Yamaha DMR8 v.3.0 Technical Information download pdf (Page 2)

Yamaha was explaining in a very succint technical way about how to operate

the machine. "We went to Pete Townsend's place, and while Alan was in the

middle of his 'spiel' about how to work the machine, Pete asked how he

would get the thing working quickly if he stumbled down to his studio late at

night, stoned perhaps, but with a 'hot' musical idea!" A fair question which

deserves a fair answer, I thought! The DMR8 is a very powerful device with a

myriad of features, and it is obviously going to take anyone new to the

system quite some time to become completely conversant with it. However,

Yamaha have made it very easy to get set up to record by providing

standard configurations for different types of recording session, stored in

memory. You can just call up one of these and customise it as necessary for

your particular session. So probably the best answer to Pete's question is that

you could set the DMR8 up the way you would like it to be at any particular

time, and then hit a couple of buttons to recall this setup whenever you like -

very simple, as long as you can still see straight enough to hit the buttons!

Kevin De Souza of School House Studio:

School House is a newly-built MIDI studio near Farringdon in the City of

London. Studio Engineer Kevin De Souza told me that they use 2 DRU8's,

bought from TCD, in conjunction with a DDA DMR12 analogue mixer. "The

sound of the DRU8's is startlingly good, and I think they sound even better

used with the DDA console and the typical outboard effects which we use,

such as Lexicon reverbs, Eventide harmonizers, and so forth. These bring so

much character into the sounds, compared with the the SPX1000 type effects

in the DMR8. We did consider going for the DMR8's because of the

automation, but we felt it was too limiting to have to get so many extra a/d

converters, or to be prevented from hooking up analogue gear, Pultec's or

whatever. We can still do a lot of work totally digitally, using Sound Tools.

We have tried A/B'ing audio recorded simultaneously into the DRU8 and

Sound Tools. With guitar parts, for instance, the sound from the DRU8 just

'comes out of nowhere', whereas with Sound Tools you can hear the noise

floor if you turn it up enough. When you record into Sound Tools you have

to record very carefully using limiters and so forth, so it is much better for

editing stuff recorded on other machines like the DRU8. I was very impressed

with the way the DRU8's stood up to the heat this summer, before we had

our air-conditioning fitted - I am sure I would have had problems with lesser

machines. One of the beauties of the system is the no-loss bounce-down

capabilities of the DRU8. And you don't need any free tracks to bounce to, as

they can be bounced to themselves! By having a split system (two DRU8's)

and having the digital cascade between the two, you can achieve an amazing

degree of flexibility. On another 'note', some of the remixers we work with

are putting two stereo masters onto 4 tracks of the DRU8 so they can switch

easily between the two, or even run both together. This is not something we

anticipated using the DRU8's for, but it works great in practice!"

Jonathan Cole from TSC:

"We believe that there is a small but significant market for this system, which

we have geared up to serve. We have sold about eight systems to date, to

clients including George Michael, Dave Stewart, INXS, Mark Saunders/The

Mission, Martin Levan Sound/Joseph & The Amazing Technicolour

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Yamaha DMR8 v.3.0 Technical Information Page 2

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