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Pink noise is fed through the sound system, the DEQ in the App is adjusted to make the auditorium 'flat' EQ-wise. MIDI Maestro - MIDI Maestro is an iOS Diagnostic App to monitor the state of your MIDI World. M32 FMP Remote M32 FMP Remote is an iOS App to allow Remote Control of Faders, Mutes and Pans (FMP) of the Midas M32 Series of Consoles via WiFi.
When the button is pressed, the soundfile is played, (the button turns red) and the progress bar, and 'remaining time' label count down to the end of the soundfile. At any time during playback, the 'Enable Cancel' button can be pressed, which enables the 'Cancel' button embedded in the playback button. New in this version: Now receives Note On, Note Off, Control Change, and Program Change on all MIDI Channels.
Pink noise is fed through the sound system, the GEQ in the App is adjusted to make the auditorium 'flat' EQ-wise. LS9 DOA is an iPhone App to remotely control the delays, phase, and attenuation of the omni and slot outputs of the Yamaha LS9 series of Mixing Consoles via WiFi. New in this version: 'Rescan MIDI' button - which means you don't have to relaunch the App if your MIDI World changes. 01v96 Remote existing users, please DELETE THE OLD VERSION OF 01v96 Remote BEFORE INSTALLING VERSION 2! Each button (100 buttons) in iDigiCart can quickly be assigned a sound file, and the appearance of the button can be changed as desired in 'Edit Style' mode.
When the button is tapped again, this plays the soundfile, (the button turns red) and the progress bar, and 'remaining time' label count down to the end of the soundfile. At any time during playback, the 'enable cancel' button can be pressed, which enables the cancel button embedded in the playback button. 01v Remote is an iPhone App to remotely control a Yamaha 01v (original) Mixing Console via WiFi. LS9 Remote is an iPhone App to remotely control a Yamaha LS9 Series of Mixing Consoles via WiFi.
MIDIGrid is a programmeable button matrix that allows the user to send MIDI Note on messages, Controller Code messages, Program Change messages, or NRPN messages via WIFi to the host computer, which must have the free UMMU Serverapp installed upon it. 8 sound sources can be moved in a true (x, y, z) 3D space by using a combination of the iPhone's touch screen, and the accelerometers.
Horus is one of the oldest and most significant deities in the Ancient Egyptian religion, who was worshipped from at least the late Predynastic period through to Greco-Roman times. MagnetsMix allows you to do your own mixes of the UK's Number One a cappella group 'The Magnets', singing their current single 'Poker Face'. This App is a great insight into the way vocal music is built up, the vocal percussion, bass and harmonies. Cooking times for pasta and rice are also shown as a recommendation automatically (enter 'Pasta, Basmati Rice, etc).
You can select MIDI channel, and Octave from the elegant user interface, and choose whether or not to display note names on the keys. GEQ Remote is a fader-based MIDI controller for controlling Graphic EQs that respond to MIDI control change messages (such as the Behringer Ultracurve Pro DEQ2496).
If you are not particularly IT savvy, we strongly recommend that you buy the Bundle (includes TP-Link Nano Wireless Router which comes preconfigured to work with the UMMU Box) rather than the Box only (You will need to provide and configure your own router). UMMU Box is a standalone interface which allows any of the StrongSoft® Remote iOS Applications to run without the need of a host computer. Please note that you no longer need to remove the MIDI enable jumper to program the Box, and that the default position of the jumper is now D17 (see pic above).
Yamaha's entry-level digital mixer gets an 02R96-style makeover, providing increased digital audio resolution, improved channel and effects processing, and surround functionality.
Around six months ago, Hugh Robjohns reviewed the new Yamaha 02R96, which was so advanced compared to the original 02R that it had little in common with its antecedent other than physical size.
The DSP chips used in the new mixer series are Yamaha's own, with their DSP7 chip looking after mixing and signal processing and DSP6 chips dedicated to effect generation. Cosmetically, the mixer follows the styling of the new range, making use of blue panels to segregate the various control sections. The back of the mixer looks fairly sparsely populated, with the main stereo outs on balanced XLRs and the four assignable Omni outs on balanced jacks. Having an included ADAT port is hugely useful for anyone using a DAW where the sound card or interface has an ADAT port, or indeed for anyone using a hardware recorder with ADAT compatibility. MIDI plays a large part in the operation of the 01V96 — Scene changes can be automated via MIDI Program Change messages, dynamic automation can be implemented simply by recording the MIDI output of the 01V96 to a sequencer track, and of course there's the dedicated DAW control mixing layer. MIDI data may also be transferred via the USB port if the included drivers are installed, and this port is capable of supporting eight MIDI ports for a total of 128 MIDI channels. When controlling Scene changes via MIDI, Scenes may be assigned to specific MIDI Program Change messages rather like the patch map in an effects unit.
Unlike the 02R96, the fader caps are not touch sensitive, but then automatic channel selection via touching fader caps is often more trouble than it is worth, and many users of such systems find themselves switching that particular function off.
Scene mix data is stored internally and must be dumped to an external MIDI device for storage if the internal memory capacity of 99 Scenes is exceeded, though the included Studio Manager software can be used to organise mix data as well as other libraries. The internal effects are based around four independent multi-effects engines that can be used via any of the mixer's eight aux sends or be connected to a digital insert point via the routing system.
Additionally, each of the 32 main fully-featured input channels includes its own delay that goes up to 984.1ms. I mentioned earlier that the EQ has been updated, but you still have the option to use the original Type I EQ where that might be more appropriate.
During testing, I noticed that the Type II EQ quirk discovered by Hugh Robjohns in his 02R96 review is still present, though it is of little consequence in normal usage.
Currently, the Studio Manager software is available for Windows PC or Mac, but not yet for Mac OS X. An overview window shows all 16 bank channels at a time, so the screen is quite busy, but the sumptuous graphics rather make up for this. Studio Manager is based on a series of windows or pages relating to different console views and libraries, including a detailed channel view and a timecode read-out.
The front panel of the mixer is about as clear and intuitive as possible, given the huge number of features is accesses. Below the display, which has a physical contrast control, are six buttons, two of which function as arrow keys and the other four of which correspond to tabs shown in the display window, enabling the user to go directly to one of up to four display pages. For adjusting EQ settings, there are four buttons corresponding to the four EQ bands, plus three rotary controls addressing Q, Frequency and Gain. Yamaha were one of the first console manufacturers to include surround support as standard and, although the 01V96 has no dedicated facilities for monitoring surround, there's a surround page that enables you to configure the buss outs to carry the surround mix components. As far as I can tell, the effects chip here is the same one used in Yamaha's latest generation of hardware effects units, and the quality of effects is a definite step up when compared to the 03D and 01V. The remaining algorithms cover all the usual delay and modulated delay areas, including Yamaha's famous Symphonic chorus, plus there's auto-panning, tremolo, pitch-shifting and rotary speaker emulation. The quality of sound available from the new preamps is definitely better (and quieter) than from the old mixer range, which is hardly surprising, as all the preamps in the new range are now versions (simplified in various ways) of the preamps used in Yamaha's new high-end consoles. So why would you choose the 01V96 over a straight analogue console, given that there's no on-board automation? In the computer-based studio, the 01V96 can function as a central monitoring controller, a signal router and a DAW hardware controller as well as giving you a means to integrate two-track and multitrack hardware recorders into the system. To sum up, the 01V96 may be Yamaha's entry-level digital mixer, but its sound quality and facilities are anything but entry level.
Lack of automation makes it less attractive to those working in a computerless environment. FOR SALE: MIXERS in SOS Reader AdsGLOSSARY: technical terms explainedWIN Great Prizes in SOS Competitions! Registered Office: Media House, Trafalgar Way, Bar Hill, Cambridge, CB23 8SQ, United Kingdom. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Together with UMMU Multi Server, control of the 01v96 console is possible from multiple iOS devices, allowing for overall control of the console by the sound engineer, and control of the various musician's monitor mixes by the musicians themselves.

UMMU Multi Server is a Server App which runs on the host computer to enable any of the StrongSoft Remote Apps to remotely control mixing consoles and MIDI-enabled Graphic EQs via WiFi.
UMMU Server is a Server App which runs on the host computer to enable any of the StrongSoft Remote Apps to remotely control mixing consoles and MIDI-enabled Graphic EQs via WiFi.
Imagine the advantages of being able to wander around an auditorium, tweaking mixes and settings from your iPhone! The button shows the title of the file, the artist (where appropriate), and the duration of the file. If the user has scrolled away from the file while it is playing, when the file finishes, the 'just played' button scrolls back into view, and the button reverts to its original colour state. Virtually everything in MIDIGrid is user programmeable - pad colour, text size and shade, number of pads, pad function, all MIDI parameters. Each singer has a fader, moving that fader adjusts the mix accordingly, and brings up a picture of that singer.
The interface comes bundled with a TP-Link Nano WiFi router (UMMU Box only option is available as well).
To allow headroom for processing, the internal signal path is 32-bit fixed point, with 58-bit DSP accumulators, and, in ball-park figures, these new chips pack around four times as much processing power as those used in the original 02R and its siblings.
Three fader layers control the inputs, busses and aux sends for the mixer's own signal path, while a fourth is reserved for controlling computer DAWs via MIDI. The only incongruity is that the 320 x 240-dot display is slightly smaller than the one used in the 03D and is green rather than blue, which is somewhat at odds with the overall colour scheme. Further balanced jacks are used for the stereo monitor output and above these are three slide switches for the phantom power. Each of the inputs has a dedicated mixer channel, and four further stereo input channels are provided, with slightly streamlined features, for use as aux returns.
Furthermore, there's a comprehensive MMC section with on-screen transport controls (these could be mapped to the User Defined keys) and the ability to arm up to 24 tracks on a remote recording system. This means that, if an mLAN card is installed and one of the connected devices is an mLAN MIDI interface, up to seven ports will be available for the connection of external devices — the mixer takes up one port. Real-time parameter control may also be set up to work via SysEx messages or MIDI Continuous Controller messages. Similarly, any channel direct output, insert send or buss output can be routed to any physical output. Nevertheless, there is a user preference that, when active, automatically selects channels when a fader is moved.
Studio Manager is actually a very serious piece of software that communicates bi-directionally with the mixer and provides an expanded graphical interface of the mixer's controls, libraries and settings both at global and channel level. However, this is one area where there's a penalty for working at high sample rates, as the effects count drops to two.
This type of delay is often used to compensate for mic position time delays in large-scale orchestral recordings and suchlike, but this time Yamaha have added a feedback control so that it may also be used to set up straightforward DDL echo effects. As you may recall, the original mixer series had a very transparent, uncoloured sounding EQ that behaved rather differently to most analogue equalisers and seemed to require large amounts of cut or boost before it made much subjective difference to the sound.
What happens is that, if two EQ notches are set to the same frequency and bandwidth, and are made as deep as possible (maximum cut), then the curve develops two negative peaks either side of where you'd expect the centre frequency to be. In the case of the 01V96, each channel can have one gate-type processor and one compressor-type processor (which includes expanders and duckers) running at the same time, which is a big improvement.
Because the software can offer a much more detailed graphic overview of the mixer and its functions, it can be used off-line to create routing setups or other desk configurations.
Communication with the Studio Manager software can either be via the USB port or a conventional MIDI cable and interface, and one clear advantage with using software like this is that there is effectively no limit to the amount of patching or library information that can be stored. It doesn't offer any direct means of dynamically automating the 01V96, but as a tool for making adjustments, creating setups or managing libraries, it is excellent. Perhaps more important, though, is that the operation of the interface is largely consistent, regardless of what task you're doing.
Where there are more than four pages, the arrow keys are used to shift to the next or previous set of pages. Up to 99 Scenes can be stored and any externally controlled dynamic automation sequence must also start from a Scene, as that defines all the starting parameters of the mix.
Below this are two sets of Select, Solo and On buttons, as well as rotary encoder-type level control for the two selected inputs. These reside in the Selected Channel section to the right of the display, along with a Pan control, and relate to whichever channel is currently selected. These may be routed to any of the available outputs for monitoring or recording, with a dedicated option to route the front left and right feeds to the console's stereo outputs. Surround panners are available on screen, but, as there's no surround joystick for panning, you either need to set up a static position using the virtual joystick on screen or pick from a list of preset surround pan trajectories.
The reverbs are particularly strong and have 14 editable parameters, which is a sensible compromise between flexibility and ease of operation. If you like your 24-bit, 96kHz audio to sound nasty, you have ring modulation, resonant filtering and distortion at your disposal, as well as amp emulation, plus a host of dual effects, several of which combine either reverb or delay with other effects. Having used Yamaha mixers before, I found navigation relatively straightforward, though there are a lot of preferences and routing options that you may need to set up before use if the straightforward default routing isn't suitable for your needs. You may still get better performance from a really good external preamp, but there's nothing about these preamps to worry about in typical studio applications.
Part of the answer has to be the UK price, and when you factor in the value of the four excellent effects processors, the mixer almost comes for free. It has enough input capability to mix multiple channels of computer audio with MIDI hardware instruments, and it provides a cost-effective means of routing and monitoring surround mixes.
Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents.The views expressed are those of the contributors and not necessarily those of the publishers. UMMU supersedes DSMidiWifi for use with these Apps, as it is cross-platform, and supports Mac OSX Mavericks.
The GEQ can control the internal GEQs of the Yamaha LS9, M7CL and CL series of consoles, and also the Behringer DEQ 2496 EQ via MIDI over WiFi.
The GEQ can control the internal GEQs of the Yamaha LS9 series of consoles, and also the Behringer DEQ 2496 EQ via MIDI over WiFi.
UMMU supersedes DSMidiWifi for use with these Apps, as it is cross-platform, and supports Mac OSX Lion, and Windows 7. Imagine the advantages of being able to wander around an auditorium, tweaking settings from your iPad!
For users who don't actually know the codes already, it only takes a few minutes to learn, and you can impress your friends with your ability to tell the time without the need for numbers. The user can determine what controller information is sent by the controls in the DAW layer, though the 01V96 comes with templates for Steinberg's Nuendo and Digidesign's Pro Tools software built in, as well as a generic DAW template. The familiar Selected Channel section allows direct access to the four-band parametric EQ and channel pan for whichever channel is currently selected, and there are eight user-definable buttons to the right of the master fader that can be set up to directly access internal functions that are used regularly. The last four channels have only input jacks and Gain controls, though inputs 15 and 16 also have an associated source select switch that toggles between the input jacks and the two-track input. Eight auto-locate points are included in this section, and MMC sync can recognise frame rates of 24, 25, 30 and 30 drop-frame. A MIDI setup page allows the transmit and receive ports and MMC mode to be set to MIDI, USB or Slot, with choices of MIDI or USB port available for Studio Manager and the DAW layer. Routing setups may be stored in a routing library, and the current library setup may be stored as part of a Scene.
The faders used are made by Alps, and seem smoother and more responsive than the short-throw faders in my old 03D. Changing either a Studio Manager control or a physical mixer control updates the other party (see box for details). Let's say you have the left channel of a signal coming in on input one, you can choose the right input to be fader one on the next layer (input 17) so that only a single fader need be moved in layer one to control a stereo signal. The outputs from the effect processors are most conveniently routed back into the mix via the console's four sets of stereo inputs, though the flexibility of the routing system means you don't have to be bound by this. Type II is rather more analogue sounding and in general needs less cut or boost applied to get the job done. It's also the case that setting up two bands to be identical, except with one applying cut and the other the equal amount of boost, the curves don't actually cancel out, though this could be due to the use of a proportional-Q EQ curve.

This is very valuable because, although nothing about setting up the 01V96 is actually complicated, there are lots of user preferences to choose from and routing options to set up, which can be time-consuming at the outset. A Home button brings up the main metering page and sets the faders to control levels (hardware meters are only provided for the main stereo output, and there's no obvious provision for a meterbridge option). Placing a MIDI Program Change message at the start of the track to recall the appropriate Scene helps avoid confusion and also resets the start values when you play the track from the beginning.
The Stereo In sources are configurable, but might best be used as effects returns, as their level is controlled by knobs rather than faders. If you wish to record the surround mix to an ADAT-compatible device, you can have record outs and surround monitoring outs available at the same time by using the analogue outputs as monitor feeds. The delays include a facility for setting delay time by tempo, while the Freeze sampler can be triggered manually or via input signal level. Having said this, the manual is very clearly written and Studio Manager makes setting up and library management considerably easier. The effects quality has also moved up a gear, and having four processors available at 'real world' sample rates should be more than enough for anyone. The ability to recall static mix snapshots and routing setups is also something you can't do with an analogue desk and, of course, an analogue desk won't let you connect up to 24 channels of ADAT using lightpipe — and going optical means no ground loop problems. The high-quality effects help take the load off your plug-ins, and in the case of reverb, the quality is likely to be considerably better than a typical native reverb plug-in. It can also control the Behringer DEQ 2496 EQ via MIDI over WiFi (requires UMMU Server App, and a host computer for this option). UMMU Multi allows the connection of more than one iOS device to your console, allowing different users to control the aux send for their monitor mix. Simply name the timer 'Roast Beef', or 'Roast Chicken' etc, and the picker changes to 'weights' rather than 'times'. A double-channel mode allows digital interface formats such as ADAT and TDIF to be utilised to carry one channel of 96kHz data over two 48kHz channels. Templates for other popular sequencers and audio packages are said to be 'work in progress', though Emagic Logic Platinum v6 provides extensive remote support for the 01V96 and other Yamaha consoles using the Generic DAW template in the 01V96. This enables the two-track input phonos to be routed into the stereo mix without repatching, should that become necessary. The mixer architecture is therefore sensibly based around 40 mixer channels, eight busses and eight aux sends, where four of these would normally be used to feed the internal effects units.
The digital two-track input can be routed to any stereo channel or pair of channels and so shouldn't be considered just a two-track return. Since the card slot accepts only the new mini-YGDAI interface cards, it is not compatible with most of the cards used in the original mixer series (the exception being the original 01V, which also uses a mini-YGDAI slot). Importantly, though, the internal automation system does not include either dynamic or snapshot-based automation — this can only be accomplished by automating the fader movements or Scene changes from a sequencer or other software package suited to the task.
This is potentially confusing, as your stereo pair now comprises inputs one and 17, but, thanks to the 01V96's flexible input routing, you could easily create a routing library setup and Scene especially for stereo mixing, where input one feeds channel one, input two feeds channel 17 and so on. All four effects may be used as mono-in or stereo-in, and all have stereo outputs, though there is dedicated stereo-in reverb and stereo multi-band dynamics processing. As with earlier Yamaha models, EQ libraries with factory presets for particular jobs are available, but, in my view, every EQ task is different and so should be set up from scratch for the best results.
OMS and USB MIDI drivers are provided for Mac OS 9 users, while the necessary Windows counterparts also come on the installation CD.
Above it are eight Aux buttons that assign the correspondingly numbered aux send to the faders.
Data entry is by the now standard means of a data wheel, four arrow keys and an Enter button, though there are now also increment and decrement buttons that do much the same as the wheel, but in small steps. Scenes store all the fader, aux and buss levels, phase switch and attenuator settings, channel delay and dynamics settings, EQ and pan settings, channel routings, fader groups and channel linking. They have the same output routing as all the other channels, except that they can't be set up as direct outputs and can't be assigned compressors. A master Solo warning LED shows when one or more channels are soloed, while an adjacent Clear button switches off all Solo buttons in a single action. Using fader grouping to group the buss faders used for the surround mix would enable all the monitor levels to be adjusted using a single fader, which is useful when you're using active monitors.
Nevertheless, I'm surprised that Yamaha didn't go the extra mile and include dynamic mix automation capability in Studio Manager, as that would have been rather more friendly and easier to edit than automating via a sequencer. The 16 faders should allow you to control a typical 24-track mix in real time without constantly flipping between layers, given that you'll probably want to group the drums and that some tracks won't need their levels adjusting.
DAW control goes way beyond fader and pan levels, with access available for virtually all key functions. That leaves the headphone jack and level control — this output tracks the main monitor signal at all times, which can either be the mix, any soloed channels or the two-track return. Comprehensive grouping and linking functions are supported for the creation of fader groups, mute groups, EQ linking and compressor parameter linking. I notice that the auto clock navigation system that was used in my 03D isn't available here, so you have to set the clock source manually when locking to an external digital source.
When the optional dual-ADAT card is fitted, this may be used to run 16 further channels at standard sample rates or can work in 'doubled up' mode to run eight channels at the higher sample rates. Scenes may be mapped to MIDI Program Change messages so Scene switching via a sequencer is extremely easy and doesn't require the mixer to be locked to timecode. The only exception is where you have created an EQ setting that works for a specific client in a specific situation (such as recording voice-overs) and where you may need to repeat the result at some time in the future. Any computer less than three or four years old should run Studio Manager comfortably, provided that it has a graphical resolution of 1024 x 768 pixels. Holding down one of these keys while pressing the other causes the value to change at a constant rate until the buttons are released.
Because dynamic panning is accomplished using the data wheel, it is necessary to record pan movements into a sequencer to achieve dynamic panning of more than one channel (or linked channels).
Additionally, there's a true stereo reverb and a stereo three-band dynamics processor that offers simultaneous compression, limiting and expansion.
The high-quality mic amps provide a clean way into your system and, if you fit an mLAN card, the mixer can become the audio interface in any studio based around a computer with a Firewire port.
A warning message comes up on screen if there's an obvious clocking problem, such as leaving the console set to internal sync while feeding in an external digital signal.
I tested Studio Manager on a Mac G4 via USB and found that it worked with no problems once I'd discovered the 01V96 page that let me define USB as the communication preference for Studio Manager. Below the Home button are four further dedicated buttons for selecting the four mixing layers, designated as Ch 1-16, Ch 17-32, Master (busses and aux sends) and Remote, the latter being the MIDI controller layer. As with earlier systems, Scene settings can be made to crossfade from one to another (not routing of course — now that would be weird!).
Furthermore, sequencer users can use a track to record mix data, giving them the benefit of full dynamic automation, where the mix moves get stored with the song.
Having connections on top of the mixer is a somewhat mixed blessing, because, although it makes casual connection easier, it can look untidy. There are no fans inside 01V96, so mechanical noise is not an issue other than the chatter of busy motorised faders whenever you switch Scenes or fader layers. It is more of a limitation for those users teaming the 01V96 with a hardware recorder in a computerless environment, though Scenes can still be stepped through manually.
There are no dedicated surround effects, as there are in the 02R96, though there's sufficient routing flexibility to use pairs of effects processors to set up your own surround reverbs or delays. Note that aux send controls are not available on the Master layer, only on the two layers of input channels. Note that any routing changes made when setting up a Scene must be saved to the Patch library, otherwise they will not be recalled correctly when that Scene is revisited.

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