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Yamaha 01V96 Learning curve- comments from those who use one...


Guest BobD

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Bob,

Exactly, you could have a D-Sub to D-Sub cable built to connect out of the Yamaha to your Fostex 606 and be able to record 8 digital channels and monitor the return of each of those channels all with one simple cable.

Secondly you could route any channel on the Yamaha to whatever track you wanted. So now that we are on this topic, I'll explain my routing.

I use Bus Ch 1 and 2 as my main mix, of course many just like to have one Mix channel - whatever you prefer.

Then I use Aux sends 1 - 8 in this manner:

Aux 1 is "Vanity" feed, Comteks.

Aux 2 is my PL to Boom operators.

Aux sends 3 - 8 are used as my iso sends to my Deva 5 channels 3 - 8.

I setup the "Output Patch" menu this way:

Slot Output Patch

1 Bus1

2 Bus2

3 Aux3

4-8 Aux4-8

[Lets say I had 2 HD recorders, I could also use Slots 9-32 to send the same or different patching to that machine too]

ADAT

This is an exact copy of my Slot Output patch

OMNI (those are the 4 TRS outputs on the rear)

1 Aux1(Comtek)

2 Aux2 (IFB/PL)

3 Bus 7 (PB/ L)

4 Bus 8 (PB R/Thumper)

The Input Patch screen is setup this way:

Input 1-16

AD1, AD 2 etc. As this is where all my microphone, wireless, playback are plugged into the boards XLR inputs. ** (see below)

Input 17-32

17 Slot 1 (Deva Ch1 return)

18 Slot 2 (Deva Ch2 return)

19-24 Slots 3-8 (Deva Ch3-8 returns)

25-31 ADAT 1-7 (BoomRecorder Ch1-7 returns)

32 AD 12 (This is my slate mic )

**

On the board itself I have the following plugged into the XLR's and TRS inputs

Ch1 - 3 Hard wired boom cable (yes I'm "old fashioned") Ch1 Boom 1, Ch 2 Boom 2, Ch3 Plant mic

Ch 4-11 Lectrosonic Venues -currently 8 channels of wireless

Ch 12 Slate mic - this XLR input is patched to Ch16 (done on the Input Patch menu screen,  -- which means I can control that input on channel fader 16)

TRS 13,14 patched to Ch faders 13, 14 (PB Input Ch1, Ch2)

TRS 15,16 patched to Ch faders 12 and 15 (for my iPod) [Yes this is odd, call me excentric in what faders I wanted to use]

About my Slate mic, controlled on channel strip 16. That channel is paired 'mute grouped' with Ch 32, meaning that when the "On" button is ON it is my PL only -- which is routed only to Aux 2. When I switch the "On" button OFF it actually turns Ch 32 ON and it is now my Slate mic, because Ch 32 is routed to Bus1,2, Aux sends 2-8. As a habit I DO NOT send my Slate mic to my Comteks. Many, many, many years ago I said the "wrong thing" over the slate - Jim Cameron didn't appreciate it - although I was RIGHT :)

Bob, I'm sure your head is in a real twist! That's why I played with the console for about a week on the set, until I felt comfortable enough to give it a whirl.

The options are multiple, it is totally open to your imagination.

Have fun,

RL

(Corrected mistakes here, several times)

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Great info..... I'll be chewing on that for a while.....  That is a great deal to soak up after using a Cooper for so many years....    

Life used to be so simple.....   I feel like i might have a "Tron" situation where I end up inside this thing....  I just hope it's not while I am on a gig!!!

I will reference this as soon as I actually get a hold of the console....  Then I can go point by point with your data....

Thank you Richard....  Really appreciate the time you took to provide this information.... No kidding.... Bob

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Thanks for posting that Richard.  There are so many different approaches that one can take with this mixer.  Its quite interesting to see what other users are doing.

Here's a brief run down on how my board is configured:

I don't use busses 1 through 8 at all for the most part.

My direct outs for each input strip are routed directly to the ADAT optical outs, which are used for my "ISO" tracks.  If I used a recording device that didn't accept optical, I would likely route the direct outs to the slot out where cards are available for your choice of analog, digital, more ADAT outs, etc.

My main mix goes through the Stereo Bus and is routed to both the analog XLR outputs and the spdif.  I mix in mono, so the "Right" XLR connector of the Stereo out is used to feed my CAT5 video assist cable.

Much like Richard, I route Aux 1 and Aux 2 for my two IFB feeds, Aux's 3 and 4 are used for anything from earwigs, to music playback to whatever is necessary.  All four of my Aux's are routed to the four "Omni Out" physical outputs, in sequence.  Returns from Metacorder are monitored at one of the 01v96's 4 stereo returns.  The 744, which is my backup, has its return routed to another of the mixer's stereo returns.

Keeping in mind that all physical input connections can be routed to any, and all, input strips:

Physical  Inputs 1-8 are mostly permanently fed from my RF 1-8.  Input strips 1-8 are mostly used for my RF 1-8 as well.  Occasionally, I may route something else to them.  Inputs 9 -11 are for booms etc.  Physical Input 12 is my slate mic, which is actually routed to input strips 14, 15, & 16.  14 is set up as Private line only, 15 is set up as Private and Public lines.  16 is direct to the stereo bus.  Physical inputs 15 and 16 are used for playback inputs and routed to wherever I want them at the time.

This mixer is so flexible that on the last production I was able to use Input Strip 13 for music (with its direct out going to an iso recording track and its post fader output going to the mix bus) while simultaneously routing the same music input to input strips 11 and 12 where the faders on 11 and 12 were used to control the output levels of the music on its way to Omni Outs 3 and 4, where the music was being routed to earwigs and speakers respectively.  The output levels show up on the "master" layer anyways, but this gave me very quick access to the speaker and earwig outputs for cues and instant level changes.

Hope I'm describing things in a way that make them somewhat possible to visualize.

As Richard put so perfectly, "The options are multiple, it is totally open to your imagination.

Have fun.".

Darren

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I too am a fan of the O1V.  My trusty old Cooper 106 still sounds great but doesn't have enough ins or outs anymore.  I love that mixer and still keep it in the car just in case...  Would I like to use a Cooper 208 with killer A to D?  Sure, but thats not going to happen for $2000ish.

As for the learning curve, there certainly was one for me, but I worked with it a lot in the shop before I brought it to the set.  Truthfully I had a couple of Holy Shit moments in the beginning, but I seem to be over those now.  Look before you tweak.

The faders aren't as nice as the Coopers P&G's, but it's not an old Mackie either.  They have enough "feel" to mix with and I'm used to them by now I suppose.  Mackie users take no offense please, I love my 1402.

I really wish the display was larger and in color, and I'd love to have a XLR4 in back for DC power.

Also, I'd pay real money for a meter bridge on top like bigger Yamahas have.

The O1V fits just fine on my Magliner Jr. with the 24" deep shelf.  True, the 12" deep top shelf does cover the back few inches of the O1V, but for me no real issue.  That said, soon I will build a rolling SKB rack rig I think.

It does take 90 watts to run this mixer and that makes quick work of most batteries.  I would love to have DC available so I can get going before the electricans show up, but no real AC power issues for me so far.  I'm currently working out DC power/inverter plans just to be comfortable.

I love the routing and patching on this thing.  Almost any thing can be patched anywhere.

Input faders route to 8 buses, (plus the Stereo bus) and they can normal to the digital I/O card.  I send 8 buses to a DV824.  Returns show up on the board too.  I route a Com Mic to three faders for Boom guy, PL, and slate.  The ADAT out goes to a Motu Traveler & laptop w/boom recorder.  I use the 1/4" TRS inputs for camera returns on video days, and patch them to second layer faders along with the recorder returns.  What fun.

I use the O1V's very mild compression on the inputs and peak stop limiters on the 8 bus outs.

Comp/limiters and EQ sound transparent and generally fine.  Are the Coopers Mic pres better?  Hmm...

I really like the Coopers high pass filters and have been reasonably successful copying them to the O1V.  How many outboard rack spaces would all that be?

Dollars for doughnuts, this works for me.  Will it last as long as my Cooper has?  I don't think so but I could buy six of them for the price of that very nice Cooper 208.  And things have a habit of evolving don't they?  I like reading how other people skin the same cat a different way, what a great forum!

(cat people leave me alone.)

Rick

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How many outboard rack spaces would all that be?

Probably 2 racks spaces for 16 analog inputs or 1 rack for 8 analog 8 aes. Some manufacturers include DSP in their units(no processing on computer) or in the software. Some also have any input to output as well as the other features mentioned. The difference is the need for a control surface and computer, so it doesnt have the benefit of an all in one.

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  • 2 weeks later...

I haven't finished reading the whole thread, but it's already a great asset.

I've been running the O1V96 V2 for over two years now. I originally built my cart system with a Fostex PD-6 as my master recorder and the HHB PDR 1000 as my backup, but I just sold the PD-6 and installed Metacorder on my old MacBook Pro that just had a new logic board and 7200 RPM hard drive installed. With the PD-6 and HHB on the cart I ran the O1V @ 96kHz, sending 8 channels of analog out through an MY8-DA96 via the master buss 1-8. 6 channels went to the PD-6 analog ins, one to the PDR 1000 (Ch.1_Mix-Ch.2_Timecode; I don't have the timecode feature on my HHB), with a spare hanging free. I have to admit, I had to string this thing together quickly, so there were a lot of features in the board I overlooked when building.

Aux 1-4 are assigned as follows:

Aux 1_Duplex Monitor feed

Aux 2_Private IFB (Sound Crew)

Aux 3_Public Comtek 1 (Director, Script, etc.)

Aux 4_ Comtek 2 (Earwig, spare output, etc.).

Channel assignments for inputs are as follows:

Channels 1-4 (Only) with Phantom Power ON: (Hard wired lines only)

Ch.1_Slate

Ch.2_Boom 1

Ch.3_Boom 2/Plant 1

Ch.4_Plant 2

I've never had the opportunity to handle 2 hardwired booms, but I use 2 hard wired plants with one hard wired boom occasionally.

Ch.5_Venue Receiver 1 (Green)

Ch.6_Venue Receiver 2 (Orange)

Ch.7_Venue Receiver 3 (Grey)

Ch.8_Venue Receiver 4 (Black)

Ch.9_Venue Receiver 5 (Brown)

Ch.10_Venue Receiver 6 (White)

Ch.11_Breakaway wireless 1 (Red)

Ch.12_Breakaway Wireless 2 (Yellow)

Ch.13_Breakaway Wireless 3 (Blue)

Ch.14_Open

Ch.15_Open

Ch.16_Open

This system has served very well because it's a very simple system. Running the O1V @ 96kHz gave a very robust signal to my PD-6 and PDR 1000. The current system will have Metacorder running on Mac OS on the upgraded PowerBook and LecNet 2 running on Windows XP Pro via Parallels; it's pretty fascinating to have these programs running together in this way. I'm loving it so far. I'll be feeding Metacorder through an MY16-mLAN iEEE card. As of yet I've installed the applications into the MacBook and they all work perfectly. The mLAN card is running perfectly also, allowing 16 channels of throughput to Metacorder and back, but I haven't had the time to create the routing for the system yet.

Backup mix will be sent to a Sound Devices 744T while the 744T will serve as master timecode. Timecode will be fed to Metacorder through the PowerBook's 3.5 mm input on it's left hand side. The only reserve I have is that I'll have to run the O1V @ 48kHz. I've talked to different users who say that the signal is just as robust @ 48kHz as it is @ 96kHz.  I'll trust their words of advice because they're all very good mixers and I respect them.

As I mentioned, I haven't yet had time to network the routing from O1V to Metacorder, but when I do have time to finish the setup, I'll make time to tell.

Have fun Making (Sound For) Movies,

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I forgot to mention that my slate mic on Ch.1 is set up with a pre-fader send to Aux 1/Aux 2 for private line talkback, while at the same time set up with a post-fader send to Aux 3 for public line talkback. Aux 4 is used so rarely that I don't remember the pre-post assignment. So, when I want to talk to my crew all I have to do is select the "ON" button at the top of Ch.1's fader and leave the fader down all the way. When I need to talk to the director/ script supervisor, etc. (notice that I said "need"; ok, enough jokes) all I have to do is press "ON" and pull the fader up. This saves my fader real estate for future add ons that may need to be added (I hope there's no need).

I don't have time to go into any other routing details, but when I finish the current setup I'll lay it out for you to read and give suggestions. I like to suggestions because I overlook things form time to time.

Have fun making movies,

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  • 3 weeks later...

After many shows now under my belt on this console, all I can say is....  This IS the best current deal on ANY motion picture equipment....  

 I LOVE this console,  It was a bit of a bear at first, I will say, but, after getting it set up, and understanding how it works on a film set and.... WOW  what a great mixer.....    I am blown away with all the possibilities....

 I did have help getting it sorted out.... And I needed it... Once that is done, and you save the set up, you can begin saving your own set-ups from there...  Then it's all down hill...

 I just love it...  And at  @$2250   and 430 for the AD card and 130 for the D 24 pin 8 out XLR  and what a Freekin deal....  Even at $10,000....  This is a great console...  Funny,  everyone says  "wow that mixer is unreal,  how expensive was that?"  Almost comical...

Just love using it  in every way...   Heavier... yeah....    Bigger...  yeah....  but after using it,  wouldn't give it up for anything....

I highly suggest checking it out...  at least give it a look...  

Pro Sound Serv. in NY  had the best price and took great care in getting it  to me lickity split...   just so you know...

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Bob,

Another fan, great.

The scene memory is a 'life saver'. There are times I've tried experimenting with a setup, pushed a button and everything on the console has gone to a totally different setting and routing. No panic, just recall your saved scene and voila, back exactly as you like it.

Enjoy.

RL

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Speaking of Recall

I remember the first time I used Yamaha's Grandpa board the PM5D.  It is an amazing digital mixer.  You can even program it to control a dimmer pack for lights.  Anyway it was my very first time using a digital board. It was for a 3 day music festival where I was hired to do the sound reinforcement.  I had around a couple dozen bands in my venue over the course of the weekend.  I had read the mixer's manual, watched Yamaha's online video, and got a 2 hour one on one tutorial and learned enough to feel pretty comfortable.  There were at least 4 bands that played twice on my stage so it was great to be able to save the scenes and recall them and to instantly have a decent starting mix & eq for both the Mains and Monitors (I was also mixing 6 stage monitors)  This was going to be my fist time using recall. I was actually pretty excited about this.  So I selected the scene that I previously saved and reached over and push recall and watch all of the faders go flying instantly into position as simultaneously there was this horrifically loud, piercing feedback whaling away.  The feedback level started probably around 105db.  It felt like it surged through my whole body and every other body in the hall.  Of course everyone turned and looked at me as I scrambled to turn down the master fader as well as 6 individual master monitor sends.  It probably lasted all of a few seconds but it seemed like forever.  I learned one very important thing that when I save a scene I should always save it with each channel muted and all the master faders and pots down.  Just didn't occur to me.

Of course it's not really an issue for Location Sound but thought I'd share the story.

Andy

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  • 1 month later...

Hey guys,

First time post here - but have been reading on this forum for a few years.

I have been thinking about the 01V96 for a while. Has anybody thought about using a smaller sine wave inverter (like 100 watts) instead of a large ProSine... and then still running most the other equipment DC? So for example the only AC on the cart is for powering the board, and everything else is DC. If my calculations are correct the board will draw 7.5 amps at 12vdc. My power supply can handle 30amps with battery backup as well. Would this be more power efficient when you think about all the AC-DC converters you would need for the rest of your gear?

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Hey guys,

First time post here - but have been reading on this forum for a few years.

I have been thinking about the 01V96 for a while. Has anybody thought about using a smaller sine wave inverter (like 100 watts) instead of a large ProSine... and then still running most the other equipment DC? So for example the only AC on the cart is for powering the board, and everything else is DC. If my calculations are correct the board will draw 7.5 amps at 12vdc. My power supply can handle 30amps with battery backup as well. Would this be more power efficient when you think about all the AC-DC converters you would need for the rest of your gear?

This is the method I use, although with a Mackie drawing a little less than the Yamaha.  I have the PSC Powermax Ultra with a modified output to handle more than the approximately 6 amps @ 12vdv the polyfuses are designed to handle.  This output feeds a small 125 watt pure sine inverter (which has no fan).  All my other gear runs on DC from the Powermax.  If I plan to run on DC for a long time, I power down the Mackie when not in use, or simply bypass it altogether.

Robert

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Robert,

"If I plan to run on DC for a long time, I power down the Mackie when not in use, or simply bypass it altogether."

Doesn't that defeat the purpose of having an inverter? Why use an inverter at all if you will not use the Mackie when you are operating on DC only for a long time?

I have the inverter (1000W sine-wave) so I can run in all situations.

RL

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Robert,

"If I plan to run on DC for a long time, I power down the Mackie when not in use, or simply bypass it altogether."

Doesn't that defeat the purpose of having an inverter? Why use an inverter at all if you will not use the Mackie when you are operating on DC only for a long time?

I have the inverter (1000W sine-wave) so I can run in all situations.

RL

What do you plug in to your inverter that 1000w is required?  I think Michael's point is that all his other gear is "native" DC (recorder, wireless, monitors, etc.), so no more than a 125W would be required.  I can run several hours - probably 4-6 or so - with the Optima Yellow Top.  I have never done a test, although now might be a good time to do it.  I also have another couple of Pelican batteries I keep topped off.  But I have never really been on set without power for more than a few hours.  The rest of the gear accepts DC without the need of inversion.  Without the inverter, I wouldn't be able to run the board at all, but the 125W is all I need, and is completely silent.

Robert

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Yes - I do now remember all your bits.  For your rig, your power solution is perfect and very cool.  But like me, I expect you turn off power-hungry stuff you don't need when you suspect you might be running off battery power for a while.  After all, you state in your post that your AC requires 10 amps (thus the 1000W inverter).  At 100 amps in 12v, your 79aH battery will die pretty quickly without a little conservation.

Robert

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Robert,

On the same linked page, Take (below my post) says this:

The power requirements stay the same in-depended of the voltage, the current goes up, so with formula P = U * I):

  90 W = 120 V * 0.75A

  90 W = 12 V * 7.5A

Yes, I am an electrical engineer.

Cheers,

  Take

So 10A is 10A.

To answer your question I have gone 4.5 hours without any "shore power"  and nothing turned off to conserve power -- this was not a test just the maximum time I had to go before we got a generator going. Every show I have been on in the last 40 years has always had a big-time generator or at the very least a portable Honda.

If the shoot day was so remote as to require no AC power at all, I would probably be working out of a bag and the cart would be on the truck.

RL

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Richard,

I am not being critical at all, nor am I questioning the fact that your system works.  Knowing what I know of you, there's no way you'd have a system that wasn't top notch.  I was just making the observation that it is different from what others need for a set-up which requires only the mixing panel be AC powered.  Having a 1000W inverter to power a 70W mixer is not a very efficient use of the equipment.  If you have other AC gear which increases your wattage, then it makes perfect sense.

In terms of power draw, if you are pulling 10 amps @12v with your AC gear and few more amps with your 12v stuff, it would certainly last 4.5 hours on a 79aH battery.

Times are changing, however, and many of us with shorter careers are stuck occasionally on lower budget stuff with handheld HD cameras shooting with available light, but still want to do these jobs from a cart and not a bag.  Generators are often an expense done without.  Camera batteries are charged in cars, or PAs are sent off to plug chargers in somewhere, since the set is not always within a stinger's length of an outlet.  

Robert

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Has anybody thought about using a smaller sine wave inverter (like 100 watts) instead of a large ProSine...

Head's up:

You will need more than a 100W inverter.  There is a momentary start up surge.

FYI, I couldn't get my mixer to power up with a Xantrax of less than 600W, but works just fine with the 300W Samlex unit (true sign wave of course).

Cheers!

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I have been using my ExelTech XL125 for several years now, without incident.  The most I ever sent into it at start-up was a Mackie at 50W and Fireface 800 at 30W, but I never ran into any problems.

I am curious about the degree of surge.  The Yamaha is only 70W, and I can't imagine it surges beyond 100W on startup.  That's pretty severe!

Robert

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