Page 1 Keep This Manual For Future Reference. Keep This Manual For Future Reference. Owner’s Manual Owner’s Manual...
Page 2 300 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.
Page 3: Important Information
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.
Page 4: Operating Notes
Important Information • Hold the power cord plug when disconnecting it from an AC outlet. Never pull the cord. A damaged power cord is a potential ﬁre and electrical shock hazard. • Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard. •...
Page 5 Teac are registered trademarks of Teac Corporation. Microsoft and Windows are registered trademarks of Microsoft Corporation, Inc. Waves is a trademark of Waves, Inc. Yamaha is a trademark of Yamaha Corporation. Nuendo and Cubse SX are trademarks of Steinberg Media Technologies GmbH. All other trademarks are the property of their respective holders and are hereby acknowledged.
Page 6: Package Contents
Copyright No part of the DM2000, 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.
Page 7: Aux Sends
Installing the DM2000 The DM2000 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 DM2000 Version 2 The following functions have been added to the DM2000 as part of the upgrade of the ﬁrm- ware from version 1.2 to version 2.0.
Page 8: Scene Memory
Cubase SX as the target for a Remote layer. → page 253 • 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 DM2000’s SELECTED CHANNEL section.
Page 9 This product contains a battery that contains perchlorate material. Perchlorate Material—special handling may apply, See www.dtsc.ca.gov/hazardouswaste/perchlorate. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. COMPLIANCE INFORMATION STATEMENT (DECLARATION OF CONFORMITY PROCEDURE) Responsible Party : Yamaha Corporation of America Address : 6600 Orangethorpe Ave., Buena Park, Calif.
Page 10: Table Of Contents
Contents Contents 1 Welcome ....... . . 17 2 Control Surface & Rear Panel ....20 Control Surface .
Page 11 7 Input Channels ......84 Patching Input Channels ..........84 Metering Input Channels .
Page 12 Contents 9 Bus Outs ....... . 107 Patching Bus Outs to Outputs ......... 107 Routing Input Channels to Bus Outs .
Page 13 11 Matrix Sends ......121 Patching Matrix Send Masters to Outputs ....... 121 Pre-Fader or Post-Fader Matrix Sends .
Page 14 Contents 14 Libraries ....... . 165 About the Libraries ..........165 General Library Operation .
Page 15 18 MIDI ........215 MIDI & the DM2000 ..........215 MIDI I/O .
Page 16 Contents Operation Lock ........... . . 280 Checking the Battery and the System Version .
Page 17: Welcome
1 Welcome Thank you for choosing the Yamaha DM2000 Digital Production Console. Designed with production in mind, the DM2000 Digital Production Console offers 24-bit/96 kHz digital audio processing without compromise, comprehensive surround mixing and monitoring, including bass management and down mixing, and hands-on con- trol of popular DAW (Digital Audio Workstation) systems.
Page 18 Chapter 1—Welcome 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, Matrix Sends, and the Stereo Out can be patched to any output port •...
Page 19: Surround Sound
• Assignable GPI (General Purpose Interface) port for external control and “Recording” light • Remote control of parameters on up to 12 Yamaha AD8HR/AD824 A/D Converters MIDI • Standard MIDI ports, USB TO HOST port, or SERIAL TO HOST port •...
Page 20: Control Surface & Rear Panel
Chapter 2—Control Surface & Rear Panel 2 Control Surface & Rear Panel Control Surface DM2000 Version 2—Owner’s Manual...
Page 21: Channel Strips
AD Input Section AD Input #1 is shown here. +48V ON/OFF switches 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” on page 64 for more informa- tion.
Page 22 Chapter 2—Control Surface & Rear Panel 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 142 for more information. ON buttons These buttons are used to mute Input and Output Channels. Their exact operation depends on the currently selected Layer.
Page 23 AUX SELECT AUX SELECT DISPLAY button This button is used to select the following pages: Aux Send, Aux Send Pan, and Input Chan- nel Aux View. See “Aux Sends” on page 110 for more information. AUX 1–12 buttons These buttons are used to select Aux Sends when sending Input Channel signals to Aux Sends.
Page 24: Fader Mode
Chapter 2—Control Surface & Rear Panel ASSIGN 1–4 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 four parameters, from a list of 50, can be assigned to these four buttons.
Page 25 MIDI button This button is used to select the following pages: MIDI Setup, Program Change Assign Table, Control Change Assign Table, and Bulk Dump. See “MIDI” on page 215 for more information. METER button This button is used to select the following pages: Input Channel Meter, Master Meter, Effect Input/Output Meter, Effect 1-8 Input/Output Meter, Effect 1–2 Input/Output Meter, Stereo Meter, and Metering Position.
Page 26 Chapter 2—Control Surface & Rear Panel EFFECTS/PLUG-INS 2 3 4 5 EFFECTS / PLUG INS DISPLAY INTERNAL GRAPHIC EFFECTS EQUALIZERS EFFECTS/PLUG-INS DISPLAY button This button is used to select the following pages: Effects Edit, Effects Library, Graphic Equalizer Edit, Graphic Equalizer Library, Plug-In Setup, and Plug-In Edit. See “Internal Effects, Plug-Ins &...
Page 27: Display Section
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, Plug-In, or GEQ. When the Effects Edit page is selected, they control the currently selected row of parameters, rows being selected by the Parameter Up/Down buttons.
Page 28: Selected Channel Section
Chapter 2—Control Surface & Rear Panel SELECTED CHANNEL Section DISPLAY FOLLOW PAN DISPLAY DISPLAY DISPLAY CHANNEL COPY PASTE The subsections of the SELECTED CHANNEL section are explained below. ROUTING ROUTING DISPLAY button This button is used to select the following pages: Input Channel Routing, Bus to Stereo, and Bus to Stereo Library.
Page 29: Phase Button
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 93 for more information. PHASE/INSERT PHASE/INSERT DISPLAY button This button is used to select the Input Channel Phase and Insert pages.
Page 30 Chapter 2—Control Surface & Rear Panel AUX/MATRIX SEND AUX/MATRIX SEND DISPLAY button The pages selected by this button depends on the type of channel currently selected. If it’s an Input Channel, it selects the Aux Send, Aux Send Pan, and Input Channel Aux View pages.
Page 31 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 85 and “Compressing Channels” on page 137 for more information.
Page 32: Pan Control
Chapter 2—Control Surface & Rear Panel PAN control This rotary control is used to pan the currently selected Input Channel. When a Matrix Send or 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.
Page 33 EQUALIZER EQUALIZER DISPLAY ATT. CHANNEL COPY EQ ON PASTE EQUALIZER DISPLAY button This button is used to select the following pages: Equalizer Edit, Equalizer Library, Input Channel Attenuator/Shifter, and Output Attenuator. 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.
Page 34 Chapter 2—Control Surface & Rear Panel LAYER 1–24, 25–48, 49–72 & 73–96 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 58 for more information. MASTER button This button selects the Master Layer, from which the channel strips control Bus Outs, Aux Sends, and Matrix Sends.
Page 35: Track Arming
TRACK ARMING TRACK ARMING DISPLAY button This button is used to select the following pages: Track Arming Group, MTR Track Arming Conﬁguration, and Master Track Arming Conﬁguration. See “Arming Machine Tracks” on page 261 for more information. TRACK ARMING 1–24 buttons These buttons are used to arm tracks on the target machine (DAW, MMC or P2).
Page 36 Chapter 2—Control Surface & Rear Panel 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 187. Scene Up/Down buttons These buttons are used to select Scene memories. Pressing the Scene Up [ ] button incre- ments the selection;...
Page 37: User Defined Keys
TOUCH SENSE button This button is used to turn on and off Fader Touch Sense for Automix recording. See “Fader Edit Pages” on page 199 for more information. FADER, ON, PAN, SURROUND, AUX, AUX ON & EQ buttons These buttons are used to select the type of parameters that are recorded in an Automix. They work in unison with their counterparts on the Automix Main and Memory pages.
Page 38 Chapter 2—Control Surface & Rear Panel IN button Pressing this button transmits a Locate command to the target machine (DAW, MMC or P2) in order to locate the In point. Its indicator lights up momentarily when it’s pressed. See “Using the Locator” on page 258 for more information. OUT button Pressing this button transmits a Locate command to the target machine (DAW, MMC or P2) in order to locate the Out point.
Page 39 REHEARSAL button This button is used to turn on and off the Rehearsal function on the target machine (MMC or P2). Its indicator lights up when Rehearsal is on. See “Using the Locator” on page 258 for more information. MASTER button This button is used to select the Master machine for Locator, Transport, Scrub, and Shuttle control.
Page 40 Chapter 2—Control Surface & Rear Panel SCRUB button This button is used to set the Parameter wheel to Scrub mode for machine control (DAW, MMC or P2). Its indicator lights up when Scrub mode is on. See “Using Shuttle & Scrub” on page 258 for more information.
Page 41 Monitor, Phones & Talkback Section SMALL TRIM SMALL TRIM control This control is used to set the level of the SMALL CONTROL ROOM MONITOR OUT. See “Control Room Monitoring” on page 158 for more information. STUDIO LEVEL control This control is used to set the level of the STUDIO MONITOR OUT. See “Studio Monitor- ing”...
Page 42: Monitor Section
Chapter 2—Control Surface & Rear Panel MONITOR Section The various subsections of the MONITOR section are explained below. MONITOR DISPLAY STUDIO STUDIO CONTROL STEREO ROOM SOLO SOLO CONTRAST CLEAR MONITOR DISPLAY button CONTROL ROOM STEREO This button is used to select the following pages: Solo Setting, Control Room Setup, Talk- 2TR D1 2TR A1 back Setup, Surround Monitor, Surround Monitor Setup, Surround Monitor Patch, and...
Page 43: Control Room
CONTROL ROOM STEREO 2TR D1 button CONTROL ROOM STEREO This button selects the 2TR IN DIGITAL AES/EBU 1 as the Control Room Mon- itor signal source. Its indicator lights up when this source is selected. See “Control 2TR D1 2TR A1 Room Monitoring”...
Page 44 Chapter 2—Control Surface & Rear Panel MONO button This button is used to switch the Control Room Monitor signal into mono. Its indicator lights up when mono is selected. See “Control Room Monitoring” on page 158 for more information. DIMMER button This button is used to dim the Control Room Monitor and Surround Monitor signals.
Page 45: Rear Panel
Rear Panel Rear Panel DM2000 Version 2—Owner’s Manual...
Page 46 Chapter 2—Control Surface & Rear Panel AD Input Section INPUT A & B (BAL) connectors AD Inputs 1 through 24 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.
Page 47 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 104. SMALL CONTROL ROOM MONITOR OUT +4 dB (BAL) These balanced XLR-3-32-type connectors, nomi- nal output level +4 dB, output the analog Small...
Page 48 Chapter 2—Control Surface & Rear Panel Digital I/O & Control Section KEYBOARD connector A PS/2 compatible keyboard can be connected here for quick entry of scene and library titles and channel names. See “Using a Keyboard” on page 55 for more information. SMPTE TIME CODE INPUT connector This balanced XLR-3-31-type connector is used to input SMPTE timecode for synchroniz- ing the Automix function.
Page 49 264 for more information. REMOTE port This 9-pin D-sub connector can be used to connect an optional Yamaha AD8HR/AD824 AD Converter, providing remote and recallable control of its head amp settings. Machines that support the Sony P2 protocol can also be controlled from the DM2000 via this port. A straight cable should be used to connect a P2 device;...
Page 50: Power Section
Chapter 2—Control Surface & Rear Panel Power Section POWER ON/OFF switch This switch is used to turn on the power to the DM2000. See “Turning On & Off the DM2000” on page 51 for more information. Grounding screw For electrical safety reasons, and correct operation of the touch-sensitive faders, it’s impor- tant that the DM2000 is grounded properly.
Page 51: Operating Basics
3 Operating Basics Connecting the Power Cord Warning: Turn off all equipment connected to the DM2000 before making any power connec- tions. Connect the socket-end of the supplied power cord to the AC IN on the rear panel of the DM2000. Connect the plug-end to a suit- able AC wall outlet, one that conforms to the power supply requirements stated on the DM2000’s rear panel.
Page 52: About The Display
Chapter 3—Operating Basics About the Display All DM2000 mix parameters can be edited on the various display pages. Page title Page # Page area 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 187 for more information.
Page 53: Selecting Display Pages
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 53 for more information. Page tab scroll arrows: These arrows indicate that there are more pages available.
Page 54: Display Page Controls
Chapter 3—Operating Basics Display Page Controls 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 GEQ Insert parameter box shown here. Operation of these boxes consists of two steps.
Page 55: Using A Keyboard
Using a Keyboard A PS/2 compatible keyboard can be connected to the KEYBOARD port and used for quick title entry while the Title Edit window is displayed. Note that only 101 and 104-key U.S. keyboards are supported. Characters, including letters, numbers, and punctuation marks, supported by the DM2000 can be entered.
Page 56 Chapter 3—Operating Basics Encoder Displays Operation of the Encoder displays depends on the parameter assigned to the Encoders, as follows. Pan Mode, Surround L/R, and Surround F/R position Hard left indicates center position) Aux/Mtrx Mode and Alt Layer Minimum (–∞) indicates nominal position) Surr LFE Level Minimum (–96 dB)
Page 57: Channel Names
Other Parameters Delay Time, EQ Q, EQ Frequency, Comp Threshold, Comp Ratio, Comp Attack, Comp Release, Comp Out Gain, Comp Knee, Gate Threshold, Gate Range, Gate Attack, Gate Hold, Gate Decay, Compander Width, HA Input Gain, HA Insert In Gain. Minimum No Assign When the Encoders are assigned to the No Assign, Input Patch, Insert In Patch, Insert Out...
Page 58: Selecting Layers
Chapter 3—Operating Basics Selecting Layers Input and Output Channels are arranged into Layers, as illustrated below. There are nine Layers altogether: four Input Channel Layers, one Master Layer (or Output Layer), and four Remote Layers. Bus Outs, Aux Sends, Matrix Sends [MASTER] To select Input and Output Channels for editing with the channel strip controls, you use the LAYER buttons to select a Layer.
Page 59: Selecting Channels
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. Select a Layer, as explained on page 58. Use the [SEL] buttons to select an Input or Output Channel.
Page 60: Selecting Fader Modes
Chapter 3—Operating Basics 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.
Page 61: Selecting Encoder Modes
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/Mtrx, and four assign- able modes, for which you can choose from over 40 parameters. Select a Layer, as explained in page 58.
Page 62: Assigning Parameters To The Encoder Mode Assign Buttons
Chapter 3—Operating Basics Assigning Parameters to the ENCODER MODE Assign Buttons Up to four parameters can be assigned to the four ENCODER MODE ASSIGN buttons. Initially, the following parameters are assigned to the ASSIGN buttons: [ASSIGN 1]: Input Patch [ASSIGN 2]: Direct Out [ASSIGN 3]: Surr.
Page 63 Assigning Parameters to the ENCODER MODE Assign Buttons Assignable Encoder Mode Parameter List Parameter Encoder Operation No Assign Attenuator Attenuator Input Patch Input Channel patch Insert In Patch Insert In patch Insert Out Patch Insert Out patch Direct Out Direct Out patch Phase Phase: normal/reverse Insert On...
Page 64: Analog I/O & The Ad Input Section
Chapter 4—Analog I/O & the AD Input Section 4 Analog I/O & the AD Input Section AD Input Section The DM2000 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 77). They can also be patched to Output Channel Insert Ins (see page 80).
Page 65: Stereo Out
PEAK & SIGNAL Indicators These indicators are used in conjunction with the GAIN controls and PAD PEAK switches to optimize signal levels. The SIGNAL indicator lights up when the SIGNAL 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.
Page 66: Digital I/O & Cascading
Chapter 5—Digital I/O & Cascading 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.
Page 67: Selecting The Wordclock Source
Selecting the Wordclock Source The wordclock source can be selected as follows. Note: When you change the wordclock settings on any device in your digital audio system, some devices may output noise, so turn down your power amps beforehand, otherwise your speakers may be damaged.
Page 68: 2Tr Digital Outs
Chapter 5—Digital I/O & Cascading Terminating External Wordclocks Wordclock signals distributed via BNC cables must be terminated correctly, otherwise, jitter and synchronization errors may result. Ideally, you should make a separate wordclock 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.
Page 69: 2Tr Digital Ins
2TR Digital Ins The DM2000 features three sets of 2-track digital inputs: 2TR IN DIGITAL AES/EBU 1 and AES/EBU 2 use XLR-3-31-type connec- tors and accept AES/EBU format digital audio. 2TR IN DIGITAL COAXIAL 3 uses a phono connector and accepts consumer format (IEC-60958) digital audio.
Page 70: Slot I/O
Chapter 5—Digital I/O & Cascading Slot I/O The DM2000 features six Slots for installing optional mini-YGDAI (Yamaha General Digi- tal 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.
Page 71 Installing I/O Cards For technical reasons, certain card combinations are not supported. Before installing any cards, check the Yamaha web site (see page 6) 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.
Page 72: Setting The Transfer Format For Higher Sampling Rates
Chapter 5—Digital I/O & Cascading Setting the Transfer Format for Higher Sampling Rates The data transfer format for the higher sampling rates can be set as follows. Use the DISPLAY ACCESS [DIO] button to locate the Higher Sample Rate Data Transfer Format page.
Page 73: Dithering Digital Outputs
Dithering Digital Outputs For digital audio transfer to lower-resolution systems, the 2TR Digital Outputs and Slot Outputs can be dithered to 16-bit, 20-bit, or 24-bit. Use the DISPLAY ACCESS [DIO] button to locate the Dither page. Use the cursor buttons to select the Dither parameters, and use the Param- eter wheel or INC/DEC buttons to set them.
Page 74: Cascading Consoles
Total four DM2000s or 02R96s can be cascaded, offering a maximum of 384 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.
Page 75 Cascade Hookup Examples Cascading Two DM2000s Master: Off Bi-directional: – DM2000 #1 Final signals can be output by the Slot Outputs or Omni Outs. Cascading Three or More DM2000s Master: Off Bi-directional: – CASCADE OUT CASCADE IN DM2000 #1 CASCADE IN Final signals can be output by the Slot Outputs or Omni Outs.
Page 76 Chapter 5—Digital I/O & Cascading Attenuating Cascade Inputs Cascade Inputs can be attenuated, and the Cascade mode and Cascade source can be spec- iﬁed on the Cascade In page. Use the DISPLAY ACCESS [DIO] button to locate the Cascade In page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, or [ENTER] button to set them.
Page 77: Input & Output Patching
Input & Output Patching 6 Input & Output Patching Input Patching Input and Output signals for the Input Channels, Input Channel Insert Ins, and internal effects processors are selected on the Input Patch pages, which you select using the DISPLAY ACCESS [INPUT PATCH] button.
Page 78 Chapter 6—Input & Output Patching 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 96 Input Channels are divided between two pages.
Page 79: Output Patching
Output Patching Output Patching Signal sources for the Slot Outputs, Omni Outs, Output Channel Inserts Ins, Direct Outs, 2TR Digital Outputs, and GEQs 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.
Page 80 Chapter 6—Input & Output Patching Patching Omni Outs Bus Outs, Aux Sends, Matrix 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 81). When an Omni Out is patched to a Direct out (see page 81), and that Direct Out is assigned on an Input Channel Routing page, the Omni Out patch cannot be changed here.
Page 81: Patching Direct Outs
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 96 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.
Page 82: Naming Input & Output Ports
Chapter 6—Input & Output Patching Patching the GEQs The six 31-band graphic equalizers can be inserted into the Bus Outs, Aux Sends, or the left or right channels of the Matrix Sends or Stereo Out on the Graphic Equalizer Insert page. GEQs can also be patched on the Graphic Equalizer Edit page (see page 183) or the Output Channel Insert page (see page 135).
Page 83: Patch Select Window
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.
Page 84: Input Channels
Chapter 7—Input Channels 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 77 for more information. Metering Input Channels Input Channel signal levels can be metered on the Meter pages.
Page 85: Gating Input Channels
Gating Input Channels Each Input Channel features a noise Gate for automatically shutting out unwanted noise. Gate settings can be stored in the Gate library, which contains 4 preset memories and 124 user memories. See “Gate Library” on page 170 for more information. Preset Gates &...
Page 86 Chapter 7—Input Channels 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. Use the LAYER buttons to select Input Channel Layers, and use the [SEL] but- tons to select Input Channels.
Page 87: Attenuating Input Channels
Attenuating Input Channels Input Channels signals can be attenuated pre-EQ. See “Attenuating Signals” on page 130 for more information. EQ’ing Input Channels Each Input Channel features 4-band parametric EQ. See “Using EQ” on page 131 for more information. Grouping Input Channel EQs Input Channel EQs can be grouped, allowing you to control the EQ of several Input Chan- nels simultaneously.
Page 88: Grouping Input Channel Compressors
Chapter 7—Input Channels 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. Use the DISPLAY ACCESS [GROUP] button to locate the Input Comp Link page.
Page 89: Grouping Input Channel Mutes (On/Off)
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. Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Mute Group pages.
Page 90: Input Channel Mute Master
Chapter 7—Input Channels Input Channel Mute Master The DM2000 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 Master function is enabled, the channel [ON] button status does not link to the corresponding Mute group.
Page 91: Grouping Input Channel Faders
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. Use the DISPLAY ACCESS [GROUP] button to locate the Input Channel Fader Group pages.
Page 92: Group Master For Input Channel Faders
Chapter 7—Input Channels Group Master for Input Channel Faders The DM2000 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.
Page 93: Routing Input Channels
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 269 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.
Page 94: Routing Pages
Chapter 7—Input Channels 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 274.
Page 95: Panning Input Channels
Panning Input Channels Input Channels can be panned between the left and right channels of the Stereo Out. Using the Encoders Use the LAYER buttons to select the Input Channel Layers. Press the ENCODER MODE [PAN] button to select the Pan Encoder mode.
Page 96 Chapter 7—Input Channels Pan Pages Pan settings can be viewed and set on the Pan pages. If the Auto PAN/SURROUND Display preference is on, these pages appear automatically when a control in the SELECTED CHANNEL PAN/SURROUND section is operated. Use the SELECTED CHANNEL PAN/SURROUND [DISPLAY] button to select the Input Channel Pan pages.
Page 97: Using Surround Pan
Using Surround Pan The DM2000 supports 3-1, 5.1 and 6.1 Surround modes. Surround pan is independent of normal panning. Normal panning determines how the Input Channel signal is panned between the left and right channels of the Stereo out. Whereas surround panning deter- mines how the Input Channel signal is panned among the Surround channels (i.e., the Bus Outs).
Page 98 Chapter 7—Input Channels Use the cursor buttons to select the surround mode buttons, and press [ENTER] to activate the selected mode. The diagram on each page shows the typical sound image placement and the Surround channel to Bus Out conﬁguration. 3-1 Surround 6.1 Surround Select the SURR/BUS SETUP button, then press the [ENTER] button to display the Sur-...
Page 99: Assigning Surround Channels To Buses
Assigning Surround Channels to Buses You can modify the Surround Channel to Bus assignment. Use the DISPLAY ACCESS [SETUP] button to locate the Surround Bus Setup page. 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.
Page 100 Chapter 7—Input Channels Selected Channel Surround Edit Page Surround pan settings can be viewed and set on the Input Channel Surround Edit page. If the Auto PAN/SURROUND Display preference is on, and a Surround Pan mode other than Stereo is selected, this page appears automatically when a PAN/SURROUND control other than the [EFFECT] button is operated.
Page 101 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.
Page 102: Sending Input Channels To Aux Sends
Chapter 7—Input Channels Sending Input Channels to Aux Sends Input Channel signals can be sent to Aux Sends 1–12. See “Setting Aux Send Levels” on page 111, “Muting Aux Sends (ON/OFF)” on page 112, and “Pre-Fader or Post-Fader Aux Sends” on page 111. Soloing Input Channels Input Channels can be soloed.
Page 103: Using The Ms Stereo Microphone
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.
Page 104: Stereo Out
Chapter 8—Stereo Out 8 Stereo Out Stereo Out Connectors The Stereo Out is output by the STEREO OUT +4 dB (BAL) balanced XLR-3-32-type connectors and the STEREO OUT –10 dBV (UNBAL) unbalanced phono connectors. Patching the Stereo Out to Outputs The left and right channels of the Stereo Out can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs.
Page 105: Compressing The Stereo Out
Compressing the Stereo Out Signal dynamics can be controlled by using the Stereo Out Compressor. See “Compressing Channels” on page 137 for more information. Grouping Master Compressors The Stereo Out Compressor can be grouped with the Compressors of other Output Chan- nels.
Page 106: Balancing The Stereo Out
Chapter 8—Stereo Out Balancing the Stereo Out The left and right channels of the Stereo Out can be balanced as follows. Press the STEREO [SEL] button to select the Stereo Out. 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.
Page 107: Bus Outs
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 79 for more information. Routing Input Channels to Bus Outs Input Channels can be routed to the Bus Outs. See “Routing Input Channels” on page 93 for more information.
Page 108: Muting Bus Outs (On/Off)
Chapter 9—Bus Outs Muting Bus Outs (ON/OFF) Bus Outs can be muted by using the channel strip [ON] buttons. Press the LAYER [MASTER] button to select the Master Layer. Use channel strip [ON] buttons 1–8 to mute the Bus Outs. The [ON] button indicators of Bus Outs that are on light up.
Page 109: Sending Bus Outs To The Stereo Out
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.
Page 110: 10 Aux Sends
Chapter 10—Aux Sends 10 Aux Sends Patching Aux Send Masters to Outputs Aux Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Out- puts. See “Output Patching” on page 79 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 12 Aux Sends.
Page 111: Pre-Fader Or Post-Fader Aux Sends
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 112) or the Aux View pages (see page 115). If Aux Sends are conﬁgured as pre-fader, you can position the send points before or after the [ON] buttons. Setting Aux Send Levels Aux Send levels can be set by using the SELECTED CHANNEL AUX/MATRIX SEND LEVEL controls, the faders, or the Encoders.
Page 112: Muting Aux Sends (On/Off)
Chapter 10—Aux Sends Muting Aux Sends (ON/OFF) Use the LAYER buttons to select the Input Channel Layers, and use the [SEL] buttons to select the Input Channels. Use the SELECTED CHANNEL AUX/MATRIX SEND [BANK] button to select Aux 1–4, Aux 5–8, or Aux 9–12. Use the SELECTED CHANNEL AUX/MATRIX SEND [ON] buttons to turn the Aux Sends of the selected Input Channel on or off.
Page 113 To set the Pre Fader and Post Fader parameters, select the PRE/POST but- tons, then use the [ENTER] button or INC/DEC buttons. 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].
Page 114: Viewing Aux Send Settings
Chapter 10—Aux Sends 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. If the Auto AUX/MATRIX Display preference is on, and an Input Channel is currently selected, these pages appear automatically when a SELECTED CHANNEL AUX/MATRIX SEND control is operated.
Page 115 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. Use the AUX SELECT [DISPLAY] button to select the Aux View pages. Select the DISPLAY PRE/POST button, and press [ENTER]. The Input Channel 1–24 Aux View page is shown below in Pre/Post mode.
Page 116: Panning Aux Sends
Chapter 10—Aux Sends Panning Aux Sends When Aux Sends are paired, Aux Sends can be panned between the paired Aux buses. See “Pairing Channels” on page 144 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 “AUX x-x are Following Surround”...
Page 117: Excluding Certain Channels From Aux Sends (Mix Minus)
Excluding Certain Channels from Aux Sends (Mix Minus) 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.
Page 118: Copying Channel Fader Positions To Aux Sends
Chapter 10—Aux Sends 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.
Page 119: Aux Send Master Inserts
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 135 for more information. Compressing Aux Send Masters Signal dynamics can be controlled by using the Aux Send Master Compressors. See “Com- pressing Channels”...
Page 120: Inserting Geqs
Chapter 10—Aux Sends Inserting GEQs Internal GEQs can be inserted into the Aux Send Masters. See “About the GEQs” on page 183 for more information. Soloing Aux Sends Aux Sends can be soloed. See page 142 for more information. Pairing Aux Sends Aux Sends can be paired for stereo operation.
Page 121: Matrix Sends
11 Matrix Sends Patching Matrix Send Masters to Outputs The left and right channels of the Matrix Send Masters can be patched to the Slot Outputs, Omni Outs, or the 2TR Digital Outputs. See “Output Patching” on page 79 for more infor- mation.
Page 122: Muting Matrix Sends (On/Off)
Chapter 11—Matrix Sends Using the Encoders Stereo Out Matrix Sends cannot be set using the Encoders. Press the LAYER [MASTER] button to select the Master Layer. Press the ENCODER MODE [AUX/MTRX] button to select the Aux/Mtrx Encoder mode. Use the MATRIX SELECT [1–4] buttons to select Matrix Sends 1–4. Use Encoders 1–20 to set the Matrix Send levels.
Page 123: Panning Matrix Sends
To turn Matrix Sends on and off, select the rotary controls, and press [ENTER]. The rotary controls of Matrix Sends that are turned off, appear gray, and “OFF” appears in place of the level value. Matrix Send levels can still be changed even when Matrix Sends are off.
Page 124: Viewing Matrix Send Settings
Chapter 11—Matrix Sends Viewing Matrix Send Settings You can view and set the Matrix Send Level and On/Off parameters of all Matrix Sends on the Matrix View page. If the Auto AUX/MATRIX Display preference is on, and a Bus Out, Aux Send, or the Stereo Out is currently selected, this page appears automatically when a SELECTED CHANNEL AUX/MATRIX SEND control is operated.
Page 125: Attenuating Matrix Send Masters
Attenuating Matrix Send Masters Matrix Send Master signals can be attenuated pre-EQ. See “Attenuating Signals” on page 130 for more information. EQ’ing Matrix Send Masters Each Matrix Send Master features 4-band parametric EQ. See “Using EQ” on page 131 for more information.
Page 126: Grouping Master Faders
Chapter 11—Matrix Sends Grouping Master Faders Matrix Send Master faders can be grouped with the faders of other Output Channels. See “Grouping Output Channel Faders” on page 146 for more information. Balancing Matrix Send Masters The left and right channels of the Matrix Send Masters can be balanced as follows. Press the LAYER [MASTER] button to select the Master Layer, and use [SEL] buttons 21–24 to select the Matrix Send Masters.
Page 127: 12 Common Channel Functions
Common Channel Functions 12 Common Channel Functions Metering Input Channels, Bus Outs, Aux Sends, Matrix Sends, the Stereo Out, and the Effects proces- sors 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.
Page 128 Chapter 12—Common Channel Functions Metering Input Channels There are two types of Input Channel Meter page: 24-channel and 48-channel. There are four 24-channel Meter pages. The Input Channel 1–24 Meter page is shown below. The layout of the other three pages is the same. These pages feature two level meters for each Input Channel.
Page 129 Metering Output Channels Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out can all be metered on the Master Meter page. Metering Effects There are two Effects Input/Output Meter pages: Effects 1–8 and Effects 1–2. The Effects 1–8 Input/Output Meter page features two input and output level meters for each of the internal effects processors.
Page 130: Attenuating Signals
Chapter 12—Common Channel Functions 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. Attenuating Signals Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out all feature pre-EQ attenuation, which is useful for attenuating “hot”...
Page 131: Using Eq
Using EQ The attenuator parameters for the Output Channels appear on the Output Attenuator page. 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.
Page 132 Chapter 12—Common Channel Functions Preset EQs The following table lists the preset EQs. See page 332 for detailed parameter information. Preset Name Bass Drum 1 Bass Drum 2 Snare Drum 1 Snare Drum 2 Tom-tom 1 Cymbal High Hat Percussion E.
Page 133 Using the SELECTED CHANNEL EQUALIZER Controls Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. EQUALIZER DISPLAY ATT. CHANNEL COPY EQ ON PASTE Use the [EQ ON] button to turn the EQ on or off. Use the GAIN controls to set the gain of each band.
Page 134 EQ ON: This turns the EQ on and off. The [ENTER] button can be used to turn this 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).
Page 135: Grouping Output Channel Eqs
Grouping Output Channel EQs The Bus Out, Aux Send, Matrix 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. Use the DISPLAY ACCESS [GROUP] button to locate the Output Equalizer Link page.
Page 136 Chapter 12—Common Channel Functions Insert Pages Inserts can be conﬁgured on the Insert page. If the Auto PHASE/INSERT Display preference is on, this page appears automatically when you press the SELECTED CHANNEL PHASE/INSERT [INSERT ON] button, turning on the button indicator. See “Auto PHASE/INSERT Display”...
Page 137: Compressing Channels
Select window (see page 83), 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 79 for more information. 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.
Page 138 Chapter 12—Common Channel Functions Preset Name 11 A. Dr. OverTop 12 E. B. Finger 13 E. B. Slap 14 Syn. Bass 15 Piano1 16 Piano2 17 E. Guitar 18 A. Guitar 19 Strings1 20 Strings2 21 Strings3 22 BrassSection 23 Syn. Pad 24 SamplingPerc 25 Sampling BD 26 Sampling SN...
Page 139 Using the SELECTED CHANNEL DYNAMICS Controls Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels. Use the SELECTED CHANNEL DYNAMICS [COMP ON] button to turn the cur- rently selected channel’s Compressor on or off. DYNAMICS DISPLAY GATE ON...
Page 140: Grouping Output Channel Compressors
Chapter 12—Common Channel Functions 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.
Page 141: Delaying Channel Signals
Delaying Channel Signals Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out all feature inde- pendent Delay functions. Input Channel Delays feature feedback, with independent Mix and Gain parameters. Using the SELECTED CHANNEL DELAY Controls Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels.
Page 142: Soloing Channels
Chapter 12—Common Channel Functions The Delay parameters for the Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out appear on the Output Delay page. 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.
Page 143 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 275. Use the MONITOR [DISPLAY] button to locate the Solo Setup page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them.
Page 144: Pairing Channels
Chapter 12—Common Channel Functions 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.
Page 145 Pairing Channels by Using the Pair Pages Both horizontal and vertical pairing can be set on the Pair pages. Use the DISPLAY ACCESS [PAIR] button to locate the Pair pages. The Pair parameters for the 96 Input Channels are divided between two pages. The Input Channel 1–48 Pair page is shown below.
Page 146: Grouping Output Channel Faders
Chapter 12—Common Channel Functions 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.
Page 147: Group Master For The Output Channel Faders
Press the LAYER [MASTER] button. Use the Up/Down cursor buttons to select Fader groups Q–T. The selected group is highlighted by a ﬂashing cursor box. 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.
Page 148 Chapter 12—Common Channel Functions You can also make these settings in the Output Fader Group Master page, as shown below. Use the DISPLAY ACCESS [GROUP] button to locate the Output Fader Group Master page. Use the cursor buttons to select the parameters, then use the Parameter wheel, INC/DEC buttons or [ENTER] button to set them.
Page 149: Grouping Output Channel Mutes (On/Off)
Grouping Output Channel Mutes (ON/OFF) The Bus Out, Aux Send, Matrix 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. Use the DISPLAY ACCESS [GROUP] button to locate the Output Mute Group page.
Page 150: Viewing Channel Parameter Settings
Chapter 12—Common Channel Functions Viewing Channel Parameter Settings The parameter setting of the currently selected Input Channel, Bus Out, Aux Send, Matrix Send, or the Stereo Out can be viewed and set on the Parameter View pages. Use the DISPLAY ACCESS [VIEW] button to select the Parameter View page. Use the LAYER buttons to select Layers, and use the [SEL] buttons to select channels.
Page 151: Viewing Channel Fader Settings
Output Channels This is the Parameter View page for the Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out. Parameters are the same as for the Input Channel Parameter View page, minus the GATE and Phase sections and the DELAY MIX and FB GAIN parameters. The parameter settings of the left and right channels of the Matrix Sends and Stereo Out can be viewed individually.
Page 152 Chapter 12—Common Channel Functions 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 90 for more infor- mation.
Page 153 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 “Muting Aux Sends (ON/OFF)” on page 112 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.
Page 154 Chapter 12—Common Channel Functions Fader: This indicates the fader position of the currently selected Matrix Send. The fader knob appears highlighted when the fader is set to 0.0 dB. The fader position is displayed numerically below the fader. See “Setting Matrix Send Master Levels” on page 125 for more information.
Page 155: Copying Channel Settings
Copying Channel Settings The settings of Input Channels, Bus Outs, Aux Sends, Matrix Sends, and the Stereo Out can be copied among channels of the same type by using the Channel Copy function. You can even copy to and from channels in Scenes without recalling them.
Page 156: Naming Channels
Chapter 12—Common Channel Functions Copying Channel Settings Between Noncurrent Scenes Use the SCENE MEMORY Up [ ] and Down [ ] buttons to select the source Scene. The number of the source Scene ﬂashes on the SCENE MEMORY display. Use the LAYER and [SEL] buttons to select the source channel. Press the CHANNEL [COPY] button.
Page 157: Output Channels
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.
Page 158: 13 Monitoring & Talkback
Chapter 13—Monitoring & Talkback 13 Monitoring & Talkback Control Room Monitoring The DM2000 features independent outputs and level controls for two sets of studio monitors. The LARGE CONTROL ROOM MONITOR OUT +4 dB (BAL) XLR-3-32-type connectors are intended to feed to the control room’s main monitors.
Page 159: Studio Monitoring
Control Room Setup Control room monitoring is conﬁgured on the Control Room Setup page. Use the MONITOR [DISPLAY] button to locate the Control Room Setup page. 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.
Page 160: Surround Monitoring
Chapter 13—Monitoring & Talkback Surround Monitoring The DM2000 features comprehensive surround monitoring functions, including a pink noise generator for speaker setup, Bass Management, and down mixing. The Surround Monitor signal source is selected by using the SURROUND buttons. The [BUS] button selects the Bus Outs as the source. The [ASSIGN 1] and [ASSIGN 2] buttons select the Inputs of the Slots speciﬁed on the Surround Monitor page as the source.
Page 161 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. STATUS: SURROUND MODE indicates the currently selected Surround mode, which is set on the Surround Mode page (see page 97).
Page 162 Chapter 13—Monitoring & Talkback The following screen shows an example in 6.1 Surround mode and 3-1 Monitor Matrix mode. BASS MANAGEMENT: You can set the ﬁlter and attenuator settings for each Surround Monitor Chan- nel using ﬁve preset Bass Management modes. The following presets are available: Presets DVD Mix w/BS...
Page 163: Using Talkback & Slate
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.
Page 164: Talkback Setup
Chapter 13—Monitoring & Talkback The Slate function distributes the Talkback mic signal to all Bus Outs, Matrix Sends, and the Stereo Out. SLATE Talkback Setup Use the MONITOR [DISPLAY] button to locate the Talkback Setup page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them.
Page 165: 14 Libraries
14 Libraries About the Libraries The DM2000 features 11 libraries for storing Automix, Effects, Channel, Input Patch, Out- put Patch, GEQ, 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 220).
Page 166: Channel Library
Chapter 14—Libraries Memory #U is a special read-only memory that allows you to undo and redo memory recall and store operations. After recalling a memory, you can revert to the previously recalled memory by recalling memory #U. After storing a memory, you can revert it to its previous contents by recalling memory #U.
Page 167: Input Patch Library
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 77 for information on Input Patch settings. Use the DISPLAY ACCESS [INPUT PATCH] button to select the Input Patch Library page.
Page 168: Geq Library
Chapter 14—Libraries GEQ Library GEQ (Graphic Equalizer) settings can be stored in the GEQ library, which contains 1 preset memory and 128 user memories. The preset memory is read-only. User memories enable you to store custom settings. See page 183 for information on using the GEQs. Use the EFFECTS/PLUG-INS [DISPLAY] button to select the Graphic Equalizer Library page.
Page 169: Bus To Stereo Library
Press the EFFECTS/PLUG-INS [INTERNAL EFFECTS] button, and use the EFFECTS/PLUG-INS [1–8] 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.
Page 170: Gate Library
Chapter 14—Libraries 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 85 for information on gating Input Channels. Use the DYNAMICS [DISPLAY] button to select the Gate Library page.
Page 171: Comp Library
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 137 for information on the Comps. Use the DYNAMICS [DISPLAY] button to select the Comp Library page.
Page 172: Eq Library
Chapter 14—Libraries EQ Library Input Channel, Bus Out, Aux Send, Matrix Send, and Stereo Out EQ settings can be stored in the EQ library, which contains 40 preset memories and 160 user memories. Preset mem- ories are read-only. User memories enable you to store custom settings. See page 131 for information on EQ’ing.
Page 173: Automix Library
Automix Library Up to 16 Automixes can be stored in the Automix library. See page 193 for information on using Automix. Use the AUTOMIX [DISPLAY] 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.
Page 174: 15 Internal Effects, Plug-Ins & Geqs
Chapter 15—Internal Effects, Plug-Ins & GEQs 15 Internal Effects, Plug-Ins & GEQs About the Effects The DM2000 features eight 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 3–8 feature assignable stereo inputs and outputs.
Page 175 DELAY->REV 40 Dist->Delay DIST->DELAY Preset Effects & Types Description Chorus Flanger Proprietary Yamaha effect that produces a richer and more complex modulation than normal chorus 16-stage stereo phase shifter Auto-panner Tremolo Mono pitch shifter, producing stable results Stereo pitch shifter...
Page 176 Chapter 15—Internal Effects, Plug-Ins & GEQs Others Preset Name Multi.Filter Freeze Stereo Reverb Reverb 5.1 Octa Reverb Auto Pan 5.1 Chorus 5.1 Flange 5.1 Sympho. 5.1 M. Band Dyna. Comp 5.1 Compand 5.1 Comp276 Comp276S Comp260 Comp260S Equalizer601 OpenDeck REV-X Hall REV-X Room REV-X Plate 1.
Page 177: Editing Effects
Editing Effects The internal effects processors can be edited as follows. Press the EFFECTS/PLUG INS [INTERNAL EFFECTS] button. Use the EFFECTS/PLUG INS [1–8] buttons to select the internal effects pro- cessors. 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.
Page 178: Adding Optional Add-On Effects
Chapter 15—Internal Effects, Plug-Ins & GEQs Tip: • If you turn on the SYNC parameter and edit the TEMPO or NOTE parameter, the DM2000 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.
Page 179: About Plug-Ins
• 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 DM2000’s mini YGDAI Slots...
Page 180: Configuring Plug-Ins
Chapter 15—Internal Effects, Plug-Ins & GEQs Conﬁguring Plug-Ins Plug-Ins can be conﬁgured as follows. If you’ve installed a Y56K card into one of the Slots, the DM2000 conﬁgures itself automat- ically and no further conﬁguration settings are required. Press the EFFECTS/PLUG INS [PLUG-INS] button. Use the EFFECTS/PLUG INS [DISPLAY] button to locate the Plug-In Setup page.
Page 181: Editing Plug-Ins
Editing Plug-Ins Plug-Ins can be edited as follows. The settings of Waves Plug-Ins and User Deﬁned Plug-In banks can be stored to an external MIDI device, such as a MIDI data ﬁler, by using MIDI Bulk Dump (see page 220), or stored to SmartMedia (see page 271). 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.
Page 182 Chapter 15—Internal Effects, Plug-Ins & GEQs 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.
Page 183: About The Geqs
About the GEQs The DM2000 features six 31-band graphic equalizers that can be inserted into the Bus Outs, Aux Sends, or the left or right channels of the Matrix Sends or Stereo Out. GEQs can be linked for simultaneous operation. GEQ settings can be stored in the GEQ library, which contains 1 preset memory and 128 user memories.
Page 184: Editing The Graphic Eq Using The Channel Faders
Chapter 15—Internal Effects, Plug-Ins & GEQs GEQ parameters can also be adjusted by using Parameter controls #1 and #4. Parameter control #1 selects the frequency bands. Parameter control #4 resets the gain of the selected band. Parameter controls #2 and #3 are inactive. Editing the Graphic EQ Using the Channel Faders Use the channel faders to set the gain for each band, much like an analog graphic equalizer.
Page 185: 16 Scene Memories
16 Scene Memories About Scene Memories Scene memories allow you to store a snapshot of virtually every DM2000 mix setting in a Scene. There are 99 Scene memories, and they can be titled for easy identiﬁcation. A fade time of up to 30 seconds can be set individually for each Input and Output Channel fader. Recall Safe can be used to exclude individual Input and Output Channels and certain parameters from Scene recalls.
Page 186: Auto Scene Memory Update
Chapter 16—Scene Memories 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.
Page 187: Storing & Recalling Scenes With The Scene Memory Buttons
Storing & Recalling Scenes with the SCENE MEMORY Buttons 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.
Page 188: Using The Scene Memory Page
Chapter 16—Scene Memories Using the Scene Memory Page On the Scene Memory page you can store, recall, write-protect, delete, and edit the titles of Scenes. Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory page. Use the Parameter wheel or INC/DEC buttons to select a Scene memory. A Scene memory is selected when it appears inside the dotted box.
Page 189: Fading Scenes
Fading Scenes Fade times can be speciﬁed for individual Input Channels, Bus Outs, Aux Sends, Matrix 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.
Page 190: Recalling Scenes Safely
Chapter 16—Scene Memories 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.
Page 191: Sorting Scenes
Sorting Scenes Scene can be sorted by using the Scene Memory Sort function. Use the SCENE MEMORY [DISPLAY] button to locate the Scene Memory Sort page. 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.
Page 192 Chapter 16—Scene Memories 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 also select Group Masters, internal Effects proces- sors, a User Deﬁned Remote layer, User Deﬁned Plug-in, HA (AD8HR/AD824), or GEQ as copy sources.
Page 193: 17 Automix
17 Automix About Automix The DM2000’s Automix function allows dynamic automation of virtually all mix parame- ters, including Levels, Mutes, Pan, Surround Pan, Aux/Matrix Sends, Aux/Matrix 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.
Page 194: Automix Main Page
Chapter 17—Automix Automix Main Page This section explains the Automix Main page. Use the AUTOMIX [DISPLAY] button to locate the Automix Main page. 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.
Page 195 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. Existing data TO END is OFF Punch in At the point at which recording is stopped, the fader returns to the position speciﬁed by the existing fader data, at the speed speciﬁed by the Time parameter,...
Page 196 Chapter 17—Automix 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.
Page 197 Automix Main Page 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.
Page 198: Automix Section
Chapter 17—Automix AUTOMIX Section Certain Automix functions and parameters can be controlled by using the buttons in the AUTOMIX section. [DISPLAY] button: This button is used to select the following Automix pages: Main, Memory, Fader Edit, Event Copy, and Event Edit. [ENABLE] button: This button is used to enable and disable the Automix function.
Page 199: Channel Strip [Auto] Buttons
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 •...
Page 200 Chapter 17—Automix Use the AUTOMIX [DISPLAY] button to locate the Fader Edit pages. The CH1–48 Fader Edit page is shown here. 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.
Page 201: Selecting The Timecode Source & Frame Rate
Selecting the Timecode Source & Frame Rate The timecode source and frame rate for Automix can be set as follows. Use the DISPLAY ACCESS [SETUP] button to select the Time Reference page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them.
Page 202: Creating A Time Signature Map
Chapter 17—Automix Creating a Time Signature Map When using the MIDI CLOCK timecode source, you’ll also need to specify the initial time signature and any time signature changes that follow. Use the DISPLAY ACCESS [SETUP] button to select the Time Signature page. Use the cursor buttons to select the parameters, and use the Parameter wheel or INC/DEC buttons to specify the measure and time signature.
Page 203: Inserting Mix Parameters Into Automix
Start the timecode source. The AUTOMIX [REC] button indicator lights up continuously, and on the Automix Main and Memory pages, the REC and PLAY buttons appear highlighted. 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.
Page 204 Chapter 17—Automix Use the cursor buttons to select the INSERT button, then press [ENTER]. Alternatively, press the AUTOMIX [REC] and [AUTO REC] buttons simulta- neously. A conﬁrmation message appears. 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 278).
Page 205: Rerecording Events
Use the cursor buttons to select the INSERT button, then press [ENTER]. Alternatively, press the AUTOMIX [REC] and [AUTO REC] buttons simulta- neously. A conﬁrmation message appears. 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.
Page 206: Parameter Recording
Chapter 17—Automix 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 Input Bus Out, Aux Send, Channel Levels Matrix Send (faders) Stereo Out Group Master levels Input Bus Out, Aux Send,...
Page 207: Punching In & Out Individual Parameters
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. OVER- Parameter Channel WRITE Input Bus Out, Aux Send, Matrix Channel Levels Send...
Page 208: Playing Back An Automix
Chapter 17—Automix 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.
Page 209: Editing Events Offline
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.
Page 210 Chapter 17—Automix 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.
Page 211 Editing Events Offline 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].
Page 212 Chapter 17—Automix These buttons correspond to the following parameters: Button FADER SURR GATE COMP SCENE FX LIB 1–8 1–12 1–12 MATRIX 1–4 1–4 REMOTE 1–4 EFFECT 1–8 PLUG-IN 1–8 Use the cursor buttons to select the EXEC button, then press [ENTER]. When the conﬁrmation message appears, select YES to execute the Job.
Page 213 Event Edit Page On the Event Edit page, you can edit, duplicate, delete, and insert new events. Use the AUTOMIX [DISPLAY] button to locate the Event Edit page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them.
Page 214 Chapter 17—Automix Event select buttons: These buttons are used to select the type of events to be displayed in the event list. Button SCENE/LIB Library and Scene recall events Channel faders (Inputs Channels, Bus Out masters, FADER Aux Send masters, Matrix Send masters, Group mas- ter levels, and the Stereo Out) Channel Mutes (ON/OFF) SURR-PAN...
Page 215: 18 Midi
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.
Page 216: Midi Port Setup
Chapter 18—MIDI MIDI Port Setup MIDI ports are conﬁgured as follows. Use the DISPLAY ACCESS [SETUP] button to locate the MIDI/TO HOST Setup page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them. TO HOST SERIAL: These buttons are used to conﬁgure the TO HOST SERIAL port for use with either a Mac or PC.
Page 217: Midi Channel Setup
MIDI Channel Setup MIDI Channels for reception and transmission are speciﬁed as follows. Use the DISPLAY ACCESS [MIDI] button to locate the MIDI Setup page. 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.
Page 218: Assigning Scenes To Program Changes
Chapter 18—MIDI 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 DM2000’s faders.
Page 219: Assigning Parameters To Control Changes
Assigning Parameters to Control Changes DM2000 parameters can be assigned to MIDI Control Changes for real-time control. When a parameter is adjusted on the DM2000, the assigned Control Change message is transmit- ted. Likewise, when a Control Change message is received, the assigned DM2000 parameter is set.
Page 220: Using Bulk Dump
Chapter 18—MIDI Using Bulk Dump DM2000 data can be stored to an external MIDI device, such as a MIDI data ﬁler, by using MIDI Bulk Dump. Use the DISPLAY ACCESS [MIDI] button to locate the Bulk Dump page. 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].
Page 221: 19 Pro Tools Remote Layer
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 DM2000 CD-ROM. See the included documentation for more informa- tion.
Page 222: Configuring The Dm2000
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 DM2000 is included on the DM2000 CD-ROM. See the included doc- umentation for more information.
Page 223 When the Peripherals window appears, click the MIDI Controllers button. Select HUI as the Type of controller for #1–#3, and select MCS PANNER for #4 to enable use of the Joystick. Select the Receive From and Send To ports, and then click OK. The DM2000 can emulate up to three typical 8-channel Pro Tools MIDI controllers.
Page 224: Control Surface Operation With The Pro Tools Remote Layer
Chapter 19—Pro Tools Remote Layer Control Surface Operation with the Pro Tools Remote Layer This section explains the operation of the DM2000 control surface when the Pro Tools Remote Layer is selected. DM2000 buttons and controls are referred to by the names printed on the DM2000 with the name of the corresponding Pro Tools function in paren- thesis.
Page 225 Control Surface Operation with the Pro Tools Remote Layer INSERT ASSIGN/EDIT ASSIGN: This indicator works in unison with the EFFECTS/PLUG-INS [5] (ASSIGN) button indicator. See “Assigning Inserts/Plug-ins” on page 244 for more information. COMPARE: This indicator works in unison with the EFFECTS/PLUG-INS [6] (COM- PARE) button indicator.
Page 226 Chapter 19—Pro Tools Remote Layer Encoders & Push-Switches The Encoders are used to set pan and send levels and select I/O assignments. The Encoder push-switches are used to mute sends, reset send levels and panpots, and conﬁrm I/O assignments. Their exact operation depends on the currently selected Encoder mode, as shown in the following table.
Page 227: Selected Channel
Control Surface Operation with the Pro Tools Remote Layer Channel Strip Displays The ﬂuorescent channel strip displays graphically display the value of the parameter cur- rently assigned to the Encoders. The minimum and maximum segments do not work with the Pro Tools Remote Layer. Channel strip displays also display Pro Tools channel names in an abbreviated form.
Page 228: Matrix Select Section
Chapter 19—Pro Tools Remote Layer MATRIX SELECT Section [MATRIX 1] (DEFAULT) button This button is used in conjunction with other controls to reset faders, panpots, sends, and plug-ins to their default values. See “Resetting Faders, Sends, Panpots & Plug-ins” on page 247 for more information.
Page 229: Fader Mode Section
Control Surface Operation with the Pro Tools Remote Layer [ASSIGN 1] (INPUT) button This button is used in conjunction with other controls to set channel input sources. See “Assigning Inputs to Channels” on page 239 for more information. [ASSIGN 2] (OUTPUT) button This button is used in conjunction with other controls to set channel output destinations.
Page 230: Effects/Plug-Ins Section
Chapter 19—Pro Tools Remote Layer EFFECTS/PLUG-INS Section EFFECTS / PLUG INS DISPLAY (SHOW INSERT) (ASSIGN) (COMPARE) (BYPASS) (INSERT/PARAM) [DISPLAY] (SHOW INSERT) button This button is used to open and close plug-in windows. [5] (ASSIGN) button This button is used in conjunction with other controls to assign inserts/plug-ins to chan- nels.
Page 231 Control Surface Operation with the Pro Tools Remote Layer 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.
Page 232 Chapter 19—Pro Tools Remote Layer ■ 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.
Page 233 Control Surface Operation with the Pro Tools Remote Layer TRACK ARMING Section [1–24] (REC/RDY) buttons These buttons are used to arm Pro Tools channels for recording. The button indicators of channels that are armed ﬂash. The button indicators of armed channels light continuously when recording starts.
Page 234 Chapter 19—Pro Tools Remote Layer [REC] (WRITE), [ABORT/UNDO] (TOUCH), [AUTOREC] (LATCH), [RETURN] (READ), [RELATIVE] (TRIM) & [TOUCH SENSE] (OFF) buttons These buttons are used to select the channel Automation modes. See “Setting the Automa- tion Mode” on page 250 for more information. OVERWRITE [FADER] (FADER), [ON] (MUTE), [PAN] (PAN), [AUX] (SEND), [AUX ON] (SEND MUTE) &...
Page 235: Locator Section
Control Surface Operation with the Pro Tools Remote Layer [12] (CTRL/CLUTCH) & [13] (Command-ALT/FINE) buttons These buttons are used in conjunction with other buttons to modify function operation. They correspond to the Control and Command modiﬁer keys found on Macintosh key- boards.
Page 236 Chapter 19—Pro Tools Remote Layer • Press the [POST] button to audition from the out point of the selected region, continuing for the speciﬁed post-roll time. Auditioning stops when you press the [STOP] button in the transport section, or when playback reaches the end of a section.
Page 237: Data Entry & Transport Section
Control Surface Operation with the Pro Tools Remote Layer Data Entry & Transport Section STOP PLAY DISPLAY HISTORY BACK FORWARD (EDIT MODE) (EDIT TOOLS) (ESC) (CURSOR MODE) SHUTTLE SCRUB ENTER [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).
Page 238: Scrolling Windows
Chapter 19—Pro Tools Remote Layer [SHUTTLE] & [SCRUB] buttons These buttons are used to select the Shuttle and Scrub modes. See “Scrub & Shuttle” on page 249 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.
Page 239: Selecting Channels
Selecting Channels Channels can be selected as follows. (Make sure the ENCODER MODE [ASSIGN 4] (INSERT) button indicator is not lit before proceeding.) Use the [SEL] buttons to select channels. The [SEL] button indicators of selected channels light up. The border of the corresponding channel strip displays also light up.
Page 240: Assigning Outputs To Channels
Chapter 19—Pro Tools Remote Layer Assigning Outputs to Channels Channels can be assigned to output destinations as follows. Before starting the steps below, stop the Pro Tools transport section. You can view the current output destination assignment for each channel on the channel strip displays by pressing and holding the ENCODER MODE [ASSIGN 2] (OUTPUT) but- ton.
Page 241: Muting Channels
Muting Channels Channels can be muted as follows. Use the [ON] buttons to mute channels. The [ON] button indicators of muted channels go out. Press the [ON] buttons again to unmute channels. The [ON] button indicators of unmuted channels are lit. Grouped channels are muted together.
Page 242: Assigning Send Destinations
Chapter 19—Pro Tools Remote Layer Assigning Send Destinations Sends can be assigned to output destinations as follows. Before starting the steps below, stop the Pro Tools transport section. You can view the current output destination assignment for each send on the channel strip displays by pressing and holding the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons.
Page 243: Setting Send Levels
Setting Send Levels Send levels can be set as follows. Use the AUX SELECT [AUX 1]–[AUX 5] (SEND A–E) buttons to select the sends. The ENCODER MODE [AUX/MTRX] (SEND LEVEL) button indicator lights up, as does the button indicator of the selected send. The levels for the selected send are displayed by the channel strip displays.
Page 244: Assigning Inserts/Plug-Ins
Chapter 19—Pro Tools Remote Layer 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.
Page 245: Editing Plug-Ins
Editing Plug-ins Plug-ins can be edited as follows. (Make sure the MATRIX SELECT [MATRIX 4] (INSERT BYPASS) button indicator is not lit before proceeding.) Press the ENCODER MODE [ASSIGN 4] (INSERT) button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. Use the [SEL] buttons to select the channel whose plug-in you want to edit.
Page 246: Bypassing Individual Plug-Ins
Chapter 19—Pro Tools Remote Layer Bypassing Individual Plug-ins Individual plug-ins can be bypassed as follows. (Make sure the EFFECTS/PLUG-INS [8] (INSERT/PARAM) button indicator is not lit before proceeding.) Press the ENCODER MODE [ASSIGN 4] (INSERT) button. Its indicator lights up and the [SEL] buttons are set to Insert Select mode. Use the [SEL] buttons to select plug-ins.
Page 247: Resetting Faders, Sends, Panpots & Plug-Ins
Resetting Faders, Sends, Panpots & Plug-ins Faders, panpots, sends, and plug-ins 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 ENCODER MODE [ASSIGN 4] (INSERT) button indicator is off before proceeding with these shortcuts.
Page 248: Zooming
Chapter 19—Pro Tools Remote Layer Zooming The cursor buttons can be used to zoom the Edit window as follows. 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: •...
Page 249: Scrub & Shuttle
Scrub & Shuttle The Parameter wheel can be used to scrub and shuttle as follows. Make sure that Pro Tools is stopped. Press the [SCRUB] button if you want to scrub, press the [SHUTTLE] button if you want to shuttle. The corresponding button indicator lights up.
Page 250: Automation
Chapter 19—Pro Tools Remote Layer Automation Viewing the Automation Mode The Automation mode setting of each channel can be viewed as follows. Press and hold a channel’s [AUTO] button. The channel’s Automation mode is displayed on the corresponding channel strip display while the [AUTO] button is pressed.
Page 251: Trim Mode
Trim Mode Trim mode can be set as follows. While holding down a channel’s [AUTO] button, press the AUTOMIX [REL- ATIVE] (TRIM) button. The channel’s Automation mode is displayed on the corresponding channel strip display while its [AUTO] button is pressed. Pro Tools Channel Strip Displays Auto trim/write...
Page 252: Panner
Chapter 19—Pro Tools Remote Layer Panner Selecting a Track Use the SELECTED CHANNEL ROUTING buttons to manipulate the following track operations. Selecting the previous track Selecting the next track Selecting the top track Selecting the last track Selecting the main output of the selected track Selecting Send 5 of the selected track Selecting the output/send of the selected track Stereo Track Link...
Page 253: 20 Remote Control
20 Remote Control About Remote Layers The DM2000’s four Remote Layers allow you to control external MIDI equipment directly from the DM2000. 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.
Page 254 Chapter 20—Remote Control Conﬁguring User Deﬁned Remote Layers User Deﬁned Remote Layers can be conﬁgured as follows. Use the DISPLAY ACCESS [REMOTE] button to locate the Remote 1–4 pages. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC buttons, and [ENTER] button to set them.
Page 255 About Remote Layers 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 when an Encoder is adjusted.
Page 256: About Machine Control (Mmc & P2)
Chapter 20—Remote Control About Machine Control (MMC & P2) The DM2000 can control the transport, locate functions, track arming, and chase function of up to eight external recording machines that support the MMC or P2 control protocol. Machines can be speciﬁed as either MTR or Master and controlled independently. Machines that support the P2 protocol can be controlled by connecting them to the DM2000’s REMOTE port using a 9-pin straight cable.
Page 257: Transport Buttons
P2-DFLT: A P2 protocol used by the Tascam DA-98HR and other professional video machines. HA: A protocol used to control Yamaha AD8HR/AD824 A/D converters. P2-VTR1–3: An expanded version of the P2 protocol intended for future use. Currently, this is the same as P2-DFLT.
Page 258 Chapter 20—Remote Control 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.
Page 259 post-roll time. The pre-roll and post-roll times can be speciﬁed on the Locate Memory page (see page 260). If a button is pressed while the machine is stopped, the stored position is located. If a button is pressed while the machine is playing, the stored position is located and then playback continues from that position.
Page 260 Chapter 20—Remote Control machine switches to input monitor and starts recording. At the out point, the machine switches to playback monitor and stops recording. At the post-roll point, the machine locates the pre-roll point and then stops. If the [REHEARSAL] button indicator is lit, the machine goes into Record-Rehearsal mode between the in and out points (i.e., nothing is recorded).
Page 261 PREROLL TIME: In conjunction with the in point, this determines the position that will be located when the LOCATOR [PRE] button is pressed. For example, if the in point is 00:01:00.00 and the pre-roll time is 5 seconds, 00:00:55.00 will be located. POSTROLL TIME: In conjunction with the out point, this determines the position that will be located when the LOCATOR [POST] button is pressed.
Page 262 Chapter 20—Remote Control Conﬁguring MTR Track Arming You can assign MTR machine tracks to the TRACK ARMING [1–24] buttons as follows. These assignments are effective only when the TRACK ARMING [MASTER] button indi- cator is off. Use the TRACK ARMING [DISPLAY] button to locate the MTR Track Arming Conﬁguration page.
Page 263 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 or P2 machines, regardless of the layer selection.
Page 264: Gpi (General Purpose Interface)
Chapter 20—Remote Control GPI (General Purpose Interface) The DM2000’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 DM2000 parameters.
Page 265 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.
Page 266 Chapter 20—Remote Control 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.
Page 267: Controlling Ad8Hr/Ad824 A/D Converters
Controlling AD8HR/AD824 A/D Converters You can control the parameters of up to 12 Yamaha AD8HR/AD824 A/D Converters from the DM2000 by connecting them to the DM2000’s REMOTE port using a 9-pin reversed cable. Pinouts are provided on page 350. Conﬁguring the REMOTE Port & Assigning Slots to HA (AD8HR/AD824) IDs The REMOTE port can be conﬁgured, and Slots assigned to HA IDs as follows.
Page 268 Chapter 20—Remote Control Controlling AD8HR/AD824s from the DM2000 Connected AD8HR/AD824s are controlled from the HA Control page. Use the SELECTED CHANNEL PHASE/INSERT [DISPLAY] button to select the HA Control page. Use the cursor buttons to select the ID of the HA (AD8HR/AD824) that you want to control, and then press [ENTER].
Page 269: 21 Other Functions
21 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 DM2000 channels (excluding the Stereo Out). Use the DISPLAY ACCESS [REMOTE] button to locate Remote 1–4 page. 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].
Page 270: Using The User Defined Keys
Chapter 21—Other Functions Using the User Deﬁned Keys Up to 16 functions from a list of over 200 can be assigned to the USER DEFINED KEYS, and up to eight assignment setups can be stored in banks A to H. See page 283 for a list of initial bank assignments. Use the USER DEFINED KEYS [DISPLAY] button to locate the User Deﬁned Key Assign page.
Page 271: Saving Dm2000 Data To Smartmedia
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 220), or stored to SmartMedia (see page 271). Saving DM2000 Data to SmartMedia Saving DM2000 Data can be saved to SmartMedia as follows.
Page 272 Chapter 21—Other Functions SCENE MEM: Saves Scenes. You can save ALL Scenes, individual Scenes, or the Edit Buffer (i.e., the current Scene). AUTOMIX: Saves Automixes. You can save ALL Automixes, individual Automixes, or the current Automix. LIBRARY: Saves the following libraries: EQ, Gate, Comp, Channel, Effects, GEQ, Bus to Stereo, Input Patch, Output Patch, Surround Monitor.
Page 273 Managing Files & SmartMedia Files stored on SmartMedia can be renamed and deleted as follows. Use the DISPLAY ACCESS [DATA] button to locate the File page. Insert your SmartMedia card into the CARD slot. If the card doesn’t have a “/YPE/DM2000” directory, a conﬁrmation message appears and you should choose YES to make the directory.
Page 274: Setting Preferences
Chapter 21—Other Functions The following ﬁle types are compatible between these different consoles: • Scene Memory (ﬁle extension: .D2M) • Equalizer Library (ﬁle extension: .D2Q) • Gate Library (ﬁle extension: .D2G) • Compressor Library (ﬁle extension: .D2Y) • Effect Library (ﬁle extension: .D2F) •...
Page 275 Setting Preferences Auto AUX/MATRIX Display: When this preference is on, the Aux View pages appear automatically when a SELECTED CHANNEL AUX/MATRIX SEND control is operated while an Input Channel is selected (see page 114), and the Matrix View page appears auto- matically when a SELECTED CHANNEL AUX/MATRIX SEND control is operated while a Bus Out, Aux Send, or the Stereo Out is selected (see page 124).
Page 276 Chapter 21—Other Functions Meter Follow Layer: When this preference is on, the optional MB2000 Peak Meter Bridge automatically follows the Layer selection on the DM2000. Scene MEM Auto Update: When this preference is on, the Shadow Scene memories can be used (see page 186). 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 100).
Page 277 is off, the DM2000 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.
Page 278 Chapter 21—Other Functions 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.
Page 279: Using The Oscillator
Using the Oscillator The DM2000 features an oscillator that can be used for calibration or diagnostic purposes. Use the DISPLAY ACCESS [UTILITY] button to locate the Oscillator page. Use the cursor buttons to select the parameters, and use the Parameter wheel, INC/DEC button, or [ENTER] button to set them.
Page 280: Operation Lock
Chapter 21—Other Functions Operation Lock The DM2000 features the Operation Lock function, which avoids unintentional edits and uses a password to restrict access to panel operation. Use the DISPLAY ACCESS [UTILITY] button to locate the Operation Lock page. Use the cursor buttons to select the PASSWORD button, then press [ENTER]. Use the [SEL] buttons to set the password.
Page 281 Use the buttons in the OPERATION LOCK SAFE section to select certain con- trols on the panel to exclude from Operation Lock. Buttons 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...
Page 282: Checking The Battery And The System Version
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.
Page 283: Appendix A: Parameter Lists
Appendix A: Parameter Lists USER DEFINED KEYS Function No ASSIGN No Assign Scene MEM. Recall +1 Scene +1 Recall Scene MEM. Recall –1 Scene –1 Recall Scene MEM. Recall No. XX Scene XX Recall Effect-1 Lib. Recall +1 Fx1 Lib+1 Recall Effect-1 Lib.
Page 284 Appendix A: Parameter Lists Function 106 Output MUTE Group Enable V 107 Output MUTE Group Enable W 108 Output MUTE Group Enable X 109 PEAK HOLD On/Off 110 OSCILLATOR On/Off 111 SOLO Enable 112 Input Patch Lib. Recall +1 113 Input Patch Lib. Recall –1 114 Input Patch Lib.
Page 285: User Defined Keys Initial Assignments
USER DEFINED KEYS Initial Assignments Bank A Bank B (Surround (Scene Monitor) Recall) SNAP TO SPL Scene 1 IN Fader Recall Group A Scene 2 IN Fader No Assign Recall Group B Surr Lib 0 Scene 3 IN Fader Recall Recall Group C Surr Lib–1...
Page 286: Input Patch Parameters
Appendix A: Parameter Lists Input Patch Parameters input Channel Inputs Port ID Description NONE NONE AD IN 1 AD IN 2 AD IN 3 AD IN 4 AD IN 5 AD IN 6 AD IN 7 AD IN 8 AD IN 9 AD10 AD IN 10 AD11...
Page 287 input Channel Inputs Port ID Description S2-12 Slot2 CH12 IN S2-13 Slot2 CH13 IN S2-14 Slot2 CH14 IN S2-15 Slot2 CH15 IN S2-16 Slot2 CH16 IN S3-1 Slot3 CH1 IN S3-2 Slot3 CH2 IN S3-3 Slot3 CH3 IN S3-4 Slot3 CH4 IN S3-5 Slot3 CH5 IN S3-6...
Page 288 Appendix A: Parameter Lists input Channel Inputs Port ID Description S6-1 Slot6 CH1 IN S6-2 Slot6 CH2 IN S6-3 Slot6 CH3 IN S6-4 Slot6 CH4 IN S6-5 Slot6 CH5 IN S6-6 Slot6 CH6 IN S6-7 Slot6 CH7 IN S6-8 Slot6 CH8 IN S6-9 Slot6 CH9 IN S6-10...
Page 289: Initial Input Patch Settings
input Channel Inputs Port ID Description 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...
Page 290: Output Patch Parameters
Appendix A: Parameter Lists 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, 2TR Digital Outputs, and the GEQs. Output Patch Table 1 Slot Outputs Source...
Page 291 Slot Outputs Source Description INSCH16 InsertOut-CH16 INSCH17 InsertOut-CH17 INSCH18 InsertOut-CH18 INSCH19 InsertOut-CH19 INSCH20 InsertOut-CH20 INSCH21 InsertOut-CH21 INSCH22 InsertOut-CH22 INSCH23 InsertOut-CH23 INSCH24 InsertOut-CH24 INSCH25 InsertOut-CH25 INSCH26 InsertOut-CH26 INSCH27 InsertOut-CH27 INSCH28 InsertOut-CH28 INSCH29 InsertOut-CH29 INSCH30 InsertOut-CH30 INSCH31 InsertOut-CH31 INSCH32 InsertOut-CH32 INSCH33 InsertOut-CH33 INSCH34 InsertOut-CH34 INSCH35...
Page 292 Appendix A: Parameter Lists Slot Outputs Source Description INSCH69 InsertOut-CH69 INSCH70 InsertOut-CH70 INSCH71 InsertOut-CH71 INSCH72 InsertOut-CH72 INSCH73 InsertOut-CH73 INSCH74 InsertOut-CH74 INSCH75 InsertOut-CH75 INSCH76 InsertOut-CH76 INSCH77 InsertOut-CH77 INSCH78 InsertOut-CH78 INSCH79 InsertOut-CH79 INSCH80 InsertOut-CH80 INSCH81 InsertOut-CH81 INSCH82 InsertOut-CH82 INSCH83 InsertOut-CH83 INSCH84 InsertOut-CH84 INSCH85 InsertOut-CH85 INSCH86...
Page 293 Slot Outputs Source Description INSMTX3R InsertOut-MTX3R INSMTX4L InsertOut-MTX4L INSMTX4R InsertOut-MTX4R INSSTL InsertOut-STL INSSTR InsertOut-STR Surr L Surround Monitor L Surr R Surround Monitor R Surr Ls Surround Monitor Ls Surr Rs Surround Monitor Rs Surr C Surround Monitor C Surr LFE Surround Monitor LFE Surr Ls2 Surround Monitor Ls2...
Page 294 Appendix A: Parameter Lists Output Patch Table 2 Direct Outs Source Description NONE NONE S1-1 Slot1 CH1 OUT S1-2 Slot1 CH2 OUT S1-3 Slot1 CH3 OUT S1-4 Slot1 CH4 OUT S1-5 Slot1 CH5 OUT S1-6 Slot1 CH6 OUT S1-7 Slot1 CH7 OUT S1-8 Slot1 CH8 OUT S1-9...
Page 295 Direct Outs Source Description S4-4 Slot4 CH4 OUT S4-5 Slot4 CH5 OUT S4-6 Slot4 CH6 OUT S4-7 Slot4 CH7 OUT S4-8 Slot4 CH8 OUT S4-9 Slot4 CH9 OUT S4-10 Slot4 CH10 OUT S4-11 Slot4 CH11 OUT S4-12 Slot4 CH12 OUT S4-13 Slot4 CH13 OUT S4-14...
Page 296 Appendix A: Parameter Lists Direct Outs Source Description 2TD1R 2TR OUT Dig.1 R 2TD2L 2TR OUT Dig.2 L 2TD2R 2TR OUT Dig.2 R 2TD3L 2TR OUT Dig.3 L 2TD3R 2TR OUT Dig.3 R — — — — — — — —...
Page 297: Initial Output Patch Settings
Initial Output Patch Settings Slot Outputs Omni Outs Source Source SLOT1-01 BUS1 AUX1 SLOT1-02 BUS2 AUX2 SLOT1-03 BUS3 AUX3 SLOT1-04 BUS4 AUX4 SLOT1-05 BUS5 AUX5 SLOT1-06 BUS6 AUX6 SLOT1-07 BUS7 AUX7 SLOT1-08 BUS8 AUX8 SLOT1-09 BUS1 — — SLOT1-10 BUS2 —...
Page 298: Initial Input Channel Names
Appendix A: Parameter Lists Initial Input Channel Names Input Channel Short Name CH01 CH01 CH02 CH02 CH03 CH03 CH04 CH04 CH05 CH05 CH06 CH06 CH07 CH07 CH08 CH08 CH09 CH09 CH10 CH10 CH11 CH11 CH12 CH12 CH13 CH13 CH14 CH14 CH15 CH15 CH16...
Page 299: Initial Output Channel Names
Initial Output Channel Names Output Channel Short Name 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 AUX9 AUX9 AX10...
Page 300: Initial Input Port Names
Appendix A: Parameter Lists Initial Input Port Names Port PORT ID Short Name AD01 AD01 AD02 AD02 AD03 AD03 AD04 AD04 AD05 AD05 AD06 AD06 AD07 AD07 AD08 AD08 AD09 AD09 AD10 AD10 AD10 AD11 AD11 AD11 AD12 AD12 AD12 AD13 AD13 AD13...
Page 301: Initial Output Port Names
Initial Output Port Names Port Port ID Short Name SLOT1-01 S1-01 S101 SLOT1-02 S1-02 S102 SLOT1-03 S1-03 S103 SLOT1-04 S1-04 S104 SLOT1-05 S1-05 S105 SLOT1-06 S1-06 S106 SLOT1-07 S1-07 S107 SLOT1-08 S1-08 S108 SLOT1-09 S1-09 S109 SLOT1-10 S1-10 S110 SLOT1-11 S1-11 S111 SLOT1-12...
Page 302: Gpi Trigger Source & Target List
Appendix A: Parameter Lists GPI Trigger Source & Target List INPUT Target NO ASSIGN TALKBACK SLATE DIMMER MONO SMALL SR BUS SR ASSIGN1 SR ASSIGN2 CR STEREO CR 2TRD1 CR 2TRD2 CR 2TRD3 CR 2TRA1 CR 2TRA2 CR ASSIGN1 CR ASSIGN2 SM C-R SM STEREO SM AUX11...
Page 303 Target CH59 ON UNLATCH MTX2 ON UNLATCH CH60 ON UNLATCH MTX3 ON UNLATCH CH61 ON UNLATCH MTX4 ON UNLATCH CH62 ON UNLATCH ST ON UNLATCH CH63 ON UNLATCH UDEF1 CH64 ON UNLATCH UDEF2 CH65 ON UNLATCH UDEF3 CH66 ON UNLATCH UDEF4 CH67 ON UNLATCH UDEF5...
Page 304 Appendix A: Parameter Lists OUTPUT Target NO ASSIGN CH1 FADER ON CH2 FADER ON CH3 FADER ON CH4 FADER ON CH5 FADER ON CH6 FADER ON CH7 FADER ON CH8 FADER ON CH9 FADER ON CH10 FADER ON CH11 FADER ON CH12 FADER ON CH13 FADER ON CH14 FADER ON...
Page 305 Target AUX7 FADER OFF CH49 FADER TALLY AUX8 FADER OFF CH50 FADER TALLY AUX9 FADER OFF CH51 FADER TALLY AUX10 FADER OFF CH52 FADER TALLY AUX11 FADER OFF CH53 FADER TALLY AUX12 FADER OFF CH54 FADER TALLY MATRIX1 FADER OFF CH55 FADER TALLY MATRIX2 FADER OFF CH56 FADER TALLY...
Page 306: User Defined Remote Layer Initial Bank Settings
Appendix A: Parameter Lists User Deﬁned Remote Layer Initial Bank Settings Bank 1 (GM Vol & Pan) Name Controller Short Long RM01 GM01 GM-CH01 VOL&PAN ENCODER FADER RM02 GM02 GM-CH02 VOL&PAN ENCODER FADER RM03 GM03 GM-CH03 VOL&PAN ENCODER FADER RM04 GM04 GM-CH04 VOL&PAN ENCODER FADER...
Page 307 Bank 2 (GM Vol & Effect 1) Name Controller Short Long RM01 GM01 GM-CH01 VOL&EFF1 ENCODER FADER RM02 GM02 GM-CH02 VOL&EFF1 ENCODER FADER RM03 GM03 GM-CH03 VOL&EFF1 ENCODER FADER RM04 GM04 GM-CH04 VOL&EFF1 ENCODER FADER RM05 GM05 GM-CH05 VOL&EFF1 ENCODER FADER RM06 GM06 GM-CH06 VOL&EFF1...
Page 308 Appendix A: Parameter Lists Bank 3 (XG Vol & Pan) Name Controller Short Long RM01 XG01 XG-CH01 VOL&PAN ENCODER FADER RM02 XG02 XG-CH02 VOL&PAN ENCODER FADER RM03 XG03 XG-CH03 VOL&PAN ENCODER FADER RM04 XG04 XG-CH04 VOL&PAN ENCODER FADER RM05 XG05 XG-CH05 VOL&PAN ENCODER FADER...
Page 309 Bank 4 (Nuendo VST Mixer) Name Controller Short Long RM01 CH1 VST MIXER CH1 ENCODER FADER RM02 CH2 VST MIXER CH2 ENCODER FADER RM03 CH3 VST MIXER CH3 ENCODER FADER RM04 CH4 VST MIXER CH4 ENCODER FADER RM05 CH5 VST MIXER CH5 ENCODER FADER RM06 CH6...
Page 310: Effects Parameters
Appendix A: Parameter Lists Effects Parameters REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE One input, two output hall, room, stage, and plate reverb simulations, all with gates. Parameter REV TIME 0.3–99.0 s INI. DLY 0.0–500.0 ms HI. RATIO 0.1–1.0 LO.
Page 311 MONO DELAY One input, one output basic repeat delay. Parameter Range DELAY 0.0–2730.0 ms FB. GAIN –99 to +99% HI. RATIO 0.1–1.0 THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU SYNC OFF/ON NOTE STEREO DELAY Two input, two output basic stereo delay. Parameter Range DELAY L...
Page 312: Delay Lcr
Appendix A: Parameter Lists DELAY LCR One input, two output 3-tap delay (left, center, right). Parameter DELAY L 0.0–2730.0 ms DELAY C 0.0–2730.0 ms DELAY R 0.0–2730.0 ms FB. DLY 0.0–2730.0 ms LEVEL L –100 to +100% LEVEL C –100 to +100% LEVEL R –100 to +100% FB.
Page 313 CHORUS Two input, two output chorus effect. Parameter Range FREQ. 0.05–40.00 Hz AM DEPTH 0–100% PM DEPTH 0–100% MOD. DLY 0.0–500.0 ms WAVE Sine, Tri LSH F 21.2 Hz–8.00 kHz LSH G –12 to +12 dB EQ F 100 Hz–8.00 kHz EQ G –12 to +12 dB EQ Q...
Page 314 Appendix A: Parameter Lists SYMPHONIC Two input, two output symphonic effect. Parameter FREQ. 0.05–40.00 Hz DEPTH 0–100% MOD. DLY 0.0–500.0 ms WAVE Sine, Tri LSH F 21.2 Hz–8.00 kHz LSH G –12 to +12 dB EQ F 100 Hz–8.00 kHz EQ G –12 to +12 dB EQ Q...
Page 315 AUTOPAN Two input, two output autopanner. Parameter Range FREQ. 0.05–40.00 Hz DEPTH 0–100% DIR. WAVE Sine, Tri, Square LSH F 21.2 Hz–8.00 kHz LSH G –12 to +12 dB EQ F 100 Hz–8.00 kHz EQ G –12 to +12 dB EQ Q 10.0–0.10 HSH F...
Page 316: Dual Pitch
Appendix A: Parameter Lists DUAL PITCH Two input, two output pitch shifter. Parameter PITCH 1 –24 to +24 semitones FINE 1 –50 to +50 cents LEVEL 1 –100 to +100% PAN 1 L63 to R63 DELAY 1 0.0–1000.0 ms FB. G 1 –99 to +99% PITCH 2 –24 to +24 semitones...
Page 317: Amp Simulate
MOD. FILTER Two input, two output modulation ﬁlter. Parameter Range FREQ. 0.05–40.00 Hz DEPTH 0–100% PHASE 0.00–354.38 degrees TYPE LPF, HPF, BPF OFFSET 0–100 RESO. 0–20 LEVEL 0–100 SYNC OFF/ON NOTE DISTORTION One input, two output distortion effect. Parameter Range DST1, DST2, OVD1, DST TYPE OVD2, CRUNCH...
Page 318 Appendix A: Parameter Lists DYNA. FILTER Two input, two output dynamically controlled ﬁlter. Parameter SOURCE INPUT, MIDI SENSE 0–100 DIR. UP, DOWN DECAY TYPE LPF, HPF, BPF OFFSET 0–100 RESO. 0–20 LEVEL 0–100 1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz) DYNA.
Page 319 REV+CHORUS One input, two output reverb and chorus effects in parallel. Parameter Range REV TIME 0.3–99.0 s INI. DLY 0.0–500.0 ms HI. RATIO 0.1–1.0 DIFF. 0–10 DENSITY 0–100% THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU REV/CHO 0–100% FREQ. 0.05–40.00 Hz AM DEPTH 0–100% PM DEPTH...
Page 320 Appendix A: Parameter Lists REV+FLANGE One input, two output reverb and ﬂanger effects in parallel. Parameter REV TIME 0.3–99.0 s INI. DLY 0.0–500.0 ms HI. RATIO 0.1–1.0 DIFF. 0–10 DENSITY 0–100% THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU REV/FLG 0–100% FREQ.
Page 321 REV+SYMPHO. One input, two output reverb and symphonic effects in parallel. Parameter Range REV TIME 0.3–99.0 s INI. DLY 0.0–500.0 ms HI. RATIO 0.1–1.0 DIFF. 0–10 DENSITY 0–100% THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU REV/SYM 0–100% FREQ. 0.05–40.00 Hz DEPTH 0–100% MOD.
Page 322 Appendix A: Parameter Lists REV->PAN One input, two output reverb and autopan effects in parallel. Parameter REV TIME 0.3–99.0 s INI. DLY 0.0–500.0 ms HI. RATIO 0.1–1.0 DIFF. 0–10 DENSITY 0–100% THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU REV.BAL 0–100% FREQ.
Page 323 DELAY->ER. One input, two output delay and early reﬂections effects in series. Parameter Range DELAY L 0.0–1000.0 ms DELAY R 0.0–1000.0 ms FB. DLY 0.0–1000.0 ms FB. GAIN –99 to +99% HI. RATIO 0.1–1.0 THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU DLY.BAL 0–100% S-Hall, L-Hall, Random,...
Page 324 Appendix A: Parameter Lists DELAY->REV One input, two output delay and reverb effects in series. Parameter DELAY L 0.0–1000.0 ms DELAY R 0.0–1000.0 ms FB. DLY 0.0–1000.0 ms FB. GAIN –99 to +99% DELAY HI 0.1–1.0 THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU DLY.BAL 0–100%...
Page 325 MULTI FILTER Two input, two output 3-band multi-ﬁlter (24 dB/octave). Parameter Range TYPE 1 HPF, LPF, BPF TYPE 2 HPF, LPF, BPF TYPE 3 HPF, LPF, BPF FREQ. 1 28.0 Hz–16.0 kHz FREQ. 2 28.0 Hz–16.0 kHz FREQ. 3 28.0 Hz–16.0 kHz LEVEL 1 0–100 LEVEL 2...
Page 326 Appendix A: Parameter Lists ST REVERB Two input, two output stereo reverb. Parameter REV TIME 0.3–99.0 s REV TYPE Hall, Room, Stage, Plate INI. DLY 0.0–100.0 ms HI. RATIO 0.1–1.0 LO. RATIO 0.1–2.4 DIFF. 0–10 DENSITY 0–100% E/R BAL. 0–100% THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU REVERB 5.1...
Page 327: Auto Pan
OCTA REVERB Eight input, eight output reverb. Parameter Range REV TIME 0.3–99.0 s REV TYPE Hall, Room, Stage, Plate INI. DLY 0.0–100.0 ms HI. RATIO 0.1–1.0 LO. RATIO 0.1–2.4 DIFF. 0–10 DENSITY 0–100% E/R BAL. 0–100% THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU AUTO PAN 5.1 Six input, six output autopanner for 5.1 surround.
Page 328 Appendix A: Parameter Lists FLANGE 5.1 Six input, six output ﬂanger for 5.1 surround. Parameter FREQ. 0.05–40.00 Hz DEPTH 0–100% MOD. DLY 0.0–400.0 ms FB. GAIN –99 to +99% WAVE Sine, Tri THRU, 21.2 Hz–8.00 kHz 50.0 Hz–16.0 kHz, THRU SYNC OFF/ON NOTE...
Page 329 M. BAND DYNA. Two input, two output 3-band dynamics processor, with individual solo and gain reduction meter- ing for each band. Parameter Range LOW GAIN –96.0 to +12.0 dB MID GAIN –96.0 to +12.0 dB HI. GAIN –96.0 to +12.0 dB PRESENCE –10 to +10 CMP.
Page 330 Appendix A: Parameter Lists COMP 5.1 Six input, six output compressor for 5.1 surround, with individual solo for each band, and gain reduction metering of left and right (L+R), left surround and right surround (LS+RS), center (C), or LFE channels. Parameter LOW GAIN –96.0 to +12.0 dB...
Page 331: Effects And Tempo Synchronization
Effects and tempo synchronization Some of the DM2000’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.
Page 332: Preset Eq Parameters
Appendix A: Parameter Lists Preset EQ Parameters Parameter Title L-MID PEAKING PEAKING PEAKING +3.5 dB –3.5 dB Bass Drum 1 100 Hz 265 Hz PEAKING PEAKING PEAKING +8.0 dB –7.0 dB Bass Drum 2 80 Hz 400 Hz PEAKING PEAKING PEAKING –0.5 dB 0.0 dB Snare Drum...
Page 333: Preset Gate Parameters
Parameter Title L-MID PEAKING PEAKING PEAKING PEAKING –0.5 dB 0.0 dB Male Vocal 190 Hz 1.00 kHz 0.11 PEAKING PEAKING PEAKING +2.0 dB –5.0 dB Male Vocal 170 Hz 236 Hz 0.11 PEAKING PEAKING PEAKING PEAKING –1.0 dB +1.0 dB Female Vo.
Page 334: Preset Compressor Parameters (Fs = 44.1 Khz)
Appendix A: Parameter Lists Preset Compressor Parameters Title Type Threshold (dB) Ratio ( :1) Attack (ms) Comp COMP Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Expand EXPAND Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) Compander...
Page 335 Title Type Parameter Threshold (dB) Ratio ( :1) Attack (ms) 19 Strings1 COMP Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) 20 Strings2 COMP Out gain (dB) Knee Release (ms) Threshold (dB) Ratio ( :1) Attack (ms) 21 Strings3 COMP...
Page 336: Dynamics Parameters
Appendix A: Parameter Lists 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.
Page 337 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).
Page 338: Comp Section
Appendix A: Parameter Lists COMP Section COMP The COMP processor attenuates signals above a speciﬁed THRESHOLD by a speciﬁed RATIO. The COMP processor can also be used as a limiter, which, with a RATIO of ∞:1, reduces the level to the threshold. This means that the limiter’s output level never actually exceeds the threshold.
Page 339 EXPAND An expander attenuates signals below a speciﬁed THRESHOLD by a speciﬁed RATIO. Parameter THRESHOLD (dB) –54.0 to 0.0 (541 points) 1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1, 2.5:1, 3.0:1, RATIO 3.5:1, 4.0:1, 5.0:1, 6.0:1, 8.0:1, 10:1, 20:1, ∞:1 (16 points) ATTACK (ms) 0–120 (121 points) 44.1kHz: 6 ms –...
Page 340 Appendix A: Parameter Lists 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: 0 dB and higher...Functions as a limiter. Exceeding the threshold ...Functions as a compressor. Below the threshold and width...Functions as an expander.
Page 341: Appendix B: Specifications
Appendix B: Speciﬁcations General Spec Number of scene memories Internal Sampling Frequency External Signal Delay Fader Fader Resolution fs=48 kHz Total Harmonic Distortion (CH INPUT to STEREO OUT) (Input Gain=Min.) fs=96 kHz Frequency Response (CH INPUT to STEREO OUT) Dynamic Range (maximum level to noise level) Hum &...
Page 342 Appendix B: Specifications Input patch Phase Gate-type Comp-type Attenuator Delay Input Channel CH1–96 On/off Fader Aux send Solo Surround pan LFE level Routing Direct out Metering Level control AD converter TALKBACK Talkback select On/off Slate Level On/off OSCILLATOR Waveform Routing STEREO OUT DA converter Output patch...
Page 343 Available card Output patch Option Output (SLOT 1–6) Dither Memory card slot Comp-type Attenuator On/off Fader STEREO Balance Delay Matrix send Metering Comp-type Attenuator On/off Fader Delay BUS1–8 Matrix send Bus to stereo Metering Comp-type Attenuator On/off AUX1–12 Fader Delay Matrix send Metering Optional digital interface card (MY16, MY8, MY4 series)
Page 344 Appendix B: Specifications Comp-type Attenuator MATRIX 1L–4R On/off Fader Balance Delay Metering Mute Solo Source Monitor to C-R Oscillator SURROUND MONITOR Monitor matrix Bass management Monitor alignment Bypass In/out INTERNAL EFFECTS (EFFECT 1–8) Effect-in from Effect-out to On/off Band number GRAPHIC EQUALIZERS (GEQ 1–6) Limit...
Page 345 EQ Parameters LOW/HPF 0.1–10.0 (41 points) low shelving ±18 dB (0.1 dB step) HPF: on/off Gate Parameters Threshold Range Attack Hold Gate Decay Threshold Range Attack Hold Ducking Decay Comp Parameters Threshold Ratio (x :1) Out gain Knee Compressor Attack Release Threshold Ratio (x :1)
Page 346: Libraries
Appendix B: Specifications Threshold Ratio (x :1) Out gain Width Compander H Attack Release Threshold Ratio (x :1) Out gain Width Compander S Attack Release Libraries Effect library (EFFECT 1–8) Compressor library Gate library EQ library Channel library GEQ library (GEQ 1–6) Surround Monitor library Input patch library Output patch library...
Page 347: Analog Input Spec
Analog Input Spec Input GAIN –60 dB INPUT A/B 1–24 –16 dB INSERT IN 1–24 — 2TR IN ANALOG 1 — [L, R] 2TR IN ANALOG 2 — [L, R] 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.
Page 348: Digital Input Spec
Appendix B: Specifications Digital Input Spec Input 2TR IN DIGITAL CASCADE IN 1. XLR-3-31 type connectors are balanced (1=GND, 2=HOT, 3=COLD). Digital Output Spec Output 2TR OUT DIGITAL CASCADE OUT 1. Channel status of 2TR OUT DIGITAL 1, 2 Type: 2 audio channels Emphasis: Sampling rate: depends on the internal configuration...
Page 349: I/O Slot Spec
I/O Slot Spec Each I/O SLOT accepts a digital interface card. Only SLOT #1 has a serial interface. Card Name Function MY16-AT ADAT MY8-AT ADAT MY16-TD TASCAM MY8-TD TASCAM MY16-AE AES/EBU MY8-AE AES/EBU MY8-AEB AES/EBU MY16-C CobraNet MY4-AD ANALOG IN MY8-AD ANALOG IN MY4-DA...
Page 350: Connector Pin Assignments
Appendix B: Specifications Connector Pin Assignments CASCADE IN Signal INPUT 1-2(+) INPUT 1-2(–) INPUT 3-4(+) INPUT 3-4(–) INPUT 5-6(+) INPUT 5-6(–) INPUT 7-8(+) INPUT 7-8(–) INPUT 9-10(+) INPUT 9-10(–) INPUT 11-12(+) INPUT 11-12(–) INPUT 13-14(+) INPUT 13-14(–) INPUT 15-16(+) INPUT 15-16(–) DTR IN(+) DTR IN(–) RTS OUT(+)
Page 351: Dimensions
Dimensions Dimensions 883.2 mm 820.8 mm Speciﬁcations and external appearance subject to change without notice. For European Model Purchaser/User Information speciﬁed in EN55103-1 and EN55103-2. Inrush Current: 31 A Conformed Environment: E1, E2, E3 and E4 DM2000—Owner’s Manual...
Page 352: Appendix C: Midi
Appendix C: MIDI Appendix C: MIDI Scene Memory to Program Change Table Program Initial User Change # Scene # Scene # DM2000 Version 2—Owner’s Manual Program Initial User Change # Scene # Scene # Program Initial User Change# Scene # Scene # —...
Page 353: Initial Parameter To Control Change Table
Initial Parameter to Control Change Table CHANNEL1 HIGH NO ASSIGN FADER H CHANNEL INPUT1 FADER H CHANNEL INPUT2 FADER H CHANNEL INPUT3 FADER H CHANNEL INPUT4 FADER H CHANNEL INPUT5 FADER H CHANNEL INPUT6 FADER H CHANNEL INPUT7 FADER H CHANNEL INPUT8 FADER H...
Page 354 Appendix C: MIDI CHANNEL2 HIGH NO ASSIGN FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H...
Page 355 CHANNEL3 HIGH NO ASSIGN FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H...
Page 356 Appendix C: MIDI CHANNEL4 HIGH NO ASSIGN FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H CHANNEL FADER H...
Page 357 CHANNEL5 HIGH NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H...
Page 358 Appendix C: MIDI CHANNEL6 HIGH NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H...
Page 359 CHANNEL7 HIGH NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H...
Page 360 Appendix C: MIDI CHANNEL8 HIGH NO ASSIGN ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H ATT H...
Page 361 CHANNEL9 HIGH NO ASSIGN SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND...
Page 362 Appendix C: MIDI CHANNEL10 HIGH NO ASSIGN SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND...
Page 363 CHANNEL11 HIGH NO ASSIGN SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND...
Page 364 Appendix C: MIDI CHANNEL12 HIGH NO ASSIGN SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND LFE H SURROUND...
Page 365 CHANNEL13 HIGH NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN SURROUND...
Page 366 Appendix C: MIDI CHANNEL14 HIGH NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN...
Page 367 CHANNEL15 HIGH NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN SURROUND...
Page 368 Appendix C: MIDI CHANNEL16 HIGH NO ASSIGN SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND SURROUND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN...
Page 369: Midi Data Format
MIDI Data Format In the following tables, “tx” means that transmission from the DM2000 is possible, and “rx” means that receiving messages at the DM2000 is possi- ble. 1. CHANNEL MESSAGE Command rx/tx function 8n NOTE OFF Control the internal effects 9n NOTE ON Control the internal effects Bn CONTROL CHANGE...
Page 370: Program Change
Appendix C: MIDI 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.
Page 371: Bulk Dump
00110010 32 DATA NAME 01101101 6D 0mmmmmmm mh Format Details System exclusive message Manufacture's ID number (YAMAHA) n=0-15 (Device number=MIDI Channel) Universal bulk dump data count = ch * 128 + cl m=0-99, 256, 8192 (Scene0-99, EDIT BUFFER, UNDO) Receive is effective 1-99, 256, 8192...
Page 372 User defined layer, User define plug-in, User defined keys, User assignable layer, Control change table, and Program change table. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0000nnnn 0n Universal bulk dump FORMAT No.
Page 373 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. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0010nnnn 2n Universal bulk dump FORMAT No.
Page 374 End of exclusive 11110111 F7 13.3.14 Control change table bulk dump request format System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0010nnnn 2n Universal bulk dump FORMAT No. 01111110 7E...
Page 375 256 and following are data for the corresponding channel of the edit buff- er. For reception by the DM2000, only the user area is valid. (36-127, 256-) System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0000nnnn 0n Universal bulk dump FORMAT No.
Page 376 The second and third bytes of the DATA NAME indicate the library num- ber. (See above) System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0010nnnn 2n Universal bulk dump FORMAT No.
Page 377 0:Library no.0 - 32:Library no.32, 256:Current data, 8192:UNDO For reception by the DM2000, only the user area is valid. (1-32,256) System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0000nnnn 0n Universal bulk dump FORMAT No.
Page 378 The second and third bytes of the DATA NAME indicate the library num- ber. (See above) System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0010nnnn 2n Universal bulk dump FORMAT No.
Page 379: Parameter Change
Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0000nnnn 0n Universal bulk dump FORMAT No. 01111110 7E data count = ch * 128 + cl COUNT HIGH 0ccccccc ch COUNT LOW 0ccccccc cl 01001100 4C...
Page 380 [Control Assign Table] is changed, the Parameter Change messages are transmitted on [Tx CH] device number channel. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0001nnnn 1n MODEL ID (digital mixer)
Page 381 When this is received, the value of the specified parameter will be transmit- ted as a Parameter change. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0011nnnn 3n...
Page 382 Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0001nnnn 1n MODEL ID (digital mixer)
Page 383 Sort table data is transmitted as Parameter Change messages on the [Rx CH] channel. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0011nnnn 3n MODEL ID (digital mixer)
Page 384 PORT setting is changed. If [Parameter change ECHO] is ON, this message will be retransmitted without change. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0001nnnn 1n MODEL ID (digital mixer)
Page 385 Transmission If [Parameter change ECHO] is ON, this message will be retransmitted without change. System exclusive message STATUS 11110000 F0 Manufacture's ID number (YAMAHA) ID No. 01000011 43 n=0-15 (Device number=MIDI Channel) SUB STATUS 0011nnnn 3n MODEL ID (digital mixer)
Page 386: Appendix D: Options
Appendix D: Options Appendix D: Options MB2000 Peak Meter Bridge Installation Attach the brackets to the meter bridge. Screw the four ﬁxing screws into the DM2000, but don’t tighten them fully. Align the meter bridge with the four screws, and then tighten the screws. Connect the meter bridge cable to the DM2000’s METER port.
Page 387 Meter Bridge Controls MB2000 Peak Meter Bridge Channel indicators These indicators show which channels are currently being metered: Input Channels 1–24, 25–48, 49–72, 73–96, or the Out- put Channels (Bus Outs 1–8, Aux Sends 1–12, Matrix Sends 1–4). INPUT METERING POSITION button & indicators This button is used to set the metering position for Input Chan- nels to pre-EQ, pre-fader, or post-fader.
Page 388: Sp2000 Wooden Side Panels
Appendix D: Options SP2000 Wooden Side Panels Attach the left side panel as shown below. Attach the right side panel in the same way. DM2000 Version 2—Owner’s Manual...
Page 389: Index
Index ASSIGN 1 button, control room 43 ASSIGN 1 button, control room ASSIGN 1–4 buttons, encoder mode 24 Symbols ASSIGN 2 button, control room 43 +48V ON/OFF switches 21 ASSIGN 2 button, control room Numerics Assigning 1–24 button 34 25–48 button 34 2TR I/O channel status 73 dithering outputs 73...
Page 390 Index grouping mutes 149 inserts 135 link pan to input channels 116 master level setting 119 metering 129 Mix minus 117 muting 112 naming 156 pairing 144 pan modes 116 panning 116 patching GEQs 82 patching to 2TR digital outputs 81 patching to effects 78 patching to input channels 77 patching to omni outs 80...
Page 391 Control surface & rear panel chapter 20 Cooling fan 50 COPY button 33 Copy Initial Fader preference 277 Copy, channel status 73 Copying automix events 209 Copying channels 155 Cubase SX 253 Current scene display 52 Currently selected channel display 52 name display 52 selecting 59 Currently selected page...
Page 392 Index automix 193 channel strip displays 55 EQUALIZER EDIT page 134 features 18 frequency 133 gain 133 grouping input channels 87 grouping output channels 135 library 172 presets 132 Q 133 using 131 EQ button, automix 37 EQ displays 33 EQ GAIN controls 33 EQ ON button 33 EQUALIZER EDIT page 134...
Page 393 Installing I/O cards 71 INTERNAL EFFECTS button 26 Internal effects, plug-ins & GEQs chapter 174 Internal timecode source 201 Internet, yamaha web site 6 Inverse gang mode aux send pan 116 input channel pan 96 Inverting input channel phase 84...
Page 394 Index Matrix sends attenuating 130 automix 193 balance 126 channel library 166 channel strip displays 56 compressors 137 copying 155 delay 141 EQ 131 grouping faders 146 grouping mutes 149 inserts 135 level setting 125 metering 129 muting 122 naming 156 panning 123 patching GEQs 82 patching to 2TR digital outputs 81...
Page 395 OUTPUT PORT NAME page 82 Output port naming 82 Overwrite parameters 196 P2. See Machine control Package contents 6 PAD switches 21 Pages history function 53 page number display 52 page tab scroll arrows 53 selecting 53 tabs 53 title display 52 PAIR button 25 Pair Confirmation preference 275 Pairing channels 144...
Page 396 Index Program changes assignments 218 echoing 217 omni 217 receive enable 217 storing assignments to smartmedia storing assignments via bulk dump transmit enable 217 Protecting automix memories 173 Protecting scene memories 188 PS/2 keyboard 55 Punch in/out, individual parameters 207 Q controls 33 Q indicators 33 Q, EQ 133...
Page 397 Slots about 50 available cards 70 channel status 73 dithering outputs 73 double channel 72 double speed 72 installing cards 71 MIDI 215 patching direct outs 81 patching inputs 77 patching output channel insert ins patching outputs 79 timecode source 201 SMALL button 44 SMALL CONTROL ROOM MONITOR OUT +4 dB (BAL) 47...
Page 398 WORD CLOCK OUT 2 connector 48 WORD CLOCK SELECT page 67 Wordclocks about 66 connections 66 selecting the source 67 terminating 68 DM2000 Version 2—Owner’s Manual XLR connectors 45 Y56K plug-ins effects card 179 Yamaha web site 6 YGDAI. See Slots...
Page 399 DM2000 Block Diagram x 24 +48V PHANTOM PEAK INPUT 1(...96) SIGNAL GAIN INPUT (Gain Reduction) METER METER (Out Meter) METER INSERT 4BAND GATE INSERT OUT INSERT AD IN 1(...24) AD Input Keyin INSERT IN 1-24 12ch Group(1-12,1 3-24...) AUX 1-12 (Gain Reduction) Mono in x 96 METER...
Page 400 DM2000 Level Diagram Analog Digital Analog Digital INPUT GAIN INSERT PHASE PATCH dBFS Max. Input [+24dBu] [+18dBu] –10 [+10dBu] Nominal [+4dBu] –20 Input GAIN MIN., PAD ON –30 –10 –40 –20 –50 –30 –60 –40 Max. Input [–46dBu] –70 –50 Nominal –80 [–60dBu]...
Page 401: Midi Implementation Chart
YAMAHA [Digital Mixing Console-Internal Parameters] Model: DM2000 Function... Basic Default Channel Changed Default Mode Messages Altered Note :True Voice Number Note On Velocity Note Off After Key’s Touch Ch’s Pitch Bend Control 0-95,102-119 Change Prog Change :True# System Exclusive :Song Pos...
Page 402: Important Safety Instructions
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The above warning is located on the top, side, or rear of the unit. IMPORTANT SAFETY INSTRUCTIONS Read these instructions.
Page 403 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.

This manual is also suitable for:

Dm 2000 version 2

Yamaha WC42260 Owner's Manual

Welcome

Control Surface & Rear Panel

Operating Basics

Analog I/O & the AD Input Section

Digital I/O & Cascading

Input & Output Patching

Input Channels

Stereo out

Bus Outs

10 Aux Sends

Matrix Sends

12 Common Channel Functions

13 Monitoring & Talkback

14 Libraries

15 Internal Effects, Plug-Ins & Geqs

16 Scene Memories

17 Automix

18 MIDI

19 Pro Tools Remote Layer

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Summary of Contents for Yamaha WC42260