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DIGITAL MIXING CONSOLE
EN
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
3
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.
4
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
5
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.
Copyright
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.
© 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
6
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
7
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
8
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
9
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
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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
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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
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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
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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
14
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
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
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
010
010
TALKBACK LEVEL
STUDIO
LEVEL
PHONES
23
24
21
22
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
20
19
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
19101112 13 14 15 16
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
2
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
3
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
4
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
5
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
6
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
7
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
8
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
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
100
TALKBACK
SURROUND MONITOR LEVEL
EQUALIZER
EQ ON
LOW
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
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
L
EVEN
R
LR
PAN/SURROUND
DISPLAY
ODD
DISPLAY ACCESS
PHASE /
INSERT
DELAY
12
3
4
56
78
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
ON
SEL
AUTO
70
60
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15
10
5
0
STEREO
12345678 910111213 14 15 16 17 18 19 20 21 22 23 24
ON
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
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
STEREO
12345678 910111213141516 1718192021222324
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17 18
18
17
19 2 0 21 22 23 24
MONITOR
DIGITAL MIXING CONSOLE
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
PAD
125 1.00 4.00 10.0
MASTER25 48
REMOTE1 24
LAYER
00
A
D Input Section (p. 20)
Channel strips (p. 20)
MACHINE CONTROL (p. 32)
A
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.
1
2
3
4
5
6
1
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
PAD
3
4
5
GAIN
34
10
+
GAIN
34
10
+
PEAK
SIGNAL
17 18
18
17
25
49
1
1
50
40
30
20
15
10
10
5
0
5
ON
SOLO
SEL
AUTO
1
2
3
4
5
6
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
A
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).
2
AUX 2AUX 1 AUX 3 AUX 4
AUX 6AUX 5 AUX 7 AUX 8
AUX SELECT
DISPLAY
1
22 Chapter 2—Control Surface & Rear Panel
02R96 Version 2—Owner’s Manual
ENCODER MODE
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 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
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.
4
AUXPAN
ASSIGN 2ASSIGN 1
ENCODER MODE
DISPLAY
23
1
1 2
AUXFADER
FADER MODE
Control Surface 23
02R96 Version 2—Owner’s Manual
DISPLAY ACCESS
A
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
9
6
5
8
7
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
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 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.
1
6
EFFECTS / PLUG INS
INTERNAL
EFFECTS
CHANNEL
INSERTS
PLUG INS
1234
DISPLAY
2 3 4
5
7
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
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 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.
1
4
3
2
5
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
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
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
L
EVEN
R
LR
PAN/SURROUND
DISPLAY
ODD
DISPLAY ACCESS
PHASE /
INSERT
DELAY
12
3
4
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
125 1.00 4.00 10.0
12
3
4
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
1
2
3 4
5
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
6
2
GATE ON COMP ON
GATE
COMP
RANGE
RATIO
ATTAC K
ATTAC KTHRESHOLD
THRESHOLD
DYNAMICS
DISPLAY
GATE / COMP
DECAY
RELEASE
HOLD
GAIN
1
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
L
EVEN
R
LR
PAN/SURROUND
DISPLAY
ODD
1
234567
8
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
1
2 3
EQ ON
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
DISPLAY
GAIN
LOW MID
GAIN
HIGH MID
GAIN
HIGH
GAIN
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
125 1.00 4.00 10.0
4 65
30 Chapter 2—Control Surface & Rear Panel
02R96 Version 2—Owner’s Manual
LAYER
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, 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
A
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
2
3
1
ON
SEL
AUTO
70
60
50
40
30
20
15
10
5
0
STEREO
STEREO
3
2
1
4
Control Surface 31
02R96 Version 2—Owner’s Manual
SCENE MEMORY
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 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
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 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
00
1
23 4 65
USER DEFINED KEYS
12345678
910111213141516
DISPLAY
1
2
32 Chapter 2—Control Surface & Rear Panel
02R96 Version 2—Owner’s Manual
MACHINE CONTROL
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 “Trans-
port Buttons” on page 223.
REC
REW FF
STOP PLAY
SET
DISPLAY
MACHINE CONTROL
LOCATE MEMORY
1234
5678
1
3
4
6 7 8
5
2
Control Surface 33
02R96 Version 2—Owner’s Manual
Data Entry & Transport
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.
INCDEC
ENTER
SHUTTLE
SCRUB
1
6
5
2
3
4
34 Chapter 2—Control Surface & Rear Panel
02R96 Version 2—Owner’s Manual
Monitor, Phones & Talkback Section
A
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
010
010
TALKBACK LEVEL
STUDIO
LEVEL
PHONES
3
5
4
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
100
TALKBACK
SURROUND MONITOR LEVEL
MONITOR
DISPLAY
STUDIO
AUX7 AUX8
CONTROL
ROOM
STEREO
MONITOR
1
2
4
3
5
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
1
2
BUS
SLOT
CONTROL ROOM
2TR D1 2TR A1
2TR D2 2TR A2
2TRD3STEREO
ASSIGN
1 ASSIGN2
SURROUND
DIMMER
CONTROL ROOM LEVEL
100
100
TALKBACK
SURROUND MONITOR LEVEL
1 4
2 5
3 6
7
9
8
K
L
M
N
J
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.
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.
2
1
1
Male XLR plug
1 (ground)
2 (hot)
3 (cold)
1/4" TRS phone plug
Tip (hot)
Ring (cold)
Sleeve (ground)
1/4" phone plug
1/4" phone plug
Tip (send)
Sleeve (ground)
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
A
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
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 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
M
1
K
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
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 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
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 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.
1
2
4
3
1
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
F4
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
87654321 910111213141516 1718192021222324
87654321 910111213141516 1718192021222324
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
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
1
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.
ON
OFF
+
48V
26dB
GAIN
34
10
+
-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
ON
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
59
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
8
—
20-bit, 44.1/48 kHz
Phone jack (balanced) x8
MY8-AD24
1
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
8
24-bit, 44.1/48/88.2/96 kHz
D-sub 25-pin
MY8-ADDA96
Analog
in/out
88 Euroblock x4
MY8-AE
2
2. These cards support 24-bit/96 kHz in Double Channel mode. (Separate 96 kHz wordclock required.)
AES/EBU I/O
88
24-bit, 44.1/48 kHz
D-sub 25-pin
MY16-AE
2
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
3. This card is identical to the MY8-AE96, except that it features a sampling rate converter.
MY8-AT
2
ADAT I/O
88
24-bit, 44.1/48 kHz
Optical x2
MY16-AT
2
16 16 Optical x4
MY8-TD
2
Tascam
88
D-sub 25-pin
BNC wordclock output
MY16-TD
2
16 16 D-sub 25-pin
MY8-mLAN
2
IEEE1394
88
6-pin 1394 connector x2
MY16-mLAN
2
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.
62
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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 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.
1
Use the DISPLAY ACCESS [UTILITY] button to locate the Channel Status Mon-
itor 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.
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 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
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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
67
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.
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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
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
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
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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.
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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.
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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.
ON
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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.
25
49
1
50
40
30
20
15
10
10
5
0
5
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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.
12
3
4
56
78
STEREOFOLLOW PAN DIRECT
DISPLAY
ROUTING
Panning Input Channels 83
02R96 Version 2—Owner’s Manual
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
E
1
1. Short for LFE (Low frequency Effects).
78
6.1
LRLsRs C Bs E 8
LINK GRAB EFFECT
L
EVEN
R
LR
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.
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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
Assigning Surround Channels to Buses 87
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
L
EVEN
R
LR
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.
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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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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.
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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.
L
EVEN
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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.
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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.
ON
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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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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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02R96 Version 2—Owner’s Manual
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
1
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.
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 parame-
ters 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 param-
eters 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 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.
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.
Parameter LOW LOW-MID HIGH-MID HIGH
Gain
–18.0 dB to +18.0 dB (0.1 dB steps)
1
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)
Q
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
Q
L.SHELF 0.70 H.SHELF
# Preset Name Description
LOW
EQUALIZER
EQ ON
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
DISPLAY
GAIN
LOW MID
GAIN
HIGH MID
GAIN
HIGH
GAIN
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
125 1.00 4.00 10.0
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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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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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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
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 automati-
cally 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 ambi-
ence of cymbals recorded with overhead mics. It automati-
cally 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 fin-
ger-picked electric bass guitar.
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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.
# 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
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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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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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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
SOLO
CLEAR
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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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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.
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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.
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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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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.
2
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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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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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.
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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
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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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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
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
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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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
44
1
1. These effects can be recalled only to effects processor #1.
Reverb 5.1
REVERB 5.1
2
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
45
1
Octa Reverb
OCTA REVERB
2
8-channel reverb for 7.1 surround
46
1
Auto Pan 5.1 AUTO PAN 5.1 6-channel auto pan for 5.1 surround
47
1
Chorus 5.1 CHORUS 5.1 6-channel chorus for 5.1 surround
48
1
Flange 5.1 FLANGE 5.1 6-channel flanger for 5.1 surround
49
1
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
51
1
Comp 5.1
COMP 5.1
2
Multi-band compressor for 5.1 surround
52
1
Compand 5.1
COMPAND 5.1
2
Multi-band compander for 5.1 surround
53
3
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 ——
54
3
Comp276S ——
55
3
Comp260 ——
56
3
Comp260S ——
57
3
Equalizer601 ——
58
3
OpenDeck ——
59
3
REV-X Hall ——
60
3
REV-X Room ——
61
3
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.
02
02
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.
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-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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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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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)
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)
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.
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.
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
ON
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
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 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
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.)
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
1. TOUCH SENSE on Fader Edit page must be TOUCH or LATCH.
Release fader
knob
2
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
1
Release fader
knob
2
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
1
Release fader
knob
2
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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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: –
x
dB
TRIM IN
TRIM OUT
IN OUT
Trimmed data
Existing data
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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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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)
ON
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
EQ
Channel EQ events
LIB
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
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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
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
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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.
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.
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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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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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)
ON
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.
50
40
30
20
15
10
10
5
0
5
(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.
12
3
4
56
78
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
L
EVEN
R
LR
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
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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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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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02R96 Version 2—Owner’s Manual
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
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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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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.
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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 Con-
figuration 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.
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.
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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
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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
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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
14
15
16
17
18
19
20
21
22
23
24
25
2
3
4
5
6
7
8
9
10
11
12
13
1
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
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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
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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).
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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.
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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
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.
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 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.
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 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.
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”.
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
34
SURR. MONI MUTE Mute Ls
On/Off
Surr.Mon Ls Mute
35
SURR. MONI MUTE Mute Rs
On/Off
Surr.Mon Rs Mute
36 SURR. MONI MUTE Mute C On/Off Surr.Mon C Mute
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
40
SURR. MONI ASSIGN X SLOT3
ON/OFF
Surr.ASGNX SL3 ON
41
SURR. MONI ASSIGN X SLOT4
ON/OFF
Surr.ASGNX SL4 ON
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
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
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
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)
1
SNAP TO SPL
85
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
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 REL-
ATIVE
No Assign
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 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
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
No Assign
IN Mute
Assign P
No Assign
MIDI PGM
16
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
0
NO ASSIGN
1
TALKBACK
2
SLATE
3
DIMMER
4
MONO
5
SMALL
6
SR BUS
7
SR ASSIGN1
8
SR ASSIGN2
9
CR STEREO
10
CR 2TRD1
11
CR 2TRD2
12
CR 2TRD3
13
CR 2TRA1
14
CR 2TRA2
15
CR ASSIGN1
16
CR ASSIGN2
17
SM C-R
18
SM STEREO
19
SM AUX11
20
SM AUX12
21
TALKBACK UNLATCH
22
SLATE UNLATCH
23
DIMMER UNLATCH
24
MONO UNLATCH
25
SMALL UNLATCH
26
SR BUS UNLATCH
27
SR ASGN1 UNLATCH
28
SR ASGN2 UNLATCH
29
CR ST UNLATCH
30
CR 2TRD1 UNLATCH
31
CR 2TRD2 UNLATCH
32
CR 2TRD3 UNLATCH
33
CR 2TRA1 UNLATCH
34
CR 2TRA2 UNLATCH
35
CR ASGN1 UNLATCH
36
CR ASGN2 UNLATCH
37
SD C-R UNLATCH
38
SD ST UNLATCH
39
SD AUX11 UNLATCH
40
SD AUX12 UNLATCH
41
CH1 ON
42
CH2 ON
43
CH3 ON
44
CH4 ON
45
CH5 ON
46
CH6 ON
47
CH7 ON
48
CH8 ON
49
CH9 ON
50
CH10 ON
51
CH11 ON
52
CH12 ON
53
CH13 ON
54
CH14 ON
55
CH15 ON
56
CH16 ON
57
CH17 ON
58
CH18 ON
59
CH19 ON
60
CH20 ON
61
CH21 ON
62
CH22 ON
63
CH23 ON
64
CH24 ON
65
CH25 ON
66
CH26 ON
67
CH27 ON
68
CH28 ON
69
CH29 ON
70
CH30 ON
71
CH31 ON
72
CH32 ON
73
CH33 ON
74
CH34 ON
75
CH35 ON
76
CH36 ON
77
CH37 ON
78
CH38 ON
79
CH39 ON
80
CH40 ON
81
CH41 ON
82
CH42 ON
83
CH43 ON
84
CH44 ON
85
CH45 ON
86
CH46 ON
87
CH47 ON
88
CH48 ON
89
CH49 ON
90
CH50 ON
91
CH51 ON
92
CH52 ON
93
CH53 ON
94
CH54 ON
95
CH55 ON
96
CH56 ON
97
AUX1 ON
98
AUX2 ON
99
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)
ID
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)
ID
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)
ID
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)
ID
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
02R96 Version 2—Owner’s Manual
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
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
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
260 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
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
1. (Maximum value depends on the tempo setting)
Used in conjunction with TEMPO to determine left channel DELAY
NOTE R
1
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
1. (Maximum value depends on the tempo
setting)
Used in conjunction with TEMPO to determine DELAY
MOD.NOTE
2
2.
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
1. (Maximum value depends on the tempo
setting)
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
262 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
1. (Maximum value depends on the tempo setting)
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
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
1.
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
1
1.
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
1
1.
Used in conjunction with TEMPO to determine FREQ.
264 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
1
1.
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
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
2
2.
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
1
1.
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
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
1. (Maximum value depends on the tempo setting)
Used in conjunction with TEMPO to determine Channel #1 delay
NOTE 2
1
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
1
1.
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
1
1.
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
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
268 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
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
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
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
Effects Parameters 269
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
1
1.
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
1
1.
Used in conjunction with TEMPO to determine FREQ.
270 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
1
1.
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
1
1.
Used in conjunction with TEMPO to determine FREQ.
Effects Parameters 271
02R96 Version 2—Owner’s Manual
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
1
1.
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
1
1.
Used in conjunction with TEMPO to determine FREQ.
272 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
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
2
2.
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
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
R
NOTE FB
1
Used in conjunction with TEMPO to determine FB. DLY
Effects Parameters 273
02R96 Version 2—Owner’s Manual
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
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
R
NOTE FB
1
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
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
R
NOTE FB
1
Used in conjunction with TEMPO to determine FB. DLY
274 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
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
R
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
1. (Maximum value depends on the tempo
setting)
Used in conjunction with TEMPO to determine DELAY
MOD.NOTE
2
2.
Used in conjunction with TEMPO to determine FREQ.
Effects Parameters 275
02R96 Version 2—Owner’s Manual
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
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
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.
276 Appendix A: Parameter Lists
02R96 Version 2—Owner’s Manual
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
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
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
Effects Parameters 277
02R96 Version 2—Owner’s Manual
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
1
1.
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
1
1.
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
1
1.
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
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
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
1
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
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
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
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
Effects and tempo synchronization 281
02R96 Version 2—Owner’s Manual
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
01
Bass Drum 1
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 —
02
Bass Drum 2
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 —
03
Snare Drum
1
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 —
04
Snare Drum
2
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
—100.7 0.1
05
Tom-tom 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
06
Cymbal
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
—80.9 —
07
High Hat
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 —
08
Percussion
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 —
09
E. Bass 1
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
—54.5 —
10
E. Bass 2
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 —
11
Syn. Bass 1
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 —
12
Syn. Bass 2
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 —
13
Piano 1
L.SHELF PEAKING PEAKING H.SHELF
G
–6.0 dB 0.0 dB +2.0 dB +4.0 dB
F
95 Hz 950 Hz 3.15 kHz 7.50 kHz
Q
—80.9 —
14
Piano 2
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
Q
5.6 10 0.7 —
15
E. G. Clean
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
Q
0.18 10 6.3 —
16
E. G. Crunch
1
PEAKING PEAKING PEAKING PEAKING
G
+4.5 dB 0.0 dB +4.0 dB +2.0 dB
F
140 Hz 1.00 kHz 1.90 kHz 5.60 kHz
Q
8 4.5 0.63 9
17
E. G. Crunch
2
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
Q
8 0.4 0.16 —
18
E. G. Dist. 1
L.SHELF PEAKING PEAKING H.SHELF
G
+5.0 dB 0.0 dB +3.5 dB 0.0 dB
F
355 Hz 950 Hz 3.35 kHz 12.5 kHz
Q
—910—
19
E. G. Dist. 2
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
Q
—10 4 —
20
A. G. Stroke
1
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
Q
0.9 4.5 3.5 —
21
A. G. Stroke
2
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
Q
—94.5 —
22
A. G. Arpeg.
1
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
Q
— 4.5 4.5 0.12
23
A. G. Arpeg.
2
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
—74.5 —
24
Brass Sec.
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
#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)
25
Male Vocal
1
PEAKING PEAKING PEAKING PEAKING
G
–0.5 dB 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
26
Male Vocal
2
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 —
27
Female Vo.
1
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
28
Female Vo.
2
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 —
29
Chorus &
Harmo
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
30
Total EQ 1
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 —
31
Total EQ 2
PEAKING PEAKING PEAKING H.SHELF
G
+4.0 dB +1.5 dB +2.0 dB +6.0 dB
F
95 Hz 750 Hz 1.80 kHz 18.0 kHz
Q
7 2.8 5.6 —
32
Total EQ 3
L.SHELF 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
Q
— 0.28 0.7 —
33
Bass Drum 3
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
Q
2100.4 0.4
34
Snare Drum
3
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
— 4.5 2.8 0.1
35
Tom-tom 2
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 —
#Title
Parameter
LOW L-MID H-MID HIGH
36
Piano 3
PEAKING PEAKING PEAKING H.SHELF
G
+4.5 dB –13.0 dB +4.5 dB +2.5 dB
F
100 Hz 475 Hz 2.36 kHz 10.0 kHz
Q
8109—
37
Piano Low
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
Q
10 6.3 2.2 —
38
Piano High
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
Q
10 6.3 2.2 0.1
39
Fine-EQ
Cass
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
— 4.5 1.8 —
40
Narrator
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
470.63 —
#Title Type Parameter Value
1
Gate GATE
Threshold (dB) –26
Range (dB) –56
Attack (ms) 0
Hold (ms) 2.56
Decay (ms) 331
2
Ducking DUCKING
Threshold (dB) –19
Range (dB) –22
Attack (ms) 93
Hold (ms) 1.20 S
Decay (ms) 6.32 S
3
A. Dr. BD GATE
Threshold (dB) –11
Range (dB) –53
Attack (ms) 0
Hold (ms) 1.93
Decay (ms) 400
4
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
1
Comp COMP
Threshold (dB) –8
Ratio ( :1) 2.5
Attack (ms) 60
Out gain (dB) 0.0
Knee 2
Release (ms) 250
2
Expand EXPAND
Threshold (dB) –23
Ratio ( :1) 1.7
Attack (ms) 1
Out gain (dB) 3.5
Knee 2
Release (ms) 70
3
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
4
Compander
(S)
COMPAND-S
Threshold (dB) –8
Ratio ( :1) 4
Attack (ms) 25
Out gain (dB) 0.0
Width (dB) 24
Release (ms) 180
5
A. Dr. BD COMP
Threshold (dB) –24
Ratio ( :1) 3
Attack (ms) 9
Out gain (dB) 5.5
Knee 2
Release (ms) 58
6
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
7
A. Dr. SN COMP
Threshold (dB) –17
Ratio ( :1) 2.5
Attack (ms) 8
Out gain (dB) 3.5
Knee 2
Release (ms) 12
8
A. Dr. SN EXPAND
Threshold (dB) –23
Ratio ( :1) 2
Attack (ms) 0
Out gain (dB) 0.5
Knee 2
Release (ms) 151
9
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
10
A. Dr. Tom EXPAND
Threshold (dB) –20
Ratio ( :1) 2
Attack (ms) 2
Out gain (dB) 5.0
Knee 2
Release (ms) 749
11
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
12
E. B. Finger COMP
Threshold (dB) –12
Ratio ( :1) 2
Attack (ms) 15
Out gain (dB) 4.5
Knee 2
Release (ms) 470
13
E. B. Slap COMP
Threshold (dB) –12
Ratio ( :1) 1.7
Attack (ms) 6
Out gain (dB) 4.0
Knee hard
Release (ms) 133
14
Syn. Bass COMP
Threshold (dB) –10
Ratio ( :1) 3.5
Attack (ms) 9
Out gain (dB) 3.0
Knee hard
Release (ms) 250
15
Piano1 COMP
Threshold (dB) –9
Ratio ( :1) 2.5
Attack (ms) 17
Out gain (dB) 1.0
Knee hard
Release (ms) 238
16
Piano2 COMP
Threshold (dB) –18
Ratio ( :1) 3.5
Attack (ms) 7
Out gain (dB) 6.0
Knee 2
Release (ms) 174
17
E. Guitar COMP
Threshold (dB) –8
Ratio ( :1) 3.5
Attack (ms) 7
Out gain (dB) 2.5
Knee 4
Release (ms) 261
18
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
19
Strings1 COMP
Threshold (dB) –11
Ratio ( :1) 2
Attack (ms) 33
Out gain (dB) 1.5
Knee 2
Release (ms) 749
20
Strings2 COMP
Threshold (dB) –12
Ratio ( :1) 1.5
Attack (ms) 93
Out gain (dB) 1.5
Knee 4
Release (ms) 1.35 S
21
Strings3 COMP
Threshold (dB) –17
Ratio ( :1) 1.5
Attack (ms) 76
Out gain (dB) 2.5
Knee 2
Release (ms) 186
22
BrassSection COMP
Threshold (dB) –18
Ratio ( :1) 1.7
Attack (ms) 18
Out gain (dB) 4.0
Knee 1
Release (ms) 226
23
Syn. Pad COMP
Threshold (dB) –13
Ratio ( :1) 2
Attack (ms) 58
Out gain (dB) 2.0
Knee 1
Release (ms) 238
24
SamplingPerc COMPAND-S
Threshold (dB) –18
Ratio ( :1) 1.7
Attack (ms) 8
Out gain (dB) –2.5
Width (dB) 18
Release (ms) 238
25
Sampling BD COMP
Threshold (dB) –14
Ratio ( :1) 2
Attack (ms) 2
Out gain (dB) 3.5
Knee 4
Release (ms) 35
26
Sampling SN COMP
Threshold (dB) –18
Ratio ( :1) 4
Attack (ms) 8
Out gain (dB) 8.0
Knee hard
Release (ms) 354
27
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
28
Solo Vocal1 COMP
Threshold (dB) –20
Ratio ( :1) 2.5
Attack (ms) 31
Out gain (dB) 2.0
Knee 1
Release (ms) 342
29
Solo Vocal2 COMP
Threshold (dB) –8
Ratio ( :1) 2.5
Attack (ms) 26
Out gain (dB) 1.5
Knee 3
Release (ms) 331
30
Chorus COMP
Threshold (dB) –9
Ratio ( :1) 1.7
Attack (ms) 39
Out gain (dB) 2.5
Knee 2
Release (ms) 226
31
Click Erase EXPAND
Threshold (dB) –33
Ratio ( :1) 2
Attack (ms) 1
Out gain (dB) 2.0
Knee 2
Release (ms) 284
32
Announcer COMPAND-H
Threshold (dB) –14
Ratio ( :1) 2.5
Attack (ms) 1
Out gain (dB) –2.5
Width (dB) 18
Release (ms) 180
33
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
34
Limiter2 COMP
Threshold (dB) 0
Ratio ( :1) ∞
Attack (ms) 0
Out gain (dB) 0.0
Knee hard
Release (ms) 319
35
Total Comp1 COMP
Threshold (dB) –18
Ratio ( :1) 3.5
Attack (ms) 94
Out gain (dB) 2.5
Knee hard
Release (ms) 447
36
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
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
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
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
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
99
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
×
25
Fader Resolution
+10 to –138, –
∞
dB input faders (10bit fader data)
0 to –138, –
∞
dB master fader (10bit fader data)
Total Harmonic Distortion
1
(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
2
(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
3
On/off
Key in: 12 ch Group (1–12, 13–24, 25–36, 37–48, 49–56)/AUX1–8
Comp-type
4
On/off
Key in: self /Stereo Link
Pre EQ/pre fader/post fader
Attenuator
–96.0 to +12.0 dB (0.1 dB step)
EQ
4-band PEQ
5
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
4
On/off
Pre EQ/pre fader/post fader
Attenuator
–96.0 to +12.0 dB (0.1 dB step)
EQ
4-band PEQ
5
On/off
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
4
On/off
Pre EQ/pre fader/post fader
Attenuator
–96.0 to +12.0 dB (0.1 dB step)
EQ
4-band PEQ
5
On/off
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
4
On/off
Pre EQ/pre fader/post fader
Attenuator
–96.0 to +12.0 dB (0.1 dB step)
EQ
4-band PEQ
5
On/off
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
Q
0.1–10.0
(41 points)
low shelving
HPF
0.1–10.0
(41 points)
0.1–10.0
(41 points)
high shelving
LPF
F
21.2 Hz–20 kHz (1/12 oct step)
G
±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
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
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
0
–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
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
3. Phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND).
26
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)
3
+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
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)
3
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
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
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
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)
3
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)
3
+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
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
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
1
AES/EBU 24-bit RS422
XLR-3-31 type (Balanced)
1
1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
2
IEC-60958 24-bit 0.5 Vpp/75 Ω RCA pin jack
3
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
1
AES/EBU
1
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
2. Dither: word length 16/20/24 bit
RS422
XLR-3-32 type (Balanced)
3
3. XLR-3-32 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
2
IEC-60958
4
Consumer use
24-bit
2
0.5V pp/75 Ω RCA pin jack
3
IEC-60958
4
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
2
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)
1
4
MY8-AT ADAT 8 IN
8 OUT (depends on output patch)
1
1. See the Digital I/O chapter.
Details depend on each interface card.
4
MY16-TD TASCAM 16 IN
16 OUT (depends on output patch)
1
4
MY8-TD TASCAM 8 IN
8 OUT (depends on output patch)
1
4
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
MY8-AEB AES/EBU 8 IN
8 OUT (depends on output patch)
1
4
MY4-AD ANALOG IN 4 IN — 4
MY8-AD ANALOG IN 8 IN — 4
MY4-DA ANALOG OUT —
4 OUT (depends on output patch)
1
4
MY8-AD24 ANALOG IN 8 IN — 4
MY8-AD96 ANALOG IN 8 IN — 4
MY8-DA96 ANALOG OUT —
8 OUT (depends on output patch)
1
4
MY8-AE96S AES/EBU 8 IN
8 OUT (depends on output patch)
1
2
MY8-AE96 AES/EBU 8 IN
8 OUT (depends on output patch)
1
4
MY8-mLAN mLAN 8 IN
8 OUT (depends on output patch)
1
4
MY16-mLAN mLAN 16 IN
16 OUT (depends on output patch)
1
3
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 — 2
Apogee AP8DA ANALOG OUT —
8 OUT (depends on output patch)
1
2
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
1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD).
WORD CLOCK
IN —
TTL/75 Ω (ON/OFF)
2
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
1. For 02R SOLO control.
21 +5V
4 GPO6 13
SPARE
1
22 GPI0
5 GND 14 GPO1 23 N.C.
6 GND 15 GPO3 24
SOLO
1
7 GND 16 GPO5 25
MAS/SLV
1
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
010
STUDIO
LEVEL
PHONES
23
24
21
22
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
GAIN
34
10
+
20
19
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
19101112 13 14 15 16
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
2
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
3
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
4
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
5
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
6
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
7
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
8
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
26dB
-16
-60
GAIN
PEAK
SIGNAL
INSERT
+
48V
ON
OFF
OFF
ON
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
100
TALKBACK
SURROUND MONITOR LEVEL
EQUALIZER
EQ ON
LOW
Q
FREQUENCY
Q
FREQUENCY
Q
FREQUENCY
Q
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
L
EVEN
R
LR
PAN/SURROUND
DISPLAY
ODD
DISPLAY ACCESS
PHASE /
INSERT
DELAY
12
3
4
56
78
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
ON
SEL
AUTO
70
60
50
40
30
20
15
10
5
0
STEREO
12345678 91011 12 13 14 15 16 17 18 19 20 21 22 23 24
ON
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
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
dB
Hz
kHz
STEREO
12345678 910111213141516 1718192021222324
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
50
40
30
20
15
10
10
5
0
5
17 18
18
17
19 2 0 21 22 23 24
MONITOR
DIGITAL MIXING CONSOLE
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
ON
SOLO
SEL
AUTO
PAD
125 1.00 4.00 10.0
MASTER25 48
REMOTE1 24
LAYER
00
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
n
Device Number
cc cc
DATA COUNT (the number of bytes that follow this, ending
before the checksum)
<Model ID>
Model ID (for 02R96, 4C 4D 20 20 38 43 35 34)
tt
DATA TYPE
mm mm
DATA NUMBER
cs
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
2
2
3
3
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.
56
OVER
1
3
4
7
6
8
2
5
9
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
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
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 339
02R96 Version 2—Owner’s Manual
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
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
340 Index
02R96 Version 2—Owner’s Manual
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
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 341
02R96 Version 2—Owner’s Manual
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
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
342 Index
02R96 Version 2—Owner’s Manual
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
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 343
02R96 Version 2—Owner’s Manual
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
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
344 Index
02R96 Version 2—Owner’s Manual
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
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 345
02R96 Version 2—Owner’s Manual
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
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
The above warning is located on the top, side, or rear of the unit.
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.
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.
IMPORTANT SAFETY INSTRUCTIONS
1 Read these instructions.
2Keep these instructions.
3 Heed all warnings.
4 Follow all instructions.
5 Do not use this apparatus near water.
6 Clean only with dry cloth.
7 Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8 Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9 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.
10 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 Only use attachments/accessories specified by the
manufacturer.
12 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.
13 Unplug this apparatus during
lightning storms or when unused for long periods of
time.
14 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.
(UL60065_03)
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
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
02R96 Block Diagram
STEREO L
STEREO R
SOLO L
SOLO R
AUX 1
AUX 8
BUS1
BUS2
BUS3
BUS4
BUS5
BUS6
BUS7
BUS8
Mono in x 56
OUTPUT
DELAY
METER
ATT
4BAND
EQ
INSERT
INSERT
LEVEL
STEREO L
INPUT 1(...56)
ATT
4BAND
EQ
INPUT
DELAY
METER
LFE
SOLO
PRE/POST
ON
DIRECT OUT 1(...56)
Keyin
12ch Group(1-12,13-24....)
AUX 1-8
INSERT
PAN
PAN
GATE
ON
AUX
Same Above
AUX1(...8)
COMP
METER
(Gain Reduction)
INSERT
ON LEVEL
COMP
METER
(Gain Reduction)
BAL
INSERT
Keyin
Self or Stereo Link
INPUT PATCH
AD IN 1(...16)
METER
(Out Meter)
(Gain Reduction)
(Out Meter)
METER
METER
Same as stereo master L
STEREO R
METER
METER
(Out Meter)
OUTPUT
DELAY
METER
ATT
4BAND
EQ
INSERT
INSERT
LEVEL
ON
COMP
METER
(Gain Reduction)
INSERT
METER
METER
(Out Meter)
BUS 1(...8)
TO INPUT PATCH
PAN
BUS to STEREO
LEVEL
ON
TO INPUT PATCH
METER
SOLO R
AUX1(...8)
BUS 1(...8)
STEREO OUT
L
R
L
R
DA
DA
CONTROL ROOM
2
STEREO
2TR OUT DIGITAL PATCH
2
8
56
74
AUX1-8
BUS1-8
DIRECT OUT1-56
INSERT OUT
2TR OUT DIGITAL1
2TR OUT DIGITAL2
2TR OUT DIGITAL3
DITHER
DITHER
DITHER
2
8
8
56
82
STEREO
AUX1-8
BUS1-8
DIRECT OUT 1-56
INSERT OUT
OUTPUT PATCH
OMNI OUT
1
2
3
4
5
6
7
8
OMNI 1
OMNI 2
OMNI 3
OMNI 4
OMNI 5
OMNI 6
OMNI 7
OMNI 8
SLOT1
16
SLOT1
DITHER
SLOT2
SLOT3
SLOT4
DITHER
DITHER
DITHER
SLOT2
16
SLOT3
16
SLOT4
16
TALKBACK DIMM
DA
DA
DA
DA
DA
DA
DA
DA
8
2TR IN ANALOG1
AD
2TR IN DIGITAL1
2
2
2TR IN DIGITAL3
2TR IN ANALOG2
AD
AES/EBU
TRS
RCA
AUX1-8
8
BUS1-8
8
TO MONITOR SELECT
10
COAXIAL
2TRD1 L/R
2TRD2 L/R
2TRD3 L/R
2TRA1 L/R
2TRA2 L/R
AUX1-8
BUS1-8
TB
AD
TALK BACK
AD IN 1-16
USE AD IN (1-16)
AS TALKBACK
PHONES
MONO
TB
DIMM
PHONES
LEVEL
STUDIO
LEVEL
L
R
CONTROL ROOM MONITOR OU
T
L
R
C-R
LEVEL
CONTROL ROOM
STEREO L
STEREO
AUX8
AUX8
AUX7
AUX7
STEREO R
DA
DA
DA
DA
DA
DA
2
2
2
2
2
2
STEREO
2TR D1
2TR D2
2TR D3
2TR A1
2TR A2
MONITOR SELECT
BUS1-8
AUX1-8
8
8
ASSIGN1
SOLO L
8
8
ASSIGN2
DIMM
2
2TR IN DIGITAL2
COAXIAL
FX1-4
Sur1
AUX1-8
INSERT OUT
8
82
16
FX1 SEND 1-8
FX2 SEND 1-2
FX3 SEND 1-2
FX4 SEND 1-2
Sur1 Return 1-8
FX1 Return 1-2
FX2 Return 1-2
FX3Return 1-2
FX4 Return 1-2
SLOT1
SLOT2
SLOT3
SLOT4
16
16
16
16
TO SURROUND MONITOR
64
SLOT1 Input
1-16
SLOT2 Input
1-16
SLOT3 Input
1-16
SLOT4 Input
1-16
EFFECT
AD IN 17(...24)
AD
x 8
INPUT
(17-24)
SIGNAL
PEAK
GAIN
AD Input
17-24
AD
x 16
INPUT
(1-16)
48V
PHANTOM
INSERT I/O
(1-16)
TO TALKBACK SELECT
SIGNAL
PEAK
GAIN
INSERT
PAD
AD Input
1-16
8
SURROUND MONITOR
8
8
BUS
DIMM
500-2kHz
BPF
PINK NOISE
SLOT1 Input 1-16
16 8
SLOT2 Input 1-16
16 8
SLOT3 Input 1-16
16 8
SLOT4 Input 1-16
16 8
SLOT16x8Patch
1kHz,50Hz
SRC
SRC
SRC
0
26
OFF
ON
TO OUTPUT PATCH
SURROUND MONITOR to C-R
METER
SELECT
OFF
ON
A
B
STEREO L
STEREO R
STUDIO MONITOR OUT
CASCADE OUT
SINE100Hz
SINE1kHz
SINE10kHz
SINE 1kHz/400Hz
PINK NOISE
BURST NOISE
LEVEL ON
CASCADE IN
isolate
off
To CASCADE OUTPUT
OSCILLATOR
L
R
L
R
2
2
2
OUTPUT SOLO
8
8
SOLO LOGIC
SOLO TRIM
BUS1-8
AUX1-8
BUS1-8 or STEREO(Surr.Mode:ST)
SURROUND MONITOR
LEVEL
AES/EBU
COAXIAL
COAXIAL
+18dB
+4dB
for each OMNI OUT
L
R
PAN
MONITOR
MATRIX
BASS
MANAGEMENT
MONITOR
ALLIGNMENT
02R96 Level Diagram
DA
DSP Noise Floor
PHASE GATEAD
dBu
Analog
CASCADE IN CASCADE OUT
Digital Clipping Level
Max. Output
Nominal Output
[+18dBu]
[+4dBu]
[+18dBu]
[+4dBu]
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
Digital
Bit
34
35
36
0
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
–110
–120
–130
–140
–150
–160
–170
–190
–200
–210
GAIN
dBu
Analog
dBFS
–180
[0dBu = 0.775Vrms]
[0dBFS = Full Scale]
+20
+10
0
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
–110
–120
–130
–140
–150
–160
+24
+4
–170
–180
–190
Input
Max.
[+24dBu]
[+10dBu]
[–60dBu]
[–46dBu]
Nominal
Input
Nominal
Input
PA D INSERT
DigitalAnalog
GAIN MAX.,
PAD OFF
GAIN MIN.,
PAD ON
Input
Max.
Digital Analog
AT T. E QINSERT LEVELONCOMP DELAY PAN DELAY
BUS
Adder
AT T. EQ COMP
MASTER
LEVELON
MASTER
INSERT INSERT INSERT INSERT INSERT BAL
OUTPUT
PATCH
INPUT
PATCH
+20
+10
0
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
–110
–120
–130
–140
–150
–160
+24
+4
–170
–180
–190
CONTROL ROOM MONITOR OUT
STEREO OUT
STUDIO MONITOR OUT
OMNI OUT (default setting:18dB)
OMNI OUT (4dB)
YAMAHA [Digital Mixing Console-Internal Parameters] Date: 20 Mar. 2002
Model: 02R96
MIDI Implementation Chart
Version: 1.0
Function... Transmitted Recognized Remarks
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Memorized
Mode
Default
Messages
Altered
X
X
**************
OMNI off/OMNI on
X
X
Memorized
Note
Number
True Voice
X
**************
0–127
X
Velocity
Note On
Note Off
X
X
O
O
Effect Control
After
Key’s
Ch’s
X
X
X
X
Pitch Bend X X
Control
Change
0-95,102-119 O O Assignable
Prog
Change :True#
0–127
**************
0–127
0–99
Assignable
System Exclusive O O *1
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
010IPTO-G0
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
Yamaha Pro Audio Global Web Site
http://www.yamahaproaudio.com/
© 2004-2010 Yamaha Corporation
U.R.G., Pro Audio Division
Printed in Japan
WC42330
Owner’s ManualOwner’s Manual
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.
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.
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
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
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
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
THE UNITED KINGDOM
Yamaha Music U.K. Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
GERMANY
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
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
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
Yamaha Música Ibérica, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
SWEDEN
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
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
Yamaha Corporation,
Asia-Pacific Sales & Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2303
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
THE PEOPLE’S REPUBLIC OF CHINA
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
Siam Music Yamaha Co., Ltd.
4, 6, 15 and 16
th
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
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
NORTH AMERICA
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HEAD OFFICE Yamaha Corporation, Pro Audio Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
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