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Yamaha AW2816 Tutorial

Professional audio workstation
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Owner's manual - 420 pages
Service manual - 120 pages
Manual - 32 pages

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PROFESSIONAL AUDIO WORKSTATION
PROFESSIONAL AUDIO WORKSTATION
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  Summary of Contents for Yamaha AW2816

  • Page 1 PROFESSIONAL AUDIO WORKSTATION PROFESSIONAL AUDIO WORKSTATION Tutorial Tutorial...
  • Page 2: Introduction

    On the other hand if you are new to this type of equipment, be reassured that the AW2816 is designed to make it easy for you to fully use every bit of its powerful func- tionality.
  • Page 3: Table Of Contents

    4 Play back the recorded sound ... 4 Recording the sound of a rhythm machine ... 5 What is tempo data on the AW2816 ... 5 Recording sounds that you step-recorded into your sequencer... 6 Recording vocals and acoustic instruments ... 6 Switching scene memories ...
  • Page 4: Recording On The Aw2816

    Although you can of course record a live performance in a single pass, you can also use multi-track record- ing to take full advantage of the AW2816’s 16 x 8 = 128 tracks. This tutorial will guide you through the actual record- ing process, so that you can learn how to utilize the full power of the AW2816.
  • Page 5: Recording Sound From The Mics Onto The Hard Disk

    In the WORK NAVIGATE section, press the [QUICK REC] key. On the left side are the sounds being input to the AW2816, and on the right side are tracks 1–16 (a total of sixteen tracks) on which you can record. Try pressing [ENTER] on the circle for CH1 in the left.
  • Page 6: Recording The Sound Of A Rhythm Machine

    Since the AW2816 lets you re-record as many times as you like, try various mic settings until you are happy with the recorded sound you get. It is also useful to read maga-...
  • Page 7: Recording Sounds That You Step-Recorded Into Your Sequencer

    Our explanation will assume that you have connected a mic to the AW2816’s INPUT 1 (or 2), and will be recording a vocal. When recording a vocal, the singer will obviously need to sing while listening to the previously- recorded tracks.
  • Page 8: Overdubbing

    (for example) record several different guitar solos and switch between them to see which one you like best. The AW2816 has 128 virtual tracks, so if you record and keep several takes of the vocal, you will have more flexibility during mixdown.
  • Page 9: Restoring The Demo Song

    In this tutorial, we will assume that an ATAPI-con- nected CD-RW drive has already been installed in the AW2816. However, it is also possible to use an exter- nal SCSI CD-RW drive. For details on how to install a CD-RW drive, refer to the AW2816’s “Owner’s Man- ual.”...
  • Page 10: Mixdown

    “Mixdown” sounds like it refers to a single operation, but in reality, it is a sequence that consists of numer- ous processes. As you become more experienced, the various steps will blend together into one big process. It is important to keep this in mind, because you must be aware of the effect that even the smallest operation will have on the overall sound.
  • Page 11: Step 2. Setting Up A Rough Mix

    This will make it easier to adjust level and pan. Use MARK A and B to specify the beginning and end of the loop, and press the [REPEAT] key make the playback repeat. (For details refer to the AW2816 “Owner’s Manual.”) Start with the kick and snare Use the channel [ON] keys to turn off all tracks except for the kick and snare (tracks 1 and 2).
  • Page 12: Adding The Synthesizer

    Adding the synthesizer Turn channel 10 “ON”. If the synthesizer is too loud for the other tracks, use fader 10 to lower the level about 5 dB. Adding the organ Turn channel 11 “ON”. Make fine adjustments to the fader so that the sound does not stand out in compari- son with the other tracks.
  • Page 13: Step 3. Assembling The Mix For Each Part

    Mixdown Step 3. Assembling the mix for each part In order to create a balanced mix, we now need to pay a bit more attention to the details of each track. • Preset scene You can recall a preset scene that contains all settings up through step 3, below.
  • Page 14: Channels 3/4: Drum Overhead Mics

    • Channel 2: Snare DYNAMICS Comp Threshold Ratio Out Gain Attack Release Knee –18dB 2.5:1 3.0dB 19ms EQ (ATT –8 dB) L-MID H-MID L.SHLF 0.70 0.70 187 Hz 1.00 kHz 2.11 kHz –4.5 dB 0.0 dB +2.0 dB Channels 3/4: Drum overhead mics These tracks contain the cymbals and toms.
  • Page 15: Channel 5: Hi-Hat

    Mixdown Channel 5: Hi-hat By using a HPF (high pass filter) to cut the sound below the LOW 125 Hz point, we will simultaneously remove sounds other than the hi-hat. By adding a 2.5 dB boost to the L-MID 595 Hz region, we will emphasize the crispness of the hi-hat, clarifying the sense of beat.
  • Page 16: Channel 7: Percussion

    Press the MIXER section [DYN] key to access the dynamics parameters. Press the DYN button, and then press the [F2] key located below the screen. In this screen, load a library whose TYPE field is displayed as “EXP.” Move the cursor to “ON/ OFF”...
  • Page 17: Channel 8: Acoustic Guitar

    Mixdown Channel 8: Acoustic guitar We will not make any changes to the relaxed feel in the high range of the acoustic guitar, but will apply a slight boost to thicken the low-mid range, and use a compander to even out the loudness. EQ (ATT –11 dB) L-MID H-MID...
  • Page 18: Channel 10: Synthesizer

    Channel 10: Synthesizer We will use the EQ to enhance the high range, emphasizing the tonal hardness characteristic of syn- thesizers. To make the phrasing crisper, we will apply a hard compander. Type Compander Hard Threshold Ratio Out Gain Attack Release Width –17 dB 2.5:1 –6.5 dB...
  • Page 19: Channel 12: Electric Guitar

    Mixdown Channel 12: Electric guitar Keeping in mind the balance with other parts, we will lower the low range and boost the mid range of the electric guitar, giving it a brighter sound. To restrain the loudness, we will apply a soft compander with a high RATIO setting.
  • Page 20: Channel 16: Lead Vocal

    • Dynamics settings for chorus 1 and 2 (Compander Hard) Threshold Ratio Out Gain Attack Release Width –26 dB –1.0 dB 0 ms 122 ms • Dynamics settings for chorus 3: OFF Channel 16: Lead vocal The lead vocalist on this channel has a strong and rich low-mid range, but in order to give the sound more definition, we will set L-Mid to 236 Hz and cut it by –5.0 dB.
  • Page 21: Step 4. Adding Ambience

    To create a sense of unity, we will apply only one type of reverb to the entire song. Since the AW2816 con- tains two internal effect units, it is easy to apply two different reverbs or other effects to separate tracks, but to convey the “liveness”...
  • Page 22: Channels 1/2: Kick And Snare

    In particular, the detail and expressiveness of the AW2816’s “24 bit high-quality reverb” can be best appreciated when it is applied lightly. Since each adjustment performed during the mix will affect the audible balance, adjust the fader levels as necessary.
  • Page 23: Step 5. Completing The Mix And Making Automation Settings

    On the AW2816, the faders, channel on/off, pan, and EQ can all be automated, so it’s easy to cre- ate a perfect automix.
  • Page 24: Main Contents Of Automix

    • Main contents of automix 1) Initial automix scene The automix starts from the “AUTOMIX” scene mem- ory. 2) Guitar “0:10–0:45”: The faders are adjusted to make the gui- tar backing and melody stand out. 3) Piano For approximately the first 40 seconds of the song, the level is adjusted by raising the fader briefly to empha- size the backing in the lower register.
  • Page 25: Mastering

    For normal recording it is not possible to redo the mixdown once you are in the mastering process, but on the AW2816 you can recall scene memories and automix settings to go back and forth between the mixdown and mas- tering processes whenever you like.
  • Page 26: Compressor

    110 ms Recording the song to the stereo track On the AW2816, you must first record the mixed song onto the stereo track, and then write that stereo track to the CD. Once you are satisfied with the master EQ and compressor settings, use the following procedure to record the song to the stereo track.
  • Page 27: The Next Step

    AW2816’s “Owner’s Manual.” As you spend time with the AW2816, it is sure to become a favorite partner in music production. We hope that the AW2816 will continue to make your...
  • Page 28: Glossary

    ATAPI A specification for CD-RW drives that can be installed in the AW2816. The specification is the same as IDE, but on the AW2816 this term is used to distinguish it from the internal hard disk. Audio source A collective term for the signals that are input to a mixer or recorder.
  • Page 29 Gain A knob that adjusts the sensitivity of the head amp (*see entry) in the input section of the AW2816. If this control is adjusted to keep the input volumes consis- tent at this point, it will be easier to use the faders of each channel to create a balance.
  • Page 30 Scene memory A function that collectively saves the parameter set- tings of the AW2816’s mixer section. A scene that you saved can be recalled at any time to reproduce those settings. Solo A function that allows you to listen only to the sound of a desired channel during mixdown, etc.
  • Page 31 YAMAHA CORPORATION V766850 R1 1 IP 32 Pro Audio & Digital Musical Instrument Division P.O. Box 3, Hamamatsu, 430-8651, Japan 01 08 3500 AP Printed in Japan...