Using Libraries 181

The following table lists the preset memories in the Compressor library:
No. Preset Name Type Description
Compressor for reducing the overall volume level. Use
1 Comp COMP it on the stereo output during mixdown, or with paired
Input or Output Channels.
2 Expand EXPAND Expander template.
3 Compander (H) COMPAND-H Hard-kneed compressor template.
4 Compander (S) COMPAND-S Soft-kneed compressor template.
5 A. Dr. BD COMP Compressor for use with acoustic bass drum.
Hard-kneed compander for use with acoustic bass
6 A. Dr. BD COMPAND-H
drum.
7 A. Dr. SN COMP Compressor for use with acoustic snare drum.
8 A. Dr. SN EXPAND Expander for use with acoustic snare drum.
Soft-kneed compander for use with acoustic snare
9 A. Dr. SN COMPAND-S
drum.
Expander for use with acoustic tom toms, which auto-
10 A. Dr. Tom EXPAND matically reduces the volume when the tom toms are
not played, improving mic separation.
Soft-kneed compander for emphasizing the attack and
ambience of cymbals recorded with overhead mics. It
11 A. Dr. OverTop COMPAND-S
automatically reduces the volume when the cymbals
are not played, improving mic separation.
Compressor for leveling the attack and volume of a fin-
12 E. B. Finger COMP
ger-picked electric bass guitar.
Compressor for leveling the attack and volume of a
13 E. B. Slap COMP
slapped electric bass guitar.
Compressor for controlling or emphasizing the level of
14 Syn. Bass COMP
a synth bass.
15 Piano1 COMP Compressor for brightening the tonal color of a piano.
A variation on preset 15, using a deep threshold to
16 Piano2 COMP
change the overall attack and level.
Compressor for electric guitar “cutting” or arpeg-
17 E. Guitar COMP gio-style backing. The sound color can be varied by
playing different styles.
Compressor for acoustic guitar “stroke” or arpeg-
18 A. Guitar COMP
gio-style backing.
19 Strings1 COMP Compressor for use with strings.
20 Strings2 COMP A variation on preset 19, intended for violas or cellos.
A variation on preset 20, intended for string instru-
21 Strings3 COMP ments with a very low range, such as cellos or contra-

22 BrassSection COMP
bass.
Compressor for brass sounds with a fast and strong 16
attack.
Libraries

Compressor for musical instruments that feature gentle

sounds which, depending on the tones, could diffuse,
23 Syn. Pad COMP
such as synth pad. Intended to prevent diffusion of the
sound.
Compressor for making sampled percussion sound like
24 SamplingPerc COMPAND-S
real acoustic percussion.

Sampling BD A variation on preset 24, intended for sampled bass

25 COMP
drum sounds.
A variation on preset 25, intended for sampled snare
26 Sampling SN COMP
drum sounds.
A variation on preset 26, intended for sampled loops
27 Hip Comp COMPAND-S
and phrases.
28 Solo Vocal1 COMP Compressor for use with main vocals.
29 Solo Vocal2 COMP A variation on preset 28.
30 Chorus COMP A variation on preset 28, intended for choruses.

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 182 Chapter 16—Libraries

No. Preset Name Type Description

Expander for removing a click track that may bleed
31 Click Erase EXPAND
through from a musician’s headphones.
Hard-kneed compander for reducing the level of the
32 Announcer COMPAND-H
music when an announcer speaks.
33 Limiter1 COMPAND-S A soft-kneed compander with a slow release.
34 Limiter2 COMP A “peak-stop” compressor.
Compressor for reducing the overall volume level. Use
35 Total Comp1 COMP it on the stereo output during mixdown, or with paired
Input or Output Channels.
36 Total Comp2 COMP A variation on preset 35, but with more compression.

EQ Library
This library enables you to store and recall EQ settings for Input Channels, Bus Outs 1–8,
Aux Outs 1–8, and Stereo Out. The library contains 40 preset memories and 160 user (read-
able & writable) memories.
Follow the steps below to use the EQ library.
1 Press the DISPLAY ACCESS [EQ] button, then press the [F2] button.
The EQ | EQ Library page appears.

1 3
2

A CURRENT TYPE
This parameter displays the currently-selected channel EQ type (TYPE I or II).
B CURRENT CURVE
This graph displays the current EQ curve.
C Level meters
These meters indicate the post-EQ levels of the currently-selected channel and its avail-
able pair partner.
D Type & Curve section
The type and curve of the currently-selected EQ program are displayed here.
2 Use the LAYER buttons to select layers, then press the [SEL] buttons to select
channels.
You can now store the selected channel EQ settings or recall the EQ library memories to
channels. For details on storing and recalling memories, see “General Library Operation”
on page 171.

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 Using Libraries 183

The following table lists the preset memories in the EQ library:

No. Preset Name Description
Emphasizes the low range of a bass drum and the attack created by the
1 Bass Drum 1
beater.
2 Bass Drum 2 Creates a peak around 80 Hz, producing a tight, stiff sound.
3 Snare Drum 1 Emphasizes “snappy” and rimshot sounds.
4 Snare Drum 2 Emphasizes various ranges for that classic rock snare drum sound.
5 Tom-tom 1 Emphasizes the attack of tom-toms, and creates a long, “leathery” decay.
6 Cymbal Emphasizes the attack of crash cymbals, extending the “sparkling” decay.
7 High Hat Use on a tight high-hat, emphasizing the mid to high range.
Emphasizes attack and adds clarity to the high-range of instruments, such
8 Percussion
as shakers, cabasas, and congas.
9 E. Bass 1 Produces a tight electric bass sound by cutting very low frequencies.
10 E. Bass 2 Unlike preset 9, this preset emphasizes the low range of an electric bass.
11 Syn. Bass 1 Use on a synth bass with emphasized low range.
12 Syn. Bass 2 Emphasizes the attack that is peculiar to synth bass.
13 Piano 1 Makes pianos sound brighter.
Used in conjunction with a compressor, this preset emphasizes the attack
14 Piano 2
and low range of pianos.
Use for line-level recording of an electric or semi-acoustic guitar to get a
15 E. G. Clean
slightly harder sound.
16 E. G. Crunch 1 Adjusts the tonal quality of a slightly distorted guitar sound.
17 E. G. Crunch 2 A variation on preset 16.
18 E. G. Dist. 1 Makes a heavily distorted guitar sound clearer.
19 E. G. Dist. 2 A variation on preset 18.
20 A. G. Stroke 1 Emphasizes the bright tones of acoustic guitars.
A variation on preset 20. You can also use it with an acoustic-electric nylon
21 A. G. Stroke 2
string guitar.
22 A. G. Arpeg. 1 Ideal for arpeggio playing on acoustic guitars.
23 A. G. Arpeg. 2 A variation on preset 22.
Use with trumpets, trombones, or saxes. When used with a single instru-
24 Brass Sec.
ment, try adjusting the HIGH or HIGH-MID frequency.
An EQ template for male vocals. Try adjusting the HIGH or HIGH-MID
25 Male Vocal 1
parameters according to the voice quality.
26 Male Vocal 2 A variation on preset 25.
An EQ template for female vocals. Try adjusting the HIGH or HIGH-MID
27 Female Vo. 1
parameters according to the voice quality.
28 Female Vo. 2 A variation on preset 27. 16
29 Chorus&Harmo An EQ template for brightening choruses.
Libraries

Use on a stereo mix during mixdown. Sounds even better when used with a
30 Total EQ 1
compressor.
31 Total EQ 2 A variation on preset 30.
A variation on preset 30. Can also be used with paired Input or Output
32 Total EQ 3
Channels.
33 Bass Drum 3 A variation on preset 1, with low and mid range reduced.
34 Snare Drum 3 A variation on preset 3, creating a thicker sound.
35 Tom-tom 2 A variation on preset 5, emphasizing the mid and high ranges.
36 Piano 3 A variation on preset 13.
37 Piano Low Emphasizes the low range of pianos recorded in stereo.
38 Piano High Emphasizes the high range of pianos recorded in stereo.
39 Fine-EQ Cass Add clarity when recording to or from cassette tape.
40 Narrator Ideal for recording narration.

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 Remote Control 185

17 Remote Control
This chapter describes the Remote function, which enables you to control external equip-
ment directly from the 01V96 top panel.

About Remote Function

The 01V96’s Remote function enables you to control external DAW (Digital Audio Work-
station) equipment, MIDI devices, recorders, etc.
There are two types of Remote functions (Remote and Machine Control):

■ REMOTE (Remote Layer)

To use these types of Remote functions, you must connect the 01V96 to a target device via
USB or an optional MY8-mLAN card installed in the slot, and operate the faders and [ON]
buttons on the top panel to control the external device remotely.
You can specify a target device and parameter values on the DIO/Setup | Remote page. This
layer is enabled when you turn on the LAYER [REMOTE] button. During Remote opera-
tion, the controls on the top panel enable you to control the external device. (You cannot
adjust the 01V96’s parameters unless you select a different layer.)
You can assign functions of a target device to the controls on the top panel of the 01V96 by
using Remote layer. The following targets are available for remote control:
• ProTools ........................You can remotely control Digidesign Pro Tools.
• Nuendo..........................You can remotely control Steinberg Nuendo.
• General DAW................You can remotely control DAW software that supports the pro-
tocol used by Pro Tools.
• User Defined.................You can also assign MIDI messages to the faders or [ON] but-
tons to remotely control a connected MIDI device, such as a
synthesizer.
• User Assignable Layer.......You can combine the 01V96 channels to create a custom
layer. (See page 229 for more information on this function.)

■ Machine Control
By using MIDI Machine Control commands and the DIO/Setup | Machine page, you can
control an external recording machine that is connected to the 01V96 MIDI port, USB port,
or optional MY8-mLAN card installed in the slot.
Tip: To control external devices from the 01V96, you can also use the User Defined buttons.
Refer to “19 Other Functions” for more information.
17
Remote Control

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 186 Chapter 17—Remote Control

Pro Tools Remote Layer

The 01V96 features Remote Layer target especially designed for controlling Pro Tools.

Connections and Configuring Pro Tools

Follow the steps below to connect the 01V96 to your computer via the USB port so that you
can control Pro Tools from the 01V96.
Note: You cannot control Pro Tools via MIDI connections. Be sure to connect your computer
via the USB or an optional MY8-mLAN card installed in the 01V96 slot.

■ Configuring Windows Computers

1 Connect the 01V96 TO HOST USB port to a USB port on your PC using a USB
cable.

TO HOST USB port USB

CH1-4 CH5-8 CH9-12

1 2 3 4 5 6 7 8 9 10 11 12 PHANTOM +48V
13 15

A A A A A A A A A A A A
14 16 R
B B B B B B B B B B B B
INPUT IN OUT
(BAL) 2TR
-10dBV (UNBAL)
PHONES
INSERT

OUT IN
(UNBAL)
CH15/16 MONITOR
INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O INSERT I/O 2TR IN 2TR IN

PAD
20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB
+4 GAIN -26 +4 GAIN -26 0 10 0 10
LEVEL LEVEL

MONITOR PHONES
OUT
-16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 -16 -60 +4 GAIN -26 +4 GAIN -26
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN

PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK
13 14 15 16
SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL

DISPLAY ACCESS SCENE MEMORY

SCENE DIO/SETUP MIDI UTILITY

STORE RECALL SOLO CLEAR

OVER SELECTED CHANNEL

/ INSERT/ PAN/ PAIR/ PATCH
DELAY ROUTING GROUP 0
-3
-6 PAN DEC INC
-9
DYNAMICS EQ EFFECT VIEW
-12
FADER MODE -15 EQUALIZER
-18
-24
-30
AUX 1 AUX 2 AUX 3 AUX 4 -36 HIGH
Q
-48
STEREO

AUX 5 AUX 6 AUX 7 AUX 8

HIGH-MID

FREQUENCY
HOME (METER)
LOW-MID
LAYER
ENTER

LOW
GAIN
1-16 17-32 MASTER REMOTE ST IN

SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL SEL

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON ON

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 ST IN 1 ST IN 2

+10

5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0 +10

5
5
0

5
0

5
Computer
USER DEFINED
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 KEYS
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15
1 2

10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 10 20 20

3 4
15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 15 30 30

20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 40
5 6

30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 30 50 50

40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 40 60 60
70 70 70 70 70 70 70 70 70 70 70 70 70 70 70 70 70
7 8
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 BUS 1 BUS 2 BUS 3 BUS 4 BUS 5 BUS 6 BUS 7 BUS 8 STEREO

2 Install the necessary USB drivers included on the 01V96 CD-ROM.

See the Studio Manager Installation Guide for more information on installing the drivers.

■ Configuring Macintosh Computers

1 Connect the 01V96 TO HOST USB port to a USB port on your Mac using a
USB cable.
2 Install the required USB driver included on the 01V96 CD-ROM.
See the Studio Manager Installation Guide for more information on installing the driver.
3 Install OMS.
The 01V96 communicates with Pro Tools via OMS (Open Music System) software.
If you have not installed OMS on your Mac, use the OMS installer included on the 01V96
CD-ROM to install OMS.
4 Launch Pro Tools.

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 Pro Tools Remote Layer 187

5 Choose OMS Studio Setup from the Setups menu, and configure OMS as nec-
essary.
Refer to the documentation
that came with OMS for more
information on configuring
the OMS Studio Setup menu.
OMS recognizes the 01V96 as
a USB MIDI interface that fea-
tures eight ports.

6 Choose Peripherals from the Setups menu to open the Peripherals window.
7 Double-click the MIDI Controllers tab.
8 Refer to the screen below to set the Type, Receive From, Send To, and #Ch’s
parameters.
The 01V96 can emulate up to two MIDI controllers.

Tip: To control Pro Tools remotely, you need one port for every eight audio channels.
9 When you finish setting the parameters, close the window.
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Remote Control

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 188 Chapter 17—Remote Control

Configuring the 01V96

Follow the steps below to set up the 01V96 so that you can remotely control Pro Tools from
the 01V96 Remote Layer.
1 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | MIDI/Host page appears.

2 Move the cursor to the first DAW parameter box in the SPECIAL FUNCTIONS
section, then rotate the Parameter wheel to select USB as the port.
3 Press [ENTER] to confirm the setting.
4 Move the cursor to the adjacent
parameter box (on the right), then
rotate the Parameter wheel to spec-
ify the port ID.

Note: If you select an incorrect port, you will be unable to use the Remote function. Be sure
to match the port ID with that specified in the Peripherals window in Pro Tools.
5 Press the DISPLAY ACCESS [DIO/SETUP] button repeatedly until the
DIO/Setup | Remote page appears.

6 Select ProTools (as the target device) for the Target parameter (1) located
in the upper-right corner of the page.
By default, the Remote layer target is set to ProTools. If another target has been selected,
rotate the Parameter wheel to select ProTools.

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 Pro Tools Remote Layer 189

7 Press the LAYER [REMOTE] button.

The Remote Layer is now available for control, enabling you to remotely control Pro Tools.

Note: When the Pro Tools Remote layer is selected, the 01V96’s top panel faders and other
channel buttons are available for remote control. To control the 01V96, you need to select an
Input Channel Layer or the Master Layer.

Display
While the Pro Tools layer is selected, you can use the [F2]–[F4] buttons as well as the left
and right [ ]/[ ] Tab Scroll buttons to select display modes. You can select the follow-
ing display modes using these buttons:

■ Insert Display mode ( [F2] button)

Press the [F2] button to select Insert Display mode. In this mode, you can assign and edit
plug-ins.

1
2 3
4
5

17
Remote Control

A TARGET
This parameter enables you to select the remote control target device.
B COUNTER
This counter indicates the current position. This counter works in unison with the time-
code counter on Pro Tools. The display format of the counter is specified in Pro Tools.
The following three check boxes in the COUNTER section indicate the cur-
rently-selected format.
• TIME CODE: ................Pro Tools timecode format is set to “Time Code.”
• FEET: .............................Pro Tools timecode format is set to “Feet:Frames.”
• BEATS:...........................Pro Tools timecode format is set to “Bars:Beats.”

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 190 Chapter 17—Remote Control

• If no check boxes are selected:...........Pro Tools timecode format is set to “Min-

utes:Seconds” or “Samples.”
C SELECT ASSIGN
This parameter indicates the current parameter, which can be adjusted via the parame-
ter controls on the page. For example, Pan, PanR, SndA, SndB, SndC, SndD, or SndE
(see page 192).
D P.WHEEL MODE
This parameter indicates the function currently assigned to the Parameter wheel (see
page 193).
E INSERT ASSIGN/EDIT section
This section enables you to insert plug-ins into Pro Tools channels and adjust plug-in
settings. Use the left and right [ ]/[ ] Tab Scroll buttons to change the parameters
displayed in this section.

• ASSIGN ......................... Turn on this button to insert plug-ins into Pro Tools channels.
(If you are using the TDM system, you can also assign outboard
effects processors.)
• COMPARE.................... You can compare your edits with the original settings by turn-
ing on this button. This button works in unison with the Com-
pare button in the Pro Tools Inserts and Sends windows.
• BYPASS ......................... Turning on this button bypasses the plug-ins (see page 200).
• INSERT/PARAM.......... Switching this button to INSERT enables you to assign plug-ins
using four rotary controls on the page. Switching this button to
PARAM enables you to adjust the plug-in parameters using the
four rotary controls (see page 199).
• Information box.......... This box displays plug-in parameter names, values, alarm mes-
sages from Pro Tools, etc.
• Rotary controls 1–4..... These controls enable you to select plug-ins or adjust the
selected plug-in parameters.

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