Yamaha Promix 1 Manual

							Storing Mix Scenes63
ProMix 01 User’s Guide
1. Press [STORE].
The MEMORY STORE LCD 
function appears. 
2. Use the [INC+] [DEC–] but-
tons to select a mix scene.
3. Use the [Ã] [¨] cursor but-
tons and PARAMETER 
wheel to name the mix 
scene.
If you want to cancel the store 
operation, select CANCEL and 
press [ENTER].
4. Press [STORE].
The mix scene is stored and its 
number appears in the MEM-
ORY area of the display. 
! By recalling a mix scene and 
then storing it to another loca-
tion, you can copy and reorga-
nize your mix scenes. 
! When recalling mix scenes, be 
aware that volume levels may 
change suddenly as channels are 
switched ON and faders moved. 
Nobody likes sudden surprises 
or speaker damage!
Storing Mix Scenes
There are 50 scene memories, so you can store up to 50 mix scenes. 
More can be saved to a MIDI data filer. See “Bulk Dump/Request” on 
page 85. Mix scenes can be named for easy identification.  
Shown below is the MEMORY STORE LCD function. Mix scenes are 
listed in the center and the name of the mix scene last recalled or 
stored is highlighted. Also there is an equal symbol (=) between the 
program’s name and number, not a period like the other programs. 
The PARAMETER wheel is used to scroll through the list. When 
another mix scene is selected, its name flashes. If it is stored, it stops 
flashing, appears highlighted, and the period between its name and 
number changes to an equal symbol (=). 
Mix scene names can be up to eight characters long. The selected 
character in the name is highlighted. Available characters scroll 
through the box in the center. Use the cursor buttons to position the 
cursor in the name, and the PARAMETER wheel to scroll through the 
characters. The following characters are available.
Spaces are available between the above character rows.  Note: When a mix scene is stored, all data in the selected scene memory 
is overwritten. Be careful not to overwrite an important mix scene.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
()[]{}#$%&@!?+-*/Ö=Ð ,.:;,
ôó×
0123456789
Note: When storing mix scenes, make sure there are no mix settings in 
the Edit Buffer that you do not want to store. Maybe some settings have 
been adjusted accidentally or by someone else. If you are not sure about 
the Edit Buffer’s exact contents, first recall the last mix scene, make the 
adjustments that you really want, and then store. You may want to store 
the current mix settings to an unused scene memory, just in case.
- - 
						

							64Chapter 7: Scene Memories
ProMix 01 User’s Guide
1. Press [RECALL].
The MEMORY RECALL LCD 
function appears. You can 
also go to the MEMORY LCD 
function by pressing the 
[INC+] [DEC–] buttons.
2. Use the [INC+] [DEC–] but-
tons or the PARAMETER 
wheel to select a mix scene.
3. Press [RECALL] to recall.
The mix scene is recalled and 
its name and number appear 
in the MEMORY area of the 
display. 
Recalling Mix Scenes
Mix scenes are recalled using the [RECALL] button. They can also be 
recalled using MIDI Program Changes. See “Program Change” on 
page 82. 
Shown below is the MEMORY RECALL LCD function that appears 
when [RECALL] is pressed. Mix scenes are listed in the center and the 
name of the mix scene last recalled or stored is highlighted. Also there 
is an equal symbol (=) between the program’s name and number, not 
a period like the other programs. When another mix scene is selected, 
its name flashes. If it is recalled, it stops flashing, appears highlighted, 
and the period between its name and number changes to an equal 
symbol (=).  
Note: When you recall a mix scene, all mix settings in the Edit Buffer 
(current mix scene) are overwritten. So you may want to store the Edit 
Buffer to an unused scene memory before recalling, just in case.  
						

							Protecting Scene Memories65
ProMix 01 User’s Guide
1. Press [UTILITY].
The UTILITY menu appears.
2. Select MEMORY PROTECT 
and press [ENTER].
The MEMORY PROTECT LCD 
function appears. 
3. Select Scene Memories 
01–25 or 26–50, then press 
[ENTER] or use the PARAM-
ETER wheel to turn protect 
ON and OFF.
4. To exit this function and 
return to the UTILITY menu, 
select EXIT and press 
[ENTER], or just press [UTIL-
ITY].
The UTILITY menu reappears.
Protecting Scene Memories
You can protect stored mix scenes against accidental overwriting 
using this Memory Protect function. This is useful when you’ve set 
up many mix scenes for repeated use, or when non-experienced users 
operate ProMix 01. 
With Memory Protect set to ON, mix scenes cannot be stored using 
the [STORE] button. And mix scene data received as MIDI Bulk 
Dump is ignored. Scene memories are divided into two groups, 01–25 
and 26–50, and protection can be set separately for each group.
Shown below is the MEMORY PROTECT LCD function. 
When MEMORY PROTECT is set to ON, the word PROTECT 
appears on the MEMORY LCD function when a mix scene in the pro-
tected group is selected, as shown below.  
						

							66Chapter 7: Scene Memories
ProMix 01 User’s Guide 
						

							Dynamics Processors67
ProMix 01 User’s Guide
8
Dynamics Processors
In this chapter... 
ProMix 01 Dynamics Processors   . . . . . . . . . . . . . . . .   68
Preset Dynamics Programs  . . . . . . . . . . . . . . . . . . . . .   68
Processor Types   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   68
Patching in a Processor   . . . . . . . . . . . . . . . . . . . . . . . .   72
Dynamics Processor Meters   . . . . . . . . . . . . . . . . . . . .   73
Pre-Fader or Post-Fader Patches . . . . . . . . . . . . . . . . .   74
Recalling a Dynamics Program . . . . . . . . . . . . . . . . . .   75
Editing a Dynamics Program   . . . . . . . . . . . . . . . . . . .   76
Storing a Dynamics Program   . . . . . . . . . . . . . . . . . . .   77
Preset Dynamics Processor Parameters  . . . . . . . . . . .   78 
						

							68Chapter 8: Dynamics Processors
ProMix 01 User’s Guide
ProMix 01 Dynamics Processors
ProMix 01 features three stereo dynamics processors, for compres-
sion, limiting, gating, and ducking. They can be patched into input 
channels, SEND3, SEND4, and the stereo outputs. Processor settings 
are organized as programs, and there are 10 preset programs (1–10) 
and 10 user programs (11–20) for you to store your own settings.
Preset Dynamics Programs
These are the preset dynamics programs.
See “Preset Dynamics Processor Parameters” on page  78 for a detailed 
listing of the preset dynamics program parameters.
Processor Types
Dynamics processors are generally used to correct or control signal 
levels. However, they can also be used creatively to shape a sound’s 
volume envelope. The four types of dynamics processor and their 
general applications are explained below.
Compressor
Vocalists that tend to move toward and away from the microphone 
while singing produce fluctuating signal levels; sometimes loud, 
sometimes soft. Likewise, acoustic instruments with a large dynamic 
range produce sound levels from pianissimo (very soft) through to 
fortissimo (very loud). In these situations, it is often difficult to set an 
average fader level that will allow a voice or instrument to be heard 
clearly throughout a song or piece of music. 
This is where the compressor comes in with automatic level control. 
By automatically reducing high levels, thus effectively reducing the 
dynamic range, the compressor makes it much easier to control sig-
nals and set appropriate fader levels. Reducing the dynamic range also 
means that recording levels can be set higher, therefore improving 
S/N performance. To provide a more consistent signal level and to 
squeeze more out of the dynamic range offered by AM and FM broad-
casting, radio and TV stations often compress their audio output. 
Typical radio compressor settings are provided by preset program #2 
(RADIO COMP). 
1 Total Comp 6 Comp Heavy2
2 Radio Comp 7 Gate Fast
3 Comp Fast 8 Gate Slow
4 Comp Slow 9 Ducking
5 Comp Heavy1 10 BGM Ducking 
						

							Processor Types69
ProMix 01 User’s Guide
Compressor parameters are:
Threshold (–40...+18dB) — This determines the level of input sig-
nal required to trigger the compressor. Signals at a level below the 
threshold pass through unaffected. Signals at and above the threshold 
level are compressed by the amount specified using the Ratio param-
eter. The trigger signal is sourced using the KEY IN parameter.
Ratio (1:1–
¥:1) — This determines the amount of compression. 
That is, the change in output signal level relative to change in input 
signal level. For a 2:1 ratio, for example, a 10dB change in input level 
(above the threshold) results in a 5dB change in output level. For a 
5:1 ratio, a 10dB change in input level (above the threshold) results 
in a 2dB change in output level.
Compression ratios commonly used for vocals, piano, and bass range 
from 2:1 to 6:1. A stereo mix maybe compressed 2:1 to add punch and 
provide a more consistent volume level.
Attack (0–120ms) This determines how soon the signal is com-
pressed once the compressor has been triggered. With a fast attack 
time, the signal is compressed almost immediately. With a slow attack 
time, however, the initial transient of a sound passes through unaf-
fected. Attack times from 1–5ms are a good place to start.
Release (0.1–6.0s) — This determines how soon the compressor 
returns to its normal gain once the trigger signal level drops below 
the threshold. If the release time is too short, the gain will recover too 
quickly causing level pumping (i.e. noticeable gain fluctuations). If it 
is set too long, the compressor may not have time to recover before 
the next high level signal appears, and it will be compressed incor-
rectly. Release times from 0.1–0.5s are a good place to start.
Out Gain (–18...+18dB) — This sets the compressor’s output signal 
level. Compression tends to reduce the average signal level. Out Gain 
can be used to counter this level reduction and set an appropriate level 
for the next stage in the audio path.
Limiter
A limiter is essentially a compressor with a high ratio setting. Com-
pression ratios above 10:1 are considered to limit signals rather than 
compress them. When an input signal exceeds the specified threshold 
level, its level is automatically reduced to the threshold level. This 
means that the limiter’s output level never actually exceeds the thresh-
old level. Limiters are often used to prevent signals from overloading 
amplifiers and tape recorders. A limiter with a relatively high thresh-
old, for example, could be patched into the stereo outputs to prevent 
amplifier and speaker overload. 
Limiter parameters are the same as those for the compressor.
-70 -60 -50 -40 -30 -20 -10 0 +10 +20 -70 -60
-50
-40
-30
-20
-100 +10
+20
dB
dB
Output level
Input level
Compression
ratio = 2:1
Threshold = -10dB
-70 -60 -50 -40 -30 -20 -10 0 +10 +20 -70 -60
-50
-40
-30
-20
-100 +10
+20
dB
dB
Output level
Input level
Compression
ratio = 10:1
Threshold = -20dB 
						

							70Chapter 8: Dynamics Processors
ProMix 01 User’s Guide
Gate
A gate, or noise gate is essentially an audio switch used to mute signals 
below a set threshold level. It can be used to cut background noise 
picked up by open microphones, noise and hiss from guitar valve 
amps and effects pedals, and leakage between drum microphones. It 
also has many creative uses too. For example, gating a drum sound 
with a short decay time tightens up the sound. Also, patching a gate 
into a droning bass synth channel and then triggering it from the kick 
drum channel allows the bass synth through only when the kick drum 
is struck, adding extra wallop on the beat. 
Gate parameters are:
Threshold (–50...+10dB) — This determines the level at which the 
gate closes, cutting off the signal. Signals above the threshold level 
pass through unaffected. Signals at or below the threshold, however, 
cause the gate to close. The trigger signal is sourced using the KEY IN 
parameter.
Attack (0–120ms) — This determines how fast the gate opens when 
the signal exceeds the threshold level. Slow attack times can be used 
to remove the initial transient edge of percussive sounds. Too slow an 
attack time makes some sounds appear backwards.
Hold (3–341ms) — This determines how long the gate stays open 
once the trigger signal has fallen below the threshold level. 
Decay (85ms–10.9s) — This determines how fast the gate closes 
once the hold time has expired. A longer decay time produces a more 
natural gating effect, allowing the natural decay of an instrument to 
pass through. With a maximum decay time of 10.9 seconds, you could 
even use this for fade-outs.
Range (–80dB...0dB) — This determines the level to which the gate 
closes. Think of it as a brick holding a garden gate open so that a cer-
tain amount of signal always flows through. For a setting of –80dB, 
the gate closes completely when the input signal falls below the 
threshold. For a setting of –30dB, however, the gate only closes so far. 
For a setting of 0dB, the gate has no effect. When signals are gated 
abruptly, the sudden disappearance can sometimes sound odd. This 
parameter causes the gate to reduce the signal level rather than cut it 
completely.
-70 -60 -50 -40 -30 -20 -10 0 +10 +20 -70 -60
-50
-40
-30
-20
-100 +10
+20
dB
dB
Output level
Input level
Range = -80dB Threshold = -10dB
Range = -30dB 
						

							Processor Types71
ProMix 01 User’s Guide
Ducking
Ducking is commonly used for voice-over applications, where the 
background music level is reduced automatically when an announcer 
speaks. Ducking is achieved by triggering a compressor with a differ-
ent sound source. For example, a ducker is patched into the back-
ground music channel, and the KEY IN signal is sourced from the 
announcer’s microphone channel. When the announcer’s micro-
phone level exceeds the specified threshold, the background music 
level is reduced automatically, allowing the announcer to be heard 
clearly. The same technique can also be used for vocals in a mix. For 
example, ducking backing sounds such as rhythm guitar and synth 
pad during vocal phrases allows the vocals to be heard clearly. This 
can also be used to bring solo instruments up in a mix. 
Ducking parameters are:
Threshold (–50...+10dB) — This determines the level of trigger sig-
nal (KEY IN) required to activate ducking. Trigger signal levels below 
the threshold do not activate ducking. Trigger signals at and above the 
threshold level, however, activate ducking, and the signal level is 
reduced to a level set by the Range parameter. The trigger signal is 
sourced using the KEY IN parameter.
Attack (0–120ms) — This determines how soon the signal is ducked 
once the ducker has been triggered. With a fast attack time, the signal 
is ducked almost immediately. With a slow attack time, however, 
ducking appears to fade the signal. Too fast an attack time may sound 
abrupt.
Hold (3–341ms) — This determines how long ducking remains 
active once the trigger signal has fallen below the threshold level.
Decay (85ms–10.9s) — This determines how soon the ducker 
returns to its normal gain once the trigger signal level drops below 
the threshold. 
Range (–80...0dB) — This determines the level to which the signal 
is ducked. For a setting of –80dB, the signal is virtually cutoff. For a 
setting of –30dB, however, the signal is ducked by 30dB. For a setting 
of 0dB, the ducker has no effect.
-70 -60 -50 -40 -30 -20 -10 0 +10 +20 -70 -60
-50
-40
-30
-20
-100 +10
+20
dB
dB
Output level
Input level
Range = -30dB Threshold = -20dB 
						

							72Chapter 8: Dynamics Processors
ProMix 01 User’s Guide
1. Press [COMP] repeatedly to 
select a processor: 1, 2, or 3.
The COMP LCD function 
appears. If you didn’t exit 
after your last COMP edit, the 
COMP EDIT LCD function 
appears instead.
2. Use the cursor buttons to 
select the ON/OFF, PATCH, 
and KEYIN parameters and 
the PARAMETER wheel to 
set them.
3. You must press [ENTER] to 
activate the PATCH and 
KEYIN parameters.
Patching in a Processor
Dynamics processors can be patched into the input channels, SEND3, 
SEND4, and stereo output. The SEND3, SEND4, and stereo outputs 
patches can configured to pre-fader or post-fader. See “Pre-Fader or 
Post-Fader Patches” on page 74. Although a stereo dynamics proces-
sor can be used in mono (i.e. on a single channel), it cannot be used 
as two independent mono processors. 
Shown below is the COMP LCD function. Dynamics setup parame-
ters appear in the top part of the display. Programs are listed in the 
center. 
The parameters are:
ON/OFF — this is used to turn a dynamics processor ON and OFF.
PATCH — this is used to patch a dynamics processor into a channel. 
The current setting is highlighted. Other settings flash when selected. 
Settings are activated by pressing [ENTER]. Stereo-pair channels are 
patched together.
The options are:  Note: Patch points that are in use by the other dynamics processors are 
not available.
PATCH Patch Point
OFFNo patch
CH1–CH16An input channel: post-EQ, pre-fader
SEND3SEND3
Can be pre-fader or post-fader. 
See “Pre-Fader or Post-Fader 
Patches” on page 74. SEND4SEND4
STEREOStereo output