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PM1D System Software Version 2 Supplementary Manual This supplementary manual primarily describes the additional and modified functions that have been incorporated into PM1D System Software version 2.0. Please read this manual in conjunction with the original manual that came with your Yamaha PM1D digital audio mixing system. Table of Contents ■ Main changes ..................................... 2 ■ Other changes.................................. 10 Auto Gain Adjustment function ......................2 PM1D Manager Remote Control function ......2 VCM Effects available .....................................3 Channel Move function in the CH COPY screen .........................................................3 Filtering during save or load operations ........10 Direct output just before the HPF ................ 11 Additional functions for the USER DEFINE switches ................................................... 11 Inserting MIDI events from the event list ..... 12 CLEAR ALL button added to the OSCILLATOR and TALKBACK screens............................. 13 Outputting the MONITOR and CUE signals from the DSP1D ....................................... 13 No limitation in multiple selections for the Global Paste function ............................... 14 Selecting WITH MIX SEND in the CH COPY screen ...................................................... 14 Support for the MY8-DA96 card .................. 14 Compatibility of created data ...................... 14 ■ Changes in Scene Memories and Libraries.............................................. 5 Expanding the Event Recall function in the TC EVENT screen...............................5 Overwriting libraries during the Auto Store operation ....................................................6 Unit settings can be included in the Recall Safe channel settings...................................7 Additional preset scenes .................................7 Expanded user area for Input EQ/Channel libraries .......................................................7 ■ Appendix .......................................... 15 ■ Changes and additions of screens..... 8 Scene Memory Preset List ............................ 15 VCM Effect Parameter List............................ 18 New FADER VIEW screen ................................8 Clock on the meter bridge .............................8 Displaying the GEQ routings ..........................8 Displaying the GR meters ...............................9 EN Main changes Auto Gain Adjustment function If you adjust the HA gain on the master CS1D (master for HA control), the attenuation on a slave CS1D can automatically be adjusted so that the channel output levels will remain unchanged. 2. In the upper left of the screen, click the AUTO GAIN ADJUSTMENT button to enable the function. The Auto Gain Adjustment function is now enabled. 3. Turn the GAIN ADJ button on or off to switch the function for each channel on or off. Engine DSP1D/ DSP1D-EX Slave Console CS1D Note Output B AI8 (ID=1) ANALOG OUTPUT BOX Output A Engine DSP1D/ DSP1D-EX CONTROL PORT A B C Master Console CS1D The master unit is the CS1D (or PM1D Manager) connected via a DSP1D that is connected to the port through which the AI8 is controlled. The slave unit is the CS1D (or PM1D Manager) connected via a DSP1D that is connected to any port other than the master. You can switch between the master and slave. ■ Switching the Auto Gain Adjustment function on and off 1. On the slave CS1D, display the ATT screen for the IN EQ function. AUTO GAIN ADJUSTMENT button ATT SET ALL and CLEAR ALL buttons GAIN ADJ buttons • Click the SET ALL button to turn on the function for all channels globally. Click the CLEAR ALL button to turn off the function for all channels globally. • In most cases, turn on the Auto Gain Adjustment function only on the slave CS1D unit. If you turn on the function on the master CS1D unit, the output level of the master CS1D will also be adjusted automatically. • The GAIN ADJ button’s on/off status is not linked even if the corresponding two channels are paired. Even if the GAIN ADJ button of either one of the paired channels is turned on, the attenuators will not be linked. • When you turn off the GAIN ADJ button for one of the paired channels, the attenuator value for the even-numbered channel will change to the value for the odd-numbered channel. In this case, please note that the volume level might increase more than expected. • If the attenuator values are selected as one of the Recall Safe items, and if the GAIN ADJ button for the recalled scene is set to on, this function will apply to the recalled HA gain. The Recall Safe function does not apply to the GAIN ADJ button and AUTO GAIN ADJUSTMENT button settings. Therefore, you must first store these button settings in the scenes. PM1D Manager Remote Control function Connecting the PM1D Manager and a Yamaha digital mixing console (DM2000, 02R96, or DM1000) via USB enables you to remotely control the PM1D system from the digital mixing console. For details, refer to the PM1D Manager V2 Owner's Manual. Yamaha digital mixer (DM2000 V2, 02R96 V2, DM1000 V2) PM1D Manager USB USB/RS232C PM1D system Engine DSP1D/DSP1D-EX 2 Main changes Console CS1D VCM Effects available Value Various effects sold as Add-On Effects packages for Yamaha digital mixing consoles (such as DM2000) are now included as standard. To use the VCM effects, you must first specify the number of VCM effects you wish to use to limit the number of available GEQ modules. EFFECT — VCM effects Available GEQ EFFECT 1–8 GEQ 1–24 EFFECT 1 EFFECT 2–8 GEQ 1–22 1-2 EFFECT 1–2 EFFECT 3–8 GEQ 1–20 1-3 EFFECT 1–3 EFFECT 4–8 GEQ 1–18 1-4 EFFECT 1–4 EFFECT 5–8 GEQ 1–16 1-5 EFFECT 1–5 EFFECT 6–8 GEQ 1–14 1-6 EFFECT 1–6 EFFECT 7–8 GEQ 1–12 1-7 EFFECT 1–7 EFFECT 8 GEQ 1–10 1-8 EFFECT 1–8 1 — Conventional effects — GEQ 1–8 Note The VCM effects employ Virtual Circuitry Modeling technology, and include compressors and EQs that model the characteristics of analog circuits, OpenDeck, which emulates tape compression created by open reel tapes; and the REV-X reverb effect, which is based on a newly-developed algorithm and provides richly reverberant sound quality with smooth attenuation. For more information on the VCM effects, please refer to the Appendix on page 18. To use the VCM effects, you must first specify the number of VCM effects you wish to use in the following DSP CONFIG screen to limit the number of available GEQ modules. • To use VCM effects on a single effect module, you must disable two GEQ modules. • If you change this setting, the effect and GEQ output will be temporarily muted. • The disabled GEQ modules still enable you to control the parameters, but the output will be muted. • You can recall these new effects in the same way as the existing effects. That is, you recall the desired effects from the Effect library. • Please note that if you mix a signal processed with VCM effects with a signal that utilizes a different routing, a difference in time resulting from the different signal paths may cause a comb filter effect (a phenomena in which the level of some frequencies decreases). Channel Move function in the CH COPY screen In addition to the CH Copy function in the CH COPY screen, which copies channels globally, a CH Move function that moves channels is now available. CH MOVE button DSP CONFIG CH COPY The CH Move function enables you to move any input or output channels to specified channel locations. When the channels are moved, the channels between the move source and destination channels will move forward or backward accordingly. To use the CH Move function, you can either use the CH COPY screen or operate the keys on the top panel. Main changes 3 ■ Moving the channels in the CH COPY screen 1. Display the CH COPY screen for the IN CH View or OUT CH View function. ■ Moving the channels from the top panel 1. Press the [SEL] switches to select the input channels you wish to move. 2. Press the [CHANNEL COPY] key. 3. Hold down the [SHIFT] key and press the [SEL] switch of the destination channels. The CH DATA MOVING pop-up window appears, indicating the move source and destination channel numbers. CH MOVE button CH COPY Move source channels Move destination channels 4. Click the OK button to execute the function. The channels are now moved to the new locations. Note 2. In the CH COPY/CH MOVE section, turn on the CH MOVE button. If the CH COPY button is on, you can use the usual Channel Copy function. 3. Press the [SEL] switches to select the channels you wish to move. 4. Select the destination channels in the DESTINATION CH SELECT section. 5. Click the EXECUTE button. The CH DATA MOVING pop-up window appears, indicating the move source and destination channel numbers. Move source channels Move destination channels 6. Click the OK button to execute the function. The channels are now moved to the new locations. 4 Main changes • The move source channel can be a single channel or two channels that can be paired. • You can move a single channel under the following conditions: There are no paired channels between the move source and destination channels, AND all the following parameters are turned off: HA GAIN GANG, HA A/B LINK, GATE LINK, COMP LINK, DELAY GANG, GANG PAN/INV PAN/BALANCE in PAN MODE, and M/S DECODE. • If you move two channels, the first channel of the destination channels will be the first of the two channels that can be paired. Therefore, moving two channels will never swap between the left and right channels. • You can move the channels only within the following channel sections: – Input channels 1–96 – Stereo input channels 1–8 – MIX channels 1–48 – STEREO A/B channels – MATRIX channels 1–24 Changes in Scene Memories and Libraries Expanding the Event Recall function in the TC EVENT screen In the TC EVENT screen, you can now register scenes in the order of use, so that these scenes can be recalled manually, or automatically according to the specified interval time. 2 EVENT TRIGGER This column indicates the way in which each event is recalled. Click the button to display the TC EVENT pop-up window, then click one of the following three buttons to select the recall condition. TC EVENT 1 3 2 4 5 Button The TC EVENT screen features the following additional functions: MANUAL You can use the EVENT RECALL button in the EVENT RECALL section (4) or a USER DEFINE switch to recall the event. “[MANUAL]” appears in the EVENT TRIGGER column. INTERVAL The scene will be recalled when the specified time has elapsed since the preceding scene was recalled. If you select this button, specify the INTERVAL TIME parameter in the range of 0.1 through 999.9sec. An “ ” symbol and the interval time will appear in the EVENT TRIGGER column of the event list. TIME CODE The scene will be recalled when the time code (LTC or internal time code) reaches the specified time. If you select this button, specify the time code (hours/minutes/ seconds/frames). The specified time code will appear in the EVENT TRIGGER column of the event list. 1 EVENT RECALLING Use the following three buttons to switch the event list operation. Button function DISABLE The Event List function will not recall scenes registered in the event list. ENABLE [ALL MANUAL] Scenes registered in the event list will be recalled only by manual operation. If the list contains events for which a time code has been specified, the candidate event for recall will change as time code progresses, but events will not actually be recalled unless you recall them manually. ENABLE Scenes registered in the event list will be recalled according to the specified condition (time code, interval, or manual operation). The upper part of the display will show tor if ENABLE [ALL MANUAL] is selected, or indicator if ENABLE is selected. indica- function Event that is recalled when the specified time has elapsed since the preceding scene was recalled Event that will be recalled manually Events that will be recalled when the time code reaches the specified time Changes in Scene Memories and Libraries 5 3 SCENE MEMORY These are the number and title of the scene to be recalled. Click the button to display the TC EVENT pop-up window, then click the number of a scene to select it. Overwriting libraries during the Auto Store operation When you store scenes using the Auto Store function, you can now select an unused library or the original library as the initial store destination. DEFAULT EDIT LIBRARY NO. Button Function DIRECT Recalls the specified scene. Specify a scene to recall in the section to the right. INC Recalls the subsequent scene (registered just after the current scene). DEC Recalls the previous scene (registered just before the current scene). DISABLE Recalls no scene. DEFAULT EDIT LIBRARY NO. 4 EVENT RECALL These functions enable you to recall events. The following three buttons are provided. Button NEW The lowest unused library numbers will be selected. (This is the same as the previous software version.) OVERWRITE The number of the most-recently recalled library will be selected. (If the scene was specified as read-only, or if the corresponding library is write-protected, the lowest-numbered unused library will be selected.) This selection is useful when you wish to prevent a particular library from becoming full or lacking space during the Auto Store operation, or when you wish to edit a particular library. Function PREV When you click this button, the event preceding the last-recalled event in the list will be recalled and selected. DIRECT When you click this button, the event currently selected in the event list will be recalled. NEXT When you click this button, the event following the last-recalled event in the list will be recalled and selected. This button is useful when you recall an event that has been assigned as “[MANUAL]” in the EVENT TRIGGER column. 5 MOVE UP/MOVE DOWN These buttons move the currently-selected event one position earlier (MOVE UP) or later (MOVE DOWN) in the event list. Note • If the EVENT TRIGGER column of the selected event shows a time code, these buttons will be grayed-out and unavailable. To change the order of each event that displays a time code, change the time code. 6 The following buttons are now available in the SCENE STORE pop-up window that is displayed when you press the SCENE MEMORY [STORE] switch (or the STORE button in the MEMORY screen). Changes in Scene Memories and Libraries Note • This setting is remembered when you close the pop-up window. Unit settings can be included in the Recall Safe channel settings You can globally apply the Recall Safe function to settings for units that are patched to Recall Safe channels, as well as to the Recall Safe channel settings themselves. SAFE KEY MODE SELECT section RECALL SAFE Additional preset scenes Factory-shipped preset scenes 00.0 – 00.9 in the scene memory were reviewed and replaced with more practical scenes. For details, please refer to the “Scene Memory Preset List” on page 15. Hint • To use the preset scenes, follow the steps below: 1. Recall the desired preset scene. 2. In the INPUT PATCH screen, patch the input channels that use the signals from the connected units. When you click the AUTO SETUP button, the unit signals are patched from Channel 1 in the order of the connected units. 3. In the OUTPUT PATCH screen, patch the buses to the signals of the connected units. Note • Please note that if you mix signals that have different paths, a difference in the time taken via the different signal paths may cause a comb filter effect (a phenomena in which the level of some frequencies decreases). Expanded user area for Input EQ/ Channel libraries SAFE KEY MODE SELECT CH CH+UNIT If you turn on or off the Recall Safe function for the selected channel from the panel or in the IN CH VIEW screen, only the Recall Safe function for the channel is turned on or off. (This is the same as the previous software version.) The user area for the Input EQ library and Input Channel libraries has been expanded. • Input EQ library #001 – 199 (#038 – 199 are the user area.) • Input Channel library #000 – 199 (#001 – 199 are the user area.) If you turn on or off the Recall Safe function for the selected channel from the panel or in the IN CH VIEW screen, the Recall Safe function for both that channel and the unit patched to the channel is turned on or off. Note • Selecting the Recall Safe items using the SAFE [RECALL] switch on the panel or the button in the IN CH VIEW screen (when the CH+UNIT button is turned on) provides the same result as turning on the SAFE ON/OFF button and UNIT button on the screen (when the CH button is turned on). • When the CH+UNIT button is turned on, the SAFE [RECALL] switch on the panel or the button in the IN CH VIEW screen is linked to the on/off operation of the SAFE ON/OFF and UNIT buttons on the screen. Changes in Scene Memories and Libraries 7 Changes and additions of screens New FADER VIEW screen Clock on the meter bridge The FADER VIEW screen has been added to the IN CH View function and OUT CH View function. The TIME CODE indicator on the meter bridge block can now display the current time. Also, an additional parameter enables you to switch between the current time and time code. FADER VIEW PREFERENCE TIME CODE DISPLAY section 4 1 2 3 1 2 3 1 ON/MUTE These buttons enable you to switch the channels on/off, and switch DCA group muting on/off. They are linked to the [ON] switches of the corresponding channels and the [MUTE] switches of the DCA groups. 2 Level These buttons enable you to adjust the level of the channels and DCA groups. The current value is shown in the box immediately below. They are linked to the encoder or fader of the corresponding channel or DCA group. TIME CODE DISPLAY PRESENT TIME Displays the current time in 24-hour format (hours/minutes/seconds). TIME CODE Displays the time code. 3 CUE These buttons enable you to switch cue monitoring on/off for the channels and DCA groups. They are linked with the [CUE] key of the corresponding channel or DCA group. 4 DISPLAY CH Switches the channels that are shown in the FADER VIEW screen. Displaying the GEQ routings When you select a GEQ module in the GEQ PARAMETER screen, the GEQ SELECT pop-up window enables you to identify any GEQ modules that have already been patched. • When you are using the IN CH View function: INPUT [PANEL] Channels specified via the Panel Assign function, and DCA groups 1–12 CH 1-48/ST IN 1-4 Input channels 1–48, ST IN channels 1–4, DCA group 1–12 CH 49-96/ST IN 5-8 Input channels 49–96, ST IN channel 5–8, DCA groups 1–12 • When you are using the OUT CH View function: 8 MIX 1-48 MIX channels 1–48, STEREO A/ B channels, DCA groups 1–12 MATRIX MATRIX channels 1–24, STEREO A/B channels, DCA groups 1–12 Changes and additions of screens This window displays the signal routing of already-patched GEQ modules, and displays “NO ASSIGN” for unpatched GEQ modules. Displaying the GR meters The INPUT GR screen and OUTPUT GR screen have been added to the Meter function. These screens display the gain reduction meters for Input channel gates and compressors, and Output channel compressors. INPUT GR 4 Pair icon This icon indicates the pairing status of two adjacent oddnumbered/even-numbered channels. OUTPUT GR 1 3 2 4 3 1 DISPLAY CH Switches the channels that are displayed in the INPUT GR and OUTPUT GR screens. INPUT GR screen: CH 1-48/ST IN 1-4 Input channels 1–48, ST IN channels 1–4 CH 49-96/ST IN 5-8 Input channels 49–96, ST IN channels 5–8 OUTPUT GR screen: MIX 1-48 MIX channels 1–48 MATRIX 1-24/STEREO MATRIX channels 1–24, STEREO A/B channels 2 GATE/COMP (Gate/Compressor) These buttons select whether the meters will display gain reduction for the Gate or Compressor. These buttons appear only in the INPUT GR screen. 3 Meters These peak level meters indicate the amount of gain reduction for each channel. The current fader value is shown in the box below. Changes and additions of screens 9 Other changes Filtering during save or load operations You can specifically select any region of any scene or library data to be saved to a memory card. You can also specifically select any region of any scene or library data to be loaded from a memory card. be saved or loaded. If you want to change the save/load destination numbers, click the [ ]/[ ] buttons at the left and right of the starting number box or use the [DATA] encoder. (The value in the ending number box will change automatically according to the starting number and the source range.) When you change the save destination starting number: LOAD/SAVE 1 CS1D 2 3 4 Memory card Starting number Ending number 01.0 01.1 01.2 01.3 01.4 01.5 AAA BBB CCC DDD EEE FFF Starting number SAVE SOURCE In addition to BASIC mode (in which you can save the entire or specified data in the scene memories or libraries to a memory card, or load them from a memory card), ADVANCED mode enables you to save or load a specified range of the data. 02.0 02.1 02.2 02.3 02.4 AAA BBB CCC DDD EEE DESTINATION When you change the load destination starting number: CS1D ■ ADVANCED mode: When you turn on the ADVANCED button in the LOAD/SAVE screen, the left side of the screen will display the following items: 1 MODE Memory card Starting number Ending number 02.1 02.2 02.3 02.4 02.5 BBB CCC DDD EEE FFF Starting number LOAD Switches between BASIC and ADVANCED mode. 2 CATEGORY Indicates the category of data that is selected for saving or loading: scene memory or a type of library. Click the [ ]/ [ ] buttons at left and right or use the [DATA] encoder to change the category. 3 SOURCE (save/load source numbers) Indicates the starting and ending numbers of the scene memory or library items that will be saved to or loaded from the card. Click the [ ]/[ ] buttons at the left and right in each box or use the [DATA] encoder to change the numbers. 4 DESTINATION (save/load destination numbers) Indicates the starting and ending numbers of the scene memory or library items into which the specified data will 10 Other changes SOURCE 02.5 02.6 02.7 02.8 BBB CCC DDD EEE DESTINATION Note • To format a memory card first, use a computer or other external device and select the FAT16 format. The CS1D does not support the FAT 32 format. • You can load the data you saved using System Software older than version 2.0. • The preset effects in the Effects library of System Software version 2.0 includes VCM effects. Therefore, if you try to load the Effects library data of an older version, part of the data may not be loaded. In such a case, change the load destination starting number in the DESTINATION section, then load the data again. ■ BASIC mode: In BASIC mode, you can now specify the range of data to be saved or loaded for the Unit library, Patch library, and Name library. Direct output just before the HPF The signal can be now directly output just before the Input channel HPF. You can also adjust the direct output level. INSERT/DIRECT POINT DIRECT OUT LEVEL column DIRECT OUT POINT column PRE HPF button To select a position just before the HPF as the direct output on the INSERT/DIRECT POINT screen, turn on the PRE HPF button for the corresponding channels in the DIRECT OUT POINT column. The DIRECT OUT LEVEL column will indicate the direct output levels. However, to adjust the level, use the INSERT/DIRECT VIEW screen. DIRECT button INSERT/DIRECT VIEW LEVEL knob Additional functions for the USER DEFINE switches More functions are available that can be assigned to the USER DEFINED [1]–[8] switches. USER DEFINE The following functions have been added: FUNCTION GEQ SELECT PARAMETER GEQ1–24 Display the GEQ PARAMETER screen. CURRENT Uses the Tap Tempo function available on the displayed screen. EFFECT1–8 Uses the Tap Tempo function available for the specified effect. NEXT EVENT RECALL Recalls the subsequently-numbered event. PREV EVENT RECALL Recalls the previouslynumbered event. DIRECT EVENT RECALL Recalls the specified event registered on the TC EVENT screen. ENABLE/DISABLE Switches between the ENABLE button and DISABLE button on the TC EVENT screen. ENABLE[ALL MANUAL]/DISABLE Switches between the ENABLE [ALL MANUAL] button and DISABLE button on the TC EVENT screen. MIX 1–48, MATRIX 1–24, STEREO, MONITOR B Send the talkback signal to the specified output channels. (If you turn it off, the previous talkback setting will be used.) TAP TEMPO* TC EVENT To select a position just before the HPF as the direct output in the INSERT/DIRECT VIEW screen, turn on the DIRECT button located just before the HPF. Use the LEVEL knob located in the lower right corner of the screen to change the direct output level. The direct output levels are not linked even if the corresponding two channels are paired. Hint • These settings are saved in scene memories. • If you load data that was saved in a System Software version older than version 2.0, the direct output level will be set to 0 dB. The default direct output point is PRE EQ. TALKBACK DIRECT ASSIGN Explanation * This function is enabled only when an effect that features the TEMPO parameter is selected. The USER DEFINE switch LED flashes at the specified tempo while and after you set the tempo. For more information on the Tap Tempo function, please refer to page 51 of the PM1D System Software Version 1.5 Supplementary Manual. Other changes 11 Inserting MIDI events from the event list In addition to entering hexadecimal values, you can also specify MIDI events for scene recall by entering the desired MIDI events using the list in the new MIDI EVENT SETUP pop-up window. To open this pop-up window, a MIDI EVENT button has been added to the SCENE STORE pop-up window and the SCENE TITLE pop-up window. You can also delay the output of MIDI events by a specified time. When you click a box in which a hexadecimal value has been input, the range of values that can be interpreted as a valid MIDI message (including that box) will turn red. The lower part of the window displays the MIDI channel (MIDI CH), message type (TYPE), and data values (DATA 1, DATA 2) that are interpreted from this MIDI message, enabling you to verify that the appropriate MIDI message has been input. You can use the following buttons to input or edit the message in this window. [ ]/[ ]buttons Move the highlighted area to left or right. INS button Inserts a space (blank) at the highlighted position. Pressing the <Insert> key on a PS/2 keyboard will produce the same result. DEL button Deletes the character at the highlighted position. Pressing the <Delete> key on a PS/2 keyboard will produce the same result. CLEAR button Erases the entire message that was input in the MIDI message input boxes. 2 Specifying the type of message 1. Click the STORE button on the MEMORY screen for the Scene function to display the SCENE STORE pop-up window. Alternatively, click the TITLE EDIT button to display the SCENE TITLE EDIT pop-up window. MIDI EVENT button With this method, you specify the desired MIDI channel, type of message, and data value. This information will be converted into the appropriate hexadecimal values. Click the first box into which you want to input data. Next, click the [ ]/[ ] buttons at the left and right of the TYPE box or use the [DATA] encoder to select the type of message. Then use the MIDI CH, DATA 1, DATA 2, MIDI PORT boxes to specify the MIDI channel, MIDI event settings, and output port. The values that can be selected in the MIDI CH, DATA 1, and DATA 2 boxes will depend on the type of message you selected first. The DELAY TIME box enables you to set the amount of time by which the MIDI event output is delayed after scene recall. You can set this delay time in 0.1 sec steps. TYPE MIDI CH DATA 1 DATA 2 Note-off velocity (0 –-127) NOTE OFF 2. Click the MIDI EVENT button to open the MIDI EVENT SETUP pop-up window. Note number (0–127) NOTE ON Pressure value (0–127) KEY PRESSURE CONTROL CHANGE 1 Directly inputting hexadecimal values With this method, you directly input the message as hexadecimal values. In this window, you can input a message by clicking the desired input box to select it (the box will be highlighted) and rotating the [DATA] encoder. Use the [INC]/[DEC] switches to move the input position. 12 Other changes 1–16 Control number (0–127) Controller value (0–127) PROGRAM CHANGE Program number (0–127) — CHANNEL PRESSURE Pressure value (0–127) — PITCH BEND Pitch bend MSB (0–127) EXCLUSIVE MASSAGE In this pop-up window, you can assign MIDI events using one of the following two methods: Note-on velocity (0–127) Pitch bend LSB (0–127) — When you have specified all of the values, click the “ ” button in the screen. The hexadecimal values for that message will be input in the input box of the MIDI EVENT SETUP window. As necessary, you can edit the message by clicking an input box and rotating the [DATA] encoder. Note • The maximum length of MIDI events you can enter is 32 bytes, including the MIDI output destination port and other data and comments. When the number of bytes exceeds the maximum, the “LENGTH OVER!” message will appear. • You can follow the steps below to set the DELAY TIME using the SCENE STORE (or SCENE TITLE EDIT) pop-up window. 1. Move the cursor to the COMMENT/MIDI EVENT section, then click the EVENT CODE SET button. 2. Click T and numbers 0-9 on the character palette to specify the two-digit delay time in 100 msec steps. For example, if you wish to delay the MIDI event output from scene recall by 500 msec, enter “T05.” You do not need to enter a value if you do not want to delay the event output. 3. Click 1, 2 (Console 1 or 2), or E (Engine) on the character palette to configure a MIDI port to output MIDI events. Outputting the MONITOR and CUE signals from the DSP1D The DSP1D OUTPUT 6 connector can now output MONITOR A/B and CUE signals. This is convenient when you use the PM1D Manager’s remote control function for the monitor/ cue operation. SYSTEM CONNECTION MONITOR / CUE OUTPUT TO #6 button CLEAR ALL button added to the OSCILLATOR and TALKBACK screens The OSCILLATOR and TALKBACK screens now feature a CLEAR ALL button that cancels all assignments to the buses. OSCILLATOR When you turn on the MONITOR/CUE OUTPUT TO #6 button in the SYSTEM CONNECTION screen, the MONITOR A/ B and CUE 1/2 signals are output to the device connected to the DSP1D’s OUTPUT 6 connector (channels 25-32). The following signals are output to the specified channels: TALKBACK Channel number Output signal 25/26 MONITOR A L/R 27/28 MONITOR B L/R 29/30 CUE 1 L/R (Console 1 CUE signals) 31/32 CUE 2 L/R (Console 2 CUE signals) Note • Even if you have set the output patch, when the MONITOR/ CUE OUTPUT TO #6 is turned on, the MONITOR/CUE signals will have priority and will be output. • The MONITOR/CUE signal output to the unit is the same as the signal output from the engine to the console. The TALKBACK DIMMER, CUE INTERRUPT, ON/OFF, and LEVEL controls on the console are ineffective for the signals output from the unit. Therefore, the meter indication does not necessarily reflect the level of the output signals. For details on the signals output from the engine, refer to the PM1D System Block Diagram. Other changes 13 No limitation in multiple selections for the Global Paste function In the previous software version, the Global Paste function enabled you to select up to 100 scenes at a time. However, this limitation has been removed. However, if you select 101 or more scenes to paste, you will not be able to use the Undo function. In this case, back up all important data using the Select All function, then execute the Global Paste function. Selecting WITH MIX SEND in the CH COPY screen In the previous software version, you could select WITH MIX SEND only when the ALL parameter was selected in the CH COPY screen for the Output CH View function. In the version 2.0 software, you can select WITH MIX SEND even if ALL is not selected. Support for the MY8-DA96 card The MY8-DA96 card is now supported, and you can display and edit the contents of the card using the CS1D or PM1D Manager. Compatibility of created data Any data created in System Software version 2.0 (such as scenes, libraries, setup data, etc.) cannot be loaded to a unit that runs System Software version 1 (i.e., all versions prior to version 2.0). However, any data created in System Software version 1 can be loaded to a unit that runs System Software version 2.0. 14 Other changes Appendix Scene Memory Preset List Scene # Title 00.1 Front of House This front of house preset scene is designed by a famous American front of house engineer. It features preset parameter values for the output channels, including Front Fill, Delayed Speaker, as well as Stereo Mix Send to the internal effects. INPUT CH1-96 EQ ON, TO STEREO ON, MIX SEND ON, CH ON STEREO INPUT1-8: Internal EFFECT RETURN TO STEREO ON, CH ON MIX1-16: Internal EFFECT SEND PAIR ON, MIX ON, LEVEL 0 dB MIX17-18: Stereo Sub Feed PAIR ON, MIX ON, LEVEL 0 dB, GEQ INSERT, INSERT ON STEREO A-B Scene # Title 00.3 FoH & Mon This preset covers the front of house and monitor on a single console. The latter half of the mix is regarded as the monitor send, and the GEQ is inserted for Wedge monitoring. This preset setting emulates Front Fill and Delayed Speaker, with Matrix output. INPUT CH1-96 EQ ON, TO STEREO ON, MIX SEND ON, CH ON STEREO INPUT1-8: Internal EFFECT RETURN TO STEREO ON, CH ON MIX1-16: Internal EFFECT SEND PAIR ON, MIX ON, LEVEL 0 dB MIX17-18: Stereo Sub Feed PAIR ON, MIX ON, LEVEL –∞ dB, GEQ INSERT, INSERT ON MIX25-36: In Ear Monitor PAIR ON, EQ ON, COMP ON —THR: 0 dB—RATIO: ∞: 1— KNEE: HARD, MIX ON, LEVEL 0 dB MIX37-48: Wedge Mix STEREO ON, LEVEL 0 dB, GEQ INSERT, INSERT ON MATRIX1-12: Front Fill Speaker, Delay Speaker, Rec Out MATRIX ON, LEVEL –∞ dB, GEQ INSERT, INSERT ON (MATRIX1-6) GEQ1-12 GEQ INSERT, INSERT ON, MIX ON, LEVEL 0 dB STEREO A-B STEREO ON, LEVEL 0 dB, GEQ INSERT, INSERT ON MATRIX1-12: Front Fill Speaker, Delay Speaker, Rec Out GEQ ON, LINK ON PAIR ON, MATRIX ON, GEQ INSERT, INSERT ON (MATRIX1-6) GEQ1-24 Scene # Title 00.2 Monitor GEQ ON, LINK ON (GEQ1-12) This monitor mix preset scene is designed by a famous American monitor engineer. MIX 1-20 feature the inserted GEQ as Wedge monitoring; MIX 25-44 emulate 10-channel in-ear monitoring. Four effects are assigned to each monitoring path. The stereo output is designed as Side Fill, featuring the inserted GEQ. INPUT CH1-96 HPF ON—F: 50 Hz—SLOPE: 18 dB, EQ ON, MIX SEND ON— PRE FADER, TO STEREO ON, CH ON STEREO INPUT1-8: Internal EFFECT RETURN HPF ON—F: 50 Hz—SLOPE: 18 dB, EQ ON, MIX SEND ON – PRE FADER (If a signal sent to a Mix bus causes an internal feedback loop, the corresponding MIX SEND will be turned off.), TO STEREO ON (STEREO INPUT 1, 2, 5, 6), CH ON MIX1-20: Wedge Mix GEQ INSERT, INSERT ON, MIX ON, LEVEL 0 dB MIX21-24: Internal EFFECT1-4 SEND MIX ON, LEVEL 0 dB MIX25-44: In Ear Monitor PAIR ON, EQ ON, COMP ON—THR: 0 dB—RATIO: ∞: 1— ATTACK: 0 msec—KNEE: HARD, MIX ON, LEVEL 0 dB MIX45-48: Internal EFFECT5-8 SEND MIX ON, LEVEL 0 dB STEREO A-B: Side Fill Mix GEQ INSERT, INSERT ON, LEVEL 0 dB GEQ1-24 GEQ ON, LINK ON (GEQ21-24) Appendix 15 Scene # Title Scene # Title 00.4 In Ear Monitor 00.6 OB Truck This preset simulates an in-ear monitoring mix. It is a highly practical preset, typical of the PM1D, with in-ear monitor and Wedge monitor categorized into Output DCA for emergency use. INPUT CH1-96 ATT: –10 dB, HPF ON—F: 50 Hz—SLOPE: 18 dB, EQ ON, COMP ON, TO STEREO ON, MIX SEND ON, VARI PAN LINK ON, FIXED MIX PAN ON, CH ON, LEVEL 0 dB STEREO INPUT1-8: Internal EFFECT RETURN, 2-track Input ATT: –10 dB, HPF ON—F: 50 Hz—SLOPE: 18 dB, EQ ON, COMP ON, TO STEREO ON, MIX SEND ON, VARI PAN LINK ON, FIXED MIX PAN ON, PAN MODE: BALANCE, CH ON MIX1-24: In Ear Monitor PAIR ON, EQ ON, DCA 11 ASSAIGN, MIX ON, LEVEL 0 dB MIX25-36: Wedge Mix GEQ INSERT, INSERT ON, DCA12 ASSIGN, MIX ON, LEVEL 0 dB MIX45-48: Internal EFFECT SEND EQ ON, DCA9 ASSIGN, MIX ON, LEVEL 0 dB STEREO A-B EQ ON, LEVEL 0 dB GEQ1-24 GEQ ON, LINK ON (GEQ1-12) This preset simulates a scene for an outside broadcasting truck or van. It features the HPF setting that is very practical for broadcasting application, and a MIX send setting that will simulate both internal and external effect sends. INPUT CH1-96 HPF ON—F: 95 Hz—SLOPE: 18 dB, EQ ON, COMP ON, MIX1-12 SEND ON, FIXED MIX PAN ON, CH ON STEREO INPUT1-8: Playback, Internal EFFECT RETURN MIX1-12 SEND ON (STIN1-4), FIXED MIX PAN ON, CH ON MIX1-4: Internal EFFECT SEND MIX ON, LEVEL 0 dB MIX5-12: External EFFECT SEND PAIR ON (MIX5-8), MIX ON, LEVEL 0 dB MIX37-48: Wireless Camera Mix, Playback Mix, Mic Mix, etc. FIX, INSERT ON (MIX45-48), PAIR ON (MIX45-48), DELAY ON— 86 msec@fs=48 kHz (MIX41), DCA11 ASSIGN (MIX45-46), DCA12 ASSIGN (MIX41, 47-48), TO STEREO ON (MIX41, 45-48), MIX ON (MIX41, 45-48), LEVEL 0 dB (MIX41, 45-48) STEREO A-B INSERT ON—POST ON, TO MATRIX ON—MATRIX1-2 SEND LEVEL: 0 dB—MATRIX3 SEND LEVEL:–3.1 dB (STEREO A L/R), STEREO ON, LEVEL 0 dB DCA9, 11-12 DCA LEVEL 0 dB MATRIX1-3 PAIR ON (MATRIX1-2), MATRIX ON, LEVEL 0 dB EFFECT1-8 Scene # Title 00.5 Musical EFFECT1: MIX1, EFFECT2: MIX2, EFFECT3: MIX3, EFFECT4: MIX4, EFFECT5: MIX45-46, EFFECT6: MIX47-48, EFFECT7: STEREO B L/ R, EFFECT8: STEREO A L/R, EFFECT5-8: MULTI BAND DYNA. DCA11-12 This preset simulates a musical mix scene. MIX1-12 are set to Fix, and are designed to be used as buses. INPUT CH1-96 ATT: –3 dB, INSERT OFF—PRE DELAY, EQ ON, TO STEREO ON, FIXED MIX PAN ON STEREO INPUT1-8: Internal EFFECT RETURN, 2-track Input EQ ON, FIXED MIX PAN ON MIX1-12 FIX, PAIR ON (MIX5-6,11-12), EQ ON, TO MATRIX ON—LEVEL: 0 dB (Even-numbered MIX bus sends from MIX 5 and 11, and odd-numbered MIX bus sends from MIX 6 and 12 are set to –∞ dB.), MIX ON, LEVEL 0 dB MIX13-48: Internal EFFECT SEND, etc. VARI, PAIR ON (MIX13-24), EQ ON, DCA12 ASSIGN (MIX13-22), DCA10 ASSIGN (MIX25-26), DCA11 ASSIGN (MIX33-35), MIX ON, LEVEL 0 dB STEREO A-B EQ ON MATRIX1-24 EQ ON, MATRIX ON, LEVEL 0 dB EFFECT1-8 EFFECT1: MIX25, EFFECT2: MIX26, EFFECT3: MIX27, EFFECT5: MIX33, EFFECT6: MIX34, EFFECT7: MIX35, EFFECT8: MIX36 16 Appendix DCA LEVEL 0 dB Scene # Title Scene # Title 00.7 Theatre 00.9 Live Recording This preset simulates a theatrical mix scene. It features the default settings for L-C-R panning. INPUT CH1-96 HPF OFF—F: 20 Hz, EQ ON, LCR ON, CH ON STEREO INPUT1-8: Internal EFFECT RETURN, etc. This preset simulates a live recording application. MIX1-48 are set to Fix, and sent to the recorder. Each channel’s direct out also features settings appropriate for recording. INPUT CH1-96 DIRECT OUT POST ON, HPF OFF - SLOPE: 12 dB, EQ ON, TO STEREO ON, CH ON HPF OFF—F: 20 Hz, EQ ON, LCR ON, CH ON STEREO INPUT1-8: Internal EFFECT RETURN, etc. MIX1-12: Stage Mix, Monitor Mix, etc. FIX (MIX1-4), EQ ON, DELAY ON —0.00 msec, MIX ON (MIX1-8), LEVEL 0 dB (MIX1-8) DIRECT OUT POST ON, HPF OFF—SLOPE: 12 dB, EQ ON, TO STEREO ON, CH ON MIX1-48: Recording Mix MIX13-48: Internal EFFECT SEND, etc. PAIR ON (MIX13-20), EQ ON, DELAY ON—0.00 msec (MIX25-48), MIX ON (MIX13-20,25-48), LEVEL 0 dB (MIX13-20) FIX, TO MATRIX ON—PRE FADER, MIX ON, LEVEL 0 dB STEREO A-B STEREO ON STEREO A-B LCR CENTER BUS CONTROL ON, EQ ON, TO MATRIX ON (STEREO A L/R), STEREO ON, LEVEL 0 dB MATRIX1-24: Delay Mix, etc. PAIR ON (MATRIX1-8), EQ ON, DELAY ON—0.00 msec, MATRIX ON, LEVEL 0 dB (MATRIX1-12) EFFECT1-8 MATRIX1-4: Internal EFFECT SEND MATRIX ON, LEVEL 0 dB EFFECT1-8 EFFECT1: MATRIX1, EFFECT2: MATRIX2, EFFECT3: MATRIX3, EFFECT4: MATRIX4 DCA1-12 EFFECT1: MIX13-14, EFFECT2: MIX15-16, EFFECT3: MIX17-18, EFFECT4: MIX19-20 Scene # Title 00.8 Broadcast DCA LEVEL 0 dB This preset simulates a broadcasting application. It includes input channel EQ and Comp settings that are typical to broadcasting, as well as multiple sends. INPUT CH1-24: Radio Lapel Mic EQ ON—LOW TYPE: SHELF—LOW F: 71 Hz—LOW G: –3 dB—HIGH MID Q: 0.90—G: +4 dB, COMP ON—THR:—18 dB—RATIO: 3.5: 1, DCA1 ASSIGN (CH13), DCA2 ASSIGN (CH14), DCA3 ASSIGN (CH15), DCA4 ASSIGN (CH16), DCA5 ASSIGN (CH17), DCA6 ASSIGN (CH18), DCA7 ASSIGN (CH19), DCA8 ASSIGN (CH20), DCA9 ASSIGN (CH21), DCA10 ASSIGN (CH22), DCA11 ASSIGN (CH23), DCA12 ASSIGN (CH24), TO STEREO ON, FIXED MIX PAN ON, CH ON INPUT CH25-96 HPF OFF—SLOPE: 12 dB, EQ ON, FIXED MIX PAN ON, CH ON, LEVEL 0 dB STEREO INPUT1-8: Internal EFFECT RETURN, Playback TO STEREO ON, FIXED MIX PAN ON, CH ON MIX1-16: Recording Mix MIX ON, LEVEL 0 dB MIX21-24: Internal EFFECT SEND MIX ON, LEVEL 0 dB MIX25-48: Sub Group FIX, PAIR ON, TO STEREO ON, MIX ON, LEVEL 0 dB STEREO A-B COMP ON—THR:–18 dB (STEREO A), STEREO ON EFFECT1-8 EFFECT1: MIX21, EFFECT2: MIX22, EFFECT3: MIX23, EFFECT4: MIX24 DCA1-12 DCA LEVEL 0 dB Appendix 17 VCM Effect Parameter List 072: REV-X HALL, 073: REV-X ROOM, 074: REV-X PLATE These effects are a newly-developed 2-in/2-out reverb algorithm. They provide a high-density, richly reverberant sound quality, with smooth attenuation, spread and depth that work together to enhance the original sound. You can choose one of three programs to suit the acoustic sound field and your intentions: REV-X Hall, REV-X Room, and REV-X Plate. Parameter REV TIME Range 0.47–46.92 s *1 Description Delay time until early reflection is heard 0.1–1.0 The reverberation duration of the high frequency range is expressed as a ratio relative to REV TIME. LO. RATIO 0.1–1.4 The reverberation duration of the low frequency range is expressed as a ratio relative to REV TIME. LO. FREQ 22.0 Hz–18.0 kHz Reference frequency of LO. RATIO DIFF. 0–10 HI. RATIO This effect emulates the characteristics of analog compressors that are widely used in recording studios. It produces a thick, strong frame sound suitable for drums and bass. You can link and control the L and R channel parameters. Parameter Range Description INPUT –180 to 0 dB Adjusts the input level OUTPUT –180 to 0 dB Adjusts the output gain RATIO 1:2, 4:1, 8:1, 12:1, 20:1 Ratio of the compressor ATTACK 0.022–50.4 ms Attack time of the compressor RELEASE 10.88–544.22 ms Release time of the compressor MAKE UP OFF, ON Automatically corrects output gain reduction when the compressor is applied OFF, ON When the HPF in the side chain of the compressor is turned on, the compression applied to the low range will be weakened, thus emphasizing the low range. Length of reverberation 0.0–125.0 ms INI. DLY 076: COMP276S SIDE HPF Left and right directional spread of reverb sound ROOMSIZE 0–28 Size of space 077: COMP260 DECAY 0–53 Speed at which the gate closes HPF THRU, 22.0 Hz– 8.00 kHz Cut-off frequency for the high pass filter LPF 1.00 kHz– 18.0 kHz, THRU Cut-off frequency for the low pass filter This effect emulates the characteristics of mid 70’s compressors/limiters that are the standard for live SR. You can control two monaural channels independently. You can also link several parameters via stereo links. *1. This value applies only when the effect type is REV-X PLATE, with ROOM SIZE set to 28. The setting range varies depending on the effect type and the ROOM SIZE value. Parameter Range Description THRE.1 –60 to 0.0 dB Threshold of CH compressor KNEE1 SOFT, MEDIUM, HARD Knee of CH1 compressor 075: COMP276 ATTACK1 0.01–80.0 ms Attack time of CH1 compressor This effect emulates the characteristics of analog compressors that are widely used in recording studios. It will produce a thick, strong frame sound suitable for drums and bass. You can control two monaural channels independently. RELEASE1 6.2–999 ms Release time of CH1 compressor RATIO1 1.0–500, ∞ Ratio of CH1 compressor OUTPUT1 –20 to 40 dB Adjusts the CH1 output gain THRE.2 –60 to 0.0 dB Threshold of CH2 compressor KNEE2 SOFT, MEDIUM, HARD Knee of CH2 compressor Parameter Range Description –180 to 0 dB Adjusts the CH1 input level OUTPUT 1 –180 to 0 dB Adjusts the CH1 output gain ATTACK2 0.01–80.0 ms Attack time of CH2 compressor RATIO 1 2:1, 4:1, 8:1, 12:1, 20:1 Ratio for CH1 compressor RELEASE2 6.2–999 ms Release time of CH2 compressor ATTACK 1 0.022–50.4 ms Attack time for CH1 compressor RATIO2 1.0–500, ∞ Ratio of CH2 compressor RELEASE1 10.88–544.22 ms Release time for CH1 compressor OUTPUT2 –20 to 40 dB Adjusts the CH2 output gain OFF, ON Links CH1 and CH2 as a stereo pair. THRE., KNEE, ATTACK, RELEASE, and RATIO parameters are linked; OUTPUT parameter is not linked INPUT 1 OFF, ON Automatically corrects output gain reduction when CH1 compressor is applied SIDEHPF1 OFF, ON When the HPF in the side chain of the CH1 compressor is turned on, the compression applied to the low range will be weakened, thus emphasizing the low range. INPUT 2 –180 to 0 dB Adjusts the CH2 input level OUTPUT 2 –180 to 0 dB Adjusts the CH2 output gain RATIO 2 2:1, 4:1, 8:1, 12:1, 20:1 Ratio of CH2 compressor ATTACK 2 0.022–50.4 ms Attack time of CH2 compressor RELEASE2 10.88–544.22 ms Release time of CH2 compressor MAKE UP2 OFF, ON Automatically corrects output gain reduction when the CH2 compressor is applied OFF, ON When the HPF in the side chain of the CH2 compressor is turned on, the compression applied to the low range will be weakened, thus emphasizing the low range. MAKE UP1 SIDEHPF2 18 Appendix ST LINK 078: COMP260S 080: OPENDECK This effect emulates the characteristics of mid 70’s compressors/limiters that are the standard for live SR. You can link and control the L and R channel parameters. It emulates the tape compression created by two open reel tape recorders (a recording deck and a playback deck.) You can change the sound quality by adjusting various elements, such as the deck type, tape quality, playback speed, etc. Parameter THRE. Range –60 to 0.0 dB Description Threshold of the compressor KNEE SOFT, MEDIUM, HARD Knee of the compressor ATTACK 0.01–80.0 ms Attack time of the compressor RELEASE 6.2–999 ms Release time of the compressor RATIO 1.0–500, ∞ Ratio of the compressor OUTPUT –20 to 40 dB Adjusts the output gain 079: EQUALIZER601 This effect emulates the characteristics of 70’s analog equalizers. Recreating the distortion of typical analog circuits will add drive to the sound. Parameter Range Parameter Range Description REC DEC Swss70, Swss78, Swss85, Amer70 REC LVL Adjusts the input level of the recording deck. As you raise the level, tape –96.0 to +18.0 dB compression is generated, which narrows the dynamic range and distorts the sound REC HI –6.0 to +6.0 dB Adjusts the high range gain of the recording deck REC BIAS –1.00 to +1.00 Adjusts the bias of the recording deck REPR DEC Swss70, Swss78, Swss85, Amer70 Selects the playback deck type REPR LVL –96.0 to +18.0 dB Adjusts the output level of the playback deck Description Selects the recording deck type LO TYPE HPF-2/1, LSH-1/2 Type of EQ1 REPR HI –6.0 to +6.0 dB Adjusts the high range gain of the playback deck LO F 16.0 Hz to 20.0 kHz REPR LO –6.0 to +6.0 dB Adjusts the low range gain of the playback deck LO G –18.0 to +18.0 dB Gain of EQ1 MID1 Q 0.50–16.0 MID1 F 16.0 Hz to 20.0 kHz Center frequency of EQ2 MAKE UP Off, On MID1 G –18.0 to +18.0 dB Gain of EQ2 When you adjust the REC LVL, the REPR LVL reflects the change, maintaining the relative output level. You can change the amount of distortion without changing the output level. Cut-off frequency of EQ1 Q of EQ2 MID2 Q 0.50–16.0 MID2 F 16.0 Hz to 20.0 kHz Center frequency of EQ3 Q of EQ3 TP SPEED 15ips, 30ips Selects the tape speed MID2 G –18.0 to +18.0 dB Gain of EQ3 TP KIND Old, New Selects the tape type INPUT –18.0 to +18.0 dB Input gain OUTPUT –18.0 to +18.0 dB Output gain MID3 Q 0.50–16.0 MID3 F 16.0 Hz to 20.0 kHz Center frequency of EQ4 MID3 G –18.0 to +18.0 dB Gain of EQ4 Q of EQ4 MID4 Q 0.50–16.0 MID4 F 16.0 Hz to 20.0 kHz Center frequency of EQ5 Q of EQ5 MID4 G –18.0 to +18.0 dB Gain of EQ5 HI TYPE LPF-2/1, HSH-1/2 Type of EQ6 HI F 16.0 Hz to 20.0 kHz *1 HI G –18.0 to +18.0 dB Gain of EQ6 LO SW OFF, ON Switches EQ1 on/off MID1 SW OFF, ON Switches EQ2 on/off MID2 SW OFF, ON Switches EQ3 on/off MID3 SW OFF, ON Switches EQ4 on/off Cut-off frequency of EQ6 MID4 SW OFF, ON Switches EQ5 on/off HI SW OFF, ON Switches EQ6 on/off CLEAN, DRIVE Selects the equalizer type. The CLEAN equalizer provides non-distorted, clear, typical digital sound, emulating variations in frequency response in the analog circuits. The DRIVE equalizer provides distorted, driven sound that enhances analog flavor, emulating changes in frequency response in the analog circuits. TYPE *1. 16.0 Hz to 20.0 kHz (LPF-1, LPF-2), 1.0 kHz to 20.0 kHz (HSH-1, HSH-2) Appendix 19 U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2005 Yamaha Corporation WF52680 406IPAPx.x-01A0 Printed in Japan A/B AD HA CH 1 B GAIN CH 2 A to OUTPUT PATCH INSERT OUT 1(-48) (-96) PEAK METER to METER HA CH 2 B GAIN [AI8 + LMY2-ML] CH 1 BA METER to METER CH 2 BA HPF DIGITAL GAIN KEY IN HPF LPF SEL AES/EBU DIGITAL GAIN KEY IN4 CUE L CUE R KEY IN1 STEREO L STEREO R VARI DE-EMPHASIS DIRECT OUT STIN 1(-4) Lch to OUTPUT PATCH (-8) from PRE ATT. from PRE EQ CUE METER ... INSERT MONO METER METER 6BAND PEQ COMP CUE Rch 4BAND PEQ GATE COMP PAN DELAY to METER to MATRIX POST TO ST 5 KEY IN SEL from INPUT PATCH 2 SRC from PRE EQ from PRE FADER MIX 1(-48) to METER METER METER METER ON ON FIX 6BAND PEQ VARI INSERT IN MIX1(-48) to MONITOR DELAY COMP to METER CUE FADER KEY IN SEL to MATRIX DIRECT OUT STIN 1(-4) Rch to OUTPUT PATCH (-8) from DSP1D to METER ON to CONSOLE1 2 SUB IN L 2 DIGITAL GAIN 2-TRACK IN DIGITAL3(-6) DEEMPHASIS SUB IN R CUE 2 STEREO OUT DIGITAL A [24bit Data] AES/EBU MIX to STEREO DE-EMPHASIS from MIX48 from STEREO A Lch from STEREO A Rch from STEREO B Lch from STEREO B Rch SUB IN Lch to MONITOR from INPUT PATCH MATRIX 1(-24) METER METER 6BAND PEQ COMP from DSP1D 2 STEREO OUT DIGITAL B [24bit Data] AES/EBU INSERT IN MTRX1(-24) KEY IN SEL DELAY ON METER METER METER from PRE EQ ON CUE OUT DEEMPHASIS HA AD LEVEL DEEMPHASIS DECONSOLE1 EMPHASIS -44 +10 +48V +48V PHANTOM HA from CAS. COMM IN ON from CASCADE IN COMM IN LEVEL COMM IN DECONSOLE2 EMPHASIS 2 DELAY ON GATE to MONITOR A 2 [CS1D] to CONSOLE1 MONITOR B GATE to MONITOR B to CASCADE OUT LEVEL Dual Console Mode Only DEEMPHASIS to CASCADE OUT TALKBACK SEL from CASCADE IN from CASCADE IN : DSP1D : OTHER OSC ON Frequncy: 100Hz - 10kHz OSC 2ch PINK NOISE TALKBACK OUT to OUTPUT PATCH from STEREO B Rch 2TR IN 1 Lch OFF DELAY DAC L MONO/R MONO DIMMER from COMM IN LEVEL DAC MONITOR A PHONES COMM IN DAC to MONITOR B LEVEL TALKBACK TO MONI B ASSIGN (Dual Console Mode Only) MONITOR B PHONES DAC LEVEL MONITOR B PHONES METER METER ON DAC from MONITOR A OSC OUT LPF ON OSC OUT to OUTPUT PATCH 4 BURST NOISE L MONITOR OUT B R DAC * MONITOR B SELECTOR LEVEL MONITOR A PHONES DAC TO MONI B ASSIGN HPF L MONITOR OUT A R ON same as above TB ON ON DAC 2TR IN 6 Rch MONITOR A SELECTOR ON TALKBACK CONSOLE1 OSC 1ch from STEREO B Lch 2TR IN 3 Lch Dual Console Mode Only TB OUT Frequncy: 100Hz - 10kHz from STEREO A Rch from MATRIX24 DIRECT INPUT Lch DIRECT INPUT Rch METER METER DELAY from STEREO A Lch from MATRIX1 2TR IN 2 Rch TALKBACK CONSOLE2 to CASCADE OUT DEFINE from MIX48 ON LEVEL 12 from MIX1 LEVEL from CAS. COMM IN ON from CASCADE IN TRIM MONITOR A to CASCADE OUT AD -44 +10 R DAC DIMMER DELAY DIRECT IN R +48V PHANTOM 2 L DAC CUE DIRECT IN L TALKBACK IN COAXIAL DITHER FADER SUB IN Rch DEEMPHASIS from CONSOLE2 1 COAXIAL DITHER PAN to CONSOLE1 +48V to GEQ RETURN to CS1D to METER DIGITAL GAIN METER 31band GEQ1(-24) with Selectable SPECTRUM DIGITAL GAIN ANALYZER METER to MONITOR KEY IN SEL DE-EMPHASIS TO ST FIXED MIX PAN AD from CONSOLE2 AES/EBU METER to MATRIX DELAY from MIX1 BA to EFFECT RETURN from PRE EQ from PRE FADER Lch 2 METER EFFECT 1(-8) to CS1D from INPUT PATCH METER INSERT IN ST B Rch FADER KEYIN CUE 2-TRACK IN ANALOG1(-2) METER METER to MONITOR ON FADER BALANCE METER Option Card OUT(8ch) DITHER to METER METER KEY IN HPF LPF SEL ... CH4 from PRE EQ from PRE FADER STEREO B KEY IN SEL CUE INSERT IN STIN 1(-4) Rch (-8) 2 INSERT IN ST B Lch DAC to MATRIX ON to METER ON HPF DEEMPHASIS 2 POST TO ST FIX MIX1(ODD) DELAY CH3 [AO8 + LMY4-DA] 8 to METER COMP DAC [DIO8 + MYx-xx] FADER METER 6BAND PEQ CH2 to CS1D KEY IN SEL METER TO ST DAC METER DELAY from INPUT PATCH CH1 to MATRIX to METER COMP DAC from PRE EQ from PRE FADER from INPUT PATCH CUE FIXED MIX PAN ATT. DEMS EMP. DECODE STIN Rch 1(-4) (-8) from CONSOLE2 PAN DELAY to OUTPUT PATCH INSERT OUT STIN R 1(-4) to METER SRC INSERT IN ST A Rch ON PEAK from GEQ 1(-24) FADER BALANCE to METER KEYIN CUE from EFFECT 1(-8) to CS1D to MONITOR 6BAND PEQ FADER KEY IN SEL DELAY METER DE-EMPHASIS METER COMP to MONITOR to METER 8 [DIO8 + MYx-xx] COMP METER METER MIX2(EVEN) DIGITAL GAIN 2 from PRE ATT. from PRE EQ INSERT IN STIN 1(-4) Lch (-8) [AI8 + LMY4-AD] COAXIAL KEYIN CUE GATE ON to METER VARI MIX PAIR 5 DEEMPHASIS AD Option Card IN (8ch) 4BAND PEQ METER KEY IN SEL CUE DIRECT OUT 1(-48) to OUTPUT PATCH (-96) ON DEMS EMP. DECODE STIN Lch 1(-4) (-8) AD BA CH 4 INSERT IN ST A Lch ON ON METER METER DE-EMPHASIS ATT. AD BA CH 3 POST TO ST FIX to METER to OUTPUT PATCH INSERT OUT STIN L 1(-4) PEAK AD from PRE EQ from PRE FADER STEREO A FIXED MIX PAN MIX1(ODD) KEY IN SEL from INPUT PATCH to METER 6BAND PEQ ... STIN 1(-4) (-8) DE-EMPHASIS ... TO ST PAN MIX2(EVEN) KEYIN SOURCE: SELF PRE EQ SELF POST EQ LEFT CH(POST EQ) KEYIN BUS1-4 AD ... FADER DELAY INSERT IN 1(-48) (-96) A/B 2-TRACK IN DIGITAL1(-2) GATE COMP KEY IN HPF LPF SEL CUE INSERT 5 DEEMPHASIS +48V METER ON 4BAND PEQ HPF METER METER METER INSERT ATT. DEMS EMP. DECODE CH 1(-48) (-96) MIX1 MIX2 CH 1(-48) (-96) ... OUTPUT PATCH OUTPUT PATCH INPUT PATCH +48V PHANTOM MASTER ON/OFF +48V CH 1 A ... from PRE ATT. from PRE EQ MIX48 PM1D V2.0 System Block Diagram (CS1DV2, DSP1D, AI8, AO8, DIO8) LEVEL to KEY IN SEL * The Monitor B can be used in the Single Console Mode. CASCADE IN 58 TALKBACK CONSOLE1 to COMM IN to COMM IN TALKBACK CONSOLE2 ON/OFF COMM IN CONSOLE1 to COMM IN CONSOLE1 COMM IN CONSOLE2 to COMM IN CONSOLE2 58 TALKBACK CONSOLE1 to TALKBACK CONSOLE1 TALKBACK CONSOLE2 to TALKBACK CONSOLE2 from TALKBACK CONSOLE1 TALKBACK CONSOLE1 from COMM IN CONSOLE1 COMM IN CONSOLE1 from TALKBACK CONSOLE2 TALKBACK CONSOLE2 from COMM IN CONSOLE2 COMM IN CONSOLE2 CASCADE OUT [CS1D] PM1D System V2.0 Level Diagram Analog (LMY2-ML) Analog dBu +24 +20 Digital dBFS GAIN HA Digital UNIT AD Digital DSP1D DIGITAL PHASE PATCH DEM/S GAIN EMPHASIS DECODE DSP1D ATT. HPF EQ GATE COMP DELAY LEVEL DCA LEVEL ON PAN/SEND BUS LEVEL Adder EQ COMP DELAYMASTER DCA MASTERPATCH DITHER LEVEL LEVEL ON +10 +4 0 –10 –10 –30 –20 –40 –30 –50 –40 –60 –20 –50 –70 –60 –80 –70 –90 –80 –100 –90 –110 –100 –120 –110 –130 –120 –140 –130 –150 –140 –160 –150 –170 –160 –180 –170 –190 –180 –200 –190 –210 [0dBu = 0.775Vrms] [0dBFS = Full Scale] Analog DA dBu Bit Max. Input [+24dB] 0 Analog (LMY4-DA,CS1D) UNIT 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 GAIN MIN Nominal Input [+10dB] GAIN MIN Max. Output [+24dB] Digital Clipping Level [+20dB] CASCADE IN [+6dB] CASCADE OUT STEREO OUT A-B MIX OUT 1-48 MONITOR OUT A-B MATRIX OUT 1-24 Nominal Output [+10dB] +24 +20 +10 +4 0 –10 –20 –30 –40 Max. Input [–54dB] GAIN MAX Nominal Input [–68dB] GAIN MAX –50 –60 –70 –80 –90 –100 –110 –120 –130 –140 –150 –160 DSP Noise Floor –170 –180 –190