Yamaha DMR8 v.3.0 Technical Information download pdf (Page 7)

connect a larger VDU so that you can see many more parameters at one

time. You could alternatively hook up to a personal computer via an RS422

interface provided for this purpose, but you would need suitable control

software. Or you could control some of the DMR8 parameters remotely

using MIDI, although you would probably run out of MIDI bandwidth if you

tried to control everything this way.

All the faders are motorised, like on the DMP7, and there are 11 faders in all.

In the normal 'channel' mode, the first 8 act as channel level controls, the 9th

acts as a stereo sub-input fader, and the 10th controls the master control

room level. These faders can also be assigned via the software to control

various other functions, such as the EQs. The stereo sub-input fader lets you

connect a Yamaha DMP7 mixer to provide even more inputs, if needed. As

on the DMP7-series mixers, you can quickly 'flip' the faders to a 'send' mode

so that faders 1-8 would be effects sends, 9 would be the stereo effects return,

and 10 would be the master send level. Finally, an 11th fader is provided just

for data entry.

Each mixer channel includes a Pan control, 3-band parametric EQ, and three

effects sends to the main effects units. In addition, each channel has its own

independent effects, including a basic compressor/limiter and delay effects.

These channel effects are typically used to process signal before they are

recorded to tape. The three main effects units are similar to the SPX1000, and

provide good reverbs, ambience, delay, pitch change and other effects. The

three stereo effects returns for these all have 3-band parametric EQ. These

effects are available for use in Mixdown mode.

The digital control features allow the console to be reconfigured to suit any

recording or remix situation at the touch of a button, and several preset

configurations are available to suit most common setups. The faders can be

programmed to provide very fine resolution, and su/jointfilesconvert/274726/bgrouping facilities are

also available. All these features are very well thought-out, and most

engineers will quickly appreciate the capabilities of the DMR8.

The Recorder:

The stationary-head 8-track digital recorder (which is also available separately

as a stand-alone unit, the DRU8) uses a special Yamaha metal particle tape

cassette. This recorder has eight digital PCM audio tracks, two auxiliary

analogue tracks, a timecode track and a control track. The DMR8 is the first

multitrack recorder to store digital audio on tape as 20-bit data, providing an

amazing 120 dB of dynamic range. This should enable the user to allow

plenty of headroom when setting recording levels, and still achieve sensible

signal levels. If you use the highest sampling rate of 48kHz, the standard

cassette provides 20 minutes of 8-track audio, which is more than enough for

most projects, but could prove to be a limitation if you wanted to work on

very long compositions, or on an album. It is unfortunate in some ways that

Yamaha have chosen to use a non-standard cassette for this system, and

some prospective users may be put off by this. However, Yamaha have done

an amazing job in designing such a high-quality working digital multitrack

using such a small cassette - and you can save on both tape costs and storage

space compared with analogue tapes. If you need more tracks or more

recording time, you can achieve either of these by hooking up a DRU8

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Yamaha DMR8 v.3.0 Technical Information Page 7

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