Yamaha DM2000 Manuel d'utilisateur
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- MARQUE LIVRES
Noté. / 5. Basé sur avis des utilisateurs
O
N A SUNNY AFTERNOON in the mid
1990s, I walked through the London smog
towards Air Lyndhurst, unaware that the
world was about to change. The occasion? The launch
of the 02R.
Pivotal developments are, perhaps fortunately for
our sanity, rare. Yamaha’s persistence paid off
handsomely with the 02R. Automated digital consoles
were suddenly an option for all manner of
applications. Of course, there were compromises but
the balance of features to price was well aimed and the
02R set the agenda for every subsequent rival console.
Until last year there was no serious competition. Other
manufacturers’ attempts were either ‘me too’ or flawed
in other ways. Now, just when it looked as if there
might be some serious contenders emerging, Yamaha
has moved the goalposts again. Positioned above the
‘old’ 02R the DM2000 is significantly less costly than
the very old DMC1000 and not vastly more than the
original 02R asking price.
02R is a hard act to follow. The question must be,
will the DM2000 and its sibling 02R96 be similarly
influential?
With the meter bridge and solid wooden side cheeks
in place, the DM2000 is a very handsome beast and a
leather(ette) armrest adds a touch of class. The modish
utilitarian look is all well and good, but with paying
clients a little more is required. Come to that, if you live
with a console for extended periods, aesthetics are a
factor. The side cheeks can be removed to cater for
‘building in’ the DM2000 with custom studio
furniture.
The relatively narrow (965mm) but deep (850mm)
proportions are well judged. Physically large enough
to impress but not too big for small project studios or
too expensive in lost seats when used in a theatre.
The scope of the DM2000 begins to become
apparent with the sheer number of audio and control
channels. Twenty-four identical channel strips are nine
layers deep. Five layers are concerned with the
physical input channels 0-96 and the masters. The
other four are labelled Remote 1-4 and are primarily
intended to be used with an external DAW but can be
used with any suitable MIDI device. In this software
version, Remote 1 is set up for Pro Tools, the others are
user-definable. A template is being developed for
Nuendo and I have no doubt that there will be others.
Communication is two-way with feedback from the
DAW on the DM2000 surface. With suitable I-O
arrangements this makes for an extremely powerful
combination.
Unlike the earlier consoles, there is comprehensive
patching of inputs and outputs. Vertical pairing of
input channels used for stereo sources is another great
advance in ergonomics and there is M/S decoding
when needed.
The majority of the connectivity is via YGDAI cards
and all the I-O is massively configurable and you need
to plan what you are doing. The Studio Manager
application helps make this a pleasurable process, on
or off-line, and also provides good graphical
representations of channel strips, the surround panner,
and the graphic equalisers. Automation data can be
kept on SmartMedia cards in the built-in slot or via
Studio Manager.
Eight on-board effects ‘units’ add considerably to
the appeal. The first two of these may be used for
surround effects including a more than halfway decent
reverb and multichannel dynamics. However, there is
no such thing as a free lunch and two 5.1 reverbs use
all eight processors, but I’m not complaining!
This specification is already impressive but Yamaha
has a real ace up its sleeve. Unlike every other console
anywhere near this price, there is no reduction in the
number of channels, buses or effects at 96kHz. All the
onboard convertors, processing and effects operate at
conventional or high sampling rates. Although
44.1kHz or 48kHz working is still the norm for many
applications, this future-proofing will be reassuring.
The DM2000 has surround monitoring capabilities
up to 5.1 and, with a little ingenuity, 7.1. This includes
a pink noise generator for setting up, bass
management, downmixing, level trim, and delay
functions. With control surface real estate at
something of a premium, most of this is screen-
controlled although the user-defined keys can be used
to good effect. Up to six recorder returns can be
summed and monitored via a matrix and Assign keys.
One function I couldn’t find described anywhere in
the manual is returning all four bands of an EQ to
flat. After a bit of prodding around and head scratching
I was delighted to discover that pressing the low
and high band frequency/Q encoders together does
the trick.
DM2000 offers a choice of two EQ algorithms: Type
I is the same as the O series consoles and Type II is
new. The differences are quite subtle and most
noticeable when two or more bands interact. Type II is
less clinical and arguably more musical. I hope
Yamaha will provide further variants in future software
versions (assuming the algorithms are not hard coded
into the custom DSP chips). Dynamics can be pre EQ
or pre or post fader adding to flexibility.
Make no mistake, getting the best out of this board
will take time but from what I have seen and heard so
far it will be well worth the investment. DM2000 isn’t
perfect, nothing is, but it does manage to be several
consoles in one. With really rather good mic amps and
proper 24-track recorder handling it is a real contender
for tracking and mixing music. The surround
capabilities, automated effects and DAW remote
control make it a serious option for multimedia, games
and sound for picture. The 22 x 8 output matrix gives
four independent stereo outputs for cue feeds and
zoning. Together with the snapshot automation this
should make the DM2000 popular in high quality
installation and theatre work.
In other words, this console really can be a ‘jack of
all trades’. To be master of any of them will require
thorough exploration of its talents to develop strategies
appropriate to the application. This is the principle
difference between a multipurpose console and a
dedicated one costing several times the DM2000’s
asking price.
To be picky there are a few other things I would
have liked. Separate low and high pass filters in
addition to the 4-band EQ, greater flexibility in the
24
resolution July/August 2002
review
Yamaha DM2000
We’ve suspected its existence for well over a year and looked forward to its delivery since
its unveiling towards the end of last year - few recent products have been as eagerly
awaited as Yamaha’s new digital desk. The expectations have been met and exceeded.
ROB JAMES
Résumé du contenu
Page 1 - Yamaha DM2000
ON A SUNNY AFTERNOON in the mid1990s, I walked through the London smogtowards Air Lyndhurst, unaware that theworld was about to change. The occasion?
Page 2 - Surface highlights
26resolution July/August 2002reviewsurround monitoring, and the transport keys reallyshould control the internal time code generator. StudioManager n
Page 3 - The ins and outs
by people who careVed Damhussøen 38 • 2720 Vanløse • Denmark • www.tube-tech.com27July/August 2002 resolutionreviewThe ins and outsThe first 24 channel
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