Yamaha Promix 1 Manual

							 
EQ Presets 
23 
ProMix 01 User’s Guide 
EQ Presets 
Program # Program Name DescriptionParameter
Low Mid High 
1 RESETReset the EQ (G = 0dB, F and Q = their 
initial values...same as mix scene 00).G 0dB 0dB 0dB
F 80Hz 2.0kHz 10kHz
Q SHELF 3/2oct SHELF
2 LOUDNESSSame as loudness function on a hi-fi 
amp. Improves listening at low vol-
ume levels.G +5dB +3dB 0dB
F 80Hz 200Hz 10kHz
Q SHELF 2oct SHELF
3 EQ DISCOLow and high boost for disco and 
dance.G +5dB -4dB +4dB
F 90Hz 700Hz 12kHz
Q 3oct 1/6oct 3oct
4 EQ POPSMid and high range emphasis for pop 
music.G 0dB +2dB +2dB
F 100Hz 2.8kHz 10kHz
Q SHELF 3oct 3oct
5 EQ ROCKLow and high range emphasis for rock 
music.G +4dB +2dB +4dB
F 80Hz 2.5kHz 12kHz
Q 1oct 1oct SHELF
6 EQ LIVELow, Mid, and high emphasis for a live 
sound.G +3dB +1dB +2dB
F 125Hz 700Hz 12kHz
Q SHELF 2oct SHELF
7 TIGHT DRUMS Tight EQ for pop music drums. G +5dB -5dB +4dB
F 80Hz 400Hz 2.5kHz
Q 3/4oct 1/3oct 3/2oct
8 LOUD DRUMS Loud EQ for rock drums.G +5dB +2dB +1dB
F 110Hz 2.0kHz 12kHz
Q SHELF 3/2oct 3oct
9 KICK DRUMKick drum EQ that emphasizes beater 
attack and drum shell echo.G +8dB -7dB +5dB
F 80Hz 400Hz 2.5kHz
Q 3/4oct 1/6oct 1/3oct
10 SNARE 1 Tight and clean snare.G +2dB +1dB +3dB
F 200Hz 1.4kHz 5.6kHz
Q SHELF 3/2oct 3oct
11 SNARE 2 Big snare sound.G +5dB -6dB +5dB
F 200Hz 700Hz 3.2kHz
Q 3/4oct 1/6oct 3oct
12 CYMBALSCymbal EQ that emphasizes stick hit 
and bell ride.G +2dB 0dB +4dB
F 200Hz 2.0kHz 12kHz
Q SHELF 3/2oct SHELF
13 HI-HATS Tight EQ for hi-hats.G -3dB -2dB +3dB
F 80Hz 250Hz 8.0kHz
Q SHELF 1/6oct SHELF
14 TOMSTom-tom EQ that emphasizes echo 
and attack.G +4dB -1dB +3dB
F 200Hz 900Hz 4.0kHz
Q SHELF 3/2oct 3oct
15 E.BASSElectric bass EQ for a clear bottom end 
and a greater sense of pitch.G +5dB -1dB +4dB
F 90Hz 450Hz 2.5kHz
Q 1oct 1/4oct 1oct 
						

							 
24 
Chapter 3: Mixer Functions 
ProMix 01 User’s Guide 
16 WOOD BASSWooden bass EQ with low range em-
phasis.G +2dB +1dB +2dB
F 80Hz 315Hz 2.2kHz
Q 3oct 3/2oct SHELF
17 ACOUSTIC GUITARAcoustic guitar EQ with high range 
emphasis.G +2dB +3dB +4dB
F 180hz 4.0kHz 7.0kHz
Q 2oct 2oct SHELF
18 TRUMPET EQ for sustaining trumpet.G +1dB +1dB +4dB
F 360Hz 1.4kHz 5.6kHz
Q 3oct 1oct 2oct
19 SAXOPHONE EQ for sustaining saxophone.G +3dB +1dB +3dB
F 315Hz 900Hz 3.6kHz
Q 2oct 1/4oct SHELF
20 PIANO EQ for a natural piano sound.G +2dB +1dB +1dB
F 140Hz 2.0kHz 5.0kHz
Q SHELF 2oct 3oct
21 MALE VOCALMale vocal EQ with low and mid 
range emphasis.G +3dB +1dB +2dB
F 280Hz 1.8kHz 5.0kHz
Q 3oct 3/4oct SHELF
22 FEMALE VOCALFemale vocal EQ with mid and high 
emphasis.G -1dB +1dB +2dB
F 220Hz 2.0kHz 7.0kHz
Q SHELF 3oct 3oct
23 CHORUS EQ for male, female, or mixed chorus.G +1dB +2dB +5dB
F 280Hz 1.4kHz 5.6kHz
Q 3oct 3/2oct SHELF
24 MALE ANNOUNCER Male announcer EQ providing clarity.G -3dB +2dB -4dB
F 100Hz 4.5kHz 7.0kHz
Q 1oct 3oct SHELF
25 FEMALE ANNOUNCERFemale announcer EQ with mid range 
emphasis.G -3dB +3dB -1dB
F 200Hz 2.0kHz 8.0kHz
Q SHELF 1oct SHELF
26 TELEPHONE VOICETelephone voice EQ. Low and high 
range cut.G -15dB +12dB -10dB
F 500Hz 1.1kHz 9.0kHz
Q SHELF 2oct 3/4oct
27 NOTCH 4kHzNotch filter tuned to 4kHz for reduc-
ing acoustic feedback.G 0dB 0dB -10dB
F 80Hz 2.0kHz 4.0kHz
Q SHELF 3/2oct 1/6oct
28 HUM REDUCE 50HzNotch filters for 50Hz mains-born 
hum reduction.G -9dB -10dB 0dB
F 50Hz 160Hz 10kHz
Q 1/6oct 1/6oct SHELF
29 HUM REDUCE 60HzNotch filters for 60Hz mains-born 
hum reduction.G -9dB -10dB 0dB
F 60Hz 180Hz 10kHz
Q 1/6oct 1/6oct SHELF
30 W. NOISE REDUCEHigh range cut for reducing analog 
tape noise.G 0dB 0dB -13dB
F 80Hz 2.0kHz 16kHz
Q SHELF 3/2oct SHELF 
Program # Program Name DescriptionParameter
Low Mid High 
						

							 
Faders 
25 
ProMix 01 User’s Guide 
Faders 
ProMix 01 faders are motorized, which means that they can position 
themselves automatically. So all faders in a group or stereo pair move 
automatically when you move any fader in that group or stereo pair. 
Fader positions are stored in mix scenes, so when a mix scene is 
recalled the faders move automatically to their new positions. Fader 
positions are stored when ProMix  01 is powered OFF. So even if faders 
have been moved, they return automatically to their previous posi-
tions when ProMix 01 is powered ON again.
The faders are multifunction controls, which means they are used to 
control more than one signal. The signal controlled by a fader at any 
given time depends on the selected LCD function. The following table 
shows how it works. Essentially, faders work as conventional mixer 
faders unless the SEND1, SEND2, SEND3, or SEND4 LCD function 
is selected. In this case, they work as channel-to-send level controls. 
The current LCD function is shown in the FUNCTION area on the 
display. When a SEND LCD function is selected, a flashing fader icon 
appears. When there’s no flashing fader icon, you know the faders are 
working as channel-to-mix level controls.   
ON Buttons 
The [ON] buttons are used to turn channels ON and OFF. The input 
channel, stereo input channel, and stereo output [ON] buttons turn 
their respective channels ON and OFF. The RTN/SEND [ON] button, 
on the other hand, is used to turn RTN1, RTN2, SEND3, and SEND4 
ON and OFF. Therefore, you must use the RTN/SEND [SEL] button 
to select the channel that you want to turn ON and OFF beforehand. 
When a channel is turned ON, its [ON] button LED lights up. When 
it’s turned off, the LED goes off. Stereo-pair channels are turned ON 
and OFF together. 
All LCD functions 
except—>SEND1 SEND2 SEND3 SEND4
Channel 1 fader 
Channel 1—Fader Channel 1—SEND1 Channel 1—SEND2 Channel 1—SEND3 Channel 1—SEND4 
Channel 16 fader 
Channel  16—Fader Channel 16—SEND1 Channel 16—SEND2 Channel 16—SEND3 Channel 16—SEND4 
ST IN fader 
ST IN—Fader ST IN—SEND1 ST IN—SEND2 ST IN—SEND3 ST IN—SEND4 
RTN/SEND fader 
Selected RTN/SEND 
channelRTN1 (Internal 
Effect1 return)RTN2 (Internal 
Effect2 return)SEND3 (master send 
level)SEND4 (master send 
level) 
ST OUT fader 
Stereo Output (main stereo outputs) 
Note:  
Fader travel is divided into 128 steps. If a fader is on the border 
between steps, it may, in rare circumstances, move one step on its own. 
Probably due to a temperature change. In this case, the EDIT indicator 
appears and the corresponding Control Change message is output. 
6
0
5
10
20
40
60
00
~ ~
~
~
~
~
ON 
						

							26Chapter 3: Mixer Functions
ProMix 01 User’s Guide
Pan and Balance
The PAN LCD function is used to pan and balance signals. Input 
channels, the stereo input channel, RTN1, and RTN2 can be panned, 
and the stereo output can be balanced. 
The PAN LCD function consists of two displays. One shows the 16 
input channel pans. The other, the stereo input (ST IN), RTN1, and 
RTN2 pans, and stereo output balance (ST OUT). Pressing a channel 
[SEL] button selects the corresponding display and pan control auto-
matically. You can also use the cursor buttons to select pan controls 
and switch between the displays. Pressing the [PAN/
Æ] button repeat-
edly cycles through the displays (also the PHASE display). Both dis-
plays are shown below. 
The number of the selected channel is highlighted. Channel pan posi-
tions are indicated by marker lines, just like the ones on real knobs. 
The horizontal bar, at the bottom the display, shows the pan position 
and value of the selected channel. 
Including center, there are 33 pan positions. 
Stereo Output Balance
The ST OUT control allows you to balance the left and right signals 
of the stereo output. As the control is moved away from center, the 
level of one signal is increased, while the other is decreased. This con-
trol does not affect the stereo width. The balance control range is the 
same as for pan (33 positions).
L16¬L15¬´´´¬L2¬L1¬ C ®R1®R2®´´´®R15®R16
Left
CenterRight
1. Select a channel using the 
[SEL] buttons.
2. Press [PAN/Æ].
The PAN LCD function 
appears. If the PHASE display 
appears, press [PAN/Æ] 
again.
3. Use the PARAMETER wheel 
to set the pan or balance.
Other channels can be 
selected using the [SEL] but-
tons or cursor buttons.  
						

							Stereo-Pair Pans27
ProMix 01 User’s Guide
Stereo-Pair Pans
When input channels are paired, their pan controls appear as one 
dual-concentric control (i.e. one control inside the other), as shown 
below. Horizontal bars, at the bottom of the display, show the pan 
positions and values of the selected channel pair. When channels are 
paired using ST RESET, the odd channel is automatically panned 
hard-left and the even channel, hard-right. See “Pairing Channels” on 
page 58.
GANG and INDIVIDUAL modes provide simultaneous and individ-
ual pan adjustment, respectively. The current mode is shown at the 
bottom right of the display and can be set by pressing [ENTER]. It 
can also be set by selecting the GANG or INDIVIDUAL parameter 
with the cursor buttons and then using the PARAMETER wheel.
Stereo Width
In INDIVIDUAL mode, the width of a stereo signal can be set. When 
the pan controls are set hard-left and hard-right, the stereo width is 
100%. With both pans set to center the stereo width is 0%. Setting the 
controls to a position in between allows you to set the stereo width 
from 0% to 100%. To maintain a central balance, however, you must 
set both controls to the same left and right values. For example, 
L5–R5, or L10–R10. 
Switching back to GANG mode allows you to reposition the stereo 
signal within the stereo field. Note that this is not stereo balance, 
which is the individual adjustment of the left and right signal levels.
The following display shows paired input channels 1 and 2 with a 
reduced stereo width. Input channels 3 and 4 also have a reduced ste-
reo width and have been repositioned in the stereo field using GANG 
mode. 
						

							28Chapter 3: Mixer Functions
ProMix 01 User’s Guide 
						

							Auxiliaries and Effects29
ProMix 01 User’s Guide
4
Auxiliaries and Effects
In this chapter... 
About Auxiliaries  . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   30
About Effects   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   30
Preset Effects Programs  . . . . . . . . . . . . . . . . . . . . . . . .   30
Stereo Input Channel and Sends   . . . . . . . . . . . . . . . .   31
Applying Effects  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   31
Sending a Channel Signal   . . . . . . . . . . . . . . . . . . . . . .   32
SEND1 and SEND2 Pre or Post   . . . . . . . . . . . . . . . . .   32
Returning the Processed Signal . . . . . . . . . . . . . . . . . .   33
Recalling Effects Programs   . . . . . . . . . . . . . . . . . . . . .   34
Editing Effects Programs  . . . . . . . . . . . . . . . . . . . . . . .   35
Storing Effects Programs  . . . . . . . . . . . . . . . . . . . . . . .   36
Preset Effects Program Parameters . . . . . . . . . . . . . . .   37
SEND3 and SEND4  . . . . . . . . . . . . . . . . . . . . . . . . . . .   45
SEND3 and SEND4 Pre or Post   . . . . . . . . . . . . . . . . .   45
SEND3-4 Stereo Pair  . . . . . . . . . . . . . . . . . . . . . . . . . .   46
SEND3-4 Channel Pans & Balance   . . . . . . . . . . . . . .   47
SEND3-4 Output Balance  . . . . . . . . . . . . . . . . . . . . . .   47
SEND3-4 Block Diagram   . . . . . . . . . . . . . . . . . . . . . .   48 
						

							30Chapter 4: Auxiliaries and Effects
ProMix 01 User’s Guide
About Auxiliaries
ProMix 01 has four auxiliary sends: SEND1, SEND2, SEND3, and 
SEND4. And two auxiliary returns: RTN1 and RTN2. Auxiliary sends 
can be configured pre-fader or post-fader. SEND1 and SEND2 are 
used to feed the internal effects processors: Effect1 and Effect2. RTN1 
and RTN2 are used to return the processed signals.
SEND3 and SEND4 can be used to feed external effects processors, 
foldback amplifiers, or multitrack recording equipment. When 
SEND3 or SEND4 is used to feed an external effects processor, the 
processed signal can be returned via the stereo input channel or an 
unused input channel. SEND3 and SEND4 can also be used as a stereo 
pair. See “SEND3-4 Stereo Pair” on page 46 for more details.
About Effects
ProMix 01 features two stereo internal multi-effects processors: 
Effect1 and Effect2. These are fed by SEND1 and SEND2, and the pro-
cessed signals are returned via RTN1 and RTN2, respectively. Effects 
can be applied to input channels and the stereo input channel. Effects 
are organized into programs. There are 30 preset effects programs 
(1–30) and 10 user effects programs (31–40) for you to store your own 
settings. 
Preset Effects Programs
These are the preset effects programs.
See “Preset Effects Program Parameters” on page  37 for a detailed list-
ing of the preset effects program parameters.
1 Reverb Hall 1 16 Chorus–>Delay L-C-R
2 Reverb Hall 2 17 Delay–>Chorus
3 Reverb Room 1 18 Karaoke Echo 1
4 Reverb Room 2 19 Karaoke Echo 2
5 Reverb Stage 20 Stereo Pitch Change
6 Reverb Plate 21 Vocal Doubler
7 Rev Ambience 1 22 Funny Pitch
8 Rev Ambience 2 23 Chorus
9 Rev Live Room 1 24 Broad Chorus
10 Rev Live Room 2 25 Symphonic
11 Reverb Vocal 26 Flange
12 Chorus–>Reverb 27 Super Flange
13 Flange–>Reverb 28 Phasing
14 Delay L–C–R 29 Tremolo
15 Mono Delay->Chorus 30 Auto Pan 
						

							Stereo Input Channel and Sends31
ProMix 01 User’s Guide
Stereo Input Channel and Sends
Input channels 1 through 16 handle only a single signal. The stereo 
input channel, however, handles two signals: left and right. So before 
feeding the stereo input signal to the SEND1, SEND2, SEND3, and 
SEND4 send level controls, the left and right signals are summed to 
form a mono L+R mix. 
When SEND3 and SEND4 are used as a stereo pair, however, only the 
stereo input signals feeding SEND1 and SEND2 are summed. For 
SEND3-4, the left signal is fed to SEND3 and the right signal is fed to 
SEND4. The stereo input-to-SEND3-4 left and right signals can be 
balanced using the ST IN balance control on the SEND3-4 pan dis-
play. See “SEND3-4 Stereo Pair” on page  46 for more details about the 
SEND3-4 stereo pair. 
Applying Effects
There are three steps to applying effects:
1. Send a channel signal via SEND1 or SEND2 (set the level).
2. Return the processed signal via RTN1 or RTN2 (EQ, level, pan).
3. Set up Effect1 or Effect2 (recall, edit, and store).
These steps are explained fully in the following sections. 
						

							32Chapter 4: Auxiliaries and Effects
ProMix 01 User’s Guide
1. Press [SEND1] or [SEND2].
The SEND1 or SEND2 LCD 
function appears. If you didn’t 
exit after your last effect edit, 
the EFFECT EDIT LCD function 
appears instead.
The channel faders are now 
controlling channel-to-send 
levels and the RTN/SEND 
fader, the corresponding 
return (RTN1 or RTN2).
2. Raise the channel fader.
0dB is a good fader position 
to start with. You can always 
readjust later.
For post-fader sends you must 
set the normal fader too.
The LCD meters display the 
stereo effects return levels.
3.  Raise the RTN/SEND fader.
The processed signal is fed 
back into the stereo mix.
Effects returns can be EQ’d 
and panned. See “Returning 
the Processed Signal” on 
page 33.
Sending a Channel Signal
Sending a channel signal via SEND1 or SEND2 is the first step to using 
effects. There are no master send level controls, so you only need to 
set the channel send levels. 
Shown below is the SEND1 LCD function. The SEND2 LCD function 
is essentially the same. Level meters for the stereo effects return signals 
are on the right. Meter signals are sourced after the effects. Ideally the 
level should be set relatively high and it’s OK to reach CLIP occasion-
ally. If CLIP is reached often, however, reduce the send level a little, 
otherwise signal distortion may occur.
SEND1 and SEND2 Pre or Post
SEND1 and SEND2 can be configured as pre-fader or post-fader, and 
the current setting is shown at the bottom right of the display. This 
setting affects all channels, so if SEND1 is set to PRE, all channel 
SEND1s are pre-fader. Initially, SEND1 and SEND2 are configured as 
post-fader, the usual setting for effects sends. 
This setting can be changed by selecting the SEND: parameter and 
pressing [ENTER] to toggle between POST and PRE.
POST — the send signal is sourced after the channel fader. This 
means that the send signal is also affected by the normal channel 
fader. So you must have that fader raised as well. The idea being that 
the channel-to-mix and channel-to-effects signal levels can be con-
trolled together. With the former supplying the dry, unaffected signal 
and the latter suppling the wet, affected signal. This is useful when, 
for example, you fade-out a channel, since the channel-to-mix and 
channel-to-effects signals are reduced together. 
PRE — the send signal is sourced before the channel fader. This 
means that the send signal is unaffected by the normal channel fader 
and its level can be set independently.