Yamaha aw1600 Manual De Usuario
Dynamics library list
185
AW1600 Owner’s Manual
Appendix
These are the preset dynamics settings provided by the AW1600. For details on the function of
each parameter, refer to page 182.
each parameter, refer to page 182.
001 A.Dr.BD (CMP)
002 A.Dr.BD (EXP)
003 A.Dr.BD (GAT)
004 A.Dr.BD (CPH)
Use these presets to apply CMP, EXP, GAT, or CPH respec-
tively to the bass drum of an acoustic drum kit.
002 A.Dr.BD (EXP)
003 A.Dr.BD (GAT)
004 A.Dr.BD (CPH)
Use these presets to apply CMP, EXP, GAT, or CPH respec-
tively to the bass drum of an acoustic drum kit.
005 A.Dr.SN (CMP)
006 A.Dr.SN (EXP)
007 A.Dr.SN (GAT)
008 A.Dr.SN (CPS)
These presets modify preset programs 1 – 4 for use with a
snare drum.
006 A.Dr.SN (EXP)
007 A.Dr.SN (GAT)
008 A.Dr.SN (CPS)
These presets modify preset programs 1 – 4 for use with a
snare drum.
009 A.Dr.Tom (EXP)
Expander for acoustic toms automatically reduces the volume
when the toms are not played, helping to differentiate the
bass and snare drums clearly.
Expander for acoustic toms automatically reduces the volume
when the toms are not played, helping to differentiate the
bass and snare drums clearly.
010 A.Dr.OverTop (CPS)
Soft compander to emphasize the attack and ambience of
cymbals using overhead microphones. It automatically
reduces the volume when the cymbals are not played, helping
differentiate the bass and snare drums clearly.
Soft compander to emphasize the attack and ambience of
cymbals using overhead microphones. It automatically
reduces the volume when the cymbals are not played, helping
differentiate the bass and snare drums clearly.
011 E.B.finger (CMP)
Compressor to equalize the attack and volume level of a fin-
ger-picked electric bass guitar.
Compressor to equalize the attack and volume level of a fin-
ger-picked electric bass guitar.
012 E.B.slap (CMP)
Compressor to equalize the attack and volume level of a slap
electric bass guitar.
Compressor to equalize the attack and volume level of a slap
electric bass guitar.
013 Syn.Bass (CMP)
Compressor to adjust and/or emphasize the level of a synth
bass.
Compressor to adjust and/or emphasize the level of a synth
bass.
014 Piano1 (CMP)
015 Piano2 (CMP)
Piano1 brightens the sound to make it stand out slightly.
Piano2 uses a deeper threshold setting, producing a more
consistent overall level and sense of attack.
015 Piano2 (CMP)
Piano1 brightens the sound to make it stand out slightly.
Piano2 uses a deeper threshold setting, producing a more
consistent overall level and sense of attack.
016 E.Guitar (CMP)
Suitable for electric guitar chording or arpeggios. Try various
adjustments depending on your tone or playing style.
Suitable for electric guitar chording or arpeggios. Try various
adjustments depending on your tone or playing style.
017 A.Guitar (CMP)
Compressor intended for acoustic guitar playing rhythm
chords or arpeggios.
Compressor intended for acoustic guitar playing rhythm
chords or arpeggios.
018 Strings1 (CMP)
019 Strings2 (CMP)
020 Strings3 (CMP)
Compressor suitable for strings. Numbers 19 and 20 can also
be used on low-range instruments (cello, contrabass).
019 Strings2 (CMP)
020 Strings3 (CMP)
Compressor suitable for strings. Numbers 19 and 20 can also
be used on low-range instruments (cello, contrabass).
021 BrassSection (CMP)
Compressor intended for brass sounds with fast and strong
attack.
Compressor intended for brass sounds with fast and strong
attack.
022 Syn.Pad (CMP)
This has a restraining effect on sounds that tend to become
diffuse. For example, this is ideal for some rich-sounding
synth pads that conversely lack definition.
This has a restraining effect on sounds that tend to become
diffuse. For example, this is ideal for some rich-sounding
synth pads that conversely lack definition.
023 SamplingPerc (CPS)
024 Sampling BD (CMP)
025 Sampling SN (CMP)
026 Hip Comp (CPS)
It is effective to apply these programs to sampled sounds
(such as from a CD-ROM) that are used among acoustic
instruments, so that they will not seem to lack power and clar-
ity. Four variations are provided; for Perc, BD, SN, and for
looped materials (Hip Comp).
024 Sampling BD (CMP)
025 Sampling SN (CMP)
026 Hip Comp (CPS)
It is effective to apply these programs to sampled sounds
(such as from a CD-ROM) that are used among acoustic
instruments, so that they will not seem to lack power and clar-
ity. Four variations are provided; for Perc, BD, SN, and for
looped materials (Hip Comp).
027 Solo Vocal1 (CMP)
028 Solo Vocal2 (CMP)
These are variations that are suitable for solo vocal sources.
028 Solo Vocal2 (CMP)
These are variations that are suitable for solo vocal sources.
029 Chorus (CMP)
This variation of Vocal is suitable for choruses.
This variation of Vocal is suitable for choruses.
030 Compander(H) (CPH)
031 Compander(S) (CPS)
A template for the compander program.
031 Compander(S) (CPS)
A template for the compander program.
032 Click Erase (EXP)
Expander to remove click track sounds that may bleed out of
the monitor headphones the musicians are using.
Expander to remove click track sounds that may bleed out of
the monitor headphones the musicians are using.
033 Announcer (CPH)
Hard compander reduces the level during the interval
between the words, making the voice sound even.
Hard compander reduces the level during the interval
between the words, making the voice sound even.
034 Easy Gate (GAT)
A template for the gate program.
A template for the gate program.
035 BGM Ducking (DUK)
Ducking background music for voiceovers, typically keyed
from the announcer’s channel.
Ducking background music for voiceovers, typically keyed
from the announcer’s channel.
036 Limiter 1 (CPS)
037 Limiter 2 (CMP)
A limiter template. 1 has a slow release, and 2 is a peak stop-
ping type.
037 Limiter 2 (CMP)
A limiter template. 1 has a slow release, and 2 is a peak stop-
ping type.
038 Total Comp1 (CMP)
039 Total Comp2 (CMP)
040 Total Comp3 (CMP)
Since these presets are effective in restraining the overall
level or improving the overall definition, it is useful to apply
them to the stereo output during mixdown. You can apply the-
ses presets to a stereo source, and adjust them to create inter-
esting effects.
039 Total Comp2 (CMP)
040 Total Comp3 (CMP)
Since these presets are effective in restraining the overall
level or improving the overall definition, it is useful to apply
them to the stereo output during mixdown. You can apply the-
ses presets to a stereo source, and adjust them to create inter-
esting effects.
Dynamics library list