User manual YAMAHA 03D

[. . . ] DIGITAL MIXING CONSOLE Owner's Manual PHONES 1 PAD 2 26dB 3 26dB 4 26dB 5 26dB 6 26dB 7 26dB 8 26dB 9 10 11 12 13 14 15 16 ST IN MONITOR OUT PHONES 26dB SOLO/ 2TR IN ­16 ­60 +10 GAIN ­34 ­16 ­60 +10 GAIN ­34 ­16 ­60 +10 GAIN ­34 ­16 ­60 +10 GAIN ­34 ­16 ­60 +10 GAIN ­34 ­16 ­60 +10 GAIN ­34 ­16 ­60 +10 GAIN ­34 ­16 ­60 +10 GAIN ­34 +10 ­20 +10 ­20 +10 ­20 +10 ­20 +10 ­20 +10 ­20 +10 ­20 +10 ­20 +10 ­20 0 10 0 10 GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN LEVEL LEVEL SETUP SCENE MEMORY UTILITY MIDI MIDI REMOTE SCENE MEMORY UNDO/ REDO SOLO SOLO DIO GROUP/PAIR SOLO SETUP AUTOMIX STORE RECALL CHANNEL CONTROL DELAY/Ø DYNAMICS PAN/ROUTING SCENE MEMORY VIEW FUNCTION SEL CH USER DEFINE USER DEFINE 1 L STEREO R 2 EQ LOW LO-MID HI-MID HIGH EQ LIBRARY EQ FLAT FADER MODE AUX 1 AUX 2 AUX 3 AUX 4 CLIP ­3 ­6 ­9 ­12 ­15 ­18 ­24 ­30 ­36 ­42 ­48 PARAMETER 3 4 ENTER FADER EFFECT 1 EFFECT 2 CURSOR FADER STATUS METER MIXING LAYER 1­16 17­24/MASTER FADER 1­8 9­12 13­16 ST IN EFFECT RTN 1 2 1 17 2 18 3 19 4 20 5 21 6 22 7 23 8 24 9 AUX1 10 AUX2 11 AUX3 12 AUX4 13 BUS1 14 BUS2 15 BUS3 16 BUS4 ST IN EFFECT RETURN ST OUT SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 0 5 10 20 40 60 00 1 17 2 18 3 19 4 20 5 21 6 22 7 23 8 24 9 AUX1 10 AUX2 11 AUX3 12 AUX4 13 BUS1 14 BUS2 15 BUS3 16 BUS4 ST IN EFFECT RETURN ST OUT E FCC INFORMATION (U. S. A. ) 1. 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. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. [. . . ] For knee settings from 1 to 5, however, compression is applied gradually as the signal exceeds the specified threshold, creating a more natural sound. ATTACK--This determines how soon the signal is compressed once the compressor has been triggered. With a slow attack time, however, the initial transient of a sound passes through unaffected. RELEASE--This determines how soon the compressor returns to its normal gain once the trigger signal level drops below the threshold. If the release time is too short, the gain will recover too quickly causing level pumping (i. e. If it is set too long, the compressor may not have time to recover before the next high level signal appears, and it will be compressed incorrectly. It can be used to compensate for the overall level change caused by the compression process. GATE A gate, or noise gate is essentially an audio switch used to mute signals below a set threshold level. It can be used to cut background noise picked up by open microphones, noise and hiss from guitar valve amps and effects pedals, and leakage between drum microphones. For example, gating a drum sound with a short decay time tightens up the sound. Also, patching a gate into a droning bass synth channel and then triggering it from the kick drum channel allows the bass synth through only when the kick drum is struck, adding extra "oomph" on the beat. Parameter THRESHOLD RANGE ATTACK HOLD ­54 dB to 0 dB (55 steps) ­70 dB to 0 dB (71 steps) 0­120 ms (1 ms steps) 0. 02 ms­1. 96 s (sampling rate @ 48 kHz) 0. 02 ms­2. 13 s (sampling rate @ 44. 1 kHz) 0. 03 ms­2. 94 s (sampling rate @ 32 kHz) 5 ms­42. 3 s (sampling rate @ 48 kHz) 6 ms­46 s (sampling rate @ 44. 1 kHz) 8 ms­63. 4 s (sampling rate @ 32 kHz) +20 +10 0 Output Level (dB) ­10 ­20 ­30 ­40 ­50 ­60 ­70 Threshold = ­10dB Range = ­30dB Range = ­70dB ­70 ­60 ­50 ­40 ­30 ­20 ­10 Input Level (dB) 0 +10 +20 Range DECAY 03D--Owner's Manual Processor Types 153 THRESHOLD--This determines the level at which the gate closes, cutting off the signal. Think of it as a brick holding a garden gate open so that a certain amount of signal always flows through. For a setting of ­70 dB, the gate closes completely when the input signal falls below the threshold. When signals are gated abruptly, the sudden disappearance can sometimes sound odd. This parameter causes the gate to reduce the signal level rather than cut it completely. ATTACK--This determines how fast the gate opens when the signal exceeds the threshold level. Slow attack times can be used to remove the initial transient edge of percussive sounds. HOLD--This determines how long the gate stays open once the trigger signal has fallen below the threshold level. DECAY--This determines how fast the gate closes once the hold time has expired. A longer decay time produces a more natural gating effect, allowing the natural decay of an instrument to pass through. With a maximum decay time of between 42 and 63 seconds, you could even use this for fade-outs. DUCKING Ducking is commonly used for voice-over applications, where the background music level is reduced automatically when an announcer speaks. Ducking is achieved by triggering a comThreshold = ­20dB pressor with a different sound source. For example, a ducker is patched into the background music channel, and the KEY IN signal is sourced from the announcer's microphone channel. [. . . ] Signal to Noise Ratio (S/N)--In an audio system, the difference between the operating signal level and the residual noise floor, usually expressed as a ratio in decibels. It's used as a measure of an audio system's noise performance. SMPTE timecode--Pronounced "simpty", SMPTE timecode is the timecode format used for television recorders by the SMPTE (Society of Motion Pictures and Television Engineers) in the United States and the EBU (European Broadcast Union) in Europe. System Exclusive--A type of MIDI message that is used to transmit data between MIDI devices exclusively. [. . . ]