1

CR 2TRA2

CR ASSIGN1

CR ASSIGN2

SM C-R

SM STEREO

SM AUX11

SM AUX12

TALKBACK UNLATCH

SLATE UNLATCH

DIMMER UNLATCH

MONO UNLATCH

SMALL UNLATCH

SR BUS UNLATCH

SR ASGN1 UNLATCH

SR ASGN2 UNLATCH

CR ST UNLATCH

CR 2TRD1 UNLATCH

CR 2TRD2 UNLATCH

CR 2TRD3 UNLATCH

CR 2TRA1 UNLATCH

CR 2TRA2 UNLATCH

CR ASGN1 UNLATCH

CR ASGN2 UNLATCH

SD C-R UNLATCH

SD ST UNLATCH

SD AUX11 UNLATCH

SD AUX12 UNLATCH

CH1 ON

CH2 ON

CH3 ON

CH4 ON

CH5 ON

CH6 ON

CH7 ON

CH8 ON

CH9 ON

CH10 ON

CH11 ON

CH12 ON

CH13 ON

CH14 ON

CH15 ON

CH16 ON

CH17 ON

CH18 ON

CH19 ON

CH20 ON

CH21 ON

CH22 ON

CH23 ON

CH24 ON

CH25 ON

CH26 ON

CH27 ON

CH28 ON

CH29 ON

CH30 ON

CH31 ON

CH32 ON

CH33 ON

CH34 ON

CH35 ON

CH36 ON

CH37 ON

CH38 ON

CH39 ON

CH40 ON

CH41 ON

CH42 ON

CH43 ON

CH44 ON

CH45 ON

CH46 ON

CH47 ON

CH48 ON

CH49 ON

CH50 ON

CH51 ON

CH52 ON

CH53 ON

CH54 ON

CH55 ON

CH56 ON

AUX1 ON

AUX2 ON

AUX3 ON

100

AUX4 ON

101

AUX5 ON

#Target

102

AUX6 ON

103

AUX7 ON

104

AUX8 ON

105

STEREO ON

106

CH1 ON UNLATCH

107

CH2 ON UNLATCH

108

CH3 ON UNLATCH

109

CH4 ON UNLATCH

110

CH5 ON UNLATCH

111

CH6 ON UNLATCH

112

CH7 ON UNLATCH

113

CH8 ON UNLATCH

114

CH9 ON UNLATCH

115

CH10 ON UNLATCH

116

CH11 ON UNLATCH

117

CH12 ON UNLATCH

118

CH13 ON UNLATCH

119

CH14 ON UNLATCH

120

CH15 ON UNLATCH

121

CH16 ON UNLATCH

122

CH17 ON UNLATCH

123

CH18 ON UNLATCH

124

CH19 ON UNLATCH

125

CH20 ON UNLATCH

126

CH21 ON UNLATCH

127

CH22 ON UNLATCH

128

CH23 ON UNLATCH

129

CH24 ON UNLATCH

130

CH25 ON UNLATCH

131

CH26 ON UNLATCH

132

CH27 ON UNLATCH

133

CH28 ON UNLATCH

134

CH29 ON UNLATCH

135

CH30 ON UNLATCH

136

CH31 ON UNLATCH

137

CH32 ON UNLATCH

138

CH33 ON UNLATCH

139

CH34 ON UNLATCH

140

CH35 ON UNLATCH

141

CH36 ON UNLATCH

142

CH37 ON UNLATCH

143

CH38 ON UNLATCH

144

CH39 ON UNLATCH

145

CH40 ON UNLATCH

146

CH41 ON UNLATCH

147

CH42 ON UNLATCH

148

CH43 ON UNLATCH

149

CH44 ON UNLATCH

150

CH45 ON UNLATCH

151

CH46 ON UNLATCH

152

CH47 ON UNLATCH

#Target

153

CH48 ON UNLATCH

154

CH49 ON UNLATCH

155

CH50 ON UNLATCH

156

CH51 ON UNLATCH

157

CH52 ON UNLATCH

158

CH53 ON UNLATCH

159

CH54 ON UNLATCH

160

CH55 ON UNLATCH

161

CH56 ON UNLATCH

162

BUS1 ON UNLATCH

163

BUS2 ON UNLATCH

164

BUS3 ON UNLATCH

165

BUS4 ON UNLATCH

166

BUS5 ON UNLATCH

167

BUS6 ON UNLATCH

168

BUS7 ON UNLATCH

169

BUS8 ON UNLATCH

170

AUX1 ON UNLATCH

171

AUX2 ON UNLATCH

172

AUX3 ON UNLATCH

173

AUX4 ON UNLATCH

174

AUX5 ON UNLATCH

175

AUX6 ON UNLATCH

176

AUX7 ON UNLATCH

177

AUX8 ON UNLATCH

178

ST ON UNLATCH

179

UDEF1

180

UDEF2

181

UDEF3

182

UDEF4

183

UDEF5

184

UDEF6

185

UDEF7

186

UDEF8

187

UDEF9

188

UDEF10

189

UDEF11

190

UDEF12

191

UDEF13

192

UDEF14

193

UDEF15

194

UDEF16

#Target

254 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

OUTPUT

#Target

0 NO ASSIGN

1 CH1 FADER ON

2 CH2 FADER ON

3 CH3 FADER ON

4 CH4 FADER ON

5 CH5 FADER ON

6 CH6 FADER ON

7 CH7 FADER ON

8 CH8 FADER ON

9 CH9 FADER ON

10 CH10 FADER ON

11 CH11 FADER ON

12 CH12 FADER ON

13 CH13 FADER ON

14 CH14 FADER ON

15 CH15 FADER ON

16 CH16 FADER ON

17 CH17 FADER ON

18 CH18 FADER ON

19 CH19 FADER ON

20 CH20 FADER ON

21 CH21 FADER ON

22 CH22 FADER ON

23 CH23 FADER ON

24 CH24 FADER ON

25 CH25 FADER ON

26 CH26 FADER ON

27 CH27 FADER ON

28 CH28 FADER ON

29 CH29 FADER ON

30 CH30 FADER ON

31 CH31 FADER ON

32 CH32 FADER ON

33 CH33 FADER ON

34 CH34 FADER ON

35 CH35 FADER ON

36 CH36 FADER ON

37 CH37 FADER ON

38 CH38 FADER ON

39 CH39 FADER ON

40 CH40 FADER ON

41 CH41 FADER ON

42 CH42 FADER ON

43 CH43 FADER ON

44 CH44 FADER ON

45 CH45 FADER ON

46 CH46 FADER ON

47 CH47 FADER ON

48 CH48 FADER ON

49 CH49 FADER ON

50 CH50 FADER ON

51 CH51 FADER ON

52 CH52 FADER ON

53 CH53 FADER ON

54 CH54 FADER ON

55 CH55 FADER ON

56 CH56 FADER ON

57 BUS1 FADER ON

58 BUS2 FADER ON

59 BUS3 FADER ON

60 BUS4 FADER ON

61 BUS5 FADER ON

62 BUS6 FADER ON

63 BUS7 FADER ON

64 BUS8 FADER ON

65 AUX1 FADER ON

66 AUX2 FADER ON

67 AUX3 FADER ON

68 AUX4 FADER ON

69 AUX5 FADER ON

70 AUX6 FADER ON

71 AUX7 FADER ON

72 AUX8 FADER ON

73 STEREO FADER ON

74 CH1 FADER OFF

75 CH2 FADER OFF

76 CH3 FADER OFF

77 CH4 FADER OFF

78 CH5 FADER OFF

79 CH6 FADER OFF

80 CH7 FADER OFF

81 CH8 FADER OFF

82 CH9 FADER OFF

83 CH10 FADER OFF

84 CH11 FADER OFF

85 CH12 FADER OFF

86 CH13 FADER OFF

87 CH14 FADER OFF

88 CH15 FADER OFF

89 CH16 FADER OFF

90 CH17 FADER OFF

91 CH18 FADER OFF

92 CH19 FADER OFF

93 CH20 FADER OFF

94 CH21 FADER OFF

95 CH22 FADER OFF

96 CH23 FADER OFF

97 CH24 FADER OFF

98 CH25 FADER OFF

99 CH26 FADER OFF

100 CH27 FADER OFF

101 CH28 FADER OFF

102 CH29 FADER OFF

103 CH30 FADER OFF

104 CH31 FADER OFF

105 CH32 FADER OFF

106 CH33 FADER OFF

107 CH34 FADER OFF

108 CH35 FADER OFF

109 CH36 FADER OFF

110 CH37 FADER OFF

111 CH38 FADER OFF

112 CH39 FADER OFF

113 CH40 FADER OFF

114 CH41 FADER OFF

115 CH42 FADER OFF

116 CH43 FADER OFF

117 CH44 FADER OFF

118 CH45 FADER OFF

119 CH46 FADER OFF

120 CH47 FADER OFF

121 CH48 FADER OFF

122 CH49 FADER OFF

123 CH50 FADER OFF

124 CH51 FADER OFF

125 CH52 FADER OFF

126 CH53 FADER OFF

127 CH54 FADER OFF

#Target

128 CH55 FADER OFF

129 CH56 FADER OFF

130 BUS1 FADER OFF

131 BUS2 FADER OFF

132 BUS3 FADER OFF

133 BUS4 FADER OFF

134 BUS5 FADER OFF

135 BUS6 FADER OFF

136 BUS7 FADER OFF

137 BUS8 FADER OFF

138 AUX1 FADER OFF

139 AUX2 FADER OFF

140 AUX3 FADER OFF

141 AUX4 FADER OFF

142 AUX5 FADER OFF

143 AUX6 FADER OFF

144 AUX7 FADER OFF

145 AUX8 FADER OFF

146 STEREO FADER OFF

147 CH1 FADER TALLY

148 CH2 FADER TALLY

149 CH3 FADER TALLY

150 CH4 FADER TALLY

151 CH5 FADER TALLY

152 CH6 FADER TALLY

153 CH7 FADER TALLY

154 CH8 FADER TALLY

155 CH9 FADER TALLY

156 CH10 FADER TALLY

157 CH11 FADER TALLY

158 CH12 FADER TALLY

159 CH13 FADER TALLY

160 CH14 FADER TALLY

161 CH15 FADER TALLY

162 CH16 FADER TALLY

163 CH17 FADER TALLY

164 CH18 FADER TALLY

165 CH19 FADER TALLY

166 CH20 FADER TALLY

167 CH21 FADER TALLY

168 CH22 FADER TALLY

169 CH23 FADER TALLY

170 CH24 FADER TALLY

171 CH25 FADER TALLY

172 CH26 FADER TALLY

173 CH27 FADER TALLY

174 CH28 FADER TALLY

175 CH29 FADER TALLY

176 CH30 FADER TALLY

177 CH31 FADER TALLY

178 CH32 FADER TALLY

179 CH33 FADER TALLY

180 CH34 FADER TALLY

181 CH35 FADER TALLY

182 CH36 FADER TALLY

183 CH37 FADER TALLY

184 CH38 FADER TALLY

185 CH39 FADER TALLY

186 CH40 FADER TALLY

187 CH41 FADER TALLY

188 CH42 FADER TALLY

189 CH43 FADER TALLY

190 CH44 FADER TALLY

191 CH45 FADER TALLY

#Target

192 CH46 FADER TALLY

193 CH47 FADER TALLY

194 CH48 FADER TALLY

195 CH49 FADER TALLY

196 CH50 FADER TALLY

197 CH51 FADER TALLY

198 CH52 FADER TALLY

199 CH53 FADER TALLY

200 CH54 FADER TALLY

201 CH55 FADER TALLY

202 CH56 FADER TALLY

203 BUS1 FADER TALLY

204 BUS2 FADER TALLY

20. BUS3 FADER TALLY

206 BUS4 FADER TALLY

207 BUS5 FADER TALLY

208 BUS6 FADER TALLY

209 BUS7 FADER TALLY

210 BUS8 FADER TALLY

211 AUX1 FADER TALLY

212 AUX2 FADER TALLY

213 AUX3 FADER TALLY

214 AUX4 FADER TALLY

215 AUX5 FADER TALLY

216 AUX6 FADER TALLY

217 AUX7 FADER TALLY

218 AUX8 FADER TALLY

219 ST FADER TALLY

220 UDEF1 LATCH

221 UDEF2 LATCH

222 UDEF3 LATCH

223 UDEF4 LATCH

224 UDEF5 LATCH

225 UDEF6 LATCH

226 UDEF7 LATCH

227 UDEF8 LATCH

228 UDEF9 LATCH

229 UDEF10 LATCH

230 UDEF11 LATCH

231 UDEF12 LATCH

232 UDEF13 LATCH

233 UDEF14 LATCH

234 UDEF15 LATCH

235 UDEF16 LATCH

236 UDEF1 UNLATCH

237 UDEF2 UNLATCH

238 UDEF3 UNLATCH

239 UDEF4 UNLATCH

240 UDEF5 UNLATCH

241 UDEF6 UNLATCH

242 UDEF7 UNLATCH

243 UDEF8 UNLATCH

244 UDEF9 UNLATCH

245 UDEF10 UNLATCH

246 UDEF11 UNLATCH

247 UDEF12 UNLATCH

248 UDEF13 UNLATCH

249 UDEF14 UNLATCH

250 UDEF15 UNLATCH

251 UDEF16 UNLATCH

252 REC LAMP

253 POWER ON

#Target

User Defined Remote Layer Initial Bank Settings 255

02R96 Version 2—Owner’s Manual

User Deﬁned Remote Layer Initial Bank Settings

Bank 1 (GM Vol & Pan)

Name

Controller

Data Format

Short Long 12345678910111213141516

RM01 GM01 GM-CH01 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B0 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B0 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM02 GM02 GM-CH02 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B1 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B1 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM03 GM03 GM-CH03 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B2 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B2 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM04 GM04 GM-CH04 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B3 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B3 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM05 GM05 GM-CH05 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B4 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B4 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM06 GM06 GM-CH06 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B5 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B5 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM07 GM07 GM-CH07 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B6 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B6 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM08 GM08 GM-CH08 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B7 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B7 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM09 GM09 GM-CH09 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B8 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B8 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM10 GM10 GM-CH10 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B9 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B9 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM11 GM11 GM-CH11 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BA 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BA 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM12 GM12 GM-CH12 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BB 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BB 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM13 GM13 GM-CH13 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BC 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BC 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM14 GM14 GM-CH14 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BD 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BD 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM15 GM15 GM-CH15 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BE 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BE 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM16 GM16 GM-CH16 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BF 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BF 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM17 GM17 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM18 GM18 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM19 GM19 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM20 GM20 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM21 GM21 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM22 GM22 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM23 GM23 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM24 GM24 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

256 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Bank 2 (GM Vol & Effect 1)

Name

Controller

Data Format

Short Long 12345678910111213141516

RM01 GM01 GM-CH01 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B0 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B0 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM02 GM02 GM-CH02 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B1 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B1 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM03 GM03 GM-CH03 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B2 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B2 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM04 GM04 GM-CH04 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B3 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B3 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM05 GM05 GM-CH05 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B4 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B4 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM06 GM06 GM-CH06 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B5 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B5 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM07 GM07 GM-CH07 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B6 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B6 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM08 GM08 GM-CH08 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B7 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B7 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM09 GM09 GM-CH09 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B8 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B8 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM10 GM10 GM-CH10 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B9 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B9 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM11 GM11 GM-CH11 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BA 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BA 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM12 GM12 GM-CH12 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BB 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BB 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM13 GM13 GM-CH13 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BC 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BC 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM14 GM14 GM-CH14 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BD 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BD 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM15 GM15 GM-CH15 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BE 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BE 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM16 GM16 GM-CH16 VOL&EFF1

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BF 0C ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BF 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM17 GM17 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM18 GM18 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM19 GM19 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM20 GM20 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM21 GM21 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM22 GM22 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM23 GM23 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM24 GM24 NO ASSIGN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

User Defined Remote Layer Initial Bank Settings 257

02R96 Version 2—Owner’s Manual

Bank 3 (XG Vol & Pan)

Name

Controller

Data Format

Short Long 12345678910111213141516

RM01 XG01 XG-CH01 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 00 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 00 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM02 XG02 XG-CH02 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 01 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 01 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM03 XG03 XG-CH03 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 02 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 02 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM04 XG04 XG-CH04 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 03 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 03 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM05 XG05 XG-CH05 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 04 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 04 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM06 XG06 XG-CH06 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 05 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 05 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM07 XG07 XG-CH07 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 06 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 06 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM08 XG08 XG-CH08 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 07 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 07 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM09 XG09 XG-CH09 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 08 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 08 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM10 XG10 XG-CH10 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 09 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 09 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM11 XG11 XG-CH11 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 0A 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 0A 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM12 XG12 XG-CH12 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 0B 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 0B 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM13 XG13 XG-CH13 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 0C 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 0C 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM14 XG14 XG-CH14 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 0D 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 0D 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM15 XG15 XG-CH15 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 0E 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 0E 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM16 XG16 XG-CH16 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 0F 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 0F 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM17 XG17 XG-CH17 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 10 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 10 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM18 XG18 XG-CH18 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 11 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 11 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM19 XG19 XG-CH19 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 12 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 12 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM20 XG20 XG-CH20 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 13 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 13 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM21 XG21 XG-CH21 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 14 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 14 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM22 XG22 XG-CH22 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 15 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 15 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM23 XG23 XG-CH23 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 16 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 16 0B FAD F7 END NOP NOP NOP NOP NOP NOP

RM24 XG24 XG-CH24 VOL&PAN

ON END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER F0 43 10 4C 08 17 0E ENC F7 END NOP NOP NOP NOP NOP NOP

FADER F0 43 10 4C 08 17 0B FAD F7 END NOP NOP NOP NOP NOP NOP

258 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Bank 4 (Nuendo VST Mixer)

Name

Controller

Data Format

Short Long 12345678910111213141516

RM01 CH1 VST MIXER CH1

ON B0 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B0 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B0 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM02 CH2 VST MIXER CH2

ON B1 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B1 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B1 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM03 CH3 VST MIXER CH3

ON B2 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B2 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B2 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM04 CH4 VST MIXER CH4

ON B3 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B3 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B3 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM05 CH5 VST MIXER CH5

ON B4 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B4 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B4 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM06 CH6 VST MIXER CH6

ON B5 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B5 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B5 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM07 CH7 VST MIXER CH7

ON B6 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B6 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B6 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM08 CH8 VST MIXER CH8

ON B7 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B7 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B7 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM09 CH9 VST MIXER CH9

ON B8 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B8 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B8 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM10 CH10 VST MIXER CH10

ON B9 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B9 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B9 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM11 CH11 VST MIXER CH11

ON BA 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BA 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BA 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM12 CH12 VST MIXER CH12

ON BB 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BB 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BB 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM13 CH13 VST MIXER CH13

ON BC 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BC 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BC 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM14 CH14 VST MIXER CH14

ON BD 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BD 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BD 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM15 CH15 VST MIXER CH15

ON BE 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BE 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BE 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM16 CH16 VST MIXER CH16

ON BF 40 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER BF 0A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER BF 07 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM17 CH17 VST MIXER CH17

ON B0 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B0 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B0 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM18 CH18 VST MIXER CH18

ON B1 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B1 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B1 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM19 CH19 VST MIXER CH19

ON B2 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B2 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B2 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM20 CH20 VST MIXER CH20

ON B3 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B3 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B3 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM21 CH21 VST MIXER CH21

ON B4 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B4 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B4 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM22 CH22 VST MIXER CH22

ON B5 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B5 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B5 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM23 CH23 VST MIXER CH23

ON B6 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B6 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B6 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

RM24 CH24 VST MIXER CH24

ON B7 60 SW END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

ENCODER B7 2A ENC END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

FADER B7 27 FAD END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP

Effects Parameters 259

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Effects Parameters

REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE

One input, two output hall, room, stage, and plate reverb simulations, all with gates.

EARLY REF.

One input, two output early reﬂections.

Parameter Range Description

REV TIME 0.3–99.0 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 reﬂections and reverb

E/R BAL. 0–100%

Balance of early reﬂections and reverb

(0% = all reverb, 100% = all early reﬂections)

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

GATE LVL OFF, –60 to 0 dB Level at which gate kicks in

ATTACK 0–120 ms Gate opening speed

HOLD

1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz), 0.01 ms–1.06 s (fs=88.2 kHz), 0.01 ms–981 ms

(fs=96 kHz)

Gate open time

DECAY

2. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)

Gate closing speed

Parameter Range Description

TYPE

S-Hall, L-Hall, Random,

Revers, Plate, Spring

Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

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

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

DIFF. 0–10 Reﬂection diffusion (left–right reﬂection spread)

DENSITY 0–100% Reﬂection density

ER NUM. 1–19 Number of early reﬂections

FB GAIN –99 to +99% Feedback gain

HI. RATIO 0.1–1.0 High-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

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GATE REVERB, REVERSE GATE

One input, two output early reﬂections with gate, and early reﬂections with reverse gate.

MONO DELAY

One input, one output basic repeat delay.

STEREO DELAY

Two input, two output basic stereo delay.

Parameter Range Description

TYPE Type-A, Type-B Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

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

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

DIFF. 0–10 Reﬂection diffusion (left–right reﬂection spread)

DENSITY 0–100% Reﬂection density

HI. RATIO 0.1–1.0 High-frequency feedback ratio

ER NUM. 1–19 Number of early reﬂections

FB GAIN –99 to +99% Feedback gain

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

Parameter Range Description

DELAY 0.0–2730.0 ms Delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

NOTE

1. (Max. value depends on tempo setting)

Used in conjunction with TEMPO to determine DELAY

Parameter Range Description

DELAY L 0.0–1350.0 ms Left channel delay time

DELAY R 0.0–1350.0 ms Right channel delay time

FB. G L –99 to +99%

Left channel feedback (plus values for normal-phase feedback,

minus values for reverse-phase feedback)

FB. G R –99 to +99%

Right channel feedback (plus values for normal-phase feedback,

minus values for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

NOTE L

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine left channel DELAY

NOTE R

Used in conjunction with TEMPO to determine right channel DELAY

Effects Parameters 261

02R96 Version 2—Owner’s Manual

MOD. DELAY

One input, two output basic repeat delay with modulation.

DELAY LCR

One input, two output 3-tap delay (left, center, right).

Parameter Range Description

DELAY 0.0–2725.0 ms Delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

WAVE Sine/Tri Modulation waveform

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

DLY.NOTE

1. (Maximum value depends on the tempo

setting)

Used in conjunction with TEMPO to determine DELAY

MOD.NOTE

Used in conjunction with TEMPO to determine FREQ

Parameter

Range Description

DELAY L 0.0–2730.0 ms Left channel delay time

DELAY C 0.0–2730.0 ms Center channel delay time

DELAY R 0.0–2730.0 ms Right channel delay time

FB. DLY 0.0–2730.0 ms Feedback delay time

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

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

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

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

NOTE L

1. (Maximum value depends on the tempo

setting)

Used in conjunction with TEMPO to determine DELAY L

NOTE C

Used in conjunction with TEMPO to determine DELAY C

NOTE R

Used in conjunction with TEMPO to determine DELAY R

NOTE FB

Used in conjunction with TEMPO to determine FB. DLY

262 Appendix A: Parameter Lists

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ECHO

Two input, two output stereo delay with crossed feedback loop.

CHORUS

Two input, two output chorus effect.

Parameter Range Description

DELAY L 0.0–1350.0 ms Left channel delay time

DELAY R 0.0–1350.0 ms Right channel delay time

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

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

FB. G L –99 to +99%

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

minus values for reverse-phase feedback)

FB. G R –99 to +99%

Right channel feedback gain (plus values for normal-phase feed-

back, minus values for reverse-phase feedback)

L->R FBG –99 to +99%

Left to right channel feedback gain (plus values for normal-phase

feedback, minus values for reverse-phase feedback)

R->L FBG –99 to +99%

Right to left channel feedback gain (plus values for normal-phase

feedback, minus values for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

NOTE L

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine DELAY L

NOTE R

Used in conjunction with TEMPO to determine DELAY R

NOTE FBL

Used in conjunction with TEMPO to determine FB. D L

NOTE FBR

Used in conjunction with TEMPO to determine FB. D R

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

AM DEPTH 0–100% Amplitude modulation depth

PM DEPTH 0–100% Pitch modulation depth

MOD. DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency

EQ G –12 to +12 dB EQ (peaking type) gain

EQ Q 10.0–0.10 EQ (peaking type) bandwidth

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Effects Parameters 263

02R96 Version 2—Owner’s Manual

FLANGE

Two input, two output ﬂange effect.

SYMPHONIC

Two input, two output symphonic effect.

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%

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

ues for reverse-phase feedback)

WAVE Sine, Tri Modulation waveform

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency

EQ G –12 to +12 dB EQ (peaking type) gain

EQ Q 10.0–0.10 EQ (peaking type) bandwidth

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

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

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency

EQ G –12 to +12 dB EQ (peaking type) gain

EQ Q 10.0–0.10 EQ (peaking type) bandwidth

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

264 Appendix A: Parameter Lists

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PHASER

Two input, two output 16-stage phaser.

AUTOPAN

Two input, two output autopanner.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

OFFSET 0–100 Lowest phase-shifted frequency offset

PHASE 0.00–354.38 degrees Left and right modulation phase balance

STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DIR.

1. L<->R, L—>R, L<—R, Turn L, Turn R

Panning direction

WAVE Sine, Tri, Square Modulation waveform

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency

EQ G –12 to +12 dB EQ (peaking type) gain

EQ Q 10.0–0.10 EQ (peaking type) bandwidth

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Effects Parameters 265

02R96 Version 2—Owner’s Manual

TREMOLO

Two input, two output tremolo effect.

HQ. PITCH

One input, two output high-quality pitch shifter.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

WAVE Sine, Tri, Square Modulation waveform

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency

EQ G –12 to +12 dB EQ (peaking type) gain

EQ Q 10.0–0.10 EQ (peaking type) bandwidth

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Parameter Range Description

PITCH –12 to +12 semitones Pitch shift

FINE –50 to +50 cents Pitch shift ﬁne

DELAY 0.0–1000.0 ms Delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

MODE 1–10 Pitch shift precision

SYNC OFF/ON Tempo parameter sync on/off

NOTE

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine DELAY

266 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

DUAL PITCH

Two input, two output pitch shifter.

ROTARY

One input, two output rotary speaker simulator.

RING MOD.

Two input, two output ring modulator.

Parameter Range Description

PITCH 1 –24 to +24 semitones Channel #1 pitch shift

FINE 1 –50 to +50 cents Channel #1 pitch shift ﬁne

LEVEL 1 –100 to +100%

Channel #1 level (plus values for normal phase, minus values for

reverse phase)

PAN 1 L63 to R63 Channel #1 pan

DELAY 1 0.0–1000.0 ms Channel #1 delay time

FB. G 1 –99 to +99%

Channel #1 feedback gain (plus values for normal-phase feedback,

minus values for reverse-phase feedback)

PITCH 2 –24 to +24 semitones Channel #2 pitch shift

FINE 2 –50 to +50 cents Channel #2 pitch shift ﬁne

LEVEL 2 –100 to +100%

Channel #2 level (plus values for normal phase, minus values for

reverse phase)

PAN 2 L63 to R63 Channel #2 pan

DELAY 2 0.0–1000.0 ms Channel #2 delay time

FB. G 2 –99 to +99%

Channel #2 feedback gain (plus values for normal-phase feedback,

minus values for reverse-phase feedback)

MODE 1–10 Pitch shift precision

SYNC OFF/ON Tempo parameter sync on/off

NOTE 1

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine Channel #1 delay

NOTE 2

Used in conjunction with TEMPO to determine Channel #2 delay

Parameter Range Description

ROTATE STOP, START Rotation stop, start

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

SLOW 0.05–10.00 Hz SLOW rotation speed

FAST 0.05–10.00 Hz FAST rotation speed

DRIVE 0–100 Overdrive level

ACCEL 0–10 Acceleration at speed changes

LOW 0–100 Low-frequency ﬁlter

HIGH 0–100 High-frequency ﬁlter

Parameter Range Description

SOURCE OSC, SELF Modulation source: oscillator or input signal

OSC FREQ 0.0–5000.0 Hz Oscillator frequency

FM FREQ. 0.05–40.00 Hz Oscillator frequency modulation speed

FM DEPTH 0–100% Oscillator frequency modulation depth

SYNC OFF/ON Tempo parameter sync on/off

NOTE FM

Used in conjunction with TEMPO to determine FM FREQ

Effects Parameters 267

02R96 Version 2—Owner’s Manual

MOD. FILTER

Two input, two output modulation ﬁlter.

DISTORTION

One input, two output distortion effect.

AMP SIMULATE

One input, two output guitar amp simulator.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

PHASE 0.00–354.38 degrees

Left-channel modulation and right-channel modulation phase dif-

ference

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

OFFSET 0–100 Filter frequency offset

RESO. 0–20 Filter resonance

LEVEL 0–100 Output level

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ

Parameter Range Description

DST TYPE

DST1, DST2, OVD1,

OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

TONE –10 to +10 Tone

N. GATE 0–20 Noise reduction

Parameter Range Description

AMP TYPE

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

Guitar amp simulation type

DST TYPE

DST1, DST2, OVD1,

OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

BASS 0–100 Bass tone control

MIDDLE 0–100 Middle tone control

TREBLE 0–100 High tone control

CAB DEP 0–100% Speaker cabinet simulation depth

EQ F 100 Hz–8.0 kHz EQ (peaking type) frequency

EQ G –12 to +12 dB EQ (peaking type) gain

EQ Q 10.0–0.10 EQ (peaking type) bandwidth

N. GATE 0–20 Noise reduction

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DYNA. FILTER

Two input, two output dynamically controlled ﬁlter.

DYNA. FLANGE

Two input, two output dynamically controlled ﬂanger.

DYNA. PHASER

Two input, two output dynamically controlled phaser.

Parameter Range Description

SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity

SENSE 0–100 Sensitivity

DIR. UP, DOWN Upward or downward frequency change

DECAY

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)

Filter frequency change decay speed

TYPE LPF, HPF, BPF Filter type

OFFSET 0–100 Filter frequency offset

RESO. 0–20 Filter resonance

LEVEL 0–100 Output Level

Parameter Range Description

SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity

SENSE 0–100 Sensitivity

DIR. UP, DOWN Upward or downward frequency change

DECAY

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)

Decay speed

OFFSET 0–100 Delay time offset

FB.GAIN –99 to +99%

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

ues for reverse-phase feedback)

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency

EQ G –12 to +12 dB EQ (peaking type) gain

EQ Q 10.0–0.10 EQ (peaking type) bandwidth

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

Parameter Range Description

SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity

SENSE 0–100 Sensitivity

DIR. UP, DOWN Upward or downward frequency change

DECAY

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)

Decay speed

OFFSET 0–100 Lowest phase-shifted frequency offset

FB.GAIN –99 to +99%

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

ues for reverse-phase feedback)

STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages

LSH F 21.2 Hz–8.00 kHz Low shelving ﬁlter frequency

LSH G –12 to +12 dB Low shelving ﬁlter gain

HSH F 50.0 Hz–16.0 kHz High shelving ﬁlter frequency

HSH G –12 to +12 dB High shelving ﬁlter gain

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02R96 Version 2—Owner’s Manual

REV+CHORUS

One input, two output reverb and chorus effects in parallel.

REV->CHORUS

One input, two output reverb and chorus effects in series.

Parameter Range Description

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

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

FREQ. 0.05–40.00 Hz Modulation speed

AM DEPTH 0–100% Amplitude modulation depth

PM DEPTH 0–100% Pitch modulation depth

MOD. DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Parameter Range Description

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

REV.BAL 0–100%

Reverb and chorused reverb balance (0% = all chorused reverb,

100% = all reverb)

FREQ. 0.05–40.00 Hz Modulation speed

AM DEPTH 0–100% Amplitude modulation depth

PM DEPTH 0–100% Pitch modulation depth

MOD. DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

270 Appendix A: Parameter Lists

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REV+FLANGE

One input, two output reverb and ﬂanger effects in parallel.

REV->FLANGE

One input, two output reverb and ﬂanger effects in series.

Parameter Range Description

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

REV/FLG 0–100% Reverb and ﬂange balance (0% = all reverb, 100% = all ﬂange)

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%

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

ues for reverse-phase feedback)

WAVE Sine, Tri Modulation waveform

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Parameter Range Description

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

REV.BAL 0–100%

Reverb and ﬂanged reverb balance (0% = all ﬂanged reverb, 100%

= all reverb)

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%

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

ues for reverse-phase feedback)

WAVE Sine, Tri Modulation waveform

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

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REV+SYMPHO.

One input, two output reverb and symphonic effects in parallel.

REV->SYMPHO.

One input, two output reverb and symphonic effects in series.

Parameter Range Description

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

REV/SYM 0–100%

Reverb and symphonic balance (0% = all reverb, 100% = all sym-

phonic)

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

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Parameter Range Description

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

REV.BAL 0–100%

Reverb and symphonic reverb balance (0% = all symphonic reverb,

100% = all reverb)

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

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

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REV->PAN

One input, two output reverb and autopan effects in parallel.

DELAY+ER.

One input, two output delay and early reﬂections effects in parallel.

Parameter Range Description

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

REV.BAL 0–100%

Reverb and panned reverb balance (0% = all panned reverb, 100%

= all reverb)

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DIR.

1. L<–>R, L–>R, L<–R, Turn L, Turn R

Panning direction

WAVE Sine, Tri, Square Modulation waveform

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB. DLY 0.0–1000.0 ms Feedback delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

DLY/ER 0–100%

Delay and early reﬂections balance (0% = all delay, 100% = all early

reﬂections)

TYPE

S-Hall, L-Hall, Random,

Revers, Plate, Spring

Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

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

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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂections

SYNC OFF/ON Tempo parameter sync on/off

NOTE L

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine left channel DELAY L

NOTE R

Used in conjunction with TEMPO to determine right channel DELAY

NOTE FB

Used in conjunction with TEMPO to determine FB. DLY

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DELAY->ER.

One input, two output delay and early reﬂections effects in series.

DELAY+REV

One input, two output delay and reverb effects in parallel.

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB. DLY 0.0–1000.0 ms Feedback delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

DLY.BAL 0–100%

Delay and early reﬂected delay balance (0% = all early reﬂected

delay, 100% = all delay)

TYPE

S-Hall, L-Hall, Random,

Revers, Plate, Spring

Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

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

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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂections

SYNC OFF/ON Tempo parameter sync on/off

NOTE L

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine left channel DELAY L

NOTE R

Used in conjunction with TEMPO to determine right channel DELAY

NOTE FB

Used in conjunction with TEMPO to determine FB. DLY

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB. DLY 0.0–1000.0 ms Feedback delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

DELAY HI 0.1–1.0 Delay high-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

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

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

SYNC OFF/ON Tempo parameter sync on/off

NOTE L

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine left channel DELAY L

NOTE R

Used in conjunction with TEMPO to determine right channel DELAY

NOTE FB

Used in conjunction with TEMPO to determine FB. DLY

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DELAY->REV

One input, two output delay and reverb effects in series.

DIST->DELAY

One input, two output distortion and delay effects in series.

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB. DLY 0.0–1000.0 ms Feedback delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

DELAY HI 0.1–1.0 Delay high-frequency feedback ratio

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

DLY.BAL 0–100%

Delay and delayed reverb balance (0% = all delayed reverb, 100% =

all delay)

REV TIME 0.3–99.0 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

DIFF. 0–10 Spread

DENSITY 0–100% Reverb density

SYNC OFF/ON Tempo parameter sync on/off

NOTE L

1. (Maximum value depends on the tempo setting)

Used in conjunction with TEMPO to determine left channel DELAY L

NOTE R *1

Used in conjunction with TEMPO to determine right channel DELAY

NOTE FB *1 Used in conjunction with TEMPO to determine FB. DLY

Parameter Range Description

DST TYPE

DST1, DST2, OVD1,

OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

TONE –10 to +10 Tone control

N. GATE 0–20 Noise reduction

DELAY 0.0–2725.0 ms Delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

HI. RATIO 0.1–1.0 High-frequency feedback ratio

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DLY.BAL 0–100%

Distortion and delay balance (0% = all distortion, 100% = all

delayed distortion)

SYNC OFF/ON Tempo parameter sync on/off

DLY.NOTE

1. (Maximum value depends on the tempo

setting)

Used in conjunction with TEMPO to determine DELAY

MOD.NOTE

Used in conjunction with TEMPO to determine FREQ.

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MULTI FILTER

Two input, two output 3-band multi-ﬁlter (24 dB/octave).

FREEZE

One input, one output basic sampler.

Parameter Range Description

TYPE 1 HPF, LPF, BPF Filter 1 type: high pass, low pass, band pass

TYPE 2 HPF, LPF, BPF Filter 2 type: high pass, low pass, band pass

TYPE 3 HPF, LPF, BPF Filter 3 type: high pass, low pass, band pass

FREQ. 1 28.0 Hz–16.0 kHz Filter 1 frequency

FREQ. 2 28.0 Hz–16.0 kHz Filter 2 frequency

FREQ. 3 28.0 Hz–16.0 kHz Filter 3 frequency

LEVEL 1 0–100 Filter 1 level

LEVEL 2 0–100 Filter 2 level

LEVEL 3 0–100 Filter 3 level

RESO. 1 0–20 Filter 1 resonance

RESO. 2 0–20 Filter 2 resonance

RESO. 3 0–20 Filter 3 resonance

Parameter Range Description

REC MODE MANUAL, INPUT

In MANUAL mode, recording is started by pressing the REC and

PLAY buttons. In INPUT mode, Record-Ready mode is engaged by

pressing the REC button, and actual recording is triggered by the

input signal.

REC DLY –1000 to +1000 ms

Recording delay. For plus values, recording starts after the trigger is

received. For minus values, recording starts before the trigger is

received.

TRG LVL –60 to 0 dB

Input trigger level (i.e., the signal level required to trigger recording

or playback)

TRG MASK 0–1000 ms

Once playback has been triggered, subsequent triggers are ignored

for the duration of the TRG MASK time.

PLY MODE

MOMENT, CONTI.,

INPUT

In MOMENT mode, the sample plays only while the that the PLAY

button is pressed. In CONT mode, playback continues once the

PLAY button has been pressed. The number of times the sample

plays is set using the LOOP NUM parameter. In INPUT mode, play-

back is triggered by the input signal.

START

1. 0.0–5941.0 ms (fs=44.1 kHz), 0.0 ms–5458.3 ms (fs=48 kHz), 0.0–2970.5 ms (fs=88.2 kHz),

0.0 ms–2729.2 ms (fs=96 kHz)

Playback start point in milliseconds

END

Playback end point in milliseconds

LOOP

Loop start point in milliseconds

LOOP

NUM

0–100 Number of times the sample plays

START

[SAMPLE]

0–262000 Playback start point in samples

END

[SAMPLE]

0–262000 Playback end point in samples

LOOP

[SAMPLE]

0–262000 Loop start point in samples

PITCH –12 to +12 semitones Playback pitch shift

FINE –50 to +50 cents Playback pitch shift ﬁne

MIDI TRG OFF, C1–C6, ALL PLAY button can be triggered by using MIDI Note on/off messages.

276 Appendix A: Parameter Lists

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ST REVERB

Two input, two output stereo reverb.

REVERB 5.1

One input, six output reverb for 5.1 surround, with surround panning.

Parameter Range Description

REV TIME 0.3–99.0 s Reverb time

REV TYPE Hall, Room, Stage, Plate Reverb type

INI. DLY 0.0–100.0 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 BAL. 0–100%

Balance of early reﬂections and reverb

(0% = all reverb, 100% = all early reﬂections)

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

Parameter Range Description

REV TIME 0.3–99.0 s Reverb time

REV TYPE Hall, Room, Stage, Plate Reverb type

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

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

DENSITY 0–100% Reverb density

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

DIV. 0–100%

Divergence determines how the front center signal is fed to the

Left, Right, and Center channels. When set to 0%, it’s fed only to

the Left and Right channels (i.e., Phantom Center). When set to

50%, it’s fed equally to the Left, Right, and Center channels. When

set to 100%, it’s fed to only the Center channel (i.e., Real Center).

ROOMSIZE 0.1–20.0 Size of simulated room’s reverb

POS L/R L63–R63 Left/right listening position

POS F/R F63–R63 Front/rear listening position

POS CTRL OFF, NORMAL, INVERT

1. When set to NOR, the position can be set by using the Joystick so long as the SELECTED CHANNEL PAN/SUR-

ROUND [EFFECT] button’s indicator is on. When set to INV, the Joystick will work inversely. When set to OFF,

Joystick control is off. The CTRL button on the Effect Edit page works the same as the [EFFECT] button.

ER L/R L63–R63 Left/right early reﬂections position

ER F/R F63–R63 Front/rear early reﬂections position

ER LVL 0–100% Early reﬂections level

ER CTRL OFF, NORMAL, INVERT

REV L/R L63–R63 Left/right reverb position

REV F/R F63–R63 Front/rear reverb position

REV LVL 0–100% Reverb level

REV CTRL OFF, NORMAL, INVERT

POS RAD. 0–63 Radius of the panning track at the listening position

ER RAD. 0–63 Radius of the panning track for early reﬂections

REV RAD. 0–63 Radius of the panning track for reverb

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OCTA REVERB

Eight input, eight output reverb.

AUTO PAN 5.1

Six input, six output autopanner for 5.1 surround. You can reset to the pan position speciﬁed by

the OFFSET parameter by pressing the RESET button.

CHORUS 5.1

Six input, six output chorus for 5.1 surround.

Parameter Range Description

REV TIME 0.3–99.0 s Reverb time

REV TYPE Hall, Room, Stage, Plate Reverb type

INI. DLY 0.0–100.0 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 BAL. 0–100%

Balance of early reﬂections and reverb

(0% = all reverb, 100% = all early reﬂections)

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

Parameter Range Description

SOURCE

OFF, HOLD, INPUT1,

INPUT2, INPUT3,

INPUT4, INPUT5,

INPUT6, MIDI

When set to OFF, the TRIGGER button is used to start autopan.

When set to HOLD, autopan runs continuously. When set to INPUT

1–6, the speciﬁed channel’s input signal triggers autopan. When set

to MIDI, a MIDI Note On message can be used to trigger autopan.

TRIG. LVL –60 to 0 dB

Input trigger level (i.e., the signal level required to trigger panning

when SOURCE set to INPUT)

TRG MASK 0–1000 ms

Trigger Mask speciﬁes the time from when a trigger is received until

the next trigger will be accepted.

TIME 0.0 s–10.0 s The time after which autopan starts once it’s been triggered

SPEED 0.05 Hz–40.00 Hz Autopan speed

DIR. Turn L, Turn R Autopan direction

OFFSET –180 to +180 degrees Pan offset

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

AM DEPTH 0–100% Amplitude modulation depth

PM DEPTH 0–100% Pitch modulation depth

MOD. DLY 0.0–400.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

278 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

FLANGE 5.1

Six input, six output ﬂanger for 5.1 surround.

SYMPHO 5.1

Six input, six output symphonic effect for 5.1 surround.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD. DLY 0.0–400.0 ms Modulation delay time

FB. GAIN –99 to +99%

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

ues for reverse-phase feedback)

WAVE Sine, Tri Modulation waveform

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD. DLY 0.0–400.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

HPF THRU, 21.2 Hz–8.00 kHz High-pass ﬁlter cutoff frequency

LPF 50.0 Hz–16.0 kHz, THRU Low-pass ﬁlter cutoff frequency

SYNC OFF/ON Tempo parameter sync on/off

NOTE

Used in conjunction with TEMPO to determine FREQ.

Effects Parameters 279

02R96 Version 2—Owner’s Manual

M. BAND DYNA.

Two input, two output 3-band dynamics processor, with individual solo and gain reduction meter-

ing for each band.

Parameter Range Description

LOW GAIN –96.0 to +12.0 dB Low band level

MID GAIN –96.0 to +12.0 dB Mid band level

HI. GAIN –96.0 to +12.0 dB High band level

PRESENCE –10 to +10

For positive values, the threshold of the high band is lowered and

the threshold of the low band is increased. For negative values, the

opposite will occur. When set to 0, all three bands are affected the

same.

CMP. THRE –24.0 dB to 0.0 dB Compressor threshold

CMP. RAT 1:1 to 20:1 Compressor ratio

CMP. ATK 0–120 ms Compressor attack

CMP. REL

Compressor release time

CMP. KNEE 0–5 Compressor knee

LOOKUP 0.0–100.0 ms Lookup delay

CMP. BYP ON/OFF Compressor bypass

L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency

M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency

SLOPE –6 dB, –12 dB Filter slope

CEILING –6.0 dB to 0.0 dB, OFF Speciﬁes the maximum output level

EXP. THRE –54.0 dB to –24.0 dB Expander threshold

EXP. RAT 1:1 to ∞:1 Expander ratio

EXP. REL

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)

Expander release time

EXP. BYP ON/OFF Expander bypass

LIM. THRE –12.0 dB to 0.0 dB Limiter threshold

LIM. ATK 0–120 ms Limiter attack

LIM. REL

Limiter release time

LIM. BYP ON/OFF Limiter bypass

LIM. KNEE 0–5 Limiter knee

280 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

COMP 5.1

Six input, six output compressor for 5.1 surround, with individual solo for each band, and gain

reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C),

or LFE channels.

COMPAND 5.1

Six input, six output compander for 5.1 surround, with individual solo for each band, and gain

reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C),

or LFE channels.

Other preset effects (COMP276, COMP276S, COMP260, COMP260S, EQUALIZER601, OPEN-

DECK, REV-X HALL, REV-X HALL, REV-X ROOM, REV-X PLATE) are optional Add-On

Effects. For more information on these effects, refer to the Owner’s Manual that comes with the

Add-On Effects package.

Parameter Range Description

LOW GAIN –96.0 to +12.0 dB Low band level

MID GAIN –96.0 to +12.0 dB Mid band level

HI. GAIN –96.0 to +12.0 dB High band level

PRESENCE –10 to +10

For positive values, the threshold of the high band is lowered and the

threshold of the low band is increased. For negative values, the oppo-

site will occur. When set to 0, all three bands are affected the same.

THRE –24.0 dB to 0.0 dB Compressor threshold

RATIO 1:1 to ∞:1 Compressor ratio

ATTACK 0–120 ms Attack

RELEASE

1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)

Expander release time

KNEE 0–5 Compressor knee

LOOKUP 0.0–100.0 ms Lookup delay

KEY LINK

2. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is independent). 3+2: key-in

of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are linked, and LS and RS are linked.

Key-in linking

L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency

M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency

SLOPE –6 dB, –12 dB Filter slope

CEILING –6.0 dB to 0.0 dB, OFF Speciﬁes the maximum output level

Parameter Range Description

LOW GAIN –96.0 to +12.0 dB Low band level

MID GAIN –96.0 to +12.0 dB Mid band level

HI. GAIN –96.0 to +12.0 dB High band level

PRESENCE –10 to +10

For positive values, the threshold of the high band is lowered and the

threshold of the low band is increased. For negative values, the oppo-

site will occur. When set to 0, all three bands are affected the same.

THRE –24.0 dB to 0.0 dB Compressor threshold

RATIO 1:1 to 20:1 Compressor ratio

ATTACK 0–120 ms Compressor attack

WIDTH 1–90 dB Width before the expander operates

TYPE Soft, Hard Compander type

LOOKUP 0.0–100.0 ms Lookup delay

KEY LINK

1. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is independent). 3+2: key-in

of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are linked, and LS and RS are linked.

Key-in linking

L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency

M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency

SLOPE –6 dB, –12 dB Filter slope

CEILING –6.0 dB to 0.0 dB, OFF Speciﬁes the maximum output level

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Effects and tempo synchronization

Some of the 02R96’s effects allow you to synchronize the effect with the tempo. There are two such types of effect; delay-type effects

and modulation-type effects. For delay-type effects, the delay time will change according to the tempo. For modulation-type effects,

the frequency of the modulation signal will change according to the tempo.

• Parameters related to tempo synchronization

The following ﬁve parameters are related to tempo synchronization.

1) SYNC 2) NOTE 3) TEMPO 4) DELAY 5) FREQ.

SYNC: ............................ This is the on/off switch for tempo synchronization.

NOTE and TEMPO:..... These are the basic parameters for tempo synchronization.

DELAY and FREQ.: ...... DELAY is the delay time, and FREQ. is the frequency of the modulation signal. These directly affect

the way in which the effect sound will change. DELAY is relevant only for delay-type effects, and

FREQ. is relevant only for modulation-type effects.

• How the parameters are related

Te mpo synchronization uses TEMPO and NOTE to calculate a value that will be the basis for the tempo, and continues making

adjustments so that this tempo basis stays essentially the same as the DELAY (or FREQ.). This means that when TEMPO, NOTE,

and DELAY (or FREQ.) are synchronized, and you change any of these values, the other parameters will be re-set in order to

maintain the correct relationship. The parameters that are re-set and the calculation method(*a) used are as follows.

If you turn SYNC on → NOTE will be set

If you edit DELAY (or FREQ.) → NOTE will be set

In this case, the NOTE value is calculated as follows.

NOTE = DELAY (or FREQ.)/(4 x (60/TEMPO))

If you edit NOTE → DELAY (or FREQ.) will be set

In this case, the DELAY (or FREQ.) value is calculated as follows.

DELAY (or FREQ.) = NOTE x 4 x (60/TEMPO)

If you edit TEMPO → DELAY (or FREQ.) will be set

In this case, the DELAY (or FREQ.) value is calculated as follows.

DELAY (or FREQ.) = original DELAY (or FREQ.) x (previous TEMPO/new TEMPO)

Example 1: When SYNC=ON, DELAY=250 ms, TEMPO=120, you change NOTE from 8th note to quarter note

DELAY= new NOTE x 4 x (60/TEMPO)

= (1/4) x 4 x (60/120)

= 0.5 (sec)

= 500 ms

Thus, the DELAY will change from 250 ms to 500 ms.

Example 2: When SYNC=ON, DELAY=250 ms, NOTE=8th note, you change TEMPO from 120 to 121

DELAY= original DELAY x (previous TEMPO/new TEMPO)

= 250 x (120/121)

= 247.9 (ms)

Thus, the TEMPO will change from 250 ms to 247.9 ms.

*a Rounded values are used for the calculation results.

• Ranges of the NOTE and TEMPO values

The ranges of the NOTE and TEMPO values are limited by the ranges of the DELAY or FREQ. values. You cannot set NOTE or

TEMPO values that would cause DELAY or FREQ. to exceed their maximum possible values when synchronized to tempo. This

limitation also applies even when SYNC is OFF.

• Special characteristics of the TEMPO parameter

The TEMPO parameter has the following characteristics that are unlike other parameters.

•It is a common value shared by all effects

•You cannot stored it to or recall it from the Effects Library. (You can store it to and recall it from a Scene.)

This means that the TEMPO value may not necessarily be the same when an effect is recalled as when that effect was stored. Here

is an example.

Store the effect: TEMPO=120 → Change TEMPO to 60 → Recall the effect: TEMPO=60

Normally when you change the TEMPO, the DELAY (or FREQ.) will be re-set accordingly. However if the DELAY (or FREQ.)

were changed, the effect would sound differently when recalled than when it was stored. To prevent the effect from changing in

this way between store and recall, the 02R96 does not update the DELAY (or FREQ.) value when an effect is recalled, even if the

TEMPO is no longer the same as when that effect was stored.

* The NOTE parameter is calculated based on the following values.

= 1/48

= 2/1

= 1/16= 1/24 = 1/12

= 3/4= 3/16 = 1/2

= 3/32 = 1/6

= 1/4

= 1/8

= 1/1= 3/8

282 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Preset EQ Parameters

#Title

Parameter

LOW L-MID H-MID HIGH

Bass Drum 1

PEAKING PEAKING PEAKING H.SHELF

+3.5 dB –3.5 dB 0.0 dB +4.0 dB

100 Hz 265 Hz 1.06 kHz 5.30 kHz

1.2 10 0.9 —

Bass Drum 2

PEAKING PEAKING PEAKING LPF

+8.0 dB –7.0 dB +6.0 dB ON

80 Hz 400 Hz 2.50 kHz 12.5 kHz

1.4 4.5 2.2 —

Snare Drum

PEAKING PEAKING PEAKING H.SHELF

–0.5 dB 0.0 dB +3.0 dB +4.5 dB

132 Hz 1.00 kHz 3.15 kHz 5.00 kHz

1.2 4.5 0.11 —

Snare Drum

L.SHELF PEAKING PEAKING PEAKING

+1.5 dB –8.5 dB +2.5 dB +4.0 dB

180 Hz 335 Hz 2.36 kHz 4.00 kHz

—100.7 0.1

Tom-tom 1

PEAKING PEAKING PEAKING PEAKING

+2.0 dB –7.5 dB +2.0 dB +1.0 dB

212 Hz 670 Hz 4.50 kHz 6.30 kHz

1.4 10 1.2 0.28

Cymbal

L.SHELF PEAKING PEAKING H.SHELF

–2.0 dB 0.0 dB 0.0 dB +3.0 dB

106 Hz 425 Hz 1.06 kHz 13.2 kHz

—80.9 —

High Hat

L.SHELF PEAKING PEAKING H.SHELF

–4.0 dB –2.5 dB +1.0 dB +0.5 dB

95 Hz 425 Hz 2.80 kHz 7.50 kHz

— 0.5 1 —

Percussion

L.SHELF PEAKING PEAKING H.SHELF

–4.5 dB 0.0 dB +2.0 dB 0.0 dB

100 Hz 400 Hz 2.80 kHz 17.0 kHz

— 4.5 0.56 —

E. Bass 1

L.SHELF PEAKING PEAKING H.SHELF

–7.5 dB +4.5 dB +2.5 dB 0.0 dB

35.5 Hz 112 Hz 2.00 kHz 4.00 kHz

—54.5 —

E. Bass 2

PEAKING PEAKING PEAKING H.SHELF

+3.0 dB 0.0 dB +2.5 dB +0.5 dB

112 Hz 112 Hz 2.24 kHz 4.00 kHz

0.1 5 6.3 —

Syn. Bass 1

PEAKING PEAKING PEAKING H.SHELF

+3.5 dB +8.5 dB 0.0 dB 0.0 dB

85 Hz 950 Hz 4.00 kHz 12.5 kHz

0.1 8 4.5 —

Syn. Bass 2

PEAKING PEAKING PEAKING H.SHELF

+2.5 dB 0.0 dB +1.5 dB 0.0 dB

125 Hz 180 Hz 1.12 kHz 12.5 kHz

1.6 8 2.2 —

Piano 1

L.SHELF PEAKING PEAKING H.SHELF

–6.0 dB 0.0 dB +2.0 dB +4.0 dB

95 Hz 950 Hz 3.15 kHz 7.50 kHz

—80.9 —

Piano 2

PEAKING PEAKING PEAKING H.SHELF

+3.5 dB –8.5 dB +1.5 dB +3.0 dB

224 Hz 600 Hz 3.15 kHz 5.30 kHz

5.6 10 0.7 —

E. G. Clean

PEAKING PEAKING PEAKING H.SHELF

+2.0 dB –5.5 dB +0.5 dB +2.5 dB

265 Hz 400 Hz 1.32 kHz 4.50 kHz

0.18 10 6.3 —

E. G. Crunch

PEAKING PEAKING PEAKING PEAKING

+4.5 dB 0.0 dB +4.0 dB +2.0 dB

140 Hz 1.00 kHz 1.90 kHz 5.60 kHz

8 4.5 0.63 9

E. G. Crunch

PEAKING PEAKING PEAKING H.SHELF

+2.5 dB +1.5 dB +2.5 dB 0.0 dB

125 Hz 450 Hz 3.35 kHz 19.0 kHz

8 0.4 0.16 —

E. G. Dist. 1

L.SHELF PEAKING PEAKING H.SHELF

+5.0 dB 0.0 dB +3.5 dB 0.0 dB

355 Hz 950 Hz 3.35 kHz 12.5 kHz

—910—

E. G. Dist. 2

L.SHELF PEAKING PEAKING H.SHELF

+6.0 dB –8.5 dB +4.5 dB +4.0 dB

315 Hz 1.06 kHz 4.25 kHz 12.5 kHz

—10 4 —

A. G. Stroke

PEAKING PEAKING PEAKING H.SHELF

–2.0 dB 0.0 dB +1.0 dB +4.0 dB

106 Hz 1.00 kHz 1.90 kHz 5.30 kHz

0.9 4.5 3.5 —

A. G. Stroke

L.SHELF PEAKING PEAKING H.SHELF

–3.5 dB –2.0 dB 0.0 dB +2.0 dB

300 Hz 750 Hz 2.00 kHz 3.55 kHz

—94.5 —

A. G. Arpeg.

L.SHELF PEAKING PEAKING PEAKING

–0.5 dB 0.0 dB 0.0 dB +2.0 dB

224 Hz 1.00 kHz 4.00 kHz 6.70 kHz

— 4.5 4.5 0.12

A. G. Arpeg.

L.SHELF PEAKING PEAKING H.SHELF

0.0 dB –5.5 dB 0.0 dB +4.0 dB

180 Hz 355 Hz 4.00 kHz 4.25 kHz

—74.5 —

Brass Sec.

PEAKING PEAKING PEAKING PEAKING

–2.0 dB –1.0 dB +1.5 dB +3.0 dB

90 Hz 850 Hz 2.12 kHz 4.50 kHz

2.8 2 0.7 7

#Title

Parameter

LOW L-MID H-MID HIGH

Preset Gate Parameters (fs = 44.1 kHz) 283

02R96 Version 2—Owner’s Manual

Preset Gate Parameters

(fs = 44.1 kHz)

Male Vocal

PEAKING PEAKING PEAKING PEAKING

–0.5 dB 0.0 dB +2.0 dB +3.5 dB

190 Hz 1.00 kHz 2.00 kHz 6.70 kHz

0.11 4.5 0.56 0.11

Male Vocal

PEAKING PEAKING PEAKING H.SHELF

+2.0 dB –5.0 dB –2.5 dB +4.0 dB

170 Hz 236 Hz 2.65 kHz 6.70 kHz

0.11 10 5.6 —

Female Vo.

PEAKING PEAKING PEAKING PEAKING

–1.0 dB +1.0 dB +1.5 dB +2.0 dB

118 Hz 400 Hz 2.65 kHz 6.00 kHz

0.18 0.45 0.56 0.14

Female Vo.

L.SHELF PEAKING PEAKING H.SHELF

–7.0 dB +1.5 dB +1.5 dB +2.5 dB

112 Hz 335 Hz 2.00 kHz 6.70 kHz

— 0.16 0.2 —

Chorus &

Harmo

PEAKING PEAKING PEAKING PEAKING

–2.0 dB –1.0 dB +1.5 dB +3.0 dB

90 Hz 850 Hz 2.12 kHz 4.50 kHz

2.8 2 0.7 7

Total EQ 1

PEAKING PEAKING PEAKING H.SHELF

–0.5 dB 0.0 dB +3.0 dB +6.5 dB

95 Hz 950 Hz 2.12 kHz 16.0 kHz

7 2.2 5.6 —

Total EQ 2

PEAKING PEAKING PEAKING H.SHELF

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

95 Hz 750 Hz 1.80 kHz 18.0 kHz

7 2.8 5.6 —

Total EQ 3

L.SHELF PEAKING PEAKING H.SHELF

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

67 Hz 850 Hz 1.90 kHz 15.0 kHz

— 0.28 0.7 —

Bass Drum 3

PEAKING PEAKING PEAKING PEAKING

+3.5 dB –10.0 dB +3.5 dB 0.0 dB

118 Hz 315 Hz 4.25 kHz 20.0 kHz

2100.4 0.4

Snare Drum

L.SHELF PEAKING PEAKING PEAKING

0.0 dB +2.0 dB +3.5 dB 0.0 dB

224 Hz 560 Hz 4.25 kHz 4.00 kHz

— 4.5 2.8 0.1

Tom-tom 2

L.SHELF PEAKING PEAKING H.SHELF

–9.0 dB +1.5 dB +2.0 dB 0.0 dB

90 Hz 212 Hz 5.30 kHz 17.0 kHz

— 4.5 1.2 —

#Title

Parameter

LOW L-MID H-MID HIGH

Piano 3

PEAKING PEAKING PEAKING H.SHELF

+4.5 dB –13.0 dB +4.5 dB +2.5 dB

100 Hz 475 Hz 2.36 kHz 10.0 kHz

8109—

Piano Low

PEAKING PEAKING PEAKING H.SHELF

–5.5 dB +1.5 dB +6.0 dB 0.0 dB

190 Hz 400 Hz 6.70 kHz 12.5 kHz

10 6.3 2.2 —

Piano High

PEAKING PEAKING PEAKING PEAKING

–5.5 dB +1.5 dB +5.0 dB +3.0 dB

190 Hz 400 Hz 6.70 kHz 5.60 kHz

10 6.3 2.2 0.1

Fine-EQ

Cass

L.SHELF PEAKING PEAKING H.SHELF

–1.5 dB 0.0 dB +1.0 dB +3.0 dB

75 Hz 1.00 kHz 4.00 kHz 12.5 kHz

— 4.5 1.8 —

Narrator

PEAKING PEAKING PEAKING H.SHELF

–4.0 dB –1.0 dB +2.0 dB 0.0 dB

106 Hz 710 Hz 2.50 kHz 10.0 kHz

470.63 —

#Title Type Parameter Value

Gate GATE

Threshold (dB) –26

Range (dB) –56

Attack (ms) 0

Hold (ms) 2.56

Decay (ms) 331

Ducking DUCKING

Threshold (dB) –19

Range (dB) –22

Attack (ms) 93

Hold (ms) 1.20 S

Decay (ms) 6.32 S

A. Dr. BD GATE

Threshold (dB) –11

Range (dB) –53

Attack (ms) 0

Hold (ms) 1.93

Decay (ms) 400

A. Dr. SN GATE

Threshold (dB) –8

Range (dB) –23

Attack (ms) 1

Hold (ms) 0.63

Decay (ms) 238

#Title

Parameter

LOW L-MID H-MID HIGH

284 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Preset Compressor Parameters (fs = 44.1 kHz)

#Title Type Parameter Value

Comp COMP

Threshold (dB) –8

Ratio ( :1) 2.5

Attack (ms) 60

Out gain (dB) 0.0

Knee 2

Release (ms) 250

Expand EXPAND

Threshold (dB) –23

Ratio ( :1) 1.7

Attack (ms) 1

Out gain (dB) 3.5

Knee 2

Release (ms) 70

Compander

(H)

COMPAND-H

Threshold (dB) –10

Ratio ( :1) 3.5

Attack (ms) 1

Out gain (dB) 0.0

Width (dB) 6

Release (ms) 250

Compander

(S)

COMPAND-S

Threshold (dB) –8

Ratio ( :1) 4

Attack (ms) 25

Out gain (dB) 0.0

Width (dB) 24

Release (ms) 180

A. Dr. BD COMP

Threshold (dB) –24

Ratio ( :1) 3

Attack (ms) 9

Out gain (dB) 5.5

Knee 2

Release (ms) 58

A. Dr. BD COMPAND-H

Threshold (dB) –11

Ratio ( :1) 3.5

Attack (ms) 1

Out gain (dB) –1.5

Width (dB) 7

Release (ms) 192

A. Dr. SN COMP

Threshold (dB) –17

Ratio ( :1) 2.5

Attack (ms) 8

Out gain (dB) 3.5

Knee 2

Release (ms) 12

A. Dr. SN EXPAND

Threshold (dB) –23

Ratio ( :1) 2

Attack (ms) 0

Out gain (dB) 0.5

Knee 2

Release (ms) 151

A. Dr. SN COMPAND-S

Threshold (dB) –8

Ratio ( :1) 1.7

Attack (ms) 11

Out gain (dB) 0.0

Width (dB) 10

Release (ms) 128

A. Dr. Tom EXPAND

Threshold (dB) –20

Ratio ( :1) 2

Attack (ms) 2

Out gain (dB) 5.0

Knee 2

Release (ms) 749

A. Dr.

OverTop

COMPAND-S

Threshold (dB) –24

Ratio ( :1) 2

Attack (ms) 38

Out gain (dB) –3.5

Width (dB) 54

Release (ms) 842

E. B. Finger COMP

Threshold (dB) –12

Ratio ( :1) 2

Attack (ms) 15

Out gain (dB) 4.5

Knee 2

Release (ms) 470

E. B. Slap COMP

Threshold (dB) –12

Ratio ( :1) 1.7

Attack (ms) 6

Out gain (dB) 4.0

Knee hard

Release (ms) 133

Syn. Bass COMP

Threshold (dB) –10

Ratio ( :1) 3.5

Attack (ms) 9

Out gain (dB) 3.0

Knee hard

Release (ms) 250

Piano1 COMP

Threshold (dB) –9

Ratio ( :1) 2.5

Attack (ms) 17

Out gain (dB) 1.0

Knee hard

Release (ms) 238

Piano2 COMP

Threshold (dB) –18

Ratio ( :1) 3.5

Attack (ms) 7

Out gain (dB) 6.0

Knee 2

Release (ms) 174

E. Guitar COMP

Threshold (dB) –8

Ratio ( :1) 3.5

Attack (ms) 7

Out gain (dB) 2.5

Knee 4

Release (ms) 261

A. Guitar COMP

Threshold (dB) –10

Ratio ( :1) 2.5

Attack (ms) 5

Out gain (dB) 1.5

Knee 2

Release (ms) 238

#Title Type Parameter Value

Preset Compressor Parameters (fs = 44.1 kHz) 285

02R96 Version 2—Owner’s Manual

Strings1 COMP

Threshold (dB) –11

Ratio ( :1) 2

Attack (ms) 33

Out gain (dB) 1.5

Knee 2

Release (ms) 749

Strings2 COMP

Threshold (dB) –12

Ratio ( :1) 1.5

Attack (ms) 93

Out gain (dB) 1.5

Knee 4

Release (ms) 1.35 S

Strings3 COMP

Threshold (dB) –17

Ratio ( :1) 1.5

Attack (ms) 76

Out gain (dB) 2.5

Knee 2

Release (ms) 186

BrassSection COMP

Threshold (dB) –18

Ratio ( :1) 1.7

Attack (ms) 18

Out gain (dB) 4.0

Knee 1

Release (ms) 226

Syn. Pad COMP

Threshold (dB) –13

Ratio ( :1) 2

Attack (ms) 58

Out gain (dB) 2.0

Knee 1

Release (ms) 238

SamplingPerc COMPAND-S

Threshold (dB) –18

Ratio ( :1) 1.7

Attack (ms) 8

Out gain (dB) –2.5

Width (dB) 18

Release (ms) 238

Sampling BD COMP

Threshold (dB) –14

Ratio ( :1) 2

Attack (ms) 2

Out gain (dB) 3.5

Knee 4

Release (ms) 35

Sampling SN COMP

Threshold (dB) –18

Ratio ( :1) 4

Attack (ms) 8

Out gain (dB) 8.0

Knee hard

Release (ms) 354

Hip Comp COMPAND-S

Threshold (dB) –23

Ratio ( :1) 20

Attack (ms) 15

Out gain (dB) 0.0

Width (dB) 15

Release (ms) 163

#Title Type Parameter Value

Solo Vocal1 COMP

Threshold (dB) –20

Ratio ( :1) 2.5

Attack (ms) 31

Out gain (dB) 2.0

Knee 1

Release (ms) 342

Solo Vocal2 COMP

Threshold (dB) –8

Ratio ( :1) 2.5

Attack (ms) 26

Out gain (dB) 1.5

Knee 3

Release (ms) 331

Chorus COMP

Threshold (dB) –9

Ratio ( :1) 1.7

Attack (ms) 39

Out gain (dB) 2.5

Knee 2

Release (ms) 226

Click Erase EXPAND

Threshold (dB) –33

Ratio ( :1) 2

Attack (ms) 1

Out gain (dB) 2.0

Knee 2

Release (ms) 284

Announcer COMPAND-H

Threshold (dB) –14

Ratio ( :1) 2.5

Attack (ms) 1

Out gain (dB) –2.5

Width (dB) 18

Release (ms) 180

Limiter1 COMPAND-S

Threshold (dB) –9

Ratio ( :1) 3

Attack (ms) 20

Out gain (dB) –3.0

Width (dB) 90

Release (ms) 3.90 s

Limiter2 COMP

Threshold (dB) 0

Ratio ( :1) ∞

Attack (ms) 0

Out gain (dB) 0.0

Knee hard

Release (ms) 319

Total Comp1 COMP

Threshold (dB) –18

Ratio ( :1) 3.5

Attack (ms) 94

Out gain (dB) 2.5

Knee hard

Release (ms) 447

Total Comp2 COMP

Threshold (dB) –16

Ratio ( :1) 6

Attack (ms) 11

Out gain (dB) 6.0

Knee 1

Release (ms) 180

#Title Type Parameter Value

286 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

Dynamics Parameters

The dynamics effects for each channel strip include a Gate section (only for Input Chan-

nels) and a Comp section. The Gate section includes Gate and Ducking types. The Comp

section includes Compressor, Expander, Compander Hard (COMP. (H)), and Compander

Soft (COMP. (S)) types.

GATE Section (Only for Input Channels)

GATE

A gate attenuates signals below a set THRESHOLD level by a speciﬁed amount (RANGE).

Parameter Range Description

THRESHOLD (dB) –54.0 to 0.0 (541 points)

This determines the level at which the gate effect

is applied.

RANGE (dB) –70 to 0 (71 points)

This determines the amount of attenuation when

the gate closes.

ATTACK (ms) 0–120 (121 points)

This determines how fast the gate opens when the

signal exceeds the threshold level.

HOLD (ms)

44.1kHz: 0.02 ms – 2.13 sec

48kHz: 0.02 ms – 1.96 sec

88.2kHz: 0.01 ms – 1.06 sec

96kHz: 0.01 ms – 981 ms

(160 points)

This determines how long the gate stays open

once the trigger signal has fallen below the thresh-

old.

DECAY (ms)

44.1kHz: 6 ms – 46.0 sec

48kHz: 5 ms – 42.3 sec

88.2kHz: 3 ms – 23.0 sec

96kHz: 3 ms – 21.1 sec

(160 points)

This determines how fast the gate closes once the

hold time has expired. The value is expressed as

the duration required for the level to change by

6 dB.

Input Level Time Time

Output Level

Input Level

Output Level

I/O Characteristics Time Series Analysis

RANGE

THRESHOLD

RANGE

Input Signal Output Signal

AT TACK DECAY

HOLD

Dynamics Parameters 287

02R96 Version 2—Owner’s Manual

DUCKING

Ducking is commonly used for voice-over applications in which the background music

level is reduced automatically when an announcer speaks. When the KEY IN source signal

level exceeds the speciﬁed THRESHOLD, the output level is attenuated by a speciﬁed

amount (RANGE).

Parameter Range Description

THRESHOLD (dB) –54.0 to 0.0 (541 points)

This determines the level of trigger signal (KEY IN)

required to activate ducking.

RANGE (dB) –70 to 0 (71 points)

This determines the amount of attenuation when

ducking is activated.

ATTACK (ms) 0–120 (121 points)

This determines how soon the signal is ducked

once the ducker has been triggered.

HOLD (ms)

44.1kHz: 0.02 ms – 2.13 sec

48kHz: 0.02 ms – 1.96 sec

88.2kHz: 0.01 ms – 1.06 sec

96kHz: 0.01 ms – 981 ms

(160 points)

This determines how long ducking remains active

once the trigger signal has fallen below the

THRESHOLD level.

DECAY (ms)

44.1kHz: 6 ms – 46.0 sec

48kHz: 5 ms – 42.3 sec

88.2kHz: 3 ms – 23.0 sec

96kHz: 3 ms – 21.1 sec

(160 points)

This determines how soon the ducker returns to its

normal gain once the trigger signal level drops

below the threshold. The value is expressed as the

duration required for the level to change by 6 dB.

Input Level Time Time

Output Level

Input Level

Output Level

I/O Characteristics Time Series Analysis

RANGE

THRESHOLD

RANGE

Input Signal Output Signal

AT TACK DECAY

HOLD

288 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

COMP Section

COMP

The COMP processor attenuates signals above a speciﬁed THRESHOLD by a speciﬁed

RATIO. The COMP processor can also be used as a limiter, which, with a RATIO of ∞:1,

reduces the level to the threshold. This means that the limiter’s output level never actually

exceeds the threshold.

Parameter Range Description

THRESHOLD (dB) –54.0 to 0.0 (541 points)

This determines the level of input signal required to

trigger the compressor.

RATIO

1.0:1, 1.1:1, 1.3:1, 1.5:1,

1.7:1, 2.0:1, 2.5:1, 3.0:1,

3.5:1, 4.0:1, 5.0:1, 6.0:1,

8.0:1, 10:1, 20:1, ∞:1

(16 points)

This determines the amount of compression, that

is, the change in output signal level relative to

change in input signal level.

ATTACK (ms) 0–120 (121 points)

This determines how soon the signal will be com-

pressed once the compressor has been triggered.

RELEASE (ms)

44.1kHz: 6 ms – 46.0 sec

48kHz: 5 ms – 42.3 sec

88.2kHz: 3 ms – 23.0 sec

96kHz: 3 ms – 21.1 sec

(160 points)

This determines how soon the compressor returns

to its normal gain once the trigger signal level

drops below the threshold. The value is expressed

as the duration required for the level to change by

6 dB.

OUT GAIN (dB) 0.0 to +18.0 (180 points) This sets the compressor's output signal level.

KNEE Hard, 1–5 (6 points)

This determines how compression is applied at the

threshold. For higher knee settings, compression is

applied gradually as the signal exceeds the speci-

ﬁed threshold, creating a more natural sound.

Input Level Time Time

Output Level

Input Level

Output Level

Time Series Analysis (RATIO=∞:1)

RATIO

THRESHOLD

Input signal Output Signal

AT TACK RELEASE

I/O Characteristics

(KNEE=hard, OUT GAIN=0.0dB)

Dynamics Parameters 289

02R96 Version 2—Owner’s Manual

EXPAND

An expander attenuates signals below a speciﬁed THRESHOLD by a speciﬁed RATIO.

Parameter Range Description

THRESHOLD (dB) –54.0 to 0.0 (541 points)

This determines the level of input signal required to

trigger the expander.

RATIO

1.0:1, 1.1:1, 1.3:1, 1.5:1,

1.7:1, 2.0:1, 2.5:1, 3.0:1,

3.5:1, 4.0:1, 5.0:1, 6.0:1,

8.0:1, 10:1, 20:1, ∞:1

(16 points)

This determines the amount of expansion.

ATTACK (ms) 0–120 (121 points)

This determines how soon the expander returns to

its normal gain once the trigger signal level exceeds

the threshold.

RELEASE (ms)

44.1kHz: 6 ms – 46.0 sec

48kHz: 5 ms – 42.3 sec

88.2kHz: 3 ms – 23.0 sec

96kHz: 3 ms – 21.1 sec

(160 points)

This determines how soon the signal is expanded

once the signal level drops below the threshold.

The value is expressed as the duration required for

the level to change by 6 dB.

OUT GAIN (dB) 0.0 to +18.0 (180 points) This sets the expander's output signal level.

KNEE Hard, 1–5 (6 points)

This determines how expansion is applied at the

threshold. For higher knee settings, expansion is

applied gradually as the signal falls below the spec-

iﬁed threshold, creating a more natural sound.

Input Level Time Time

Output Level

Input Level

Output Level

I/O Characteristics

(KNEE=hard, OUT GAIN=0.0dB)

Time Series Analysis (RATIO=∞:1)

RATIO

THRESHOLD

Input Signal Output Signal

AT TACK RELEASE

290 Appendix A: Parameter Lists

02R96 Version 2—Owner’s Manual

COMPANDER HARD (H)

COMPANDER SOFT (S)

The hard and soft companders combine the effects of the compressor, expander and limiter.

The companders function differently at the following levels:

1 0 dB and higher.....................................Functions as a limiter.

2 Exceeding the threshold .......................Functions as a compressor.

3 Below the threshold and width............Functions as an expander.

The hard compander has an expansion ratio of 5:1, while the soft compander has an expan-

sion ratio of 1.5:1. The expander is essentially turned off when the width is set to maximum.

The compressor has a ﬁxed knee setting of 2.

*The gain is automatically adjusted according to the ratio and threshold values, and can

be increased by up to 18 dB.

*The OUT GAIN parameter enables you to compensate for the overall level change

caused by the compression and expansion processes.

Parameter Range Description

THRESHOLD (dB) –54.0 to 0.0 (541 points)

This determines the level at which compression is

applied.

RATIO

1.0:1, 1.1:1, 1.3:1, 1.5:1,

1.7:1, 2.0:1, 2.5:1, 3.0:1,

3.5:1, 4.0:1, 5.0:1, 6.0:1,

8.0:1, 10:1, 20:1, (15 points)

This determines the amount of compression.

ATTACK (ms) 0–120 (121 points)

This determines how soon the signal is com-

pressed or expanded once the compander has

been triggered.

RELEASE (ms)

44.1kHz: 6 ms – 46.0 sec

48kHz: 5 ms – 42.3 sec

88.2kHz: 3 ms – 23.0 sec

96kHz: 3 ms – 21.1 sec

(160 points)

This determines how soon the compressor or

expander returns to the normal gain once the

trigger signal level drops below or exceeds the

threshold respectively. The value is expressed as

the duration required for the level to change by

6 dB.

OUT GAIN (dB) –18.0 to 0.0 (180 points) This sets the compander's output signal level.

WIDTH (dB) 0–90 (91 points)

This determines how far below the threshold

expansion will be applied. The expander is acti-

vated when the level drops below the threshold

and width.

0dB

Input Level

Output Level

THRESHOLD

WIDTH

General Spec

291

02R96 Version 2—Owner’s Manual

Appendix B: Speciﬁcations

General Spec

Number of scene memories

Sampling Frequency

Internal

44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz

External

Normal rate: 44.1 kHz–10% to 48 kHz+6%

Double rate: 88.2 kHz–10% to 96 kHz+6%

Signal Delay

Less than 2.0 ms CH INPUT to STEREO OUT (fs=48 kHz)

Less than 1.1 ms CH INPUT to STEREO OUT (fs=96 kHz)

Fader

100 mm motorized with touch sense

Fader Resolution

+10 to –138, –

∞

dB input faders (10bit fader data)

0 to –138, –

∞

dB master fader (10bit fader data)

Total Harmonic Distortion

(CH INPUT to STEREO OUT)

(Input Gain=Min.)

fs=48 kHz

Less than 0.05% 20 Hz to 20 kHz @ +14 dB into 600

Ω

Less than 0.01% 1 kHz @ +18 dB into 600

Ω

fs=96 kHz

Less than 0.05% 20 Hz to 40 kHz @ +14 dB into 600

Ω

Less than 0.01% 1 kHz @ +18 dB into 600

Ω

Frequency Response

(CH INPUT to STEREO OUT)

20 Hz–20 kHz, 0.5, –1.5 dB @ +4 dB into 600

Ω

(fs=48 kHz)

20 Hz–40 kHz, 0.5, –1.5 dB @ +4 dB into 600

Ω

(fs=96 kHz)

Dynamic Range

(maximum level to noise level)

110 dB typ. DA Converter (STEREO OUT)

105 dB typ. AD+DA (to STEREO OUT) @ fs=48 kHz

105 dB typ. AD+DA (to STEREO OUT) @ fs=96 kHz

Hum & Noise

(20 Hz–20 kHz)

Rs=150

Ω

Input Gain=Max.

Input Pad =0 dB

–128 dB Equivalent Input Noise

–92 dB residual output noise. STEREO OUT (STEREO OUT off)

–92 dB (96 dB S/N) STEREO OUT (STEREO fader at nominal level and

all CH INPUT faders at minimum level)

–64 dB (68 dB S/N) STEREO OUTPUT (STEREO fader at nominal level

and one CH INPUT fader at nominal level)

Maximum Voltage Gain

74 dB CH INPUT (CH1–24) to STEREO OUT/OMNI (BUS) OUT

74 dB CH INPUT (CH1–24) to OMNI (AUX) OUT (via pre input fader)

74 dB CH INPUT (CH1–24) to CONTROL ROOM MONITOR OUT (via

STEREO bus)

Crosstalk

(@ 1 kHz)

Input Gain=Min.

–80 dB adjacent input channels (CH1–24)

–80 dB input to output

AD Input (1–16: A/B)

Phantom switch

+48 V DC is supplied to A (XLR-3-31 type) input

Pad switch

0/26 dB attenuation

Gain control

44 dB (–60 to –16), detented

Peak indicator

LED (red) turns on when post HA level reaches 3 dB below clipping

Signal indicator

LED (green) turns on when post HA level reaches 20 dB below nomi-

nal

Insert

I/O (pre AD converter)

Insert switch

on/off

AD converter

24-bit linear, 128-times oversampling (fs=48 kHz)

AD Input (17–24)

Gain control

44 dB (–34 to +10), detented

Peak indicator

LED (red) turns on when post HA level reaches 3 dB below clipping

Signal indicator

LED (green) turns on when post HA level reaches 20 dB below nomi-

nal

AD converter

24-bit linear, 128-times oversampling (fs=48 kHz)

Analog Input

(2TR IN ANALOG 1, 2)

AD converter

24-bit linear, 128-times oversampling (fs=48 kHz)

Option Input (SLOT 1–4) Available cards

Optional digital interface cards (MY16, MY8, MY4 series)

Digital Input

(2TR IN DIGITAL 1–3)

SRC

On/off (1:3 and 3:1 maximum input to output sample rate ratio)

292

Appendix B: Specifications

02R96 Version 2—Owner’s Manual

Input Channel CH1–56

Input patch

—

Phase

Normal/reverse

Gate-type

On/off

Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48, 49–56)/AUX1–8

Comp-type

On/off

Key in: self /Stereo Link

Pre EQ/pre fader/post fader

Attenuator

–96.0 to +12.0 dB (0.1 dB step)

4-band PEQ

On/off

Delay

0–43400 samples

On/off

—

Fader

100 mm motorized (INPUT/AUX1–8)

Aux send

On/off

AUX1–8; pre fader/post fader

Solo

On/off

Pre fader/after pan

Pan

127 positions (Left= 1–63, Center, Right= 1–63)

Surround pan

127

127 positions

LFE level

–

∞

, –96 dB to +10 dB (256 step)

Routing

STEREO, BUS1–8, DIRECT OUT

Direct out

Pre EQ/pre fader/post fader

Metering

Displayed on LCD

Peak hold on/off

TALKBACK

Level control

Analog rotary potentiometer

AD converter

24-bit linear, 128-times oversampling

Talkback select

Built-in microphone/AD IN 1–16

On/off

—

OSCILLATOR

Level

0 to –96 dB (1 dB step)

On/off

—

Waveform

Sine 100 Hz, sine 1 kHz, sine 10 kHz, pink noise, burst noise

Routing

BUS1–8, AUX1–8, STEREO L, R

STEREO OUT DA converter

24-bit linear, 128-times oversampling

OMNI OUT 1–8

Output patch

SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT

1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO)

DA converter

24-bit linear, 128-times oversampling

CONTROL ROOM MONITOR

OUT

Monitor select

STEREO, 2TR IN DIGITAL 1, 2TR IN DIGITAL 2, 2TR IN DIGITAL 3, 2TR

I N ANALOG 1, 2TR IN ANALOG 2, ASSIGN 1, 2 (BUS 1–8/AUX 1–8)

Mono

On/off

Dimmer

On/off

DA converter

24-bit linear, 128-times oversampling

Level control

Analog rotary potentiometer

Phones level

Analog rotary potentiometer

STUDIO MONITOR OUT

Monitor select

CONTROL ROOM, STEREO, AUX 7, AUX 8, TALKBACK

DA converter

24-bit linear, 128-times oversampling

Level control

Analog rotary potentiometer

2TR OUT DIGITAL 1–3

Dither

On/off

Word length 16, 20, 24-bit

Output patch

STEREO, BUS1–8, AUX 1–8, DIRECT OUT 1–56, INSERT OUT, CON-

TROL ROOM

Option Output (SLOT 1–4)

Available card

Optional digital interface card (MY16, MY8, MY4 series)

Output patch

SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT

1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO)

Dither

On/off

Word length 16/20/24-bit

General Spec

293

02R96 Version 2—Owner’s Manual

STEREO

Comp-type

On/off

Pre EQ/pre fader/post fader

Attenuator

–96.0 to +12.0 dB (0.1 dB step)

4-band PEQ

On/off

—

Fader

100 mm motorized

Balance

127 positions (Left=1–63, Center, Right=1–63)

Delay

0–43400 samples

Metering

Displayed on LCD

Peak hold on/off

BUS1–8

Comp-type

On/off

Pre EQ/pre fader/post fader

Attenuator

–96.0 to +12.0 dB (0.1 dB step)

4-band PEQ

On/off

—

Fader

100 mm motorized

Delay

0–43400 samples

Bus to stereo

Level (–

∞

, –130 dB to 0 dB)

On/off

Pan: 127 positions (Left=1–63, Center, Right=1–63)

Metering

Displayed on LCD

Peak hold on/off

AUX1–8

Comp-type

On/off

Pre EQ/pre fader/post fader

Attenuator

–96.0 to +12.0 dB (0.1 dB step)

4-band PEQ

On/off

—

Fader

100 mm motorized

Delay

0–43400 samples

Metering

Displayed on LCD

Peak hold on/off

SURROUND MONITOR

Mute

On/off

Solo

On/off

Source

BUS1–8, SLOT 1–4

Monitor to C-R

On/off

Oscillator

Pink noise/500–2 kHz/1 kHz/50 Hz

Monitor matrix

6.1

→

6.1, 6.1

→5.1, 6.1→3-1, 6.1→ST, 5.1→5.1, 5.1→3-1, 5.1→ST,

3.1→3.1, 3.1→ST

Bass

management

5 presets

Monitor

alignment

ATT (–12.0 dB to 12 dB 0.1 dB step), Delay (0–30.0 msec 0.02 msec

step)

INTERNAL EFFECTS

(EFFECT 1–4)

Bypass On/off

In/out

8-in, 8-out (EFFECT1): depends on effects type

2-in, 2-out (EFFECT2–4): depends on effects type

Effect-in from AUX1–8/INSERT OUT/effect-out

Effect-out to Input patch/effect-in

Power Requirements

U.S./Canada 120 V, 60 Hz 200 W

Other 220–240 V, 50/60 Hz 200 W

Dimensions (H x D x W) 239 x 697 x 667 mm (9.4" x 27.4" x 26.3")

Net weight 34 kg (75 lbs)

Operating free-air temperature range 10–35°C (50–95°F)

Storage temperature range –20 to 60°C (–4 to 140°F)

294 Appendix B: Specifications

02R96 Version 2—Owner’s Manual

EQ Parameters

Gate Parameters

Supplied Accessories

AC Cable

CD-ROM (Studio Manager)

Options

Digital interface card (MY16, MY8, MY4 series)

PEAK METER BRIDGE: MB02R96

SIDE PANEL: SP02R96

1. Total harmonic distortion is measured with a 6 dB/octave filter @ 80 kHz.

2. Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave

attenuation.

3. See “Gate Parameters” on page 294.

4. See “Comp Parameters” on page 295.

5. See “EQ Parameters” on page 294.

LOW/HPF L-MID H-MID HIGH /LPF

0.1–10.0

(41 points)

low shelving

HPF

0.1–10.0

(41 points)

0.1–10.0

(41 points)

high shelving

LPF

21.2 Hz–20 kHz (1/12 oct step)

±18 dB

(0.1 dB step)

HPF: on/off

±18 dB

(0.1 dB step)

±18 dB

(0.1 dB step)

LPF: on/off

Gate

Threshold –54 dB to 0 dB (0.1 dB step)

Range –70 dB to 0 dB (1 dB step)

Attack 0 ms–120 ms (1 ms step)

Hold

0.02 ms–1.96 s (216 points) @ 48 kHz

0.02 ms–2.13 s (216 points) @ 44.1 kHz

0.01 ms–981 ms (216 points) @ 96 kHz

0.01 ms–1.06 s (216 points) @ 88.2 kHz

Decay

5 ms–42.3 s (160 points) @ 48 kHz

6 ms–46.0 s (160 points) @ 44.1 kHz

3 ms–21.1 s (160 points) @ 96 kHz

3 ms–23.0 s (160 points) @ 88.2 kHz

Ducking

Threshold –54 dB to 0 dB (0.1 dB step)

Range –70 dB to 0 dB (1 dB step)

Attack 0 ms–120 ms (1 ms step)

Hold

0.02 ms–1.96 s (216 points) @ 48 kHz

0.02 ms–2.13 s (216 points) @ 44.1 kHz

0.01 ms–981 ms (216 points) @ 96 kHz

0.01 ms–1.06 s (216 points) @ 88.2 kHz

Decay

5 ms–42.3 s (160 points) @ 48 kHz

6 ms–46.0 s (160 points) @ 44.1 kHz

3 ms–21.1 s (160 points) @ 96 kHz

3 ms–23.0 s (160 points) @ 88.2 kHz

General Spec 295

02R96 Version 2—Owner’s Manual

Comp Parameters

Compressor

Threshold –54 dB to 0 dB (0.1 dB step)

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

Out gain 0 dB to +18 dB (0.1 dB step)

Knee Hard, 1, 2, 3, 4, 5 (6 step)

Attack 0 ms–120 ms (1 ms step)

Release

5 ms–42.3 s (160 points) @ 48 kHz

6 ms–46.0 s (160 points) @ 44.1 kHz

3 ms–21.1 s (160 points) @ 96 kHz

3 ms–23.0 s (160 points) @ 88.2 kHz

Expander

Threshold –54 dB to 0 dB (0.1 dB step)

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

Out gain 0 dB to +18 dB (0.1 dB step)

Knee Hard, 1, 2, 3, 4, 5 (6 points)

Attack 0 ms–120 ms (1 ms step)

Release

5 ms–42.3 s (160 points) @ 48 kHz

6 ms–46.0 s (160 points) @ 44.1 kHz

3 ms–21.1 s (160 points) @ 96 kHz

3 ms–23.0 s (160 points) @ 88.2 kHz

Compander H

Threshold –54 dB to 0 dB (0.1 dB step)

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

Out gain –18 dB to 0 dB (0.1 dB step)

Width 1 dB–90 dB (1 dB step)

Attack 0 ms–120 ms (1 ms step)

Release

5 ms–42.3 s (160 points) @ 48 kHz

6 ms–46.0 s (160 points) @ 44.1 kHz

3 ms–21.1 s (160 points) @ 96 kHz

3 ms–23.0 s (160 points) @ 88.2 kHz

Compander S

Threshold –54 dB to 0 dB (0.1 dB step)

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

Out gain –18 dB to 0 dB (0.1 dB step)

Width 1 dB–90 dB (1 dB step)

Attack 0 ms–120 ms (1 ms step)

Release

5 ms–42.3 s (160 points) @ 48 kHz

6 ms–46.0 s (160 points) @ 44.1 kHz

3 ms–21.1 s (160 points) @ 96 kHz

3 ms–23.0 s (160 points) @ 88.2 kHz

296 Appendix B: Specifications

02R96 Version 2—Owner’s Manual

Libraries

Effect library (EFFECT 1–4)

Presets

61 (EFFECT 2–4: 53)

1. Effects #53–61 are Add-On Effects.

User memories 67

Compressor library

Presets 36

User memories 92

Gate library

Presets 4

User memories 124

EQ library

Presets 40

User memories 160

Channel library

Presets 2

User memories 127

Surround Monitor library

Presets 1

User memories 32

Input patch library

Presets 1

User memories 32

Output patch library

Presets 1

User memories 32

Bus to Stereo library

Presets 1

User memories 32

Analog Input Spec 297

02R96 Version 2—Owner’s Manual

Analog Input Spec

In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.

For 2TR IN ANALOG 2 levels, 0 dBV is referenced to 1.00 Vrms.

All input AD converters (except INSERT I/O 1–16) are 24-bit linear, 128-times oversampling.

+48 V DC (phantom power) is supplied to CH INPUT (1–16) XLR type connectors via individual switches.

Analog Output Spec

STEREO OUT [L, R], 0 dBV is referenced to 1.00 Vrms.

In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms.

All output DA converters (except INSERT OUT 1–16) are 24-bit, 128-times oversampling.

Input PAD GAIN

Actual Load

Impedance

For Use With

Nominal

Input level

Connector

Sensitivity

1. Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V) or the nominal output level when the unit

is set to maximum gain. (All faders and level controls are maximum position.)

Nominal

Max.

before clip

INPUT A/B 1–16

–60 dB

3k Ω

50–600 Ω

Mics & 600 Ω

Lines

–70 dB

(0.245 mV)

–60 dB

(0.775 mV)

–46 dB

(3.88 mV)

A: XLR-3-31 type

(Balanced)

2. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).

–16 dB

–26 dB

(38.8 mV)

–16 dB

(0.123 V)

–2 dB

(616 mV)

B: Phone jack (TRS)

(Balanced)

3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).

0 dB

(775 mV)

+10 dB

(2.45 V)

+24 dB

(12.28 V)

INPUT 17–24 —

–34 dB

4K Ω 600 Ω Lines

–44 dB

(4.89 mV)

–34 dB

(15.5 mV)

–20 dB

(77.5 mV)

Phone jack (TRS)

(Balanced)

+10 dB

0 dB

(775 mV)

+10 dB

(2.45 V)

+24 dB

(12.28 V)

INSERT IN 1–16 — 10K Ω 600 Ω Lines

–6 dB

(388 mV)

+4 dB

(1.23 V)

+18 dB

(6.16 V)

Phone jack (TRS)

4. Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND

2TR IN ANALOG

1 [L, R]

— 10K Ω 600 Ω Lines

+4 dB

(1.23 V)

+4 dB

(1.23 V)

+18 dB

(6.16 V)

Phone jack (TRS)

(Balanced)

2TR IN ANALOG

2 [L, R]

— 10K Ω 600 Ω Lines

–10 dBV

(0.316 V)

–10 dBV

(0.316 V)

+4 dBV

(1.58 V)

Phono

(Unbalanced)

Output

Actual Source

Impedance

For Use With

Nominal

GAIN SW

1. The maximum output level of each OMNI OUT can be set internally.

Output level

Connector

Nominal

Max.

before clip

STEREO OUT [L, R]

600 Ω 10k Ω Lines —

–10 dBV

(0.316 V)

+4 dBV

(1.58 V)

Phono (Unbalanced)

75 Ω 600 Ω Lines —

+4 dB

(1.23 V)

+18 dB

(6.16 V)

XLR-3-32 type

(Balanced)

2. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).

STUDIO MONITOR OUT

[L, R]

150 Ω 10k Ω Lines —

+4 dB

(1.23 V)

+18 dB

(6.16 V)

Phone Jack (TRS)

(Balanced)

3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).

C-R MONITOR OUT [L, R] 150 Ω 10k Ω Lines —

+4 dB

(1.23 V)

+18 dB

(6.16 V)

Phone Jack (TRS)

(Balanced)

OMNI OUT 1–8 150 Ω 10k Ω Lines

+18 dB

(default)

+4 dB

(1.23 V)

+18 dB

(6.16 V)

Phone Jack (TRS)

(Balanced)

+4 dB

–10 dB

(0.245 V)

+4 dB

(1.23 V)

INSERT OUT 1–16 600 Ω 10k Ω Lines —

+4 dB

(1.23 V)

+18 dB

(6.16 V)

Phone Jack (TRS)

4. Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND

PHONES 100 Ω

8 Ω Phones — 4 mW 25 mW

Stereo Phone Jack (TRS)

(Unbalanced)

5. PHONES stereo phone jack is unbalanced (Tip=LEFT, Ring=RIGHT, Sleeve=GND).

40 Ω Phones

— 12 mW 75 mW

298 Appendix B: Specifications

02R96 Version 2—Owner’s Manual

Digital Input Spec

Digital Output Spec

Input Format Data length Level Connector

2TR IN DIGITAL

AES/EBU 24-bit RS422

XLR-3-31 type (Balanced)

1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).

IEC-60958 24-bit 0.5 Vpp/75 Ω RCA pin jack

CASCADE IN ——RS422 D-SUB Half Pitch Connector 68P (Female)

Output Format Data length Level Connector

2TR OUT DIGITAL

AES/EBU

Professional use

1. Channel status of 2TR OUT DIGITAL 1

Type: 2 audio channels

Emphasis: NO

Sampling rate: depends on the internal configuration

24-bit

2. Dither: word length 16/20/24 bit

RS422

XLR-3-32 type (Balanced)

3. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).

IEC-60958

Consumer use

24-bit

0.5V pp/75 Ω RCA pin jack

IEC-60958

Consumer use

4. Channel status of 2TR OUT DIGITAL 2, 3

Type: 2 audio channels

Category code: 2 channel PCM encoder/decoder

Copy prohibit: NO

Emphasis: NO

Clock accuracy: Level II (1000 ppm)

Sampling rate: depends on the internal configuration

24-bit

0.5V pp/75 Ω RCA pin jack

CASCADE OUT ——RS422 D-SUB Half Pitch Connector 68P (Female)

I/O Slot Spec (1–4) 299

02R96 Version 2—Owner’s Manual

I/O Slot Spec (1–4)

Each I/O SLOT accepts a digital interface card. Only SLOT #1 has a serial interface.

Control I/O Spec

Card Name Function Input Output

Number of

available cards

MY16-AT ADAT 16 IN

16OUT (depends on output patch)

MY8-AT ADAT 8 IN

8 OUT (depends on output patch)

1. See the Digital I/O chapter.

Details depend on each interface card.

MY16-TD TASCAM 16 IN

16 OUT (depends on output patch)

MY8-TD TASCAM 8 IN

8 OUT (depends on output patch)

MY16-AE AES/EBU 16 IN

16 OUT (depends on output patch)

MY8-AE AES/EBU 8 IN

8 OUT (depends on output patch)

MY8-AEB AES/EBU 8 IN

8 OUT (depends on output patch)

MY4-AD ANALOG IN 4 IN — 4

MY8-AD ANALOG IN 8 IN — 4

MY4-DA ANALOG OUT —

4 OUT (depends on output patch)

MY8-AD24 ANALOG IN 8 IN — 4

MY8-AD96 ANALOG IN 8 IN — 4

MY8-DA96 ANALOG OUT —

8 OUT (depends on output patch)

MY8-AE96S AES/EBU 8 IN

8 OUT (depends on output patch)

MY8-AE96 AES/EBU 8 IN

8 OUT (depends on output patch)

MY8-mLAN mLAN 8 IN

8 OUT (depends on output patch)

MY16-mLAN mLAN 16 IN

16 OUT (depends on output patch)

Waves Y56K Effect & I/O 8 IN

8 OUT (depends on output patch)

Waves Y96K Effect & I/O 8 IN

8 OUT (depends on output patch)

Apogee AP8AD ANALOG IN 8 IN — 2

Apogee AP8DA ANALOG OUT —

8 OUT (depends on output patch)

I/O Port Format Level Connector in Console

TO HOST

Serial — RS422 Mini DIN Connector 8P

USB USB 1.1 0 V–3.3 V B type USB connector

MIDI

IN MIDI — DIN Connector 5P

OUT MIDI — DIN Connector 5P

THRU MIDI — DIN Connector 5P

TIME CODE IN

MTC MIDI — DIN Connector 5P

SMPTE SMPTE Nominal –10 dB/10k Ω

XLR-3-31 type (Balanced)

1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).

WORD CLOCK

IN —

TTL/75 Ω (ON/OFF)

2. This switch is on the rear panel.

BNC Connector

OUT — TTL/75 Ω BNC Connector

CONTROL ——D-SUB Connector 25P (Female)

METER — RS422 D-SUB Connector 15P (Female)

300 Appendix B: Specifications

02R96 Version 2—Owner’s Manual

Connector Pin Assignments

CASCADE IN CASCADE OUT

CONTROL Port

Pin Signal Pin Signal Pin Signal Pin Signal

1 GND 35 GND 1 GND 35 GND

2 INPUT 1-2(+) 36 INPUT 1-2(–) 2 OUTPUT 1-2(+) 36 OUTPUT 1-2(–)

3 INPUT 3-4(+) 37 INPUT 3-4(–) 3 OUTPUT 3-4(+) 37 OUTPUT 3-4(–)

4 INPUT 5-6(+) 38 INPUT 5-6(–) 4 OUTPUT 5-6(+) 38 OUTPUT 5-6(–)

5 INPUT 7-8(+) 39 INPUT 7-8(–) 5 OUTPUT 7-8(+) 39 OUTPUT 7-8(–)

6 INPUT 9-10(+) 40 INPUT 9-10(–) 6 OUTPUT 9-10(+) 40 OUTPUT 9-10(–)

7 INPUT 11-12(+) 41 INPUT 11-12(–) 7 OUTPUT 11-12(+) 41 OUTPUT 11-12(–)

8 INPUT 13-14(+) 42 INPUT 13-14(–) 8 OUTPUT 13-14(+) 42 OUTPUT 13-14(–)

9 INPUT 15-16(+) 43 INPUT 15-16(–) 9 OUTPUT 15-16(+) 43 OUTPUT 15-16(–)

10 DTR IN(+) 44 DTR IN(–) 10 DTR OUT(+) 44 DTR OUT(–)

11 RTS OUT(+) 45 RTS OUT(–) 11 RTS IN(+) 45 RTS IN(–)

12 GND 46 GND 12 GND 46 GND

13 WORD CLOCK IN(+) 47 WORD CLOCK IN(–) 13 WORD CLOCK OUT(+) 47 WORD CLOCK OUT(–)

14 WORD CLOCK OUT(+) 48 WORD CLOCK OUT(–) 14 WORD CLOCK IN(+) 48 WORD CLOCK IN(–)

15 CONTROL IN(+) 49 CONTROL IN(–) 15 CONTROL OUT(+) 49 CONTROL OUT(–)

16 CONTROL OUT(+) 50 CONTROL OUT(–) 16 CONTROL IN(+) 50 CONTROL IN(–)

17 GND 51 ID6 IN 17 GND 51 ID6 OUT

18 GND 52 ID6 OUT 18 GND 52 ID6 IN

19 INPUT 17-18(+) 53 INPUT 17-18(–) 19 OUTPUT 17-18(+) 53 OUTPUT 17-18(–)

20 INPUT 19-20(+) 54 INPUT 19-20(–) 20 OUTPUT 19-20(+) 54 OUTPUT 19-20(–)

21 INPUT 21-22(+) 55 INPUT 21-22(–) 21 OUTPUT 21-22(+) 55 OUTPUT 21-22(–)

22 INPUT 23-24(+) 56 INPUT 23-24(–) 22 OUTPUT 23-24(+) 56 OUTPUT 23-24(–)

23 RESERVED 57 RESERVED 23 RESERVED 57 RESERVED

24 RESERVED 58 RESERVED 24 RESERVED 58 RESERVED

25 RESERVED 59 RESERVED 25 RESERVED 59 RESERVED

26 RESERVED 60 RESERVED 26 RESERVED 60 RESERVED

27 ID0 IN 61 ID1 IN 27 ID0 OUT 61 ID1 OUT

28 ID2 IN 62 ID3 IN 28 ID2 OUT 62 ID3 OUT

29 ID4 IN 63 ID5 IN 29 ID4 OUT 63 ID5 OUT

30 ID0 OUT 64 ID1 OUT 30 ID0 IN 64 ID1 IN

31 ID2 OUT 65 ID3 OUT 31 ID2 IN 65 ID3 IN

32 ID4 OUT 66 ID5 OUT 32 ID4 IN 66 ID5 IN

33 MSB IN 67 2CH/LINE IN 33 MSB OUT 67 2CH/LINE OUT

34 FG 68 FG 34 FG 68 FG

Pin Signal Pin Signal Pin Signal

1 GPO0 10 GPI1 19 GND

2 GPO2 11 N.C. 20 GND

3 GPO4 12

SMODE

1. For 02R SOLO control.

21 +5V

4 GPO6 13

SPARE

22 GPI0

5 GND 14 GPO1 23 N.C.

6 GND 15 GPO3 24

SOLO

7 GND 16 GPO5 25

MAS/SLV

8 GND 17 GPO7

9 +5V 18 GND

Dimensions 301

02R96 Version 2—Owner’s Manual

Dimensions

Speciﬁcations and external appearance subject to change without notice.

For European Model

Purchaser/User Information speciﬁed in EN55103-1 and EN55103-2.

Inrush Current: 70 A

Conformed Environment: E1, E2, E3 and E4

697 mm

667 mm

239 mm

25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

49 50 51 52 53 54 55 56

AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 BUS 1 BUS 2 BUS 3 BUS 4 BUS 5 BUS 6 BUS 7 BUS 8

PHONES

LEVEL

010

STUDIO

LEVEL

PHONES

GAIN

PEAK

SIGNAL

PEAK

SIGNAL

PEAK

SIGNAL

PEAK

SIGNAL

19101112 13 14 15 16

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

OFF

26dB

-16

-60

GAIN

PEAK

SIGNAL

INSERT

48V

DISPLAY

STUDIO

AUX7 AUX 8

SOLO

CONTROL

ROOM

STEREO

BUS

SLOT

CONTROL ROOM

2TR D1 2TR A1

2TR D2 2TR A2

2TRD3STEREO

ASSIGN

1 ASSIGN2

SURROUND

CLEAR

DIMMER

CONTROL ROOM LEVEL

100

TALKBACK

SURROUND MONITOR LEVEL

EQUALIZER

EQ ON

LOW

FREQUENCY

DISPLAY

GAIN

LOW MID

GAIN

HIGH MID

GAIN

HIGH

GAIN

GATE ON COMP ON

GATE

COMP

RANGE

RATIO

ATTA CK

ATTA CKTHRESHOLD

THRESHOLD

DYNAM ICS

DISPLAY

GATE / COMP

DECAY

RELEASE

HOLD

GAIN

SELECTED CHANNEL

LINK GRAB EFFECT

EVEN

PAN/SURROUND

DISPLAY

ODD

DISPLAY ACCESS

PHASE /

INSERT

DELAY

STEREOFOLLOW PAN DIRECT

DISPLAY

ROUTING

SCENE MEMORY

DISPLAY

STORE RECALL

USER DEFINED KEYS

12345678

910111213141516

DISPLAY

REC

REW FF

STOP PLAY

SET

DISPLAY

MACHINE CONTROL

LOCATE MEMORY

1234

5678

INCDEC

ENTER

SHUTTLE

SCRUB

SEL

AUTO

STEREO

12345678 91011 12 13 14 15 16 17 18 19 20 21 22 23 24

SOLO

SEL

AUTO

AUTOMIX DIO SETUP UTILITY

MIDI REMOTE METER VIEW

PAIR GROUP INPUT

PATCH

OUTPUT

PATCH

DISPLAY ACCESS

AUX 2AUX 1 AU X 3 AU X 4

AUX 6AUX 5 AUX 7 AU X 8

AUX SELECT

DISPLAY

AUXPAN

ASSIGN 2ASSIGN1

ENCODER MODE

DISPLAY

AUXFADER

FADER MODE

EFFECTS / PLUG INS

INTERNAL

EFFECTS

CHANNEL

INSERTS

PLUG INS

1234

DISPLAY

kHz

STEREO

12345678 910111213141516 1718192021222324

17 18

19 2 0 21 22 23 24

MONITOR

DIGITAL MIXING CONSOLE

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

SOLO

SEL

AUTO

PAD

125 1.00 4.00 10.0

MASTER25 48

REMOTE1 24

LAYER

010

TALKBACK LEVEL

302 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

Appendix C: MIDI

Scene Memory to Program Change Table

Program

Change #

Initial

Scene #

User

Scene #

Program

Change #

Initial

Scene #

User

Scene #

Program

Change#

Initial

Scene #

User

Scene #

101 44448787

202 45458888

303 46468989

404 47479090

505 48489191

606 49499292

707 50509393

808 51519494

909 52529595

10 10 53 53 96 96

11 11 54 54 97 97

12 12 55 55 98 98

13 13 56 56 99 99

14 14 57 57 100 00

15 15 58 58 101 —

16 16 59 59 102 —

17 17 60 60 103 —

18 18 61 61 104 —

19 19 62 62 105 —

20 20 63 63 106 —

21 21 64 64 107 —

22 22 65 65 108 —

23 23 66 66 109 —

24 24 67 67 110 —

25 25 68 68 111 —

26 26 69 69 112 —

27 27 70 70 113 —

28 28 71 71 114 —

29 29 72 72 115 —

30 30 73 73 116 —

31 31 74 74 117 —

32 32 75 75 118 —

33 33 76 76 119 —

34 34 77 77 120 —

35 35 78 78 121 —

36 36 79 79 122 —

37 37 80 80 123 —

38 38 81 81 124 —

39 39 82 82 125 —

40 40 83 83 126 —

41 41 84 84 127 —

42 42 85 85 128 —

43 43 86 86

Scene Memory to Program Change Table 303

02R96 Version 2—Owner’s Manual

Initial Parameter to Control Change Table

CHANNEL1

# HIGH MID LOW

0 NO ASSIGN

1FADER H CHANNEL INPUT1

2FADER H CHANNEL INPUT2

3FADER H CHANNEL INPUT3

4FADER H CHANNEL INPUT4

5FADER H CHANNEL INPUT5

6FADER H CHANNEL INPUT6

7FADER H CHANNEL INPUT7

8FADER H CHANNEL INPUT8

9FADER H CHANNEL INPUT9

10 FADER H CHANNEL INPUT10

11 FADER H CHANNEL INPUT11

12 FADER H CHANNEL INPUT12

13 FADER H CHANNEL INPUT13

14 FADER H CHANNEL INPUT14

15 FADER H CHANNEL INPUT15

16 FADER H CHANNEL INPUT16

17 FADER H CHANNEL INPUT17

18 FADER H CHANNEL INPUT18

19 FADER H CHANNEL INPUT19

20 FADER H CHANNEL INPUT20

21 FADER H CHANNEL INPUT21

22 FADER H CHANNEL INPUT22

23 FADER H CHANNEL INPUT23

24 FADER H CHANNEL INPUT24

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 FADER H MASTER STEREO

31 ON MASTER STEREO

32 NO ASSIGN

33 FADER L CHANNEL INPUT1

34 FADER L CHANNEL INPUT2

35 FADER L CHANNEL INPUT3

36 FADER L CHANNEL INPUT4

37 FADER L CHANNEL INPUT5

38 FADER L CHANNEL INPUT6

39 FADER L CHANNEL INPUT7

40 FADER L CHANNEL INPUT8

41 FADER L CHANNEL INPUT9

42 FADER L CHANNEL INPUT10

43 FADER L CHANNEL INPUT11

44 FADER L CHANNEL INPUT12

45 FADER L CHANNEL INPUT13

46 FADER L CHANNEL INPUT14

47 FADER L CHANNEL INPUT15

48 FADER L CHANNEL INPUT16

49 FADER L CHANNEL INPUT17

50 FADER L CHANNEL INPUT18

51 FADER L CHANNEL INPUT19

52 FADER L CHANNEL INPUT20

53 FADER L CHANNEL INPUT21

54 FADER L CHANNEL INPUT22

55 FADER L CHANNEL INPUT23

56 FADER L CHANNEL INPUT24

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 FADER L MASTER STEREO

63 BALANCE MASTER STEREO

64 ON CHANNEL INPUT1

65 ON CHANNEL INPUT2

66 ON CHANNEL INPUT3

67 ON CHANNEL INPUT4

68 ON CHANNEL INPUT5

69 ON CHANNEL INPUT6

70 ON CHANNEL INPUT7

71 ON CHANNEL INPUT8

72 ON CHANNEL INPUT9

73 ON CHANNEL INPUT10

74 ON CHANNEL INPUT11

75 ON CHANNEL INPUT12

76 ON CHANNEL INPUT13

77 ON CHANNEL INPUT14

78 ON CHANNEL INPUT15

79 ON CHANNEL INPUT16

80 ON CHANNEL INPUT17

81 ON CHANNEL INPUT18

82 ON CHANNEL INPUT19

83 ON CHANNEL INPUT20

84 ON CHANNEL INPUT21

85 ON CHANNEL INPUT22

86 ON CHANNEL INPUT23

87 ON CHANNEL INPUT24

88 NO ASSIGN

89 PAN CHANNEL INPUT1

90 PAN CHANNEL INPUT2

91 PAN CHANNEL INPUT3

92 PAN CHANNEL INPUT4

93 PAN CHANNEL INPUT5

94 PAN CHANNEL INPUT6

95 PAN CHANNEL INPUT7

102 PAN CHANNEL INPUT8

103 PAN CHANNEL INPUT9

104 PAN CHANNEL INPUT10

105 PAN CHANNEL INPUT11

106 PAN CHANNEL INPUT12

107 PAN CHANNEL INPUT13

108 PAN CHANNEL INPUT14

109 PAN CHANNEL INPUT15

110 PAN CHANNEL INPUT16

111 PAN CHANNEL INPUT17

112 PAN CHANNEL INPUT18

113 PAN CHANNEL INPUT19

114 PAN CHANNEL INPUT20

115 PAN CHANNEL INPUT21

116 PAN CHANNEL INPUT22

117 PAN CHANNEL INPUT23

118 PAN CHANNEL INPUT24

119 NO ASSIGN

# HIGH MID LOW

304 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL2

# HIGH MID LOW

0 NO ASSIGN

1FADER H CHANNEL INPUT25

2FADER H CHANNEL INPUT26

3FADER H CHANNEL INPUT27

4FADER H CHANNEL INPUT28

5FADER H CHANNEL INPUT29

6FADER H CHANNEL INPUT30

7FADER H CHANNEL INPUT31

8FADER H CHANNEL INPUT32

9FADER H CHANNEL INPUT33

10 FADER H CHANNEL INPUT34

11 FADER H CHANNEL INPUT35

12 FADER H CHANNEL INPUT36

13 FADER H CHANNEL INPUT37

14 FADER H CHANNEL INPUT38

15 FADER H CHANNEL INPUT39

16 FADER H CHANNEL INPUT40

17 FADER H CHANNEL INPUT41

18 FADER H CHANNEL INPUT42

19 FADER H CHANNEL INPUT43

20 FADER H CHANNEL INPUT44

21 FADER H CHANNEL INPUT45

22 FADER H CHANNEL INPUT46

23 FADER H CHANNEL INPUT47

24 FADER H CHANNEL INPUT48

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 FADER L CHANNEL INPUT25

34 FADER L CHANNEL INPUT26

35 FADER L CHANNEL INPUT27

36 FADER L CHANNEL INPUT28

37 FADER L CHANNEL INPUT29

38 FADER L CHANNEL INPUT30

39 FADER L CHANNEL INPUT31

40 FADER L CHANNEL INPUT32

41 FADER L CHANNEL INPUT33

42 FADER L CHANNEL INPUT34

43 FADER L CHANNEL INPUT35

44 FADER L CHANNEL INPUT36

45 FADER L CHANNEL INPUT37

46 FADER L CHANNEL INPUT38

47 FADER L CHANNEL INPUT39

48 FADER L CHANNEL INPUT40

49 FADER L CHANNEL INPUT41

50 FADER L CHANNEL INPUT42

51 FADER L CHANNEL INPUT43

52 FADER L CHANNEL INPUT44

53 FADER L CHANNEL INPUT45

54 FADER L CHANNEL INPUT46

55 FADER L CHANNEL INPUT47

56 FADER L CHANNEL INPUT48

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 ON CHANNEL INPUT25

65 ON CHANNEL INPUT26

66 ON CHANNEL INPUT27

67 ON CHANNEL INPUT28

68 ON CHANNEL INPUT29

69 ON CHANNEL INPUT30

70 ON CHANNEL INPUT31

71 ON CHANNEL INPUT32

72 ON CHANNEL INPUT33

73 ON CHANNEL INPUT34

74 ON CHANNEL INPUT35

75 ON CHANNEL INPUT36

76 ON CHANNEL INPUT37

77 ON CHANNEL INPUT38

78 ON CHANNEL INPUT39

79 ON CHANNEL INPUT40

80 ON CHANNEL INPUT41

81 ON CHANNEL INPUT42

82 ON CHANNEL INPUT43

83 ON CHANNEL INPUT44

84 ON CHANNEL INPUT45

85 ON CHANNEL INPUT46

86 ON CHANNEL INPUT47

87 ON CHANNEL INPUT48

88 NO ASSIGN

89 PAN CHANNEL INPUT25

90 PAN CHANNEL INPUT26

91 PAN CHANNEL INPUT27

92 PAN CHANNEL INPUT28

93 PAN CHANNEL INPUT29

94 PAN CHANNEL INPUT30

95 PAN CHANNEL INPUT31

102 PAN CHANNEL INPUT32

103 PAN CHANNEL INPUT33

104 PAN CHANNEL INPUT34

105 PAN CHANNEL INPUT35

106 PAN CHANNEL INPUT36

107 PAN CHANNEL INPUT37

108 PAN CHANNEL INPUT38

109 PAN CHANNEL INPUT39

110 PAN CHANNEL INPUT40

111 PAN CHANNEL INPUT41

112 PAN CHANNEL INPUT42

113 PAN CHANNEL INPUT43

114 PAN CHANNEL INPUT44

115 PAN CHANNEL INPUT45

116 PAN CHANNEL INPUT46

117 PAN CHANNEL INPUT47

118 PAN CHANNEL INPUT48

119 NO ASSIGN

# HIGH MID LOW

Scene Memory to Program Change Table 305

02R96 Version 2—Owner’s Manual

CHANNEL3

# HIGH MID LOW

0 NO ASSIGN

1FADER H CHANNEL INPUT49

2FADER H CHANNEL INPUT50

3FADER H CHANNEL INPUT51

4FADER H CHANNEL INPUT52

5FADER H CHANNEL INPUT53

6FADER H CHANNEL INPUT54

7FADER H CHANNEL INPUT55

8FADER H CHANNEL INPUT56

9FADER H MASTER BUS1

10 FADER H MASTER BUS2

11 FADER H MASTER BUS3

12 FADER H MASTER BUS4

13 FADER H MASTER BUS5

14 FADER H MASTER BUS6

15 FADER H MASTER BUS7

16 FADER H MASTER BUS8

17 FADER H MASTER AUX1

18 FADER H MASTER AUX2

19 FADER H MASTER AUX3

20 FADER H MASTER AUX4

21 FADER H MASTER AUX5

22 FADER H MASTER AUX6

23 FADER H MASTER AUX7

24 FADER H MASTER AUX8

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 FADER L CHANNEL INPUT49

34 FADER L CHANNEL INPUT50

35 FADER L CHANNEL INPUT51

36 FADER L CHANNEL INPUT52

37 FADER L CHANNEL INPUT53

38 FADER L CHANNEL INPUT54

39 FADER L CHANNEL INPUT55

40 FADER L CHANNEL INPUT56

41 FADER L MASTER BUS1

42 FADER L MASTER BUS2

43 FADER L MASTER BUS3

44 FADER L MASTER BUS4

45 FADER L MASTER BUS5

46 FADER L MASTER BUS6

47 FADER L MASTER BUS7

48 FADER L MASTER BUS8

49 FADER L MASTER AUX1

50 FADER L MASTER AUX2

51 FADER L MASTER AUX3

52 FADER L MASTER AUX4

53 FADER L MASTER AUX5

54 FADER L MASTER AUX6

55 FADER L MASTER AUX7

56 FADER L MASTER AUX8

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 ON CHANNEL INPUT49

65 ON CHANNEL INPUT50

66 ON CHANNEL INPUT51

67 ON CHANNEL INPUT52

68 ON CHANNEL INPUT53

69 ON CHANNEL INPUT54

70 ON CHANNEL INPUT55

71 ON CHANNEL INPUT56

72 ON MASTER BUS1

73 ON MASTER BUS2

74 ON MASTER BUS3

75 ON MASTER BUS4

76 ON MASTER BUS5

77 ON MASTER BUS6

78 ON MASTER BUS7

79 ON MASTER BUS8

80 ON MASTER AUX1

81 ON MASTER AUX2

82 ON MASTER AUX3

83 ON MASTER AUX4

84 ON MASTER AUX5

85 ON MASTER AUX6

86 ON MASTER AUX7

87 ON MASTER AUX8

88 NO ASSIGN

89 PAN CHANNEL INPUT49

90 PAN CHANNEL INPUT50

91 PAN CHANNEL INPUT51

92 PAN CHANNEL INPUT52

93 PAN CHANNEL INPUT53

94 PAN CHANNEL INPUT54

95 PAN CHANNEL INPUT55

102 PAN CHANNEL INPUT56

103 NO ASSIGN

104 NO ASSIGN

105 NO ASSIGN

106 NO ASSIGN

107 NO ASSIGN

108 NO ASSIGN

109 NO ASSIGN

110 NO ASSIGN

111 NO ASSIGN

112 NO ASSIGN

113 NO ASSIGN

114 NO ASSIGN

115 NO ASSIGN

116 NO ASSIGN

117 NO ASSIGN

118 NO ASSIGN

119 NO ASSIGN

# HIGH MID LOW

306 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL4

# HIGH MID LOW

0 NO ASSIGN

1EQG LOW H INPUT1

2EQG LOW H INPUT2

3EQG LOW H INPUT3

4EQG LOW H INPUT4

5EQG LOW H INPUT5

6EQG LOW H INPUT6

7EQG LOW H INPUT7

8EQG LOW H INPUT8

9EQG LOW H INPUT9

10 EQ G LOW H INPUT10

11 EQ G LOW H INPUT11

12 EQ G LOW H INPUT12

13 EQ G LOW H INPUT13

14 EQ G LOW H INPUT14

15 EQ G LOW H INPUT15

16 EQ G LOW H INPUT16

17 EQ G LOW H INPUT17

18 EQ G LOW H INPUT18

19 EQ G LOW H INPUT19

20 EQ G LOW H INPUT20

21 EQ G LOW H INPUT21

22 EQ G LOW H INPUT22

23 EQ G LOW H INPUT23

24 EQ G LOW H INPUT24

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G LOW L INPUT1

34 EQ G LOW L INPUT2

35 EQ G LOW L INPUT3

36 EQ G LOW L INPUT4

37 EQ G LOW L INPUT5

38 EQ G LOW L INPUT6

39 EQ G LOW L INPUT7

40 EQ G LOW L INPUT8

41 EQ G LOW L INPUT9

42 EQ G LOW L INPUT10

43 EQ G LOW L INPUT11

44 EQ G LOW L INPUT12

45 EQ G LOW L INPUT13

46 EQ G LOW L INPUT14

47 EQ G LOW L INPUT15

48 EQ G LOW L INPUT16

49 EQ G LOW L INPUT17

50 EQ G LOW L INPUT18

51 EQ G LOW L INPUT19

52 EQ G LOW L INPUT20

53 EQ G LOW L INPUT21

54 EQ G LOW L INPUT22

55 EQ G LOW L INPUT23

56 EQ G LOW L INPUT24

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F LOW INPUT1

65 EQ F LOW INPUT2

66 EQ F LOW INPUT3

67 EQ F LOW INPUT4

68 EQ F LOW INPUT5

69 EQ F LOW INPUT6

70 EQ F LOW INPUT7

71 EQ F LOW INPUT8

72 EQ F LOW INPUT9

73 EQ F LOW INPUT10

74 EQ F LOW INPUT11

75 EQ F LOW INPUT12

76 EQ F LOW INPUT13

77 EQ F LOW INPUT14

78 EQ F LOW INPUT15

79 EQ F LOW INPUT16

80 EQ F LOW INPUT17

81 EQ F LOW INPUT18

82 EQ F LOW INPUT19

83 EQ F LOW INPUT20

84 EQ F LOW INPUT21

85 EQ F LOW INPUT22

86 EQ F LOW INPUT23

87 EQ F LOW INPUT24

88 NO ASSIGN

89 EQ Q LOW INPUT1

90 EQ Q LOW INPUT2

91 EQ Q LOW INPUT3

92 EQ Q LOW INPUT4

93 EQ Q LOW INPUT5

94 EQ Q LOW INPUT6

95 EQ Q LOW INPUT7

102 EQ Q LOW INPUT8

103 EQ Q LOW INPUT9

104 EQ Q LOW INPUT10

105 EQ Q LOW INPUT11

106 EQ Q LOW INPUT12

107 EQ Q LOW INPUT13

108 EQ Q LOW INPUT14

109 EQ Q LOW INPUT15

110 EQ Q LOW INPUT16

111 EQ Q LOW INPUT17

112 EQ Q LOW INPUT18

113 EQ Q LOW INPUT19

114 EQ Q LOW INPUT20

115 EQ Q LOW INPUT21

116 EQ Q LOW INPUT22

117 EQ Q LOW INPUT23

118 EQ Q LOW INPUT24

119 NO ASSIGN

# HIGH MID LOW

Scene Memory to Program Change Table 307

02R96 Version 2—Owner’s Manual

CHANNEL5

# HIGH MID LOW

0 NO ASSIGN

1EQG LOW H INPUT25

2EQG LOW H INPUT26

3EQG LOW H INPUT27

4EQG LOW H INPUT28

5EQG LOW H INPUT29

6EQG LOW H INPUT30

7EQG LOW H INPUT31

8EQG LOW H INPUT32

9EQG LOW H INPUT33

10 EQ G LOW H INPUT34

11 EQ G LOW H INPUT35

12 EQ G LOW H INPUT36

13 EQ G LOW H INPUT37

14 EQ G LOW H INPUT38

15 EQ G LOW H INPUT39

16 EQ G LOW H INPUT40

17 EQ G LOW H INPUT41

18 EQ G LOW H INPUT42

19 EQ G LOW H INPUT43

20 EQ G LOW H INPUT44

21 EQ G LOW H INPUT45

22 EQ G LOW H INPUT46

23 EQ G LOW H INPUT47

24 EQ G LOW H INPUT48

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G LOW L INPUT24

34 EQ G LOW L INPUT25

35 EQ G LOW L INPUT26

36 EQ G LOW L INPUT27

37 EQ G LOW L INPUT28

38 EQ G LOW L INPUT29

39 EQ G LOW L INPUT30

40 EQ G LOW L INPUT31

41 EQ G LOW L INPUT32

42 EQ G LOW L INPUT33

43 EQ G LOW L INPUT34

44 EQ G LOW L INPUT35

45 EQ G LOW L INPUT36

46 EQ G LOW L INPUT37

47 EQ G LOW L INPUT38

48 EQ G LOW L INPUT39

49 EQ G LOW L INPUT40

50 EQ G LOW L INPUT41

51 EQ G LOW L INPUT42

52 EQ G LOW L INPUT43

53 EQ G LOW L INPUT44

54 EQ G LOW L INPUT45

55 EQ G LOW L INPUT46

56 EQ G LOW L INPUT47

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F LOW INPUT25

65 EQ F LOW INPUT26

66 EQ F LOW INPUT27

67 EQ F LOW INPUT28

68 EQ F LOW INPUT29

69 EQ F LOW INPUT30

70 EQ F LOW INPUT31

71 EQ F LOW INPUT32

72 EQ F LOW INPUT33

73 EQ F LOW INPUT34

74 EQ F LOW INPUT35

75 EQ F LOW INPUT36

76 EQ F LOW INPUT37

77 EQ F LOW INPUT38

78 EQ F LOW INPUT39

79 EQ F LOW INPUT40

80 EQ F LOW INPUT41

81 EQ F LOW INPUT42

82 EQ F LOW INPUT43

83 EQ F LOW INPUT44

84 EQ F LOW INPUT45

85 EQ F LOW INPUT46

86 EQ F LOW INPUT47

87 EQ F LOW INPUT48

88 NO ASSIGN

89 EQ Q LOW INPUT25

90 EQ Q LOW INPUT26

91 EQ Q LOW INPUT27

92 EQ Q LOW INPUT28

93 EQ Q LOW INPUT29

94 EQ Q LOW INPUT30

95 EQ Q LOW INPUT31

102 EQ Q LOW INPUT32

103 EQ Q LOW INPUT33

104 EQ Q LOW INPUT34

105 EQ Q LOW INPUT35

106 EQ Q LOW INPUT36

107 EQ Q LOW INPUT37

108 EQ Q LOW INPUT38

109 EQ Q LOW INPUT39

110 EQ Q LOW INPUT40

111 EQ Q LOW INPUT41

112 EQ Q LOW INPUT42

113 EQ Q LOW INPUT43

114 EQ Q LOW INPUT44

115 EQ Q LOW INPUT45

116 EQ Q LOW INPUT46

117 EQ Q LOW INPUT47

118 EQ Q LOW INPUT48

119 NO ASSIGN

# HIGH MID LOW

308 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL6

# HIGH MID LOW

0 NO ASSIGN

1EQG LOW H INPUT49

2EQG LOW H INPUT50

3EQG LOW H INPUT51

4EQG LOW H INPUT52

5EQG LOW H INPUT53

6EQG LOW H INPUT54

7EQG LOW H INPUT55

8EQG LOW H INPUT56

9EQG LO-MID H INPUT1

10 EQ G LO-MID H INPUT2

11 EQ G LO-MID H INPUT3

12 EQ G LO-MID H INPUT4

13 EQ G LO-MID H INPUT5

14 EQ G LO-MID H INPUT6

15 EQ G LO-MID H INPUT7

16 EQ G LO-MID H INPUT8

17 EQ G LO-MID H INPUT9

18 EQ G LO-MID H INPUT10

19 EQ G LO-MID H INPUT11

20 EQ G LO-MID H INPUT12

21 EQ G LO-MID H INPUT13

22 EQ G LO-MID H INPUT14

23 EQ G LO-MID H INPUT15

24 EQ G LO-MID H INPUT16

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G LOW INPUT49

34 EQ G LOW INPUT50

35 EQ G LOW INPUT51

36 EQ G LOW INPUT52

37 EQ G LOW INPUT53

38 EQ G LOW INPUT54

39 EQ G LOW INPUT55

40 EQ G LOW INPUT56

41 EQ G LO-MID L INPUT1

42 EQ G LO-MID L INPUT2

43 EQ G LO-MID L INPUT3

44 EQ G LO-MID L INPUT4

45 EQ G LO-MID L INPUT5

46 EQ G LO-MID L INPUT6

47 EQ G LO-MID L INPUT7

48 EQ G LO-MID L INPUT8

49 EQ G LO-MID L INPUT9

50 EQ G LO-MID L INPUT10

51 EQ G LO-MID L INPUT11

52 EQ G LO-MID L INPUT12

53 EQ G LO-MID L INPUT13

54 EQ G LO-MID L INPUT14

55 EQ G LO-MID L INPUT15

56 EQ G LO-MID L INPUT16

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F LOW INPUT49

65 EQ F LOW INPUT50

66 EQ F LOW INPUT51

67 EQ F LOW INPUT52

68 EQ F LOW INPUT53

69 EQ F LOW INPUT54

70 EQ F LOW INPUT55

71 EQ F LOW INPUT56

72 EQ F LO-MID INPUT1

73 EQ F LO-MID INPUT2

74 EQ F LO-MID INPUT3

75 EQ F LO-MID INPUT4

76 EQ F LO-MID INPUT5

77 EQ F LO-MID INPUT6

78 EQ F LO-MID INPUT7

79 EQ F LO-MID INPUT8

80 EQ F LO-MID INPUT9

81 EQ F LO-MID INPUT10

82 EQ F LO-MID INPUT11

83 EQ F LO-MID INPUT12

84 EQ F LO-MID INPUT13

85 EQ F LO-MID INPUT14

86 EQ F LO-MID INPUT15

87 EQ F LO-MID INPUT16

88 NO ASSIGN

89 EQ Q LOW INPUT49

90 EQ Q LOW INPUT50

91 EQ Q LOW INPUT51

92 EQ Q LOW INPUT52

93 EQ Q LOW INPUT53

94 EQ Q LOW INPUT54

95 EQ Q LOW INPUT55

102 EQ Q LOW INPUT56

103 EQ Q LO-MID INPUT1

104 EQ Q LO-MID INPUT2

105 EQ Q LO-MID INPUT3

106 EQ Q LO-MID INPUT4

107 EQ Q LO-MID INPUT5

108 EQ Q LO-MID INPUT6

109 EQ Q LO-MID INPUT7

110 EQ Q LO-MID INPUT8

111 EQ Q LO-MID INPUT9

112 EQ Q LO-MID INPUT10

113 EQ Q LO-MID INPUT11

114 EQ Q LO-MID INPUT12

115 EQ Q LO-MID INPUT13

116 EQ Q LO-MID INPUT14

117 EQ Q LO-MID INPUT15

118 EQ Q LO-MID INPUT16

119 NO ASSIGN

# HIGH MID LOW

Scene Memory to Program Change Table 309

02R96 Version 2—Owner’s Manual

CHANNEL7

# HIGH MID LOW

0 NO ASSIGN

1EQG LO-MID H INPUT17

2EQG LO-MID H INPUT18

3EQG LO-MID H INPUT19

4EQG LO-MID H INPUT20

5EQG LO-MID H INPUT21

6EQG LO-MID H INPUT22

7EQG LO-MID H INPUT23

8EQG LO-MID H INPUT24

9EQG LO-MID H INPUT25

10 EQ G LO-MID H INPUT26

11 EQ G LO-MID H INPUT27

12 EQ G LO-MID H INPUT28

13 EQ G LO-MID H INPUT29

14 EQ G LO-MID H INPUT30

15 EQ G LO-MID H INPUT31

16 EQ G LO-MID H INPUT32

17 EQ G LO-MID H INPUT33

18 EQ G LO-MID H INPUT34

19 EQ G LO-MID H INPUT35

20 EQ G LO-MID H INPUT36

21 EQ G LO-MID H INPUT37

22 EQ G LO-MID H INPUT38

23 EQ G LO-MID H INPUT39

24 EQ G LO-MID H INPUT40

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G LO-MID L INPUT17

34 EQ G LO-MID L INPUT18

35 EQ G LO-MID L INPUT19

36 EQ G LO-MID L INPUT20

37 EQ G LO-MID L INPUT21

38 EQ G LO-MID L INPUT22

39 EQ G LO-MID L INPUT23

40 EQ G LO-MID L INPUT24

41 EQ G LO-MID L INPUT25

42 EQ G LO-MID L INPUT26

43 EQ G LO-MID L INPUT27

44 EQ G LO-MID L INPUT28

45 EQ G LO-MID L INPUT29

46 EQ G LO-MID L INPUT30

47 EQ G LO-MID L INPUT31

48 EQ G LO-MID L INPUT32

49 EQ G LO-MID L INPUT33

50 EQ G LO-MID L INPUT34

51 EQ G LO-MID L INPUT35

52 EQ G LO-MID L INPUT36

53 EQ G LO-MID L INPUT37

54 EQ G LO-MID L INPUT38

55 EQ G LO-MID L INPUT39

56 EQ G LO-MID L INPUT40

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F LO-MID INPUT17

65 EQ F LO-MID INPUT18

66 EQ F LO-MID INPUT19

67 EQ F LO-MID INPUT20

68 EQ F LO-MID INPUT21

69 EQ F LO-MID INPUT22

70 EQ F LO-MID INPUT23

71 EQ F LO-MID INPUT24

72 EQ F LO-MID INPUT25

73 EQ F LO-MID INPUT26

74 EQ F LO-MID INPUT27

75 EQ F LO-MID INPUT28

76 EQ F LO-MID INPUT29

77 EQ F LO-MID INPUT30

78 EQ F LO-MID INPUT31

79 EQ F LO-MID INPUT32

80 EQ F LO-MID INPUT33

81 EQ F LO-MID INPUT34

82 EQ F LO-MID INPUT35

83 EQ F LO-MID INPUT36

84 EQ F LO-MID INPUT37

85 EQ F LO-MID INPUT38

86 EQ F LO-MID INPUT39

87 EQ F LO-MID INPUT40

88 NO ASSIGN

89 EQ Q LO-MID INPUT17

90 EQ Q LO-MID INPUT18

91 EQ Q LO-MID INPUT19

92 EQ Q LO-MID INPUT20

93 EQ Q LO-MID INPUT21

94 EQ Q LO-MID INPUT22

95 EQ Q LO-MID INPUT23

102 EQ Q LO-MID INPUT24

103 EQ Q LO-MID INPUT25

104 EQ Q LO-MID INPUT26

105 EQ Q LO-MID INPUT27

106 EQ Q LO-MID INPUT28

107 EQ Q LO-MID INPUT29

108 EQ Q LO-MID INPUT30

109 EQ Q LO-MID INPUT31

110 EQ Q LO-MID INPUT32

111 EQ Q LO-MID INPUT33

112 EQ Q LO-MID INPUT34

113 EQ Q LO-MID INPUT35

114 EQ Q LO-MID INPUT36

115 EQ Q LO-MID INPUT37

116 EQ Q LO-MID INPUT38

117 EQ Q LO-MID INPUT39

118 EQ Q LO-MID INPUT40

119 NO ASSIGN

# HIGH MID LOW

310 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL8

# HIGH MID LOW

0 NO ASSIGN

1EQG LO-MID H INPUT41

2EQG LO-MID H INPUT42

3EQG LO-MID H INPUT43

4EQG LO-MID H INPUT44

5EQG LO-MID H INPUT45

6EQG LO-MID H INPUT46

7EQG LO-MID H INPUT47

8EQG LO-MID H INPUT48

9EQG LO-MID H INPUT49

10 EQ G LO-MID H INPUT50

11 EQ G LO-MID H INPUT51

12 EQ G LO-MID H INPUT52

13 EQ G LO-MID H INPUT53

14 EQ G LO-MID H INPUT54

15 EQ G LO-MID H INPUT55

16 EQ G LO-MID H INPUT56

17 EQ G HI-MID H INPUT1

18 EQ G HI-MID H INPUT2

19 EQ G HI-MID H INPUT3

20 EQ G HI-MID H INPUT4

21 EQ G HI-MID H INPUT5

22 EQ G HI-MID H INPUT6

23 EQ G HI-MID H INPUT7

24 EQ G HI-MID H INPUT8

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G LO-MID L INPUT41

34 EQ G LO-MID L INPUT42

35 EQ G LO-MID L INPUT43

36 EQ G LO-MID L INPUT44

37 EQ G LO-MID L INPUT45

38 EQ G LO-MID L INPUT46

39 EQ G LO-MID L INPUT47

40 EQ G LO-MID L INPUT48

41 EQ G LO-MID L INPUT49

42 EQ G LO-MID L INPUT50

43 EQ G LO-MID L INPUT51

44 EQ G LO-MID L INPUT52

45 EQ G LO-MID L INPUT53

46 EQ G LO-MID L INPUT54

47 EQ G LO-MID L INPUT55

48 EQ G LO-MID L INPUT56

49 EQ G HI-MID L INPUT1

50 EQ G HI-MID L INPUT2

51 EQ G HI-MID L INPUT3

52 EQ G HI-MID L INPUT4

53 EQ G HI-MID L INPUT5

54 EQ G HI-MID L INPUT6

55 EQ G HI-MID L INPUT7

56 EQ G HI-MID L INPUT8

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F LO-MID INPUT41

65 EQ F LO-MID INPUT42

66 EQ F LO-MID INPUT43

67 EQ F LO-MID INPUT44

68 EQ F LO-MID INPUT45

69 EQ F LO-MID INPUT46

70 EQ F LO-MID INPUT47

71 EQ F LO-MID INPUT48

72 EQ F LO-MID INPUT49

73 EQ F LO-MID INPUT50

74 EQ F LO-MID INPUT51

75 EQ F LO-MID INPUT52

76 EQ F LO-MID INPUT53

77 EQ F LO-MID INPUT54

78 EQ F LO-MID INPUT55

79 EQ F LO-MID INPUT56

80 EQ F HI-MID INPUT1

81 EQ F HI-MID INPUT2

82 EQ F HI-MID INPUT3

83 EQ F HI-MID INPUT4

84 EQ F HI-MID INPUT5

85 EQ F HI-MID INPUT6

86 EQ F HI-MID INPUT7

87 EQ F HI-MID INPUT8

88 NO ASSIGN

89 EQ Q LO-MID INPUT41

90 EQ Q LO-MID INPUT42

91 EQ Q LO-MID INPUT43

92 EQ Q LO-MID INPUT44

93 EQ Q LO-MID INPUT45

94 EQ Q LO-MID INPUT46

95 EQ Q LO-MID INPUT47

102 EQ Q LO-MID INPUT48

103 EQ Q LO-MID INPUT49

104 EQ Q LO-MID INPUT50

105 EQ Q LO-MID INPUT51

106 EQ Q LO-MID INPUT52

107 EQ Q LO-MID INPUT53

108 EQ Q LO-MID INPUT54

109 EQ Q LO-MID INPUT55

110 EQ Q LO-MID INPUT56

111 EQ Q HI-MID INPUT1

112 EQ Q HI-MID INPUT2

113 EQ Q HI-MID INPUT3

114 EQ Q HI-MID INPUT4

115 EQ Q HI-MID INPUT5

116 EQ Q HI-MID INPUT6

117 EQ Q HI-MID INPUT7

118 EQ Q HI-MID INPUT8

119 NO ASSIGN

# HIGH MID LOW

Scene Memory to Program Change Table 311

02R96 Version 2—Owner’s Manual

CHANNEL9

# HIGH MID LOW

0 NO ASSIGN

1EQG HI-MID H INPUT9

2EQG HI-MID H INPUT10

3EQG HI-MID H INPUT11

4EQG HI-MID H INPUT12

5EQG HI-MID H INPUT13

6EQG HI-MID H INPUT14

7EQG HI-MID H INPUT15

8EQG HI-MID H INPUT16

9EQG HI-MID H INPUT17

10 EQ G HI-MID H INPUT18

11 EQ G HI-MID H INPUT19

12 EQ G HI-MID H INPUT20

13 EQ G HI-MID H INPUT21

14 EQ G HI-MID H INPUT22

15 EQ G HI-MID H INPUT23

16 EQ G HI-MID H INPUT24

17 EQ G HI-MID H INPUT25

18 EQ G HI-MID H INPUT26

19 EQ G HI-MID H INPUT27

20 EQ G HI-MID H INPUT28

21 EQ G HI-MID H INPUT29

22 EQ G HI-MID H INPUT30

23 EQ G HI-MID H INPUT31

24 EQ G HI-MID H INPUT32

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G HI-MID L INPUT9

34 EQ G HI-MID L INPUT10

35 EQ G HI-MID L INPUT11

36 EQ G HI-MID L INPUT12

37 EQ G HI-MID L INPUT13

38 EQ G HI-MID L INPUT14

39 EQ G HI-MID L INPUT15

40 EQ G HI-MID L INPUT16

41 EQ G HI-MID L INPUT17

42 EQ G HI-MID L INPUT18

43 EQ G HI-MID L INPUT19

44 EQ G HI-MID L INPUT20

45 EQ G HI-MID L INPUT21

46 EQ G HI-MID L INPUT22

47 EQ G HI-MID L INPUT23

48 EQ G HI-MID L INPUT24

49 EQ G HI-MID L INPUT25

50 EQ G HI-MID L INPUT26

51 EQ G HI-MID L INPUT27

52 EQ G HI-MID L INPUT28

53 EQ G HI-MID L INPUT29

54 EQ G HI-MID L INPUT30

55 EQ G HI-MID L INPUT31

56 EQ G HI-MID L INPUT32

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F HI-MID INPUT9

65 EQ F HI-MID INPUT10

66 EQ F HI-MID INPUT11

67 EQ F HI-MID INPUT12

68 EQ F HI-MID INPUT13

69 EQ F HI-MID INPUT14

70 EQ F HI-MID INPUT15

71 EQ F HI-MID INPUT16

72 EQ F HI-MID INPUT17

73 EQ F HI-MID INPUT18

74 EQ F HI-MID INPUT19

75 EQ F HI-MID INPUT20

76 EQ F HI-MID INPUT21

77 EQ F HI-MID INPUT22

78 EQ F HI-MID INPUT23

79 EQ F HI-MID INPUT24

80 EQ F HI-MID INPUT25

81 EQ F HI-MID INPUT26

82 EQ F HI-MID INPUT27

83 EQ F HI-MID INPUT28

84 EQ F HI-MID INPUT29

85 EQ F HI-MID INPUT30

86 EQ F HI-MID INPUT31

87 EQ F HI-MID INPUT32

88 NO ASSIGN

89 EQ Q HI-MID INPUT9

90 EQ Q HI-MID INPUT10

91 EQ Q HI-MID INPUT11

92 EQ Q HI-MID INPUT12

93 EQ Q HI-MID INPUT13

94 EQ Q HI-MID INPUT14

95 EQ Q HI-MID INPUT15

102 EQ Q HI-MID INPUT16

103 EQ Q HI-MID INPUT17

104 EQ Q HI-MID INPUT18

105 EQ Q HI-MID INPUT19

106 EQ Q HI-MID INPUT20

107 EQ Q HI-MID INPUT21

108 EQ Q HI-MID INPUT22

109 EQ Q HI-MID INPUT23

110 EQ Q HI-MID INPUT24

111 EQ Q HI-MID INPUT25

112 EQ Q HI-MID INPUT26

113 EQ Q HI-MID INPUT27

114 EQ Q HI-MID INPUT28

115 EQ Q HI-MID INPUT29

116 EQ Q HI-MID INPUT30

117 EQ Q HI-MID INPUT31

118 EQ Q HI-MID INPUT32

119 NO ASSIGN

# HIGH MID LOW

312 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL10

# HIGH MID LOW

0 NO ASSIGN

1EQG HI-MID H INPUT33

2EQG HI-MID H INPUT34

3EQG HI-MID H INPUT35

4EQG HI-MID H INPUT36

5EQG HI-MID H INPUT37

6EQG HI-MID H INPUT38

7EQG HI-MID H INPUT39

8EQG HI-MID H INPUT40

9EQG HI-MID H INPUT41

10 EQ G HI-MID H INPUT42

11 EQ G HI-MID H INPUT43

12 EQ G HI-MID H INPUT44

13 EQ G HI-MID H INPUT45

14 EQ G HI-MID H INPUT46

15 EQ G HI-MID H INPUT47

16 EQ G HI-MID H INPUT48

17 EQ G HI-MID H INPUT49

18 EQ G HI-MID H INPUT50

19 EQ G HI-MID H INPUT51

20 EQ G HI-MID H INPUT52

21 EQ G HI-MID H INPUT53

22 EQ G HI-MID H INPUT54

23 EQ G HI-MID H INPUT55

24 EQ G HI-MID H INPUT56

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G HI-MID L INPUT33

34 EQ G HI-MID L INPUT34

35 EQ G HI-MID L INPUT35

36 EQ G HI-MID L INPUT36

37 EQ G HI-MID L INPUT37

38 EQ G HI-MID L INPUT38

39 EQ G HI-MID L INPUT39

40 EQ G HI-MID L INPUT40

41 EQ G HI-MID L INPUT41

42 EQ G HI-MID L INPUT42

43 EQ G HI-MID L INPUT43

44 EQ G HI-MID L INPUT44

45 EQ G HI-MID L INPUT45

46 EQ G HI-MID L INPUT46

47 EQ G HI-MID L INPUT47

48 EQ G HI-MID L INPUT48

49 EQ G HI-MID L INPUT49

50 EQ G HI-MID L INPUT50

51 EQ G HI-MID L INPUT51

52 EQ G HI-MID L INPUT52

53 EQ G HI-MID L INPUT53

54 EQ G HI-MID L INPUT54

55 EQ G HI-MID L INPUT55

56 EQ G HI-MID L INPUT56

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F HI-MID INPUT33

65 EQ F HI-MID INPUT34

66 EQ F HI-MID INPUT35

67 EQ F HI-MID INPUT36

68 EQ F HI-MID INPUT37

69 EQ F HI-MID INPUT38

70 EQ F HI-MID INPUT39

71 EQ F HI-MID INPUT40

72 EQ F HI-MID INPUT41

73 EQ F HI-MID INPUT42

74 EQ F HI-MID INPUT43

75 EQ F HI-MID INPUT44

76 EQ F HI-MID INPUT45

77 EQ F HI-MID INPUT46

78 EQ F HI-MID INPUT47

79 EQ F HI-MID INPUT48

80 EQ F HI-MID INPUT49

81 EQ F HI-MID INPUT50

82 EQ F HI-MID INPUT51

83 EQ F HI-MID INPUT52

84 EQ F HI-MID INPUT53

85 EQ F HI-MID INPUT54

86 EQ F HI-MID INPUT55

87 EQ F HI-MID INPUT56

88 NO ASSIGN

89 EQ Q HI-MID INPUT33

90 EQ Q HI-MID INPUT34

91 EQ Q HI-MID INPUT35

92 EQ Q HI-MID INPUT36

93 EQ Q HI-MID INPUT37

94 EQ Q HI-MID INPUT38

95 EQ Q HI-MID INPUT39

102 EQ Q HI-MID INPUT40

103 EQ Q HI-MID INPUT41

104 EQ Q HI-MID INPUT42

105 EQ Q HI-MID INPUT43

106 EQ Q HI-MID INPUT44

107 EQ Q HI-MID INPUT45

108 EQ Q HI-MID INPUT46

109 EQ Q HI-MID INPUT47

110 EQ Q HI-MID INPUT48

111 EQ Q HI-MID INPUT49

112 EQ Q HI-MID INPUT50

113 EQ Q HI-MID INPUT51

114 EQ Q HI-MID INPUT52

115 EQ Q HI-MID INPUT53

116 EQ Q HI-MID INPUT54

117 EQ Q HI-MID INPUT55

118 EQ Q HI-MID INPUT56

119 NO ASSIGN

# HIGH MID LOW

Scene Memory to Program Change Table 313

02R96 Version 2—Owner’s Manual

CHANNEL11

# HIGH MID LOW

0 NO ASSIGN

1EQG HIGH H INPUT1

2EQG HIGH H INPUT2

3EQG HIGH H INPUT3

4EQG HIGH H INPUT4

5EQG HIGH H INPUT5

6EQG HIGH H INPUT6

7EQG HIGH H INPUT7

8EQG HIGH H INPUT8

9EQG HIGH H INPUT9

10 EQ G HIGH H INPUT10

11 EQ G HIGH H INPUT11

12 EQ G HIGH H INPUT12

13 EQ G HIGH H INPUT13

14 EQ G HIGH H INPUT14

15 EQ G HIGH H INPUT15

16 EQ G HIGH H INPUT16

17 EQ G HIGH H INPUT17

18 EQ G HIGH H INPUT18

19 EQ G HIGH H INPUT19

20 EQ G HIGH H INPUT20

21 EQ G HIGH H INPUT21

22 EQ G HIGH H INPUT22

23 EQ G HIGH H INPUT23

24 EQ G HIGH H INPUT24

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G HIGH L INPUT1

34 EQ G HIGH L INPUT2

35 EQ G HIGH L INPUT3

36 EQ G HIGH L INPUT4

37 EQ G HIGH L INPUT5

38 EQ G HIGH L INPUT6

39 EQ G HIGH L INPUT7

40 EQ G HIGH L INPUT8

41 EQ G HIGH L INPUT9

42 EQ G HIGH L INPUT10

43 EQ G HIGH L INPUT11

44 EQ G HIGH L INPUT12

45 EQ G HIGH L INPUT13

46 EQ G HIGH L INPUT14

47 EQ G HIGH L INPUT15

48 EQ G HIGH L INPUT16

49 EQ G HIGH L INPUT17

50 EQ G HIGH L INPUT18

51 EQ G HIGH L INPUT19

52 EQ G HIGH L INPUT20

53 EQ G HIGH L INPUT21

54 EQ G HIGH L INPUT22

55 EQ G HIGH L INPUT23

56 EQ G HIGH L INPUT24

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F HIGH INPUT1

65 EQ F HIGH INPUT2

66 EQ F HIGH INPUT3

67 EQ F HIGH INPUT4

68 EQ F HIGH INPUT5

69 EQ F HIGH INPUT6

70 EQ F HIGH INPUT7

71 EQ F HIGH INPUT8

72 EQ F HIGH INPUT9

73 EQ F HIGH INPUT10

74 EQ F HIGH INPUT11

75 EQ F HIGH INPUT12

76 EQ F HIGH INPUT13

77 EQ F HIGH INPUT14

78 EQ F HIGH INPUT15

79 EQ F HIGH INPUT16

80 EQ F HIGH INPUT17

81 EQ F HIGH INPUT18

82 EQ F HIGH INPUT19

83 EQ F HIGH INPUT20

84 EQ F HIGH INPUT21

85 EQ F HIGH INPUT22

86 EQ F HIGH INPUT23

87 EQ F HIGH INPUT24

88 NO ASSIGN

89 EQ Q HIGH INPUT1

90 EQ Q HIGH INPUT2

91 EQ Q HIGH INPUT3

92 EQ Q HIGH INPUT4

93 EQ Q HIGH INPUT5

94 EQ Q HIGH INPUT6

95 EQ Q HIGH INPUT7

102 EQ Q HIGH INPUT8

103 EQ Q HIGH INPUT9

104 EQ Q HIGH INPUT10

105 EQ Q HIGH INPUT11

106 EQ Q HIGH INPUT12

107 EQ Q HIGH INPUT13

108 EQ Q HIGH INPUT14

109 EQ Q HIGH INPUT15

110 EQ Q HIGH INPUT16

111 EQ Q HIGH INPUT17

112 EQ Q HIGH INPUT18

113 EQ Q HIGH INPUT19

114 EQ Q HIGH INPUT20

115 EQ Q HIGH INPUT21

116 EQ Q HIGH INPUT22

117 EQ Q HIGH INPUT23

118 EQ Q HIGH INPUT24

119 NO ASSIGN

# HIGH MID LOW

314 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL12

# HIGH MID LOW

0 NO ASSIGN

1EQG HIGH H INPUT25

2EQG HIGH H INPUT26

3EQG HIGH H INPUT27

4EQG HIGH H INPUT28

5EQG HIGH H INPUT29

6EQG HIGH H INPUT30

7EQG HIGH H INPUT31

8EQG HIGH H INPUT32

9EQG HIGH H INPUT33

10 EQ G HIGH H INPUT34

11 EQ G HIGH H INPUT35

12 EQ G HIGH H INPUT36

13 EQ G HIGH H INPUT37

14 EQ G HIGH H INPUT38

15 EQ G HIGH H INPUT39

16 EQ G HIGH H INPUT40

17 EQ G HIGH H INPUT41

18 EQ G HIGH H INPUT42

19 EQ G HIGH H INPUT43

20 EQ G HIGH H INPUT44

21 EQ G HIGH H INPUT45

22 EQ G HIGH H INPUT46

23 EQ G HIGH H INPUT47

24 EQ G HIGH H INPUT48

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G HIGH L INPUT25

34 EQ G HIGH L INPUT26

35 EQ G HIGH L INPUT27

36 EQ G HIGH L INPUT28

37 EQ G HIGH L INPUT29

38 EQ G HIGH L INPUT30

39 EQ G HIGH L INPUT31

40 EQ G HIGH L INPUT32

41 EQ G HIGH L INPUT33

42 EQ G HIGH L INPUT34

43 EQ G HIGH L INPUT35

44 EQ G HIGH L INPUT36

45 EQ G HIGH L INPUT37

46 EQ G HIGH L INPUT38

47 EQ G HIGH L INPUT39

48 EQ G HIGH L INPUT40

49 EQ G HIGH L INPUT41

50 EQ G HIGH L INPUT42

51 EQ G HIGH L INPUT43

52 EQ G HIGH L INPUT44

53 EQ G HIGH L INPUT45

54 EQ G HIGH L INPUT46

55 EQ G HIGH L INPUT47

56 EQ G HIGH L INPUT48

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F HIGH INPUT25

65 EQ F HIGH INPUT26

66 EQ F HIGH INPUT27

67 EQ F HIGH INPUT28

68 EQ F HIGH INPUT29

69 EQ F HIGH INPUT30

70 EQ F HIGH INPUT31

71 EQ F HIGH INPUT32

72 EQ F HIGH INPUT33

73 EQ F HIGH INPUT34

74 EQ F HIGH INPUT35

75 EQ F HIGH INPUT36

76 EQ F HIGH INPUT37

77 EQ F HIGH INPUT38

78 EQ F HIGH INPUT39

79 EQ F HIGH INPUT40

80 EQ F HIGH INPUT41

81 EQ F HIGH INPUT42

82 EQ F HIGH INPUT43

83 EQ F HIGH INPUT44

84 EQ F HIGH INPUT45

85 EQ F HIGH INPUT46

86 EQ F HIGH INPUT47

87 EQ F HIGH INPUT48

88 NO ASSIGN

89 EQ Q HIGH INPUT25

90 EQ Q HIGH INPUT26

91 EQ Q HIGH INPUT27

92 EQ Q HIGH INPUT28

93 EQ Q HIGH INPUT29

94 EQ Q HIGH INPUT30

95 EQ Q HIGH INPUT31

102 EQ Q HIGH INPUT32

103 EQ Q HIGH INPUT33

104 EQ Q HIGH INPUT34

105 EQ Q HIGH INPUT35

106 EQ Q HIGH INPUT36

107 EQ Q HIGH INPUT37

108 EQ Q HIGH INPUT38

109 EQ Q HIGH INPUT39

110 EQ Q HIGH INPUT40

111 EQ Q HIGH INPUT41

112 EQ Q HIGH INPUT42

113 EQ Q HIGH INPUT43

114 EQ Q HIGH INPUT44

115 EQ Q HIGH INPUT45

116 EQ Q HIGH INPUT46

117 EQ Q HIGH INPUT47

118 EQ Q HIGH INPUT48

119 NO ASSIGN

# HIGH MID LOW

Scene Memory to Program Change Table 315

02R96 Version 2—Owner’s Manual

CHANNEL13

# HIGH MID LOW

0 NO ASSIGN

1EQG HIGH H INPUT49

2EQG HIGH H INPUT50

3EQG HIGH H INPUT51

4EQG HIGH H INPUT52

5EQG HIGH H INPUT53

6EQG HIGH H INPUT54

7EQG HIGH H INPUT55

8EQG HIGH H INPUT56

9EQATT H INPUT1

10 EQ ATT H INPUT2

11 EQ ATT H INPUT3

12 EQ ATT H INPUT4

13 EQ ATT H INPUT5

14 EQ ATT H INPUT6

15 EQ ATT H INPUT7

16 EQ ATT H INPUT8

17 EQ ATT H INPUT9

18 EQ ATT H INPUT10

19 EQ ATT H INPUT11

20 EQ ATT H INPUT12

21 EQ ATT H INPUT13

22 EQ ATT H INPUT14

23 EQ ATT H INPUT15

24 EQ ATT H INPUT16

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ G HIGH L INPUT49

34 EQ G HIGH L INPUT50

35 EQ G HIGH L INPUT51

36 EQ G HIGH L INPUT52

37 EQ G HIGH L INPUT53

38 EQ G HIGH L INPUT54

39 EQ G HIGH L INPUT55

40 EQ G HIGH L INPUT56

41 EQ ATT L INPUT1

42 EQ ATT L INPUT2

43 EQ ATT L INPUT3

44 EQ ATT L INPUT4

45 EQ ATT L INPUT5

46 EQ ATT L INPUT6

47 EQ ATT L INPUT7

48 EQ ATT L INPUT8

49 EQ ATT L INPUT9

50 EQ ATT L INPUT10

51 EQ ATT L INPUT11

52 EQ ATT L INPUT12

53 EQ ATT L INPUT13

54 EQ ATT L INPUT14

55 EQ ATT L INPUT15

56 EQ ATT L INPUT16

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ F HIGH INPUT49

65 EQ F HIGH INPUT50

66 EQ F HIGH INPUT51

67 EQ F HIGH INPUT52

68 EQ F HIGH INPUT53

69 EQ F HIGH INPUT54

70 EQ F HIGH INPUT55

71 EQ F HIGH INPUT56

72 EQ HPF ON INPUT1

73 EQ HPF ON INPUT2

74 EQ HPF ON INPUT3

75 EQ HPF ON INPUT4

76 EQ HPF ON INPUT5

77 EQ HPF ON INPUT6

78 EQ HPF ON INPUT7

79 EQ HPF ON INPUT8

80 EQ HPF ON INPUT9

81 EQ HPF ON INPUT10

82 EQ HPF ON INPUT11

83 EQ HPF ON INPUT12

84 EQ HPF ON INPUT13

85 EQ HPF ON INPUT14

86 EQ HPF ON INPUT15

87 EQ HPF ON INPUT16

88 NO ASSIGN

89 EQ Q HIGH INPUT49

90 EQ Q HIGH INPUT50

91 EQ Q HIGH INPUT51

92 EQ Q HIGH INPUT52

93 EQ Q HIGH INPUT53

94 EQ Q HIGH INPUT54

95 EQ Q HIGH INPUT55

102 EQ Q HIGH INPUT56

103 EQ LPF ON INPUT1

104 EQ LPF ON INPUT2

105 EQ LPF ON INPUT3

106 EQ LPF ON INPUT4

107 EQ LPF ON INPUT5

108 EQ LPF ON INPUT6

109 EQ LPF ON INPUT7

110 EQ LPF ON INPUT8

111 EQ LPF ON INPUT9

112 EQ LPF ON INPUT10

113 EQ LPF ON INPUT11

114 EQ LPF ON INPUT12

115 EQ LPF ON INPUT13

116 EQ LPF ON INPUT14

117 EQ LPF ON INPUT15

118 EQ LPF ON INPUT16

119 NO ASSIGN

# HIGH MID LOW

316 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL14

# HIGH MID LOW

0 NO ASSIGN

1EQATT H INPUT17

2EQATT H INPUT18

3EQATT H INPUT19

4EQATT H INPUT20

5EQATT H INPUT21

6EQATT H INPUT22

7EQATT H INPUT23

8EQATT H INPUT24

9EQATT H INPUT25

10 EQ ATT H INPUT26

11 EQ ATT H INPUT27

12 EQ ATT H INPUT28

13 EQ ATT H INPUT29

14 EQ ATT H INPUT30

15 EQ ATT H INPUT31

16 EQ ATT H INPUT32

17 EQ ATT H INPUT33

18 EQ ATT H INPUT34

19 EQ ATT H INPUT35

20 EQ ATT H INPUT36

21 EQ ATT H INPUT37

22 EQ ATT H INPUT38

23 EQ ATT H INPUT39

24 EQ ATT H INPUT40

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ ATT L INPUT17

34 EQ ATT L INPUT18

35 EQ ATT L INPUT19

36 EQ ATT L INPUT20

37 EQ ATT L INPUT21

38 EQ ATT L INPUT22

39 EQ ATT L INPUT23

40 EQ ATT L INPUT24

41 EQ ATT L INPUT25

42 EQ ATT L INPUT26

43 EQ ATT L INPUT27

44 EQ ATT L INPUT28

45 EQ ATT L INPUT29

46 EQ ATT L INPUT30

47 EQ ATT L INPUT31

48 EQ ATT L INPUT32

49 EQ ATT L INPUT33

50 EQ ATT L INPUT34

51 EQ ATT L INPUT35

52 EQ ATT L INPUT36

53 EQ ATT L INPUT37

54 EQ ATT L INPUT38

55 EQ ATT L INPUT39

56 EQ ATT L INPUT40

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ HPF ON INPUT17

65 EQ HPF ON INPUT18

66 EQ HPF ON INPUT19

67 EQ HPF ON INPUT20

68 EQ HPF ON INPUT21

69 EQ HPF ON INPUT22

70 EQ HPF ON INPUT23

71 EQ HPF ON INPUT24

72 EQ HPF ON INPUT25

73 EQ HPF ON INPUT26

74 EQ HPF ON INPUT27

75 EQ HPF ON INPUT28

76 EQ HPF ON INPUT29

77 EQ HPF ON INPUT30

78 EQ HPF ON INPUT31

79 EQ HPF ON INPUT32

80 EQ HPF ON INPUT33

81 EQ HPF ON INPUT34

82 EQ HPF ON INPUT35

83 EQ HPF ON INPUT36

84 EQ HPF ON INPUT37

85 EQ HPF ON INPUT38

86 EQ HPF ON INPUT39

87 EQ HPF ON INPUT40

88 NO ASSIGN

89 EQ LPF ON INPUT17

90 EQ LPF ON INPUT18

91 EQ LPF ON INPUT19

92 EQ LPF ON INPUT20

93 EQ LPF ON INPUT21

94 EQ LPF ON INPUT22

95 EQ LPF ON INPUT23

102 EQ LPF ON INPUT24

103 EQ LPF ON INPUT25

104 EQ LPF ON INPUT26

105 EQ LPF ON INPUT27

106 EQ LPF ON INPUT28

107 EQ LPF ON INPUT29

108 EQ LPF ON INPUT30

109 EQ LPF ON INPUT31

110 EQ LPF ON INPUT32

111 EQ LPF ON INPUT33

112 EQ LPF ON INPUT34

113 EQ LPF ON INPUT35

114 EQ LPF ON INPUT36

115 EQ LPF ON INPUT37

116 EQ LPF ON INPUT38

117 EQ LPF ON INPUT39

118 EQ LPF ON INPUT40

119 NO ASSIGN

# HIGH MID LOW

Scene Memory to Program Change Table 317

02R96 Version 2—Owner’s Manual

CHANNEL15

# HIGH MID LOW

0 NO ASSIGN

1EQATT H INPUT41

2EQATT H INPUT42

3EQATT H INPUT43

4EQATT H INPUT44

5EQATT H INPUT45

6EQATT H INPUT46

7EQATT H INPUT47

8EQATT H INPUT48

9EQATT H INPUT49

10 EQ ATT H INPUT50

11 EQ ATT H INPUT51

12 EQ ATT H INPUT52

13 EQ ATT H INPUT53

14 EQ ATT H INPUT54

15 EQ ATT H INPUT55

16 EQ ATT H INPUT56

17 NO ASSIGN

18 NO ASSIGN

19 NO ASSIGN

20 NO ASSIGN

21 NO ASSIGN

22 NO ASSIGN

23 NO ASSIGN

24 NO ASSIGN

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 EQ ATT L INPUT41

34 EQ ATT L INPUT42

35 EQ ATT L INPUT43

36 EQ ATT L INPUT44

37 EQ ATT L INPUT45

38 EQ ATT L INPUT46

39 EQ ATT L INPUT47

40 EQ ATT L INPUT48

41 EQ ATT L INPUT49

42 EQ ATT L INPUT50

43 EQ ATT L INPUT51

44 EQ ATT L INPUT52

45 EQ ATT L INPUT53

46 EQ ATT L INPUT54

47 EQ ATT L INPUT55

48 EQ ATT L INPUT56

49 NO ASSIGN

50 NO ASSIGN

51 NO ASSIGN

52 NO ASSIGN

53 NO ASSIGN

54 NO ASSIGN

55 NO ASSIGN

56 NO ASSIGN

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ HPF ON INPUT41

65 EQ HPF ON INPUT42

66 EQ HPF ON INPUT43

67 EQ HPF ON INPUT44

68 EQ HPF ON INPUT45

69 EQ HPF ON INPUT46

70 EQ HPF ON INPUT47

71 EQ HPF ON INPUT48

72 EQ HPF ON INPUT49

73 EQ HPF ON INPUT50

74 EQ HPF ON INPUT51

75 EQ HPF ON INPUT52

76 EQ HPF ON INPUT53

77 EQ HPF ON INPUT54

78 EQ HPF ON INPUT55

79 EQ HPF ON INPUT56

80 EQ ON INPUT1

81 EQ ON INPUT2

82 EQ ON INPUT3

83 EQ ON INPUT4

84 EQ ON INPUT5

85 EQ ON INPUT6

86 EQ ON INPUT7

87 EQ ON INPUT8

88 NO ASSIGN

89 EQ LPF ON INPUT41

90 EQ LPF ON INPUT42

91 EQ LPF ON INPUT43

92 EQ LPF ON INPUT44

93 EQ LPF ON INPUT45

94 EQ LPF ON INPUT46

95 EQ LPF ON INPUT47

102 EQ LPF ON INPUT48

103 EQ LPF ON INPUT49

104 EQ LPF ON INPUT50

105 EQ LPF ON INPUT51

106 EQ LPF ON INPUT52

107 EQ LPF ON INPUT53

108 EQ LPF ON INPUT54

109 EQ LPF ON INPUT55

110 EQ LPF ON INPUT56

111 EQ ON INPUT9

112 EQ ON INPUT10

113 EQ ON INPUT11

114 EQ ON INPUT12

115 EQ ON INPUT13

116 EQ ON INPUT14

117 EQ ON INPUT15

118 EQ ON INPUT16

119 NO ASSIGN

# HIGH MID LOW

318 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

CHANNEL16

# HIGH MID LOW

0 NO ASSIGN

1 NO ASSIGN

2 NO ASSIGN

3 NO ASSIGN

4 NO ASSIGN

5 NO ASSIGN

6 NO ASSIGN

7 NO ASSIGN

8 NO ASSIGN

9 NO ASSIGN

10 NO ASSIGN

11 NO ASSIGN

12 NO ASSIGN

13 NO ASSIGN

14 NO ASSIGN

15 NO ASSIGN

16 NO ASSIGN

17 NO ASSIGN

18 NO ASSIGN

19 NO ASSIGN

20 NO ASSIGN

21 NO ASSIGN

22 NO ASSIGN

23 NO ASSIGN

24 NO ASSIGN

25 NO ASSIGN

26 NO ASSIGN

27 NO ASSIGN

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 NO ASSIGN

34 NO ASSIGN

35 NO ASSIGN

36 NO ASSIGN

37 NO ASSIGN

38 NO ASSIGN

39 NO ASSIGN

40 NO ASSIGN

41 NO ASSIGN

42 NO ASSIGN

43 NO ASSIGN

44 NO ASSIGN

45 NO ASSIGN

46 NO ASSIGN

47 NO ASSIGN

48 NO ASSIGN

49 NO ASSIGN

50 NO ASSIGN

51 NO ASSIGN

52 NO ASSIGN

53 NO ASSIGN

54 NO ASSIGN

55 NO ASSIGN

56 NO ASSIGN

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 NO ASSIGN

64 EQ ON INPUT17

65 EQ ON INPUT18

66 EQ ON INPUT19

67 EQ ON INPUT20

68 EQ ON INPUT21

69 EQ ON INPUT22

70 EQ ON INPUT23

71 EQ ON INPUT24

72 EQ ON INPUT25

73 EQ ON INPUT26

74 EQ ON INPUT27

75 EQ ON INPUT28

76 EQ ON INPUT29

77 EQ ON INPUT30

78 EQ ON INPUT31

79 EQ ON INPUT32

80 EQ ON INPUT33

81 EQ ON INPUT34

82 EQ ON INPUT35

83 EQ ON INPUT36

84 EQ ON INPUT37

85 EQ ON INPUT38

86 EQ ON INPUT39

87 EQ ON INPUT40

88 NO ASSIGN

89 EQ ON INPUT41

90 EQ ON INPUT42

91 EQ ON INPUT43

92 EQ ON INPUT44

93 EQ ON INPUT45

94 EQ ON INPUT46

95 EQ ON INPUT47

102 EQ ON INPUT48

103 EQ ON INPUT49

104 EQ ON INPUT50

105 EQ ON INPUT51

106 EQ ON INPUT52

107 EQ ON INPUT53

108 EQ ON INPUT54

109 EQ ON INPUT55

110 EQ ON INPUT56

111 NO ASSIGN

112 NO ASSIGN

113 NO ASSIGN

114 NO ASSIGN

115 NO ASSIGN

116 NO ASSIGN

117 NO ASSIGN

118 NO ASSIGN

119 NO ASSIGN

# HIGH MID LOW

MIDI Data Format 319

02R96 Version 2—Owner’s Manual

MIDI Data Format

In the following tables, “tx” means that transmission from the 02R96 is

possible, and “rx” means that receiving messages at the 02R96 is possible.

1. CHANNEL MESSAGE

2. SYSTEM COMMON MESSAGE

3. SYSTEM REALTIME MESSAGE

* Received only when the AUTOMIX TIME REFERENCE setting is

set to MIDI CLOCK.

4. EXCLUSIVE MESSAGE

The 02R96 can correctly process Exclusive Messges of a length of F0

through F7 of 4096 bytes or shorter.

4.1 Real Time System Exclusive

4.2 System Exclusive Message

4.2.1 Bulk Dump

The following data types of bulk dump are used on the 02R96.

4.2.2 PARAMTER CHANGE

The following data types of parameter change are used by the 02R96.

Format Details

1. NOTE OFF (8n)

Reception

If [OTHER ECHO] is ON, these message are echoed.

If the [Rx CH] matches, these messages are received and used to control

effects.

2. NOTE ON (9n)

Reception

If [OTHER ECHO] is ON, these messages are echoed.

If the [Rx CH] matches, these messages are received and used to control

effects.

3. CONTROL CHANGE (Bn)

Reception

If [Control Change ECHO] is ON, these messages are echoed.

If [TABLE] is selected, these message are received if [Control Change Rx]

is ON, and will control parameters according to the [Control assign table]

settings.

The parameters that can be set are defined in the Control Change Assign

Parameter List.

If [NRPN] is selected, these messages are received if [Control Change Rx]

is ON and the [Rx CH] matches, and will control the parameter that is

specified by the four messages NRPN control number (62h, 63h) and Data

Entry control number (06h, 26h). Parameter settings are defined in the

Control Change Assign Parameter List.

Transmission

If [TABLE] is selected, operating a parameter specified in the [Control as-

sign table] will cause these messages to be transmitted if [Control Change

Tx] is ON. The parameters that can be specified are defined in the Control

Change Assign Parameter List.

If [NRPN] is selected, operating a specified parameter will cause data to be

transmitted on the [Tx CH] if [Control Change Tx] is ON, using the four

messages NRPN control number (62h, 63h) and Data Entry control num-

ber (06h, 26h). Parameter settings are defined in the Control Change As-

sign Parameter List.

Command rx/tx function

8n NOTE OFF rx Control the internal effects

9n NOTE ON rx Control the internal effects

Bn CONTROL CHANGE rx/tx Control parameters

Cn PROGRAM CHANGE rx/tx Switch scene memories

Command rx/tx function

F1 MIDI TIME CODE QUARTER

FRAME

rx Used when TIME REFERENCE

is MTC.

F2 SONG POSITION POINTER rx Used when TIME REFERENCE

is MIDI CLOCK.

Command rx/tx function

F8 TIMING CLOCK rx MIDI clock

FA START rx* Start automix (from the beginning)

FB CONTINUE rx* Start automix (from the middle)

FC STOP rx* Stop automix

FE ACTIVE SENSING rx Check MIDI cable connections

FF SYSTEM RESET rx Clear running status

Command rx/tx function

F0 7F dd 06 ... F7 MMC

COMMAND

tx MMC command

F0 7F dd 07 ... F7 MMC RESPONSE rx MMC response

F0 7F dd 01 ... F7 MIDI TIME CODE rx Used when TIME REFERENCE

is MTC.

Command rx/tx function

F0 43 0n 7E ... F7 BULK DUMP DATA rx/tx BULK DUMP DATA

F0 43 2n 7E ... F7 BULK DUMP REQUEST rx/tx BULK DUMP REQUEST

Data name rx/tx function

'm' rx/tx Scene memory & request (compressed data)

'S' rx/tx Setup memory & request

'L' rx/tx User deﬁned layer & request

'I' rx/tx User deﬁned plug-in & request

'V' rx/tx User deﬁned key & request

'U' rx/tx User assignable layer & request

'C' rx/tx Control change table & request

'P' rx/tx Program change table & request

'Q' rx/tx Equalizer library & request

'Y' rx/tx Compressor library & request

'G' rx/tx Gate library & request

'E' rx/tx Effect library & request

'H' rx/tx Channel library & request

'R' rx/tx Input patch library & request

'O' rx/tx Output patch library & request

'J' rx/tx Bus to stereo library & request

'K' rx/tx Surround monitor library & request

'a' rx/tx Automix & request (compressed data)

'N' rx/tx Plug-in effect card & request

Command rx/tx function

F0 43 1n 3E 0B ... F7

RARAMETER CHANGE

rx/tx 02R96-speciﬁc parameter change

F0 43 3n 3E 0B ... F7

PARAMETER REQUEST

rx/tx 02R96-speciﬁc parameter request

F0 43 1n 3E 7F ... F7

PARAMETER CHANGE

rx/tx General purpose digital mixer parameter

change

F0 43 3n 3E 7F ... F7

PARAMETER REQUEST

rx/tx General purpose digital mixer parameter

request

Type (HEX) rx/tx function

1 (01) rx/tx Edit buffer

2 (02) rx/tx Patch data

3 (03) rx/tx Setup memory

4 (04) rx/tx Backup memory

16 (10) rx/tx Function (recall, store, title, clear)

17 (11) rx Function (pair)

18 (12) rx Function (effect)

19 (13) rx/tx Sort table data

20 (14) rx/tx Function (attribute, link)

32 (20) rx Key remote

33 (21) rx/tx Remote meter

34 (22) rx/tx Remote time counter

35 (23) rx/tx Automix status

STATUS 1000nnnn 8n

Note off message

DATA 0nnnnnnn nn

Note number

0vvvvvvv vv

Velocity (ignored)

STATUS 1001nnnn 9n

Note on message

DATA 0nnnnnnn nn

Note number

0vvvvvvv vv

Velocity (1-127:on, 0:off)

320 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

This data cannot be transmitted via Program Change to Studio Manager

since there is no guarantee that the contents of the tables will match. (Pa-

rameter Change messages will always be used.)

If [TABLE] is selected

Formula for converting Control values into parameter data:

paramSteps= paramMax - paramMin + 1;

add= paramWidth / paramSteps;

mod= paramWidth - add * paramSteps;

curValue= parm * add + mod / 2;

(1) When the assigned parameter can be set in 128 steps or less:

paramWidth = 127; rxValue = Control value;

(2) When the assigned parameter can be set in 128 through 16383 steps:

paramWidth = 16383;

(2-1) When both High and Low data are received:

rxValue = Control value (High) * 128 + Control value (Low);

(2-2) When only Low data is received:

rxValue = (curValue & 16256) + Control value (Low);

(2-3) When only High data is received:

rxValue = Control value (High) * 128 + (curValue & 127);

(3) When the assigned parameter can be set in 16384 through 2097151

steps:

paramWidth = 2097151;

(3-1) When High, Middle, and Low data are received:

rxValue = Control value (High) * 16384 + Control value (Middle) *

128 + Control value (Low);

(3-2) When only Low data is received:

rxValue = (curValue & 2097024) + Control value (Low);

(3-3) When only Middle data is received:

rxValue = (curValue & 2080895) + Control value (Middle) * 128;

(3-4) When only High data is received:

rxValue = (curValue & 16383) + Control value (High) * 16384;

(3-5) When Middle and Low data are received:

rxValue = (curValue & 2080768) + Control value (Middle) * 128 +

Control value (Low);

(3-6) When High and Low data are received:

rxValue = (curValue & 16256) + Control value (High) * 16384 +

Control value (Low);

(3-7) When High and Middle data are received:

rxValue = (curValue & 127) + Control value (High) * 16384 + Con-

trol value (Middle) * 128;

if ( rxValue > paramWidth)

rxValue = paramWidth;

param = ( rxValue - mod / 2) / add;

If [NRPN] is selected

*1) The second and subsequent STATUS need not be added during

transmission. Reception must be implemented so that recep-

tion occurs whether or not STATUS is present.

4. PROGRAM CHANGE (Cn)

Reception

If [Program Change ECHO] is ON, these messages are echoed.

If [Program Change RX] is ON and the [Rx CH] matches, these messages

will be received. However if [OMNI] is ON, they will be received regardless

of the channel. When a message is received, a Scene Memory will be re-

called according to the settings of the [Program Change Table].

Transmission

If [Program Change TX] is ON, this message is transmitted according to

the settings of the [Program Change Table] on the [Tx CH] channel when

a scene memory is recalled.

If the recalled scene has been assigned to more than one program number,

the lowest-numbered program number will be transmitted. Transmission

to Studio Manager using Program Change messages will not be performed

since there is no guarantee that the contents of the tables will match. (Pa-

rameter Changes will always be used.)

5 MIDI TIME CODE QUARTER FRAME(F1)

Reception

This is echoed if [OTHER COMMANDS ECHO] is ON.

Automix synchronizes this if the data is received at the port specified by the

TIME REFERENCE setting.

6. SONG POSITION POINTER (F2)

Reception

If this is received when the automix TIME REFERENCE setting is MIDI

CLOCK, the automix will move to the song position that was received.

7. TIMING CLOCK (F8)

Reception

If the automix TIME REFERENCE setting is MIDI CLOCK, this message

is used to synchronize automix. It is also used to control effects. This mes-

sage is transmitted 24 times per quarter note.

8. START (FA)

Reception

This message is received if the automix TIME REFERENCE setting is MIDI

CLOCK, and will start the automix. In actuality, automix will start when

the next TIMING CLOCK is received after receiving the START message.

9. CONTINUE (FB)

Reception

This message is received if the automix TIME REFERENCE setting is MIDI

CLOCK, and will cause automix to start from the current song position. In

actuality, automix will start when the next TIMING CLOCK is received af-

ter receiving the CONTINUE message.

10. STOP (FC)

Reception

This message is received if the automix TIME REFERENCE setting is MIDI

CLOCK, and will cause automix to stop.

STATUS 1011nnnn Bn

Control change

DATA 0nnnnnnn nn

Control number (0-95, 102-119)

0vvvvvvv vv

Control Value (0-127)

STATUS 1011nnnn Bn

Control changeDATA

01100010 62

NRPN LSB

0vvvvvvv vv

LSB of parameter number

STATUS 1011nnnn Bn

Control change*1

DATA 01100011 63

NRPN MSB

0vvvvvvv vv

MSB of parameter number

STATUS 1011nnnn Bn

Control change*1

DATA 00000110 06

MSB of data entry

0vvvvvvv vv

MSB of parameter data

STATUS 1011nnnn Bn

Control change*1

DATA 00100110 26

LSB of data entry

0vvvvvvv vv

LSB of parameter data

STATUS 1100nnnn Cn

Program change

DATA 0nnnnnnn nn

Program number (0-127)

STATUS 1100nnnn F1

Quarter frame message

DATA 0tttdddd td

Type & data

STATUS 11110010 F2

Song position pointer

DATA 0vvvvvvv vv

Song position LSB

0vvvvvvv vv

Song position MSB

STATUS 11111000 F8

Timing clock

STATUS 11111010 FA

Start

STATUS 11111011 FB

Continue

STATUS 11111100 FC

Stop

Format Details 321

02R96 Version 2—Owner’s Manual

11. ACTIVE SENSING (FE)

Reception

Once this message has been received, the failure to receive any message for

an interval of 400 ms or longer will cause MIDI transmission to be initial-

ized, such as by clearing the Running Status.

12. SYSTEM RESET (FF)

Reception

When this message is received, MIDI communications will be cleared, e.g.,

by clearing the Running Status.

13. SYSTEM EXCLUSIVE MESSAGE (F0)

13.1 MIDI TIME CODE (FULL MESSAGE)

The Automix synchronizes these messages when they are received at a port

specified by the TIME REFERENCE setting.

13.2 MIDI MACHINE CONTROL (MMC)

These messages are transmitted when the Machine Control section of the

02R96 is operated.

13.3 BULK DUMP

This message sends or receives the contents of various memories stored

within the 02R96.

The basic format is as follows.

For DUMP DATA

For DUMP REQUEST

A unique header (Model ID) is used to determine whether the device is a

02R96.

CHECK SUM is obtained by adding the bytes that follow BYTE COUNT

(LOW) and end before CHECK SUM, taking the binary compliment of

this sum, and then setting bit 7 to 0.

CHECK SUM = (-sum)&0x7F

The 02R96 can transmit and receive BULK data only if the size of a MIDI

packet (F0 - F7) is 4096 bytes or smaller.

If large data consists of multiple MIDI packets, they can be transferred se-

quentially.

Reception

This message is received if [Bulk RX] is ON and the [Rx CH] matches the

device number included in the SUB STATUS.

When a bulk dump is received, it is immediately written into the specified

memory.

When a bulk dump request is received, a bulk dump is immediately trans-

mitted.

Transmission

This message is transmitted on the [Tx CH] by key operations in the [MI-

DI]-[BULK DUMP] screen.

A bulk dump is transmitted on the [Rx CH] in response to a bulk dump

request.

The data area is handled by converting seven words of 8-bit data into eight

words of 7-bit data.

Conversion from actual data into bulk data

d[0~6]: actual data

b[0~7]: bulk data

b[0] = 0;

for( I=0; I<7; I++){

if( d[I]&0x80){

b[0] |= 1<<(6-I);

}

b[I+1] = d[I]&0x7F;

}

Restoration from bulk data into actual data

d[0~6]: actual data

b[0~7]: bulk data

for( I=0; I<7; I++){

b[0] <<= 1;

d[I] = b[I+1]+(0x80&b[0]);

}

13.3.1 Scene memory bulk dump format

(compressed data)

The 02R96 can transmit and receive scene memories in compressed form.

13.3.2 Scene memory bulk dump request format

(compressed data)

The second and third bytes of the DATA NAME indicate the scene number

that is being requested. If this is 256, the data of the Edit Buffer will be

bulk-dumped. If this is 8192, the data of the Undo Buffer will be

bulk-dumped.

STATUS 11111110 FE

Active sensing

STATUS 11111111 FF

System reset

F0 43 0n 7E cc cc <Model ID> tt mm mm [Data ...]

cs F7

F0 43 2n 7E <Model ID> tt mm mm F7

Device Number

cc cc

DATA COUNT (the number of bytes that follow this, ending

before the checksum)

Model ID (for 02R96, 4C 4D 20 20 38 43 35 34)

DATA TYPE

mm mm

DATA NUMBER

CHECK SUM

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01101101 6D

'm'

0mmmmmmm mh

m=0-99, 256, 8192 (Scene0-99, EDIT

BUFFER, UNDO)

0mmmmmmm ml

Receive is effective 1-99, 256, 8192

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Scene data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01101101 6D

'm'

0mmmmmmm mh

m=0-99, 256, 8192 (Scene0-99, EDIT

BUFFER, UNDO)

0mmmmmmm ml

322 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

13.3.3 Setup memory bulk dump format

Of the setup memory of the 02R96, this bulk-dumps data other than the

User defined layer, User define plug-in, User defined keys, User assignable

layer, Control change table, and Program change table.

13.3.4 Setup memory bulk dump request format

13.3.5 User deﬁned layer bulk dump format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

Be aware that the state of the transmission destination will (in some cases)

change if the same bank is being used.

13.3.6 User deﬁned layer bulk dump request format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

13.3.7 User deﬁned plug-in bulk dump format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

Be aware that the state of the transmission destination will (in some cases)

change if the same bank is being used.

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010011 53

'S'

00000010 02

00000000 00

No.256 = Current

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Setup data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010011 53

'S'

00000010 02

00000000 00

No.256 = Current

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001100 4C

'L'

00000000 00

0bbbbbbb bb

b=0-3 (bank no.1-4)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

User deﬁned layer data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME

01001100 4C

'L'

00000000 00

0bbbbbbb bb

b=0-3 (bank no.1-4)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001001 49

'I'

00000000 00

0bbbbbbb bb

b=0-7 (bank no.1-8)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

User deﬁne plug-in data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

Format Details 323

02R96 Version 2—Owner’s Manual

13.3.8 User deﬁned plug-in bulk dump request format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

13.3.9 User deﬁned keys bulk dump format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

Be aware that the state of the transmission destination will (in some cases)

change if the same bank is being used.

13.3.10 User deﬁned keys bulk dump request format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

13.3.11 User assignable layer bulk dump format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

Be aware that the state of the transmission destination will (in some cases)

change if the same bank is being used.

13.3.12 User assignable layer bulk dump request

format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

13.3.13 Control change table bulk dump format

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001001 49

'I'

00000000 00

0bbbbbbb bb

b=0-7 (bank no.1-8)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010110 56

'V'

00000000 00

0bbbbbbb bb

b=0-7 (bank no.A-H)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

User deﬁned key data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010110 56

'V'

00000000 00

0bbbbbbb bb

b=0-7 (bank no.A-H)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010101 55

'U'

00000000 00

0bbbbbbb bb

b=0-3 (bank no.1-4)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

User assignable layer data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010101 55

'U'

00000000 00

0bbbbbbb bb

b=0-3 (bank no.1-4)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

324 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

13.3.14 Control change table bulk dump request

format

13.3.15 Program change table bulk dump format

13.3.16 Program change table bulk dump request

format

13.3.17 Equalizer library bulk dump format

The second and third bytes of the DATA NAME indicate the bank num-

ber.

0:Library no.1 - 199:Library no.200, 256:CH1 - 311:CH56, 384:BUS1 -

391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R,

8192:UNDO

256 and up are data for the corresponding channel of the edit buffer (ex-

cluding UNDO).

For reception by the 02R96, only the user area is valid. (40-199, 256-)

13.3.18 Equalizer library bulk dump request format

The second and third bytes of the DATA NAME indicate the bank num-

ber. (See above)

00110101 35

'5'

00110100 34

'4'

DATA NAME 01000011 43

'C'

00000010 02

00000000 00

No.256 = Current

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Control change table data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01000011 43

'C'

00000010 02

00000000 00

No.256 = Current

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010000 50

'P'

00000010 02

00000000 00

No.256 = Current

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Program change table data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010000 50

'P'

00000010 02

00000000 00

No.256 = Current

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010001 51

'Q'

0mmmmmmm mh

0-199 (EQ Library no.1-200),

0mmmmmmm ml

256- (Channel current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

EQ Library data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010001 51

'Q'

0mmmmmmm mh

0-199 (EQ Library no.1-200),

0mmmmmmm ml

256- (Channel current data)

EOX 11110111 F7

End of exclusive

Format Details 325

02R96 Version 2—Owner’s Manual

13.3.19 Compressor library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.1 - 127:Library no.128, 256:CH1 - 351:CH96, 384:BUS1 -

391:BUS8, 512:AUX1 - 523:AUX12, 640:MATRIX1L - 647:MATRIX4R,

768:STEREO L - 769:STEREO R, 8192:UNDO

256 and following are data for the corresponding channel of the edit buff-

er. For reception by the 02R96, only the user area is valid. (36-127, 256-)

13.3.20 Compressor library bulk dump request format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.21 Gate library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.1 - 127:Library no.128, 256:CH1 - 311:CH56, 8192:UNDO

256 and following are data for the corresponding channel of the edit buff-

er. For reception by the 02R96, only the user area is valid. (4-127, 256-)

13.3.22 Gate library bulk dump request format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.23 Effect library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.1 - 127:Library no.128, 256:Effect1 - 259:Effect4, 8192:UNDO

256-263 are the data for the corresponding area of the edit buffer.

For reception by the 02R96, only the user area is valid. (61-127, 256-263)

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01011001 59

'Y'

0mmmmmmm mh

0-127 (COMP Library no.1-128),

0mmmmmmm ml

256- (Channel current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

COMP Library data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01011001 59

'Y'

0mmmmmmm mh

0-127 (COMP Library no.1-128),

0mmmmmmm ml

256- (Channel current data)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01000111 47

'G'

0mmmmmmm mh

0-127 (GATE Library no.1-128),

0mmmmmmm ml

256-351 (Channel current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

GATE Library data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01000111 47

'G'

0mmmmmmm mh

0-127 (GATE Library no.1-128),

0mmmmmmm ml

256-351 (Channel current data)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01000101 45

'E'

0mmmmmmm mh

0-127 (Effect Library no.1-128),

0mmmmmmm ml

256-259 (Effect1-4 current)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Effect Library data of block[bb]

0ddddddd de

326 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

13.3.24 Effect library bulk dump request format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.25 Channel library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.0 - 128:Library no.128, 256:CH1 - 311:CH56, 384:BUS1 -

391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R,

8192:UNDO

256 and following are data for the corresponding channel of the edit buff-

er. For reception by the 02R96, only the user area is valid. (2-128,256-)

13.3.26 Channel library bulk dump request format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.27 Input patch library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO

For reception by the 02R96, only the user area is valid. (1-32,256)

13.3.28 Input patch library bulk dump request format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.29 Output patch library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO

For reception by the 02R96, only the user area is valid. (1-32,256)

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01000101 45

'E'

0mmmmmmm mh

0-127 (Effect Library no.1-128),

0mmmmmmm ml

256-259 (Effect1-4 current)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001000 48

'H'

0mmmmmmm mh

0-128 (Channel Library no.0-128),

0mmmmmmm ml

256- (Current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Channel Library data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001000 48

'H'

0mmmmmmm mh

0-128 (Channel Library no.0-128),

0mmmmmmm ml

256- (Current data)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010010 52

'R'

0mmmmmmm mh

0-32 (Input patch Library no.0-32),

0mmmmmmm ml

256 (Current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Input patch Library data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01010010 52

'R'

0mmmmmmm mh

0-32 (Input patch Library no.0-32),

0mmmmmmm ml

256 (Current data)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

Format Details 327

02R96 Version 2—Owner’s Manual

13.3.30 Output patch library bulk dump request format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.31 Bus to stereo library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO

For reception by the 02R96, only the user area is valid. (1-32,256)

13.3.32 Bus to stereo library bulk dump request format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.33 Surround monitor library bulk dump format

The second and third bytes of the DATA NAME indicate the library num-

ber.

0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO

For reception by the 02R96, only the user area is valid. (1-32,256)

13.3.34 Surround monitor library bulk dump request

format

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001111 4F

'O'

0mmmmmmm mh

0-32 (Output patch Library no.0-32),

0mmmmmmm ml

256 (Current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Output patch Library data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001111 4F

'O'

0mmmmmmm mh

0-32 (Output patch Library no.0-32),

0mmmmmmm ml

256 (Current data)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001010 4A

'J'

0mmmmmmm mh

0-32 (Bus to stereo Library no.0-32),

0mmmmmmm ml

256 (Current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Bus to stereo Library data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001010 4A

'J'

0mmmmmmm mh

0-32 (Bus to stereo Library no.0-32),

0mmmmmmm ml

256 (Current data)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001011 4B

'K'

0mmmmmmm mh

0-32 (Surround Monitor Library

no.0-32),

0mmmmmmm ml

256 (Current data)

BLOCK INFO. 0ttttttt tt

total block number (minimum number

is 0)

0bbbbbbb bb

current block number (0-total block

number)

DATA 0ddddddd ds

Surround Monitor Library data of

block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

328 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

13.3.35 Automix bulk dump format

(compressed data)

The second byte of the DATA NAME indicates the library number.

0:Library no.1 - 15:Library no.16, 256:Current automix data

13.3.36 Automix bulk dump request format

(compressed data)

The second and third bytes of the DATA NAME indicate the library num-

ber. (See above)

13.3.37 Plug-in effect card bulk dump format

The second byte of the DATA NAME indicates the slot number.

0:SLOT 3 - 1:SLOT 4

The data is not received if the Developer ID and Product ID are different

than the card that is installed in the slot.

The data is not transmitted if a valid plug-in effect card is not installed.

13.3.38 Plug-in effect card bulk dump request format

The second and third bytes of the DATA NAME indicate the slot number.

(See above)

13.4 PARAMETER CHANGE

Reception

If [Parameter change ECHO] is ON, these messages are echoed.

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. A spe-

cific parameter is controlled when a Parameter Change is received. When

a Parameter Request is received, the current value of the specified param-

eter will be transmitted as a Parameter Change with the Device Number set

to [Rx CH].

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001011 4B

'K'

0mmmmmmm mh

0-32 (Surround Monitor Library

no.0-32),

0mmmmmmm ml

256 (Current data)

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01100001 61

'a'

0mmmmmmm mh

0-15 (Automix no.1-16), 256 (Current

data)

0mmmmmmm ml

BLOCK INFO.

0bbbbbbb bh

current block number (0-total block

number)

0bbbbbbb bl

0ttttttt th

total block number (minimum number

is 0)

0ttttttt tl

DATA 0ddddddd ds

Automix memory data of block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01100001 61

'a'

0mmmmmmm mh

0-15 (Automix no.1-16), 256 (Current

data)

0mmmmmmm ml

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

COUNT HIGH 0ccccccc ch

data count = ch * 128 + cl

COUNT LOW 0ccccccc cl

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001110 4E

'N'

0mmmmmmm mh

m=0-1 (SLOT 2-3)

0mmmmmmm ml

BLOCK INFO.

0bbbbbbb bh

current block number (0-total block

number)

0bbbbbbb bl

0ttttttt th

total block number (minimum number

is 0)

0ttttttt tl

0000iiii 0i

Developer id (High)

0000iiii 0i

Developer id (Low)

0000jjjj 0j

Product id (High)

0000jjjj 0j

Product id (Low)

DATA 0ddddddd ds

Plug-in Effect card memory data of

block[bb]

0ddddddd de

CHECK SUM 0eeeeeee ee

ee= (Invert ('L'+...+de)+1)&0x7F

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15 (Device number=MIDI Channel)

FORMAT No. 01111110 7E

Universal bulk dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110101 35

'5'

00110100 34

'4'

DATA NAME 01001110 4E

'N'

0mmmmmmm mh

m=0-1 (SLOT 2-3)

0mmmmmmm ml

EOX 11110111 F7

End of exclusive

Format Details 329

02R96 Version 2—Owner’s Manual

Transmission

If [Parameter change TX] is ON and you operate a parameter for which

Control Change transmission is not enabled, a parameter change will be

transmitted with [Tx CH] as the Device Number.

As a response to a Parameter Request, a parameter change will be transmit-

ted with [Rx CH] as the Device Number.

13.4.1 Parameter change basic format (02R96-speciﬁc)

*) For parameters with a data size of 2 or more, data for that size

will be transmitted.

13.4.2 Parameter Change basic format

(Universal format)

*) For parameters with a data size of 2 or more, data for that size

will be transmitted.

13.4.3 Parameter request basic format (02R96-speciﬁc)

13.4.4 Parameter request basic format

(Universal format)

13.4.5 Parameter Address

Consult your dealer for parameter address details.

13.4.6 Parameter change (Edit buffer)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the specified parameter will be controlled.

Transmission

If [Parameter change TX] is ON and a parameter that is not assigned in the

[Control Assign Table] is changed, the Parameter Change messages are

transmitted on [Tx CH] device number channel.

13.4.7 Parameter request (Edit buffer)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the value of the specified parameter will be transmit-

ted as a Parameter change.

13.4.8 Parameter change (Patch data)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the specified parameter will be controlled.

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 0ttttttt tt

Data type

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

DATA *) 0ddddddd dd

data

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 0ttttttt tt

Data type

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

DATA *) 0ddddddd dd

data

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 0ttttttt tt

Data type

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 0ttttttt tt

Data type

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00000001 01

Edit Buffer

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

DATA 0ddddddd dd

data

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00000001 01

Edit Buffer

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00000010 02

Patch data

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

DATA 0ddddddd dd

data

EOX 11110111 F7

End of exclusive

330

Appendix C: MIDI

02R96 Version 2—Owner’s Manual

13.4.9 Parameter request (Patch data)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the value of the specified parameter will be transmit-

ted as a Parameter change.

13.4.10 Parameter change (Setup memory)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the specified parameter will be controlled.

13.4.11 Parameter request (Setup memory)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the value of the specified parameter will be transmit-

ted as a Parameter change.

13.4.12 Parameter change (Backup memory)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the specified parameter will be controlled.

13.4.13 Parameter request (Backup memory)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the value of the specified parameter will be transmit-

ted as a Parameter change.

13.4.14 Parameter change

(Function call Library: store / recall)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the specified memory/library will be stored/recalled.

Transmission

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00000010 02

Patch data

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00000011 03

Setup data

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

DATA 0ddddddd dd

data

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00000011 03

Setup data

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00000100 04

Backup data

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

DATA 0ddddddd dd

data

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00000100 04

Backup data

0eeeeeee ee

Element no. (If ‘ee’ is 0, ‘ee’ is expanded

to two bytes)

0ppppppp pp

Parameter no.

0ccccccc cc

Channel no.

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010000 10

Function call

00ffffff ff

function

0mmmmmmm mh

number High

0mmmmmmm ml

number Low

DATA 0ccccccc ch

channel High

0ccccccc cl

channel Low

EOX 11110111 F7

End of exclusive

function number channel*1) rx/tx

SCENE RECALL 0x00 0-99, 8192 256 rx/tx*2)

EQ LIB RECALL 0x01 1-200, 8192 0-513 rx/tx

GATE LIB RECALL 0x02 1-128, 8192 0-95 rx/tx

COMP LIB RECALL 0x03 1-128, 8192 0-513 rx/tx

EFF LIB RECALL 0x04 1-128, 8192 0-3 rx/tx

CHANNEL LIB RECALL 0x06 0-128, 8192 0-513 rx/tx

INPATCH LIB RECALL 0x07 0-32, 8192 256 rx/tx

OUTPATCH LIB RECALL 0x08 0-32, 8192 256 rx/tx

Bus to Stereo LIB RECALL 0x09 0-32, 8192 256 rx/tx

Surround Monitor LIB RECALL 0x0A 0-32, 8192 256 rx/tx

AUTOMIX LIB RECALL 0x0B 1-16 256 rx/tx

SCENE STORE 0x20 1-99 256, 16383 rx/tx

EQ LIB STORE 0x21 41-200 0-513, 16383 rx/tx

GATE LIB STORE 0x22 5-128 0-95, 16383

COMP LIB STORE 0x23 37-128 0-513, 16383 rx/tx

EFF LIB STORE 0x24 xx*3)-128 0-3, 16383 rx/tx

CHANNEL LIB STORE 0x26 2-128 0-513, 16383 rx/tx

INPATCH LIB STORE 0x27 1-32 256, 16383 rx/tx

OUTPATCH LIB STORE 0x28 1-32 256, 16383 rx/tx

Format Details

331

02R96 Version 2—Owner’s Manual

*1) 0:CH1 - 55:CH56, 128:BUS1 - 135:BUS8, 256:AUX1 -

263:AUX8, 512:STEREO L - 513:STEREO R

Use 256 if the recall destination or store source is a single data

item.

Effect is 0:Effect1 - 3:Effect4

If the store destination is 16383 (0x3FFF), this indicates that the

library data has been changed by a external cause (such as bulk

reception) (only transmitted by the 02R96)

*2) This is also transmitted when a program that is not assigned in

the [Program Change Table] is recalled. (Normally, it is trans-

mitted by Program Change messages.)

*3) Varies with the firmware version.

13.4.15 Parameter change (Function call: title)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the title of the specified memory/library will be

changed.

Transmission

In response to a request, a Parameter Change message will be transmitted

on the [Rx CH].

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

* Varies with the firmware version.

13.4.16 Parameter request (Function call: title)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, a Parameter Change message will be transmitted on

the [Rx CH].

Refer to the above table for the Functions and Numbers.

13.4.17 Parameter change

(Function call: scene/library clear)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the specified memory/library will be cleared.

Transmission

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

* Varies with the firmware version.

13.4.18 Parameter change (Function call: pair)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, pairing will be enabled/disabled for the specified

channel. (Otherwise, these messages are reserved for future use.)

*1) 0:CH1 - 95:CH96, 128:BUS1 - 135:BUS8, 256:AUX1 -

267:AUX12

• In the case of PAIR, you must specify channels for which pairing

is possible.

• In the case of PAIR ON with COPY, you must specify Source

Channel as the copy source, and Destination Channel as the

copy destination.

Bus to Stereo LIB STORE 0x29 1-32 256, 16383 rx/tx

Surround Monitor LIB STORE 0x2A 1-32 256, 16383 rx/tx

AUTOMIX LIB STORE 0x2B 1-16 256, 16383 rx/tx

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010000 10

Function call

0100ffff 4f

title

0mmmmmmm mh

number High

0mmmmmmm ml

number Low

DATA 0ddddddd dd

title 1

0ddddddd dd

title x (depend on the library)

EOX 11110111 F7

End of exclusive

function number size

SCENE LIB TITLE 0x40 0-99,256 (0:response only) 16

EQ LIB TITLE 0x41 1-200 (1-40:response only) 16

GATE LIB TITLE 0x42 1-128 (1-4:response only) 16

COMP LIB TITLE 0x43 1-128 (1-36:response only) 16

EFF LIB TITLE 0x44 1-128 (1-xx(*):response only) 16

CHANNEL LIB TITLE 0x46 0-128 (0-1:response only) 16

INPATCH LIB TITLE 0x47 0-32 (0:response only) 16

OUTPATCH LIB TITLE 0x48 0-32 (0:response only) 16

Bus to Stereo LIB TITLE 0x49 0-32 (0:response only) 16

Surround Monitor LIB TITLE 0x4A 0-32 (0:response only) 16

AUTOMIX LIB TITLE 0x4B 1-16 16

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010000 10

Function call

function number channel*1) rx/tx

0100ffff 4f

TITLE 0mmmmmmm mh

number High

0mmmmmmm ml

number Low

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010000 10

Function call

0110ffff 6f

clear function

0mmmmmmm mh

number High

0mmmmmmm ml

number Low

EOX 11110111 F7

End of exclusive

function number

SCENE LIB CLEAR 0x60 1-99

EQ LIB CLEAR 0x61 41-200

GATE LIB CLEAR 0x62 5-128

COMP LIB CLEAR 0x63 37-128

EFF LIB CLEAR 0x64 xx(*)-128

CHANNEL LIB CLEAR 0x66 2-128

INPATCH LIB CLEAR 0x67 1-32

OUTPATCH LIB CLEAR 0x68 1-32

Bus to Stereo LIB CLEAR 0x69 1-32

Surround Monitor LIB CLEAR 0x6A 1-32

AUTOMIX LIB CLEAR 0x6B 1-16

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010001 11

Function call Pair

0000ffff 0f

function

0sssssss sh

Source channel H

0sssssss sl

Source channel L

DATA 0ddddddd dh

Destination channel H

0ddddddd dl

Destination channel L

EOX 11110111 F7

End of exclusive

function channel

PAIR ON with COPY 0x00 *1)

PAIR ON with RESET BOTH 0x01 *1)

PAIR OFF 0x02 *1)

332 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

13.4.19 Parameter change (Function call: effect)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the corresponding effect’s function activates (de-

pending on the effect type).

• This does not activate when the effect type is different.

13.4.20 Parameter Change (Sort table data)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

The Scene memory Sort table is updated as soon as the messages are re-

ceived.

If Studio Manager performs a scene memory sort, it will transmit this data

to the 02R96.

Transmission

When scene memory sort is executed on the 02R96, the memory sort table

will be transmitted to Studio Manager.

Studio Manager will sort the memories according to this data.

8-7 conversion is performed on the data area in the same way as for bulk.

13.4.21 Parameter Request (Sort table data)

Reception

This is received if [Parameter change RX] is ON and the [Rx CH] matches

the device number included in the SUB STATUS.

This is echoed if [Parameter change ECHO] is ON.

Sort table data is transmitted as Parameter Change messages on the [Rx

CH] channel.

13.4.22 Parameter change (Function call: attribute)

Reception

This is received if [Parameter change RX] is ON and the [Rx CH] matches

the device number included in the SUB STATUS.

This is echoed if [Parameter change ECHO] is ON.

When this is received, the attribute of the specified memory/library will be

changed.

Transmission

In response to a request, a Parameter Change message will be transmitted

on the [Rx CH].

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

13.4.23 Parameter request (Function call: attribute)

Reception

This is received if [Parameter change RX] is ON and the [Rx CH] matches

the device number included in the SUB STATUS. This is echoed if [Param-

eter change ECHO] is ON.

When this is received, a Parameter Change message will be transmitted on

the [Rx CH].

Refer to the above table for the Functions and Numbers.

13.4.24 Parameter change (Function call: link)

Reception

This is received if [Parameter change RX] is ON and the [Rx CH] matches

the device number included in the SUB STATUS. This is echoed if [Param-

eter change ECHO] is ON.

When this is received, the patch link data of the specified scene will be

modified.

Transmission

In response to a request, a Parameter Change message will be transmitted

on the [Rx CH].

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010010 12

Function call Effect Event

0000ffff 0f

function

00000000 00

0ppppppp pp

Release:0, Press:1

DATA 00000000 00

0eeeeeee ee

Effect number (0:Effect1 - 3:Effect4)

EOX 11110111 F7

End of exclusive

function channel

Freeze Play button 0x00 0:Effect1 - 3:Effect4

Freeze Record button 0x01 0:Effect1 - 3:Effect4

Auto Pan 5.1 Trigger Button 0x02 0:Effect1 - 3:Effect4

Auto Pan 5.1 Reset Button 0x03 0:Effect1 - 3:Effect4

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00010011 13

Library sort table

0000ffff 0f

Library type

DATA 0ddddddd ds

Data

0ddddddd de

Data

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00010011 13

Library sort table

0000ffff 0f

Library type

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010100 14

Function call

0000ffff 0f

attribute

0mmmmmmm mh

number High

0mmmmmmm ml

number Low

DATA 0ttttttt th

attribute (protect:0x0001,

normal:0x0000)

0ttttttt tl

EOX 11110111 F7

End of exclusive

function number

SCENE LIB ATTRIBUTE 0x00 0-99 (0:response only)

AUTOMIX LIB ATTRIBUTE 0x0B 1-16

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010100 14

Function call

0000ffff 0f

ATTRIBUTE 0mmmmmmm mh

number High

0mmmmmmm ml

number Low

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010100 14

Function call

0010ffff 2f

link

0mmmmmmm mh

number High

0mmmmmmm ml

number Low

Format Details 333

02R96 Version 2—Owner’s Manual

13.4.25 Parameter request (Function call: link)

Reception

This is received if [Parameter change RX] is ON and the [Rx CH] matches

the device number included in the SUB STATUS. This is echoed if [Param-

eter change ECHO] is ON.

When this is received, a Parameter Change message will be transmitted on

the [Rx CH].

Refer to the above table for the Functions and Numbers.

13.4.26 Parameter change (Key remote)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the same processing that is executed when the key

specified by Address is pressed (released).

Transmission

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

13.4.27 Parameter change (Remote meter)

When transmission is enabled by receiving a Request of Remote meter, the

specified meter information is transmitted every 50 msec for 10 seconds.

When you want to transmit meter information continuously, a Request

must be transmitted continuously within every 10 seconds.

Reception

This is echoed if [Parameter change ECHO] is ON.

Transmission

When transmission has been enabled by a Request, the parameter specified

by Address will be transmitted on the [Rx CH] channel at 50 msec intervals

for a duration of 10 seconds.

Transmission will be disabled if the power is turned off and on again, or if

the PORT setting is changed.

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

13.4.28 Parameter request (Remote meter)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, data of the specified address is transmitted on the

[Rx CH] at intervals of 50 msec as a rule, for a period of 10 seconds.

If Address UL= 0x7F is received, transmission of all meter data will be halt-

ed immediately. (disable)

Transmission

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

13.4.29 Parameter change (Remote time counter)

When transmission is enabled by receiving a Request of Remote Time

Counter, the Time Counter data is transmitted every 50 msec for 10 sec-

onds. When you want to transmit Counter information continuously, a

Request must be transmitted within every 10 seconds.

Reception

This is echoed if [Parameter change ECHO] is ON.

Transmission

When transmission is enabled by receiving a Request, the Time Counter

information is transmitted on [RxCH] channel every 50 msec for 10 sec-

onds.

Transmission will be disabled if the power is turned off and on again, or if

the PORT setting is changed.

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

DATA 0iiiiiii ih

inpatch

0iiiiiii il

0ooooooo oh

outpatch

0ooooooo ol

EOX 11110111 F7

End of exclusive

function number

SCENE LIB LINK 0x20 0-99 (0:response only)

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 01111111 7F

Universal

ADDRESS 00010100 14

Function call

0010ffff 2f

link

0mmmmmmm mh

number High

0mmmmmmm ml

number Low

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00100000 20

Key remote

0kkkkkkk kk

Key address H

0kkkkkkk kk

Key address M

0kkkkkkk kk

Key address L

DATA 0ppppppp pp

Release:0, Press:1

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00100001 21

Remote meter

0mmmmmmm mm

ADDRESS UL

0mmmmmmm mm

ADDRESS LU

0mmmmmmm mm

ADDRESS LL

DATA 0ddddddd dd

data1 H

0ddddddd dd

Data1 L

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00100001 21

Remote meter

0mmmmmmm mm

ADDRESS UL

0mmmmmmm mm

ADDRESS LU

mmmmmmm mm

ADDRESS LL

0ccccccc ch

Count H

0ccccccc cl

Count L

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00100010 22

Remote Time counter

0000tttt 0t

0:Time code, 1:Measure.Beat.Clock

0ddddddd dd

Hour / Measure H

0ddddddd dd

Minute / Measure L

DATA 0ddddddd dd

Second / Beat

0ddddddd dd

Frame / Clock

EOX 11110111 F7

End of exclusive

334 Appendix C: MIDI

02R96 Version 2—Owner’s Manual

13.4.30 Parameter request (Remote time counter)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When this is received, the Time Counter information is transmitted on the

[Rx CH] channel every 50 msec for 10 seconds.

When the second byte of Address is received on 0x7F, data transmission

will be halted immediately. (disable)

Transmission

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

13.4.31 Parameter change (Automix status)

When transmission is enabled by receiving a Request of Automix status,

the Automix Status data is transmitted every second for 10 seconds. When

you want to transmit the Automix Status information continuously, the

Request must be transmitted continuously minimum within 10 seconds

interval. The data is transmitted continuously while the transmission is en-

abled, even when the Automix Status on the 02R96 has been changed.

Reception

This is echoed if [Parameter change ECHO] is ON.

Transmission

When the transmission is set to enable by receiving a Request. The Auto-

mix Status data is transmitted on the [Rx CH] channel every second for 10

seconds. The data is transmitted continuously while the transmission is

enabled, even when the Automix Status on the 02R96 has been changed.

Transmission will be disabled if the power is turned off and on again, or if

the PORT setting is changed.

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

13.4.32 Parameter request (Automix status)

Reception

If [Parameter change RX] is ON and the [Rx CH] matches the Device

Number included in the SUB STATUS, these messages are received. If [Pa-

rameter change ECHO] is ON, these messages are echoed.

When the data is received, the Automix Status data is transmitted on the

[Rx CH] every second for 10 seconds.

When the second byte of Address is received on 0x7F, data transmission

will be halted immediately (disable).

Transmission

If [Parameter change ECHO] is ON, this message will be retransmitted

without change.

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00100010 22

Remote Time counter

0ddddddd dd

0:Transmission request,

0x7F:Transmission stop request

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0001nnnn 1n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00100011 23

Automix status

00000000 00

0000dddd 0d

Automix status H

0000dddd 0d

Automix status L

EOX 11110111 F7

End of exclusive

STATUS 11110000 F0

System exclusive message

ID No. 01000011 43

Manufacture's ID number (YAMAHA)

SUB STATUS 0011nnnn 3n

n=0-15 (Device number=MIDI Channel)

GROUP ID 00111110 3E

MODEL ID (digital mixer)

MODEL ID 00001011 0B

02R96

ADDRESS 00100011 23

Automix status

0ddddddd dd

0:Transmission request,

0x7F:Transmission stop request

EOX 11110111 F7

End of exclusive

MB02R96 Peak Meter Bridge 335

02R96 Version 2—Owner’s Manual

Appendix D: Options

MB02R96 Peak Meter Bridge

Installation

1 Unscrew the four ﬁxing screws 1 on the 02R96 rear panel to which the

meter bridge will be attached.

2 Using the four supplied 8 mm screws B, attach the brackets to the meter

bridge, as shown below.

3 Align the meter bridge with the 02R96, and, using two of the supplied

12 mm screws

C, screw in the top two ﬁxing screws, but don’t tighten them

fully.

4 Screw in the bottom two screws C and tighten them fully.

5 Fully tighten the top two screws C.

6 Connect the meter bridge cable to the 02R96’s METER port.

1 1

336 Appendix D: Options

02R96 Version 2—Owner’s Manual

Meter Bridge Controls

A Channel indicators

These indicators show which channels are currently being

metered: Input Channels 1–24, 25–48, or 49–56 and Aux

Sends 1–8 and Bus Outs 1–8.

B INPUT METERING POSITION button & indicators

This button is used to set the metering position for Input

Channels to pre-EQ, pre-fader, or post-fader. It works in

unison with the PRE EQ, PRE FADER, and POST FADER

buttons for Input Channels on the Meter pages. The indica-

tors show the current setting.

C PEAK HOLD button

This button is used to turn the Peak Hold function on and

off. Its indicator lights up when Peak Hold is on. It works in

unison with the PEAK HOLD buttons on the Meter pages.

D LAYER buttons

These button are used to select Layers for metering. The

button indicator for the currently selected Layer lights up. If

the Meter Follow Layer preference is on (see page 231),

these Layers are selected automatically when the LAYER

buttons on the 02R96 are pressed.

E OUTPUT METERING POSITION button &

indicators

This button is used to set the metering position for Output

Channels to pre-EQ, pre-fader, or post-fader. It works in

unison with the PRE EQ, PRE FADER, and POST FADER

buttons for Output Channels on the Meter pages. The indi-

cators show the current setting.

F Meters

These 12-segment LED meters display the signals levels of

the channels on the currently selected Layer.

G STEREO meters

These 32-segment meters display the signal levels of the Ste-

reo Out.

H CONTROL ROOM button

This button is used to display the level of the Control Room

signal on the STEREO meters. Its indicator lights up when

the STEREO meters are displaying Control Room levels.

I BUS meters

These 12-segment LED meters display Bus Out signal levels.

OVER

SP02R96 Wooden Side Panels 337

02R96 Version 2—Owner’s Manual

SP02R96 Wooden Side Panels

Attach the side panels as shown below.

338 Index

02R96 Version 2—Owner’s Manual

Index

Symbols

+48V ON/OFF switches 20

Numerics

1–24 button 30

25–48 button

2TR I/O

channel status

dithering outputs

patching digital outputs

patching direct outs

patching inputs

sampling rate conversion

2TR IN ANALOG 1 +4 dB (BAL)

2TR IN ANALOG 2 –10 dBV (UNBAL)

2TR IN DIGITAL AES/EBU 1

2TR IN DIGITAL COAXIAL 2 & 3

2TR OUT DIGITAL AES/EBU 1

2TR OUT DIGITAL COAXIAL 2 & 3

2TR OUT DIGITAL OUT PATCH page

3-1 surround mode

5.1 surround mode

6.1 surround mode

96 kHz, 88.2 kHz, 48 kHz, 44.1 kHz,

selecting

Absolute mode, automix 173

AC IN connector

AD inputs

connectors

in detail

patching

patching output channel insert ins

summary

talkback

142

Adat I/O card

Add-On Effects

157

AES/EBU I/O card

ALT LAYER

AMP SIMULATE

267

Analog I/O & the AD input section

chapter

Architecture

channels

I/O

ASSIGN 1 & 2 buttons, control room

ASSIGN 1 & 2 buttons, encoder mode

Assigning

control changes

194

parameters to encoders

program changes

193

Documenttranscriptie

DIGITAL MIXING CONSOLE Owner’s Manual Keep This Manual For Future Reference. EN 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 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. 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 VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion. 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. VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. 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 / THE NETHERLANDS • Dit apparaat bevat een lithium batterij voor geheugen back-up. • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur of gelieve dan contact op te nemen met de vertegenwoordiging van Yamaha in uw land. • For the removal of the battery at the moment of the disposal at the end of life please consult your retailer or Yamaha representative office in your country. • Gooi de batterij niet weg, maar lever hem in als KCA. • Do not throw away the battery. Instead, hand it in as small chemical waste. (lithium disposal) • Explanation of Graphical Symbols CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The above warning is located on the side of the unit. The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. Warnings 3 Important Information Warnings • • • • • • • • • • • • • • • • Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. Failure to do so is a fire and electrical shock hazard. Be sure to connect to an appropriate outlet with a protective grounding connection. Improper grounding can result in electrical shock. Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result. Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a fire and electrical shock hazard. In particular, be careful not to place heavy objects on a power cord covered by a carpet. 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. This unit is equipped with a dedicated ground connection to prevent electrical shock. Before connecting the power plug to an AC outlet, be sure to ground the unit. If the power cord has a three-pin plug, it will provide sufficient grounding so long as the AC outlet is grounded correctly. Do not scratch, bend, twist, pull, or heat the power cord. A damaged power cord is a fire and electrical shock hazard. Do not remove the unit’s cover. You could receive an electrical shock. If you think internal inspection, maintenance, or repair is necessary, contact your dealer. Do not modify the unit. Doing so is a fire and electrical shock hazard. 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. Use only the included power cord for this unit. Using other types may be a fire and electrical shock hazard. The 02R96 has four rear-panel slots for installing mini-YGDAI cards. For technical reasons, certain card combinations are not supported. Before installing any cards, check the Yamaha web site to if your card is compatible. Installing cards that are not endorsed by Yamaha may cause electrical shock, fire, or damage to the unit. If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a replacement. Using the unit with a damaged power cord is a fire and electrical shock hazard. If you notice any abnormality, such as smoke, odor, or noise, or if a foreign object or liquid gets inside the unit, turn it off immediately. Remove the power cord from the AC outlet. Consult your dealer for repair. Using the unit in this condition is a fire and electrical shock hazard. Should this unit be dropped or the cabinet be damaged, turn the power switch off, remove the power plug from the AC outlet, and contact your dealer. If you continue using the unit without heeding this instruction, fire or electrical shock may result. Cautions • Keep this unit away from the following locations: — Locations exposed to oil splashes or steam, such as near cooking stoves, humidifiers, etc. — Unstable surfaces, such as a wobbly table or slope. — Locations exposed to excessive heat, such as inside a car with all the windows closed, or places that receive direct sunlight. — Locations subject to excessive humidity or dust accumulation. 02R96 Version 2—Owner’s Manual 4 Important Information • • • • • • • • • • • • • Hold the power cord plug when disconnecting it from an AC outlet. Never pull the cord. A damaged power cord is a potential fire and electrical shock hazard. Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard. This unit has ventilation holes along the front underside and at the rear to prevent the internal temperature from rising too high. Do not block them. Blocked ventilation holes are a fire hazard. In particular, do not operate the unit while it’s on its side, is upside down, or while it’s covered with a cloth or dust sheet. If you are using the optional MB02R96 Peak Meter Bridge, do not hold only the MB02R96 when moving the 02R96. Otherwise, the meter brackets may be damaged, the main unit may malfunction, or you may be injured if the unit falls. This unit is heavy. Use two or more people to carry it. When you transport or move the 02R96 with the MB02R96 attached, do not permit impact or stress on the cable connector that connects the MB02R96 to the 02R96. Otherwise, malfunction may occur. To relocate the unit, turn the power switch off, remove the power plug from the AC outlet, and remove all connecting cables. Damaged cables may cause fire or electrical shock. When setting up the product, make sure that the AC outlet you are using is easily accessible. If some trouble or malfunction occurs, immediately turn off the power switch and disconnect the plug from the outlet. Even when the power switch is turned off, electricity is still flowing to the product at the minimum level. When you are not using the product for a long time, make sure to unplug the power cord from the wall AC outlet. If you know you will not use this unit for a long period of time, such as when going on vacation, remove the power plug from the AC outlet. Leaving it connected is a potential fire hazard. The inside of the unit should be cleaned periodically. Dust accumulation inside the unit may cause malfunction and is a potential fire hazard. Consult your dealer for information about cleaning. To prevent electrical shock when cleaning the unit, remove the power plug from the AC outlet. Do not apply oil, grease, or contact cleaner to the faders. Doing so may cause problems with electrical contact or fader motion. Do not use the headphones for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. Operating Notes • • • • • • • XLR-type connectors are wired as follows: pin 1–ground, pin 2–hot (+), and pin 3–cold (–). Insert TRS phone jacks are wired as follows: sleeve–ground, tip–send, and ring–return. The performance of components with moving contacts, such switches, rotary controls, faders, and connectors, deteriorates over time. The rate of deterioration depends on the operating environment and is unavoidable. Consult your dealer about replacing defective components. Using a mobile telephone near this unit may induce noise. If noise occurs, use the telephone away from the unit. If the message “WARNING Low Battery!” appears when you turn on this unit, contact your dealer as soon as possible about replacing the internal data backup battery. The unit will still operate correctly, but data other than the presets will be lost. Before replacing the batteries, back up your data to a memory card, or another unit by using MIDI Bulk Dump. The digital circuits of this unit may induce a slight noise into nearby radios and TVs. If noise occurs, relocate the affected equipment. 02R96 Version 2—Owner’s Manual Interference • • 5 When connecting D-sub cables, be sure to tighten the screws on both sides of the connector securely. To disconnect the cable, loosen the screws completely, then remove the cable by holding the connector part. Do not remove the plug by pulling the cable while the screws are still attached. Otherwise, the connector may be damaged, leading to malfunction. When you change the wordclock settings on any device in your digital audio system, some devices may output noise, so turn down your power amps beforehand, otherwise your speakers may be damaged. Interference The 02R96 uses high-frequency digital circuits that may cause interference on radio and television equipment located nearby. If interference is a problem, relocate the affected equipment. Using a mobile telephone near the unit may induce noise. In this case use the telephone away from the unit. 02R96 Exclusion of Certain Responsibility Manufacturer, importer, or dealer shall not be liable for any incidental damages including personal injury or any other damages caused by improper use or operation of the 02R96. Trademarks ADAT MultiChannel Optical Digital Interface is a trademark and ADAT and Alesis are registered trademarks of Alesis Corporation. Apogee is a trademark of Apogee Electronics, Inc. Apple, Mac, and Power Macintosh are registered trademarks and Mac OS is a trademark of Apple Corporation, Inc. HUI is a trademark of Mackie Designs, Inc. Intel and Pentium are registered trademarks of Intel Corporation. Nuendo is a registered trademark of Steinberg Media Technologies AG. Pro Tools is a trademark or registered trademark of Digidesign and/or Avid Technology, Inc. Tascam Digital Interface is a trademark and Tascam and Teac are registered trademarks of Teac Corporation. Microsoft and Windows are registered trademarks of Microsoft Corporation, Inc. Waves is a trademark of Waves, Inc. Yamaha is a trademark of Yamaha Corporation. Nuendo and Cubse SX are trademarks of Steinberg Media Technologies GmbH. All other trademarks are the property of their respective holders and are hereby acknowledged. Copyright No part of the 02R96, its software, or this Owner’s Manual may be reproduced or distributed in any form or by any means without the prior written authorization of Yamaha Corporation. © 2003 Yamaha Corporation. All rights reserved. Yamaha Web Site Further information about the 02R96, related products, and other Yamaha professional audio equipment is available on the Yamaha Professional Audio Web site at: <http://www.yamahaproaudio.com/>. Package Contents • • • • • 02R96 Digital Mixing Console CD-ROM Power cord This manual Studio Manager Installation Guide Optional Extras • • • MB02R96 Peak Meter Bridge SP02R96 Wooden Side Panels mini YGDAI I/O cards 02R96 Version 2—Owner’s Manual 6 Important Information About this Owner’s Manual This Owner’s Manual covers the 02R96 Digital Mixing Console. All the information you need in order to operate the 02R96 Digital Mixing Console is contained in this manual. Use the table of contents to familiarize yourself with the manual’s organization and to locate tasks and topics, and use the index to locate specific information. Before diving in, it’s recommend that you read the “Operating Basics” chapter, starting on page 43. Each chapter of this manual discusses a specific section or function of the 02R96. The Input and Output Channels are explained in the following chapters: “Input Channels,” “Bus Outs,” “Aux Sends,” and “Stereo Out.” Where possible, these chapters have been organized in order of signal flow, from input through to output. Functions such as EQ and Delay are common to all channels. Rather than repeat the same information over and over, these functions are explained once in the “Common Channel Functions” chapter, which starts on page 107. The Input Channels, Bus Outs, Aux Sends, and Stereo Out chapters contain cross-references to the relevant sections of the “Common Channel Functions” chapter. Conventions Used in this Manual The 02R96 features two types of button: physical buttons that you can press (e.g., ENTER and DISPLAY) and buttons that appear on the display pages. References to physical buttons are enclosed in square brackets, for example, “press the [ENTER] button.” References to display page buttons are not emphasized, for example, “press the ENTER button.” Display pages can be selected by using the [DISPLAY] buttons or the Left Tab Scroll, Right Tab Scroll, and F1–4 buttons below the display. In order to simplify explanations, only the [DISPLAY] button method is mentioned in the procedures. See “Selecting Display Pages” on page 45 for details on all the ways in which pages can be selected. Installing the 02R96 The 02R96 should be placed on a strong and stable surface, somewhere that complies with the warnings and cautions listed in the previous sections. New Functions in 02R96 Version 2 The following functions have been added to the 02R96 as part of the upgrade of the firmware from version 1.2 to version 2.0. Control Surface • • Encoder mode now features an assignable function, ALT LAYER, which enables you to control the channel level for all 48 channels without switching between layers. → page 50 There are now 48 assignable Encoder mode parameters. → page 52 Input Channels • • • • • Surround Pan supports 6.1 Surround. → page 85 You can change the bus assigned to each surround pan channel. → page 87 The Fader Group Master function enables you to control the overall level of the Fader group channels simultaneously while maintaining the relative level balance of each channel. → page 80 The Mute Group Master function enables you to mute all channels in a Mute group simultaneously. → page 79 The on/off status of the Follow Pan button is reflected in the pan and Surround Pan settings. → page 82 02R96 Version 2—Owner’s Manual New Functions in 02R96 Version 2 7 Aux Sends • • • • You can exclude channels from Aux Sends (Mix Minus). → page 104 You can copy the channel fader positions to Aux Sends. → page 104 You can set all Send levels to nominal simultaneously. → page 99 If an Aux Send is set to pre-fader, you can set the Pre point before or after the [ON] button. → page 99 Common Channel Functions • • • • • • Input and Output Channel Meter pages indicate the gain reduction being applied by the Gate and Compressor. → page 108 You can select whether the Input Channel’s Pan setting is used when the Input Channel Solo signal is set to Pre Fader. → page 121 Raising the channel faders for soloed Channels from –∞ can unsolo the Channels. → page 121 The AUX SELECT [AUX 1]–[AUX 8] buttons enable you to solo or unsolo Aux Sends. → page 121 The Fader Group Master function enables you to control the overall level of the Fader group channels simultaneously while maintaining the relative level balance of each channel. → page 127 The Mute Group Master function enables you to mute all channels in a Mute group simultaneously. → page 129 Monitor • • • • • • • The level of the Surround Monitor can be reset to 85dB SPL. → page 138 A new parameter has been added to Base Management on the Surround Monitor Setup page. → page 140 Surround Monitor is also available when Surround mode is set to Stereo. You can simultaneously select BUS and SLOT on the Surround Monitor page. You can select from Slot Channel 9 through Channel 16 as Surround Monitor signal sources. You can simultaneously select 2TRD, D2, D3, A1, or A2, and STEREO, ASSIGN1, or ASSIGN2 as Control Monitor signal sources. You can select the Talkback mic signal as the Studio Monitor source. → page 142 Internal Effects and Plug-ins • You can add optional Add-On Effects to the preset effects. → page 157 Scene Memory • • • • You can globally apply the Fade Time setting to all scenes. → page 166 You can globally apply the Recall Safe setting to all scenes. → page 167 Any channel or parameter settings in the current scene can be copied and pasted into other scenes. → page 168 You can select more parameters for the Recall Safe function. → page 167 Automix • • • You can insert the current mix parameters in a region specified in the Automix data. → page 180 Touching the faders can punch parameter values in and out if the corresponding OVERWRITE button is set to on. → page 171 A parameter related to timecode synchronization has been added. → page 234 02R96 Version 2—Owner’s Manual 8 Important Information Remote Control • • The Joystick or the controls in the SELECTED CHANNEL section enable you to control Pro Tools Surround Pan settings. The USER DEFINED KEYS enable you to switch windows in the included Studio Manager application software. Other Functions • • • • • • • • • A user-assignable layer enables you to assign Channels to Remote layer targets. → page 228 You can also select General DAW (for DAW software that supports the Pro Tools protocol) or Cubase SX as the target for a Remote layer. → page 219 Yamaha’s proprietary Advanced DAW protocol has been added to Nuendo, Cubase SX, and General DAW. This enables you to control these devices using the 02R96’s SELECTED CHANNEL section. (Controllable functions vary depending on the DAW software and version you are using.) You can now assign any of 174 functions to the USER DEFINED KEYS. → page 238 You can assign the selected channels to a Fader or Mute group using the USER DEFINED KEYS. → page 238 An Operation Lock function prevents unintentional edits and uses a password to restrict access to panel operation. → page 235 The Oscillator can output sine wave signals with different frequencies to the L and R channels and odd and even buses. → page 234 You can set the Auto Direct Out On check box so that if you change a channel’s Direct Out destination, the channel Direct Out will automatically be enabled. → page 231 You can set the Routing ST Pair Link check box so that the routing from paired Channels to the Stereo Bus is linked. → page 231 This product contains a battery that contains perchlorate material. Perchlorate Material—special handling may apply, See www.dtsc.ca.gov/hazardouswaste/perchlorate. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (Perchlorate) COMPLIANCE INFORMATION STATEMENT (DECLARATION OF CONFORMITY PROCEDURE) Responsible Party : Address : Telephone : Type of Equipment : Model Name : Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620 714-522-9011 Digital Mixing Console 02R96 This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: 1) this device may not cause harmful interference, and 2) this device must accept any interference received including interference that may cause undesired operation. See user manual instructions if interference to radio reception is suspected. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (FCC DoC) This product contains a high intensity lamp that contains a small amount of mercury. Disposal of this material may be regulated due to environmental considerations. For disposal information in the United States, refer to the Electronic Industries Alliance web site: www.eiae.org * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. 02R96 Version 2—Owner’s Manual (mercury) 9 Contents Contents 1 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 2 Control Surface & Rear Panel . . . . . . . . . . . . . . . . 19 Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 3 Operating Basics . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Turning On & Off the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting Display Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Display Parameter Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Parameter Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Confirmation Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Title Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting Encoder Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assigning Parameters to the ENCODER MODE Assign Buttons . . . . . . . . . . . . . 4 Analog I/O & the AD Input Section . . . . . . . . . . . 53 AD Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Control Room Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Studio Monitor Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Omni Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2TR Analog INs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 53 54 54 54 54 54 Digital I/O & Cascading . . . . . . . . . . . . . . . . . . . . 55 Wordclocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2TR Digital Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2TR Digital Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2TR In Sampling Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Slot I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dithering Digital Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring Digital Input Channel Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cascading Consoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 43 43 44 45 45 46 46 46 47 48 49 50 51 55 57 58 58 59 62 62 63 Input & Output Patching . . . . . . . . . . . . . . . . . . . 66 Input Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Output Patching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Naming Input & Output Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patch Select Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patching with the Encoders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 68 71 71 72 02R96 Version 2—Owner’s Manual 10 Contents 7 Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Patching Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reversing the Signal Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attenuating Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ’ing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Input Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Input Channel Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Compressing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Input Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Delaying Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting Input Channels (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Input Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Input Channel Mute Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Input Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Input Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Group Master for Input Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Panning Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Surround Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assigning Surround Channels to Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sending Input Channels to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soloing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Direct Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pairing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Input Channel Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Naming Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the MS Stereo Microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 73 73 73 74 75 75 76 76 76 77 77 77 78 79 79 79 80 82 83 85 87 90 90 90 90 90 90 91 Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Stereo Out Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patching the Stereo Out to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Input Channels to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attenuating the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ’ing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stereo Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Compressing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting the Stereo Out (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Stereo Out Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Balancing the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Delaying the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Stereo Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Naming the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02R96 Version 2—Owner’s Manual 92 92 92 92 92 92 92 92 92 93 93 93 93 93 93 93 94 94 94 94 11 Contents 9 Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Patching Bus Outs to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing Input Channels to Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Metering Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Monitoring Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attenuating Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ’ing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bus Out Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Compressing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting Bus Outs (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Bus Out Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Delaying Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soloing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pairing Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sending Bus Outs to the Stereo Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Bus Out Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Naming Bus Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 95 95 95 95 95 95 95 95 95 96 96 96 96 96 96 96 97 97 97 10 Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Patching Aux Send Masters to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Setting the Aux Send Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Pre-Fader or Post-Fader Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Setting Aux Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Aux Send Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Viewing Aux Send Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Panning Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Excluding Certain Channels from Aux Sends (Mix Minus) . . . . . . . . . . . . . . . . . 104 Copying Channel Fader Positions to Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Metering Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Monitoring Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Attenuating Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 EQ’ing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Grouping Master EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Aux Send Master Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Compressing Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Grouping Master Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Muting Aux Send Masters (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Grouping Master Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Settings Aux Send Master Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Grouping Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Delaying Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Soloing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Pairing Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Viewing Aux Send Master Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Naming Aux Send Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 02R96 Version 2—Owner’s Manual 12 Contents 11 Common Channel Functions . . . . . . . . . . . . . . . . 107 Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attenuating Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Output Channel EQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Compressing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Output Channel Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Delaying Channel Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pairing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Output Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Group Master for the Output Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grouping Output Channel Mutes (ON/OFF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . Output Channel Mute Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Channel Parameter Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Channel Fader Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Naming Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 110 111 114 115 116 119 120 121 123 126 127 128 129 129 130 134 12 Monitoring & Talkback . . . . . . . . . . . . . . . . . . . . . 136 Control Room Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Studio Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Surround Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 137 138 142 13 Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 About the Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . General Library Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Channel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Input Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Output Patch Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bus to Stereo Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gate Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Comp Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EQ Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automix Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Surround Monitor Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 143 144 145 145 146 147 148 149 150 151 152 14 Internal Effects & Plug-Ins . . . . . . . . . . . . . . . . . . 153 About the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patching Effects Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preset Effects & Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adding Optional Add-On Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02R96 Version 2—Owner’s Manual 153 153 153 156 157 158 159 160 Contents 13 15 Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . 162 About Scene Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Auto Scene Memory Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Storing & Recalling Scenes with the SCENE MEMORY Buttons . . . . . . . . . . . . . 164 Using the Scene Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 Fading Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Recalling Scenes Safely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Sorting Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Copying and Pasting a Scene (Global Paste) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 16 Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 About Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 What’s Recorded in an Automix? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Automix Main Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Channel Strip [AUTO] Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Automix Memory Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Fader Edit Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Selecting the Timecode Source & Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Creating a Time Signature Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Recording an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Inserting Mix Parameters into Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Rerecording Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Parameter Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Punching In & Out Individual Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Playing Back an Automix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Editing Events Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Event Edit Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 17 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 MIDI & the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 MIDI Port Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 MIDI Channel Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Assigning Scenes to Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Assigning Parameters to Control Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Controlling Parameters by Using Parameter Changes . . . . . . . . . . . . . . . . . . . . . . 194 Using Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 02R96 Version 2—Owner’s Manual 14 Contents 18 Pro Tools Remote Layer . . . . . . . . . . . . . . . . . . . . 196 Configuring Windows Computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Macintosh Computers (MacOS 8.6 to 9.2.2) . . . . . . . . . . . . . . . . . . Configuring Macintosh Computer (MacOS X) . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Control Surface Operation with the Pro Tools Remote Layer . . . . . . . . . . . . . . . Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Channel Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Panning Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Viewing Send Destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Sends as Pre or Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Send Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Panning Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assigning Inserts/Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bypassing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resetting Faders, Sends, & Panpots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Navigating the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making Fine Adjustments to the Selected Region . . . . . . . . . . . . . . . . . . . . . . . . . Scrub & Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Panner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 196 196 197 197 199 209 209 209 209 210 210 210 210 210 210 211 212 213 214 214 214 215 215 215 216 217 19 Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . 219 About the Remote Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 About Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 GPI (General Purpose Interface) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 20 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Using the User Assignable Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the User Defined Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Operation Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Checking the Battery and the System Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . Initializing the 02R96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Initializing the Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02R96 Version 2—Owner’s Manual 228 229 230 234 235 237 237 237 Contents 15 Appendix A: Parameter Lists . . . . . . . . . . . . . . . . . . . . 238 USER DEFINED KEYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 USER DEFINED KEYS Initial Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Input Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Initial Input Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Output Patch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Initial Output Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Initial Input Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Initial Output Channel Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Initial Input Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Initial Output Port Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 GPI Trigger Source & Target List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 User Defined Remote Layer Initial Bank Settings . . . . . . . . . . . . . . . . . . . . . . . . . 255 Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Effects and tempo synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Preset EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Preset Gate Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Preset Compressor Parameters (fs = 44.1 kHz) . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Dynamics Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Appendix B: Specifications . . . . . . . . . . . . . . . . . . . . . 291 General Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 Analog Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Analog Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Digital Input Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Digital Output Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 I/O Slot Spec (1–4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Control I/O Spec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Connector Pin Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Appendix C: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Scene Memory to Program Change Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 MIDI Data Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Format Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Appendix D: Options . . . . . . . . . . . . . . . . . . . . . . . . . . 335 MB02R96 Peak Meter Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 SP02R96 Wooden Side Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 02R96 Version 2—Owner’s Manual 16 Chapter 1—Welcome 1 Welcome Thank you for choosing the Yamaha 02R96 Digital Mixing Console. The 02R96 Digital Mixing Console offers 24-bit/96 kHz digital audio processing without compromise, comprehensive surround mixing and monitoring, including bass management, and hands-on control of popular DAW (Digital Audio Workstation) systems. Sonic Spec • • • • • Linear 24-bit, 128-times oversampling A/D converters Linear 24-bit, 128-times oversampling D/A converters 20 Hz–40 kHz (0.5, –1.5 dB) frequency response at 96 kHz sampling rate 105 dB typical dynamic range (AD Input to Stereo Out) 32-bit internal signal processing (58-bit accumulator) Channel Architecture • • • • • • 56 Input Channels, with Direct Outs 8 Bus Outs, with to Stereo Out routing for subgrouping 8 Aux Sends Stereo Out Channels can be named for easy identification Channel library with 127 user memories I/O Architecture • • • • • • • • • • • • 16 analog mic inputs on balanced XLRs (plus 48 V phantom) 24 analog line inputs on balanced phone jacks 16 analog inserts 32 inputs, 32 outputs via four mini-YGDAI slots and optional I/O cards, which offer a variety of analog and digital I/O options, with support for all the popular digital audio interconnect formats, including AES/EBU, ADAT, Tascam TDIF-1, and mLAN. 8 assignable Omni outputs 1 AES/EBU, 2 Coaxial 2-track digital input, with sampling rate converters for connecting 44.1/48 kHz legacy digital audio equipment 1 AES/EBU, 2 Coaxial 2-track digital output 2 analog 2-track inputs XLR and phono connector stereo outputs Control room monitor outputs Dedicated studio monitor outputs Double channel digital I/O for use with legacy 44.1/48 kHz multitrack recorders Cascade ports for cascading up to four 02R96s (i.e., 224 Input Channels) 02R96 Version 2—Owner’s Manual Welcome 17 I/O Patching • • • • Any available input port can be patched to the Input Channels, Insert Ins, or Effects inputs Direct Outs, Insert Outs, Bus Outs, Aux Sends, and the Stereo Out can be patched to any output port Input and output ports can be named for easy identification Patches can be stored in the Input and Output Patch libraries EQ • • 4-band parametric EQ on all Input and Output Channels EQ library with 40 presets, 160 user memories Groups & Pairs • • • • • • Horizontal and vertical pairing of Input Channels Horizontal pairing of Bus Outs, Aux Sends, and Surround Pan 8 Input Channel, 4 Output Channel Fader groups 8 Input Channel, 4 Output Channel Mute groups 4 Input Channel, 4 Output Channel EQ groups 4 Input Channel, 4 Output Channel Compressor groups Effects • • • • • • • 4 internal effects processors Effects library with 61 presets, 67 user memories (presets 53–61 are used for optional Add-On Effects.) Optional Add-On Effect package includes effects that featuring new algorithms. Multichannel effects for surround sound processing Joystick control of early reflections and reverb with the Reverb 5.1 effect Optional Waves 56K effects plug-in cards User defined plug-ins for external effects control via MIDI, with Learn function Dynamics • • • • Gates on all 56 Input Channels Gate library with 4 presets, 124 user memories Compressors on all Input Channels and Out Channels (74 in total) Compressor library with 36 presets, 92 user memories Automation • • • • • • • • Dynamic automation of virtually all mix parameters, with 1/4-frame accuracy Automix library with 16 memories Snapshot style automation with 99 Scene memories, recallable via MIDI or Automix Individual fade time settings for all Input and Output faders Scene and library recalls Punch in/out entire channels with dedicated [AUTO] buttons, or individual parameters Editing fader moves with Fader Return, Fader Takeover, Absolute/Relative modes Offline event editing includes, erase, copy, move/merge, trim, duplicate, delete, and insert 02R96 Version 2—Owner’s Manual 18 Chapter 1—Welcome Surround Sound • • • • • • 3-1, 5.1 and 6.1 Surround modes Joystick control Bass management Monitor matrix Surround monitor speaker alignment functions Surround monitor library with 32 user memories Remote Control • • • • Control and manage your 02R96 from your Mac or PC by using the bundled Studio Manager software Remote Layers for external equipment control, including predefined targets for controlling DAW systems, and user defined targets for controlling MIDI equipment, with Learn function Comprehensive machine control via MMC, including transport, track arming, jog/shuttle, and built-in locator with eight Locate memories Assignable GPI (General Purpose Interface) port for external control and “Recording” light MIDI • • • Standard MIDI ports, USB TO HOST port, or SERIAL TO HOST port USB, and SERIAL offer multiport operation Scene recall, mix parameter control, Bulk Dump, MTC and MIDI Clock for Automix synchronization, MMC for external machine control Control Surface • • • • • • • • • 25 touch-sensitive 100-mm motorized faders (touch sense used to select channels or punch faders in/out during Automix recording) Use the faders to set channel levels or Aux Send levels Use the 24 Encoders to control Pan, Aux Send levels, or user assigned parameters Channels arranged into two Input Layers, Master Layer, and Remote Layer 320 x 240 dot LCD display with fluorescent backlight Complete hands-on control of all channel functions via the SELECTED CHANNEL section 2-digit Scene memory display 4 EQ displays for frequency, gain, and Q 16 user-definable buttons make light work of repetitive tasks 02R96 Version 2—Owner’s Manual EFFECTS/PLUG-INS (p. 24) FADER MODE (p. 22) ENCODER MODE (p. 22) AUX SELECT (p. 21) DISPLAY ACCESS (p. 23) AD Input Section (p. 20) 10 AUX 6 SOLO ON 2 SOLO ON 1 0 5 10 15 20 30 40 50 5 10 15 20 30 40 50 2 26 50 SEL 10 50 40 30 20 15 10 5 0 5 10 2 3 27 51 3 ON SOLO SEL AUTO PLUG INS 1 SEL 1 25 49 FADER AUX ASSIGN 1 AUX 7 10 50 40 30 20 15 10 5 0 5 4 28 52 4 ON SOLO SEL AUTO 3 CHANNEL INSERTS EFFECTS / PLUG INS AUTO 5 AUX FADER MODE PAN ENCODER MODE AUX 2 AUX 1 AUX 5 INTERNAL EFFECTS 0 5 GROUP PAIR AUX 3 INPUT PATCH REMOTE MIDI AUX SELECT METER DIO SETUP OFF ON 4 OFF ON 10 50 40 30 20 15 10 5 0 5 2 5 29 53 5 ON SOLO SEL AUTO 4 ASSIGN AUX 8 AUX 4 OUTPUT PATCH VIEW UTILITY INSERT -60 ON OFF GAIN PEAK -16 26dB + 48V SIGNAL AUTOMIX AUTO DISPLAY DISPLAY DISPLAY INSERT DISPLAY ACCESS INSERT 3 1 INSERT -60 ON OFF GAIN PEAK -16 2 OFF ON -60 SIGNAL GAIN PEAK -16 26dB + 48V SIGNAL OFF ON -60 ON OFF PEAK GAIN 26dB + 48V SIGNAL -16 26dB ON OFF 10 50 40 30 20 15 10 5 0 5 5 6 30 54 6 ON SOLO SEL AUTO INSERT 10 50 40 30 20 15 10 5 0 5 OFF ON -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V Channel strips (p. 20) PAD + 48V 6 7 31 55 7 ON SOLO SEL AUTO INSERT 10 50 40 30 20 15 10 5 0 5 50 40 30 20 15 10 5 0 8 10 AUX 2 AUX 1 10 ON SOLO SEL 10 34 50 40 30 20 15 10 5 0 5 OFF ON AUTO INSERT 9 33 10 5 9 ON SOLO SEL AUTO OFF ON -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V 9 10 11 35 OFF ON AUX 3 50 40 30 20 15 10 5 0 5 11 ON SOLO SEL AUTO INSERT -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V 10 12 36 12 ON SOLO SEL AUTO AUX 4 50 40 30 20 15 10 5 0 5 10 INSERT 11 13 37 13 ON SOLO SEL AUTO 14 38 12 10 15 39 15 ON SOLO SEL AUX 7 50 40 30 20 15 10 5 0 5 OFF ON AUTO INSERT -60 ON OFF GAIN PEAK -16 26dB + 48V SIGNAL AUX 6 50 40 30 20 15 10 5 0 14 ON SOLO SEL AUTO OFF ON 10 5 INSERT -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V AUX 5 50 40 30 20 15 10 5 0 5 10 OFF ON -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V 13 10 16 40 OFF ON AUX 8 50 40 30 20 15 10 5 0 5 16 ON SOLO SEL AUTO INSERT -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V 17 41 17 ON SOLO SEL AUTO DISPLAY EQ ON 10 15 OFF ON DIRECT 8 16 INSERT 125 kHz Hz dB GAIN LOW 18 42 18 ON SOLO SEL AUTO 9 1 19 43 19 ON SOLO SEL AUTO 11 3 10 20 44 21 45 21 ON SOLO SEL AUTO 14 6 10 22 46 BUS 6 50 40 30 20 15 10 5 0 5 22 ON SOLO SEL AUTO 15 7 AUTO 23 47 23 ON SOLO SEL Q 24 48 BUS 8 50 40 30 20 15 10 5 0 24 ON SOLO SEL AUTO ON SEL AUTO ENTER SCRUB SHUTTLE STOP REW SET DISPLAY 2TR A1 STEREO 2TR A2 10 SLOT DIMMER DEC PLAY 5 FF 2 6 1 3 REC 7 8 4 INC TALKBACK 0 10 CONTROL ROOM LEVEL 0 10 SURROUND MONITOR LEVEL BUS ASSIGN1 ASSIGN2 SURROUND 2TR D3 2TR D2 2TR D1 CONTROL ROOM CLEAR SOLO AUX8 STEREO STUDIO CONTROL ROOM AUX7 0 PHONES LEVEL STEREO (p. 30) STEREO 70 60 50 40 30 20 15 10 5 0 MASTER 10 10 PHONES MONITOR STUDIO LEVEL 0 0 TALKBACK LEVEL MACHINE CONTROL LOCATE MEMORY RECALL kHz Hz dB GAIN DISPLAY 10.0 REMOTE STEREO 25 48 1 24 LAYER STORE Q EFFECT HIGH GAIN FREQUENCY RELEASE GRAB HOLD LINK DECAY SCENE MEMORY kHz Hz dB GAIN HIGH MID ATTACK ATTACK 00 10 34 24 23 24 4.00 5 23 34 DIGITAL MIXING CONSOLE FREQUENCY DISPLAY BUS 7 50 40 30 20 15 10 5 0 5 10 16 8 kHz Hz dB GAIN LOW MID 1.00 BUS 5 50 40 30 20 15 10 5 0 5 10 13 5 Q FREQUENCY RATIO EVEN ODD THRESHOLD R R L COMP BUS 4 50 40 30 20 15 10 5 0 5 20 ON 21 22 RANGE SOLO SEL DELAY PAN / SURROUND PHASE / INSERT DISPLAY ACCESS GAIN PEAK +10 GAIN SIGNAL 34 22 +10 PEAK GAIN 21 34 SIGNAL +10 GAIN THRESHOLD AUTO 12 4 19 20 34 20 +10 SELECTED CHANNEL 17 18 19 34 LAYER (p. 30) BUS 3 50 40 30 20 15 10 5 0 5 10 10 2 USER DEFINED KEYS Q FREQUENCY EQUALIZER GAIN PEAK +10 GAIN SIGNAL 34 18 +10 GATE / COMP GATE L 17 34 PEAK GAIN GAIN Data Entry & Transport (p. 33) MACHINE CONTROL (p. 32) SCENE MEMORY (p. 31) MONITOR Section (p. 34) Monitor, Phones & Talkback Section (p. 34) SELECTED CHANNEL Section (p. 26) SIGNAL +10 +10 DISPLAY OFF ON -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V GATE ON COMP ON DYNAMICS STEREO 7 6 4 3 5 2 1 ROUTING INSERT -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V BUS 2 50 40 30 20 15 10 5 0 5 DISPLAY DISPLAY BUS 1 50 40 30 20 15 10 5 0 DISPLAY OFF ON FOLLOW PAN 10 5 14 INSERT -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V USER DEFINED KEYS (p. 31) 8 32 56 8 ON SOLO SEL 7 INSERT -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V AUTO OFF ON -60 ON OFF GAIN SIGNAL PEAK -16 26dB + 48V Display Section (p. 25) Control Surface & Rear Panel 19 2 Control Surface & Rear Panel Control Surface 02R96 Version 2—Owner’s Manual 20 Chapter 2—Control Surface & Rear Panel AD Input Section AD Input #1 is shown at the top; AD Inputs #17 and #18 below. + 48V 1 2 3 4 5 6 ON OFF A +48V ON/OFF switches (AD 1–16) These switches turn on and off the +48 V phantom power feed to each INPUT A (XLR-type connector). Phantom power is typically used to power condenser-type microphones or direct boxes. See “Phantom Power (AD 1–16)” on page 53 for more information. PAD 26dB -60 -16 GAIN PEAK B PAD switches (AD 1–16) These switches turn on and off the 26 dB pad (attenuator) for each AD Input. See “Pad (AD 1–16)” on page 53 for more information. SIGNAL 1 OFF ON INSERT C GAIN controls These controls adjust the gain of the AD Input Head Amps. They have an input sensitivity of –16 dB to –60 dB or +10 dB to –34 dB when Pad is on. AD Inputs 17 to 24 have an input sensitivity of +10 dB to –34 dB. See “Gain” on page 53 for more information. 17 D PEAK indicators 3 +10 34 These indicators light up when the input signal level is 3 dB below clipping. See “PEAK & SIGNAL Indicators” on page 53 for more information. 18 +10 4 5 GAIN GAIN 34 E SIGNAL indicators PEAK These indicators light up when the input signal level is 20 dB below nominal. See “PEAK & SIGNAL Indicators” on page 53 for more information. SIGNAL 17 18 F INSERT ON/OFF switches (AD 1–16) These switches are for turning on and off the AD Input inserts. See “AD Inserts (AD 1–16)” on page 54 for more information. Channel strips Channel strip #1 is shown here. The function of each channel strip depends on the currently selected Layer. See “Selecting Layers” on page 47 for more information. 1 A Encoders 2 These controls are used to edit Input and Output Channel parameters. Their exact operation depends on the currently selected Encoder mode and Layer. There are two preset Encoder modes, Pan and Aux, and two assignable modes, with over 40 parameters to choose from. See “Selecting Encoder Modes” on page 50 for more information. The Encoders feature push switches that are used to punch the parameter currently assigned to the Encoders in and out during Automix recording. See “Punching In & Out Individual Parameters” on page 183 for more information. AUTO 3 SEL 4 SOLO 5 ON 1 B AUTO buttons 10 6 These buttons are used to set Automix recording and playback for each channel. Their exact operation depends on the currently selected Layer. Their indicators light up orange in Record-Ready mode, red while recording, and green during playback. See “Channel Strip [AUTO] Buttons” on page 174 for more information. 5 0 5 10 C SEL buttons 15 20 30 40 50 1 25 49 02R96 Version 2—Owner’s Manual These buttons are used to select Input and Output Channels for editing with the SELECTED CHANNEL section. Their exact operation depends on the currently selected Layer. The [SEL] button indicator of the currently selected channel lights up. See “Selecting Channels” on page 48 for more information. The [SEL] buttons can also be used to pair channels, and to add and remove channels to and from the EQ, Comp, Fader, and Mute groups. Control Surface 21 D SOLO buttons These buttons are used to solo Channels. The [SOLO] button indicators of channels that are soloed light up. See “Soloing Channels” on page 121 for more information. E ON buttons These buttons are used to mute Input and Output Channels. Their exact operation depends on the currently selected Layer. The [ON] button indicators of channels that are on light up. You can also use these buttons along with the AUX SELECT buttons to turn Aux Sends on and off (Mix Minus) (page 104). F Channel faders These 100 mm touch-sensitive motorized faders are used to set the levels of Input Channels, Bus Outs, and Aux Sends. Their exact operation depends on the currently selected Fader mode and Layer. See “Selecting Fader Modes” on page 49 for more information. Faders can be grouped for simultaneous operation. See “Grouping Input Channel Faders” on page 79 and “Grouping Output Channel Faders” on page 126 for more information. Faders can also be used to select Input and Output Channels. See “Auto Channel Select & Touch Sense Select” on page 49 for more information. They can also be used to punch channels in and out during Automix recording. See “Punching In & Out Individual Parameters” on page 183 for more information. AUX SELECT 1 AUX SELECT DISPLAY AUX 1 AUX 2 AUX 3 AUX 4 5 AUX 6 AUX 7 AUX 8 AUX 2 A AUX SELECT DISPLAY button This button is used to select the following pages: Aux Send, Aux Send Pan, and Input Channel Aux View. See “Aux Sends” on page 98 for more information. B AUX 1–8 buttons These buttons are used to select Aux Sends when sending Input Channel signals to Aux Sends. The button indicator of the currently selected Aux Send lights up. If the currently selected Aux Send is paired, the indicator of its partner flashes. See “Aux Sends” on page 98 for more information. These buttons can also be used to pair Aux Sends. See “Pairing Channels” on page 123 for more information. Using these buttons along with the channel [ON] buttons enables you to turn Aux Sends on and off (Mix Minus) (page 104). Using these buttons along with the LAYER buttons enables you to copy the corresponding channel levels to the Aux Send levels. These buttons are also used to turn the Aux Out Solo function on and off when Aux/Solo Link is turned on (page 121). 02R96 Version 2—Owner’s Manual 22 Chapter 2—Control Surface & Rear Panel ENCODER MODE 1 ENCODER MODE DISPLAY PAN ASSIGN 1 AUX 2 3 ASSIGN 2 4 A ENCODER MODE DISPLAY button This button is used to select the Encoder Mode Assign page. See “Selecting Encoder Modes” on page 50 for more information. B PAN button This button is used to select the Pan Encoder mode. Its indicator lights up when this mode is selected. In this mode, the Encoders function as Pan controls while an Input Channel Layer is selected. While the Master Layer is selected, Encoders 1–8 function as Input Channel 49–56 Pan controls, and Encoders 9–24 are inactive. See “Selecting Encoder Modes” on page 50 for more information. C AUX button This button is used to select the Aux Encoder mode. Its indicator lights up when this mode is selected. In this mode, the Encoders function as Aux Send level controls when an Input Channel Layer is selected. While the Master Layer is selected, Encoders 1–8 function as Input Channel 49–56 Aux Send controls, and Encoders 9–24 are inactive. See “Selecting Encoder Modes” on page 50. D ASSIGN 1 & 2 buttons These buttons are used to select the assignable Encoder modes. The button indicator for the currently selected mode lights up. When an assignable mode is selected, the function of the Encoders depends on the assigned parameter. Up to two parameters, from a list of over 40, can be assigned to these two buttons. See “Assigning Parameters to the ENCODER MODE Assign Buttons” on page 51 for more information. FADER MODE FADER MODE FADER AUX 1 2 A FADER button This button selects Fader mode, in which the faders control Input or Output Channel levels, depending on the currently selected Layer. Its indicator lights up when this mode is selected. See “Selecting Fader Modes” on page 49 for more information. B AUX button This button selects the Aux Fader mode, in which the faders control Aux Send levels. Its indicator lights up when this mode is selected. See “Selecting Fader Modes” on page 49 for more information. 02R96 Version 2—Owner’s Manual Control Surface 23 DISPLAY ACCESS 1 2 3 4 DISPLAY ACCESS 5 6 AUTOMIX DIO SETUP UTILITY MIDI REMOTE METER VIEW PAIR GROUP INPUT PATCH OUTPUT PATCH 7 8 9 J K L A AUTOMIX button This button is used to select the following Automix pages: Automix Main, Automix Memory, Fader Edit, Event Copy, and Event Edit. See “Automix” on page 170 for more information. B DIO button This button is used to select the following pages: Word Clock Select, Dither, Cascade In, Cascade Out, Sampling Rate Converter, and Higher Sample Rate Data Transfer Format. See “Digital I/O & Cascading” on page 55 for more information. C SETUP button This button is used to select the following pages: Preferences 1, Preferences 2, Preferences 3, MIDI/TO HOST Setup, GPI Setup, Input Port Name, Output Port Name, Time Reference, Time Signature, and Surround Bus Setup. D UTILITY button This button is used to select the following pages: Oscillator, Channel Status Monitor, Battery Check, and Operation Lock. E REMOTE button This button is used to select the Remote page. See “About the Remote Layer” on page 219 for more information. F MIDI button This button is used to select the following pages: MIDI Setup, Program Change Assign Table, Control Change Assign Table, and Bulk Dump. See “MIDI” on page 190 for more information. G METER button This button is used to select the following pages: Input Channel Meter, Master Meter, Effect 1-4 Input/Output Meter, Stereo Meter, and Metering Position. See “Metering” on page 107 for more information. H VIEW button This button is used to select the following pages: Parameter View, Fader View, and Channel Library. See “Viewing Channel Parameter Settings” on page 129, “Viewing Channel Fader Settings” on page 130, and “Channel Library” on page 144 for more information. I PAIR button This button is used to select the Input and Output Pair pages. See “Pairing Channels” on page 123 for more information. J GROUP button This button is used to select the following pages: Input Channel Fader Group, Input Channel Mute Group, Output Fader Group, Output Mute Group, Input Equalizer Link, Output Equalizer Link, Input Comp Link, Output Comp Link, Input Fader Group Master, and Output Fader Group Master. 02R96 Version 2—Owner’s Manual 24 Chapter 2—Control Surface & Rear Panel K INPUT PATCH button This button is used to select the following pages: Input Channel Patch, Input Channel Insert In Patch, Effect Input/Output Patch, Input Channel Name, and Input Patch Library. See “Input Patching” on page 66 for more information. L OUTPUT PATCH button This button is used to select the following pages: Slot Output Patch, Omni Out Patch, Output Insert In Patch, Input Channel Direct Out Destination, 2TR Out Digital Patch, Output Channel Name, and Output Patch Library. See “Output Patching” on page 68 for more information. EFFECTS/PLUG-INS 2 3 4 1 EFFECTS / PLUG INS DISPLAY INTERNAL EFFECTS PLUG INS CHANNEL INSERTS 1 2 3 5 4 6 7 A EFFECTS/PLUG-INS DISPLAY button This button is used to select the following pages: Effects Edit, Effects Library, Plug-In Setup, and Plug-In Edit. See “Internal Effects & Plug-Ins” on page 153 for more information. B INTERNAL EFFECTS button This button is used to select the internal effects processors in conjunction with the EFFECTS/PLUG-INS [1–4] buttons. Its indicator lights up when it’s pressed. See “Editing Effects” on page 156 for more information. C PLUG-INS button This button is used to select the Plug-Ins in conjunction with the EFFECTS/PLUG-INS [1–4] buttons. Its indicator lights up when it’s pressed. See “Editing Plug-Ins” on page 160 for more information. D CHANNEL INSERTS button If an internal effects processor or Y56K card effect is inserted in the currently selected channel, the relevant Effects Edit or Plug-In Edit page appears when this button is pressed, and its indicator lights up. In addition, the corresponding EFFECTS/PLUG-INS [1–4] button indicator flashes. If it’s a Y56K that is inserted, the [PLUG-INS] button indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS] button indicator flashes. A warning message appears if there’s nothing inserted in the currently selected channel. See “Editing Effects” on page 156 and “Editing Plug-Ins” on page 160 for more information. E EFFECTS/PLUG-INS 1–4 buttons These buttons are used to select the internal effects processors and Plug-Ins in conjunction with the EFFECTS/PLUG-INS [INTERNAL EFFECTS] and [PLUG-INS] buttons. The button indicator of the currently selected internal effects processor or Plug-In lights up. While the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is lit, all of these buttons are inactive. F Parameter Up/Down buttons These buttons are used to select the rows of internal effects processor and Plug-In parameters for editing with Parameter controls 1–4. The parameters in the currently selected row appear highlighted. Up to 16 parameters can be displayed at a time. If more are available, an up or down arrow is displayed. See “Editing Effects” on page 156 and “Editing Plug-Ins” on page 160 for more information. 02R96 Version 2—Owner’s Manual Control Surface 25 G Parameter controls 1–4 These are rotary controls and push switches. The rotary controls are used to edit the parameters of the currently selected internal effects processor or Plug-In. When the Effects Edit page is selected, they control the currently selected row of parameters, rows being selected by the Parameter Up/Down buttons. See “Editing Effects” on page 156 and “Editing Plug-Ins” on page 160 for more information. The push switches are used to punch the Effects or Plug-In parameters currently being controlled by the rotary controls in and out during Automix recording. See “Punching In & Out Individual Parameters” on page 183 for more information. Display Section 1 2 3 4 5 A Display This 320 x 240 dot display with fluorescent backlight displays pages, information on the currently selected Scene and channel, the sampling rate, and more. See “About the Display” on page 44 for more information. B Contrast control This control is used to adjust the contrast of the display. C F1–F4 buttons These buttons are used to select the pages whose tabs are currently visible. See “Selecting Display Pages” on page 45 for more information. D Left Tab Scroll button This button, which is active only when the left Tab Scroll arrow is displayed, is used to display the tabs of pages available to the left of the currently selected page. See “Selecting Display Pages” on page 45 for more information. E Right Tab Scroll button This button, which is active only when the right Tab Scroll arrow is displayed, is used to display the tabs of pages available to the right of the currently selected page. See “Selecting Display Pages” on page 45 for more information. 02R96 Version 2—Owner’s Manual 26 Chapter 2—Control Surface & Rear Panel SELECTED CHANNEL Section SELECTED CHANNEL ROUTING DISPLAY ACCESS DISPLAY 1 2 3 4 5 6 7 8 STEREO DIRECT PHASE / INSERT DELAY PAN / SURROUND DISPLAY FOLLOW PAN L R L R ODD EVEN LINK GRAB EFFECT DYNAMICS DISPLAY GATE ON COMP ON GATE / COMP GATE THRESHOLD RANGE ATTACK DECAY HOLD COMP THRESHOLD RATIO ATTACK RELEASE GAIN EQUALIZER LOW LOW MID HIGH MID HIGH DISPLAY FREQUENCY Q FREQUENCY GAIN Q 125 EQ ON Q GAIN FREQUENCY GAIN 1.00 4.00 Hz Hz kHz kHz kHz Q GAIN dB dB dB dB Hz FREQUENCY 10.0 Hz kHz The subsections of the SELECTED CHANNEL section are explained below. ROUTING 1 ROUTING DISPLAY 1 2 3 4 5 6 7 8 STEREO DIRECT 5 2 FOLLOW PAN 3 4 A ROUTING DISPLAY button This button is used to select the following pages: Input Channel Routing, Bus to Stereo, and Bus to Stereo Library. See “Routing Input Channels” on page 82 and “Sending Bus Outs to the Stereo Out” on page 97 for more information. B FOLLOW PAN button This button determines whether or not the currently selected Input Channel’s pan setting, and Surround pan setting are applied to the Bus Outs. Its indicator lights up when it’s pressed. See “Routing Input Channels” on page 82 for more information. C STEREO button This button is used to route the currently selected Input Channel to the Stereo Out. Its indicator lights up when it’s pressed. See “Routing Input Channels” on page 82 for more information. D DIRECT button This button is used to route the currently selected Input Channel to its Direct Out. Its indicator lights up when it’s pressed. See “Routing Input Channels” on page 82 for more information. E ROUTING 1–8 buttons These buttons are used to route the currently selected Input Channel to the Bus Outs. The button indicators of Bus Outs to which the Input Channel is routed light up. See “Routing Input Channels” on page 82 for more information. 02R96 Version 2—Owner’s Manual Control Surface 27 DISPLAY ACCESS DISPLAY ACCESS PHASE / INSERT DELAY 1 2 A PHASE/INSERT button This button is used to select the Input Channel Phase and Insert pages. See “Reversing the Signal Phase” on page 73 and “Using Inserts” on page 115 for more information. B DELAY button This button is used to select the Delay pages. See “Delaying Channel Signals” on page 120 for more information. DYNAMICS 2 3 1 4 5 DYNAMICS DISPLAY GATE ON COMP ON GATE / COMP GATE THRESHOLD RANGE ATTACK DECAY HOLD COMP THRESHOLD RATIO ATTACK RELEASE GAIN 6 A DYNAMICS DISPLAY button This button is used to select the following pages: Gate Edit, Gate Library, Comp Edit, and Comp Library. See “Gating Input Channels” on page 74 and “Compressing Channels” on page 116 for more information. B GATE ON button This button is used to turn the currently selected Input Channel’s Gate on and off. Its indicator lights up when the Gate is on. See “Gating Input Channels” on page 74 for more information. C COMP ON button This button is used to turn the currently selected channel’s Compressor on and off. Its indicator lights up when the Compressor is on. See “Compressing Channels” on page 116 for more information. D GATE/COMP button This button is used to set the rotary controls for either Gate or Compressor operation. When an Output Channel is selected, Compressor is selected automatically and cannot be changed. See “Gating Input Channels” on page 74 and “Compressing Channels” on page 116 for more information. E THRESHOLD, RANGE, ATTACK, DECAY, HOLD (THRESHOLD, RATIO, ATTACK, RELEASE, GAIN) controls When the GATE/COMP button is set to GATE, these controls set the Threshold, Range, Attack, Decay, and Hold parameters of the currently selected Input Channel’s Gate. When it’s set to COMP, they set the Threshold, Ratio, Attack, Release, and Gain parameters of the currently selected channel’s Compressor. See “Gating Input Channels” on page 74 and “Compressing Channels” on page 116 for more information. F GATE/COMP indicators These indicators show whether the rotary controls are set to control a Gate or Compressor. The GATE indicator lights up when they’re set to control a Gate; the COMP indicator, when they’re set to control a Compressor. See “Gating Input Channels” on page 74 and “Compressing Channels” on page 116 for more information. 02R96 Version 2—Owner’s Manual 28 Chapter 2—Control Surface & Rear Panel PAN/SURROUND 8 PAN / SURROUND 1 DISPLAY L R L R ODD EVEN 2 3 LINK 4 GRAB EFFECT 5 67 A PAN/SURROUND DISPLAY button This button is used to select the Input Channel Pan pages, the Surround Mode page, and the Surround Edit pages. See “Panning Input Channels” on page 83 and “Using Surround Pan” on page 85. B L & R buttons These buttons can be used to select horizontally or vertically partnered Input or Output Channels. They can be used to select the left and right channels when the Stereo Out is selected. For Input Channels, in Individual Pan mode, the [L] button indicator lights up when an odd/left channel is selected; the [R] button indicator, when an even/right channel is selected. In Gang or Inverse Gang Pan mode, the button indicator of the other channel in the pair flashes while its partner is selected. C PAN display This 10-segment display indicates the pan position of the currently selected Input Channel. When pan is set to center, the center two segments light up. When the Stereo Out is selected, it displays the balance. D PAN control This rotary control is used to pan the currently selected Input Channel. When the Stereo Out is selected, it is used to set the balance. For Input Channels in Gang or Inverse Gang Pan mode, horizontally or vertically paired Input Channels are panned simultaneously. See “Panning Input Channels” on page 83 and “Balancing the Stereo Out” on page 94. E LINK button This button, which is enabled only when a Surround mode other than Stereo is selected, is used to link the PAN control and the Joystick so that either control can be used for normal and surround panning. It’s a global setting that applies to all Input Channels. Its indicator lights up when the PAN control and Joystick are linked. If the Joystick is set to control effects (i.e., the [EFFECT] button indicator is lit), this button is disabled. See “Panning Input Channels” on page 83 and “Using Surround Pan” on page 85 for more information. F GRAB button This button is used to turn on and off Joystick control for the currently selected Input Channel. Its indicator lights up when Grab is on. When Grab is on, the Joystick can be used to control the currently selected Input Channel’s surround pan position. When turned off, the Joystick does not control surround pan. In Stereo mode, it controls the currently-selected Input Channel’s pan position. If the PAN control and the Joystick are linked (i.e., the [LINK] button indicator is lit), Grab is turned off if the PAN control is adjusted. If the Joystick is set to control effects (i.e., the [EFFECT] button indicator is lit), this button is disabled. G EFFECT button This button is used to select the Joystick for parameter control of the Reverb 5.1 effect. Its indicator lights up when Reverb 5.1 effect control is on, and the Joystick cannot be used for surround panning. See “REVERB 5.1” on page 276 for more information. 02R96 Version 2—Owner’s Manual Control Surface 29 H Joystick This control can be used for surround panning, normal panning, or parameter control of the Reverb 5.1 effect. When the [EFFECT] button indicator is lit, the Joystick controls the Reverb 5.1 effect. See “REVERB 5.1” on page 276 for more information. When the [EFFECT] button indicator is off and the [GRAB] button indicator is on, the Joystick controls surround panning of the currently selected Input Channel. When the [EFFECT] button and [GRAB] button indicators are both off, the Joystick can still be used for surround panning if the Auto Grab preference is on. See “Using Surround Pan” on page 85 for more information. When the [EFFECT] button indicator is off but the [GRAB] button and [LINK] button indicators are both on, the Joystick can be used for normal panning in unison with the PAN control. See “Panning Input Channels” on page 83 for more information. EQUALIZER 2 3 EQUALIZER 1 LOW LOW MID HIGH MID HIGH DISPLAY FREQUENCY Q FREQUENCY GAIN Q 125 kHz EQ ON 45 Hz FREQUENCY GAIN Q 1.00 Hz kHz FREQUENCY GAIN Q GAIN dB dB dB dB 4.00 Hz kHz 10.0 Hz kHz 6 A EQUALIZER DISPLAY button This button is used to select the following pages: Equalizer Edit, Equalizer Library, Input Channel Attenuator/Shifter, and Output Attenuator. B FREQUENCY/Q controls These are rotary controls and push switches. The push switches are used to select either frequency or Q. The current setting is shown by the FREQUENCY/Q indicators. The rotary controls are used to set the frequency or Q, as selected by the push switches. See “Using EQ” on page 111 for more information. C EQ GAIN controls These controls are used to set the gain of each EQ band. See “Using EQ” on page 111 for more information. D EQ ON button This button is used to turn the EQ of the currently selected channel on and off. Its indicator lights up when the EQ is on. See “Using EQ” on page 111 for more information. E FREQUENCY/Q indicators These indicators show whether each FREQUENCY/Q control is set to control frequency or Q. The FREQUENCY indicator lights up when it’s set to control frequency; the Q indicator, when it’s set to control Q. See “Using EQ” on page 111 for more information. F EQ displays Normally these displays show the frequency of each band. When the GAIN is adjusted, the gain value is displayed. When the Q is adjusted, the Q value is displayed. If the gain or Q is not adjusted for two seconds, the frequency value reappears. See “Using EQ” on page 111 for more information. 02R96 Version 2—Owner’s Manual 30 Chapter 2—Control Surface & Rear Panel LAYER LAYER 1 2 1 24 REMOTE 25 48 MASTER 3 A 1–24 & 25–48 buttons These buttons select the Input Channel Layers, which determine which Input Channels are controlled by the channel strips. The LAYER button indicator for the currently selected Layer lights up. See “Selecting Layers” on page 47 for more information. B REMOTE button This button selects the Remote Layer, which can be used to control external devices, including DAWs. See “About the Remote Layer” on page 219 for more information. Its button indicator lights up when the Remote Layer is selected. See “Selecting Layers” on page 47 for more information. C MASTER button This button selects the Master Layer, from which the channel strips control Input Channels 49–56, Bus Outs, and Aux Sends. Its indicator lights up when the Master Layer is selected. See “Selecting Layers” on page 47 for more information. STEREO A AUTO button This button is used exclusively to set Automix recording and playback for the Stereo Out. Its indicator lights up orange in Record-Ready mode, red while recording, and green during playback. See “Channel Strip [AUTO] Buttons” on page 174 for more information. STEREO 1 AUTO 2 SEL 3 ON 4 B SEL button The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing with the SELECTED CHANNEL section. Its indicator lights up when the Stereo Out is selected. Each time it’s pressed, the selection toggles between the Stereo Out’s left and right channels. See “Selecting Channels” on page 48 for more information. It can also be used to add and remove the Stereo Out to and from EQ, Comp, Fader, and Mute groups. 0 5 10 15 20 C ON button This button is used exclusively to mute the Stereo Out. Its indicator lights up when the Stereo Out is on. See “Muting the Stereo Out (ON/OFF)” on page 93 for more information. 30 40 50 60 70 D Fader STEREO 02R96 Version 2—Owner’s Manual This 100 mm touch-sensitive motorized fader is used exclusively to adjust the level of the Stereo Out. See “Setting the Stereo Out Level” on page 93 for more information. It can be grouped with other Output Channel faders for simultaneous operation. See “Grouping Output Channel Faders” on page 126 for more information. It can also be used to select the Stereo Out, see “Auto Channel Select & Touch Sense Select” on page 49, or to punch the Stereo Out in and out during Automix recording. See “Punching In & Out Individual Parameters” on page 183 for more information. Control Surface 31 SCENE MEMORY 1 SCENE MEMORY DISPLAY 00 STORE RECALL 23 4 5 6 A SCENE MEMORY DISPLAY button This button is used to select the following pages: Scene Memory, Input Channel Fade Time, Output Fade Time, Recall Safe, and Scene Memory Sort. See “Scene Memories” on page 162 for more information. B Scene memory display This displays the number of the currently selected Scene memory. See “Scene Memories” on page 162 for more information. C Edit indicator This indicates that the current mix settings no longer match those of the Scene that was recalled last. See “Edit Buffer & Edit Indicator” on page 162 for more information. D STORE button This button is used to store the current Scene to the selected Scene memory. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page 164. E Scene Up/Down buttons These buttons are used to select Scene memories. Pressing the Scene Up [ ] button increments the selection; pressing the Scene Down [ ] button decrements the selection. Holding down a button causes the selection to increment/decrement continuously. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page 164. F RECALL button This button is used to recall the selected Scene memory. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page 164. USER DEFINED KEYS 1 USER DEFINED KEYS DISPLAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 2 A USER DEFINED KEYS DISPLAY button This button is used to select the User Defined Key Assign page. See “Using the User Defined Keys” on page 229 for more information. B USER DEFINED KEYS 1–16 buttons Up to 16 functions, from a list of over 172, can be assigned to these buttons. See “Using the User Defined Keys” on page 229 for more information. These buttons have specific functions when the DAW Remote Layer is selected. See “About the Remote Layer” on page 219 for more information. 02R96 Version 2—Owner’s Manual 32 Chapter 2—Control Surface & Rear Panel MACHINE CONTROL 1 2 3 MACHINE CONTROL LOCATE MEMORY DISPLAY SET 1 2 3 4 5 6 7 8 4 5 REW FF STOP PLAY REC 6 7 8 A MACHINE CONTROL DISPLAY button This button is used to select the Locate Memory and Machine Configuration pages. See “Setting the Locate Memories” on page 224 and “Configuring Machines” on page 222 respectively for more information. B LOCATE MEMORY 1–8 buttons Pressing these buttons transmits Locate commands to the target machine (DAW, MMC) in order to locate the Locate memory points. Their indicators light up momentarily when they’re pressed. See “Using the Locator” on page 224 for more information. C SET button This button is used when specifying the eight Locate points. Its indicator lights up while it’s pressed. See “Using the Locator” on page 224 for more information. D REW button This button starts rewind on the target machine (DAW, MMC). Its indicator lights up while rewinding is in progress. See “Transport Buttons” on page 223. E FF button This button starts fast forward on the target machine (DAW, MMC). Its indicator lights up while fast forwarding is in progress. See “Transport Buttons” on page 223. F STOP button This button stops the target machine (DAW, MMC). Its indicator lights up momentarily when it’s pressed. See “Transport Buttons” on page 223. G PLAY button This button starts playback on the target machine (DAW, MMC). Its indicator lights up while playback is in progress. See “Transport Buttons” on page 223. H REC button This button is used in conjunction with the [PLAY] button to start recording on the target machine (DAW, MMC). Its indicator lights up while recording is in progress. See “Transport Buttons” on page 223. 02R96 Version 2—Owner’s Manual Control Surface 33 Data Entry & Transport 5 DEC 1 SHUTTLE INC 6 2 SCRUB 3 4 ENTER A SHUTTLE button This button is used to set the Parameter wheel to Shuttle mode for machine control (DAW, MMC). Its indicator lights up when Shuttle mode is on. See “Using Shuttle & Scrub” on page 223 for more information. B SCRUB button This button is used to set the Parameter wheel to Scrub mode for machine control (DAW, MMC). Its indicator lights up when Scrub mode is on. See “Using Shuttle & Scrub” on page 223 for more information. C Parameter wheel The Parameter wheel is used to edit parameter values, scroll through Scene and library lists, and to position the cursor when titling Scenes, Effects, 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. Turning it fast allows quick parameter editing. The Parameter wheel is also used with the Shuttle and Scroll functions. See “Using Shuttle & Scrub” on page 223 for more information. D ENTER button This button is used to select and finalize parameter settings, to set on/off-type parameters, such as EQ ON/OFF, and to enter characters when titling Scenes, Effects, and so on. When a Pan control is selected on a Pan display page, pressing this button resets the pan position to center. For certain parameters, the [ENTER] button supports double clicking (i.e., two quick presses). E DEC & INC buttons These buttons are used to adjust parameter values. Pressing the [INC] button increases the value of the currently selected parameter by one. Pressing the [DEC] decreases it. Pressing and holding either button causes the parameter value to change continuously. These buttons can also be used to set on/off-type parameters, such as EQ ON/OFF. When such a parameter is selected, pressing the [DEC] button turns the function off, pressing the [INC] button turns it on. These buttons can also used to scroll through Scene and library lists. F Cursor buttons These 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. 02R96 Version 2—Owner’s Manual 34 Chapter 2—Control Surface & Rear Panel Monitor, Phones & Talkback Section 5 0 10 TALKBACK LEVEL 4 3 PHONES 0 10 0 10 STUDIO LEVEL PHONES LEVEL 1 2 A STUDIO LEVEL control This control is used to set the level of the STUDIO MONITOR OUT. See “Studio Monitoring” on page 137 for more information. B PHONES LEVEL control This control is used to set the level of the PHONES. See “Control Room Monitoring” on page 136 for more information. C PHONES jack 1/4" TRS phone plug This stereo TRS phone jack outputs the Control room signal for monitoring via a pair of stereo headphones. Tip (left) Ring (right) Sleeve (ground) D Talkback mic This built-in microphone is used for talkback. See “Using Talkback” on page 142 for more information. E TALKBACK LEVEL control This control is used to set the level of the built-in talkback microphone. See “Using Talkback” on page 142 for more information. MONITOR Section MONITOR The various subsections of the MONITOR section are explained below. DISPLAY STUDIO STUDIO CONTROL ROOM STEREO AUX7 AUX8 1 MONITOR DISPLAY SOLO STUDIO 2 CLEAR CONTROL ROOM 2TR D1 2TR A1 2TR D2 2TR A2 2TR D3 STEREO AUX8 5 This button is used to select the following pages: Solo Setting, Control Room Setup, Talkback Setup, Surround Monitor, Surround Monitor Setup, Surround Monitor Patch, and Surround Monitor Library. See “Configuring Solo” on page 121, “Control Room Monitoring” on page 136 “Using Talkback” on page 142, and “Surround Monitoring” on page 138 respectively for more information. B CONTROL ROOM button 0 10 CONTROL ROOM LEVEL DIMMER AUX7 A MONITOR DISPLAY button SLOT 0 10 SURROUND MONITOR LEVEL STEREO 4 ASSIGN1 ASSIGN2 SURROUND BUS 3 CONTROL ROOM TALKBACK 02R96 Version 2—Owner’s Manual This button selects the Control Room Monitor signal as the Studio Monitor signal source. Its indicator lights up when this source is selected. See “Studio Monitoring” on page 137 for more information. Control Surface 35 C STEREO button This button selects the Stereo Out signal as the Studio Monitor signal source. Its indicator lights up when this source is selected. See “Studio Monitoring” on page 137 for more information. D AUX 7 button This button selects Aux Send #7 as the Studio Monitor signal source. Its indicator lights up when this source is selected. See “Studio Monitoring” on page 137 for more information. E AUX 8 button This button selects Aux Send #8 as the Studio Monitor signal source. Its indicator lights up when this source is selected. See “Studio Monitoring” on page 137 for more information. SOLO 1 2 SOLO CLEAR A SOLO indicator This indicator flashes when one or more Channels are soloed, indicating that the Solo function is active. See “Soloing Channels” on page 121 for more information. B CLEAR button This button can be used to unsolo all soloed Channels. See “Soloing Channels” on page 121 for more information. CONTROL ROOM A STEREO 2TR D1 button CONTROL ROOM 1 2 3 7 2TR D1 2TR A1 2TR D2 2TR A2 2TR D3 STEREO 4 5 6 8 ASSIGN2 ASSIGN1 SURROUND 9 J BUS SLOT This button selects the 2TR IN DIGITAL AES/EBU 1 as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Monitoring” on page 136 for more information. B STEREO 2TR D2 button This button selects the 2TR IN DIGITAL COAXIAL 2 as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Monitoring” on page 136 for more information. C STEREO 2TR D3 button K This button selects the 2TR IN DIGITAL COAXIAL 3 as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Monitoring” on page 136 for more information. 0 10 SURROUND MONITOR LEVEL L 0 10 CONTROL ROOM LEVEL N M DIMMER TALKBACK D STEREO 2TR A1 button This button selects the 2TR IN ANALOG 1 as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Monitoring” on page 136 for more information. E STEREO 2TR A2 button This button selects the 2TR IN ANALOG 2 as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Monitoring” on page 136 for more information. F STEREO button This button selects the Stereo Out as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Monitoring” on page 136 for more information. 02R96 Version 2—Owner’s Manual 36 Chapter 2—Control Surface & Rear Panel G STEREO ASSIGN 1 button This button is used to select the assigned Output Channel as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Setup” on page 137 for more information. H STEREO ASSIGN 2 button This button is used to select the assigned Output Channel as the Control Room Monitor signal source. Its indicator lights up when this source is selected. See “Control Room Setup” on page 137 for more information. I SURROUND BUS button This button is used to select the Bus Outs as the Surround Monitor signal source. Its indicator lights up when this source is selected. See “Surround Monitoring” on page 138 for more information. J SURROUND SLOT button This button is used to select the assigned Slot’s Inputs as the Surround Monitor signal source. Its indicator lights up when this source is selected. See “Surround Monitoring” on page 138 for more information. K SURROUND MONITOR LEVEL control This control is used to adjust the level of the Surround Monitor signals. See “Surround Monitoring” on page 138 for more information. L CONTROL ROOM LEVEL control This control is used to adjust the level of the Control Room Monitor signal. See “Control Room Monitoring” on page 136 for more information. M DIMMER button This button is used to dim the Control Room Monitor and Surround Monitor signals. Its indicator lights up when these signals are dimmed. See “Control Room Monitoring” on page 136 for more information. N TALKBACK button This button is used to turn on the Talkback function, which distributes the Talkback mic signal to the Studio Monitor Outs, Slot Inputs and Omni Outputs specified on the Talkback Setup page. See “Using Talkback” on page 142 for more information. 02R96 Version 2—Owner’s Manual Power Section (p. 42) Analog Master I/O Section (p. 39) OMNI OUTs, Digital I/O & Control Section (p. 40) AD Input Section (p. 38) SLOT Section (p. 42) Rear Panel 37 Rear Panel 02R96 Version 2—Owner’s Manual 38 Chapter 2—Control Surface & Rear Panel AD Input Section AD Input #1 is shown at the top; AD Inputs #17 and #18 below A INPUT A & B (BAL) connectors AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and balanced 1/4-inch phone jacks, both with a nominal input range of –60 dB to +10 dB. Phantom powering (+48 V) is supplied to the XLR-type connectors, with individual ON/OFF switches on each input. The 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. AD Inputs 17–24 feature balanced 1/4-inch phone jacks. AD Inputs can be patched individually to the Input Channels or Insert Ins. See “AD Input Section” on page 53 for more information. 1 2 1 (ground) Male XLR plug 3 (cold) Tip (hot) 1/4" TRS phone plug Sleeve (ground) 2 (hot) 1 Ring (cold) B INSERT I/O +4dB (UNBAL) connectors (AD 1–16) These unbalanced 1/4-inch TRS phone jacks are used to insert external signal processors, etc., into AD Inputs 1 through 16. They are wired: sleeve–ground, ring–return, tip–send. The nominal signal level is +4 dB. Inserts can be turned on and off individually by using the INSERT ON/OFF switches. See “AD Input Section” on page 53 for more information. Tip (send) 1/4" phone plug Tip (send) Ring (return) 1/4" TRS phone plug Sleeve (ground) To processor’s input Sleeve (ground) Tip (return) 1/4" phone plug Connect to INSERT jack From processor’s output 02R96 Version 2—Owner’s Manual Sleeve (ground) Rear Panel 39 Analog Master I/O Section 1 2 3 4 5 6 A STUDIO MONITOR OUT +4 dB (BAL) Tip (hot) These balanced 1/4-inch TRS phone jacks, nominal output 1/4" TRS phone plug Ring (cold) level +4 dB, output the analog Studio Monitor signal for monitoring in the actual studio. The source, which is Sleeve (ground) selected by using the STUDIO buttons in the MONITOR section, can be Aux Send #7, Aux Send #8, the Stereo Out, or Control Room. The output level is controlled by the STUDIO LEVEL control. See “Studio Monitoring” on page 137 for more information. B STEREO OUT +4 dB (BAL) 2 (hot) These balanced XLR-3-32-type connectors, nomiFemale XLR plug 3 (cold) nal output level +4 dB, output the analog Stereo Out signal and are typically connected the stereo 1 (ground) inputs of a 2-track recorder. They are wired pin 1–ground, pin 2–hot (+), and pin 3–cold (–). See “Stereo Out Connectors” on page 92. C 2TR IN ANALOG 1 +4 dB (BAL) Tip (hot) These balanced 1/4-inch TRS phone jacks, nominal input 1/4" TRS phone plug Ring (cold) level +4 dB, are typically used to connect the analog stereo outputs of a 2-track recorder. Signals connected here can Sleeve (ground) be monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL ROOM [2TR A1] button. In addition, these inputs can be patched to Input Channels or Insert Ins. See “2TR Analog INs” on page 54. D CONTROL ROOM MONITOR OUT +4 dB (BAL) These balanced 1/4-inch TRS phone jacks, nominal output level +4 dB, output the analog Control Room Monitor signal and are typically used to feed the control room’s main monitors. See “Control Room Monitoring” on page 136 for more information. 1/4" TRS phone plug Tip (hot) Ring (cold) Sleeve (ground) E STEREO OUT –10 dBV (UNBAL) These unbalanced phono connectors, nominal output level –10 dBV, output the analog Stereo Out signal and are typically connected to the stereo inputs of a 2-track recorder. See “Stereo Out Connectors” on page 92. Phono plug Tip (hot) Sleeve (ground) F 2TR IN ANALOG 2 –10 dBV (UNBAL) Tip (hot) Phono plug These unbalanced phono connectors, nominal input level –10 dBV, are typically used to connect the analog stereo outputs Sleeve (ground) of a 2-track recorder. Signals connected here can be monitored via the CONTROL ROOM MONITOR OUTs by pressing the CONTROL ROOM [2TR A2] button. In addition, these inputs can be patched to Input Channels or Insert Ins. See “2TR Analog INs” on page 54. 02R96 Version 2—Owner’s Manual 40 Chapter 2—Control Surface & Rear Panel OMNI OUTs, Digital I/O & Control Section 2 3 4 56 7 8 9 J K L 1 M N O P A OMNI OUT +4dB (BAL) These balanced 1/4-inch TRS phone jacks, nominal output level +4 dB, provide eight analog outputs that can be patched to the following: Bus Outs, Aux Sends, the Stereo Out, Insert Outs, Direct Outs, or Surround Monitor Channels. See “Omni Outs” on page 54. 1/4" TRS phone plug Tip (hot) Ring (cold) Sleeve (ground) B SMPTE TIME CODE INPUT connector This balanced XLR-3-31-type connector is used to input SMPTE timecode for synchronizing the Automix function. See “Selecting the Timecode Source & Frame Rate” on page 177. C MTC TIME CODE INPUT connector This 5-pin DIN connector is used to input MTC for synchronizing the Automix function. See “Selecting the Timecode Source & Frame Rate” on page 177. D USB TO HOST port This USB port is for MIDI communication between the 02R96 and a host computer with a USB port. See “MIDI I/O” on page 190 for more information. E SERIAL TO HOST port This 8-pin mini DIN port is for MIDI communication between the 02R96 and a host computer with a serial port. See “MIDI I/O” on page 190 for more information. F 2TR OUT DIGITAL COAXIAL 2 & 3 These phono connectors output consumer format (IEC-60958) digital audio, and are typically connected to the digital stereo inputs of 2-track recorders. The following signals can be patched to these outputs: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and Control Room. Dither can be applied for digital audio transfer to lower-resolution systems. See “2TR Digital Outs” on page 57 for more information. G 2TR OUT DIGITAL AES/EBU 1 This XLR-3-32-type connector outputs AES/EBU format digital audio, and is typically connected to the digital stereo input of a 2-track recorder. The following signals can be patched to this output: Stereo Out, Bus Outs, Aux Sends, Direct Outs, Insert Outs, and Control Room. Dither can be applied for digital audio transfer to lower-resolution systems. See “2TR Digital Outs” on page 57 for more information. 02R96 Version 2—Owner’s Manual Rear Panel 41 H 2TR IN DIGITAL COAXIAL 2 & 3 These phono connectors accept consumer format (IEC-60958) digital audio, and are typically used to connect the digital stereo outputs of 2-track recorders. Signals connected here can be monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL ROOM [2TR D2] or [2TR D3] button. In addition, these inputs can be patched to Input Channels or Insert Ins. Unsynchronized digital audio signals can be converted by the internal sampling rate converters. See “2TR Digital Ins” on page 58 for more information. I 2TR IN DIGITAL AES/EBU 1 This XLR-3-31-type connector accepts AES/EBU format digital audio, and is typically used to connect the digital stereo output of a 2-track recorder. Signals connected here can be monitored via the CONTROL ROOM MONITOR OUT by pressing the CONTROL ROOM [2TR D1] button. In addition, this input can be patched to Input Channels or Insert Ins. Unsynchronized digital audio signals can be converted by the internal sampling rate converters. See “2TR Digital Ins” on page 58 for more information. J WORD CLOCK OUT connector This BNC connector outputs a wordclock signal at the same clock rate as the 02R96. See “Wordclock Connections” on page 55 for more information. K WORD CLOCK 75Ω ON/OFF termination switch This switch applies 75Ω termination to the WORD CLOCK IN. See “Terminating External Wordclocks” on page 57 for more information. L WORD CLOCK IN connector This BNC connector is for connecting an external wordclock signal. See “Selecting the Wordclock Source” on page 56 for more information. M CONTROL port This 25-pin D-sub connector provides access to the GPI (General Purpose Interface) through which external equipment can be triggered when specified 02R96 faders or USER DEFINE KEYS are operated. It can also be used to control a “RECORDING” light outside of a studio, to trigger the Solo function of an 02R Digital Recording Console, or to turn on Talkback from an external device. See “GPI (General Purpose Interface)” on page 225 for more information. N METER port This 15-pin D-sub connector is for connecting the optional MB02R96 Peak Meter Bridge. O MIDI IN, OUT & THRU ports These standard MIDI IN, OUT, and THRU ports are used to connect the 02R96 to other MIDI equipment. Supported MIDI messages include Program Changes for Scene recall, Control Changes and Parameter Changes for real-time parameter control, Bulk Dump for data storage, MIDI Clock, MTC, and MMC. See “MIDI I/O” on page 190 for more information. P CASCADE IN & OUT ports These 64-pin connectors can be used to cascade up to four 02R96s to create a multiple-unit mixing system. The 02R96 can also be cascaded with an 02R Digital Recording Console. See “Cascading Consoles” on page 63 for more information. 02R96 Version 2—Owner’s Manual 42 Chapter 2—Control Surface & Rear Panel Power Section 1 4 2 3 A POWER ON/OFF switch This switch is used to turn on the power to the 02R96. See “Turning On & Off the 02R96” on page 43 for more information. B Grounding screw For electrical safety reasons, and correct operation of the touch-sensitive faders, it’s important that the 02R96 is grounded properly. The supplied power cord has a three-pin plug, and if the ground terminal of the AC outlet is grounded, then the unit will be grounded sufficiently through the power cord. If the AC outlet does not provide a suitable ground, this screw must be connected to a suitable ground point. Grounding is also an effective method for eliminating hum, interference, and other noise. C AC IN connector This connector is used to connect the 02R96 to an AC outlet via the supplied power cord. See “Connecting the Power Cord” on page 43 for more information. D Cooling fan The cooling fan expels air out through this outlet. If the airflow is restricted, the 02R96 may overheat, so make sure this outlet is not blocked. SLOT Section 1 A SLOT 1–4 These four slots are for use with optional mini YGDAI cards, which offer a variety of analog and digital I/O options. See “Slot I/O” on page 59 for more information. Slot inputs can be patched to Input Channels or Insert Ins. See “Input Patching” on page 66 for more information. The following signals can be patched to the Slot Outputs: Bus Outs, Aux Sends, Stereo Out, Insert Outs, Direct Outs, and Surround Monitor Channels. See “Output Patching” on page 68 for more information. 02R96 Version 2—Owner’s Manual Operating Basics 43 3 Operating Basics Connecting the Power Cord Warning: Turn off all equipment connected to the 02R96 before making any power connections. Connect the socket-end of the supplied power cord to the AC IN on the rear panel of the 02R96. Connect the plug-end to a suitable AC wall outlet, one that conforms to the power supply requirements stated on the 02R96’s rear panel. Turning On & Off the 02R96 To prevent loud clicks and thumps in your speakers, turn on your audio equipment in the following order (reverse this order when turning off)—sound sources, multitrack and master recorders, 02R96, monitoring power amplifiers. 1 To turn on the 02R96, press the [POWER] switch. The startup page appears for a while, and then the last selected display page appears. 2 To turn off the 02R96, press the [POWER] switch again. 02R96 Version 2—Owner’s Manual 44 Chapter 3—Operating Basics About the Display All 02R96 mix parameters can be edited on the various display pages. EDIT indicator MIDI indicator Current Scene Sampling rate/Surround mode Selected DISPLAY Page title Page # Selected channel Channel name Page area Page tab scroll arrows Page tabs Current Scene: The number and title of the currently selected Scene memory are displayed here. See “Storing & Recalling Scenes with the SCENE MEMORY Buttons” on page 164 for more information. If the selected Scene is write-protected, a padlock icon appears. See “Using the Scene Memory Page” on page 165 for more information. MIDI indicator: This indicator appears when the 02R96 is receiving MIDI data via the MIDI IN port, USB TO HOST port, or SERIAL TO HOST port. EDIT indicator: This indicator appears when the current mix settings no longer match those of the Scene that was recalled last. It works in unison with the Edit indicator dot on the SCENE MEMORY display. See “Edit Buffer & Edit Indicator” on page 162 for more information. Selected DISPLAY: This indicates the currently selected display page group, for example, AUX, EQ, or AUTOMIX. Display page groups are selected by using the [DISPLAY] buttons. Sampling rate/Surround mode: This indicates the current sampling rate—44.1 kHz (44k), 48 kHz (48k), 88.2 kHz (88k), or 96 kHz (96k), and surround mode—6.1, 5.1, 3-1, and ST. Selected channel: The Input or Output Channel currently selected by the [SEL] buttons is indicated here. See “Selecting Channels” on page 48. The first four characters are the Channel ID (e.g., CH1–CH56, BUS1–BUS8, AUX1–AUX8, ST-L, ST-R. The second four, are the channel’s Short name. See “Naming Channels” on page 134. If the Channel ID preference is on, only the Channel ID is displayed. See “Channel ID” on page 232 for more information. Channel name: Depending on the currently selected page, this is the Long name of either the currently selected channel or the channel selected by the cursor buttons. On some pages, the Aux Send pages, for example, it’s possible to edit Aux Send levels without having to select each Input Channel. Instead, Input Channel Aux Sends can be selected by using the cursor buttons. In this case, the name displayed here is different to the name displayed in the upper-right corner of the display. Page title: This is the title of the currently selected page. Page #: Depending on the group of pages currently selected, page numbers are displayed here. For example, although you can view only one Input Channel 1–24 Aux Send page at a time, there are in fact eight Input Channel 1–24 Aux Send pages, one for each of the eight Aux Sends. Page numbers are also displayed when the Effects page group is selected. 02R96 Version 2—Owner’s Manual Selecting Display Pages 45 Page area: This area of the display is where the various display pages appear. Page tabs: These tabs are used when selecting pages. Up to four tabs are visible at a time. See “Selecting Display Pages” on page 45 for more information. Page tab scroll arrows: These arrows indicate that there are more pages available. See “Selecting Display Pages” on page 45 for more information. Selecting Display Pages • • • • Display pages are grouped by function, and each group of pages can be selected by using the following [DISPLAY] buttons: AUX SELECT, ENCODER MODE, DISPLAY EFFECTS/PLUG-INS, ROUTING, DYNAMICS, PAN/SURROUND, EQUALIZER, SCENE MEMORY, USER DEFINED KEYS, MACHINE CONTROL, MONITOR. Further page groups can be selected by using the DISPLAY ACCESS buttons. The next page in the group can be selected by pressing the [DISPLAY] button. Previous pages can be selected by pressing and holding down the [DISPLAY] button. The first page in the group can be selected by double-clicking the [DISPLAY] button. Pages whose tabs are currently displayed can be selected by using the F1–F4 buttons. F1 F2 F3 F4 If there are more pages available than the four whose tabs are currently displayed, depending on whether they are located to the left or right, either the left or right Tab Tab scroll buttons Scroll arrow appears. Pressing either the Left or Right Tab Scroll button displays the tabs of these pages, which can then be selected by using the F1–F4 buttons. When parameters are divided among several pages, for example, the Input Channel Attenuators, which are divided among three pages, the page containing the parameter for the currently selected channel is selected automatically when channels on different Layers are selected. For example, if the Input Channel 1–24 Attenuator page is currently selected, and then you select, say, Input Channel #25 by using the LAYER [25–48] button and [SEL] button #1, the Input Channel 25–48 Attenuator page is selected automatically. The currently selected page in a group, and the parameter selected on that page, are remembered when you select another group of pages, so when you return to that group, by pressing its [DISPLAY] button, that page is displayed with the same parameter selected. The Auto Display preferences can be set so that certain pages appear automatically when a corresponding control is adjusted. For example, if the “Auto EQUALIZER Display” preference is on, the EQ page appears automatically when a SELECTED CHANNEL EQUALIZER control is operated. See page 230 for information on the Auto Display preferences. Tab Scroll arrows Display Parameter Boxes Operation of the various buttons, rotary controls, and faders that appear on the display pages is straightforward. The only items that require a special mention are the parameter boxes, such as the INSERT POSITION, OUT, and IN parameter boxes shown here. Operation of these boxes consists of two steps. First you select a value, typically by using the Parameter wheel or INC/DEC buttons. Second you confirm your selection, while the value is flashing, by pressing the [ENTER] button. If you select another parameter while the value is still flashing, it remains unchanged. 02R96 Version 2—Owner’s Manual 46 Chapter 3—Operating Basics Parameter Windows When a rotary control in the SELECTED CHANNEL section is operated, if the corresponding parameter does not appear on the currently selected page, a parameter window like the one shown here is displayed while the control is adjusted. If the control is not adjusted for awhile, the window closes automatically. If the Auto Display preference for the adjusted parameter is on, the page containing that parameter appears instead of this parameter window. Confirmation Messages For certain functions, the 02R96 prompts you for confirmation before executing them, as shown here. Press YES to execute the function, or press NO to cancel. If no action is taken for awhile, the confirmation window closes automatically and the function is not executed. Title Edit Window The Title Edit window is used to enter titles for Scene and library memories, automixes, and so on. Depending on the item being titled, the number of characters that can be entered is either 4, 12, or 16. The following screen shots show the available characters. The one on the left shows uppercase characters and various punctuation marks. That on the right, lowercase characters and numbers. Use the cursor buttons to select characters, and the [ENTER] button to enter them into the title. The cursor moves to the right automatically as each character is entered. The Parameter wheel or the arrow buttons can be used to move the cursor within the title. Use the SHIFT LOCK button to select uppercase and lowercase characters, and use the SPC button to enter a space. To insert a space at the cursor position and move subsequent characters to the right, press the INS button. To delete the character at the cursor position, press the DEL button. When you’ve finished, press the OK button to enter the title, or press CANCEL to cancel title entry. 02R96 Version 2—Owner’s Manual Selecting Layers 47 Selecting Layers Input and Output Channels are arranged into Layers, as illustrated below. There are four Layers altogether: two Input Channel Layers, a Master Layer (or Output Layer), and a Remote Layer. Input Channels [1–24] Input Channels [25–48] Input Channels 49–56, Aux Sends, Bus Outs [MASTER] [REMOTE] 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 To select Input and Output Channels for editing with the channel strip LAYER controls, you use the LAYER buttons to select a Layer. The LAYER button indicator for the currently selected Layer lights up. 1 24 REMOTE The currently selected Layer determines the function of the channel strip Encoders, [AUTO] buttons, [SEL] buttons, [SOLO] buttons, 25 48 MASTER [ON] buttons, and faders. For example, when Layer 1–24 is selected, [SEL] button #1 controls Input Channel #1. When Layer 25–48 is selected, it controls Input Channel #25. And when the Master Layer is selected, it controls Input Channel #49. The following table shows which Input and Output Channels are controlled by the channel strips on each Layer. Layers Channel Strips 1–8 1–24 REMOTE 17–24 Input Channels 1–24 25–48 MASTER 9–16 Input Channels 25–48 Input Channels 49–56 Aux Send masters 1–8 Bus Out masters 1–8 Operation depends on the selected target. See “About the Remote Layer” on page 219 for more information. The exact function of each channel strip fader and Encoder also depends on the currently selected Fader mode and Encoder mode respectively. See “Selecting Fader Modes” on page 49 and “Selecting Encoder Modes” on page 50 for more information. 02R96 Version 2—Owner’s Manual 48 Chapter 3—Operating Basics Selecting Channels To select Input and Output Channels for editing with the SELECTED CHANNEL controls, you use the LAYER buttons to select a Layer, and the [SEL] buttons to select a channel on that Layer. 1 Select a Layer, as explained on page 47. 2 Use the [SEL] buttons to select an Input or Output Channel. The [SEL] button indicator for the currently selected channel lights up. In addiSEL tion, the Channel’s ID and Short name appear in the upper right corner of the display (see page 44). The exact channel selected by each [SEL] button depends on the currently selected Layer. For example, when Layer 1–24 is selected, [SEL] button #1 selects Input Channel #1. When Layer 25–48 is selected, it selects Input Channel #25. And when the Master Layer is selected, it selects Input Channel #49, as shown in the following table. Layer [SEL] Button 1–8 9–16 1–24 Input Channels 1–24 25–48 Input Channels 25–48 MASTER REMOTE Input Channels 49–56 Aux Sends 1–8 17–24 Bus Outs 1–8 Operation depends on the selected target. See “About the Remote Layer” on page 219 for more information. For paired Input or Output channels, the channel whose [SEL] button you press is selected, and its indicator lights up. The [SEL] button indicator of the other channel flashes. Vertical and horizontal Input and Output channel partners can also be selected by using the SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons, which can also be used to select left and right channels when the Stereo Out is selected. If the currently displayed page contains a relevant parameter, when a channel’s [SEL] button is pressed, the cursor moves to that parameter automatically. If the currently displayed page contains no such parameter, the page that does contain such a parameter is selected automatically. For example, if a Delay page for the Output Channels is selected when an Input Channel [SEL] button is pressed, the Delay page showing the relevant Input Channel Delay parameter is selected automatically. Stereo Out [SEL] Button The Stereo Out [SEL] button is used exclusively to select the Stereo Out for editing with the SELECTED CHANNEL controls. Its indicator lights up when the Stereo Out is selected. Each time it’s pressed, the selection toggles between the Stereo Out’s left and right channels. The SELECTED CHANNEL PAN/SURROUND [L] and [R] buttons can also be used to select the left and right channels. If the currently displayed page contains a Stereo Out parameter, that parameter is selected automatically when the Stereo Out [SEL] button is pressed. If the currently selected page contain no such parameter, the page that does contain such a parameter is selected automatically. For example, if a Delay page for the Input Channels is currently selected when the Stereo Out [SEL] button is pressed, the Delay page showing the Stereo Out Delay parameter is selected automatically. 02R96 Version 2—Owner’s Manual Selecting Fader Modes 49 Auto Channel Select & Touch Sense Select While the Auto Channel Select preference is on (see page 230), channels can be selected by moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO], or [ON] button. Note that you can use the [AUTO] buttons to select channels only during Automix recording or in Automix record ready mode. While the Fader Touch Sense SELECT preference is on (see page 232), channels can be selected simply by touching the fader knobs. Selecting Fader Modes The exact function of each fader depends on the selected Layer and Fader mode. 1 Select a Layer, as explained on page 47. 2 Use the FADER MODE buttons to select a Fader mode. FADER MODE FADER AUX [FADER]: Channel faders control Input Channel levels or Output Channel master levels, depending on the selected Layer. [AUX]: Channel faders control Aux Send levels, depending on the selected Layer. The indicator of the currently selected FADER MODE button lights up. The following table shows the channel fader functions for each Layer and Fader mode. Layer 1–24 25–48 Fader Mode 1–8 9–16 Fader Aux Aux Input Channels 1–24 level Input Channels 25–48 level Input Channels 25–48 Aux Send level Fader Input Channels 49–56 level Aux Input Channels 49–56 Aux Send level Fader Aux 17–24 Input Channels 1–24 Aux Send level Fader Master Remote Fader Aux Sends 1–8 master level Bus Outs 1–8 master level No operation: faders fixed at –∞ Operation depends on the selected target. See “About the Remote Layer” on page 219 for more information. 02R96 Version 2—Owner’s Manual 50 Chapter 3—Operating Basics Selecting Encoder Modes The exact function of each Encoder depends on the selected Layer and Encoder mode. There are two preset Encoder modes, Pan and Aux, and two assignable modes, for which you can choose from over 40 parameters. 1 Select a Layer, as explained in page 47. 2 Use the ENCODER MODE buttons to select an Encoder mode. ENCODER MODE DISPLAY PAN AUX ASSIGN 1 ASSIGN 2 [PAN]: Encoders function as Pan controls. [AUX]: Encoders control Aux Send levels, depending on the selected Layer. [ASSIGN 1/2]: Encoders control the parameters assigned to the ASSIGN buttons. See “Assigning Parameters to the ENCODER MODE Assign Buttons” on page 51 for more information. The indicator of the currently selected ENCODER MODE button lights up. The following table shows the exact Encoder functions for each Layer and Encoder mode. Layer Encoder Mode Encoder 1–8 9–16 Pan 1–24 Aux Assign 1/2 25–48 Input Channels 1–24 Aux Send level Input Channels 1–24 assigned parameter1 Pan Input Channels 25–48 pan Aux Input Channels 25–48 Aux Send level Assign 1/2 Master 17–24 Input Channels 1–24 pan Input Channels 25–48 assigned parameter1 Pan Input Channels 49–56 pan No operation Aux Input Channels 49–56 Aux Send level No operation Assign 1/2 Input Channels 49–56 assigned parameter Aux Sends 1–8 assigned parameter Bus Outs 1–8 assigned parameter Pan Remote Aux Operation depends on the selected target. See “About the Remote Layer” on page 219 for more information. Assign 1/2 1. When Alt Layer is assigned, the Encoders enable you to control a parameter that is assigned to the corresponding channel fader in the partner layer. (A partner layer would be the layer of channels 25-48 if the layer of channels 1-24 is currently selected.) 02R96 Version 2—Owner’s Manual Assigning Parameters to the ENCODER MODE Assign Buttons 51 Assigning Parameters to the ENCODER MODE Assign Buttons Up to two parameters can be assigned to the two ENCODER MODE ASSIGN buttons. Initially, the following parameters are assigned to the ASSIGN buttons: [ASSIGN 1]: Input Patch [ASSIGN 2]: Direct Out 1 Use the ENCODER MODE [DISPLAY] button to select the Encoder Mode Assign page. The names of the parameters currently assigned to each ASSIGN button are displayed in the left-hand box. The parameter currently assigned to the selected ASSIGN button appears highlighted in the right-hand box. 2 Press an ASSIGN button, or use the Up/Down cursor buttons, to select an ASSIGN button. 3 Use the Parameter wheel, or the INC/DEC buttons to select a parameter. A parameter is selected when it appears inside the dotted box. See the “Assignable Encoder Mode Parameter List” on page 52 for a complete list of assignable parameters. 4 Press the [ENTER] button to assign your choice. Once assigned, the selected parameter appears highlighted in the right-hand box. When channels that do not feature the currently assigned parameter are selected, the Encoders are inactive. For example, if the assigned Encoder parameter is “Phase,” and the Master Layer is selected, Encoders 9–24 are inactive, because the Aux Sends and Bus Outs do not feature Phase parameters. 02R96 Version 2—Owner’s Manual 52 Chapter 3—Operating Basics Assignable Encoder Mode Parameter List # Parameter Encoder Operation 1 No Assign 2 Attenuator Attenuator — Push Switch Operation — — 3 Input Patch Input Channel patch 4 Insert In Patch Insert In patch Confirm or execute patch selection. Confirm or execute patch selection. 5 Insert Out Patch Insert Out patch Confirm or execute patch selection. Confirm or execute patch selection. 6 Direct Out Direct Out patch 7 Phase Phase: normal/reverse — 8 Insert On Insert on/off — 9 Aux pre/post Aux pre/post — 10 Delay On Delay on/off — 11 Delay Time Delay Time — 12 Delay FB.Gain Delay FB.Gain — 13 Delay Mix Delay Mix — — 14 EQ On EQ on/off 15 EQ Type EQ Type — 16 EQ Low Q EQ Low Q — — 17 EQ Low F EQ Low Frequency 18 EQ Low G EQ Low Gain — 19 EQ Low-Mid Q EQ Low-Mid Q — 20 EQ Low-Mid F EQ Low-Mid Frequency — 21 EQ Low-Mid G EQ Low-Mid Gain — 22 EQ High-Mid Q EQ High-Mid Q — 23 EQ High-Mid F EQ High-Mid Frequency — — 24 EQ High-Mid G EQ High-Mid Gain 25 EQ High Q EQ High Q — 26 EQ High F EQ High Frequency — — 27 EQ High G EQ High Gain 28 Gate On Gate on/off — 29 Gate Threshold Gate Threshold — — 30 Gate Range Gate Range 31 Gate Attack Gate Attack — 32 Gate Decay Gate Decay — 33 Gate Hold Gate Hold — 34 Comp On Comp on/off — — 35 Comp Threshold Comp Threshold 36 Comp Ratio Comp Ratio — 37 Comp Attack Comp Attack — 38 Comp Release Comp Release — 39 Comp Out Gain Comp Out Gain — — 40 Comp Knee/Width Comp Knee/Width 41 Surr L/R Pan Surround L/R Pan — 42 Surr F/R Pan Surround F/R Pan — 43 Surr Front DIV Surround Front DIV — 44 Surr Rear DIV Surround Rear DIV — 45 Surr. LFE Level Surround LFE level — 46 Surr. Pan Wheel Surround Pan Wheel — 47 Scene Fade Time Scene Fade Time — 48 Alt Layer Alt Layer — 02R96 Version 2—Owner’s Manual Analog I/O & the AD Input Section 53 4 Analog I/O & the AD Input Section AD Input Section The 02R96 features 24 AD Inputs for connecting microphone and line-level sources. AD Inputs can be patched to Input Channels or Input Channel Insert Ins (see page 66). They can also be patched to Output Channel Insert Ins (see page 69). AD Input Connectors (AD 1–16) AD Inputs 1 through 16 feature balanced XLR-3-31-type connectors and balanced 1/4-inch phone jacks, both with a nominal input range of –60 dB to +10 dB. The 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. AD Input Connectors (AD 17–24) AD Inputs 17 through 24 feature balanced 1/4-inch phone jacks, with a nominal input range of –34 dB to +10 dB. They can also be used with unbalanced phone plugs. Phantom Power (AD 1–16) + 48V ON OFF AD Inputs 1 through 16 feature switchable +48 V phantom powering for use with condenser-type microphones and direct boxes. Phantom power is supplied to the balanced XLR-3-31-type connector, and can be switched individually for each AD Input. Pad (AD 1–16) AD Inputs 1 through 16 feature pad switches, which attenuate input signals by 26 dB, allowing the Head Amps to work with high-level signals. Pad is typically used to attenuate “hot” signals from bass or snare drum microphones, or “hot” line-level signals. 26dB Gain -60 -16 GAIN AD Inputs 1–16 +10 GAIN 34 AD Inputs 17–24 AD Inputs feature detented rotary gain controls with an input sensitivity of –16 dB to –60 dB, or +10 dB to –34 dB when the Pad is on (+10 dB to –34 dB for AD Inputs 17–24). The GAIN controls adjust the gain of the Head Amps, allowing you to optimize input signal levels for the best signal-to-noise performance. Ideally, the GAIN control should be set so that the signal level is relatively high, and it’s okay for the PEAK indicator to light up occasionally. If the PEAK indicator lights up often, however, you should back off the GAIN control a little, otherwise, signal clipping may occur. If the GAIN is set too low, the signal-to-noise performance will suffer. PEAK & SIGNAL Indicators PEAK SIGNAL These indicators are used in conjunction with the GAIN controls and PAD switches to optimize signal levels. The SIGNAL indicator lights up when the input signal level is 20 dB below the rated level. The PEAK indicator lights up when the input signal level is 3 dB below clipping. 02R96 Version 2—Owner’s Manual 54 Chapter 4—Analog I/O & the AD Input Section AD Inserts (AD 1–16) AD Inputs 1 through 16 feature switchable analog inserts on 1/4-inch TRS phone jacks for the send and return signals. They are wired: sleeve–ground, ring–return, tip–send. The rated level for both connectors is +4 dB. OFF ON INSERT AD Input inserts can be turned on and off individually by using the INSERT ON/OFF switches, so you don’t have to disconnect your external equipment in order to remove an insert. Stereo Out See page 92 for information on the Stereo Out outputs. Control Room Monitor Out See page 136 for information on the Control Room Monitor output. Studio Monitor Out See page 137 for information on the Studio Monitor output. Omni Outs The 02R96 features assignable Omni Outs on balanced 1/4-inch TRS phone jacks. Omni Outs can be patched to Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround Monitor Channels (see page 69). In addition, Input Channel Direct Outs can be patched to the Omni Outs (see page 70). The maximum output level of each OMNI OUT can be set internally to either +4 dB (–10 dB operating level) or +18 dB (+4 dB operating level). Contact your dealer for further details. 2TR Analog INs The 02R96 features two sets of 2-track analog inputs: 2TR IN ANALOG 1 +4 dB (BAL) uses balanced 1/4-inch TRS phone jacks. 2TR IN ANALOG 2 –10 dBV (UNBAL) uses unbalanced phono connectors. These inputs can be monitored via the Control Room monitors by pressing the CONTROL ROOM [2TR A1] and [2TR A2] buttons. They can be patched to Input Channels (see page 66), Input Channel Insert Ins (see page 67), or Output Channel Insert Ins (see page 69). 02R96 Version 2—Owner’s Manual Digital I/O & Cascading 55 5 Digital I/O & Cascading Wordclocks Unlike analog audio equipment, digital audio equipment must be synchronized when digital audio signals are transferred from one device to another, otherwise, signals may not be received correctly and audible noise, glitches, or clicks may occur. Synchronization is achieved using what’s called a wordclock, which is a clock signal for synchronizing all the digital audio signals in a system. Note that wordclocks are not the same as SMPTE/EBU or MTC timecode, which is typically used to synchronize tape machines, MIDI sequencers, and so on. Wordclock synchronization refers to the synchronization of the digital audio processing circuits inside each digital audio device. In a typical digital audio system, one device operates as the wordclock master, and the other devices operate as wordclock slaves, synchronizing to the wordclock master. Wordclock signals can be distributed via dedicated cables, typically BNC cables, or derived from digital audio connections, including AES/EBU, ADAT, and Tascam formats. If you’re connecting to the 02R96 using only analog inputs and outputs, no special wordclock settings are required, and the 02R96 can be set to use its own internally generated wordclock. If you’re connecting other equipment digitally, however, you must decide which device to use as the wordclock master and which devices to use as slaves. The 02R96 can be used as the wordclock master running at either 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz, or slaved to an external wordclock source. External wordclock signals can be received via the Slot Inputs, 2TR Digital Inputs, the CASCADE IN port, or the dedicated BNC WORD CLOCK IN connector. In a system where all devices share a common wordclock, it’s important that all devices be turned on even if they’re not being used. Turn on the wordclock master first, and then the slaves. When shutting down the system, turn off the slaves first, and then the master. Before use, make sure that the wordclock slaves are correctly locked to the wordclock master. Most devices have front panel indicators to indicate this. Refer to the relevant owner’s manuals for more information. Wordclock Connections The 02R96 features a BNC wordclock input and a BNC wordclock output. External wordclock signals can be connected to the WORD CLOCK IN connector, and terminated by using the 75Ω ON/OFF switch (see page 57). The WORD CLOCK OUT outputs a wordclock signal at the same clock rate as the 02R96. 02R96 Version 2—Owner’s Manual 56 Chapter 5—Digital I/O & Cascading Selecting the Wordclock Source The wordclock source can be selected as follows. Note: When you change the wordclock settings on any device in your digital audio system, some devices may output noise, so turn down your power amps beforehand, otherwise your speakers may be damaged. 1 Use the DISPLAY ACCESS [DIO] button to locate the Word Clock Select page. 2 Use the cursor buttons to select the sources, and press [ENTER] to set. The SLOT TYPE column displays the names of any installed I/O Cards. The IN and OUT columns indicate the number of inputs and outputs available for each installed I/O Card. The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz, 88.2kHz, 96kHz, or Unlock. The following are possible wordclock sources: SLOT1–4 (1/2–15/16): These buttons select the Slot Inputs as the wordclock source. Inputs are selected in pairs, the number of pairs depending on the type of I/O Card installed. WC IN: This button selects the WORDCLOCK IN connector as the wordclock source. CAS. IN: This button selects the CASCADE IN port as the wordclock source. 2TRD1, 2TRD2, 2TRD3: These buttons select the 2TR Digital Inputs as the wordclock source. INT44.1k, INT48k, INT88.2k, INT96k: These buttons select the internal wordclock generator as the wordclock source. The source select buttons have the following indications: A usable wordclock signal is present at this input. No wordclock signal is present at this input. A wordclock signal is present, but it’s out of sync with the current 02R96 clock. This is the currently selected wordclock source. This input was selected as the wordclock source, but no usable signal was received. This cannot be selected as the wordclock source because a wordclock signal cannot be sourced from this input on this type of I/O Card, or no I/O Card is installed. If an external wordclock source fails for some reason, the 02R96 automatically switches to its internal wordclock generator at the closest frequency. 02R96 Version 2—Owner’s Manual 2TR Digital Outs 57 Terminating External Wordclocks Wordclock signals distributed via BNC cables must be terminated correctly, otherwise, jitter and synchronization errors may result. Ideally, you should make a separate wordclock connection to each device and terminate it. The following examples show two ways in which wordclock signals can be distributed and how termination should be applied in each case. Normally the WORD CLOCK 75Ω ON/OFF switch should be set to ON. The OFF setting provides support for wordclock source devices with special specifications. Star Distribution In this example a dedicated wordclock distribution box is used to supply wordclock signals to each device individually. Termination is applied at each device. WC OUT (BNC) Wordclock master WC IN (BNC) Wordclock distribution box WC IN (BNC) WC IN (BNC) WC IN (BNC) Device-A Device-B Device-C Device-D Termination = ON Wordclock slave Termination = ON Wordclock slave Termination = ON Wordclock slave Termination = ON Wordclock slave Daisy Chain Distribution In this example the wordclock signal is distributed in a “daisy-chain” fashion, with each device feeding the wordclock signal on to the next. This method of distribution is not recommended for larger systems. Wordclock master WC OUT (BNC) WC IN (BNC) WC OUT (BNC) WC IN (BNC) WC OUT (BNC) WC IN (BNC) Device-A Device-B Device-C Termination = ON Wordclock slave Termination = ON Wordclock slave Termination = ON Wordclock slave 2TR Digital Outs The 02R96 features three sets of 2-track digital outputs: 2TR OUT DIGITAL AES/EBU 1 uses an XLR-3-32-type connector and outputs AES/EBU format digital audio. 2TR OUT DIGITAL COAXIAL 2 and 3 use phono connectors and output consumer format (IEC-60958) digital audio. These outputs can be patched to the Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or the Control Room signal (see page 70). They can also be patched to Direct Outs (see page 70). Digital output signals can be dithered for transfer to lower-resolution systems (see page 62). 02R96 Version 2—Owner’s Manual 58 Chapter 5—Digital I/O & Cascading 2TR Digital Ins The 02R96 features three sets of 2-track digital inputs: 2TR IN DIGITAL AES/EBU 1 uses an XLR-3-31-type connector and accepts AES/EBU format digital audio. 2TR IN DIGITAL COAXIAL 2 and 3 use phono connectors and accept consumer format (IEC-60958) digital audio. These inputs can be monitored via the Control Room monitors by using the CONTROL ROOM [2TR D1], [2TR D2], and [2TR D3] buttons. They can be patched to Input Channels (see page 66), Input Channel Insert Ins (see page 67), or Output Channel Insert Ins (see page 69). Digital audio signals received at sampling rates other than the current 02R96 rate can be converted by the internal sampling rate converters (see page 58). You can monitor the Channel Status of digital signals present at these inputs on the Channel Status Monitor page (see page 62). 2TR In Sampling Rate Conversion The 02R96’s 2TR Digital Inputs feature sampling rate converters so you can easily connect your legacy 44.1/48 kHz digital audio equipment. 1 Use the DISPLAY ACCESS [DIO] button to locate the Sampling Rate Converter page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. The FS box in the lower-left corner displays the current wordclock status: 44.1kHz, 48kHz, 88.2kHz, 96kHz, or Unlock. 2TR IN D1–3: These buttons are used to turn on and off the sampling rate converter for each 2TR Digital Input. When on, the sampling rate of the received digital audio is converted to the 02R96’s current sampling rate. The original sampling rate is displayed. 02R96 Version 2—Owner’s Manual Slot I/O 59 Slot I/O The 02R96 features four Slots for installing optional mini-YGDAI (Yamaha General Digital Audio Interface) I/O Cards, which offer various analog I/O options and digital I/O interfaces in all the popular digital audio interconnect formats, including AES/EBU, ADAT, and Tascam. Slot Inputs can be assigned to Input Channels or Input Channel Insert Ins (see page 66), or to Output Channel Insert Ins (see page 69). Slot Outputs can be assigned to Bus Outs, Aux Sends, the Stereo Out, Insert Outs, or the Surround Monitor Channels (see page 68), or Direct Outs (see page 70). Slot outputs can be dithered for digital audio transfer to lower-resolution systems (see page 62). Available Cards The following mini-YGDAI I/O Cards are currently available. See the Yamaha Professional Audio Web site at the following URL for up-to-date news on I/O Cards: <http://www.yamahaproaudio.com/>. Card Format In Out MY8-AD MY8-AD241 MY4-AD Connectors 20-bit, 44.1/48 kHz 8 Analog in Phone jack (balanced) x8 — 24-bit, 44.1/48 kHz 4 MY8-AD96 XLR-3-31 type (balanced) x4 8 MY4-DA MY8-DA96 Resolution/Sampling Rate Analog out — 24-bit, 44.1/48/88.2/96 kHz D-sub 25-pin 4 20-bit, 44.1/48 kHz XLR-3-32 type (balanced) x4 8 D-sub 25-pin 24-bit, 44.1/48/88.2/96 kHz Analog MY8-ADDA96 in/out 8 8 MY8-AE2 8 8 MY16-AE2 16 16 8 8 8 8 8 8 Optical x2 16 16 Optical x4 8 8 MY8-AEB AES/EBU I/O Euroblock x4 D-sub 25-pin 24-bit, 44.1/48 kHz BNC connector x8 MY8-AE96 MY8-AE96S3 MY8-AT2 MY16-AT2 ADAT I/O MY8-TD2 Tascam MY16-TD2 MY8-mLAN2 MY16-mLAN2 D-sub 25-pin BNC wordclock output 24-bit, 44.1/48 kHz 16 16 8 8 16 16 8 8 D-sub 25-pin IEEE1394 6-pin 1394 connector x2 WAVES Y56K WAVES Y96K 24-bit, 44.1/48/88.2/96 kHz D-sub 25-pin ADAT 24-bit, 44.1/48 kHz 24-bit, 44.1/48/88.2/96 kHz Optical x2 1. This card is a substitution for a 20-bit MY8-AD card. 2. These cards support 24-bit/96 kHz in Double Channel mode. (Separate 96 kHz wordclock required.) 3. This card is identical to the MY8-AE96, except that it features a sampling rate converter. 02R96 Version 2 Owner’s Manual 60 Chapter 5—Digital I/O & Cascading Installing I/O Cards For technical reasons, certain card combinations are not supported. Before installing any cards, check the Yamaha web site (see page 5) to see whether your card is compatible. http://www.yamahaproaudio.com/ Also check the total number of cards that can be installed in the unit. Installing cards that are not endorsed by Yamaha may cause electrical shock, fire, or damage to the unit. This section explains how to install I/O Cards. 1 Turn off the 02R96. 2 Undo the two fixing screws and remove the slot cover, as shown below. Keep the cover and fixing screws in a safe place for future use. 3 Insert the card between the guide rails and slide it all the way into the slot, as shown below. You may have to push firmly to plug the card into the internal connector. 4 Secure the card using the attached thumbscrews. Do not leave them loose, as the card will not be grounded correctly, which may cause the 02R96 to malfunction. You can check which I/O Cards are installed on the Word Clock Select page (see page 56). 02R96 Version 2—Owner’s Manual Slot I/O 61 Setting the Transfer Format for Higher Sampling Rates The data transfer format for the higher sampling rates can be set as follows. 1 Use the DISPLAY ACCESS [DIO] button to locate the Higher Sample Rate Data Transfer Format page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. The SLOT TYPE column displays the names of any installed I/O Cards. IN/OUT: These parameters are used to set the input and output data transfer format of I/O Cards when running at the higher sampling rates (i.e., 88.2 kHz or 96 kHz) to either Double Channel, Double Speed or Single. In Double Speed mode, digital audio data is received and transmitted at the current higher sampling rate (i.e., 88.2 kHz or 96 kHz). In Double Channel mode, digital audio data is received and transmitted at a sampling rate that is exactly half the current higher sampling rate and data is handled by two channels, thereby reducing the total number of inputs or outputs for an eight channel I/O Card to four. In Double Channel mode, the even-numbered channels are disabled. Double Channel mode allows you to record 96 kHz audio to legacy 44.1/48 kHz digital multitrack recorders. In Single mode, digital audio data is received and transmitted at a sampling rate that is exactly half the current higher sampling rate. This is useful for digital MTR recording and playback situations. The IN and OUT parameters are only available when a higher sampling rate (i.e., 88.2 kHz or 96 kHz) is selected. When the sampling rate is 44.1 kHz or 48 kHz, all parameters on this page are unavailable. As are individual parameters for Slots with analog I/O Cards installed, or no I/O Card installed. When a digital I/O card that does not support 88.2/96 kHz is installed, such as the MY8-AE, MY8-AT, or MY8-TD, its IN and OUT formats cannot be set to Double Speed mode. SRC: These parameters are used to turn on and off the sampling rate converter for each pair of Slot Inputs. When on, the sampling rate of the received digital audio is converted to the 02R96’s current sampling rate. The original sampling rate is displayed. These parameters are available only when an I/O Card with onboard sampling rate converters is installed, such as the MY8-AE96S. 02R96 Version 2—Owner’s Manual 62 Chapter 5—Digital I/O & Cascading Dithering Digital Outputs For digital audio transfer to lower-resolution systems, the 2TR Digital Outputs and Slot Outputs can be dithered to 16-bit, 20-bit, or 24-bit. 1 Use the DISPLAY ACCESS [DIO] button to locate the Dither page. 2 Use the cursor buttons to select the Dither parameters, and use the Parameter wheel or INC/DEC buttons to set them. The SLOT column displays the names of any installed I/O Cards. You can copy the currently selected setting to all Dither parameters by double-clicking the [ENTER] button. Monitoring Digital Input Channel Status You can monitor the Channel Status of digital audio signals connected to the 2TR Digital Inputs and Slot Inputs as follows. 02R96 Version 2 1 Use the DISPLAY ACCESS [UTILITY] button to locate the Channel Status Monitor page. 2 Use the cursor buttons to select the SLOT 1–4 and 2TR IN buttons, and the press [ENTER]. Displayed Channel Status information includes sampling rate (FS), emphasis, category, and copy protection. However, if a mini-YGDAI I/O card other than AES/EBU format is installed, Channel Status information will be grayed out. Owner’s Manual Cascading Consoles 3 63 If you select the SLOT button for a slot that has an MY16-AE card installed, use the 01–08 and 09–16 buttons located in the lower-right corner of the screen to select a channel group you wish to display. Cascading Consoles Total four 02R96s or DM2000s can be cascaded, offering a maximum of 224 Input Channels. Several functions are linked between all cascaded consoles, including Solo, Scene Recall and Store, so that all consoles work just like one big console. A single Yamaha 02R Digital Recording Console can be included in the cascade system. The CASCADE IN and CASCADE OUT ports are used to transmit and receive Cascade and control signals. Only use the optional dedicated Cascade cables for connecting. Linked Functions • • • • • • • • • • • The following 02R96 functions are linked via the cascade ports: AUX SELECT (Not linked with DM2000’s Aux 9–12.) Display page selection (Not linked with the DM2000.) Solo function FADER MODE ENCODER MODE Metering position setting Peak Hold On/Off Meter Fast Fall on/off Scene Store, Recall, and Title Edit When a Scene is recalled on the master console, that scene is recalled on all cascaded consoles. The following Automix functions: Make New Automix, Store, Recall, Title Edit, Transport (AutoREC, REC, PLAY, STOP, ABORT). The following Automix parameters: Automix Enable/Disable, Internal Start Time, Offset Time, Frame Rate, Overwrite (FADER, ON, PAN, SURR, AUX, AUX ON, EQ), Motor ON/OFF, Edit Out Mode OFF/RETURN/TAKEOVER, Return Time, Update To End On/Off, ABSOLUTE/RELATIVE Fader Edit Mode, Touch Sense Edit In On/Off, Touch Sense Edit Out On/Off, Touch Sense Edit Off/Touch/Latch. Function and parameter linking can be turned on or off by using the Cascade COMM Link preference (see page 231). The Solo function is always linked regardless of this preference. Note: When the Cascade COMM Link preference is on, do not make any MIDI connections between cascaded 02R96/DM2000s. If two 02R96/DM2000s are cascaded and connected via MIDI, and the Cascade COMM Link preference is on, when a store operation is performed on the master console, a loop will be created, causing both consoles to execute endless store operations. When the 02R96 is cascaded with a Yamaha DM2000 Digital Production Console, display page selection is not linked, and Matrix Send select actions, and Aux Send 9–12 select actions performed on the DM2000 are ignored by the 02R96. 02R96 Version 2—Owner’s Manual 64 Chapter 5—Digital I/O & Cascading Cascade Hookup Examples Cascading Two 02R96s Master: Off Bi-directional: – Master: On Bi-directional: On CASCADE OUT CASCADE IN 02R96 #1 02R96 #2 CASCADE IN CASCADE OUT Final signals can be output by the Slot Outputs or Omni Outs. Final signals can be output by the Slot Outputs or Omni Outs. Cascading Three or More 02R96s Master: Off Bi-directional: – Master: Off Bi-directional: – CASCADE OUT CASCADE OUT CASCADE IN 02R96 #1 Master: On Bi-directional: On 02R96 #2/3 CASCADE OUT CASCADE IN 02R96 #4 CASCADE IN Final signals can be output by the Slot Outputs or Omni Outs. Final signals can be output by the Slot Outputs or Omni Outs. Cascading an 02R Digital Recording Console Master: Off Bi-directional: – Cascade In from: 02R CASCADE OUT 02R CASCADE IN Master: On Bi-directional: Off CASCADE OUT 02R96 #1/2 CASCADE IN 02R96 #3 Final signals can be output by the Slot Outputs or Omni Outs. 02R96 Version 2—Owner’s Manual Cascading Consoles 65 Attenuating Cascade Inputs Cascade Inputs can be attenuated, and the Cascade mode and Cascade source can be specified on the Cascade In page. 1 Use the DISPLAY ACCESS [DIO] button to locate the Cascade In page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. CASCADE MODE: When you want to output the same signals from two 02R96s, turn on the BI-DIRECTIONAL button. In this case, the Cascade connections are looped. Turn on the CASCADE MASTER option on the last 02R96 to make it the master console. When the BI-DIRECTIONAL button is off, the last 02R96 in the cascade is automatically configured as the master console and it output the final signals. CASCADE IN FROM: This is used to specify the type of device connected to the CASCADE IN port, either 02R96 or 02R. When a 02R96 or DM2000 is connected to the CASCADE IN port, 02R96 is specified automatically. CASCADE IN ATTENUATOR: These controls are used to attenuate Cascade Input signals. The AUX9–AUX12 controls attenuate the corresponding signals only when the 02R96 is cascaded between two Yamaha DM2000 Digital Production Consoles, they have no effect on the 02R96 itself. You can copy the currently selected setting to all Attenuator parameters by double-clicking the [ENTER] button. Turning On & Off Cascade Outputs Individual Cascade Outputs can be turned on or off as follows. 1 Use the DISPLAY ACCESS [DIO] button to locate the Cascade Out page. 2 Use the cursor buttons to select the ON/OFF buttons, and use the [ENTER] button to set them. 02R96 Version 2—Owner’s Manual 66 Chapter 6—Input & Output Patching 6 Input & Output Patching Input Patching Input and Output signals for the Input Channels, Input Channel Insert Ins, and internal effects processors are selected on the Input Patch pages, which are selected by using the DISPLAY ACCESS [INPUT PATCH] button. Use the cursor buttons to select the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set. Patch parameters display Short Port names. The Long Port name of the currently selected patch parameter is displayed in the upper-right corner of each page. Patching can also be done by using the Patch Select Window (see page 71). Input Channel Inputs, Insert Ins, and Insert Outs can also be patched by using the Encoders (see page 72). See page 241 for a complete list of input patch sources. See page 244 for a list of initial input patches. Input Patch settings can be stored in the Input Patch library, which contains 1 preset memory and 32 user memories. See “Input Patch Library” on page 145 for more information. Patching Input Channels AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs, Bus Outs, or Aux Sends can be patched to the Input Channel Inputs. The Input Channel Patch parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Patch page is shown below. The layout of the other page is the same. When Vertical Input Channel pairing mode is selected, patch parameters for vertical partners are displayed, for example, CH1, CH25, CH2, CH26, and so on. In addition to using the cursor buttons, Patch parameters can also be selected by using the LAYER and [SEL] buttons. 02R96 Version 2—Owner’s Manual Input Patching 67 Patching Input Channel Insert Ins AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs can be patched to the Input Channel Insert Ins. The Input Channel Insert In Patch parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Insert In Patch page is shown below. The layout of the other page is the same. When Vertical Input Channel pairing mode is selected, patch parameters for vertical partners are displayed, for example, CH1, CH25, CH2, CH26, and so on. In addition to using the cursor buttons, Patch parameters can also be selected by using the LAYER and [SEL] buttons. Patching Effects Inputs and Outputs Aux Sends, internal effects processor outputs (OUT1 and OUT2 only), or Output Channel Insert Outs can be patched to the internal effects processor inputs. Input Channels, or Insert Ins can be patched to the internal effects processor outputs. Internal effects processor inputs can be also patched to the internal effects processor outputs (OUT1 and OUT2 only). FOLLOW SURROUND: When surround effects are recalled to Effects processor 1, this button sorts the effect inputs and outputs displayed in the list in the order specified on the Surround Bus Setup page (see page 87). If the recalled surround effects are compatible with 5.1 Channel systems, the surround bus setting for 5.1 surround mode will be used. : Press this button repeatedly until an Effect Edit (1–4) page for the effects processor you wish to edit appears. 02R96 Version 2—Owner’s Manual 68 Chapter 6—Input & Output Patching Output Patching Signal sources for the Slot Outputs, Omni Outs, Output Channel Inserts Ins, Direct Outs, and 2TR Digital Outputs are selected on the Output Patch pages, which are selected by using the DISPLAY ACCESS [OUTPUT PATCH] button. Use the cursor buttons to select the patch parameters, use the Parameter wheel or INC/DEC buttons to select a source, and press [ENTER] to set. Depending on the patch page, patch parameters display either Short Channel or Short Port names. The Long Channel or Port name of the currently selected patch parameter is displayed in the upper-right corner of each page. Signal sources can also be selected by using the Patch Select Window (see page 71). Insert Ins, Insert Outs, and Direct Outs can also be patched by using the Encoders (see page 72). See page 245 for a complete list of output patch sources. See page 249 for a list of initial output patches. Output Patch settings can be stored in the Output Patch library, which contains 1 preset memory and 32 user memories. See “Output Patch Library” on page 145 for more information. Patching Slot Outputs Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround Monitor Channels can be patched to the Slot Outputs. Slot Outputs can be patched to Direct Outs on the Direct Out Destination pages (see page 70). The Slot Output Patch parameters for the four Slots are arranged into two pages. The Slot 1–2 Output Patch page is shown below. The layout of the other page is the same. When a Slot Output is patched to a Direct Out (see page 70), and that Direct Out is assigned on an Input Channel Routing page, the Slot Output patch cannot be changed here. If the higher sampling rate (88.2 kHz/96 kHz) data format is set to Double Channel mode, the Slot’s even channel patch is disabled and cannot be changed. 02R96 Version 2—Owner’s Manual Output Patching 69 Patching Omni Outs Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or Surround Monitor Channels can be patched to the Omni Outs. Omni Outs can be patched to Direct Outs on the Direct Out Destination pages (see page 70). When an Omni Out is patched to a Direct out (see page 70), and that Direct Out is assigned on an Input Channel Routing page, the Omni Out patch cannot be changed here. Output Channel Inserts Ins AD Inputs, Slot Inputs, internal effects processor outputs, or Digital or Analog 2TR Inputs can be patched to the Output Channel Insert Ins. The left and right channels of the Stereo Out can be patched individually. In addition to using the cursor buttons, Patch parameters can also be selected by using the [SEL] buttons. 02R96 Version 2—Owner’s Manual 70 Chapter 6—Input & Output Patching Patching Direct Outs Direct Outs can be patched to the Slot Outputs, Omni Outs, or 2TR Digital Outputs. The Direct Out Destination parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Direct Out Destination page is shown below. The layout of the other page is the same. In addition to using the cursor buttons, Patch parameters can also be selected by using the LAYER and [SEL] buttons. Patching the 2TR Digital Outputs Bus Outs, Aux Sends, the Stereo Out, Input or Output Channel Insert Outs, or the Control Room signal can be patched to the 2TR Digital Outputs. 2TR Digital Outputs can be patched to Direct Outs on the Direct Out Destination pages (see page 70). The left and right channels of each Digital Output can be patched individually. When a 2TR Digital Output is patched to a Direct out (see page 70), and that Direct Out is assigned on an Input Channel Routing page, the 2TR Digital Output patch cannot be changed here. 02R96 Version 2—Owner’s Manual Naming Input & Output Ports 71 Naming Input & Output Ports You can specify Long and Short names for the Input and Output Ports as follows. These names appear on the Input and Output Patch pages. See page 251 for a list of the initial Input Port names; page 252 for Output Port names. 1 Use the DISPLAY ACCESS [SETUP] button to locate the Input Port or Output Port Name page. 2 Use the Parameter wheel or INC/DEC buttons to select the ports. 3 Use the cursor buttons to select the Long or Short name, and then press [ENTER]. When the Title Edit window appears, edit the port name, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. When the Name Input Auto Copy option is on, the first four characters of a newly entered Long name are automatically copied to the Short name and vice versa. You can reset all port names back to their initial values by pressing the INITIALIZE button. Patch Select Window Input and Output patches can be made by using the Patch Select window, shown below, which appears when the [ENTER] button is pressed while a patch parameter is selected. Available input and output sources and destinations are displayed in a hierarchical format in three panes. The existing source or destination is displayed in the upper-right corner of the window. Use the cursor buttons to move the cursor to the pane on the left, and use the Parameter wheel or INC/DEC buttons to select the top level item. Then move the cursor to the center pane, and select an item at the next level. Select an item in the right pane, if available, and then select the YES button and press [ENTER]. 02R96 Version 2—Owner’s Manual 72 Chapter 6—Input & Output Patching Patching with the Encoders The following patches can be made by using the Encoders: Input Channel Inputs, Insert Outs, Insert Ins, and Direct Outs. 1 Assign one of the above parameters to an Encoder ASSIGN button, as explained on page 51. 2 Press the ASSIGN button to which you assigned the patch parameter. 3 Use the Encoders to select ports, and press the Encoder push switches to set them. The coresponding Patch page appears when an Encoder is operated. If you operate another Encoder, the selection is cancelled and the patch is left unchanged. 02R96 Version 2—Owner’s Manual Input Channels 73 7 Input Channels Patching Input Channels AD Inputs, Slot Inputs, internal effects processor outputs, Digital or Analog 2TR Inputs, Bus Outs, or Aux Sends can be patched to the Input Channel Inputs. See “Patching Input Channels” on page 66 for more information. Metering Input Channels Input Channel signal levels can be metered on the Meter pages. See “Metering” on page 107 for more information. Reversing the Signal Phase The signal phase of each Input Channel can be reversed as follows. 1 Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to select the Phase pages. The Phase parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Phase page is shown below. The layout of the other page is the same. 2 Use the cursor buttons or Parameter wheel to select the NOR/REV buttons, and the [ENTER] button and INC/DEC buttons to set them. The NOR/REV buttons can also be selected by using the [SEL] buttons. GLOBAL NOR/REV: These buttons allow you to set the phase of all Input Channels simultaneously. 02R96 Version 2—Owner’s Manual 74 Chapter 7—Input Channels Gating Input Channels Each Input Channel features a noise Gate for automatically shutting out unwanted noise. Gate settings can be stored in the Gate library, which contains 4 preset memories and 124 user memories. See “Gate Library” on page 148 for more information. Preset Gates & Types The following table lists the preset Gates and types. See page 283 for detailed parameter information. # Preset Name Type Description 1 Gate GATE Gate template 2 Ducking DUCKING Ducking template 3 A. Dr. BD GATE Gate preset for use with acoustic bass drums 4 A. Dr. SN GATE Gate preset for use with acoustic snare drums Using the SELECTED CHANNEL DYNAMICS Controls 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select Input Channels. 2 Use the [GATE ON] button to turn the currently selected Input Channel’s Gate on or off. DYNAMICS DISPLAY GATE ON COMP ON 3 GATE / COMP GATE THRESHOLD RANGE ATTACK DECAY HOLD COMP THRESHOLD RATIO ATTACK RELEASE GAIN Use the [GATE/COMP] button to set the DYNAMICS controls to GATE (GATE indicator lit), and use the THRESHOLD, RANGE, ATTACK, DECAY, and HOLD controls to set the Gate. Gate Edit Page Gate settings can be viewed and set on the Gate Edit page. If the Auto DYNAMICS Display preference is on, this page appears automatically when a gate control in the SELECTED CHANNEL DYNAMICS section is operated. 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select Input Channels. 2 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the Gate Library page, and then recall a Gate preset that contains the gate type that you want. See “Gate Library” on page 148 for more information. 02R96 Version 2—Owner’s Manual Attenuating Input Channels 75 3 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the Gate Edit page. 4 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. KEYIN SOURCE: This determines the trigger source for the currently selected Input Channel’s Gate. Trigger sources include SELF (the Gate’s own input signal), CHANNEL (another Input Channel), or AUX (an Aux Send from 1–8). Input Channel trigger sources are selectable in blocks of 12 channels. For example, if Input Channel #1 is currently selected, an Input Channel from 1–12 can be selected as the trigger source. However, if Input Channel #13 is currently selected, an Input Channel from 13–24 can be selected. STEREO LINK: This allows you to pair Gates for stereo operation even when Input Channels are not paired. Input Channel Gates are paired either horizontally or vertically depending on the Pair mode setting for the currently selected Input Channel. See “Pairing Channels” on page 123 for more information on horizontal and vertical pairing. When Input Channels are paired, this parameter is turned on automatically and cannot be changed. CURVE: This displays the gate curve (i.e., input level vs. output level). TYPE: This is the gate type used by the currently selected Input Channel’s Gate. Meters: These meters indicate the levels of the currently selected Input Channel and its horizontal or vertical partner. The GR meter indicates the amount of gain reduction being applied by the currently selected Input Channel’s Gate. ON/OFF: This turns the currently selected Input Channel’s Gate on and off. It works in unison with the SELECTED CHANNEL DYNAMICS [GATE ON] button. PARAMETER: These controls are used to set the Threshold, Range, Attack, Decay, and Hold parameters. Attenuating Input Channels Input Channels signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110 for more information. EQ’ing Input Channels Each Input Channel features 4-band parametric EQ. See “Using EQ” on page 111 for more information. 02R96 Version 2—Owner’s Manual 76 Chapter 7—Input Channels Grouping Input Channel EQs Input Channel EQs can be grouped, allowing you to control the EQ of several Input Channels simultaneously. There are four Input Channel EQ groups: a, b, c, and d. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Equalizer Link page. 2 Use the LAYER buttons to select the Layers. The corresponding group row is selected as each Layer is selected. 3 Use the Up/Down cursor buttons to select EQ groups a–d. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove Input Channels to and from the selected group. The EQ settings of the first Input Channel added to the group are applied to all subsequently added Input Channels. When an Input Channel is added to a group, its [SEL] button indicator lights up. Input Channel Inserts Internal effects processors and external signal processors can be patched into the Input Channels by using the Inserts. See “Using Inserts” on page 115 for more information. Compressing Input Channels Each Input Channel features a Compressor. See “Compressing Channels” on page 116 for more information. 02R96 Version 2—Owner’s Manual Grouping Input Channel Compressors 77 Grouping Input Channel Compressors Input Channel Compressors can be grouped, allowing you to control the compression of several Input Channels simultaneously by operating any Compressor control in the group. There are four Input Channel Compressor groups: i, j, k, and l. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Comp Link page. 2 Use the LAYER buttons to select the Layers. The corresponding group row is selected as each Layer is selected. 3 Use the Up/Down cursor buttons to select Comp groups i–l. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove Input Channels to and from the selected group. The Compressor settings of the first Input Channel added to the group are applied to all subsequently added Input Channels. When an Input Channel is added to a group, its [SEL] button indicator lights up. Delaying Input Channels Each Input Channel features a Delay function. See “Delaying Channel Signals” on page 120 for more information. Muting Input Channels (ON/OFF) Input Channels can be muted as follows. 1 Use the LAYER buttons to select the Layers. 2 Use the [ON] buttons to mute the Input Channels. The [ON] button indicators of channels that are on are lit. ON 02R96 Version 2—Owner’s Manual 78 Chapter 7—Input Channels Grouping Input Channel Mutes (ON/OFF) Input Channel Mutes can be grouped, allowing you to mute several Input Channels simultaneously. There are eight Input Channel Mute groups: I, J, K, L, M, N, O, and P. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Mute Group pages. The Mute group parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Mute Group page is shown below. The layout of the other page is the same. 2 Use the LAYER buttons to select the Layers. The corresponding Mute Group page and group row is selected as each Layer is selected. 3 Use the Up/Down cursor buttons to select Mute groups I–P. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove mutes to and from the selected group. When an Input Channel is added to a Mute group, its [SEL] button indicator lights up. ENABLE: These buttons are used to enable and disable the groups. INPUT MUTE MASTER: When this check box is checked, clicking a MASTER MUTE button mutes or unmutes all channels in the corresponding Mute group. When this check box is unchecked, the Input Channel [ON] button status links to the mute on/off status of the channels in the group. MASTER MUTE: When the Input Mute Master check box is checked, use this button to mute or unmute all channels in the corresponding Mute group. When the Input Mute Master check box is unchecked, pressing the Input Channel [ON] button mutes or unmutes the channels in the corresponding Mute group (Mute On channels turn off and Mute Off channels turn on). 02R96 Version 2—Owner’s Manual 79 Input Channel Mute Master Input Channel Mute Master The 02R96 features a Mute Master function that enables you to mute all channels in the Mute group using the MASTER button, much like a Mute group on an analog mixing console. When the Mute Group Master function is enabled, the channel [ON] button status does not link to the corresponding Mute group. 1 Follow Steps 1–4 as described in the “Grouping Input Channel Mutes (ON/OFF)” section on the previous page, select the Input Mute Master check box, then press the [ENTER] button to check or uncheck the Input Mute Group Master check box. 2 When the Input Mute Master check box is checked, the MASTER MUTE button for each Mute group turns mute on or off for the channels in the corresponding Mute group. If the channels are muted by the Mute Master function, the corresponding channel [ON] button indicators flash. You can assign the MASTER MUTE button function to one of the USER DEFINED KEYS for convenient operation. Setting Input Channel Levels 10 5 Input Channel levels can be set as follows. 0 1 Use the LAYER buttons to select the Layers. 2 Press the FADER MODE [FADER] button to select Fader mode. 3 Use the faders to set the Input Channel levels. Refer to the legend on the left side of the faders when setting Input Channel levels. Fader positions can be viewed on the Fader View pages. See “Viewing Channel Fader Settings” on page 130 for more information. 5 10 15 Grouping Input Channel Faders 20 30 40 50 1 25 49 Input Channel faders can be grouped, allowing you to control the level of several Input Channels simultaneously. There are eight Input Channel Fader groups: A, B, C, D, E, F, G, and H. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Fader Group pages. The Fader Group parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Fader Group page is shown below. The layout of the other page is the same. 02R96 Version 2—Owner’s Manual 80 Chapter 7—Input Channels 2 Use the LAYER buttons to select the Layers. The corresponding Fader Group page and group row is selected as each Layer is selected. 3 Use the Up/Down cursor buttons to select Fader groups A–H. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove faders to and from the selected group. When an Input Channel is added to a group, its [SEL] button indicator lights up. ENABLE: These buttons are used to enable and disable the groups. INPUT FADER MASTER: When this check box is unchecked, the Input Channel fader positions link to the fader levels for the channels in the corresponding Fader group. When this check box is checked, you can set the master level for the corresponding Input Channel Fader group in the Master column. The resultant Input Channel level equals the corresponding Input Channel fader level plus the Group Master level. See “Group Master for Input Channel Faders” on page 80. When the Input Fader Master check box is not checked, operating the channel faders will affect the input levels for the corresponding Fader group. Pressing and holding down the [SEL] button while operating the fader of an Input Channel will temporarily cancel the corresponding Fader group, which is convenient if you want to adjust the relative balance between channels. Fader groups are active only in Fader mode (i.e., when the FADER MODE [FADER] button indicator is on). See “Selecting Fader Modes” on page 49 for more information. Group Master for Input Channel Faders The 02R96 features a Fader Group Master function that enables you to control the level of all channels using the Group Master level while maintaining the relative balance between channels, much like a VCA group on an analog mixing console. While this function is enabled, channel fader operation does not affect channel levels in the corresponding Fader group. 1 Follow Steps 1–4 as described in the “Grouping Input Channel Faders” section on the previous page, select the Input Fader Master check box, then press the [ENTER] button to check or uncheck the Input Fader Master check box. 2 When the Input Fader Master check box is checked, you can set channel levels of the Fader groups in the Master column. When the Master column is selected, repeatedly pressing the [ENTER] button turns the Input Fader group on and off. 02R96 Version 2—Owner’s Manual Group Master for Input Channel Faders 81 You can also make these settings in the Input Fader Group Master page, as shown below. 3 Use the DISPLAY ACCESS [GROUP] button to locate the Input Fader Group Master page. 4 Use the cursor buttons to select parameters, then use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set the parameters. INPUT FADER MASTER: When this check box is checked, you can set the master levels for the Input Fader groups. The resultant Input Channel level equals the corresponding Input Channel fader level plus the Group Master level. ALL NOMINAL: This button resets the master levels for all Input Fader groups to nominal. ON/OFF: This turns each Input Fader group on or off. This function works like a VCA mute on an analog mixing console. Faders: These faders adjust the master levels of the Fader groups. Fader knobs are highlighted when faders are set to 0.0 dB. Press the [ENTER] button to set the currently-selected fader to 0.0 dB. You can also control the parameters from the channel strips on the control surface as described below by using the User Assignable Layer of the Remote Layers. See page 228 for information on the User Assignable Layer. Encoders: The Encoders are not available. [AUTO] buttons: These buttons are used to control the Fader Group Master On/Off and the master level during Automix. [SEL] buttons: These buttons move the cursor on the Input Fader Group Master page. [SOLO] buttons: These buttons turn the Solo function of each Fader group on and off. You can monitor all the channels in each Fader group. Channel Faders: The channel faders enable you to set the master level for each Fader group. 02R96 Version 2—Owner’s Manual 82 Chapter 7—Input Channels Routing Input Channels Each Input Channel can be routed to the Bus Outs, Stereo Out, or its own Direct Out. Using the SELECTED CHANNEL ROUTING Controls 1 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to select the Input Channels. ROUTING DISPLAY 1 2 2 Use the [1–8], [STEREO], and [DIRECT] buttons to route the currently selected Input Channel. [1–8]: These buttons route the currently selected Input Channel to the Bus Outs. [STEREO]: This button routes the currently selected Input Channel to the Stereo Out. DIRECT: This button routes the currently selected Input Channel to its Direct Out. [FOLLOW PAN]: This determines whether the Input Channel’s Pan control setting is applied to the Bus Outs. When off, the levels of the signals fed to the odd and even Bus Outs is the same. When on, the levels of the signals fed to the odd and even Bus Outs follows the Pan control. In Surround mode, when this button is turned off, the surround pan setting does not affect signals fed to the Bus Outs. You can enable the surround pan setting when the input source is monaural, and patch the surround sources or surround effects directly to the Surround Buses. FOLLOW PAN 3 4 5 6 7 8 STEREO DIRECT Routing Pages Input Channel routing settings can be viewed and set on the Routing pages. If the Auto ROUTING Display preference is on, these pages appear automatically when a button in the SELECTED CHANNEL ROUTING section is pressed. See “Auto ROUTING Display” on page 230. 1 Use the SELECTED CHANNEL ROUTING [DISPLAY] button to select the Routing pages. The Routing parameters for the 56 Input Channels are divided among three pages. The Input Channel 1–24 Routing page is shown below. The layout of the other two pages is the same. 2 Use the cursor buttons and Parameter wheel to select the parameters, and use the [ENTER] button or INC/DEC buttons to set them. Channels can also be selected by using the LAYER buttons and [SEL] buttons. ALL STEREO: This button assigns all Input Channels that are currently displayed to the Stereo Out. 02R96 Version 2—Owner’s Manual 83 Panning Input Channels ALL BUS: This button assigns all Input Channels that are currently displayed to all Bus Outs ALL CLEAR: This button clears all routing assignments that are currently displayed. The currently selected Surround mode is displayed in the lower-left corner. When Stereo mode is selected, the Bus Out routing buttons display numbers from 1 through 8. When a Surround Pan mode is selected, they display abbreviations of the Surround Channel names, as shown in the following table. See “Using Surround Pan” on page 85 for more information. Surround Mode Bus Outs 1 2 3 4 5 6 7 8 Stereo 1 2 3 4 5 6 7 8 3-1 L R C S 5 6 7 8 7 8 E 8 5.1 L R Ls Rs C E1 6.1 L R Ls Rs C Bs 1. Short for LFE (Low frequency Effects). This table shows the default assignments. The actual assignments may vary depending on the settings on the Surround Bus Setup page. See “Assigning Surround Channels to Buses” on page 87 for more information. Panning Input Channels Input Channels can be panned between the left and right channels of the Stereo Out. Using the Encoders 1 Use the LAYER buttons to select the Layers. 2 Press the ENCODER MODE [PAN] button to select the Pan Encoder mode. 3 Use the Encoders to pan the input channels. Using the SELECTED CHANNEL PAN/SURROUND Controls 1 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to select the Input Channels. PAN / SURROUND DISPLAY L 2 R L R ODD EVEN LINK GRAB EFFECT Use the Pan control to pan the currently selected Input Channel. The pan display indicates the pan position of the currently selected Input Channel. When pan is set to center, the center two segments light up. You can use the [L] and [R] buttons to select horizontal or vertical Input Channel partners. The [LINK] button, which is enabled only when a Surround mode other than Stereo is selected, is used to link the Pan control and the Joystick so that either control can be used for panning. This setting applies only to Input Channels that are currently selected. For this to work, the [EFFECT] button indicator must be off and the [GRAB] and [LINK] button indicators must be on. 02R96 Version 2—Owner’s Manual 84 Chapter 7—Input Channels Pan Pages Pan settings can be viewed and set on the Pan pages. If the Auto PAN/SURROUND Display preference is on, these pages appear automatically when a control in the SELECTED CHANNEL PAN/SURROUND section is operated. 1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Input Channel Pan pages. The Pan parameters for the 56 Input Channels are arranged into three pages. The Input Channel 1–24 Pan page is shown below. The layout of the other two pages is the same. 2 Use the cursor buttons to select the Pan controls, and use the Parameter wheel and INC/DEC buttons to set them. Pan parameters can also be selected by using the LAYER buttons and [SEL] buttons. The currently selected Pan control can be set to center by pressing [ENTER]. MODE: There are three Pan modes that determine how horizontally and vertically paired Input Channels are panned: Individual, Gang, and Inverse Gang. This is a global setting that applies to all paired Input Channels. In individual mode, paired Input Channel pan controls operate independently. In Gang mode, paired Input Channel pan controls operate in unison. In Inverse Gang mode, paired Input Channel pan controls operate in unison but move in opposite directions. Aux Send Pan controls can be linked to Input Channel Pan controls so that operating an Input Channel Pan control also operates the corresponding Aux Send Pan control, and vice versa (see page 103). While linked, the Pan mode can be set on the Aux Pan page or the Input Channel Pan page. Note: While the PAN/SURROUND [LINK] button is turned on, the Pan mode is automatically set to Individual. When the Pan mode is switched from Gang mode to Inverse Gang mode, the [LINK] button is turned off. 02R96 Version 2—Owner’s Manual 85 Using Surround Pan Using Surround Pan The 02R96 supports 3-1, 5.1 and 6.1 Surround modes. Surround pan is independent of normal panning. Normal panning determines how the Input Channel signal is panned between the left and right channels of the Stereo out. Whereas surround panning determines how the Input Channel signal is panned among the Surround channels (i.e., the Bus Outs). If Input Channel Follow Pan is off, you can patch signals to the corresponding Bus Outs without being affected by the surround pan setting. This is useful when you want to assign the surround source or surround effect return to Bus Outs. When the Nominal Pan preference is on (see page 231), signals will be at nominal level when panned hard left or hard right, and at +3 dB when the preference is turned off. Note: If you have saved a scene with the Follow Pan function turned off on a 02R96 that is older than Version 2.0, the surround setting may not be reproduced The following table shows how Surround channels are handled by the Bus Outs. The table may vary depending on the settings on the Surround Bus Setup page (see page 87). Surround Mode 3-1 5.1 6.1 Bus Outs 1 2 3 4 L R C S Front left Front right Center Surround 5 6 7 — — — L R Ls Rs C LFE Front left Front right Rear left Rear right Center Subwoofer — L R Ls Rs C Bs LFE Front left Front right Rear left Rear right Center Rear center Subwoofer Selecting Surround Pan Modes The Surround mode can be selected as follows. 1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Surround Mode page. 02R96 Version 2—Owner’s Manual 86 Chapter 7—Input Channels 2 Use the cursor buttons to select the surround mode buttons, and press [ENTER] to activate the selected mode. The diagram on each page shows the typical sound image placement and the Surround channel to Bus Out configuration. 3-1 Surround 5.1 Surround 6.1 Surround Select the SURR/BUS SETUP button, then press the [ENTER] button to display the Surround Bus Setup page, which enables you to change the Surround Channel to Bus Out assignment. See “Assigning Surround Channels to Buses” on page 87 for more information on the Surround Bus Setup page. 02R96 Version 2—Owner’s Manual Assigning Surround Channels to Buses 87 Assigning Surround Channels to Buses You can modify the Surround Channel to Bus assignment. 1 Use the DISPLAY ACCESS [SETUP] button to locate the Surround Bus Setup page. 2 Use the cursor buttons to select the bus for which you want to change the surround channel assignment, then use the Parameter wheel or INC/DEC buttons to select a surround channel. INIT: These buttons reset the channel assignment to the default setting. Using the Joystick 1 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to select the Input Channels. PAN / SURROUND DISPLAY L 2 R L R ODD EVEN LINK GRAB EFFECT Press the [GRAB] button to grab the current Joystick position, and then use the Joystick to set the surround pan. This is used to turn on and off Joystick surround pan control for the currently selected Input Channel. While Grab is on, the Joystick can be used to set the surround pan position of the currently selected Input Channel. If the Joystick is set to control effects (i.e., the [EFFECT] button indicator is lit), the [GRAB] button is disabled. 02R96 Version 2—Owner’s Manual 88 Chapter 7—Input Channels Selected Channel Surround Edit Page Surround pan settings can be viewed and set on the Input Channel Surround Edit page. If the Auto PAN/SURROUND Display preference is on, and a Surround Pan mode other than Stereo is selected, this page appears automatically when a PAN/SURROUND control other than the [EFFECT] button is operated. See “Auto PAN/SURROUND Display” on page 230. 1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Surround Edit page. 2 Use the LAYER buttons to select the Layers, and use the [SEL] buttons to select the Input Channels. The Surround Edit page displays surround pan parameters for the currently selected Input Channel and its horizontal or vertical partner. The current surround pan position of each Input Channel is indicated by a small circle. It’s also indicated numerically next to each Input Channel number, for example, “CH1 (L9, R10).” The graph of the currently selected Input Channel displays a small square, which indicates the current position of the Joystick. If the Auto Grab preference is on (see page 231), when the Joystick is moved to the current surround pan position, the Joystick kicks in as surround pan control and the small square disappears. The number of speaker icons and meters around the surround graph depends on the currently selected Surround mode. The meters indicate Bus Out signal levels. You can move the surround pan directly to one of the speaker icons, including the box icons without speakers, by selecting its icon, and then pressing [ENTER]. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. Patterns: These buttons are used to select the seven patterns that determine how the surround pan moves by the Parameter wheel and INC/DEC buttons. FAST: This sets the speed of surround pan control when using the Parameter wheel and INC/DEC buttons. WIDTH: This sets the left-to-right width of the selected pattern. DEPTH: This sets the front-to-rear depth of the selected pattern. WIDTH OFFSET: This can be used to offset the left-to-right direction of the selected pattern. DEPTH OFFSET: This can be used to offset the front-to-rear direction of the selected pattern. LFE: This sets the level of the LFE (Low Frequency Effects) Channel (5.1 and 6.1 mode only). 02R96 Version 2—Owner’s Manual Assigning Surround Channels to Buses 89 DIV (divergence): This determines how the Center signal is fed to the Left, Right, and Center channels. When set to 0, the Center signal is fed only to the Left and Right channels (i.e., Phantom Center). When set to 50, the Center signal is fed equally to the Left, Right, and Center channels. When set to 100, it’s fed to only the Center channel (i.e., Real Center) (3-1 and 5.1 mode only). DIV F/R: The F parameter control determines how the Front Center signal is fed to the Left and Right channels. The R parameter control determines how the rear surround signal is fed to the Left and Right surround channels (only for 6.1 surround). DIV LINK: When DIV LINK is on, the F and R parameter controls are set to the same value and linked to each other (only for 6.1 Surround). ST LINK: This can be used to link the surround pan parameters of the currently selected Input Channel and its horizontal or vertical partner regardless of whether they are paired. PATTERN: When Input Channels are linked, the eight patterns selectable here determine how the linked surround pan moves by the Parameter wheel and INC/DEC buttons. Input Channel Surround Pages Surround pan positions can be viewed and set on the Surround pages. 1 Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Input Channel Surround pages. The Surround parameters for the 56 Input Channels are arranged into three pages. The Input Channel 1–24 Surround page is shown below. The layout of the other two pages is the same. 2 Use the cursor buttons to select the Surround parameters, and use the Parameter wheel and INC/DEC buttons to set them. Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. The graph for the currently selected Input Channel displays a small square, which indicates the current position of the Joystick. L/R: These parameters are used to set the left/right surround position. While selected, they can quickly be set to center by pressing [ENTER]. F/R: These parameters are used to set the front/rear surround position. While selected, they can quickly be set to center by pressing [ENTER]. You can jump to the more detailed Surround Edit page by pressing [ENTER] while an Input Channel’s surround graph is selected. 02R96 Version 2—Owner’s Manual 90 Chapter 7—Input Channels Sending Input Channels to Aux Sends Input Channel signals can be sent to Aux Sends 1–8. See “Setting Aux Send Levels” on page 99 and “Pre-Fader or Post-Fader Aux Sends” on page 98. Soloing Input Channels Input Channels can be soloed. See page 121 for more information. Direct Outs Each Input Channel features a Direct Out, which can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. Direct Out signals can be sourced pre-EQ, pre-fader, or post-fader. See “Patching Direct Outs” on page 70 and “Routing Input Channels” on page 82 for more information. Pairing Input Channels Horizontal or vertical Input Channel partners can be paired for stereo operation. See “Pairing Channels” on page 123 for more information. Viewing Input Channel Settings Parameter and fader settings for each Input Channel can be viewed on the View pages. See “Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader Settings” on page 130 for more information. Naming Input Channels Input Channels can be named for easy identification. See “Naming Channels” on page 134 for more information. 02R96 Version 2—Owner’s Manual Using the MS Stereo Microphone 91 Using the MS Stereo Microphone The MS system is a type of stereo recording that uses two microphones: mono-directional M (Middle) and bi-directional S (Side) microphones. An M microphone picks up main signals, and an S microphone picks up directional signals. These two signals are decoded by calculating a sum (M plus S) and a difference (M minus S), and are recorded to L and R channels. An MS microphone is usually a stereo microphone that features both M and S functions. To use an MS microphone, do the following: 1 Connect the L connector of an MS microphone to an odd channel input jack, and the R connector to an even channel input jack. Signals from the MS microphone are MS microphone input from the L and R connectors. To use an MS microphone with the 02R96, connect the L connector to the input jack of an odd Input Channel, and connect the R connector to the input jack of the partner channel. R connector L connector 2 Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages. 3 Turn on the MS button for the channels to which the MS microphone is connected. The two channels are automatically paired and MS Decoding is turned on. With MS Decoding turned on, the faders and Encoders (Pan parameters) function as follows: • Odd-channel faders.................M level (Controls the volume level.) • Odd-channel Encoders ...........ML/MR balance • Even-channel faders ................S level (Controls the left and right directional spread.) • Even-channel Encoders ..........SL/SR balance 4 Use the faders and Encoders to adjust the MS microphone level and balance. When the signals are routed to paired Buses or the Stereo Bus, a sum of signals (ML plus SL) is sent to the odd-numbered Bus, and a difference of signals (ML minus SL) is sent to the even-numbered Bus. 02R96 Version 2—Owner’s Manual 92 Chapter 8—Stereo Out 8 Stereo Out Stereo Out Connectors The Stereo Out is output by the STEREO OUT +4 dB (BAL) balanced XLR-3-32-type connectors and the STEREO OUT –10 dBV (UNBAL) unbalanced phono connectors. Patching the Stereo Out to Outputs The left and right channels of the Stereo Out can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 68 for more information. Routing Input Channels to the Stereo Out Input Channels can be routed and panned to the Stereo Out. See “Routing Input Channels” on page 82 for more information. Sending Bus Outs to the Stereo Out Bus Out signals can be sent to the Stereo Out. See “Sending Bus Outs to the Stereo Out” on page 97 for more information. Metering the Stereo Out Stereo Out signal levels can be metered on the Meter pages. See “Metering” on page 107 for more information. Monitoring the Stereo Out The Stereo Out can be monitored via the CONTROL ROOM MONITOR OUTs and the PHONES (see page 136) or the STUDIO MONITOR OUT (see page 137). Attenuating the Stereo Out Stereo Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110 for more information. EQ’ing the Stereo Out The Stereo Out features 4-band parametric EQ. See “Using EQ” on page 111 for more information. Grouping Master EQs The Stereo Out EQ can be grouped with the EQs of other Output Channels. See “Grouping Output Channel EQs” on page 114 for more information. 02R96 Version 2—Owner’s Manual 93 Stereo Out Inserts Stereo Out Inserts Internal effects processors and external signal processors can be patched into the Stereo Out by using the Inserts. See “Using Inserts” on page 115 for more information. Compressing the Stereo Out Signal dynamics can be controlled by using the Stereo Out Compressor. See “Compressing Channels” on page 116 for more information. Grouping Master Compressors The Stereo Out Compressor can be grouped with the Compressors of other Output Channels. See “Grouping Output Channel Compressors” on page 119 for more information. Muting the Stereo Out (ON/OFF) ON The Stereo Out can be muted by using the STEREO [ON] button, which is used exclusively for this task and is not affected by the Layers. Its indicator lights up when the Stereo Out is on. Grouping Master Mutes (ON/OFF) The Stereo Out Mute can be grouped with the Mutes of other Output Channels. See “Grouping Output Channel Mutes (ON/OFF)” on page 128 for more information. Setting the Stereo Out Level The Stereo Out level is set by using the STEREO fader, which is used exclusively for this task and is not affected by the Layers or Fader modes. 0 5 10 15 20 30 40 50 60 70 STEREO Grouping Master Faders The Stereo Out fader can be grouped with the faders of other Output Channels. See “Grouping Output Channel Faders” on page 126 for more information. 02R96 Version 2—Owner’s Manual 94 Chapter 8—Stereo Out Balancing the Stereo Out The left and right channels of the Stereo Out can be balanced as follows. 1 Press the STEREO [SEL] button to select the Stereo Out. PAN / SURROUND DISPLAY L 2 R L R ODD EVEN Use the Pan control to set the balance. The pan display indicates the balance. When the balance is set to center, the center two segments light up. The Stereo Out balance can also be set on the Stereo Fader View page. See “Viewing Channel Fader Settings” on page 130 for more information. Delaying the Stereo Out The left and right channels of the Stereo Out can be delayed independently by using the Stereo Out Delay. See “Delaying Channel Signals” on page 120 for more information. Viewing Stereo Out Settings Parameter and fader settings for the Stereo Out can be viewed and set on the View pages. See “Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader Settings” on page 130 for more information. Naming the Stereo Out The Stereo Out can be named for easy identification. See “Naming Channels” on page 134 for more information. 02R96 Version 2—Owner’s Manual Bus Outs 95 9 Bus Outs Patching Bus Outs to Outputs Bus Outs can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 68 for more information. Routing Input Channels to Bus Outs Input Channels can be routed to the Bus Outs. See “Routing Input Channels” on page 82 for more information. Metering Bus Outs Bus Out signal levels can be metered on the Meter pages. See “Metering” on page 107 for more information. Monitoring Bus Outs Bus Outs can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2] button for monitoring. See “Control Room Monitoring” on page 136 for more information. Attenuating Bus Outs Bus Out signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110 for more information. EQ’ing Bus Outs Each Bus Out features 4-band parametric EQ. See “Using EQ” on page 111 for more information. Grouping Master EQs Bus Out EQs can be grouped with the EQs of other Output Channels. See “Grouping Output Channel EQs” on page 114 for more information. Bus Out Inserts Internal effects processors and external signal processors can be patched into the Bus Outs by using the Inserts. See “Using Inserts” on page 115 for more information. Compressing Bus Outs Signal dynamics can be controlled by using the Bus Out Compressors. See “Compressing Channels” on page 116 for more information. Grouping Master Compressors Bus Out Compressors can be grouped with the Compressors of other Output Channels. See “Grouping Output Channel Compressors” on page 119 for more information. 02R96 Version 2—Owner’s Manual 96 Chapter 9—Bus Outs Muting Bus Outs (ON/OFF) Bus Outs can be muted by using the channel strip [ON] buttons. 1 Press the LAYER [MASTER] button to select the Master Layer. 2 Use channel strip [ON] buttons 17–24 to mute the Bus Outs. The [ON] button indicators of Bus Outs that are on light up. ON Grouping Master Mutes (ON/OFF) Bus Out Mutes can be grouped with the Mutes of other Output Channels. See “Grouping Output Channel Mutes (ON/OFF)” on page 128 for more information. Setting Bus Out Levels Bus Out levels can be set as follows. 1 Press the LAYER [MASTER] button to select the Master Layer. 2 Press the FADER MODE [FADER] button to select Fader mode. 3 Use faders 17–24 to set the Bus Out levels. Refer to the legend on the right side of the faders when setting Bus Out levels. 10 5 0 5 10 15 20 30 40 50 17 41 Grouping Master Faders BUS 1 Bus Out faders can be grouped with the faders of other Output Channels. See “Grouping Output Channel Faders” on page 126 for more information. Delaying Bus Outs Each Bus Out features a Delay function. See “Delaying Channel Signals” on page 120 for more information. Soloing Bus Outs Bus Outs can be soloed. See page 121 for more information. Pairing Bus Outs Bus Outs can be paired for stereo operation. See “Pairing Channels” on page 123 for more information. 02R96 Version 2—Owner’s Manual Sending Bus Outs to the Stereo Out 97 Sending Bus Outs to the Stereo Out Bus Outs can be routed to the Stereo Out buses as follows. Bus Out to Stereo Out settings can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user memories. See “Bus to Stereo Library” on page 147 for more information. 1 Use the SELECTED CHANNEL ROUTING [DISPLAY] button to locate the Bus to Stereo page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. PAN: These controls are used to pan the Bus Out signals between the left and right Stereo Out buses. The currently selected Pan control can be set to center by pressing [ENTER]. ON/OFF: These buttons are used to turn on and off the Bus Out to Stereo Out routing. Faders: These faders are used to set the Bus Out to Stereo Out levels. Fader knobs appear highlighted when faders are set to 0.0 dB. Press the [ENTER] button to set the currently-selected fader to 0.0 dB. You can copy the currently-selected fader position to other faders by double-clicking the [ENTER] button. Viewing Bus Out Settings Parameter and fader settings for each Bus Out can be viewed and set on the View pages. See “Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader Settings” on page 130 for more information. Naming Bus Outs Bus Outs can be named for easy identification. See “Naming Channels” on page 134 for more information. 02R96 Version 2—Owner’s Manual 98 Chapter 10—Aux Sends 10 Aux Sends Patching Aux Send Masters to Outputs Aux Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 68 for more information. Setting the Aux Send Mode Aux Sends have two operating modes—Variable and Fixed—which can be set individually for each of the eight Aux Sends. In Variable mode, Aux Send levels are variable and the signal source point can be either pre-fader or post-fader. In Fixed mode, Aux Send levels are fixed at nominal and the signal source point is fixed to post-fader. 1 Use the AUX SELECT [DISPLAY] button to select the Aux Send pages. The Aux Send parameters for the 56 Input Channels are divided among three pages. The Input Channel 1–24 Aux Send page is shown below: Variable mode on the left, Fixed mode on the right. The layout of the other two pages is the same. On the Fixed mode page, “GLOBAL POST” is displayed in the lower-right corner, indicating that the Aux Send Pre/Post parameter is fixed at Post. 2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8. 3 Use the cursor buttons to select the FIXED and VARIABLE buttons, and press [ENTER] to select a mode. When the Aux mode is changed, the parameters of the selected Aux Send are set as follows. Parameters Level Change from Variable to Fixed Change from Fixed to Variable All set to nominal All set to –∞ Pre/Post On/Off All set to Post All turned off All turned on Pre-Fader or Post-Fader Aux Sends Aux Sends can be configured individually as either pre-fader or post-fader on the Aux Send pages (see page 99) or the Aux View pages (see page 102). If Aux Sends are configured as pre-fader, you can position the send points before or after the [ON] buttons. 02R96 Version 2—Owner’s Manual 99 Setting Aux Send Levels Setting Aux Send Levels Aux Send levels can be set by using the faders or Encoders. Using the Faders 10 5 1 Use the LAYER buttons to select the Layers. 2 Press the FADER MODE [AUX] button to select the Aux Fader mode. 3 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8. 0 5 10 15 20 4 Use the faders to set the Aux Send levels. Refer to the legend on the left side of the faders when setting Aux Send levels. 30 40 50 1 25 49 Using the Encoders 1 Use the LAYER buttons to select the Layers. 2 Press the ENCODER MODE [AUX] button to select the Aux Encoder mode. 3 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8. 4 Use the Encoders to set the Aux Send levels. Aux Send Pages You can view and set the Aux Send parameters of all Input Channels on the Aux Send pages. Operation of the Aux Send pages in Variable and Fixed mode is explained separately. Variable Mode See page 98 for information on how to select Variable Aux mode. 1 Use the AUX SELECT [DISPLAY] button to select the Aux Send pages. The Aux Send parameters for the 56 Input Channels are divided among three pages. The Input Channel 1–24 Aux Send page in Variable mode is shown below. The layout of the other two pages is the same. 2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8. 3 Use the cursor buttons to select the Input Channel Aux Send controls. Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. 02R96 Version 2—Owner’s Manual 100 Chapter 10—Aux Sends 4 To turn Aux Sends on and off, select the rotary controls, and press [ENTER]. The rotary controls of Aux Sends that are turned off, appear gray, and “OFF” appears in place of the level value. Aux Send levels can still be changed even when they’re off. 5 To set Aux Send levels, select the rotary controls, and use the Parameter wheel or INC/DEC buttons. To set Aux Send levels for all Input Channels to nominal, select the ALL NOMINAL button. 6 To set the Pre Fader and Post Fader parameters, select the PRE/POST buttons, and use the [ENTER] button or INC/DEC buttons. 7 To set all Input Channels for the selected Aux Send to pre-fader or post-fader simultaneously, select the GLOBAL PRE or POST button, and then press [ENTER]. The PRE or POST button is highlighted, and remains highlighted as long as all Input Channel pre or post settings remain unchanged, so you can quickly see if all Input Channels are set to either pre-fader or post-fader. 8 If you selected pre-fader, turn on the PRE ON button or POST ON button to set the Pre point before or after each channel’s [ON] button. Fixed Mode See page 98 for information on how to select Fixed Aux mode. 1 Use the AUX SELECT [DISPLAY] button to select the Aux Send pages. The Input Channel 1–24 Aux Send page in Fixed mode is shown below. The layout of the other two Aux Send pages in Fixed mode is the same. 2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select Aux Sends 1–8. 3 Use the cursor buttons or Parameter wheel to select the Aux Send buttons. Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. 4 Use the [ENTER] button or INC/DEC buttons to turn Aux Sends on and off. If the Fader mode is set to Aux, the faders provide a visual indication of the On/Off status of each Input Channel for the currently selected Aux Send. For Aux Sends that are on, faders move to the nominal position. Aux Sends that are off, they move to the –∞ position. On/Off settings cannot be changed by using the faders. 02R96 Version 2—Owner’s Manual Viewing Aux Send Settings 101 Viewing Aux Send Settings You can view and set settings of all Aux Sends on the Aux View pages. Level and Pre/Post parameters are displayed separately. Level Parameters In Level mode, the Aux View pages display Aux Send Level and On/Off parameters. Fixed mode Aux Sends can be turned on and off only. 1 Use the AUX SELECT [DISPLAY] button to select the Aux View pages. 2 Select the DISPLAY LEVEL button, and press [ENTER]. The Aux View parameters for the 56 Input Channels are divided among three pages. The Input Channel 1–24 Aux View page is shown below in Level mode. The layout of the other two pages is the same. 3 Use the cursor buttons to select the Input Channel Aux Sends. Input Channels can also be selected by using the Input Channel Layer buttons and [SEL] buttons. Aux Sends can also be selected by using the AUX SELECT [AUX 1]–[AUX 8] buttons. 4 Use the Parameter wheel or INC/DEC buttons to set the Aux Send levels. 5 Use the [ENTER] button to turn on and off the selected Aux Send. The various Aux View page indicators are as follows: Send level set to –∞, or Fixed mode Aux Send set to off. Send level bar. Send set to off. Send level set to nominal. Send off, level set to nominal. Fixed mode Aux Send set to on. In Variable Aux mode, the Level and On/Off parameter values for the selected Aux Send are displayed in the lower-right corner of the page, for example, “LEVEL: –2.0 dB ON/OFF: ON.” In Fixed Aux mode, the On/Off parameter values for the selected Aux Send are displayed in the lower-right corner of the page, for example, “LEVEL: FIXED ON/OFF: ON.” 02R96 Version 2—Owner’s Manual 102 Chapter 10—Aux Sends Pre/Post Parameters In Pre/Post mode, the Aux View pages display Aux Send Pre/Post parameters. Fixed mode Aux Sends can be turned on and off only. 1 Use the AUX SELECT [DISPLAY] button to select the Aux View pages. 2 Select the DISPLAY PRE/POST button, and press [ENTER]. The Input Channel 1–24 Aux View page is shown below in Pre/Post mode. The layout of the other two Aux View pages in Pre/Post mode is the same. 3 Use the cursor buttons or Parameter wheel to select the Input Channel Aux Sends. Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. Aux Sends can also be selected by using the AUX SELECT [AUX 1]–[AUX 8] buttons. 4 Use the [ENTER] button or INC/DEC buttons to set the selected Aux Send to either pre-fader or post-fader. The various Aux View page indicators are as follows: Aux Send configured pre-fader. Aux Send configured post-fader. Fixed mode Aux Send. Fixed mode Aux Sends can be turned on and off by using the [ENTER] or INC/DEC buttons. 02R96 Version 2—Owner’s Manual Panning Aux Sends 103 Panning Aux Sends When Aux Sends are paired, Aux Sends can be panned between the paired Aux buses. See “Pairing Channels” on page 123 for more information. If the selected Aux Send is not paired, the message “AUXx–x are not paired” appears. If the currently selected pair of Aux Send Masters is set to Follow Surround on the Output Pair page, Aux Sends follow the Input Channel Surround Pan settings and cannot be set here, in which case the message “Now AUXx-x PAN Following Surround” appears. See “Pairing Aux Sends” on page 106 for more information. 1 Use the AUX SELECT [DISPLAY] button to select the Aux Pan pages. The Aux Pan parameters for the 56 Input Channels are divided among three pages. The Input Channel 1–24 Aux Pan page is shown below. The layout of the other two pages is the same. 2 Use the AUX SELECT [AUX 1]–[AUX 8] buttons to select the Aux Sends 1–8. 3 Use the cursor buttons to select Input Channel Aux Send pan controls, and use the Parameter wheel or INC/DEC buttons to set them. Input Channels can also be selected by using the LAYER buttons and [SEL] buttons. The currently selected Pan control can be set to center by pressing [ENTER]. MODE: There are three Pan modes that determine how paired Aux Sends are panned: Individual, Gang, and Inverse Gang. This is an individual setting that applies to each send in a pair of Aux Sends. In individual mode, Aux Send pan controls operate independently. In Gang mode, the Aux Send pan controls of paired Input Channels operate in unison. In Inverse Gang mode, the Aux Send pan controls of paired Input Channels operate in unison but move in opposite directions. INPUT PAN LINK: This is used to link Aux Send Pan controls to Input Channel Pan controls so that operating an Input Channel Pan control also operates the corresponding Aux Send Pan control, and vice versa. This can be set individually for each pair of Aux Send Masters. When a link is established, the pan positions and Pan mode of the Input Channels are copied to the Aux Sends. While linked, the Pan mode can be set from either the Aux Pan page or the Input Channel Pan page (see page 84). The Pan mode setting for Aux Sends is linked to the Pan mode setting for Input Channels. 02R96 Version 2—Owner’s Manual 104 Chapter 10—Aux Sends Excluding Certain Channels from Aux Sends (Mix Minus) You can quickly exclude certain channel signals from Aux Sends by using the controls on the top panel. This operation is called “Mix Minus.” For example, when Aux Sends are being used as monitors for the musicians or a narrator, you can turn off the audio signals of the musicians or narrator, excluding them from the monitor sound. 1 Press and hold down the AUX SELECT [AUX 1]–[AUX 8] buttons of the desired Aux Sends. The [ON] button indicators in the channel strip remain lit while you hold down the button. This means that signals routed from channels with a lit [ON] button indicator to the Aux Send are turned on. Note: If you release the AUX SELECT button before you proceed to Step 2, you will be unable to complete the Mix Minus operation. 2 Press the [ON] buttons of the Input Channels you wish to exclude from the Aux Send. You can select multiple channels. The selected channels’ [ON] button indicators turn off, and signals routed from those channels to the corresponding Aux Send are turned off. “MIX MINUS FOR AUX * ” appears at the bottom of the screen. (The asterisk represents an Aux number.) Tip: At this time, the Send Level controls on the Aux Send page are grayed out. 3 To reset the setting, while pressing and holding down the AUX SELECT [AUX 1]–[AUX 8] buttons you pressed in Step 1, press the [ON] buttons you pressed in Step 2. The corresponding [ON] button indicators light up. Copying Channel Fader Positions to Aux Sends While Aux Sends are in Variable mode, you can copy all Input Channel fader positions on one layer to the corresponding Aux Sends. This is convenient when you wish to send to the musicians monitor signals that have the same balance setting as the Stereo Out signals. 1 Locate the copy source layer button from the Input Channel Layer buttons, then press and hold down the button. Note: If you release the button in the LAYER section before you proceed to Step 2, you will be unable to complete the Copy operation. 2 Press one of the AUX SELECT [AUX 1]–[AUX 8] buttons to select the desired Aux Send copy destination. The confirmation message appears. 02R96 Version 2—Owner’s Manual Metering Aux Send Masters 3 105 To execute the Copy operation, move the cursor to the [YES] button, then press [ENTER]. To cancel the Copy operation, move the cursor to the [NO] button, then press [ENTER]. Tip: If the copy destination Input Channel has been paired with a vertical partner in another Layer, the fader position will be copied to the partner’s Aux Send. Metering Aux Send Masters Aux Send Master levels can be metered on the Meter pages. See “Metering” on page 107 for more information. Monitoring Aux Send Masters Aux Send Masters can be assigned to the CONTROL ROOM [ASSIGN 1] or [ASSIGN 2] button for monitoring. See “Control Room Monitoring” on page 136 for more information. Aux 7 and Aux 8 can be monitored via the STUDIO MONITOR OUT (see page 137). Attenuating Aux Send Masters Aux Send Master signals can be attenuated pre-EQ. See “Attenuating Signals” on page 110 for more information. EQ’ing Aux Send Masters Each Aux Send Master features 4-band parametric EQ. See “Using EQ” on page 111 for more information. Grouping Master EQs Aux Send Master EQs can be grouped with the EQs of other Output Channels. See “Grouping Output Channel EQs” on page 114 for more information. Aux Send Master Inserts Internal effects processors and external signal processors can be patched into the Aux Send Masters by using the Inserts. See “Using Inserts” on page 115 for more information. Compressing Aux Send Masters Signal dynamics can be controlled by using the Aux Send Master Compressors. See “Compressing Channels” on page 116 for more information. Grouping Master Compressors Aux Send Master Compressors can be grouped with the Compressors of other Output Channels. See “Grouping Output Channel Compressors” on page 119 for more information. Muting Aux Send Masters (ON/OFF) Aux Send Masters can be muted as follows. 1 Press the LAYER [MASTER] button to select the Master Layer. 2 Use channel strip [ON] buttons 9–16 to mute the Aux Send Masters. The [ON] button indicators of Aux Send Masters that are on light up. ON 02R96 Version 2—Owner’s Manual 106 Chapter 10—Aux Sends Grouping Master Mutes (ON/OFF) Aux Send Master Mutes can be grouped with the Mutes of other Output Channels. See “Grouping Output Channel Mutes (ON/OFF)” on page 128 for more information. Settings Aux Send Master Levels Aux Send Master levels can be set as follows. 1 Press the LAYER [MASTER] button to select the Master Layer. 2 Press the FADER MODE [FADER] button to select the Fader mode. 3 Use faders 9–16 to set the Aux Send Master levels. Refer to the legend on the right side of the faders when setting Aux Send Master levels. 10 5 0 5 10 15 20 30 40 50 9 33 AUX 1 Grouping Master Faders Aux Send Master faders can be grouped with the faders of other Output Channels. See “Grouping Output Channel Faders” on page 126 for more information. Delaying Aux Send Masters Each Aux Send Master features a Delay function. See “Delaying Channel Signals” on page 120 for more information. Soloing Aux Sends Aux Sends can be soloed. See page 121 for more information. Pairing Aux Sends Aux Sends can be paired for stereo operation. See “Pairing Channels” on page 123 for more information. Viewing Aux Send Master Settings Parameter and fader settings for each Aux Send Master can be viewed and set on the View pages. See “Viewing Channel Parameter Settings” on page 129 and “Viewing Channel Fader Settings” on page 130 for more information. Naming Aux Send Masters Aux Send Masters can be named for easy identification. See “Naming Channels” on page 134 for more information. 02R96 Version 2—Owner’s Manual Common Channel Functions 107 11 Common Channel Functions Metering Input Channels, Bus Outs, Aux Sends, the Stereo Out, and the effects processors can be metered on the various Meter pages, which are located by using the DISPLAY ACCESS [METER] button. Input and Output Channel Meter pages also display fader positions numerically. The Peak Hold function, which applies to all level meters, can be turned on or off on any of the Meter pages. Setting the Metering Position Input and Output Channels can be metered pre-EQ, pre-fader, or post-fader. This setting, which can be set independently for the Input and Output Channels, can be set on the Metering Position page shown below, or any of the Input and Output Channel Meter pages. PRE EQ: Channels are metered pre-EQ. PRE FADER: Channels are metered pre-fader. POST FADER: Channels are metered post-fader. 02R96 Version 2—Owner’s Manual 108 Chapter 11—Common Channel Functions Metering Input Channels There are two types of Input Channel Meter page: 24-channel and 48-channel. There are three 24-channel Meter pages. The Input Channel 1–24 Meter page is shown below. The layout of the other two pages is the same. These pages feature two level meters for each Input Channel. When Input Channels are vertically paired, both meters operate. When Input Channels are horizontally paired, only the left-hand meter operates. GATE GR: The meters indicate the gain reduction being applied by the Gate. COMP GR: The meters indicate the gain reduction being applied by the Compressor. There are two 48-channel Meter pages. The Input Channel 1–48 Meter page is shown below. The layout of the other page is the same. 02R96 Version 2—Owner’s Manual Metering 109 Metering Output Channels Bus Outs, Aux Sends, and the Stereo Out can all be metered on the Master Meter page. Metering Effects Effects inputs and outputs are metered on the Effect 1–4 page. There are eight input and output meters for effect #1, and 2 input and output meters for effects 2 through 4. Metering the Stereo out The Stereo Out can be metered on the Stereo Meter page. Peak signal levels for the left and right channels are displayed numerically. 02R96 Version 2—Owner’s Manual 110 Chapter 11—Common Channel Functions Attenuating Signals Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature pre-EQ attenuation, which is useful for attenuating “hot” signals before EQ’ing. 1 Use the EQUALIZER [DISPLAY] button to select the Attenuator pages. The Attenuator parameters for the 56 Input Channels are arranged into three pages. The Input Channel 1–24 Attenuator/Shifter page is shown below. The layout of the other two pages is the same. The attenuator parameters for the Output Channels appear on the Output Attenuator page. 2 Use the cursor buttons to select the channels, and use the Parameter wheel or INC/DEC buttons to set the amount of attenuation. Input and Output Channels can also be selected by using the LAYER and [SEL] buttons. You can copy the currently selected Input or Output Channel attenuation setting to all Input or Output Channels respectively by double-clicking the [ENTER] button. For Input Channels, you can also set the amount of attenuation in bits from +2 bits to –24 bits. Use the cursor buttons to select the bit shift parameters, and use the Parameter wheel or INC/DEC buttons to set them. The rotary attenuators and the bit shift parameters can be set independently. You can set the attenuator parameters for individual Input and Output Channels on the Input Attenuator and Output Attenuator pages, regardless of paired channels. The changes made on the Attenuator pages, along with the level balance between channels, will be reflected in the settings in the SELECTED CHANNEL section, in the EQUALIZER [ATT] controls, and on the EQ Edit page. 02R96 Version 2—Owner’s Manual Using EQ 111 Using EQ Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature 4-band parametric EQ. The LOW-MID and HIGH-MID bands are peaking type. The LOW and HIGH bands can be set to shelving, peaking, or HPF and LPF respectively. EQ settings can be stored in the EQ library, which contains 40 preset memories and 160 user memories. See “EQ Library” on page 150 for more information. Preset EQs The following table lists the preset EQs. See page 282 for detailed parameter information. # Preset Name Description Bass Drum 1 Emphasizes the low range of a bass drum and the attack created by the beater. 2 Bass Drum 2 Creates a peak around 80 Hz, producing a tight, stiff sound. 3 Snare Drum 1 Emphasizes “snappy” and rimshot sounds. 4 Snare Drum 2 Emphasizes various ranges for that classic rock snare drum sound. 5 Tom-tom 1 Emphasizes the attack of tom-toms, and creates a long, “leathery” decay. 6 Cymbal Emphasizes the attack of crash cymbals, extending the “sparkling” decay. 7 High Hat Use on a tight high-hat, emphasizing the mid to high range. 8 Percussion Emphasizes attack and adds clarity to the high-range of instruments, such as shakers, cabasas, and congas. 9 E. Bass 1 Produces a tight electric bass sound by cutting very low frequencies. 1 10 E. Bass 2 Unlike preset 9, this preset emphasizes the low range of an electric bass. 11 Syn. Bass 1 Use on a synth bass with emphasized low range. 12 Syn. Bass 2 Emphasizes the attack that is peculiar to synth bass. 13 Piano 1 Makes pianos sound brighter. 14 Piano 2 Used in conjunction with a compressor, this preset emphasizes the attack and low range of pianos. 15 E. G. Clean Use for line-level recording of an electric or semi-acoustic guitar to get a slightly harder sound. 16 E. G. Crunch 1 Adjusts the tonal quality of a slightly distorted guitar sound. 17 E. G. Crunch 2 A variation on preset 16. 18 E. G. Dist. 1 Makes a heavily distorted guitar sound clearer. 19 E. G. Dist. 2 A variation on preset 18. 20 A. G. Stroke 1 Emphasizes the bright tones of acoustic guitars. 21 A. G. Stroke 2 A variation on preset 20. You can also use it with gutsy guitar sounds. 22 A. G. Arpeg. 1 Ideal for arpeggio playing on acoustic guitars. 23 A. G. Arpeg. 2 A variation on preset 22. 24 Brass Sec. Use with trumpets, trombones, or saxes. When used with a single instrument, try adjusting the HIGH or HIGH-MID frequency. 25 Male Vocal 1 An EQ template for male vocals. Try adjusting the HIGH or HIGH-MID parameters according to the voice quality. 26 Male Vocal 2 A variation on preset 25. 27 Female Vo. 1 An EQ template for female vocals. Try adjusting the HIGH or HIGH-MID parameters according to the voice quality. 28 Female Vo. 2 A variation on preset 27. 29 Chorus&Harmo An EQ template for brightening choruses. 30 Total EQ 1 Use on a stereo mix during mixdown. Sounds even better when used with a compressor. 31 Total EQ 2 A variation on preset 30. 32 Total EQ 3 A variation on preset 30. Can also be used with paired Input or Output Channels. 02R96 Version 2—Owner’s Manual 112 Chapter 11—Common Channel Functions # Preset Name Description 33 Bass Drum 3 A variation on preset 1, with low and mid range reduced. 34 Snare Drum 3 A variation on preset 3, creating a thicker sound. 35 Tom-tom 2 A variation on preset 5, emphasizing the mid and high ranges. 36 Piano 3 A variation on preset 13. 37 Piano Low Emphasizes the low range of pianos recorded in stereo. 38 Piano High Emphasizes the high range of pianos recorded in stereo. 39 Fine-EQ Cass Add clarity when recording to or from cassette tape. 40 Narrator Ideal for recording narration. Using the SELECTED CHANNEL EQUALIZER Controls 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. EQUALIZER LOW LOW MID HIGH MID HIGH DISPLAY FREQUENCY Q FREQUENCY GAIN Q FREQUENCY 125 1.00 Hz Q GAIN dB kHz EQ ON FREQUENCY Q GAIN dB GAIN dB 4.00 Hz kHz dB 10.0 Hz kHz Hz kHz 2 Use the [EQ ON] button to turn the EQ on or off. 3 Use the GAIN controls to set the gain of each band. When a GAIN control is adjusted, the gain in dB is displayed on the corresponding EQ display. If the GAIN control is not adjusted for two seconds, the EQ display returns to displaying the frequency. 4 To set the frequency, press a FREQUENCY/Q control so that the FREQUENCY indicator lights up, and use the FREQUENCY/Q control to set the frequency. The frequency is displayed by the corresponding EQ display. 5 To set the Q, press a FREQUENCY/Q control so that the Q indicator lights up, and use the FREQUENCY/Q control to set the Q. The Q value is displayed by the corresponding EQ display. If the Q control is not adjusted for two seconds, the EQ display returns to displaying the frequency. To reset an individual gain control, hold down the corresponding FREQUENCY/Q control. To reset all gain controls, press the LOW and HIGH FREQUENCY/Q controls. The EQ parameter ranges are as follows. Parameter LOW Gain HIGH-MID –18.0 dB to +18.0 dB (0.1 dB Frequency Q LOW-MID HIGH steps)1 21.2 Hz to 20.0 kHz (120 steps per 1/12 octave) HPF, 10.0 to 0.10 (41 steps), L.SHELF 10.0 to 0.10 (41 steps) LPF, 10.0 to 0.10 (41 steps), H.SHELF 1. The LOW and HIGH GAIN controls function as filter on/off controls when Q is set to HPF or LPF respectively. The initial EQ parameter settings are as follows. Parameter LOW LOW-MID Gain HIGH 4.00 kHz 10.0 kHz 0 dB Frequency 125 Hz Q L.SHELF 02R96 Version 2—Owner’s Manual HIGH-MID 1.00 kHz 0.70 H.SHELF Using EQ 113 EQ Edit Pages EQ parameters can also be set on the EQ Edit page. If the Auto EQUALIZER Display preference is on, this page appears automatically when a control in the SELECTED CHANNEL EQUALIZER section is operated. See “Auto EQUALIZER Display” on page 230. 1 Use the EQUALIZER [DISPLAY] button to select the EQ Edit page. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel and INC/DEC buttons to set them. EQ ON: This turns the EQ on and off. While this page is selected, the [ENTER] button can be used to turn the EQ on and off so long as any parameter other than TYPE is selected. TYPE: This selects the type of EQ: TYPE I (the EQ type used on legacy Yamaha digital mixing consoles) or TYPE II (a newly developed algorithm). ATT: This can be used to attenuate signals pre-EQ. It’s the same Attenuator parameter that appears on the Attenuator pages. See “Attenuating Signals” on page 110 for more information. CURVE: This displays the EQ curve of the currently selected Input Channel. Level meters: These meters indicate the levels of the currently selected Input Channel and its horizontal or vertical partner. LOW, L-MID, H-MID, HIGH: These are the Q, Frequency (F), and Gain (G) parameters for the four bands. The parameter (F or Q) you selected using the FREQUENCY/Q control is highlighted. 02R96 Version 2—Owner’s Manual 114 Chapter 11—Common Channel Functions Grouping Output Channel EQs The Bus Out, Aux Send, and Stereo Out EQs can be grouped, allowing you to control the EQ of several Output Channels simultaneously. There are four Output Channel EQ groups: e, f, g, and h. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Equalizer Link page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select EQ groups e–h. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove Output Channels to and from the selected group. The EQ settings of the first Output Channel added to the group are applied to all subsequently added Output Channels. When an Output Channel is added to a group, its [SEL] button indicator lights up. 02R96 Version 2—Owner’s Manual Using Inserts 115 Using Inserts Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature assignable Inserts. 1 Use the SELECTED CHANNEL DISPLAY ACCESS [PHASE/INSERT] button to select the Insert page. The Insert page for Input Channels is shown below. The Insert page for Bus Outs, Aux Sends, and the Stereo out is shown below. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. POSITION: This determines the position of the Insert and Compressor within the channel, and can be set to pre-EQ, pre-fader, or post-fader. Click the desired [COMP] and [INSERT] buttons in the POSITION block diagram to select the Compressor and Insert positions. INSERT ON/OFF: This turns the currently selected channel’s Insert on and off. INSERT OUT: This selects the destination for the Insert Out, which can be a Slot Output, Omni Out, 2TR Digital Output, or the input to an internal effects processor. See page 241 and page 245 for Input and Output patch parameter lists. The Port ID of the currently selected destination is displayed below the currently selected channel’s Long name in the upper-right corner of the page. The destination port can also be selected by using the Patch Select window (see page 71), which is accessed by pressing [ENTER] while this parameter is selected. Insert Outs can also be patched on the Output Patch pages. See “Output Patching” on page 68 for more information. 02R96 Version 2—Owner’s Manual 116 Chapter 11—Common Channel Functions INSERT IN: This selects the source for the Insert In, which can be an AD Input, Slot Input, 2TR Digital or Analog Input, or the output of an internal effects processor. See page 241 for a list of Input Channel Insert In sources; page 245 for a list of Output Channel Insert In sources. The Port ID of the currently selected source is displayed below the currently selected channel’s Long name in the upper-right corner of the page. The source port can also be selected by using the Patch Select window (see page 71), which is accessed by pressing [ENTER] while this parameter is selected. Insert Ins can also be patched on the Input Channel Insert In Patch pages. See “Patching Input Channel Insert Ins” on page 67 for more information. COMP ON/OFF: This turns the currently selected channel’s Compressor on and off. It works in unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button, and the ON/OFF button on the Comp Edit page. See “Compressing Channels” on page 116 for more information. COMP ORDER: If the Insert and Compressor are set to the same position in the channel (i.e., INSERT POSITION and COMP POSITION are the same), you can use this parameter to set the order of the Insert and Compressor to either Comp->Ins or Ins->Comp. When a Y56K card effect, or an internal effects processor is inserted in the currently selected channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the corresponding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] button indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS] button indicator also flashes. This applies only to effects that are inserted into channels. If there’s nothing inserted in the currently selected channel, a message appears. Compressing Channels Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature a Compressor. Settings can be stored in the Comp library, which contains 36 preset memories and 92 user memories. See “Comp Library” on page 149 for more information. Preset Comps & Types The following table lists the preset Comps and types. See page 284 for detailed parameter information. # Preset Name Type Description 1 Comp COMP Compressor intended to reduce the overall volume level. Use it on the stereo output during mixdown, or with paired Input or Output Channels. 2 Expand EXPAND Expander template. 3 Compander (H) COMPAND-H Hard-kneed compressor template. 4 Compander (S) COMPAND-S Soft-kneed compressor template. 5 A. Dr. BD COMP Compressor for use with acoustic bass drum. 6 A. Dr. BD COMPAND-H Hard-kneed compander for use with acoustic bass drum. 7 A. Dr. SN COMP Compressor for use with acoustic snare drum. 8 A. Dr. SN EXPAND Expander for use with acoustic snare drum. 9 A. Dr. SN COMPAND-S Soft-kneed compander for use with acoustic snare drum. 10 A. Dr. Tom EXPAND Expander for use with acoustic tom toms, which automatically reduces the volume when the tom toms are not played, improving mic separation. 11 A. Dr. OverTop COMPAND-S Soft-kneed compander for emphasizing the attack and ambience of cymbals recorded with overhead mics. It automatically reduces the volume when the cymbals are not played, improving mic separation. 12 E. B. Finger COMP Compressor for leveling the attack and volume of a finger-picked electric bass guitar. 02R96 Version 2—Owner’s Manual Compressing Channels # Preset Name Type 117 Description 13 E. B. Slap COMP Compressor for leveling the attack and volume of a slapped electric bass guitar. 14 Syn. Bass COMP Compressor for controlling or emphasizing the level of a synth bass. 15 Piano1 COMP Compressor for brightening the tonal color of a piano. 16 Piano2 COMP A variation on preset 15, using a deep threshold to change the overall attack and level. 17 E. Guitar COMP Compressor for electric guitar “cutting” or arpeggio-style backing. The sound color can be varied by playing different styles. 18 A. Guitar COMP Compressor for acoustic guitar “stroke” or arpeggio-style backing. 19 Strings1 COMP Compressor for use with strings. 20 Strings2 COMP A variation on preset 19, intended for violas or cellos. 21 Strings3 COMP A variation on preset 20, intended for string instruments with a very low range, such as cellos or contrabass. 22 BrassSection COMP Compressor for brass sounds with a fast and strong attack. 23 Syn. Pad COMP Compressor for synth pad, intended to prevent diffusion of the sound. 24 SamplingPerc COMPAND-S Compressor for making sampled percussion sound like real acoustic percussion. 25 Sampling BD COMP A variation on preset 24, intended for sampled bass drum sounds. 26 Sampling SN COMP A variation on preset 25, intended for sampled snare drum sounds. 27 Hip Comp COMPAND-S A variation on preset 26, intended for sampled loops and phrases. 28 Solo Vocal1 COMP Compressor for use with main vocals. 29 Solo Vocal2 COMP A variation on preset 28. 30 Chorus COMP A variation on preset 28, intended for choruses. 31 Click Erase EXPAND Expander for removing a click track that may bleed through from a musicians headphones. 32 Announcer COMPAND-H Hard-kneed compander for reducing the level of the music when an announcer speaks. 33 Limiter1 COMPAND-S A soft-kneed compander with a slow release. 34 Limiter2 COMP A “peak-stop” compressor. 35 Total Comp1 COMP Compressor for reducing the overall volume level. Use it on the stereo output during mixdown, or with paired Input or Output Channels. 36 Total Comp2 COMP A variation on preset 35, but with more compression. 02R96 Version 2—Owner’s Manual 118 Chapter 11—Common Channel Functions Using the SELECTED CHANNEL DYNAMICS Controls 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 2 Use the SELECTED CHANNEL DYNAMICS [COMP ON] button to turn the currently selected channel’s Compressor on or off. DYNAMICS DISPLAY GATE ON COMP ON 3 GATE / COMP GATE THRESHOLD RANGE ATTACK DECAY HOLD COMP THRESHOLD RATIO ATTACK RELEASE GAIN Use the SELECTED CHANNEL DYNAMICS [GATE/COMP] button to set the DYNAMICS controls to COMP (COMP indicator lit), and use the THRESHOLD, RATIO, ATTACK, RELEASE, and GAIN controls to set the Compressor. While an output Channel is selected, the [GATE/COMP] button is fixed at COMP. Comp Edit Page Compressor settings can be viewed and set on the Comp Edit page. If the Auto DYNAMICS Display preference is on, this page appears automatically when a Compressor control in the SELECTED CHANNEL DYNAMICS section is operated. See “Auto DYNAMICS Display” on page 230. 1 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 2 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the Comp Library page, and recall a preset Compressor that contains the comp type that you want. See “Comp Library” on page 149 for more information. 3 Use the SELECTED CHANNEL DYNAMICS [DISPLAY] button to locate the Comp Edit page. 4 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. POSITION: This determines the position of the Compressor within the channel, and can be set to pre-EQ, pre-fader, or post-fader. It works in unison with the COMP POSITION parameter on the Insert page. See “Using Inserts” on page 115 for more information. STEREO LINK: This allows you to pair Comps for stereo operation even when channels are not paired. Input Channel Comps are paired either horizontally or vertically depending on the Pair mode setting for the currently selected Input Channel. See “Pairing Channels” 02R96 Version 2—Owner’s Manual Grouping Output Channel Compressors 119 on page 123 for more information on horizontal and vertical pairing. When channels are paired, this parameter is turned on automatically and cannot be changed. CURVE: This displays the Compressor curve (i.e., input level vs. output level). TYPE: This is the comp type used by the currently selected channel’s Compressor. Meters: These meters indicate the levels of the currently selected Input Channel and its horizontal or vertical partner. The GR meter indicates the amount of gain reduction being applied by the currently selected channel’s Compressor. ON/OFF: This turns the currently selected channel’s Compressor on and off. It works in unison with the SELECTED CHANNEL DYNAMICS [COMP ON] button. PARAMETER: These controls are used to set the Threshold, Ratio, Attack, Release, Out Gain, and Knee (Width) parameters. Grouping Output Channel Compressors The Bus Out, Aux Send, and Stereo Out Compressors can be grouped, allowing you to control the compression of several Output Channels simultaneously. There are four Output Channel Compressor groups: m, n, o, and p. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Comp Link page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select Comp groups m–p. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove Output Channels to and from the selected group. The Compressor settings of the first Output Channel added to the group are applied to all subsequently added Output Channels. When an Output Channel is added to a group, its [SEL] button indicator lights up. 02R96 Version 2—Owner’s Manual 120 Chapter 11—Common Channel Functions Delaying Channel Signals Input Channels, Bus Outs, Aux Sends, and the Stereo Out all feature independent Delay functions. Input Channel Delays feature feedback, with independent Mix and Gain parameters. 1 Use the SELECTED CHANNEL DISPLAY ACCESS [DELAY] button to select the Delay pages. The Delay parameters for the 56 Input Channels are arranged into three pages. The Input Channel 1–24 Delay page is shown below. The layout of the other two pages is the same. The Delay parameters for the Bus Outs, Aux Sends, and the Stereo Out appear on the Output Delay page. 2 Use the cursor buttons to select the Delay parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. Input and Output Channels can also be selected by using the LAYER and [SEL] buttons. DELAY SCALE: These buttons determine the units of the delay value shown below the msec value. Units can be set to meters, feet, samples, beats, or timecode frames. GANG: When this option is turned on, the delay time for paired channels can be set simultaneously. Ganging is relative, so any delay time difference between the two channels is maintained when this is turned on. ON/OFF: These buttons turn the individual Delay functions on and off. The [ENTER] button can be used to turn a Delay on and off regardless of which parameter is selected. msec: This sets the delay time in milliseconds. The delay time can also be set by using the parameter below, which is the delay time in the units selected by the DELAY SCALE buttons. You can copy the currently selected Input or Output Channel delay setting to all Input or Output Channels respectively by double-clicking the [ENTER] button. 02R96 Version 2—Owner’s Manual 121 Soloing Channels MIX: This parameter, available only on the Input Channel Delay pages, sets the mix of dry and wet signals. FB.GAIN: This parameter, available only on the Input Channel Delay pages, sets the amount of feedback. Soloing Channels Input Channels, Bus Outs, and Aux Sends can be soloed as follows. 1 Use the LAYER buttons to select the Input Channel Layers if you want to solo Input Channels, or select the Master Layer if you want to solo Output Channels. Input and Output Channels cannot be soloed simultaneously. Soled Input Channels will be unsoled when an Output Channel is soloed, and vice versa. 2 Use the [SOLO] buttons to solo the channels on the selected Layer. The [SOLO] button indicators of channels that are soloed light up. SOLO The SOLO indicator in the MONITOR section flashes when the Solo function is active. You can unsolo all soloed channels by pressing the SOLO [CLEAR] button. SOLO CLEAR Configuring Solo The Solo function is configured on the Solo Setup page. If the Auto SOLO Display preference is on, this page appears automatically when a channel is soloed. See “Auto SOLO Display” on page 230. 1 Use the MONITOR [DISPLAY] button to locate the Solo Setup page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. SOLO: This is used to enable and disable the Solo function. STATUS: This determines the Solo mode: Recording or Mixdown. It affects only Input Channels. In Recording Solo mode, soloed Input Channel signals are fed to the Solo bus and output via the Control Room Outputs. Other buses are unaffected by this mode. If the Listen parameter is set to AFTER PAN, the signal source for Input Channels that are off, is pre fader. 02R96 Version 2—Owner’s Manual 122 Chapter 11—Common Channel Functions In Mixdown Solo mode, soloed Input Channel signals are fed to the Stereo bus and output via the Stereo Out and Control Room Outputs. Unsoloed Input Channels are muted and their [ON] button indicators flash (unless they are Solo Safe enabled). Only Input Channels that are routed to the Stereo Out can be soloed in this mode. Input Channels that are off are temporarily turned on when they are soloed. SEL MODE: This determines the Solo Select mode: Mix Solo or Last Solo. In Mix Solo mode, any number of channels can be soloed simultaneously. In Last Solo mode, only one channel can be soloed at a time. LISTEN: This determines the source of the Input Channel Solo signal: Pre Fader or After Pan. It does not affect Mixdown Solo mode. Output Channels are fixed at After Pan. If you select Pre Fader, turning on the PAN button below it enables you to solo the channel with the Pan setting still applied. SOLO TRIM: This is used to trim the level of the Solo signal. This parameter does not affect Mixdown Solo mode. SOLO SAFE CHANNEL: For Mixdown Solo mode, Input Channels can be configured individually so that they are not muted when other Input Channels are soloed. Use the [SEL] buttons, cursor buttons, or Parameter wheel to select the SOLO SAFE CHANNEL buttons. Use the [ENTER] or INC/DEC buttons to set Solo Safe for each Input Channel. These settings do not affect Recording Solo mode. You can clear all Solo Safe settings by selecting the ALL CLEAR button and pressing [ENTER]. AUX/SOLO LINK: When this check box is checked, you can solo or unsolo the Aux Sends using the AUX SELECT [AUX 1]–[AUX 8] buttons without changing the Master layer. This is convenient when you want to solo or unsolo Aux Outs while controlling the Aux Sends from the Input Channels. Press the AUX SELECT key for the AUX send that you want to solo, making it light. Then press that key once again to solo only the selected AUX send. When Aux Sends are soloed, the corresponding AUX SELECT button indicators flash. FADER/SOLO RELEASE: When you check this check box, raising the channel faders of soloed Channels from –∞ will unsolo the Channels. If the channel fader position is higher than –∞, you cannot solo the corresponding channel. This function is disabled in Mixdown Solo mode and for the Output Channels. Note: When the AUX/SOLO LINK or FADER/SOLO RELEASE check box is checked, the solo setting is cancelled. 02R96 Version 2—Owner’s Manual Pairing Channels 123 Pairing Channels Input Channels, Bus Outs, and Aux Sends can be paired for stereo operation. Input Channels can be paired either horizontally, that is, adjacent odd-even channels on the same Layer (e.g., 1-2, 3-4, 5-6, etc) or vertically, that is, counterpart channels on adjacent Layers (e.g., 1-25, 2-26, 49-73, 50-74, etc). Bus Outs and Aux Sends can be paired only horizontally. Pairing Channels by Using the [SEL] Buttons Only horizontal pairing can be set by using the [SEL] buttons. 1 Use the LAYER buttons to select the Layer containing the channels that you want to pair. 2 While holding down the [SEL] button of the first channel, press the [SEL] button of the second channel. The settings of the first channel are copied to the second channel and the channels are paired. The [SEL] button indicator of the currently selected channel lights up, while the [SEL] button indicator of the other channel flashes. To cancel a pair, while holding down the [SEL] button of the first channel, press the [SEL] button of the second channel. The following channel parameters are copied, and controlled together, when channels are paired: Fader, On/Off, Insert On/Off, Aux On/Off, Aux Send Mode, Aux Send Level, Aux Pre/Post, Aux Pre Point, Gate parameters, Compressor parameters, EQ parameters, Fader group, Mute group, EQ group, Comp group, Solo, Solo Safe, [AUTO] button, Fade Time, Recall Safe, Bus to Stereo On/Off, Bus to Stereo Level. The following channel parameters are not copied, or controlled together, when channels are paired: Input Patch, Insert Patch, Output Patch, Comp Position, Phase, Delay On/Off, Delay Time, Delay Feedback, Delay Mix, Routing, Pan, Follow Pan, Surround Pan, Bus to Stereo Pan, Aux Send Pan, Balance. When channels are paired, the Attenuator value is copied, but the changes made in the Attenuator page are not reflected in the pair partner. However, if you change the values in the EQ Edit page, Parameter view page, or on the control surface, the changes will be reflected in the pair partner while maintaining the relative level difference. When Aux Send Mode is set to Fixed, Aux Send On/Off is not controlled together. Check the Routing ST Pair Link check box to link the routing from the paired channels to the Stereo Bus. See “Setting Preferences” on page 230 for more information. 02R96 Version 2—Owner’s Manual 124 Chapter 11—Common Channel Functions Pairing Channels by Using the Pair Pages Both horizontal and vertical pairing can be set on the Pair pages. 1 Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages. The Pair parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Pair page is shown below. The layout of the other page is the same. 2 To set the pair mode, select the PAIR MODE HORIZONTAL or VERTICAL buttons, and press [ENTER]. The Pair mode can be set independently for Input Channels 1–48 and Input Channels 49–56. The Input Channel 1–48 Pair page in Vertical mode is shown below. Pair parameters for the Bus Outs and Aux Sends appear on the Output Pair page. 02R96 Version 2—Owner’s Manual Pairing Channels 3 125 Use the cursor buttons or Parameter wheel to select the channel pair buttons, and press [ENTER] to make or break pairs. Input and Output Channels can also be selected by using the LAYER and [SEL] buttons. A dialog box appears with options for copying the settings of the first channel to the second channel, the second channel to the first channel, and for resetting both channels to their initial settings. Choose the option required, and then press [ENTER]. On other display pages, paired channels have a heart icon, or a dash between their channel numbers. When Input Channels are paired, MS Decoding can be used to decode signals from microphones arranged as MS pairs. MS Decoding is set on the Input Channel Pair pages. This can be turned on and off for each pair of channels by using the MS buttons. The Output Pair page displays the currently selected Surround mode (i.e., Stereo, 3-1, 5.1, or 6.1), which can be set on the Surround Mode page (see page 85). When a Surround mode other than Stereo is selected, the names of the Surround channels are shown below the Bus Out and Aux Send pair buttons, as shown in the following table. Surround Mode Bus Out/Aux Send 1 2 3 4 5 6 7 8 3-1 L R C S — — — — 5.1 L R Ls Rs C LFE — — 6.1 L R Ls Rs C Bs LFE — This table shows the default assignment. The assignment may vary depending on the settings in the Surround Bus Setup page (see page 87). When a Surround mode other than Stereo is selected, Aux Sends can be set to follow the same Input Channel Surround Pan that applies to the Bus Outs, which is useful for feeding Surround channel signals to external effects processors. This is turned on and off by using the F.S buttons that appear below the Aux Send Pair buttons. When a pair of Aux Sends are set to follow Surround Pan, their Aux Send Pair button is unavailable, and their Aux Pan parameters (see page 103) are unavailable. 02R96 Version 2—Owner’s Manual 126 Chapter 11—Common Channel Functions Grouping Output Channel Faders The Bus Out, Aux Send, and Stereo Out faders can be grouped, allowing you to control the level of several Output Channels simultaneously. There are four Output Channel Fader groups: Q, R, S, and T. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select Fader groups Q–T. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove Output Channel faders to and from the selected group. When an Output Channel is added to a group, its [SEL] button indicator lights up. ENABLE: These buttons are used to enable and disable the groups. OUTPUT FADER MASTER: When this check box is not checked, the Output Channel fader positions determine the fader levels in the Output Channel Fader groups. When this check box is checked, you can set the master level for the corresponding Output Channel Fader group in the Master column. The resultant Output Channel level equals the corresponding Output Channel fader level plus the Group master level. See “Group Master for the Output Channel Faders” on page 127 for more information. When the Output Fader Master check box is not checked, operating the channel faders will affect the Output Channel levels in the corresponding Fader group. Pressing and holding down the [SEL] button while operating the fader of an Output Channel will temporarily cancel the corresponding Fader group, which is convenient if you want to adjust the relative balance between channels. When the Output Fader Master check box is not checked, fader groups are active only in Fader mode. See “Selecting Fader Modes” on page 49 for more information. 02R96 Version 2—Owner’s Manual Group Master for the Output Channel Faders 127 Group Master for the Output Channel Faders The 02R96 also features a Fader Group Master function that enables you to control the level of all channels using the Group Master level while maintaining the balance between the channels, much like a VCA Group on an analog mixing console. While this function is enabled, channel fader operation will not affect the channel levels of the corresponding Fader group. 1 Follow Steps 1–4 as described in the “Grouping Output Channel Faders” section on the previous page, select the Output Fader Master check box, then press the [ENTER] button to check or uncheck the Output Fader Master check box. 2 When the Output Fader Master check box is checked, you can set the channel levels of the Fader groups in the Master column. When the Master column is selected, repeatedly pressing the [ENTER] button turns the Output Fader Group on and off. You can also make these settings in the Output Fader Group Master page, as shown below. 3 Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group Master page. 4 Use the cursor buttons to select the parameters, then use the Parameter wheel, INC/DEC buttons or [ENTER] button to set them. OUTPUT FADER MASTER: When this check box is checked, you can set the master levels for the Output Fader groups. The resultant Output Channel level equals the corresponding Output Channel fader level plus the Group master level. ALL NOMINAL: This button resets the master levels for all Output Fader groups to nominal. ON/OFF: This turns each Output Fader group on or off, like a VCA mute on an analog mixing console. Faders: These faders adjust the master levels of the Fader groups. Fader knobs appear highlighted when faders are set to 0.0 dB. Press the [ENTER] button to set the currently-selected fader to 0.0 dB. You can also control the Fader Master function from the channel strips on the control surface as described below by using the User Assignable Layer of the Remote Layers. See page 228 for information on the User Assignable Layer. Encoders: The Encoders are not available. [AUTO] buttons: These buttons are used to control the Fader Group Master On/Off and the master level during Automix. 02R96 Version 2—Owner’s Manual 128 Chapter 11—Common Channel Functions [SEL] buttons: These buttons move the cursor on the Output Fader Group Master page. [SOLO] buttons: These buttons turn the Solo function of each Fader group on and off, enabling you to monitor every channel in each Fader group. Channel Faders: The Channel Faders enable you to set the master level for each Fader group. Grouping Output Channel Mutes (ON/OFF) The Bus Out, Aux Send, and Stereo Out mutes can be grouped, allowing you to mute several Output Channels simultaneously. There are four Output Channel Mute groups: U, V, W, and X. 1 Use the DISPLAY ACCESS [GROUP] button to locate the Output Mute Group page. 2 Press the LAYER [MASTER] button. 3 Use the Up/Down cursor buttons to select Mute groups U–X. The selected group is highlighted by a flashing cursor box. 4 Use the [SEL] buttons to add and remove Output Channels to and from the selected group. When an Output Channel is added to a Mute group, its [SEL] button indicator lights up. ENABLE: These buttons are used to enable and disable the groups. OUTPUT MUTE MASTER: When this check box is checked, pressing the MASTER MUTE button turns mute on or off for all channels in the corresponding Mute group. When this check box is unchecked, the Output Channel [ON] button status mutes or unmutes the channels in the group. MASTER MUTE: When the Output Mute Master check box is checked, use this button to mute or unmute all channels in the corresponding Mute group. When the Output Mute Master check box is unchecked, pressing the Output Channel [ON] button mutes or unmutes the channel in the corresponding Mute group (Mute On channels are turned off and Mute Off channels are turned on). 02R96 Version 2—Owner’s Manual Output Channel Mute Master 129 Output Channel Mute Master The 02R96 features a Mute Group Master function that enables you to mute all channels in the Mute group using the MASTER button, much like a Mute group on an analog mixing console. When this function is enabled, the channel [ON] buttons do not control the channels in the group collectively. 1 Follow Steps 1–4 described in the “Grouping Output Channel Mutes (ON/OFF)” section on the previous page, select the Output Mute Master check box, then press the [ENTER] button to check or uncheck the Output Mute Master check box. 2 When the Output Mute Master check box is checked, the MASTER MUTE button in each group mutes or unmutes the channels in the corresponding group. If the channels are muted by the Mute Master function, the corresponding channel [ON] button indicators flash. You can assign the MASTER MUTE button function to one of the USER DEFINED KEYS for convenient operation. Viewing Channel Parameter Settings The parameter setting of the currently selected Input Channel, Bus Out, Aux Send, or the Stereo Out can be viewed and set on the Parameter View pages. 1 Use the DISPLAY ACCESS [VIEW] button to select the Parameter View page. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] buttons to set them. Input Channels This is the Parameter View page for the Input Channels. GATE: The following Gate parameters for the currently selected Input Channel can be set: Gate On/Off, Threshold, Range, Attack, Decay, and Hold. The GR meter indicates the amount of gain reduction being applied by the Gate. Also displayed are the gate curve and gate type. See “Gating Input Channels” on page 74 for more information. COMP: The following Compressor parameters for the currently selected channel can be set: Comp On/Off, Threshold, Ratio, Attack, Release, Gain, and Knee. The GR meter indicates the amount of gain reduction being applied by the Compressor. Also displayed are the comp curve and comp type. See “Compressing Channels” on page 116 for more information. INSERT: The currently selected channel’s Insert can be turned on and off and patched. See “Using Inserts” on page 115 for more information. 02R96 Version 2—Owner’s Manual 130 Chapter 11—Common Channel Functions EQ: The currently selected channel’s EQ and Attenuator can be set. Also displayed is the EQ curve of the currently selected Input Channel. See “Using EQ” on page 111 for more information. Meters: These meters indicate the levels of the currently selected channel and its horizontal or vertical partner. Phase: The signal phase of the currently selected Input Channel can be reversed. See “Reversing the Signal Phase” on page 73 for more information. DELAY: The currently selected channel’s Delay function can be set. See “Delaying Channel Signals” on page 120 for more information. PAIR: This heart icon indicates whether or not channels are paired. See “Pairing Channels” on page 123 for more information. Output Channels This is the Parameter View page for the Bus Outs, Aux Sends, and the Stereo Out. Parameters are the same as for the Input Channel Parameter View page, minus the GATE and Phase sections and the DELAY MIX and FB GAIN parameters. The parameter settings of the left and right channels of the Stereo Out can be viewed individually. Use the [SEL] buttons to toggle between the left and right channels. Viewing Channel Fader Settings The fader-related settings of the currently selected Input Channel, Bus Out, Aux Send, or the Stereo Out can be viewed and set on the Fader View pages. 1 Use the DISPLAY ACCESS [VIEW] button to select the Fader View page. 2 Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] buttons to set them. Pan and Balance controls can be set to center by pressing [ENTER] while they’re selected. 02R96 Version 2—Owner’s Manual Viewing Channel Fader Settings 131 Input Channels This is the Fader View page for the Input Channels. PAN: This is the currently selected Input Channel’s Pan parameter. Select this parameter using the cursor buttons, then press the [ENTER] button to set the Pan parameter to Center. See “Panning Input Channels” on page 83 for more information. ON/OFF: This is the On/Off parameter of the currently selected Input Channel. See “Muting Input Channels (ON/OFF)” on page 77 for more information. Fader: This indicates the fader position of the currently selected Input Channel. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Setting Input Channel Levels” on page 79 for more information. SURROUND PAN: The Surround pan parameters for the currently selected Input Channel are displayed only when a Surround mode other than Stereo is selected. See “Using Surround Pan” on page 85 for more information. BUS ROUTING: This section contains Routing and Follow Pan buttons for the currently selected Input Channel. See “Routing Input Channels” on page 82 for more information. The Direct Out output patch can also be set. See “Patching Direct Outs” on page 70 for more information. AUX: These are the currently selected Input Channel’s Aux Send Level, On/Off, and Pre/Post parameters. While a rotary control is selected, the Aux Send can be turned on and off by pressing [ENTER]. See “Aux Sends” on page 98 for more information. Meters: These meters indicate the levels of the currently selected Input Channel and its horizontal or vertical partner. The metering position is displayed below them. GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the currently selected Input Channel is in. 02R96 Version 2—Owner’s Manual 132 Chapter 11—Common Channel Functions Bus Outs This is the Fader View page for the Bus Outs. ON/OFF: This is the On/Off parameter of the currently selected Bus Out. See “Muting Bus Outs (ON/OFF)” on page 96 for more information. Fader: This indicates the fader position of the currently selected Bus Out. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Setting Bus Out Levels” on page 96 for more information. TO ST PAN, ON/OFF & Fader: These are the Bus Out to Stereo Out Pan, On/Off, and Fader parameters for the currently selected Bus Out. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Sending Bus Outs to the Stereo Out” on page 97 for more information. Meters: These meters indicate the levels of the currently selected Bus Out and its partner. The metering position is displayed below them. GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the currently selected Bus Out is in. Aux Sends Below is the Fader View page for the Aux Sends. ON/OFF: This is the On/Off parameter of the currently selected Aux Send. See “Aux Send Pages” on page 99 for more information. Fader: This indicates the fader position of the currently selected Aux Send. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Settings Aux Send Master Levels” on page 106. Meters: These meters indicate the levels of the currently selected Aux Send and its partner. The metering position is displayed below them. 02R96 Version 2—Owner’s Manual Viewing Channel Fader Settings 133 GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the currently selected Aux Send is in. Stereo Out Below is the Fader View page for the Stereo Out. The settings of the left and right channels of the Stereo Out can be viewed individually. Use the STEREO [SEL] button to toggle between the left and right channels. BAL: This is the Balance parameter for the Stereo Out. Select this parameter using the cursor buttons, then press the [ENTER] button to set the parameter to Center. See “Balancing the Stereo Out” on page 94 for more information. ON/OFF: This is the On/Off parameter of the Stereo Out. See “Muting the Stereo Out (ON/OFF)” on page 93 for more information. Fader: This indicates the fader position of the Stereo Out. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Setting the Stereo Out Level” on page 93 for more information. Meters: These meters indicate the levels of the Stereo Out. The metering position is displayed below them. GROUP: These buttons indicate which Fader, Mute, EQ, or Comp group, if any, the Stereo Out is in. 02R96 Version 2—Owner’s Manual 134 Chapter 11—Common Channel Functions Naming Channels You can specify Long and Short names for the Input Channels, Bus Outs, Aux Sends, and the Stereo Out as follows. See page 250 for a list of initial Input Channel names; page 250 for Output Channel names. Input Channels 1 Use the DISPLAY ACCESS [INPUT PATCH] button to locate the Input Channel Name page. 2 Use the Parameter wheel, INC/DEC buttons, or the LAYER and [SEL] buttons to select the Input Channels. When Vertical Input Channel pairing mode is selected, Input Channels are listed in order of vertical partners, for example, CH1, CH25, CH2, CH26, and so on. 3 Use the cursor buttons to select the Input Channel’s Long or Short name, and then press [ENTER]. When the Title Edit window appears, edit the Input Channel name, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. You can reset all Input Channel names back to their initial values by pressing the INITIALIZE button. If the Name Input Auto Copy check box in the upper right corner is checked, the first four characters of the name entered in the LONG column are automatically copied to the SHORT column. Also, a name entered in the SHORT column is automatically copied to the LONG column. 02R96 Version 2—Owner’s Manual Naming Channels 135 Output Channels 1 Use the DISPLAY ACCESS [OUTPUT PATCH] button to locate the Output Channel Name page 2 Use the Parameter wheel, INC/DEC buttons, or the Master Layer and [SEL] buttons to select the Output Channels. 3 Use the cursor buttons to select the Output Channel’s Long or Short name, and then press [ENTER]. When the Title Edit window appears, edit the Output Channel name, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. You can reset all Output Channel names back to their initial values by pressing the INITIALIZE button. If the Name Input Auto Copy check box in the upper right corner is checked, the first four characters of the name entered in the LONG column are automatically copied to the SHORT column. Also, a name entered in the SHORT column is automatically copied to the LONG column. 02R96 Version 2—Owner’s Manual 136 Chapter 12—Monitoring & Talkback 12 Monitoring & Talkback Control Room Monitoring The CONTROL ROOM MONITOR OUT uses balanced 1/4-inch phone jacks, nominal level +4 dB. Typically it’s used to feed the control room’s main monitors. The Control Room Monitor signal source is selected by using the CONCONTROL ROOM TROL ROOM buttons. [2TR D1]: Selects the 2TR IN DIGITAL AES/EBU 1. [2TR D2]: Selects the 2TR IN DIGITAL COAXIAL 2. [2TR D3]: Selects the 2TR IN DIGITAL COAXIAL 3. [2TR A1]: Selects the 2TR IN ANALOG 1. [2TR A2]: Selects the 2TR IN ANALOG 2. [STEREO]: Selects the Stereo Out. [ASSIGN 1]: Selects the Output Channel assigned to this button on the Control Room Setup page. See “Control Room Setup” on page 137. [ASSIGN 2]: Selects the Output Channel assigned to this button on the Control Room Setup page. See “Control Room Setup” on page 137. The level of the Control Room Monitor signal can be set by using the CONTROL ROOM LEVEL control. The [DIMMER] button activates the Dimmer function, which dims the Control Room Monitor and Surround Monitor signals by the amount specified on the Control Room Setup page (page 137). The Dimmer function is activated automatically when the Talkback or Oscillator function is active. 2TR D1 2TR A1 2TR D2 2TR A2 2TR D3 STEREO ASSIGN1 ASSIGN2 0 10 CONTROL ROOM LEVEL DIMMER TALKBACK The Control Room Monitor signal is also fed to the PHONES jack, the level of which is set by using the PHONES LEVEL control. PHONES 0 10 PHONES LEVEL 02R96 Version 2—Owner’s Manual Studio Monitoring 137 Control Room Setup Control room monitoring is configured on the Control Room Setup page. 1 Use the MONITOR [DISPLAY] button to locate the Control Room Setup page. 2 Use the cursor buttons to select the ASSIGN buttons in the left-hand box, and use the Parameter wheel to select an Output Channel in the right-hand box. Bus Outs or Aux Sends can be assigned to the [ASSIGN 1] and [ASSIGN 2] buttons. 3 Press [ENTER] to assign the selected Output Channel. Once assigned, the selected Output Channel appears highlighted in the right-hand box. The other parameters on this page are as follows. CONTROL ROOM DIMMER LEVEL: This determines the amount of attenuation applied to the Control Room Monitor and Surround Monitor signals by the Dimmer function. Use the cursor buttons to select it, and use the Parameter wheel or INC/DEC buttons to set it from. MONO: This button is be used to switch the Control Room Monitor signal into mono. Studio Monitoring The STUDIO MONITOR OUT uses balanced 1/4-inch phone jacks, nominal level +4 dB. Typically it’s used to feed monitoring systems in the actual studio. STUDIO 0 CONTROL ROOM STEREO AUX7 AUX8 10 The Studio Monitor signal source is selected by using the STUDIO buttons. [CONTROL ROOM]: Selects the Control Room Monitor. [STEREO]: Selects the Stereo Out. [AUX 7]: Selects Aux Send #7. [AUX 8]: Selects Aux Send #8. The level of the Studio Monitor signal can be set by using the STUDIO LEVEL control. STUDIO LEVEL 02R96 Version 2—Owner’s Manual 138 Chapter 12—Monitoring & Talkback Surround Monitoring The 02R96 features comprehensive surround monitoring functions, including a pink noise generator for speaker setup, Bass Management, and down mixing. The Surround Monitor signal source is selected by using the SURROUND buttons. The [BUS] button selects the Bus Outs as the source. The [SLOT] button selects the Inputs of the Slots specified on the Surround Monitor page as the source. Surround mixes from up to four multitrack recorders can be monitored by patching Slot Inputs to Surround Monitor Channels (see page 141) and selecting with the [SLOT] button. The level of the Surround Monitor can be set by using the SURROUND MONITOR LEVEL control. Surround monitor speakers can be aligned by using the individual Attenuator and Delay parameters on each Surround Monitor Channel. In addition to the standard Ls and Rs speakers, the 02R96 supports Ls2 and Rs2 speakers, with independent Attenuator and Delay parameters, for a more diffused surround monitoring environment. See “Configuring Surround Monitoring” on page 139 for more information. Surround Monitor Channels can be patched to Slot Outputs or Omni Outputs. See “Output Patching” on page 68 for more information. Surround Monitor settings can be stored in the Surround Monitor library, which contains 1 preset memory and 32 user memories. See “Surround Monitor Library” on page 152 for more information. General surround monitoring is performed on the Surround Monitor page. SURROUND BUS SLOT 0 10 SURROUND MONITOR LEVEL 1 Use the MONITOR [DISPLAY] button to locate the Surround Monitor page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. The number of speaker icons and meters shown on the Surround Monitor page depends on the currently selected Surround mode. The meters indicate Bus Out signal levels. MUTE/SOLO: These parameters are used to mute and solo Surround Channels. A Surround Channel is on when its speaker icon is highlighted. Speaker icons can be selected by using the cursor buttons. When SOLO is on, Surround Channels can be soloed by selecting speaker icons and pressing [ENTER]. SETTING: These buttons are used to select which Slot’s Inputs are monitored when the SURROUND [SLOT] button is pressed. Up to four Slots can be assigned, and the signals from each Slot are mixed. Individual Slot Inputs can be patched to Surround Monitor Channels on the Surround Monitor Patch page (see page 141). When the MONITOR L/R to C-R button is on, the Left and Right Surround Monitor Channels are fed to the Control Room Monitors. This is useful when you want to use the same speakers for Left and Right Surround Monitors and Control Room Monitors. 02R96 Version 2—Owner’s Manual Surround Monitoring 139 STATUS: SURROUND MODE indicates the currently selected Surround mode, which is set on the Surround Mode page (see page 85). MONITOR LEVEL indicates the volume setting of the SURROUND MONITOR LEVEL control, which can be calibrated to 85 dB SPL, the cinema standard for setting up Surround Channel Monitor speakers. To do this, output pink noise from the built-in Oscillator (see page 139), set the SURROUND MONITOR LEVEL control and the level controls on the Surround Monitor speaker amps so that the total output is 85 dB SPL, then press the SET SPL85 button. The MONITOR LEVEL indication will then display the volume setting relative to 85 dB SPL. Press the SET SPL85 button again to return to the normal volume indication. Press the SNAP TO SPL85 button to reset the SURROUND MONITOR LEVEL control to 85 dB SPL. Configuring Surround Monitoring Surround monitoring, including speaker setup, monitor matrix, Bass Management, and monitor alignment, is configured on the Surround Monitor Setup page. 1 Use the MONITOR [DISPLAY] button to locate the Surround Monitor Setup page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. SPEAKER SETUP: These parameters are for setting the volume balance of the surround monitor speakers. Select the OSC (Oscillator) parameter and choose from PINK NOISE, 500-2K (pink noise through a 500 Hz to 2 kHz BPF), 1K (1 kHz sinewave), or 50 Hz (50 Hz sinewave). Use the ON/OFF button to turn the Oscillator on and off. When on, the Oscillator outputs a signal at –20 dB to the Surround Channels whose icons are highlighted. You can turn on and off Oscillator output for speakers individually. Speaker icons can be selected by using the cursor buttons or the Bus Out [SEL] buttons on the Master Layer. The signal phase of the LFE Channel can be reversed by using the SW Phase button. When ROTATE is on, the Oscillator signal is output by each speaker in turn in a clockwise direction (3 second signal, 2 second pause). SURR. MODE: This indicates the currently selected Surround mode, which is set on the Surround Mode page (see page 85). MONITOR MATRIX: This is used to select the Surround Monitor Matrix. In 6.1 Surround mode, you can select 6.1, 5.1, 3-1, or ST. In 5.1 Surround mode, you can select 5.1, 3-1, or ST. In 3-1 Surround mode, you can select 3-1 or ST. When a down mix Monitor Matrix is selected, you can attenuate signals by using the ATT parameters. You can use the Surround Monitor settings in Stereo mode, but Monitor Matrix is fixed to ST. 02R96 Version 2—Owner’s Manual 140 Chapter 12—Monitoring & Talkback The following screen shows an example in 6.1 Surround mode and 3-1 Monitor Matrix mode. BASS MANAGEMENT: You can set the filter and attenuator settings for each Surround Monitor Channel using five preset Bass Management modes. The following presets are available: Presets No. Title Parameters HPF 1, 2, 3 LPF1 LPF2 ATT 1 & 2 AMP 1 DVD Mix w/BS 80–12 80–24 80–24 0 10 2 DVD Author w/BS 80–12 120–42 80–24 0 10 3 Film Mix w/BS 80–12 80–24 80–24 –3 10 4 Film Author w/BS 80–12 120–42 80–24 –3 10 5 Bypass THRU THRU MUTE 0 0 ATT1: Adjusts the level difference between LR and LsRs. ATT2: Adjusts the level difference between C and Bs. AMP: Corrects the LFE channel level. HPF1–3: Cut the low range so that the speakers’ supporting frequency ranges will not interfere with the subwoofer signals. HPF1–2: Cut the high range so that the subwoofer’s supporting frequency ranges will not interfere with other speakers’ signals. Tip: If you select 3-1 Monitor Matrix mode, use Presets 1 or 2 to establish an appropriate monitoring environment. 02R96 Version 2—Owner’s Manual Surround Monitoring 141 You can set the Bass Management parameters in the following ranges: Parameters Range HPF 1, 2, 3 THRU, 80-12, 80-12L, 80-24, 80-24L LPF1 THRU, 80-24, 80-24L, 120-42 LPF2 THRU, 80-24, 80-24L, MUTE ATT 1 & 2 0 to –12 dB (1 dB steps) AMP 0 to +12 dB (1 dB steps) The HPF 1, 2, 3, and LPF 1 & 2 values indicate a cut-off frequency and a filter response. For example, “80-12” means a cutoff frequency of 80 Hz and a filter response of –12 dB/octave. “L” means Linkwitz filter. Other filters are Butterworth. MONITOR ALIGNMENT ATT & DLY ON/OFF: These buttons are used to turn on and off the Monitor Alignment Attenuator and Delay parameters of all Surround speakers. The MONITOR ALIGNMENT diagram and Surround Channel Attenuator and Delay parameters, which are displayed when either of these buttons are selected, allow you to align the surround monitor speakers by attenuating and delaying Surround Channels as necessary. The Attenuator parameters can be set –∞, –12 dB to +12 dB in 0.1 dB steps. The Delay parameters can be set from 0 to 30 msec in 0.02 msec steps. Patching Slot Inputs to Surround Channels Individual Slot Inputs can be patched to Surround Monitor Channels as follows. 1 Use the MONITOR [DISPLAY] button to locate the Surround Monitor Patch page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. SLOT/CH: This patching matrix is used to patch Inputs 1–16 from each of the four Slots to the Surround Monitor Channels. Each Slot Input can be patched to only one Surround Monitor Channel. LEVEL: These parameters are used to set the monitor level of each Slot. 02R96 Version 2—Owner’s Manual 142 Chapter 12—Monitoring & Talkback Using Talkback The Talkback function distributes the Talkback mic signal to the Studio Monitor Outs and any Slot or Omni Outputs specified on the Talkback Setup page. The TALKBACK LEVEL control sets the level of the built-in talkback microphone. 0 10 TALKBACK LEVEL TALKBACK The [TALKBACK] button has two modes of operation: If it’s pressed once (i.e., for less than 300 ms), the Talkback function is turned on and remains on when the button is released. This is Latched mode (this mode can be disabled on the Talkback Setup page). If it’s pressed and held for longer, the Talkback function is turned on, but turns off when the button is released. This is Unlatched mode. The [TALKBACK] button indicator flashes while the Talkback function is active. Talkback Setup 1 Use the MONITOR [DISPLAY] button to locate the Talkback Setup page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. OUTPUT ASSIGN: These buttons are used to assign the Talkback mic signal to Slot and Omni Outputs. STUDIO MONITOR: This allows you to select the Talkback mic signal as the Studio Monitor source. TALKBACK DIMMER LEVEL: When the Talkback function is active, this determines the amount of attenuation applied to sound sources assigned to the Studio Monitors and selected for Talkback. USE AD IN x AS TALKBACK: This allows you to select an AD Input as the Talkback signal source. Use the check box to turn this option on and off, and use the number parameter to specify the number of the AD Input. The signal from the specified AD Input is mixed with the Talkback mic signal. Turn down the TALKBACK LEVEL if you do not want to use the Talkback mic. NEVER LATCH TALKBACK: This options allows you to disable latching for the Talkback function. 02R96 Version 2—Owner’s Manual Libraries 143 13 Libraries About the Libraries The 02R96 features 10 libraries for storing Automix, Effects, Channel, Input Patch, Output Patch, Bus to Stereo, Gate, Comp, EQ, and Surround Monitor data. Library data can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). General Library Operation Since most library functions are the same for each library, rather than explain them several times, they’re explained only here for conciseness. 1 Locate the various library pages as explained in the following sections. The Input Patch Library page shown below is used here for explanation purposes. 2 Use the Parameter wheel or INC/DEC buttons to select the memories. A memory is selected when it appears inside the dotted box. 3 Use the cursor buttons to select the following page buttons. TITLE EDIT: To edit the title of the selected memory, select this and press [ENTER]. When the Title Edit window appears, edit the title, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. RECALL: To recall the contents of the selected memory, select this and press [ENTER]. If the Recall Confirmation preference is on, a confirmation window appears before the contents are recalled. STORE: To store settings to the selected memory, select this and press [ENTER]. When the Title Edit window appears, enter a title, and press OK. See “Title Edit Window” on page 46 for more information. You can stop the Title Edit window from appearing by turning off the Store Confirmation preference on page 230. CLEAR: To delete the contents and title of the selected memory, select this and press [ENTER]. A confirmation window appears before the memory is cleared. Read-only preset memories have an “R” icon next to their name. You cannot store, clear, or edit the title of these memories. Empty memories have the title “No Data!” Memory #0 is a read-only memory that you can recall to reset settings to their initial values. 02R96 Version 2—Owner’s Manual 144 Chapter 13—Libraries Memory #U is a special read-only memory that allows you to undo and redo memory recall and store operations. After recalling a memory, you can revert to the previously recalled memory by recalling memory #U. After storing a memory, you can revert it to its previous contents by recalling memory #U. You can redo either of these undo operations by recalling memory #U again. Channel Library Input Channel, Bus Out, Aux Send, and Stereo Out channel settings can be stored in the Channel library, which contains 2 preset memories and 127 user memories. Preset memories are read-only. User memories enable you to store custom settings. 1 Use the DISPLAY ACCESS [VIEW] button to select the Channel Library page. 2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels. When storing, the settings of the currently selected channel are stored to the selected memory. When recalling, the settings in the selected memory are applied to the currently selected channel. Only memories whose contents correspond to the currently selected channel can be recalled. For example, you can recall Input Channel settings to Input Channels, but not to Aux Sends. When the selected memory and currently selected channel don’t correspond, a warning triangle and the word “CONFLICT” appear in the STORED FROM box. Preset memory #0, “Reset(–∞dB),” resets all parameters of the currently selected channel to their initial values and sets the channel level to –∞ dB. Preset memory #1, “Reset (0dB),” also resets all parameters, but sets the channel level to 0 dB (i.e., nominal). SEL CH: This indicates the currently selected channel. CURRENT CONFIGURATION: If the currently selected channel is an Input Channel, Surround mode and Aux configuration information is displayed here. Level meters: These meters indicate the levels of the currently selected Input Channel and its horizontal or vertical partner. STORED FROM: This indicates the channel whose settings were originally stored in the selected memory. If the currently selected channel is an Input channel, Pan mode and Aux pairing information is also displayed. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual Input Patch Library 145 Input Patch Library Input Patch settings can be stored in the Input Patch library, which contains 1 preset memory and 32 user memories. The preset memory is read-only. User memories enable you to store custom settings. See page 66 for information on Input Patch settings. 1 Use the DISPLAY ACCESS [INPUT PATCH] button to select the Input Patch Library page. When storing, the current Input Patch settings are stored to the selected memory. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. Output Patch Library Output Patch settings can be stored in the Output Patch library, which contains 1 preset memory and 32 user memories.The preset memory is read-only. User memories enable you to store custom settings. See page 68 for information on Output Patch settings. 1 Use the DISPLAY ACCESS [OUTPUT PATCH] button to select the Output Patch Library page. When storing, the current Output Patch settings are stored to the selected memory. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual 146 Chapter 13—Libraries Effects Library Effects settings can be stored in the Effects library, which contains 61 preset memories and 67 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 153 for information on using the Effects. 1 Use the EFFECTS/PLUG-INS [DISPLAY] button to select the Effect Library page. 2 Press the EFFECTS/PLUG-INS [INTERNAL EFFECTS] button, and use the EFFECTS/PLUG-INS [1–4] buttons to select the internal effects processors. When storing, the settings of the currently selected internal effects processor, indicated in the upper-left corner, are stored to the selected memory. EFFECT NAME: This is the name of the previously recalled Effects memory. TYPE: This is the effects type used in the previously recalled Effects memory. Its I/O configuration is shown below this. EDIT: Pressing this button, then the [ENTER] button, displays the Effects Edit page, which enables you to adjust the Effects parameters. See “Editing Effects” on page 156 for more information. PATCH: Pressing this button, then the [ENTER] button, displays the Effects Input Patch page, which enables you to patch internal Effects processor inputs and outputs. See “Patching Effects Inputs and Outputs” on page 67 for more information. Level meters: These meters indicate the input and output levels of the currently selected Effects processor. Use the IN and OUT buttons to switch between input level and output level. There are eight meters for Effects processors #1, and two meters for Effects processors #2 through #4. EFFECT TYPE: This is the effects type in the selected memory. Its I/O configuration is shown below this. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual Bus to Stereo Library 147 Bus to Stereo Library Bus to Stereo settings can be stored in the Bus to Stereo library, which contains 1 preset memory and 32 user memories. The preset memory is read-only. User memories enable you to store custom settings. See page 97 for information on Bus to Stereo routing. 1 Use the ROUTING [DISPLAY] button to select the Bus to Stereo Library page. When storing, the current Bus Out to Stereo Out settings are stored to the selected memory. CURRENT CONFIGURATION: Bus Out pairing information for the current configuration is displayed here. LIBRARY CONFIGURATION: Bus Out pairing information for the configuration stored in the currently selected memory is displayed here. If the Bus Out pairing configuration does not match the current configuration, the word “CONFLICT” will appear in the LIBRARY CONFIGURATION box. In this case, if you recall such a memory, the 02R96 will apply the current Bus Out pairing configuration and related parameter settings to the recalled memory settings. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual 148 Chapter 13—Libraries Gate Library Input Channel Gate settings can be stored in the Gate library, which contains 4 preset memories and 124 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 74 for information on gating Input Channels. 1 Use the DYNAMICS [DISPLAY] button to select the Gate Library page. 2 Use the LAYER buttons to select the Layers, and the [SEL] buttons to select Input Channels. When storing, the Gate settings of the currently selected Input Channel, indicated in the upper-right corner, are stored to the selected memory. When recalling, the Gate settings in the selected memory are applied to the currently selected Input Channel. CURRENT TYPE: This indicates the current Gate type of the currently selected channel. CURRENT CURVE: This is the Gate curve of the currently selected channel. GR meters: These meters indicate the amount of gain reduction being applied by the Gate, and the levels of the currently selected channel and its adjacent channel. If Pair mode for the currently selected channel is set to Vertical, the level of its counterpart on the adjacent Layer is displayed. TYPE/CURVE: The type (Gate or Ducking) and curve of the currently selected memory is displayed to the right of the memory list. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual Comp Library 149 Comp Library Comp settings can be stored in the Comp library, which contains 36 preset memories and 92 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 116 for information on the Comps. 1 Use the DYNAMICS [DISPLAY] button to select the Comp Library page. 2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels. When storing, the Comp settings of the currently selected channel, indicated in the upper-right corner, are stored to the selected memory. When recalling, the Comp settings in the selected memory are applied to the currently selected channel. CURRENT TYPE: This indicates the current Comp type of the currently selected channel. CURRENT CURVE: This is the Comp curve of the currently selected channel. GR meters: These meters indicate the amount of gain reduction being applied by the Comp, and the levels of the currently selected channel and its adjacent channel. If Pair mode for the currently selected channel is set to Vertical, the level of its counterpart on the adjacent Layer is displayed. TYPE/CURVE: The type (Comp, Expand, Comp Hard, Comp Soft) and curve of the currently selected memory is displayed to the right of the memory list. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual 150 Chapter 13—Libraries EQ Library Input Channel, Bus Out, Aux Send, and Stereo Out EQ settings can be stored in the EQ library, which contains 40 preset memories and 160 user memories. Preset memories are read-only. User memories enable you to store custom settings. See page 111 for information on EQ’ing. 1 Use the EQUALIZER [DISPLAY] button to select the EQ Library page. 2 Use the LAYER buttons to select Layers, and the [SEL] buttons to select channels. When storing, the EQ settings of the currently selected channel, indicated in the upper-left and right corners, are stored to the selected memory. When recalling, the EQ settings in the selected memory are applied to the currently selected channel. CURRENT TYPE: This indicates the current EQ type (TYPE I or TYPE II) for the currently selected channel. CURRENT CURVE: This is the EQ curve of the currently selected channel. Level meters: These meters indicate the levels of the currently selected Input Channel and its horizontal or vertical partner. CURVE: This displays the EQ curve in the currently selected memory. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual Automix Library 151 Automix Library Up to 16 Automixes can be stored in the Automix library. See page 170 for information on using Automix. 1 Use the DISPLAY ACCESS [AUTOMIX] button to select the Automix Memory page. When storing, the current Automix is stored to the selected memory. TITLE: This is the title of the current Automix. CURRENT: This is the size of the current Automix. UNDO: This is the size of the Automix data in the current Undo buffer. FREE: This is the amount of free memory for storing the current Automix. MEMORY: This is the size of the selected Automix memory. PROTECT: To protect the contents of the selected memory, select this and press [ENTER]. A padlock icon appears next to the titles of memories that are write-protected. Automixes cannot be stored to write-protected memories. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual 152 Chapter 13—Libraries Surround Monitor Library Surround Monitor settings can be stored in the Surround Monitor library, which contains 1 preset memory and 32 user memories. The preset memory is read-only. User memories enable you to store custom settings. See page 138 for information on Surround Monitoring. 1 Use the MONITOR [DISPLAY] button to select the Surround Monitor Library page. When storing, the current Surround Monitor settings are stored to the selected memory. For details on the Store, Recall, Title Edit, and Clear functions, see “General Library Operation” on page 143. 02R96 Version 2—Owner’s Manual Internal Effects & Plug-Ins 153 14 Internal Effects & Plug-Ins About the Effects The 02R96 features four internal multi-effects processors, offering a whole host of effects types, including reverbs, delays, modulation-based effects, combination effects, and multichannel effects designed especially for use with surround sound. Effects processors 2–4 feature assignable stereo inputs and outputs. Processor #1, which is intended for use with the multichannel surround effects, features eight assignable inputs and outputs. Processor inputs and outputs can be patched to various sources, including the inputs and outputs of other effects processors, allowing you to chain processors together in series. (The only outputs available for patching in series are effects processor outputs OUT1 and OUT2.) The input and output signal levels of the currently selected Effects processor can be metered on the Effects Edit page and the Effects Library page. The input and output signal levels of all effects processors can be metered on the Meter pages. See “Metering” on page 107 for more information. Effects settings can be stored in the Effects library, which contains 61 preset memories and 67 user memories. See “Effects Library” on page 146 for more information. Patching Effects Processors Effects processor inputs can be fed from the Aux Sends, Input and Output Channel Insert Outs, or the outputs of another effects processor. See “Patching Effects Inputs and Outputs” on page 67 for more information. Effects processor outputs can be patched to the Input Channels, Input and Output Channel Insert Ins, or the inputs of another effects processor. See “Output Patching” on page 68 for more information. Preset Effects & Types The following tables list the preset effects and types. See page 259 for detailed parameter information. Reverbs # Preset Name Type Description 1 Reverb Hall REVERB HALL Concert hall reverberation simulation with gate 2 Reverb Room REVERB ROOM Room reverberation simulation with gate 3 Reverb Stage REVERB STAGE Reverb designed for vocals, with gate 4 Reverb Plate REVERB PLATE Plate reverb simulation with gate 5 Early Ref. EARLY REF. Early reflections without the subsequent reverb 6 Gate Reverb GATE REVERB Gated early reflections 7 Reverse Gate REVERSE GATE Gated reverse early reflections Delays # Preset Name Type Description 8 Mono Delay MONO DELAY Simple mono delay 9 Stereo Delay STEREO DELAY Simple stereo delay 10 Mod.delay MOD.DELAY Simple repeat delay with modulation 11 Delay LCR DELAY LCR 3-tap (left, center, right) delay 12 Echo ECHO Stereo delay with crossed left/right feedback 02R96 Version 2—Owner’s Manual 154 Chapter 14—Internal Effects & Plug-Ins Modulation-based Effects # Preset Name Type Description 13 Chorus CHORUS Chorus 14 Flange FLANGE Flanger 15 Symphonic SYMPHONIC Proprietary Yamaha effect that produces a richer and more complex modulation than normal chorus 16 Phaser PHASER 16-stage stereo phase shifter 17 Auto Pan AUTO PAN Auto-panner 18 Tremolo TREMOLO Tremolo 19 HQ.Pitch HQ.PITCH Mono pitch shifter, producing stable results 20 Dual Pitch DUAL PITCH Stereo pitch shifter 21 Rotary ROTARY Rotary speaker simulation 22 Ring Mod. RING MOD. Ring modulator 23 Mod.Filter MOD.FILTER Modulated filter Guitar Effects # Preset Name Type Description 24 Distortion DISTORTION Distortion 25 Amp Simulate AMP SIMULATE Guitar amp simulation Dynamic Effects # Preset Name Type Description 26 Dyna.Filter DYNA.FILTER Dynamically controlled filter 27 Dyna.Flange DYNA.FLANGE Dynamically controlled flanger 28 Dyna.Phaser DYNA.PHASER Dynamically controlled phase shifter Combination Effects # Preset Name Type Description 29 Rev+Chorus REV+CHORUS Reverb and chorus in parallel 30 Rev->Chorus REV->CHORUS Reverb and chorus in series 31 Rev+Flange REV+FLANGE Reverb and flanger in parallel 32 Rev->Flange REV->FLANGE Reverb and flanger in series 33 Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel 34 Rev->Sympho. REV->SYMPHO. Reverb and symphonic in series 35 Rev->Pan REV->PAN Reverb and auto-pan in series 36 Delay+ER. DELAY+ER. Delay and early reflections in parallel 37 Delay->ER. DELAY->ER. Delay and early reflections in series 38 Delay+Rev DELAY+REV Delay and reverb in parallel 39 Delay->Rev DELAY->REV Delay and reverb in series 40 Dist->Delay DIST->DELAY Distortion and delay in series 02R96 Version 2—Owner’s Manual Preset Effects & Types 155 Others # Preset Name Type Description 41 Multi.Filter MULTI.FILTER 3-band parallel filter (24 dB/octave) 42 Freeze FREEZE Simple sampler 43 Stereo Reverb ST REVERB 441 Reverb 5.1 Stereo reverb 5.12 6-channel reverb for 5.1 surround REVERB2 8-channel reverb for 7.1 surround REVERB 451 Octa Reverb OCTA 461 Auto Pan 5.1 AUTO PAN 5.1 6-channel auto pan for 5.1 surround 471 Chorus 5.1 CHORUS 5.1 6-channel chorus for 5.1 surround 481 Flange 5.1 FLANGE 5.1 6-channel flanger for 5.1 surround 491 Sympho. 5.1 SYMPHO. 5.1 6-channel symphonic effect for 5.1 surround 50 M. BAND DYNA. Multi-band dynamics processor COMP 5.12 Multi-band compressor for 5.1 surround M. Band Dyna. 511 Comp 5.1 521 Compand 5.1 533 Comp276 — — 543 Comp276S — — 553 Comp260 — — 563 Comp260S — — 573 Equalizer601 — — 583 OpenDeck — — 593 REV-X Hall — — 603 REV-X Room — — 613 REV-X Plate — — COMPAND 5.12 Multi-band compander for 5.1 surround 1. These effects can be recalled only to effects processor #1. 2. Since these effects types require four DSPs, the total number of effects processors is reduced by three when one of these types is used. For example, if REVERB 5.1 is used with effects processor #1, processors 2–4 are unavailable. 3. Preset numbers are reserved for Add-On Effects. Effects that are not installed appear in gray and are unavailable for use. See “Adding Optional Add-On Effects” on page 157 for more information on Add-On Effects. 02R96 Version 2—Owner’s Manual 156 Chapter 14—Internal Effects & Plug-Ins Editing Effects The internal effects processors can be edited as follows. 1 Press the EFFECTS/PLUG INS [INTERNAL EFFECTS] button. 2 Use the EFFECTS/PLUG INS [1–4] buttons to select the internal effects processors. 3 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Library page, and recall a preset effects memory that contains the effects type that you want. See “Effects Library” on page 146 for more information. 4 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Effects Edit page. The available effects parameters depends on the effects type currently selected. See page 153 for detailed parameter information. 5 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. EFFECT NAME: This is the name of the currently-recalled Effects memory. TYPE: This is the effects type used in the currently-recalled Effects memory. Its I/O configuration is shown below this. LIBRARY: Select the LIBRARY button, then press [ENTER] to display the Library page for the selected effects processor. See “Effects Library” on page 146 for more information. PATCH: Select the PATCH button, then press [ENTER] to display the Effects Input/Output Patch page, which enables you to patch internal Effects processor inputs and outputs. See “Patching Effects Inputs and Outputs” on page 67 for more information. MIX BALANCE: This is used to set the balance between the wet and dry signals. When set to 0%, only the dry signal is heard. When set to 100%, only the wet signal is heard. BYPASS: This button is used to bypass the currently selected effects processor. TEMPO: The TEMPO section displays TEMPO parameters for delay and modulation-based effects. These TEMPO parameters calculate and set the delay time for delay effects, or the modulation frequency for modulation effects, relative to the specified tempo and note duration. Use these parameters along with the SYNC and NOTE parameters. When you turn on the SYNC parameter, the 02R96 recalculates the delay time or modulation frequency based on the TEMPO parameter value (tempo) and the NOTE parameter value (note). For example, if the TEMPO parameter is set to 120BPM and the NOTE parameter is set to an eighth note, turning on the SYNC parameter sets the delay time to 250msec and the modulation frequency to 0.25Hz. 02R96 Version 2—Owner’s Manual 157 Adding Optional Add-On Effects Tip: • If you turn on the SYNC parameter and edit the TEMPO or NOTE parameter, the 02R96 recalculates the delay time or modulation frequency. • If you turn on the SYNC parameter and edit the delay time or modulation frequency, the NOTE parameter value changes based on the TEMPO parameter setting. • See “Effects and tempo synchronization” on page 281 for more information on the tempo sync parameters. Level meters: The Level meters indicate the input and output levels of the currently selected Effects processor. Select the IN or OUT button to display input or output levels respectively. There are eight output meters for Effects processors 1, and two output meters for Effects processors 2 through 4. Effects parameters can also be adjusted by using Parameter controls 1–4. Use the Parameter Up/Down buttons to select the rows of parameters. The parameters in the currently selected row appear highlighted. Up to 16 parameters can be displayed at a time, and if more are available, an up or down arrow is displayed. Parameter Up/Down 1 2 3 4 Parameter controls 1–4 When a Y56K card effect, or an internal effects processor is inserted in the currently selected channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the corresponding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] button indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS] button indicator also flashes. This applies only to effects that are inserted into channels. If there’s nothing inserted in the currently selected channel, a message appears. Adding Optional Add-On Effects Installing an optional Add-On Effect package enables you to expand the internal Effects processors. You can use installed Add-On Effects as preset effects #53 and up. Edited settings can be stored in user memories #68 and up. Refer to the installation guide included in your Add-On Effect package for information on installing the effects. 02R96 Version 2—Owner’s Manual 158 Chapter 14—Internal Effects & Plug-Ins • • • As of January 2004, the following Add-On Effect packages are available: AE011 Channel Strip Package AE021 Master Strip Package AE031 Reverb Package Additional packages will be released in the future. Visit the Yamaha web site for the latest information: http://www.yamahaproaudio.com/ About Plug-Ins There are two types of Plug-Ins: Waves Plug-Ins and User Defined Plug-Ins. Waves Plug-Ins are available on Y56K cards, which need to be installed in the 02R96’s mini YGDAI Slots (Slots 3 and 4 only). See your Yamaha dealer for details. User Defined Plug-Ins can be used to control up to 32 user definable parameters via MIDI Control Change or Parameter Change messages on an external MIDI device, such as an external effects processor. Plug-In parameters can be controlled by using the four Parameter controls below the display. Plug-In parameter settings are stored in Scenes, for snapshot-style automation. When installing Y56K cards, mini YGDAI Slots 3 and 4 correspond to Plug-Ins 3 and 4, so if you install, for example, a Y56K card in Slot #4, it’s automatically configured as Plug-In #4. 02R96 signals are patched through to the Y56K card’s effect chains just like any other signal is patched through to a Slot Input or Output. Slot Outputs (i.e., effect chain inputs) can be fed from the Bus Outs, Aux Sends, Stereo Out, or the Input and Output Channel Insert Outs. Slot Inputs (i.e., effect chain outputs) can be fed to the Input Channels, or the Input and Output Channel Insert Ins. See “Input & Output Patching” on page 66. Settings for Y56K cards are stored in memory on the card when you store a Scene, and recalled automatically during Scene recall. Please note, however, that these settings cannot be stored in 02R96 Scenes. Therefore, the cards do not support Scene memory global paste, sort, sort, and other scene related functions. Note: Y56K cards use Scenes #1–#96. If you store or recall Scenes #97 and up, the Y56K card settings will not reflect the Scenes. (A warning message will appear.) 02R96 Version 2—Owner’s Manual Configuring Plug-Ins 159 Configuring Plug-Ins Plug-Ins can be configured as follows. If you’ve installed a Y56K card into one of the Slots, the 02R96 configures itself automatically and no further configuration settings are required. 1 Press the EFFECTS/PLUG INS [PLUG-INS] button. 2 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Setup page. 3 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TARGET: These are used to assign a target to each of the four Plug-Ins. Parameters for the specified target appear on the Plug-In Edit page when that Plug-In is selected by using the EFFECTS PLUG-INS [1–4] buttons. In addition to using the cursor buttons, Plug-Ins can also be selected on this page by using the EFFECTS PLUG-INS [1–4] buttons. TITLE: If a Y56K card is installed, its name is displayed here. If the target is set to USER DEFINED, the specified title of the bank currently selected on the Plug-In Edit page is displayed. PORT: If a Y56K card is installed, its Slot number is displayed here. If the target is set to USER DEFINED, you can specify the Plug-Ins MIDI port as MIDI, SERIAL 1–8, USB 1–8, or SLOT1 1–8. Plug-In MIDI Ports can also be set on the MIDI/To Host Setup page. See “MIDI I/O” on page 190 for more information. 02R96 Version 2—Owner’s Manual 160 Chapter 14—Internal Effects & Plug-Ins Editing Plug-Ins Plug-Ins can be edited as follows. The settings of Waves Plug-Ins and User Defined Plug-In banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). If you’ve installed a Y56K card into one of the Slots, display pages especially for the Waves card are displayed when the corresponding Plug-In is selected. See the Waves documentation for more information. The following explanation applies only to User Defined Plug-Ins. 1 Press the EFFECTS/PLUG INS [PLUG-INS] button. 2 Use the EFFECTS/PLUG INS [1–4] buttons to select the Plug-Ins. 3 Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Edit page. 4 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TRANSMIT: This enables and disables MIDI data transmission for the currently selected Plug-In. INITIALIZE: This initializes the settings of the currently selected bank. BANK: These buttons are used to select the parameter banks of the currently selected Plug-In. Up to four parameter settings can be stored in each bank, making a total of 32 parameters per Plug-In. TITLE: This is used to enter a title (up to 16 characters long) for each bank. To enter a title for the currently selected bank, select this and press [ENTER]. When the Title Edit window appears, enter a title, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. PARAMETER ID/NAME: This is used to select the four rotary controls at the bottom of the Plug-In Edit page for editing, and to enter a name (up to 16 characters long) for each control. Use the Parameter wheel or INC/DEC buttons to select a Parameter ID from 1–4, and then press [ENTER]. When the Title Edit window appears, enter a title, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. DATA: This is used to specify the MIDI message (up to 16 bytes) to be transmitted when each parameter control is adjusted. Use the PARAMETER ID/NAME parameter to select a Parameter ID from 1–4, and then edit as necessary. Data values can be set in hex from 00 to FF. The VAL setting is the value of the parameter control. The END setting specifies the end of the data. NOP means no data is transmitted. LEARN: This button is used to turn on and off the Learn function, which can be used to learn what MIDI messages are transmitted by external MIDI devices when their controls or parameters are adjusted. When on, received MIDI messages are displayed by the DATA parameter. Only the first 16 bytes of data, starting with a Status bit, are displayed. 02R96 Version 2—Owner’s Manual Editing Plug-Ins 161 MIN/MAX: These parameters determine the minimum and maximum values of the MIDI data transmitted when each parameter control is adjusted. Use the PARAMETER ID/NAME parameter to select a Parameter ID from 1–4, and then edit as necessary. VAL: This is used to select the format for converting parameter control values to the DATA parameter’s VAL setting. It applies to the currently selected bank. The available options are listed in the following table. VAL Description VAL count One byte Transmit the lower 7 bits of the parameter value as 1 word Up to one VAL MSB/LSB Transmit the lower 14 bits of the parameter value in 7-bit units starting from the upper byte Up to two VAL’s LSB/MSB Transmit the lower 14 bits of the parameter value in 7-bit units starting from the lower byte Up to two VAL’s 2 Nibbles M Transmit the lower 8 bits of the parameter value in 4-bit units, consecutively from the highest data Up to two VAL’s 3 Nibbles M Transmit the lower 12 bits of the parameter value in 4-bit units, consecutively from the highest data Up to three VAL’s 4 Nibbles M Transmit the parameter value in 16 bit units, consecutively from the highest data Up to four VAL’s 2 Nibbles L Transmit the lower 8 bits of the parameter value in 4-bit units, consecutively from the lowest data Up to two VAL’s 3 Nibbles L Transmit the lower 12 bits of the parameter value in 4-bit units, consecutively from the lowest data Up to three VAL’s 4 Nibbles L Transmit the parameter value in 16-bit units, consecutively from the lowest data Up to four VAL’s When the controls at the bottom of the Plug-In Edit page are operated, the specified MIDI data, along with the value of the parameter control, is transmitted. Plug-In parameters can also be adjusted by using Parameter controls 1–4, which correspond to the four parameters shown at the bottom of the Plug-In Edit page. 1 2 3 4 Parameter controls 1–4 When a Y56K card effect, or an internal effects processor is inserted in the currently selected channel, when the EFFECTS/PLUG-INS [CHANNEL INSERTS] button is pressed, the corresponding EFFECTS/PLUG-INS [1–4] button indicator flashes, and the corresponding Effects, or Plug-In edit page appears. If it’s a Y56K card that’s inserted, the [PLUG-INS] button indicator also flashes. If it’s an internal effects processor, the [INTERNAL EFFECTS] button indicator also flashes. This applies only to effects that are inserted into channels. If there’s nothing inserted in the currently selected channel, a message appears. The parameter settings, and the target and bank for each Plug-In are stored in Scenes. When a Scene is recalled, if the Plug-In’s Target is the same as when the Scene was stored, the parameters are set accordingly and the corresponding MIDI data is transmitted (so long as the REMOTE parameter is set to ENABLED). If the Target is not the same, the parameters are set accordingly but no MIDI data is transmitted. 02R96 Version 2—Owner’s Manual 162 Chapter 15—Scene Memories 15 Scene Memories About Scene Memories Scene memories allow you to store a snapshot of virtually every 02R96 mix setting in a Scene. There are 99 Scene memories, and they can be titled for easy identification. Scenes can be linked to Input and Output Patch library memories, so that input and output patches are recalled along with Scenes. A fade time of up to 30 seconds can be set individually for each Input and Output Channel fader. Recall Safe can be used to exclude individual Input and Output Channels and certain parameters from Scene recalls. Stored Scenes can be sorted as necessary. Scenes can be stored and recalled by using the SCENE MEMORY [STORE] and [RECALL] buttons, or by using the Scene Memory page. Scenes can be assigned MIDI Program Change numbers and recalled remotely. See “Assigning Scenes to Program Changes” on page 193 for more information. When a Scene is recalled on the 02R96, the Program Change number assigned to that Scene is transmitted, which can be used to recall programs, effects, etc., on other MIDI equipment. In addition, manual Scene recalls can be recorded on-the-fly in an Automix. When that Automix is replayed, the Scenes are recalled automatically. See “Automix” on page 170 for more information. Scene memories can be stored to external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). What’s Stored in a Scene? The following items are stored in Scenes: Input and Output Channel settings, Effects settings, Group and Pair settings, Fade Time settings, and Scene title. Edit Buffer & Edit Indicator The Edit Buffer is where the current mix settings (i.e., the current Scene) are stored. When a Scene is stored, the mix settings in the Edit Buffer are written to the selected Scene memory. When a Scene is recalled, the contents of the selected Scene memory are copied to the Edit Buffer, making them the current mix settings. When a parameter is adjusted after a Scene has been recalled, the Edit indicators—the dot on the SCENE MEMORY display and “EDIT” on the display—appear, indicating that the current mix settings (i.e., those in the Edit Buffer) no longer match those of the Scene that was recalled last, as illustrated below. 02 SCENE MEMORY display 02 Display Scene #2 has just been recalled, so the contents of the Edit Buffer match those of Scene #2 and the Edit indicators are off. A parameter has been adjusted since Scene #2 was recalled, so the Edit indicators appear, indicating that the contents of the Edit Buffer no longer match those of Scene #2. The contents of the Edit Buffer are retained while the 02R96 is turned off. 02R96 Version 2—Owner’s Manual Auto Scene Memory Update 163 Scene Memories #0 & #U Scene memory #0 is a special read-only memory that contains the initial settings of all mix parameters. It can be recalled, but not stored. When you want to reset all mix parameters to their initial, or default values, recall Scene memory #0. Input Channel faders are set to either –∞dB or nominal, depending on the Initial Data Nominal preference (see page 231). Scene memory #U is a special read-only memory that allows you to undo and redo Scene memory recall and store operations. After recalling a Scene memory, you can revert to the previously recalled Scene memory by recalling Scene memory #U. After storing a Scene memory, you can revert it to its previous contents by recalling Scene memory #U. You can redo either of these undo operations by recalling Scene memory #U again. Auto Scene Memory Update Normally, when a Scene is recalled and then edited, that Scene must be stored again in order to save the edits. If the Scene MEM Auto Update preference on page 231 is on, however, those edits are stored automatically in a Shadow memory. There’s one Shadow memory for each Original Scene memory. The contents of the Original and Shadow memories can be recalled alternately, which is useful for doing A/B comparisons. When a Scene is recalled, the current mix settings are automatically stored in the Shadow memory of the Scene memory that was recalled last. When you return to that Scene, you can recall the Shadow or Original memory alternately. While the Scene MEM Auto Update preference is on, Shadow memories, not Original memories are recalled initially. To recall an Original memory, recall its Shadow memory first, and while the Edit indicators are both off, recall again. This time the Original memory is recalled. When recalling Original and Shadow memories, you can easily tell which is currently active by the Edit indicators, which are off when an Original memory is active, and on when a Shadow memory is active. Note that when a Scene is stored, the contents of the Original and Shadow memories will be the same and the Edit indicators will be off regardless of which memory is active. When recalling Scenes in an Automix, only the Original memories can be recalled. When recalling Scenes via MIDI Program Change messages, Original and Shadow memories can be recalled, and operation is the same as for recalling Scenes by using the 02R96’s SCENE MEMORY buttons or the Scene Memory page. 02R96 Version 2—Owner’s Manual 164 Chapter 15—Scene Memories Storing & Recalling Scenes with the SCENE MEMORY Buttons As each Scene memory is selected, its number flashes on the SCENE MEMORY display, and its number and title flash in the Scene memory section of the display. These stop flashing when the selected Scene memory is either stored or recalled. Empty Scene memories have the title “No Data!” and cannot be recalled. You cannot store to Scene memories that are write-protected. Warning: When storing Scenes, make sure that there are no settings in the Edit Buffer that you do not want to store. Perhaps some settings have been adjusted accidentally, or by someone else. If you are not sure of the Edit Buffer’s exact contents, recall the last Scene, make the adjustments that you really want, and then store the Scene. You may want to store the current Scene to an unused Scene memory just in case. Storing Scenes 1 Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene memories. 2 Press the [STORE] button. The Title Edit window appears. This window can be disabled by the Store Confirmation preference on page 230. 3 Enter a title. See “Title Edit Window” on page 46 for more information. 4 Press OK on the Title Edit window. The current Scene is stored to the selected Scene memory. You can undo Scene stores, reverting to the previous mix settings, by recalling Scene memory #U (“Ud” on the SCENE MEMORY display). Recalling Scenes 1 Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the Scene memories. 2 Press the [RECALL] button. The contents of the selected Scene memory are recalled and all mix parameters are set accordingly. If the Recall Confirmation preference is on, a confirmation window appears before a Scene is recalled. You can undo Scene recalls, reverting to the previous mix settings, by recalling Scene memory #U (“Ud” on the SCENE MEMORY display). 02R96 Version 2—Owner’s Manual Using the Scene Memory Page 165 Using the Scene Memory Page On the Scene Memory page you can store, recall, write-protect, delete, and edit the titles of Scenes. 1 Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory page. 2 Use the Parameter wheel or INC/DEC buttons to select the Scene memories. A Scene memory is selected when it appears inside the dotted box. 3 Use the cursor buttons to select the following buttons. TITLE EDIT: To edit the title of the selected Scene memory, select this and press [ENTER]. When the Title Edit window appears, edit the title, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. RECALL: To recall the contents of the selected Scene memory, select this and press [ENTER]. The contents of the selected Scene memory are recalled, all parameters are set accordingly, the Scene memory’s number and title stop flashing, and the Edit indicators go off. If the Recall Confirmation preference is on, a confirmation window appears before a Scene is recalled. STORE: To store the current Scene to the selected Scene memory, select this and press [ENTER]. When the Title Edit window appears, enter a title, and press OK. See “Title Edit Window” on page 46 for more information. When a Scene is stored, the Scene memory’s number and title stop flashing, and the Edit indicators go off. You can stop the Title Edit window from appearing by turning off the Store Confirmation preference on page 230. The “Free: 100%” value indicates the amount of free memory available for storing Scenes. CLEAR: To delete the contents and title of the selected Scene memory, select this, press [ENTER], and the press YES when the confirmation window appears. PROTECT: To protect the contents of the selected Scene memory, select this and press [ENTER]. A padlock icon appears next to the titles of Scene memories that are write-protected. Scenes cannot be stored to write-protected Scene memories. While the PROTECT button is selected, the selected Scene memory can be protected and unprotected by using the INC/DEC buttons. PATCH LINK: This indicates the Input/Output Patch library number that is linked to each scene. When you store a scene, the number of the input/output patch that was most recently recalled or stored will automatically be linked with that scene. When you recall that scene, this library number will also be automatically recalled. You can also move the cursor to the parameter boxes and change the library numbers. 02R96 Version 2—Owner’s Manual 166 Chapter 15—Scene Memories Fading Scenes Fade times can be specified for individual Input Channels, Bus Outs, Aux Sends, Stereo Out, and the Group Master. The fade time determines the time it takes the Input and Output Channel faders to move to their new positions when a Scene is recalled. Fade time settings can be specified for each Scene individually. 1 Use the SCENE MEMORY [DISPLAY] button to locate a Fade Time page. The Fade Time parameters for the 56 Input Channels are divided between two pages. The Input Channel 1–48 Fade time page is shown below. The layout of the other page is the same. The Fade Time parameters for the Output Channels appear on the Output Fade Time page. 2 Use the cursor buttons or [SEL] buttons to select the individual Fade Time parameters, and use the Parameter wheel or INC/DEC buttons to set them. You can copy the currently selected Input or Output Channel Fade Time setting to all Input or Output Channels respectively by double-clicking the [ENTER] button. If the Input or Output Group Master is selected, you can copy the setting to all Input or Output Channel Group Master channels. The Long name of the channel whose Fade Time parameter is currently selected appears in the upper-right corner of the page. When a channel is selected by using the [SEL] buttons, its Long name also appears in the upper-right corner of the display. The Fade Time can be set from 0 to 30 seconds in 0.1 second steps. You can reset all Input Channel Fade Time parameters to zero by selecting the ALL INPUT CLEAR buttons, then pressing the [ENTER] button. You can reset all Output Channel Fade Time parameters to zero by selecting the [ALL CLEAR] buttons, then pressing the [ENTER] button. 02R96 Version 2—Owner’s Manual Recalling Scenes Safely 167 Global Fade Time: When this check box is checked, a Scene is recalled using the Fade Time that is applied globally to all Scenes. (The Fade Time setting stored in the recalled Scene is temporarily ignored.) Recalling Scenes Safely When a Scene is recalled, all mix parameters are set accordingly. In some situations, you may want to retain the settings of certain parameters on certain channels, and this can be achieved by using the Recall Safe function. Recall Safe can be set individually for Input/Output Channels, Group Master, Internal Effect Processor, and the Remote Layer, etc. 1 Use the SCENE MEMORY [DISPLAY] button to locate the Recall Safe page. 2 Select the SAFE ENABLED/DISABLED button, and use the [ENTER] button or the INC/DEC buttons to enable or disable the Recall Safe function. 3 Use the cursor buttons, [SEL] buttons, or Parameter wheel to select channels, and use the [ENTER] button or the INC/DEC buttons to set them as Safe channels. When a channel is Safe, its number appears highlighted. GROUP MASTER/OTHERS: Recall Safe can be set individually not only for Input/Output Channels, but also Group Master, Internal Effect Processors, User Defined Remote Layer, and Plug-ins. 4 Use the cursor buttons or Parameter wheel to select the MODE parameters, and the [ENTER] button to set them. The MODE buttons determine which Safe channel parameters are unaffected by Scene recalls. ALL (all parameters. This option is mutually exclusive with the following options), FADER (faders), ON (On/Off parameters), PAN (Pan parameters), EQ (EQ parameters), COMP (Comp parameters), GATE (Gate parameters), AUX (Aux Send levels), AUX ON (Aux Send On/Off parameters), DELAY (Delay parameters), ROUTING (Routing parameters). GLOBAL RECALL SAFE: When this check box is checked, a Scene is recalled using the settings that are applied globally to all Scenes. The settings stored in the recalled Scene are temporarily ignored. Recall Safe settings are stored in Scene memories. 02R96 Version 2—Owner’s Manual 168 Chapter 15—Scene Memories Sorting Scenes Scene can be sorted by using the Scene Memory Sort function. 1 Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory Sort page. 2 Use the cursor button to the select the SOURCE list, and use the Parameter wheel or the INC/DEC buttons to select the Scene memory you want to move. 3 Use the cursor button to the select the DESTINATION list, and use the Parameter wheel or the INC/DEC buttons to select the position to which you want to move the source Scene memory. 4 Press [ENTER] to move the source Scene memory to the specified destination. The [ENTER] button executes the Sort function regardless of its position. Copying and Pasting a Scene (Global Paste) Any channel or parameter settings for the current scene can be copied and pasted into other scenes. This function is useful when you want to apply edited parameter settings in the current scene to other scenes. 1 Use the SCENE MEMORY [DISPLAY] button to locate the Global Paste Source CH Select page. 02R96 Version 2—Owner’s Manual Copying and Pasting a Scene (Global Paste) 169 2 Use the cursor buttons, [SEL] buttons, or Parameter wheel to select the channel category, then use the [ENTER] button or the INC/DEC buttons to select the copy source channel. The number of the source channel is highlighted. GROUP MASTER/OTHERS: You can select as the copy source each Group Master, internal Effects processos, User Defined Remote layer, or user Defined plug-in, as well as each channel. 3 Use the cursor buttons or Parameter wheel to select the copy source parameter, then press the [ENTER] button. 4 Use the cursor buttons or Parameter wheel to select the destination channels, then press the [ENTER] button. 5 Use the SCENE MEMORY [DISPLAY] button to locate the Global Paste Destination Scene page. 6 Use the Parameter wheel or INC/DEC buttons to select the destination scene(s). Scenes specified between FROM and TO (inclusive) become the paste destination. You can paste up to 10 scenes at a time. 7 Use the cursor buttons to select the PASTE button, then use the [ENTER] button to paste the settings. You cannot paste the settings to write-protected scenes. UNDO: This button restores the settings used prior to the paste operation. However, if the settings in the scene are changed after the paste operation (such as by saving, clearing, or sorting the scene, or receiving scene data via MIDI Bulk Dump), the UNDO function is disabled. 02R96 Version 2—Owner’s Manual 170 Chapter 16—Automix 16 Automix About Automix The 02R96’s Automix function allows dynamic automation of virtually all mix parameters, including Levels, Mutes, Pan, Surround Pan, Aux Sends, Aux Send Mutes, EQ, effects, and Plug-Ins. You can specify which of these parameters will be recorded, and punch channels in and out of recording on-the-fly. User Defined Remote Layer operations, and scene and library recall operations can also be automated, combining snap shot and dynamic mix automation. Events are recorded in real time and can be edited either offline, with 1/4 frame accuracy, or by rerecording with punch in/out. Automix can be synchronized to an external timecode source or to the internal timecode generator. Up to 16 Automixes can be stored in the Automix library. See “Automix Library” on page 151 for more information. They can also be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). What’s Recorded in an Automix? The following parameters can be recorded in an Automix. Parameter Input Channels Bus Out Masters Aux Send Masters Stereo Out Channel Levels (faders) O O O O Channel Mutes (ON/OFF) O O O O Pan O — — — Surround Pan O — — — EQ (F, Q, G, On/Off) O O O O Aux Send 1–8 levels O — — — Aux Send 1–8 mutes O — — — Feder Group Master (Level, On/Off) — Scene recalls — EQ, Gate, Comp, Effects, Channel library recalls — Effect parameters (certain parameters) — User Defined Plug-Ins (parameters 1–4) — User Defined Remote Layers (faders, [ON], Encoders) — 02R96 Version 2—Owner’s Manual Automix Main Page 171 Automix Main Page This section explains the Automix Main page. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TITLE: This is the title of the current Automix. TIME CODE: This counter displays the current timecode position. FREE: The amount of free Automix memory remaining is displayed here in kilobytes, percent, and graphically by a bargraph. SIZE: The size of the current Automix and the size of any Automix data in the undo buffer are displayed here in kilobytes. TIME REFERENCE: This section displays the current timecode source and frame rate. If you select this item and then press the [ENTER] button, you can jump directly to the Time Reference page (see page 177). INT START TIME: This parameter is used to set the start time of the internal timecode generator in hours, minutes, seconds, frames, and subframes. Press the [ENTER] button to reset the currently selected digits to “00.” The internal timecode generator is selected on the Time Reference page (see page 177). OFFSET: This parameter can be used to specify an offset relative to the external timecode source in hours, minutes, seconds, frames, and subframes. Specify a “+” value to move events forward relative to the incoming timecode. Specify a “–” value to move events backwards relative to the incoming timecode. Press the [ENTER] button to reset the currently selected digits to “00.” If the Timecode Display Relative preference is turned on (see page 233), the indicated timecode is offset. UPDATE: This button determines the fate of events that exist beyond the point at which rerecording is stopped. When TO END is on, all events that exist beyond the point at which rerecording is stopped for parameters that have been edited during the current pass are erased. This function is useful when you want parameters to remain the same right through to the end of the Automix. Events are erased only when the current pass is actually stopped, not when a punch out occurs. When TO END is off, existing events are left as they are. When TO END is on, the way in which Fader events are processed depends on the currently selected Fader Edit mode and Edit Out mode. In the following table, the Fader Edit mode is set to Absolute. If the Fader Edit mode is set to Relative, and the Edit Out mode is set to either Takeover or Off, the fader will remain at a position relative to the position at which recording is stopped. 02R96 Version 2—Owner’s Manual 172 Chapter 16—Automix Return Takeover or Off At the point at which recording is stopped, the fader returns to the position specified by the existing fader data, at the speed specified by the Time parameter on the Fader Edit pages. At the point at which recording is stopped, the fader remains at the same position until the next Fader event in the existing data occurs. Existing data Existing data Return time TO END is OFF Fader edit Fader edit Punch in Time Time Stop recording Punch in At the point at which recording is stopped, the fader returns to the position specified by the existing fader data, at the speed specified by the Time parameter, and all subsequent events are erased so that the fader remains at that position right through to the end of the Automix. Stop recording At the point at which recording is stopped, all subsequent events are erased so that the fader remains at that position right through to the end of the Automix. Existing data Existing data Return time TO END is ON Fader edit Punch in Fader edit Time Stop recording Time Punch in Stop recording EDIT OUT: These buttons are used to set the Edit Out mode: Off, Takeover, or Return. The Edit Out mode determines how rerecorded fader moves align with existing fader data at the punch out point. Fader data includes Input Channel levels, Bus Out master levels, Aux Send master levels, the Stereo Out level, User Defined Remote Layer faders, and Group master levels. The Edit Out modes are explained in the following table. The Return Time is specified on the Fader Edit page (see page 176). Off At the punch out point, the fader remains at the same position until the next Fader event in the existing data occurs. Return Takeover At the punch out point, the fader returns to the position specified by the existing fader data, at the speed specified by the Time parameter on the Fader Edit pages. At the punch out point, recording continues until the fader position intersects the existing fader data. If you are still touching the fader knob at the actual punch out point, the fader is disabled until you release it. Existing data Existing data Existing data Return time Fader edit Time Punch in Punch out Fader edit Fader edit Time Punch in Punch out Punch in Time Punch out Actual punch out In this example, punch out was performed by pressing the [AUTO] button, and the fader was moved manually between the punch out and actual punch out points. 02R96 Version 2—Owner’s Manual 173 Automix Main Page FADER EDIT: These buttons are used to set the Fader Edit mode: Absolute or Relative. The Fader Edit mode determines how fader moves are rerecorded. It has no effect during the first recording pass. In Absolute mode, fader moves are rerecorded as absolute values and existing fader data is erased. In Relative mode, fader moves are rerecorded relative to the existing fader data. Fader data includes Input Channel levels, Bus Out master levels, Aux Send master levels, Stereo Out level, User Defined Remote Layer faders, and Group master levels. The following table explains Fader Edit mode operation (TO END: off. Edit Out: off) Absolute Relative Fader edits are recorded as absolute values and existing fader data between the punch in and out points is erased. Fader edits are rerecorded relative to the existing fader data. Existing data Existing data Fader edit Fader edit Time Punch in Punch out Time Punch in Punch out TOUCH SENSE: When the TOUCH button is selected, the Touch Sense function enables you to touch the faders to punch parameter values in and out. The corresponding parameters’ OVERWRITE button must be set to on. When the LATCH button is selected, only punch in operations are available (the punch out function is disabled). OVERWRITE: These buttons determine which parameters can be recorded on the first pass, and rerecorded (i.e., overwritten) on subsequent passes. They can be set while recording is in progress. Parameters for which the corresponding OVERWRITE button is not set, cannot be edited while recording is in progress. Parameter button Description FADER Channel faders (Inputs Channels, Bus Out masters, Aux Send masters, the Stereo Out, Group master levels, and User Defined Layer faders) ON Channel Mutes (ON/OFF), User Defined Layer [ON] buttons, and Group master ON PAN Input Channel Pan, User Defined Layer Encoders SURR Input Channel Surround pan, LFE level, DIV parameter, and RDIV parameter AUX Aux Send 1–8 levels AUX ON Aux Send 1–8 mutes EQ EQ (F, Q, G, On/Off) Scene and library recalls, and internal effects processors and Plug-Ins parameters can be recorded regardless of the OVERWRITE settings. AUTOMIX: This button is used to enable and disable the Automix function. It works in unison with the AUTOMIX [ENABLE] button. NEW: This button is used to create a new Automix. When a new Automix is created, a Scene recall event to recall the current Scene (i.e., the last Scene recalled) is automatically inserted at the start of the Automix. You can edit this event so that another Scene is recalled. This initial Scene is important because it sets all the mix parameters how you’d like them at the beginning of the Automix. Without it, mix parameters would remain the same as when Automix playback was stopped. 02R96 Version 2—Owner’s Manual 174 Chapter 16—Automix UNDO: This button is used to undo various Automix operations. During each recording pass, when a new Automix is created, when an Automix is recalled, when an offline edit is performed, or when the Undo function is used, the current Automix data is copied to the Undo buffer, from which it can be retrieved by pressing UNDO while Automix is stopped. The Undo buffer is cleared when the 02R96 is turned off. If you want to save the contents of the Undo buffer, perform the undo, and then store the Automix (see page 151). INSERT: The INSERT button inserts the current Scene into the current Automix data. This is useful when you want to quickly swap out a specified range of the Automix data, such as a line of dialog. See “Inserting Mix Parameters into Automix” on page 180 for more information. AUTO REC: This button works the same as the REC button except that it remains on when Automix recording is stopped. It appears highlighted while Auto Record mode is on. REC: This button is used to engage Record-Ready mode, in which Automix recording starts automatically as soon as the specified timecode source starts. Unlike the AUTO REC button, however, it’s turned off when recording is stopped. It flashes in Record-Ready mode, and is highlighted during recording. This button can also be used to engage Automix recording during playback. To do this, while the PLAY button is highlighted (i.e., during playback), press the REC button (it flashes in Record-Ready mode). Then press the PLAY button to start recording. PLAY: This button is used to start Automix recording and playback when the timecode source is set to internal. When an external timecode source is selected, while the external timecode is being received, recording and playback are started, and this button is turned on automatically. If Automix is stopped by pressing the STOP or ABORT button, recording or playback can be restarted by pressing this button so long as timecode is still being received. This button can also be used in conjunction with the REC button to punch in recording during Automix playback. STOP: This button is used to stop Automix playback and recording. It appears highlighted while Automix is stopped. ABORT: This button is used to abort the current recording and inserting without updating the existing Automix data. Channel Strip [AUTO] Buttons • • • • • • The channel strip [AUTO] buttons are used to arm channels in Record-Ready mode, and to punch channels in and out during recording. AUTO The [AUTO] button indicators operate as follows: Off: Automix playback disabled Green: Automix stopped or playing Orange: Record-Ready mode Red: Recording (even for individual parameters, see page 183) Flashing red: Takeover in progress Flashing green: indicates that a fader is inactive, for example, when you continue touching a fader after actual punch out has occurred when using the Takeover Edit Out mode. 02R96 Version 2—Owner’s Manual Automix Memory Page 175 Automix Memory Page Automixes can be stored and recalled on the Automix Memory page. The lower half of this page is identical to the Automix Main page. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Memory page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. The Automix library functions are explained in “Automix Library” on page 151. The remaining items are the same as on the Main page and are explained on page 171. Fader Edit Pages During playback, fader positions are displayed graphically as black bars on the Fader Edit page, of which there are three. The Fader Edit 1 page displays Faders positions for Input Channel 1 through 56, the Bus Outs, and Stereo Out. The Fader Edit 2 page displays faders positions for Input Channel 1 through 56, the Bus Outs, and Aux Sends. The Fader Edit 3 page displays fader positions for the Input Group Master Levels and Output Group Master Levels. When the Fader mode is set to Fader, Input and Output Channel levels are displayed. When it’s set to Aux mode, Aux Send levels are displayed. During rerecording, arrows are displayed next to each fader bar. A downward arrow indicates that the current fader position is higher than that specified by the existing fader data. An upward arrow indicates that the current fader position is lower than that specified by the existing fader data. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Fader Edit pages. The Fader Edit 1 page is shown here. 02R96 Version 2—Owner’s Manual 176 Chapter 16—Automix 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. The counter in the upper-left corner displays the current timecode position. Edit Safe buttons: The numbered buttons below each fader bar are Channel Safe buttons, which can be used to prohibit automix recording on certain channels. A channel is set to safe when its button appears highlighted. You can make all channels safe by selecting one “non-safe” button and double-clicking the [ENTER] button. A confirmation message appears. You can cancel all safe channels by selecting one “safe” button and double-clicking the [ENTER] button. A confirmation message appears. During recording, events cannot be recorded, or rerecorded on safe channels, although existing events are played back and faders, Encoders, [ON] buttons, and so on can still be used, which is useful for rehearsing mix moves. Channel safe settings cannot be changed during recording. ABSOLUTE & RELATIVE: These buttons are the same as those on the Main and Memory pages. See “Automix Main Page” on page 171 for more information. MOTOR: This button is used to turn the fader motors are on and off for Automix playback. The button appears highlighted when the motors are on. The motors cannot be turned off during recording, and are automatically turned on when recording starts. TOUCH SENSE: This button is the same as the TOUCH SENSE button on the Automix Main page (see page 173). UPDATE: This button is the same as that on the Main and Memory pages. See “Automix Main Page” on page 171 for more information. EDIT OUT: The TAKEOVER and RETURN buttons are the same as those on the Main and Memory pages. See “Automix Main Page” on page 171 for more information. The TIME parameter determines the time it takes faders to return to levels specified by the existing Automix data when the Edit Out mode is set to Return. It can be set from 0.0 to 30.0 seconds in 0.1 second steps. 02R96 Version 2—Owner’s Manual Selecting the Timecode Source & Frame Rate 177 Selecting the Timecode Source & Frame Rate The timecode source and frame rate for Automix can be set as follows. 1 Use the DISPLAY ACCESS [SETUP] button to select the Time Reference page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TIME REFERENCE: The following timecode sources can be selected. Source Description INTERNAL Internally generated timecode SMPTE SMPTE timecode received via the SMPTE TIME CODE INPUT MIDI CLOCK MIDI Clock received via the MIDI IN port MTC MTC received via the MTC TIME CODE INPUT USB MTC received via the USB TO HOST port SERIAL MTC received via the SERIAL TO HOST port SLOT1 MTC received via Slot #1 (for use with an optional mLAN I/O Card installed in Slot #1) MIDI MTC received via the MIDI IN port For the USB and SERIAL sources, you must specify a port from 1–8. FRAMES: The frame rate can be set to: 30, 30D, 29.97, 29.97D, 25, or 24. An Automix will playback correctly even if the frame rate is different to that which was used when the Automix was originally recorded. The MIDI CLOCK source supports Song position Pointers, F8 TIMING CLOCK (timing info), FA START (starts Automix from beginning), FB CONTINUE (starts Automix from current position), and FC STOP (stops Automix). 02R96 Version 2—Owner’s Manual 178 Chapter 16—Automix Creating a Time Signature Map When using the MIDI CLOCK timecode source, you’ll also need to specify the initial time signature and any time signature changes that follow. 1 Use the DISPLAY ACCESS [SETUP] button to select the Time Signature page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel or INC/DEC buttons to specify the measure and time signature. To insert a time signature change, use the cursor buttons to select the next available entry, and press [ENTER], or turn the Parameter wheel. To delete a time signature change, select it, and then press [ENTER]. The initial time signature entry at measure #1 cannot be deleted. 02R96 Version 2—Owner’s Manual Recording an Automix 179 Recording an Automix This section provides a general procedure for Automix recording. 1 Connect a timecode source. 2 Select the timecode source and frame rate. See “Selecting the Timecode Source & Frame Rate” on page 177 for more information. 3 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Automix Main page. 4 On the Automix Main page, use the ENABLED/DISABLED button to enable the Automix function. 5 On the Automix Main page, use the OVERWRITE buttons to select which parameters you want to record. The corresponding OVERWRITE buttons pages appear highlighted. 6 On the Automix Main page, press the REC button. The REC button flashes. Alternatively, you could press the AUTO REC button so that Automix recording starts automatically when timecode is received. The main difference between REC and AUTO REC is that the AUTO REC functions remains on when recording is stopped, whereas REC must be pressed each and every time you want to start recording. Initially however, REC may be the safer option. 7 Use the [AUTO] buttons to arm channels for Automix recording. The [AUTO] button indicators of armed channels light up orange. 8 Start the timecode source. The REC and PLAY buttons appear highlighted. 9 Adjust the faders and other controls as necessary. Use the SELECTED CHANNEL section to edit the currently selected channel. Channels are selected automatically when the [AUTO] buttons are pressed. You can punch channels out of recording by using the [AUTO] buttons. 10 To stop Automix recording, stop the timecode source, or press the STOP but- ton on the Automix Main or Memory page. When the Mix Update Confirmation preference is on (see page 233), a confirmation message appears asking if you want to update the existing Automix data (i.e., keep the edits just recorded). 02R96 Version 2—Owner’s Manual 180 Chapter 16—Automix Inserting Mix Parameters into Automix You can insert the static mix parameter settings into the range specified by the IN and OUT parameters in the current Automix data. This is useful when you want to quickly insert static EQ settings into a specified range of the Automix data. Before Insert Event No event After Insert Event Event erased Value prior to Insert Inserted parameter value Time IN OUT Time 1 Follow Steps 1–4 as described in the “Recording an Automix” section on the previous page, then press the DISPLAY ACCESS [AUTOMIX] button to display the Automix Main page. 2 Use the cursor buttons to select the INSERT button, then press [ENTER]. A confirmation message appears. 3 Use the IN and OUT parameters to specify the region to be inserted. The default IN and OUT parameter values use the Locate memories specified by the Insert Time Link preference (see page 234). If you change the Locate points for the corresponding Locate memories while the confirmation message is displayed, the IN and OUT parameter values will be updated accordingly. If MIDI clock is selected as a timecode source, these parameters indicate the position in bar:beats:clocks and use the IN and OUT parameter values in the TIME SETTING section on the Event Job page. In this case, the Insert Time Link preference is disabled. 02R96 Version 2—Owner’s Manual Rerecording Events 181 4 Use the cursor buttons to select YES, then press [ENTER]. The 02R96 enters Insert mode, and the INSERT button is highlighted. The fader positions, mute function and other parameters are updated to the settings specified for the time value of the IN parameter. 5 Select the parameter you wish to insert using the AUTOMIX OVERWRITE buttons. To select effect or plug-in parameters, locate the Effect Edit or Plug-in Edit page, then move the cursor to the desired parameter and press [ENTER]. 6 Select the insert destination channel by pressing the corresponding [AUTO] button. The selected [AUTO] button indicator lights up red. 7 Edit a parameter you wish to insert. 8 Use the cursor buttons to select the INSERT button, then press [ENTER]. A confirmation message appears. 9 Use the cursor buttons to select YES, then press [ENTER] to insert the data. Once the data is inserted, Insert mode is cancelled and the INSERT button is unhighlighted. Rerecording Events Events can be rerecorded as many times as you like. Remember, however, that unlike the first pass, on subsequent passes existing events for the currently punched in parameter are overwritten, so use the OVERWRITE buttons and [AUTO] buttons with care. Instead of using the [AUTO] buttons to punch in an entire channel, you can reduce the risk of overwriting important data by punching in and out individual parameters (see page 183). Use the Update To End option to determine how existing events are handled when rerecording is stopped (see page 171). Use the Edit Out (see page 172) and Fader Edit (see page 173) options to determine how Fader events are rerecorded. 02R96 Version 2—Owner’s Manual 182 Chapter 16—Automix Parameter Recording The following table summarizes parameter recording operation for each parameter. Parameter adjustments made on the respective display pages are also recorded. Parameter Channel OVERWRITE Channel Mutes (ON/OFF) Pair/Group Set Layer to input, Fader mode to Fader, use faders Input Channel Levels (faders) Operation Bus Out, Aux Send FADER Set Layer to Master, Fader mode to Fader, use faders Stereo Out Use Stereo Out fader Group Master levels Use faders assigned to Group Master in the User Assignable Layer. Input Set Layer to input, use [ON] buttons Bus Out, Aux Send Set Layer to Master, use [ON] buttons Stereo Out ON Group Master On/Off Use Stereo Out [ON] button Use [ON] buttons assigned to Group Master in the User Assignable Layer. Faders of paired channels and grouped faders are recorded together [ON] buttons of paired channels and grouped mutes are recorded together Pan Input PAN Set Layer to input, Encoder mode to Pan, use Encoders. If Pan mode is Gang or Inverse-Gang, paired channels are recorded together. Surround Pan Input SURR Use Joystick (If a surround parameter is assigned to the Encoders, also use Encoders) If ST LINK button on Surround Edit page is on, adjacent channels are recorded together. EQ (F, Q, G, On/Off) Input, Bus Out, Aux Send, Stereo Out EQ Use SELECTED CHANNEL EQUALIZER section (If EQ parameter assigned to an Encoder, also use Encoders) EQ of paired channels, and grouped EQs recorded together AUX If Fader mode is Aux, use faders. If Encoder mode is Aux, use Encoders (also use Aux Send or Aux view pages) Aux send levels of paired channels recorded together. (If the selected Aux Send is paired, the send level to both Aux Sends is recorded.) AUX ON Use Aux Send or Aux view pages Aux send mutes of paired channels recorded together (If the selected Aux Send is paired, mutes for both Aux Sends recorded.) — Use SCENE MEMORY section or Scene Memory page — Aux send 1–8 levels Aux send 1–8 mutes Input Input Scene recalls — Library recalls EQ, Gate, Comp, Effects, Channel — Use corresponding library page — Effect parameters (certain parameters) Effects processors 1–4 — Use Parameter controls 1–4 (push to punch in/out). Select the desired parameter on the Effect Edit page, then press [ENTER] — — Use Parameter controls 1–4 (push to punch in/out). Select the desired parameter on the Plug-in Edit page, then press [ENTER] — FADER Select User Defined Remote Layer, use faders — [ON] buttons ON Select User Defined Remote Layer, use [ON] buttons — Encoders PAN Select User Defined Remote Layer, use Encoder — User Defined Plug-Ins (parameters 1–4) Plug-Ins 1–4 Faders User Defined Remote Layers 02R96 Version 2—Owner’s Manual Punching In & Out Individual Parameters 183 Punching In & Out Individual Parameters During Automix rerecording, channels can be punched in and out by pressing the channel strip [AUTO] buttons. Individual parameters can be punched in and out as follows. Parameter Channel Levels (faders) Channel OVERWRITE Operation Punch In Punch Out Input Set Layer to input, Fader mode to Fader Bus Out, Aux Send Set Layer to Master, Fader mode to fader Touch fader knob Release fader Stereo Out fader and adjust1 knob2 Stereo Out FADER Set the Fader mode to Fader; Set the Group Master in the User Assignable Layer. Group Master faders Pan Input PAN Set Layer to input, Encoder mode to Pan. Press Encoder and adjust Press Encoder Surround Pan Input SURR Select Input Layer and assign Surround LFE Level or Surround Pan Wheel to the Encoders Press Encoder and adjust Press Encoder Adjust control Press [AUTO] button EQ Turn on Auto EQ Edit In preference (see page 233). Use SELECTED CHANNEL EQUALIZER section (If EQ parameter assigned to an Encoder, also use Encoders) Press EQ [ON] button Press [AUTO] button Set Layer to input, Fader mode to Aux Touch fader knob Release fader and adjust1 knob2 Set Layer to input, Encoder mode to Aux Press Encoder and adjust Press Encoder Select internal effects processors Push Parameter 1–4 control, or select the parameters on the Effect Edit page, then press [ENTER] Push Parameter 1–4 control, or select the parameters on the Effect Edit page, then press [ENTER] Select Plug-Ins Push Parameter 1–4 control. Select the desired parameter on the Plug-in Edit page, then press [ENTER] Push Parameter 1–4 control Select the desired parameter on the Plug-in Edit page, then press [ENTER] Touch fader knob Release fader and adjust1 knob2 Press Encoder and adjust Press Encoder EQ (F, Q, G) All channels EQ On/Off Aux send 1–8 levels Effect parameters (certain parameters) User Defined Plug-Ins (parameters 1–4) User Defined Remote Layers Input Effects processors 1–4 Plug-Ins 1–4 Faders Encoders AUX — — FADER Select User Defined Remote Layer PAN Select User Defined Remote Layer 1. TOUCH SENSE on Fader Edit page must be TOUCH or LATCH. 2. TOUCH SENSE on Fader Edit page must be TOUCH. If during Automix recording you punch in an individual parameter by using the controls listed in the above table, even if some OVERWRITE buttons are on, only the existing data of that particular parameter will be overwritten. Likewise, when you punch out an individual parameter by using the controls listed above, only that particular parameter will be punched out. If during Automix recording you press an [AUTO] button to punch in a channel, the existing data of all parameters for which the corresponding OVERWRITE buttons are on will be overwritten. When you press the [AUTO] button to punch out of recording, all of those parameters will be punched out. 02R96 Version 2—Owner’s Manual 184 Chapter 16—Automix When faders are grouped with the Fader Group Master function turned off, if the OVERWRITE FADER button is on, pressing an [AUTO] button, or touching the fader knob of any fader in the group (if TOUCH SENSE on the Fader Edit page is on) puts all the corresponding channels into Record mode and all the [AUTO] button indicators light up red. The same applies to Mute (OVERWRITE ON button) and EQ (OVERWRITE EQ button) groups. Playing Back an Automix So long as the Automix function is enabled, the Automix function will chase the incoming timecode and play and stop the current Automix accordingly. Playback stops automatically when the end of the Automix data is reached. Playback can be stopped manually by pressing the STOP or ABORT button on the Automix Main or Memory page. Playback will stop automatically if no timecode is received for a while, for example, if the timecode source is disconnected or turned off. If the timecode source is set to internal, use the PLAY button on the Automix Main or Memory page to start Automix playback, and the STOP button to stop it. You can disable Automix playback on individual channels by using the channel strip [AUTO] buttons. During playback, the [AUTO] button indicators appear green. When Automix playback for an individual channel is disabled, its [AUTO] button indicator goes out. During playback, faders move in accordance with recorded Fader events (so long as the corresponding Layer and Fader mode is selected). Fader movement can be disabled by turning off the fader motors (see page 175). Fader events can be viewed on the Fader Edit pages (see page 175). Other events are displayed by the display pages and button indicators. Recorded events of the currently selected channel are displayed by the SELECTED CHANNEL section controls and displays. Warning: If the effects type is different to that which was used when the effects parameter edits were recorded, the parameter edits will not be played back. However, they are not deleted. When you rerecord effects parameter edits, it’s recommended that you delete the existing effects events offline. See “Editing Events Offline” on page 185 for more information. 02R96 Version 2—Owner’s Manual Editing Events Offline 185 Editing Events Offline Automix events can be edited offline on the Event Job and Event Edit pages. Offline editing can be performed only while the Automix function is stopped. Event Job Page On the Event Job page, specified events on specified channels between specified in and out points can be erased, copied, moved/merged, or trimmed. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Job page. 2 Use the cursor buttons to select the channels to edit, then press [ENTER] to set them. You can select multiple Input Channels, Bus Outs, Aux Outs, Stereo Out, and the Fader Group Master. When you select a channel, its button is highlighted. (You can select multiple channels.) ALL SELECT: The ALL SELECT button selects all channels. ALL CLEAR: The ALL CLEAR button de-selects all channels. 3 Use the cursor buttons to select the IN and OUT parameters, then use the Parameter wheel, INC/DEC buttons or [ENTER] button to specify the edit range. TIME SETTING: The IN and OUT parameters are used to specify the region of Automix data to be erased, copied, moved/merged, or trimmed. The IN and OUT points can be set on-the-fly by pressing the [ENTER] button while the IN or OUT button is selected. The captured timecode values can be edited by using the Parameter wheel or the INC/DEC buttons. Press the [ENTER] button to reset the currently selected digits to “00.” Up to eight IN and OUT timecode values can be captured and stored in the eight Capture memories. Use the cursor buttons to select the Capture memory number, and use the Parameter wheel or the INC/DEC buttons to select the Capture memories. 4 Use the cursor buttons to select a Job, then press [ENTER]. The following Jobs are available. Certain Jobs feature an additional parameter below the TIME SETTING section. ERASE: The ERASE button erases specified Automix data. COPY: The COPY button copies specified Automix data. This Job features a SOURCE section and COPY TO section (below the TIME SETTING section). 02R96 Version 2—Owner’s Manual 186 Chapter 16—Automix The SOURCE section enables you to select the copy source Automix. You can select CURRENT (the current Automix) or MEM (any Automix from 1 to 16). The TIME parameter determines the point to which the specified data is copied. The number in parentheses on the right indicates the end point of the copy destination. You can set the TIME parameter on-the-fly by selecting the TIME button, then pressing [ENTER]. You can edit the captured timecode value using the Parameter wheel or INC/DEC buttons. Press [ENTER] to reset the currently-selected digit to “00.” The CH parameter specifies the channel to which the specified data will be copied. The number of destination channels depends on the specified number of copy source channels. For example, if Input Channels 1 though 8 are specified as the source, then the number of destination channels will be eight (8). Destination channels are contiguous and only the first channel in the range can be specified. The number in parentheses on the right indicates the last channel in the copy destination. You cannot copy from Input Channels to Output Channels. Also, even within Output Channels, you cannot copy between Aux and Bus channels. TRIM: The TRIM button trims the specified Automix data. This Job includes a TRIM EDIT section below the TIME SETTING section. The IN parameter determines the amount of time required for the faders to achieve the specified trim amount. The OUT parameter determines the amount of time required for the faders to return to the previous levels. The LEVEL parameter specifies the fader trim amount in the range of –96 dB to +96 dB. Existing data Trim: –x dB Trimmed data TRIM IN IN 02R96 Version 2—Owner’s Manual TRIM OUT OUT Time Editing Events Offline 187 MOVE/MERGE: This Job features a SOURCE section and a MOVE TO (MERGE TO) section below the TIME SETTING section. The function of this button changes depending on the SOURCE section setting. If you select CURRENT (current Automix) in the SOURCE section, this button becomes the MOVE button, which enables you to move the specified range of Automix data to another position. If you select MEM (Automix memories 1–16) in the SOURCE section, this button becomes the MERGE button, which enables you to merge the specified range of Automix data with other Automix data. The SOURCE section enables you to select the move/merge source Automix. You can select CURRENT (the current Automix) or MEM (any Automix from 1 to 16). The TIME parameter determines the point to which the specified data is moved or merged. The number in parentheses on the right indicates the end point of the move/merge destination. You can set the TIME parameter on-the-fly by selecting the TIME button, then pressing [ENTER]. You can edit the captured timecode value using the Parameter wheel or the INC/DEC buttons. Press the [ENTER] button to reset the currently-selected digit to “00.” The CH parameter specifies the channel to which the specified data will be moved or merged. The number of destination channels depends on the number of move/merge source channels specified. For example, if Input Channels 1 though 8 are specified as the source, then the number of destination channels will be eight (8). Destination channels are contiguous and only the first channel in the range can be specified. The number in parentheses on the right indicates the last channel of the move/merge destination. You cannot move or merge from Input Channels to Output Channels. Also, even within Output Channels, you cannot move or merge between Aux and Bus channels. 5 Use the cursor buttons to select the EXEC button, then press [ENTER]. The PARAMETERS window appears, which enables you to select the parameters to be edited, and to perform the selected Job. When you select a parameter, its button is highlighted. You can specify multiple parameters. Double-clicking a non-highlighted parameter button will display a message confirming that you wish to highlight all parameter buttons. Double-clicking a highlighted parameter button will display a message that you wish to unhighlight all parameter buttons. 02R96 Version 2—Owner’s Manual 188 Chapter 16—Automix These buttons correspond to the following parameters: Button FADER Channel Fader events (Inputs Channels, Bus Out masters, Aux Send masters, Group master levels, and the Stereo Out) ON Channel Mute events, Group master ON PAN Input Channel pan events SURR Input Channel surround pan, LFE level, DIV parameter events, and RDIV parameter events EQ Channel EQ events LIB 6 Events CH Channel library recall events GATE Gate library recall events COMP Comp library recall events EQ EQ library recall events SCENE Scene recall events FX LIB 1–4 Effects library recall events of each internal effects processor AUX 1–8 Level events of each Aux Send ON 1–8 Mute events of each Aux Send REMOTE 1 User Defined Remote Layer events EFFECT 1–4 Parameter events for each internal effects processor PLUG-IN 1–4 Parameter events for each Plug-In Use the cursor buttons to select the EXEC button, then press [ENTER]. When the confirmation message appears, select YES to execute the Job. BACK: Select this button to return to the previous page without executing the Job. Event Edit Page On the Event Edit page, you can edit, duplicate, delete, and insert new events. 1 Use the DISPLAY ACCESS [AUTOMIX] button to locate the Event Edit page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. Event list: Automix events are listed in chronological order. The type of events listed depends on the Event select buttons. Use the cursor buttons to select event parameters. While the cursor is on the SYNC, DUPLICATE, DELETE, SELECTED CH, or Event select buttons, you can use the Parameter wheel or the INC/DEC buttons to scroll the list. While the cursor is inside the event list, you can use these controls to edit event parameters. The triangular cursor at the left side of the list indicates the currently selected event. When an event’s timecode value is edited, the list is resorted automatically. 02R96 Version 2—Owner’s Manual Event Edit Page 189 SYNC button: This button is used to synchronize the list to the current timecode position. When pressed, events closest to the current timecode position are displayed. This function can be used during Automix playback. DUPLICATE button: This button is used to duplicate events. Use the Parameter wheel to select an event, select the DUPLICATE button, and then press [ENTER]. A duplicate event is inserted below the currently selected event. If there are no events in the list, you can use this button to insert a new event of the type specified by the Event select buttons. DELETE button: This button is used to delete events. Use the Parameter wheel to select an event, select the DELETE button, and then press [ENTER]. SELECTED CH: When this option is on, only events of the currently selected channel are displayed. All Scene recall and effects library recall events are displayed regardless of this option. For paired channels, only events of the currently selected channel are displayed. Event select buttons: These buttons are used to select the type of events to be displayed in the event list. Button Events Listed List Format SCENE/LIB Library and Scene recall events TIME CODE, CH, SCENE/LIB FADER Channel faders (Inputs Channels, Bus Out masters, Aux Send masters, Group master levels, and the Stereo Out) TIME CODE, CH, dB, SEC ON Channel Mutes (ON/OFF) TIME CODE, CH, ON/OFF PAN Pan TIME CODE, CH, L-C-R SURR-PAN Surround pan TIME CODE, CH, SURR SURR-LFE Surround LFE TIME CODE, CH, dB SURR-DIV Surround DIV TIME CODE, CH, DIV SURR-RDIV Surround RDIV TIME CODE, CH, DIV EQ-ON EQ ON/OFF TIME CODE, CH, ON/OFF EQ-FREQ EQ Frequency TIME CODE, CH, BAND/Hz EQ-Q EQ Q TIME CODE, CH, BAND/Q EQ-GAIN EQ Gain TIME CODE, CH, BAND/dB AUX Aux Send 1–8 levels TIME CODE, CH, AUX, dB AUX ON Aux Send 1–8 mutes TIME CODE, CH, AUX, ON/OFF INSERT button: This button is used to insert new events. Use the Event select buttons to select the type of event that you want to insert. Use the Captured timecode counter to specify the point at which you want to insert the new event. Select the INSERT button, and then press [ENTER]. LOCATE button: This button is used to locate events at the Capture memory display position. Capture memory display: This displays the captured timecode position. The captured timecode values can be edited by using the Parameter wheel or the INC/DEC buttons. Press the [ENTER] button to reset the currently selected digits to “00.” CAPTURE button: This button is used to capture the current timecode position. Up to eight timecode values can be captured and stored in the eight Capture memories. Use the cursor buttons to select the Capture memory number, and use the Parameter wheel or the INC/DEC buttons to select the Capture memories. Capture memories can be selected even while the CAPTURE, LOCATE, or INSERT button is selected. If the Auto Inc TC capture preference is on (see page 233), Capture memories increment automatically each time a timecode position is captured. If the Link Capture & Locate Memory preference is on (see page 233), the eight Capture memories are linked to the eight Locate memories so that, for example, edits made to Capture memory #1 are reflected on Locate memory #1, and vice versa. 02R96 Version 2—Owner’s Manual 190 Chapter 17—MIDI 17 MIDI MIDI & the 02R96 • • • • • • • • • • The 02R96 supports the following MIDI messages: Program Changes for recalling Scenes (see page 193) Control Changes for real-time parameter control (see page 194) System Exclusive Parameter Changes for real-time parameter control (see page 194) MIDI Note On/Off for Freeze effect etc. (see page 275) Bulk Dump for transmitting Scene, library, and setup data (see page 195) MTC and MIDI Clock for Automix synchronization (see page 177) MMC for external machine control (see page 222) User Defined Plug-Ins transmit user-specified MIDI data when Parameter controls 1–4 are operated (see page 158) User Defined Remote Layer transmits user-specified MIDI data when the channel strip faders, Encoders, and [ON] buttons are operated (see page 219) Predefined Remote Layers for controlling popular DAWs (Digital Audio Workstations), including Pro Tools (see page 196) MIDI I/O • • • • The 02R96 features four types of interface for transmitting and receiving MIDI data: Standard MIDI ports TO HOST USB port TO HOST SERIAL port SLOT1 (for use with an optional mLAN I/O Card installed in Slot #1) TO HOST SERIAL and TO HOST USB are multiport interfaces, with eight ports each. When the 02R96 receives MIDI data via any of these interfaces, the MIDI indicator appears on the display (see page 44). If you are connecting a Windows computer to the TO HOST USB or TO HOST SERIAL port, you must install and use the YAMAHA CBX Driver for Windows and the YAMAHA USB Driver for Windows, which are included on the supplied CD-ROM. If you plan to connect a Macintosh computer to the TO HOST USB port, you must install and use the YAMAHA USB Driver for Macintosh, or the YAMAHA USB Driver for MacOS X. If you are using MacOS 8.6–9.2.2, you must install OMS 2.3.3 in the Macintosh. If you plan to connect a Macintosh computer running MacOS 8.6–9.2.2 to the TO HOST SERIAL port on the 02R96, you must install OMS 2.3.3 in the Macintosh. 02R96 Version 2—Owner’s Manual MIDI Port Setup 191 MIDI Port Setup MIDI ports are configured as follows. 1 Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TO HOST SERIAL: These buttons are used to configure the TO HOST SERIAL port for use with either a Mac or PC. Caution: When a PC is connected to the TO HOST SERIAL port, do not set this to Mac because your PC may crash. GENERAL: These parameters are used to select ports for general MIDI data transmission and reception, including Program Changes for recalling Scenes, Control Changes for real-time parameter control, and Note On/Off for use with the Freeze effect. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1. MIDI THRU: These parameters allow you to route the incoming MIDI data from one port through to another port. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1. REMOTE1: This parameter is used to select a port for the Remote Layer. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1. If Pro Tools is selected as the target for a Remote Layer, “Pro Tools” is displayed here and no settings can be made. Studio Manager: These parameters are used to select a port for use with the Studio Manager software and to assign the 02R96 an ID from 1 to 8. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1. See the Studio Manager documentation for more information. DAW: These parameters are used to select ports for use with DAWs. Since four ports are required to control DAWs, ports are selected in groups of four, as follows: 1–4, 2–5, 3–6, 4–7, 5–8. Available ports include: SERIAL, USB, and SLOT1. PLUG-IN1–4: These parameters are used to select ports for use with the Plug-Ins. If a Waves Plug-In card is installed in a Slot, the number of that Slot is displayed and no settings can be made. If the Plug-In target is set to USER DEFINED, you can select a port from MIDI, SERIAL 1–8, USB 1–8, or SLOT1. Ports for User Defined Plug-Ins can also be set on the Plug-In Setup page (see page 159). Note: Some functions cannot share ports. If you try to assign a port that’s already assigned to such a function, the message “Change Port?” appears. If you select YES, the port will be assigned to the selected function and the previously assigned function will be set to “NO ASSIGN.” 02R96 Version 2—Owner’s Manual 192 Chapter 17—MIDI MIDI Channel Setup MIDI Channels for reception and transmission are specified as follows. 1 Use the DISPLAY ACCESS [MIDI] button to locate the MIDI Setup page. 2 Use the cursor buttons or Parameter wheel to select the parameters, and use the INC/DEC buttons or [ENTER] button to set them. Select MIDI channels for transmission and reception in the CHANNEL row, and turn the transmission and reception of each MIDI message on or off using the buttons in the parameter rows from PROGRAM CHANGE to OTHER COMMANDS. CHANNEL This parameter row enables you to specify MIDI Channels for MIDI message transmission and reception. The following parameters are available in this row: Tx: This parameter box specifies a MIDI Transmit Channel. Rx: This parameter box specifies a MIDI Receive Channel. PROGRAM CHANGE This parameter row enables or disables transmission and reception of Program Changes. Tx ON/OFF: Transmission of Program Change messages is enabled or disabled. Rx ON/OFF: Reception of Program Change messages is enabled or disabled. OMNI ON/OFF: When this button is turned on, Program Changes on all MIDI Channels are received regardless of the CHANNEL row settings. ECHO ON/OFF: This button determines whether Program Change messages received at the MIDI IN port are echoed through to the MIDI OUT port. CONTROL CHANGE This parameter row enables or disables transmission and reception of Control Changes. Tx ON/OFF: Transmission of Control Change messages is enabled or disabled. Rx ON/OFF: Reception of Control Change messages is enabled or disabled. ECHO ON/OFF: This button determines whether Control Change messages received at the MIDI IN port are echoed through to the MIDI OUT port. PARAMETER CHANGE This parameter row enables or disables transmission and reception of Parameter Changes. Tx ON/OFF: Transmission of Parameter Change messages is enabled or disabled. Rx ON/OFF: Reception of Parameter Change messages is enabled or disabled. 02R96 Version 2—Owner’s Manual Assigning Scenes to Program Changes 193 ECHO ON/OFF: This button determines whether Parameter Change messages received at the MIDI IN port are echoed through to the MIDI OUT port. BULK This parameter row enables or disables reception of Bulk Dump data. Rx ON/OFF: Reception of Bulk Dump data is enabled or disabled. OTHER COMMANDS ECHO ON/OFF: This button determines whether other MIDI messages received at the MIDI IN port are echoed through to the MIDI OUT port. Fader Resolution HIGH/LOW: This parameter specifies the resolution of the value output when you operate the 02R96’s faders. To transfer fader value data between two cascaded 02R96s, or to record the 02R96 operation to or play it back from a sequencer, select the HIGH button. When the LOW button is selected, the fader resolution switches to 256 steps. Assigning Scenes to Program Changes 02R96 Scenes can be assigned to MIDI Program Changes for remote recall. When a Scene is recalled on the 02R96, the assigned Program Change number is transmitted. If that Scene is assigned to more than one Program Change, the lowest Program Change is transmitted. Likewise, when a Program Change message is received, the assigned Scene is recalled. You must set the MIDI Setup parameters in order to transmit and receive Program Change messages (see page 192). Initially, Scenes 1 through 99 are assigned sequentially to Program Changes 1 through 99. Scene #0 is assigned to Program Changes #100. A Scene to Program Change assignment table, listing initial assignments and with space to note user assignments, is provided on page 302. This table can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). 1 Use the DISPLAY ACCESS [MIDI] button to locate the Program Change Assign Table page. 2 Use the cursor buttons to select the PGM CHG. column, and use the Parameter wheel or INC/DEC buttons to select the Program Changes. 3 Use the cursor buttons to select the SCENE No/TITLE column, and use the Parameter wheel or INC/DEC buttons to select Scenes. You can initialize the Scene to Program Change assignment table by selecting the INITIALIZE button, and then pressing [ENTER]. 02R96 Version 2—Owner’s Manual 194 Chapter 17—MIDI Assigning Parameters to Control Changes 02R96 parameters can be assigned to MIDI Control Changes for real-time control. When a parameter is adjusted on the 02R96, the assigned Control Change message is transmitted. Likewise, when a Control Change message is received, the assigned 02R96 parameter is set. You must set the MIDI Setup parameters in order to transmit and receive Control Change messages (see page 192). A Parameter to Control Change assignment table, listing the initial assignments, is provided on page 303. This table can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). 1 Use the DISPLAY ACCESS [MIDI] button to locate the Control Change Assign Table page. 2 Use the cursor buttons to select the MODE TABLE button, and press [ENTER]. In TABLE mode, when 02R96 parameters are adjusted, MIDI Control Change messages are transmitted in accordance with the assignments on this page. In NRPN mode, when 02R96 parameters are adjusted, predefined NRPNs (Non Registered Parameter Number) are transmitted. 3 Use the cursor buttons to select the No. (CH) column, and use the Parameter wheel or INC/DEC buttons to select the Control Changes. 4 Use the cursor buttons to select the three PARAMETER columns, and use the Parameter wheel or INC/DEC buttons to select the parameters. Parameters with more than 128 steps require two or more Control Change messages for MIDI transmission and reception. Certain Delay parameters and the faders are divided into L and H parameters. Delay Time parameters are divided into LOW, MID, and HIGH parameters. For accurate transmission, all parameters (e.g., both L and H for faders) must be assigned to individual Control Changes. You can initialize the Parameter to Control Change assignment table by selecting the INITIALIZE button, and then pressing [ENTER]. Controlling Parameters by Using Parameter Changes 02R96 parameters can be controlled in real time by using Parameter Change messages, which are System Exclusive messages. When a parameter is adjusted on the 02R96, a Parameter Change message is transmitted. Likewise, when a Parameter Change message is received, a 02R96 parameter is adjusted. See “MIDI Data Format” on page 319 for detailed information. You must set the MIDI Setup parameters in order to transmit and receive Parameter Change messages (see page 192). 02R96 Version 2—Owner’s Manual Using Bulk Dump 195 Using Bulk Dump 02R96 data can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump. 1 Use the DISPLAY ACCESS [MIDI] button to locate the Bulk Dump page. 2 To transmit data, use the CATEGORY parameters to select the type of data you want to transmit, select the TRANSMIT button, and then press [ENTER]. The INTERVAL parameter sets the interval between data packets during transmission. The CATEGORY parameters can be set as follows: ALL: All data. SCENE MEM: ALL Scenes, individual Scenes, or current (i.e., the Edit buffer). AUTOMIX: ALL Automixes, individual Automixes, or the current Automix. LIBRARY: The following libraries: EQ, Gate, Comp, Channel, Effects, Bus to Stereo, Input Patch, Output Patch, Surround Monitor. For each library you can specify ALL user memories, individual user memories, and for the Bus to Stereo, Input Patch, Output Patch, Surround Monitor libraries you can also specify the current settings. BANK: User Defined Remote Layer banks (RMT UDEF), User Defined Plug-Ins banks (PLUG UDEF), User Defined Keys banks (KEYS UDEF), or the USER ASSIGNABLE LAYER banks (USR LAYER). For each item you can specify ALL or individual banks. SETUP MEM: 02R96 setup data (i.e., system settings). PGM TABLE: Scene to MIDI Program Change table. See “Assigning Scenes to Program Changes” on page 193. CTL TABLE: Parameter to MIDI Control Change table. See “Assigning Parameters to Control Changes” on page 194. PLUG-IN: The settings of any installed Y56K cards. You can specify ALL Slots or Slot 3 or 4. 3 You can also transmit 02R96 data via a MIDI cable. To receive data, use the CATEGORY parameters to select the type of data you want to receive, select the REQUEST button, then press [ENTER]. 02R96 Version 2—Owner’s Manual 196 Chapter 18—Pro Tools Remote Layer 18 Pro Tools Remote Layer The 02R96 features a Remote Layer target especially designed for controlling Pro Tools. If an optional MB02R96 Peak Meter Bridge is installed, Pro Tools channel levels are displayed on its meters. Configuring Windows Computers 1 Connect your PC. The 02R96 can be connected to your Windows PC by connecting the TO HOST SERIAL port to a suitable RS232 serial port on your PC, or by connecting the TO HOST USB port to a USB port on your PC. If you use the TO HOST SERIAL port, make sure that the TO HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to PC-2 (see page 191). 2 Install the necessary drivers. Once your PC is connected, you’ll need to install the TO HOST SERIAL or TO HOST USB drivers included on the 02R96 CD-ROM. Configuring Macintosh Computers (MacOS 8.6 to 9.2.2) 1 Connect your Mac. The 02R96 can be connected to your Mac by connecting the TO HOST SERIAL port to either the Printer or Modem port on your Mac, or by connecting the TO HOST USB port to a USB port on your Mac. If you use the TO HOST SERIAL port, make sure that the TO HOST SERIAL parameter on the MIDI/TO HOST Setup page is set to Mac (see page 191). 2 Install OMS. The 02R96 communicates with Pro Tools via OMS (Open Music System) software. If you already have OMS installed on your Mac, there’s no need to install it again and you can move on to the next section. If you don’t already have OMS installed, it’s included on the 02R96 CD-ROM. Refer to the OMS documentation included on the 02R96 CD-ROM for more information on installing. 3 Install Yamaha USB MIDI driver 1.04 or later. If you are using the TO HOST USB port, you must also install the Yamaha USB MIDI driver included on the 02R96 CD-ROM. See the included documentation for more information. Configuring Macintosh Computer (MacOS X) 1 Connect the 02R96 TO HOST USB port to a USB port on your Mac. 2 Install the Yamaha USB MIDI Driver for MacOS X on the computer. 02R96 Version 2—Owner’s Manual Configuring the 02R96 197 Configuring the 02R96 1 Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup page, and use the DAW parameter to specify the port to which Pro Tools is connected. See “MIDI Port Setup” on page 191 for more information. 2 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page, and set the target to Pro Tools. See “Assigning a Target to the Remote Layer” on page 219 for more information. 3 Use the LAYER [REMOTE] button to select the Remote Layer. When the Pro Tools Remote Layer is selected, the 02R96’s control surface controls Pro Tools, not the 02R96. In order to control the 02R96, you need to select an Input Channel Layer or the Master Layer. Audio mixing on the other Layers and Automix continues while the Pro Tools Layer is selected. Configuring Pro Tools Pro Tools needs to be configured as follows. For more information, see your Pro Tools documentation. 1 Launch Pro Tools. 2 If you are using MacOS 8.6 - 9.2.2, choose OMS Studio Setup from the Setups menu, and configure OMS as necessary. This screen shot shows the Yamaha USB MIDI driver with eight ports. An OMS-compatible device profile for the 02R96 is included on the 02R96 CD-ROM. See the included documentation for more information. 3 Choose Peripherals from the Setups menu. 02R96 Version 2—Owner’s Manual 198 Chapter 18—Pro Tools Remote Layer 4 When the Peripherals window appears, click the MIDI Controllers button. 5 Select HUI as the Type of controller for #1–#3, and select MCS PANNER for #4 to enable use of the Joystick. 6 Select the Receive From and Send To ports, and then click OK. The 02R96 can emulate up to three typical 8-channel Pro Tools MIDI controllers. A single MIDI port is required for every eight channels. So, you must configure MIDI Controller #1 to use channels 1 through 8, MIDI Controller #2 to use channels 9 through 16, and MIDI Controller #3 to use channels 17 through 24. 02R96 Version 2—Owner’s Manual Control Surface Operation with the Pro Tools Remote Layer 199 Control Surface Operation with the Pro Tools Remote Layer This section explains the operation of the 02R96 control surface when the Pro Tools Remote Layer is selected. 02R96 buttons and controls are referred to by the names printed on the 02R96 with the name of the corresponding Pro Tools function in parenthesis. For example, “Press the AUX SELECT [AUX 1] (SEND A) button.” Display This is the Pro Tools Remote Layer page, the various sections of which are explained below. • • • F2 (INSERT), F3 (CHANNEL), F4 (METER) buttons These buttons are used to select the following display modes: [F2]—Insert Assign/Edit Display mode (see page 200) [F3]—Channel Display mode (see page 200) [F4]—Meter Display mode (see page 201) TARGET This parameter cannot be changed here. To change the target for this Layer, you must first select another Layer, and then press the DISPLAY ACCESS [REMOTE] button. See “Assigning a Target to the Remote Layer” on page 219 for more information. COUNTER This counter works in unison with the timecode counter in Pro Tools. The display format is specified in Pro Tools. The three check boxes indicate the currently selected format, as follows: TIME CODE: Pro Tools timecode format set to “Time Code.” FEET: Pro Tools timecode format set to “Feet:Frames.” BEATS: Pro Tools timecode format set to “Bars:Beats.” When the Pro Tools timecode format is set to “Minutes:Seconds” or “Samples,” no check boxes are selected. CURSOR MODE The currently selected Cursor mode is displayed here: NAVIGATION, ZOOM, or SELECT. Cursor modes are selected by using the [INC] (CURSOR MODE) button. SELECT ASSIGN This indicates the current function of the Encoders. For example, Pan (PanR), SndA, SndB, SndC, SndD, or SndE. 02R96 Version 2—Owner’s Manual 200 Chapter 18—Pro Tools Remote Layer INSERT ASSIGN/EDIT Display Mode Press the [F2] button to select this mode. ASSIGN: This indicator flashes when the EFFECTS/PLUG-INS [1] (ASSIGN) button is pressed. See “Assigning Inserts/Plug-ins” on page 212 for more information. COMPARE: This indicator appears highlighted when the EFFECTS/PLUG-INS [2] (COMPARE) button is pressed. See “Editing Plug-ins” on page 213 for more information. BYPASS: This indicator appears highlighted when the EFFECTS/PLUG-INS [3] (BYPASS) button is pressed. See “Editing Plug-ins” on page 213 and “Bypassing Plug-ins” on page 214 for more information. INSERT: This indicator appears highlighted when the EFFECTS/PLUG-INS [4] (INSERT/ASSIGN) button is pressed. See “Editing Plug-ins” on page 213 for more information. INSERT/PARAM Display This section displays mainly insert and plug-in-related information, although other messages are also displayed here. Encoder Display This section displays information about the Parameter controls 1–4. The SEL indicators show the on/off status of the Parameter control push-switches. The rotary control indicators show the positions of the Parameter controls. The “O” symbol below each Parameter control shows the automation status for each Parameter control. Channel Display Mode Press the [F3] button to select this display mode. In this display mode, controls for the parameters currently assigned to the Encoders are displayed (e.g., pan or aux send). When displaying panpots, the small circles inside the Encoder icons are highlighted when pan is at center. The name of each channel is displayed below the Encoder icons. Automation mode settings, aux send destinations, and aux send pre/post settings can also be displayed here. See “Viewing the Automation Mode” on page 216, “Viewing Send Destinations” on page 210, and “Configuring Sends as Pre or Post” on page 210 respectively for more information. 02R96 Version 2—Owner’s Manual Control Surface Operation with the Pro Tools Remote Layer 201 Meter Display Mode Press the [F4] button to select this display mode. In this display mode, stereo meters for each channel are displayed. The name of each channel is displayed below the meters. Automation mode settings, aux send destinations, and aux send pre/post settings can also be displayed here. See “Viewing the Automation Mode” on page 216, “Viewing Send Destinations” on page 210, and “Configuring Sends as Pre or Post” on page 210 respectively for more information. Channel Strips AUTO SEL 02R96 channel strips correspond to Pro Tools channels from left to right, with the leftmost Pro Tools channel being handled by 02R96 channel strip #1. You can change the order of channel strips by dragging the channel select buttons in Pro Tools, in which case the 02R96 automatically reorders its channel strips. By using the USER DEFINED KEYS, Pro Tools channels can be scrolled in banks of 24 (see page 206). SOLO ON Encoders & Push-Switches The Encoders are used to set pan and send levels. The Encoder push-switches are used to reset send levels and panpots and to set sends to pre or post fader. Their exact operation depends on the currently selected Encoder mode, as shown in the following table. Encoder Mode [PAN] [SEND LEVEL] Encoder Push-switches Pan (see page 209) Reset pan (see page 214) Send levels (see page 210) Send pre/post (see page 210) Reset send levels (see page 214) [AUTO] buttons These buttons are used in conjunction with USER DEFINED KEYS [3–8] to set the Automation mode of each channel. See “Setting the Automation Mode” on page 216 for more information. [SEL] buttons These buttons are used to select channels (see page 209) and to select inserts (see page 213). [SOLO] buttons These buttons are used to solo channels. See “Soloing Channels” on page 210 for more information. [ON] buttons These buttons are used to mute channels. See “Muting Channels” on page 209 for more information. 02R96 Version 2—Owner’s Manual 202 Chapter 18—Pro Tools Remote Layer Faders The faders are used to set channel levels (see page 209), or to set send levels in Flip mode (see page 211). 10 5 0 5 10 15 20 30 40 50 AUX SELECT Section AUX SELECT DISPLAY AUX 1 (SEND A) AUX 2 (SEND B) AUX 3 (SEND C) AUX 4 (SEND D) AUX 5 (SEND E) AUX SELECT [AUX 1]–[AUX 5] buttons are used to select sends A–E. The button indicator of the currently selected send lights up. ENCODER MODE Section ENCODER MODE DISPLAY PAN AUX PAN SEND LEVEL [PAN] (PAN) button When this button is pressed, the Encoders work as channel panpots. Its indicator lights up when it’s pressed. See “Panning Channels” on page 209 for more information. [AUX] (SEND LEVEL) button When this button is pressed, the Encoders work as send level controls. Its indicator lights up when it’s pressed, and send A is selected automatically. If the Encoders are currently set to control pan, its indicator lights automatically when one of the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons is pressed. FADER MODE Section FADER MODE FADER AUX [FADER] & [AUX] buttons These buttons are used to select Flip mode, in which faders, Encoders, and [ON] buttons can be used to control sends. See “Flip Mode” on page 211 for more information. 02R96 Version 2—Owner’s Manual Control Surface Operation with the Pro Tools Remote Layer 203 EFFECTS/PLUG-INS Section EFFECTS / PLUG INS ( SCROLL) DISPLAY (SHOW INSERT) PLUG INS (DEFAULT) CHANNEL INSERTS 1 2 3 4 (ASSIGN) (COMPARE) (BYPASS) (INSERT/PARAM) (SCROLL ) [DISPLAY] (SHOW INSERT) button This button is used to open and close plug-in windows. [PLUG-INS] (DEFAULT) button This button is used in conjunction with other controls to reset faders, panpots, and sends to their default values. See “Resetting Faders, Sends, & Panpots” on page 214 for more information. [CHANNEL INSERTS] This button determines the operation of the [SEL] buttons. When its indicator is off (Channel Select mode), [SEL] buttons select channels (see page 209). When its indicator is on (Insert Select mode), they select inserts/plug-ins (see page 213). [1] (ASSIGN) button This button is used in conjunction with other controls to assign inserts/plug-ins to channels. See “Assigning Inserts/Plug-ins” on page 212 for more information. [2] (COMPARE) button This button is used to compare plug-in edits before and after. See “Editing Plug-ins” on page 213 for more information. [3] (BYPASS) button This button is used to bypass plug-ins. See “Editing Plug-ins” on page 213 and “Bypassing Plug-ins” on page 214 for more information. [4] (INSERT/PARAM) button This button is used in conjunction with other controls when editing plug-ins. See “Editing Plug-ins” on page 213 for more information. Parameter Up ( SCROLL) & Parameter Down (SCROLL ) buttons These buttons are used to scroll parameters when assigning inserts and editing plug-ins. See “Assigning Inserts/Plug-ins” on page 212 and “Editing Plug-ins” on page 213 for more information. 02R96 Version 2—Owner’s Manual 204 Chapter 18—Pro Tools Remote Layer SELECTED CHANNEL Section ■ ROUTING ROUTING DISPLAY FOLLOW PAN 1 2 3 4 5 6 7 8 STEREO DIRECT [1] button Selects the previous track to be controlled by the Joystick. [2] button Selects the next track to be controlled by the Joystick. [3] button Functions the same as the [OPTION] key on a computer keyboard. [4] button Switches between L and R of the selected track. The [4] button indicator lights up when the R channel is selected. [5] button Selects Main, or Send (in this order) for the selected track. [6] button Switches the mode of the knob controls for the panner. The [6] button indicator lights up or turns off. [7] button Selects Send, or Main (in this order) for the selected track. [8] button Mutes or unmutes the selected track. The [8] button indicator lights up while the track is muted. [DIRECT] button Functions the same as the [SHIFT] key on the computer keyboard. 02R96 Version 2—Owner’s Manual Control Surface Operation with the Pro Tools Remote Layer 205 ■ DYNAMICS DYNAMICS DISPLAY GATE ON COMP ON GATE / COMP GATE THRESHOLD RANGE ATTACK DECAY HOLD COMP THRESHOLD RATIO ATTACK RELEASE GAIN [THRESHOLD] control If the ROUTING [6] button indicator is off, the [THRESHOLD] control adjusts the front position. If the ROUTING [6] button indicator is lit, the control adjusts the front divergence. [RANGE/RATIO] control If the ROUTING [6] button indicator is off, the [RANGE/RATIO] control adjusts the rear position. If the ROUTING [6] button indicator is lit, the control adjusts the rear divergence. [ATTACK] control If the ROUTING [6] button indicator is off, the [ATTACK] control adjusts the F/R (front/rear) position. If the ROUTING [6] button indicator is lit, the control adjusts the F/R (front/rear) divergence. [DECAY/RELEASE] control If the ROUTING [6] button indicator is off, the [DECAY/RELEASE] control adjusts the LFE level. If the ROUTING [6] button indicator is lit, this control adjusts the center percentage. [HOLD/GAIN] control Adjusts the channel volume. ■ PAN/SURROUND PAN / SURROUND DISPLAY L R L R ODD EVEN LINK GRAB EFFECT [GRAB] button Press this button, turning on the button indicator, then operate the Joystick to quickly set the pan position. Joystick Operating the Joystick while the [GRAB] button indicator is turned on enables you to quickly set the pan position. 02R96 Version 2—Owner’s Manual 206 Chapter 18—Pro Tools Remote Layer USER DEFINED KEYS Section USER DEFINED KEYS DISPLAY (AUTO STATUS) 1 2 3 (MIX/EDIT) (SUSPEND) (WRITE) 9 10 ( BANK) (BANK ) 4 5 6 7 8 (TOUCH) (LATCH) (READ) (TRIM) (OFF) 14 15 16 11 12 13 (FADER) (MUTE) (PAN) (SEND) (SEND MUTE) (PLUG-IN) [DISPLAY] (AUTO STATUS) button This button is used to display the Automation mode settings of all channels. See “Viewing the Automation Mode” on page 216 for more information. [1] (MIX/EDIT) This button is used to toggle between the Mix and Edit windows. [2] (SUSPEND) button This button is used to temporarily suspend all automation recording and playback. Its indicator flashes while automation is suspended. [3] (WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), [8] (OFF) buttons These buttons are used in conjunction with the channel strip [AUTO] buttons to set the Automation mode of each channel strip. See “Setting the Automation Mode” on page 216 for more information. [9] ( BANK) & [10] (BANK ) buttons These buttons are used to swap channel banks 24 channels at a time. [11] (FADER), [12] (MUTE), [13] (PAN), [14] (SEND), [15] (SEND MUTE), [16] (PLUG-IN) buttons These buttons are used to select parameters for automation recording and playback. See “Arming Parameters for Automation” on page 217 for more information. 02R96 Version 2—Owner’s Manual Control Surface Operation with the Pro Tools Remote Layer 207 MACHINE CONTROL Section MACHINE CONTROL LOCATE MEMORY DISPLAY (MEM-LOC) SET 1 2 3 4 5 6 7 8 REW FF STOP PLAY REC [DISPLAY] (MEM-LOC) button This button is used to open and close the Memory Locations window. LOCATE MEMORY [1–8] buttons These buttons perform the same transport-related functions as the 1–8 number keys on a Macintosh keyboard. If you set the Numeric keypad Mode in Pro Tools to “Classic” (Setups menu, Preferences), these buttons can be used to directly locate markers 1–8. [REW] button This button rewinds from the current cursor position (it’s non-latching). [FF] button This button fast forwards from the current cursor position (it’s non-latching). [STOP] button This button stops playback and recording. [PLAY] button This button starts playback from the current cursor position. [REC] button This button arms Pro Tools for recording ([REC] button indicator flashing), recording is started by pressing the [PLAY] button ([REC] button indicator lit continuously). The MACHINE CONTROL section enables you to control Pro Tools only while the DAW CONTROL option is turned on either on the Locate Memory page (see page 224) or on the Machine Configuration page (see page 222), regardless of which layer is currently selected. 02R96 Version 2—Owner’s Manual 208 Chapter 18—Pro Tools Remote Layer Data Entry Section DEC (ESC) INC (CURSOR MODE) SHUTTLE SCRUB ENTER Parameter Wheel The Parameter wheel is used for shuttling and scrubbing (see page 215). It’s also used for making fine adjustments to the selected region (see page 215). [SHUTTLE] & [SCRUB] buttons These buttons are used to select the Shuttle and Scrub modes. See “Scrub & Shuttle” on page 215 for more information. These buttons are mutually exclusive with the [QUICK PUNCH] and [LOOP] buttons. Also, the cursor in the window on the computer monitor disappears. [ENTER] button This button works the same as the Enter key on your computer keyboard. Pressing it opens the New Memory Location dialog box. While a dialog box is open, pressing it performs the same action as clicking the OK button. [DEC] (ESC) button For the most part, this button works the same as the Esc key on your computer keyboard. While a dialog box is open, pressing it performs the same action as clicking the Cancel button. [INC] (CURSOR MODE) button This button is used to select the following cursor modes: Navigation (see page 214), Zoom (see page 215), and Select (see page 215). Cursor buttons These buttons can be used to navigate the Edit window (see page 214), zoom waveforms (see page 215), and to make fine adjustments to the selected region (see page 215). Their exact operation depends on the currently selected cursor mode. 02R96 Version 2—Owner’s Manual Selecting Channels 209 Selecting Channels Channels can be selected as follows. (Make sure the EFFECTS/PLUG-INS [CHANNEL INSERTS] button indicator is not lit before proceeding.) 1 Use the [SEL] buttons to select channels. The [SEL] button indicators of selected channels light up. 2 To select multiple channels in each eight-channel block (e.g., 1–8, 9–16, or 17–24), while holding down one [SEL] button, use the [SEL] buttons of the other channels in the same block to add and remove channels. Setting Channel Levels Channel levels can be set as follows. (Make sure the FADER MODE [FADER] and [AUX] button indicators are not flashing before proceeding.) 1 Use the faders to set channels levels. Faders in a mix group are controlled together. Muting Channels Channels can be muted as follows. 1 Use the [ON] buttons to mute channels. The [ON] button indicators of muted channels go out. 2 Press the [ON] buttons again to unmute channels. The [ON] button indicators of unmuted channels are lit. Grouped channels are muted together. Panning Channels Channels can be panned as follows. 1 Press the ENCODER MODE [PAN] (PAN) button. Its indicator lights up. 2 Use the Encoders to pan the channels. Pan positions are displayed in Channel Display mode. See “Channel Display Mode” on page 200 for more information. For stereo aux input channels (i.e., channels with two panpots), use the ENCODER MODE [PAN] (PAN) button to toggle between the left and right panpots, and pan with the Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indicator is lit continuously and the SELECT ASSIGN section of the display shows “Pan.” When the right panpot is active, the ENCODER MODE [PAN] (PAN) button indicator flashes and the SELECT ASSIGN section of the display shows “PanR.” 02R96 Version 2—Owner’s Manual 210 Chapter 18—Pro Tools Remote Layer Soloing Channels Channels can be soloed as follows. 1 Use the [SOLO] buttons to solo channels. The [SOLO] button indicators of soloed channels light up and the [ON] button indicators of unsoloed channels flash. 2 Press the [SOLO] buttons again to unsolo channels. Grouped channels are soloed together. Viewing Send Destinations Send destinations can be viewed in Channel Display mode [F3] or Meter Display mode [F4] (see page 200) by pressing the holding the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons. Configuring Sends as Pre or Post Sends can be configured as either pre or post as follows. (Make sure the ENCODER MODE [PAN] (PAN) button indicator is not lit before proceeding.) 1 Use the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons to select the sends. The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the button indicator of the selected send. 2 Use the Encoder push-switches to toggle between pre and post. Sends can also be set as pre or post fader by using the Encoder push-switches in Flip mode. See “Flip Mode” on page 211 for more information. Send pre/post status can be viewed in Channel Display mode [F3] or Meter Display mode [F4] (see page 200) by pressing the holding the Encoder push-switches. Setting Send Levels Send levels can be set as follows. 1 Use the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons to select the sends. The ENCODER MODE [AUX] (SEND LEVEL) button indicator lights up, as does the button indicator of the selected send. The levels for the selected send are displayed in Channel Display mode. See “Channel Display Mode” on page 200 for more information. 2 Use the Encoders to set the send levels. Send levels can also be set by using the faders in Flip mode. See “Flip Mode” on page 211 for more information. Muting Sends Sends can be muted by using the [ON] buttons in Flip mode. See “Flip Mode” on page 211 for more information. Panning Sends Only sends assigned to stereo destinations can be panned. Sends can be panned by using the Encoders in Flip mode. See “Flip Mode” on page 211 for more information. 02R96 Version 2—Owner’s Manual Flip Mode 211 Flip Mode In Flip mode, the faders, Encoders, and [ON] buttons can be used to control sends, as shown in the following table. Control Normal mode Flip mode Fader Channel level Send level Encoder Channel pan/send level Send pan Encoder push-switches Encoder mode is Pan, inactive Encoder mode is Send level, Send pre/post Send pre/post [ON] button Channel mute Send mute 1 Press the FADER MODE [FADER] or [AUX] button. The FADER MODE [FADER] and [AUX] button indicators flash alternately, and both the ENCODER MODE [PAN] (PAN) and [AUX] (SEND LEVEL) button indicators light up. The SELECT ASSIGN section of the display shows “FLIP.” 2 Use the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons to select the sends. The button indicator of the selected send lights up. 3 Use the faders, Encoders, and [ON] buttons to control the currently selected send. For stereo aux input channels (i.e., channels with two send panpots), use the ENCODER MODE [PAN] (PAN) button to toggle between the left and right panpots, and pan with the Encoder. When the left panpot is active, the ENCODER MODE [PAN] (PAN) button indicator is lit continuously. When the right panpot is active, the ENCODER MODE [PAN] (PAN) button indicator flashes. 02R96 Version 2—Owner’s Manual 212 Chapter 18—Pro Tools Remote Layer Assigning Inserts/Plug-ins Inserts can be assigned to channels as follows. The Pro Tools transport must be stopped in order to make these assignments. 1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select channels for insert assignment. The name of the selected channel appears in the INSERT/PARAM section of the display. The border of the corresponding channel name in the Pro Tools Mix window is highlighted red. 3 Press the EFFECTS/PLUG-INS [1] (ASSIGN) button. Its indicator flashes, as does the ASSIGN indicator on the display. 4 Use Parameter controls 1–4 to select inserts/plug-ins. The names of the inserts/plug-ins appear on the display in abbreviated form. When you select an insert/plug-in other than the current, the corresponding SEL button flashes on the display. 5 To confirm your selection, press the relevant Parameter control’s push-switch. The SEL button stops flashing. While the EFFECTS/PLUG-INS [1] (ASSIGN) button indicator is still flashing, you can assign more inserts/plug-ins to the same channel. To set insert #5, press the Parameter Down (SCROLL >) button. Press the Parameter Up (< SCROLL) button to view inserts 1–4 again. To assign inserts/plug-ins to other channels, use the [SEL] buttons to select them. You’ll need to press the EFFECTS/PLUG-INS [1] (ASSIGN) button each time you select another channel. You can cancel this function by pressing the [DEC] (ESC) button. 02R96 Version 2—Owner’s Manual Editing Plug-ins 213 Editing Plug-ins Plug-ins can be edited as follows. 1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select the channel whose plug-in you want to edit. That channel’s [SEL] button indicator lights up, and the border of the corresponding channel name in the Pro Tools Mix window is highlighted red. The names of the Plug-ins inserted in the channel are displayed in the INSERT ASSIGN/EDIT section of the display. 3 Use the Parameter control 1–4 push-switches to select the plug-in that you want to edit. Plug-in Edit mode is set and the plug-in’s parameters are displayed in the INSERT ASSIGN/EDIT section of the display. The EFFECTS/PLUG-INS [4] (INSERT/PARAM) button indicator lights up and the PARAM indicator on the display appears highlighted. 4 Use Parameter controls 1–4 and their push-switches to edit the displayed parameters. Parameters displayed on the top row can be edited by using the push-switches. Parameters displayed on the bottom row can be edited by using the Parameter controls. 5 Use the Parameter Down (SCROLL >) button and Parameter Up (< SCROLL) button to select the parameter pages. When a parameter page is first selected, the number of the current parameter page and the total number of parameter pages is displayed momentarily. For example, “1/2” indicates that the first page of two is currently selected. While “3/4” indicates that the third page of four is currently selected. The title of the plug-in is also displayed. While editing a plug-in you can bypass it by pressing the EFFECTS/PLUG-INS [3] (BYPASS) button. In which case, the BYPASS indicator on the display appears highlighted. As soon as you begin editing a plug-in, the COMPARE indicator on the display appears highlighted. You can compare your edits with the original settings by pressing the EFFECTS/PLUG-INS [2] (COMPARE) button. The COMPARE indicator on the display appears highlighted while the original settings are active, and unhighlighted while your edits are active. 6 To edit another plug-in, press the EFFECTS/PLUG-INS [4] (INSERT/PARAM) button (its indicator goes out), use the [SEL] buttons to select the channel (same as step #2), and use the Parameter control 1–4 push-switches to select the plug-in (same as step #3). 02R96 Version 2—Owner’s Manual 214 Chapter 18—Pro Tools Remote Layer Bypassing Plug-ins Plug-ins can be bypassed as follows. (Make sure the EFFECTS/PLUG-INS [4] (INSERT/PARAM) button indicator is not lit before proceeding.) 1 Press the EFFECTS PLUG-INS [CHANNEL INSERTS] button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. 2 Use the [SEL] buttons to select plug-ins. 3 While holding down the EFFECTS/PLUG-INS [3] (BYPASS) button, use Parameter control 1–4 push switches to bypass the plug-ins. To bypass plug-in #5, press the Parameter Down (SCROLL >) button, and then perform step 3. Press the Parameter Up (< SCROLL) button to view plug-ins 1–4 again. The titles of bypassed plug-ins are displayed in uppercase characters. For example, the title of the plug in “D-Verb” appears as “d-verb” when it’s not bypassed, and appears as “D-VERB” when it is bypassed. Resetting Faders, Sends, & Panpots Faders, panpots, and sends can be reset to their default values as follows. For faders and send controls, this is “0.” For panpots, it’s center. Make sure that the EFFECTS PLUG-INS [CHANNEL INSERTS] button indicator is off before proceeding with these shortcuts. To do this... Do this! Reset a channel fader EFFECTS PLUG-INS [PLUG-INS]+[SEL] Reset a channel panpot [PAN], EFFECTS PLUG-INS [PLUG-INS]+[ENCODER push] Reset a channel send level AUX SELECT [AUX 1]–[AUX 5], EFFECTS PLUG-INS [PLUG-INS]+[ENCODER push] While the EFFECTS PLUG-INS [PLUG-INS] (DEFAULT) button is being pressed, its indicator flashes and “DFLT” appears in the SELECT ASSIGN section of the display. Grouped channels are reset together. Navigating the Edit Window The cursor buttons can be used to navigate the Edit window as follows. 1 Use the [INC] (CURSOR MODE) button to select Navigation cursor mode. The CURSOR MODE section of the display shows “NAVIGATION.” 2 To move the edit cursor to the previous region boundary, or to the previous marker, press the Left cursor button. 3 To move the edit cursor to the next region boundary, or to the next marker, press the Right cursor button. 4 To select the track above, press the Up cursor button. 5 To select the track below, press the Down cursor button. 02R96 Version 2—Owner’s Manual Zooming 215 Zooming The cursor buttons can be used to zoom the Edit window as follows. 1 • • • • Use the [INC] (CURSOR MODE) button to select Zoom cursor mode. The CURSOR MODE section of the display shows “ZOOM.” In Zoom cursor mode, the cursor buttons work as follows: Left cursor button: Zoom out horizontally. Right cursor button: Zoom in horizontally. Up cursor button: Zoom in vertically. Down cursor button: Zoom out vertically. Making Fine Adjustments to the Selected Region The cursor buttons can be used in conjunction with the Parameter wheel to make fine adjustments to the selected region. 1 Use the [INC] (CURSOR MODE) button to select Select cursor mode. The CURSOR MODE section of the display shows “SELECT.” 2 While holding down the left cursor button, turn the Parameter wheel to make fine adjustments to the in point of the selected region. 3 While holding down the right cursor button, turn the Parameter wheel to make fine adjustments to the out point of the selected region. 4 To select the track above, press the Up cursor button. 5 To select the track below, press the Down cursor button. 6 To move the cursor to the in point of the selected region, double-click the Left cursor button. 7 To move the cursor to the out point of the selected region, double-click the Right cursor button. Scrub & Shuttle The Parameter wheel can be used to scrub and shuttle as follows. 1 Make sure that Pro Tools is stopped. 2 Press the [SCRUB] button if you want to scrub, press the [SHUTTLE] button if you want to shuttle. The corresponding button indicator lights up. The [REW] and [FF] button indicators also light up, and the cursor mode is set to Navigation (the CURSOR MODE section of the display shows “NAVIGATION”). 3 Turn the Parameter wheel clockwise to scrub/shuttle forwards. Turn it counterclockwise to scrub/shuttle backwards. Scrub/shuttle starts at the in point of the selected region. If no region is selected, the edit cursor position is used. Note that if the Edit Insertion Follows Scrub/Shuttle preference is turned on in Pro Tools (Setups menu, Preferences command, Operation page), the currently selected region will be cancelled when the [SCRUB] or [SHUTTLE] button is pressed. Press the left cursor button to move to the in point. Press the right cursor button, to move to the out point. You can toggle between scrub and shuttle by pressing the [SCRUB] and [SHUTTLE] buttons, in which case scrub or shuttle continues from the current position. 02R96 Version 2—Owner’s Manual 216 Chapter 18—Pro Tools Remote Layer 4 To stop scrub/shuttle, press the [SCRUB] or [SHUTTLE] button again, or press the [STOP] button. If you press the [REW], [FF], or [PLAY] button, scrub/shuttle operation is stopped before rewind, fast forward, or playback commences. While scrub/ shuttle is active, only the following Pro Tools/02R96 controls can be used: [SCRUB] and [SHUTTLE] buttons, Parameter wheel, transport buttons, faders, [ON] buttons, and [SOLO] buttons. The current position can be stored as a marker by pressing the [ENTER] button. The scrub resolution depends on the current zoom setting, the more zoomed in you are, the higher the resolution. Automation Viewing the Automation Mode The Automation mode setting of each channel can be viewed as follows. 1 Press either the [F3] or [F4] button. Channel Display mode or Meter Display mode is selected. 2 Press and hold a channel’s [AUTO] button. The channel’s Automation mode is displayed while the [AUTO] button is pressed. Pro Tools Display Auto write Wrt Auto touch Tch Auto latch Ltch Auto read Read Auto off Off [AUTO] Button Indicators Flashing red (Record Ready) Red (Recording) Green Off For MIDI tracks, “—” appears on the display. The Automation mode settings of all channels can be viewed as follows. 3 Press and hold the USER DEFINED [DISPLAY] (AUTO STATUS) button. The Automation modes of all channels are displayed while the USER DEFINED [DISPLAY] (AUTO STATUS) button is pressed. Setting the Automation Mode The Automation mode can be set as follows. 1 While holding down a channel’s [AUTO] button, press the USER DEFINED [3] (WRITE), [4] (TOUCH), [5] (LATCH), [6] (READ), [7] (TRIM), or [8] (OFF) button. If Channel Display mode or Meter Display mode is currently selected, the channel’s Automation mode is displayed while the [AUTO] button is pressed. Grouped channels are set together. 02R96 Version 2—Owner’s Manual Panner 217 Trim Mode Trim mode can be set as follows. 1 While holding down a channel’s [AUTO] button, press the USER DEFINED KEYS [7] (TRIM) button. If channel Display mode [F3] or Meter Display mode [F4] is currently selected, the channel’s Automation mode is displayed while its [AUTO] button is pressed. Pro Tools Display Auto trim/write TWrt Auto trim/touch TTch Auto trim/latch TLch Auto trim/read TRd [AUTO] Button Indicators Flashing red/orange (Record Ready) Orange (Recording) Flashing green/orange You can display the Automation mode settings of all channels by pressing and holding the USER DEFINED KEYS [DISPLAY] (AUTO STATUS) button. Grouped channels are set together. Arming Parameters for Automation Parameters can be selected for automation recording as follows. 1 Use the following USER DEFINED KEYS to arm parameters. USER DEFINED KEYS Pro Tools [11] (FADER) Volume [12] (MUTE) Mute [13] (PAN) Pan [14] (SEND) Send level [15] (SEND MUTE) Send mute [16] (PLUG-IN) Plug-in The button indicators for armed parameters light up. Panner Selecting a Track Use the SELECTED CHANNEL ROUTING buttons to manipulate the following track operations. To do this... Use these buttons: Selecting the previous track ROUTING [1] button Selecting the next track ROUTING [2] button Selecting the top track ROUTING [3] + [1] buttons Selecting the last track ROUTING [3] + [2] buttons Selecting the main output of the selected track ROUTING [3] + [5] buttons Selecting Send 5 of the selected track ROUTING [3] + [7] buttons Selecting the output/send of the selected track ROUTING [5] + [7] buttons Stereo Track Link You can control the panner for the L and R channels of stereo tracks simultaneously or individually, depending on the stereo link status. To cancel the stereo panner link, press and hold down the [Control] key on the keyboard and move the Joystick. 02R96 Version 2—Owner’s Manual 218 Chapter 18—Pro Tools Remote Layer Panner Operation via the Joystick 1 Select the track you wish to pan. 2 Press the [GRAB] button, turning on the [GRAB] button indicator. 3 While the [GRAB] button indicator is lit, operate the Joystick. If you move the Joystick for direct panning while the [GRAB] button indicator is lit, the pan position is specified as an absolute value, which may cause the pan position to jump drastically. You can also restrict the trajectory direction of the Joystick. To limit movement to the L and R directions, press and hold down the [DIRECT] button and move the Joystick. To limit movement to the up and down (front and rear) directions, select 3 Knob mode in the Pro Tools Panner window. Panner Operation via Knob Controls You can control the following parameters using the DYNAMICS controls. Controls ROUTING [6] indicator is off ROUTING [6] indicator is on THRESHOLD Front position Front divergence RANGE/RATIO Rear position Rear divergence ATTACK F/R position F/R divergence DECAY/RELEASE LFE level Center percentage HOLD/GAIN Channel volume 1 Select the track and output, if desired. 2 Press the ROUTING [6] button to select the knob control mode that is appropriate for the parameter you wish to control. 3 Use the appropriate control to adjust the parameter. Pressing and holding down the [Command] key on the keyboard and rotating the controls reduces the change in the parameter values. 02R96 Version 2—Owner’s Manual Remote Control 219 19 Remote Control About the Remote Layer The 02R96’s Remote Layer allows you to control external MIDI equipment directly from the 02R96. The type of device to be controlled (i.e., the target) can be specified for each Remote Layer. There are six types of target: User Defined, Pro Tools, Nuendo, Cubase SX, General DAW, and User Assignable Layer. User Defined targets allow you to specify the MIDI data that will be transmitted when the 24 channel strip faders, Encoders, and [ON] buttons are operated. These settings are stored in Scenes, for snapshot-style automation. The Pro Tools, Nuendo, Cubase SX, and General DAW targets have been especially designed to control Pro Tools, Nuendo, Cubase SX, and other DAW software that uses the Pro Tools protocol. The User Assignable Layer target enables you to combine 02R96 channels to create a custom layer. See page 228 for more information on the User Assignable Layer. Assigning a Target to the Remote Layer Targets are assigned to the Remote Layer as follows. 1 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote 1–4 pages. 2 Use the cursor buttons to select the TARGET parameter, use the Parameter wheel or INC/DEC buttons to select a target, and then press [ENTER]. TARGET: This can be set to NO ASSIGN, USER DEFINED, Pro Tools, Nuendo, Cubase SX, General DAW, or User Assignable Layer. See page 220 for more information on the User Defined target. See page 196 for more information on the Pro Tools target. See page 228 for more information on the User Assignable Layer. To conrol Nuendo or Cubase SX remotely, make the following settings in addition to the TARGET parameter. 3 Select the desired port for the DAW parameter on the MIDI/To Host Setup page (see page 191). 4 Select an appropriate device in the Device menu of Nuendo or Cubase SX and specify the 02R96 as a controller. For more information on the necessary settings, refer to the Owner’s Manual that came with Nuendo or Cubase SX. 02R96 Version 2—Owner’s Manual 220 Chapter 19—Remote Control Configuring the User Defined Remote Layer The User Defined Remote Layer can be configured as follows. 1 Use the DISPLAY ACCESS [REMOTE] button to locate the Remote page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TARGET: This is used to select the target (only the User Defined target is explained in this section). TRANSMIT: This enables and disables MIDI data transmission for the Remote Layer. INITIALIZE: This initializes the settings of the currently selected bank. BANK: These buttons are used to select banks 1, 2, 3, and 4. Each bank can contain MIDI settings for the 24 faders, Encoders, and [ON] buttons. Banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). See “User Defined Remote Layer Initial Bank Settings” on page 255 for a list of initial bank settings. ID/SHORT/LONG: On the Remote Layer, channel strips 1–24 are identified by the fixed IDs RM01–RM24. You can enter a Short and Long name for each Remote channel strip. To enter a name, use the cursor buttons to select the SHORT or LONG name, use the [SEL] buttons, Parameter wheel, or INC/DEC buttons to select the channel strips, and then press [ENTER]. When the Title Edit window appears, enter a name, and press OK when you’ve finished. See “Title Edit Window” on page 46 for more information. ON: These parameters are used to specify the MIDI message (up to 16 bytes) to be transmitted when an [ON] button is pressed. Use the [SEL] buttons to select the channel strips, and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted when an [ON] button is pressed. For the SW setting, data value 7F is transmitted when an [ON] button is turned on, and data value 00 is transmitted when an [ON] button is turned off. The END setting specifies the end of the data. “–” means no data is transmitted. UNLATCH/LATCH: This parameter determines the operation of the [ON] buttons: Latching or Non-latching. When set to UNLATCH, an ON value is transmitted when an buttons is pressed, and an OFF value is transmitted when it’s released. When set to LATCH, an ON value is transmitted when the button is pressed and that value is maintained when the button is released. The next time you press that button, the OFF value is transmitted. LEARN: This button is used to turn on and off the Learn function, which can be used to learn what MIDI messages are being transmitted by external MIDI devices when their controls or parameters are adjusted. When on, received MIDI messages are displayed in the DATA area. Only the first 16 bytes of data, starting with a Status bit, are displayed. ENCODER: These parameters are used to specify the MIDI message (up to 16 bytes) to be transmitted when an Encoder is operated. Use the [SEL] buttons to select the channel strips, and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted 02R96 Version 2—Owner’s Manual About the Remote Layer 221 when an Encoder is adjusted. For the ENC setting, the Encoder’s current value from 0–127 is transmitted when it’s adjusted. The END setting specifies the end of the data. “–” means no data is transmitted. LEARN: This works the same as the [ON] button Learn function above, except the received MIDI messages are displayed in the ENCODER DATA area. Only one Learn function can be used at a time. FADER: These parameters are used to specify the MIDI message (up to 16 bytes) to be transmitted when a fader is operated. Use the [SEL] buttons to select the channel strips, and then edit as necessary. When a value from 00 to FF is specified, that value is transmitted when a fader is adjusted. For the FAD setting, a fader’s current value from 0–127 is transmitted when it’s adjusted. The END setting specifies the end of the data. “–” means no data is transmitted. LEARN: This works the same as the [ON] button Learn function above, except the received MIDI messages are displayed in the FADER DATA area. Only one Learn function can be used at a time. Using the User Defined Remote Layer Once configured, the User Defined Remote Layer can be used as follows. 1 Use the LAYER [REMOTE] button to select the User Defined Remote Layer. While the User Defined Remote Layer is selected, operating the channel strip faders, Encoders, and [ON] buttons causes the specified MIDI data to be transmitted. When the User Defined Remote Layer is selected, the Remote page appears. Since this is the same page as that selected by the DISPLAY ACCESS [REMOTE] button, the User Defined Remote Layer can be configured here as well, even the target can be changed. The settings of the channel strip faders, Encoders, and [ON] buttons, and the current target and bank setting for the Remote Layer are stored in Scenes. When a Scene is recalled, if the Remote Layer’s target is the same as when the Scene was stored, the faders, Encoders, and [ON] buttons are set accordingly and the corresponding MIDI data is transmitted (so long as the TRANSMIT parameter is set to ENABLED). If the target is not the same, the faders, Encoders, and [ON] buttons are set accordingly, but no MIDI data is transmitted. 02R96 Version 2—Owner’s Manual 222 Chapter 19—Remote Control About Machine Control The 02R96 can control the transport and locate functions of up to eight external recording machines that support MMC (MIDI Machine Control). Machines that support MMC can be controlled by connecting them to the 02R96’s MIDI, SERIAL, USB, or SLOT1 (with optional mLAN I/O Card installed in Slot #1). MMC support varies from machine to machine. Some machines may not operate exactly as explained in this section. Configuring Machines Up to eight machines can be configured as follows. 1 Use the MACHINE CONTROL [DISPLAY] button to locate the Machine Configuration page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. MACHINE CONTROL/DAW CONTROL: When the MACHINE CONTROL option is on, the MACHINE CONTROL section controls external MMC machines, regardless of the layer selection. When the DAW CONTROL option is on, the MACHINE CONTROL section controls DAWs, regardless of the layer selection. TYPE: This is used to specify the type of machine: MMC or NONE. PORT: When the machine TYPE is MMC, use this parameter to specify the port for MMC communications. Available ports include: MIDI, SERIAL 1–8, USB 1–8, and SLOT1. DEVICE ID: When the machine TYPE is MMC, use this parameter to specify the device ID from 1 to 127 or ALL. The target machine must be set to the same ID. The same ID cannot be assigned to more than one SERIAL, USB, or SLOT1 port. TRANSPORT CONTROL: This parameter determines which machine is controlled by the 02R96’s transport buttons. Only one machine can be controlled at a time. 02R96 Version 2—Owner’s Manual About Machine Control 223 Transport Buttons The 02R96’s transport can be used to control external machines. The machine that is to be controlled can be selected on the Machine Configuration page (see page 222). REW FF STOP PLAY REC [REW] button This button starts rewind on the external machines. [FF] button This button starts fast forward on the external machines. [STOP] button This button stops the external machines. [PLAY] button This button starts playback on the external machines. It’s also used to punch out of recording. [REC] button This button is used in conjunction with the [PLAY] button to start recording on the external machines. Using Shuttle & Scrub The Parameter wheel can be used to shuttle and scrub the external machines. SHUTTLE SCRUB When the [SHUTTLE] button indicator is lit, the Parameter wheel can be used to shuttle. When the [SCRUB] button indicator is lit, the Parameter wheel can be used to scrub. Turn the Parameter wheel clockwise to shuttle/scrub forwards. Turn it counterclockwise to shuttle/scrub backwards. 02R96 Version 2—Owner’s Manual 224 Chapter 19—Remote Control Using the Locator MACHINE CONTROL LOCATE MEMORY DISPLAY (MEM-LOC) SET 1 2 3 4 5 6 7 8 LOCATE MEMORY [1–8] buttons These buttons are used to set and to locate to the eight Locate memories. Locate memories can be set on the Locate Memory page (see page 224). To set a locate memory on-the-fly, while holding down the [SET] button, press a LOCATE MEMORY [1–8] button. The 02R96 must be receiving timecode in order to do this. Once set, the stored position can be located by pressing the corresponding button. If the button is pressed while the machine is stopped, the stored position is located. If the button is pressed while the machine is playing, the stored position is located and then playback continues from that position. [SET] button This button is used in conjunction with the LOCATE MEMORY [1–8], [IN], [OUT], and [RETURN TO ZERO] buttons to set the locate points. Setting the Locate Memories The locate points can be set as follows. 1 Use the MACHINE CONTROL [DISPLAY] button to locate the Locate Memory page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. MACHINE CONTROL/DAW CONTROL: When the MACHINE CONTROL option is on, the MACHINE CONTROL section controls external MMC machines, regardless of the layer selection. When the DAW CONTROL option is on, the MACHINE CONTROL section controls DAWs, regardless of the layer selection. LOCATE MEMORY 1–8: These time values determine the points that will be located when the LOCATe MEMORY [1–8] buttons are pressed. They can only be set while the MACHINE CONTROL option is on. Locate points can be specified in hours, minutes, seconds, and frames, the frame range being dependent on the frame rate setting on the Time Reference page (see page 177). FRAMES: This parameter selects the timecode frame rate. 02R96 Version 2—Owner’s Manual GPI (General Purpose Interface) 225 GPI (General Purpose Interface) The 02R96’s CONTROL port (25-pin D-sub connector) provides a GPI (General Purpose Interface). You can configure the GPI so that it will output 8-channel trigger signals when you operate the faders or User Defined Keys, or receive 2-channel trigger signals to control 02R96 parameters. You can assign any function to these trigger signals. In this way, for example, you can control a “RECORDING” warning light outside a studio from the 02R96, or you can control the 02R96’s Talkback function or Dimmer function using an outside switch. See page 300 for more information on pin assignment. 14 15 16 17 18 19 20 21 22 23 24 25 1 2 3 This is an example of the external circuit that operates GPI. In this example, a trigger signal causes the LEDs to light up when the button is selected as the trigger signal polarity in the OUTPUT section. A trigger signal causes the LEDs to turn off when the button is selected as the trigger signal polarity. 4 5 6 7 8 9 10 11 12 GPO0 13 9 GPO1 1 21 GPO4 9 14 9 GPO5 3 21 GPI0 22 GPO2 GPO3 2 21 GPO6 16 9 15 GPO7 4 21 17 GPI1 5 10 6 1 Use the DISPLAY ACCESS [SETUP] button to select the GPI Setup page. 2 To assign functions to incoming trigger signals, use the cursor buttons to select INPUT 1 or 2. 3 Use the Parameter wheel or INC/DEC buttons to select a parameter, then press [ENTER]. 02R96 Version 2—Owner’s Manual 226 Chapter 19—Remote Control 4 Select one of two buttons located to the right of trigger signal parameters INPUT 1 & 2 to specify how the incoming trigger signals will be detected. : When the switch is grounded (Low), the trigger signal is active and the selected parameter changes. : When the GPI Input goes High (open), the trigger signal is active and the selected parameter changes. You can execute functions assigned to the MONITOR section buttons and User Defined Keys, and turn channels on and off. See “GPI Trigger Source & Target List” on page 253 for a complete list of assignable functions. Note: “xxx UNLATCH” means that the assigned function is enabled only while the incoming trigger signal is active. For example, if CH1 ON is selected, the channel on/off status changes each time the trigger signal is detected. If CH1 ON UNLATCH is selected, Channel 1 turns on only while the trigger signal is active. Trigger = Input signals from the CONTROL connector Executes the function. Executes the function. Trigger = Input signals from the CONTROL connector Executes the function. Executes the function. At this point, when the 02R96 receives the trigger signal at the CONTROL connector, the selected parameter changes. Tip: Refer to the page 253 for a complete list of assignable parameters. TALKBACK - SMALL: Functions the same as the MONITOR section buttons. SR xxx: Functions the same as the SURROUND buttons in the MONITOR section. CR xxx: Functions the same as the CONTROL ROOM buttons in the MONITOR section. SM xxx: Functions the same as the STUDIO buttons in the MONITOR section. xxx UNLATCH: The assigned function is enabled only while the incoming trigger signal is active. xxx ON: The corresponding channels turn on or off each time the incoming trigger signal becomes active. xxx ON UNLATCH: The corresponding channels turn on only while the incoming trigger signal is active. UDEFxxx: Functions the same as the USER DEFINED KEYS. 5 To select parameters or controls as trigger signal sources, use the cursor buttons to select an output from OUTPUT 1–8, then select trigger signal parameters as you would for the INPUT section. See “GPI Trigger Source & Target List” on page 253 for a complete list of assignable parameters. 02R96 Version 2—Owner’s Manual GPI (General Purpose Interface) 6 227 Use the buttons located to the right of the OUTPUT (1–8) parameters to switch the polarity of the trigger signals that are output when you control the trigger sources. : The GPI Output goes High (open) when the trigger signal source is active. : The GPI Output goes Low (ground) when the trigger signal source is active. Trigger signal polarity = Output signals from the CONTROL connector Trigger signal polarity = Output signals from the CONTROL connector At this time, the trigger signal is output from the CONTROL connector when you operate the assigned parameters or controls. Tip: Refer to page 253 for a complete list of assignable parameters and controls. xxx FADER ON: A trigger signal of 250 ms is transmitted when you raise a fader from –∞. xxx FADER OFF: A trigger signal of 250 ms is transmitted when you lower a fader to –∞. xxx FADER TALLY: The trigger signal becomes active when the fader is set to any level other than –∞, and the trigger signal turns off when the fader is set to –∞. UDEFxx LATCH: Pressing the corresponding button in the USER DEFINED KEYS section activates the trigger signal, and pressing the button again turns it off. UDEF xx UNLATCH: A trigger signal of 250 ms is transmitted each time you press the corresponding button in the USER DEFINED KEYS section. REC LAMP: This source can be used to control a “RECORDING” warning light outside a studio. The trigger signal is active while the [REC] button indicator is lit. POWER ON: The trigger signal is active while the power to the 02R96 is on. Important note: GPI outputs are open collector outputs. GPI inputs have an internal pull-up to 5 V. 02R96 Version 2—Owner’s Manual 228 Chapter 20—Other Functions 20 Other Functions Using the User Assignable Layers If you set the Remote layer target to “USER ASSIGNABLE,” you can create a custom layer by combining any 02R96 channels (excluding the Stereo Out). 1 Use the DISPLAY ACCESS [REMOTE] button to locate Remote page. 2 Use the cursor buttons to select the TARGET parameter, use the Parameter wheel or INC/DEC buttons to select USER ASSIGNABLE LAYER, then press [ENTER]. A confirmation message appears. Select the YES button and press [ENTER]. 3 Use the cursor buttons to select parameter 1–24, use the Parameter wheel or INC/DEC buttons to select a channel you want to assign, then press [ENTER]. You can store up to four 24-channel setups in four banks by switching Banks 1–4 via the BANK 1–4 buttons. Pressing the [ENTER] button prior to selecting assigned channels enables you to select a channel in the User CH Select window. 4 Select a Remote layer using the LAYER [REMOTE] button. You can use the faders, Encoders, [ON] buttons, [AUTO] buttons, and [SOLO] buttons to control assigned channels. If you connected an optional MB02R96 Meter Bridge, its meters indicate the level of the channels currently-assigned to layer channels 1–24. 02R96 Version 2—Owner’s Manual 229 Using the User Defined Keys Using the User Defined Keys Up to 16 functions from a list of over 170 can be assigned to the USER DEFINED KEYS, and up to eight assignment setups can be stored in banks A to H. See page 238 for a list of initial bank assignments. USER DEFINED KEYS DISPLAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 Use the USER DEFINED KEYS [DISPLAY] button to locate the User Defined Key Assign page. 2 Use the cursor buttons to select the BANK buttons, A to H, and press [ENTER] to select a bank. The TITLE parameter box displays the name of the selected bank. Select the TITLE parameter box, then press [ENTER]. The Title Edit window appears, enabling you to enter a name. 3 Use the cursor buttons to select from 1–16, then press [ENTER]. The following User Define Select window opens. 4 Move the cursor to the left column, then rotate the Parameter wheel or press the [INC]/[DEC] buttons to select the function you wish to assign. 5 Select options in the center and right columns in the same way. The items displayed in the center and right columns vary depending on the function assigned in Step 4. 6 Use the cursor buttons to select YES, then press [ENTER]. When the window closes, the specified function is assigned to the selected User Defined button. When you select a function that recalls a specific Scene or library memory, you need to specify the number of the memory that you want recalled when the USER DEFINED KEY is pressed. To do this, in the left-hand box, select the number parameter next to the Assign button, and use the Parameter wheel or INC/DEC buttons to specify the number. 02R96 Version 2—Owner’s Manual 230 Chapter 20—Other Functions You can initialize the assignments of the currently selected bank by selecting the INITIALIZE button, and pressing [ENTER]. User Defined Keys banks can be stored to an external MIDI device, such as a MIDI data filer, by using MIDI Bulk Dump (see page 195). Setting Preferences You can customize the operation of the 02R96 by using the preferences pages. Preferences 1 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 1 page. 2 Use the cursor buttons or Parameter wheel to select the preferences, and use the INC/DEC buttons or [ENTER] button to set them. Auto ROUTING Display: When this preference is on, the Routing pages appear automatically when a button in the SELECTED CHANNEL ROUTING section is pressed (see page 82). Auto DYNAMICS Display: When this preference is on, the Gate Edit page appears automatically when a gate control in the SELECTED CHANNEL DYNAMICS section is operated (see page 74), and the Comp Edit page appears automatically when a Compressor control in the SELECTED CHANNEL DYNAMICS section is operated (see page 116). Auto PAN/SURROUND Display: When this preference is on and Input Channels have been selected, the Pan pages appears automatically when a control in the SELECTED CHANNEL PAN/SURROUND section is operated (see page 84). Similarly, when a Surround Pan mode other than Stereo is selected, the Input Channel Surround Edit page appears automatically when the Joystick is operated (see page 88). Also, when Stereo is selected, the Fader View page appears automatically when the Pan controls are operated. Auto EQUALIZER Display: When this preference is on, the EQ Edit page appears automatically when a control in the SELECTED CHANNEL EQUALIZER section is operated (see page 113). Auto SOLO Display: When this option is on, the Solo Setup page appears automatically when an channel is soloed (see page 121). Auto WORD CLOCK Display: When this preference is on, the Word Clock Select page appears automatically if the currently selected external wordclock source fails (see page 56). Auto Channel Select: When this preference is on, channels can be selected by moving the corresponding fader or Encoder, or by turning on the corresponding [AUTO], [SOLO], or [ON] button. Store Confirmation: When this preference is on, the Title Edit window appears when you store a Scene (page 164) or library memory (page 143). 02R96 Version 2—Owner’s Manual Setting Preferences 231 Recall Confirmation: When this preference is on, a confirmation message appears when you recall a Scene (page 164) or library memory (page 143). Patch Confirmation: When this preference is on, a confirmation message appears when you edit the Input and Output Patches (see page 66). Pair Confirmation: When this preference is on, a confirmation message appears when you pair channels using the [SEL] buttons. Nominal Pan: When this preference is on, left/odd and right/even signals will be at nominal level when Input Channel, or Bus to Stereo signals are panned hard left or hard right, and at –3 dB when panned center. When this preference is off, signals panned hard left or hard right will be at 3 dB, and at nominal level when panned center. In Surround mode, this preference setting is used for the signal of any Surround Pan channel that is fully panned. Fast Meter Fall Time: When this preference is on, the level meters fall quicker. TC Drop Warning: When this preference is on, a warning message appears if a dropout is detected in the incoming timecode. DIO Warning: When this preference is on, a warning message appears if any errors are detected in digital audio signals received by the Slot Inputs or 2TR Digital Inputs. MIDI Warning: When this preference is on, a warning message appears if any errors are detected in the incoming MIDI messages. Initial Data Nominal: When this preference is on, Input Channel faders are set to nominal when Scene #0 is recalled. Meter Follow Layer: When this preference is on, the optional MB02R96 Peak Meter Bridge automatically follows the Layer selection on the 02R96. Scene MEM Auto Update: When this preference is on, the Shadow Scene memories can be used (see page 163). Joystick Auto Grab: When this preference is on, the Joystick automatically kicks in as the surround pan control when it’s moved to the current surround pan position (see page 88). Cascade COMM Link: When this preference is on, various functions are linked between cascaded 02R96s (see page 63). When this preference is off, only digital audio signals are distributed among the cascaded 02R96s. Solo Bus to Studio Out: When this preference is on and all STUDIO buttons ([CONTROL ROOM], [STEREO], [AUX 7], [AUX 8]) in the MONITOR section are turned off, soloed Input Channel signals are output via the STUDIO MONITOR OUT. Auto Direct Out On: When this preference is on and you change the channel Direct Out destination from “–” to any other output, the channel Direct Out is automatically enabled. If you change the channel Direct Out destination from an output to “–,” the channel Direct Out is automatically disabled. Routing ST Pair Link: When this preference is on, routing from paired channels to the Stereo Bus is linked. 02R96 Version 2—Owner’s Manual 232 Chapter 20—Other Functions Preferences 2 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 2 page. 2 Use the cursor buttons to select the preferences, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them. Channel ID: The corresponding Channel ID is indicated in the upper right corner of the display. Channel Short Name: The corresponding Channel Short Name is indicated in the upper right corner of the display. Port ID: The Port ID is indicated in the upper right corner of the display. Port Short Name: The Port Short Name is indicated in the upper right corner of the display. Channel Copy Parameter: These buttons allow you to choose which channel parameters are copied by the Channel Copy function: ALL parameters, or any combination of FADER, ON, PAN, SURR, AUX, AUX ON, and EQ. Fader Touch Sense: These parameters control the Touch Sense function. If the CONTROL button is turned on and the touch sensors are not triggered, fader operation is ignored. During Automix recording, you can “cut-in” by touching a fader. When this button is off, the 02R96 always recognizes fader movements. If the SELECT button is on, you can select channels using the Touch Sense function. The Sensitivity parameter adjusts touch sensitivity. If you’re having trouble selecting channels because the fader knobs are insufficiently sensitive, try increasing this value. If they are too sensitive, try reducing it. It’s important that the 02R96 is grounded properly for Touch Select to work correctly. See “Grounding screw” on page 42 for more information. Display Brightness: This preference is used to set the brightness of the LED displays and indicators. 02R96 Version 2—Owner’s Manual Setting Preferences 233 Preferences 3 1 Use the DISPLAY ACCESS [SETUP] button to locate the Preferences 3 page. 2 Use the cursor buttons or Parameter wheel to select the preferences, and use the INC/DEC buttons or [ENTER] button to set them. Mix Update Confirmation: When this preference is on, a confirmation message asking if you want to update the current Automix with the latest edits appears when Automix recording is stopped. Auto EQ Edit In: When this preference is on, EQ is automatically punched into Automix recording when an EQ control is adjusted. Copy Initial Fader: When this preference is on, when Fader events are copied or moved on the Automix Event Copy page, the fader value at the specified IN point is copied to the specified TO point. This eliminates fader position matching problems when no fader event exists at the specified TO point. Auto Inc TC Capture: When this preference is on, the Timecode Capture memory is incremented automatically each time a timecode address is captured on the Automix Event Edit page (see page 185). Link Capture & Locate Memory: When this preference is on, the eight Capture memories on the Automix Event Edit page are linked to the eight Locate memories so that, for example, edits made to Capture memory #1 are reflected on Locate memory #1, and vice versa. Clear Edit Channel after REC: When this preference is on, when using Auto Rec, channels are automatically unarmed (i.e., [AUTO] buttons are turned off) when Automix recording stops. When this preference is off, channels remain armed when recording stops. Timecode Display Relative: When this preference is on, the indicated timecode is offset as specified by the OFFSET parameter on the Automix Main page. Receive Full Frame Message: When this preference is on, MTC full frame messages are recognized and Automix follows them. Touch Sense Edit In All: When this preference is on, using the faders’ Touch Sense function enables you to punch in and out all parameters for which the corresponding OVERWRITE buttons are turned on. When this preference is off, you can punch in and out only these faders selected in Fader mode. Show Compact Size: Automix data, except that in the Undo buffer, is compressed while recording. When this preference is on, the compressed size of the Automix is displayed on the Automix Main and Memory pages. When this preference is off, the uncompressed size is displayed. Automix Store Undo: When this preference is on, Automix Store operations can be undone by using the Undo function. 02R96 Version 2—Owner’s Manual 234 Chapter 20—Other Functions Drop Out Time: This parameter sets an interval (in frames) between the interruption of incoming timecode and the stoppage of Automix recording or playback. Lock Time: This parameter sets the interval (in frames) allowed until the Automix locks to incoming timecode messages. If the sync operation is unstable, set this value higher. Frame Jump Error: This parameter sets the time interval (in frames) required by the 02R96 to recognize an error after incoming timecode messages jump. If the actual interval is shorter than the value specified by this parameter, the 02R96 continues the sync operation. If the frame jump causes the recording or playback to stop during the MTC and SMPT sync operation, set the parameter value higher than the number of frames indicated in the error message. If you set the parameter to a higher value, adjust the Drop Out Time parameter value, if necessary. Fader REC Accuracy: This parameter sets the accuracy of recording faders over time to “Little,” “Some,” “More,” or “Most.” If you set the parameter to lower values, you will save Automix memory space. Insert Time Link: This parameter enables you to select the locate memory used for the IN and OUT parameters in the Insert operation. Using the Oscillator The 02R96 features an oscillator that can be used for calibration or diagnostic purposes. 1 Use the DISPLAY ACCESS [UTILITY] button to locate the Oscillator page. 2 Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC button, or [ENTER] button to set them. OSCILLATOR ON: This turns the Oscillator on or off. While the LEVEL parameter is selected, the [ENTER] button can be used to turn on and off the Oscillator. Note: To prevent any sudden tone burst surprises in your monitors or headphones, you may want to set the LEVEL parameter to minimum before turning on the oscillator. LEVEL: This sets the Oscillator output level, which is displayed by the adjacent meter. This parameter can be set by using the Parameter wheel regardless of which parameter is currently selected. WAVEFORM: These buttons are used to select the waveforms: SINE 100Hz, SINE 1kHz, SINE 10kHz, 1kHz/400Hz, PINK NOISE, or BURST NOISE, which is 200 msec pink noise pulses at four second intervals. If you select 1 kHz/400 Hz, the Oscillator outputs a sine wave at different frequencies to L, R, and odd/even buses. ASSIGN: These buttons are used to assign the Oscillator output to Bus Outs, Aux Sends, and the Stereo Out. 02R96 Version 2—Owner’s Manual Operation Lock 235 Operation Lock The 02R96 features the Operation Lock function, which avoids unintentional edits and uses a password to restrict access to panel operation. 1 Use the DISPLAY ACCESS [UTILITY] button to locate the Operation Lock page. 2 Use the cursor buttons to select the PASSWORD button, then press [ENTER]. 3 Use the [SEL] buttons to set the password. Enter a four-letter password using the Channel 1–10 [SEL] buttons (Channel 10 [SEL] button enters “0”). (The factory default password is 1234.) Enter the current password in the PASSWORD field, and a new password in the NEW PASSWORD field. Enter the new password again in the REENTRY field. 4 Use the cursor buttons to select the OK button, then press [ENTER] to update the password. If you forget the password, you will be unable to cancel Operation Lock. Be sure to remember the password. 02R96 Version 2—Owner’s Manual 236 Chapter 20—Other Functions 5 Use the buttons in the OPERATION LOCK SAFE section to select certain controls on the panel to exclude from Operation Lock. Buttons Controls excluded from Operation Lock CHANNEL FADER Channel faders (1–24, STEREO) CHANNEL ENCODER Channel Encoders (1–24) CHANNEL ON Channel [ON] buttons (1–24, STEREO) CHANNEL SOLO Channel [SOLO] buttons (1–24) CHANNEL SEL Channel [SEL] buttons (1–24, STEREO) FADER MODE All buttons in the FADER MODE section ENCODER MODE All buttons in the ENCODER MODE section AUX SELECT All buttons in the AUX SELECT section SCENE MEMORY All buttons in the SCENE MEMORY section (excluding the [STORE] button) SELECTED CHANNEL All controls in the SELECTED CHANNEL section LAYER All buttons in the LAYER section USER DEFINED KEYS All buttons in the USER DEFINED KEYS section EFFECTS/PLUGINS All buttons in the EFFECTS/PLUG-INS section (including the Parameter controls 1–4) MONITOR All controls in the MONITOR section MACHINE CONTROL1 All buttons in the MACHINE CONTROL section 1. The Parameter wheel is also excluded from Operation Lock when the [SHUTTLE] or [SCRUB] button is on. 6 Use the cursor buttons to select the OPERATION LOCK button, then press [ENTER]. The Password window appears. 7 Use the [SEL] buttons to enter the password you set in Step 4. The Operation Lock function is activated. To cancel Operation Lock, press [ENTER]. The Password window opens again. Enter the same password again, and Operation Lock is cancelled. 02R96 Version 2—Owner’s Manual Checking the Battery and the System Version 237 Checking the Battery and the System Version The condition of the internal memory-backup battery can be checked as follows. 1 Use the DISPLAY ACCESS [UTILITY] button to locate the Battery Check page. If the Status is “Okay,” the battery is okay. If the Status is “Getting Low,” ask your Yamaha dealer to replace the battery as soon as possible. Do not attempt to replace the battery yourself. Failure to replace a low battery may result in data loss. Ver x.xx: This description identifies the system version number. Check the current system version number against this description before you update the firmware. Visit the following website to check the latest system version number: http://www.yamahaproaudio.com/ Initializing the 02R96 The 02R96 can be initialized as follows. Warning: This procedure will clear all user memories and reset all settings to their initial values. You may want to back up any important data beforehand via MIDI Bulk Dump (see page 195). If you want to reset just the mix settings, recall scene memory #0 instead (see page 163). 1 Turn off the 02R96. 2 While holding down the SCENE MEMORY [STORE] button, turn on the 02R96. 3 When the confirmation message appears, release the SCENE MEMORY [STORE] button, select [INITIALIZE] button, and press [ENTER]. The following message is displayed while initialization is in progress: “Loading Factory Presets & Calibrating the Faders... Do Not Touch the Faders!” It’s important that you do not touch the faders while this message is displayed, as the faders may not be calibrated correctly. The display returns to normal when initialization is complete. Initializing the Password Follow the steps below to initialize the password for the Operation Lock function. 1 Turn off the power to the 02R96. 2 Hold down the SCENE MEMORY[STORE] button, and turn on the power to the 02R96. 3 When a confirmation message appears, release the SCENE MEMORY [STORE] button. Use the cursor buttons to select the PASSWORD button, then press [ENTER]. The password is reset to “1234”. 02R96 Version 2—Owner’s Manual 238 Appendix A: Parameter Lists Appendix A: Parameter Lists USER DEFINED KEYS # Function Display # Function Display 0 No ASSIGN No Assign 47 Input Fader Group Enable E IN Fader Group E 1 Scene MEM. Recall +1 Scene +1 Recall 48 Input Fader Group Enable F IN Fader Group F 2 Scene MEM. Recall –1 Scene –1 Recall 49 Input Fader Group Enable G IN Fader Group G 3 Scene MEM. Recall No. XX Scene XX Recall 50 Input Fader Group Enable H IN Fader Group H 4 Effect-1 Lib. Recall +1 Fx1 Lib+1 Recall 51 Input MUTE Group Enable I IN Mute Group I 5 Effect-1 Lib. Recall –1 Fx1 Lib–1 Recall 52 Input MUTE Group Enable J IN Mute Group J 6 Effect-1 Lib. Recall No.XX Fx1 LibXXX RCL. 53 Input MUTE Group Enable K IN Mute Group K 7 Effect-2 Lib. Recall +1 Fx2 Lib+1 Recall 54 Input MUTE Group Enable L IN Mute Group L 8 Effect-2 Lib. Recall –1 Fx2 Lib–1 Recall 55 Input MUTE Group Enable M IN Mute Group M 9 Effect-2 Lib. Recall No.XX Fx2 LibXXX RCL. 56 Input MUTE Group Enable N IN Mute Group N 10 Effect-3 Lib. Recall +1 Fx3 Lib+1 Recall 57 Input MUTE Group Enable O IN Mute Group O 11 Effect-3 Lib. Recall –1 Fx3 Lib–1 Recall 58 Input MUTE Group Enable P IN Mute Group P 12 Effect-3 Lib. Recall No.XX Fx3 LibXXX RCL. 59 Output Fader Group Enable Q OutFader Group Q 13 Effect-4 Lib. Recall +1 Fx4 Lib+1 Recall 60 Output Fader Group Enable R OutFader Group R 14 Effect-4 Lib. Recall –1 Fx4 Lib–1 Recall 61 Output Fader Group Enable S OutFader Group S 15 Effect-4 Lib. Recall No.XX Fx4 LibXXX RCL. 62 Output Fader Group Enable T OutFader Group T 16 Effect-1 Bypass On/Off Fx1 Bypass 63 Output MUTE Group Enable U Out Mute Group U 17 Effect-2 Bypass On/Off Fx2 Bypass 64 Output MUTE Group Enable V Out Mute Group V 18 Effect-3 Bypass On/Off Fx3 Bypass 65 Output MUTE Group Enable W Out Mute Group W 19 Effect-4 Bypass On/Off Fx4 Bypass 66 Output MUTE Group Enable X Out Mute Group X 20 Channel Lib. Recall +1 CH Lib+1 Recall 67 PEAK HOLD On/Off Peak Hold 21 Channel Lib. Recall –1 CH Lib–1 Recall 68 OSCILLATOR On/Off OSC. ON/OFF 22 Channel Lib. Recall No. XX CH LibXXX Recall 69 SOLO Enable SOLO ENABLE 23 GATE Lib. Recall +1 Gate Lib+1 RCL. 70 Input Patch Lib. Recall +1 IN Patch Lib+1 24 GATE Lib. Recall –1 Gate Lib–1 RCL. 71 Input Patch Lib. Recall –1 IN Patch Lib–1 25 GATE Lib. Recall No. XX Gate LibXXX RCL. 72 Input Patch Lib. Recall No. XX IN Patch LibXX 26 COMP Lib. Recall +1 Comp Lib+1 RCL. 73 Output Patch Lib. Recall +1 Out Patch Lib+1 27 COMP Lib. Recall –1 Comp Lib–1 RCL. 74 Output Patch Lib. Recall –1 Out Patch Lib–1 28 COMP Lib. Recall No. XX Comp LibXXX RCL. 75 Output Patch Lib. Recall No. XX Out Patch LibXX 29 EQ Lib. Recall +1 EQ Lib+1 Recall 76 Channel Name ID/Short CH Name ID/Short 30 EQ Lib. Recall –1 EQ Lib–1 Recall 77 Port Name ID/Short PortNameID/Short 31 EQ Lib. Recall No. XX EQ LibXXX Recall 78 Automix REC Automix REC 32 SURR. MONI MUTE Mute L On/Off Surr.Mon L Mute 79 Automix PLAY Automix PLAY 33 SURR. MONI MUTE Mute R On/Off Surr.Mon R Mute 80 Automix STOP Automix STOP 34 SURR. MONI MUTE Mute Ls On/Off Surr.Mon Ls Mute 81 Automix ABORT Automix ABORT 82 Automix AUTO REC Automix AUTOREC 35 SURR. MONI MUTE Mute Rs On/Off Surr.Mon Rs Mute 83 Automix ENABLE Automix ENABLE 36 SURR. MONI MUTE Mute C On/Off Surr.Mon C Mute 84 Automix RETURN Automix RETURN 85 Automix TAKEOVER Automix TAKEOVER 86 Automix RELATIVE Automix RELATIVE 87 Automix TOUCH SENSE Automix T.SENSE 88 Overwrite FADER Overwrite FADER 89 Overwrite ON Overwrite ON 90 Overwrite PAN Overwrite PAN 91 Overwrite SURROUND Overwrite SURR. 92 Overwrite EQ Overwrite EQ 93 Overwrite AUX Overwrite AUX 94 Overwrite AUX ON Overwrite AUX ON 95 Track Arming 1 ON/OFF Track Arming 1 96 Track Arming 2 ON/OFF Track Arming 2 97 Track Arming 3 ON/OFF Track Arming 3 98 Track Arming 4 ON/OFF Track Arming 4 99 Track Arming 5 ON/OFF Track Arming 5 37 SURR. MONI MUTE Mute LFE On/Off Surr.Mon LFE Mute 38 SURR. MONI ASSIGN X SLOT1 ON/OFF Surr.ASGNX SL1 ON 39 SURR. MONI ASSIGN X SLOT2 ON/OFF Surr.ASGNX SL2 ON SURR. MONI ASSIGN X SLOT3 ON/OFF Surr.ASGNX SL3 ON 40 41 SURR. MONI ASSIGN X SLOT4 ON/OFF 42 SURR. MONI BASS MANAGE ON/OFF Bass Manage ON 43 Input Fader Group Enable A IN Fader Group A 44 Input Fader Group Enable B IN Fader Group B 45 Input Fader Group Enable C IN Fader Group C 46 Input Fader Group Enable D IN Fader Group D 02R96 Version 2—Owner’s Manual Surr.ASGNX SL4 ON USER DEFINED KEYS # Function Display # Function 239 Display 100 Track Arming 6 ON/OFF Track Arming 6 157 User Assignable Layer BANK +1 USER LAYER BANK+1 101 Track Arming 7 ON/OFF Track Arming 7 158 User Assignable Layer BANK –1 USER LAYER BANK–1 102 Track Arming 8 ON/OFF Track Arming 8 159 User Assignable Layer BANK X USER LAYER BANK X 103 Track Arming 9 ON/OFF Track Arming 9 160 MIDI NOTE No.XX MIDI NOTE XXX 104 Track Arming 10 ON/OFF Track Arming 10 161 MIDI Program change No.XX MIDI PGM XXX 105 Track Arming 11 ON/OFF Track Arming 11 162 MIDI Control Change No.XX MIDI CC XXX 106 Track Arming 12 ON/OFF Track Arming 12 163 Track Arming All Clear 107 Track Arming 13 ON/OFF Track Arming 13 108 Track Arming 14 ON/OFF Track Arming 14 109 Track Arming 15 ON/OFF Track Arming 15 110 Track Arming 16 ON/OFF Track Arming 16 111 Track Arming 17 ON/OFF Track Arming 17 112 Track Arming 18 ON/OFF Track Arming 18 113 Track Arming 19 ON/OFF Track Arming 19 114 Track Arming 20 ON/OFF Track Arming 20 115 Track Arming 21 ON/OFF Track Arming 21 116 Track Arming 22 ON/OFF Track Arming 22 117 Track Arming 23 ON/OFF Track Arming 23 118 Track Arming 24 ON/OFF Track Arming 24 119 SURR Lib. Recall +1 Surr Lib+1 RCL 120 SURR Lib. Recall –1 Surr Lib–1 RCL 121 SURR Lib. Recall No.XX Surr LibXX RCL 122 Channel Copy Channel Copy 123 Channel Paste Channel Paste 124 Display Back Display Back 125 Display Forward Display Forward 126 SURR. MONI MUTE Mute Bs On/Off SNAP TO SPL85 128 Bus to ST Lib. Recall +1 BUS To ST LIB+1 129 Bus to ST Lib. Recall –1 BUS To ST LIB–1 130 Bus to ST Lib. Recall No. XX BUS To ST LIBXX 131 Input Fader Group Assign X IN Fader Assign X 132 Input Mute Group Assign X IN Mute Assign X 133 Input EQ Group Assign X IN EQ Assign x 134 Input COMP Group Assign X IN COMP Assign x 135 Output Fader Group Assign X OutFader Assign X 136 Output Mute Group Assign X Out Mute Assign X 137 Output EQ Group Assign X Out EQ Assign x 138 Output COMP Group Assign X Out COMP Assign x 139 Input Mute Group Master X In Mute Master X 140 Output MUTE Group Master X Out Mute Master X 141 Automix UPDATE TO END Amx UPDATE TO END 142 AUX/SOLO LINK Mode On/Off AUX/SOLO LINK FADER/SOLO RELEASE Mode On/Off Studio Manager Window Control Close SM Ctrl Close 165 Studio Manager Window Control Close All SM Ctrl Close All 166 Studio Manager Window Control Selected Channel SM Ctrl Sel Ch 167 Studio Manager Window Control Library SM Ctrl Library 168 Studio Manager Window Control Patch Editor SM Ctrl Patch 169 Studio Manager Window Control Surround Editor SM Ctrl Surround 170 Studio Manager Window Control Time Counter SM Ctrl TimeCount 171 Studio Manager Window Control Effect Editor SM Ctrl Effect Studio Manager Window Control 172 Meter SM Ctrl Meter 173 Studio Manager Window Control Layer SM Ctrl Layer 174 Studio Manager Window Control Master SM Ctrl Master Surr.Mon Bs Mute 127 SURR. MONI SNAP TO 85dB SPL 143 Track Arming CLR 164 FaderSoloRELEASE 144 Control Room Monitor MONO C-R MONO 145 Talkback Assign SLOT1 Talkback SLOT1-XX 146 Talkback Assign SLOT2 Talkback SLOT2-XX 147 Talkback Assign SLOT3 Talkback SLOT3-XX 148 Talkback Assign SLOT4 Talkback SLOT4-XX 149 Talkback Assign OMNI OUT Talkback OMNI-XX Talkback Studio Monitor Out 150 On/Off Talkback S.Moni 151 User Defined Keys BANK +1 UDEF KEYS BANK+1 152 User Defined Keys BANK –1 UDEF KEYS BANK–1 153 User Defined Keys BANK X UDEF KEYS BANK X 154 Remote User Defined BANK +1 RMT UDEF BANK+1 155 Remote User Defined BANK –1 RMT UDEF BANK–1 156 Remote User Defined BANK X RMT UDEF BANK X 02R96 Version 2—Owner’s Manual 240 Appendix A: Parameter Lists USER DEFINED KEYS Initial Assignments No. Bank A (Surround Monitor) Bank B (Scene Recall) Bank C (Group Enable) Bank D (Automix) Bank E (Effect Library) Bank F (Group Assign) Bank G (Mute Master) Bank H (Program Change) 1 SNAP TO SPL Scene 1 85 Recall IN Fader Group A Automix ENABLE Fx 1 Lib+1 Recall IN Fader Assign A IN Mute Master I MIDI PGM 1 2 No Assign Scene 2 Recall IN Fader Group B Automix REC Fx 2 Lib+1 Recall IN Fader Assign B IN Mute Master J MIDI PGM 2 3 Surr Lib 0 Recall Scene 3 Recall IN Fader Group C Automix ABORT Fx 3 Lib+1 Recall IN Fader Assign C IN Mute Master K MIDI PGM 3 4 Surr Lib–1 Recall Scene 4 Recall IN Fader Group D Automix AUTOREC Fx 4 Lib+1 Recall IN Fader Assign D IN Mute Master L MIDI PGM 4 5 Surr Lib+1 Recall Scene 5 Recall IN Fader Group E Automix RETURN No Assign IN Fader Assign E IN Mute Master M MIDI PGM 5 6 Surr Mon L Mute Scene 6 Recall IN Fader Group F Automix RELNo Assign ATIVE IN Fader Assign F IN Mute Master N MIDI PGM 6 7 Surr Mon C Mute Scene 7 Recall IN Fader Group G Automix T.SENSE No Assign IN Fader Assign G IN Mute Master O MIDI PGM 7 8 Surr Mon R Mute Scene +1 Recall IN Fader Group H Automix TAKEOVER No Assign IN Fader Assign H IN Mute Master P MIDI PGM 8 9 Bass Manage ON Scene 8 Recall IN Mute Group I Overwrite FADER Fx 1 Lib-1 Recall IN Mute Assign I OUT Mute Master U MIDI PGM 9 10 No Assign Scene 9 Recall IN Mute Group J Overwrite ON Fx 2 Lib-1 Recall IN Mute Assign J OUT Mute Master V MIDI PGM 10 11 No Assign Scene 10 Recall IN Mute Group K Overwrite PAN Fx 3 Lib-1 Recall IN Mute Assign K OUT Mute Master W MIDI PGM 11 12 No Assign Scene 11 Recall IN Mute Group L Overwrite SURR. Fx 4 Lib-1 Recall IN Mute Assign L OUT Mute Master X MIDI PGM 12 13 Surr.Mon LFEMute Scene 12 Recall IN Mute Group M Overwrite AUX No Assign IN Mute Assign M No Assign MIDI PGM 13 14 Surr.Mon Ls Mute Scene 13 Recall IN Mute Group N Overwrite AUX ON No Assign IN Mute Assign N No Assign MIDI PGM 14 15 Surr.Mon Bs Mute Scene 14 Recall IN Mute Group O Overwrite EQ No Assign IN Mute Assign O No Assign MIDI PGM 15 16 Surr.Mon Rs Mute Scene –1 Recall IN Mute Group P Automix STOP IN Mute Assign P No Assign MIDI PGM 16 02R96 Version 2—Owner’s Manual No Assign Input Patch Parameters 241 Input Patch Parameters Input Channel Inputs Port ID Input Channel insert Ins Description Port ID Internal Effects Processor Inputs Description Port ID Description NONE NONE NONE NONE NONE NONE AD1 AD IN 1 AD1 AD IN 1 AUX1 AUX1 AD2 AD IN 2 AD2 AD IN 2 AUX2 AUX2 AD3 AD IN 3 AD3 AD IN 3 AUX3 AUX3 AD4 AD IN 4 AD4 AD IN 4 AUX4 AUX4 AD5 AD IN 5 AD5 AD IN 5 AUX5 AUX5 AD6 AD IN 6 AD6 AD IN 6 AUX6 AUX6 AD7 AD IN 7 AD7 AD IN 7 AUX7 AUX7 AD8 AD IN 8 AD8 AD IN 8 AUX8 AUX8 AD9 AD IN 9 AD9 AD IN 9 INSCH1 InsertOut-CH1 AD10 AD IN 10 AD10 AD IN 10 INSCH2 InsertOut-CH2 AD11 AD IN 11 AD11 AD IN 11 INSCH3 InsertOut-CH3 AD12 AD IN 12 AD12 AD IN 12 INSCH4 InsertOut-CH4 AD13 AD IN 13 AD13 AD IN 13 INSCH5 InsertOut-CH5 AD14 AD IN 14 AD14 AD IN 14 INSCH6 InsertOut-CH6 AD15 AD IN 15 AD15 AD IN 15 INSCH7 InsertOut-CH7 AD16 AD IN 16 AD16 AD IN 16 INSCH8 InsertOut-CH8 AD17 AD IN 17 AD17 AD IN 17 INSCH9 InsertOut-CH9 AD18 AD IN 18 AD18 AD IN 18 INSCH10 InsertOut-CH10 AD19 AD IN 19 AD19 AD IN 19 INSCH11 InsertOut-CH11 AD20 AD IN 20 AD20 AD IN 20 INSCH12 InsertOut-CH12 AD21 AD IN 21 AD21 AD IN 21 INSCH13 InsertOut-CH13 AD22 AD IN 22 AD22 AD IN 22 INSCH14 InsertOut-CH14 AD23 AD IN 23 AD23 AD IN 23 INSCH15 InsertOut-CH15 AD24 AD IN 24 AD24 AD IN 24 INSCH16 InsertOut-CH16 S1-1 Slot1 CH1 IN S1-1 Slot1 CH1 IN INSCH17 InsertOut-CH17 S1-2 Slot1 CH2 IN S1-2 Slot1 CH2 IN INSCH18 InsertOut-CH18 S1-3 Slot1 CH3 IN S1-3 Slot1 CH3 IN INSCH19 InsertOut-CH19 S1-4 Slot1 CH4 IN S1-4 Slot1 CH4 IN INSCH20 InsertOut-CH20 S1-5 Slot1 CH5 IN S1-5 Slot1 CH5 IN INSCH21 InsertOut-CH21 S1-6 Slot1 CH6 IN S1-6 Slot1 CH6 IN INSCH22 InsertOut-CH22 S1-7 Slot1 CH7 IN S1-7 Slot1 CH7 IN INSCH23 InsertOut-CH23 S1-8 Slot1 CH8 IN S1-8 Slot1 CH8 IN INSCH24 InsertOut-CH24 S1-9 Slot1 CH9 IN S1-9 Slot1 CH9 IN INSCH25 InsertOut-CH25 S1-10 Slot1 CH10 IN S1-10 Slot1 CH10 IN INSCH26 InsertOut-CH26 S1-11 Slot1 CH11 IN S1-11 Slot1 CH11 IN INSCH27 InsertOut-CH27 S1-12 Slot1 CH12 IN S1-12 Slot1 CH12 IN INSCH28 InsertOut-CH28 S1-13 Slot1 CH13 IN S1-13 Slot1 CH13 IN INSCH29 InsertOut-CH29 S1-14 Slot1 CH14 IN S1-14 Slot1 CH14 IN INSCH30 InsertOut-CH30 S1-15 Slot1 CH15 IN S1-15 Slot1 CH15 IN INSCH31 InsertOut-CH31 S1-16 Slot1 CH16 IN S1-16 Slot1 CH16 IN INSCH32 InsertOut-CH32 S2-1 Slot2 CH1 IN S2-1 Slot2 CH1 IN INSCH33 InsertOut-CH33 S2-2 Slot2 CH2 IN S2-2 Slot2 CH2 IN INSCH34 InsertOut-CH34 S2-3 Slot2 CH3 IN S2-3 Slot2 CH3 IN INSCH35 InsertOut-CH35 S2-4 Slot2 CH4 IN S2-4 Slot2 CH4 IN INSCH36 InsertOut-CH36 S2-5 Slot2 CH5 IN S2-5 Slot2 CH5 IN INSCH37 InsertOut-CH37 S2-6 Slot2 CH6 IN S2-6 Slot2 CH6 IN INSCH38 InsertOut-CH38 S2-7 Slot2 CH7 IN S2-7 Slot2 CH7 IN INSCH39 InsertOut-CH39 S2-8 Slot2 CH8 IN S2-8 Slot2 CH8 IN INSCH40 InsertOut-CH40 S2-9 Slot2 CH9 IN S2-9 Slot2 CH9 IN INSCH41 InsertOut-CH41 S2-10 Slot2 CH10 IN S2-10 Slot2 CH10 IN INSCH42 InsertOut-CH42 S2-11 Slot2 CH11 IN S2-11 Slot2 CH11 IN INSCH43 InsertOut-CH43 02R96 Version 2—Owner’s Manual 242 Appendix A: Parameter Lists Input Channel Inputs Port ID Input Channel insert Ins Description Port ID Description Internal Effects Processor Inputs Port ID Description S2-12 Slot2 CH12 IN S2-12 Slot2 CH12 IN INSCH44 InsertOut-CH44 S2-13 Slot2 CH13 IN S2-13 Slot2 CH13 IN INSCH45 InsertOut-CH45 S2-14 Slot2 CH14 IN S2-14 Slot2 CH14 IN INSCH46 InsertOut-CH46 S2-15 Slot2 CH15 IN S2-15 Slot2 CH15 IN INSCH47 InsertOut-CH47 S2-16 Slot2 CH16 IN S2-16 Slot2 CH16 IN INSCH48 InsertOut-CH48 S3-1 Slot3 CH1 IN S3-1 Slot3 CH1 IN INSCH49 InsertOut-CH49 S3-2 Slot3 CH2 IN S3-2 Slot3 CH2 IN INSCH50 InsertOut-CH50 S3-3 Slot3 CH3 IN S3-3 Slot3 CH3 IN INSCH51 InsertOut-CH51 S3-4 Slot3 CH4 IN S3-4 Slot3 CH4 IN INSCH52 InsertOut-CH52 S3-5 Slot3 CH5 IN S3-5 Slot3 CH5 IN INSCH53 InsertOut-CH53 S3-6 Slot3 CH6 IN S3-6 Slot3 CH6 IN INSCH54 InsertOut-CH54 S3-7 Slot3 CH7 IN S3-7 Slot3 CH7 IN INSCH55 InsertOut-CH55 S3-8 Slot3 CH8 IN S3-8 Slot3 CH8 IN INSCH56 InsertOut-CH56 S3-9 Slot3 CH9 IN S3-9 Slot3 CH9 IN INSBUS1 InsertOut-BUS1 S3-10 Slot3 CH10 IN S3-10 Slot3 CH10 IN INSBUS2 InsertOut-BUS2 S3-11 Slot3 CH11 IN S3-11 Slot3 CH11 IN INSBUS3 InsertOut-BUS3 S3-12 Slot3 CH12 IN S3-12 Slot3 CH12 IN INSBUS4 InsertOut-BUS4 S3-13 Slot3 CH13 IN S3-13 Slot3 CH13 IN INSBUS5 InsertOut-BUS5 S3-14 Slot3 CH14 IN S3-14 Slot3 CH14 IN INSBUS6 InsertOut-BUS6 S3-15 Slot3 CH15 IN S3-15 Slot3 CH15 IN INSBUS7 InsertOut-BUS7 S3-16 Slot3 CH16 IN S3-16 Slot3 CH16 IN INSBUS8 InsertOut-BUS8 S4-1 Slot4 CH1 IN S4-1 Slot4 CH1 IN INSAUX1 InsertOut-AUX1 S4-2 Slot4 CH2 IN S4-2 Slot4 CH2 IN INSAUX2 InsertOut-AUX2 S4-3 Slot4 CH3 IN S4-3 Slot4 CH3 IN INSAUX3 InsertOut-AUX3 S4-4 Slot4 CH4 IN S4-4 Slot4 CH4 IN INSAUX4 InsertOut-AUX4 S4-5 Slot4 CH5 IN S4-5 Slot4 CH5 IN INSAUX5 InsertOut-AUX5 S4-6 Slot4 CH6 IN S4-6 Slot4 CH6 IN INSAUX6 InsertOut-AUX6 S4-7 Slot4 CH7 IN S4-7 Slot4 CH7 IN INSAUX7 InsertOut-AUX7 S4-8 Slot4 CH8 IN S4-8 Slot4 CH8 IN INSAUX8 InsertOut-AUX8 S4-9 Slot4 CH9 IN S4-9 Slot4 CH9 IN INSSTL InsertOut-STL S4-10 Slot4 CH10 IN S4-10 Slot4 CH10 IN INSSTR InsertOut-STR S4-11 Slot4 CH11 IN S4-11 Slot4 CH11 IN FX1-1 Effect1 OUT 1 S4-12 Slot4 CH12 IN S4-12 Slot4 CH12 IN FX1-2 Effect1 OUT 2 S4-13 Slot4 CH13 IN S4-13 Slot4 CH13 IN FX2-1 Effect2 OUT 1 S4-14 Slot4 CH14 IN S4-14 Slot4 CH14 IN FX2-2 Effect2 OUT 2 S4-15 Slot4 CH15 IN S4-15 Slot4 CH15 IN FX3-1 Effect3 OUT 1 S4-16 Slot4 CH16 IN S4-16 Slot4 CH16 IN FX3-2 Effect3 OUT 2 FX1-1 Effect1 OUT 1 FX1-1 Effect1 OUT 1 FX4-1 Effect4 OUT 1 FX1-2 Effect1 OUT 2 FX1-2 Effect1 OUT 2 FX4-2 Effect4 OUT 2 FX1-3 Effect1 OUT 3 FX1-3 Effect1 OUT 3 FX1-4 Effect1 OUT 4 FX1-4 Effect1 OUT 4 FX1-5 Effect1 OUT 5 FX1-5 Effect1 OUT 5 FX1-6 Effect1 OUT 6 FX1-6 Effect1 OUT 6 FX1-7 Effect1 OUT 7 FX1-7 Effect1 OUT 7 FX1-8 Effect1 OUT 8 FX1-8 Effect1 OUT 8 FX2-1 Effect2 OUT 1 FX2-1 Effect2 OUT 1 FX2-2 Effect2 OUT 2 FX2-2 Effect2 OUT 2 FX3-1 Effect3 OUT 1 FX3-1 Effect3 OUT 1 FX3-2 Effect3 OUT 2 FX3-2 Effect3 OUT 2 FX4-1 Effect4 OUT 1 FX4-1 Effect4 OUT 1 FX4-2 Effect4 OUT 2 FX4-2 Effect4 OUT 2 2TD1L 2TR IN Dig.1 L 2TD1L 2TR IN Dig.1 L 2TD1R 2TR IN Dig.1 R 2TD1R 2TR IN Dig.1 R 02R96 Version 2—Owner’s Manual Input Patch Parameters Input Channel Inputs Port ID Description 243 Input Channel insert Ins Port ID Description 2TD2L 2TR IN Dig.2 L 2TD2L 2TR IN Dig.2 L 2TD2R 2TR IN Dig.2 R 2TD2R 2TR IN Dig.2 R 2TD3L 2TR IN Dig.3 L 2TD3L 2TR IN Dig.3 L 2TD3R 2TR IN Dig.3 R 2TD3R 2TR IN Dig.3 R 2TA1L 2TR IN Analog1 L 2TA1L 2TR IN Analog1 L 2TA1R 2TR IN Analog1 R 2TA1R 2TR IN Analog1 R 2TA2L 2TR IN Analog2 L 2TA2L 2TR IN Analog2 L 2TA2R 2TR IN Analog2 R 2TA2R 2TR IN Analog2 R BUS1 BUS1 BUS2 BUS2 BUS3 BUS3 BUS4 BUS4 BUS5 BUS5 BUS6 BUS6 BUS7 BUS7 BUS8 BUS8 AUX1 AUX1 AUX2 AUX2 AUX3 AUX3 AUX4 AUX4 AUX5 AUX5 AUX6 AUX6 AUX7 AUX7 AUX8 AUX8 02R96 Version 2—Owner’s Manual 244 Appendix A: Parameter Lists Initial Input Patch Settings Input channel Inputs # Source # Effects Processors Inputs Source # Source 1 AD01 29 S1-05 1-1 AUX1 2 AD02 30 S1-06 1-2 NONE 3 AD03 31 S1-07 1-3 NONE 4 AD04 32 S1-08 1-4 NONE 5 AD05 33 S2-01 1-5 NONE 6 AD06 34 S2-02 1-6 NONE 7 AD07 35 S2-03 1-7 NONE 8 AD08 36 S2-04 1-8 NONE 9 AD09 37 S2-05 2-1 AUX2 10 AD10 38 S2-06 2-2 NONE 11 AD11 39 S2-07 3-1 AUX3 12 AD12 40 S2-08 3-2 NONE 13 AD13 41 S3-01 4-1 AUX4 14 AD14 42 S3-02 4-2 NONE 15 AD15 43 S3-03 16 AD16 44 S3-04 17 AD17 45 S3-05 18 AD18 46 S3-06 19 AD19 47 S3-07 20 AD20 48 S3-08 21 AD21 49 S4-01 22 AD22 50 S4-02 23 AD23 51 S4-03 24 AD24 52 S4-04 25 S1-01 53 S4-05 26 S1-02 54 S4-06 27 S1-03 55 S4-07 28 S1-04 56 S4-08 02R96 Version 2—Owner’s Manual Output Patch Parameters 245 Output Patch Parameters Output patch parameters are split into two tables. The first table contains parameters for the Slot Outputs, Omni Outs, and Output Channel Insert Ins. The second table, Direct Outs and, 2TR Digital Outputs. Output Patch Table 1 Slot Outputs Source Description Omni Outs Source Description Output Channel Insert Ins Source Description NONE NONE NONE NONE NONE NONE BUS1 BUS1 BUS1 BUS1 AD1 AD IN 1 BUS2 BUS2 BUS2 BUS2 AD2 AD IN 2 BUS3 BUS3 BUS3 BUS3 AD3 AD IN 3 BUS4 BUS4 BUS4 BUS4 AD4 AD IN 4 BUS5 BUS5 BUS5 BUS5 AD5 AD IN 5 BUS6 BUS6 BUS6 BUS6 AD6 AD IN 6 BUS7 BUS7 BUS7 BUS7 AD7 AD IN 7 BUS8 BUS8 BUS8 BUS8 AD8 AD IN 8 AUX1 AUX1 AUX1 AUX1 AD9 AD IN 9 AUX2 AUX2 AUX2 AUX2 AD10 AD IN 10 AUX3 AUX3 AUX3 AUX3 AD11 AD IN 11 AUX4 AUX4 AUX4 AUX4 AD12 AD IN 12 AUX5 AUX5 AUX5 AUX5 AD13 AD IN 13 AUX6 AUX6 AUX6 AUX6 AD14 AD IN 14 AUX7 AUX7 AUX7 AUX7 AD15 AD IN 15 AUX8 AUX8 AUX8 AUX8 AD16 AD IN 16 STEREO-L STEREO L STEREO-L STEREO L AD17 AD IN 17 STEREO-R STEREO R STEREO-R STEREO R AD18 AD IN 18 INSCH1 InsertOut-CH1 INSCH1 InsertOut-CH1 AD19 AD IN 19 INSCH2 InsertOut-CH2 INSCH2 InsertOut-CH2 AD20 AD IN 20 INSCH3 InsertOut-CH3 INSCH3 InsertOut-CH3 AD21 AD IN 21 INSCH4 InsertOut-CH4 INSCH4 InsertOut-CH4 AD22 AD IN 22 INSCH5 InsertOut-CH5 INSCH5 InsertOut-CH5 AD23 AD IN 23 INSCH6 InsertOut-CH6 INSCH6 InsertOut-CH6 AD24 AD IN 24 INSCH7 InsertOut-CH7 INSCH7 InsertOut-CH7 S1-1 Slot1 CH1 IN INSCH8 InsertOut-CH8 INSCH8 InsertOut-CH8 S1-2 Slot1 CH2 IN INSCH9 InsertOut-CH9 INSCH9 InsertOut-CH9 S1-3 Slot1 CH3 IN INSCH10 InsertOut-CH10 INSCH10 InsertOut-CH10 S1-4 Slot1 CH4 IN INSCH11 InsertOut-CH11 INSCH11 InsertOut-CH11 S1-5 Slot1 CH5 IN INSCH12 InsertOut-CH12 INSCH12 InsertOut-CH12 S1-6 Slot1 CH6 IN INSCH13 InsertOut-CH13 INSCH13 InsertOut-CH13 S1-7 Slot1 CH7 IN INSCH14 InsertOut-CH14 INSCH14 InsertOut-CH14 S1-8 Slot1 CH8 IN INSCH15 InsertOut-CH15 INSCH15 InsertOut-CH15 S1-9 Slot1 CH9 IN INSCH16 InsertOut-CH16 INSCH16 InsertOut-CH16 S1-10 Slot1 CH10 IN INSCH17 InsertOut-CH17 INSCH17 InsertOut-CH17 S1-11 Slot1 CH11 IN INSCH18 InsertOut-CH18 INSCH18 InsertOut-CH18 S1-12 Slot1 CH12 IN INSCH19 InsertOut-CH19 INSCH19 InsertOut-CH19 S1-13 Slot1 CH13 IN INSCH20 InsertOut-CH20 INSCH20 InsertOut-CH20 S1-14 Slot1 CH14 IN INSCH21 InsertOut-CH21 INSCH21 InsertOut-CH21 S1-15 Slot1 CH15 IN INSCH22 InsertOut-CH22 INSCH22 InsertOut-CH22 S1-16 Slot1 CH16 IN INSCH23 InsertOut-CH23 INSCH23 InsertOut-CH23 S2-1 Slot2 CH1 IN INSCH24 InsertOut-CH24 INSCH24 InsertOut-CH24 S2-2 Slot2 CH2 IN INSCH25 InsertOut-CH25 INSCH25 InsertOut-CH25 S2-3 Slot2 CH3 IN INSCH26 InsertOut-CH26 INSCH26 InsertOut-CH26 S2-4 Slot2 CH4 IN INSCH27 InsertOut-CH27 INSCH27 InsertOut-CH27 S2-5 Slot2 CH5 IN 02R96 Version 2—Owner’s Manual 246 Appendix A: Parameter Lists Slot Outputs Source Description Omni Outs Source Description Output Channel Insert Ins Source Description INSCH28 InsertOut-CH28 INSCH28 InsertOut-CH28 S2-6 Slot2 CH6 IN INSCH29 InsertOut-CH29 INSCH29 InsertOut-CH29 S2-7 Slot2 CH7 IN INSCH30 InsertOut-CH30 INSCH30 InsertOut-CH30 S2-8 Slot2 CH8 IN INSCH31 InsertOut-CH31 INSCH31 InsertOut-CH31 S2-9 Slot2 CH9 IN INSCH32 InsertOut-CH32 INSCH32 InsertOut-CH32 S2-10 Slot2 CH10 IN INSCH33 InsertOut-CH33 INSCH33 InsertOut-CH33 S2-11 Slot2 CH11 IN INSCH34 InsertOut-CH34 INSCH34 InsertOut-CH34 S2-12 Slot2 CH12 IN INSCH35 InsertOut-CH35 INSCH35 InsertOut-CH35 S2-13 Slot2 CH13 IN INSCH36 InsertOut-CH36 INSCH36 InsertOut-CH36 S2-14 Slot2 CH14 IN INSCH37 InsertOut-CH37 INSCH37 InsertOut-CH37 S2-15 Slot2 CH15 IN INSCH38 InsertOut-CH38 INSCH38 InsertOut-CH38 S2-16 Slot2 CH16 IN INSCH39 InsertOut-CH39 INSCH39 InsertOut-CH39 S3-1 Slot3 CH1 IN INSCH40 InsertOut-CH40 INSCH40 InsertOut-CH40 S3-2 Slot3 CH2 IN INSCH41 InsertOut-CH41 INSCH41 InsertOut-CH41 S3-3 Slot3 CH3 IN INSCH42 InsertOut-CH42 INSCH42 InsertOut-CH42 S3-4 Slot3 CH4 IN INSCH43 InsertOut-CH43 INSCH43 InsertOut-CH43 S3-5 Slot3 CH5 IN INSCH44 InsertOut-CH44 INSCH44 InsertOut-CH44 S3-6 Slot3 CH6 IN INSCH45 InsertOut-CH45 INSCH45 InsertOut-CH45 S3-7 Slot3 CH7 IN INSCH46 InsertOut-CH46 INSCH46 InsertOut-CH46 S3-8 Slot3 CH8 IN INSCH47 InsertOut-CH47 INSCH47 InsertOut-CH47 S3-9 Slot3 CH9 IN INSCH48 InsertOut-CH48 INSCH48 InsertOut-CH48 S3-10 Slot3 CH10 IN INSCH49 InsertOut-CH49 INSCH49 InsertOut-CH49 S3-11 Slot3 CH11 IN INSCH50 InsertOut-CH50 INSCH50 InsertOut-CH50 S3-12 Slot3 CH12 IN INSCH51 InsertOut-CH51 INSCH51 InsertOut-CH51 S3-13 Slot3 CH13 IN INSCH52 InsertOut-CH52 INSCH52 InsertOut-CH52 S3-14 Slot3 CH14 IN INSCH53 InsertOut-CH53 INSCH53 InsertOut-CH53 S3-15 Slot3 CH15 IN INSCH54 InsertOut-CH54 INSCH54 InsertOut-CH54 S3-16 Slot3 CH16 IN INSCH55 InsertOut-CH55 INSCH55 InsertOut-CH55 S4-1 Slot4 CH1 IN INSCH56 InsertOut-CH56 INSCH56 InsertOut-CH56 S4-2 Slot4 CH2 IN INSBUS1 InsertOut-BUS1 INSBUS1 InsertOut-BUS1 S4-3 Slot4 CH3 IN INSBUS2 InsertOut-BUS2 INSBUS2 InsertOut-BUS2 S4-4 Slot4 CH4 IN INSBUS3 InsertOut-BUS3 INSBUS3 InsertOut-BUS3 S4-5 Slot4 CH5 IN INSBUS4 InsertOut-BUS4 INSBUS4 InsertOut-BUS4 S4-6 Slot4 CH6 IN INSBUS5 InsertOut-BUS5 INSBUS5 InsertOut-BUS5 S4-7 Slot4 CH7 IN INSBUS6 InsertOut-BUS6 INSBUS6 InsertOut-BUS6 S4-8 Slot4 CH8 IN INSBUS7 InsertOut-BUS7 INSBUS7 InsertOut-BUS7 S4-9 Slot4 CH9 IN INSBUS8 InsertOut-BUS8 INSBUS8 InsertOut-BUS8 S4-10 Slot4 CH10 IN INSAUX1 InsertOut-AUX1 INSAUX1 InsertOut-AUX1 S4-11 Slot4 CH11 IN INSAUX2 InsertOut-AUX2 INSAUX2 InsertOut-AUX2 S4-12 Slot4 CH12 IN INSAUX3 InsertOut-AUX3 INSAUX3 InsertOut-AUX3 S4-13 Slot4 CH13 IN INSAUX4 InsertOut-AUX4 INSAUX4 InsertOut-AUX4 S4-14 Slot4 CH14 IN INSAUX5 InsertOut-AUX5 INSAUX5 InsertOut-AUX5 S4-15 Slot4 CH15 IN INSAUX6 InsertOut-AUX6 INSAUX6 InsertOut-AUX6 S4-16 Slot4 CH16 IN INSAUX7 InsertOut-AUX7 INSAUX7 InsertOut-AUX7 FX1-1 Effect1 OUT 1 INSAUX8 InsertOut-AUX8 INSAUX8 InsertOut-AUX8 FX1-2 Effect1 OUT 2 INSSTL InsertOut-STL INSSTL InsertOut-STL FX1-3 Effect1 OUT 3 INSSTR InsertOut-STR INSSTR InsertOut-STR FX1-4 Effect1 OUT 4 Surr L Surround Monitor L Surr L Surround Monitor L FX1-5 Effect1 OUT 5 Surr R Surround Monitor R Surr R Surround Monitor R FX1-6 Effect1 OUT 6 Surr Ls Surround Monitor Ls Surr Ls Surround Monitor Ls FX1-7 Effect1 OUT 7 Surr Rs Surround Monitor Rs Surr Rs Surround Monitor Rs FX1-8 Effect1 OUT 8 Surr C Surround Monitor C Surr C Surround Monitor C FX2-1 Effect2 OUT 1 Surr LFE Surround Monitor LFE Surr LFE Surround Monitor LFE FX2-2 Effect2 OUT 2 02R96 Version 2—Owner’s Manual Output Patch Parameters Slot Outputs Source Description Omni Outs Source Description 247 Output Channel Insert Ins Source Description Surr Ls2 Surround Monitor Ls2 Surr Ls2 Surround Monitor Ls2 FX3-1 Effect3 OUT 1 Surr Rs2 Surround Monitor Rs2 Surr Rs2 Surround Monitor Rs2 FX3-2 Effect3 OUT 2 FX4-1 Effect4 OUT 1 FX4-2 Effect4 OUT 2 2TD1L 2TR IN Dig.1 L 2TD1R 2TR IN Dig.1 R 2TD2L 2TR IN Dig.2 L 2TD2R 2TR IN Dig.2 R 2TD3L 2TR IN Dig.3 L 2TD3R 2TR IN Dig.3 R 2TA1L 2TR IN Analog1 L 2TA1R 2TR IN Analog1 R 2TA2L 2TR IN Analog2 L 2TA2R 2TR IN Analog2 R 02R96 Version 2—Owner’s Manual 248 Appendix A: Parameter Lists Output Patch Table 2 Direct Outs Direct Outs 2TR Digital Outs Source Description NONE NONE NONE NONE S4-4 Slot4 CH4 OUT INSCH34 InsertOut-CH34 S1-1 Slot1 CH1 OUT BUS1 BUS1 S4-5 Slot4 CH5 OUT INSCH35 InsertOut-CH35 S1-2 Slot1 CH2 OUT BUS2 BUS2 S4-6 Slot4 CH6 OUT INSCH36 InsertOut-CH36 S1-3 Slot1 CH3 OUT BUS3 BUS3 S4-7 Slot4 CH7 OUT INSCH37 InsertOut-CH37 S1-4 Slot1 CH4 OUT BUS4 BUS4 S4-8 Slot4 CH8 OUT INSCH38 InsertOut-CH38 S1-5 Slot1 CH5 OUT BUS5 BUS5 S4-9 Slot4 CH9 OUT INSCH39 InsertOut-CH39 S1-6 Slot1 CH6 OUT BUS6 BUS6 S4-10 Slot4 CH10 OUT INSCH40 InsertOut-CH40 S1-7 Slot1 CH7 OUT BUS7 BUS7 S4-11 Slot4 CH11 OUT INSCH41 InsertOut-CH41 S1-8 Slot1 CH8 OUT BUS8 BUS8 S4-12 Slot4 CH12 OUT INSCH42 InsertOut-CH42 S1-9 Slot1 CH9 OUT AUX1 AUX1 S4-13 Slot4 CH13 OUT INSCH43 InsertOut-CH43 S1-10 Slot1 CH10 OUT AUX2 AUX2 S4-14 Slot4 CH14 OUT INSCH44 InsertOut-CH44 S1-11 Slot1 CH11 OUT AUX3 AUX3 S4-15 Slot4 CH15 OUT INSCH45 InsertOut-CH45 S1-12 Slot1 CH12 OUT AUX4 AUX4 S4-16 Slot4 CH16 OUT INSCH46 InsertOut-CH46 S1-13 Slot1 CH13 OUT AUX5 AUX5 OMNI1 OMNI OUT 1 INSCH47 InsertOut-CH47 S1-14 Slot1 CH14 OUT AUX6 AUX6 OMNI2 OMNI OUT 2 INSCH48 InsertOut-CH48 S1-15 Slot1 CH15 OUT AUX7 AUX7 OMNI3 OMNI OUT 3 INSCH49 InsertOut-CH49 S1-16 Slot1 CH16 OUT AUX8 AUX8 OMNI4 OMNI OUT 4 INSCH50 InsertOut-CH50 S2-1 Slot2 CH1 OUT STEREO-L STEREO L OMNI5 OMNI OUT 5 INSCH51 InsertOut-CH51 S2-2 Slot2 CH2 OUT STEREO-R STEREO R OMNI6 OMNI OUT 6 INSCH52 InsertOut-CH52 S2-3 Slot2 CH3 OUT INSCH1 InsertOut-CH1 OMNI7 OMNI OUT 7 INSCH53 InsertOut-CH53 S2-4 Slot2 CH4 OUT INSCH2 InsertOut-CH2 OMNI8 OMNI OUT 8 INSCH54 InsertOut-CH54 S2-5 Slot2 CH5 OUT INSCH3 InsertOut-CH3 2TD1L 2TR OUT Dig.1 L INSCH55 InsertOut-CH55 S2-6 Slot2 CH6 OUT INSCH4 InsertOut-CH4 2TD1R 2TR OUT Dig.1 R INSCH56 InsertOut-CH56 S2-7 Slot2 CH7 OUT INSCH5 InsertOut-CH5 2TD2L 2TR OUT Dig.2 L INSBUS1 InsertOut-BUS1 S2-8 Slot2 CH8 OUT INSCH6 InsertOut-CH6 2TD2R 2TR OUT Dig.2 R INSBUS2 InsertOut-BUS2 S2-9 Slot2 CH9 OUT INSCH7 InsertOut-CH7 2TD3L 2TR OUT Dig.3 L INSBUS3 InsertOut-BUS3 S2-10 Slot2 CH10 OUT INSCH8 InsertOut-CH8 2TD3R 2TR OUT Dig.3 R INSBUS4 InsertOut-BUS4 S2-11 Slot2 CH11 OUT INSCH9 InsertOut-CH9 INSBUS5 InsertOut-BUS5 S2-12 Slot2 CH12 OUT INSCH10 InsertOut-CH10 INSBUS6 InsertOut-BUS6 S2-13 Slot2 CH13 OUT INSCH11 InsertOut-CH11 INSBUS7 InsertOut-BUS7 S2-14 Slot2 CH14 OUT INSCH12 InsertOut-CH12 INSBUS8 InsertOut-BUS8 S2-15 Slot2 CH15 OUT INSCH13 InsertOut-CH13 INSAUX1 InsertOut-AUX1 S2-16 Slot2 CH16 OUT INSCH14 InsertOut-CH14 INSAUX2 InsertOut-AUX2 S3-1 Slot3 CH1 OUT INSCH15 InsertOut-CH15 INSAUX3 InsertOut-AUX3 S3-2 Slot3 CH2 OUT INSCH16 InsertOut-CH16 INSAUX4 InsertOut-AUX4 S3-3 Slot3 CH3 OUT INSCH17 InsertOut-CH17 INSAUX5 InsertOut-AUX5 S3-4 Slot3 CH4 OUT INSCH18 InsertOut-CH18 INSAUX6 InsertOut-AUX6 S3-5 Slot3 CH5 OUT INSCH19 InsertOut-CH19 INSAUX7 InsertOut-AUX7 S3-6 Slot3 CH6 OUT INSCH20 InsertOut-CH20 INSAUX8 InsertOut-AUX8 S3-7 Slot3 CH7 OUT INSCH21 InsertOut-CH21 INSSTL InsertOut-STL S3-8 Slot3 CH8 OUT INSCH22 InsertOut-CH22 INSSTR InsertOut-STR S3-9 Slot3 CH9 OUT INSCH23 InsertOut-CH23 CR-L Control Room L S3-10 Slot3 CH10 OUT INSCH24 InsertOut-CH24 CR-R Control Room R S3-11 Slot3 CH11 OUT INSCH25 InsertOut-CH25 S3-12 Slot3 CH12 OUT INSCH26 InsertOut-CH26 S3-13 Slot3 CH13 OUT INSCH27 InsertOut-CH27 S3-14 Slot3 CH14 OUT INSCH28 InsertOut-CH28 S3-15 Slot3 CH15 OUT INSCH29 InsertOut-CH29 S3-16 Slot3 CH16 OUT INSCH30 InsertOut-CH30 S4-1 Slot4 CH1 OUT INSCH31 InsertOut-CH31 S4-2 Slot4 CH2 OUT INSCH32 InsertOut-CH32 S4-3 Slot4 CH3 OUT INSCH33 InsertOut-CH33 Source Description Source 02R96 Version 2—Owner’s Manual Description Source Description 2TR Digital Outs Initial Output Patch Settings 249 Initial Output Patch Settings Slot Outputs # Omni Outs Source # Source # Source SLOT1-01 BUS1 SLOT3-01 BUS1 1 AUX1 SLOT1-02 BUS2 SLOT3-02 BUS2 2 AUX2 SLOT1-03 BUS3 SLOT3-03 BUS3 3 AUX3 SLOT1-04 BUS4 SLOT3-04 BUS4 4 AUX4 SLOT1-05 BUS5 SLOT3-05 BUS5 5 AUX5 SLOT1-06 BUS6 SLOT3-06 BUS6 6 AUX6 SLOT1-07 BUS7 SLOT3-07 BUS7 7 AUX7 SLOT1-08 BUS8 SLOT3-08 BUS8 8 AUX8 SLOT1-09 BUS1 SLOT3-09 BUS1 SLOT1-10 BUS2 SLOT3-10 BUS2 SLOT1-11 BUS3 SLOT3-11 BUS3 SLOT1-12 BUS4 SLOT3-12 BUS4 Direct Outs # Destination # Destination SLOT1-13 BUS5 SLOT3-13 BUS5 1 SLOT1-14 BUS6 SLOT3-14 BUS6 2 SLOT1-02 30 SLOT4-06 SLOT1-15 BUS7 SLOT3-15 BUS7 3 SLOT1-03 31 SLOT4-07 SLOT1-16 BUS8 SLOT3-16 BUS8 4 SLOT1-04 32 SLOT4-08 SLOT2-01 BUS1 SLOT4-01 BUS1 5 SLOT1-05 33 NONE BUS2 6 SLOT1-06 34 NONE BUS3 7 SLOT1-07 35 NONE BUS4 8 SLOT1-08 36 NONE BUS5 9 SLOT2-01 37 NONE SLOT2-02 38 NONE SLOT2-02 SLOT2-03 SLOT2-04 SLOT2-05 BUS2 BUS3 BUS4 BUS5 SLOT4-02 SLOT4-03 SLOT4-04 SLOT4-05 SLOT1-01 29 SLOT4-05 SLOT2-06 BUS6 SLOT4-06 BUS6 10 SLOT2-07 BUS7 SLOT4-07 BUS7 11 SLOT2-03 39 NONE SLOT2-08 BUS8 SLOT4-08 BUS8 12 SLOT2-04 40 NONE SLOT2-09 BUS1 SLOT4-09 BUS1 13 SLOT2-05 41 NONE BUS2 14 SLOT2-06 42 NONE BUS3 15 SLOT2-07 43 NONE BUS4 16 SLOT2-08 44 NONE BUS5 17 SLOT3-01 45 NONE SLOT3-02 46 NONE SLOT2-10 SLOT2-11 SLOT2-12 SLOT2-13 BUS2 BUS3 BUS4 BUS5 SLOT4-10 SLOT4-11 SLOT4-12 SLOT4-13 SLOT2-14 BUS6 SLOT4-14 BUS6 18 SLOT2-15 BUS7 SLOT4-15 BUS7 19 SLOT3-03 47 NONE SLOT2-16 BUS8 SLOT4-16 BUS8 20 SLOT3-04 48 NONE 21 SLOT3-05 49 NONE 22 SLOT3-06 50 NONE 23 SLOT3-07 51 NONE 24 SLOT3-08 52 NONE 25 SLOT4-01 53 NONE 26 SLOT4-02 54 NONE 27 SLOT4-03 55 NONE 28 SLOT4-04 56 NONE 02R96 Version 2—Owner’s Manual 250 Appendix A: Parameter Lists Initial Input Channel Names Input Channel ID CH01 CH02 CH03 CH04 CH05 CH06 CH07 CH08 CH09 CH10 CH11 CH12 CH13 CH14 CH15 CH16 CH17 CH18 CH19 CH20 CH21 CH22 CH23 CH24 CH25 CH26 CH27 CH28 CH29 CH30 CH31 CH32 CH33 CH34 CH35 CH36 CH37 CH38 CH39 CH40 CH41 CH42 CH43 CH44 CH45 CH46 CH47 CH48 CH49 CH50 CH51 CH52 CH53 CH54 CH55 CH56 Short Name CH01 CH02 CH03 CH04 CH05 CH06 CH07 CH08 CH09 CH10 CH11 CH12 CH13 CH14 CH15 CH16 CH17 CH18 CH19 CH20 CH21 CH22 CH23 CH24 CH25 CH26 CH27 CH28 CH29 CH30 CH31 CH32 CH33 CH34 CH35 CH36 CH37 CH38 CH39 CH40 CH41 CH42 CH43 CH44 CH45 CH46 CH47 CH48 CH49 CH50 CH51 CH52 CH53 CH54 CH55 CH56 02R96 Version 2—Owner’s Manual Long Name CH01 CH02 CH03 CH04 CH05 CH06 CH07 CH08 CH09 CH10 CH11 CH12 CH13 CH14 CH15 CH16 CH17 CH18 CH19 CH20 CH21 CH22 CH23 CH24 CH25 CH26 CH27 CH28 CH29 CH30 CH31 CH32 CH33 CH34 CH35 CH36 CH37 CH38 CH39 CH40 CH41 CH42 CH43 CH44 CH45 CH46 CH47 CH48 CH49 CH50 CH51 CH52 CH53 CH54 CH55 CH56 Initial Output Channel Names Output Channel ID Short Name Long Name BUS1 BUS1 BUS1 BUS2 BUS2 BUS2 BUS3 BUS3 BUS3 BUS4 BUS4 BUS4 BUS5 BUS5 BUS5 BUS6 BUS6 BUS6 BUS7 BUS7 BUS7 BUS8 BUS8 BUS8 AUX1 AUX1 AUX1 AUX2 AUX2 AUX2 AUX3 AUX3 AUX3 AUX4 AUX4 AUX4 AUX5 AUX5 AUX5 AUX6 AUX6 AUX6 AUX7 AUX7 AUX7 AUX8 AUX8 AUX8 ST ST STEREO Initial Input Port Names 251 Initial Input Port Names Port PORT ID Short Name Long Name Port PORT ID Short Name Long Name AD1 AD01 AD01 AD IN 1 SLOT2-13 S213 S213 Slot2 CH13 IN AD2 AD02 AD02 AD IN 2 SLOT2-14 S214 S214 Slot2 CH14 IN AD3 AD03 AD03 AD IN 3 SLOT2-15 S215 S215 Slot2 CH15 IN AD4 AD04 AD04 AD IN 4 SLOT2-16 S216 S216 Slot2 CH16 IN AD5 AD05 AD05 AD IN 5 SLOT3-01 S3-1 S3-1 Slot3 CH1 IN AD6 AD06 AD06 AD IN 6 SLOT3-02 S3-2 S3-2 Slot3 CH2 IN AD7 AD07 AD07 AD IN 7 SLOT3-03 S3-3 S3-3 Slot3 CH3 IN AD8 AD08 AD08 AD IN 8 SLOT3-04 S3-4 S3-4 Slot3 CH4 IN AD9 AD09 AD09 AD IN 9 SLOT3-05 S3-5 S3-5 Slot3 CH5 IN AD10 AD10 AD10 AD IN 10 SLOT3-06 S3-6 S3-6 Slot3 CH6 IN AD11 AD11 AD11 AD IN 11 SLOT3-07 S3-7 S3-7 Slot3 CH7 IN AD12 AD12 AD12 AD IN 12 SLOT3-08 S3-8 S3-8 Slot3 CH8 IN AD13 AD13 AD13 AD IN 13 SLOT3-09 S3-9 S3-9 Slot3 CH9 IN AD14 AD14 AD14 AD IN 14 SLOT3-10 S310 S310 Slot3 CH10 IN AD15 AD15 AD15 AD IN 15 SLOT3-11 S311 S311 Slot3 CH11 IN AD16 AD16 AD16 AD IN 16 SLOT3-12 S312 S312 Slot3 CH12 IN AD17 AD17 AD17 AD IN 17 SLOT3-13 S313 S313 Slot3 CH13 IN AD18 AD18 AD18 AD IN 18 SLOT3-14 S314 S314 Slot3 CH14 IN AD19 AD19 AD19 AD IN 19 SLOT3-15 S315 S315 Slot3 CH15 IN AD20 AD20 AD20 AD IN 20 SLOT3-16 S316 S316 Slot3 CH16 IN AD21 AD21 AD21 AD IN 21 SLOT4-01 S4-1 S4-1 Slot4 CH1 IN AD22 AD22 AD22 AD IN 22 SLOT4-02 S4-2 S4-2 Slot4 CH2 IN AD23 AD23 AD23 AD IN 23 SLOT4-03 S4-3 S4-3 Slot4 CH3 IN AD24 AD24 AD24 AD IN 24 SLOT4-04 S4-4 S4-4 Slot4 CH4 IN SLOT1-01 S1-1 S1-1 Slot1 CH1 IN SLOT4-05 S4-5 S4-5 Slot4 CH5 IN SLOT1-02 S1-2 S1-2 Slot1 CH2 IN SLOT4-06 S4-6 S4-6 Slot4 CH6 IN SLOT1-03 S1-3 S1-3 Slot1 CH3 IN SLOT4-07 S4-7 S4-7 Slot4 CH7 IN SLOT1-04 S1-4 S1-4 Slot1 CH4 IN SLOT4-08 S4-8 S4-8 Slot4 CH8 IN SLOT1-05 S1-5 S1-5 Slot1 CH5 IN SLOT4-09 S4-9 S4-9 Slot4 CH9 IN SLOT1-06 S1-6 S1-6 Slot1 CH6 IN SLOT4-10 S410 S410 Slot4 CH10 IN SLOT1-07 S1-7 S1-7 Slot1 CH7 IN SLOT4-11 S411 S411 Slot4 CH11 IN SLOT1-08 S1-8 S1-8 Slot1 CH8 IN SLOT4-12 S412 S412 Slot4 CH12 IN SLOT1-09 S1-9 S1-9 Slot1 CH9 IN SLOT4-13 S413 S413 Slot4 CH13 IN SLOT1-10 S110 S110 Slot1 CH10 IN SLOT4-14 S414 S414 Slot4 CH14 IN SLOT1-11 S111 S111 Slot1 CH11 IN SLOT4-15 S415 S415 Slot4 CH15 IN SLOT1-12 S112 S112 Slot1 CH12 IN SLOT4-16 S416 S416 Slot4 CH16 IN SLOT1-13 S113 S113 Slot1 CH13 IN 2TD1L 2TD1L 2D1L 2TR IN Dig.1 L SLOT1-14 S114 S114 Slot1 CH14 IN 2TD1R 2TD1R 2D1R 2TR IN Dig.1 R SLOT1-15 S115 S115 Slot1 CH15 IN 2TD2L 2TD2L 2D2L 2TR IN Dig.2 L SLOT1-16 S116 S116 Slot1 CH16 IN 2TD2R 2TD2R 2D2R 2TR IN Dig.2 R SLOT2-01 S2-1 S2-1 Slot2 CH1 IN 2TD3L 2TD3L 2D3L 2TR IN Dig.3 L SLOT2-02 S2-2 S2-2 Slot2 CH2 IN 2TD3R 2TD3R 2D3R 2TR IN Dig.3 R SLOT2-03 S2-3 S2-3 Slot2 CH3 IN 2TA1L 2TA1L 2A1L 2TR IN Analog1 L SLOT2-04 S2-4 S2-4 Slot2 CH4 IN 2TA1R 2TA1R 2A1R 2TR IN Analog1 R SLOT2-05 S2-5 S2-5 Slot2 CH5 IN 2TA2L 2TA2L 2A2L 2TR IN Analog2 L SLOT2-06 S2-6 S2-6 Slot2 CH6 IN 2TA2R 2TA2R 2A2R 2TR IN Analog2 R SLOT2-07 S2-7 S2-7 Slot2 CH7 IN SLOT2-08 S2-8 S2-8 Slot2 CH8 IN SLOT2-09 S2-9 S2-9 Slot2 CH9 IN SLOT2-10 S210 S210 Slot2 CH10 IN SLOT2-11 S211 S211 Slot2 CH11 IN SLOT2-12 S212 S212 Slot2 CH12 IN 02R96 Version 2—Owner’s Manual 252 Appendix A: Parameter Lists Initial Output Port Names Port Port ID Short Name Long Name Port Port ID Short Name Long Name SLOT1-01 S1-1 S1-1 Slot1 CH1 OUT SLOT4-05 S4-5 S4-5 Slot4 CH5 OUT SLOT1-02 S1-2 S1-2 Slot1 CH2 OUT SLOT4-06 S4-6 S4-6 Slot4 CH6 OUT SLOT1-03 S1-3 S1-3 Slot1 CH3 OUT SLOT4-07 S4-7 S4-7 Slot4 CH7 OUT SLOT1-04 S1-4 S1-4 Slot1 CH4 OUT SLOT4-08 S4-8 S4-8 Slot4 CH8 OUT SLOT1-05 S1-5 S1-5 Slot1 CH5 OUT SLOT4-09 S4-9 S4-9 Slot4 CH9 OUT SLOT1-06 S1-6 S1-6 Slot1 CH6 OUT SLOT4-10 S410 S410 Slot4 CH10 OUT SLOT1-07 S1-7 S1-7 Slot1 CH7 OUT SLOT4-11 S411 S411 Slot4 CH11 OUT SLOT1-08 S1-8 S1-8 Slot1 CH8 OUT SLOT4-12 S412 S412 Slot4 CH12 OUT SLOT1-09 S1-9 S1-9 Slot1 CH9 OUT SLOT4-13 S413 S413 Slot4 CH13 OUT SLOT1-10 S110 S110 Slot1 CH10 OUT SLOT4-14 S414 S414 Slot4 CH14 OUT SLOT1-11 S111 S111 Slot1 CH11 OUT SLOT4-15 S415 S415 Slot4 CH15 OUT SLOT1-12 S112 S112 Slot1 CH12 OUT SLOT4-16 S416 S416 Slot4 CH16 OUT SLOT1-13 S113 S113 Slot1 CH13 OUT OMNI1 OMNI1 OMN1 OMNI OUT 1 SLOT1-14 S114 S114 Slot1 CH14 OUT OMNI2 OMNI2 OMN2 OMNI OUT 2 SLOT1-15 S115 S115 Slot1 CH15 OUT OMNI3 OMNI3 OMN3 OMNI OUT 3 SLOT1-16 S116 S116 Slot1 CH16 OUT OMNI4 OMNI4 OMN4 OMNI OUT 4 SLOT2-01 S2-1 S2-1 Slot2 CH1 OUT OMNI5 OMNI5 OMN5 OMNI OUT 5 SLOT2-02 S2-2 S2-2 Slot2 CH2 OUT OMNI6 OMNI6 OMN6 OMNI OUT 6 SLOT2-03 S2-3 S2-3 Slot2 CH3 OUT OMNI7 OMNI7 OMN7 OMNI OUT 7 SLOT2-04 S2-4 S2-4 Slot2 CH4 OUT OMNI8 OMNI8 OMN8 OMNI OUT 8 SLOT2-05 S2-5 S2-5 Slot2 CH5 OUT 2TD1L 2TD1L 2D1L 2TR OUT Dig. 1L SLOT2-06 S2-6 S2-6 Slot2 CH6 OUT 2TD1R 2TD1R 2D1R 2TR OUT Dig. 1R SLOT2-07 S2-7 S2-7 Slot2 CH7 OUT 2TD2L 2TD2L 2D2L 2TR OUT Dig. 2L SLOT2-08 S2-8 S2-8 Slot2 CH8 OUT 2TD2R 2TD2R 2D2R 2TR OUT Dig. 2R SLOT2-09 S2-9 S2-9 Slot2 CH9 OUT 2TD3L 2TD3L 2D3L 2TR OUT Dig. 3L SLOT2-10 S210 S210 Slot2 CH10 OUT 2TD3R 2TD3R 2D3R 2TR OUT Dig. 3R SLOT2-11 S211 S211 Slot2 CH11 OUT SLOT2-12 S212 S212 Slot2 CH12 OUT SLOT2-13 S213 S213 Slot2 CH13 OUT SLOT2-14 S214 S214 Slot2 CH14 OUT SLOT2-15 S215 S215 Slot2 CH15 OUT SLOT2-16 S216 S216 Slot2 CH16 OUT SLOT3-01 S3-1 S3-1 Slot3 CH1 OUT SLOT3-02 S3-2 S3-2 Slot3 CH2 OUT SLOT3-03 S3-3 S3-3 Slot3 CH3 OUT SLOT3-04 S3-4 S3-4 Slot3 CH4 OUT SLOT3-05 S3-5 S3-5 Slot3 CH5 OUT SLOT3-06 S3-6 S3-6 Slot3 CH6 OUT SLOT3-07 S3-7 S3-7 Slot3 CH7 OUT SLOT3-08 S3-8 S3-8 Slot3 CH8 OUT SLOT3-09 S3-9 S3-9 Slot3 CH9 OUT SLOT3-10 S310 S310 Slot3 CH10 OUT SLOT3-11 S311 S311 Slot3 CH11 OUT SLOT3-12 S312 S312 Slot3 CH12 OUT SLOT3-13 S313 S313 Slot3 CH13 OUT SLOT3-14 S314 S314 Slot3 CH14 OUT SLOT3-15 S315 S315 Slot3 CH15 OUT SLOT3-16 S316 S316 Slot3 CH16 OUT SLOT4-01 S4-1 S4-1 Slot4 CH1 OUT SLOT4-02 S4-2 S4-2 Slot4 CH2 OUT SLOT4-03 S4-3 S4-3 Slot4 CH3 OUT SLOT4-04 S4-4 S4-4 Slot4 CH4 OUT 02R96 Version 2—Owner’s Manual GPI Trigger Source & Target List 253 GPI Trigger Source & Target List INPUT # Target # Target # Target # Target 0 NO ASSIGN 51 CH11 ON 102 AUX6 ON 153 CH48 ON UNLATCH 1 TALKBACK 52 CH12 ON 103 AUX7 ON 154 CH49 ON UNLATCH 2 SLATE 53 CH13 ON 104 AUX8 ON 155 CH50 ON UNLATCH 3 DIMMER 54 CH14 ON 105 STEREO ON 156 CH51 ON UNLATCH 4 MONO 55 CH15 ON 106 CH1 ON UNLATCH 157 CH52 ON UNLATCH 5 SMALL 56 CH16 ON 107 CH2 ON UNLATCH 158 CH53 ON UNLATCH 6 SR BUS 57 CH17 ON 108 CH3 ON UNLATCH 159 CH54 ON UNLATCH 7 SR ASSIGN1 58 CH18 ON 109 CH4 ON UNLATCH 160 CH55 ON UNLATCH 8 SR ASSIGN2 59 CH19 ON 110 CH5 ON UNLATCH 161 CH56 ON UNLATCH 9 CR STEREO 60 CH20 ON 111 CH6 ON UNLATCH 162 BUS1 ON UNLATCH 10 CR 2TRD1 61 CH21 ON 112 CH7 ON UNLATCH 163 BUS2 ON UNLATCH 11 CR 2TRD2 62 CH22 ON 113 CH8 ON UNLATCH 164 BUS3 ON UNLATCH 12 CR 2TRD3 63 CH23 ON 114 CH9 ON UNLATCH 165 BUS4 ON UNLATCH 13 CR 2TRA1 64 CH24 ON 115 CH10 ON UNLATCH 166 BUS5 ON UNLATCH 14 CR 2TRA2 65 CH25 ON 116 CH11 ON UNLATCH 167 BUS6 ON UNLATCH 15 CR ASSIGN1 66 CH26 ON 117 CH12 ON UNLATCH 168 BUS7 ON UNLATCH 16 CR ASSIGN2 67 CH27 ON 118 CH13 ON UNLATCH 169 BUS8 ON UNLATCH 17 SM C-R 68 CH28 ON 119 CH14 ON UNLATCH 170 AUX1 ON UNLATCH 18 SM STEREO 69 CH29 ON 120 CH15 ON UNLATCH 171 AUX2 ON UNLATCH 19 SM AUX11 70 CH30 ON 121 CH16 ON UNLATCH 172 AUX3 ON UNLATCH 20 SM AUX12 71 CH31 ON 122 CH17 ON UNLATCH 173 AUX4 ON UNLATCH 21 TALKBACK UNLATCH 72 CH32 ON 123 CH18 ON UNLATCH 174 AUX5 ON UNLATCH 22 SLATE UNLATCH 73 CH33 ON 124 CH19 ON UNLATCH 175 AUX6 ON UNLATCH 23 DIMMER UNLATCH 74 CH34 ON 125 CH20 ON UNLATCH 176 AUX7 ON UNLATCH 24 MONO UNLATCH 75 CH35 ON 126 CH21 ON UNLATCH 177 AUX8 ON UNLATCH 25 SMALL UNLATCH 76 CH36 ON 127 CH22 ON UNLATCH 178 ST ON UNLATCH 26 SR BUS UNLATCH 77 CH37 ON 128 CH23 ON UNLATCH 179 UDEF1 27 SR ASGN1 UNLATCH 78 CH38 ON 129 CH24 ON UNLATCH 180 UDEF2 28 SR ASGN2 UNLATCH 79 CH39 ON 130 CH25 ON UNLATCH 181 UDEF3 29 CR ST UNLATCH 80 CH40 ON 131 CH26 ON UNLATCH 182 UDEF4 30 CR 2TRD1 UNLATCH 81 CH41 ON 132 CH27 ON UNLATCH 183 UDEF5 31 CR 2TRD2 UNLATCH 82 CH42 ON 133 CH28 ON UNLATCH 184 UDEF6 32 CR 2TRD3 UNLATCH 83 CH43 ON 134 CH29 ON UNLATCH 185 UDEF7 33 CR 2TRA1 UNLATCH 84 CH44 ON 135 CH30 ON UNLATCH 186 UDEF8 34 CR 2TRA2 UNLATCH 85 CH45 ON 136 CH31 ON UNLATCH 187 UDEF9 35 CR ASGN1 UNLATCH 86 CH46 ON 137 CH32 ON UNLATCH 188 UDEF10 36 CR ASGN2 UNLATCH 87 CH47 ON 138 CH33 ON UNLATCH 189 UDEF11 37 SD C-R UNLATCH 88 CH48 ON 139 CH34 ON UNLATCH 190 UDEF12 38 SD ST UNLATCH 89 CH49 ON 140 CH35 ON UNLATCH 191 UDEF13 39 SD AUX11 UNLATCH 90 CH50 ON 141 CH36 ON UNLATCH 192 UDEF14 40 SD AUX12 UNLATCH 91 CH51 ON 142 CH37 ON UNLATCH 193 UDEF15 41 CH1 ON 92 CH52 ON 143 CH38 ON UNLATCH 194 UDEF16 42 CH2 ON 93 CH53 ON 144 CH39 ON UNLATCH 43 CH3 ON 94 CH54 ON 145 CH40 ON UNLATCH 44 CH4 ON 95 CH55 ON 146 CH41 ON UNLATCH 45 CH5 ON 96 CH56 ON 147 CH42 ON UNLATCH 46 CH6 ON 97 AUX1 ON 148 CH43 ON UNLATCH 47 CH7 ON 98 AUX2 ON 149 CH44 ON UNLATCH 48 CH8 ON 99 AUX3 ON 150 CH45 ON UNLATCH 49 CH9 ON 100 AUX4 ON 151 CH46 ON UNLATCH 50 CH10 ON 101 AUX5 ON 152 CH47 ON UNLATCH 02R96 Version 2—Owner’s Manual 254 Appendix A: Parameter Lists OUTPUT # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 Target NO ASSIGN CH1 FADER ON CH2 FADER ON CH3 FADER ON CH4 FADER ON CH5 FADER ON CH6 FADER ON CH7 FADER ON CH8 FADER ON CH9 FADER ON CH10 FADER ON CH11 FADER ON CH12 FADER ON CH13 FADER ON CH14 FADER ON CH15 FADER ON CH16 FADER ON CH17 FADER ON CH18 FADER ON CH19 FADER ON CH20 FADER ON CH21 FADER ON CH22 FADER ON CH23 FADER ON CH24 FADER ON CH25 FADER ON CH26 FADER ON CH27 FADER ON CH28 FADER ON CH29 FADER ON CH30 FADER ON CH31 FADER ON CH32 FADER ON CH33 FADER ON CH34 FADER ON CH35 FADER ON CH36 FADER ON CH37 FADER ON CH38 FADER ON CH39 FADER ON CH40 FADER ON CH41 FADER ON CH42 FADER ON CH43 FADER ON CH44 FADER ON CH45 FADER ON CH46 FADER ON CH47 FADER ON CH48 FADER ON CH49 FADER ON CH50 FADER ON CH51 FADER ON CH52 FADER ON CH53 FADER ON CH54 FADER ON CH55 FADER ON CH56 FADER ON BUS1 FADER ON BUS2 FADER ON BUS3 FADER ON BUS4 FADER ON BUS5 FADER ON BUS6 FADER ON BUS7 FADER ON 02R96 Version 2—Owner’s Manual # 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Target BUS8 FADER ON AUX1 FADER ON AUX2 FADER ON AUX3 FADER ON AUX4 FADER ON AUX5 FADER ON AUX6 FADER ON AUX7 FADER ON AUX8 FADER ON STEREO FADER ON CH1 FADER OFF CH2 FADER OFF CH3 FADER OFF CH4 FADER OFF CH5 FADER OFF CH6 FADER OFF CH7 FADER OFF CH8 FADER OFF CH9 FADER OFF CH10 FADER OFF CH11 FADER OFF CH12 FADER OFF CH13 FADER OFF CH14 FADER OFF CH15 FADER OFF CH16 FADER OFF CH17 FADER OFF CH18 FADER OFF CH19 FADER OFF CH20 FADER OFF CH21 FADER OFF CH22 FADER OFF CH23 FADER OFF CH24 FADER OFF CH25 FADER OFF CH26 FADER OFF CH27 FADER OFF CH28 FADER OFF CH29 FADER OFF CH30 FADER OFF CH31 FADER OFF CH32 FADER OFF CH33 FADER OFF CH34 FADER OFF CH35 FADER OFF CH36 FADER OFF CH37 FADER OFF CH38 FADER OFF CH39 FADER OFF CH40 FADER OFF CH41 FADER OFF CH42 FADER OFF CH43 FADER OFF CH44 FADER OFF CH45 FADER OFF CH46 FADER OFF CH47 FADER OFF CH48 FADER OFF CH49 FADER OFF CH50 FADER OFF CH51 FADER OFF CH52 FADER OFF CH53 FADER OFF CH54 FADER OFF # 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 Target CH55 FADER OFF CH56 FADER OFF BUS1 FADER OFF BUS2 FADER OFF BUS3 FADER OFF BUS4 FADER OFF BUS5 FADER OFF BUS6 FADER OFF BUS7 FADER OFF BUS8 FADER OFF AUX1 FADER OFF AUX2 FADER OFF AUX3 FADER OFF AUX4 FADER OFF AUX5 FADER OFF AUX6 FADER OFF AUX7 FADER OFF AUX8 FADER OFF STEREO FADER OFF CH1 FADER TALLY CH2 FADER TALLY CH3 FADER TALLY CH4 FADER TALLY CH5 FADER TALLY CH6 FADER TALLY CH7 FADER TALLY CH8 FADER TALLY CH9 FADER TALLY CH10 FADER TALLY CH11 FADER TALLY CH12 FADER TALLY CH13 FADER TALLY CH14 FADER TALLY CH15 FADER TALLY CH16 FADER TALLY CH17 FADER TALLY CH18 FADER TALLY CH19 FADER TALLY CH20 FADER TALLY CH21 FADER TALLY CH22 FADER TALLY CH23 FADER TALLY CH24 FADER TALLY CH25 FADER TALLY CH26 FADER TALLY CH27 FADER TALLY CH28 FADER TALLY CH29 FADER TALLY CH30 FADER TALLY CH31 FADER TALLY CH32 FADER TALLY CH33 FADER TALLY CH34 FADER TALLY CH35 FADER TALLY CH36 FADER TALLY CH37 FADER TALLY CH38 FADER TALLY CH39 FADER TALLY CH40 FADER TALLY CH41 FADER TALLY CH42 FADER TALLY CH43 FADER TALLY CH44 FADER TALLY CH45 FADER TALLY # 192 193 194 195 196 197 198 199 200 201 202 203 204 20. 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 Target CH46 FADER TALLY CH47 FADER TALLY CH48 FADER TALLY CH49 FADER TALLY CH50 FADER TALLY CH51 FADER TALLY CH52 FADER TALLY CH53 FADER TALLY CH54 FADER TALLY CH55 FADER TALLY CH56 FADER TALLY BUS1 FADER TALLY BUS2 FADER TALLY BUS3 FADER TALLY BUS4 FADER TALLY BUS5 FADER TALLY BUS6 FADER TALLY BUS7 FADER TALLY BUS8 FADER TALLY AUX1 FADER TALLY AUX2 FADER TALLY AUX3 FADER TALLY AUX4 FADER TALLY AUX5 FADER TALLY AUX6 FADER TALLY AUX7 FADER TALLY AUX8 FADER TALLY ST FADER TALLY UDEF1 LATCH UDEF2 LATCH UDEF3 LATCH UDEF4 LATCH UDEF5 LATCH UDEF6 LATCH UDEF7 LATCH UDEF8 LATCH UDEF9 LATCH UDEF10 LATCH UDEF11 LATCH UDEF12 LATCH UDEF13 LATCH UDEF14 LATCH UDEF15 LATCH UDEF16 LATCH UDEF1 UNLATCH UDEF2 UNLATCH UDEF3 UNLATCH UDEF4 UNLATCH UDEF5 UNLATCH UDEF6 UNLATCH UDEF7 UNLATCH UDEF8 UNLATCH UDEF9 UNLATCH UDEF10 UNLATCH UDEF11 UNLATCH UDEF12 UNLATCH UDEF13 UNLATCH UDEF14 UNLATCH UDEF15 UNLATCH UDEF16 UNLATCH REC LAMP POWER ON User Defined Remote Layer Initial Bank Settings 255 User Defined Remote Layer Initial Bank Settings Bank 1 (GM Vol & Pan) ID Short Name Long RM01 GM01 GM-CH01 VOL&PAN RM02 GM02 GM-CH02 VOL&PAN RM03 GM03 GM-CH03 VOL&PAN RM04 GM04 GM-CH04 VOL&PAN RM05 GM05 GM-CH05 VOL&PAN RM06 GM06 GM-CH06 VOL&PAN RM07 GM07 GM-CH07 VOL&PAN RM08 GM08 GM-CH08 VOL&PAN RM09 GM09 GM-CH09 VOL&PAN RM10 GM10 GM-CH10 VOL&PAN RM11 GM11 GM-CH11 VOL&PAN RM12 GM12 GM-CH12 VOL&PAN RM13 GM13 GM-CH13 VOL&PAN RM14 GM14 GM-CH14 VOL&PAN RM15 GM15 GM-CH15 VOL&PAN RM16 GM16 GM-CH16 VOL&PAN RM17 GM17 NO ASSIGN RM18 GM18 NO ASSIGN RM19 GM19 NO ASSIGN RM20 GM20 NO ASSIGN RM21 GM21 NO ASSIGN RM22 GM22 NO ASSIGN RM23 GM23 NO ASSIGN RM24 GM24 NO ASSIGN Controller ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER 1 2 3 4 5 6 END B0 B0 END B1 B1 END B2 B2 END B3 B3 END B4 B4 END B5 B5 END B6 B6 END B7 B7 END B8 B8 END B9 B9 END BA BA END BB BB END BC BC END BD BD END BE BE END BF BF END END END END END END END END END END END END END END END END END END END END END END END END NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP 0A 07 NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP Data Format 7 8 9 10 11 12 13 14 15 16 NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP 02R96 Version 2—Owner’s Manual 256 Appendix A: Parameter Lists Bank 2 (GM Vol & Effect 1) ID Short Name Long RM01 GM01 GM-CH01 VOL&EFF1 RM02 GM02 GM-CH02 VOL&EFF1 RM03 GM03 GM-CH03 VOL&EFF1 RM04 GM04 GM-CH04 VOL&EFF1 RM05 GM05 GM-CH05 VOL&EFF1 RM06 GM06 GM-CH06 VOL&EFF1 RM07 GM07 GM-CH07 VOL&EFF1 RM08 GM08 GM-CH08 VOL&EFF1 RM09 GM09 GM-CH09 VOL&EFF1 RM10 GM10 GM-CH10 VOL&EFF1 RM11 GM11 GM-CH11 VOL&EFF1 RM12 GM12 GM-CH12 VOL&EFF1 RM13 GM13 GM-CH13 VOL&EFF1 RM14 GM14 GM-CH14 VOL&EFF1 RM15 GM15 GM-CH15 VOL&EFF1 RM16 GM16 GM-CH16 VOL&EFF1 RM17 GM17 NO ASSIGN RM18 GM18 NO ASSIGN RM19 GM19 NO ASSIGN RM20 GM20 NO ASSIGN RM21 GM21 NO ASSIGN RM22 GM22 NO ASSIGN RM23 GM23 NO ASSIGN RM24 GM24 NO ASSIGN 02R96 Version 2—Owner’s Manual Controller ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER 1 2 3 4 5 6 END B0 B0 END B1 B1 END B2 B2 END B3 B3 END B4 B4 END B5 B5 END B6 B6 END B7 B7 END B8 B8 END B9 B9 END BA BA END BB BB END BC BC END BD BD END BE BE END BF BF END END END END END END END END END END END END END END END END END END END END END END END END NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP 0C 07 NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP Data Format 7 8 9 10 11 12 13 14 15 16 NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP User Defined Remote Layer Initial Bank Settings 257 Bank 3 (XG Vol & Pan) ID Short Name Long RM01 XG01 XG-CH01 VOL&PAN RM02 XG02 XG-CH02 VOL&PAN RM03 XG03 XG-CH03 VOL&PAN RM04 XG04 XG-CH04 VOL&PAN RM05 XG05 XG-CH05 VOL&PAN RM06 XG06 XG-CH06 VOL&PAN RM07 XG07 XG-CH07 VOL&PAN RM08 XG08 XG-CH08 VOL&PAN RM09 XG09 XG-CH09 VOL&PAN RM10 XG10 XG-CH10 VOL&PAN RM11 XG11 XG-CH11 VOL&PAN RM12 XG12 XG-CH12 VOL&PAN RM13 XG13 XG-CH13 VOL&PAN RM14 XG14 XG-CH14 VOL&PAN RM15 XG15 XG-CH15 VOL&PAN RM16 XG16 XG-CH16 VOL&PAN RM17 XG17 XG-CH17 VOL&PAN RM18 XG18 XG-CH18 VOL&PAN RM19 XG19 XG-CH19 VOL&PAN RM20 XG20 XG-CH20 VOL&PAN RM21 XG21 XG-CH21 VOL&PAN RM22 XG22 XG-CH22 VOL&PAN RM23 XG23 XG-CH23 VOL&PAN RM24 XG24 XG-CH24 VOL&PAN Controller ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER 1 2 3 4 5 6 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 END F0 F0 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 43 43 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 10 10 NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 4C 4C NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 08 08 NOP 00 00 NOP 01 01 NOP 02 02 NOP 03 03 NOP 04 04 NOP 05 05 NOP 06 06 NOP 07 07 NOP 08 08 NOP 09 09 NOP 0A 0A NOP 0B 0B NOP 0C 0C NOP 0D 0D NOP 0E 0E NOP 0F 0F NOP 10 10 NOP 11 11 NOP 12 12 NOP 13 13 NOP 14 14 NOP 15 15 NOP 16 16 NOP 17 17 Data Format 7 8 9 10 11 12 13 14 15 16 NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP 0E 0B NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP ENC FAD NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP F7 F7 NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP END END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP 02R96 Version 2—Owner’s Manual 258 Appendix A: Parameter Lists Bank 4 (Nuendo VST Mixer) ID Short Name Long RM01 CH1 VST MIXER CH1 RM02 CH2 VST MIXER CH2 RM03 CH3 VST MIXER CH3 RM04 CH4 VST MIXER CH4 RM05 CH5 VST MIXER CH5 RM06 CH6 VST MIXER CH6 RM07 CH7 VST MIXER CH7 RM08 CH8 VST MIXER CH8 RM09 CH9 VST MIXER CH9 RM10 CH10 VST MIXER CH10 RM11 CH11 VST MIXER CH11 RM12 CH12 VST MIXER CH12 RM13 CH13 VST MIXER CH13 RM14 CH14 VST MIXER CH14 RM15 CH15 VST MIXER CH15 RM16 CH16 VST MIXER CH16 RM17 CH17 VST MIXER CH17 RM18 CH18 VST MIXER CH18 RM19 CH19 VST MIXER CH19 RM20 CH20 VST MIXER CH20 RM21 CH21 VST MIXER CH21 RM22 CH22 VST MIXER CH22 RM23 CH23 VST MIXER CH23 RM24 CH24 VST MIXER CH24 02R96 Version 2—Owner’s Manual Controller ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER ON ENCODER FADER 1 2 B0 B0 B0 B1 B1 B1 B2 B2 B2 B3 B3 B3 B4 B4 B4 B5 B5 B5 B6 B6 B6 B7 B7 B7 B8 B8 B8 B9 B9 B9 BA BA BA BB BB BB BC BC BC BD BD BD BE BE BE BF BF BF B0 B0 B0 B1 B1 B1 B2 B2 B2 B3 B3 B3 B4 B4 B4 B5 B5 B5 B6 B6 B6 B7 B7 B7 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 40 0A 07 60 2A 27 60 2A 27 60 2A 27 60 2A 27 60 2A 27 60 2A 27 60 2A 27 60 2A 27 3 4 5 6 SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD SW ENC FAD END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END END NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP Data Format 7 8 9 10 11 12 13 14 15 16 NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP NOP Effects Parameters 259 Effects Parameters REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE One input, two output hall, room, stage, and plate reverb simulations, all with gates. Parameter Range Description REV TIME 0.3–99.0 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 reflections and reverb E/R BAL. 0–100% Balance of early reflections and reverb (0% = all reverb, 100% = all early reflections) HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency GATE LVL OFF, –60 to 0 dB Level at which gate kicks in ATTACK 0–120 ms Gate opening speed HOLD 1 Gate open time DECAY 2 Gate closing speed 1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz), 0.01 ms–1.06 s (fs=88.2 kHz), 0.01 ms–981 ms (fs=96 kHz) 2. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz) EARLY REF. One input, two output early reflections. Parameter Range Description TYPE S-Hall, L-Hall, Random, Revers, Plate, Spring Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI. DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Reflection diffusion (left–right reflection spread) DENSITY 0–100% Reflection density ER NUM. 1–19 Number of early reflections FB GAIN –99 to +99% Feedback gain HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency 02R96 Version 2—Owner’s Manual 260 Appendix A: Parameter Lists GATE REVERB, REVERSE GATE One input, two output early reflections with gate, and early reflections with reverse gate. Parameter Range Description TYPE Type-A, Type-B Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI. DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Reflection diffusion (left–right reflection spread) DENSITY 0–100% Reflection density HI. RATIO 0.1–1.0 High-frequency feedback ratio ER NUM. 1–19 Number of early reflections FB GAIN –99 to +99% Feedback gain HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency MONO DELAY One input, one output basic repeat delay. Parameter Range Description DELAY 0.0–2730.0 ms Delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine DELAY 1. (Max. value depends on tempo setting) STEREO DELAY Two input, two output basic stereo delay. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time DELAY R 0.0–1350.0 ms Right channel delay time FB. G L –99 to +99% Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) FB. G R –99 to +99% Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off NOTE L 1 Used in conjunction with TEMPO to determine left channel DELAY NOTE R 1 Used in conjunction with TEMPO to determine right channel DELAY 1. 02R96 Version 2—Owner’s Manual (Maximum value depends on the tempo setting) Effects Parameters 261 MOD. DELAY One input, two output basic repeat delay with modulation. Parameter Range Description DELAY 0.0–2725.0 ms Delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth WAVE Sine/Tri Modulation waveform HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off DLY.NOTE 1 Used in conjunction with TEMPO to determine DELAY MOD.NOTE 2 Used in conjunction with TEMPO to determine FREQ 1. (Maximum value depends on the tempo setting) 2. DELAY LCR One input, two output 3-tap delay (left, center, right). Range Parameter Description DELAY L 0.0–2730.0 ms Left channel delay time DELAY C 0.0–2730.0 ms Center channel delay time DELAY R 0.0–2730.0 ms Right channel delay time FB. DLY 0.0–2730.0 ms Feedback delay time LEVEL L –100 to +100% Left channel delay level LEVEL C –100 to +100% Center channel delay level LEVEL R –100 to +100% Right channel delay level FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off NOTE L 1 Used in conjunction with TEMPO to determine DELAY L NOTE C 1 Used in conjunction with TEMPO to determine DELAY C NOTE R 1 Used in conjunction with TEMPO to determine DELAY R NOTE FB 1 Used in conjunction with TEMPO to determine FB. DLY 1. (Maximum value depends on the tempo setting) 02R96 Version 2—Owner’s Manual 262 Appendix A: Parameter Lists ECHO Two input, two output stereo delay with crossed feedback loop. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time DELAY R 0.0–1350.0 ms Right channel delay time FB.DLY L 0.0–1350.0 ms Left channel feedback delay time FB.DLY R 0.0–1350.0 ms Right channel feedback delay time FB. G L –99 to +99% Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) FB. G R –99 to +99% Right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) L->R FBG –99 to +99% Left to right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) R->L FBG –99 to +99% Right to left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off NOTE L 1 Used in conjunction with TEMPO to determine DELAY L NOTE R 1 Used in conjunction with TEMPO to determine DELAY R NOTE FBL 1 Used in conjunction with TEMPO to determine FB. D L NOTE FBR 1 Used in conjunction with TEMPO to determine FB. D R 1. (Maximum value depends on the tempo setting) CHORUS Two input, two output chorus effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed AM DEPTH 0–100% Amplitude modulation depth PM DEPTH 0–100% Pitch modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. 02R96 Version 2—Owner’s Manual Effects Parameters 263 FLANGE Two input, two output flange effect. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed Modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. SYMPHONIC Two input, two output symphonic effect. 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 LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. 02R96 Version 2—Owner’s Manual 264 Appendix A: Parameter Lists PHASER Two input, two output 16-stage phaser. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) OFFSET 0–100 Lowest phase-shifted frequency offset PHASE 0.00–354.38 degrees Left and right modulation phase balance STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. AUTOPAN Two input, two output autopanner. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth DIR. 1 Panning direction WAVE Sine, Tri, Square Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain SYNC OFF/ON Tempo parameter sync on/off NOTE 2 Used in conjunction with TEMPO to determine FREQ. 1. L<->R, L—>R, L<—R, Turn L, Turn R 2. 02R96 Version 2—Owner’s Manual Effects Parameters 265 TREMOLO Two input, two output tremolo effect. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed Modulation depth WAVE Sine, Tri, Square Modulation waveform LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. HQ. PITCH One input, two output high-quality pitch shifter. Parameter Range Description PITCH –12 to +12 semitones Pitch shift FINE –50 to +50 cents Pitch shift fine DELAY 0.0–1000.0 ms Delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) MODE 1–10 Pitch shift precision SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine DELAY 1. (Maximum value depends on the tempo setting) 02R96 Version 2—Owner’s Manual 266 Appendix A: Parameter Lists DUAL PITCH Two input, two output pitch shifter. Parameter Range Description PITCH 1 –24 to +24 semitones Channel #1 pitch shift FINE 1 –50 to +50 cents Channel #1 pitch shift fine LEVEL 1 –100 to +100% Channel #1 level (plus values for normal phase, minus values for reverse phase) PAN 1 L63 to R63 Channel #1 pan DELAY 1 0.0–1000.0 ms Channel #1 delay time FB. G 1 –99 to +99% Channel #1 feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) PITCH 2 –24 to +24 semitones Channel #2 pitch shift FINE 2 –50 to +50 cents Channel #2 pitch shift fine LEVEL 2 –100 to +100% Channel #2 level (plus values for normal phase, minus values for reverse phase) PAN 2 L63 to R63 Channel #2 pan DELAY 2 0.0–1000.0 ms Channel #2 delay time FB. G 2 –99 to +99% Channel #2 feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) MODE 1–10 Pitch shift precision SYNC OFF/ON Tempo parameter sync on/off NOTE 1 1 Used in conjunction with TEMPO to determine Channel #1 delay NOTE 2 1 Used in conjunction with TEMPO to determine Channel #2 delay 1. (Maximum value depends on the tempo setting) ROTARY One input, two output rotary speaker simulator. Parameter Range Description ROTATE STOP, START SPEED SLOW, FAST Rotation stop, start Rotation speed (see SLOW and FAST parameters) SLOW 0.05–10.00 Hz SLOW rotation speed FAST 0.05–10.00 Hz FAST rotation speed DRIVE 0–100 Overdrive level ACCEL 0–10 Acceleration at speed changes LOW 0–100 Low-frequency filter HIGH 0–100 High-frequency filter RING MOD. Two input, two output ring modulator. Parameter Range Description SOURCE OSC, SELF Modulation source: oscillator or input signal OSC FREQ 0.0–5000.0 Hz Oscillator frequency FM FREQ. 0.05–40.00 Hz Oscillator frequency modulation speed FM DEPTH 0–100% Oscillator frequency modulation depth SYNC OFF/ON Tempo parameter sync on/off NOTE FM 1 Used in conjunction with TEMPO to determine FM FREQ 1. 02R96 Version 2—Owner’s Manual Effects Parameters 267 MOD. FILTER Two input, two output modulation filter. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth PHASE 0.00–354.38 degrees Left-channel modulation and right-channel modulation phase difference TYPE LPF, HPF, BPF Filter type: low pass, high pass, band pass OFFSET 0–100 Filter frequency offset RESO. 0–20 Filter resonance LEVEL 0–100 Output level SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ 1. DISTORTION One input, two output distortion effect. Parameter Range Description DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume TONE –10 to +10 Tone N. GATE 0–20 Noise reduction AMP SIMULATE One input, two output guitar amp simulator. Parameter Range Description AMP TYPE 1 Guitar amp simulation type DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume BASS 0–100 Bass tone control MIDDLE 0–100 Middle tone control TREBLE 0–100 High tone control CAB DEP 0–100% Speaker cabinet simulation depth EQ F 100 Hz–8.0 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth N. GATE 0–20 Noise reduction 1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT 02R96 Version 2—Owner’s Manual 268 Appendix A: Parameter Lists DYNA. FILTER Two input, two output dynamically controlled filter. Parameter Range Description SOURCE INPUT, MIDI SENSE 0–100 Control source: input signal or MIDI Note On velocity Sensitivity DIR. UP, DOWN Upward or downward frequency change DECAY 1 Filter frequency change decay speed TYPE LPF, HPF, BPF Filter type OFFSET 0–100 Filter frequency offset RESO. 0–20 Filter resonance LEVEL 0–100 Output Level 1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz) DYNA. FLANGE Two input, two output dynamically controlled flanger. Parameter Range Description SOURCE INPUT, MIDI SENSE 0–100 Control source: input signal or MIDI Note On velocity Sensitivity DIR. UP, DOWN Upward or downward frequency change DECAY 1 Decay speed OFFSET 0–100 Delay time offset FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12 to +12 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain 1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz) DYNA. PHASER Two input, two output dynamically controlled phaser. Parameter Range Description SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity SENSE 0–100 Sensitivity DIR. UP, DOWN Upward or downward frequency change DECAY 1 Decay speed OFFSET 0–100 Lowest phase-shifted frequency offset FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12 to +12 dB Low shelving filter gain HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12 to +12 dB High shelving filter gain 1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz) 02R96 Version 2—Owner’s Manual Effects Parameters 269 REV+CHORUS One input, two output reverb and chorus effects in parallel. Parameter Range Description REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV/CHO 0–100% Reverb and chorus balance (0% = all reverb, 100% = all chorus) FREQ. 0.05–40.00 Hz Modulation speed AM DEPTH 0–100% Amplitude modulation depth PM DEPTH 0–100% Pitch modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. REV->CHORUS One input, two output reverb and chorus effects in series. Parameter Range Description REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV.BAL 0–100% Reverb and chorused reverb balance (0% = all chorused reverb, 100% = all reverb) FREQ. 0.05–40.00 Hz Modulation speed AM DEPTH 0–100% Amplitude modulation depth PM DEPTH 0–100% Pitch modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. 02R96 Version 2—Owner’s Manual 270 Appendix A: Parameter Lists REV+FLANGE One input, two output reverb and flanger effects in parallel. Parameter Range Description REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV/FLG 0–100% Reverb and flange balance (0% = all reverb, 100% = all flange) 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% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. REV->FLANGE One input, two output reverb and flanger effects in series. Parameter Range Description REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV.BAL 0–100% Reverb and flanged reverb balance (0% = all flanged reverb, 100% = all reverb) 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% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. 02R96 Version 2—Owner’s Manual Effects Parameters 271 REV+SYMPHO. One input, two output reverb and symphonic effects in parallel. Parameter Range Description REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV/SYM 0–100% Reverb and symphonic balance (0% = all reverb, 100% = all symphonic) 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 SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. REV->SYMPHO. One input, two output reverb and symphonic effects in series. Parameter Range Description REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV.BAL 0–100% Reverb and symphonic reverb balance (0% = all symphonic reverb, 100% = all reverb) 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 SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. 02R96 Version 2—Owner’s Manual 272 Appendix A: Parameter Lists REV->PAN One input, two output reverb and autopan effects in parallel. Parameter Range Description REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV.BAL 0–100% Reverb and panned reverb balance (0% = all panned reverb, 100% = all reverb) FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth DIR. 1 Panning direction WAVE Sine, Tri, Square Modulation waveform SYNC OFF/ON Tempo parameter sync on/off NOTE 2 Used in conjunction with TEMPO to determine FREQ. 1. L<–>R, L–>R, L<–R, Turn L, Turn R 2. DELAY+ER. One input, two output delay and early reflections effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency DLY/ER 0–100% Delay and early reflections balance (0% = all delay, 100% = all early reflections) TYPE S-Hall, L-Hall, Random, Revers, Plate, Spring Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI. DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Spread DENSITY 0–100% Reverb density ER NUM. 1–19 Number of early reflections SYNC OFF/ON Tempo parameter sync on/off NOTE L 1 Used in conjunction with TEMPO to determine left channel DELAY L NOTE R 1 Used in conjunction with TEMPO to determine right channel DELAY R NOTE FB 1 Used in conjunction with TEMPO to determine FB. DLY 1. 02R96 Version 2—Owner’s Manual (Maximum value depends on the tempo setting) Effects Parameters 273 DELAY->ER. One input, two output delay and early reflections effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency DLY.BAL 0–100% Delay and early reflected delay balance (0% = all early reflected delay, 100% = all delay) TYPE S-Hall, L-Hall, Random, Revers, Plate, Spring Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI. DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Spread DENSITY 0–100% Reverb density ER NUM. 1–19 Number of early reflections SYNC OFF/ON Tempo parameter sync on/off NOTE L 1 Used in conjunction with TEMPO to determine left channel DELAY L NOTE R 1 Used in conjunction with TEMPO to determine right channel DELAY R NOTE FB 1 Used in conjunction with TEMPO to determine FB. DLY 1. (Maximum value depends on the tempo setting) DELAY+REV One input, two output delay and reverb effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency DLY/REV 0–100% Delay and reverb balance (0% = all delay, 100% = all reverb) REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density SYNC OFF/ON Tempo parameter sync on/off NOTE L 1 Used in conjunction with TEMPO to determine left channel DELAY L NOTE R 1 Used in conjunction with TEMPO to determine right channel DELAY R NOTE FB 1 Used in conjunction with TEMPO to determine FB. DLY 1. (Maximum value depends on the tempo setting) 02R96 Version 2—Owner’s Manual 274 Appendix A: Parameter Lists DELAY->REV One input, two output delay and reverb effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency DLY.BAL 0–100% Delay and delayed reverb balance (0% = all delayed reverb, 100% = all delay) REV TIME 0.3–99.0 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 DIFF. 0–10 Spread DENSITY 0–100% Reverb density SYNC OFF/ON Tempo parameter sync on/off NOTE L 1 Used in conjunction with TEMPO to determine left channel DELAY L NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R NOTE FB *1 Used in conjunction with TEMPO to determine FB. DLY 1. (Maximum value depends on the tempo setting) DIST->DELAY One input, two output distortion and delay effects in series. Parameter Range Description DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume TONE –10 to +10 Tone control N. GATE 0–20 Noise reduction DELAY 0.0–2725.0 ms Delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI. RATIO 0.1–1.0 High-frequency feedback ratio FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth DLY.BAL 0–100% Distortion and delay balance (0% = all distortion, 100% = all delayed distortion) SYNC OFF/ON Tempo parameter sync on/off DLY.NOTE 1 Used in conjunction with TEMPO to determine DELAY MOD.NOTE 2 Used in conjunction with TEMPO to determine FREQ. 1. (Maximum value depends on the tempo setting) 2. 02R96 Version 2—Owner’s Manual Effects Parameters 275 MULTI FILTER Two input, two output 3-band multi-filter (24 dB/octave). Parameter Range Description TYPE 1 HPF, LPF, BPF Filter 1 type: high pass, low pass, band pass TYPE 2 HPF, LPF, BPF Filter 2 type: high pass, low pass, band pass TYPE 3 HPF, LPF, BPF Filter 3 type: high pass, low pass, band pass FREQ. 1 28.0 Hz–16.0 kHz Filter 1 frequency FREQ. 2 28.0 Hz–16.0 kHz Filter 2 frequency FREQ. 3 28.0 Hz–16.0 kHz Filter 3 frequency LEVEL 1 0–100 Filter 1 level LEVEL 2 0–100 Filter 2 level LEVEL 3 0–100 Filter 3 level RESO. 1 0–20 Filter 1 resonance RESO. 2 0–20 Filter 2 resonance RESO. 3 0–20 Filter 3 resonance FREEZE One input, one output basic sampler. Parameter Range Description REC MODE MANUAL, INPUT In MANUAL mode, recording is started by pressing the REC and PLAY buttons. In INPUT mode, Record-Ready mode is engaged by pressing the REC button, and actual recording is triggered by the input signal. REC DLY –1000 to +1000 ms Recording delay. For plus values, recording starts after the trigger is received. For minus values, recording starts before the trigger is received. TRG LVL –60 to 0 dB Input trigger level (i.e., the signal level required to trigger recording or playback) TRG MASK 0–1000 ms Once playback has been triggered, subsequent triggers are ignored for the duration of the TRG MASK time. PLY MODE MOMENT, CONTI., INPUT In MOMENT mode, the sample plays only while the that the PLAY button is pressed. In CONT mode, playback continues once the PLAY button has been pressed. The number of times the sample plays is set using the LOOP NUM parameter. In INPUT mode, playback is triggered by the input signal. START 1 Playback start point in milliseconds END 1 Playback end point in milliseconds LOOP 1 Loop start point in milliseconds LOOP NUM 0–100 Number of times the sample plays START [SAMPLE] 0–262000 Playback start point in samples END [SAMPLE] 0–262000 Playback end point in samples LOOP [SAMPLE] 0–262000 Loop start point in samples PITCH –12 to +12 semitones Playback pitch shift FINE –50 to +50 cents Playback pitch shift fine MIDI TRG OFF, C1–C6, ALL PLAY button can be triggered by using MIDI Note on/off messages. 1. 0.0–5941.0 ms (fs=44.1 kHz), 0.0 ms–5458.3 ms (fs=48 kHz), 0.0–2970.5 ms (fs=88.2 kHz), 0.0 ms–2729.2 ms (fs=96 kHz) 02R96 Version 2—Owner’s Manual 276 Appendix A: Parameter Lists ST REVERB Two input, two output stereo reverb. Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type INI. DLY 0.0–100.0 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 BAL. 0–100% Balance of early reflections and reverb (0% = all reverb, 100% = all early reflections) HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REVERB 5.1 One input, six output reverb for 5.1 surround, with surround panning. Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency DIV. 0–100% Divergence determines how the front center signal is fed to the Left, Right, and Center channels. When set to 0%, it’s fed only to the Left and Right channels (i.e., Phantom Center). When set to 50%, it’s fed equally to the Left, Right, and Center channels. When set to 100%, it’s fed to only the Center channel (i.e., Real Center). ROOMSIZE 0.1–20.0 Size of simulated room’s reverb POS L/R L63–R63 Left/right listening position POS F/R F63–R63 Front/rear listening position POS CTRL OFF, NORMAL, INVERT 1 ER L/R L63–R63 Left/right early reflections position ER F/R F63–R63 Front/rear early reflections position ER LVL 0–100% Early reflections level ER CTRL OFF, NORMAL, INVERT 1 REV L/R L63–R63 Left/right reverb position REV F/R F63–R63 Front/rear reverb position REV LVL 0–100% Reverb level REV CTRL OFF, NORMAL, INVERT 1 POS RAD. 0–63 Radius of the panning track at the listening position ER RAD. 0–63 Radius of the panning track for early reflections REV RAD. 0–63 Radius of the panning track for reverb 1. When set to NOR, the position can be set by using the Joystick so long as the SELECTED CHANNEL PAN/SURROUND [EFFECT] button’s indicator is on. When set to INV, the Joystick will work inversely. When set to OFF, Joystick control is off. The CTRL button on the Effect Edit page works the same as the [EFFECT] button. 02R96 Version 2—Owner’s Manual Effects Parameters 277 OCTA REVERB Eight input, eight output reverb. Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type INI. DLY 0.0–100.0 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 BAL. 0–100% Balance of early reflections and reverb (0% = all reverb, 100% = all early reflections) HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency AUTO PAN 5.1 Six input, six output autopanner for 5.1 surround. You can reset to the pan position specified by the OFFSET parameter by pressing the RESET button. Parameter Range Description SOURCE OFF, HOLD, INPUT1, INPUT2, INPUT3, INPUT4, INPUT5, INPUT6, MIDI When set to OFF, the TRIGGER button is used to start autopan. When set to HOLD, autopan runs continuously. When set to INPUT 1–6, the specified channel’s input signal triggers autopan. When set to MIDI, a MIDI Note On message can be used to trigger autopan. TRIG. LVL –60 to 0 dB Input trigger level (i.e., the signal level required to trigger panning when SOURCE set to INPUT) TRG MASK 0–1000 ms Trigger Mask specifies the time from when a trigger is received until the next trigger will be accepted. TIME 0.0 s–10.0 s The time after which autopan starts once it’s been triggered SPEED 0.05 Hz–40.00 Hz Autopan speed DIR. Turn L, Turn R Autopan direction OFFSET –180 to +180 degrees Pan offset HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency CHORUS 5.1 Six input, six output chorus for 5.1 surround. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed AM DEPTH 0–100% Amplitude modulation depth PM DEPTH 0–100% Pitch modulation depth MOD. DLY 0.0–400.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. 02R96 Version 2—Owner’s Manual 278 Appendix A: Parameter Lists FLANGE 5.1 Six input, six output flanger for 5.1 surround. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed Modulation depth MOD. DLY 0.0–400.0 ms Modulation delay time FB. GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. SYMPHO 5.1 Six input, six output symphonic effect for 5.1 surround. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation depth MOD. DLY 0.0–400.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency SYNC OFF/ON Tempo parameter sync on/off NOTE 1 Used in conjunction with TEMPO to determine FREQ. 1. 02R96 Version 2—Owner’s Manual Modulation speed Effects Parameters 279 M. BAND DYNA. Two input, two output 3-band dynamics processor, with individual solo and gain reduction metering for each band. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.0 dB High band level PRESENCE –10 to +10 For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For negative values, the opposite will occur. When set to 0, all three bands are affected the same. CMP. THRE –24.0 dB to 0.0 dB Compressor threshold CMP. RAT 1:1 to 20:1 Compressor ratio CMP. ATK 0–120 ms Compressor attack CMP. REL 1 Compressor release time CMP. KNEE 0–5 Compressor knee LOOKUP 0.0–100.0 ms Lookup delay CMP. BYP ON/OFF Compressor bypass L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency SLOPE –6 dB, –12 dB Filter slope CEILING –6.0 dB to 0.0 dB, OFF Specifies the maximum output level EXP. THRE –54.0 dB to –24.0 dB Expander threshold EXP. RAT 1:1 to ∞:1 Expander ratio EXP. REL 1 Expander release time EXP. BYP ON/OFF Expander bypass LIM. THRE –12.0 dB to 0.0 dB Limiter threshold LIM. ATK 0–120 ms Limiter attack LIM. REL 1 Limiter release time LIM. BYP ON/OFF Limiter bypass LIM. KNEE 0–5 Limiter knee 1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz) 02R96 Version 2—Owner’s Manual 280 Appendix A: Parameter Lists COMP 5.1 Six input, six output compressor for 5.1 surround, with individual solo for each band, and gain reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C), or LFE channels. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.0 dB High band level PRESENCE –10 to +10 For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For negative values, the opposite will occur. When set to 0, all three bands are affected the same. THRE –24.0 dB to 0.0 dB Compressor threshold RATIO 1:1 to ∞:1 Compressor ratio ATTACK 0–120 ms Attack RELEASE 1 Expander release time KNEE 0–5 Compressor knee LOOKUP 0.0–100.0 ms Lookup delay KEY LINK 2 Key-in linking L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency SLOPE –6 dB, –12 dB Filter slope CEILING –6.0 dB to 0.0 dB, OFF Specifies the maximum output level 1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz) 2. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is independent). 3+2: key-in of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are linked, and LS and RS are linked. COMPAND 5.1 Six input, six output compander for 5.1 surround, with individual solo for each band, and gain reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C), or LFE channels. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.0 dB High band level PRESENCE –10 to +10 For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For negative values, the opposite will occur. When set to 0, all three bands are affected the same. THRE –24.0 dB to 0.0 dB Compressor threshold RATIO 1:1 to 20:1 Compressor ratio ATTACK 0–120 ms Compressor attack WIDTH 1–90 dB Width before the expander operates TYPE Soft, Hard Compander type LOOKUP 0.0–100.0 ms Lookup delay KEY LINK 1 Key-in linking L–M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency M–H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency SLOPE –6 dB, –12 dB Filter slope CEILING –6.0 dB to 0.0 dB, OFF Specifies the maximum output level 1. 5.1: key-in of all inputs are linked. 5.0: key-in of the L, C, R, LS, and RS are linked (LFE is independent). 3+2: key-in of L, C, and R are linked, and LS and RS are linked. 2+2: key-in of L and R are linked, and LS and RS are linked. Other preset effects (COMP276, COMP276S, COMP260, COMP260S, EQUALIZER601, OPENDECK, REV-X HALL, REV-X HALL, REV-X ROOM, REV-X PLATE) are optional Add-On Effects. For more information on these effects, refer to the Owner’s Manual that comes with the Add-On Effects package. 02R96 Version 2—Owner’s Manual Effects and tempo synchronization 281 Effects and tempo synchronization Some of the 02R96’s effects allow you to synchronize the effect with the tempo. There are two such types of effect; delay-type effects and modulation-type effects. For delay-type effects, the delay time will change according to the tempo. For modulation-type effects, the frequency of the modulation signal will change according to the tempo. • Parameters related to tempo synchronization The following five parameters are related to tempo synchronization. 1) SYNC 2) NOTE 3) TEMPO 4) DELAY 5) FREQ. SYNC: ............................ This is the on/off switch for tempo synchronization. NOTE and TEMPO:..... These are the basic parameters for tempo synchronization. DELAY and FREQ.: ...... DELAY is the delay time, and FREQ. is the frequency of the modulation signal. These directly affect the way in which the effect sound will change. DELAY is relevant only for delay-type effects, and FREQ. is relevant only for modulation-type effects. • How the parameters are related Tempo synchronization uses TEMPO and NOTE to calculate a value that will be the basis for the tempo, and continues making adjustments so that this tempo basis stays essentially the same as the DELAY (or FREQ.). This means that when TEMPO, NOTE, and DELAY (or FREQ.) are synchronized, and you change any of these values, the other parameters will be re-set in order to maintain the correct relationship. The parameters that are re-set and the calculation method(*a) used are as follows. If you turn SYNC on → NOTE will be set If you edit DELAY (or FREQ.) → NOTE will be set In this case, the NOTE value is calculated as follows. NOTE = DELAY (or FREQ.)/(4 x (60/TEMPO)) If you edit NOTE → DELAY (or FREQ.) will be set In this case, the DELAY (or FREQ.) value is calculated as follows. DELAY (or FREQ.) = NOTE x 4 x (60/TEMPO) If you edit TEMPO → DELAY (or FREQ.) will be set In this case, the DELAY (or FREQ.) value is calculated as follows. DELAY (or FREQ.) = original DELAY (or FREQ.) x (previous TEMPO/new TEMPO) Example 1: When SYNC=ON, DELAY=250 ms, TEMPO=120, you change NOTE from 8th note to quarter note DELAY= new NOTE x 4 x (60/TEMPO) = (1/4) x 4 x (60/120) = 0.5 (sec) = 500 ms Thus, the DELAY will change from 250 ms to 500 ms. Example 2: When SYNC=ON, DELAY=250 ms, NOTE=8th note, you change TEMPO from 120 to 121 DELAY= original DELAY x (previous TEMPO/new TEMPO) = 250 x (120/121) = 247.9 (ms) Thus, the TEMPO will change from 250 ms to 247.9 ms. *a Rounded values are used for the calculation results. • Ranges of the NOTE and TEMPO values The ranges of the NOTE and TEMPO values are limited by the ranges of the DELAY or FREQ. values. You cannot set NOTE or TEMPO values that would cause DELAY or FREQ. to exceed their maximum possible values when synchronized to tempo. This limitation also applies even when SYNC is OFF. • Special characteristics of the TEMPO parameter The TEMPO parameter has the following characteristics that are unlike other parameters. • It is a common value shared by all effects • You cannot stored it to or recall it from the Effects Library. (You can store it to and recall it from a Scene.) This means that the TEMPO value may not necessarily be the same when an effect is recalled as when that effect was stored. Here is an example. Store the effect: TEMPO=120 → Change TEMPO to 60 → Recall the effect: TEMPO=60 Normally when you change the TEMPO, the DELAY (or FREQ.) will be re-set accordingly. However if the DELAY (or FREQ.) were changed, the effect would sound differently when recalled than when it was stored. To prevent the effect from changing in this way between store and recall, the 02R96 does not update the DELAY (or FREQ.) value when an effect is recalled, even if the TEMPO is no longer the same as when that effect was stored. * The NOTE parameter is calculated based on the following values. = 1/48 = 1/24 = 1/16 = 1/12 = 3/32 = 1/8 = 1/6 = 3/16 = 1/4 = 3/8 = 1/2 = 3/4 = 1/1 = 2/1 02R96 Version 2—Owner’s Manual 282 Appendix A: Parameter Lists Preset EQ Parameters # 01 02 03 04 05 06 07 08 09 10 11 12 Parameter Title Bass Drum 1 Bass Drum 2 Snare Drum 1 Snare Drum 2 Tom-tom 1 Cymbal High Hat Percussion E. Bass 1 E. Bass 2 Syn. Bass 1 Syn. Bass 2 LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –3.5 dB 0.0 dB +4.0 dB F 100 Hz 265 Hz 1.06 kHz 5.30 kHz Q 1.2 10 0.9 — PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 80 Hz 400 Hz 2.50 kHz 12.5 kHz Q 1.4 4.5 2.2 — PEAKING PEAKING PEAKING H.SHELF G –0.5 dB 0.0 dB +3.0 dB +4.5 dB F 132 Hz 1.00 kHz 3.15 kHz 5.00 kHz Q 1.2 4.5 0.11 — L.SHELF PEAKING PEAKING PEAKING G +1.5 dB –8.5 dB +2.5 dB +4.0 dB F 180 Hz 335 Hz 2.36 kHz 4.00 kHz Q — 10 0.7 0.1 PEAKING PEAKING PEAKING PEAKING G +2.0 dB –7.5 dB +2.0 dB +1.0 dB F 212 Hz 670 Hz 4.50 kHz 6.30 kHz Q 1.4 10 1.2 0.28 L.SHELF PEAKING PEAKING H.SHELF G –2.0 dB 0.0 dB 0.0 dB +3.0 dB F 106 Hz 425 Hz 1.06 kHz 13.2 kHz Q — 8 0.9 — L.SHELF PEAKING PEAKING H.SHELF G –4.0 dB –2.5 dB +1.0 dB +0.5 dB F 95 Hz 425 Hz 2.80 kHz 7.50 kHz Q — 0.5 1 — L.SHELF PEAKING PEAKING H.SHELF G –4.5 dB 0.0 dB +2.0 dB 0.0 dB F 100 Hz 400 Hz 2.80 kHz 17.0 kHz Q — 4.5 0.56 — L.SHELF PEAKING PEAKING H.SHELF G –7.5 dB +4.5 dB +2.5 dB 0.0 dB F 35.5 Hz 112 Hz 2.00 kHz 4.00 kHz Q — 5 4.5 — PEAKING PEAKING PEAKING H.SHELF G +3.0 dB 0.0 dB +2.5 dB +0.5 dB F 112 Hz 112 Hz 2.24 kHz 4.00 kHz Q 0.1 5 6.3 — PEAKING PEAKING PEAKING H.SHELF G +3.5 dB +8.5 dB 0.0 dB 0.0 dB F 85 Hz 950 Hz 4.00 kHz 12.5 kHz Q 0.1 8 4.5 — PEAKING PEAKING PEAKING H.SHELF G +2.5 dB 0.0 dB +1.5 dB 0.0 dB F 125 Hz 180 Hz 1.12 kHz 12.5 kHz Q 1.6 8 2.2 — 02R96 Version 2—Owner’s Manual # 13 Parameter Title Piano 1 Piano 2 E. G. Clean E. G. Crunch 1 E. G. Crunch 2 PEAKING 0.0 dB +2.0 dB +4.0 dB F 95 Hz 950 Hz 3.15 kHz 7.50 kHz — 8 0.9 — PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –8.5 dB +1.5 dB +3.0 dB F 224 Hz 600 Hz 3.15 kHz 5.30 kHz 5.6 10 0.7 — PEAKING PEAKING PEAKING H.SHELF G +2.0 dB –5.5 dB +0.5 dB +2.5 dB F 265 Hz 400 Hz 1.32 kHz 4.50 kHz E. G. Dist. 1 E. G. Dist. 2 A. G. Stroke 1 A. G. Stroke 2 0.0 dB +4.0 dB +2.0 dB 1.00 kHz 1.90 kHz 5.60 kHz 8 4.5 0.63 9 PEAKING PEAKING PEAKING H.SHELF G +2.5 dB +1.5 dB +2.5 dB 0.0 dB F 125 Hz 450 Hz 3.35 kHz 19.0 kHz A. G. Arpeg. 1 A. G. Arpeg. 2 Brass Sec. 0.16 — PEAKING H.SHELF +5.0 dB 0.0 dB +3.5 dB 0.0 dB 355 Hz 950 Hz 3.35 kHz 12.5 kHz — 9 10 — L.SHELF PEAKING PEAKING H.SHELF G +6.0 dB –8.5 dB +4.5 dB +4.0 dB F 315 Hz 1.06 kHz 4.25 kHz 12.5 kHz — 10 4 — PEAKING PEAKING PEAKING H.SHELF G –2.0 dB 0.0 dB +1.0 dB +4.0 dB F 106 Hz 1.00 kHz 1.90 kHz 5.30 kHz 0.9 4.5 3.5 — L.SHELF PEAKING PEAKING H.SHELF G –3.5 dB –2.0 dB 0.0 dB +2.0 dB F 300 Hz 750 Hz 2.00 kHz 3.55 kHz — 9 4.5 — L.SHELF PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB 0.0 dB +2.0 dB F 224 Hz 1.00 kHz 4.00 kHz 6.70 kHz — 4.5 4.5 0.12 L.SHELF PEAKING PEAKING H.SHELF G 0.0 dB –5.5 dB 0.0 dB +4.0 dB F 180 Hz 355 Hz 4.00 kHz 4.25 kHz Q 24 0.4 PEAKING F Q 23 8 L.SHELF G Q 22 — PEAKING 140 Hz Q 21 6.3 PEAKING +4.5 dB Q 20 10 PEAKING F Q 19 0.18 PEAKING G Q 18 H.SHELF PEAKING Q 17 HIGH –6.0 dB Q 16 H-MID L.SHELF Q 15 L-MID G Q 14 LOW — 7 4.5 — PEAKING PEAKING PEAKING PEAKING G –2.0 dB –1.0 dB +1.5 dB +3.0 dB F 90 Hz 850 Hz 2.12 kHz 4.50 kHz Q 2.8 2 0.7 7 Preset Gate Parameters (fs = 44.1 kHz) # 25 26 27 28 29 30 31 Parameter Title Male Vocal 1 Male Vocal 2 Female Vo. 1 Female Vo. 2 Chorus & Harmo Total EQ 1 Total EQ 3 Bass Drum 3 PEAKING PEAKING PEAKING 0.0 dB +2.0 dB +3.5 dB F 190 Hz 1.00 kHz 2.00 kHz 6.70 kHz Q 0.11 4.5 0.56 0.11 PEAKING PEAKING PEAKING H.SHELF G +2.0 dB –5.0 dB –2.5 dB +4.0 dB F 170 Hz 236 Hz 2.65 kHz 6.70 kHz Q 0.11 10 5.6 — PEAKING PEAKING PEAKING PEAKING G –1.0 dB +1.0 dB +1.5 dB +2.0 dB F 118 Hz 400 Hz 2.65 kHz 6.00 kHz Q 0.18 0.45 0.56 0.14 L.SHELF PEAKING PEAKING H.SHELF G –7.0 dB +1.5 dB +1.5 dB +2.5 dB F 112 Hz 335 Hz 2.00 kHz 6.70 kHz Q — 0.16 0.2 — PEAKING PEAKING PEAKING PEAKING G –2.0 dB –1.0 dB +1.5 dB +3.0 dB F 90 Hz 850 Hz 2.12 kHz 4.50 kHz Q 2.8 2 0.7 7 PEAKING PEAKING PEAKING H.SHELF G –0.5 dB 0.0 dB +3.0 dB +6.5 dB F 95 Hz 950 Hz 2.12 kHz 16.0 kHz Q 7 2.2 5.6 — PEAKING PEAKING PEAKING H.SHELF +4.0 dB +1.5 dB +2.0 dB +6.0 dB F Snare Drum 3 Tom-tom 2 750 Hz 1.80 kHz # 36 Parameter Title Piano 3 Piano Low Piano High Fine-EQ Cass Narrator H.SHELF PEAKING PEAKING –13.0 dB +4.5 dB +2.5 dB F 100 Hz 475 Hz 2.36 kHz 10.0 kHz 8 10 9 — PEAKING PEAKING PEAKING H.SHELF G –5.5 dB +1.5 dB +6.0 dB 0.0 dB F 190 Hz 400 Hz 6.70 kHz 12.5 kHz 10 6.3 2.2 — PEAKING PEAKING PEAKING PEAKING G –5.5 dB +1.5 dB +5.0 dB +3.0 dB F 190 Hz 400 Hz 6.70 kHz 5.60 kHz 10 6.3 2.2 0.1 L.SHELF PEAKING PEAKING H.SHELF G –1.5 dB 0.0 dB +1.0 dB +3.0 dB F 75 Hz 1.00 kHz 4.00 kHz 12.5 kHz Q 40 HIGH +4.5 dB Q 39 H-MID PEAKING Q 38 L-MID G Q 37 LOW — 4.5 1.8 — PEAKING PEAKING PEAKING H.SHELF G –4.0 dB –1.0 dB +2.0 dB 0.0 dB F 106 Hz 710 Hz 2.50 kHz 10.0 kHz Q 4 7 0.63 — Preset Gate Parameters (fs = 44.1 kHz) # Title Type 18.0 kHz 7 2.8 5.6 — PEAKING PEAKING H.SHELF G +1.5 dB +0.5 dB +2.0 dB +4.0 dB F 67 Hz 850 Hz 1.90 kHz 15.0 kHz — 0.28 0.7 — PEAKING PEAKING PEAKING PEAKING G +3.5 dB –10.0 dB +3.5 dB 0.0 dB F 118 Hz 315 Hz 4.25 kHz 20.0 kHz 2 10 0.4 0.4 L.SHELF PEAKING PEAKING PEAKING G 0.0 dB +2.0 dB +3.5 dB 0.0 dB F 224 Hz 560 Hz 4.25 kHz 4.00 kHz Q 35 95 Hz L.SHELF Q 34 HIGH –0.5 dB Q 33 H-MID PEAKING Q 32 L-MID G G Total EQ 2 LOW — 4.5 2.8 0.1 L.SHELF PEAKING PEAKING H.SHELF G –9.0 dB +1.5 dB +2.0 dB 0.0 dB F 90 Hz 212 Hz 5.30 kHz 17.0 kHz Q — 4.5 1.2 — 283 1 Gate GATE 2 Ducking DUCKING 3 A. Dr. BD GATE 4 A. Dr. SN GATE Parameter Value Threshold (dB) –26 Range (dB) –56 Attack (ms) 0 Hold (ms) 2.56 Decay (ms) 331 Threshold (dB) –19 Range (dB) –22 Attack (ms) 93 Hold (ms) 1.20 S Decay (ms) 6.32 S Threshold (dB) –11 Range (dB) –53 Attack (ms) 0 Hold (ms) 1.93 Decay (ms) 400 Threshold (dB) –8 Range (dB) –23 Attack (ms) 1 Hold (ms) 0.63 Decay (ms) 238 02R96 Version 2—Owner’s Manual 284 Appendix A: Parameter Lists Preset Compressor Parameters (fs = 44.1 kHz) # Title 1 Comp 2 Expand 3 Compander (H) 4 Compander (S) 5 A. Dr. BD 6 A. Dr. BD 7 A. Dr. SN 8 A. Dr. SN 9 A. Dr. SN Type Parameter Threshold (dB) Ratio ( :1) Attack (ms) COMP Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) EXPAND Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) COMPAND-H Out gain (dB) Width (dB) Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) COMPAND-S Out gain (dB) Width (dB) Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) COMP Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) COMPAND-H Out gain (dB) Width (dB) Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) COMP Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) EXPAND Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) COMPAND-S Out gain (dB) Width (dB) Release (ms) 02R96 Version 2—Owner’s Manual Value –8 2.5 60 0.0 2 250 –23 1.7 1 3.5 2 70 –10 3.5 1 0.0 6 250 –8 4 25 0.0 24 180 –24 3 9 5.5 2 58 –11 3.5 1 –1.5 7 192 –17 2.5 8 3.5 2 12 –23 2 0 0.5 2 151 –8 1.7 11 0.0 10 128 # Title Type 10 A. Dr. Tom EXPAND 11 A. Dr. OverTop COMPAND-S 12 E. B. Finger COMP 13 E. B. Slap COMP 14 Syn. Bass COMP 15 Piano1 COMP 16 Piano2 COMP 17 E. Guitar COMP 18 A. Guitar COMP Parameter Value Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Width (dB) Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Out gain (dB) Knee Release (ms) –20 2 2 5.0 2 749 –24 2 38 –3.5 54 842 –12 2 15 4.5 2 470 –12 1.7 6 4.0 hard 133 –10 3.5 9 3.0 hard 250 –9 2.5 17 1.0 hard 238 –18 3.5 7 6.0 2 174 –8 3.5 7 2.5 4 261 –10 2.5 5 1.5 2 238 Preset Compressor Parameters (fs = 44.1 kHz) # Title Type 19 Strings1 COMP 20 Strings2 COMP 21 Strings3 COMP 22 BrassSection COMP 23 Syn. Pad COMP 24 SamplingPerc COMPAND-S 25 Sampling BD COMP 26 Sampling SN COMP 27 Hip Comp COMPAND-S Parameter Value Threshold (dB) –11 Ratio ( :1) 2 Attack (ms) 33 Out gain (dB) 1.5 Knee 2 Release (ms) 749 Threshold (dB) –12 Ratio ( :1) 1.5 Attack (ms) 93 Out gain (dB) 1.5 Knee 4 Release (ms) 1.35 S Threshold (dB) –17 Ratio ( :1) 1.5 Attack (ms) 76 Out gain (dB) 2.5 Knee 2 Release (ms) 186 Threshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 18 Out gain (dB) 4.0 Knee 1 Release (ms) 226 Threshold (dB) –13 Ratio ( :1) 2 Attack (ms) 58 Out gain (dB) 2.0 Knee 1 Release (ms) 238 Threshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 8 Out gain (dB) –2.5 Width (dB) 18 Release (ms) 238 Threshold (dB) –14 Ratio ( :1) 2 Attack (ms) 2 Out gain (dB) 3.5 Knee 4 Release (ms) 35 Threshold (dB) –18 Ratio ( :1) 4 Attack (ms) 8 Out gain (dB) 8.0 Knee hard Release (ms) 354 Threshold (dB) –23 Ratio ( :1) 20 Attack (ms) 15 Out gain (dB) 0.0 Width (dB) 15 Release (ms) 163 # Title 28 Solo Vocal1 29 Solo Vocal2 30 Chorus 31 Click Erase 32 Announcer 33 Limiter1 34 Limiter2 35 Total Comp1 36 Total Comp2 Type Parameter 285 Value Threshold (dB) –20 Ratio ( :1) 2.5 Attack (ms) 31 COMP Out gain (dB) 2.0 Knee 1 Release (ms) 342 Threshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 26 COMP Out gain (dB) 1.5 Knee 3 Release (ms) 331 Threshold (dB) –9 Ratio ( :1) 1.7 Attack (ms) 39 COMP Out gain (dB) 2.5 Knee 2 Release (ms) 226 Threshold (dB) –33 Ratio ( :1) 2 Attack (ms) 1 EXPAND Out gain (dB) 2.0 Knee 2 Release (ms) 284 Threshold (dB) –14 Ratio ( :1) 2.5 Attack (ms) 1 COMPAND-H Out gain (dB) –2.5 Width (dB) 18 Release (ms) 180 Threshold (dB) –9 Ratio ( :1) 3 Attack (ms) 20 COMPAND-S Out gain (dB) –3.0 Width (dB) 90 Release (ms) 3.90 s Threshold (dB) 0 Ratio ( :1) ∞ Attack (ms) 0 COMP Out gain (dB) 0.0 Knee hard Release (ms) 319 Threshold (dB) –18 Ratio ( :1) 3.5 Attack (ms) 94 COMP Out gain (dB) 2.5 Knee hard Release (ms) 447 Threshold (dB) –16 Ratio ( :1) 6 Attack (ms) 11 COMP Out gain (dB) 6.0 Knee 1 Release (ms) 180 02R96 Version 2—Owner’s Manual 286 Appendix A: Parameter Lists Dynamics Parameters The dynamics effects for each channel strip include a Gate section (only for Input Channels) and a Comp section. The Gate section includes Gate and Ducking types. The Comp section includes Compressor, Expander, Compander Hard (COMP. (H)), and Compander Soft (COMP. (S)) types. GATE Section (Only for Input Channels) GATE A gate attenuates signals below a set THRESHOLD level by a specified amount (RANGE). Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level at which the gate effect is applied. RANGE (dB) –70 to 0 (71 points) This determines the amount of attenuation when the gate closes. ATTACK (ms) 0–120 (121 points) This determines how fast the gate opens when the signal exceeds the threshold level. HOLD (ms) 44.1kHz: 0.02 ms – 2.13 sec 48kHz: 0.02 ms – 1.96 sec 88.2kHz: 0.01 ms – 1.06 sec 96kHz: 0.01 ms – 981 ms (160 points) This determines how long the gate stays open once the trigger signal has fallen below the threshold. DECAY (ms) 44.1kHz: 6 ms – 46.0 sec 48kHz: 5 ms – 42.3 sec 88.2kHz: 3 ms – 23.0 sec 96kHz: 3 ms – 21.1 sec (160 points) This determines how fast the gate closes once the hold time has expired. The value is expressed as the duration required for the level to change by 6 dB. I/O Characteristics Time Series Analysis Output Signal THRESHOLD Output Level Input Level Output Level Input Signal ATTACK HOLD DECAY THRESHOLD RANGE RANGE Input Level 02R96 Version 2—Owner’s Manual Time Time 287 Dynamics Parameters DUCKING Ducking is commonly used for voice-over applications in which the background music level is reduced automatically when an announcer speaks. When the KEY IN source signal level exceeds the specified THRESHOLD, the output level is attenuated by a specified amount (RANGE). Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of trigger signal (KEY IN) required to activate ducking. RANGE (dB) –70 to 0 (71 points) This determines the amount of attenuation when ducking is activated. ATTACK (ms) 0–120 (121 points) This determines how soon the signal is ducked once the ducker has been triggered. HOLD (ms) 44.1kHz: 0.02 ms – 2.13 sec 48kHz: 0.02 ms – 1.96 sec 88.2kHz: 0.01 ms – 1.06 sec 96kHz: 0.01 ms – 981 ms (160 points) This determines how long ducking remains active once the trigger signal has fallen below the THRESHOLD level. DECAY (ms) 44.1kHz: 6 ms – 46.0 sec 48kHz: 5 ms – 42.3 sec 88.2kHz: 3 ms – 23.0 sec 96kHz: 3 ms – 21.1 sec (160 points) This determines how soon the ducker returns to its normal gain once the trigger signal level drops below the threshold. The value is expressed as the duration required for the level to change by 6 dB. I/O Characteristics Time Series Analysis Output Level Output Signal Input Level Output Level Input Signal THRESHOLD ATTACK HOLD DECAY THRESHOLD RANGE RANGE Input Level Time Time 02R96 Version 2—Owner’s Manual 288 Appendix A: Parameter Lists COMP Section COMP The COMP processor attenuates signals above a specified THRESHOLD by a specified RATIO. The COMP processor can also be used as a limiter, which, with a RATIO of ∞:1, reduces the level to the threshold. This means that the limiter’s output level never actually exceeds the threshold. Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of input signal required to trigger the compressor. RATIO 1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1, 2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, 8.0:1, 10:1, 20:1, ∞:1 (16 points) This determines the amount of compression, that is, the change in output signal level relative to change in input signal level. ATTACK (ms) 0–120 (121 points) This determines how soon the signal will be compressed once the compressor has been triggered. RELEASE (ms) 44.1kHz: 6 ms – 46.0 sec 48kHz: 5 ms – 42.3 sec 88.2kHz: 3 ms – 23.0 sec 96kHz: 3 ms – 21.1 sec (160 points) This determines how soon the compressor returns to its normal gain once the trigger signal level drops below the threshold. The value is expressed as the duration required for the level to change by 6 dB. OUT GAIN (dB) 0.0 to +18.0 (180 points) This sets the compressor's output signal level. KNEE Hard, 1–5 (6 points) This determines how compression is applied at the threshold. For higher knee settings, compression is applied gradually as the signal exceeds the specified threshold, creating a more natural sound. I/O Characteristics (KNEE=hard, OUT GAIN=0.0dB) Time Series Analysis (RATIO=∞:1) RATIO Output Level THRESHOLD Output Signal Input Level Output Level Input signal ATTACK RELEASE THRESHOLD Input Level 02R96 Version 2—Owner’s Manual Time Time Dynamics Parameters 289 EXPAND An expander attenuates signals below a specified THRESHOLD by a specified RATIO. Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level of input signal required to trigger the expander. RATIO 1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1, 2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, 8.0:1, 10:1, 20:1, ∞:1 (16 points) This determines the amount of expansion. ATTACK (ms) 0–120 (121 points) This determines how soon the expander returns to its normal gain once the trigger signal level exceeds the threshold. RELEASE (ms) 44.1kHz: 6 ms – 46.0 sec 48kHz: 5 ms – 42.3 sec 88.2kHz: 3 ms – 23.0 sec 96kHz: 3 ms – 21.1 sec (160 points) This determines how soon the signal is expanded once the signal level drops below the threshold. The value is expressed as the duration required for the level to change by 6 dB. OUT GAIN (dB) 0.0 to +18.0 (180 points) This sets the expander's output signal level. Hard, 1–5 (6 points) This determines how expansion is applied at the threshold. For higher knee settings, expansion is applied gradually as the signal falls below the specified threshold, creating a more natural sound. KNEE I/O Characteristics (KNEE=hard, OUT GAIN=0.0dB) Time Series Analysis (RATIO=∞:1) Output Level THRESHOLD Output Signal Input Level Output Level Input Signal ATTACK RELEASE THRESHOLD RATIO Input Level Time Time 02R96 Version 2—Owner’s Manual 290 Appendix A: Parameter Lists Output Level COMPANDER HARD (H) COMPANDER SOFT (S) The hard and soft companders combine the effects of the compressor, expander and limiter. THRESHOLD 0dB Input Level WIDTH The companders function differently at the following levels: 1 0 dB and higher.....................................Functions as a limiter. 2 Exceeding the threshold .......................Functions as a compressor. 3 Below the threshold and width............Functions as an expander. The hard compander has an expansion ratio of 5:1, while the soft compander has an expansion ratio of 1.5:1. The expander is essentially turned off when the width is set to maximum. The compressor has a fixed knee setting of 2. * The gain is automatically adjusted according to the ratio and threshold values, and can be increased by up to 18 dB. * The OUT GAIN parameter enables you to compensate for the overall level change caused by the compression and expansion processes. Parameter Range Description THRESHOLD (dB) –54.0 to 0.0 (541 points) This determines the level at which compression is applied. RATIO 1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1, 2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, 8.0:1, 10:1, 20:1, (15 points) This determines the amount of compression. ATTACK (ms) 0–120 (121 points) This determines how soon the signal is compressed or expanded once the compander has been triggered. RELEASE (ms) 44.1kHz: 6 ms – 46.0 sec 48kHz: 5 ms – 42.3 sec 88.2kHz: 3 ms – 23.0 sec 96kHz: 3 ms – 21.1 sec (160 points) This determines how soon the compressor or expander returns to the normal gain once the trigger signal level drops below or exceeds the threshold respectively. The value is expressed as the duration required for the level to change by 6 dB. OUT GAIN (dB) –18.0 to 0.0 (180 points) This sets the compander's output signal level. 0–90 (91 points) This determines how far below the threshold expansion will be applied. The expander is activated when the level drops below the threshold and width. WIDTH (dB) 02R96 Version 2—Owner’s Manual General Spec 291 Appendix B: Specifications General Spec Number of scene memories 99 Internal Sampling Frequency External Normal rate: 44.1 kHz–10% to 48 kHz+6% Double rate: 88.2 kHz–10% to 96 kHz+6% Less than 2.0 ms CH INPUT to STEREO OUT (fs=48 kHz) Signal Delay Less than 1.1 ms CH INPUT to STEREO OUT (fs=96 kHz) 100 mm motorized with touch sense × 25 Fader +10 to –138, –∞dB input faders (10bit fader data) Fader Resolution Total Harmonic Distortion1 (CH INPUT to STEREO OUT) (Input Gain=Min.) 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz 0 to –138, –∞dB master fader (10bit fader data) fs=48 kHz Less than 0.05% 20 Hz to 20 kHz @ +14 dB into 600 Ω Less than 0.01% 1 kHz @ +18 dB into 600 Ω fs=96 kHz Less than 0.05% 20 Hz to 40 kHz @ +14 dB into 600 Ω Less than 0.01% 1 kHz @ +18 dB into 600 Ω 20 Hz–20 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω (fs=48 kHz) Frequency Response (CH INPUT to STEREO OUT) 20 Hz–40 kHz, 0.5, –1.5 dB @ +4 dB into 600 Ω (fs=96 kHz) 110 dB typ. DA Converter (STEREO OUT) Dynamic Range (maximum level to noise level) 105 dB typ. AD+DA (to STEREO OUT) @ fs=48 kHz 105 dB typ. AD+DA (to STEREO OUT) @ fs=96 kHz –128 dB Equivalent Input Noise Hum & Noise2 (20 Hz–20 kHz) –92 dB residual output noise. STEREO OUT (STEREO OUT off) –92 dB (96 dB S/N) STEREO OUT (STEREO fader at nominal level and all CH INPUT faders at minimum level) Rs=150 Ω Input Gain=Max. Input Pad =0 dB –64 dB (68 dB S/N) STEREO OUTPUT (STEREO fader at nominal level and one CH INPUT fader at nominal level) 74 dB CH INPUT (CH1–24) to STEREO OUT/OMNI (BUS) OUT 74 dB CH INPUT (CH1–24) to OMNI (AUX) OUT (via pre input fader) Maximum Voltage Gain 74 dB CH INPUT (CH1–24) to CONTROL ROOM MONITOR OUT (via STEREO bus) Crosstalk (@ 1 kHz) –80 dB adjacent input channels (CH1–24) –80 dB input to output Input Gain=Min. Phantom switch +48 V DC is supplied to A (XLR-3-31 type) input Pad switch 0/26 dB attenuation Gain control 44 dB (–60 to –16), detented Peak indicator LED (red) turns on when post HA level reaches 3 dB below clipping Signal indicator LED (green) turns on when post HA level reaches 20 dB below nominal Insert I/O (pre AD converter) Insert switch on/off AD converter 24-bit linear, 128-times oversampling (fs=48 kHz) Gain control 44 dB (–34 to +10), detented Peak indicator LED (red) turns on when post HA level reaches 3 dB below clipping Signal indicator LED (green) turns on when post HA level reaches 20 dB below nominal AD converter 24-bit linear, 128-times oversampling (fs=48 kHz) Analog Input (2TR IN ANALOG 1, 2) AD converter 24-bit linear, 128-times oversampling (fs=48 kHz) Option Input (SLOT 1–4) Available cards Optional digital interface cards (MY16, MY8, MY4 series) Digital Input (2TR IN DIGITAL 1–3) SRC On/off (1:3 and 3:1 maximum input to output sample rate ratio) AD Input (1–16: A/B) AD Input (17–24) 02R96 Version 2—Owner’s Manual 292 Appendix B: Specifications Input patch Phase Gate-type3 — Normal/reverse On/off Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48, 49–56)/AUX1–8 On/off Comp-type4 Key in: self /Stereo Link Pre EQ/pre fader/post fader Attenuator EQ Input Channel CH1–56 On/off — Fader 100 mm motorized (INPUT/AUX1–8) OMNI OUT 1–8 CONTROL ROOM MONITOR OUT STUDIO MONITOR OUT On/off Pre fader/after pan 127 positions (Left= 1–63, Center, Right= 1–63) 127 × 127 positions LFE level –∞, –96 dB to +10 dB (256 step) Routing STEREO, BUS1–8, DIRECT OUT Direct out Pre EQ/pre fader/post fader Displayed on LCD Peak hold on/off Level control Analog rotary potentiometer AD converter 24-bit linear, 128-times oversampling Talkback select Built-in microphone/AD IN 1–16 On/off — Level 0 to –96 dB (1 dB step) On/off — Waveform Sine 100 Hz, sine 1 kHz, sine 10 kHz, pink noise, burst noise Routing BUS1–8, AUX1–8, STEREO L, R DA converter 24-bit linear, 128-times oversampling Output patch SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT 1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO) DA converter 24-bit linear, 128-times oversampling Monitor select STEREO, 2TR IN DIGITAL 1, 2TR IN DIGITAL 2, 2TR IN DIGITAL 3, 2TR I N ANALOG 1, 2TR IN ANALOG 2, ASSIGN 1, 2 (BUS 1–8/AUX 1–8) Mono On/off Dimmer On/off DA converter 24-bit linear, 128-times oversampling Level control Analog rotary potentiometer Phones level Analog rotary potentiometer Monitor select CONTROL ROOM, STEREO, AUX 7, AUX 8, TALKBACK DA converter 24-bit linear, 128-times oversampling Level control Analog rotary potentiometer 2TR OUT DIGITAL 1–3 On/off Word length 16, 20, 24-bit Output patch STEREO, BUS1–8, AUX 1–8, DIRECT OUT 1–56, INSERT OUT, CONTROL ROOM Available card Optional digital interface card (MY16, MY8, MY4 series) Output patch SURROUND MONITOR, STEREO, BUS1–8, AUX1–8, DIRECT OUT 1–56, INSERT OUT (CH1–56, BUS1–8, AUX1–8, STEREO) Dither 02R96 Version 2—Owner’s Manual AUX1–8; pre fader/post fader Surround pan Dither Option Output (SLOT 1–4) On/off Pan Metering STEREO OUT On/off 0–43400 samples Solo OSCILLATOR 4-band PEQ5 Delay Aux send TALKBACK –96.0 to +12.0 dB (0.1 dB step) On/off Word length 16/20/24-bit General Spec Comp-type4 Attenuator EQ STEREO Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.1 dB step) 4-band PEQ5 On/off — Fader 100 mm motorized Balance 127 positions (Left=1–63, Center, Right=1–63) Delay 0–43400 samples Comp-type4 Attenuator EQ BUS1–8 On/off On/off Metering 293 Displayed on LCD Peak hold on/off On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.1 dB step) 4-band PEQ5 On/off On/off — Fader 100 mm motorized Delay 0–43400 samples Level (–∞, –130 dB to 0 dB) Bus to stereo On/off Pan: 127 positions (Left=1–63, Center, Right=1–63) Metering Comp-type4 Attenuator EQ AUX1–8 Dimensions On/off Pre EQ/pre fader/post fader –96.0 to +12.0 dB (0.1 dB step) 4-band PEQ5 On/off — Fader 100 mm motorized Delay 0–43400 samples Displayed on LCD Peak hold on/off Mute On/off Solo On/off Source BUS1–8, SLOT 1–4 Monitor to C-R On/off Oscillator Pink noise/500–2 kHz/1 kHz/50 Hz Monitor matrix 6.1→6.1, 6.1→5.1, 6.1→3-1, 6.1→ST, 5.1→5.1, 5.1→3-1, 5.1→ST, 3.1→3.1, 3.1→ST Bass management 5 presets Monitor alignment ATT (–12.0 dB to 12 dB 0.1 dB step), Delay (0–30.0 msec 0.02 msec step) Bypass On/off SURROUND MONITOR Power Requirements Peak hold on/off On/off Metering INTERNAL EFFECTS (EFFECT 1–4) Displayed on LCD In/out 8-in, 8-out (EFFECT1): depends on effects type 2-in, 2-out (EFFECT2–4): depends on effects type Effect-in from AUX1–8/INSERT OUT/effect-out Effect-out to Input patch/effect-in U.S./Canada 120 V, 60 Hz 200 W Other 220–240 V, 50/60 Hz 200 W (H x D x W) 239 x 697 x 667 mm (9.4" x 27.4" x 26.3") Net weight 34 kg (75 lbs) Operating free-air temperature range 10–35°C (50–95°F) Storage temperature range –20 to 60°C (–4 to 140°F) 02R96 Version 2—Owner’s Manual 294 Appendix B: Specifications Supplied Accessories AC Cable CD-ROM (Studio Manager) Options Digital interface card (MY16, MY8, MY4 series) PEAK METER BRIDGE: MB02R96 SIDE PANEL: SP02R96 1. Total harmonic distortion is measured with a 6 dB/octave filter @ 80 kHz. 2. Hum & Noise are measured with a 6 dB/octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation. 3. See “Gate Parameters” on page 294. 4. See “Comp Parameters” on page 295. 5. See “EQ Parameters” on page 294. EQ Parameters LOW/HPF L-MID H-MID 0.1–10.0 (41 points) low shelving HPF Q F 0.1–10.0 (41 points) ±18 dB (0.1 dB step) HPF: on/off ±18 dB (0.1 dB step) Gate Parameters Threshold –54 dB to 0 dB (0.1 dB step) Range –70 dB to 0 dB (1 dB step) Attack 0 ms–120 ms (1 ms step) 0.02 ms–1.96 s (216 points) @ 48 kHz Hold 0.02 ms–2.13 s (216 points) @ 44.1 kHz 0.01 ms–981 ms (216 points) @ 96 kHz 0.01 ms–1.06 s (216 points) @ 88.2 kHz 5 ms–42.3 s (160 points) @ 48 kHz Decay 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz Threshold –54 dB to 0 dB (0.1 dB step) Range –70 dB to 0 dB (1 dB step) Attack 0 ms–120 ms (1 ms step) 0.02 ms–1.96 s (216 points) @ 48 kHz Ducking 0.1–10.0 (41 points) high shelving LPF 21.2 Hz–20 kHz (1/12 oct step) G Gate HIGH /LPF Hold 0.02 ms–2.13 s (216 points) @ 44.1 kHz 0.01 ms–981 ms (216 points) @ 96 kHz 0.01 ms–1.06 s (216 points) @ 88.2 kHz 5 ms–42.3 s (160 points) @ 48 kHz Decay 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz 02R96 Version 2—Owner’s Manual ±18 dB (0.1 dB step) LPF: on/off General Spec 295 Comp Parameters Compressor Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points) Out gain 0 dB to +18 dB (0.1 dB step) Knee Hard, 1, 2, 3, 4, 5 (6 step) Attack 0 ms–120 ms (1 ms step) 5 ms–42.3 s (160 points) @ 48 kHz Release 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz Expander Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20, ∞ (16 points) Out gain 0 dB to +18 dB (0.1 dB step) Knee Hard, 1, 2, 3, 4, 5 (6 points) Attack 0 ms–120 ms (1 ms step) 5 ms–42.3 s (160 points) @ 48 kHz Release 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz Compander H Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20 (15 points) Out gain –18 dB to 0 dB (0.1 dB step) Width 1 dB–90 dB (1 dB step) Attack 0 ms–120 ms (1 ms step) 5 ms–42.3 s (160 points) @ 48 kHz Release 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz Compander S Threshold –54 dB to 0 dB (0.1 dB step) Ratio (x :1) x=1, 1.1, 1.3, 1.5, 1.7, 2, 2.5, 3, 3.5, 4, 5, 6, 8, 10, 20 (15 points) Out gain –18 dB to 0 dB (0.1 dB step) Width 1 dB–90 dB (1 dB step) Attack 0 ms–120 ms (1 ms step) 5 ms–42.3 s (160 points) @ 48 kHz Release 6 ms–46.0 s (160 points) @ 44.1 kHz 3 ms–21.1 s (160 points) @ 96 kHz 3 ms–23.0 s (160 points) @ 88.2 kHz 02R96 Version 2—Owner’s Manual 296 Appendix B: Specifications Libraries Effect library (EFFECT 1–4) Compressor library Gate library EQ library Channel library Surround Monitor library Input patch library Output patch library Bus to Stereo library 1. Effects #53–61 are Add-On Effects. 02R96 Version 2—Owner’s Manual Presets 61 (EFFECT 2–4: 53)1 User memories 67 Presets 36 User memories 92 Presets 4 User memories 124 Presets 40 User memories 160 Presets 2 User memories 127 Presets 1 User memories 32 Presets 1 User memories 32 Presets 1 User memories 32 Presets 1 User memories 32 Analog Input Spec 297 Analog Input Spec Input PAD GAIN Actual Load For Use With Impedance Nominal Sensitivity1 –60 dB 0 3k Ω INPUT A/B 1–16 –16 dB 50–600 Ω Mics & 600 Ω Lines 26 –34 dB INPUT 17–24 — 4K Ω 600 Ω Lines +10 dB Input level Max. before clip Nominal Connector –70 dB –60 dB (0.245 mV) (0.775 mV) –46 dB (3.88 mV) A: XLR-3-31 type –26 dB (38.8 mV) –16 dB (0.123 V) –2 dB (616 mV) B: Phone jack (TRS) 0 dB (775 mV) +10 dB (2.45 V) +24 dB (12.28 V) –44 dB (4.89 mV) –34 dB (15.5 mV) –20 dB (77.5 mV) 0 dB (775 mV) +10 dB (2.45 V) +24 dB (12.28 V) (Balanced)2 (Balanced)3 Phone jack (TRS) (Balanced)3 INSERT IN 1–16 — 10K Ω 600 Ω Lines –6 dB (388 mV) +4 dB (1.23 V) +18 dB (6.16 V) 2TR IN ANALOG 1 [L, R] — 10K Ω 600 Ω Lines +4 dB (1.23 V) +4 dB (1.23 V) +18 dB (6.16 V) Phone jack (TRS) 2TR IN ANALOG 2 [L, R] — 10K Ω 600 Ω Lines –10 dBV (0.316 V) –10 dBV (0.316 V) +4 dBV (1.58 V) Phono (Unbalanced) Phone jack (TRS)4 (Balanced)3 1. Sensitivity is the lowest level that will produce an output of +4 dB (1.23 V) or the nominal output level when the unit is set to maximum gain. (All faders and level controls are maximum position.) 2. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD). 3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND). 4. Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms. For 2TR IN ANALOG 2 levels, 0 dBV is referenced to 1.00 Vrms. All input AD converters (except INSERT I/O 1–16) are 24-bit linear, 128-times oversampling. +48 V DC (phantom power) is supplied to CH INPUT (1–16) XLR type connectors via individual switches. Analog Output Spec Output Actual Source For Use With Impedance Nominal Output level GAIN SW1 Nominal Max. before clip Connector 600 Ω 10k Ω Lines — –10 dBV (0.316 V) +4 dBV (1.58 V) 75 Ω 600 Ω Lines — +4 dB (1.23 V) +18 dB (6.16 V) XLR-3-32 type STUDIO MONITOR OUT [L, R] 150 Ω 10k Ω Lines — +4 dB (1.23 V) +18 dB (6.16 V) Phone Jack (TRS) C-R MONITOR OUT [L, R] 150 Ω 10k Ω Lines — +4 dB (1.23 V) +18 dB (6.16 V) Phone Jack (TRS) +18 dB (default) +4 dB (1.23 V) +18 dB (6.16 V) +4 dB –10 dB (0.245 V) +4 dB (1.23 V) 10k Ω Lines — +4 dB (1.23 V) +18 dB (6.16 V) Phone Jack (TRS)4 8 Ω Phones — 4 mW 25 mW Stereo Phone Jack (TRS) 40 Ω Phones — 12 mW 75 mW (Unbalanced)5 STEREO OUT [L, R] OMNI OUT 1–8 150 Ω INSERT OUT 1–16 600 Ω PHONES 100 Ω 1. 2. 3. 4. 5. 10k Ω Lines Phono (Unbalanced) (Balanced)2 (Balanced)3 (Balanced)3 Phone Jack (TRS) (Balanced)3 The maximum output level of each OMNI OUT can be set internally. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD). Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND). Phone jacks are wired: Tip=OUT, Ring=IN, Sleeve=GND PHONES stereo phone jack is unbalanced (Tip=LEFT, Ring=RIGHT, Sleeve=GND). STEREO OUT [L, R], 0 dBV is referenced to 1.00 Vrms. In these specifications, when dB represents a specific voltage, 0 dB is referenced to 0.775 Vrms. All output DA converters (except INSERT OUT 1–16) are 24-bit, 128-times oversampling. 02R96 Version 2—Owner’s Manual 298 Appendix B: Specifications Digital Input Spec Input 2TR IN DIGITAL Format Data length Level Connector 1 AES/EBU 24-bit RS422 XLR-3-31 type (Balanced)1 2 IEC-60958 24-bit 0.5 Vpp/75 Ω 3 IEC-60958 24-bit 0.5 Vpp/75 Ω — — RS422 CASCADE IN RCA pin jack RCA pin jack D-SUB Half Pitch Connector 68P (Female) 1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD). Digital Output Spec Output Format 1 2TR OUT DIGITAL Data length Level Connector 24-bit2 RS422 XLR-3-32 type (Balanced)3 AES/EBU1 Professional use 2 IEC-609584 Consumer use 24-bit2 0.5V pp/75 Ω RCA pin jack 3 IEC-609584 Consumer use 24-bit2 0.5V pp/75 Ω RCA pin jack — — RS422 CASCADE OUT 1. Channel status of 2TR OUT DIGITAL 1 Type: 2 audio channels Emphasis: NO Sampling rate: depends on the internal configuration 2. Dither: word length 16/20/24 bit 3. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD). 4. Channel status of 2TR OUT DIGITAL 2, 3 Type: 2 audio channels Category code: 2 channel PCM encoder/decoder Copy prohibit: NO Emphasis: NO Clock accuracy: Level II (1000 ppm) Sampling rate: depends on the internal configuration 02R96 Version 2—Owner’s Manual D-SUB Half Pitch Connector 68P (Female) 299 I/O Slot Spec (1–4) I/O Slot Spec (1–4) Each I/O SLOT accepts a digital interface card. Only SLOT #1 has a serial interface. Card Name MY16-AT Function Input ADAT MY8-AT Number of available cards Output 16 IN 16OUT (depends on output patch)1 4 8 IN patch)1 4 ADAT 8 OUT (depends on output patch)1 MY16-TD TASCAM 16 IN MY8-TD TASCAM 8 IN 8 OUT (depends on output MY16-AE AES/EBU 16 IN 16 OUT (depends on output patch)1 4 MY8-AE AES/EBU 8 IN 8 OUT (depends on output patch)1 4 patch)1 16 OUT (depends on output MY8-AEB AES/EBU 8 IN MY4-AD ANALOG IN 4 IN MY8-AD ANALOG IN 8 IN MY4-DA ANALOG OUT MY8-AD24 ANALOG IN 8 IN — MY8-AD96 ANALOG IN 8 IN — MY8-DA96 ANALOG OUT MY8-AE96S AES/EBU MY8-AE96 — MY8-mLAN mLAN 4 4 4 — 4 — 4 4 OUT (depends on output patch)1 4 4 4 patch)1 4 8 IN 8 OUT (depends on output patch)1 2 8 IN 8 OUT (depends on output patch)1 4 8 OUT (depends on output patch)1 4 — AES/EBU 8 OUT (depends on output patch)1 8 IN 8 OUT (depends on output patch)1 MY16-mLAN mLAN 16 IN Waves Y56K Effect & I/O 8 IN 8 OUT (depends on output patch)1 2 Waves Y96K Effect & I/O 8 IN 8 OUT (depends on output patch)1 2 Apogee AP8AD ANALOG IN 8 IN Apogee AP8DA ANALOG OUT — 16 OUT (depends on output — 3 2 8 OUT (depends on output patch)1 2 1. See the Digital I/O chapter. Details depend on each interface card. Control I/O Spec I/O Port TO HOST MIDI Format Serial Level Connector in Console — RS422 USB 1.1 0 V–3.3 V IN MIDI — DIN Connector 5P OUT MIDI — DIN Connector 5P THRU MIDI — DIN Connector 5P DIN Connector 5P USB MIDI — SMPTE Nominal –10 dB/10k Ω IN — TTL/75 Ω (ON/OFF)2 OUT — TTL/75 Ω CONTROL — — D-SUB Connector 25P (Female) METER — RS422 D-SUB Connector 15P (Female) TIME CODE IN WORD CLOCK MTC Mini DIN Connector 8P B type USB connector SMPTE XLR-3-31 type (Balanced)1 BNC Connector BNC Connector 1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD). 2. This switch is on the rear panel. 02R96 Version 2—Owner’s Manual 300 Appendix B: Specifications Connector Pin Assignments CASCADE IN Pin CASCADE OUT Signal Pin Signal Pin Signal Pin Signal 1 GND 35 GND 1 GND 35 GND 2 INPUT 1-2(+) 36 INPUT 1-2(–) 2 OUTPUT 1-2(+) 36 OUTPUT 1-2(–) 3 INPUT 3-4(+) 37 INPUT 3-4(–) 3 OUTPUT 3-4(+) 37 OUTPUT 3-4(–) 4 INPUT 5-6(+) 38 INPUT 5-6(–) 4 OUTPUT 5-6(+) 38 OUTPUT 5-6(–) 5 INPUT 7-8(+) 39 INPUT 7-8(–) 5 OUTPUT 7-8(+) 39 OUTPUT 7-8(–) 6 INPUT 9-10(+) 40 INPUT 9-10(–) 6 OUTPUT 9-10(+) 40 OUTPUT 9-10(–) 7 INPUT 11-12(+) 41 INPUT 11-12(–) 7 OUTPUT 11-12(+) 41 OUTPUT 11-12(–) 8 INPUT 13-14(+) 42 INPUT 13-14(–) 8 OUTPUT 13-14(+) 42 OUTPUT 13-14(–) 9 INPUT 15-16(+) 43 INPUT 15-16(–) 9 OUTPUT 15-16(+) 43 OUTPUT 15-16(–) 10 DTR IN(+) 44 DTR IN(–) 10 DTR OUT(+) 44 DTR OUT(–) 11 RTS OUT(+) 45 RTS OUT(–) 11 RTS IN(+) 45 RTS IN(–) 12 GND 46 GND 12 GND 46 GND 13 WORD CLOCK IN(+) 47 WORD CLOCK IN(–) 13 WORD CLOCK OUT(+) 47 WORD CLOCK OUT(–) 14 WORD CLOCK OUT(+) 48 WORD CLOCK OUT(–) 14 WORD CLOCK IN(+) 48 WORD CLOCK IN(–) 15 CONTROL IN(+) 49 CONTROL IN(–) 15 CONTROL OUT(+) 49 CONTROL OUT(–) 16 CONTROL OUT(+) 50 CONTROL OUT(–) 16 CONTROL IN(+) 50 CONTROL IN(–) 17 GND 51 ID6 IN 17 GND 51 ID6 OUT 18 GND 52 ID6 OUT 18 GND 52 ID6 IN 19 INPUT 17-18(+) 53 INPUT 17-18(–) 19 OUTPUT 17-18(+) 53 OUTPUT 17-18(–) 20 INPUT 19-20(+) 54 INPUT 19-20(–) 20 OUTPUT 19-20(+) 54 OUTPUT 19-20(–) 21 INPUT 21-22(+) 55 INPUT 21-22(–) 21 OUTPUT 21-22(+) 55 OUTPUT 21-22(–) 22 INPUT 23-24(+) 56 INPUT 23-24(–) 22 OUTPUT 23-24(+) 56 OUTPUT 23-24(–) 23 RESERVED 57 RESERVED 23 RESERVED 57 RESERVED 24 RESERVED 58 RESERVED 24 RESERVED 58 RESERVED 25 RESERVED 59 RESERVED 25 RESERVED 59 RESERVED 26 RESERVED 60 RESERVED 26 RESERVED 60 RESERVED 27 ID0 IN 61 ID1 IN 27 ID0 OUT 61 ID1 OUT 28 ID2 IN 62 ID3 IN 28 ID2 OUT 62 ID3 OUT 29 ID4 IN 63 ID5 IN 29 ID4 OUT 63 ID5 OUT 30 ID0 OUT 64 ID1 OUT 30 ID0 IN 64 ID1 IN 31 ID2 OUT 65 ID3 OUT 31 ID2 IN 65 ID3 IN 32 ID4 OUT 66 ID5 OUT 32 ID4 IN 66 ID5 IN 33 MSB IN 67 2CH/LINE IN 33 MSB OUT 67 2CH/LINE OUT 34 FG 68 FG 34 FG 68 FG CONTROL Port Pin Signal Pin Signal Pin Signal 1 GPO0 10 GPI1 19 GND 2 GPO2 11 N.C. 20 GND 3 GPO4 12 SMODE1 21 +5V 4 GPO6 13 SPARE1 22 GPI0 5 GND 14 GPO1 23 N.C. 6 GND 15 GPO3 24 SOLO1 7 GND 16 GPO5 25 MAS/SLV1 8 GND 17 GPO7 9 +5V 18 GND 1. For 02R SOLO control. 02R96 Version 2—Owner’s Manual 239 mm PAD PAN FADER ON 2 ON 1 15 20 30 15 20 30 50 10 10 40 5 5 50 0 40 5 2 26 50 SOLO SOLO 10 SEL 10 50 40 30 20 15 10 5 0 5 3 27 51 3 ON SOLO SEL AUTO 2 AUTO PLUG INS 1 0 AUX 10 50 40 30 20 15 10 5 0 5 4 28 52 4 ON SOLO SEL AUTO 3 CHANNEL INSERTS 10 50 40 30 20 15 10 5 0 5 5 29 53 5 ON SOLO SEL AUTO 4 ASSIGN 2 AUX 8 AUX 7 ASSIGN 1 AUX 4 EFFECTS / PLUG INS SEL 1 25 49 AUX FADER MODE INTERNAL EFFECTS 5 10 AUX 6 AUX 5 ENCODER MODE AUX 2 AUX 1 OUTPUT PATCH VIEW UTILITY OFF ON AUX 3 METER INPUT PATCH REMOTE GROUP MIDI PAIR AUX SELECT 4 INSERT -60 ON OFF GAIN PEAK -16 26dB + 48V SIGNAL SETUP OFF ON DIO AUTOMIX AUTO DISPLAY DISPLAY DISPLAY INSERT DISPLAY ACCESS INSERT 3 1 INSERT -60 ON OFF GAIN PEAK -16 SIGNAL OFF ON -60 2 GAIN 26dB + 48V PEAK -16 ON OFF SIGNAL OFF ON -60 26dB + 48V PEAK GAIN ON OFF SIGNAL -16 26dB + 48V 10 50 40 30 20 15 10 5 0 5 6 30 54 6 ON SOLO SEL AUTO INSERT 5 SIGNAL 10 50 40 30 20 15 10 5 0 5 OFF ON -60 ON OFF GAIN PEAK -16 26dB + 48V 7 31 55 7 ON SOLO SEL AUTO INSERT 6 SIGNAL 10 50 40 30 20 15 10 5 0 5 8 32 56 8 ON SOLO SEL 50 40 30 20 15 10 5 10 10 34 AUX 2 9 33 50 40 30 20 15 10 5 0 5 10 ON SOLO SEL AUTO OFF ON AUX 1 9 ON SOLO SEL 8 INSERT -60 ON OFF GAIN PEAK -16 26dB + 48V SIGNAL AUTO OFF ON 10 0 5 INSERT 7 SIGNAL -60 ON OFF GAIN PEAK -16 26dB + 48V AUTO OFF ON -60 ON OFF GAIN PEAK -16 26dB + 48V 10 11 35 OFF ON AUX 3 50 40 30 20 15 10 5 0 5 11 ON SOLO SEL AUTO INSERT 9 SIGNAL -60 ON OFF GAIN PEAK -16 26dB + 48V 10 12 36 AUX 4 50 40 30 20 15 10 5 0 5 12 ON SOLO SEL AUTO INSERT 10 SIGNAL 13 37 13 ON SOLO SEL AUTO 5 14 38 PEAK 10 15 39 15 ON SOLO SEL 10 16 40 OFF ON AUX 8 50 40 30 20 15 10 5 0 5 16 ON SOLO SEL AUTO INSERT 13 SIGNAL -60 ON OFF GAIN PEAK -16 26dB + 48V 5 17 41 BUS 1 50 40 30 20 15 10 17 ON SOLO SEL AUTO DISPLAY EQ ON 10 OFF ON DIRECT 8 6 INSERT 16 SIGNAL 125 kHz Hz dB GAIN LOW 18 42 18 ON SOLO SEL AUTO 9 1 3 19 43 19 ON SOLO SEL AUTO 11 BUS 3 50 40 30 20 15 10 5 0 5 10 10 2 10 20 44 19 20 34 20 DELAY R EVEN L ODD 5 6 21 45 21 ON SOLO SEL AUTO 14 BUS 5 50 40 30 20 15 10 5 0 5 10 13 10 22 46 22 ON SOLO SEL AUTO BUS 6 50 40 30 20 15 10 5 0 5 7 15 23 47 23 ON SOLO SEL AUTO 10 5 24 48 BUS 8 50 40 30 20 15 10 24 ON SOLO SEL AUTO LINK STORE MASTER ON SEL AUTO STEREO 70 60 50 40 30 20 15 10 5 0 REMOTE STEREO 1 24 ENTER SCRUB SHUTTLE STOP REW SET 10 AUX8 2TR A1 2TR A2 STEREO SLOT DIMMER FF 5 DEC PLAY 2 6 1 3 REC 7 8 4 INC TALKBACK 0 10 CONTROL ROOM LEVEL 0 10 SURROUND MONITOR LEVEL BUS ASSIGN2 ASSIGN1 SURROUND 2TR D3 2TR D2 2TR D1 CONTROL ROOM CLEAR SOLO AUX7 10 PHONES 0 STEREO STUDIO DISPLAY CONTROL ROOM 10 PHONES LEVEL MONITOR STUDIO LEVEL 0 0 TALKBACK LEVEL MACHINE CONTROL LOCATE MEMORY RECALL kHz Hz dB GAIN DISPLAY 10.0 25 48 LAYER Q EFFECT HIGH GAIN HOLD GRAB FREQUENCY RELEASE DECAY SCENE MEMORY kHz Hz dB GAIN HIGH MID ATTACK ATTACK 00 0 24 34 23 24 4.00 5 23 34 DIGITAL MIXING CONSOLE FREQUENCY Q DISPLAY BUS 7 50 40 30 20 15 10 5 0 5 10 16 8 kHz Hz dB GAIN LOW MID 1.00 FREQUENCY RATIO Q GAIN GAIN PEAK +10 +10 SIGNAL 34 22 21 22 THRESHOLD R PAN / SURROUND PHASE / INSERT DISPLAY ACCESS 21 34 PEAK GAIN GAIN SIGNAL +10 +10 COMP BUS 4 50 40 30 20 15 10 5 0 5 20 ON 19 34 RANGE SOLO SEL PEAK GAIN GAIN SIGNAL +10 +10 SELECTED CHANNEL 17 18 34 18 THRESHOLD AUTO 12 4 USER DEFINED KEYS Q FREQUENCY EQUALIZER 17 34 GATE / COMP GATE L PEAK GAIN GAIN SIGNAL +10 +10 DISPLAY OFF ON -60 ON OFF GAIN PEAK -16 26dB + 48V GATE ON COMP ON DYNAMICS STEREO 7 5 2 4 1 3 ROUTING INSERT 15 SIGNAL -60 ON OFF GAIN PEAK -16 26dB + 48V BUS 2 50 40 30 20 15 10 5 0 5 DISPLAY DISPLAY FOLLOW PAN 10 0 5 OFF ON DISPLAY INSERT 14 SIGNAL -60 ON OFF GAIN PEAK -16 26dB + 48V 667 mm AUX 7 50 40 30 20 15 10 5 0 5 OFF ON AUTO INSERT 12 SIGNAL -60 ON OFF GAIN 26dB + 48V -16 AUX 6 50 40 30 20 15 10 14 ON SOLO SEL AUTO OFF ON 10 0 5 INSERT 11 SIGNAL -60 ON OFF GAIN PEAK -16 26dB + 48V AUX 5 50 40 30 20 15 10 5 0 5 10 OFF ON -60 ON OFF GAIN PEAK -16 26dB + 48V Dimensions 301 Dimensions 697 mm Specifications and external appearance subject to change without notice. For European Model Purchaser/User Information specified in EN55103-1 and EN55103-2. Inrush Current: 70 A Conformed Environment: E1, E2, E3 and E4 02R96 Version 2—Owner’s Manual 302 Appendix C: MIDI Appendix C: MIDI Scene Memory to Program Change Table Program Change # Initial Scene # 1 2 User Scene # Program Change # Initial Scene # 01 44 02 45 3 03 4 5 Program Change# Initial Scene # 44 87 87 45 88 88 46 46 89 89 04 47 47 90 90 05 48 48 91 91 6 06 49 49 92 92 7 07 50 50 93 93 8 08 51 51 94 94 9 09 52 52 95 95 10 10 53 53 96 96 11 11 54 54 97 97 12 12 55 55 98 98 13 13 56 56 99 99 14 14 57 57 100 00 15 15 58 58 101 — 16 16 59 59 102 — 17 17 60 60 103 — 18 18 61 61 104 — 19 19 62 62 105 — 20 20 63 63 106 — 21 21 64 64 107 — 22 22 65 65 108 — 23 23 66 66 109 — 24 24 67 67 110 — 25 25 68 68 111 — 26 26 69 69 112 — 27 27 70 70 113 — 28 28 71 71 114 — 29 29 72 72 115 — 30 30 73 73 116 — 31 31 74 74 117 — 32 32 75 75 118 — 33 33 76 76 119 — 34 34 77 77 120 — 35 35 78 78 121 — 36 36 79 79 122 — 37 37 80 80 123 — 38 38 81 81 124 — 39 39 82 82 125 — 40 40 83 83 126 — 41 41 84 84 127 — 42 42 85 85 128 — 43 43 86 86 02R96 Version 2—Owner’s Manual User Scene # User Scene # Scene Memory to Program Change Table 303 Initial Parameter to Control Change Table CHANNEL1 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H ON FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L MID NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN MASTER MASTER NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL LOW INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 STEREO STEREO INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH FADER L BALANCE ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN MASTER MASTER CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN LOW STEREO STEREO INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 02R96 Version 2—Owner’s Manual 304 Appendix C: MIDI CHANNEL2 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L MID NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL 02R96 Version 2—Owner’s Manual LOW INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN LOW INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 Scene Memory to Program Change Table 305 CHANNEL3 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER H FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L FADER L MID NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER LOW INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 BUS1 BUS2 BUS3 BUS4 BUS5 BUS6 BUS7 BUS8 AUX1 AUX2 AUX3 AUX4 AUX5 AUX6 AUX7 AUX8 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 BUS1 BUS2 BUS3 BUS4 BUS5 BUS6 BUS7 BUS8 AUX1 AUX2 AUX3 AUX4 AUX5 AUX6 AUX7 AUX8 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON PAN PAN PAN PAN PAN PAN PAN PAN MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER MASTER NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN LOW INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 BUS1 BUS2 BUS3 BUS4 BUS5 BUS6 BUS7 BUS8 AUX1 AUX2 AUX3 AUX4 AUX5 AUX6 AUX7 AUX8 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 02R96 Version 2—Owner’s Manual 306 Appendix C: MIDI CHANNEL4 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L 02R96 Version 2—Owner’s Manual LOW INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW NO ASSIGN Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW NO ASSIGN LOW INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 Scene Memory to Program Change Table 307 CHANNEL5 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L G LOW L LOW INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW NO ASSIGN Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW NO ASSIGN LOW INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 02R96 Version 2—Owner’s Manual 308 Appendix C: MIDI CHANNEL6 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LOW H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G LOW G LOW G LOW G LOW G LOW G LOW G LOW G LOW G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L 02R96 Version 2—Owner’s Manual LOW INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LOW F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID NO ASSIGN Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LOW Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID NO ASSIGN LOW INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 Scene Memory to Program Change Table 309 CHANNEL7 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L LOW INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID NO ASSIGN Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID NO ASSIGN LOW INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 02R96 Version 2—Owner’s Manual 310 Appendix C: MIDI CHANNEL8 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G LO-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G LO-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L 02R96 Version 2—Owner’s Manual LOW INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F LO-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID NO ASSIGN Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q LO-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID NO ASSIGN LOW INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 Scene Memory to Program Change Table 311 CHANNEL9 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L LOW INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID NO ASSIGN Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID NO ASSIGN LOW INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 02R96 Version 2—Owner’s Manual 312 Appendix C: MIDI CHANNEL10 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H G HI-MID H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L G HI-MID L 02R96 Version 2—Owner’s Manual LOW INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID F HI-MID NO ASSIGN Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID Q HI-MID NO ASSIGN LOW INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 Scene Memory to Program Change Table 313 CHANNEL11 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L LOW INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH NO ASSIGN Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH NO ASSIGN LOW INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 02R96 Version 2—Owner’s Manual 314 Appendix C: MIDI CHANNEL12 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L 02R96 Version 2—Owner’s Manual LOW INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH NO ASSIGN Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH NO ASSIGN LOW INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 Scene Memory to Program Change Table 315 CHANNEL13 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H G HIGH H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L G HIGH L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L LOW INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH F HIGH HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON NO ASSIGN Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH Q HIGH LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON NO ASSIGN LOW INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 02R96 Version 2—Owner’s Manual 316 Appendix C: MIDI CHANNEL14 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L 02R96 Version 2—Owner’s Manual LOW INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON NO ASSIGN LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON NO ASSIGN LOW INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 Scene Memory to Program Change Table 317 CHANNEL15 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L ATT L NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN LOW INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON HPF ON ON ON ON ON ON ON ON ON NO ASSIGN LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON LPF ON ON ON ON ON ON ON ON ON NO ASSIGN LOW INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT1 INPUT2 INPUT3 INPUT4 INPUT5 INPUT6 INPUT7 INPUT8 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 INPUT9 INPUT10 INPUT11 INPUT12 INPUT13 INPUT14 INPUT15 INPUT16 02R96 Version 2—Owner’s Manual 318 Appendix C: MIDI CHANNEL16 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 HIGH MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN 02R96 Version 2—Owner’s Manual LOW # 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 HIGH EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ MID NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON NO ASSIGN ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN LOW INPUT17 INPUT18 INPUT19 INPUT20 INPUT21 INPUT22 INPUT23 INPUT24 INPUT25 INPUT26 INPUT27 INPUT28 INPUT29 INPUT30 INPUT31 INPUT32 INPUT33 INPUT34 INPUT35 INPUT36 INPUT37 INPUT38 INPUT39 INPUT40 INPUT41 INPUT42 INPUT43 INPUT44 INPUT45 INPUT46 INPUT47 INPUT48 INPUT49 INPUT50 INPUT51 INPUT52 INPUT53 INPUT54 INPUT55 INPUT56 MIDI Data Format 319 MIDI Data Format In the following tables, “tx” means that transmission from the 02R96 is possible, and “rx” means that receiving messages at the 02R96 is possible. 1. CHANNEL MESSAGE Command 8n NOTE OFF 9n NOTE ON Bn CONTROL CHANGE Cn PROGRAM CHANGE rx/tx rx rx rx/tx rx/tx function Control the internal effects Control the internal effects Control parameters Switch scene memories 4.2.2 PARAMTER CHANGE Command F0 43 1n 3E 0B ... F7 RARAMETER CHANGE F0 43 3n 3E 0B ... F7 PARAMETER REQUEST F0 43 1n 3E 7F ... F7 PARAMETER CHANGE F0 43 3n 3E 7F ... F7 PARAMETER REQUEST rx/tx rx/tx function 02R96-specific parameter change rx/tx 02R96-specific parameter request rx/tx General purpose digital mixer parameter change General purpose digital mixer parameter request rx/tx The following data types of parameter change are used by the 02R96. 2. SYSTEM COMMON MESSAGE Command F1 MIDI TIME CODE QUARTER FRAME F2 SONG POSITION POINTER rx/tx rx rx function Used when TIME REFERENCE is MTC. Used when TIME REFERENCE is MIDI CLOCK. 3. SYSTEM REALTIME MESSAGE Command F8 TIMING CLOCK FA START FB CONTINUE FC STOP FE ACTIVE SENSING FF SYSTEM RESET rx/tx rx rx* rx* rx* rx rx function MIDI clock Start automix (from the beginning) Start automix (from the middle) Stop automix Check MIDI cable connections Clear running status * Received only when the AUTOMIX TIME REFERENCE setting is set to MIDI CLOCK. The 02R96 can correctly process Exclusive Messges of a length of F0 through F7 of 4096 bytes or shorter. 4.1 Real Time System Exclusive function MMC command MMC response Used when TIME REFERENCE is MTC. 4.2 System Exclusive Message 4.2.1 Bulk Dump Command rx/tx F0 43 0n 7E ... F7 BULK DUMP DATA rx/tx F0 43 2n 7E ... F7 BULK DUMP REQUEST rx/tx function BULK DUMP DATA BULK DUMP REQUEST The following data types of bulk dump are used on the 02R96. Data name 'm' 'S' 'L' 'I' 'V' 'U' 'C' 'P' 'Q' 'Y' 'G' 'E' 'H' 'R' 'O' 'J' 'K' 'a' 'N' rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx rx rx/tx rx/tx rx rx/tx rx/tx rx/tx function Edit buffer Patch data Setup memory Backup memory Function (recall, store, title, clear) Function (pair) Function (effect) Sort table data Function (attribute, link) Key remote Remote meter Remote time counter Automix status Format Details 1. NOTE OFF 4. EXCLUSIVE MESSAGE Command rx/tx F0 7F dd 06 ... F7 MMC tx COMMAND F0 7F dd 07 ... F7 MMC RESPONSE rx F0 7F dd 01 ... F7 MIDI TIME CODE rx Type (HEX) 1 (01) 2 (02) 3 (03) 4 (04) 16 (10) 17 (11) 18 (12) 19 (13) 20 (14) 32 (20) 33 (21) 34 (22) 35 (23) function Scene memory & request (compressed data) Setup memory & request User defined layer & request User defined plug-in & request User defined key & request User assignable layer & request Control change table & request Program change table & request Equalizer library & request Compressor library & request Gate library & request Effect library & request Channel library & request Input patch library & request Output patch library & request Bus to stereo library & request Surround monitor library & request Automix & request (compressed data) Plug-in effect card & request (8n) Reception If [OTHER ECHO] is ON, these message are echoed. If the [Rx CH] matches, these messages are received and used to control effects. STATUS DATA 1000nnnn 8n Note off message 0nnnnnnn nn Note number 0vvvvvvv vv Velocity (ignored) 2. NOTE ON (9n) Reception If [OTHER ECHO] is ON, these messages are echoed. If the [Rx CH] matches, these messages are received and used to control effects. STATUS DATA 1001nnnn 9n Note on message 0nnnnnnn nn Note number 0vvvvvvv vv Velocity (1-127:on, 0:off) 3. CONTROL CHANGE (Bn) Reception If [Control Change ECHO] is ON, these messages are echoed. If [TABLE] is selected, these message are received if [Control Change Rx] is ON, and will control parameters according to the [Control assign table] settings. The parameters that can be set are defined in the Control Change Assign Parameter List. If [NRPN] is selected, these messages are received if [Control Change Rx] is ON and the [Rx CH] matches, and will control the parameter that is specified by the four messages NRPN control number (62h, 63h) and Data Entry control number (06h, 26h). Parameter settings are defined in the Control Change Assign Parameter List. Transmission If [TABLE] is selected, operating a parameter specified in the [Control assign table] will cause these messages to be transmitted if [Control Change Tx] is ON. The parameters that can be specified are defined in the Control Change Assign Parameter List. If [NRPN] is selected, operating a specified parameter will cause data to be transmitted on the [Tx CH] if [Control Change Tx] is ON, using the four messages NRPN control number (62h, 63h) and Data Entry control number (06h, 26h). Parameter settings are defined in the Control Change Assign Parameter List. 02R96 Version 2—Owner’s Manual 320 Appendix C: MIDI This data cannot be transmitted via Program Change to Studio Manager since there is no guarantee that the contents of the tables will match. (Parameter Change messages will always be used.) If [TABLE] is selected STATUS DATA 1011nnnn Bn Control change 0nnnnnnn nn Control number (0-95, 102-119) 0vvvvvvv vv Control Value (0-127) Formula for converting Control values into parameter data: paramSteps= paramMax - paramMin + 1; add= paramWidth / paramSteps; mod= paramWidth - add * paramSteps; curValue= parm * add + mod / 2; (1) When the assigned parameter can be set in 128 steps or less: paramWidth = 127; rxValue = Control value; (2) When the assigned parameter can be set in 128 through 16383 steps: paramWidth = 16383; (2-1) When both High and Low data are received: rxValue = Control value (High) * 128 + Control value (Low); (2-2) When only Low data is received: rxValue = (curValue & 16256) + Control value (Low); (2-3) When only High data is received: rxValue = Control value (High) * 128 + (curValue & 127); (3) When the assigned parameter can be set in 16384 through 2097151 steps: paramWidth = 2097151; (3-1) When High, Middle, and Low data are received: rxValue = Control value (High) * 16384 + Control value (Middle) * 128 + Control value (Low); 4. PROGRAM CHANGE (Cn) Reception If [Program Change ECHO] is ON, these messages are echoed. If [Program Change RX] is ON and the [Rx CH] matches, these messages will be received. However if [OMNI] is ON, they will be received regardless of the channel. When a message is received, a Scene Memory will be recalled according to the settings of the [Program Change Table]. Transmission If [Program Change TX] is ON, this message is transmitted according to the settings of the [Program Change Table] on the [Tx CH] channel when a scene memory is recalled. If the recalled scene has been assigned to more than one program number, the lowest-numbered program number will be transmitted. Transmission to Studio Manager using Program Change messages will not be performed since there is no guarantee that the contents of the tables will match. (Parameter Changes will always be used.) STATUS DATA 1100nnnn Cn Program change 0nnnnnnn nn Program number (0-127) 5 MIDI TIME CODE QUARTER FRAME(F1) Reception This is echoed if [OTHER COMMANDS ECHO] is ON. Automix synchronizes this if the data is received at the port specified by the TIME REFERENCE setting. STATUS DATA 1100nnnn F1 Quarter frame message 0tttdddd td Type & data 6. SONG POSITION POINTER (F2) (3-2) When only Low data is received: rxValue = (curValue & 2097024) + Control value (Low); Reception If this is received when the automix TIME REFERENCE setting is MIDI CLOCK, the automix will move to the song position that was received. (3-3) When only Middle data is received: rxValue = (curValue & 2080895) + Control value (Middle) * 128; STATUS DATA (3-4) When only High data is received: rxValue = (curValue & 16383) + Control value (High) * 16384; (3-5) When Middle and Low data are received: rxValue = (curValue & 2080768) + Control value (Middle) * 128 + Control value (Low); (3-6) When High and Low data are received: rxValue = (curValue & 16256) + Control value (High) * 16384 + Control value (Low); (3-7) When High and Middle data are received: rxValue = (curValue & 127) + Control value (High) * 16384 + Control value (Middle) * 128; if ( rxValue > paramWidth) rxValue = paramWidth; param = ( rxValue - mod / 2) / add; If [NRPN] is selected STATUS STATUS DATA STATUS DATA STATUS DATA 1011nnnn 01100010 0vvvvvvv 1011nnnn 01100011 0vvvvvvv 1011nnnn 00000110 0vvvvvvv 1011nnnn 00100110 0vvvvvvv Bn 62 vv Bn 63 vv Bn 06 vv Bn 26 vv Control changeDATA NRPN LSB LSB of parameter number Control change*1 NRPN MSB MSB of parameter number Control change*1 MSB of data entry MSB of parameter data 11110010 F2 Song position pointer 0vvvvvvv vv Song position LSB 0vvvvvvv vv Song position MSB 7. TIMING CLOCK (F8) Reception If the automix TIME REFERENCE setting is MIDI CLOCK, this message is used to synchronize automix. It is also used to control effects. This message is transmitted 24 times per quarter note. STATUS 11111000 F8 Timing clock 8. START (FA) Reception This message is received if the automix TIME REFERENCE setting is MIDI CLOCK, and will start the automix. In actuality, automix will start when the next TIMING CLOCK is received after receiving the START message. STATUS 11111010 FA Start 9. CONTINUE (FB) Reception This message is received if the automix TIME REFERENCE setting is MIDI CLOCK, and will cause automix to start from the current song position. In actuality, automix will start when the next TIMING CLOCK is received after receiving the CONTINUE message. STATUS 11111011 FB Continue Control change*1 LSB of data entry LSB of parameter data *1) The second and subsequent STATUS need not be added during transmission. Reception must be implemented so that reception occurs whether or not STATUS is present. 02R96 Version 2—Owner’s Manual 10. STOP (FC) Reception This message is received if the automix TIME REFERENCE setting is MIDI CLOCK, and will cause automix to stop. STATUS 11111100 FC Stop Format Details 11. ACTIVE SENSING (FE) Reception Once this message has been received, the failure to receive any message for an interval of 400 ms or longer will cause MIDI transmission to be initialized, such as by clearing the Running Status. STATUS 11111110 FE Active sensing 12. SYSTEM RESET (FF) Reception When this message is received, MIDI communications will be cleared, e.g., by clearing the Running Status. STATUS 11111111 FF System reset 13. SYSTEM EXCLUSIVE MESSAGE (F0) 13.1 MIDI TIME CODE (FULL MESSAGE) The Automix synchronizes these messages when they are received at a port specified by the TIME REFERENCE setting. 13.2 MIDI MACHINE CONTROL (MMC) These messages are transmitted when the Machine Control section of the 02R96 is operated. 13.3 BULK DUMP This message sends or receives the contents of various memories stored within the 02R96. The basic format is as follows. Conversion from actual data into bulk data d[0~6]: actual data b[0~7]: bulk data b[0] = 0; for( I=0; I<7; I++){ if( d[I]&0x80){ b[0] |= 1<<(6-I); } b[I+1] = d[I]&0x7F; } Restoration from bulk data into actual data d[0~6]: actual data b[0~7]: bulk data for( I=0; I<7; I++){ b[0] <<= 1; d[I] = b[I+1]+(0x80&b[0]); } 13.3.1 Scene memory bulk dump format (compressed data) The 02R96 can transmit and receive scene memories in compressed form. STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW For DUMP DATA F0 43 0n 7E cc cc <Model ID> tt mm mm [Data ...] cs F7 For DUMP REQUEST F0 43 2n 7E <Model ID> tt mm mm F7 Device Number n DATA COUNT (the number of bytes that follow this, ending cc cc <Model ID> tt mm mm cs DATA NAME 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01101101 0mmmmmmm F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 6D mh Transmission This message is transmitted on the [Tx CH] by key operations in the [MIDI]-[BULK DUMP] screen. A bulk dump is transmitted on the [Rx CH] in response to a bulk dump request. The data area is handled by converting seven words of 8-bit data into eight words of 7-bit data. n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'm' is 0) 0bbbbbbb bb current block number (0-total block CHECK SUM Reception This message is received if [Bulk RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. When a bulk dump is received, it is immediately written into the specified memory. When a bulk dump request is received, a bulk dump is immediately transmitted. Manufacture's ID number (YAMAHA) BLOCK INFO. 0ttttttt tt total block number (minimum number DATA NUMBER A unique header (Model ID) is used to determine whether the device is a 02R96. CHECK SUM is obtained by adding the bytes that follow BYTE COUNT (LOW) and end before CHECK SUM, taking the binary compliment of this sum, and then setting bit 7 to 0. CHECK SUM = (-sum)&0x7F The 02R96 can transmit and receive BULK data only if the size of a MIDI packet (F0 - F7) is 4096 bytes or smaller. If large data consists of multiple MIDI packets, they can be transferred sequentially. System exclusive message m=0-99, 256, 8192 (Scene0-99, EDIT BUFFER, UNDO) 0mmmmmmm ml Receive is effective 1-99, 256, 8192 before the checksum) Model ID (for 02R96, 4C 4D 20 20 38 43 35 34) DATA TYPE 321 number) DATA CHECK SUM EOX 0ddddddd : : 0ddddddd 0eeeeeee 11110111 ds Scene data of block[bb] de ee ee= (Invert ('L'+...+de)+1)&0x7F F7 End of exclusive 13.3.2 Scene memory bulk dump request format (compressed data) The second and third bytes of the DATA NAME indicate the scene number that is being requested. If this is 256, the data of the Edit Buffer will be bulk-dumped. If this is 8192, the data of the Undo Buffer will be bulk-dumped. STATUS ID No. SUB STATUS FORMAT No. DATA NAME 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01101101 0mmmmmmm F0 43 2n 7E 4C 4D 20 20 38 43 35 34 6D mh System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'm' m=0-99, 256, 8192 (Scene0-99, EDIT BUFFER, UNDO) 0mmmmmmm ml 02R96 Version 2—Owner’s Manual 322 Appendix C: MIDI EOX 11110111 F7 End of exclusive 00110100 01001100 00000000 0bbbbbbb BLOCK INFO. 0ttttttt DATA NAME 13.3.3 Setup memory bulk dump format Of the setup memory of the 02R96, this bulk-dumps data other than the User defined layer, User define plug-in, User defined keys, User assignable layer, Control change table, and Program change table. STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01010011 00000010 00000000 BLOCK INFO. 0ttttttt F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 53 02 00 tt 'M' '' 13.3.6 User defined layer bulk dump request format '' The second and third bytes of the DATA NAME indicate the bank number. '8' 'C' '5' '4' 'S' CHECK SUM EOX 13.3.4 Setup memory bulk dump request format DATA NAME EOX Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'S' No.256 = Current End of exclusive The second and third bytes of the DATA NAME indicate the bank number. Be aware that the state of the transmission destination will (in some cases) change if the same bank is being used. 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 System exclusive message 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 01001100 00000000 0bbbbbbb 11110111 4C 'L' 00 bb b=0-3 (bank no.1-4) F7 End of exclusive Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' DATA NAME EOX System exclusive message 13.3.5 User defined layer bulk dump format STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW STATUS ID No. SUB STATUS FORMAT No. No.256 = Current : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive F0 43 2n 7E 4C 4D 20 20 38 43 35 34 53 02 00 F7 CHECK SUM EOX data count = ch * 128 + cl DATA 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01010011 00000010 00000000 11110111 b=0-3 (bank no.1-4) : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive Universal bulk dump total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Setup data of block[bb] STATUS ID No. SUB STATUS FORMAT No. 'L' DATA n=0-15 (Device number=MIDI Channel) 'L' '4' total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds User defined layer data of block[bb] System exclusive message Manufacture's ID number (YAMAHA) 34 4C 00 bb tt System exclusive message Manufacture's ID number (YAMAHA) 13.3.7 User defined plug-in bulk dump format The second and third bytes of the DATA NAME indicate the bank number. Be aware that the state of the transmission destination will (in some cases) change if the same bank is being used. STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01001001 00000000 0bbbbbbb BLOCK INFO. 0ttttttt 'C' '5' 02R96 Version 2—Owner’s Manual Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'I' b=0-7 (bank no.1-8) CHECK SUM EOX 'M' '8' n=0-15 (Device number=MIDI Channel) : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 'L' '' Manufacture's ID number (YAMAHA) DATA Universal bulk dump '' System exclusive message total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds User define plug-in data of block[bb] n=0-15 (Device number=MIDI Channel) data count = ch * 128 + cl F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 49 00 bb tt Format Details 13.3.8 User defined plug-in bulk dump request format The second and third bytes of the DATA NAME indicate the bank number. STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001001 00000000 0bbbbbbb 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 49 00 bb F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'I' b=0-7 (bank no.1-8) End of exclusive 13.3.9 User defined keys bulk dump format The second and third bytes of the DATA NAME indicate the bank number. Be aware that the state of the transmission destination will (in some cases) change if the same bank is being used. STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01010110 00000000 0bbbbbbb BLOCK INFO. 0ttttttt F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 56 00 bb tt System exclusive message EOX The second and third bytes of the DATA NAME indicate the bank number. Be aware that the state of the transmission destination will (in some cases) change if the same bank is being used. STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01010101 00000000 0bbbbbbb BLOCK INFO. 0ttttttt '8' 'C' '5' '4' 'V' b=0-7 (bank no.A-H) CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'U' b=0-3 (bank no.1-4) 13.3.12 User assignable layer bulk dump request format The second and third bytes of the DATA NAME indicate the bank number. STATUS ID No. SUB STATUS FORMAT No. 13.3.10 User defined keys bulk dump request format The second and third bytes of the DATA NAME indicate the bank number. DATA NAME Universal bulk dump CHECK SUM EOX DATA NAME F0 43 2n 7E 4C 4D 20 20 38 43 35 34 56 00 n=0-15 (Device number=MIDI Channel) '' DATA 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01010110 00000000 Manufacture's ID number (YAMAHA) : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 'L' total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds User defined key data of block[bb] STATUS ID No. SUB STATUS FORMAT No. System exclusive message DATA data count = ch * 128 + cl '' F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 55 00 bb tt total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds User assignable layer data of block[bb] n=0-15 (Device number=MIDI Channel) 'M' 0bbbbbbb bb b=0-7 (bank no.A-H) 11110111 F7 End of exclusive 13.3.11 User assignable layer bulk dump format Manufacture's ID number (YAMAHA) Universal bulk dump 323 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'V' EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01010101 00000000 0bbbbbbb 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 55 00 bb F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'U' b=0-3 (bank no.1-4) End of exclusive 13.3.13 Control change table bulk dump format STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 F0 43 0n 7E ch cl 4C 4D 20 20 38 43 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' 02R96 Version 2—Owner’s Manual 324 Appendix C: MIDI 00110101 00110100 DATA NAME 01000011 00000010 00000000 BLOCK INFO. 0ttttttt 35 34 43 02 00 tt '5' '4' 'C' No.256 = Current DATA total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Control change table data of block[bb] CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 13.3.14 Control change table bulk dump request format STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01000011 00000010 00000000 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 43 02 00 F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'C' No.256 = Current End of exclusive 13.3.15 Program change table bulk dump format STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01010000 00000010 00000000 BLOCK INFO. 0ttttttt F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 50 02 00 tt System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'P' No.256 = Current End of exclusive 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01010001 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 51 mh ml tt System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'Q' 0-199 (EQ Library no.1-200), 256- (Channel current data) DATA total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds EQ Library data of block[bb] CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive '5' '4' 13.3.18 Equalizer library bulk dump request format 'P' The second and third bytes of the DATA NAME indicate the bank number. (See above) No.256 = Current CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 13.3.16 Program change table bulk dump request format F0 43 2n 7E STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW '' 'C' 'L' 13.3.17 Equalizer library bulk dump format '' '8' 4C 4D 20 20 38 43 35 34 50 02 00 F7 The second and third bytes of the DATA NAME indicate the bank number. 0:Library no.1 - 199:Library no.200, 256:CH1 - 311:CH56, 384:BUS1 391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R, 8192:UNDO 256 and up are data for the corresponding channel of the edit buffer (excluding UNDO). For reception by the 02R96, only the user area is valid. (40-199, 256-) 'M' DATA 11110000 01000011 0010nnnn 01111110 EOX data count = ch * 128 + cl total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Program change table data of block[bb] STATUS ID No. SUB STATUS FORMAT No. DATA NAME 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01010000 00000010 00000000 11110111 STATUS ID No. SUB STATUS FORMAT No. DATA NAME System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 02R96 Version 2—Owner’s Manual EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01010001 0mmmmmmm 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 51 mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'Q' 0-199 (EQ Library no.1-200), 256- (Channel current data) End of exclusive Format Details 13.3.19 Compressor library bulk dump format The second and third bytes of the DATA NAME indicate the library number. 0:Library no.1 - 127:Library no.128, 256:CH1 - 351:CH96, 384:BUS1 391:BUS8, 512:AUX1 - 523:AUX12, 640:MATRIX1L - 647:MATRIX4R, 768:STEREO L - 769:STEREO R, 8192:UNDO 256 and following are data for the corresponding channel of the edit buffer. For reception by the 02R96, only the user area is valid. (36-127, 256-) STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01011001 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 59 mh ml tt System exclusive message Manufacture's ID number (YAMAHA) '8' 'C' '5' '4' 'Y' 0-127 (COMP Library no.1-128), 256- (Channel current data) DATA CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 13.3.20 Compressor library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01011001 0mmmmmmm 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 59 mh ml F7 Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'Y' 0-127 (COMP Library no.1-128), 256- (Channel current data) End of exclusive The second and third bytes of the DATA NAME indicate the library number. 0:Library no.1 - 127:Library no.128, 256:CH1 - 311:CH56, 8192:UNDO 256 and following are data for the corresponding channel of the edit buffer. For reception by the 02R96, only the user area is valid. (4-127, 256-) 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 F0 43 0n 7E ch cl 4C 4D 'C' '5' '4' 'G' 0-127 (GATE Library no.1-128), 256-351 (Channel current data) 13.3.22 Gate library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01000111 0mmmmmmm 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 47 mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'G' 0-127 (GATE Library no.1-128), 256-351 (Channel current data) End of exclusive System exclusive message 13.3.21 Gate library bulk dump format STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW '8' CHECK SUM EOX 'M' '' '' : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 'L' '' '' DATA Universal bulk dump data count = ch * 128 + cl 20 20 38 43 35 34 47 mh ml tt total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds GATE Library data of block[bb] n=0-15 (Device number=MIDI Channel) total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds COMP Library data of block[bb] STATUS ID No. SUB STATUS FORMAT No. 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01000111 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt 325 System exclusive message Manufacture's ID number (YAMAHA) 13.3.23 Effect library bulk dump format The second and third bytes of the DATA NAME indicate the library number. 0:Library no.1 - 127:Library no.128, 256:Effect1 - 259:Effect4, 8192:UNDO 256-263 are the data for the corresponding area of the edit buffer. For reception by the 02R96, only the user area is valid. (61-127, 256-263) STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01000101 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl 'L' 'M' DATA F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 45 mh ml tt System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'E' 0-127 (Effect Library no.1-128), 256-259 (Effect1-4 current) total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Effect Library data of block[bb] : : 0ddddddd de 02R96 Version 2—Owner’s Manual 326 Appendix C: MIDI CHECK SUM EOX 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 13.3.24 Effect library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01000101 0mmmmmmm 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 45 mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'E' 0-127 (Effect Library no.1-128), 256-259 (Effect1-4 current) End of exclusive 13.3.25 Channel library bulk dump format The second and third bytes of the DATA NAME indicate the library number. 0:Library no.0 - 128:Library no.128, 256:CH1 - 311:CH56, 384:BUS1 391:BUS8, 512:AUX1 - 519:AUX8, 768:STEREO L - 769:STEREO R, 8192:UNDO 256 and following are data for the corresponding channel of the edit buffer. For reception by the 02R96, only the user area is valid. (2-128,256-) STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01001000 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 48 mh ml tt DATA NAME System exclusive message EOX STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01010010 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt '8' 'C' '5' '4' 'H' 0-128 (Channel Library no.0-128), 256- (Current data) CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 'H' 0-128 (Channel Library no.0-128), 256- (Current data) End of exclusive F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 52 mh ml tt System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'R' 0-32 (Input patch Library no.0-32), 256 (Current data) CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive 13.3.28 Input patch library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) STATUS ID No. SUB STATUS FORMAT No. DATA NAME 13.3.26 Channel library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) F0 43 2n 7E 4C 4D 20 20 '4' '' DATA 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 '5' DATA 'L' total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Channel Library data of block[bb] STATUS ID No. SUB STATUS FORMAT No. 'C' total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Input patch Library data of block[bb] data count = ch * 128 + cl '' '8' The second and third bytes of the DATA NAME indicate the library number. 0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO For reception by the 02R96, only the user area is valid. (1-32,256) n=0-15 (Device number=MIDI Channel) 'M' 38 43 35 34 48 mh ml F7 13.3.27 Input patch library bulk dump format Manufacture's ID number (YAMAHA) Universal bulk dump 00111000 01000011 00110101 00110100 01001000 0mmmmmmm 0mmmmmmm 11110111 EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01010010 0mmmmmmm 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 52 mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'R' 0-32 (Input patch Library no.0-32), 256 (Current data) End of exclusive System exclusive message 13.3.29 Output patch library bulk dump format Manufacture's ID number (YAMAHA) The second and third bytes of the DATA NAME indicate the library number. 0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO For reception by the 02R96, only the user area is valid. (1-32,256) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' 02R96 Version 2—Owner’s Manual STATUS 11110000 F0 System exclusive message ID No. 01000011 43 Manufacture's ID number (YAMAHA) SUB STATUS 0000nnnn 0n n=0-15 (Device number=MIDI Channel) Format Details FORMAT No. 01111110 7E COUNT HIGH 0ccccccc ch COUNT LOW 0ccccccc cl 01001100 4C 01001101 4D 00100000 20 00100000 20 00111000 38 01000011 43 00110101 35 00110100 34 DATA NAME 01001111 4F 0mmmmmmm mh 0mmmmmmm ml BLOCK INFO. 0ttttttt tt Universal bulk dump DATA data count = ch * 128 + cl 'L' 'M' '' CHECK SUM EOX 13.3.32 Bus to stereo library bulk dump request format 'C' The second and third bytes of the DATA NAME indicate the library number. (See above) '5' '4' 'O' 0-32 (Output patch Library no.0-32), 256 (Current data) CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive STATUS ID No. SUB STATUS FORMAT No. DATA NAME 13.3.30 Output patch library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) DATA NAME EOX F0 43 2n 7E 4C 4D 20 20 38 43 35 34 4F mh ml F7 EOX F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 4A mh ml tt F0 43 2n 7E 4C 4D 20 20 38 43 35 34 4A mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'J' 0-32 (Bus to stereo Library no.0-32), 256 (Current data) End of exclusive 13.3.33 Surround monitor library bulk dump format Manufacture's ID number (YAMAHA) The second and third bytes of the DATA NAME indicate the library number. 0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO For reception by the 02R96, only the user area is valid. (1-32,256) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW '4' 'O' 0-32 (Output patch Library no.0-32), 256 (Current data) End of exclusive The second and third bytes of the DATA NAME indicate the library number. 0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO For reception by the 02R96, only the user area is valid. (1-32,256) 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 DATA NAME 01001010 0mmmmmmm 0mmmmmmm BLOCK INFO. 0ttttttt 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001010 0mmmmmmm 0mmmmmmm 11110111 System exclusive message 13.3.31 Bus to stereo library bulk dump format STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW de ee ee= (Invert ('L'+...+de)+1)&0x7F F7 End of exclusive '8' DATA 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001111 0mmmmmmm 0mmmmmmm 11110111 ds Bus to stereo Library data of block[bb] '' total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) 0ddddddd ds Output patch Library data of block[bb] STATUS ID No. SUB STATUS FORMAT No. 0ddddddd : : 0ddddddd 0eeeeeee 11110111 327 System exclusive message Manufacture's ID number (YAMAHA) DATA NAME 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001011 0mmmmmmm F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 4B mh Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'K' is 0) 0bbbbbbb bb current block number (0-total block number) DATA 0ddddddd ds Surround Monitor Library data of CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive block[bb] 'L' 'M' '' n=0-15 (Device number=MIDI Channel) BLOCK INFO. 0ttttttt tt total block number (minimum number Universal bulk dump '' Manufacture's ID number (YAMAHA) 0-32 (Surround Monitor Library no.0-32), 0mmmmmmm ml 256 (Current data) n=0-15 (Device number=MIDI Channel) data count = ch * 128 + cl System exclusive message '8' 'C' '5' '4' 'J' 13.3.34 Surround monitor library bulk dump request format The second and third bytes of the DATA NAME indicate the library number. (See above) 0-32 (Bus to stereo Library no.0-32), 256 (Current data) total block number (minimum number is 0) 0bbbbbbb bb current block number (0-total block number) STATUS ID No. SUB STATUS FORMAT No. 11110000 01000011 0010nnnn 01111110 F0 43 2n 7E System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 02R96 Version 2—Owner’s Manual 328 Appendix C: MIDI DATA NAME 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001011 0mmmmmmm 4C 4D 20 20 38 43 35 34 4B mh 'L' 13.3.37 Plug-in effect card bulk dump format 'M' The second byte of the DATA NAME indicates the slot number. 0:SLOT 3 - 1:SLOT 4 The data is not received if the Developer ID and Product ID are different than the card that is installed in the slot. The data is not transmitted if a valid plug-in effect card is not installed. '' '' '8' 'C' '5' '4' 'K' 0-32 (Surround Monitor Library no.0-32), 0mmmmmmm ml 256 (Current data) EOX STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW 11110111 F7 End of exclusive 13.3.35 Automix bulk dump format (compressed data) The second byte of the DATA NAME indicates the library number. 0:Library no.1 - 15:Library no.16, 256:Current automix data STATUS ID No. SUB STATUS FORMAT No. COUNT HIGH COUNT LOW DATA NAME 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01100001 0mmmmmmm F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 61 mh System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) DATA NAME Universal bulk dump data count = ch * 128 + cl 11110000 01000011 0000nnnn 01111110 0ccccccc 0ccccccc 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001110 0mmmmmmm 0mmmmmmm 0bbbbbbb F0 43 0n 7E ch cl 4C 4D 20 20 38 43 35 34 4E mh ml bh 'L' '' n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl 'L' 'M' '' '' '8' 'C' '5' '4' 'N' m=0-1 (SLOT 2-3) BLOCK INFO. current block number (0-total block number) is 0) '' DATA 0ttttttt 0000iiii 0000iiii 0000jjjj 0000jjjj 0ddddddd CHECK SUM EOX : : 0ddddddd de 0eeeeeee ee ee= (Invert ('L'+...+de)+1)&0x7F 11110111 F7 End of exclusive '8' 'C' '5' '4' 0-15 (Automix no.1-16), 256 (Current data) 0mmmmmmm ml BLOCK INFO. 0bbbbbbb bh current block number (0-total block number) 0bbbbbbb bl 0ttttttt th total block number (minimum number Manufacture's ID number (YAMAHA) 0bbbbbbb bl 0ttttttt th total block number (minimum number 'M' 'a' System exclusive message tl 0i 0i 0j 0j ds Developer id (High) Developer id (Low) Product id (High) Product id (Low) Plug-in Effect card memory data of block[bb] is 0) DATA CHECK SUM EOX 0ttttttt 0ddddddd : : 0ddddddd 0eeeeeee 11110111 tl ds Automix memory data of block[bb] de ee ee= (Invert ('L'+...+de)+1)&0x7F F7 End of exclusive 13.3.38 Plug-in effect card bulk dump request format The second and third bytes of the DATA NAME indicate the slot number. (See above) STATUS ID No. SUB STATUS FORMAT No. 13.3.36 Automix bulk dump request format (compressed data) The second and third bytes of the DATA NAME indicate the library number. (See above) STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01100001 0mmmmmmm F0 43 2n 7E 4C 4D 20 20 38 43 35 34 61 mh System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump DATA NAME 'L' 'M' '' EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110101 00110100 01001110 0mmmmmmm 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 35 34 4E mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump 'L' 'M' '' '' '8' 'C' '5' '4' 'N' m=0-1 (SLOT 2-3) End of exclusive '' '8' 'C' '5' '4' 'a' 0-15 (Automix no.1-16), 256 (Current data) 0mmmmmmm ml 11110111 F7 End of exclusive 02R96 Version 2—Owner’s Manual 13.4 PARAMETER CHANGE Reception If [Parameter change ECHO] is ON, these messages are echoed. If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. A specific parameter is controlled when a Parameter Change is received. When a Parameter Request is received, the current value of the specified parameter will be transmitted as a Parameter Change with the Device Number set to [Rx CH]. Format Details Transmission If [Parameter change TX] is ON and you operate a parameter for which Control Change transmission is not enabled, a parameter change will be transmitted with [Tx CH] as the Device Number. As a response to a Parameter Request, a parameter change will be transmitted with [Rx CH] as the Device Number. 13.4.1 Parameter change basic format (02R96-specific) STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0001nnnn 00111110 00001011 0ttttttt 0eeeeeee F0 43 1n 3E 0B tt ee System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Data type Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. DATA *) EOX 0ccccccc cc Channel no. 0ddddddd dd data : : 11110111 F7 End of exclusive 13.4.5 Parameter Address Consult your dealer for parameter address details. 13.4.6 Parameter change Transmission If [Parameter change TX] is ON and a parameter that is not assigned in the [Control Assign Table] is changed, the Parameter Change messages are transmitted on [Tx CH] device number channel. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 13.4.2 Parameter Change basic format (Universal format) EOX F0 43 1n 3E 7F tt ee EOX MODEL ID (digital mixer) Universal Data type System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Data type 0ccccccc cc Channel no. 11110111 F7 End of exclusive 13.4.4 Parameter request basic format (Universal format) STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0011nnnn 00111110 01111111 0ttttttt 0eeeeeee F0 43 3n 3E 7F tt ee STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS Universal Edit Buffer 0ccccccc cc Channel no. 0ddddddd dd data : : 11110111 F7 End of exclusive EOX F0 43 3n 3E 7F 01 ee System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Edit Buffer 0ccccccc cc Channel no. 11110111 F7 End of exclusive 13.4.8 Parameter change (Patch data) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the specified parameter will be controlled. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0001nnnn 00111110 00001011 00000010 0eeeeeee F0 43 1n 3E 0B 02 ee System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Patch data Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 11110000 01000011 0011nnnn 00111110 01111111 00000001 0eeeeeee (Edit buffer) Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. System exclusive message DATA Universal Data type Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. EOX MODEL ID (digital mixer) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the value of the specified parameter will be transmitted as a Parameter change. Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. EOX n=0-15 (Device number=MIDI Channel) 13.4.7 Parameter request 13.4.3 Parameter request basic format (02R96-specific) F0 43 3n 3E 0B tt ee Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) 0ccccccc cc Channel no. 0ddddddd dd data : : 11110111 F7 End of exclusive 11110000 01000011 0011nnnn 00111110 00001011 0ttttttt 0eeeeeee System exclusive message Manufacture's ID number (YAMAHA) *) For parameters with a data size of 2 or more, data for that size will be transmitted. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS F0 43 1n 3E 7F 01 ee System exclusive message Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. DATA *) 11110000 01000011 0001nnnn 00111110 01111111 00000001 0eeeeeee Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. DATA 11110000 01000011 0001nnnn 00111110 01111111 0ttttttt 0eeeeeee (Edit buffer) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the specified parameter will be controlled. *) For parameters with a data size of 2 or more, data for that size will be transmitted. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 329 EOX 0ccccccc cc Channel no. 0ddddddd dd data : : 11110111 F7 End of exclusive 0ccccccc cc Channel no. 11110111 F7 End of exclusive 02R96 Version 2—Owner’s Manual 330 Appendix C: MIDI 13.4.9 Parameter request (Patch data) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the value of the specified parameter will be transmitted as a Parameter change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0011nnnn 00111110 00001011 00000010 0eeeeeee F0 43 3n 3E 0B 02 ee System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Patch data Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. EOX 0ccccccc cc Channel no. 11110111 F7 End of exclusive 13.4.10 Parameter change (Setup memory) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the specified parameter will be controlled. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0001nnnn 00111110 00001011 00000011 0eeeeeee F0 43 1n 3E 0B 03 ee System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Setup data Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. DATA EOX 0ccccccc cc Channel no. 0ddddddd dd data : : 11110111 F7 End of exclusive 13.4.11 Parameter request (Setup memory) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the value of the specified parameter will be transmitted as a Parameter change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0011nnnn 00111110 00001011 00000011 0eeeeeee F0 43 3n 3E 0B 03 ee System exclusive message n=0-15 (Device number=MIDI Channel) Setup data 13.4.12 Parameter change F0 43 1n 3E 0B 04 EOX pp Parameter no. cc Channel no. dd data F7 End of exclusive 13.4.13 Parameter request (Backup memory) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the value of the specified parameter will be transmitted as a Parameter change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0011nnnn 00111110 00001011 00000100 0eeeeeee F0 43 3n 3E 0B 04 ee System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Backup data Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. EOX 0ccccccc cc Channel no. 11110111 F7 End of exclusive 13.4.14 Parameter change (Function call Library: store / recall) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the specified memory/library will be stored/recalled. Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS DATA EOX 11110000 01000011 0001nnnn 00111110 01111111 00010000 00ffffff 0mmmmmmm 0mmmmmmm 0ccccccc 0ccccccc 11110111 F0 43 1n 3E 7F 10 ff mh ml ch cl F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call function number High number Low channel High channel Low End of exclusive 02R96 0ccccccc cc Channel no. 11110111 F7 End of exclusive 11110000 01000011 0001nnnn 00111110 00001011 00000100 DATA 0ppppppp 0ccccccc 0ddddddd : : 11110111 MODEL ID (digital mixer) (Backup memory) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the specified parameter will be controlled. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS to two bytes) Manufacture's ID number (YAMAHA) Element no. (If ‘ee’ is 0, ‘ee’ is expanded to two bytes) 0ppppppp pp Parameter no. EOX 0eeeeeee ee Element no. (If ‘ee’ is 0, ‘ee’ is expanded System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Backup data 02R96 Version 2—Owner’s Manual function SCENE RECALL EQ LIB RECALL GATE LIB RECALL COMP LIB RECALL EFF LIB RECALL CHANNEL LIB RECALL INPATCH LIB RECALL OUTPATCH LIB RECALL Bus to Stereo LIB RECALL Surround Monitor LIB RECALL AUTOMIX LIB RECALL 0x00 0x01 0x02 0x03 0x04 0x06 0x07 0x08 0x09 0x0A 0x0B number 0-99, 8192 1-200, 8192 1-128, 8192 1-128, 8192 1-128, 8192 0-128, 8192 0-32, 8192 0-32, 8192 0-32, 8192 0-32, 8192 1-16 channel*1) 256 0-513 0-95 0-513 0-3 0-513 256 256 256 256 256 rx/tx rx/tx*2) rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx SCENE STORE EQ LIB STORE GATE LIB STORE COMP LIB STORE EFF LIB STORE CHANNEL LIB STORE INPATCH LIB STORE OUTPATCH LIB STORE 0x20 0x21 0x22 0x23 0x24 0x26 0x27 0x28 1-99 41-200 5-128 37-128 xx*3)-128 2-128 1-32 1-32 256, 16383 0-513, 16383 0-95, 16383 0-513, 16383 0-3, 16383 0-513, 16383 256, 16383 256, 16383 rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx rx/tx Format Details function Bus to Stereo LIB STORE Surround Monitor LIB STORE AUTOMIX LIB STORE 0x29 0x2A 0x2B number 1-32 1-32 1-16 channel*1) 256, 16383 256, 16383 256, 16383 rx/tx rx/tx rx/tx rx/tx *1) 0:CH1 - 55:CH56, 128:BUS1 - 135:BUS8, 256:AUX1 263:AUX8, 512:STEREO L - 513:STEREO R Use 256 if the recall destination or store source is a single data item. Effect is 0:Effect1 - 3:Effect4 If the store destination is 16383 (0x3FFF), this indicates that the library data has been changed by a external cause (such as bulk reception) (only transmitted by the 02R96) *2) This is also transmitted when a program that is not assigned in the [Program Change Table] is recalled. (Normally, it is transmitted by Program Change messages.) *3) Varies with the firmware version. 13.4.15 Parameter change (Function call: title) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the title of the specified memory/library will be changed. Transmission In response to a request, a Parameter Change message will be transmitted on the [Rx CH]. If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS DATA EOX 11110000 01000011 0001nnnn 00111110 01111111 00010000 0100ffff 0mmmmmmm 0mmmmmmm 0ddddddd : : : 0ddddddd 11110111 function SCENE LIB TITLE EQ LIB TITLE GATE LIB TITLE COMP LIB TITLE EFF LIB TITLE CHANNEL LIB TITLE INPATCH LIB TITLE OUTPATCH LIB TITLE Bus to Stereo LIB TITLE Surround Monitor LIB TITLE AUTOMIX LIB TITLE F0 43 1n 3E 7F 10 4f mh ml dd System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call title number High number Low title 1 TITLE EOX Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the specified memory/library will be cleared. Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX 11110000 01000011 0001nnnn 00111110 01111111 00010000 0110ffff 0mmmmmmm 0mmmmmmm 11110111 F0 43 1n 3E 7F 10 6f mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call clear function number High number Low End of exclusive function SCENE LIB CLEAR EQ LIB CLEAR GATE LIB CLEAR COMP LIB CLEAR EFF LIB CLEAR 0x60 0x61 0x62 0x63 0x64 number 1-99 41-200 5-128 37-128 xx(*)-128 CHANNEL LIB CLEAR INPATCH LIB CLEAR OUTPATCH LIB CLEAR Bus to Stereo LIB CLEAR Surround Monitor LIB CLEAR AUTOMIX LIB CLEAR 0x66 0x67 0x68 0x69 0x6A 0x6B 2-128 1-32 1-32 1-32 1-32 1-16 * Varies with the firmware version. dd title x (depend on the library) F7 End of exclusive 0x40 0x41 0x42 0x43 0x44 0x46 0x47 0x48 0x49 0x4A 0x4B number 0-99,256 (0:response only) 1-200 (1-40:response only) 1-128 (1-4:response only) 1-128 (1-36:response only) 1-128 (1-xx(*):response only) 0-128 (0-1:response only) 0-32 (0:response only) 0-32 (0:response only) 0-32 (0:response only) 0-32 (0:response only) 1-16 13.4.16 Parameter request 13.4.18 Parameter change size 16 16 16 16 16 16 16 16 16 16 16 (Function call: title) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, a Parameter Change message will be transmitted on the [Rx CH]. Refer to the above table for the Functions and Numbers. 11110000 01000011 0011nnnn 00111110 01111111 00010000 4f mh number High ml number Low F7 End of exclusive 13.4.17 Parameter change (Function call: scene/library clear) F0 43 3n 3E 7F 10 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call (Function call: pair) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, pairing will be enabled/disabled for the specified channel. (Otherwise, these messages are reserved for future use.) STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS * Varies with the firmware version. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 0100ffff 0mmmmmmm 0mmmmmmm 11110111 331 DATA EOX 11110000 01000011 0001nnnn 00111110 01111111 00010001 0000ffff 0sssssss 0sssssss 0ddddddd 0ddddddd 11110111 function PAIR ON with COPY PAIR ON with RESET BOTH PAIR OFF F0 43 1n 3E 7F 11 0f sh sl dh dl F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call Pair function Source channel H Source channel L Destination channel H Destination channel L End of exclusive 0x00 0x01 0x02 channel *1) *1) *1) *1) 0:CH1 - 95:CH96, 128:BUS1 - 135:BUS8, 256:AUX1 267:AUX12 • In the case of PAIR, you must specify channels for which pairing is possible. • In the case of PAIR ON with COPY, you must specify Source Channel as the copy source, and Destination Channel as the copy destination. 02R96 Version 2—Owner’s Manual 332 Appendix C: MIDI 13.4.19 Parameter change (Function call: effect) 13.4.22 Parameter change (Function call: attribute) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the corresponding effect’s function activates (depending on the effect type). Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, the attribute of the specified memory/library will be changed. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS DATA EOX 11110000 01000011 0001nnnn 00111110 01111111 00010010 0000ffff 00000000 0ppppppp 00000000 0eeeeeee 11110111 F0 43 1n 3E 7F 12 0f 00 pp 00 ee F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call Effect Event function Release:0, Press:1 Effect number (0:Effect1 - 3:Effect4) 0x00 0x01 0x02 0x03 channel 0:Effect1 - 3:Effect4 0:Effect1 - 3:Effect4 0:Effect1 - 3:Effect4 0:Effect1 - 3:Effect4 • This does not activate when the effect type is different. 13.4.20 Parameter Change (Sort table data) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. The Scene memory Sort table is updated as soon as the messages are received. If Studio Manager performs a scene memory sort, it will transmit this data to the 02R96. Transmission When scene memory sort is executed on the 02R96, the memory sort table will be transmitted to Studio Manager. Studio Manager will sort the memories according to this data. DATA EOX 11110000 01000011 0001nnnn 00111110 00001011 00010011 0000ffff 0ddddddd : : 0ddddddd 11110111 F0 43 1n 3E 0B 13 0f ds System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Library sort table 0ttttttt tl 11110111 F7 End of exclusive function SCENE LIB ATTRIBUTE AUTOMIX LIB ATTRIBUTE n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call attribute number High number Low attribute (protect:0x0001, normal:0x0000) 0x00 0x0B number 0-99 (0:response only) 1-16 13.4.23 Parameter request (Function call: attribute) Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, a Parameter Change message will be transmitted on the [Rx CH]. Refer to the above table for the Functions and Numbers. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS ATTRIBUTE EOX de Data F7 End of exclusive (Sort table data) Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. Sort table data is transmitted as Parameter Change messages on the [Rx CH] channel. EOX EOX Manufacture's ID number (YAMAHA) 11110000 01000011 0011nnnn 00111110 01111111 00010100 0000ffff 0mmmmmmm 0mmmmmmm 11110111 F0 43 3n 3E 7F 14 0f mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call number High number Low End of exclusive 13.4.24 Parameter change 13.4.21 Parameter Request 11110000 01000011 0011nnnn 00111110 00001011 00010011 0000ffff 11110111 DATA Library type Data F0 43 1n 3E 7F 14 0f mh ml th System exclusive message 11110000 01000011 0001nnnn 00111110 01111111 00010100 0000ffff 0mmmmmmm 0mmmmmmm 0ttttttt 02R96 8-7 conversion is performed on the data area in the same way as for bulk. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS End of exclusive function Freeze Play button Freeze Record button Auto Pan 5.1 Trigger Button Auto Pan 5.1 Reset Button STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS Transmission In response to a request, a Parameter Change message will be transmitted on the [Rx CH]. If [Parameter change ECHO] is ON, this message will be retransmitted without change. F0 43 3n 3E 0B 13 0f F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Library sort table Library type End of exclusive 02R96 Version 2—Owner’s Manual (Function call: link) Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, the patch link data of the specified scene will be modified. Transmission In response to a request, a Parameter Change message will be transmitted on the [Rx CH]. If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS 11110000 01000011 0001nnnn 00111110 01111111 00010100 0010ffff 0mmmmmmm 0mmmmmmm F0 43 1n 3E 7F 14 2f mh ml System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call link number High number Low Format Details DATA EOX 0iiiiiii 0iiiiiii 0ooooooo 0ooooooo 11110111 ih inpatch il oh outpatch ol F7 End of exclusive function SCENE LIB LINK 0x20 ADDRESS DATA number 0-99 (0:response only) EOX 13.4.25 Parameter request (Function call: link) Reception This is received if [Parameter change RX] is ON and the [Rx CH] matches the device number included in the SUB STATUS. This is echoed if [Parameter change ECHO] is ON. When this is received, a Parameter Change message will be transmitted on the [Rx CH]. Refer to the above table for the Functions and Numbers. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX 11110000 01000011 0011nnnn 00111110 01111111 00010100 0010ffff 0mmmmmmm 0mmmmmmm 11110111 F0 43 3n 3E 7F 14 2f mh ml F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) Universal Function call link number High number Low End of exclusive 13.4.26 Parameter change Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS DATA EOX 11110000 01000011 0001nnnn 00111110 00001011 00100000 0kkkkkkk 0kkkkkkk 0kkkkkkk 0ppppppp 11110111 F0 43 1n 3E 0B 20 kk kk kk pp F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Key remote Key address H Key address M Key address L Release:0, Press:1 End of exclusive 13.4.27 Parameter change (Remote meter) When transmission is enabled by receiving a Request of Remote meter, the specified meter information is transmitted every 50 msec for 10 seconds. When you want to transmit meter information continuously, a Request must be transmitted continuously within every 10 seconds. STATUS ID No. SUB STATUS GROUP ID MODEL ID 11110000 01000011 0001nnnn 00111110 00001011 F0 43 1n 3E 0B Remote meter ADDRESS UL ADDRESS LU ADDRESS LL data1 H Data1 L F7 End of exclusive (Remote meter) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, data of the specified address is transmitted on the [Rx CH] at intervals of 50 msec as a rule, for a period of 10 seconds. If Address UL= 0x7F is received, transmission of all meter data will be halted immediately. (disable) Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX 11110000 01000011 0011nnnn 00111110 00001011 00100001 0mmmmmmm 0mmmmmmm mmmmmmm 0ccccccc 0ccccccc 11110111 F0 43 3n 3E 0B 21 mm mm mm ch cl F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Remote meter ADDRESS UL ADDRESS LU ADDRESS LL Count H Count L End of exclusive 13.4.29 Parameter change (Remote time counter) When transmission is enabled by receiving a Request of Remote Time Counter, the Time Counter data is transmitted every 50 msec for 10 seconds. When you want to transmit Counter information continuously, a Request must be transmitted within every 10 seconds. Reception This is echoed if [Parameter change ECHO] is ON. Transmission When transmission is enabled by receiving a Request, the Time Counter information is transmitted on [RxCH] channel every 50 msec for 10 seconds. Transmission will be disabled if the power is turned off and on again, or if the PORT setting is changed. If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS Reception This is echoed if [Parameter change ECHO] is ON. Transmission When transmission has been enabled by a Request, the parameter specified by Address will be transmitted on the [Rx CH] channel at 50 msec intervals for a duration of 10 seconds. Transmission will be disabled if the power is turned off and on again, or if the PORT setting is changed. If [Parameter change ECHO] is ON, this message will be retransmitted without change. 21 mm mm mm dd dd 13.4.28 Parameter request (Key remote) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the same processing that is executed when the key specified by Address is pressed (released). 00100001 0mmmmmmm 0mmmmmmm 0mmmmmmm 0ddddddd 0ddddddd : : 11110111 333 DATA EOX 11110000 01000011 0001nnnn 00111110 00001011 00100010 0000tttt 0ddddddd 0ddddddd 0ddddddd 0ddddddd 11110111 F0 43 1n 3E 0B 22 0t dd dd dd dd F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Remote Time counter 0:Time code, 1:Measure.Beat.Clock Hour / Measure H Minute / Measure L Second / Beat Frame / Clock End of exclusive System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 02R96 Version 2—Owner’s Manual 334 Appendix C: MIDI 13.4.30 Parameter request (Remote time counter) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When this is received, the Time Counter information is transmitted on the [Rx CH] channel every 50 msec for 10 seconds. When the second byte of Address is received on 0x7F, data transmission will be halted immediately. (disable) Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX 11110000 01000011 0011nnnn 00111110 00001011 00100010 0ddddddd F0 43 3n 3E 0B 22 dd System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Remote Time counter 0:Transmission request, 0x7F:Transmission stop request 11110111 F7 End of exclusive 13.4.31 Parameter change (Automix status) When transmission is enabled by receiving a Request of Automix status, the Automix Status data is transmitted every second for 10 seconds. When you want to transmit the Automix Status information continuously, the Request must be transmitted continuously minimum within 10 seconds interval. The data is transmitted continuously while the transmission is enabled, even when the Automix Status on the 02R96 has been changed. Reception This is echoed if [Parameter change ECHO] is ON. Transmission When the transmission is set to enable by receiving a Request. The Automix Status data is transmitted on the [Rx CH] channel every second for 10 seconds. The data is transmitted continuously while the transmission is enabled, even when the Automix Status on the 02R96 has been changed. Transmission will be disabled if the power is turned off and on again, or if the PORT setting is changed. If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX 11110000 01000011 0001nnnn 00111110 00001011 00100011 00000000 0000dddd 0000dddd 11110111 F0 43 1n 3E 0B 23 00 0d 0d F7 System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Automix status Automix status H Automix status L End of exclusive 13.4.32 Parameter request (Automix status) Reception If [Parameter change RX] is ON and the [Rx CH] matches the Device Number included in the SUB STATUS, these messages are received. If [Parameter change ECHO] is ON, these messages are echoed. When the data is received, the Automix Status data is transmitted on the [Rx CH] every second for 10 seconds. When the second byte of Address is received on 0x7F, data transmission will be halted immediately (disable). Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. STATUS ID No. SUB STATUS GROUP ID MODEL ID ADDRESS EOX 11110000 01000011 0011nnnn 00111110 00001011 00100011 0ddddddd F0 43 3n 3E 0B 23 dd System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) MODEL ID (digital mixer) 02R96 Automix status 0:Transmission request, 0x7F:Transmission stop request 11110111 F7 End of exclusive 02R96 Version 2—Owner’s Manual MB02R96 Peak Meter Bridge 335 Appendix D: Options MB02R96 Peak Meter Bridge Installation 1 Unscrew the four fixing screws 1 on the 02R96 rear panel to which the meter bridge will be attached. 1 1 2 Using the four supplied 8 mm screws B, attach the brackets to the meter bridge, as shown below. 3 Align the meter bridge with the 02R96, and, using two of the supplied 12 mm screws C, screw in the top two fixing screws, but don’t tighten them fully. 4 Screw in the bottom two screws C and tighten them fully. 5 Fully tighten the top two screws C. 6 Connect the meter bridge cable to the 02R96’s METER port. 3 2 3 2 02R96 Version 2—Owner’s Manual 336 Appendix D: Options Meter Bridge Controls A Channel indicators These indicators show which channels are currently being metered: Input Channels 1–24, 25–48, or 49–56 and Aux Sends 1–8 and Bus Outs 1–8. 9 5 B INPUT METERING POSITION button & indicators This button is used to set the metering position for Input Channels to pre-EQ, pre-fader, or post-fader. It works in unison with the PRE EQ, PRE FADER, and POST FADER buttons for Input Channels on the Meter pages. The indicators show the current setting. C PEAK HOLD button 56 OVER 8 7 This button is used to turn the Peak Hold function on and off. Its indicator lights up when Peak Hold is on. It works in unison with the PEAK HOLD buttons on the Meter pages. D LAYER buttons 4 These button are used to select Layers for metering. The button indicator for the currently selected Layer lights up. If the Meter Follow Layer preference is on (see page 231), these Layers are selected automatically when the LAYER buttons on the 02R96 are pressed. 3 E OUTPUT METERING POSITION button & indicators This button is used to set the metering position for Output Channels to pre-EQ, pre-fader, or post-fader. It works in unison with the PRE EQ, PRE FADER, and POST FADER buttons for Output Channels on the Meter pages. The indicators show the current setting. 2 6 F Meters These 12-segment LED meters display the signals levels of the channels on the currently selected Layer. G STEREO meters These 32-segment meters display the signal levels of the Stereo Out. 1 H CONTROL ROOM button This button is used to display the level of the Control Room signal on the STEREO meters. Its indicator lights up when the STEREO meters are displaying Control Room levels. I BUS meters These 12-segment LED meters display Bus Out signal levels. 02R96 Version 2—Owner’s Manual SP02R96 Wooden Side Panels 337 SP02R96 Wooden Side Panels Attach the side panels as shown below. 02R96 Version 2—Owner’s Manual 338 Index Index Symbols +48V ON/OFF switches 20 Numerics 1–24 button 30 25–48 button 30 2TR I/O channel status 62 dithering outputs 62 patching digital outputs 70 patching direct outs 70 patching inputs 66 sampling rate conversion 58 2TR IN ANALOG 1 +4 dB (BAL) 39 2TR IN ANALOG 2 –10 dBV (UNBAL) 39 2TR IN DIGITAL AES/EBU 1 41 2TR IN DIGITAL COAXIAL 2 & 3 41 2TR OUT DIGITAL AES/EBU 1 40 2TR OUT DIGITAL COAXIAL 2 & 3 40 2TR OUT DIGITAL OUT PATCH page 70 3-1 surround mode 85 5.1 surround mode 85 6.1 surround mode 85 96 kHz, 88.2 kHz, 48 kHz, 44.1 kHz, selecting 56 A Absolute mode, automix 173 AC IN connector 42 AD inputs connectors 38 in detail 53 patching 66 patching output channel insert ins 69 summary 20 talkback 142 Adat I/O card 59 Add-On Effects 157 AES/EBU I/O card 59 ALT LAYER 52 AMP SIMULATE 267 Analog I/O & the AD input section chapter 53 Architecture channels 16 I/O 16 ASSIGN 1 & 2 buttons, control room 36 ASSIGN 1 & 2 buttons, encoder mode 22 Assigning control changes 194 parameters to encoders 51 program changes 193 see also Routing targets to the remote layer 219 user defined keys 229 ATTACK control 27 02R96 Version 2—Owner’s Manual Attenuating cascade inputs 65 channel signals 110 AUTO buttons about 20 in detail 174 Pro Tools 201 STEREO 30 using 179 Auto channel select 49 Auto Channel Select preference 230 Auto Direct Out On preference 231 Auto DYNAMICS Display preference 230 Auto EQ Edit In preference 233 Auto EQUALIZER Display preference 230 Auto Inc TC Capture preference 233 AUTO PAN 5.1 277 Auto PAN/SURROUND Display preference 230 Auto ROUTING Display preference 230 Auto scene memory update 163 Auto SOLO Display preference 230 Auto WORD CLOCK Display preference 230 Automix about 170 absolute mode 173 AUTO buttons 174 cascading consoles 63 copying events 185 deleting events 188 duplicating events 188 erasing events 185 EVENT EDIT page 188 EVENT JOB page 185 event list 188 FADER EDIT pages 175 features 17 inserting events 188 library 151 MAIN page 171 MEMORY page 175 merging events 185 motors on/off 176 moving events 185 offline editing 185 overwrite parameters 173 parameter recording 182 playback 184 protecting memories 151 punching individual parameters 183 recording 179 relative mode 173 rerecording 181 return mode 172 storing via bulk dump 195 takeover mode 172 time signature map 178 timecode offset 171 timecode source 177 touch sense in/out 176 undo 174 update to end 171 what’s recorded 170 AUTOMIX button 23 Automix chapter 170 AUTOMIX MAIN page 171 AUTOMIX MEMORY page 175 AUTOMIX page 151 Automix Store Undo preference 233 AUTOPAN 264 AUX 1–8 buttons 21 AUX 7 button, studio 35 AUX 8 button, studio 35 AUX button, encoder mode 22 AUX FADER VIEW page 132 AUX PAN CH pages 103 AUX SELECT section about 21 Pro Tools 202 using 98 AUX SEND CH pages 99 Aux sends attenuating 110 automix 170 channel library 144 compressors 116 Copying channel fader positions 104 delay 120 EQ 111 Excluding certain channels 104 fixed mode 98 follow surround pan 124 grouping faders 126 grouping mutes 128 inserts 115 link pan to input channels 103 master level setting 106 metering 109 Mix minus 104 muting 105 naming 134 pairing 123 pan modes 103 panning 103 patching to 2TR digital outputs 70 patching to effects 67 patching to input channels 66 patching to omni outs 69 patching to slot outputs 68 pre/post fader 98 scene recall safe 167 setting levels 99 soloing 121 variable mode 98 viewing fader settings 130 viewing parameter settings 129 viewing settings 101 Aux sends chapter 98 AUX, fader mode 22 Index B Balance, stereo out 94 Bars, time signature map 178 BASS MANAGEMENT 140 Battery check 237 BATTERY CHECK page 237 BI-DIRECTIONAL, cascade setting 65 Bulk dump 195 BULK DUMP page 195 BUS button 36 BUS FADER VIEW page 132 Bus outs attenuating 110 automix 170 bus to stereo library 147 channel library 144 compressors 116 delay 120 EQ 111 grouping faders 126 grouping mutes 128 inserts 115 level setting 96 metering 109 muting 96 naming 134 pairing 123 patching to 2TR digital outputs 70 patching to input channels 66 patching to omni outs 69 patching to slot outputs 68 routing to 82 routing to stereo out 97 scene recall safe 167 soloing 121 viewing fader settings 130 viewing parameter settings 129 Bus outs chapter 95 BUS TO STEREO LIBRARY page 147 BUS TO STEREO page 97 Bypassing effects 156 C Cascade COMM Link preference 231 CASCADE IN page 65 CASCADE IN port 41 CASCADE IN port pin assignments 300 CASCADE OUT page 65 CASCADE OUT port 41 CASCADE OUT port pin assignments 300 Cascading consoles about 63 attenuating cascade inputs 65 hookup examples 64 linked functions 63 master setting 65 turning off cascade outputs 65 Category, channel status 62 CH DIRECT OUT DESTINATION pages 70 CH EQUALIZER LIBRARY page 150 CH FADER EDIT pages 175 CH FADER VIEW page 131 CH GATE EDIT page 74 CH PARAMETER VIEW page 129 CH SURROUND EDIT page 88 Channel Copy Parameter preference 232 Channel display mode, Pro Tools 200 Channel ID preference 232 CHANNEL INSERTS button 24 CHANNEL LIBRARY page 144 Channel names, assigning 134 Channel Short Name preference 232 Channel status monitor 62 CHANNEL STATUS MONITOR page 62 Channel strips about 20 Pro Tools 201 selecting layers 47 user defined remote layer 220 CHORUS 262 CHORUS 5.1 277 CLEAR button 35 Clear Edit Channel after REC preference 233 Clearing library memories 143 Clearing scene memories 165 Combination effects 154 Common channel functions chapter 107 COMP 5.1 280 COMP EDIT page 118 COMP indicator 27 COMP LIBRARY page 149 COMP ON button 27 COMPAND 5.1 280 Compander 116 Compressors grouping input channels 77 grouping output channels 119 library 149 order 116 parameter table 295 presets 116 using 116 Confirmation messages 46 Contrast control 25 CONTROL CHANGE ASSIGN TABLE page 194 Control changes assignments 194 echoing 192 omni 192 receive enable 192 storing assignments via bulk dump 195 transmit enable 192 CONTROL port 41 CONTROL port pin assignments 300 Control room dimmer level 137 monitoring 136 patching to 2TR digital outputs 70 setup 137 CONTROL ROOM button 34 339 CONTROL ROOM LEVEL control 36 CONTROL ROOM MONITOR OUT +4 dB (BAL) 39 CONTROL ROOM SETUP page 137 Control surface features 18 illustration 19 Control surface & rear panel chapter 19 Cooling fan 42 Copy Initial Fader preference 233 Copy, channel status 62 Copying automix events 185 Cubase SX 219 Current scene display 44 Currently selected channel display 44 name display 44 selecting 48 Currently selected page page number display 44 selecting 45 title display 44 Cursor buttons 33 D Data entry section about 33 Pro Tools 208 DAW MIDI port setup 191 see alsoPro Tools DAW CONTROL 224 DEC button 33 DECAY control 27 DEL, title edit window 46 DELAY button 27 Delay effects 153 DELAY LCR 261 DELAY SCALE 120 DELAY+ER. 272 DELAY+REV 273 DELAY->ER. 273 DELAY->REV 274 Delaying channel signals 120 Deleting automix events 188 Digital I/O & cascading chapter 55 Dimensions 301 DIMMER button 36 Dimmer level, control room 137 Dimmer level, talkback 142 DIO button 23 DIO Warning preference 231 DIRECT button 26 Direct outs patching 70 routing to 82 Display about 25 confirmation messages 46 in detail 44 parameter boxes 45 parameter windows 46 Pro Tools 199 02R96 Version 2—Owner’s Manual 340 Index DISPLAY ACCESS section 23 DISPLAY ACCESS section, SELECTED CHANNEL section 27 Display Brightness preference 232 DISPLAY buttons AUX SELECT 21 DYNAMICS 27 EFFECTS/PLUG-INS 24 ENCODER MODE 22 EQUALIZER 29 MACHINE CONTROL 32 MONITOR 34 PAN/SURROUND 28 ROUTING 26 SCENE MEMORY 31 USER DEFINED KEYS 31 DIST->DELAY 274 DISTORTION 267 DITHER page 62 Dithering digital outputs 62 DIV (divergence) 89 Double channel 61 Double speed 61 Drop Out Time preference 234 DUAL PITCH 266 Ducking, input channels 74 Duplicating automix events 188 DYNA. FILTER 268 DYNA. FLANGE 268 DYNA. PHASER 268 Dynamic effects 154 DYNAMICS section about 27 compressors 118 gates 74 Dynamics. See Gates and Compressors E EARLY REF. 259 ECHO 262 Edit buffer 162 Edit indicators display 44 SCENE MEMORY section 162 Editing automix events 185 compressors 116 effects 156 gates 74 library memory titles 143 plug-ins 160 scene memory titles 165 EFFECT 1–4 INPUT/OUTPUT METER page 109 EFFECT button 28 EFFECT EDIT page 156 EFFECT INPUT PATCH pages 67 EFFECT LIBRARY page 146 Effects about 153 automix 170 bypassing 156 editing 156 02R96 Version 2—Owner’s Manual features 17 library 146 metering 109 parameter tables 259 patching inputs 67 patching output channel insert ins 69 patching outputs 66 presets 153 tempo 156 EFFECTS/PLUG-INS 1–4 buttons 24 EFFECTS/PLUG-INS section about 24 editing effects 156 editing plug-ins 160 Pro Tools 203 ÉIÅ 185 Emphasis, channel status 62 ENCODER MODE ASSIGN page 51 ENCODER MODE section about 22 Pro Tools 202 using 50 Encoder modes, selecting 50 Encoders about 20 assignable parameter list 52 assigning parameters 51 automix punch in/out 183 panning input channels 83 patching inputs & outputs 72 Pro Tools 201 selecting encoder modes 50 setting aux send levels 99 user defined remote layer 220 ENTER button 33 EQ automix 170 EQUALIZER EDIT page 113 features 17 frequency 112 gain 112 grouping input channels 76 grouping output channels 114 library 150 presets 111 Q 112 using 111 EQ displays 29 EQ GAIN controls 29 EQ ON button 29 EQUALIZER EDIT page 113 EQUALIZER section about 29 using 112 Erasing automix events 185 EVENT EDIT page 188 Event editing 185 EVENT JOB page 185 Event list, automix 188 Expander 116 F F1–F4 buttons about 25 editing effects 157 editing plug-ins 161 Pro Tools 199 FADER button 22 Fader edit mode 173 FADER MODE section about 22 Pro Tools 202 using 49 Fader REC Accuracy preference 234 Fader Touch Sense preference 232 Faders about 21 auto channel select 49 automix punch in/out 183 aux send master levels 106 bus out levels 96 fader edit mode 173 Group Master 80, 127 grouping input channels 79 grouping output channels 126 input channel levels 79 motors on/off 176 Pro Tools 202 selecting fader modes 49 setting aux send levels 99 STEREO 30 stereo out level 93 touch sense in/out, automix 176 touch sense select 49 user defined remote layer 220 Fading scenes 166 Fast Meter Fall Time preference 231 Features 16 FF button 32 Fixed mode, aux sends 98 FLANGE 263 FLANGE 5.1 278 FOLLOW PAN button 26 FOLLOW SURROUND 67 Follow surround pan, aux sends 124 Frame Jump Error preference 234 Frame rate, automix 177 FREQUENCY controls 29 FREQUENCY indicators 29 FX 153 G GAIN control, dynamics 27 GAIN controls, AD inputs 20 Gang mode aux send pan 103 input channel pan 84 GATE indicator 27 GATE LIBRARY page 148 GATE ON button 27 GATE REVERB 260 GATE/COMP button 27 Index Gates library 148 parameter table 294 presets 74 using 74 General DAW 219 Global Fade Time 167 Global Paste 168 GLOBAL PASTE DESTINATION SCENE page 169 GLOBAL PASTE SOURCE CH SELECT page 168 GLOBAL RECALL SAFE 167 GPI 225 REC LAMP 227 GPI SETUP page 225 GR meters compressors 119 gates 75 GRAB button 28 Grounding screw 42 GROUP button 23 Group Master 79, 80, 127, 129 Grouping features 17 input channel compressors 77 input channel EQs 76 input channel faders 79 input channel mutes 78 output channel compressors 119 output channel EQs 114 output channel faders 126 output channel mutes 128 Guitar effects 154 H HIGH EQ 111 HIGHER SAMPLE RATE DATA TRANSFER FORMAT page 61 HIGH-MID EQ 111 HOLD control 27 Horizontal pairing 123 HQ. PITCH 265 I IEEE1394 59 INC button 33 Individual mode aux send pan 103 input channel pan 84 Initial Data Nominal preference 231 Initializing the 02R96 237 Input & output patching chapter 66 INPUT A & B (BAL) connectors 38 INPUT CH AUX VIEW pages 101 INPUT CH DELAY pages 120 INPUT CH FADE TIME pages 166 INPUT CH FADER GROUP page 79 INPUT CH INSERT IN PATCH pages 67 INPUT CH METER page 108 INPUT CH MUTE GROUP page 78 INPUT CH PAIR pages 124 INPUT CH PAN pages 84 INPUT CH ROUTING pages 82 INPUT CH SURROUND pages 89 INPUT CHANNEL NAME page 134 Input channels attenuating 110 automix 170 channel library 144 compressors 116 delay 120 EQ 111 gating 74 grouping compressors 77 grouping EQs 76 grouping faders 79 grouping mutes 78 inserts 115 level setting 79 metering 108 muting 77 naming 134 pairing 123 panning 83 patching 66 reversing phase 73 selecting layers 47 soloing 121 viewing fader settings 130 viewing parameter settings 129 Input channels chapter 73 INPUT COMP LINK page 77 INPUT EQUALIZER LINK page 76 INPUT FADER GROUP MASTER page 79, 81 INPUT FADER MASTER 80 INPUT MUTE MASTER 78 INPUT PATCH button 24 INPUT PATCH LIBRARY page 145 INPUT PATCH pages 66 Input patching 66 INPUT PORT NAME page 71 Input port naming 71 INS, title edit window 46 Insert assign/edit display mode, Pro Tools 200 INSERT I/O +4dB (UNBAL) connectors 38 INSERT ON/OFF switches 20 Insert Time Link preference 234 Inserting automix events 188 Inserts AD insert on/off switches 20 order 116 patching input channel insert ins 67 patching insert outs to effects inputs 67 patching insert outs to omni outs 69 patching insert outs to slot outputs 68 patching output channel insert ins 69 patching outs to 2TR digital outputs 70 341 using 115 Installing I/O cards 60 Internal effects & plug-ins chapter 153 INTERNAL EFFECTS button 24 Internal timecode source 177 Internet, yamaha web site 5 Inverse gang mode aux send pan 103 input channel pan 84 Inverting input channel phase 73 J Joystick about 29 panning input channels 83 reverb 5.1 effect 276 surround pan 87 Joystick Auto Grab preference 231 K Keyin source 75 L L button 28 Last solo mode 122 LAYER section about 30 selecting layers 47 Layers encoder modes 50 fader modes 49 selecting 47 selecting channels 48 Learn function user defined plug-ins 160 user defined remote layer 220 Left Tab Scroll button 25 LFE 88 Libraries about 143 automix 151, 170 bus to stereo 147 channel 144 compressor 149 effects 146 EQ 150 gate 148 input patch 145 output patch 145 specifications 296 storing via bulk dump 195 surround monitor 152 using 143 Libraries chapter 143 LINK button 28 Link Capture & Locate Memory preference 233 LISTEN, solo 122 LOCATE MEMORY 1–8 buttons 32 LOCATE MEMORY page 224 Lock Time preference 234 Long channel names, assigning 134 Long port names 71 02R96 Version 2—Owner’s Manual 342 Index LOW EQ 111 LOW-MID EQ 111 M M. BAND DYNA. 279 MACHINE CONFIGURATION page 222 MACHINE CONTROL 224 Machine control about 222 locator 224 machine configuration 222 scrub & shuttle 223 setting locate memories 224 transport buttons 223 MACHINE CONTROL section about 32 LOCATE MEMORY 224 Pro Tools 207 Macintosh configuring for Pro Tools 196 MIDI port setup 191 USB driver 190 MASTER button 30 Master layer, selecting 47 MASTER METER page 109 MASTER PARAMETER VIEW page 130 MB02R96 peak meter bridge 335 Measures, time signature map 178 Merging automix events 185 METER button 23 Meter display mode, Pro tools 201 Meter Follow Layer preference 231 METER port 41 Meter, time signature map 178 Metering effects 109 input channels 108 metering position 107 output channels 109 stereo out 109 METERING POSITION page 107 MIDI bulk dump 195 control change messages 194 data format 319 features 18 I/O ports 190 MIDI SETUP page 192 parameter change messages 194 port setup 191 ports 41 program change messages 193 supported messages 190 MIDI button 23 MIDI chapter 190 MIDI clock automix timecode source 177 Tap tempo, effects 156 MIDI SETUP page 192 MIDI Warning preference 231 MIDI/TO HOST SETUP page 191 mini YGDAI. See Slots 02R96 Version 2—Owner’s Manual Mix minus 104 Mix solo mode 122 Mix Update Confirmation preference 233 Mixdown, solo status 121 mLAN I/O card 59 MMC. See Machine control MOD. DELAY 261 MOD. FILTER 267 Modulation-based effects 154 MONITOR ALIGNMENT 141 MONITOR MATRIX 139 MONITOR section 34 Monitoring configuring surround monitoring 139 control room 136 control room setup 137 studio 137 surround 138 Monitoring & talkback chapter 136 MONO DELAY 260 Motors on/off 176 Moving automix events 185 MS decoding 125 MS microphone 91 MTC TIME CODE INPUT connector 40 MTC, timecode source 177 MULTI FILTER 275 Multi-effects 153 Muting automix 170 aux sends 105 bus outs 96 Group Master 79, 129 grouping input channels 78 grouping output channels 128 input channels 77 stereo out 93 N Name Input Auto Copy 71 Naming channels 134 Naming library memories 143 Naming scene memories 164 NEVER LATCH TALKBACK 142 Nominal Pan preference 231 O OCTA REVERB 277 Offline editing 185 Offsetting automix timecode 171 OMNI OUT +4dB (BAL) 40 OMNI OUT PATCH page 69 Omni outs about 54 patching 69 patching direct outs 70 Omni, MIDI 192 OMS configuring for Pro Tools 197 installing for Pro Tools 196 ON buttons channel strips 21 Pro Tools 201 see also Grouping see also Muting STEREO 30 user defined remote layer 220 Operating basics chapter 43 Operation Lock 235 OPERATION LOCK page 235 Options 5 Order, inserts/compressors 116 Oscillator 234 OSCILLATOR page 234 Other functions chapter 228 OUTPUT CHANNEL NAME page 135 Output channels attenuating 110 compressors 116 delay 120 EQ 111 grouping compressors 119 grouping EQs 114 grouping faders 126 grouping mutes 128 inserts 115 library 144 metering 109 naming 134 pairing 123 selecting master layer 47 soloing 121 viewing fader settings 130 viewing parameter settings 129 OUTPUT COMP LINK page 119 OUTPUT DELAY page 120 OUTPUT EQUALIZER LINK page 114 OUTPUT FADE TIME page 166 OUTPUT FADER GROUP MASTER page 127 OUTPUT FADER GROUP page 126 OUTPUT FADER MASTER 127 OUTPUT INSERT IN PATCH page 69 OUTPUT MUTE GROUP page 128 OUTPUT MUTE MASTER 128 OUTPUT PAIR page 124 OUTPUT PATCH button 24 OUTPUT PATCH LIBRARY page 145 Output patching 68 OUTPUT PORT NAME page 71 Output port naming 71 Overwrite parameters 173 P Package contents 5 PAD switches 20 Pages page number display 44 page tab scroll arrows 45 selecting 45 tabs 45 title display 44 PAIR button 23 Index Pair Confirmation preference 231 Pairing channels features 17 pan modes 84 using 123 PAN button 22 PAN control 28 PAN display 28 PAN/SURROUND section about 28 joystick and surround pan 87 panning input channels 83 Panner 217 Panning automix 170 aux sends 103 input channels 83 modes 84 Parameter boxes 45 Parameter change messages 194 Parameter controls 1–4 25 Parameter Up/Down buttons 24 Parameter wheel 33 Parameter windows 46 Patch Confirmation preference 231 PATCH LINK 165 Patch link 165 Patch select window 71 Patching 2TR digital outputs 70 direct outs 70 effects inputs 67 features 17 input channel insert ins 67 input channels 66 input library 145 inputs 66 omni outs 69 output channel insert ins 69 output library 145 outputs 68 patch select window 71 scene memory links 165 slot outputs 68 surround monitor 141 with the encoders 72 Patterns 88 PC configuring for Pro Tools 196 MIDI port setup 191 USB driver 190 Peak hold 107 PEAK indicators 20 Phantom power switches 20 Phase, input channel phase reverse 73 PHASE/INSERT button about 27 reversing phase 73 PHASER 264 Phone jacks 37 PHONES jack 34 PHONES LEVEL control 34 Phono connectors 37 Picture of control surface 19 PLAY button 32 PLAY button, automix 174 Playing back an automix 184 PLUG-IN EDIT page 160 PLUG-IN SETUP page 159 Plug-ins about 158 configuring 159 editing 160 MIDI port setup 191 storing via bulk dump 195 PLUG-INS button 24 Port ID preference 232 Port IDs 71 Port names 71 Port Short Name preference 232 Position, compressors 118 Post/pre. See Pre/post Power cord 43 POWER switch 42 Powering up the 02R96 43 Pre/post aux sends 98 metering 107 solo 122 PREFERENCES1 page 230 PREFERENCES2 page 232 PREFERENCES3 page 233 Presets compressors 116 effects 153 EQ 111 gates 74 Pro Tools Panner 217 Pro tools arming parameters for automation 217 assigning inserts/plug-ins 212 automation 216 AUX SELECT section 202 bypassing plug-ins 214 channel display mode 200 channel strips 201 configuring 197 configuring Macintosh computers 196 configuring sends as pre or post 210 configuring the 02R96 197 configuring Windows computers 196 control surface operation 199 data entry section 208 display 199 editing plug-ins 213 EFFECTS/PLUG-INS section 203 ENCODER MODE section 202 FADER MODE section 202 flip mode 211 insert assign/edit display mode 200 MACHINE CONTROL section 207 343 making fine adjustments to the selected region 215 meter display mode 201 muting channels 209 muting sends 210 navigating the edit window 214 OMS 196 panning channels 209 panning sends 210 resetting faders, sends, & panpots 214 scrub & shuttle 215 selecting channels 209 setting channel levels 209 setting send levels 210 setting the automation mode 216 soloing channels 210 trim mode 217 USER DEFINED KEYS section 206 viewing send destinations 210 zooming 215 Pro tools remote layer chapter 196 PROGRAM CHANGE ASSIGN TABLE page 193 Program changes assignments 193 echoing 192 omni 192 receive enable 192 storing assignments via bulk dump 195 transmit enable 192 Protecting automix memories 151 Protecting scene memories 165 Punch in/out, individual parameters 183 Q Q controls 29 Q indicators 29 Q, EQ 112 R R button 28 RANGE control 27 RATIO control 27 RCA connectors 37 Read-only memories 143 Rear panel 37 REC button 32 REC LAMP 227 RECALL button 31 Recall Confirmation preference 231 RECALL SAFE page 167 Recalling library memories 143 scene memories 164 Receive channel 192 Receive Full Frame Message preference 233 Recording an automix 179 Recording, solo status 121 Relative mode, automix 173 RELEASE control 27 02R96 Version 2—Owner’s Manual 344 Index REMOTE button, DISPLAY ACCESS 23 REMOTE button, LAYER 30 Remote control chapter 219 Remote layer about 219 assigning targets 219 MIDI port setup 191 Pro Tools 196 selecting 47 REMOTE page 219 REMOTE page, Pro Tools 199 REMOTE page, user defined 220, 221 Requesting bulk dump 195 Rerecording an automix 181 Return mode, automix 172 REV+CHORUS 269 REV+FLANGE 270 REV+SYMPHO. 271 REV->CHORUS 269 REV->FLANGE 270 REV->PAN 272 REV->SYMPHO. 271 REVERB 5.1 276 Reverb effects 153 REVERB HALL 259 REVERB PLATE 259 REVERB ROOM 259 REVERB STAGE 259 REVERSE GATE 260 Reversing input channel phase 73 REW button 32 Right Tab Scroll button 25 RING MOD. 266 ROTARY 266 ROUTING 1–8 buttons 26 Routing input channels 82 ROUTING section about 26 using 82 Routing ST Pair Link preference 231 S Safe channels, automix 176 Safe channels, scene memories 167 Safe channels, solo 121 Sampling rate 2TR IN SRC 58 display 44 setting 56 slot SRC 61 SAMPLING RATE CONVERTER page 58 Scene down button 31 Scene MEM Auto Update preference 231 Scene memories about 162 auto scene memory update 163 automix 170 cascading consoles 63 current scene display 44 edit buffer 162 edit indicator 162 fading scenes 166 02R96 Version 2—Owner’s Manual memory #0 163 MIDI program changes 193 protecting 165 recalling 164 safe channels 167 sorting 168 storing 164 storing via bulk dump 195 undo memory 163 what’s stored 162 Scene memories chapter 162 SCENE MEMORY page 165 SCENE MEMORY section about 31 display 31 using 164 SCENE MEMORY SORT page 168 Scene up button 31 Scroll arrows, pages 45 SCRUB button 33 SEL buttons input channels 20 pairing channels 123 Pro Tools 201 selecting channels 48 STEREO 48 SEL MODE, solo 122 SELECTED CHANNEL section 26 Selecting auto channel select 49 channels 48 encoder modes 50 fader modes 49 layers 47 pages 45 touch sense select 49 SERIAL TO HOST port 40 MIDI 190 timecode source 177 SET button 32 SET SPL85 139 Setting levels aux send masters 106 aux sends 99 bus outs 96 input channels 79 stereo out 93 SETUP button 23 Shadow memories 163 SHIFT LOCK, title edit window 46 Short channel names 134 Short port names 71 Show Compact Size preference 233 SHUTTLE button 33 SIGNAL indicators 20 SLOT button 36 SLOT OUTPUT PATCH pages 68 Slots about 42, 59 available cards 59 channel status 62 dithering outputs 62 double channel 61 double speed 61 installing cards 60 MIDI 190 patching direct outs 70 patching inputs 66 patching output channel insert ins 69 patching outputs 68 timecode source 177 SMPTE TIME CODE INPUT connector 40 Solo cascading consoles 63 configuring 121 safe channels 122 sel mode 122 status 121 trim 122 using 121 Solo Bus to Studio Out preference 231 SOLO buttons about 21 Pro Tools 201 using 121 SOLO indicator 35 SOLO SETUP page 121 SOLO TRIM 122 Soloing channels 121 Sonic Spec 16 Sorting scene memories 168 SP02R96 wooden side panels 337 SPEAKER SETUP 139 Specifications 291 SRC. See Sampling rate STATUS, solo 121 STEREO 2TR A1 button 35 STEREO 2TR A2 button 35 STEREO 2TR D1 button 35 STEREO 2TR D2 button 35 STEREO 2TR D3 button 35 STEREO button, control room 35 STEREO button, routing 26 STEREO button, studio 35 STEREO DELAY 260 STEREO fader 30 STEREO FADER VIEW page 133 Stereo link, compressors 118 Stereo link, gates 75 Stereo link, surround pan 89 STEREO METER page 109 Stereo out attenuating 110 automix 170 balance 94 channel library 144 compressors 116 delay 120 EQ 111 grouping faders 126 grouping mutes 128 inserts 115 level setting 93 metering 109 Index muting 93 naming 134 patching to 2TR digital outputs 70 patching to omni outs 69 patching to slot outputs 68 routing to 82 scene recall safe 167 viewing fader settings 130 viewing parameter settings 129 STEREO OUT +4 dB (BAL) 39 STEREO OUT –10 dBV (UNBAL) 39 Stereo out chapter 92 STEREO section 30 STOP button 32 STOP button, automix 174 STORE button 31 Store Confirmation preference 230 Storing library memories 143 scene memories 164 STUDIO LEVEL control 34 Studio manager port setup 191 STUDIO MONITOR OUT +4 dB (BAL) 39 Studio monitoring 137 SURROUND BUS SETUP page 87 SURROUND MODE SELECT page 85 SURROUND MONITOR LEVEL control 36 SURROUND MONITOR LIBRARY 152 SURROUND MONITOR page 138 SURROUND MONITOR PATCH page 141 SURROUND MONITOR SETUP page 139 Surround monitoring 138 configuring 139 library 152 patching slot inputs 141 patching to omni outs 69 patching to slot outputs 68 Surround pan automix 170 aux send pan 124 channel page 89 edit page 88 features 18 joystick 87 selecting modes 85 using 85 Switching on the 02R96 43 SYMPHO 5.1 278 SYMPHONIC 263 T Tabs, pages 45 Takeover mode, automix 172 Talkback AD inputs 142 dimmer level 142 mic 34 setup 142 using 142 TALKBACK button 36 TALKBACK LEVEL control 34 TALKBACK SETUP page 142 Tascam I/O card 59 TC Drop Warning preference 231 Tempo, effects 156 Terminating wordclocks 57 THRESHOLD control 27 TIME REFERENCE page 177 Time signature map, automix 178 TIME SIGNATURE page 178 Timecode automix source 177 capturing, automix 188 capturing, locate memories 224 capturing, setting memories 224 display 171 offset 171 Title edit window 46 Titling library memories 143 Titling scene memories 164 TO END 171 Touch Sense Edit In All preference 233 Touch sense in/out, automix 176 Touch sense select 49 Transmit channel 192 Transmitting bulk dump 195 Transport. See Data entry section TREMOLO 265 Turning channels on or off. See Muting Turning on the 02R96 43 Type I/II EQ 113 U Undo automix 174 Undo scene memory 163 UPDATE 171 USB TO HOST port 40 drivers 190 MIDI 190 timecode source 177 USER ASSIGNABLE LAYER 228 USER DEFINED KEY ASSIGN page 229 USER DEFINED KEYS 1–16 31 USER DEFINED KEYS section about 31 Pro Tools 206 using 229 User defined layer automix 170 configuring 220 storing via bulk dump 195 using 221 User defined plug-ins about 158 automix 170 configuring 159 editing 160 storing via bulk dump 195 UTILITY button 23 345 V Variable mode, aux sends 98 Vertical pairing 123 VIEW button 23 Viewing channel fader settings input channels 130 output channels 130 Viewing channel parameter settings input channels 129 output channels 129 W Waves Y56K plug-ins effects card 158 Web site 5 Welcome chapter 16 Windows configuring for Pro Tools 196 MIDI port setup 191 USB driver 190 WORD CLOCK 75Ω ON/OFF termination switch 41 WORD CLOCK IN connector 41 WORD CLOCK OUT connector 41 WORD CLOCK SELECT page 56 Wordclocks about 55 connections 55 selecting the source 56 terminating 57 X XLR connectors 37 Y Y56K plug-ins effects card 158 Yamaha web site 5 YGDAI. See Slots 02R96 Version 2—Owner’s Manual Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The above warning is located on the top, side, or rear of the unit. IMPORTANT SAFETY INSTRUCTIONS 1 2 3 4 5 6 7 8 9 10 Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11 12 13 14 Only use attachments/accessories specified by the manufacturer. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. Unplug this apparatus during lightning storms or when unused for long periods of time. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. (UL60065_03) 02R96 Block Diagram x 16 METER METER COMP INPUT 1(...56) METER (Gain Reduction) AD Input 1-16 AD PEAK SIGNAL GAIN INPUT (17-24) ATT 4BAND EQ (Gain Reduction) (Out Meter) (Gain Reduction) (Out Meter) PRE/POST COMP ON AUX COMP SLOT1 SLOT1 Input 1-16 SLOT2 Input 1-16 SLOT3 Input 1-16 SLOT4 Input 1-16 16 SLOT2 16 SLOT3 16 SLOT4 64 82 SELECT INSERT OUT FX2 SEND 1-2 SINE100Hz SINE1kHz SINE10kHz SINE 1kHz/400Hz PINK NOISE BURST NOISE FX4 SEND 1-2 2 2TR IN DIGITAL1 SRC 2 COAXIAL To CASCADE OUTPUT 2TR OUT DIGITAL PATCH STEREO BUS1-8 AUX1-8 off CONTROL ROOM TB AD TALK BACK 2TR IN DIGITAL3 COAXIAL SOLO TRIM 2TRD3 L/R +18dB +4dB for each OMNI OUT DA L AD TRS R L 2TR IN ANALOG2 2TRA2 L/R AD RCA R 10 TO MONITOR SELECT AUX1-8 8 AUX1-8 SURROUND MONITOR 8 STEREO BUS1-8 AUX1-8 2 DIRECT OUT 1-56 INSERT OUT 8 8 DA BUS1-8 DITHER 2 COAXIAL 2 2TR OUT DIGITAL3 DA L STUDIO LEVEL STUDIO MONITOR OUT DA R DA SOLO LOGIC DA PHONES LEVEL PHONES 2 2 2 8 ASSIGN1 L DA CONTROL ROOM MONITOR OUT DA 8 OUTPUT SOLO ASSIGN2 R C-R LEVEL BUS1-8 8 AUX1-8 8 OMNI OUT DA 16 16 16 16 SURROUND MONITOR to C-R 6 16x8Patch DITHER DITHER DITHER DITHER SLOT1 Input 1-16 SLOT2 Input 1-16 SLOT3 Input 1-16 SLOT4 Input 1-16 7 82 INPUT PATCH 2TR OUT DIGITAL2 AES/EBU 5 DA SLOT1 SLOT2 SLOT3 SLOT4 2 4 DA 56 BUS1-8 2 8 3 DA L R DITHER CONTROL ROOM STEREO L STEREO R MONITOR SELECT 2 8 OUTPUT PATCH OMNI 1 OMNI 2 OMNI 3 OMNI 4 OMNI 5 OMNI 6 OMNI 7 OMNI 8 DA 8 BUS1-8 AUX1-8 2 2TRA1 L/R TALKBACK DIMM 2TR IN ANALOG1 1 DA 2 STEREO 2TR D1 2TR D2 2TR D3 2TR A1 2TR A2 2TR OUT DIGITAL1 COAXIAL AUX8 STEREO SOLO R 2 DITHER AUX7 AUX7 AUX8 SOLO L 2TRD2 L/R SRC 2 8 8 DIRECT OUT1-56 56 INSERT OUT 74 USE AD IN (1-16) AS TALKBACK AD IN 1-16 2 TO INPUT PATCH isolate 2TRD1 L/R SRC AUX1(...8) CASCADE OUT AES/EBU 2TR IN DIGITAL2 AUX1(...8) ON CASCADE IN FX2 Return 1-2 FX3Return 1-2 FX4 Return 1-2 Sur1 BUS 1(...8) BUS to STEREO Same Above LEVEL FX1 Return 1-2 FX3 SEND 1-2 16 LEVEL OSCILLATOR EFFECT FX1-4 BUS 1(...8) TO INPUT PATCH Sur1 Return 1-8 AUX1-8 OUTPUT DELAY 4BAND EQ ON FX1 SEND 1-8 8 METER INSERT ON LEVEL PAN TO SURROUND MONITOR METER ATT DIRECT OUT 1(...56) INSERT METER INSERT Keyin Self or Stereo Link 16 STEREO R Same as stereo master L LFE METER METER AD Input 17-24 AD PAN STEREO L METER METER Mono in x 56 AD IN 17(...24) INPUT DELAY PAN Keyin 12ch Group(1-12,13-24....) AUX 1-8 TO TALKBACK SELECT x8 GATE INSERT ON LEVEL 8 SLOT1 SLOT2 SLOT3 SLOT4 SLOT 16 8 PINK NOISE 16 8 16 8 500-2kHz BPF 16 BUS1-8 or STEREO(Surr.Mode:ST) 8 8 SURROUND MONITOR LEVEL 1kHz,50Hz BUS 8 MONITOR MATRIX BASS MANAGEMENT MONITOR ALLIGNMENT DIMM AD IN 1(...16) INSERT OUTPUT DELAY 4BAND EQ ATT TB DIMM INSERT OFF ON SOLO PAN METER MONO INSERT I/O (1-16) METER (Out Meter) METER METER INSERT ON LEVEL BAL INSERT METER INSERT DIMM 0 26 AUX 8 BUS1 BUS2 BUS3 BUS4 BUS5 BUS6 BUS7 BUS8 GAIN PAD B AUX 1 PEAK SIGNAL A SOLO L SOLO R ON INPUT (1-16) (Gain Reduction) (Out Meter) 48V PHANTOM STEREO L STEREO R OFF L R STEREO OUT STEREO L STEREO R DA DA L R TO OUTPUT PATCH 02R96 Level Diagram Analog Analog dBu +24 +20 Digital dBFS 0 INSERT –20 –30 INPUT PATCH PHASE GATE INSERT ATT. EQ INSERT COMP DELAY ON LEVEL INSERT PAN BUS Adder INSERT ATT. EQ INSERT COMP MASTER ON MASTER LEVEL INSERT BAL DELAY OUTPUT PATCH Analog Analog DA dBu 0 [+10dBu] 3 Nominal Input 5 CASCADE IN CASCADE OUT Digital Clipping Level [+18dBu] 2 4 –10 AD Digital Bit 1 +10 Max. Output [+18dBu] Nominal Output [+4dBu] [+4dBu] GAIN MIN., PAD ON –40 –50 7 –60 –40 –70 –80 –90 –70 Max. Input [–46dBu] CONTROL ROOM MONITOR OUT STEREO OUT STUDIO MONITOR OUT OMNI OUT (default setting:18dB) 12 13 14 –60 15 –100 –110 –120 –100 –70 17 –80 18 –90 20 –100 21 –130 –110 –140 22 –110 23 –120 24 –120 –150 –130 25 –130 26 –160 –140 –170 27 –140 28 –150 29 –150 –180 –160 30 –160 31 –190 –170 –200 32 –210 DSP Noise Floor –170 33 34 –180 –40 –60 GAIN MAX., PAD OFF 19 –90 –30 –50 Nominal Input [–60dBu] 16 –80 +4 0 –20 OMNI OUT (4dB) 10 11 –50 +10 8 9 –30 +24 +20 –10 6 –20 –190 GAIN Max. Input [+24dBu] –10 +4 0 PAD Digital –180 35 36 [0dBu = 0.775Vrms] [0dBFS = Full Scale] –190 YAMAHA [Digital Mixing Console-Internal Parameters] Model: 02R96 Function... Date: 20 Mar. 2002 MIDI Implementation Chart Version: 1.0 Transmitted Recognized Remarks 1–16 1–16 1–16 1–16 Memorized Memorized Basic Channel Default Changed Mode Default Messages Altered X X ************** OMNI off/OMNI on X X Note Number True Voice X ************** 0–127 X Velocity Note On Note Off X X O O After Key’s Ch’s X X X X X X O O Assignable 0–127 ************** 0–127 0–99 Assignable O O *1 Pitch Bend Control Change Prog Change 0-95,102-119 :True# System Exclusive Effect Control System Common :Song Pos :Song Sel :Tune X X X O X X Automix System Real Time :Clock :Commands X X O O Automix, Effect Control Aux Messages :Local ON/OFF :All Notes OFF :Active Sense :Reset X X X X X X O O Notes MTC quarter frame message is recognized (MTC IN & MIDI IN). *1: Bulk Dump/Request, Parameter Change/Request, and MMC. For MIDI Remote, ALL messages can be transmitted. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO O: Yes X: No For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous ﬁgurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de México S.A. de C.V. Calz. Javier Rojo Gómez #1149, Col. Guadalupe del Moral C.P. 09300, México, D.F., México Tel: 55-5804-0600 Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. ASIA POLAND Yamaha Music Europe GmbH Branch Sp.z o.o. Oddzial w Polsce ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-868-07-57 THE NETHERLANDS/ BELGIUM/LUXEMBOURG Yamaha Music Europe Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040 FRANCE Yamaha Musique France BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 ITALY Yamaha Musica Italia S.P.A. Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL BRAZIL Yamaha Musical do Brasil Ltda. Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi, CEP 04534-013 Sao Paulo, SP. BRAZIL Tel: 011-3704-1377 Yamaha Música Ibérica, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888 SWEDEN ARGENTINA Yamaha Music Latin America, S.A. Sucursal de Argentina Olga Cossettini 1553, Piso 4 Norte Madero Este-C1107CEK Buenos Aires, Argentina Tel: 011-4119-7000 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha Music Latin America, S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: +507-269-5311 EUROPE THE UNITED KINGDOM Yamaha Music U.K. Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 Yamaha Scandinavia AB J. A. Wettergrens Gata 1, Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 DENMARK YS Copenhagen Liaison Ofﬁce Generatorvej 6A, DK-2730 Herlev, Denmark Tel: 44 92 49 00 NORWAY Norsk ﬁlial av Yamaha Scandinavia AB Grini Næringspark 1, N-1345 Østerås, Norway Tel: 67 16 77 70 SWITZERLAND/LIECHTENSTEIN Yamaha Music Europe GmbH Branch Switzerland in Zürich Seefeldstrasse 94, 8008 Zürich, Switzerland Tel: 01-383 3990 AUSTRIA Yamaha Music Europe GmbH Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900 CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA Yamaha Music Europe GmbH Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025 Yamaha Music & Electronics (China) Co.,Ltd. 2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu, Shanghai, China Tel: 021-6247-2211 INDIA Yamaha Music India Pvt. Ltd. 5F Ambience Corporate Tower Ambience Mall Complex Ambience Island, NH-8, Gurgaon-122001, Haryana, India Tel: 0124-466-5551 INDONESIA PT. Yamaha Musik Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 021-520-2577 KOREA Yamaha Music Korea Ltd. 8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong, Kangnam-Gu, Seoul, Korea Tel: 02-3467-3300 MALAYSIA Yamaha Music (Malaysia) Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 03-78030900 SINGAPORE Yamaha Music (Asia) Pte., Ltd. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 6747-4374 TAIWAN Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688 THAILAND RUSSIA Yamaha Music (Russia) Room 37, bld. 7, Kievskaya street, Moscow, 121059, Russia Tel: 495 626 5005 OTHER EUROPEAN COUNTRIES Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030 GERMANY Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 THE PEOPLE’S REPUBLIC OF CHINA AFRICA Yamaha Corporation, Asia-Paciﬁc Sales & Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2303 MIDDLE EAST TURKEY/CYPRUS Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Gulf FZE LOB 16-513, P.O.Box 17328, Jubel Ali, Dubai, United Arab Emirates Tel: +971-4-881-5868 Siam Music Yamaha Co., Ltd. 4, 6, 15 and 16th ﬂoor, Siam Motors Building, 891/1 Rama 1 Road, Wangmai, Pathumwan, Bangkok 10330, Thailand Tel: 02-215-2622 OTHER ASIAN COUNTRIES Yamaha Corporation, Asia-Paciﬁc Sales & Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2303 OCEANIA AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, Asia-Paciﬁc Sales & Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2303 HEAD OFFICE Yamaha Corporation, Pro Audio Division Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441 PA27 Yamaha Pro Audio Global Web Site http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio Division © 2004-2010 Yamaha Corporation 010IPTO-G0 Printed in Japan WC42330