Yamaha DM 2000VCM - Manual (Page 7)

D I G I T A L P R O D U C T I O N C O N S O L E D M 2 0 0 0 D I G I T A L P R O D U C T I O N C O N S O L E D M 2 0 0 0
America ’70 + Swiss ’78
America ’70 + America ’70
Swiss ’70 + Swiss ’70
Swiss ’78 + Swiss ’78
Swiss ’85 + Swiss ’85
MASTER STRIP
The Master Strip effect Open Deck employs Virtual
Circuitry Modeling technology to recreate both the
analog circuitry and tape characteristics that shaped
the sound of open-reel tape recorders. Because of their ability to smooth out
peak levels and tidy up the response, many high-end recording studios still
maintain open-reel recorders such as the Studer A80mk1, A80mk4 and A820,
and the Ampex ATR100 and others from the 70’s and 80’s to be used to provide
tape compression at the mastering stage. Different types of tape – new BASF,
old Ampex, etc. – are also selected and used according to the unique sounds
they produce. The Open Deck provides models of four machine types: Swiss
’70, Swiss ’78, Swiss ’85, and America ’70. You can even combine different
record and playback decks for a wider range of variation. You also have a
choice of “old” and “new” tape types, tape speed, bias, and EQ settings that can
vary the “focus” of the sound, distortion, and saturation characteristics.
Now you can easily take advantage of top-end sound-shaping techniques in real
time using Yamaha digital consoles.
REVERB
These reverb effects employ the latest “REV-X” algorithms first
introduced in Yamaha’s SPX2000 Professional Multi Effect Processor.
The REV-X programs feature the richest reverberation and smoothest
decay available, based on years of dedicated research and development.
REV-X Hall, REV-X Room, and REV-X Plate programs are provided, with new
parameters such as room size and decay envelopes that offer unprecedented
definition and finer nuance control. The REV-X Hall and REV-X Room programs
have a very open sound, while REV-X Plate delivers a brighter tonality that is ideal for vocals. All models deliver dense, warm reverb that does not interfere
with the natural timbre of the source.
SURROUND POST
The three effects in this package take full advantage of Yamaha’s
remarkable iSSP (Interactive Spatial Sound Processing) technology to
deliver precisely-controllable spatial processing capabilities that are
particularly suited to cinema or television sound post-production and mixing
facilities. All effects are applicable to a range of surround formats, providing
unprecedented precision in matching visual motion with sound, and vast
creative control for the creation of fantastic sonic environments.
The Surround Post Package effects are compatible with Yamaha Digital mixing
Consoles (except the 01V96, PM5D, and PM1D), and can be controlled directly
from the console’s joystick.
Room-ER
Room-ER is capable of simulating the acoustic properties of a room of about 30 meters
in length, with accurate reproduction of the direct sound and early reflections as affected
by distance from the source, source motion,
speed of motion, and room surface
characteristics. This effect is ideal for placing
a mono source in a precisely controllable
surround environment.
Auto Doppler
Perhaps the most common example of the Doppler effect is the change in pitch of an
ambulance siren as it moves toward and then away from the listener. Auto Doppler
effectively simulates this effect in a wide variety of scenarios. In addition to objects
moving linearly past the listener, Auto Doppler
can recreate the effect of objects moving
toward and then away from the listener, for
example, with precise speed and distance
control. Timecode automation is also
possible.
Field Rotation
The Field Rotation effect can be used to rotate or distort the sound field around the
listener. The listener can be at the center of rotation, or the listener can be rotated or
moved around a sound source. The axis of rotation, amount of movement, distance from
the center of rotation, and speed of motion can be specified and controlled manually via
a joystick like the one provided on the
DM2000 console, or automated as required.
VINTAGE STOMP
This package includes a number of super-realistic
recreations of vintage guitar stomp-box effects that
are highly values for their rich, warm sound. VCM
technology brings these outstanding effects back to life with greater
controllability and flexibility than ever!
MAX100
Born in the late ‘70’s, this phaser is still available in reissue form.
There are many who believe the original ‘70’s models sounded better
than the current models, and so the K’s Lab team have painstakingly
modeled the original circuit and components. Even the original light-
sensitive CdS cell that was used for modulation has been modeled so
the subtle change in modulation character with modulation speed of
the original is recreated in perfect detail.
DUAL PHASE
Like the MAX100, there are many guitarists
who will go to any lengths to get an original
version of this stomp box to enhance their
sound. This is a faithful reproduction of the
original with dual phaser circuits and dual
LFOs that can be configured to deliver a
dazzling array of effects. Special care has been taken in modeling the effect of the CdS
cell in the phase-shifting circuit so that the exquisite balance at all modulation speeds
that was a major part of the sound of the original has been retained.
VINTAGE PHASER
Rather than a simulation of a specific phaser, this model has
been designed to deliver the best qualities of the most sought-
after classic phasers in one versatile effect. Different mode
settings transform this effect into dramatically different
phaser types. Stereo and mono versions are provided.
REV-X (ROOM) REV-X (PLATE) REV-X (HALL)
CHANNEL STRIP
The Channel Strip effect includes 5 models that
employ VCM (Virtual Circuitry Modeling) technology
to recreate the sound and characteristics of several
classic compression and EQ units from the 70’s. Not only do these models
faithfully capture the unique saturation of analog circuitry – in part thanks to
precise modeling of the original FET gain reduction, Tube/Transformer buffer
amplifier, VCA (Voltage Controlled Amplifier) and RMS detector circuits – but
they have also been fine-tuned by leading engineers and feature carefully
selected parameters in a simple interface that makes it easier than ever to create
the ideal sound.
Compressor 276 (mono), Compressor 276S (stereo)
These models recreate the fast response, frequency characteristics, and tube-amp
saturation of the most in-demand analog compressors for studio use, delivering classic-
style compression with all the punch and fatness you’d expect from a fine piece of studio-
grade analog gear. Not limited to processing drums and bass, these compressors are
also an excellent choice for vocals and master stereo mix compression. The 276 is a
dual mono unit, while the 276S operates in stereo.
Compressor 260 (mono), Compressor 260S (stereo)
Featuring faithful modeling of the solid-state voltage-controlled amplifier and RMS
detection circuitry of the late 70’s, these effects bring back the sound of classic comp /
limiters used primarily for live sound reinforcement applications. They offer three
selectable compression knee types – hard, medium, and soft – and although variable
attack and release are provided, presets recreate the fixed settings of the vintage gear.
Top-level sound-reinforcement engineers have carefully tweaked the parameters of
optimum response in live
situations. The 260 is a dual
mono unit, while the 260S
operates in stereo.
Equalizer 601
The 601 equalizer offers two equalizer types – Clean and Drive. The Drive type models
the distortion characteristics of 70’s analog EQ circuitry, delivering musical-sounding
drive and saturation. The 601 is a stereo six-band parametric equalizer with LO and HI
shelving filters and four MID peaking filters, and it accurately reproduces both the boost
and cut frequency response and band interaction of
vintage analog gear. And you get EQ capability over
a wide 16 Hz ~ 40 kHz range when operating at
88.2 / 96 kHz. The 601 features a familiar knob-
style interface as well as graphical editing capability
on both the console and PC displays.
The DM2000VCM offers unprecedented effect performance with a selection of new effect programs that employ Yamaha’s revolutionary
VCM (Virtual Circuitry Modeling) and ISSP (Interactive Spatial Sound Processing) technologies for unprecedented effect quality and control.
Check out the Effect List on page 19 for a complete overview of the available effects.
Extraordinary New Effects