Yamaha Promix 1 Manual

							 
Error Messages 
103 
ProMix 01 User’s Guide 
BULK Transmit(TX) OFF! 
Set BULK TX to ON on the MIDI SETUP LCD function, then try 
again. 
Control Change Transmit(TX) OFF! 
Set CONTROL TX to ON on the MIDI SETUP LCD function, then 
try again. 
Parameter not assigned. 
A parameter not assigned to a Control Change was found when trying 
to transmit mix scene data. Assign the parameter to a Control change, 
then try again. 
This COMP is still in use. 
A COMP is patched into the selected channel. Cancel the COMP 
patch, then try again. 
BULK transmission will be cancelled. 
Bulk Dump transmission has been cancelled. 
						

							 
104 
Appendix 
ProMix 01 User’s Guide 
ProMix 01 Compatible Products 
MFC1 MIDI Foot Controller 
The MFC1 is a MIDI foot controller that can transmit MIDI Program 
Change messages. This could be used with ProMix 01 for recalling 
mix scenes. With the addition of an optional FC7 Foot Controller and 
footswitch, the MFC1 can also transmit MIDI Control Change mes-
sages, which could be used for real-time ProMix 01 parameter 
control.  
QX3 MIDI Sequencer 
The QX3 is a dedicated 16-track MIDI sequencer. As well as recording 
MIDI data from musical instruments, it can be used to record 
ProMix 01 Program Change and Control Change messages for auto-
mated mixdowns. 
MDF2 MIDI Data Filer 
The MDF2 MIDI Data Filer provides convenient MIDI data storage 
for ProMix 01. Data can be bulk dumped from the ProMix 01 to the 
MDF2 for storage, and recalled at anytime. The MDF2 also provides 
real-time MIDI recording and playback.  
MIDI Boxes (YME8, YMM2, YMC10) 
The YME8 is a 1-in, 8-out MIDI expander box. It can also be used as 
a 2-in, 4-out expander. This type of MIDI distribution box minimizes 
MIDI delays, which can occur when MIDI devices’ MIDI THRU con-
nections are used. The YMM2 is a 2-in MIDI merge box. It can, for 
example, be used to merge the MIDI data from two MIDI controllers 
for connection to a MIDI sequencer with only one MIDI input. The 
YMC10 is an FSK to MIDI converter box. It provides an FSK type 
code for tape striping. During playback it converts that code into 
MIDI clock pulses for a MIDI sequencer or drum machine to sync to. 
DMC1000 
The DMC1000 is an 8-input, 8-bus, 8-monitor digital mixing con-
sole, with 28-bit internal processing and full automation. The 
ProMix 01 can be used as a sub mixer to expand the number of 
DMC1000 channels. ProMix 01 can be connected directly to one of 
the DMC1000’s CD/DAT format digital inputs. 
						

							 
General Specifications 
105 
ProMix 01 User’s Guide 
General Specifications 
Frequency Response 
20 Hz–20 kHz +1, –3 dB (@ +4 dB into 600  
W 
) 
THD 
Less than 0.1% (20 Hz–20 kHz @ +14 dB into 600  
W 
) 
Dynamic Range 
105dB typ. (ST IN to ST OUT AD/DA converters) 
Hum & Noise (20Hz–20kHz)*
Rs = 150 ohms. Input gain max. 
Input pad = 0dB. Input sensitivity = –60dB. 
–128dB Equivalent Input Noise
–88dB residual stereo output noise (ST OUT = OFF)
–88dB (92dB S/N) stereo output (ST OUT fader nominal, CH faders min.)
–64dB (68dB S/N) (ST OUT fader nominal, 1 channel fader at nominal) 
Maximum Voltage Gain 
76dB input channel to stereo output
76dB input channel to sends 3 & 4 (pre-fader)
12dB stereo input to stereo output
76dB input channel to monitor output (via ST bus) 
Crosstalk (@1kHz) 
–70dB adjacent input channels
–70dB input to output 
Sampling Frequency 
48 kHz 
A/D Converter 
20-bit linear 64-times oversampling 
D/A ConverterStereo Out 
20-bit linear 8-times oversampling 
Monitor out, SEND3, 4 
18-bit linear 8-times oversampling
ProcessingInternal24-bit linear
EQ36-bit linear
Signal DelayLess than 3.5ms (input channel to stereo output)
GAIN control44dB (–60...–16dB) continuously variable
PAD0/20dB attenuation
PAN33-position
Parametric EQLowF= 32 Hz–1 kHz; G= ±15 dB; Q=1/6, 1/4, 1/3, 1/2, 3/4, 1, 3/2, 2, 3 oct, shelving
MidF= 32 Hz–18 kHz; G= ±15 dB; Q=1/6, 1/4, 1/3, 1/2, 3/4, 1, 3/2, 2, 3 oct
HighF= 1 kHz–18 kHz; G= ±15 dB; Q=1/6, 1/4, 1/3, 1/2, 3/4, 1, 3/2, 2, 3 oct, shelving
Effects TypesReverb, delay, chorus, symphonic, flange, pitch change, phasing, tremolo, auto pan
Compressor TypesCompressor, Gate, Ducking
FadersType60 mm motorized
Resolution+6dB...–66dB, –¥dB (128 position)
MemoriesScenes50
Internal Effects30 preset, 10 user
EQ Presets30 preset, 20 user
COMP10 preset, 10 user
LCD display240 x 64 dot backlit graphic LCD display
Meters2 ´ 12-segment LED bars
Power require-
mentsUS & Canada model120V AC, 60Hz
General model230V AC, 50Hz
British model240V AC, 50Hz
Power Consumption70 W
Weight12.5 kg (27.6 lb)
Dimensions (W ´ H ´ D)435 ´ 124.7 ´ 487.4 mm (17.1 ´ 5 ´ 19.2)
Free-air operating temperature range10˚C–35˚C (50˚F–95˚F)
Supplied AccessoriesButton protector
Optional ExtrasRack-Mount kit (RK01)
Wooden side panels (W01SP)
Carrying case
Color fader knob set (FK8R, G, B, W, Y)
* Hum & noise measured with a 6dB/octave 12.7kHz LPF, equivalent to a 20kHz filter with infinite dB/octave attenuation. 
						

							106Appendix
ProMix 01 User’s Guide
Input Specifications
*1. Sensitivity is the lowest input level that will produce an output of +4dB (1.23V), 
the nominal output level when ProMix 01 is set to maximum gain (all level controls 
and faders set to maximum).
*2. XLR-type connectors are balanced (1=GND, 2=HOT, 3=COLD).
*3. MIC INPUT phone jacks are balanced (Tip=HOT, Ring=COLD, Sleeve=GND). 
*4. STEREO IN phone jacks are unbalanced.
*5. 2TR IN RCA/phono jacks are unbalanced.
*6. In these specifications, dB represents specific voltages. 0dB is referenced to 0.775 
volts RMS.
Output Specifications
*1. Balanced connection (1=GND, 2=HOT, 3=COLD).
*2. Unbalanced connection.
* In these specifications, dB represents specific voltages. 0dB is referenced to 0.775 
volts RMS. Input connection PAD *4 GAINActual load 
impedanceFor use with 
nominalInput level
Mixer connector
Sensitivity 
*1NominalMax. 
before clip
CH INPUT
CH1–CH80 –60
3k W50–600 W 
mics & 
600 W lines–72dB 
(194mV)–60dB 
(775mV)–40dB 
(7.75mV)
XLR-3-31 type *2 0
–16–28dB 
(30.9mV)–16dB 
(123mV)+4dB 
(1.23V)
20–8dB 
(309mV)+4dB 
(1.23V)+24dB 
(12.3V)
CH INPUT
CH9–CH160 –60
10k W50–600 W 
mics &
600 W lines–72dB 
(194mV)–60dB 
(775mV)–40dB 
(7.75mV)
Phone jack (TRS) 
*3 0
–16–28dB 
(30.9mV)–16dB 
(123mV)+4dB 
(1.23V)
20–8dB 
(309mV)+4dB 
(1.23V)+24dB 
(12.3V)
STEREO IN [L, R]— — 10k W600 W lines–8dB 
(309mV)+4dB 
(1.23V)+24dB 
(12.3V)Phone jack *4
2TR IN [L, R]— — 10k W600 W lines–10dB 
(245mV)–10dB 
(245mV)+6dB 
(1.55V)RCA/phono *5
Output connectionActual source 
impedanceFor use with 
nominalOutput level
Mixer connector
Nominal Max. before clip
ST OUT (L, R)150 W600 W lines +4dB (1.23V) +24dB (12.3V) XLR-3-32 type *1
REC OUT (L, R)600 W10k W lines –10dB (245mV) +10dB (2.45V) RCA/phono *2
MONITOR OUT (L, R)600 W10k W lines +4dB (1.23V) +20dB (7.75V) Phone jack *2
AUX SEND (3, 4)600 W10k W lines +4dB (1.23V) +20dB (7.75V) Phone jack *2
PHONES100 W8 W phones 1 mW 25 mW
Stereo phone jack *2
40 W phones 3 mW 110 mW 
						

							Digital OUT & MIDI Specifications107
ProMix 01 User’s Guide
Digital OUT & MIDI Specifications
Digital Out Channel Status
All specifications subject to change without notice.Output connection Format  Level Mixer connector
DIGITAL OUT (COAXIAL)S/PDIF 0.5Vpk-pk/75 WRCA/phono
MIDI INMIDI — 5-pin DIN
MIDI OUTMIDI — 5-pin DIN
FormatConsumer
CategoryAD converter
Copy ProhibitNo
EmphasisNo
Type2 Channel audio signal
Clock AccuracyLevel 2 (300 ppm) 
						

							108Appendix
ProMix 01 User’s Guide 
						

							 
Glossary 
109 
ProMix 01 User’s Guide 
Glossary 
A/D converter  
 — An electronic device that converts analog signals 
into digital signals.  
Aliasing  
 — A type of signal distortion that occurs during A/D con-
version if the sampling frequency is less than twice that of the highest 
audio frequency. A/D converters employ aliasing filters to filter out 
audio frequencies higher than half the sampling frequency.   
See also  
 
Nyquist Sampling Theorem.  
BGM (Background Music)  
 — Music played in the background as 
a backdrop to a main event. Can be used as an accompaniment, or to 
create a mood.   
Bulk Dump  
 — A ProMix  01 MIDI function that allows data transfer 
between ProMix 01s. Data is transmitted as MIDI System Exclusive.  
Bus  
 — In an audio mixer, a common conductor used to collect and 
distribute signals. The ProMix 01 has the following buses: SEND1, 
SEND2, SEND3, SEND4, ST, and CUE.  
IEC958 (Consumer)  
 — A digital interface format that is used to 
transfer digital audio data between consumer type digital audio 
equipment such as CD players, consumer DAT recorders, DCC, and 
Mini Disc recorders. Two channels of digital audio (left & right) are 
carried in one connection, usually a phono/RCA jack type connec-
tion. This format is often called S/PDIF (Sony/Phillips Digital Inter-
face Format). ProMix 01 DIGITAL REC OUT uses this format.  
Channel mode  
 — The mode in which each bank of MIDI Control 
Change messages used to control ProMix 01 parameters are trans-
mitted on individual MIDI channels.   
Confidence monitoring  
 — Monitoring directly from a recording 
medium to make sure that program material is being recorded cor-
rectly. On an analog tape recorder, signals are picked up by the play-
back head immediately after being recorded to tape by the record 
head. This allows for confidence monitoring. It is not possible on a 
tape recorder with combined record and play heads. A DAT must have 
4 heads (inside one drum) for confidence monitoring.  
Control Change  
 — A type of MIDI message that offers real-time 
control. Typical Control Changes include Modulation, Volume, Pan, 
and Portamento. All ProMix 01 mix parameters can be controlled 
using MIDI Control Change messages  
D/A converter  
 — An electronic device that converts digital signals 
into analog signals.   
DSP (Digital Signal Processor)  
 — A chip designed specifically for 
processing large amounts of data at high speed in real time. This type 
of processor is ideal for handling digital audio data. 
						

							 
110 
Glossary 
ProMix 01 User’s Guide 
Dynamic mix automation  
 — Mixdown automation where mix 
settings are adjusted in real time.  
Dynamic range  
 — The difference between the loudest and quietest 
signal levels in a system. In an audio device, usually the difference 
between the maximum output level and the residual noise floor. In a 
digital system, the available dynamic range is determined by the data 
resolution, about 6dB per digital bit. Hence, a 16-bit system theoret-
ically provides a 96dB dynamic range.   
Edit Buffer  
 — The internal RAM area that stores the current 
ProMix  01 mix settings (i.e. the current mix scene). When a mix scene 
is stored, the Edit Buffer data is copied to the selected scene memory. 
When a mix scene is recalled, the data of the selected scene memory 
is copied back to the Edit Buffer.  
LCD function  
 — A ProMix  01 function that does not have dedicated 
hardware controls. LCD function parameters are selected on the LCD 
display and set using the PARAMETER wheel.  
LED (Light Emitting Diode)  
 — An electronic component that 
lights up when an electric current is applied. ProMix 01 [SEL] and 
[ON] buttons and stereo output meters use LEDs.  
MIDI  
 — An acronym for Musical Instrument Digital Interface. An 
internationally agreed standard that allows electronic musical instru-
ments to communicate with each other.   
Mix scene  
 — A set of mixer settings at a particular point in a song. 
Just like a play, a piece of music consists of various scenes, each requir-
ing different mixer settings. Mix scenes are stored in scene memories, 
and can be recalled using front panel buttons or MIDI Program 
Changes. These messages can be sent from a computer, MIDI foot-
switch, keyboard, or sequencer.   
See  
   
also  
 Scene Memory.  
Modulation  
 — in general audio, using an LFO (low frequency oscil-
lator) to control a signal’s frequency (pitch) or amplitude (level). The 
LFO frequency is set using modulation frequency parameters and the 
amount of LFO control is set using modulation depth parameters. 
Delay time and auto-pan speed parameters are also modulated.  
Nyquist Sampling Theorem  
 — This theorem states that the sam-
pling frequency of a digital audio system must be at least twice that 
of the highest audio frequency, otherwise waveform distortion called 
aliasing will occur.   
See also  
 Aliasing.   
Oversampling  
 — Sampling an audio signal at a rate higher than the 
normal sampling frequency. The net effect is that noise from quanti-
zation errors is reduced.  
PAM  
 — An abbreviation for Pulse Amplitude Modulation. In the 
first part of the A/D conversion, pulses occurring at the sampling fre-
quency are modulated by an analog audio signal.   
See also  
 PCM. 
						

							 
Glossary 
111 
ProMix 01 User’s Guide 
Peaking  
 — A type of EQ circuit used to cut and boost a band of fre-
quencies. It produces a mountain-peak type response curve. The 
width of the frequency band is controlled by the Q parameter. Mid-
band EQ is usually of the peaking type.  
 Compare with  
 Shelving.  
PCM  
 — An abbreviation for Pulse Code Modulation. In the second 
part of the A/D conversion, the pulses derived using PAM are con-
verted into binary data words using PCM.   
See also  
 PA M .  
Q  
 — The unit used to measure an EQ circuit’s selectivity. For high 
values the frequency band is narrow. For low values, it is wide. 
ProMix 01 Q is stated in musically intuitive octaves.  
Quantization  
 — The PCM process where PAM pulses are approx-
imated to the nearest binary value available. In the ProMix 01 20-bit 
system, pulses can be approximated to any one of 1,048,576 binary 
values. That’s four times more than a 16-bit CD system. These 
approximations can result in quantization errors (i.e. noise). How-
ever, this is reduced by oversampling, as featured on ProMix 01.  
Pink noise  
 — A type of random noise that contains an equal amount 
of energy per   
octave  
. The bands 100–200, 800–1600, and 3000–6000 
all contain the same amount of energy. White noise, on the other 
hand, has an equal amount of energy per   
frequency band  
. That is, 
100–200, 800–900, and 3000–3100.  
Program Change  
 — A type of MIDI message that is used to recall 
programs and patches. On the ProMix 01 they recall mix scenes.   
RAM (Random Access Read & Write Memory)  
 — A type of 
memory chip that stores data that can be edited, but requires a con-
tinuous electrical charge. ProMix 01 mix settings and mix scenes are 
stored in RAM. An internal backup battery provides the continuous 
charge.   
Contrast with  
 ROM.  
Register mode  
 — The mode in which all MIDI Control Change 
messages used to control ProMix 01 parameters are transmitted on 
the same MIDI channel and MIDI Control Change 98 (Non Regis-
tered Parameter LSB) is used to identify banks. 
ROM (Read Only Memory) 
 — A type of memory chip that stores 
data that cannot be edited, but does not require a continuous electri-
cal charge. The ProMix 01 operating system is stored in ROM.  
Con-
trast with 
 RAM.  
Sampling frequency 
 — The number of times per second that an 
analog audio signal is sampled (measured) during A/D conversion. 
The value of each sample is stored as a data word. Once in the digital 
domain, the data usually remains at the same sampling frequency 
until final D/A conversion. 
Scene memory 
 — A ProMix 01 memory location used to store a 
mix scene.  
See also  
 Mix scene. 
						

							 
112 
Glossary 
ProMix 01 User’s Guide 
Shelving 
 — A type of EQ circuit used to cut and boost frequencies 
above or below a set frequency. It produces a shelf-looking response 
curve. High and low EQs are usually of the shelving type. ProMix 01 
high and lows, however, can also be configured as peaking types.  
Compare with 
 Peaking. 
Snapshot 
 —  
See 
 Mix scene.  
S/N (Signal to Noise ratio) 
 — In an audio system, the difference 
between the nominal signal level and the residual noise floor, usually 
expressed as a ratio in decibels. 
System Exclusive 
 — A type of MIDI message that is used to trans-
mit data between MIDI devices exclusively. The ProMix 01 uses Sys-
tem Exclusive messages to transmit mix scene and setup data between 
ProMix 01s.  
See also 
 Bulk Dump.  
Further Reading 
If you want to know more about ProMix 01 related subjects, here are 
a few suggested books.
• 
Practical Recording Techniques, 
 Bruce and Jenny Bartlett, Sams, 
1992. 
  
A step-by-step guide to modern recording techniques.
• 
Introducing Digital Audio 
, Ian R Sinclair, second edition, PC Pub-
lishing, 1992. A good all-around introduction to digital audio for 
experienced analog users. Second edition explains oversampling 
and bitstream techniques.
• 
Principles of Digital Audio 
, Ken C. Pohlmann, Howard W.Sams & 
Co, 1989. Covering all aspects of digital audio, this book is ideal 
for the newcomer who wants to know the basics — plus a bit more.
• 
The Art of digital Audio 
, John Watkinson, Focal Press (Butterworth 
Group), 1990. An essential read for digital audio professionals — 
but only for the serious!
• 
The MIDI Ins, Outs & Thrus 
, Jeff Rona, Hal Leonard Publishing, 
1992. An excellent introduction to MIDI with many illustrations 
for easy understanding.
• 
MIDI Systems & Control 
, Francis Rumsey, second edition, Focal 
Press, 1994. Covers all MIDI topics in detail and looks at how 
MIDI can be used to control systems (i.e. digital mixers, synths).
• 
Yamaha Sound Reinforcement Handbook 
, Gary Davis and Ralph 
Jones, second edition, Hal Leonard Publishing Corporation, 1990. 
Although primarily concerned with sound reinforcement, many 
of the subjects covered also apply to ProMix 01 applications. The 
second edition also includes a comprehensive section on MIDI.