Input channel mixing engine section

This section describes the mixing engine section for the input channels.

a

A/B input

Switches between two sources A and B that are patched to the input channel. You can use this in the following ways.

  • Patch a backup circuit in advance for quick selection in an emergency.
  • Quickly switch input sources depending on the performance or scene.

b

Virtual Sound Check

Switches all stage (I/O) inputs and DAW playback in a single operation.

c

Filter

  • HPF
  • The slope of the high-pass filter can be specified as -6 dB/oct, -12 dB/oct, -18 dB/oct, and -24 dB/oct.
  • LPF
  • The slope of the low-pass filter can be specified as -6 dB/oct or -12 dB/oct.

d

EQ

This is a four-band parametric EQ.

  • 4 BAND PEQ
  • The following EQ types can be selected: PRECISE, AGGRESSIVE, SMOOTH, or LEGACY. Two sets of EQ parameter settings (A and B) can be saved for convenient comparison. The FREQUENCY parameter of each band is normally set in 1/12 octave steps, but if you need more precise adjustment, you can set it in 1/24 octave steps. The two bands LOW and HIGH can be switched to L SHELF (Low Shelving) and H SHELF (High Shelving) respectively.

The available EQ types include:

PRECISE

This EQ strives for ultimate precision and controllability. It enables you to adjust the target point precisely, and flexibly satisfies various requirements for sound making. Low/High Shelving filters feature a “Q” parameter, which enables you to adjust the knee characteristics.

AGGRESSIVE

This EQ is musical and effective.

It enables you to add a powerful, creative edge and serves as a powerful tool for artistic expression.

SMOOTH

This EQ focuses on smooth sound qualities.

It contributes to a natural sound without changing the atmosphere of the original.

LEGACY

This is a standard EQ that has been equipped with many of Yamaha’s legacy digital mixers, such as PM1D and PM5D.

e

DYNAMICS

Two dynamics processor modules are provided: Dynamics 1 and Dynamics 2. To each module you can assign one of six types of function such as GATE or COMP. Two types of compressor are provided: LEGACY COMP and COMP 260. Two sets of dynamics parameter settings (A and B) can be saved for convenient comparison.

The available dynamics types include:

LEGACY COMP

This is a standard compressor that has been equipped with many of Yamaha’s legacy digital mixers, such as PM1D and PM5D.

COMP 260

This is an analog-flavored compressor built using Yamaha’s proprietory VCM (Virtual Circuitry Modeling) technology. It emulates the characteristics of compressors and limiters of the mid-1970s, which are now a standard for live sound reinforcement. This compressor has faithfully modeled the VCA (Voltage-Controlled Amplifier) circuit and the RMS (Root Mean Square) detection circuit. Compression curve (Knee) can be set to Hard, Medium, or Soft. Although the attack/release times can also be adjusted, the preset settings reproduce the fixed response of the original unit being modeled. Designed under the supervision of top SR engineers, the parameter effects have been optimized for live sound reinforcement.

GATE

This dynamics type reduces the output by a fixed value (RANGE) when a signal smaller than the THRESHOLD level is input.

DE-ESSER

This dynamics type detects only the sibilants and other high-frequency consonants of the vocal, and compresses its bandwidth.

EXPANDER

This dynamics type reduces the output by a fixed ratio (RATIO) when a signal smaller than the THRESHOLD level is input.

DUCKING

This dynamics type reduces the output by a fixed value (RANGE) when a signal greater than the THRESHOLD level is input. This is effective if you want to lower the volume level of background music using the KEY IN SOURCE signal.

FET LIMITER *1

Models a FET compressor/limiter used standard in studios. Because THRESHOLD is fixed internally, the amount of compression applied is adjusted by adjusting the INPUT level.

DIODE BRIDGE COMP *1

Models a compressor that uses a Diode Bridge.

*1 Cannot be selected for input channel Dynamics 1.

・ KEY IN SOURCE

Selects the source of the key-in signal. In addition to SELF, the key-in signal can also be selected directly from another channel or input patch.

f

INSERT

Two inserts are provided: Insert 1 and Insert 2. In each insert, you can insert up to four plug-ins/GEQ/PEQ/external devices (via the I/O jacks). Each insert point can be selected independently for INSERT 1 and INSERT 2.

g

DELAY

Up to 1000 msec of delay is provided on each channel. You can freely select the delay insert point. You can select the delay time unit from the following: meter, feet, sample, msec, frame, depending on your application.

h

DIRECT OUT

  • DIRECT OUT POINT
  • For each channel, a variety of points can be selected as the signal that is output to direct out.
  • DIRECT OUT LEVEL
  • For each channel, sets the output level of direct out.
  • FOLLOW
  • This function enables the direct out signal to “follow” channel parameter settings (FADER/ON/DCA) regardless of the direct out point. For example, if you want to route a signal from immediately after the HA to the direct out for recording, you can make the direct out signal follow the channel OFF setting to avoid possible noise caused by connecting or disconnecting cables or turning phantom power on or off.

i

INPUT TO MIX/INPUT TO MATRIX

A signal can be sent from the input channel to MIX buses 1 – 72. In addition to the conventional MIX sends, there are also direct sends to MATRIX buses 1 – 36, so by using these together you can use them as up to 108 mix buses.

  • Send Point
  • This allows you to flexibly select the send point for each channel. You can set the send point selected here to PRE or POST using the PRE button. You can select each send point on the BUS SETUP screen.

PRE

POST

PRE FILTER

POST FADER

PRE EQ

POST ON

PRE DYN1

PRE DYN2

PRE FADER

j

PAN LINK

With this setting, the signal sent from an input channel to the MIX/MATRIX bus can be made to follow the PAN of the STEREO bus send regardless of the send point.

k

FOLLOW

With this setting, the signal sent from an input channel to the MIX/MATRIX bus can be made to “follow” the channel FADER/ON/DCA settings regardless of the send point. For example, you can select whether or not a PRE FADER monitoring signal will follow the ON/OFF setting for the STEREO bus send.

Pair setting

Adjacent channels can be paired and used as a stereo module. Either odd-numbered/even-numbered channels or even-numbered/odd-numbered channels can be specified as a combination. For single input channels (monaural), the pan level is nominal at the center, and +3 dB at hard left or hard right. If channels are paired, the level response of their balance will be nominal at center and +3 dB at far left or right.

Library

The “INPUT CHANNEL LIBRARY” lets you store and recall various input channel parameters.