Yamaha 01v 96 I Manual
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Effects Parameters141 Appendix: Parameter Lists 01V96i—Reference Manual MULTI FILTER Two input, two output 3-band multi-filter (24 dB/octave). FREEZE One input, one output basic sampler (Available for internal effects 1 and 2.). Parameter Range Description TYPE 1H P F, L P F, B P FFilter 1 type: high pass, low pass, band pass TYPE 2H P F, L P F, B P FFilter 2 type: high pass, low pass, band pass TYPE 3H P F, L P F, B P FFilter 3 type: high pass, low pass, band pass FREQ. 128.0 Hz–16.0 kHz Filter 1 frequency FREQ. 228.0 Hz–16.0 kHz Filter 2 frequency FREQ. 328.0 Hz–16.0 kHz Filter 3 frequency LEVEL 10–100 Filter 1 level LEVEL 20–100 Filter 2 level LEVEL 30–100 Filter 3 level RESO. 10–20 Filter 1 resonance RESO. 20–20 Filter 2 resonance RESO. 30–20 Filter 3 resonanceParameter Range Description REC MODEMANUAL, INPUTIn MANUAL mode, recording is started by pressing the REC and PLAY buttons. In INPUT mode, Record-Ready mode is engaged by pressing the REC button, and actual recording is triggered by the input signal REC DLY–1000 to +1000 msRecording delay. For plus values, recording starts after the trigger is received. For minus values, recording starts before the trig- ger is received TRG LVL –60 to 0 dBInput trigger level (i.e., the signal level required to trigger record- ing or playback) TRG MASK0–1000 msOnce playback has been trig- gered, subsequent triggers are ignored for the duration of the TRG MASK time PLY MODEMOMENT, CONTI., INPUTIn MOMENT mode, the sample plays only while the that the PLAY button is pressed. In CONT mode, playback continues once the PLAY button has been pressed. The number of times the sample plays is set using the LOOP NUM parameter. In INPUT mode, playback is triggered by the input signal START 1 1. 0.0~2970.5 ms (fs=44.1 kHz), 0.0~2729.2 ms (fs=48 kHz), 0.0~2970.5 ms (fs=88.2 kHz), 0.0~2729.2 ms (fs=96 kHz)Playback start point in millisec- onds END 1Playback end point in millisec- onds LOOP 1Loop start point in milliseconds LOOP NUM0–100Number of times the sample plays START [SAMPLE] 2 2. 0~131000 (fs=44.1 kHz, 48 kHz), 0~262000 (fs=88.2 kHz, 96 kHz)Playback start point in samples END [SAMPLE] 2Playback end point in samples LOOP [SAMPLE] 2Loop start point in samples PITCH–12 to +12 semitonesPlayback pitch shift FINE–50 to +50 cents Playback pitch shift fine MIDI TRGOFF, C1–C6, ALLPLAY button can be triggered by using MIDI Note on/off mes- sages
142Appendix: Parameter Lists 01V96i—Reference Manual ST REVERB Two input, two output stereo reverb. M.BAND DYNA. Two input, two output 3-band dynamics processor, with individual solo and gain reduction metering for each band. Comp276/Comp276S This emulates the characteristics of an analog com- pressor that has become a standard item in recording studios. It thickens the sound, and is particularly suitable for drum and bass sounds. Comp276 lets you control two monaural channels independently. Comp276S links the L/R channel parameters for control. Comp260/Comp260S This emulates the characteristics of a compres- sor/limiter of the mid-1970s that has now become a standard item for live sound reinforcement. Comp260 lets you control two monaural channels independently. Comb260S links the L/R channel parameters for control. Parameter Range Description REV TIME0.3–99.0 s Reverb time REV TYPEHall, Room, Stage, PlateReverb type INI. DLY0.0–100.0 ms Initial delay before reverb begins HI. RATIO0.1–1.0 High-frequency reverb time ratio LO. RATIO0.1–2.4 Low-frequency reverb time ratio DIFF.0–10Reverb diffusion (left–right reverb spread) DENSITY0–100% Reverb density E/R BAL.0–100%Balance of early reflections and reverb (0% = all reverb, 100% = all early reflections) HPFTHRU, 21.2 Hz–8.00 kHzHigh-pass filter cutoff frequency LPF50.0 Hz–16.0 kHz, THRULow-pass filter cutoff frequency Parameter Range Description LOW GAIN–96.0 to +12.0 dB Low band level MID GAIN–96.0 to +12.0 dB Mid band level HI. GAIN–96.0 to +12.0 dB High band level PRESENCE–10 to +10For positive values, the threshold of the high band is lowered and the threshold of the low band is increased. For negative values, the opposite will occur. When set to 0, all three bands are affected the same CMP. THRE24.0 to 0.0 dB Compressor threshold CMP. RAT1:1 to 20:1 Compressor ratio CMP. ATK0–120 ms Compressor attack CMP. REL 1Compressor release time CMP. KNEE0–5 Compressor knee LOOKUP0.0–100.0 ms Lookup delay CMP. BYPOFF, ON Compressor bypass L–M XOVR21.2 Hz–8.00 kHz Low/mid crossover frequency M–H XOVR21.2 Hz–8.00 kHz Mid/high crossover frequency SLOPE–6 to –12 dB Filter slope CEILING–6.0 to 0.0 dB, OFFSpecifies the maximum output level EXP. THRE–54.0 to –24.0 dB Expander threshold EXP. RAT1:1 to :1 Expander ratio EXP. REL 1 1. 6 ms–46.0 s (fs=44.1 kHz), 5 ms–42.3 s (fs=48 kHz), 3 ms–23.0 s (fs=88.2 kHz), 3 ms–21.1 s (fs=96 kHz)Expander release time EXP. BYPOFF, ON Expander bypass LIM. THRE–12.0 to 0.0 dB Limiter threshold LIM. ATK0–120 ms Limiter attack LIM. REL 1Limiter release time LIM. BYPOFF, ON Limiter bypass LIM. KNEE0–5 Limiter knee SOLO LOWOFF, ONIf this is on, only the low-fre- quency band will be output SOLO MIDOFF, ONIf this is on, only the mid-fre- quency band will be output SOLO HIGHOFF, ONIf this is on, only the high-fre- quency band will be output Parameter Range Description INPUT–180 to 0 dB Adjusts the input level OUTPUT–180 to 0 dB Adjusts the output gain AT TAC K0.022 to 50.40ms Adjusts the attack time RELEASE10.88 to 544.22ms Adjusts the release time RATIO2:1, 4:1, 8:1, 12:1, 20:1Adjusts the ratio MAKE UPON, OFFIf this is on, the output gain will automatically be compensated to make up for gain reduction applied by the compressor SIDE HPFON, OFFIf this is on, the compressor effect in the low-frequency range will be reduced, thus boosting the low-frequency out- put GR meterON, OFFThis shows the amount of gain reduction when the compressor is operating Parameter Range Description THRE.–60.0 to 0.0 dB Adjusts the threshold AT TAC K0.010 to 80.00 ms Adjusts the attack time RELEASE6.2 to 999.0 ms Adjusts the release time RATIO1.0 to Adjusts the ratio KNEESOFT, MEDIUM, HARDAdjusts the knee ST LINKON, OFFIf this is on, CH1 and CH2 will be stereo-linked OUTPUT–20.0 to 40.0 dB Adjusts the output gain GR meterThis shows the amount of gain reduction when the compressor is operating Level meterThis shows the effect’s input level or output level. Use the METER: [IN][OUT] switches to choose which level is shown
Effects Parameters143 Appendix: Parameter Lists 01V96i—Reference Manual Equalizer601 This emulates the characteristics of an analog equal- izer of the 1970s. By reproducing the distortion that is typical of analog circuits, it adds drive to the sound. OpenDeck This emulates the tape compression produced by two open-reel tape recorders (a recording deck and a reproduction deck). You can change the tonal char- acter by adjusting various elements, such as the deck type, tape quality, and playback speed. Parameter Range Description TYPEDRIVE, CLEAN Switches the equalizer type INPUT–18.0 to +18.0 dB Adjusts the input gain OUTPUT–18.0 to +18.0 dB Adjusts the output gain Level meterThis shows the effect’s input level or output level. Use the METER: [IN][OUT] switches to choose which level is shown Q/TYPELO: LSH-1, LSH-2, HPF-1, HPF-2 MID1–4: 0.50–16.00 HI: LPF-1, LPF-2, HSH-1, HSH-2These parameters control the shape of the frequency response curve for each filter band. For the MID 1–4 bands you can specify the sharpness (Q) of the frequency response curve. For the LO and HI bands, you can select one of four filter types Ffs=44.1/48 kHz: 16.0–20.0 kHz, fs=88.2/96 kHz: 16.0 Hz–40.0 kHz (HI TYPE=HSH-1 or HSH-2: HI Band= 1.0–40 kHz)These specify the center fre- quency of the filter G–18.0 to +18.0 dBThese specify the gain of the fil- ter SWON, OFFThese switch each filter band on/off Frequency response curveThis displays the total frequency response curve for all bands FLATThis resets the gain of all bands to 0 dB Parameter Range Description REC DECSwss70, Swss78, Swss85, Amer70Selects the type of recording deck REC LVL–96.0 to +18.0dBAdjusts the input level of the recording deck. As you raise the level, tape compression is gener- ated, narrowing the dynamic range and distorting the sound REC HI–6.0 to +6.0dBAdjusts the high range gain of the recording deck REC BIAS–1.00 to +1.00Adjusts the bias of the recording deck MAKEUPON, OFFIf this is on, operating the recording deck’s level ([RECORD]/[REC LVL] knob) will cause the reproduction deck’s level ([REPRODUCE]/[REPR LVL] knob) to move in tandem, main- taining a fixed output level This allows you to change the amount of distortion without changing the output level REPR DECKSwss70, Swss78, Swss85, Amer70Selects the type of reproduction deck REPR LVL–96.0 to +18.0 dBAdjusts the output level of the reproduction deck REPR HI–6.0 to +6.0 dBAdjusts the high range gain of the reproduction deck REPR LO–6.0 to +6.0 dBAdjusts the low range gain of the reproduction deck TP SPEED15 ips, 30 ips Selects the tape speed TP KINDNew, Old Selects the type of tape
144Appendix: Parameter Lists 01V96i—Reference Manual REV-X Hall, REV-X Room, REV-X Plate This is a 2-in/2-out reverb algorithm. It provides rich, high-density reverberation with a smooth decay, and depth and spaciousness that will enhance the original sound. You can choose one of three pro- grams to suit the venue and your needs: REV-X Hall, REV-X Room, and REV-X Plate. Max 100 This is a 1-in/1-out phaser that emulates a vintage effect that was manufactured only during the late 1970s. Vintage Phaser This is a 1-in/1-out phaser that offers an extremely high level of freedom in creating phaser sounds, without limiting itself to emulating any particular model. Parameter Range Description REV TIME0.32–32.14sSpecifies the duration of time until the reverberation decays to silence. Higher values produce longer reverberation INI.DLY0.0–125.0msSpecifies the time delay from when the original sound is input until reverberation begins. Higher values produce a longer delay before reverberation begins DECAY0–53Specifies the shape of the rever- beration’s envelope. This value will affect the characteristics of the reverberation ROOMSIZE0–28Specifies the size of the space. Higher values simulate a broader space. This value is linked with the Reverb Time. Changing this value will also change the Reverb Time DIFF.0–10Specifies the density and diffu- sion of the reverberation. Higher values will increase the density and strengthen the sense of spa- ciousness HPFThru–8.00 kHzThis is a filter that cuts the low-frequency range of the reverberation. The region below the frequency specified here will be cut. This filter does not affect the original sound LPF1.00 kHz–ThruThis is a filter that cuts the high-frequency range of the reverberation. The region above the frequency specified here will be cut. This filter does not affect the original sound HI.RATIO0.1–1.0Adjusts the decay time of the high-frequency reverberation. This specifies the high-fre- quency decay time as a propor- tion of the Reverb Time LO.RATIO0.1–1.4Adjusts the decay time of the low-frequency reverberation. This specifies the low-frequency decay time as a proportion of the Reverb Time LO.FREQ.22.0 Hz–18.0 kHzSpecifies the frequency on which Lo Ratio is based. The region below this frequency will be affected by the Lo Ratio Level meterUse the METER: [IN] [OUT] switches to choose whether the input level or output level will be shown MIX0–100%Adjusts the balance between the original sound and the effect sound. Only the original sound will be output if this value is 0%, and only the effect sound will be out- put if this value is 100% Parameter Range Description MODE1, 2, 3, 4Switches the sound quality (tone). There are four types available, each with differences in modulation amplitude and in the amount of feedback SPEEDSYNC, 0.100–10.000 HzAdjusts the rate of modulation Parameter Range Description SPEEDSYNC, 0.1–10.0 Hz Adjusts the rate of modulation MANUAL0.00–10.00Adjusts the center frequency of modulation DEPTH0.00–10.00 Adjusts the depth of modulation FEEDBACK0.00–10.00 Adjusts the amount of feedback COLOR0.00–10.00This parameter is available for certain combinations of MODE and STAGE. It allows you to fine-tune the tonal character MODE1, 2Selects the type of circuit config- uration being modeled. This will affect the tonal character STAGE4, 6, 8, 10Specifies the number of stages in the circuit being modeled. This will affect the tonal character
Effects Parameters145 Appendix: Parameter Lists 01V96i—Reference Manual Dual Phaser This is a 2-in/2-out phaser that emulates a vintage phaser manufactured during the mid-1970s. Parameter Range Description RATE 1SYNC, 0.067–20.000 HzAdjusts the modulation rate of LFO1 SHAPE 1Sine, Square Selects the waveform of LFO1 RATE 2SYNC, 0.111–20.000 HzAdjusts the modulation rate of LFO2 SHAPE 2Sine, Square Selects the waveform of LFO2 DEPTH (A/B)1.00–10.00 Adjusts the depth of modulation FB (A/B)0.00–10.00 Adjusts the amount of feedback SW (A/B)ON, OFFSwitches the phaser circuit on/off SWEEP BLFO1, LFO2 Selects the LFO for Phaser B SYNC BNORM, REVSelects the LFO phase for Phaser B IN MODE1, 2, 3, 4Specifies the way in which the two phasers are connected. 1: After mixing the stereo input, the sound processed by Phaser A is output from the left channel, and the sound processed by Phaser B is output from the right channel. 2: After mixing the stereo input, the sound processed by Phaser A is output from the left channel, and the sound processed by Phaser A and then additionally processed by Phaser B is output from the right channel. 3: After mixing the stereo input, the sound processed by Phaser A and then additionally processed by Phaser B is output from both the left and right channels. 4: The left input channel is pro- cessed by Phaser A and output from the left channel, and the right input channel is processed by Phaser B and output from the right channel.
146Appendix: Parameter Lists 01V96i—Reference Manual Effects and tempo synchronization Some of the 01V96i’s effects allow you to synchronize the effect with the tempo. There are two such types of effect; delay-type effects and modulation-type effects. For delay-type effects, the delay time will change according to the tempo. For modulation-type effects, the frequency of the modulation signal will change according to the tempo. Parameters related to tempo synchronization The following five parameters are related to tempo syn- chronization. 1) SYNC 2) NOTE 3) TEMPO 4) DELAY 5) FREQ. SYNC: ............................. This is the on/off switch for tempo synchronization. NOTE and TEMPO: .... These are the basic parameters for tempo synchronization. DELAY and FREQ.: ...... DELAY is the delay time, and FREQ. is the frequency of the modulation signal. These directly affect the way in which the effect sound will change. DELAY is rele- vant only for delay-type effects, and FREQ. is relevant only for modulation-type effects. How the parameters are related Tempo synchronization uses TEMPO and NOTE to calcu- late a value that will be the basis for the tempo, and contin- ues making adjustments so that this tempo basis stays essentially the same as the DELAY (or FREQ.). This means that when TEMPO, NOTE, and DELAY (or FREQ.) are synchronized, and you change any of these values, the other parameters will be re-set in order to maintain the cor- rect relationship. The parameters that are re-set and the cal- culation method(*a) used are as follows. If you turn SYNC on NOTE will be set If you edit DELAY (or FREQ.) NOTE will be set In this case, the NOTE value is calculated as follows. NOTE = DELAY (or FREQ.)/(4 x (60/TEMPO)) If you edit NOTE DELAY (or FREQ.) will be set In this case, the DELAY (or FREQ.) value is calculated as follows. DELAY (or FREQ.) = NOTE x 4 x (60/TEMPO) If you edit TEMPO DELAY (or FREQ.) will be set In this case, the DELAY (or FREQ.) value is calculated as follows. DELAY (or FREQ.) = original DELAY (or FREQ.) x (previous TEMPO/new TEMPO)Example 1: When SYNC=ON, DELAY=250 ms, TEMPO=120, you change NOTE from 8th note to quarter note DELAY= new NOTE x 4 x (60/TEMPO) = (1/4) x 4 x (60/120) = 0.5 (sec) = 500 ms Thus, the DELAY will change from 250 ms to 500 ms. Example 2: When SYNC=ON, DELAY=250 ms, NOTE=8th note, you change TEMPO from 120 to 121 DELAY= original DELAY x (previous TEMPO/ new TEMPO) = 250 x (120/121) = 247.9 (ms) Thus, the TEMPO will change from 250 ms to 247.9 ms. *a: Rounded values are used for the calculation results. Ranges of the NOTE and TEMPO values The ranges of the NOTE and TEMPO values are limited by the ranges of the DELAY or FREQ. values. You cannot set NOTE or TEMPO values that would cause DELAY or FREQ. to exceed their maximum possible values when syn- chronized to tempo. This limitation also applies even when SYNC is OFF. Special characteristics of the TEMPO parameter The TEMPO parameter has the following characteristics that are unlike other parameters. • It is a common value shared by all effects • You cannot stored it to or recall it from the Effects Library. (You can store it to and recall it from a Scene.) This means that the TEMPO value may not necessarily be the same when an effect is recalled as when that effect was stored. Here is an example. Store the effect: TEMPO=120 Change TEMPO to 60 Recall the effect: TEMPO=60 Normally when you change the TEMPO, the DELAY (or FREQ.) will be re-set accordingly. However if the DELAY (or FREQ.) were changed, the effect would sound differ- ently when recalled than when it was stored. To prevent the effect from changing in this way between store and recall, the 01V96i does not update the DELAY (or FREQ.) value when an effect is recalled, even if the TEMPO is no longer the same as when that effect was stored. * The NOTE parameter is calculated based on the following values. = 1/48 = 2/1 = 1/16 = 1/24 = 1/12 = 3/4 = 3/16 = 1/2= 3/32 = 1/6 = 1/4= 1/8 = 1/1 = 3/8
Preset EQ Parameters147 Appendix: Parameter Lists 01V96i—Reference Manual Preset EQ Parameters # TitleParameter LOW L-MID H-MID HIGH 01Bass Drum 1PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –3.5 dB 0.0 dB +4.0 dB F 100 Hz 265 Hz 1.06 kHz 5.30 kHz Q 1.2100.9 — 02Bass Drum 2PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 80 Hz 400 Hz 2.50 kHz 12.5 kHz Q 1.4 4.5 2.2 — 03Snare Drum 1PEAKING PEAKING PEAKING H.SHELF G –0.5 dB 0.0 dB +3.0 dB +4.5 dB F 132 Hz 1.00 kHz 3.15 kHz 5.00 kHz Q 1.2 4.5 0.11 — 04Snare Drum 2L.SHELF PEAKING PEAKING PEAKING G +1.5 dB –8.5 dB +2.5 dB +4.0 dB F 180 Hz 335 Hz 2.36 kHz 4.00 kHz Q —100.70.1 05 Tom-tom 1PEAKING PEAKING PEAKING PEAKING G +2.0 dB –7.5 dB +2.0 dB +1.0 dB F 212 Hz 670 Hz 4.50 kHz 6.30 kHz Q 1.4101.20.28 06 CymbalL.SHELF PEAKING PEAKING H.SHELF G –2.0 dB 0.0 dB 0.0 dB +3.0 dB F 106 Hz 425 Hz 1.06 kHz 13.2 kHz Q —80.9— 07 High HatL.SHELF PEAKING PEAKING H.SHELF G –4.0 dB –2.5 dB +1.0 dB +0.5 dB F 95 Hz 425 Hz 2.80 kHz 7.50 kHz Q —0.5 1 — 08 PercussionL.SHELF PEAKING PEAKING H.SHELF G –4.5 dB 0.0 dB +2.0 dB 0.0 dB F 100 Hz 400 Hz 2.80 kHz 17.0 kHz Q —4.50.56— 09 E. Bass 1L.SHELF PEAKING PEAKING H.SHELF G –7.5 dB +4.5 dB +2.5 dB 0.0 dB F 35.5 Hz 112 Hz 2.00 kHz 4.00 kHz Q —54.5— 10 E. Bass 2PEAKING PEAKING PEAKING H.SHELF G +3.0 dB 0.0 dB +2.5 dB +0.5 dB F 112 Hz 112 Hz 2.24 kHz 4.00 kHz Q 0.1 5 6.3 — 11 Syn. Bass 1PEAKING PEAKING PEAKING H.SHELF G +3.5 dB +8.5 dB 0.0 dB 0.0 dB F 85 Hz 950 Hz 4.00 kHz 12.5 kHz Q 0.1 8 4.5 — 12 Syn. Bass 2PEAKING PEAKING PEAKING H.SHELF G +2.5 dB 0.0 dB +1.5 dB 0.0 dB F 125 Hz 180 Hz 1.12 kHz 12.5 kHz Q 1.6 8 2.2 — 13 Piano 1L.SHELF PEAKING PEAKING H.SHELF G –6.0 dB 0.0 dB +2.0 dB +4.0 dB F 95 Hz 950 Hz 3.15 kHz 7.50 kHz Q —80.9— 14 Piano 2PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –8.5 dB +1.5 dB +3.0 dB F 224 Hz 600 Hz 3.15 kHz 5.30 kHz Q 5.6100.7 — 15 E. G. CleanPEAKING PEAKING PEAKING H.SHELF G +2.0 dB –5.5 dB +0.5 dB +2.5 dB F 265 Hz 400 Hz 1.32 kHz 4.50 kHz Q 0.18 10 6.3 — 16E. G. Crunch 1PEAKING PEAKING PEAKING PEAKING G +4.5 dB 0.0 dB +4.0 dB +2.0 dB F 140 Hz 1.00 kHz 1.90 kHz 5.60 kHz Q 84.50.639 17E. G. Crunch 2PEAKING PEAKING PEAKING H.SHELF G +2.5 dB +1.5 dB +2.5 dB 0.0 dB F 125 Hz 450 Hz 3.35 kHz 19.0 kHz Q 80.40.16— 18 E. G. Dist. 1L.SHELF PEAKING PEAKING H.SHELF G +5.0 dB 0.0 dB +3.5 dB 0.0 dB F 355 Hz 950 Hz 3.35 kHz 12.5 kHz Q —910— 19 E. G. Dist. 2L.SHELF PEAKING PEAKING H.SHELF G +6.0 dB –8.5 dB +4.5 dB +4.0 dB F 315 Hz 1.06 kHz 4.25 kHz 12.5 kHz Q —10 4 — 20A. G. Stroke 1PEAKING PEAKING PEAKING H.SHELF G –2.0 dB 0.0 dB +1.0 dB +4.0 dB F 106 Hz 1.00 kHz 1.90 kHz 5.30 kHz Q 0.9 4.5 3.5 — 21A. G. Stroke 2L.SHELF PEAKING PEAKING H.SHELF G –3.5 dB –2.0 dB 0.0 dB +2.0 dB F 300 Hz 750 Hz 2.00 kHz 3.55 kHz Q —94.5— 22A. G. Arpeg. 1L.SHELF PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB 0.0 dB +2.0 dB F 224 Hz 1.00 kHz 4.00 kHz 6.70 kHz Q — 4.5 4.5 0.12 23A. G. Arpeg. 2L.SHELF PEAKING PEAKING H.SHELF G 0.0 dB –5.5 dB 0.0 dB +4.0 dB F 180 Hz 355 Hz 4.00 kHz 4.25 kHz Q —74.5— 24 Brass Sec.PEAKING PEAKING PEAKING PEAKING G –2.0 dB –1.0 dB +1.5 dB +3.0 dB F 90 Hz 850 Hz 2.12 kHz 4.50 kHz Q 2.820.77 25Male Vocal 1PEAKING PEAKING PEAKING PEAKING G –0.5 dB 0.0 dB +2.0 dB +3.5 dB F 190 Hz 1.00 kHz 2.00 kHz 6.70 kHz Q 0.11 4.5 0.56 0.11 26Male Vocal 2PEAKING PEAKING PEAKING H.SHELF G +2.0 dB –5.0 dB –2.5 dB +4.0 dB F 170 Hz 236 Hz 2.65 kHz 6.70 kHz Q 0.11 10 5.6 — 27Female Vo. 1PEAKING PEAKING PEAKING PEAKING G –1.0 dB +1.0 dB +1.5 dB +2.0 dB F 118 Hz 400 Hz 2.65 kHz 6.00 kHz Q 0.18 0.45 0.56 0.14 # TitleParameter LOW L-MID H-MID HIGH
148Appendix: Parameter Lists 01V96i—Reference Manual Preset Gate Parameters (fs = 44.1 kHz) 28Female Vo. 2L.SHELF PEAKING PEAKING H.SHELF G –7.0 dB +1.5 dB +1.5 dB +2.5 dB F 112 Hz 335 Hz 2.00 kHz 6.70 kHz Q — 0.16 0.2 — 29Chorus & HarmoPEAKING PEAKING PEAKING PEAKING G –2.0 dB –1.0 dB +1.5 dB +3.0 dB F 90 Hz 850 Hz 2.12 kHz 4.50 kHz Q 2.8 2 0.7 7 30 To t a l E Q 1PEAKING PEAKING PEAKING H.SHELF G –0.5 dB 0.0 dB +3.0 dB +6.5 dB F 95 Hz 950 Hz 2.12 kHz 16.0 kHz Q 72.25.6— 31 To t a l E Q 2PEAKING PEAKING PEAKING H.SHELF G +4.0 dB +1.5 dB +2.0 dB +6.0 dB F 95 Hz 750 Hz 1.80 kHz 18.0 kHz Q 72.85.6— 32 To t a l E Q 3L.SHELF PEAKING PEAKING H.SHELF G +1.5 dB +0.5 dB +2.0 dB +4.0 dB F 67 Hz 850 Hz 1.90 kHz 15.0 kHz Q — 0.28 0.7 — 33Bass Drum 3PEAKING PEAKING PEAKING PEAKING G +3.5 dB –10.0 dB +3.5 dB 0.0 dB F 118 Hz 315 Hz 4.25 kHz 20.0 kHz Q 2100.40.4 34Snare Drum 3L.SHELF PEAKING PEAKING PEAKING G 0.0 dB +2.0 dB +3.5 dB 0.0 dB F 224 Hz 560 Hz 4.25 kHz 4.00 kHz Q — 4.5 2.8 0.1 35 Tom-tom 2L.SHELF PEAKING PEAKING H.SHELF G –9.0 dB +1.5 dB +2.0 dB 0.0 dB F 90 Hz 212 Hz 5.30 kHz 17.0 kHz Q —4.51.2— 36 Piano 3PEAKING PEAKING PEAKING H.SHELF G +4.5 dB –13.0 dB +4.5 dB +2.5 dB F 100 Hz 475 Hz 2.36 kHz 10.0 kHz Q 8109 — 37 Piano LowPEAKING PEAKING PEAKING H.SHELF G –5.5 dB +1.5 dB +6.0 dB 0.0 dB F 190 Hz 400 Hz 6.70 kHz 12.5 kHz Q 10 6.3 2.2 — 38 Piano HighPEAKING PEAKING PEAKING PEAKING G –5.5 dB +1.5 dB +5.0 dB +3.0 dB F 190 Hz 400 Hz 6.70 kHz 5.60 kHz Q 10 6.3 2.2 0.1 39Fine-EQ CassL.SHELF PEAKING PEAKING H.SHELF G –1.5 dB 0.0 dB +1.0 dB +3.0 dB F 75 Hz 1.00 kHz 4.00 kHz 12.5 kHz Q —4.51.8— 40 NarratorPEAKING PEAKING PEAKING H.SHELF G –4.0 dB –1.0 dB +2.0 dB 0.0 dB F 106 Hz 710 Hz 2.50 kHz 10.0 kHz Q 4 7 0.63 — #TitleParameter LOW L-MID H-MID HIGH #Title Type ParameterValue 1 GateGATEThreshold (dB) –26 Range (dB) –56 Attack (ms) 0 Hold (ms) 2.56 Decay (ms) 331 2 DuckingDUCKINGThreshold (dB) –19 Range (dB) –22 Attack (ms) 93 Hold (ms) 1.20 S Decay (ms) 6.32 S 3 A. Dr. BDGATEThreshold (dB) –11 Range (dB) –53 Attack (ms) 0 Hold (ms) 1.93 Decay (ms) 400 4 A. Dr. SNGATEThreshold (dB) –8 Range (dB) –23 Attack (ms) 1 Hold (ms) 0.63 Decay (ms) 238
Preset Compressor Parameters (fs = 44.1 kHz)149 Appendix: Parameter Lists 01V96i—Reference Manual Preset Compressor Parameters (fs = 44.1 kHz) #Title Type ParameterValue 1 CompCOMPThreshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 60 Out gain (dB) 0.0 Knee 2 Release (ms) 250 2 ExpandEXPANDThreshold (dB) –23 Ratio ( :1) 1.7 Attack (ms) 1 Out gain (dB) 3.5 Knee 2 Release (ms) 70 3Compander (H)COMPAND-HThreshold (dB) –10 Ratio ( :1) 3.5 Attack (ms) 1 Out gain (dB) 0.0 Width (dB) 6 Release (ms) 250 4Compander (S)COMPAND-SThreshold (dB) –8 Ratio ( :1) 4 Attack (ms) 25 Out gain (dB) 0.0 Width (dB) 24 Release (ms) 180 5 A. Dr. BDCOMPThreshold (dB) –24 Ratio ( :1) 3 Attack (ms) 9 Out gain (dB) 5.5 Knee 2 Release (ms) 58 6 A. Dr. BDCOMPAND-HThreshold (dB) –11 Ratio ( :1) 3.5 Attack (ms) 1 Out gain (dB) –1.5 Width (dB) 7 Release (ms) 192 7 A. Dr. SNCOMPThreshold (dB) –17 Ratio ( :1) 2.5 Attack (ms) 8 Out gain (dB) 3.5 Knee 2 Release (ms) 12 8 A. Dr. SNEXPANDThreshold (dB) –23 Ratio ( :1) 2 Attack (ms) 0 Out gain (dB) 0.5 Knee 2 Release (ms) 151 9 A. Dr. SNCOMPAND-SThreshold (dB) –8 Ratio ( :1) 1.7 Attack (ms) 11 Out gain (dB) 0.0 Width (dB) 10 Release (ms) 12810 A. Dr. TomEXPANDThreshold (dB) –20 Ratio ( :1) 2 Attack (ms) 2 Out gain (dB) 5.0 Knee 2 Release (ms) 749 11 A. Dr. OverTopCOMPAND-SThreshold (dB) –24 Ratio ( :1) 2 Attack (ms) 38 Out gain (dB) –3.5 Width (dB) 54 Release (ms) 842 12 E. B. FingerCOMPThreshold (dB) –12 Ratio ( :1) 2 Attack (ms) 15 Out gain (dB) 4.5 Knee 2 Release (ms) 470 13 E. B. SlapCOMPThreshold (dB) –12 Ratio ( :1) 1.7 Attack (ms) 6 Out gain (dB) 4.0 Knee hard Release (ms) 133 14 Syn. BassCOMPThreshold (dB) –10 Ratio ( :1) 3.5 Attack (ms) 9 Out gain (dB) 3.0 Knee hard Release (ms) 250 15 Piano1COMPThreshold (dB) –9 Ratio ( :1) 2.5 Attack (ms) 17 Out gain (dB) 1.0 Knee hard Release (ms) 238 16 Piano2COMPThreshold (dB) –18 Ratio ( :1) 3.5 Attack (ms) 7 Out gain (dB) 6.0 Knee 2 Release (ms) 174 17 E. GuitarCOMPThreshold (dB) –8 Ratio ( :1) 3.5 Attack (ms) 7 Out gain (dB) 2.5 Knee 4 Release (ms) 261 18 A. GuitarCOMPThreshold (dB) –10 Ratio ( :1) 2.5 Attack (ms) 5 Out gain (dB) 1.5 Knee 2 Release (ms) 238 19 Strings1COMPThreshold (dB) –11 Ratio ( :1) 2 Attack (ms) 33 Out gain (dB) 1.5 Knee 2 Release (ms) 749 # Title Type Parameter Value
150Appendix: Parameter Lists 01V96i—Reference Manual 20 Strings2COMPThreshold (dB) –12 Ratio ( :1) 1.5 Attack (ms) 93 Out gain (dB) 1.5 Knee 4 Release (ms) 1.35 S 21 Strings3COMPThreshold (dB) –17 Ratio ( :1) 1.5 Attack (ms) 76 Out gain (dB) 2.5 Knee 2 Release (ms) 186 22 BrassSectionCOMPThreshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 18 Out gain (dB) 4.0 Knee 1 Release (ms) 226 23 Syn. PadCOMPThreshold (dB) –13 Ratio ( :1) 2 Attack (ms) 58 Out gain (dB) 2.0 Knee 1 Release (ms) 238 24 SamplingPercCOMPAND-SThreshold (dB) –18 Ratio ( :1) 1.7 Attack (ms) 8 Out gain (dB) –2.5 Width (dB) 18 Release (ms) 238 25 Sampling BDCOMPThreshold (dB) –14 Ratio ( :1) 2 Attack (ms) 2 Out gain (dB) 3.5 Knee 4 Release (ms) 35 26 Sampling SNCOMPThreshold (dB) –18 Ratio ( :1) 4 Attack (ms) 8 Out gain (dB) 8.0 Knee hard Release (ms) 354 27 Hip CompCOMPAND-SThreshold (dB) –23 Ratio ( :1) 20 Attack (ms) 15 Out gain (dB) 0.0 Width (dB) 15 Release (ms) 163 28 Solo Vocal1COMPThreshold (dB) –20 Ratio ( :1) 2.5 Attack (ms) 31 Out gain (dB) 2.0 Knee 1 Release (ms) 342 29 Solo Vocal2COMPThreshold (dB) –8 Ratio ( :1) 2.5 Attack (ms) 26 Out gain (dB) 1.5 Knee 3 Release (ms) 331 #Title Type ParameterValue30 ChorusCOMPThreshold (dB) –9 Ratio ( :1) 1.7 Attack (ms) 39 Out gain (dB) 2.5 Knee 2 Release (ms) 226 31 Click EraseEXPANDThreshold (dB) –33 Ratio ( :1) 2 Attack (ms) 1 Out gain (dB) 2.0 Knee 2 Release (ms) 284 32 AnnouncerCOMPAND-HThreshold (dB) –14 Ratio ( :1) 2.5 Attack (ms) 1 Out gain (dB) –2.5 Width (dB) 18 Release (ms) 180 33 Limiter1COMPAND-SThreshold (dB) –9 Ratio ( :1) 3 Attack (ms) 20 Out gain (dB) –3.0 Width (dB) 90 Release (ms) 3.90 s 34 Limiter2COMPThreshold (dB) 0 Ratio ( :1) Attack (ms) 0 Out gain (dB) 0.0 Knee hard Release (ms) 319 35 To t a l C o m p 1COMPThreshold (dB) –18 Ratio ( :1) 3.5 Attack (ms) 94 Out gain (dB) 2.5 Knee hard Release (ms) 447 36 To t a l C o m p 2COMPThreshold (dB) –16 Ratio ( :1) 6 Attack (ms) 11 Out gain (dB) 6.0 Knee 1 Release (ms) 180 #Title Type ParameterValue