Yamaha Dvx 1000 Owners Manual

							Using Libraries181
DM1000 Version 2—Owner’s Manual
Libraries
15
Bus to Stereo Library
You can store Bus to Stereo settings (levels and panpots of signals routed from Bus Outs 1–8 
to the Stereo Bus). The library contains one preset memory and 32 user (readable & writ-
able) memories.
To access the Bus to Stereo library, press the SELECTED CHANNEL [DISPLAY] button 
repeatedly until the Routing | Library page appears.
ACURRENT CONFIGURATION section
Bus Out (1–8) pairing information for the current configuration is displayed here.
BLIBRARY CONFIGURATION box
Bus Out pairing information for the configuration stored in the currently-selected 
memory is displayed here. When the current configuration and the configuration in the 
selected memory do not match, the word “CONFLICT” appears in the LIBRARY CON-
FIGURATION box. 
For details on storing and recalling memories, see “General Library Operation” on 
page 173.
Gate Library
The Gate library enables you to store and recall Input Channel gate settings. The library 
contains four preset memories and 124 user (readable & writable) memories.
Follow the steps below to use the Gate library.
1Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F2] button.
The Dynamics | Gate Lib page appears.
1
2
1
3
4
2
 
						

							182Chapter 15—Libraries
DM1000 Version 2—Owner’s Manual
ACURRENT TYPE
This parameter displays the currently-selected channel gate type (Gate or Ducking).
BCURRENT CURVE
This graph displays the current channel gate curve.
CGR meters
These meters indicate the amount of gain reduction being applied by the gate, and the 
post-gate levels of the currently-selected channel and its available pair partner.
DType & Curve section
The type (Gate or Ducking) and curve of the currently-selected memory is displayed 
here.
2Use the LAYER buttons to select layers, then press the [SEL] buttons to select 
channels.
You can now store the selected channel gate settings or recall the gate library memories to 
channels. For details on storing and recalling memories, see “General Library Operation” 
on page 173.
The following table lists the preset memories in the Gate library:
Compressor Library
This library enables you to store and recall settings for the compressors on Input Channels, 
Bus Outs 1–8, Aux Outs 1–8, and Stereo Out. The library contains 36 preset memories and 
92 user (readable & writable) memories.
Follow the steps below to use the Compressor library.
1Press the DISPLAY ACCESS [DYNAMICS] button, then press the [F4] button.
The Dynamics | Comp Lib page appears.Tip:  If you selected an Aux Out (1–8), Bus Out (1–8), or Stereo Out that does not feature 
a gate, the DM1000 indicates “XXX HAS NO GATE!” (in which XXX represents a signal 
name).
No. Preset Name Type Description
1Gate
GATE Gate template
2Ducking
DUCKING Ducking template
3A. Dr. BD
GATE Gate preset for use with acoustic bass drums
4A. Dr. SN
GATE Gate preset for use with acoustic snare drums
1
3
4
2
 
						

							Using Libraries183
DM1000 Version 2—Owner’s Manual
Libraries
15
ACURRENT TYPE
This parameter displays the currently-selected channel comp type (Compressor, 
Expander, Compander Soft, Compander Hard).
BCURRENT CURVE
This graph displays the current compressor curve.
CGR meters
These meters indicate the amount of gain reduction being applied by the compressor, 
and the post-comp levels of the currently-selected channel and its available pair partner.
DType & Curve section
The type and curve of the currently-selected memory is displayed here.
2Use the LAYER buttons to select layers, then press the [SEL] buttons to select 
channels.
You can now store the selected channel comp settings and recall the compressor library 
memories to channels. For details on storing and recalling memories, see “General Library 
Operation” on page 173.
The following table lists the preset memories in the Compressor library:
No. Preset Name Type Description
1Comp
COMPCompressor for reducing the overall volume level. Use 
it on the stereo output during mixdown, or with paired 
Input or Output Channels.
2Expand
EXPAND Expander template.
3Compander (H)
COMPAND-H Hard-kneed compressor template.
4Compander (S)
COMPAND-S Soft-kneed compressor template.
5A. Dr. BD
COMP Compressor for use with acoustic bass drum.
6A. Dr. BD
COMPAND-HHard-kneed compander for use with acoustic bass 
drum.
7A. Dr. SN
COMP Compressor for use with acoustic snare drum.
8A. Dr. SN
EXPAND Expander for use with acoustic snare drum.
9A. Dr. SN
COMPAND-SSoft-kneed compander for use with acoustic snare 
drum.
10A. Dr. Tom
EXPANDExpander for use with acoustic tom toms, which auto-
matically reduces the volume when the tom toms are 
not played, improving mic separation.
11A. Dr. OverTop
COMPAND-SSoft-kneed compander for emphasizing the attack and 
ambience of cymbals recorded with overhead mics. It 
automatically reduces the volume when the cymbals 
are not played, improving mic separation.
12E. B. Finger
COMPCompressor for leveling the attack and volume of a fin-
ger-picked electric bass guitar.
13E. B. Slap
COMPCompressor for leveling the attack and volume of a 
slapped electric bass guitar.
14Syn. Bass
COMPCompressor for controlling or emphasizing the level of 
a synth bass.
15Piano1
COMP Compressor for brightening the tonal color of a piano.
16Piano2
COMPA variation on preset 15, using a deep threshold to 
change the overall attack and level.
17E. Guitar
COMPCompressor for electric guitar “cutting” or arpeg-
gio-style backing. The sound color can be varied by 
playing different styles.
18A. Guitar
COMPCompressor for acoustic guitar “stroke” or arpeg-
gio-style backing.
19Strings1
COMP Compressor for use with strings.
20Strings2
COMP A variation on preset 19, intended for violas or cellos.
 
						

							184Chapter 15—Libraries
DM1000 Version 2—Owner’s Manual
EQ Library
This library enables you to store and recall EQ settings for Input Channels, Bus Outs 1–8, 
Aux Outs 1–8, and Stereo Out. The library contains 40 preset memories and 160 user (read-
able & writable) memories.
Follow the steps below to use the EQ library.
1Press the SELECTED CHANNEL EQUALIZER [DISPLAY] button repeatedly to 
display the EQ | EQ Library page.
21Strings3
COMPA variation on preset 20, intended for string instru-
ments with a very low range, such as cellos or contra-
bass.
22BrassSection
COMPCompressor for brass sounds with a fast and strong 
attack.
23Syn. Pad
COMPCompressor for musical instruments that feature gentle 
sounds which, depending on the tones, could diffuse, 
such as synth pad. Intended to prevent diffusion of the 
sound.
24SamplingPerc
COMPAND-SCompressor for making sampled percussion sound like 
real acoustic percussion.
25Sampling BD
COMPA variation on preset 24, intended for sampled bass 
drum sounds.
26Sampling SN
COMPA variation on preset 25, intended for sampled snare 
drum sounds.
27Hip Comp
COMPAND-SA variation on preset 26, intended for sampled loops 
and phrases.
28Solo Vocal1
COMP Compressor for use with main vocals.
29Solo Vocal2
COMP A variation on preset 28.
30Chorus
COMP A variation on preset 28, intended for choruses.
31Click Erase
EXPANDExpander for removing a click track that may bleed 
through from a musicians headphones.
32Announcer
COMPAND-HHard-kneed compander for reducing the level of the 
music when an announcer speaks.
33Limiter1
COMPAND-S A soft-kneed compander with a slow release.
34Limiter2
COMP A “peak-stop” compressor.
35Total Comp1
COMPCompressor for reducing the overall volume level. Use 
it on the stereo output during mixdown, or with paired 
Input or Output Channels.
36Total Comp2
COMP A variation on preset 35, but with more compression. No. Preset Name Type Description
1
3
4
2
 
						

							Using Libraries185
DM1000 Version 2—Owner’s Manual
Libraries
15
ACURRENT TYPE
This parameter displays the currently-selected channel EQ type (TYPE I or II).
BCURRENT CURVE
This graph displays the current EQ curve.
CLevel meters
These meters indicate the post-EQ levels of the currently-selected channel and its avail-
able pair partner.
DType & Curve section
The type and curve of the currently-selected EQ program are displayed here.
2Use the LAYER buttons to select layers, then press the [SEL] buttons to select 
channels.
You can now store the selected channel EQ settings or recall the EQ library memories to 
channels. For details on storing and recalling memories, see “General Library Operation” 
on page 173.
The following table lists the preset memories in the EQ library:
No. Preset Name Description
1Bass Drum 1Emphasizes the low range of a bass drum and the attack created by the 
beater.
2Bass Drum 2
Creates a peak around 80 Hz, producing a tight, stiff sound.
3Snare Drum 1
Emphasizes “snappy” and rimshot sounds.
4Snare Drum 2
Emphasizes various ranges for that classic rock snare drum sound.
5Tom-tom 1
Emphasizes the attack of tom-toms, and creates a long, “leathery” decay.
6Cymbal
Emphasizes the attack of crash cymbals, extending the “sparkling” decay.
7High Hat
Use on a tight high-hat, emphasizing the mid to high range.
8PercussionEmphasizes attack and adds clarity to the high-range of instruments, such 
as shakers, cabasas, and congas.
9E. Bass 1
Produces a tight electric bass sound by cutting very low frequencies.
10E. Bass 2
Unlike preset 9, this preset emphasizes the low range of an electric bass.
11Syn. Bass 1
Use on a synth bass with emphasized low range.
12Syn. Bass 2
Emphasizes the attack that is peculiar to synth bass.
13Piano 1
Makes pianos sound brighter.
14Piano 2Used in conjunction with a compressor, this preset emphasizes the attack 
and low range of pianos.
15E. G. CleanUse for line-level recording of an electric or semi-acoustic guitar to get a 
slightly harder sound.
16E. G. Crunch 1
Adjusts the tonal quality of a slightly distorted guitar sound. 
17E. G. Crunch 2
A variation on preset 16.
18E. G. Dist. 1
Makes a heavily distorted guitar sound clearer.
19E. G. Dist. 2
A variation on preset 18.
20A. G. Stroke 1
Emphasizes the bright tones of acoustic guitars.
21A. G. Stroke 2A variation on preset 20. You can also use it with an acoustic-electric nylon 
string guitar.
22A. G. Arpeg. 1
Ideal for arpeggio playing on acoustic guitars.
23A. G. Arpeg. 2
A variation on preset 22.
24Brass Sec.Use with trumpets, trombones, or saxes. When used with a single instru-
ment, try adjusting the HIGH or HIGH-MID frequency.
25Male Vocal 1An EQ template for male vocals. Try adjusting the HIGH or HIGH-MID 
parameters according to the voice quality.
26Male Vocal 2
A variation on preset 25.
 
						

							186Chapter 15—Libraries
DM1000 Version 2—Owner’s Manual
Surround Monitor Library
This library enables you to store and recall Surround Monitor settings. The library contains 
one preset memory that initializes the Surround Monitor settings, and 32 user (readable & 
writable) memories.
To access the Surround Monitor library, press the MONITOR [DISPLAY] button repeat-
edly until the Monitor | Surr Lib page appears. For details on storing and recalling memo-
ries, see “General Library Operation” on page 173.
27Female Vo. 1An EQ template for female vocals. Try adjusting the HIGH or HIGH-MID 
parameters according to the voice quality.
28Female Vo. 2
A variation on preset 27.
29Chorus&Harmo
An EQ template for brightening choruses.
30Total EQ 1Use on a stereo mix during mixdown. Sounds even better when used with a 
compressor.
31Total EQ 2
A variation on preset 30.
32Total EQ 3A variation on preset 30. Can also be used with paired Input or Output 
Channels.
33Bass Drum 3
A variation on preset 1, with low and mid range reduced.
34Snare Drum 3
A variation on preset 3, creating a thicker sound.
35Tom-tom 2
A variation on preset 5, emphasizing the mid and high ranges.
36Piano 3
A variation on preset 13.
37Piano Low
Emphasizes the low range of pianos recorded in stereo.
38Piano High
Emphasizes the high range of pianos recorded in stereo.
39Fine-EQ Cass
Add clarity when recording to or from cassette tape.
40Narrator
Ideal for recording narration. No. Preset Name Description
 
						

							Automix187
DM1000 Version 2—Owner’s Manual
Automix
16
16  Automix
This chapter describes the Automix function, which automates real-time mix operation, 
and explains how to use it.
About Automix
The DM1000 features an Automix function, which allows dynamic automation of virtually 
all mix parameters, including Levels, Mutes, Pan, Surround Pan, Aux Sends, Aux Send 
Mutes, EQ, and effects.
Various mixing events can be recorded in Automix. You can also punch channels or param-
eters in and out of recording on-the-fly, and edit most parameters off-line with 1/4 frame 
accuracy. Remote layer operations, and Scene and library recall operations can also be auto-
mated, which enables you to create mix automation that combines snap shots and dynamic 
mix parameter changes.
You can store up to 16 Automixes in the Automix library. You can also store an Automix or 
the entire Automix library to an external MIDI device, such as a MIDI data filer, by using 
MIDI Bulk Dump.
The following parameter events can be recorded in an Automix:
ParametersInput 
ChannelsBus Out 
MasterAux Send 
MasterStereo Out
Channel levels (faders)
OOOO
Channel mutes (ON/OFF)
OOOO
Pan
O———
Surround pan, LFE level, and DIV
O———
EQ (F, Q, G, On/Off)
OOOO
Aux Send 1–8 levels
O———
Aux Send 1–8 mutes
O———
Fader Group Master 
(Level, On/Off)—
Scene recalls
—
EQ, Gate, Comp, Effects, Channel 
library recalls—
Effects parameters
(certain parameters)—
User Defined Remote Layers 
(faders, [ON], Encoders)—
 
						

							188Chapter 16—Automix
DM1000 Version 2—Owner’s Manual
Setting Up for Automix Recording
This section describes the procedure you must perform before you start Automix recording.
Selecting the Timecode Source
Follow the steps below to select the timecode source and frame rate that the DM1000 uses 
for the Automix function.
1Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | Time 
Ref page appears.
This page enables you to select the timecode source for the Automix operation, and the port 
that receives the timecode.
ATIME REFERENCE section
Select one of the following timecode sources for the Automix operation.
•INTERNAL................... Internally generated timecode
•SMPTE.......................... SMPTE timecode received via the TIME CODE INPUT 
SMPTE connector
•MIDI CLOCK............... MIDI Clock received via the Rx PORT (specified on the Setup 
| MIDI/Host page)
•MTC-MIDI................... MTC received via the MIDI IN port
•MTC-USB..................... MTC received via the USB port
•MTC-REMOTE............ MTC received via the REMOTE connector
•MTC-SLOT1................. MTC received via Slot 1 (for use with an optional MY8-mLAN 
card installed in Slot 1)
BFRAMES
These parameter buttons select the SMPTE/MTC frame rate.
Cbutton
Move the cursor to this button, then press [ENTER]. The DM1000 quickly locates the 
Automix | Main page.
2Move the cursor to the TIME REFERENCE section and select the desired time-
code source.
3If you selected INTERNAL, SMPTE, or MTC timecode, move the cursor to one 
of the FRAMES parameter buttons to select the desired frame rate.
If the DM1000 receives timecode with a frame rate that differs from the specified rate, the 
error message “Frame Mismatch!” appears. If you select the SMPTE timecode, the error 
message “Frame Jump!” may appear, depending on the selected frame rate.
3
21
 
						

							Setting Up for Automix Recording189
DM1000 Version 2—Owner’s Manual
Automix
16
4If you select MIDI CLOCK, press the DISPLAY ACCESS [SETUP] button repeat-
edly until the Setup | MIDI/Host page appears (see page 246). Then, in the 
Rx PORT parameter box, specify the port or slot that receives MIDI Clock.
Creating a Time Signature Map
If you selected the MIDI CLOCK source, you must specify the initial time signature and any 
time signature changes that follow, according to the song. (If you do not do this, the song 
timing and Automix position may not match when playback starts in mid-song.)
1Press the DISPLAY ACCESS [SETUP] button repeatedly until the Setup | Time 
Sig page appears.
This page enables you to specify a measure number in the MEAS column and the time sig-
nature in the TIME column. By default, 4/4 is set in the first measure.
2To change the initial time signature, move the cursor to the TIME value in 
the first measure, and use the Parameter wheel or [INC]/[DEC] buttons to 
select the desired time signature.
3To insert a time signature change, specify the desired measure number in 
an empty box in the MEAS column, and specify the corresponding time sig-
nature in the TIME column.
To delete a time signature change, select it, then press [ENTER]. You cannot delete the ini-
tial time signature entry at measure #1.Tip:  
•If you select the MIDI CLOCK source, Automix will respond to MIDI Start, Stop, and Con-
tinue messages.
•An Automix will play back correctly even if the frame rate differs from that used when the 
Automix was originally recorded. However, an Automix recorded using MIDI Clock and 
an Automix recorded using other timecode sources are not compatible with one another.
 
						

							190Chapter 16—Automix
DM1000 Version 2—Owner’s Manual
Recording an Automix
This section describes a general procedure for Automix recording, including creating a new 
Automix, as well as recording the fader, [ON] button, and other controller events real-time.
Creating a New Automix
Follow the steps below to create a new Automix and select the parameters you want to 
record.
1Connect a timecode source to the DM1000.
2Select the timecode source on the Setup | Time Ref page (see page 188).
If you selected MIDI CLOCK timecode, create a time signature map (see page 189).
3Press the DISPLAY ACCESS [AUTOMIX] button repeatedly until the Automix 
| Main page appears.
This page enables you to set the basic Automix parameters, and record and play back Auto-
mixes.
4Move the cursor to the NEW button located in the lower-right corner of the 
page, then press [ENTER].
A confirmation window for creating a new Automix appears.
5Move the cursor to the YES button, then press [ENTER].
A new Automix is created.
6Move the cursor to the AUTOMIX DISABLED/ENABLED button, then press 
[ENTER] to switch it to ENABLED.
The new Automix is enabled.
7In the OVERWRITE section, select parameters you want to record.
The seven buttons in the OVERWRITE section enable you to select parameters to be 
recorded in the Automix, including the following. See page 196 for more information.
•FADER........................... Fader operation
•ON.................................. [ON] button on/off