DIGITAL MIXING ENGINE DME64N / DME24N

Programmabilityogrammability ProcessingProcessing PowerPow Intuitivelyively configuredconfigured usingusing CustomCustom cchipsethipset sspeciallypec Totally reliable yet utterly flexible, in the fields of is … PPCC softwarsoftwaree developeddeveloped by YamahaYama Integrating a chipset specifically developed for the processing of digital signals, the broadcasting and music production, Yamaha's digital mixing engines of the Yamaha DME Series constitute DSP boxes with Network I/O/O SoundSou Quality exceptional processing power. Using a dedicated PC application, systems can be Compatible with CobraNetaNet and Excellent ssound quality inherited EtherSound digital aaudioudio from YamahaYam digital consoles DME Series is second to none. intuitively and flexibly assembled from a myriad of components such as mixers, networks equalizers, and compressors in addition to the delays, limiters, de-essers, matrix mixers,, While it goes without saying that mixing solutions for broadcasting stations and professional music-production studios must deliver routers, and other processors that are indispensable in the fields of broadcasting and excellent sound and performance, total reliability is the true mark of quality. The digital mixing engines of the Yamaha DME Series comfort- music production. Components may also be combined as powerful functional blocks, ScalabilityScalability EconomyEconomy Supportort for all ssystemystem sizessizes,, which can then be arranged to create innovative solutions for downmixing, bass DramaticDramatic reductionreduction from the compactcompact ably and efficiently satisfy this need. To achieve steadfast reliability, functional components are freely and flexibly assembled using a ini cablingbli costst management, and other critical processes in surround sound systems. Of course, these to the massive dedicated PC application in order to create systems where physical connections and wiring are reduced to the absolute minimum. And for configurations can be conveniently rearranged and customized whenever needed. even greater versatility, these digital mixing engines also boast impressive capabilities as digital transmission and networking devices. Recent developments in the field of digital audio transfer have led not only to the elimination of quality deterioration associated with long-distance transmission, but also to vastly enhanced levels of reliability through the integration of line redundancy and a diverse range of Advantage 1 Virtual wiring for steadfast reliability network topologies such as ring, star, and daisy-chain. The DME Series offers wide-ranging support for these innovative technologies. Built within a PC application, DME sound systems require no actual wiring between functional components, and with physical connections and wiring therefore reduced to the absolute minimum, stunning levels of reliability Within these pages, you will find examples of how this awe-inspiring series is being put to highly effective use in broadcasting stations and are achieved. What's more, GPI devices and MIDI-based controllers can also be integrated whenever needed in music production studios all over the world. order to realize the perfect working environment.

In the DME Series of digital mixing engines, Yamaha has realized a DME box components to realize thoroughly flexible solutions for many different Advantage 2 Remarkable cost and space savings Advantage 3 Irresistible flexibility and ease-of-use that is simultaneously mighty and easy to use. The custom chipset lying at mixing environments. And thanks to stunning sound quality inherited from With conventional mixing systems, a separate device is generally used for practically DME Designer – the PC application forming an integral part of the DME Series – the heart of each mixing engine has been developed specifically for Yamaha digital consoles, which continue to deliver unrivalled performance every different function. In stark contrast, however, the DME Series incorporates a provides an extremely user-friendly environment complex audio processing, and using a dedicated PC application, the in studio recording and live sound-reinforcement settings, a single unit can dedicated PC application, DME Designer, to freely assemble a vast array of in which configurations and systems can be awe-inspiring functionality that it provides can be freely configured to create easily provide the functionality required for surround-sound and other components contained within the hardware EQ intuitively setup using simple operations such as a vast range of different sound systems. The ideal choice for any environment high-level systems. Mini-YGDAI cards for audio input and output can be unit itself so that functions can be easily called EQ drag and drop. What's more, frequently-used where audio is mixed, this series is renowned for its ability to deliver flexible selected to suit many different system formats and channel-number Comp up whenever needed. As such, this design is Comp parameters can be freely defined and assigned to solutions for applications of all shapes and sizes. Yet the DME Series offers requirements, and the DME Series also offers support for advanced ideally matched to the field of broadcasting, Comp external controllers. In this way, DME Designer even more: In broadcasting stations and production studios – where sound digital-audio transmission solutions such as CobraNet, EtherSound, and where operations are often carried out in Delay makes it easy for anyone – regardless of their level Delay quality and processing power are crucial but reliability is paramount – the MADI. In cases where distributed processing is desirable, furthermore, a confined spaces or where equipment must be Effector of expertise – to construct highly practical and

true potential of these digital mixing engines is fully realized. Systems can be solution is readily at hand in the form of the DME Satellite Series. made available rapidly in response to changes Mixer effective systems. freely and intuitively assembled from a vast array of different functional in conditions.

1 2 Broadcasting and Surround System DME64N / DME24N

Production Guide 1 # — DME and Audio Networking —

Contents DME Advantage Surround System DME Advantage #1...... 4 TV4 Case Study #1...... 7 Mainichi Broadcasting System, Inc. Case Study #2.. 8 TeleModena Case Study #3 ...... 9 Yomiuri Telecasting Corp. Case Study #4 ...... 9 Rakuonsha (Studio 2001) Case Study #5...... 10 Network Control DME DME Advantage #2...... 11

Rainbow Network Communications Case Study #6..13 With digital broadcasting becoming more and more popular, ever-increasing use of surround sound formats is inevitable. What's more, continued growth of the use of DVDs, multichannel audio sources, and other products Sun Television Co. Case Study #7 ...... 14 using these formats is also beyond doubt. It is no wonder then that systems capable of producing multichannel music are in extremely high demand. And while the high price of convention systems has been a constant Sala Medusa Case Study #8 ...... 14 obstacle, a remarkably flexible and reliable solution is now available in the DME64N and DME24N. Allowing an Live Broadcasting and Digital Audio Networks impressive array of audio processing components to be intuitively assembled in a user-friendly software environ- ment, each of these mixing engines can be used to create indispensable tools for surround-sound music produc- DME Advantage #3 ...... 15 tion. In addition, this impressive arsenal of mixing and processing functions has been neatly packaged into a 2006 Mitsui Sumitomo VISA Taiheiyo Masters compact hardware device taking up very little rack space. Case Study #9 ...... 17 Downmixing Monitor Speaker Alignment Slovak Radio, MediaTech Ltd., Slovakia The ability to freely configure a diverse range of By providing each speaker with independent, finely-tuned Case Study #10...... 21 audio-processing components offered by the DME Series is of delays and EQ, highly accurate monitoring environments can immeasurable benefit when downmixing multiple audio be conveniently setup, even when the speakers themselves channels for stereo playback. Even when time and budget are cannot be ideally positioned. Asahi Broadcasting Corp. Case Study #11...... 23 Example 2 limited, a host of different mixes can be easily created, Example 1 compared, and evaluated while still in the studio. L R TVV Television Valenciana Case Study #12 ...... 24 L R C C

White Mobile - Amek & Vanis Case Study #13...... 27 Bass Management LFE LFE (SUB) With the DME Series, bass management can be effortlessly (SUB) Mizuno Classic, Mainichi Broadcasting System, Inc. achieved by combining a matrix mixer component with LS RS Case Study #14...... 27 high-pass and low-pass filters. No additional hardware is LS RS needed. Moreover, groups of assembled components can be Le Cercle Rouge (TSF) Case Study #15 ...... 28 DME Advantage saved and recalled as component blocks, making it easy to A e.g. 1) A = L, R, LS, RS B = C monitor how mixes will sound on a variety of different B e.g. 2) A = L, C, R B = LS, RS The true power of the DME bass-managed systems and to also compensate for poor dB A + B 1 contro 100, Canale 5 Case Study #16 ...... 29 Series is witnessed when Distance Time freely configuring systems low-end characteristics in mixing environments such as 0mm 0msec f from a myriad of outside broadcasting vans and smaller studios. Audio Source Switching DME Advantage #4...... 31 dB audio-processing Comb-filtering L 8mm 0.02msec components. Operating as a HPF L f Product Line Up ...... 33 R fully-customizable DSP box, HPF R Haas effect Panning either the DME64N or C HPF C 30mm 1msec Diffuse surround area A + B ADD-ON Effects Interview ...... 43 DME24N can create LFE X-over of SUB dB AMP LPF2 1m 3msec systems satisfying a wide LPF1 SUB Split variety of needs. Even 10m 30msec f DME Manager – Quick Guide to Download, LS HPF LS 7.1-channel Dolby Digital RS HPF Installation & Use ...... 49 EX can be easily supported RS 1msec=1/1000sec by simply adding Bass management controller Monitoring errors caused by differences Quality Control ...... 51 components. in monitoring distance

3 4 ³ Bass Management Controller Matrix Mixer HPF 12-Input, 8-Output Unit Outputs Surround System Mono DME64N / DME24N 1 #

Unit Inputs ³ ¿ ·

GAIN (Fader) 1-Channel DME Advantage

Matrix Mixer 8-Input, 1-Output Matrix Mixer » 2-Input, 1-Output ´ LPF Mono

Not limited to preset configurations and components alone, the DME Series lets you create user-defined configurations by freely assembling components and saving them as user modules. For example, this original user module forms the core of the Bass Management Controller from the surround system on the left. Specifically, the audio-processing circuit splits up the six outputs of the 5.1 surround mix, extracts the low-frequency components of the five full-range speakers, and combines them with the LFE signal using a Matrix Mixer component. Individual and overall levels are adjusted and balanced within this mixer, and cross-over points are setup as required via As this DME64N example shows, all the functionality you'll the combination of high-pass and low-pass filters. Broadcast engineers know the importance of comparing the straight 5.1 surround sound and the bass-managed mix, probably ever need for surround-sound monitoring in the and that's why another Matrix Mixer has been setup just in front of the output stage for highly convenient switching between the two at the click of a button. And thanks to broadcasting arena has been packed into a single unit. In the unprecedented flexibility offered by user modules, this same setup can even be modified to effortlessly handle 7.1 surround and other original specifications. addition to basic multichannel monitoring, you get bass management for reliable low-end control, Monitor Speaker · Monitor Speaker Alignment Alignment for enhancing monitoring precision by compen- PEQ-Mono Unit Outputs sating for physical distances to speakers, and the downmix- Delay-Short 8-Band ing functionality that is a critical component of surround 1-Output mixing in today's broadcast applications. And as with other components, you can select, assemble, and configure these in a free, easy, and intuitive manner if so required. This setup also features a source selector for switching between four different stereo mixes created using a range of downmixing coefficients, making the evaluation of different mixes easier Unit Inputs than ever before. In short, surround-sound monitoring just got a lot more convenient and intuitive.

» Downmixing Coefficients ¿ Matrix Mixer

The sample system's output-stage Matrix Mixer is fed by eight input signals – namely, the 5.1 surround In the surround system example on the left, a wider monitoring area is needed, so a pair of back surround speakers is used on both the left and right for eight speakers in total. In an ideal world, surround-sound speakers would all Broadcast engineers will really appreciate the downmixing capability offered by the DME Series. The above signals processed by the Bass Management module and the stereo mix from the selected DownMix user be setup at the recommended angles and distances from the listener in order to facilitate highly accurate monitoring. Unfortunately, however, factors such as room shape often render such precise positioning impossible. configuration, for example, is one of the sample system's four DownMix modules, each of which uses a module. The six surround channels can be grouped together using the Parameter Linking function for Compensation for this using individual delays is known as "time alignment". Normally, the more speakers used, the greater the number of delay units required, and the more complex and expensive time alignment becomes. Not so different set of coefficients to instantly convert 5.1 surround sound to a stereo output. Having a range of convenient mixing, while a single switch toggles instantaneously between the 5.1 mix on channels 1 to 6 with the Yamaha DME Series, where multiple delays can be easily setup and controlled within a single hardware device. Need precise time alignment for more monitors? Just add delays to the configuration and adjust. different downmixing options readily available within a single unit is vastly more convenient than the and the stereo mix on 7 and 8. In this surround system, time alignment is realized via the Monitor Speaker Alignment user module shown above. Of the monitoring environment's eight speakers, no alignment is required for the standard left and right or for the LFE, conventional approach, where a single set of coefficients is adjusted for each individual application. but highly-precise short delays are provided for each of the remaining five channels. Since fine tuning is so essential to multichannel monitoring, speaker positions can be virtually adjusted in units of one millimeter. Furthermore, Allowing different sets of coefficients to be evaluated quickly, conveniently, and objectively in order to select another feature of advantage in surround-sound monitoring is the array of eight-band parametric EQs used to tune individual speaker outputs and to adjust for unique frequency characteristics in the monitoring environment. the best, Yamaha have made the task of downmixing considerably easier. Turn to page 49 for information on how to download and install DME Designer.

5 6 Case Study #1 7 (Stockholm, Sweden) TV4 which include anon-linearediting(NLE)system, videotape switching andlevel control ofaudiorecording sources, addition toallmonitoring, theDMEsystemsalsohandleall and arecording/speaker boothshared between them. In Each DMEsystemat TV4 issetuptocontrol two editsuites withtheendresult.”happy audio qualityisexcellent, sothecustomerwould bevery JMG Support’s Johan Küller. we alsoknew“Of course that the many different ways inwhich itcanbecontrolled,” says a Yamaha dealer, we were familiar withtheDMErange and installed thesystem. “We chose theDMEsolutionbecause, as JMG Support AB oftheBromma borough ofStockholm manufacturers. bays andequipment from awiderange ofdifferent the problems whenusingpatch experienced broadcasters by outboard studiodevices, andindoingso, eliminatingmany of MY8-ADDA96 AD/DA cards, replacing awiderange of this cuttingedge installation. Each DMEunitisfittedwith of –sixDME24Nsnow formbroadcast theheart efficiency (DMEs) are theperfect solutionfor one-box enhanced evidencethat – asfurther Yamaha DigitalMixingEngines undergone amassive multi-millionkronor technical refit and Recently, thechannel’s editsuitesinStockholm have become thecountry’s largest commercial TV channel. Since itslaunch in1990, the TV4 of Sweden hasgone onto doesn’t exist.” headaches. Now, thepotentialfor such problems simply taking much longer and, ofcourse, causing TV4 plentyof non-DME installation–have required physical re-wiring, DME software, we caneasily change thingsthatwould –ina ofthesystem.“But thebestthingisflexibility Usingthe audio fidelity." easy-to-use, highfidelitynetwork vastly offering increased says Johan. “The DMEsolutionhasprovided TV4 withan straightforward,functions controlled inavery intuitive way,” adaptable,system neededtobevery withcomplex switching “This was achallenging installation, particularly becausethe or from VTR andcanalso settherecording level. Additionally, hecanselectwhethertorecord from thebooth or thesignalfrom themicrophone ortelephonehybrid. selecting whethertomonitortheoutputofNLEsystem Within theeditsuites, theoperator hasacontrol panelfor the editsuites. route thesignaltoberecorded withintheboothorinoneof record viamicrophone ortelephonehybrid andwhetherto the DME24Ns. Inthebooth, theoperator selectswhetherto each control room, of which ports are connectedtothe serial Custom control panelsare locatedbothintheboothand solution.” meant thatthe Yamaha far was by thebest DMESeries the requirement for simpleswitching andcustompanels custom control panels. Sothecomplexity ofthesystem, plus operation, we alsorealized thatwe would needtoproduce “Because oftheclient’s requirement for simplicityof practical solution." desired by TV4, digitalsignalprocessing (DSP)was theonly order tosimplifytheswitching procedures tothelevel became clear how complex theswitching couldbecome. In at allthedifferent combinationsofinputs andoutputs, it solutions for and, themostcommonscenarios aswe looked interface,” says Johan. “The client wanted one-button “Our biggest challenge was tocreate ahighly user-friendly located inthebooth. well asfeeding ittotheinputsofNLEsandaPC units tobemonitored intheboothandbotheditsuites, as messages. The DMEsystemsallow theoutputfrom these to acceptcallsfrom viewers andtorecord orbroadcast their Another inputcomesfrom telephonehybrids that TV4 uses also provides compression andlimitingfor themicrophone. (VTRs),recorders andamicrophone inthebooth. The system Surround & Multi-Purpose Processor &Multi-Purpose Surround Galaxy Sub-controlRoom (Osaka, Japan) Mainichi BroadcastingSystem,Inc. Mini Sub-controlRoom multi-purpose processor for golf andauto-racing broadcasts. broadcasting van, DME64Nfunctions asa afurther processor.as amonitoring And setupinanoutside- configurations forbeen setupwithsurround-monitoring use for andcommentatormonitoring, staff whiletheotherhas “mini subs” for programs news andsports – onebeingused Galaxy Subprogram. Two otherDME64Nsare employed as its Chichin Puipuishow (afour-hour live broadcast) and Mainichi Broadcasting System (MBS)usesaDME64Nfor both Surround & Multi-purpose Processor &Multi-purpose Surround 8

Case Study #2 Case Study #4 Case Study #3 9 (Modena, Italy) TeleModena (Osaka, Japan) Yomiuri TelecastingCorp. Audio RelayVehicle the DMEunit. of signalprocessing usingaPCconstantly synchronized to Furthermore, technicians canconveniently monitorthestate control, limiting, andleveling before thehigh-frequency stage. the four control rooms are routed to aDME24Nfor dynamic Italy.Modena innorthern At thischannel, audiosignalsfrom ena isasmallcommercial TV network basedinthecityof fourComprising shoppingandlocalnews stations, Telemod- with a Yamaha DM2000Digital Production Consolein2005. an outside-broadcasting van, which incidentally, was fitted In addition, processor in asamonitoring thisunitalsoserves atSub-Control Room1.monitoring At Yomiuri Telecasting, aDME64Nis used for surround Surround & Multi-purpose Processor &Multi-purpose Surround Processor 1 Sub (Tokyo, Japan) Rakuonsha (Studio2001) monitoring environments. monitoring its front paneltoinstantly switch between different needed, furthermore, theDMEunitcanalsobeoperated from quality required ina environment.THX-certified Whenever soastomaintain the andcontrols thesespeakers speakers Rakuonsha adjustsdelay andEQfor each ofthestudio's23 Receiving editedaudiofrom amixer, theDME64N at onaPC.Manager running can even facilitate viaDME fine-tuningof systemparameters however, asingleDME64Ncaneasily meetthischallenge and foraudio processors each individualspeakerinthesystem; Normally, thiswould require theinstallation ofdedicated finely-tuned delay andEQare required for each speaker. In order togain asadubbingTHX certification stage, content for cinema. Japan, andRakuonsha's work on THX engineers primarily the seconddubbing stage tohave been in THX-certified Studio 2001dubbing stage inMarch of2006. isonly Theirs that works onmovies andanimatedfilms, openedtheirnew Rakuonsha, anaudioeditingandsoundproduction company Multi-purpose Processor Multi-purpose 10

Case Study #5 Network Control Router, Source Selector, Matrix Mixer, and Audio Format Converter

2 The vast array of studios, auxiliary control rooms, announcer's booths, video editing # suites, and other facilities making up today's broadcasting stations must all be interconnected via a network, usually taking the form of analog cables. And although a Main console standard procedure within stations, the reconfiguration of network connections for Announcers' booth 1 Studio A different applications is highly critical in nature and mistakes are simply unforgivable. Nevertheless, analog cables can be huge, often leading to extreme difficulty and complexity in connection, routing, and installation. When working simultaneously with multiple lines in a conventional analog network, Announcers' booth 2 EX) PM1DV2 Router, Source Selector, broadcast engineers have to install dedicated routers, source selectors, matrix mixers, Matrix Mixer, Meter, etc. DME Advantage and other expensive gear. Using a Yamaha digital mixing engine, however, you can freely and flexibly call up practically any number of built-in routers, source selectors, Announcers' booth 3 and matrix mixers for integration into a network. Where necessary, these configura- tions can also be stored and later recalled using your PC or a wide assortment of Studio B intuitive controllers. Thanks to this sophisticated approach, it is little wonder that the Router, Sou rce Selector, DME Series allows network operations to be carried out with superior levels of efficiency, practically no potential for error, and ease-of-use that is second to none, all Patch Panels, without compromising its stunning sonic performance. Matrix Mixer, Meter, etc. Router, Source Selector, With four slots for mini YGDAI (MY) cards on the rear panel of the DME64N and one on Matrix Mixer, Meter, etc. the DME24N, this series offers a wholly-flexible open structure for the input and output of audio signals. You can freely select MY cards based not only on the required number of input and output channels, but also on the audio formats needed for the application in question. As such, Yamaha's digital mixing engines make easy work of conversion between numerous digital and analog formats.

Editorial room Editorial room

Console Console Multichannel Router VTR 1 VTR 1 DME’s User Control Panel allows routing operation intuitively by touch panel. Matrix Mixer High-definition video recorders, which have become increasingly popular in recent years, can also record eight tracks of audio; accordingly, these VTR 2 VTR 2 EX) DM1000VCM EX) DM1000VCM devices are often used to record the six channels of standard 5.1 surround sound together with a stereo mix. The configuration below is a typical With a 64x64 channel matrix mixer as shown above, you can freely assign any source to any output example of how the DME Series can route eight channels as one for just such an application. As shown, a simple, intuitive control panel can be used to channel and also adjust their levels as required. Even the most complex of configurations can, therefore, select a source from among many groups of eight channels and to also specify the ultimate destination of these audio signals. And if necessary, input Format VTR 3 VTR 3 be easily and efficiently setup via an easy-to-understand graphic interface on your PC. What's more, and/or output level meters can easily be added to the configuration for monitoring of sound levels. Converter numerous configurations created in this way can be conveniently stored in memory and instantly recalled whenever the situation demands. It is customary in broadcasting applications that audio be exchanged between individual processing sections in multichannel format, often employing 4 channels. And if surround sound must also be supported, the number of network channels will increase accordingly. As a solution for fail-safe, efficient, and inherently reliable control of these multichannel networks, nothing beats configurations setup on a DME64N.

Format Converter

A vast assortment of digital devices is regularly put to use in today's broadcasting and music production studios. While exchange between devices is never an issue with analog signals, the diverse range of formats that exist for digital audio can give rise to serious compatibility problems, and it's not unusual to see multiple format converters used side-by-side in order to resolve incompatibilities. Rather than using expensive, mono-functional format converters in this role, however, it is far more efficient and economical to take advantage of the open configuration for signal input and output afforded by the DME Series. The DME64N, for example, has four slots for mini-YGDAI (MY) cards, while the DME24N has one. MY cards can thus be freely selected to convert between different audio formats and channel numbers with a high degree of precision and flexibility. Aside from high-quality 96-kHz/24-bit AD/DA conversion, the MY card series also provides support for ADAT, TASCAM, Example: AES/EBU 8chI/O(75 BNC) <−−> AES/EBU, MADI, CobraNetTM. In order to cater for a wide variety of possible applications, these AES/EBU 8chI/O (with sampling rate converter) digital I/O cards have been made available in both 8- and 16-channel versions. With its four MY <−−> a-dat 16chI/O <−−> AES/EBU 16chI/O slots, therefore, the DME64N can be provided with as many as 64 digital I/O channels.

Example: AES/EBU 40chI/O <−−> a-dat 16chI/O

Example: MADI 16chI/O <−−> AES/EBU 16chI/O <−−> a-dat 16chI/O <−−> TDIF 16chI/O

Turn to page 49 for information on how to download and install DME Designer.

11 12 Multi-purpose Processor Multi-purpose Processor Rainbow Network Communications Sun Television Co. (New York, USA) (Hyogo, Japan) 6 7 # # Case Study Case Study

Sun Television, an independent TV channel based in Japan's Hyogo Prefecture, uses a DME24N in their outside-broadcast van to handle over 100 live broadcasts per year, mainly of local Hanshin Tigers baseball games and other sports events. The DME24N is used as a multi-purpose processor to conveniently change the configuration for each show, thus providing invaluable support for local programming.

Rainbow Television Network (RNC) a subsidiary of Rainbow Ten Yamaha DME64N units were installed on the premises Network Communications (Bethpage, NY) is a supplier of SD with intended use for audio/video control between edit and HD program origination and distribution services to the rooms and for end of television programming rolling credits. Multi-purpose Processor multimedia industry. With a complex array of live and In SD/HD SDI On-Air Master Control the DME64N is used prerecorded programming to handle, Rainbow recognized under automation control to perform an A-B-A Fade / Mix Sala Medusa the need for a new generation of live video multichannel commercial/promotional segments and program segments in master control rooms and entrusted the systems challenge to parallel with a DVE squeeze back during credit rolls. In this (Rome, Italy) engineering firm Communications Engineering Inc. (CEI) as application the Group1 Pair 1 Audio is an AES/EBU Dolby E 8

well as the RNC engineering team. 5.1 Channel Surround Mix and the Group1 Pair 2 Audio is a # PCM Left SAP / Right/SAP Mix. The new facility provides broadcast capabilities for RNC’s In Tape Ingest workstations the DME64N is used to entire broadcast “assembly line,” which covers the gamut synthesize a 5.1 Channel Surround Mix from an AES/EBU from signal ingestion, program editing, promo creation, PCM Left Front / Right Front Mix in preparation for use in quality control, and live and recorded playback through On-Air Master Control. automated multichannel master control and satellite uplink. Case Study

The RNC facility originates 16 individual program channels presently, with three types of programming: automated delivery of previously recorded programming, which includes long-play server-based programs; live television events such as sports programming; and promos. These different operational processes led to alternative master control room designs including the DME systems.

The design team catalogued each channel’s unique Medusa Film is one of the most important movie production requirements and categorized the key similarities and companies in Italy, and Sala Medusa is a small private cinema differences in order to design an overall facility approach. located within the Rome premises of Mediaset (Italy's largest The infrastructure was developed to provide ample private broadcaster). A DME64N has been installed at Sala capability to each channel in the form of router matrices, Medusa to provide source selection, dynamic control, and audio and video I/O, physical space for operations, surround matrix functionality. Audio signals from a DVD pre-production activities, and other parameters. player, various video-tape machines, and an old film projector are input via MY8-ADDA96 analog cards into the DME unit, where they are mixed, dynamically controlled, and equalized. In addition, the processed signals are then routed by the DME64N to the venue's power amplifiers and speakers.

13 14 Live Broadcasting and Digital Audio Networks 3 # Notwithstanding limited hardware resources, live broadcast banks of cumbersome effect units. Setup couldn't be easier, and engineers must be ready to respond instantly and effectively to convenient memory functions allow configurations to be saved any changes in conditions. Add to this the fact that mistakes can and instantly recalled to respond to changes in conditions; never be tolerated and it becomes clear why live broadcasting is furthermore, as problems associated with connections and wiring probably the most merciless environment in which audio is between multiple physical processors are no longer relevant, processed. Yet even here, the DME Series has much to offer. unprecedented levels of reliability are achieved. In the DME64N, for What will impress live broadcast engineers most about Yamaha's example, Yamaha have packed an incredible palette of functions digital mixing engines is how easily they can be setup as needed into a mere 3U of rack space, allowing you to make the most

DME Advantage Digital Audio Networks in practically any location to provide a multifunctional, highly efficient use of the space available and also to relocated with flexible DSP box. Each hardware unit includes an expansive array unprecedented ease. In the realm of live broadcasting, where The immense scale of arenas, stadiums, courses, and other sporting venues presents a major challenge for broadcast engineers. of advanced digital components such as routers and matrix mixers resources are limited yet flexibility is paramount, surely there can Laying of mile after mile of analog cable is not only extremely hard work and expensive, but it also comes with increased risk of for managing signal flow, multiple delays to compensate for time be no better solution. disconnection, damage, and other associated problems. Further, compromised sound quality is an unavoidable consequence of lag, and equalizers, compressors, and limiters for further process- When it comes to live broadcasting of sporting events, further- long-distance transfer over analog networks. Today, a range of innovative digital-audio technologies offering outstanding advantage ing of audio signals. And with highly accurate speaker processors, more, the transfer of audio signals over long distances is a major are increasingly being put to use in long-distance signal transfer. Immune to degradation of audio quality, technologies such as TM TM Yamaha SPX effects, and a host of other powerful components headache. Recent years have seen the emergence of a wide range CobraNet and EtherSound allow networks to be configured at low cost, and network routing can also be freely and intuitively also built-in, you have at your disposal a vast arsenal of highly of digital audio formats and network protocols offering sophisti- modified using a PC. What this all means is that highly developed, inexpensive solutions for long-distance transfer and networking potent tools for tactful, resourceful, and intuitive deployment cated solutions to this problem. As you would expect from Yamaha can be realized more easily than ever before. whenever the situation demands. digital audio devices, the DME Series provides full support for All components for routing, mixing, or processing of audio are these technologies, integrating seamlessly with CobraNetTM, accessed and configured by programming the digital mixing EtherSoundTM, MADI, and more. Example: engine itself, so no longer will you need stack up and connect vast DME4io-C

Sending DME64N Relay Center DME8i-C

Console When broadcasting golf and other large-scale sporting events, broadcast and DME8o-C DME24N production booths must be setup in multiple locations. Each of the broadcast booths Broadcast booth 1 returns numerous audio and monitor signals, and when outputs from announcers' VTR 1 booths and feeds of pre-recorded material are also taken into consideration, it's not MY16-CII hard to see how communication networks become so large and complex. And as if VTR 2 this wasn't enough, changes in conditions often demand reconfiguration at the drop of Broadcast booth 2 DME MY16-CII a hat. Offering a speedy, efficient, and inherently reliable solution for managing these VTR 3 TX6n highly complicated systems, the DME Series will allow you go live – and stay live – with utmost confidence. MY16-CII 01V96VCM Broadcast booth 3 MY16-CII

Announcers' booth 1 LS9-32

M7CL-48 Announcers' booth 2 Implementing the highly reliable ring topology, EtherSound networking CobraNet™ is a sophisticated technology that facilitates technology is more suited to relatively simple sound systems with direct As audio lines are often processed individually in live broadcasting bidirectional transfer of up to 64 audio and control channels via connections. Networks are easy to connect and allow multiple channels applications, time lag can easily occur. Added to this, an even bigger Ethernet cable. As a fully integrated system, it allows digital data to of digital audio to be transferred over standard Ethernet cable with problem is the loss of synchronization with video signals, resulting from be carried up to 100 meters* between devices by common CAT-5/100Base-TX cabling, or up to 2 extremely low latency. This advanced, easy-to-manage protocol is the significant latency generally experienced in the processing of video for kilometers by optical fiber. Utilizing a star topology, CobraNet is ideal for configurations featuring one designed to handle up to 64 channels of digital audio and will easily broadcasting. Large numbers of delays are normally used to compensate production booth in combination with multiple broadcast booths, and it's fast, with a minimum latency transfer 48 channels of 24-bit, 48-kHz audio in both directions over distances up to 100 for these time shifts, and with Yamaha digital mixing engines, the number of 1.33 ms**. Thanks to redundant systems included as standard, this technology is inherently reliable, meters with appropriate high-performance cables. As with CobraNet networks, you can Slot 1-Output of built-in delay components that can be used is limited only by and using commonly available cables and connections, it is remarkably economical and easy to use. Slot 1-Input use standard Ethernet switches to create any network configuration that suits your needs. processing performance. Take, for example, the multi-delay configuration CobraNet supports Ethernet variants. It uses standard Ethernet packets and network infrastructure, and The most convenient way to add EtherSound capability to a DME on the left: Despite the fact that 16 short delays are used, it requires but therefore, is compatible with commonly available, inexpensive controllers, switches, and cabling. 1% of the DME's total processing power. And as shown below, you can CobraNet provides transparent digital audio transmission with no degradation of the audio signal, and Series device is to install one or more MY16-ES64 digital intuitively configure and adjust each delay component from your PC via no digital distortion or artifacts are introduced during transmission. This technology is capable of network cards into one or more expansion slots according to an easy-to-use control panel. transmitting 24-bit audio with a dynamic range of 146.24 dB, and distortion is a mere 0.0000049% at the performance and channel capacity required. full level. Frequency response is 0 to 24 kHz ±0 dB. In short, the performance of CobraNet is MY16-ES64 significantly better than that provided by today's A/D and D/A conversion technology. CobraNet capability can be conveniently added to a Yamaha digital mixing engine by installing an : the First Choice for Production, MY16-CII digital network card into one of the device's expansion slots. Additionally, the activity status Broadcast, and Live Recording Delay-Short and conditions of devices connected to the CobraNet network can be monitored using the Yamaha 1-Output An industry-standard communication protocol for multi-channel digital audio, software package NetworkAmp Manager. Multichannel Audio Digital Interface (MADI) allows transmission of up to 64 channels of * The maximum length of cables may differ depending on the quality of the 24-bit, 48-kHz audio via a single coaxial or optical cable. Coaxial transmission lines can Ethernet equipment or the particular settings used. be up to 100 meters in length, while optical lines provide error-free transmission up to ** CobraNet™ low latency mode is now supported, allowing you to choose 2,000 meters. Using 75-ohm coaxial cable with BNC connectors or standard 62.5/125µ 5.33, 2.66, or 1.33 ms. network optical cables, MADI is the simplest means of economically transmitting sample-accurate audio data over MY16-CII long distances.

MY16-MD64

15 16 Surround-Sound Golf Broadcast Live Broadcasting Broadcasting System Overview Why Combine CobraNetTM and Fiber-optic Cables? - Tokyo Broadcasting System (TBS) used surround sound in live and - With sound booths scattered around the golf course and a single delayed broadcast of the 2006 Mitsui Sumitomo VISA Taiheiyo Masters – broadcast center at the heart of the network, the star topology employed 2006 Mitsui Sumitomo VISA Taiheiyo Masters one of the biggest events on Japan's golfing calendar. by the CobraNetTM protocol was ideal. - Rather than having every individual audio signal converge on one mixing - As the NHB32-Cs allowed patch changes from anywhere on the network, 9

# center, multiple sound booths were setup to recreate the natural surround patch processes and NHB32-C status monitoring for each booth could be sound of the corresponding holes, and from here, surround mixes were fed conveniently carried out from the broadcast center. to a central broadcast center. - CobraNetTM audio signals, which are exchanged over standard Ethernet - In line with this approach, mix engineers at each sound booth carried out networks, can be converted into optical signals using general-purpose surround-sound monitoring of signals returned from the broadcast center. media converters; and therefore, the multi-fiber optical network needed to - Surround sound from each sound booth was mixed in 4.0 format. With transfer video signals could also be used for long-distance transfer of audio. TM Case Study commentary and the like added at the broadcast center and the LFE - The redundant line functionality provided by CobraNet could be easily channel not used, the final surround-sound product was in 5.0 format. used to protect the integrity of signals in case anything went wrong. - Each sound booth was provided with a Yamaha DM1000 or DM2000 - When compared with the time lag resulting from encoding, transfer, and Digital Production Console. decoding of video signals, latency in CobraNetTM networks is relatively - As a direct result of broadcasting in surround sound, the system small; accordingly, compensation for this latency was easily achieved with comprised a huge number of channels; however, smooth and efficient no adverse effect whatsoever on system operation. compensation for time lag was made possible by a Yamaha DME64N Digital Mixing Engine at the broadcast center. - Audio signals were transferred digitally using a combination of CobraNetTM and fiber-optic cables, with the Yamaha NHB32-C Network Hub and Bridge used as an interface at each sound booth.

Block Diagram of Golf Tournament Broadcasting System

ᕃBroadcast Center Individual Sound Booths Optical Cable ᕄ Transmitting System Sound Booth for 18th Hole Optical Cable Optical Cat 5 Converter NHB32-C DM2000

Routing and processing for all channels ᕆSound Booth for 12th and 15th Holes Optical Cable Optical SWITCH DME64N Converter NHB32-C DM1000 ᕆ Cat 5 Sound Booth for 13th Hole

NHB32-C DM1000

ᕇ NHB32-C Sound Booth for 11th and 16th Holes Optical Cable Optical Converter SWITCH NHB32-C DM1000 Optical Converter ᕇSound Booth for 17th Hole Cat 5 Cat 5 Optical NHB32-C Converter DM1000

Cat 5 Optical Converter SWITCH ᕅSound Booth for 14th Hole Optical Cable OPTO LINK OPTO LINK DM1000

17 18 Case Study #9 19 Surround-Sound GolfBroadcast 2006 MitsuiSumitomoVISATaiheiyoMasters required channelscould betransferredsmoothlyandwithoutanydifficulty. integration ofCobraNet™. Thankstotheadoptionofthesedevicesat the soundbooths,all Mr. HiraidecidedtouseYamaha's NHB32-CNetworkHubandBridge, whichfacilitates hole andhavingalsoconcludedthattransmission thereofviaanetworkwouldbemostefficient, surround sound.Havingdeterminedthatthesame monitoringsignalsshouldbereturnedtoeach leg, andthismarkedincreaseinthenumberof returnchannelsisadirectresultofusing signals fromsoundboothtobroadcastcenter, buttwentychannels wererequiredforthereturn In termsoftheactualtransferaudiowithin system,fourchannelswereusedtocarry - SystemforTransfer of Audio toBroadcastHoles overseas broadcastsmustbecarriedoutwithcompactgear. largest-scale events.Onthecontrary, itisalsoconsideredanidealsolutionincaseswhere TBS, theDMESeriesisnotseenasbeingsuitedonlytodomesticbroadcastingof configure compressors,DDAs,ADAs,routers,andarichselectionofothercomponents.At and histeamarefullyawareoftheflexibilitypoweritaffordswhenusedtointuitively digital mixingenginewasusedonlyfortime-lagcompensationattheVISAMasters,Mr. Hirai DME64N fittedwithdigitalI/Ocardstoperformthismulti-delayprocessing.Althoughthe bank ofdelayunitswouldhavebeencompletelyimpractical.Instead,theteamusedaYamaha compensation fortimelaginthevideosignalsuponarrivalatbroadcastcenterusinga vast With thenumberofaudiochannelsgreatlyincreasedasaresulthandlingsurroundsound, sound; furthermore,theLFEchannelwasdeemedunnecessaryforthisparticularevent. and otherspeechwereaddedtothis4.0feedatthebroadcastcenter, resultingin5.0surround corresponding holeusingfoursurroundchannels–L,R,Ls,andRs.Ultimately, commentary support fourchannelsofaudio,eachsoundboothcreatedamultichannelmixforthe mixer wasusedforlivetakes.Astherecordingequipmentthisprojectcouldonly The feedsenttotherouterwasusedforrecordingonaVTR,whilemain-line after firstbeingadjustedfortimelagusingdelays,splitbetweenarouterandmain-linemixer. In themacro-systemalsohandlingvideo,audioandvideodatafrombroadcastholeswas, - DME64NforDelayProcessing sound monitoring. decided thateachsoundboothshouldbeprovidedwithfunctionalityforreliablesurround- overall soundthanmixingatthebroadcastcenter. FortheVISAMasters,therefore,itwas – wheretheoriginalsurroundmixeswouldactuallybecreatedwasmorecriticalintermsof downmixed stereo,theyultimatelycametotheconclusionthatmixingatindividualbooths should beinsurroundorstereoformat.WhileMr. Hirai'steamdidconsiderreturning difficult issuetoberesolvedwaswhetherornotthereturnfeedeachofsoundbooths realize thefinishedaudioproduct.Inconfiguringasysteminlinewiththisapproach,most other speechareaddedtothismultichannelaudiowithinthebroadcastcenterinorder recreated withindedicated,localizedsoundbooths,andcommentary, reports,interviews,and together andonlythensenttothebroadcastcenter. Thenaturalsoundofeachholeis uses anapproachwherebyaudioandvideofortheholesbeingbroadcastarepackaged Instead ofbringingallsignalstogetheratacentrallocation,livebroadcastinggolfTBS 1. SystemConfiguration VISA Taiheiyo Masters. subsequently designed,setup,andsuccessfullyoperatedbyTBSatthe2006MitsuiSumitomo particularly amongJapanesemen.Thefollowingisabriefintroductiontothesystem enrich theviewingexperience,andindoingso,wouldalsohelptoboostpopularityofgolf, level management,approvalwasfinallygivenundertheconditionthatsurroundsoundwould such asystemfortheVISAMasterstobeheldlaterthatyear. Aftermanymeetingswithupper Around Juneof2006,heandhisteamstartedtogiveseriousconsiderationthedesignjust replicate thisemotivesceneinsurroundsoundanddeliverittolivingroomsalloverJapan. Ikuo HiraioftheProgramEngineeringDepartmentwonderedwhetheritwouldbepossibleto are greetedtothe18thgreenprovesquitemoving.AtTokyo BroadcastingSystem(TBS),Mr. power, andevery yearwithoutexception,thepassionateapplausewithwhichtopclassplayers unquestionably thelargest.Intermsofspectators,VISAMastershasincredibledrawing Of thegolfeventsbroadcastliveatTBS,MitsuiSumitomoVISATaiheiyo Mastersis and outputasanalogaudio viatheconsole'sOMNIOUTports.Furthermore, asthesound addition tootheraudio signalsinthenetwork,couldbeconvertedfrom digitalwithinthemixer were passedthroughthe digitalmixer;accordingly, thereturnedsurround-soundaudio, in racks ofindividualhardwareconverters.Inprinciple, allNHB32-Cinputandoutputsignals functionality ofadigitalmixersuchastheYamaha DM1000wouldbeafarbetteroptionthan amount ofspacewasavailableinsideeachbooth, itwasdecidedthattheAD/DAconversion Production Console.Asthetransmissionnetwork wascompletelydigitalandonlyalimited holes, respectively. Eachoftheseboothswasprovidedwitheither aDM1000orDM2000Digital and 18thholes,withafurthertwohandlingthe 11thand16thholesthe12th15th TBS setupsixindividualsoundboothsattheVISAMasters:oneforeachof13th,14th,17th, - DM1000andDM2000MixersforSoundBooths and reliablysynchronized. team becamekeenlyawareofthevaluedigitaltransmissiondevicesthatcanbeconveniently form ofregularclicksorcompletelyloosingallsound.Atthiseventinparticular, Mr. Hirai's digital. Whensynchronybetweensignalsislost,youruntheriskofintroducingnoisein of allthesesignals.Inaddition,synchronizationbecomesamuchmorecomplextaskwith booths ateachholeeitherneededbanksofAD/DAconvertersordigitalmixersforprocessing disadvantages. Forexample,asallinputsandoutputswouldobviouslybedigital,thesound It shouldbenotedthatswitchingoftransmissionsystemsovertodigitaldidhavesome primary andsecondarycircuits. type. Thisapproachisalsohighlyefficientonanotherfront,asitallowsconstructionofboth So, withnosignificantdifferenceintermsofrisk,itwasdecidedatTBStousethesingle-fiber reliability, however, andcommunicationwillbelostifeitheropticalfiberweretodamaged. fiber tooneCat5.Justbecausetwofibersareusedbytheformerdoesnotguaranteeincreased pair ofopticalfibersintosignalsforoneCat5cable;theotherconvertingfrom Two differenttypesoffiber-optic mediaconverterareavailable–oneconvertingsignalsfroma so itwouldseemthatthemaximumdistancecanbeextendedevenfurtherstill. testing backatthetelevisioncenteridentifiednoproblemsevenadistanceof1.5kilometers, commentator's boxatthe17thhole–andeverythingworkedperfectly. Infact,pre-event longest distanceintheVISAMastersnetwork–namely, fromthebroadcastcenterto Incidentally, 1kilometerofopticalfiberand100metersCat5wereneededtocoverthe reduced byagreatdeal. no problemswhatsoever, andinaddition,therequiredamountofanalogcablingcouldalsobe this approach,theconsiderabletransmissiondistancestobecoveredattournamentposed television stations,soMr. Hirai'steamdecidedtousesinglemodemediaconverters.Thanks singlemode fiber. Thissinglemodevarietyofopticalfibercanalsobeusedforcameracablesin possible withmultimodeopticalfiber, whilethisincreasestoseveraldozenkilometerswith a systeminthisway, ithasbeenreportedthattransmissiondistancesofseveralkilometersare of thedistancetoeachbroadcasthole.Whenfiber-optic mediaconvertersareintroducedinto significantly, andfiberopticcableswerethususedinsteadofCat5tocoverthemajority broadcasts, TBSutilizedfiber-optic mediaconvertersinordertoextendthislength As amaximumtransmissionlengthof100metersisabsolutelynouseintermsgolf consideration, thiswasinstrumentalinthedecisiontoemploytechnology. to beextractedatanyotherpoint,andwithexcellentoverallcostperformancealsotakeninto over longdistances.To elaborate,CobraNet™allowssignalsfedintothenetworkatanypoint mind thattheTBSsystemdifferedsignificantlyfromotherssetupspecificallyfortransmission cannot inprinciplebeextendedformorethanabout100meters,itisimportanttobear handle theVISAMasterssignalflowwithease.AndwhileCat5cablesusedbyCobraNet™ (or whenconvertedtoanalog,32input/output);accordingly, eachindividualunitcould When itcomestoI/Osupport,theNHB32-Cprovides16input/16outputAES/EBUchannels intermediate pointusingahub.Thisapproachwasextremelyefficientintermsofcablingwork. center, theycould beservedbyasinglemastercable,withsignalsthensplitatsuitable in situationswhereapairofsoundboothssharedcommondirectionfromthebroadcast hubs, allowingdevicestobedistributedinmuchthesamewayasnetworkedPCs.Forexample, included withinasystem.ConnectiontoothernetworkdevicesiscarriedoutviaCat5cablesand Yamaha's NHB32-Csarecontrolledusinganetworkprotocol,and uptoeightunitscanbe NHB32-C DM1000V2, NHB32-C expected toeliminateanysensethattheeventwasfocusedprimarilyonaudio.With and videounderoneroof,inaddition,theapproachadoptedforVISAMasterswas the speakers.Thepolicyforbroadcast-centeroperationsatTBShasalwaysbeentokeepaudio acoustic spaceforcentralmonitoring,withthemixer, switcher, anddirectorallsurroundedby leakage presentednomajordifficultiesattheVISAMasters.Mr. Hiraialsoelectedtousealarge broadcast center. Andperhapsbecauseoftheexcellentsoundproofingbooths,sound directionality andtocheckforanydifferencesinthemonitoringmixsentbackfrom This changewaswellreceivedbytheengineers,asitallowedthemtoeasilyevaluate headphone-based approachandinstalledfivemonitoringspeakersineachofthesoundbooths. engineers responsibleforcreatingthesurround-soundmixes,theydiscardedconventional sound booths.Firstofall,inordertoprovidemaximumsupportdecision-makingbythemix TBS tooksomeboldstepswhensettingupthesurround-soundmonitoringenvironmentat - SurroundMonitoringEnvironmentatSoundBooths of theaudiofield,whileanotherhadcartscomingandgoingatrear. reproduce theminsurroundsound,soforexample,oneholehadtrafficrunningalongaside the teamidentifiedaudiocharacteristicsuniquetoeachholeandmadeeveryeffort changes inthesonicenvironment,theydecidedagainstitonthisparticularoccasion.Instead, network complexityandoperationaldifficultiesthatwouldaccompanysuchkaleidoscopic the audienceallaroundincaseofbackshots.However, uponcarefulconsiderationofthe example, hearshotsontothegreenslightlyoffwithcrowdnoisealsoindistance,or surround-sound directionalitytomatchthecameraangle,sothatlistenerwould,for surround soundbecomes.Ideally, Mr. Hirai'steamwouldhavelovedtoadjustthe the greaternumberofpotentialcamerapositions,moredifficultcreatingbelievable sports whereselectingthisvirtualpositionisnotsoeasy, andgolfisoneofthem.Simplyput, the positionoflistenerisobviousincasesoccerbroadcasts,thereareanumber The firsthurdletobeclearedinthecreationofsurroundsoundmixeswasdirectionality. While 2. CreatingSurroundSound required. Naturally, thisapproachproducedfurtherincreasesinsignaltransferefficiency. they sharedacommonopticalmediaconverter, withahubsplittingandcombiningsignalsas booths forthe17thholeand11th16thholeswererelativelyclosetoeachother, ᕅ Sound Booth for 14th Hole DM1000V2 ᕇ and 17th Holes 17th and for 11th, 16th, Sound Booths DM1000V2 Golf Tournament Broadcast System 17th Hole 17th 11th Hole 11th DME64N, NHB32-C 16th Hole 16th 14th Hole 14th and downmixmanagement–theywerecertainlykeptbusy. forwarding ofrawmaterialtotherecordingcenter, additionofbackgroundmusicandinserts, room. Withsomuchtotakecareof–includingtheexchangelinesignals,masterfeed, requirements, suchaspassingthenaturalsoundalonethroughon-airauxiliarycontrol syndication purposesandthelike,TBSalsohadtocaterforawiderangeofother monitored stereoquality, andboth5.0surroundstereowerepreparedsimultaneously. For similar careandattentionwerealsogiventodownmixing.Ofcourse,theteamcarefully during monitoring;specialconsiderationwasgiventolinkingofthefrontandrearaudio; in ordertoensureclosecommunication.Surround-soundphaseswerehandledcarefully audio-only connectionwasestablishedbetweenthegolfcourseandauxiliarycontrolroom setup thesameequipmentandenvironmentasbeingusedon-location;accordingly, an As isoftenthecasewithmonitoringwithinanauxiliarycontrolroom,itwasnotpossibleto control room.Ultimately, nomaterialrecordedinstereoattheeventwasbroadcast. and allaudiomaterialforstereobroadcastswaspreparedbydownmixingattheauxiliary broadcasts. Backgroundmusicandinsertswereremixedforsurround-soundbroadcasting, broadcasts wereencodedwithDolbyE,whileSRSwasusedrecordingsfordelayed stereo onlyforanalogterrestrial,andsurroundBS-i.Generallyspeaking,live In termsofbroadcastingmodes,dualsurroundandstereowasusedfordigitalterrestrial, following format. sound designtofinalizethesurroundsound.Broadcastingoverevent'sfourdaystook Back atTBStelevisioncenter, theauxiliarycontrolroomteamworkedinlinewithevent's - Downmixingat Auxiliary ControlRoom effective, andtherewasarealsenseoftheindividualsurroundmixesgraduallyconverging. issuing surround-relatedinstructionstoeachsoundboothturnedoutbesurprisingly sound monitoring.Ratherthanhaveacentralengineerbusilyblendthemixes,singleperson procuring anemptyequipmenttrucktoprovidethenecessaryspaceforaccuratesurround- project’s technicaldirectorconvincedthatthiscouldbehighlyeffective,theteamwentabout - Day4:Delayedterrestrialbroadcasts - Day3:Liveterrestrialbroadcasts - Day2:LiveBS-ibroadcasts - Day1:DelayedbroadcastsontheBS-isatellitechannel ᕃ 18th Hole 18th 15th Hole 15th 12th Hole 12th Broadcast Center Broadcast Club House 13th Hole 13th ᕆ Sound Booths for 12th, 13th, and 15th Holes Optical cable ᕄ Sound Booth for 18th Hole DM1000V2, NHB32-C DM2000V2, NHB32-C DM1000V2 NHB32-C 20 Case Study #10 21 (Bratislava, Slovakia) Slovak Radio,MediaTechLtd.,Slovakia recording andbroadcast studios; furthermore, alsomake they convenience andusercomfort as expected from non-mobile 08-M7CL, and MT-ESC SBC2)affords thesamelevels of each oftheadditionaldevices (JZP16, PIS8-Icom8, MFS With proven track records inalarge numberofinstallations, automatic green/red lights, talkback blocking, andfader starts. monitor speakerswitching; on-airfeatures andvarious like featuresmonitoring such asmono, monitordim, mute, and returns; independenttalkback andintercom functionality; to thisconfiguration, the systemprovides plentyoftwo-track provide functionalityrequired for studioapplications. Thanks designed andmanufactured thatcompany by were addedto each ofthevans. Furthermore, anumberofprocessing devices decided toinstalla Yamaha M7CL-32DigitalMixingConsolein light weight, andease-of-usethatthisdictates, Mediatech Because ofthefocus onlive events andthecompactdesign, themselves were limitedtoamaximumweight of3.5tons. road taxes, restrictions, andurbantraffic thevehicles Furthermore, licenseregulations, inconsideration ofdriving be small, fast, flexible, andrelatively inexpensive tooperate. featured andeasytouse, Slovak Radioalsorequired themto ech Limited. While thesemobilestudioswould have tobefull commissioned apairofoutside-broadcast vans from Mediat- off-site, theSlovakian nationalbroadcaster, Slovak Radio, or satelliteandtherecording ofmusicandotherradio content In order tosatisfyitsneedfor outsidebroadcasting viaISDN power for ofindependent operation. uptotwo hours control, CCTV cameras, andthelike. Finally, aUPSprovides to audio, signalsfor theintercom, thesecables alsocarry light achieved withheavy-dutyFiberco opticalcables. Inaddition EtherSound connectionbetween thestudioandstage rack is is usedfor signalprocessing ontheaudiolines, and The extensive functionalityofthe DME4io-ESexpansion units from studio tostage. to betransferred viatheEtherSoundnetwork for signaling intercom, independenttalkback, line, auxiliary andGPIdata DME4io-ES DSPexpansion unitsallows three channels of remotely controlled from themixingconsole, andapairof conversion. The AD8HR's microphone preamps canbe and inadditionto AES/EBU Yamaha AD8HR unitsfor AD/DA Network Audio Interface for between conversion EtherSound Furthermore, thestage rack ineach van features anNAI48-ES is madepossible usingDigigram's LX6464ESsoundcard. up to60tracks (28direct from stage rack, 32from console) interfacing functionality.necessary Simultaneousrecording of Mini-YGDAI cards providing themixingconsolewith technology, with Yamaha's MY16-ES64andMY16-EX outside-broadcast EtherSound vans isbasedonstate-of-the-art All audiosignaltransmission andrecording withinthe mixing situations. the mixingconsolefast, flexible, andeasy-to-useinlive OB Van /EtherSoundNetwork 22 Surround & Multi-purpose Processor OB Van / Optocore Network Asahi Broadcasting Corp. TVV Television Valenciana (Osaka, Japan) (Valencia, Spain) 11 12 # # Case Study Case Study

MA Room

A Sub-control Room

At Japan's Asahi Broadcasting, a DME64N is used as an A Sub-control room for Gokigen Brand New – a popular variety show. With its surround-sound mixing capabilities, this unit is used as a monitoring processor. The DME64N is also used in the MA room as a monitoring processor for the TV station's Symphony Hall classical music program. Further, the Asahi Broadcasting outside-broadcast van is also equipped with a DME64N and a DME32 for use as a surround processor and a multi-purpose processor, respectively.

Multi-purpose processor Telesanterno- Gruppo GTV Studio (Bologna, Italy)

Ràdio Televisió Valenciana is one of the biggest regional radio A number of racks located at different points within the and TV broadcasters in Spain, and its television arm, Televisió system include a DME64N for processing of sound in local

Analog Input Matrix Mixer Fader Speaker Processor Analog Output Valenciana (TVV), offers a pair of TV channels – Canal 9 and mode, and this is of particular benefit in broadcast applica- Analog 4 Input 16 Output 12 Channel 1 Way Analog IN1 IN1 OUT1 IN1 OUT1 IN1 OUT1 OUT1 Punt 2 – to the almost five million people of the Valencia tions where commentators are required to input speech at IN2 IN2 OUT2 IN2 OUT2 4% OUT2 IN3 IN3 OUT3 IN3 OUT3 OUT3 region. On these channels, TVV broadcasts a variety of local various points for different TV transmissions. With Yamaha IN4 IN4 OUT4 IN4 OUT4 Speaker Processor(2) OUT4 IN5 OUT5 IN5 OUT5 OUT5 IN6 OUT6 IN6 OUT6 1 Way OUT6 programming in the Valencian and Spanish languages, in CP4SF remote faders used for GPI control of the DME units, IN7 OUT7 IN7 OUT7 IN1 OUT1 OUT7 IN8 OUT8 IN8 OUT8 4% OUT8 addition to a broad selection of foreign-language content that the processing and routing of monitoring signals, feedback, OUT9 IN9 OUT9 OUT10 IN10 OUT10 Speaker Processor(3) OUT11 IN11 OUT11 they dub for local consumption. audio sources, pre-mixes, and dynamic processing signals can 1 Way Slot Input OUT12 IN12 OUT12 Slot Output OUT13 3% IN1 OUT1 MY8-ADDA96 OUT14 4% MY8-ADDA96 be easily achieved. IN1 OUT15 OUT1 IN2 OUT16 Speaker Processor(4) OUT2 At Canal 9, the sound system for the UM1 outside- IN3 4% OUT3 IN4 1 Way OUT4 IN5 IN1 OUT1 OUT5 broadcasting van was conceived to provide a range of These TVV outside-broadcast vans are used to cover IN6 4% OUT6 IN7 OUT7 features for TV broadcasting, and using this system, it is important international sporting events, with feeds provided IN8 Speaker Processor(5) OUT8 1 Way possible to perform A/D conversion, audio processing, and to all syndicated TV networks. In addition, they are employed IN1 OUT1 4% signal distribution in several formats simultaneously. Sound is in the production of several shows for the Canal 9 and Punt 2 Speaker Processor(6) 1 Way captured and converted using Yamaha AD8HRs, and for long channels, and the system has proved highly effective in the IN1 OUT1 4% distances in excess of 200 meters, optical fibers are used to broadcasting of concerts from major venues such as the Speaker Processor(7) send audio together with control and synchronization signals. Palau de la Música and the newly inaugurated Palau de les 1 Way IN1 OUT1 A PM5D-RH Digital Mixing Console lying at the heart of the Arts. Thanks to the powerful DSP and signal-transport 4% Speaker Processor(8) system provides four Mini-YGDAI expansion slots that are functionality realized by integrating the system's PM5D-RH, 1 Way IN1 OUT1 used to interface with an Optocore network and to cascade DME64Ns, and AD8HRs with Optocore technology, outside 4% with a Yamaha DME64N. This control-room DME serves as a broadcasting from sporting, music, political, and all other Speaker Processor(9) 1 Way switching matrix for in-house signals (from high-definition types of event can be handled with confidence and ease. Telesanterno- Gruppo GTV studio is a television production center IN1 OUT1 4% digital video, ISDN, and intercom), and it also converts these located in Bologna and was successfully designed by ONDA TELEELEC- Speaker Processor(10) signals into the required output formats for analog or digital 1 Way TRONIC. 8 x IF2108 and 4 x IF2208 Installation Series loudspeakers are IN1 OUT1 4% transmission or, for example, recording on VTRs with installed for one of its studio. Speaker Processor(11) different dynamic ranges. 1 Way Those are powered by six of XP series amplifiers and processed by a IN1 OUT1 DME24N as a matrix router and speaker processor. 4% Speaker Processor(12) All the signals go into M7CL console in the control room and are mixed 1 Way IN1 OUT1 for live-broadcasting. and television production. 4%

23 24 Use case #12 25 (Valencia, Spain) TVV TelevisionValenciana OUTSIDE CONTROL ROOM MY8-DA 2u. MY16-AE 2u. Outside DME64Nslots: MY16-AE 4u. Control-room DME64Nslots: MY16-AE 4u. PM5D-RH slots: CP4SF CP4SF ICP1 DME64N AD8HR AD8HR CP4SF DME64N AD8HR AD8HR CP4SF Optical fiber Optical fiber DME64N AD8HR AD8HR PM5D-RH VTRs, intercom,RDSIcodecs,etc. AUDIO ANALOG AUDIO DIGITAL GPI DME64N OB Van Network /Optocore OPTICAL FIBER PC COM 26 Case Study #14 Case Study #13 27 (Osaka, Japan) Mainichi BroadcastingSystem,Inc. Mizuno Classic, (Modena, Italy) White Mobile-Amek&Vanis and rapidly recalled whenever needed. with theDME, stored scenesandconfigurations canbeeasily monitor speakers. integratedAnd usingahomemadeGPIbox DME24N, tothevan's are where processed anddistributed they production consoles'OMNIOUTs, thesignalsthengo tothe of DM2000V2sconfigured incascademode. From thesedigital theminto converts ADAT format, andthenroutes themtoapair A bankoftwelve AD824s receives signalsfrom outsidesources, Stereo+Sub, 2.0, andotherformats. and theselectionofarange signalsin5.1, ofmonitoring 3.1, Within thisvan, a Yamaha DME24Nisusedfor audioprocessing optimized for therecording andbroadcasting ofmusicevents. The Amek & Vanis White Mobileisalarge outside-broadcast van center. between an outsideaudiobroadcasting van andarelay CobraNet™ totransfer nolessthan96channels ofaudio Mizuno Classic, heldinNovember 2007, the broadcaster used road races, events. andothersporting For example, atthe ofitsrelayaudio viaCobraNet™ aspart broadcasting ofgolf, Broadcasting System(MBS)ofOsaka, Japan digitally transfers Using anumberofNHB32-Cinterface units, Mainichi Interface /CobraNetNetwork Interface OB Van /Processor (Paris, France) Le CercleRouge(TSF) allocated totheHD projector's digitalserver. In addition, boards providing sixteen channels, andoneoftheseis The digitalmixingengineisfittedwith two digitalinput front channels andthe delay (essentialfor digitalcinema). active three-way bass/mid-range/treble for filtering allthe functions,32x32 grid room compensation(Xcurve), and than 90%ofitsprocessing capacity. Itisresponsible for The DME64NatLeCercle Rouge works continuously atmore tions oftheDigitalCinemaInitiative (DCI)." eight channels at24/96inaccordance withtherecommenda- audio processor available today that'scapable ofprocessing As far asIknow, theDMEisonly HDcompliantdigital the DME64N, theimprovement inaudioqualitywas obvious. highly respectable manufacturer, butassoonIchanged to Pierre Vincent, “I hadusedadifferent digitalprocessor from a uncompromising audioquality. systems”, "Inmy first explains processor operating at24bits/96kHztoguarantee oftheaudio installationisa At theheart Yamaha DME64N higher quality4Kformat isjustaround thecorner. is already impressive in2Kdigitalcinema, andtheeven approved acousticsengineerPierre by Vincent. Image quality quality, intheShowMax deSégonzac process placedhistrust in 2.35:1format. To obtainthebestpossible soundandimage features 126ClubClassseatsandan11.2-meterwidescreen seeking. ofthe Locatedonthesecondfloor TSF building, it achieved the"nocompromise" room thathehadbeen projectors. InLeCercle Rouge, deSégonzac successfully projection room for 35-mmand2K(soontobe4K) building, deSégonzac decidedtobuildastate-of-art Thierry When, early in2007, TSF moved intoanew, customized Cannes Film Festival were shotusing TSF equipment. production. Infact, seventeen ofthefilmsatthisyear’s needfor they production companies witheverything European leaderinitsfield, supplying cinemaandtelevision The TSF group, founded by deSégonzac,Thierry isthe reproduction systembuiltarounda Yamaha DME64NDigitalMixingEngine. video. Theroom–knownasLeCercleRougefeaturesan11.2-meter screenanda16-kWShowMaxsound- large "nocompromise"projectionroomwiththeaimoffullcompatibilitytraditionalfilmandhigh-definition On itsrecentmovetolargerpremises,theFrenchcinemaimageandlighting-equipmenthiregroupTSFbuilta ShowMax ScreenandDME64N installation". are saidtobeparticularly suitable forthey thistypeof ment: "Iamcurrently testing Yamaha ampsinthe Tn range as faultless. Even so, Pierre Vincent hasmore ideasfor improve- has arare precision andintelligibility, andthespatializationis commercial cinemas. The bassseemstobeunlimited, dialogue tion intheroom isamazing–far betterthanthatinmany As aresult ofthisuncompromising approach, soundreproduc- level canbecontrolled usingthedatawheelonfront panel. also configured theDMEsuch thattheroom's overall sound Cercle Rouge isusedfor thispurpose. Furthermore, Vincent has conference preset haseven beensetupfor times whenLe configurationscorresponding withintheDME, anda different outputs. This hasbeeneasily the realizedstoring by their sources accordingly, theDME64Nalsomanages sixteen (5.1, 6.1, enclosures etc.)andthetensurround must switch As theroom mustadapttodifferent sound-mixingstandards Digital CP650processor. boards, oneofwhich receives theoutputfrom theDolby sixteen analoginputchannels are provided two by further Surround &Processor Surround 28

Case Study #15 Case Study #16 29 (Milano, Italy) 1 contro100,Canale5 ments andtheneedtouseonehundred plusmicrophones, designed tomeetthestudio’s scenographic strict require- The PA company’s explains, Mariani Alberto “The systemwas Comense. Italiantown ofMariano northern participants, MediasetcalledinBackstage PA from the hundred microphones, aswell asexcellent soundfor the above allmustensure faultless, rapid openingofover one In order torealize theaudiosystemfor thisgame, which ofthemob whogot itwrongmembers are eliminated. front ofthewall. Ifthecontestantanswers correctly, all challenge inthecentre from ofthestudio, arostrum in right toanswer,contestant thentakeshisorherturn facing the questions are the"mob"ofothercontestants, andthelone thatgraduallyprize increases invalue. toanswerThe first the ofquestions,The gameconsistsofaseries each withacash 200,000 euro cashprize. correctly oneby answering questionsinorderevery towina contestants inacombatarena andmusteliminateeach and a lonechallenger faces awall ofonehundred other Mediaset televisionstationCanale5andhostedby Amadeus, In theItalianversion, 1contro 100, which isproduced by worldwide.phenomenon isaired innolessthan22countries toBulgaria,Germany and Vietnam toHonkHong, thisquiz in allfive continents. From Australia totheUnitedStates, television gameshow 1vs. 100isnow screened successfully Originally created Dutch by TV company Endemol, the The system designed by BackstageThe systemdesignedby takesthe signals AES/EBU data. of digitalaudio, theNHB32-Ccanalsobeusedwithcontrol cable link. As well asbeingable tohandleup64channels 24-bit/48-kHz digitalaudioinreal time withasimpleCat5 uses CobraNet™ technology totransfer high-quality Hub &Bridge, which features 32I/O channels and AES/EBU broadcaster’s control room viaa Yamaha NHB32-CNetwork After A/D conversion, thesignals are routed tothe the unitcanalsobeusedasastand-aloneconverter. inputs have remote-controllable mic/linepreamplifiers, and digital audioconnectionformats. Inaddition, the AD824’s available, isavailable for support allofthemost-popular slot, ofMini-YGDAI andthankstothevariety cards currently consoles andMTRs, the AD824 features aMini-YGDAI card connection withotherdevicessuch asdigitalmixing andproviding24-bit conversion a110-dBdynamic range. For eight-channel analogue/digitalconverter withhigh-quality underthestageconverted a by Yamaha AD824 –an The microphone signalsfrom thewall ofcontestantsare control centre.” We therefore decidedtodesignthesystemaround asingle must beable topick out individualcontestantsineach group. atanygroups timeandthatwe ofmicrophones thatcanvary develops. Nothingispreset –we know thatonly there willbe which are openedandclosed dependingonhow thegame to store andrecall therequired scenes. Each individual form groups ofmicrophones tobeopenedtogether, andalso onthewall onandoff.mic rings This interface enables usto room onasinglechannel, aswell asswitching theluminous thegameandsendingthemtobroadcast control during handle thejobofopeningandclosing themicrophones development alsodesignedacontrol interface department to FarinaFederico ofBackstage concludes, “Our software control system. typesofinstallationandsound compatibility withvarious provide four channels of180 W on8ohmsandensure manufactured for themostdemandinglive applications, XM4180 amplifiers, which have beendesignedand lines withhigh-qualityperformance andpower, whilethe in thewall. combineslightweight,The XMseries compact installedbehindtheplayers all sixty-eightminiloudspeakers enclosures usedby Amadeus andthesolocontestant– power Multi-channel Power that–inaddition to the Amplifiers offour toaseries role was entrusted Yamaha XM4180 –issoundreinforcementconcerned onthestudioset. This the game–particularly asfar asthecontestantsare sion, andprocessing, factor for anothercritical thesuccessof In additiontothismicrophone-signal conversion, transmis- sending themontotheMediasetplay-out console. equalize, andcompress themicrophone signals, before Yamaha DME64NDigitalMixingEngines, which group, from theNHB32-Coutputsandsendsthemtoapairof of work.” PM1D digitalmixingsystem, thestudioisidealfor thistype recordings andpost-production work. Thanks toits Yamaha productions, butalsousedfor live multi-track important asapre-controldesigned primarily room for television of televisionproductions, we alsohave amobilestudio, Di Costanzoadds, “As well asspecializingintheaudioaspects series.” approximately fiftyunitsfrom theDigitalMixingEngine twenty DM2000digitalproduction consoles, inadditionto mixing systems, five PM5Ddigitalmixingconsoles, andabout Mascheroni explains: “At present, we have ninePM1Ddigital had aconstantly increasing stock of Yamaha products, as Since purchasing digitalmixerin1990, itsfirst Backstage has the Italianstatebroadcaster, RAI. Canale 5, projects for inimportant buthave alsoparticipated up steady long-lastingrelationships withclients such as Daniele Mascheroni, adigitalaudiowizard –have notonly set Costanzo, aveteran ofthemusicshow-production scene, and thistime,During –namely, thecompany's partners PinoDi Backstage recently celebrated twenty intheindustry. years A leadingaudiocontractor for thetelevisionbroadcast sector, Backstage PA fastest, mostpractical method.” touch keyboard, screen ornumerical thelastofwhich isthe microphone canberecalled ways invarious –viamouse, Processor /CobraNetNetwork Processor 30 Audio source switching linked Unsaved User Module with active camera angles 4 # Using DME New Componet "Program Ducker"

The new Program Ducker component features significantly longer attack and release times than the original Ducker component. Mono and stereo types can be flexibly configured to accommodate a wide range of applications. DME Advantage The Program Ducker can be triggered from an oscillator. This makes it possible to use the output of a single oscillator to simultaneously trigger multiple channels for 5.1 surround, for example. The new component "Program Ducker" is available on DME firmware version 3.5.

Example: Source level control using an oscillator Assign the GPI outputs of the video switcher to DME's GPI inputs to control an oscillator by an external trigger. By distributing the oscillator output in parallel to the KEY IN inputs of multiple Program Duckers, it is possible to fade-in/ fade-out several audio channels at the same time. Audio DME Audio Mixer Program OUT

GPI signal

Video Video SWITCHER Program OUT DME

Camera Mic

The flexibility of DME's new program ducker, allows you to Program Ducker KEY IN create solutions for complex applications such as synchronized switching of audio source with video source in live sports broadcasts. Program Ducker The program ducker uses an oscillator signal as its trigger, and Camera Mic KEY IN multichannel signals such as stereo or dolby 5.1 may be (Audio) controlled by a single oscillator. Program Ducker Audio OUT This allows you to create a more flexible and cost efficient Audio Mixer KEY IN system than is possible using conventional dedicated equipment. Program Ducker KEY IN

Using a matrix mixer, multiple program OUTs OSC can be created for surround sources.

OSC

GPI signal

GPI IN OSC

OSC

Turn to page 49 for information on how to download and install DME Designer.

31 32 Product Line Up 33 inputs and512digital outputs, or128analoginputsand 128analogoutputs. to eightDME64Nunitscanbecascaded toprovided amassive 512digital of built-inanalogI/Ofor atotalof24channels. For even larger systemsup to 64channels ofI/O, whilethe DME24Nhasasingleslotplus8channels TASCAM format. With it'sfour expansion up slotstheDME64Ncan support or D/Acards, orupto16channels ofdigital I/Oin AES/EBU, ADAT, or upto8analoginputsoroutputswhenfittedwithprecision supports A/D Mini-YGDAI I/Ocards, andtheDME24Nhasoneexpansion slot. Each slot The DME64Nhasfour rear-panel expansion slotsthataccommodate to 8DME64NUnitsfor512InputsandOutputs Exceptional I/OFlexibilityandExpandability-CascadeUp configurations created for 96-kHzoperation. Note: Configurations created for 48-kHzoperation willrequire halftheprocessing power of the soundandqualityofthosefound intop-linemixingconsoles. DME24N alsofeatures thatequal high-performance analogheadamplifiers tion fidelitywithoptimally-tuned 24-bit, 96-kHzdigitalprocessing, andthe Both theDME64NandDME24Ndeliver faultless precision andreproduc- attention todetailsthatmakeareal difference insoundandperformance. mixing enginesbenefitfrom thesamecutting-edge audiotechnology and professionals for live soundandstudiorecording applications. Yamaha DME It's nosecret that Yamaha digitalmixingconsolesare favored leading by Superior Sound 24-bit 96-kHzProcessing andCircuitryDesignedfor DME-based systems. energy, andcostsavingsfor thedesign, installation, andoperation of just oneDME64NorDME24N. All ofthistranslates intosignificanttime, previously required multiplehardware comfortably unitscannow run on Plenty ofDSPpower alsomeansthatadvanced configurations that halls, event spaces, institutions, andawiderange ofotherapplications. and finetunedfor halls, optimumperformance inconcert multi-purpose thatallows complexcapability systemstobebuiltaround asingleDMEunit compact systems. Ineithercaseyou get aremarkable amountofprocessing built-inanalog I/Ofor whileoffering that processing capability simple, more DM1000 DigitalMixingConsole, half andthesmallerDME24Nhasabout processing powerThe DME64Noffers thatisonaparwith Yamaha's signal-processing LSIsfor extraordinary audioprocessing power andquality. The DME64NandDME24Nemploy Yamaha's DSP6andDSP7 original DSP PowerthatRivalsAdvancedDigitalMixers Programmable, NetworkableMixingEnginesforaRangeofAudioProcessingApplications Digital MixingEngineDMEseries easy systemimplementation. Substantial processingpowerplusbuilt-inanalogI/Oforfast, a singleDME64Nunit. Mixing Consoleallowscomplexaudiosystemstobebuiltaround Processing powerthatisonaparwithYamaha’sDM1000Digital DME64N DME24N for smoothoperation regardless oftheuser'slevel ofskill orexperience. French, German, andSpanish. All three modelsoffer auser-friendly interface can display sceneandfunctionnamesin5languages: English, Japanese, The DME64NandDME24N, aswell astheICP1Intelligent Control Panel, Scene andFunctionNamesin5Languages and lightingcontrollers. used for synchronization andcontrol withmusicalinstruments, sequencers, computers,direct hookupwithmostmodern canbe andMIDIterminals direct connectiontoremote control unitsandcomputers, allow USBports interfacing withotherGPI-equippeddevices. allow RS232C/RS422ports whiletheDME24Nhaseighttofacilitate GPI inputandoutputterminals interfaces for ofequipment. usewithawidevariety The DME64Nhas16 Both theDME64NandDME24Noffer acomprehensive selectionofcontrol GPI, RS232C/RS422,USB,andMIDIInterfaces a control network quickly andeasily, andwithminimumcost. CAT5 cables. typeEthernet connectionmakesitpossible tosetup Ethernet Panel and100Base-T unitscanbeinterconnected viatheirRJ45connectors A network ofupto16DME64N, DME24NandICP1Intelligent Control ControlEthernet class audioperformance. feature precision 24-bit, 96-kHz thatdeliver top A/D andD/Aconverters Euroblock ontherear panel. terminals The analoginputsandoutputs The DME24Nprovides eightbuilt-inanaloginputsandoutputsvia Eight AnalogInputsandOutputsontheDME24N Rear Panel Rear Panel DIGITAL DIGITAL MY16 MY16 2U 3U Wall-Mount Remote Panels Control Audio I/ODistributionandDSPExpansionUnitsDMESatelliteseries distributed processing for andpower.distributed unprecedented systemdesignflexibility • insmallersystems. Also usable asstand-aloneprocessors • Reducesystemcabling costswhilemaximizingoverall reliability. • protocol.* or any othernetworked audio devicesthatuseCobraNet™ orEtherSound™ • Vastly expand andcapacityofaDME-basedsoundsystem, thecapabilities Japanese. infive languagesand functionkeys -English, German, French, Spanishand available -givingupto24parameters. LCDdisplay shows namesandscenes such asmicrophone andmusicsource levels. Upto4setsof"pages" are and bottomoftheLCDscreen, which canbeassignedtoDMEparameters Ethernet. Functions include atthetop scenerecall andsixuser-definedkeys remotes,The mostsophisticatedoftheDMEseries theICP1connectsvia and scene(program)change, andusagebyfaderismastervolumecontrol etc.Anyparameter GPI canhandleon/offtype switchandfadertypecontrol.Typicalusageby ischangingon/off Parameter ControlviaGPI installation facilitysize. switches andfaderscompatibleto5voltsarenecessary tomakeoriginalcontrollerformeeting 5 voltsandresistorwithoutrequiringcomplicatedparts andprogramming.Onlypreparinggeneral Structure ofsimpleandlowcostcontrolsystemisone ofthebiggestadvantagesGPIusingonlyDC Simple andlowcost 8 inputand4outputGPIterminals(Euroblock). (Euroblock) whiletheDME24Nhas8inputandoutput GPIterminal(Euroblock).AndDMESatellitehas allows creatingsimpleandaffordablecontrolsystem.DME64Nhas16GPIinputoutputterminals GPI standsforGeneralPurposeInterface.Thisisexternalcontrolinterfacedigitalequipmentand What isGPI offered asstandard. ports andsecondary redundancy systemwithprimary cable.Ethernet highreliability viaits CobraNet offers viaasingleCAT5channels ofaudiodatacanbe carried in complex, large-scale soundsystems. Upto64 CobraNet hasbecomethechoice for audionetworking Networking DME SatelliteModelsforCobraNet GPIonDMEunits can beusedupto14unitswhentwoDMEareused. Zone totally.Forexample,inaZone,ICP1canbeusedupto15unitswhenoneDMEunitisused,or In aDMEsystemincludingoneormoreunitsandICP1units,upto16canbeconnectedin Maximum ConnectionofICP1 Controllable remote I/Opluspowerful allow DSPprocessing capability connection iseasyandcost-effective. single CAT5 cable sothatthe Ethernet viaa channels ofaudiodatacanbe carried live applications.temporary Upto64 and hasbecomechoice paticularly for the extremelyEtherSound offers low latency, EtherSound Networking DME SatelliteModelsfor Intelligent Control PanelIntelligent Control ICP1 wall boxes. CP4SW andCP1SF.Itisnecessarytousetheincludedframeplateinstalltheseremotecontrolpanelsinstandard Note: Useastandard(US-type)wallbox:3-gangwithdepth44mmforICP1andCP4SF,1-gang CP4SF control panelsfeaturing four switches andfour faders. allows direct,• 8-in/4-outGPIterminals easyconnectiontowall-mountable with theDME64NorDME24N. monitor, andcreate completeprocessing“configurations” inthesameway as • SuppliedDMEDesignersoftware applicationcanbeusedtocontrol, usedintheDME24N.circuitry • Full24-bit96-kHzaudioprocessing, plusthesamehighly-acclaimed analog * CobraNet™ modelshave a"-C"suffix. EtherSound™modelshave an"-ES"suffix. (* Distancemayvarydepending oncableperformanceandenvironmentalconditions.) electrical interferenoise.Thisoffersbigadvantagefor designinginstallationofsoundsystem. There isareportthatcableforGPIcouldbeextended upto200metersbyusingshieldedcableproofed Remote controlcapabilityupto200 meter* DME Satellite. connected intotal16,8,and12respectivelyforDME64N, DME24Nand option controlpanelincludingswitches,faders,and LEDs canbe DME Satellitehas8inputand4outputGPIterminals. GPIdeviceson DME64N has16inputandoutput,DME24N8 andoutput, Connection numberofGPIdevice by CPseriescontrolpanelofDMEoptionsaswellanyGPIdevices. required tobecontrolledviaGPIcanassignedon“DMEDesigner”softwareandexternally CS4SF, CP4SWandCP1SF. Please referthecolumn“GPIonDMEunits”belowaboutconnectionnumberforcontrolpanelsincluding CP4SW US-type 1gangwall box. panel for GPIcontrol. Usesa Wall-mountable remote control panel Four switches control CP4SF Uses aUS-type3gangwall box. Wall-mountable remote control panelfor GPIcontrol. Four panel control switches faders andfour DME4io-ES DME8o-ES DME4io-C DME8o-C DME8i-ES DME8i-C CP1SF US-type 1gangwall box. panel for GPIcontrol. Usesa Wall-mountable remote control panel control fader One switch and one PS 1 2 CP1SF 4 4 CP4SW 4 8 CP4SF GPI Output GPI Input GPI Output GPI DIGITAL DIGITAL DIGITAL DIGITAL DIGITAL DIGITAL (DME8i-C) Rear Panel (DME8i-ES) Rear Panel 1U 1U 1U 1U 1U 1U 34 Product Line Up 35 AD Converter withRemote Preamplifier Network AudioInterface Interface 32 IN/OUTChannelAudioandControl 16-channel DA Unit Converter andMonitoring/Control • Upto255 AD8HRs canbedaisy-chained for massive inputcapacity. • Remotely switchable phantompower supply. • • Microphone preamplifier gaincanberemotely controlled instepsof1dB • Microphone from preamplifier thePM5000analog technology inherited Remotely controllable8-channel ADconverterandpreamplifierwith96kHzprocessing. • Network Amp Manager IIsoftware allows central control ofbothaudioand • MIDI, headampremote (AD8HR, AD824) andamplifiercontrol. • CobraNet™ transfers high-quality20-bitor24-bit48kHzdigitalaudioover • Four separate 8-channel input/outputterminals. AES/EBU • upto32-channelsA singleNHB32-Cunitcansupport ofdigitalaudioI/O, 32-in/32-out audioandcontrolinterfacesendsreceivesdigitalsignalsviaCobraNet. • • A single ACU16-C unitcancontrol upto32amplifiers. • High-performance 16-channelD/Aconverterandmonitoring/controlunit. or AD/DAconvertersforanaloginterfacingwhereverneeded. Connect YamahadigitalmixingconsolesorDMEprocessorstoremoteheadamps • 48 inputsand 48 AES/EBU outputsare providedAES/EBU via 25-pinD-sub • Eliminatesnoiseproblems thatare unavoidable withconventional analog • on/standby, attenuation, out/inlevels, temperature, loadimpedance, andmore. supplied NetworkAmp Manager IIsoftware andacomputer: power series and PC-1N series power withadynamic range andPC-1Nseries amplifiers series of110dB. 24-bit) toanalogusingCobraNet technology, analogaudioto anddelivers Tn other location via a single Cat-5 Ethernet cable atsamplingrates upto96kHz. other locationviaasingleCat-5Ethernet from compatible Yamaha digitalmixingconsoles. live soundconsolefor unsurpassedsoundquality. control signals. four bundlepathsinreal time. and onecontrol signalI/O. connectors. length for soundquality. superior gear andmulti-cable typesetups, anddramatically reduces analogcable High-pass filterwithremotely frequency controllable oneach cutoff channel. Amplifier settingsandstatuscanbemonitored andcontrolled usingthe The ACU16-C convertsupto16channels ofdigitalaudio(48kHz, 20-bitor Transfer upto48channels ofdigitalaudiobetween consoleand stage orany • • digitalconnectiontomixingconsoleminimizestheneed AES/EBU • • A networked systemwith ACU16-C andNHB32-Cunitsiscapable of • UptoeightNHB32-Cunitscanbenetworked, witheach unittransferring • Remotecontrol canbeimplementedviaRS422or switchable PC/RS422 enable 2x8-channel digitalaudiooutput inthe • Dualoutputconnectors are CobraNet™ built-in, ports andsecondary • Primary providing a • Redundantconnectionsfor exceptional reliability. • Automatic troubleshooting andlogging. • A computercanbeconnectedtoany NHB32-Cor ACU16-C inthenetwork • Use standard Ethernet hubs and routers tocreate any hubsandrouters • Usestandard network Ethernet configura- • An external power power supply canbeusedinaddition totheinternal • Designedwith Yamaha professional soundgear inmind: minimumsetup for analogcabling. handling upto64channels ofdigitalaudio. received from any ACU16-C orNHB32-Conthenetwork viaCobraNet™. and receiving four bundles, and64channels ofdigitalaudiocanbe nine-pin terminals. format. AES/EBU redundant network for reliable operation. CobraNet network. for andcontrol onthe to provide capability fullmonitoring allamplifiers tion you need. supply for redundant failsafe operation. hassle, trouble-free operation. Eight XLR connectors and D-Sub Eight XLRconnectors inacompact1Udesign. terminals AES/EBU Multicast andunicastmodescanbeusedincombinationtooptimizebandwidth. AD8HR NAI48-ES NHB32-C ACU16-C Rear Panel Rear Panel Rear Panel Rear Panel DIGITAL DIGITAL DIGITAL DIGITAL 1U 1U 1U 1U EtherSound Compliant 16in/8out Stage box EtherSound Compliant16in/8outStage • Internal headamplifiergainand+48Vphantompower• Internal switching canbe • Handlesuncompressed 24-bitaudioat44.1kHzand48samplingrates. • The SB168-EScanbeusedasageneral-purpose analog-EtherSoundI/Obox. • Audio canbetransferred over viastandard CAT5e distancesupto100meters • 16channels ofsonically superbremote analoginput—each withitsown Digital I/OSeries and Control I/O 16-Channel Audio CobraNet format I/O MY16-CII card includingCobraNetandEtherSoundaudionetworkinterfacecards. or digitalI/Ochannelsinavarietyofformatsbysimplypluggingtheappropriatemini-YGDAIexpansion Each expansionslot–DME64N,DME24NandYamahaDigitalMixerscanbeusedtoaddup16analog Yamaha Mini-YGDAI cards Versatile 16-in/8-outEtherSoundstageboxforvariousYamahadigitalmixers. • SB168-ES Analog I/OSeries Analog Input/Output Card 8-Channel MY8-ADDA96 16-Channel ADAT format I/O MY16-AT 16-Channel format I/O AES/EBU MY16-AE AES/EBU Format Digital NetworkCards ADAT Format AD/DA Card AuviTran™ AVS-ESMonitorsoftware. remotely controlled from acompatible digitalmixingconsoleorfrom the cables (maximumdistancemayEthernet dependoncable performance). mic/line headamp—plus8channels ofanalogoutput. technology for digitalaudiosignaltransmission. An affordable 3U-sizestage thatutilizesreliable, box low-latency EtherSound (with samplerate converter) I/O format 8-Channel AES/EBU MY8-AE96S 8-Channel ADAT format I/O format 8-Channel ADAT MY8-AT Analog InputCard 8-Channel MY8-AD96 AD Cards and Control I/O 16-Channel EtherSoundformat I/O MY16-ES64 Analog InputCard 8-Channel MY8-AD24 16-Channel TDIF format I/O MY16-TD 8-Channel AES/EBU format I/O format 8-Channel AES/EBU MY8-AE96 TDIF Format 16-Channel Audio MADIformat I/O MY16-MD64 • Easyset-upreduces thetime, effort, andcostofinstallation. • Compared toconventional analogconsole+multi-core systemsthe • An idealchoice for usewithpopulardigitalconsolessuch asthe Yamaha • Uptofour SB168-ESunitscanbelinkedtoprovide atotalof64inputsand32 to keep microphone cables short forto keepmicrophone cables short optimumsignalquality. SB168-ES provides exceptionally highnoiseresistance andmakesitpossible PM5D, M7CLorLS9. outputs (maximumnumbermay dependonthemixingconsoleused). Analog InputCard 4-Channel MY4-AD 8-Channel TDIF format I/O MY8-TD 8-Channel AES/EBU format I/O format 8-Channel AES/EBU MY8-AE Analog OutputCard 8-Channel MY8-DA96 DA Cards for MY16-ES64andMY16-MD64 16-Channel ExpansionCard MY16-EX 8-Channel AES 3id-1995format I/O MY8-AEB 8-Channel Demultiplexer Card MY8-SDI-D HD-SDI Analog OutputCard 4-Channel MY4-DA Rear Panel NEW 3U 36 HD-SDI Demultiplexer Card

MY8-SDI-D Use Case 1 : Live Broadcasting NEW

Product Line Up Switcher MUX

Example: Demultiplexing 16ch Audio LCD (for monitoring) HD-SDI AES HD-SDI SLOT 1 SLOT 2

Camcorders MY8-SDI-D MY8-AEB An Interface Card that Brings HD-SDI Embedded Audio Signals to Yamaha Digital Consoles Group 1 & 2 Group 3 & 4 • 1 x HD-SDI input, 1 x thru-output (non-reclocked). 8ch 8ch • Group selection allows demultiplexing of two 4-channel embedded audio groups. • Switchable audio synchronization mode: sync with embedded audio or video signals. • Embedded audio status display.

Mics M7CL-48 DM1000

Specifications Use Case 2 : Console in Broadcast Station

HD-SDI INPUT CHARACTERISTICS COMPATIBLE FORMAT Main Console SDI Input Signal SMPTE 292M (1.485 Gbps, 1.485 / 1.001 Gbps) 720p 50 720p 59.94 720p 60 SDI, AES Router Video Facility Embedded Audio SMPTE 292M 1035i 59.94 1035i 60 Resolution 24 bit 1080i 50 1080i 59.94 1080i 60 Fs 48 kHz 1080p 23.976 1080p 24 1080p 25 1080p 29.97 1080p 30 HD-SDI AES Input Impedance 75 Ω 1080sF 23.976 1080sF 24 Connector BNC x 1 COMPATIBLE HOST MODELS DIGITAL AUDIO CHARACTERISTICS Max No. of Total No. of Max No. of Total No. of Model Model Resolution 24 bit Cards Input Channels Cards Input Channels Fs 48 kHz DM2000 6 48 DME64N 4 32 2 x MY8-SDI-D 2 x MY8-AEB Lines 4 lines (8 channels), through group selection 02R96 4 32 DME24N 1 8 DM1000 2 16 M7CL 3 24 HD-SDI THRU OUTPUT CHARACTERISTICS 01V96 1 8 LS9-16 1 8 SDI Output Signal Non-reclocked thru output PM5D 4 32 LS9-32 2 16 Output Impedance 75 Ω DSP5D 2 16 Connector BNC x 1 Emergency Console

SDI, AES Router Video Facility I/O Interface Card DM2000

Main System AES

MY8-AEB HD-SDI 8 channel AES/EBU format I/O (w/REF VIDEO Input) Main Features 8-channel Digital Audio I/O with “eXi-Clock” Sync Capability • 8-in/8-out AES-3id-1995 The MY8-AEB is one of Yamaha’s MY-series plug-in interface cards, providing expanded I/O MY8-SDI-D MY8-AEB standard with 75Ω BNC functionality for compatible Yamaha digital audio products. Specifically, the MY8-AEB provides 8 channels of AES-3id-1995 standard (75Ω BNC connectors) digital audio input and output connectors. with advanced video synchronization capability. • Reference video input In addition to 8 BNC connectors – 4 stereo inputs and 4 stereo outputs – the MY8-AEB has a connector. REF VIDEO input that can be used to receive a PAL or NTSC format Reference video (Black • eXi-Clock synchronization maintenance function. Burst) signal that will provide the synchronization word clock for the device into which the card is installed. For maximum system reliability the MY8-AEB features a unique Yamaha “eXi-Clock” function that is capable of seamlessly continuing word clock generation even if Specifications the Reference video signal is interrupted. I/O Input x 8, Output x 8, REF VIDEO In x 1 As shown in the system diagram below, the MY8-AEB makes it easy and convenient to use Connector BNC (Input x 4/Output x 4) based on AES-3id high-performance Yamaha digital mixers for video post production, making it possible to maintain Fs 48 kHz, 44.1 kHz (Pull up/down 0.1%, 4%) the highest audio quality with reliable synchronization to a wide range of video sources. DM1000

37 38 Digital Mixing Console Digital Mixing Console

PM5D Version2 M7CL Version2 Product Line Up PM5D-RH Version2 MY16

M7CL-32 Version2 PM5D Version2

M7CL-48 Version2

Centralogic interface delivers digital live sound mixing Power Supply Unit PM5D-RH Version2 with the comfort and efficiency of analog. Power Supply Unit • Yamaha Centralogic™ interface with touch-screen allows total control from an easily accessible The PM5D and PM5D-RH Digital Mixing Consoles take central area. PW800W the digital revolution to the next level. • The M7CL-48 provides a total of 56 inputs – 48 mono mic/line inputs and 4 stereo line inputs. The M7CL-32 has a total of 40 inputs – 32 mono mic/line inputs and 4 stereo line inputs. • The PM5D features standard high-performance head amps, while the PM5D-RH adds PW800W • 27 buses in the form of 16 mix buses, an LCR bus, and eight matrixes that can be used with inputs head-amp recall capability that allows head amp gain settings to be recalled along as well as buses. with the other console scene data. • Straightforward connection via analog input connectors for every input channel. • 48 mono and 4 stereo inputs, 24 mix buses and 2 stereo outputs, and 8 matrix • 16 analog “omni” outputs as well as a 2TR digital output. Rear Panel outputs (expandable). • Three Mini-YGDAI I/O card slots can accommodate up to 16 channels of digital or analog I/O each, • Custom “DSP7” LSI for ultra-high-speed 96-kHz/32-bit processing. For many applications you can simply plug the M7CL for up to an addition 48 I/O channels. • I/O capacity and functionality can be doubled or tripled by adding one or two directly into a convenient AC outlet and use the built-in • Eight DCA groups and eight mute groups. rack-mountable DSP5D Digital Mixing Systems. power supply. But you should consider the external Rear Panel • Virtual 8-unit rack for effects and graphic EQ. • Easy “virtual soundcheck” with individually assignable channels does not require PW800W Power Supply Unit in situations where The PM5D is reliably powered by an external power supply unit. • Advanced access management functions provide multi-level control over user access. complex re-patching. maximum regulation and reliability are required. When a The PW800W is extremely compact and lightweight (3U, 10kg). • Recallable right down to head amp gain, plus safe and focus functions. • Built-in VCM (Virtual Circuit Modeling) effects offer impeccable simulations of PW800W unit is added the internal power supply and Thanks to its high efficiency, the low speed cooling fans are • M7CL Editor software application supplied. the PW800W provide redundant failsafe operation. classic signal processing gear. extremely quiet. Two PW800W units can be serially connected • 8 high-performance multi-effect processors and 12 graphic equalizers built in. using optional PSL120 cable for failsafe operation. PW800W • Enhanced security features keep the system operating flawlessly in any application. accepts 100 - 240 volts so it can be used anywhere. ・Global Paste, which allows simultaneous editing of multiple scenes Version2 New features: ・Matrix Sends on Fader feature to give access to 24 mix buses ・Channel Library that stores channel parameter settings such as dynamics and EQ …and more. Digital Mixing System

DSP5D DIGITAL MY16 11U Digital Mixing Console The DSP5D provides essentially all of the functionality of a PM5D-RH minus the control surface, in a rack-mountable unit that can be seamlessly LS9 controlled from a PM5D (RH) console. • 48 microphone/line and four stereo inputs. MY16 • 24 mix buses that can be cascade-connected to a PM5D V2 console. • Comprehensive control from a computer running the DSP5D Editor. • Remote control from a PM5D V2 via the DCU5D Digital Cabling Unit.

Rear Panel LS9-32 LS9-16 Digital Cabling Unit

Lightweight, compact, all-in-one digital mixers with advanced features and outstanding sound quality. 1U DCU5D • 16 or 32 mono mic/line input channels plus 4 stereo input channels, expandable up to 32 or 64 channels in two layers. • 16 mix buses, 8 matrix buses, plus stereo and mono buses with LCR mode. • Top-performance analog mic/line preamplifiers. • Compact and light enough for one person to move and set up easily. • Yamaha Selected Channel interface allows smooth, intuitive access to detailed channel functions via a color LCD display and logically arranged encoders. Rear Panel • Extensive gating, compression, and equalization facilities. • Built-in USB memory recorder/player for recording or BGM playback. The DCU5D lets you locate the DSP5D as far as DSP5D and DCU5D utilize EtherSound technology, but because Bandwidth is fixed • Virtual Rack packed with effects and EQ for just about any processing requirements. 120 meters from the PM5D console, exclusively for DSP5D and DCU5D, they cannot be controlled by ES (EtherSound) • Scene memory for instant store and recall of all console parameters, including head amp gain. connected by a single CAT5e Ethernet cable. monitor. • Advanced access management includes user keys (standard USB memory devices) that can be issued with different access levels for different users. * Maximum cable length will depend on the quality and performance of the cables used. • LS9 Editor Software for enhanced operability and programmability.

39 40 Digital Production Console Powered Near-field Monitor MSP STUDIO series

DM2000VCM DIGITAL MY16 The top choice for professional audio production, now with advanced Product Line Up features for audio production, broadcast, and live applications. • Precise 24-bit/96-kHz audio and high-performance head amps. • 96-input 24-bus mix capacity at 96 kHz. • Powerful channel functions with flexible control and digital patching capability. • Eight advanced multi-effect processors plus six 31-band GEQs. • Scene memory and auto-mix functions for efficient workflow. • Versatile channel pairing and grouping functions enhance mixing efficiency. • Comprehensive interface with touch-sensitive 100-mm motor faders. • Six mini-YGDAI expansion slot for easy I/O expansion in a variety of formats. • Advanced studio manager software supplied. • Easy integration with computer-based DAWs (Digital Audio Workstations) or digital recorders to create an advanced digital production environment. • A comprehensive range of features for surround production, including an enhanced surround monitoring environment with bass management. • A new dimension of production power with the addition of Yamaha VCM effects and processing. • Included in the THX pm3 TM Studio Certification Program Approved Equipment List. MSP7 STUDIO MSP5 STUDIO SW10 STUDIO Powered Monitor Speaker Powered Monitor Speaker Powered Subwoofer

• 2-way bas-reflex bi-amplified near field studio • 2-way bas-reflex bi-amplified near field studio • 180 watts dynamic power. Digital Mixing Console monitor 6.5" cone woofer and 1" titanium dome monitor 5" cone woofer and 1" titanium dome • XLR balanced inputs (L/R/SUBWOOFER) . high-frequency unit delivers 45Hz- 40kHz high-frequency unit delivers 50Hz- 40kHz • XLR balanced outputs(L/R/SUBWOOFER) frequency response. frequency response. parallel connection with input signals. DIGITAL MY16 • 130 watts (LF 80W + HF 50W) dynamic • 67 watts (LF 40W + HF 27W) dynamic • Level control facilitates precise system level 02R96VCM bi-amplified power. bi-amplified power. controls. • XLR balanced input. • XLR balanced input and 1/4" unbalanced input. • 40-120 Hz, 80 Hz at Center Click LPF controls. A comprehensive update of the legendary 02R. • Advanced Magnetic Structure Design • Advanced Magnetic Structure Design • Phase switch simplifies phase allignment. • One-piece Molded Enclosure with Rounded • One-piece Molded Enclosure with Rounded • Full magnetic shielding. • Precise 24-bit/96-kHz audio and high-performance head amps. Baffle Baffle 31 positions Level Control facilitates • Generous mixing capacity with up to 56 simultaneous inputs and 20 mix buses in the same • 31 positions Level Control facilitates precise precise overall system level matching. compact desk-top dimensions as the original 02R. overall system level matching. • TRIM Control(High/Low). • Powerful channel functions with flexible control and digital patching. • Low Cut switch and TRIM Control (High/Low). • Full magnetic shielding. • Four advanced multi-effect processors include surround effects. • Full magnetic shielding. • Scene memory and auto-mix functions for efficient workflow. • Versatile channel pairing and grouping functions enhance mixing efficiency. • Comprehensive interface with 25 touch-sensitive 100-mm motor faders. • 16 microphone/line inputs with balanced XLR/TRS jacks that feature top-performance head amplifiers for outstanding audio quality. • Four mini-YGDAI expansion slots for easy I/O expansion in a variety of formats. Powered Near-field Monitor HS series • Advanced Studio Manager application for Windows or Macintosh computers supplied. • A new dimension of production power with the addition of Yamaha VCM effects and processing. • Included in the THX pm3 TM Studio Certification Program Approved Equipment List.

Digital Production Console

DM1000VCM DIGITAL MY16 DM1000 13U MB1000 3U 19-inch Digital Production Console for professionals in the studio or on the road. • Precise 24-bit/96-kHz audio and high-performance head amps. • Generous mixing capacity with up to 48 simultaneous inputs and 20 mix buses in a compact rack-mount size console. • Powerful channel functions with flexible control and digital patching capability. • Four advanced multi-effect processors include surround effects. • Scene memory and auto-mix functions for efficient workflow. • Versatile pairing and grouping functions enhance mixing efficiency. HS80M HS50M HS10W • Comprehensive interface with 17 touch-sensitive 100-mm motor faders. Powered Monitor Speaker Powered Monitor Speaker Powered Subwoofer • A generous selection of control interfaces: MIDI, USB, REMOTE, SMPTE, and word clock. • Two mini-YGDAI expansion slots for easy I/O expansion in a variety of formats. • 2-way bass-reflex bi-amplified near-field studio • 2-way bass-reflex bi-amplified near-field studio • 8" bass-reflex powered subwoofer delivers solid • Advanced Studio Manager application for Windows or Macintosh computers supplied. monitor with 8" cone woofer and 1" dome monitor with 5" cone woofer and 3/4" dome 30 Hz --- 120 Hz frequency response. • Easy integration with computer-based DAWs (Digital Audio Workstations) or digital recorders to high-frequency unit delivers 42 Hz --- 20 kHz high-frequency unit delivers 55 Hz --- 20 kHz • 150 watts dynamic power. create an advanced digital production environment. frequency response. frequency response. • XLR and TRS phone jack inputs accept balanced • A comprehensive range of features for surround production, including an enhanced surround • 70 watts dynamic bi-amplified power. • 120 watts dynamic bi-amplified power. or unbalanced signals. monitoring environment with bass management. • XLR and TRS phone jack inputs accept balanced • XLR and TRS phone jack inputs accept balanced • Balanced XLR L and R outputs connect to the • A new dimension of production power with the addition of Yamaha VCM effects and processing. or unbalanced signals. or unbalanced signals. main left and right speakers. L/R mix output • Included in the THX pm3 TM Studio Certification Program Approved Equipment List. • Large Magnets in an Advanced Magnetic Circuit • Large Magnets in an Advanced Magnetic Circuit connects to a second subwoofer if required. Design. Design. • Level control facilitates precise overall system • Level control facilitates precise overall system • Level control facilitates precise overall system level matching. level matching. level matching. • Phase switch simplifies phase alignment. • MID EQ, ROOM CONTROL, and HIGH TRIM • MID EQ, ROOM CONTROL, and HIGH TRIM • Low-pass filter control and high-pass filter VCM technology is responsible for the classic compressor, EQ, analog tape deck, and stompbox effect simulations in the DM2000VCM, response control switches. response control switches. control with ON/OFF switch. 02R96VCM and DM1000VCM.VCM (Virtual Circuitry Modeling) technology actually models the characteristics of analog circuitry - right • LOW CUT switch. • LOW CUT switch. • Full magnetic shielding. down to the last resistor and capacitor. VCM technology goes well beyond simply analyzing and modeling electronic components and • Full magnetic shielding. • Full magnetic shielding. emulating the sound of old equipment. It's capable of capturing subtleties that simple digital simulations cannot even approach, while actually creating ideal examples of sought-after vintage gear.

41 42 Product Line Up 43 (AE-051) PackageVintage Stomp (AE-021) Master StripPackage highly valued for theirrich, sound. warm number ofvintage effects thatare guitarstompbox (Virtual Circuit Modeling) Technology toemulatea Yamaha’s iSSP(The Vintage StompPack utilizes VCM postpackageThe Surround takes fulladvantage of reverbwarm thatdoesnotinterfere withthenatural timbre ofthesource. tonalitythatisidealfor abrighter Plate delivers vocals. All modelsdeliver dense, REV-X HallandRoomprograms opensound, have avery whileREV-X envelopes thatoffer unprecedented definitionandfiner nuancecontrol. The Plate programs are provided, such with new parameters asroom sizeanddecay of dedicatedresearch anddevelopment. REV-XHall, REV-XRoom, andREV-X feature reverberation therichest andsmoothestdecay available, basedonyears in Yamaha’s SPX2000Professional MultiEffect Processor. The REV-Xprograms These reverb Add-on Effects employthelatest “REV-X” introduced algorithmsfirst advantage oftop-endsound-shapingtechniques inreal timeusing Yamaha digitalconsoles. the that canvary “focus” ofthesound, distortion, andsaturation characteristics. Now you caneasily take range ofvariation. You alsohave achoice of “old” and “new” tapetypes, tapespeed,’78, bias, Swiss’85, andEQsettings and ’70.American You caneven combinedifferent record andplayback decks for awider produce.unique soundsthey The OpenDeck provides modelsoffour machine types: Swiss’70, Swiss stage. Different typesoftape–new BASF, old Ampex, etc. –are alsoselectedandusedaccording tothe ATR100 from the70’s andothers and80’s tobeusedprovide tapecompression atthemastering studios stillmaintainopenreel such recorders astheStuder A80mk1, A80mk4 and A820, andthe Ampex tosmoothoutpeaklevelsBecause oftheirability andtidy uptheresponse, many high-endrecording andtapecharacteristics thatshapedthesoundofopen-reel taperecorders.both theanalogcircuitry The PackageAE-021 MasterStrip OpenDeck employs Modelingtechnology torecreateVirtual Circuitry ever tocreate theidealsound. inasimpleinterfaceparameters thatmakesiteasierthan andfeatureleading engineers carefully selected analog circuitry, have alsobeenfine-tunedby butthey these modelsfaithfully capture theuniquesaturation of compression andEQunitsfrom the70’s. Notonly do recreate thesoundandcharacteristics ofseveral classic employ Modeling)technology to VCM(Virtual Circuitry The PackageAE-011 ChannelStrip includes 5modelsthat (AE-011) StripPackage Channel (AE-031) Reverb Package MAX100 Version 2systemsoftwareinstalledinyourdigitalconsole. In ordertousethe ADD-ON EFFECTS,youwillneedtohavethe internal effectprograms. assign thesenewplug-ineffectsinthesamewayascurrent 96kHz Audio DSP ofthe Yamaha DigitalConsoles. You canfreely valuable plug-ineffectsspeciallydesignedandprovidedinthe The Yamaha ADD-ON EFFECTSseriesisarangeofuniqueand opesr20 see)Equalizer601 Compressor 260S(stereo) Compressor 276S(stereo) Dual Phase Preinstalled Preinstalled Preinstalled Preinstalled DM2000VCM /02R96VCMDM1000VCM PM1DV2 /PM5DV2M7CLLS9 DM1000VCM DM2000VCM /02R96VCM DM1000VCM DM2000VCM /02R96VCM PM1DV2 /PM5DV2 DM1000VCM DM2000VCM /02R96VCM PM1DV2 /PM5DV2 Open Deck Vintage Phaser REV-X Hall automation isalsopossible. from thelistenerwithprecise speedanddistancecontrol. Timecode and passesby, Auto Dopplercanmove objectstoward and thenaway linear path, likethesiren ofanemergency vehicle asitdraws near Besides recreating theeffect ofobjectsmoving pastthelistenerina Auto Doppler Auto processing applications. providing morethanenoughrangeforawidevarietyof listener-to-source distancesofuptoabout1kilometer, on aracecourse.AutoDopplercansimulate example, insceneofaracecarroundinghairpinbend simulation isalsoavailable,andcouldbeused,for scene, oraircrafttakingofflandingatanairport.PointAthroughpointBtoA’ Basic pointAtoBsimulationcanbeusedforthemotionofcarscrossinga Auto Doppleristheidealeffectforsimulatingmotioninawidevarietyofsituations. ■ the stage. stereo musictracks,ortorealisticallysimulatetheeffectofperformersmovingaround surround applications,thissameeffectcanalsobeusedtoaddasenseofdepth back towardtheviewercanbereproducedwithremarkableprecision.Inadditionto The soniceffectsofthespeakermovingaway,turningtofaceviewer,and example, toprocessaspeakermovingawayfromtheviewerinmovieorvideoscene. source tobepositionedandmovedwithinasimulatedroom.Thiscanuseful,for snameimplies,Room-ERisbasicallyaroomsimulationthatallowsmonaural As it’ ■ ApplicationIdeas ApplicationIdeas Package Surround Post sound, andvastcreativecontrolincreatingincrediblesonicenvironments. range ofsurroundformatsanddeliverunprec-edentedprecisioninmatchingvisualmotionwith cinema ortelevisionsoundpost-productionandmixingfacilities.Effectsarecompatiblewitha Processing) technologytodeliverprecisioncontrolledspatialprocessingcapabilitieswellsuitedfor The SurroundpostpackagetakesfulladvantageofYamaha’siSSP(InteractiveSpatialSound

(AE-041) source motion, motionspeed, androom surface characteristics. distance from asaffected thesource, by reproduces thedirect soundandearly reflections ofa30-meterlongroomeffect andaccurately simulatestheacousticproperties Ideal for placingamonosource inaprecisely environment, controllable surround this Room-ER joystick liketheoneonDM2000VCMconsole. speed canbespecifiedandcontrolled automatically orwitha axis, movement amount, distancefrom thecenterofrotation, and being moved around asoundsource. Parameters such asrotation either thelisteneratcenterofrotation, orthelistenerrotating or This effect rotates thepercspective fieldswith ofentire 5.1surround Rotation Field uses in3Dvideogames,too. path. Thiseffectwillundoubtedlyfindmany anything thatspinsorfollowsanelliptical to aboomeranginflight,UFOs,propellers… amusement park,addrealisticsoundmotion the coffee-cuprideorcarouselatan application forthiseffect.Placethevieweron Any scenethatinvolvesrotationisapotential ■ ApplicationIdeas Preinstalled DM1000VCM DM2000VCM /02R96VCM 44 of the end result. This approach made a lot of sense to us, and meant that we were available for live consoles such as the PM1D. But more and more engineers began designing by sound rather than numbers on a spreadsheet or waveforms on test using them for live sound, which was quite a revelation for us. instruments. The moment we realized just how well this type of cooperation was 1 An Interview with the Creators of Yamaha’s Add-on Effects working was the moment we became totally confident that we could deliver something Q: How abut the pedal type effects, such as distortion? very special. Of course it required many rounds of prototyping and analysis, but we Mr. Okabayashi : The basics for live sound are reverb, delay, compression, and EQ, Part knew we were headed in the right direction. We supply the algorithms, but the final but a few engineers like to experiment with wilder effects as well. That’s who the sound comes from extensive cooperation with some of the best sound engineers in the stomp-box effects are for. At the moment it’s a relative minority, but we believe that as more business. When it comes to sound, the most advanced software and hardware is engineers realize the creative potential of those effects they will become more widely used. Part 1: The VCM Compressor, Equalizer, Open Deck, nothing without a good dose of human sensibility. Of course the study and analysis of Mr. Kunimoto : And, frankly, the sound of our flanger, phaser, and other pedal vintage audio equipment is a tremendous aid to understanding what has come to be type effects is way ahead of the competition. Our stomp-box simulations are and Stomp Box Effects appreciated as good sound – sort of a short cut to understanding. extremely musical and can really add something to a mix if used well. Mr. Okabayashi : Defining “good sound” is very difficult. It can be different Yamaha’s Add-on Effects are marvels of digital signal processing design and engineering. The VCM (Virtual Circuitry things to different people at different times. For one person it might mean listening Q: Some people might wonder why, since digital mixers already Modeling) effects discussed in part one of this interview deliver the sonic advantages of the finest analog vintage while seated on a luxurious sofa in a comfortably climate-controlled room. It can have EQ and sometimes dynamics built in, it is necessary to have gear with digital convenience and control, without the noise and reliability issues that plague traditional outboard depend on a person’s mood, too. The challenge for us is to satisfy what is essentially a additional equalizers and compressors. sound gear. Although initially made available only as add-on software packages for compatible Yamaha digital subjective evaluation with the most effective technology we can muster. We believe that Mr. Okabayashi : The functions of the head amplifiers, equalizers, and Add-on Effects Interview mixers, they have become “essential equipment” for a great many professionals in both the audio production and VCM has been very successful in that regard, probably at least in part because of the compressors that need to be included in every channel, and those that the engineer enormous amount of feedback from professional sound creators that has gone into it. wants to insert on specific channels tend to be very different. If the equalizers and Mr. Toshifumi live sound fields, and are now included in varying combinations in Yamaha’s latest VCM-series digital consoles. Kunimoto Mr. Kunimoto : Yes, and much of that feedback has been very specific. For compressors on all channels had a strong, distinct character, that would influence We were very fortunate to have an opportunity to sit down with the creators of these remarkable effects packages example, some people might simply say the sound is “fat” and is therefore good. But the overall sound of the console in a big way. The built-in EQ and compression and spend a couple of hours discussing how the Add-on Effects came about, and the impact they are having on the we need to go a step further and understand what constitutes “fat” sound – what needs to be more transparent and “practical.” But you still need equalizers and pro audio scene. kind of response at what frequencies is that? Our consultants were able to give us the compressors with a distinctive sound for certain sources: some compressors ideally necessary information. match certain types of voices, for example. The Add-on Effects fall into the latter category. They’re the type of effects engineers will want to use on specific sources. Q: Very interesting. It sounds like it was more a process of But I would like to add, once again, that these effects are not exact simulations of communication than simply bringing in some vintage gear, specific vintage devices. They are based on in-depth analysis of vintage gear as well analyzing it with tests instruments, and attempting to reproduce as current production and live sound mixing needs. They are, in fact, a blend of the its characteristics. most desirable characteristics of a range of classic equipment, brought together in a Mr. Kunimoto : Of course we needed to do some of that as well, but that type of way that best applies to state-of-the-art sound. laboratory work alone is not going to produce satisfactory results. Channel Strip Master Strip Vintage Stomp We knew from our experience in creating musical instruments that, in contrast to Q: Before we move on to discussing Rev-X and ISSP technology, Vintage analog compression and EQ brought to life VCM technology recreates classic tape compression VCM technology merges minute circuit analysis and simulation in the digital domain through innovative VCM technology. and saturation with extraordinary realism. of individual circuit component characteristics to deliver the end listener, professionals who work with sound on a daily basis and who are I’d like to ask Mr. Sendo for his views on the VCM effects from Includes COMP276, COMP260, and EQ601 effects. Includes the OPEN DECK effect. the best in vintage analog sound. successful in creating sound that is generally accepted as being top-class usually the perspective of a sound engineer.* agree on what constitutes good sound. So when we started seeing agreement from * Mr. Sendoh is a recent addition to the Yamaha team. Prior to joining Yamaha he was a live sound Q: To begin, can you tell us how the Add-on Effects were initially Q: Physical modeling in the VL and VP synthesizers? That was our consulting engineers we knew we had something of real value. engineer with a sound company that is a major player in the field of theater and concert sound. conceived? quite a while ago. Mr. Sendoh : Certainly. As mentioned earlier in the discussion, while the standard Mr. Okabayashi : One of Yamaha’s strengths in producing digital mixers was the Mr. Kunimoto : Yes. That was around 1993. The VL70m (tone module) is actually Q: It can’t have all been easy. Were there any obstacles that dynamics included in Yamaha digital mixers are very good at level compensation and ability to provide built-in effects. Our SPX multi-effect units and reverb units have still being made and is quite popular. But in around 2000 we were looking for a new slowed you down? control, many engineers would generally use an external inserted compressor to earned an excellent reputation over the years, and we’ve been building digital effects direction in which to take that technology. We already had reverb simulations and other Mr. Kunimoto : Actually, it all went quite smoothly! Doing the measurements on achieve a more “driven” sound for picked or chopper style bass, for example. But into our digital mixing console since the very beginning, 20 years ago. While giving effects, and believed that we could create effects that would be ideal for incorporation the vintage open-reel recorders did take a long time though. We worked around the now the Add-on Effects 260 compressor does an outstanding job in that situation, our customers the best possible quality in the analog input and output stages, we into digital mixers. By 2001 we had started doing research all around the country in clock for several days on that. Even the slightest change in bias, azimuth, speed, or and is in many ways preferable to external hardware. One of the main drawbacks of also wanted to provide something new that would take maximum advantage of the order to pinpoint the possibilities and solidify our goals. It all came together in 2002. tape on an analog tape machine completely changes the response. It only takes a few external gear is the difficulty of achieving accurate, consistent settings. Noise is digital technology involved. minutes to measure the deck’s characteristics, but then the moment we make a another issue. Since you can easily switch between patches and the bypassed sound The idea for the Add-on Effects actually came up when we were beginning Q. That’s really interesting. VL modeling was basically acoustic change it becomes necessary to bring out the standard tape and go through another with the Add-on Effects, it’s much easier to decide on the optimum setup for a development of the DM series mixers. It was fortunate that in addition to our musical instrument modeling, but it included technology that 30 minutes of azimuth and level adjustment. So that process repeats: measure for a particular situation. As Mr. Okabayashi said earlier, the standard built-in hardware product development resources we already had a team devoted to became the seeds of what we have today. few minutes, adjust for 30, then do it all over again. Many times. compressors on Yamaha digital mixers are ideal for basic level compensation and algorithm development, and at the time they just happened to be looking for a Mr. Kunimoto : That’s right. And by around 2001 or 2002 we had elevated those The studio pros we worked with on that part of the project were delighted with the adjustment, whereas the Add-on Effects compressors can replace external devices platform to direct their efforts toward. It was in 2001, I think, that the decision was seminal effects to a level that would be more than acceptable for use in Yamaha quality of the simulations we were able to achieve. To their trained ears we had when you want some extra sonic nuance. The same goes for the equalizers. While Mr. Satoshi officially made to bring these strengths together in an actual product lineup. digital mixers. If you consider the fact that development of physical modeling managed to replicate the musicality of the original equipment. So much so that our the built-in channel equalizers are the right tool for basic response compensation, Sendoh technology was begun in around 1990, the history of the Add-on Effects is actually model would serve as a “virtual archive” of classic recording equipment that will at the Add-on Effects equalizers are perfect for enhancing or coloring a sound. Q: What was the market like at the time? What was the quite long. But since our team was originally part of the musical instrument division, some point become unserviceable. Comments like that were most heartening, and in While delivering vintage-style “good sound,” the Add-on Effects offer all the competition? we didn’t have algorithms dedicated to audio processing, such as compressors or many ways a measure of our success. advantages of digital control and repeatability, which makes them a more practical Mr. Masaaki In the professional digital live sound arena Yamaha was only equalizers, at the time we merged with the pro audio division in 2000. That was a But we should also point out that we were never aiming for and reliable alternative to using actual vintage outboard gear. Also, you can recall Okabayashi Mr. Okabayashi : Mr. Okabayashi : offering the PM1D at the time. We had started with the DM series production real challenge for us. It’s easy enough to simply produce a compressor or equalizer, exact simulations. Our goal was simply good sound. One of the most difficult aspects settings that were successful in a previous situation and use them as a starting point consoles. Of course there were already TDM and VST plug-ins available for the but creating a good sounding compressor or equalizer is a different story altogether. of that was bridging the gap between what was required by recording and live sound for any other situation, which can significantly improve setup speed and efficiency. major computer based audio workstations at the time. But we thought too much of In fact, we weren’t actually sure what constituted “good sound” in a professional engineers. That was challenging and enlightening at the same time. that genre was aimed at hobby users, and were more interested in creating and audio context. What exactly were the sonic characteristics that professional sound Studio engineers generally have access to a greater variety of equipment, and they Q: Any comments about using the Open Deck effects in live refining technology that worked seamless with hardware designed for professional engineers valued? have more time to mix and refine the sound. They are also working in a sonic situations? use. We decided to be very serious about our signal processing algorithms, and only environment that has usually been optimized for the job at hand. Live sound Mr. Sendoh : Open Deck can be a very effective tool for live sound, and I know a develop and deliver the very best available. Q: Was there a specific point at which the direction became clear? engineers, on the other hand, have to achieve the best possible sound in number of engineers who us those effects consistently. They use them to provide a Mr. Kunimoto : Yes. We were very fortunate in being able to recruit the assistance less-than-optimum acoustic environments that might change from day to day. And touch of “saturation” at the output stage for a more driven, exciting sound while Q: So does that mean that when the mixer hardware was initially of several outstanding sound engineers who helped us to achieve the excellent they have to do it with a minimum of equipment in the shortest time possible. The keeping the levels in line. developed the software wasn’t yet in the pipeline? performance we are able to offer today. We made many, many prototypes that these working conditions are quite different. So for us it was difficult to strike an Mr. Okabayashi : Mr. Kunimoto had already been working on physical modeling talented sound specialists would analyze aurally, easily pinpointing deficiencies that appropriate balance between detailed control and quick operation. Q: How about the stomp-box effects? technology for musical instruments for a long time, so the foundation already needed to be addressed as well as positive aspects that could be enhanced. Those There were some surprises too. Originally we hadn’t even thought that the Open Mr. Sendoh : Unfortunately they weren’t available when I was mixing live on a existed, and we could clearly see the potential for that technology in a professional specialists are so familiar with the makings of “good sound” that they were able to Deck effects would be used for live applications, but it turned out that live engineers daily basis, but if I had them I would have used them. One of the big advantages of audio context. demonstrate the type of performance they wanted by combining existing, traditional found it extremely useful as a master compressor for final output. those effects for live use is the ability to tap-specify the tempo of the phaser and equipment and adjusting various parameters while explaining the merits or demerits Mr. Kunimoto : Initially we weren’t even going to make the Open Deck effects other effects. That’s something that simply was not possible with actual vintage gear.

45 46 Mr. Sekine : That’s right. Those evaluations led us to the conclusion that we had created some valuable tools for surround post-production, and work on transplanting those functions to an actual mixing console was begun. Since we had 2 An Interview with the Creators of Yamaha’s Add-on Effects used a Yamaha platform for early development, the transfer to Yamaha digital consoles went very smoothly. The most difficult part was creating a user interface Part that was easy to use. We had to create something totally new that would make the equivalent of running multiple auxiliary sends to pan a sound while simultaneously making dynamic reverb and EQ changes, for example, easy and intuitive. Making it Part 2: Rev-X Reverb and iSSP (Interactive Spatial Sound Processing) easy to specify a constantly changing position, distance, and speed was a real challenge. We think the Auto Doppler input display is an excellent example of how This is Part 2 of a two-part interview in which we get a rare behind-the-scenes view of the conception and genesis well we’ve succeeded. That interface makes it surprisingly easy to match sound of some of Yamaha’s most advanced audio signal processing software: the Add-on Effects. motion to movie or video images. Mr. Takahashi : We also had to deal with the finite number of parameters In Part 1 we discussed VCM technology and the extraordinary compressor, equalizer, open deck, and stomp box available on the DM2000. We had 32 available parameters … and it’s actually simulations it enables. In Part 2 we talk about Rev-X reverb and iSSP surround technology. Mr. Daisuke difficult to decide whether that’s too many or too few. Deciding what surround Miura parameters would be assigned to the available control parameters for optimum ease Add-on Effects Interview of use was not easy. That process alone took many months. Actually it’s probably more accurate to say that those decisions were continuously being made throughout Mr. Satoshi Sekine Q: What were the difficulties encountered in creating such an the development process. And since different engineers have different ways of effective reverb? working, there’s no single correct answer. Evaluating reverb effects is very difficult. What sounds great one day When we were working on the development platform we sometimes Reverb Surround Post Mr. Miyata : Mr. Sekine : The advanced Rev-X reverb algorithm, originally Revolutionary iSSP technology developed by the Yamaha Innovative Technology can sound deficient the next. The listening environment, source, and even listening ended up with as many as 90 parameters! developed for high-end stand-alone reverb units, Division powers a selection of amazing surround processors. is now available in plug-in form. These are the surround production tools you need for ultimate control and realism. position all have a huge effect. Even the listener’s physical condition on a particular Mr. Takahashi : Right. And controlling that many parameters from a computer, as day can make a difference. I’m sure that applies to all effects, but it does seem to be we were doing during development, is not too difficult. But when you attempt to particularly significant when working with reverb, so it’s necessary to combine transfer that functionality to a mixing console you run into limitations. At that stage Q: Reverb is one of the most basic and vital “effects” for both Q: Is the technology from those earliest digital reverb units still subjective listening tests with empirical data to obtain a reliable evaluation. It the Yamaha industrial design team were a tremendous help. They came up with production and live sound, and Yamaha reverb has long been employed in the Rex-X systems? requires repeated listening and measurement, which means that progress is interface ideas that eventually resulted in the incredibly intuitive control system we incremental and very slow. Persistence is a key ingredient. have now. Of course there’s also the Studio Manager computer software that allows considered among the best in the field. Can you tell us a bit Mr. Okabayashi : The background of Rev-X is actually completely different. The about the idea behind the relatively new Rev-X reverb effects? basic technology in the SPX series remained fairly constant from the earliest models Mr. Miura : In the final stages it becomes more craft that design. You change the even more detailed control. data a bit and listen, then repeat. The sound changes very subtly each time, and it is Mr. Miyata : Rev-X actually has quite a long history. Development was started right up to the SPX2000, but when we were planning the SPX2000 we wanted to add about ten years ago, and like VCM it was originally developed for use in electronic something extra that had not been possible in the preceding SPX models. Yamaha necessary to keep correcting course to get closer and closer to the sonic goal. And Q: The interface is definitely one of a kind. So would it be correct musical instruments. The original idea was bring the sound of MIDI tone generators SPX-series reverb units were already established as one of the industry standards at there are subtle differences between the development platform and the final product to say that the main purpose of iSSP is to expedite surround as close as possible to the sound of a recorded CD. When we analyzed the factors the time, but we wanted to offer expanded sound and capabilities as well. And, as that need to be resolved, as well limitations imposed by the hardware. It’s a very processing operations that were previously difficult and time that contribute to the overall sound of a CD, we realized that reverb was one of the with VCM technology, we were delighted to learn that the kind of innovation we were tedious process, but the end result is well worth it. consuming? most significant. At that point we began exhaustive analysis of studio reverb systems looking for already existed in-house in the form of the Rev-X algorithms. Mr. Sekine : Basically, yes. But we also put a great deal of energy into providing as well as dialog with a number of leading studio engineers. Of course many Yamaha Q: Let’s move on to the iSSP (Interactive Spatial Sound the best possible sound quality, particularly in terms of depth and presence. The reverb systems were already in use in recording studios at the time, but we were Q: So does that mean that Yamaha reverb changed drastically Processing) technology used in the Surround Post Package. How Room ER is a good example of what we’ve achieved in terms of depth and presence. determined to find a way to deliver even better reverb effects. with the release of the SPX2000? did the project initially arise? Room simulation is something that Yamaha has been working on in a variety of A number of the studio engineers we consulted felt that the Yamaha reverb systems No, the SPX2000 offers the best of both worlds. It has all the Mr. Okabayashi : We were very conscious of the need for top-level 5.1 surround contexts for a long time, and that background has really come to life in the Room ER Mr. Akio Mr. Okabayashi : Takahashi of the time sounded cool and metallic, whereas some preferred a warm, “woody” original and universally accepted SPX type effects such as Rev Hall and Rev Plate, plus production facilities when planning the DM2000 console. At the time many post effects. It produces a realistic sense of the acoustic space, right down to the reverb. The challenge was to find a way to achieve that type of sound, and that’s the new Rev-X effects. production and music production facilities were using two cascaded 02R consoles materials of the simulated room’s surfaces. where the work of closely examining the characteristics of both natural and for 5.1 surround production. We wanted to provide a single console that would be simulated reverb began. Q. It seems that wherever Rev-X reverb is mentioned, the able to handle the same type of production, with the addition of 96 kHz operation as Q: Finally, a general question. I know this is probably a difficult Mr. Tomomi The most important elements – and the most closely guarded secrets – in well as advanced surround production features. At the time engineers were creating question to answer, but what are Yamaha’s plans for the future Miyata SPX2000 is mentioned as well. Apparently the SPX2000 is a very algorithm-based digital reverb systems are the all-pass and comb filters, and how popular product. extremely complex automation setups to achieve what can be done quickly and in the field of digital sound? easily with iSSP now. The main idea was to make those very complicated and We’re working on new ideas and refinements all the time, but those filters are used. That’s where most of the design energy went in the developing Mr. Okabayashi : Yamaha SPX reverb units in general are a well-established Mr. Okabayashi : the Rev-X algorithms as well. It’s basically a long process of trial and error. standard in studios and in life applications worldwide. If you look at the numbers time-consuming surround production tasks as easy and as efficient as possible. we can’t provide any details just yet. There’s still plenty to do. For example, there are the SPX2000 just keeps on selling at a surprisingly constant rate, so we must have Producers were writing up the equivalent of “storyboards” for sound positioning many wonderful vintage processors left to examine and consider. And development Q: The history of Yamaha digital reverb units is much longer than got it right. It seems as though we hit a “sweet spot” in terms of reverb density and and movement, for example, and then the engineers would have to use whatever of reverb technology is still ongoing. The same goes for EQ. There might even be ten years. sound that engineers find appealing and easy to use. signal routing and processing facilities were available to produce the desired result. some fundamental changes in mixing technology. They might first have to use multiple auxiliary sends to pan the sound, and then add Mr. Okabayashi : That’s correct. The earliest units such as the REV-1 and REV-7 go back a long way. The now-legendary SPX-90 was released in around 1985 I think. Q: OK, lets ask an engineer … Mr. Sendoh? the required reverb to match the sound as it moves. Tricky application of delay and All we can really say is: be prepared for some pleasant surprises! EQ are also essential ingredients. This is a very labor-intensive process that we really There was actually an R1000 reverb unit based on BBD technology even before that, Mr. Sendoh : From a purely sonic perspective, back when I was using other types but in terms of purely digital reverb the REV-7 and SPX90 can be considered the of artificial reverb I was never satisfied with the results because the reverb always wanted to make easier. So the initial concept was very direct: to provide origins. sounded separate from the source. There was no cohesion or unity to the sound, the unprecedented surround processing convenience and speed. way there is with natural reverb. That changed dramatically the moment Rev-X became available in the SPX2000 and newer versions of Yamaha digital consoles. Q: When was development begun? Now the blend is excellent, and very natural. Mr. Sekine : We actually started field evaluations in around 2002. But at the very In addition to adding ambience, a common use for reverb is to add a bit of thickness early stages of development, which was around 2000, we were occupied with finding or solidity to a drum sound, for example. I often used a short room reverb effect for ways to effectively move and position sound in the surround field. The first problem that purpose, but prior to Rev-X it was sometimes difficult to avoid a metallic was finding a suitable development platform, and we ended up cascading two of sounding, almost ring-modulation type effect. Once Yamaha’s most powerful processors at the time. That worked out very well, and as again, the REV-X reverbs solved that problem soon as we had a system that we could take around for evaluation we began completely, and gave me exactly the sound I was spending time with the producers and engineers at the national broadcasting after with a minimum amount of work. It’s great to corporation as well as several other major broadcasters around the country. be able to achieve the desired sound without having Mr. Takahashi : We also took the prototype to Chicago and New York. That was in to carry racks of additional gear just for that around July of 2002 I think. purpose.

47 48 DME Designer 49 Quick Guide to Download, Guide Installation &UseQuick DME Designer – DME Control Software forPCs Software Control –DME Designer DME http://www.yamahaproaudio.com/downloads/firm_soft/dme64n/dme_frm.html 2 1 to downloadtheDMEDesignerinstaller. requirements, andthenusethefollowinglink confirm thatyourPCsatisfiesthefollowing from theYamahaProAudiowebsite.Please DME Designerisfreetodownloadbyanyone Designer Downloading DME follow theon-screeninstructions. "setup.exe" fromtheInstallerfolderandthen To installDMEDesigneronyourPC,double-click Designer Installing DME For detailson thesettingsrequired for connectingDMEDesigner andDMESeriesdevices, please refer to the DMESetupManual, whichisfree todownload from thefollowing site: Window Main Panel attached. PleasefollowthesimplestepsbelowtoseeforyourselfallthatDMESerieshasoffer. digital mixingengineorsimplywantasneakpeek,thisapplicationisfreetodownload–nostrings ming DMESeriesdevicesinaconvenientandintuitivefashion.WhetheryoualreadyownYamaha With DMEDesignerinstalledonyourPC,yougetanextremelyeasy-to-usegraphicinterfaceforprogram- Window Designer 3 http://www.yamaha.co.jp/manual/english/result.php?WORD=DME64N&div=pa 3. 2. Please, therefore,ensurethatyoumatchsamplingrates. sampling ratesetfortheDMEoperationarenotsame,excessiveamountsofsignalprocessing mayberequired,andincertai Note: Designer manual. more detailsoncreatingconfigurations,pleaserefertotheDME drop ordoubleclicktoaddthemyourDMESeriesdevice.For find componentstosuitpracticallyeveryneed.Eitherdragand the objecttoopenConfigurationwindow.Onleft,youwill and settingaudio-processingcomponents.Todoso,double-click begin tocreateyourconfigurationbyfreelyadding,connecting, Once ahardwareobjecthasbeenaddedtoyourproject,youcan Double-click aDMEobjecttoaddandconnectcomponents. Zone 1orjustdouble-clickitintheToolkitwindow. All availableDMEhardwareobjectscanbeaccessedintheToolkitwindowonleft.Toaddonetoyourproject,simplydraga Add thedesiredDMEobjectstoyourproject. Using DME Designer Using DME ful andflexibletheYamahadigitalmixingenginescanbe.Thefollowingisaquickguidetogetyoustarted. Even ifyoudonotyetownaDMESeriesdevice,Designeristheidealwaytoseeforyourselfjusthowpower- Where necessary,setthedevicegrouporsamplingrateusingdialogboxthatappears whenaddingaDMEobject.Ifthesampl double-click. Drag anddropor 1. device connectedtoyourPC. configurations canbecreatedevenwithnoDME is extremelyeasyandintuitive.Pleasenotethatthese combining, andconnectingvariousaudiocomponents With DMEDesigner,theprocessofselecting, Creating Configurations display it.) please click[Show/Hide]intheMainPanelWindowto window. (IfyoucannotseetheDesignerwindow, new zone(Zone1)willbedisplayedintheDesigner As shownhere,anewprojectwillbecreatedand Designer] — Programs] — Launch DMEDesignerbyclicking[Start]— > [DMEDesigner]. > [YAMAHAOPTTools]— n cases,operationmaynotbepossible. ing ratesethereandtheactual Window Resource Meter nd dropinto > [DME > [All 50 Quality Control 51 Quality Control Quality in anoutstandingtrackrecord andenviablereputation. unequalled qualityinallareas isoverwhelminglyclear. AndthefactthatYamaha approach worksisevident implementation. Thisiswhere manymanufacturers fallshort,but iswhere Yamaha’s commitmenttodelivering post-sales support.Itisnotasimpletask,andrequires adedicated organizationandinfrastructure foreffective to detailandcontrol rightfrom initialproduct planninganddesignthrough finalmanufacture andpackagingto To achievethekindofqualitythatsatisfiesallconditions allofthetimerequires focused,unrelenting attention And qualitymanagementmustcontinueevenaftertheproduct issold,intheformofsupportandservice. requires anextraordinary levelofskillcombinedwithadvancedfacilitiesforeffective managementandcontrol. devices istheneedtoprevent electricalinterference, bothincomingandoutgoing,whichisanarea that personal andenvironmental, towhichanextensivegamutofimportantstandards apply. Uniquetoelectronic are inmanywaysmore difficult toachievewithanydegree ofconsistency. Thenofcoursethere’s safety, both the firstaspectthatcomestomind,isonlybeginning.Reliabilityanddurabilityare justasimportant,and uniquely conscientiousapproach toproduct developmentandmanufacture. Sonicquality, althoughitisoften at different times,butatYamaha itappliestoawholespectrumofconceptsthatformthebackbone “Quality” isoneofthoselittlewords thatcoveralotofground. Itcanmeandifferent thingstodifferent people Large EMCTestChamber Computer-controlled Vibration Table Non-destructive X-rayTomography operate accredited aninternationally facility ofthisscaleorcapability. competence oftestingandcalibration laboratories.” Notmany manufacturers Center complieswithISO17025standards: “general requirements for durability teststhatare almostshocking intheir severity. The QualitySupport facilities for electronic devicesavailable anywhere, plussometortuous thathousessomeofthemostadvanced andsensitive testing testing laboratory Quality Management System. Centerisaworld-classThe QualitySupport stands animposing, of thatisavitalarm almostwindowless structure Yamaha’s Near theentrance tooneof Yamaha’s complexes andfactory mainoffice can bemaintainedonaworldwide scale. maywhere they be, sothattherequired quality level ofproduct andservice objectives andstandards are sharedall by Yamaha andfacilities, staff nomatter well. The all-inclusive scopeofthesystemensures thatthesamepolicies, only tooperations inJapan, butto Yamaha’s inChinaandIndonesiaas factories qualitygoals.ambitious internal The QualityManagement Systemappliesnot somevery been customizedtoeven that reflect more stringent criteria companycertification basedinNorway). The Yamaha system, however, has DNV(DetNorske by and iscertified Veritas recognized –aninternationally Yamaha’s QualityManagement Systemconforms toISO9001:2000standards The YamahaQualitySupportCenter Overall QualityManagement Cell Production(MadeinToyooka/Japan) Encoder DurabilityTesting Quality Management System is right attheleadingedge.Quality Management Systemisright continuously changing markets, userneeds, andtechnology. The Yamaha themselves, qualitymanagement mustcontinually evolve tokeeppacewith responsive andeffective support. Easiersaidthandone. Liketheproducts products ofthehighestqualityatlowest possible costalongwith customer satisfaction canonly beachieved providing by astable supply of Yamaha QualityManagement Systemistotalcustomersatisfaction. Total In additiontotheobvious needfor safety, absolute theultimategoal ofthe are testedunderactual-useconditions. they run. Sampleproduction unitsare where takentoaseparate area ofthefactory product, withatleastonesampletakenthebeginningofeach production Approximately five sampleswillbetakenpermonth, dependingonthe for production run samples are even takenfrom every more in-depthtesting. and effectively. unitproduced, Inadditiontoinspectionandtestingofevery manufacture, sothatifaproblem isdetecteditcanberectified immediately unitundergoes atthepointof athorough finalinspectionright every passed ontotheassembly staff. Then, whenassembly iscomplete, each and Quality factory Assurance Centerbefore canbeacceptedasstock or they are maintained. Parts received mustpasstestingatthe from external suppliers continue throughout process themanufacturing toensure thatqualitygoals nomeanstheendofqualitymanagement.But thatisby andtesting Monitoring passed alltestsandhave beenfully approved Center. theQualitySupport by production canonly sampleshaveFactory beginafterthefinalengineering The UltimateGoal Factory QualityControl Drop Test Cable DurabilityTesting 52 Notes: Notes:

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